IFTR2014-Book-of-Abstracts

La plupart de ces débats se dérouleront sous la forme de tables rondes et d’ateliers. Mais ils trouveront aussi leur placeau sein des diverses performances théâtrales qui ponctueront le colloque. Celui-ci s’ouvrira d’ailleurs avec des spectaclesprofondément ancrés dans des images de stratification. La troupe « Imagineer Productions » basée à Coventry marquera lecoup d’envoi de notre manifestation avec une procession menée par leur marionnette géante de 10 mètres de haut à l’effigiede Lady Godiva qui, selon la légende, traversa Coventry sur son cheval, afin d’exprimer symboliquement son désaccordavec les conditions économiques difficiles que son mari faisait peser sur la population locale en la taxant lourdement. Sicette légende touche à des questions de stratification sociale, le travail mené par la compagnie « Imagineer Productions »s’adresse, depuis la rue, aux hiérarchies qui ont historiquement défini les espaces traditionnels du théâtre. Cette ouverturespectaculaire sera suivie, le même soir, par une production de « Motionhouse », Broken, qui prend littéralement sa sourcedans les images archéologiques allant des cavernes de nos « lointains ancêtres » aux « appartements modernes de verre etd’acier » dans une confrontation entre un « monde souterrain mythique » dominé par les ténèbres et un « monde extérieurinstinctif et lumineux ». Tout au long de la semaine, d’autres représentations – telles que Internal Terrains de Natasha Davis –nous inviteront à considérer la stratification comme une métaphore d’une immense richesse pour l’exploration performativedu corps, de la mémoire et de l’identité. Des spectacles de ce genre donnent en soi matière à réfléchir mais, avec pour toilede fond les nombreux débats intellectuels sur le théâtre et la stratification que susciteront les tables rondes, des œuvrescomme Godiva Awakes d’Imagineer, Broken par Motionhouse ou Internal Terrains de Natasha Davis, gagneront une – couchede – résonnance supplémentaire. Se répondant les unes les autres, les communications savantes et les productions théâtralescontribueront, nous en sommes sûrs, à rendre ce colloque mémorable et constructif.Comme c’est le cas pour n’importe quel colloque, celui-ci n’aurait pu être possible sans l’engagement des nombreusespersonnes qui nous apporté leur aide et qui ont œuvré discrètement en coulisses. Une manière de résister à la stratificationconsiste à rendre visible l’invisible. Aussi tenons-nous à reconnaître notre dette envers ceux et celles dont le travail et lesoutien ont été vitaux, bien que difficilement perceptibles de l’extérieur. Nos remerciements vont au comité exécutif de laFIRT-IFTR pour son concours et nous remercions tout particulièrement Boris Daussà-Pastor pour ses conseils avisés, nourrisde son expérience en tant qu’organisateur du colloque de la FIRT l’année dernière à Barcelone. Plus près de nous, noussommes reconnaissants à ceux qui, à tous les niveaux administratifs de l’Université de Warwick, nous ont apporté une aidecruciale pour l’organisation du colloque. Ici, à l’Ecole d’études du théâtre, du spectacle et de la politique culturelle de Warwick,nous remercions très sincèrement tous nos collègues pour le temps et l’énergie qu’ils ont dépensés sans compter pour laplanification et le préparation de cette rencontre, et nous souhaiterions adresser une mention spéciale à la professeureNadine Holdsworth pour son soutien enthousiaste du début à la fin. Nous tenons aussi à remercier les étudiants bénévolesqui nous ont assistés pendant la tenue du colloque lui-même. Mais notre plus profonde gratitude va à David Coates, SaraPenny et Fiona Joseph, les administrateurs du colloque, qui ont géré les affaires quotidiennes liées à l’organisation de cettemanifestation scientifique et l’ont fait avec une dose d’énergie, d’ardeur et d’enthousiasme apparemment inépuisable. Lecolloque auquel nous aurons le plaisir d’assister est largement redevable à leur travail et à leurs efforts.Nous espérons sincèrement que le congrès 2014 de la FIRT-IFTR sera pour vous une expérience profondément enrichissanteet agréable. Nous vous souhaitons à nouveau la bienvenue.Les organisateurs du colloqueJim Davis, James Harding et Tim WhiteFIRT/IFTR World Congress, University of Warwick, 20147

KeynotesPerforming Protests: Spaces of Stratified ResistanceKeynoteThe first anniversary of the traumatic rape incident, which shook the nation (India) and had international reverberations,was commemorated (16 Dec 2013) with wide-scale performances. It seemed that through performances around the city,following the trail of the bus which had contoured the city while the brutal crime was committed, the memory of it could bereplaced by a positive wave of change and interventions. Performances and performance art created as an aftermath of therape and the public outrage premiered throughout the year, and now joined the three-day commemoration, some in newversions (Maya Rao’s ‘walk’), and some altogether new performances as well.Bishnupriya DuttSchool of Arts and Aesthetics, Jawaharlal Nehru UniversityBishnupriya Dutt is Professor of Theatre and Performancestudies, in the School of Arts and Aesthetics, JawaharlalNehru University, Delhi India. She played an importantrole in setting up the first department of its kind in Indiato study the arts. Her research areas include colonial andpost colonial histories of theatre, feminist readings ofIndian Theatre and contemporary performative practicesand popular culture. Her works include EngenderingPerformance, Indian Woman Performers in Search of anIdentity, (Sage Delhi 2010), Actress Stories : Binodini andAmal Allana, (in Aston and Case, eds.: Palgrave Macmillan,2007), Historicizing Actress Stories : English Actressesin India (1839-42), (Singh, OUP 2009), Jatra and theMarginalization of the Mythological theme, (in Chaturvedi,ed.Rawat, 2008), In Dialogue with Histories: The Dancer and theActress, (in Sarkar and Burridge, Routledge 2011), Theatreand Subaltern Histories, Chekov Adaptations in Post ColonialIndia (in Clayton and Meerson, eds. ,Routledge, London,2012), Unsafe spaces of Theatre and Feminism in India;Identity Politics Forum, TRI Issue 37.1, March 2012. Alongwith colleagues from JNU, she has an ongoing researchcollaboration (UGC and UKIERI sponsored) with the Schoolof Theatre and Performance Studies, University of Warwickon ‘gendered citizenship; manifestations and performance’.bishnupriyapaul@gmail.comAmongst the new performances was ‘Nirbhaya’, created out of a workshop and directed by a South African director, whichpremiered at Edinburgh, winning awards and accolades, and travelled to India around the same time.The performances varied widely in their response to a number of key issues such as violence, protection and surveillance,the neo-liberal state and its need to exhibit ‘free’ choice in terms of sexuality and around the sudden decision by the Indiansupreme court to strike down the de-criminalization of same sex relationships (on the eve of the anniversary).Although seen in a positive light the stratification within the performances were evident raising the question as to whetherwe see it as an inclusive civil space, where activism and the political, even in a limited capacity, carves a space for itself(Reinelt) or creating a growing division between the civil and political space (Chatterjee).I see this as an important moment which combines historical and contemporary anomalies initiating debates around thecolonial and nationalist discourses, the representation of women, civil codes and laws granting privileged immunity to themale citizen as well as the contradictions of a post globalized world and neo-liberal policies of the Indian state. The risingpolitical power of the Hindu fundamentalists in the name of nurturing industrial growth gets interwoven with these issues. Theanomaly reflects the condition of a number of post colonial nations, going through a period of transition, and a dramaturgyof potential activism.FIRT/IFTR World Congress, University of Warwick, 20148

Faults, Folds and Unconformities: Dramaturgy as Stratigraphy, and other such Metaphors.KeynoteStratification is a foundational and fundamental tenet of geology. It was the ability of pioneers such as James Hutton (1726-97) and Charles Lyell (1797-1875) to distinguish and sequence strata, and their discernment of repeated cycles of deposition,uplift, erosion and deposition, that led to an appreciation of ‘deep time’. Their work advanced emergent notions of evolutionand informed the nascent, cognate discipline of archaeology. And it provided metaphors of position and order subsequentlyapplied in the social and political sciences.Mike PearsonAberystwyth UniversityMike Pearson studied archaeology in UniversityCollege, Cardiff (1968–71). He was a member of R.A.T.Theatre (1972–3) and an artistic director of CardiffLaboratory Theatre (1973–80) and Brith Gof (1981–97).He continues to make performance as a solo artist andin collaboration with artist/designer Mike Brookes asPearson/Brookes (1997–present). In 2010, he directeda site-specific production of Aeschylus’s The Persiansfor National Theatre Wales (NTW) on the militarytraining ranges in mid-Wales; and Coriolan/us withBrookes in 2012 for NTW, in collaboration with theRoyal Shakespeare Company for the World ShakespeareFestival/London 2012. He is co-author with MichaelShanks of Theatre/Archaeology (2001) and authorof In Comes I: Performance, Memory and Landscape(2006), Site-Specific Performance (2010), The MickeryTheater: An Imperfect Archaeology (2011) and MarkingTime: Performance, Archaeology and the City (2013. Heis Professor of Performance Studies and LeverhulmeResearch Fellow in the Department of Theatre, Film andTelevision Studies, Aberystwyth University.This presentation proposes a return to the basic principles of stratigraphy in order to enhance an understanding andappreciation of structures of contemporary theatre, particularly devised forms not predicated on the progressivedevelopment of character and plot. It suggests ways in which geological processes – of horizontal sedimentation andsuperposition, of metamorphosis, intrusion and physical deformation through tilt and fracture – and their influence onsurface morphology and ‘the lie of the land’ might provide further metaphors in the conceptualization, composition anddescription of theatre. It discusses how the disciplinary perceptions and practices of geology and archaeology – of outcropand fieldwork, of excavation and assemblage – might inform the scrutiny and analysis of such performance.And it reflects on an insight of contemporary archaeology: that if our present actually constitutes a single, multi-temporalstratum within which fragments of the material and intangible past – from architectures to cultural traditions – are copresent,though differentially apparent, what are the implications for the nature, placement and interpretation of sitespecificperformance.mip@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 201410

‘What I Came to Say’: Raymond Williams and the Sociology of CultureKeynoteIn his obituary for Raymond Williams in 1988, Stuart Hall wrote: ‘I never had the privilege of being taught by him, but he wasthe most formative intellectual influence on my life. I often had the uncanny feeling that we had stumbled unawares on to thesame line of thinking — only he had given it, already, so lucid and compelling a formulation. However, it is through his workand writing that he influenced several generations across the world, and it is by this that future generations will measure him’.When Stuart Hall died in February 2014, I began to think of the loss of ‘several generations’ as time passes, and the inevitableway we lose important parts of the past in the unyielding flow into the future. (‘Time keeps on slippin’, slippin’, slippin’, intothe future’).Janelle ReineltUniversity of WarwickJanelle Reinelt gained her doctorate in drama at StanfordUniversity in 1974, and prior to 2006 was Associate Deanfor Graduate Studies, the Arts, and Professor of Dramaat the University of California, Irvine. President of theIFTR (2004-2007), and Vice President and ExecutiveCommittee member since 1990. Previously Vice Presidentfor Publications for ATHE, and former editor of TheatreJournal.Recent books include Politics and Performance: CollectedEssays (in Serbian 2012), The Political Theatre of DavidEdgar: Negotiation and Retrieval with Gerald Hewitt (2011);Critical Theory and Performance, 2nd ed. with Joseph Roach(2007), Public Performances: Essays on the Theatre of OurTime (in Slovenian, 2006). The Grammar of Politics andPerformance, ed. with Shirin Rai, will be published this year.Series Editor with Brian Singleton of Studies in InternationalPerformance for Palgrave Macmillan (2012 ‘Excellence inEditing Award’, ATHE). In November 2010, she was giventhe ‘Distinguished Scholar Award’ for lifetime achievementfrom the American Society for Theatre Research. In May2014 she was awarded an honorary doctorate from theUniversity of Helsinki.J.Reinelt@warwick.ac.ukWhile stratification has many meanings, elegantly teased out in the CfP for the Congress, I want to speak about historical andsocial stratification through remembering the extraordinary oeuvre of Raymond Williams and recalling some of the valuesWilliams embodied for theatre and performance studies. Williams spent his career in Cambridge’s English Department asProfessor of Drama, but of course he is best known for his massive contributions to the sociology of culture and as a foundingfigure of Cultural Studies. His work spanned politics, media, drama, sociology, and of course, literature. He wrote poetry andfiction alongside his theory; one of his most important books, The Country and the City (1973), layers literary criticism withsocial history to create a rich exploration of the lived experiences of ‘knowable communities’, charting their ‘structures offeeling’. He was also one of the first scholars to take television seriously as worthy of study, and to write seriously about it.From the many possible topics to be drawn from his work with relevance for our conference theme, I wish to focus on threein relation to our field: identity and its stratifications; the false but abiding divide between elite, popular, and mass cultures,and the methodological entailments of his thinking for the sociology of theatre and performance. What I Came to Say (1988)was the title of his last book, and is also applicable to my keynote in that I intend it to reflect my own wish in this keynote to‘have my say’.FIRT/IFTR World Congress, University of Warwick, 201411

Inside the Humanities/The Humanities InsideKeynoteDavid SchalkwykQueen Mary University of London and the University ofWarwickDavid Schalkwyk is currently Director of GlobalShakespeare, a collaborative project between QueenMary University of London and the University ofWarwick. He has been Director of Research and Editorof the Shakespeare Quarterly at the Folger ShakespeareLibrary in Washington and Honorary Professor ofEnglish at the University of Cape Town. Publicationsinclude Speech and Performance in Shakespeare’s Sonnetsand Plays (Cambridge 2002), Literature and the Touchof the Real (Delaware 2004), Shakespeare, Love andService (2008), and Hamlet’s Dreams: The Robben IslandShakespeare (Bloomsbury 2013).This paper addresses the current “crisis” in the humanities via the assumed place of Shakespeare at the centre of thehumanities—indeed, in the eyes of some, as the incarnation of humanity itself—and the role of Shakespeare within currentuniversity English departments in the English-speaking world. In a world in which the humanities is increasingly underpressure for being redundant, marginal, optional or simply unaffordable (that is to say, at the bottom of the stratificationeffected by criteria of economic instrumentality), Shakespeare occupies a paradoxical place: at once celebrated as thegreatest of human achievements, but also effecting a debilitating stratification by which all other forms of dramatic art areconsidered inferior. I explore the curious position of Shakespeare as being pre-eminently “inside the humanities” by lookingat the “humanities inside”—that is to say, at the status of what we call the humanities inside the prisons of Apartheid SouthAfrica. It is evident from the memoirs of South African political prisoners placed under conditions of extreme deprivationthat what we classify as the humanities—music, art, theatre, and literature in the broadest sense—were discovered to beabsolutely crucial: “more important, as one prisoner put it, than our food”. Shakespeare played a part in this preservation ofhumanities through art and creativity, but he had no dominant role. From an argument which puts the denigration of thehumanities in its place by revealing how absolutely critical the humanities are to people in conditions like the prison, I move toa critical consideration of Shakespeare’s position in the academy by arguing that part of the marginalization of the humanitiesmay be attributed to the ways in which Shakespeare has come to be taught in the English-speaking academy. Using AlainBadiou’s distinction between the “little” style and the “grand” style in the relation between philosophy and mathematics Iargue for the adoption of a “grand” style with regard to Shakespeare. This would involve breaking the hegemonic hold ofhistoricism on literary scholarship and an opening out to the performative boundlessness of what is now, so problematically,called “global Shakespeare”.dschalkwyk1@gmail.comFIRT/IFTR World Congress, University of Warwick, 201412

General PanelCourtly Eunuchs and Elite Masculinity in Nawabi Lucknow, 1776-1856General PanelNick AbbottUniversity of Wisconsin-MadisonNick Abbott is a Ph.D. candidate in the Departmentof History at the University of Wisconsin—Madison.His area of focus is early-modern and early-colonialIndia, with a particular emphasis on the intersectionsof gender, political culture and state formation. Hisdissertation, tentatively titled “Household, Familyand State in the Awadh Nawabi, c.1765-1840,” is aninstitutional history of the royal household of the AwadhNawabs (1722-1856). It explores the household bothas a primary locus of state formation and as a politicalmetaphor central to debates over the physical andconceptual limits of sovereignty in Awadh.For many British historians and Muslim social reformers in late-19th century India, the elite culture of Nawabi Lucknow (1776-1856) represented a profound and embarrassing corruption of Indo-Muslim civilization. In the eyes of its critics, Lucknow’ssupposed cultural degeneracy was rooted in the perceived effeminacy of its ruling nawabs, whose courtly retinues were,in the words of William Sleeman, composed of “singers, eunuchs, and females.” While polemicists found the conflation ofeunuchs and femininity unproblematic, there is little evidence to suggest that such a rigid equivalence would have had beenrecognized within the cultural world of Nawabi Lucknow. Indeed, despite undergoing physical alterations that permittedthem to cross freely liminal boundaries between men and women’s social spaces, courtly eunuchs (khwaja saras, literally“lords of the house”) were—in contrast to hijras elsewhere in South Asia—often gendered as men. This paper examines therecreational spaces inhabited by khwaja saras and their fully-sexed male peers among the courtly elite to trace the multipleways in which masculinity was constructed and performed in Nawabi Lucknow. Utilizing Persian travel narratives and newsreports, it focuses particularly on the norms of comportment observed by khwaja saras in homo-social performative contexts(music and dance performances, athletic contests, etc.) in which they asserted both their physical difference and theirparticipation in a shared masculine cultural aesthetic. Thus, through the lens of the courtly eunuch, I hope to demonstratethe how a broadly encompassing form of elite masculinity was performed and represented socially, as well as to challengethe false binary between unadulterated masculinity and corrupting femininity which has underpinned colonial discourse,reformist critique, and modern scholarship on the period.nabbott@wisc.eduFIRT/IFTR World Congress, University of Warwick, 201413

“Where Are You From?” The Questions of Home, Immigration and Identity in Contemporary IrishTheatreGeneral PanelBisi AdigunKwara State University (Malete-Ilorin)Bisi Adigun is originally from the Yoruba nation ofsouthwestern Nigeria. In 1993, he traveled to Englandwhere he lived and worked for three years beforerelocating to Ireland. In 2003, he founded ArambeProductions, Ireland’s first African theatre company.Adigun has produced and directed all of Arambe’sproductions to date. He is a holder of a B.A in DramaticArts (Obafemi Awolowo University, Ile-Ife, Nigeria;1990), an M.A in Drama Studies (University CollegeDublin; 1999), an M.A in Film/Television (Dublin CityUniversity; 2002) and a Ph.D in Drama Studies (TrinityCollege Dublin; 2013). Adigun’s research interestsinclude inter/trans/cross-culturalism, postcolonialdrama, playwriting, directing, and Wole Soyinka’s Yorubatragedy. Currently, Adigun lectures in the School ofVisual and Performing Arts at Kwara State University,Malete – Ilorin in Western Nigeria.From the mid-1990s onward, Ireland began to experience an unprecedented economic boom. As a result, the country thatwas known for emigration began to experience in-migration. Within a decade, Ireland metamorphosed from a seeminglyhomogeneous society into a culturally diverse one. Suddenly immigrants, especially black people from Africa, began to beseen, not only on the Irish streets, but on the Irish stage as well. At the forefront of presenting plays that featured blackperformers was Arambe Productions, Ireland’s first African theatre company that was founded in 2003. For the 2006 DublinFringe Festival, the company presented Jimmy Murphy’s Irish emigration play, The Kings of the Kilburn High Road, with anall-black cast. And in 2010, the company produced and presented, with black actors ‘whitened-up’, the world premiere ofThe Butcher Babes, a tragi-comedy inspired by the killing in 2005 of Farah Swaleh Noor, a Kenyan immigrant, by Sharlotand Linda Mulhall, now infamously known as the Irish Scissor Sisters. In the words of Matthew Sprangler, “The medium oflive performance is inherently well suited to reflect discourses of identity and change. The manifestation of identity is aperformance, which makes live theatre an ideal medium in which to interrogate hegemonic images of identity and createnew ones”. In this paper, I argue that Arambe’s decision to produce and present plays in which black actors were afforded theopportunity to play parts that are exclusively white is not merely to problematise the question: Where are you from?, thatevery black immigrant gets asked in Ireland on a daily basis, but to also employ theatre as a means of socio-economic andpolitical stratification of the ‘Other’ in an ever changing Irish cultural landscape.www.arambeproductions.comadiguno@tcd.ieFIRT/IFTR World Congress, University of Warwick, 201414

Symbolic Image in Theatre PracticeGeneral PanelThe aim of the paper is to study human relationships to nature in the sphere of theatrical art. Such relationship can berealized in a symbolic image of a character or a performance created by director on a stage. Symbols of nature transforminginto symbols of cognition become a part of common culture. In the paper the author analyses theatrical symbolic images asaccumulation of outer natural processes corresponding to the processes of human inner nature. On the one hand, symbolicimage is studied as a result of comprehension of natural semiotic activity by director who according to methodologicalconcept by T. Maran can be viewed as an “author of nature-text”. On the other hand it is a link between nature and spectatorwho is a recipient of spiritual and cultural experience through new knowledge about natural environment. Thus in theatrepractice studying of a symbolic image based on natural processes can make a valuable contribution to solving problems ofrelations between human and nature. The research is carried out on the material of contemporary Russian and Europeantheatrical productions of plays by A. Chekhov, W. Shakespeare and Ancient authors.Victoria AlesenkovaTheatre Institute of SaratovState Conservatoire (Academy), RussiaVictoria Alesenkova is a native of Moldova, currentlyresiding and working in Russia. She teaches history oftheatre at the Saratov State Conservatoire (Academy).In 2011, upon graduating from the Academy of Music,Theatre and Fine Arts, Chişinău, Moldova, she defendedher doctorate dissertation titled Evolution of the Symbolin Contemporary Theatre Practice. She has a number ofpublications in Moscow academic journals. She has beenan IFTR member since 2010.alesenvic@yahoo.comFIRT/IFTR World Congress, University of Warwick, 201415

Yeats’ The Only Jealousy of Emer: Staging StrangenessGeneral PanelA photograph in the Yeats Centre in Sligo, Ireland, led us to research into the links between W.B. Yeats and theDutch director Albert van Dalsum in the 1920’s.The photo shows masks made by the Dutch sculptor Hildo Krop for the world premiere in 1922 of Yeats’s TheOnlyJealousy of Emer, in Amsterdam.Eric AlexanderUniversity College DublinEric Alexander is a theatre researcher who wasDirector of the Theatre Museum in Amsterdam andlectured at the Amsterdam School of the Arts. He isa specialist in outdoor theatre and performance andpublished Openluchttheaters in Nederland in 2011; he hascollaborated in producing Theaters in Nederland Sindsde Zeventiends Eeuw (2007), and De Schouwburg in Beeld(2012).Though the contacts which led to Van Dalsum’s pioneering work on Yeats’s play are known to many Yeatsscholars, the scenography of this innovative production has yet to be explored in detail. The production wasexemplary of the Gesamtkunstwerk movement in theatre and dance performance in the early century. Thiscollaborative creation involved the key figures of van Dalsum (a talented director and avant garde in much of hiswork), Krop (an architect, sculptor and designer whose philosophy of social egalitarianism informed his artisticcareer), and Lili Green, (avant garde choreographer and performer). Its qualities of aesthetic expression inlanguage, costume, mask, staging, music and choreography were tested before an audience hungry for changeand experiment. In this paper we will excavate the events and influences leading to this extraordinarily daring andidealistic venture, and explore its achievements and limits. Broader cultural and socially ideological movementson mainland Europe proved to be an important base for this work, and its aim to create and engage audiencesin new ways beyond narrative. However, it was the aesthetic achievement, in particular Krop’s designs for masks,that led Yeats to re-conceive his play and to create a new performance of it in 1929, borrowing Krop’s masks andfeaturing the choreography of the dancer Ninette de Valois.eric_alexander@compuserve.comFIRT/IFTR World Congress, University of Warwick, 201416

Moving On: Toward a New View of DanceGeneral PanelJane AlexandreIndependent artist/scholarJane Alexandre is an independent artist/scholar whohas been working in the New York dance world formore than 30 years as a performer, writer, teacher,choreographer, director, producer and administrator.She is currently at work on a book describing the theoryand practice of leadership in dance; developing anopen-access journal around the role of the dancercitizen;an Artistic Director of Evolve Dance, Inc.; andthe Director of the Y Dance Academy in Tarrytown,NY. She holds a BSc from Queen’s University (Canada),an MA from Antioch University, an MS from PaceUniversity, and a PhD from Antioch University (US).The art form of dance is fragmented from within and without by a haphazard series of classifications that divide us fromourselves and from each other, and keep us from seeing a basic truth about dance: that dance is an intrinsic human activitywith a multitude of manifestations. Issues of classification lead directly to the stratification that is the subject of thisconference, and are intertwined with issues of power and prejudice. This paper considers the boundaries classificationsets around dance, and how they might be released. At first look, the effects of classification can be seen as two-fold:first, hierarchies are created whereby expressions or instances of dance are assigned relative worth, with some ranked“higher” (for instance, ballet), and some lower (for instance, “folk” dance). Thus power relationships are established, as aremechanisms for discrimination of all sorts, from resources to respect. Second, dance is relegated to the status of a “minor”art form, since its various manifestations are viewed as separate entities rather than different instances of a whole. Ratherthan dance being understood as an intrinsic human activity, it instead becomes an activity indulged in only by a few whosework can then be variously dismissed as elitist, backward or simply peculiar when it becomes challenging, uncomfortable,or inconvenient in some way. But the central issue of classification can be revealed as more basic and insidious: ratherthan asking the question “What is this person/group of people doing when they do this dance”, we instead impose our ownmeaning of dance on another’s dance. And thus the stage is set for difficulties ranging from misunderstanding of intent tocultural imperialism. How might we do better?jane.alexandre@gmail.comFIRT/IFTR World Congress, University of Warwick, 201417

The Politics of In/visibility and Gendered Privileging in Arab American Theatre:General PanelRoaa AliUniversity of Birmingham, UKRoaa Ali is preparing her Ph.D. thesis, “Arab AmericanDrama Post 9/11: Cultural Discourses of an OtheredIdentity” for submission to the University of Birmingham.Adopting Cultural Studies theories and practice, Roaa isresearching and documenting Arab American playwrights’attempts to reclaim self-representation and articulatea new identity outside of mainstream Western framing,and investigating how these playwrights are negotiatingconflicts within the Arab American community arounddiscourses of nationality, gender, sexuality, and visibility.Works include: “Theatre as Activism: a Ten-Day Journeywith Silk Road Rising” in the Birmingham Journalof Literature and Languages, and “Arab AmericanPlaywrights’ Cultural Battle for Self-Representation againstStereotypes”, to be published in a conference volumearranged by the Aristotle University of Thessaloniki. Roaaholds an M.A. in Cultural Inquiry from the University ofBirmingham, a Postgraduate Diploma in English LiteraryStudies and a B.A. in English Literature and Language fromDamascus University. She received the 2012/13 Universityof Birmingham Neville Chamberlain award, and the 2008/9University of Birmingham International Student scholarshipand has taught in the Department of Drama and TheatreArts at the University of Birmingham.r.ali@bham.ac.ukMany Arab American theatre initiatives were formed as a direct response to 9/11 and its repercussions on the Arab Americancommunity. However, the vast majority of these artistic expressions remain in the periphery of American theatre. Thisis partly because, in its essence and within its many layers as an immigrant theatre, Arab American drama evokes a politicalidentity whose expression challenges American foreign policy in the Middle-East, as well as domestic controversial measuresafter 9/11. This paper will thus explore the challenges that face the visibility of Arab American theatre in post 9/11 America.It will also examine the apparent preferential treatment of some Arab American female playwrights through their access tofunding and theatre spaces. The “indefinite postponement” of My Name is Rachel Corrie (2005) at the New York TheatreWorkshop (NYTW) exposed an atmosphere of intolerance towards challenging political performances, particularly thosedeemed sympathetic to the Palestinian cause. Two Arab American female playwrights, Betty Shamieh and Lameece Issaq,were invited to stage their plays at NYTW, perhaps in an attempt to placate the critical storm which followed the cancellationof My Name is Rachel Corrie. Examining their plays, as well as that of Heather Raffo, another successful Arab Americanfemale playwright, this paper will investigate the politics behind the visibility offered to these female playwrights, and thecompromises that accompany such privileging. Additionally, it will question whether a new postcolonial narrative is beingformed where the Arab American woman playwright, perceived as “unthreatening” and “docile”, is made visible courtesyto her “balanced”, preferably apolitical, unprovocative works. This gendered privileging is either laying the foundations foran Arab American feminist theatre, or covertly curtailing the expression of Arab American women playwrights whilst givingthem a conditioned visibility.FIRT/IFTR World Congress, University of Warwick, 201418

Frustrating Participation: Shunt’s The Architects as Postimmersive TheatreGeneral PanelThis paper will consider affect as a stratum of audience participation in contemporary performance. I ask what it means tobe left cold by performance: to leave a performance frustrated, but to find value in frustration nonetheless. The Architects(2012-13), a performance by Shunt, a London-based theatre company, will be explored as a performance that frustratesparticipatory impulses by setting up and then denying opportunities for interactivity and immersion, while appealing to astratum of participation that is pervasive across various modes of audience engagement: namely, affective engagement.Adam AlstonUniversity of SurreyDr. Adam Alston is a Lecturer in Theatre andPerformance Studies at the University of Surrey. Hehas published work in a number of journals, includingPerformance Research, Contemporary Theatre Reviewand Studies in Theatre and Performance, among others,as well as book chapters (some forthcoming) – eachexploring the aesthetics and politics of audienceparticipation in theatre, performance and theexperience economy. Other current research interestsinclude: labour and performance; the New Left andcountercultural theatre; secrecy, secret performanceand secret events; and the political philosophy ofJacques Rancière. He is a Creative Associate with thescience-led devised theatre company, Curious Directiveand is part of a small editorial team tasked with editing anew website for Contemporary Theatre Review.In an expanding “experience economy” hell-bent on incorporating participating audiences within marketing strategies andinto the design of products, it is perhaps not surprising that audience participation in theatre has enjoyed a heyday of late,particularly in the UK. Shunt, alongside other British immersive theatre companies like Punchdrunk and dreamthinkspeak, areat the forefront of experimentation with various forms of audience participation in contemporary performance. However,what sets Shunt apart from their counterparts is a highly self-conscious, almost paranoid concern with participation as bothform and theme. It is this that prompts me to coin the term “postimmersive”. This paper will assess how Shunt thematiseparticipation in the light of Hans-Thies Lehmann’s influential Postdramatic Theatre. In particular, focusing on The Architects,affect will be proposed as a stratum of audience engagement that inhibits immersion by frustrating participation – both as anunsettling experience and as unsatisfied participation. Analysing this stratum of participation encourages not only a deeperunderstanding of a performance’s content, but its form as well, particularly the uses of that form elsewhere within a broadercultural milieu. Through the frustration of one participatory impulse – interactivity – perhaps a more fulsome understandingmight be reached about participation and its unnerving ubiquity.a.alston@surrey.ac.ukFIRT/IFTR World Congress, University of Warwick, 201419

Layering the Material: A Comparative Study of the Impact of New Technologies on Performance inIndia and the UKGeneral PanelBalakrishnan AnanthakrishnanUniversity of Hyderabad, IndiaBalakrishnan Ananthakrishnan is currently professorof Theatre Arts and Dean, S N School of Arts &Communication at University of Hyderabad, Hyderabad,India. He specializes in Indian performance studies andhas published articles on Indian Theatre in such journalsas Theatre India and Theatre Research International andhas contributed articles to different anthologies andencyclopaedias such as The Encyclopaedia of AsianTheatre, edited by Sam Leiter, Greenwood, Westport,2007. As an executive committee member (2009-2013)of the International Federation for Theatre Research(IFTR) and general secretary (2003-2013) of IndianSociety for Theatre Research (ISTR) he has taken updifferent research initiatives in theatre research tofoster the research culture in the field.This joint paper will discuss the current partnership between the S.N. School of Art and Communication, HyderabadUniversity and Wimbledon College in Art, London. This funded project aims to create a cross cultural research platform, atthe inter-face of fine art and theatre, to investigate the impact of digital media on performance in India and UK. In the UK,lines between these two approaches to performance have already been breached as new technologies blur the boundariesbetween established traditions. Increasingly in India, plays and fine art installations use video and digital projections thatmerge the theatrical and the experiential under the umbrella of performance. Using scenography as a frame of reference,the project seeks to conceptualise and understand how this new layering of technologies – both ancient and contemporary- is affecting ways of making and viewing performance in our respective nations. Indian cultural critic Rustom Bharuchaargued at the end of the twentieth century, ‘[at] this point in time, one can say that technology has not yet co-opted the‘visionary’ possibilities of seeing assumed by our spectators…’ (1993). Does this still hold true at the beginning of the twentyfirst century? Describing the viewing habits of European and American audiences Arnold Aronson suggests, ‘The increasingubiquity of the World Wide Web and its particular visual aesthetic is what most spectators associate with performativeimagery’ (2008). How are these new scenographic landscapes stratified, in their composition and reception? This paperwill analyse the findings of the project so far, including cross disciplinary workshops conducted in India and UK and arguehow by focussing on the materiality of performance, this partnership, will broaden understanding of the formations andstratifications of performance in both cultures.ananthu60@gmail.comFIRT/IFTR World Congress, University of Warwick, 201420

Occupying Momentum Design Through PerformanceGeneral PanelOccupying Momentum explores design as a process of reading, representing and making architectural spaces through humanmovement’s data.“This is how space begins, with words only, signs traced on the blank page” George Perec, 1997. Space starts with words. Samedoes architecture.The process starts with a text related to an architectural plan, describing the site’s experiential and geometrical qualities.The text is narrated to a performer who translates it into movement while ‘marking’ in space, traces of his thoughts andobservations regarding the site. The data of the movement is captured and analysed into a Notational Drawing that describesarchitecture in terms of movement rather than form, using the body as a tool of cognition, drawing and sculpting. NotationalDrawing is further translated into an 1:1 notational and sculptural outcome; Notational Space.Kyveli AnastasiadiThe Bartlett School of Architecture UCLKyveli Anastasiadi is a recent graduate of Masters inArchitecture from UCL Barltett, where she focused onDesign Through Performance and the incorporation ofPhysical Thinking as a tool for drawing and making. Shehas worked as architect assistant in AP London and A&SArchitects Athens where she has undertaken a range ofdifferent responsibilities including, design, assisting inproject management, competitions, film directing andediting. She has collaborated with London SymphonyOrchestra and Gregory Emphietzis for the SoundhubShowcase B 2014. She is taking part in the IFTR 2014World Congress on Performance and Architecture,Projects, Practices, Pedagogies. She has organised anddirected interpretive dance workshops in London andCanterbury.Physical thinking is regarded as a design tool. It is surprising how differently the brain translates a ‘door’ into a physicalmovement which is then converted physically and virtually into a non-standard, atypical design, going far beyond existingdesign typologies made according to specific, fixed numerical standards.Thus the process for making a design becomes analogous to a process of making a choreography, bridging the world ofarchitecture with the world of performance.There is a relevant linguistic analogy between E.M. Forster and David Kirsh regarding the linguistic formulation of a thought;E.M. Forster has stated “How can I know what I’m thinking, unless I see what I say” , while David Kirsh has rephrased accordingly;“How can I know what a phrase really is until I see what I do”? (Kirsh, 2010:2868)In terms of performance architecture and the role of physical thinking as a process of making I would like to reword onceagain; “How can I know what I design until I see how I move?”www.kyvelia.wordpress.comkyveli.arts@gmail.comFIRT/IFTR World Congress, University of Warwick, 201421

The Aarhus Play - A Modern-Medieval CycleGeneral PanelIn Great Britain, Canada and Scandinavia, ‘community plays’ have played an important role in an attempt to ‘root’ or revitalizemany communities, mostly smaller towns or rural areas that have found themselves threatened by ‘development’ or ‘progress’.A few larger towns, too, have tried to dig deeper in their physical and mental infrastructure to search for new ways to copewith an immense future. Though many plays have been comic, there is a very serious undertone of getting out of a more orless manifest crisis and because of that many performances have been staged in carefully selected, symbolically heavy-loadedsurroundings in order to strengthen the impact on the spectators as well as the participants. This strategy is intended to givethe impression of participating in and contributing to something very important for the community. Very many of these playshave been staged outdoor in common and sometimes ‘non-theatrical’ surroundings. The Aarhus Play in Denmark is a modern,site-specific example of this ‘movement’.John AndreasenAarhus University in DenmarkJohn Andreasen is an associate professor in dramaturgyat Aarhus University in Denmark, where he teachestheatre production and cultural politics. He hasmostly studied street theatre, community plays andScandinavian cultural politics. In 1983 he initiated thecommunity play ÅrhusSpillet (The AarhusPlay) with 11first nights in 9 days. In 2002-3 he sketched 8 newset designs for A Doll’s House. Among others he haspublished Teaterproduktion (Theatre Production) 1982,Drama Teaching & Mnemonics in 1995 and “CommunityPlays – a Search for Identity” in TRI 1996. Some of histheatre visions are created in “Third manifesto: We shallcome to see” in NTQ 1983 and “Theatre - Five Futuresor Fuwtuwrews” in Interlitteraria 2002. In Odin Teatret2000 he wrote about “The Social Space of Theatre- including Odin Teatret”. In 2007 he was a co-writeron the first theatre encyclopaedia in Danish. His latestbook is Multiple Stages 2: On Performances, AnalysesModels & Cultural Politics from 2012.draja@hum.au.dkFIRT/IFTR World Congress, University of Warwick, 201422

Training the Amateur Actor: the Manoel Theatre Academy of Dramatic Art (1977-80)General PanelThis paper investigates issues pertaining to the training of amateur actors through a case study provided by the ManoelTheatre Academy of Dramatic Art (MTADA). Founded in 1977, the MTADA was the first attempt at formal theatre training inMalta, a small island in the middle of the Mediterranean with a population of about 400,000. Relevant archives have beenconsulted and supported by interviews with former teachers and students to reconstruct the operation of the Academy,particularly the training involved, which will be delineated as “technical” and “attitudinal” training. Beyond this particularsituational study, the paper will posit the MTADA as a locus for analysing the “stratification” in theatre and performancebetween professional and amateur approaches. While the direction of the School was in the hands of two professionaltheatre makers from England, the intrinsic background of theatre in Malta which, at least at that time, was inherently amateur,meant that the MTADA was situated as a locus for the emergence of a professional performance scene. This professionalismfailed to emerge, and the paper will posit that one of the reasons for this failure was in the difficulty faced by amateur actorsin general when they come to transfer the skills practiced in training to performance situations.Stefan AquilinaTheatre Studies Department, University of MaltaStefan Aquilina is a Lecturer within the TheatreStudies Department of the School of Performing Arts(University of Malta), where he delivers courses abouttheatre history, space, and twentieth-century theatremaking.His main area of research is Russian and earlySoviet theatre, especially the work of Stanislavskyand Meyerhold. This particular research interest isdeveloped through the application of critical theorieson everyday life. Aquilina’s essays have appeared inStudies in Theatre and Performance; Theatre, Danceand Performance Training; Stanislavski Studies; andTheatre Studies International. He is also the director of“Performance Lineage: the Russian Tradition of ActorTraining”, a research project supported by a grant fromthe University of Malta Research Committee.stefan.aquilina@um.edu.mtFIRT/IFTR World Congress, University of Warwick, 201423

Disabling Salome: Representing and Embodying Neuropathology and the De-stratification ofModernityGeneral PanelMargaret AraneoCity University of New YorkMargaret Araneo is currently completing herPh.D. at the Graduate Center, CUNY. Her researchfocuses on the representation and embodimentof neuropathologies in late-nineteenth- and earlytwentieth-centuryperformance. She is currentlythe Head of the MA Program in Theater History andCriticism at Brooklyn College as well as an AdjunctDrama Instructor at New York University’s Tisch Schoolof the Arts. She holds a BA in Political Science fromJohns Hopkins University and an MFA in Acting fromCarnegie Mellon.The landscape of modernity, with its questionable borders and uneven terrain, has produced a host of narratives aimedat classifying and ultimately ranking various aspects of a culture. With social and economic conditions shifting quicklyduring periods of modernization, categories of social difference proliferate. These differences provide the building blocksfor hierarchical systems that underpin many of modernity’s most potent ideologies. Some of the strongest examplesof this process of differentiation and stratification can be found in the late nineteenth and early twentieth centuries, aperiod Ben Singer has called “modernity at full throttle.” With much of Europe and North America undergoing massiveindustrialization and urbanization, improved transportation systems facilitating widespread immigration and migration, andadvances in medicine producing new categories of health and impairment, modernist culture was awash with a collection ofunstable cultural categories. Through myriad culturally discursive practices, these categories were ultimately contained andstratified, taking shape in such modernist concepts as class, ethnicity, and disability. This paper interrogates this process ofstratification in modernity through the lens of popular entertainment. It looks specifically to how performance events playedwith cultural categories relating to able-bodiedness and impairment/disability. Examining the popular Salome dances in NewYork City in the early twentieth century in relation to the rise of neurology over the second half of the previous century, itengages the shrieks and “jerks” of the dancers as embodiments of the pathologized gestures of the “diagnosed” hysteric.The performances are treated as sites of negotiation where the modernist concept of able-bodiedness is interrogated. Theyboth reinscribe and reimagine modernist ideologies about the able-bodied subject, disclosing modernity’s conflicted nature.Through this disclosure the precariousness of modernity’s stratification is unmasked and the potentiality for unseating itslegacy revealed.m.k.araneo@gmail.comFIRT/IFTR World Congress, University of Warwick, 201424

Napoleonic Neglect: The Case for Excavating French Theatre of the First Empire. Case Study:MelodramaGeneral PanelKatherine AstburyUniversity of WarwickDr Katherine Astbury is Reader in French Studies atthe University of Warwick, and Principal Investigatoron an AHRC project to investigate French theatre ofthe Napoleonic Era, which began in 2013 and runs until2017. The team includes a postdoctoral musicologist, DrKatherine Hambridge, and PhD students Devon Cox andClare Siviter. The team’s findings can be followed on theproject blog (see below). The project takes as its startingpoint Warwick’s unique Marandet collection (over 200018 th - and 19 th -century plays which have been digitised -see link below) - to re-examine the theatre of the FirstEmpire in order to see whether recent approaches toRevolutionary theatre can be applied to the aesthetic andinstitutional conditions imposed by Napoleon. Katherine’srecent works include the monograph Narrative Responsesto the Trauma of the French Revolution (Oxford, Legenda,2012), and two articles on Pixerécourt, Les mélodrames dePixerécourt avant 1807, European Drama and PerformanceStudies 1 (2013), pp. 89-107 and ‘Music in Pixerécourt’s earlymelodramas’, in Melodramatic Voices: Understanding MusicDrama, ed. by Sarah Hibberd (Ashgate), 2011.http://ftne.hypotheses.org/http://www2.warwick.ac.uk/fac/arts/french/marandet)katherine.astbury@warwick.ac.ukTheatre was an important tool for Napoleon Bonaparte but it has been almost entirely ignored by recent criticism, whichhas focused instead on French Revolutionary theatre. The few modern studies that have been undertaken on the immediatepost-Revolutionary era continue to conclude that theatre of the Napoleonic period is aesthetically inferior. Horne (2004) forinstance concludes that “not a single French play of any value dates from the Napoleonic period”. And yet, the First Empireis a period when theatre flourished and when its foremost dramatic form, melodrama, was exported around the world. It istime to strip away assumptions about aesthetic production of the age and explore instead how some of the methodologicaladvances in approaches to Revolutionary theatre might be applied to the Napoleonic era. This paper will offer Pixerécourt’smelodrama as a case study for how we might reassess Napoleonic theatre. Pixerécourt was one of the most successfulplaywrights of the period and his plays regularly ran to hundreds of performances. Using a manuscript of the Forteresse duDanube as a case study, it will discuss some of the difficulties involved in excavating a forgotten period in theatre history (nocalendar of performances), a forgotten play (no modern editions), and a genre typically dismissed as staged morality for thepeople. The manuscript lends itself to reflections on sources, the influence of German and British theatre, the importance ofmusic in the development of melodrama, the role of politics, as well as the layers that make up performance. It will also touchon issues of audience, class and hierarchy. This paper will be of interest to specialists of French and British theatre specialistsof the late 18 th and early 19 th centuries.http://ftne.hypotheses.org/http://www2.warwick.ac.uk/fac/arts/french/marandetFIRT/IFTR World Congress, University of Warwick, 201426

Between India and Britain, Forming the Feminist Layers of Anupama Chandrasekhar’s NewPlaywritingGeneral PanelElaine AstonLancaster UniversityChennai-based Anupama Chandrasekhar is a contemporary Indian playwright whose early plays have been developedthrough an exchange between London’s Royal Court Theatre and Rage Theatre in Mumbai. As such, her emerging career asa writer has been shaped by the dual processes of social, cultural, political and theatrical stratification occurring in India andthe UK. More particularly for the purposes of this paper is the question of how, working between a barely existing cultureof new writing in India and a British tradition of playwriting, her plays are formed by feminist layers that have local (national)and international relevance and resonance. For instance, Acid (staged in Mumbai in 2004) calls attention to the widespreadviolence (random acid attacks) committed against women in India; Free Outgoing (premiered in London in 2007) figures theabuse of young women’s sexuality through the use of social media. Both plays are formed through what will be argued asfeminist interventions into the conventions of social realism. Further, on the one hand, approaching the feminist layers of theplays, developed and staged inside and outside of UK borders, serves to remind of the different geographies or ‘stages’ offeminism elsewhere in the world. On the other, the paper will also argue that in a British context, a play such as Free Outgoingoccasions a revitalisation or excavation of women’s rights – matters long deposited by an erstwhile tradition of women’splaywriting whose sedimentary formations have been eroded by subsequent shifts, rifts and ‘postings’ of feminism.Elaine Aston is Professor of ContemporaryPerformance at Lancaster University, UK. Hermonographs include Theatre As Sign-System (1991, withGeorge Savona), Caryl Churchill (1997; 200; 2010);Feminism and Theatre (1995), Feminist Theatre Practice(1999), Feminist Views on the English Stage (2003)and Performance Practice and Process: Contemporary[Women] Practitioners (2008, with Geraldine Harris).She is the co-editor of The Cambridge Companion toModern British Women Playwrights (2000, with JanelleReinelt); Feminist Futures: Theatre, Performance, Theory(2006, with Geraldine Harris), Staging InternationalFeminisms (2007, with Sue-Ellen Case), and TheCambridge Companion to Caryl Churchill (2009, with ElinDiamond). She has served as Senior Editor of TheatreResearch International and is completing the monographRoyal Court: International (with Mark O’Thomas). Elainecurrently serves as a member of IFTR’s ExecutiveCommittee.e.aston@lancaster.ac.ukFIRT/IFTR World Congress, University of Warwick, 201427

Fritz Kortner’s Postwar “Monologues” and the Fractures of German-Jewish MemoryGeneral PanelMichael BachmannJohannes Gutenberg University, Mainz, GermanyMichael Bachmann teaches theatre and comparativemedia studies at Mainz University, Germany, wherehe is Junior Professor in Theatre Studies. His Ph.D.dealt with authorizing strategies in Holocaustrepresentation and was published as a monograph in2010 (Der abwesende Zeuge: Autorisierungsstrategienin Darstellungen der Shoah, Francke). Publications inEnglish include: “Autobiographical Performance andthe Ethics of Memory in Ronnie Burkett’s Theatre ofMarionettes” (Ethical Debates in Contemporary Theatreand Drama, WVT 2012), “Theatre and the Drama of Law:A ‘Theatrical History’ of the Eichmann Trial” (Law TextCulture 14, 2010) and “Derrida on Film: Staging SpectralSincerity” (The Rhetoric of Sincerity, Stanford UP 2009).One of the few Jewish actors to return to Germany after the Holocaust, Fritz Kortner—already a star during the WeimarRepublic—quickly re-established himself as an actor and, primarily, a director in West Germany. However, while experiencingcritical and commercial success, Kortner would remain marked as the Jewish “Other” throughout his postwar career. Thus,the “scandal” of his critically panned 1950 production of Schiller’s Don Carlos can partly be explained through the fact thatKortner’s stage and public persona was haunted, in Marvin Carlson’s sense, through the audience’s perception and ascriptionof Kortner as a Jewish actor. Comparing Kortner’s Don Carlos production with the documentary film Fritz Kortner SpeaksMonologues for a Record (1966), I examine Kortner as a figure in which different conceptions of German-Jewish memorycollide through various layerings of theatre historical moments. While Kortner’s King Philipp in the 1950 Don Carlos can becompared with his prewar take on the role (in Leopold Jessner’s 1929 production), the 1966 documentary shows Kortner,on a theatre stage, reciting some of the major roles that he played during the Weimar republic, especially Shylock—this time“without a mask,” as the voiceover states. Through the rejection of Kortner’s Don Carlos and his acceptance as Shylock, it ispossible to glimpse his paradoxical situation between prompting a necessary examination of Germany’s guilt and being usedas an excuse for Germany’s redemption, as if there was no need to deal with Nazism or anti-Semitism anymore. I will arguethat Kortner himself—on the stage and in West German society at large—became a (theatrical) site of conflicting memoriesfor a dialectic rewriting of German-Jewish history between remembrance and redemption.FM.Bachmann@googlemail.comFIRT/IFTR World Congress, University of Warwick, 201428

Utpal Dutt: Labour, Revolutionary Organisation and the Question of ‘Love’General PanelTrina Nileena BanerjeeAssistant Professor in Cultural Studies, Centre forStudies in Social Sciences, CalcuttaThis paper will attempt to look at Utpal Dutt’s work as a self-proclaimed Marxist playwright. It will examine his self-consciousfashioning of the figure of the ‘organic intellectual’ as a dramatic character in his plays. This figure appears almost like a leitmotif in his work from the late 1950s onwards, providing the primary impetus towards, as well as direct pedagogic trainingin, revolutionary organisation. From Angar (1959) to Teer (1967), the organic intellectual in his plot develops in depth andcomplexity, transforming itself from a young male mining labourer to a tribal woman who educates herself and her comradesin revolutionary literature. Dutt consciously creates for his audience a picture of the unalienated worker, whose speech, itcould be argued, closely resembles that of an artiste describing his art form. However, while the love of labour (and theinstruments of labour) seems to aid the process of revolutionary organisation, what seems to constantly foil and complicateits smooth functioning is the love of man and woman. In Teer (about the Naxalbari movement, written in 1967), for the firsttime in all these plays, Dutt seems to frame a political (?) problem without knowing the solution. And this problem concernsthe place of desire in the time of revolution. The terrible perversion of an unsanctioned love, which expresses itself as theforced violation of the same body it desires, remains the unresolved, even unencountered, problem of this ‘exceptional’ time.It seems to me that neither the text of class war nor the grammar of woman’s empowerment within revolution is able to justlytackle the problem of love, in spite of Dutt’s insistence on the discussion of it in the here and now. Hence, a final silence endsthe scenes of revolutionary education between man and woman.After completing her MA in English Literature fromJadavpur University, Dr. Trina Nileena Banerjeeproceeded to complete a Masters of Studies (MSt.) in English at the University of Oxford. For herPhD she worked on a history of women in the grouptheatre movement in Bengal between 1950 and 1980.Between 2011 and 2013, she taught at the Theatre andPerformance Studies Department at the School of Artsand Aesthetics in Jawaharlal Nehru University. She iscurrently Assistant Professor in Cultural Studies at theCentre for Studies in Social Sciences, Calcutta. She isalso working on a monograph on Embodying Suffering:Interface(s) between Women’s Protest Movementsand Women’s Performance in Contemporary Manipur(1980-2010). Her research interests include Gender,Performance, Political Theatre, Theories of the Body,Postcolonial Theatre and South Asian History. Shehas also been a theatre and film actress, as well as ajournalist and fiction writer/poet.trina.banerjee@gmail.comFIRT/IFTR World Congress, University of Warwick, 201429

Theater Research and Big Data: Using Rekall to Document Re: Walden, a Digital Performance byJean-François PeyretGeneral PanelClarisse BardiotUniversité de Valenciennes et du Hainaut-CambrésisClarisse Bardiot is an associate professor atValenciennes University (France). Her Ph.D. dissertationwas on Virtual Theatres (2005). Clarisse Bardiot’sgrants include Daniel Langlois Foundation researchersin residence for a research on artists and engineersdialogue in 9 Evenings, Theatre & Engineering. Shecontributed to various research programs, among themthe Docam program on digital art preservation anddocumentation. Clarisse Bardiot works as a curator andeditor with digital artists, choreographers, directorsand engineers. From 2006 to 2010, she conductedtwo European programs between France and Belgiumon art, science and technology with workshops,conferences and artists in residence program. In 2011,she created the publishing house Subjectile. Basedin Brussels, she published a digital book on digitalperformance in the Basiques serie by Leonardo/olats in2013. She is currently developing a software (Rekall) todocument digital performances.According to Lev Manovich, “Digitization of large sets of cultural artifacts from the past and the rize of social media in 2000sopen new possibilities for the study of cultural processes.” The emergence of entire corpus of digitized data from the artistsand their team has made it possible to meaningfully address research questions on complex, layered, creative process. “Bigdata” is transforming theater research: we need new tools to analyse this huge amount of documents produced by theworks, especially digital performances. On the other hand, how to design a software that could show every creation processin his own specificity ? Rekall is a response to the documentation and conservation issues that arise when dealing withtechnology-rich art forms. This software relies on elements that are used to describe or transcribe performance artworks(video recordings, musical scores, patches, written texts, sound recordings…). These elements are presented along a timelinethat corresponds to the period during which the work is produced and staged. Other documents (notes, photographs,videos, written texts, e-mails, etc.) that relate to the performance or that are simply useful for understanding it, gravitatearound this central timeline. They provide different insights into the artwork and offer information relating to its uniquefeatures. It is possible to sort the documents using a number of filters. Live links between the documents allow you to mapresults and perform multiple searches. The first study case, because it raises the issues addressed by the software, is Re:Walden, by Jean-François Peyret, after Henry David Thoreau. This show has a strong technological and digital componentand was developed in several stages in different formats, namely a musical performance, an installation, and a stage show atAvignon Festival 2013.www.rekall.frwww.subjectile.comwww.clarissebardiot.comclarisse_bardiot@mac.comFIRT/IFTR World Congress, University of Warwick, 201430

Change of Priorities and Practices in Pre and Post Colonial Dalit Theatre in IndiaGeneral PanelShashikant N. BarhanpurkarUniversity of AurangabadDr. Shashikant N. Barhanpurkar is an eminent scholarin Theatre Studies, academic and theatre director.He collected his Doctoral degree in Drama from theUniversity Of Manchester, UK. Apart from receivingtheatre training at Rose Bruford College of Speechand Drama, U.K. he attended courses in direction andtheatre pedagogy at the Berliner Ensemble, Berlin andITI Zurich. At present Dr.Shashikant Barhanpurkar isProfessor and Head at the Department of Dramatics,Dr. Babasaheb Ambedkar Marathwada University,Aurangabad.Tamasha is a powerful theatrical medium. One of the striking qualities is its natural adaptability to a multiplicity of discourse.While it has been a strong medium of resistance for the Ambedkari Dalit tradition it has equally adapted itself to Marxistideology. The inherent flexibility in its form and the structure to suit diverse ideologies reveals the tremendous potentialsof Tamasha as a pluralistic mode representation. The Ambedkari Movement was the largest socio-political movement ofunder-privileged casts in India led by Dr.B.R.Ambedkar in Pre and Post colonial India. The inseparability of form and contentis evident in Indian theatre. Ambedkari Jalse, derived from Tamasha, is an effort aimed at class cultivation of the audience.It is the oppressed class theatre; predominantly secular in nature, and it deals with socio-political and cultural content. Itis interesting to examine how the structure of Tamasha was modified to communicate socio-political struggle and culturalupheaval. The Jalse were not only performances in themselves but the history of the untouchability movement in precolonial India. Post Independence, the importance of Jalse was waning yet the influence of it was very much evident in thecontemporary Dalit theatre movement of the early 1970. The Dalit movement of 1970s India is a socio-political statement,angst expressed in the new language of modernity in post colonial India. The movement was a well-constructed thoughtprocess of Dalit intelligentsia, largely supported by a revolutionary change in literary writings across India; similarly, thesethemes were reflected in theatre. The emergence of the new theatre infused a revolutionary change in content more thanin format; however, one can study the changes in stagecraft and usage of language, and mannerisms of the actors as well asthe choices of characters reflecting culture and social stratification.drbarhanpurkar@rediffmail.comFIRT/IFTR World Congress, University of Warwick, 201431

The Guise of The GuideGeneral PanelThe idealistic and handsome son of a Bedouin who led a bloodless coup d’etat in 1969, Colonel Muammar al-Gaddafii’sobsession with his waning youthful image eerily paralleled his regime’s descent into decadence. His attempts to forge a newLibyan identity through Pan-Arabic and Pan-African stratification were self-ordained by his omnipotent title, The Guide, andstyled in a myriad of increasingly bizarre costumes that fascinated at public appearances. His shifting appearance maskedchaos within his private life. This paper analyzes Gaddafi’s mercurial self-representation as a method of capturing politicalcontrol over the Libyan nation.Brandin Barón-NusbaumUniversity of California, Santa CruzBrandin Barón-Nusbaum has presented papers atIFTR, The Costume Society of America, Theatre andPerformance Research Association (TAPRA), theAmerican Society for Theater Research (ASTR) and theRomualdo Del Bianco Foundation and The AssociationFriends of the Galleria Del Costume of Florence. Hischapter on Mariano Fortuny’s innovations in scenicand lighting design was recently published in Palgrave’sTheatre, Performance and Analogue Technology:Historical Interfaces and Intermedialities, edited byKara Reilly. As a professional costume designer, hewas awarded the NEA/TCG Career DevelopmentGrant for Directors and Designers and has designedat several American regional theaters including ThePublic Theater/New York Shakespeare Festival, LaJolla Playhouse, Asolo Repertory Theatre, The MagicTheatre, The Aurora Theater, Shakespeare Santa Cruz,Theatreworks, San Jose Rep and San Diego Rep. Barónis an Associate Professor of Design at the Universityof California, Santa Cruz and a graduate of the MFAprogram in Theater Arts at UC Santa Diego.baron@ucsc.eduFIRT/IFTR World Congress, University of Warwick, 201432

Human Palimpsests and Layered Storytelling: Ritual, Memory, and Oral Stratification in EndaWalsh’s The Small ThingsGeneral PanelNelson BarreNational University of Ireland, GalwayNelson Barre is a PhD candidate at the NationalUniversity of Ireland, Galway where he is a recipientof the Hardiman Research Scholarship. His researchfocuses on contemporary Irish performance, ritual,and memory. Nelson’s writing has appeared in TheatreJournal, The New Hibernia Review, and The Irish UniversityReview.Enda Walsh’s plays present characters whose identities are layered with story. Across several of his works, onstage figuresrecognize the constructed nature not only of their personal (hi)stories but of the ways in which others infuse their memoriesthrough slight alterations. In Walsh’s play The Small Things, Man and Woman only exist to perpetuate themselves throughrepeated rituals of storytelling. Each of them constantly clings to household objects as a means not only of holding onto thepast but of precisely remembering an event from long ago. By connecting objects and actions with specific memories, thecharacters try to revive themselves and the (seemingly) lifeless artefacts around them. The ritualized memorial repetitionin fact plays into the truism of all performance that no matter the level of precision, it is impossible to repeat a previouslyenacted behaviour. By doing this, Man and Woman attempt to crystallize their past – in effect trying to stop time’s unrelentingmovement. Attempts to re-member the past in this way lead to a build-up of previous versions where the current memory nolonger resembles the original, but the characters do not know how to act without the reality they have created. Theories ofpalimpsestuous spaces can be expanded through a performance studies lens wherein the stratification of meaning createsa new identity with each subsequent recollection of a memory. In this way, Walsh’s play demonstrates the human proclivitytoward routine and ritual as a means of self-perpetuation and survival but also inherently a creative act. This paper willshow that memorialized action and storytelling, even in an allegedly controlled environment, depicts a realm where the rememberersinvent and layer versions of themselves through repetition and the uninterrupted passage of time.nelson.barre@gmail.comFIRT/IFTR World Congress, University of Warwick, 201433

Exploring Class in the Field of TheatregoingGeneral PanelMaria BarrettUniversity of Warwick and Liverpool Institute forPerforming ArtsMaria Barrett is a PhD candidate at the University ofWarwick, researching how ‘working class’ audiencemembers experience theatregoing. She is a Senior Lecturerat Liverpool Institute for the Performing Arts (LIPA) whereshe coordinates shared enterprise and contextual modulesand Technology Enhanced Learning across the Institute, aswell as teaching on the Music, Theatre and EntertainmentManagement BA (Hons) degree. She holds a PostgraduateDiploma in Critical Theory from Manchester MetropolitanUniversity. Maria occasionally contributes to The Guardianliveblogs on the entertainment industry, alongside industryexperts from The Really Useful Group and the RSC. Shewrote a chapter on employment and human resourcemanagement for ‘Entertainment Management: TowardsBest Practice’, edited by Moss and Walmsley (April 2014).Maria is a Director of Liverpool Lantern Company and hasserved on the boards of the Independent Theatre Council(ITC), and Merseyside Unity Theatre, and several theatrecompanies. Her background is in theatre and communityarts as a practitioner, consultant and manager. She wasfounding Chief Executive of Theatre Resource Centre, amanagement resource for independent theatre companiesacross the North West.Various studies (Chan et al., 2008; McDonnell and Shellard, 2006; Bunting et al., 2008) suggest that those who are ‘sociallydisadvantaged’ remain less likely to attend theatre. While funding and ticket subsidy is often justified in terms of socialinclusion, empirical research (McIntyre, 1999; Chan et al., 2008) shows that pricing is only a part of what are sometimescalled ‘barriers’ to attendance. At the same time, contemporary policy-inspired empirical research into theatregoers andnon-theatregoers (Hayes, 2006; Creative Research 2007; Scollen, 2008; Bunting et al., 2008) reveals an anxiety abouttheatregoing expressed through a preoccupation with dress, convention and other forms of ritual. However, much of thisresearch does not distinguish on the basis of class. This study uses empirical methods to examine mainstream theatre as asite for struggle, using the Royal Court Theatre, Liverpool, as a locus. This theatre has been successful in attracting peoplefrom the most deprived wards of the country, as well as many first time attenders, in contrast to the class origin of theprevailing theatre audience according to the empirical studies. This paper uses ‘thick description’ (Ryle, 1971; Geertz, 1973;Denzin 1989) and semi-structured interviews to build on Pierre Bourdieu’s work on the relationship between ‘taste’ and class.It examines the field of theatregoing and the perception of it by ‘working-class’ theatregoers, in order to illuminate someof the signs that may make ‘working class’ people aware of something of which they are, according to Bourdieu, generallyunconscious. The paper has implications for policy makers as well as individual theatre venues in furthering and deepeningan understanding of how people who are ‘socially disadvantaged’ experience the theatregoing event. It also further exploresthe relevance of Bourdieu’s ‘conceptual triad’ through contemporary theatregoing.m.barrett@lipa.ac.ukFIRT/IFTR World Congress, University of Warwick, 201434

(De)territorializing Disciplines: Reframing Conceptions of The Global Knowledge Market in BusinessStudies through Practice-as-Research based Pedagogic Interventions. A Case in-Progress.General PanelThis paper will critically discuss how I am using performance based practice-as-research methods to design experimental,critical pedagogies at both undergraduate and graduate level at Warwick Business School.Annouchka BayleyUniversity of WarwickAnnouchka Bayley’s doctoral research is housedbetween Warwick Business School and Warwick’s Theatre& Performance Department, where she received aWBS scholarship to research and develop arts-basedcurricula in interdisciplinary contexts. She has lecturedin Theatre and Performance creation practices at theBirmingham School of Acting and develops experimental,transdisciplinary courses at Warwick University. Her worksinclude Elemental Journeys: A Domestic Ice-Cube’s Journeytowards Transformation in On Ice, Performance Research18.6 (Taylor & Francis); a chapter in Italy Made in England(Pickering and Chatto forthcoming); a chapter in What is theRole of Theory in Education Research? (Palgrave Macmillan,forthcoming); and On (Dis)locating the Trans-cultural throughPerformance: A Practice-as-Research Investigation into DualheritageExperience in the UK (Cambridge Scholars Press).Annouchka obtained her MA in developing a Practice-as-Research project with Prof. Baz Kershaw (Warwick) andher BA from School of Oriental and African Studies (U. ofLondon). She trained in Lecoq and Roy Hart pedagogies,and later devised and performed more than 15 one- womanand ensemble shows in Europe and Mongolia. She is anEmerging Director with the Royal Shakespeare Company.Having developed and delivered performance based workshops and ‘interventions’ using issues-based theatre devisingtechniques to tackle criticality in Accounting, Leadership and Management courses at Warwick Business School, I amnow undertaking the development of new standalone projects using practice-as-research and live installation techniquesthat incorporate postcolonial approaches to the teaching and learning at Warwick Business School. This kind of researchcurrently represents the first of its kind to take place in a business school setting, and thus is very much interwoven withwhat Prof Baz Kershaw calls ‘transdisciplinary innovation in action’ (Kershaw and Nicholson: 2011). Thus far its receptionwithin Warwick Business School has been controversial, as at the core of the workshops and ‘interventions’ lies a practiceas-researchapproach designed to displace and challenge institutional assumptions and epistemologies that have functionedacross both theoretical classes and MBA program teaching.The teaching designs devised draw on postcolonial theories of Third Space (Homi Bhabha) and aspects of marginalisationand Subaltern Studies (Gayatri Spivak), embedding a critical understanding of these issues in the courses. The ‘flow ofknowledge’ in the classroom/institution is critically problematised by using practice-as-research based pedagogic designscombined with Open Space learning techniques.What does this say about how the source of knowledge is both perceived and practiced in Higher Education institutions andmore specifically within a business studies context? How might practice-as-research methodologies, which largely aim toproblematise (if not decentre) the flow of knowledge in a teaching and learning setting, be used to create a relevant andtimely pedagogical approach in an increasingly globalising/internationalising higher education institution - Warwick BusinessSchool – and what are the inherent problematics with conducting such an experiment?This paper will examine how postcolonial theories of Third Space (Homi Bhabha) and critical perspectives on the role of artsbasedpractice in knowledge-making (Kershaw), have been interwoven into a practice-as-research business studies coursedeveloped and taught at wbs and at Warwick’s Palazzo in Venice.a.c.bayley@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 201435

Historic Bodies: How Visible in Current Dance Practice is the Past?General PanelWhat is this historic body? Is it singular, unique, identifiable? Or is it a multiple and shared body recognisable in fragmentsthat make up a collective whole? This paper offers a view of Western-theatre contemporary dance practice that could beconsidered fragmentary, singular and yet collective in nature. In an allusion to Derrida’s “hauntology” it is argued that allcurrent dance practice betrays the past, not in the pejorative sense but rather in revealing something of dance history.The conundrum is how to acknowledge that past, either explicitly or implicitly. Table of Contents (2014), a live installationby Siobhan Davies Dance concerns itself, in part, with the past: how dance is archived, acknowledging the history that eachartist brings, and what is revealed in the making of the work. The layers of dance history presented in this “living archive”engage audiences in a live encounter or exchange, a learning process between both parties. Drawing upon observations ofthe rehearsal process this presentation will shed light on some of the motivations and thinking behind the project, therebyrevealing the tensions between Davies’ relationship to her own online archive and the historicization of contemporary dance.David BennetCentre for Dance Research (C-DaRE), CoventryUniversityhttp://www.siobhandavies.com/works/table-contents/David Bennet is an AHRC Collaborative DoctoralAward Candidate exploring the notion of a Libraryof Processes: a digital venue for the collection anddissemination of artist processes. Prior to this, hehas worked on a number of dance research projects,notably the Archive of Siobhan Davies Dance (www.siobhandaviesreplay.com) and the Digital DanceArchives portal (www.dance-archives.ac.uk/). David isalso Online Editor for the Journal of Dance & SomaticPractices (http://jdsp.coventry.ac.uk)www.siobhandaviesreplay.comwww.dance-archives.ac.uk/http://jdsp.coventry.ac.ukFIRT/IFTR World Congress, University of Warwick, 201436

Mapping Terrains of National Cultural Policy in IndiaGeneral PanelGargi BharadwajPhD Scholar, Dep. Theatre Arts, University of HyderabadGargi Bharadwaj, alumnus of the National School of Drama,Delhi with a specialization in Theatre Techniques and Design(2007), graduated from the University of Amsterdamand University of Warwick in 2010 after completing theErasmus Mundus Masters in International PerformanceResearch. A freelance theatre practitioner between herformal education, conducting workshops, organizingfestivals and undertaking design and directorial work, herwork reflects an interest in performance and governance,representation and self-articulations of women in publicculture, issues of censorship and communal violence asperformances of political and cultural hegemony. HerMAIPR dissertation titled ‘Tropes of Femininity: the Case ofImmortal Picture Stories in India’ examined representationsof iconic female characters in children’s comic books.She has presented papers on Censorship at the WarwickPostgraduate research colloquium (University of Warwick,May 2009) and IFTR conference (Lisbon, July 2009); onfemale representations in Children’s comics in India atthe Visual Culture Conference (University of Hyderabad,February 2010); and reflexive essay on her directorial piece‘Jameela’ at the ISTR conference (University of Hyderabad,January 2011). She pursues her doctoral research atUniversity of Hyderabad on national cultural policy in India.gargi.bharadwaj@gmail.comA national cultural policy narrative in India is intertwined with processes of national reconstruction- various governmental,economic, linguistic and social negotiations towards the creation of a modern nation state post independence. The earliestnotions of state’s relationship to culture towards shaping a disciplined national citizenry are implicit in the extension of‘planning’ and ‘development’ to the realm of culture, state assuming the role of arts patron and forging relationshipswith already existing institutions of patronage. Within performing arts, this exemplified in establishing centralized culturalinstitutions, assigning a pedagogic role to the arts, inventing the category of ‘folk’, excluding political and popular theatrepractice from ‘official culture’ and emphasizing ‘classical’ performance traditions. The articulations in the 1956 DramaSeminar serve as a key document in this regard. The attempts towards creating a ‘national’ performance culture in India,dovetail the continuities from the models of colonial cultural governance and parallel the nation-state’s efforts to forgerelationships with regional states; but equally they embody contradictions posed by the anti-colonial, decentralized andpeople centric approaches towards performance. This paper is an endeavor to look at the paradoxical state of cultural policyduring this early period.The first part of the paper maps the broad colonial policy imperatives to highlight challenges the independent nation statefaced towards performance and theatre culture; the second examines cultural institutions, notions of ‘authenticity’ and‘Indian-ness’ embedded in policy documents and a reading of schemes and budgetary allocations until the 1960’s. In theabsence of a clearly articulated mandate, the paper critiques an amorphous cultural policy and point to confusions andmethodological issues that such an investigation poses.FIRT/IFTR World Congress, University of Warwick, 201438

Text. Dance. Legacy: The Many Representations of NaachniGeneral PanelDebanjali BiswasKing’s College, LondonDebanjali Biswas is Commonwealth scholar presentlypursuing her doctoral studies in Contemporary IndiaResearch at King’s College, London. She has previouslyread theatre and performance studies from School ofArts and Aesthetics, JNU and social anthropology atSchool of Oriental and African Studies.This paper draws connections between representations of Nandikar’s recent production Naachni (2013), based on authorSubrata Mukhopadhyay’s novel Rasik (1991) and an ethnographic documentation conducted in Purulia on Naachni (2009). Ialso refer to previous research on the lives and practices of Naachni, how authors view the dancer as a ‘transactional body’,a commodity who is at once the real and the representational (Sarkar Munsi, 2009, 2013) as well as an ‘interpretive trope ofmultiplicity’, a vivid image of a marginalised performer of an oral-narrative tradition (Babiracki 2008). A Naachni is the mainperformer of an ensemble who entertains the public, devoid of a ritual or a celebratory connection. The marital relation withrasik, is not only the source of imaginative verse and music, but is also a site of tension, abuse, frustration as she is ‘other’-ed in daily, social arrangements. Dancing as a strongly controlled, embodied ‘cultural capital’ in moments of disruptive,mimetic excess; (Bourdieu 1984; Kozel 1997), a Naachni’s art is transmissible in its materiality and is consumed economically,symbolically. The art remains active and alive through a suffering brought on by deprivation, defeat and a feeling of lossthat unites generations of Naachnis. The strategies of converting a cultural capital to economic capital, and an outcaste toa symbolic bearer of a ‘living’ tradition is resounded in the text, the novel and the ethnographies I refer. Through the loss ofcreative rights and absence of legacy with ostracisation and eventual death, deprivation of protection of an extended familyand community and the defeat of a performative tradition in the face of other popular cultural practices – the impervioussocio-aesthetic is questioned. This paper attempts to bring together the distinct traditions of naach/oral tradition/jhumur inthe complicated history of exploitation of dancers in India.debanjali.biswas@gmail.comFIRT/IFTR World Congress, University of Warwick, 201439

Fragments, Monuments: Stratification in A Pageant of Great Women (2011)General PanelAnna BirchRoyal Conservatoire of Scotland, GlasgowAnna Birch (PhD), Royal Conservatoire of Scotland,Glasgow is a theatre and film director whose work appearsin public spaces, libraries, museums and specialist archiveholdings as evidence of the hidden histories of women’sachievement. Member of the IFTR Performance asResearch Working Group, co-convenor from 2009-2013,her works include: Birch, A, Approaching PerformanceThrough Mediation in Barton, B., Dreyer-Lude, M., Birch, A.(eds.) (2013) Mediating Practice(s): Performance as Researchand/in/through Mediation. Experiments and IntensitiesSeries, Volume 3, Winchester University Press, , Birch, Aeditorial in Site-Specificity and Mobility, ContemporaryTheatre Review, (2012) Vol 22, Issue 2 (Routledge)Guest Editors Anna Birch and Joanne Tompkins, Birch, A,Repetition and Performativity: Site-Specific Performanceand Film as Living Monument in Birch, A and Tompkins,J (eds) Performing Site-Specific Theatre: Politics, Place,Practice (Palgrave, 2012). For Hrotsvit 2014: Pageants andPioneers Conference, University of Hull, Anna directed arecorded play reading by the first female dramatist, tenthcentury nun, Hrotsvit. She will present at IFTR 2014 withProf. Katharine Cockin, with whom she is collaborating onthe Pageants and Pioneer Players project.http://www.experimentsandintensities.com/published/vol-3/In the multi-layered performance of A Pageant of Great Women (Hull, 2011) the audience decide to view the performanceas spectators or to process as a part of the ‘Pageant’. Edith Craig, the original director offered costumes for hire to the‘Pageant’ women and captured this display of fashion and activism in photographic tableaus. In a contemporary adaptationby Fragments & Monuments the participants were dressed and rehearsed for the pageant procession in 45 minutes before‘curtain-up’ giving each participant a sash, card with words and basic choreography. The levels of performance experiencein this iteration will be expanded in the planned performance on Glasgow Green, Glasgow in partnership with GlasgowWomen’s Library ww.womenslibrary.org.uk (2014-2015) chiming with the referendum on Scottish Independence. The site ofGlasgow Green is saturated with political and social histories including rallies for suffragette protests and an historic dryinggreen. Updating and expanding the original early twentieth century documentation strategies this new iteration of ‘pageant’will utilise internet broadcast to disperse and distribute the event across Glasgow and beyond sharing the live performanceas a suffragette tea party at The Arches, Glasgow for example. A curated web site will map the process of making and abroadcast standard documentary is planned of the performance event. The documentation strategy will be discussed interms of audience and reception stratification to focus on hierarchies of reception and participation and to consider howthis distributed model of reception has a role in resisting stratification?ww.womenslibrary.org.ukwww.fragmentsandmonuments.comwww.experimentsandintensities.comFIRT/IFTR World Congress, University of Warwick, 201440

Making, Scoring, Watching, Reading: The Digital Unveiling of Choreographic Process and itsImplications for Dance ScholarshipGeneral PanelThe advent of digital technology has had a vast and well-versed impact on the performance and documentation of danceworks. Much scholarly attention has been applied to the various performative phenomenon generated by technology, oftenemphasising the re-configuration of performance modalities and questions of liveness (Auslander 1999, Dixon 2007, Manning2009, Salter 2007). This is perhaps unsurprising, given the established ontology of dance works – largely understood asabstract objects, made physically present through the act of performance (Phelan 1993, McFee 1992).Hetty BladesCoventry UniversityHetty Blades is a second year PhD student in theCentre for Dance Research (C-Dare) at Coventry University.Her research examines the ontological impactof dance’s relationship with digital technology. She isparticularly interested in the nature of dance ‘works’,and their transmission, evolution and re-configurationthrough digital media.This paper offers an alternative viewpoint; highlighting how digital media is increasingly used for analysing and disseminatingchoreographic process. Recent research projects, such as Motion Bank (2009 - 2013), Enhancing Choreographic Objects(2012 - 2013) and Capturing Intention (2004 - 2007) demonstrate a concern for preserving and sharing choreographicprocess. The objects generated by these projects move beyond traditional modes of documentation, recording abstract andmetaphysical features of dance, such as; labour, repetition and difference. Thus revealing layers of physical, abstract andvirtual traces and implicating the ‘work’ as embodied in more than merely the moment of performance.This paper examines the way in which the digital dissection of dance impacts on our perception of the form by foregroundingfeatures of the work that are unobservable in performance. In particular I suggest that centralising the choreographer’s voiceand intentions recalls and reconfigures post-structuralist discussions of authorship; calling for an alternative framework thatresponds to the multi-faceted and multi-layered nature of dance works.Hetty completed a BA (Hons) in Dance Theatre at Labanin 2007 and an MA in Dance Studies at RoehamptonUniversity in 2010. She has previously worked as adancer and dance critic, and is now a part-time lecturerin dance theory.Hetty published papers in the Postgraduate Journal ofAesthetics (2011, 2013), EVA (2012) and ConversationsAcross the Field of Dance Studies (2013). She has alsopresented papers at EVA (2012), Performing Documents(2013) and Digital Echoes (2014).bladesh@coventry.ac.ukFIRT/IFTR World Congress, University of Warwick, 201441

The Dialectical Layering of Contemporary Regie: A Case Study on the Theatre Work of ThomasOstermeierGeneral PanelPeter M BoenischUniversity of KentPeter M Boenisch, originally from Munich, is Professor ofEuropean Theatre at the University of Kent (UK), wherehe was, with Paul Allain and Patrice Pavis, one of thefounding directors of the European Theatre ResearchNetwork (ETRN). His primary interest is in the intersectionsbetween aesthetics and politics in contemporary theatre,drawing on critical philosophy by Žižek, Rancière, Hegeland others. His research concentrates on theatre directingand dramaturgy, with a particular focus on the GermanandDutch-speaking European countries. Supported by aBritish Academy and Leverhulme Trust Research Grant, hecurrently spends a sabbatical at the Berlin Schaubühne,researching the work of German theatre directorThomas Ostermeier. Boenisch is a co-curator of the firstinternational symposium on Ostermeier, taking place inLondon on 25 and 26 September 2014. His forthcomingpublications include his monograph Regie: Directing Scenesand Senses in European Theatre (Manchester UniversityPress, Spring 2015), the sourcebook The Theatre of ThomasOstermeier (Routledge 2016), and the co-edited volumeRe-Inventing Directors’ Theatre at the Schaubühne Berlin(Bloomsbury Methuen 2016). In 2015/16, he will be aFellow at the International Research College “InterweavingPerformance Cultures” at Berlin.Standard ideas of theatre directing suggest a relational square between the two media of dramatic literature and theatreperformance on the one side, and the two artistic authorities of playwright and director on the other side. The uni-directionalperspective of translation, adaptation, and transmission, alongside conventional academic ‘performance analysis’, suggestsrifts of conflict between the poles of these binary oppositions, whose resolution usually requires us to grant hierarchicalprimacy to one side of the dichotomy. Yet, once we shift the focus towards creative processes and artistic methodologiesof directing (see e.g. Mitter 1992; more recently McAuley 2012; Harvie and Lavender, eds, 2010), we can counter the ideaof self-contained, interacting strata (implying binary notions of text and performance, theatre production and audience,and theatre art and life) with a dialectical understanding of Regie, supported by recent re-readings of Hegelian thinking byCatherine Malabou, Fredric Jameson, and Slavoj Žižek. Drawing on my current research at the Berlin Schaubühne, and usingThomas Ostermeier’s production of Ibsen’s An Enemy of the People (Ein Volksfeind) which has toured internationally sinceits Avignon premiere in 2012, as central example, I will outline a theory of Regie which situates Regie within a force-field ofthe personal and the collective, the historical and the contemporary, of local, political, economic and institutional forces. Iargue that precisely these sub-strata of theatre making, as dynamic forces working underneath the usually privileged aspectof authorial ‘interpretation’ of playtexts, reveal the true potential of a politics of contemporary Regietheater, understood asits capacity to challenge the limits of hegemonic ‘partitions of the sensible’ (Rancière) through distinctly theatral ‘style ofthinking’ (Schramm).http://www.schaubuehne.de/en/start/index.html(English trailer An Enemy of the People, dir. Thomas Ostermeier):http://youtu.be/a9ATG8dDO7MP.M.Boenisch@kent.ac.ukFIRT/IFTR World Congress, University of Warwick, 201442

A Theatre is the Heart of the City, but is it?General PanelTheatres are often funded by the community. Many theatres (at least in the Netherlands) are however not visited by thewhole community. In most theatres it is unusual to find a culturally diverse audience. I interviewed several theatre managersto find out why some theatres do attract a diverse audience and why others do not. This paper investigates a variety ofreasons why most theatres are not successful in attracting a diverse audience.Gerbrand BorgdorffUniversity of WarwickGerbrand Borgdorff studied philosophy (BA) andworked for 10 years as a theatre producer. He was headof marketing and publicity of a touring company andthe Theatre School Festival in Amsterdam. In 1994, hestarted as a theatre consultant in and has worked onapproximately 150 projects since then. Currently, heis an MA student Theatre Consultancy at the WarwickUniversity.gerbrand@theateradvies.nlFIRT/IFTR World Congress, University of Warwick, 201443

Stratification and Evolving Performance FormGeneral PanelClaire BorodyUniversity of Winnipeg, CanadaDr. Claire Borody is an Associate Professor in theDepartment of Theatre and Film at the University ofWinnipeg. She teaches practical performance creationas well as performance and acting theory courses. Herresearch interests include: 20-21 st century acting andperformance theory; the development of process inthe creation of original movement-based theatre andits documentation; inter-disciplinary collaboration; andcreative spectatorship. She has published articles inCanadian Literature, Canadian Theatre Review, Prairie Fire,Rhubarb Magazine and The University of Toronto Quarterlyand a book chapter on Primus Theatre in West-words:Celebrating Western Canadian Theatre and Playwriting. Sheis the former Artistic Director of Avera Theatre and hasworked extensively with independent theatre companies,out of line theatre and theatre fix, since 2003. She is activein the local theatre community as a director, productiondramaturg and creative consultant who works exclusivelyon independent experimental theatre and dance projects.She is also the co-editor of the e-journal Canadian Journalfor Practice-based Research in Theatre (CJPRT) with MonicaPrendergast at the University of Victoria.The common definition of the noun avant-garde announces “new and experimental ideas and methods” in the arts (OED). Itis a decidedly less forceful usage than Mikhail Bakunin’s original definition implying rejection and assault of traditional form.By reputation avant-garde art is considered bold and risky and ahead of its time. In contrast, the notion of traditional work isseen as staid or part of the status quo in both form and concept. However, as instant communication networks expand we,as a global society, must acknowledge that the traditional in one culture may be considered the seeds of the avant-gardein another. In his discussion of spectator interaction with visual art, cultural historian, art critic and novelist, John Bergerbelieves that: “The way we see things is affected by what we know or what we believe.” (8) Furthermore, cultural theoristsMarita Sturken and Lisa Cartwright remind us that: “Cultural appropriation has been used quite effectively by artists seekingto make a statement that opposes the dominant ideology . . . . [and that] strategies of appropriation, borrowing and changingor reconfiguring images have proliferated in contemporary image-making process.” (60). These observations can be appliednot only to still images but to moving images found in theatre, performance art and film. This paper is an exploration of thetenuousness and fragility associated with the process of cultural hybridization in the creation of new performance form asviewed through the broader lens of cultural analysis of the visual image. How may the results of this process, a kind of culturalgrafting, be considered to be viable and ethical means for generating new performance form?Works CitedBerger, John. Ways of Seeing. London: Penguin, 1972.Sturken, Marita and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford UP, 2001.c.borody@uwinnipeg.caFIRT/IFTR World Congress, University of Warwick, 201444

The Archaeological Contribution to Shakespearean Playhouses: Form and FunctionGeneral PanelThe playhouses, or ‘open’ amphitheatre type structures were a unique feature of the London landscape in what is now knownas the ‘Shakespearean Period’ between 1567 and 1542. The impact of modern scientific archaeological work on these buildingscompletely transformed the study of Shakespearean playhouses by providing a physical link. Museum of London Archaeology(MOLA) has a unique record in the archaeological investigation of these sites which started with the Rose (1587) andGlobe (1599) 25 years ago and has continued with further excavations on the sites of the Theatre (1576), the Curtain (1577),the Boars Head (1598) and the Hope (1613) as well as two of the Bankside animal baiting arenas. This work has provided (invarious detail) the location, size and shape of these buildings – often with evidence for rebuilding or alteration – and thespatial relationships of stage and auditorium. There is also much evidence about the people who attended and worked inthese venues, management, actors and audience, through the numerous fragments of clothes, money, personal items andcountless other artefacts defined by type, date, function and distribution within the excavated areas. A thorough reappraisalof the documentary sources has also brought clarity and revision to the subject.Julian BowsherSenior Archaeologist, Research and Education; Museumof London ArchaeologyUsing these resources I shall outline an evolution and development – albeit not a linear one – of the form. There is also evidencefor the functional development of the stage, the backstage, auditoria and access.Julian Bowsher, MIFA, FRNS, FSA, worked in the artworld for a couple of years before studying Romanarchaeology at London University. He then spent anumber of years on archaeological projects in Europeand the Middle East – which included the excavationof a Roman theatre in Jordan. He still identifies andcatalogues Roman coins, but since joining MOLA inthe mid 1980s he has focused on the archaeology andhistory of the Tudor and Stuart period.The discovery and excavation of the Rose theatre in1989 was a milestone in ‘Shakespearean archaeology’and Julian has pioneered its study, bringing togetherarchaeologists, scholars and actors. Julian has publishednumerous books, articles, reports and reviews. Hehas lectured extensively both here and abroad, andappeared in the media, promoting ‘Shakespeareanarchaeology’.jbowsher@mola.org.ukFIRT/IFTR World Congress, University of Warwick, 201445

Archive as Artistic Collaborator; Reconciling the Embodied and Digital within CollaborativeDance Practice.General PanelNatalie Garrett BrownCoventry UniversityDr Natalie Garrett Brown, BA, MA, PhD is principal lecturerin dance at Coventry University, UK, contributing to theBA(Hons) Dance course and co-ordinating postgraduateprovision for the Performing Arts Department. Herinterests lie within Feminist understandings of embodiedsubjectivity and the ways in which Somatic and Reflectivepractices can inform education, performance making,creativity, writing and digital cultural practices. She isassociate editor for the Journal of Dance and SomaticPractices, is on the editorial board for Dancelines,Research in Dance Education and is Vice Chair of theexecutive board for DanceHE (Standing Conference ofDance in Higher Education). She undertook her SomaticMovement Educators Training in Body-Mind Centeringwith Embody Move Association and co-convenes thebi-annual International Conference for Dance & SomaticPractices. She is a founding member of enter & inhabit, acollaborative site responsive project, and the CorporealKnowing Network; an exchange between theatre anddance artists & scholars interested in embodied writingpractices and processeshttp://jdsp.coventry.ac.uk.http://dancehe.org.ukhttp://www.enterinhabit.comarx229@coventry.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014Authored form the position of practitioner-researcher, this paper is offered as the continuation of an ongoing collaborationbetween two dance artists and a photographer working in the outdoors. Thus the paper moves between a reflection onprocess, a document of practice and a theorisation around live and digital composition. Positioning dance site work asemergent through time and collaborative dialogues, the work of enter & inhabit is considered here as an example of siteresponsive work that resides in a creative exchange across the live and the virtual, the embodied and the digital and thehand written and processed. In this the process of art making as unfolding across extended time and through collectiveactivity is entertained. Specifically the RSVP cycle, a conceptualization of collaborative creative processes by Americanoutdoor movement artist Anna Halprin, is discussed as a way to position technology in a flattened hierarchy of resourcesfor art making. Acknowledging the ontological provocations that lay amongst this creative approach this paper converseswith the work of Phelan, P. and Schneider, R. to chart the significances of a collaborative process that resists casting thelive or digital as ‘document’ to the other and instead positions each as a creative act in companionship. Offering case studyexamples inherent to the work of enter & inhabit; virtual plenaries, remote dancing and the digital image, this paper arguesthat the archive can be embedded within the creative process design operating as a reflective or perhaps refractive toolwhich contributes to the play of relationship between bodies and site, memory and meaning making. And thus the embodiedand digital are considered here to be both the work and the conversational conduits of its coming into being.46

Curated Panel: Strata of FacilitationGeneral PanelThis panel will explore the diverse roles and strata found in participatory performance, with a specific focus on the facilitatorin socially engaged theatre practice. Within the working approaches found in socially engaged theatre practices, the diverseroles of the participants and the facilitator, particularly relationships of agency and emotional labour have been explored(Preston 2013; White 2013).Bringing into question whether there are levels of participation, across which the roles of facilitators and different kindsof participants are distributed, the three panel members will approach these themes from different perspectives, Kat Lowreflecting on her investigation of the teaching of socially engaged practice, Gareth White elaborating on facilitation asan aesthetic practice, Selina Busby power relationships in facilitating creative work in the criminal justice system and SamHaddow discussing stratas of ‘ignorance’ in facilitation, initially critiquing the Rawlsian ‘veil of ignorance’ that facilitatorsoften draw upon in simulating a democratic environment.Selina BusbyRoyal Central School of Speech & DramaSelina Busby is Senior Lecturer in CommunityPerformance and Applied Theatre, and course leaderfor the MA Applied Theatre at Royal Central Schoolof Speech and Drama. She is an applied theatrepractitioner who works in prison settings and withyoung people both in the UK and internationally. Herresearch focuses on theatre that invites the possibilityof change, both in contemporary plays and participatoryperformance. Publications include ‘Creativity orCarnage: An International Theatre for Social JusticeProject’ with Catherine McNamara in Bowles & Nadon’sStaging Social Justice: Collaborating to Create ActivistTheatre (2013); and ‘The Fluidity of Bodies, Gender,Identity and Structure in the plays of Sarah Kane’ withStephen Farrier in Godiwala’s Alternatives within theMainstream II (2007).We will begin by considering whether these roles are fixed. Is facilitation a matter of enabling roles and/or moving peoplebetween levels of engagement? By using the language of levels and strata, do we imply fixedness? Can individuals (bothparticipant and facilitator) inhabit multiple levels, and if so, what stresses does this create? We will examine the differentperceptions a facilitator may hold about their practice and ways of working. Namely, the layers of intention and how theyview their practice, which can in some instances hint at martyrdom and on other occasions are driven by a ‘quiet desperation’to make a meaningful change for participants.Talking from different perspectives, from teaching socially engaged practice to interviews with experiences practitioners, this panelwill address questions of:· Power· Hierarchies· Ownership· Commitment/intentionselina.busby@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 201447

Dramaturgical Stratification: An ExperimentGeneral PanelJohan CallensLanguage & Literature Department (TALK),Vrije Universiteit Brussel (VUB)Johan Callens teaches at the Vrije Universiteit Brusseland has published widely on American drama andperformance, with contributions ranging from EugeneO’Neill, and T.S.Eliot, to Gertrude Stein, from TheBuilders Association and The Wooster Group to BigArt Group and Joji Inc. Essays of his have appeared,amongst others, in American Studies/Amerikastudien,Theatre Research International, The Journal for DramaticTheory and Criticism, Modern Drama, The Drama Review,Theatre Journal and PAJ: A Journal of Performance & Art.His most recent books are Dis/Figuring Sam Shepard(2007) and Crossings: David Mamet’s Work in DifferentGenres and Media (2009).Taking my cue from the IFTR’s 2014 conference theme this presentation will explore the usefulness of the sciences, old andnew, exact and not so exact, for theater studies. What are the conceptual and practical gains of figuring the dramaturgicaland interpretative work on a stage performance by means of concepts originating in different fields whose objectives andrules have determined their functionality and legitimacy. Is such interdisciplinary crossing comparable to the emergenceof complex systems from the combination of simpler constituents, or have certain artists always already been inspired andchallenged by other disciplines and sciences, just as exact scientists have been gleaning ideas from the humanities. Whereand when did “universal” men like Goethe draw the line, if he ever did, between his creative and scientific writings, includingmineralogical, between his governmental duties as minister of mining, roads, war, and finances, also responsible for theWeimar theater. Does it help to reconceive intertextual sources as deposits and does it pay to be aware in the latter of anyconvergence between geological sedimentation and capitalist accumulation. To what extent was Darwin’s evolutionarytheory influenced by geology’s shift from catastrophism to gradualism or deep time. What can contemporary performingartists do with such different temporalities when transposing them to the stage in an era that has exchanged Newton’smechanical cosmology permitting the reversibility of time for the sciences of complexity no longer doing so. And whatcultural deposits can be found in dramatic genres, media, and musical forms. In an attempt to answer the above questions,this presentation will re-envisage an artistic experiment combining new science with new music yet offering a genderchallenge to any underlying (dis)empowering stratifications.jcallens@vub.ac.beFIRT/IFTR World Congress, University of Warwick, 201448

Layering ‘Habitational Action’: Stratification Processes in Icarus Performance ProjectGeneral PanelTaking its cue from Icarus Performance Project’s investigation on the continuum between training and performanceprocesses, specifically the work on ‘habitational action’, the presentation highlights issues of methodological and contextualstratification in practice as research. Accordingly, it considers (1) layering as a methodological strategy that occurs in thestudio to the material (re)generated – this will be viewed as a practice of reflection, repetition, rearrangement, realignment,and reconstruction, and (2) layering as the infrastructural habitat (the context) that enables and conditions the researchto occur – this will be viewed as hybridisation of institutional and laboratorial frameworks. In both cases, stratificationindexes dynamics and mechanisms of fusion, mutation, and evolution. A conception of hybridisation will be proposed toinclude controlled and organic blending as a stratified and stratifying characteristic in both methodological procedure andenvironment of practice as research. The presentation will develop the investigation on ‘habitational action’ by consideringits insertion (as a means of malleable and porous stratification) within a dramaturgical structure, specifically Icarus Project’sperformance Martyr Red.Frank CamilleriUniversity of Malta & University of HuddersfieldFrank Camilleri is Associate Professor and Head ofDepartment of Theatre Studies at the University ofMalta. He is also Artistic Director of Icarus PerformanceProject, which he founded in 2001 and which servesas the main platform of his research practice. In 2007he co-founded Icarus Publishing with Odin Teatret andthe Grotowski Institute and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series. He has publishedvarious articles on theatre as a laboratory, practice asresearch, and ‘habitational action’ in TDR, ContemporaryTheatre Review, New Theatre Quarterly, PerformanceResearch, and Theatre, Dance and Performance Training.He is Visiting Professor of Theatre and Performance atthe University of Huddersfield.www.icarusproject.infowww.icaruspublishing.comhttp://www.routledge.com/books/details/9781138780002/frank.camilleri@um.edu.mtFIRT/IFTR World Congress, University of Warwick, 201449

Training as a Complex System: How Meditation Practices Nourish the Layered Actor System ofKnowledgeGeneral PanelFabiola CamutiSapienza, University of Rome and University of AmsterdamFabiola Camuti is a Joint Ph.D. candidate in Music andPerforming Arts at La Sapienza University of Rome,Department of History of Art and Performance and ASCA,Faculty of Humanities, University of Amsterdam. Graduatedin 2011 in Theatre Anthropology (thesis title: From DailyAction to “the Dance of Intentions”: a Perspective BetweenTheatre and Neuroscience), she acts in the Italian group ofperformative research Laboratorio Emigrata. She studied inItaly and abroad with Caty Marchand, Abani Biswas, BruceMayers, Lina Della Rocca, John J. Schranz, Roberta Carreri,Julia Varley, Iben Nagel Rasmussen. She took part in severalconferences as speaker and with work demonstration:Centre Pompidou (Paris, France), Ca’ Foscari, University ofVenice (Italy), Whitney Humanities Centre, Yale University(New Heaven, New York), 7colloque internationald’ethnoscénologie, Maison des Cultures du Monde,Université Paris 8, Maison des Sciences de l’Homme (Paris,France), International Conference Dialogues betweenTheatre and Neuroscience, University of Rome La Sapienza(Italy), Institut Culturel Italien de Paris (Paris, France). Herresearch covers the field of performance studies, theatreanthropology, ethnoscenology, complexity theory andcognitive neuroscience.Stratification makes the theatre a complex system. And what is more complex than the human being? The proposal of manyimportant theatre reformers, like Stanislavskij, Mejerchol’d, Grotowski, until Eugenio Barba, was to bring a new life into thetheatre, starting from the actor. They referred to an actor with a precise technique learned and strengthened over the yearsby his training. If we consider the actor’s training as a layered system of techniques, we can find several disciplines of thebody, well-known methods as Feldenkrais, Alexander, Pilates including meditative practices that at first sight seem to befar away from the theatre. So, is it possible to find a relationship between the meditation practices and the performativepractices? One of the most significant starting points is the work of : during his research about the Theory of Montage, heanalyses the relationship between the Ignacio de Loyola’s spiritual exercises, the performer’s practice and the concept of“ex-tasis”. He discovers a strong connection between a meditative and ritual practice and the meticulous work of the actoron his action’s montage. I had the possibility to work on this relationship by chanting the mantra of the Buddhist practiceduring the process of a performance’s creation. I can mention three preliminary points of connection between the twopractices: the capacity of staying focused and concentrated; the way to create a connection with my surrounding accordingto the principal of non-duality between me and the environment, and consequently with the other performers of my group;and the importance to take concrete action with the aim of reaching an objective. The presentation will show some concreteexamples of this relationship in order to discover the possibilities of future studies and research on this subject.fabiola.camuti@gmail.comFIRT/IFTR World Congress, University of Warwick, 201450

Fashionation: Class, Consumerism, and Nationalism in the “Girl of the Period” ControversyGeneral PanelMichelle Liu CarrigerQueen Mary University of LondonIn 1868, an incendiary article appeared in the London Saturday Review, accusing the young ladies “of the period” of, basically,slumming: behaving badly and dressing in loud, outré fashions that rendered middle and upper class girls indistinguishablefrom the demimondaines perceived to be infiltrating and circulating throughout all the echelons of London society. In thispaper I will focus on the ways in which Victorian interlocutors framed young women and their fashionable pursuits as athreat to social hierarchies and the natural order of gender, class, and nation. While it is not particularly ground-breakingto acknowledge that women have been disproportionately tasked with duties to uphold national and social purity, I willbe particularly interested in examining the performative dimensions of fashion deviances, and I will be taking seriouslythe Victorians’ fears about “seeming” and theatricality in the space of “real life,” in order to draw out the ways in whichperformance studies paradigms can offer new methods to the historiography of everyday life. The “Girl of the Period”eventually became a fluid trope with strong gender and class valences that circulated across the boundaries of “stage” and“real life” from middle and upper class drawing room plays and cultured debate to working class “turns” on the music halland burlesque stage.Michelle Liu Carriger is a Lecturer in Drama, Theatre,and Performance Studies, Queen Mary University ofLondon, awarded a PhD in Theatre and PerformanceStudies (2013) Brown University and MA Theatre Studies(2006), University of Colorado, Boulder. Publicationsinclude “The Unnatural History and Petticoat Mysteryof Boulton and Park” co-winner of the TDR studentessay contest 2012, published in TDR December 2013;“Consuming Culture” in a volume edited by RobertaMock and Colin Counsell; and “Historionics: NeitherHere Nor There with Historical Reality TV” in the Journalof Dramatic Theory and Criticism.michelle.liu.carriger@gmail.comFIRT/IFTR World Congress, University of Warwick, 201451

Isidora Aguirre’s Theatre: Scene, History and Body Beyond ChileGeneral PanelMarcia Martínez CarvajalPontificia Universidad Católica de ValparaísoMarcia Martínez Carvajal is a Spanish Teacher withan MA in Hispanic Literature and awarded Doctoren Literatura Latinoamercana by University ofConcepción. Her research focuses on Chilean theater.She has published several articles in journals and hasparticipated as a speaker at conferences in Chile andabroad. She is currently a professor at the PontificiaUniversidad Católica de Valparaíso.Isidora Aguirre’s (1919 – 2011) theater appears in the tradition of this art in Chile from comedy (Carolina, 1955) and thendeveloped her most important work (Los papeleros, 1962; Los que van quedando en el camino 1969) under the influenceof the aesthetic ideas of Bertolt Brecht, by appropriating his principles and realizing scenes, stories and bodies from hercontext. Her theatrical practice is present in various eras and generations in the history of Chilean theater, sometimes in theforeground of influences like her work in university theaters (1945-1970), or in a place overlapped but no less committed,as was the theater during the Chilean dictatorship (1973-1989). Aguirre’s is a voice and a scene that spans 50 years oftheater history in Chile, being a major draw for the theatrical relations, politics and history in the country and Latin America.Her poetics, immersed in the scenes of history and politics, is constructed especially by female leading roles, in whosebodies happens the fight and hope, in addition to reviewing the heroes of Chilean history from a renewing, committedand passionate perspective (Lautaro, 1982; Diálogos de fin de siglo, 1988). This is a classic scene and also innovative, whichshows the contradictions of her time. The political gesture of the playwrights of her generation is renewed in those whofollowed to the present day (Guillermo Calderón, Luis Barrales, Francisco Sánchez), making her theater something currentand necessary. This work seeks to be an approach to the poetic and theatrical practice of Isidora Aguirre, installing her as amajor playwright in the Chilean theater, proposing a reading of her work as a scene in which body, history and word functionas critical, constructive and loving devices.marcia.martinezc@gmail.comFIRT/IFTR World Congress, University of Warwick, 201452

The Affective Performance of State LoveGeneral PanelSue-Ellen CaseUniversity College Los AngelesSue-Ellen Case is Distinguished Professor, Theater andPerformance Studies, UCLA. Works include; Feminist andQueer Performance: Critical Strategies (Palgrave Macmillan,2009); Performing Science and the Virtual (London:Routledge, 2007); Feminism and Theatre. (Macmillan (U.K.)and Methuen (U.S.), 1988); The Domain-Matrix: PerformingLesbian at the End of Print Culture (Bloomington: IndianaUniversity Press, January 1997). As editor: Split Britches:Lesbian Practice/Feminist Performance. (London: Routledge,1996), winner of the LAMBDA Literary Award, Drama,1997; The Divided Home/Land: Contemporary GermanWomen’s Plays. (Ann Arbor: University of Michigan Press,1992); Performing Feminisms: Feminist Critical Theory andTheatre (Baltimore: Johns Hopkins University Press, 1990).As Co-Editor: Staging International Feminisms (with ElaineAston. London: Palgrave Macmillan, 2007); Decomposition:Post-Disciplinary Performance, an anthology (with PhilipBrett and Susan Foster. Bloomington: Indiana UniversityPress, 2000); Cruising the Performative: Interventions intothe Representation of Ethnicity, Nationality, and Sexuality(with Philip Brett and Susan Foster. Bloomington: IndianaUniversity Press, 1995); The Performance of Power:Theatrical Discourse and Politics (with Janelle Reinelt. IowaCity: University of Iowa Press, 1991)secase@tft.ucla.eduThe emerging rite of lesbian rights in some states in the U.S. is the performance of the newly state -and -federally-sanctionedsame-sexmarriage. If one can understand emotion and desire as affect (and there is some debate over this—see Massumi,for example), this rite performs them within the neoliberal national context. The performance of sexual and emotionalcommitment in the offices of registrars and joy on the sidewalks in front of municipal and state edifices compose the riteof civil sex. On the one hand, this performance of sanctioned marriage signals the granting of equal rights of citizenshipfor a group that has paid their civil dues in taxes, for example, without any of the benefits of tax breaks, inheritance abilities,medical coverage, etc. The neoliberal extension of rights to this group, then, is a form of recognition of their citizenshipand seems to signal a correction to homophobic practices of the past. One could see this as comparable, in some ways,to women winning the vote. On the other hand, the rite of marriage, with its attendant formations of family and kinshipstructures monitored by the state; its presumption of monogamy; its public nature; its definition of monetary exception andprivilege tied to the couple; the legal and public procedures of divorce, all these elements successfully incorporate a sexualminority, a perversity, if you will, into the normative social and economic order. Given the above, one could conclude thatthe affective performance of same-sex desire and love has been assimilated into the neoliberal agenda by creating a scenariothat brings with it a tradition of the state formation of feeling, haunted by a history of the religious sanctification of sex andthe tie of church to state. It is the ghost of the latter that haunts the fundamentalistFIRT/IFTR World Congress, University of Warwick, 201453

Playing the Game: a PaR Prototype Project at a Chilean UniversityGeneral PanelFrancisco González CastroPontificia Universidad Católica de ChileIn 2013, the Pontificia Universidad Católica de Chile created the first PhD in Arts in the country offering the possibility forstudents to register for research based on practice. The hands-on component of this PhD is one of its assets, but at the sametime, one of its liabilities. Surely many Chilean artists might feel drawn to enroll in a PhD that is more related to their artisticpractice than to traditional scholarship. Yet during the first year of the program it has become evident that artistic practiceand academia coexist problematically since the expectations for these students are still unclear. While in other countriessuch as USA, Canada or the UK these PhDs have existed for at least thirty years, in Chile the arts and their research methodsare struggling for their rightful place within the Chilean academia. One of the mandatory courses of the PhD program duringthe first year is called “Practice as research”. Its main objective is to introduce the students to PaR through critical discussionof literature on the subject and a PaR research prototype project. For the first time in a Chilean university, students wereable to devise their own PaR project. One of the projects, called Playing the Game, dealt with the relationship between GuitarHero game system, virtual spaces and the development of musical skills. In this paper, we will discuss the methodological andartistic outcome of this research, as well as analyze the problems and challenges of PaR in the Chilean academia.Francisco González Castro, (1984, Santiago de Chile)is a visual artist, independent curator, PhD student inPontificia Universidad Católica de Chile and researcher.He has developed his artistic work from 2005 to datewith solo and group exhibitions in Chile, Germany,France, Sweden and Spain. His areas of interest are:performance art; social issues and the relationshipbetween art and politics; and the relationship betweenart and society. He is also President of the culturalassociation En Medio, director of the research project“En Medio / arte y contingencia”, and the researchproject “Performance Art en Chile: historia, procesos yactualidad”.fco.gonzalez.c@gmail.comFIRT/IFTR World Congress, University of Warwick, 201454

Performing Irish-American HeritageGeneral PanelMary CaulfieldState University of New York, FarmingdaleMary P. Caulfield is Visiting Assistant Professor ofEnglish and Humanities at the State University ofNew York at Farmingdale. Her research combinesthe political and the performative specifically withregards to contested figures in Ireland’s past. Maryhas published extensively on these topics, and withChristopher Collins she co-edited Ireland, Memoryand Performing the Historical Imagination, which isforthcoming from Palgrave Macmillan in 2014. Sheis Communications Officer for IFTR/FIRT and worksprofessionally as an actor.This paper considers performances of heritage in relation to the socio-economic commodification of Irish and Irish-American tenement museums in Dublin and New York in the summer of 2013. In Dublin and New York, the tenement isiconographic. Supported by the Irish Heritage Trust, in the summer of 2013, No. 14 Henrietta Street was opened to thepublic in order to promote a “tangible and intangible heritage as well as encouraging re-branding, tourism and social andeconomic regeneration through community participation”. New York hosts the largest population of Irish immigrants in theUnited States and the tenement museum at 97 Orchard Street claimed to forge “emotional connections between visitorsand immigrants past and present; and enhances appreciation for the role of immigration has played and continues to play inshaping America’s national identity”. From the perspective of performing heritage, our work interrogates the semiotics ofhistoric iconography in relation to geopolitical and biopolitical collective memory on both sides of the Atlantic Ocean. Bothtenement museums are contested sites of historiographical research; performances of the archive embodied as memoryand packaged as authentic heritage. In both tenement museums, the past is continually present as a performative installationof “real” meaning for the spectator. Located at the interface of history and memory, in these museum heritage becomespluralised as both Irish and Irish-American heritage becomes a collective memory and, ultimately, it is argued, a diasporahistory; a history that is created in a home away from home: the tenement museum. This paper excavates the dialoguebetwixt these sacrosanct sites and reveal how heritage is not only engendered but how it emigrates, informs, and evolves.This paper is part of our current research project that explores how the performance of Irish-American heritage has beenvariously reimagined along the trajectory from modernity.caulfimp@farmingdale.eduFIRT/IFTR World Congress, University of Warwick, 201455

Draupadi’s Mahabharat: Bengali Theatre and its Representation on StageGeneral PanelTithi ChakrabortyBudge Budge Institute of Technology, KolkataIndia has witnessed a great transformation in the position of her daughters from the age of the great Indian epic TheMahabharat till the present. Ever since the composition of this great Indian epic, Draupadi has been considered a symbolof Indian womanhood in various respects. This transformation in the position of women in the Indian society has not beeneasy. India being a patriarchal society, has left no stone unturned to subjugate her women through ages in the forms offemale infanticide, Sati, dowry death, polygamy, child marriage, domestic violence, rape, sexual harassment at workplace,and so on. Theatre in India has always played an active role in advocating women’s empowerment. Bengali theatre, in thisrespect, is no exception. Shaoli Mita in her play Nathbati Anathbat re-tells the tale of The Mahabharat through the pointof-viewof Draupadi. However, Shaoli Mitra’s narrator limits herself to the episodes concerning Draupadi only --- she viewsthe then society through the eyes of Draupadi. Yet the narrator does not limit herself to that age, throughout the play shecompares and contrasts the two societies --- the society of Draupadi and the contemporary Indian society, to which thenarrator belongs. The play is a search into the multiple layers by which the motif of Draupadi is living inside the psyche andreality of Indian women. The primary focus of my paper will be to highlight how theatre is providing a platform to a characterlike Draupadi , who had been a victim of dejection in her own times, to speak her mind and to narrate the popular epic TheMahabharat in her own light.Tithi Chakraborty is currently employed as an AssistantProfessor in the Department of Humanities in BudgeBudge Institute of Technology, Kolkata. She has qualifiedher Masters in English Literature from University ofCalcutta, Kolkata ( India) and M.Phil from JadavpurUniversity, Kolkata (India). She is a member of ISTR.FIRT/IFTR World Congress, University of Warwick, 201456

The Role of Theatre in the Transition of Bengal’s Political OrderGeneral PanelPerformance as a protest is an old practice in West Bengal, an Eastern State of India and theatre stands out as one of themost popular forms of expression. Agitprop dramas even became popular when the masses felt the need to extend supportin favour of some revolutionary movement, for example the Naxalite Movement in 1970s. It is interesting to note thatadaptations of Western dramatists were in vogue along with some original work as well. In 1975, eminent theatre personalityUtpal Dutt responded to the internal emergency imposed by Indira Gandhi’s Congress central government, producing threepowerful plays, Barricade, Dushswapner Nagari (City of Nightmares), and Ebar Rajar Pala (Enter the King), that criticized thegovernment for restricting civil liberties and trying to restrict free speech. The Congress-led state government officiallybanned the plays, but they continued to draw large crowds. My paper will focus on the period of transition of political powerin West Bengal during 1977 and most recently, 2011.Priyanka ChatterjeeBudge Budge Institute of Technology, IndiaPriyanka Chatterjee has done M.A. and M.Phil fromUniversity of Calcutta, Kolkata, India. Her M.Phil topicwas Malefriendship in the plays of Samuel Beckett: astudy of Waiting for Godot and Endgame. Presently sheis working on Beckett’s reception in India. She was theConvener of Indian Society for Theatre Research’s(ISTR) IXth Annual International Conference in 2013.She was the Research Assistant of University GrantsCommission’s (UGC) project Ibsen, Chekov and Brecht inBengal: Negotiating Differences in University of Calcutta.She has presented research papers at University ofOxford, UK, University of Gdansk, Poland, OsakaUniversity, Japan, Buddhasravaka Bhikshu University,Srilanka, Faculty of Letters, Morocco, University ofReading,UK, University of Lapland, Finland and soon. Currently, she is the Head of the Department ofHumanities at Budge Budge Institute of Technology,Kolkata. She is one of the Executive Committeemembers of ISTR, India.Bengal’s theatre of protest against oppressive systems is still an influencing factor. From plays like Utpal Dutt’s DushswapnerNagari in the 1970s to Fandigram, a satire on the post-Nandigram violence and the most recent Poshu Khamar, based onGeorge Orwell’s Animal Farm, theatre has always been an instigating and important medium of communication.Poshu Khamar, adapted by noted playwright Saonli Mitra (first staged in 2006), was scheduled to be staged on 11 March 2011,was denied permission to be staged before the last Assembly Election in West Bengal as it showed the misdeeds of the rulinggovernment and, most importantly, the play thematized burning issues like the forcible expropriation of fertile lands fromfarmers followed by burning of an innocent girl. Directed by Arpita Ghosh and staged by their troupe Pancham Baidik, theplay is a hard-hitting comment on monolithic, totalitarian leftist regimes.Interestingly, the plays which have raised a voice against the ruling political order of the State became one of the influencingfactors leading to the removal of the ruling political power during both these times. These eminent theatre personalities,despite having different political lineages, have represented protest in a similar manner thereby, making theatre an inevitableand integral form of art whose status is beyond any political boundaries.prinks651@gmail.comFIRT/IFTR World Congress, University of Warwick, 201457

Natyashastra: A Reflection of Social StratificationGeneral PanelRavi ChaturvediIndian Society for Theatre ResearchRavi Chaturvedi is Professor and Head of theDepartment of Culture and Media Studies in CentralUniversity of Rajasthan. His several publications includethe World Encyclopedia of Contemporary Theatre 5published by Routledge, Ethnicity and Identity: GlobalPerformance co-authored with Brian Singleton, andTheatre and Democracy. He was member of EditorialTeam of TRI (Cambridge) and SATJ (South Africa). Heorganized the first conference of IFTR in Asia in 2003at Jaipur. He is Founder President of Indian Society forTheatre Research since 2004.Unlike other parts of the world, the Indian society was specifically divided into four levels. These levels later on constitutedinto the cast system which further creates such levels also within the main level. At the upper most level were the ‘Brahamins’,who were responsible to perform the religious rituals and to impart education. By virtue of their higher level, they wereconsidered the most respected class. On the second level were ‘Kshatriyas’, who were supposed to protect the people andthe land. This in fact, was the ruling class, who produced the kings and warriors. The third level was occupied by the ‘Vaishyas’,who owned the trade and commerce. This was a rich class of business people with a high pressure on state because of theirstrong financial status. At the lowest level was the working class, who were termed ‘Shudras’. The majority of the populationused to belong to this class. However, this was the most deprived section of the society, who were not allowed even to hearthe recitation of the sacred books. For the rectification of the social imbalance the need of a new stream of education wasstrongly felt, which appeared in the form of theatre. To bring at par with the knowledge of the existing main stream, the artof theatre was termed as ‘natyaveda’ – the fifth Veda, a synthesized knowledge comprising the elements of all the existingbooks, as well as the art forms. The ‘Natyashastra’ (means science of theatre) describes in detail the various layers of theIndian society and their interaction through the art of theatre. This paper is an effort to underline the importance of theNatyashastra as a tool of social stratification and to comment on imbalance of the society divided into the classes and thecastes.ravicvdi@gmail.comFIRT/IFTR World Congress, University of Warwick, 201458

Unfinished Business: Voltaire, Lessing, and the Ghosts of ShakespeareGeneral Panel“Now I know what a ghost is. Unfinished business, that’s what.”- Salman Rushdie, The Satanic VersesIn the late-eighteenth century, Shakespeare becomes a point of contention between great Enlightenment thinkers in Franceand Germany in their heated debates about the nature of drama. These debates have been meticulously documented, hashedand rehashed, and ultimately dismissed. To modern lovers of Shakespeare, neoclassical critiques of Shakespeare seem rathersilly, because they identify Shakespeare as a bad playwright, and history has clearly demonstrated otherwise. Anyone whocritiques Shakespeare now on the basis of his playwriting seems rather silly. He looms far larger in our cultural memory nowthan Voltaire or Lessing, so why pay any attention to them? Because these debates are absolutely riddled with ghosts, and aswe shall see, ghosts bring the unfinished business of history into the present and put the living into the service of the dead.Michael ChemersUniversity of California, Santa CruzMichael M. Chemers has more than 20 years ofprofessional experience as a dramaturg, scholar, author,and teacher of dramatic literature, theatre history,and performance theory. He holds a PhD in TheatreHistory and Theory from the University of Washington,and an MFA in Playwriting from Indiana University. Hisdramaturgy experience includes work with the Old GlobeTheater, the Leon Katz International Theater Collectivein Bulgaria, TheaterWorks West in Seattle, and numerousAmerican universities. He was the Founding Directorof the Bachelor of Fine Arts in Production Dramaturgyprogram at the School of Drama at Carnegie MellonUniversity, from 2004 to 2012. He is now AssociateProfessor of Dramatic Literature at the University OfCalifornia At Santa Cruz. His book on dramaturgy, GhostLight, was published in 2010 and has become the standardtext for dramaturgy courses in universities across the USand UK. He has also published new adaptations of theclassic plays Lysistrata and The Inspector General, and iscollaborating on a new translation of Lessing’s HamburgDramaturgy. Michael’s other scholarship runs a peripateticpath through Disability Studies, Monster Theory, andTheatre History of many periods.In this essay, I will retell this well-trodden history, but I will retell it as a ghost story. Using the theoretical framework proposedby Jeffrey Jerome Cohen in his 1996 Monster Theory, I will look closely at the appearance of King Hamlet, and how he hauntsa second theatrical ghost, King Ninus in Voltaire’s Sémiramis, a ghost which scared the hell out of the French parterre and theAcadémie française. Ninus, in turn, haunts the pages of Lessing’s Hamburg Dramaturgy, and help to spawn the new movementof Romanticism. Romanticism itself is a revenant, and in many ways dominates our current dramatic literature. This essay isnot an exorcism; it hopes only to shed a little light on what ghosts actually are, both onstage and in other places, and whythey continue to rattle their chains in our debates about Shakespeare and his significance, and what they have to do with themonsters we, in 2014, see every day.chemers@ucsc.eduFIRT/IFTR World Congress, University of Warwick, 201459

Practitioner-Researchers As “Maroons” Within The UniversityGeneral PanelPaul ClarkeUniversity of BristolPaul Clarke is an artist, theatre director and Lecturerin Performance Studies at University of Bristol, wherehe researched on the Performing Documents project,a collaboration with Arnolfini, In Between Time Productionsand University of Exeter. From 2008-2010 he wasResearch Fellow on Performing the Archive: the Future ofthe Past, hosted by University of Bristol’s Live Art Archivesand Arnolfini archive. Since 1998 he has directed thetheatre company Uninvited Guests, whose work has touredinternationally and shown at Southbank Centre, Tate Britain,Royal Shakespeare Company, NRLA and Fierce Festival.Uninvited Guests’ work blurs the lines between theatre andsocial ceremonies, with audiences participating in eventsthat are celebratory and critical of these times. Paul is amember of the art collective Performance Re-enactmentSociety (PRS), with which he has performed and curatedprojects for The Pigs of Today are the Hams of Tomorrow,Plymouth Arts Centre, Norwich Arts Centre, Art Athina,Arnolfini, Spike Island, New Art Gallery, Walsall and LeedsMet University Gallery. Recent works include ‘Performingthe Archive: the Future of the Past’, in Performing Archives /Archives of Performance, edited by Rune Gade and GunhildBorggreen, Museum Tusculanum Press.Due to becoming caught-up with teaching and administrative duties, which have taken my time this academic year, thesubject of this paper is as yet somewhat unknown and its framing here perhaps unprofessional. There is irony in this as theroot of what I plan to discuss is Stephano Harney and Fred Moten’s ‘The University and the Undercommons’ (2013), whichaddresses scholarly labour. I will speak from the position of a professional practitioner working within the university, whohas written a Case Study that argues for and evaluates the impact of practice-as-research outputs, and whose research hasbeen included in an Environment Statement, which measures the quality of performances by financial income, transformsaudiences and reception into figures and capital, and quantifies dissemination. I will return to previous papers (e.g. Clarke,‘An Experiential Approach to Theory from within Practice’, PARIP, Bristol, 2003), which made the case for practice-asresearchand the place of embodied knowing within the academy. These positions will be questioned in light of Harneyand Moten’s problematization of professionalization and notion that the university territorialises new knowledges whichcan be economically exploited, “encircles them with war wagons” and capitalises on them. I will explore my role in thediscursive enclosure of practices within the institution’s resource of knowledge, the appropriation and professionalizationof performance by the academy, the measurement of its performance, and commodification of sociocultural impact. AfterHarney and Moten (37), this paper will address the role of “unprofessional behaviours” within the institution, of practicalexamples, that are “passionate” and “prophetic” rather than provable; that do not “allow themselves to be measured, appliedor improved”, “incompetent” studies that make weak arguments based on know-how and no attempt to defend themselves.I will consider the subversive potential of the practitioner within the “maroon community of the university”.http://www.fueltheatre.com/artists/uninvited-guestshttp://www.uninvited-guests.net/http://www.bristol.ac.uk/arts/research/performing-documents/p.clarke@bristol.ac.ukFIRT/IFTR World Congress, University of Warwick, 201460

Ellen Terry (1847-1928) and the Masque at the Scala: Women’s Suffrage Drama and StratificationGeneral PanelKatharine CockinUniversity of HullProfessor Katharine Cockin, University of Hull, England,is editor of The Collected Letters of Ellen Terry (8 vols,Pickering & Chatto 2010 onwards), author of Edith Craig(1869-1947): Dramatic Lives (1998), Women and Theatre inthe Age of Suffrage (2001), several volumes of women’ssuffrage literature, articles and essays on A Pageant ofGreat Women, Edith Craig’s theatre work and women’suffrage.The use of performance of various kinds—scripted, site-specific, partially improvised, rewritings and parodies—by activistsin the women’s suffrage movement was highly effective in persuading audiences that enfranchisement should be extendedto women. A great deal more was involved in this process than simply the use of drama to express the political ideas ofthe suffragettes. Leslie Hill has referred to the suffragettes as inventors of performance art. To some extent there wasan awareness of the implications of the relationship between performer, space and place but the productions often gaverise to tensions and conflicts of various kinds. Some plays made use of stratifications of social class (female servants andemployers, aristocrats with inherited wealth and middle-class with new money) without seeking to alter these structures.Cicely Hamilton’s A Pageant of Great Women (1909-12) involved both professionals and amateurs and it made use of thegenerosity of theatre practitioners who were committed to the political cause of women’s suffrage. Extant documents inthe archives—programmes, press cuttings—have revealed some aspects of this production, notably its mobility, flexibility andconsciousness-raising use of women’s history. This paper will examine further the significance of Ellen Terry’s reference tothe play, on the occasion of its debut, as ‘the masque at the Scala’ (1909). To what extent does Terry’s conceptualization ofthe play as a ‘masque’ make sense in contexts wider than her own family history? What problems arise from the use of themasque and the pageant in service to a political movement predicated on claims for equality? Silence and disguise, ceremonyand procession, ‘great women’ drawn from the exceptional and the elite, all provide contradictory elements in a productionwhich nevertheless succeeded in pleasing its audiences and riling its critics.k.m.cockin@hull.ac.ukFIRT/IFTR World Congress, University of Warwick, 201461

Performing Irish-American HeritageGeneral PanelChristopher CollinsTrinity College DublinChristopher Collins teaches at the Samuel BeckettCentre at Trinity College Dublin and The Lir: TheNational Academy of Dramatic Art. A Trinity CollegeDublin Gold Medalist and recipient of the Irish Societyfor Theatre Research’s (ISTR) New Scholar’s Award(2012), he has published widely on heritage, history,memory and forgetting, particularly in relation to Irishplaywright J.M. Synge’s Collected Works. With Mary P.Caulfield, he co-edited Ireland, Memory and Performingthe Historical Imagination, which is forthcoming fromPalgrave Macmillan in 2014. He is CommunicationsOfficer for IFTR/FIRT and is on the ExecutiveCommittee of ISTR. He also works professionally as adramaturg and a director.This paper considers performances of heritage in relation to the socio-economic commodification of Irish and Irish-American tenement museums in Dublin and New York in the summer of 2013. In Dublin and New York, the tenement isiconographic. Supported by the Irish Heritage Trust, in the summer of 2013, No. 14 Henrietta Street was opened to thepublic in order to promote a “tangible and intangible heritage as well as encouraging re-branding, tourism and social andeconomic regeneration through community participation”. New York hosts the largest population of Irish immigrants in theUnited States and the tenement museum at 97 Orchard Street claimed to forge “emotional connections between visitorsand immigrants past and present; and enhances appreciation for the role of immigration has played and continues to play inshaping America’s national identity”. From the perspective of performing heritage, our work interrogates the semiotics ofhistoric iconography in relation to geopolitical and biopolitical collective memory on both sides of the Atlantic Ocean. Bothtenement museums are contested sites of historiographical research; performances of the archive embodied as memoryand packaged as authentic heritage. In both tenement museums, the past is continually present as a performative installationof “real” meaning for the spectator. Located at the interface of history and memory, in these museum heritage becomespluralised as both Irish and Irish-American heritage becomes a collective memory and, ultimately, it is argued, a diasporahistory; a history that is created in a home away from home: the tenement museum. This paper excavates the dialoguebetwixt these sacrosanct sites and reveal how heritage is not only engendered but how it emigrates, informs, and evolves.This paper is part of our current research project that explores how the performance of Irish-American heritage has beenvariously reimagined along the trajectory from modernity.collinch@tcd.ieFIRT/IFTR World Congress, University of Warwick, 201462

Horrible Histories: History, Nationalism and the Napoleonic Stage in Britain and FranceGeneral PanelIn 1804—the same year that Napoleon was planning an invasion of Britain—the Parisian stage hosted three separateproductions of Guillaume le Conquérant (William the Conqueror), first as a drame historique by Alexandre Duval at the ThéâtreFrançais, as a melodrama by André-Jacques Coffin-Rony and Leblanc Clement at the Théâtre de la Gaite and finally as a fiveactfait historique at the Théâtre de la Cite. Similar anti-English propaganda plays were becoming a feature of the Parisianstage including Jeanne d’Arc, ou la Pucelle d’Orléans by Cuvelier de Trie at the Théâtre de la Gaite in late-1803.Devon CoxUniversity of WarwickDevon Cox is a PhD student on the interdisciplinary,AHRC-funded project ‘French Theatre of theNapoleonic Era’ at the University of Warwick. He holdsa Bachelor of Arts degree with Honours in EnglishLiterature and Theatre from Purdue University. In April2013 Devon was appointed to a new post of ProjectCoordinator for the Channel Route (Great Britain, TheNetherlands and Belgium) of the EU-funded Perspectivproject organising the European Route of HistoricTheatres. He currently works under the umbrella of TheTheatres Trust in London to establish links with over 100historic theatres which will culminate in a user-focusedwebsite for theatre tours and a comprehensive databaseof historical information each theatre on the route. By2016 the route will span across Europe linking hundredsof historic theatres and creating a physical narrative ofthe development of European theatre architecture. Aspart of the project Devon will be collaborating with theVictoria and Albert Museum to stage an exhibition onEuropean Theatres.This paper will closely examine a series of anti-English propaganda plays in their historical context as manifestations ofan early nineteenth-century nationalistic (Bonapartist) agenda on the French stage. As historian David Bell points out, inthe first decade of the nineteenth century French nationalism took a “strongly historic turn.” The French envisaged “anew structure...lovingly put together out of hallowed, ancient material.” In doing so they “engaged in a massive effort ofrecuperating, preserving, and displaying what now came to be called the nation’s heritage, including folklore, art works,music, monuments, costumes, and historical personalities.” (Bell, Cult of the Nation in France, 201-202)In this paper I will explore these efforts of “recuperating, preserving, and displaying” French history and attempt to illustratehow these manipulated historical portrayals influenced and impacted upon the theatre of the early-nineteenth century. Indoing so I will also be drawing connections and questioning disjunctions between the French historical narratives and similarworks produced on the English stage, particularly John Cartwright’s highly propagandist pantomime/ballet Joan of Arc; or theMaid of Orleans at the Covent Garden Theatre in 1798.dzcox82@yahoo.comFIRT/IFTR World Congress, University of Warwick, 201463

Traditional Performance for Today’s Audiences: Korean Singing-Storytelling PansoriGeneral PanelJan CreutzenbergFreie Universität BerlinJan Creutzenberg holds an M.A. in theatre studies andis currently a doctoral candidate at Freie UniversitätBerlin. He lives in Seoul where he conducts fieldresearch on pansori, a fascinating singing-storytellingtradition. In his PhD-project, he focuses on theemergence of temporal communities in contemporarypansori performances. His general research interestsinclude performance theory, aesthetics of sound artsand intercultural interpretations of Western dramaclassics. He has presented various papers in Europe,the United States and Korea and wrote on pansori andBrecht, Shakespeare and Korean theatre. Most recently,he contributed to the upcoming Routledge Handbookof Asian Theatre. Apart from academic research, Janoccasionally writes articles for Korean newspapers andmagazines and was a regular blogger for the KoreanMinistry of Unification and the Jeonju International SoriFestival. Impressions of his ongoing research, as well asgeneral thoughts on theater, music and art in Korea (andbeyond) can be found at his blog:seoulstages.wordpress.com.jan.creutzenberg@fu-berlin.deIn its pre-modern heyday, pansori was for (almost) everybody. Originally a folk art, the emotionally charged singing-storytellingsoon transcended the barriers of Korea’s rigidly stratified Confucian society. In the late 19th century, pansori was enjoyed bypeasants, intellectuals and even nobility. While this “golden age” is extensively covered by historical research, contemporarypractices are often dismissed as part of an ongoing “era of preservation”. According to this prevailing perspective, pansorihas become a fossilized relict, destined for extinction. But apart from officially sponsored “orthodox” performances,practitioners of pansori try to reach a wider public beyond the limited scene of aficionados. Their various approaches includeperformances at unusual locations, newly-created stories about contemporary issues, and the appropriation of other genresthat promise popular appeal or carry cultural capital. Although often considered inauthentic, I argue that this “new” pansoriin fact draws on the same characteristics – narrative and stylistic flexibility, scenic minimalism – that once allowed pansori tocater to the preferences of radically different audiences. How can performance analysis help to understand the conditionsand concrete effects of pansori today? What kinds of audiences does pansori address in contemporary Korea, a post-colonialsociety haunted by the spectre of tradition – both icon of a proud past and reminder of an irreconcilable difference? Iforthodox pansori can rely on an existing community of aficionados, how can new pansori provide audiences unfamiliar withits traditional conventions a temporary sense of community? In conclusion, this paper tries to draw a map of contemporarypansori, a variety of practices that navigate between high brow art and popular mass culture in search for ways to (re-)createa living tradition in our times. Furthermore, the performance-centered research provides insights on the transformativepower of traditional arts – in Korea and elsewhere.Pansori performance by master singer Yeom Gyeong-ae, Deoksu Palace Seoul, June 6, 2013. Yeom performs an excerptfrom the piece “Song of Simcheong-ga” (the short episode depicts a funeral procession):http://youtu.be/UHnBpLMw_FcPansori singer Seo Eojin of Ensemble Taroo with drummer Kim Insu,performing in the courtyard of a traditional-style guesthouse in Seoul,July 21, 2012FIRT/IFTR World Congress, University of Warwick, 201464

Shakespeare North: Theatre Architecture as a Key to Urban RegenerationGeneral PanelKathy DacreRose Bruford CollegeKathleen Dacre’s Ph.D. (1982), Festival Performancein Elizabethan England, was awarded by New YorkUniversity. She was previously a Shubert Fellow at NYUand has taught at Royal Central School of Speech andDrama, Michigan State University Summer School,Vassar College and New York University. Head ofTheatre Studies at Rose Bruford College 1998-2002Kathleen is currently a Professor at this institutionas Director of Learning, Teaching and CurriculumDevelopment. She has research interests andpublications in the following fields: Learning , Teaching& Curriculum Development in the Performing Arts;The work of Constantin Stanislavski; ShakespeareanPerformance Practice.Our paper is a critical case study of a theatre project in the North West of England that will be realised in 2016. Prescotnear Liverpool was the site of a purpose-built indoor playhouse in the early 1590s. It is likely that Lord Derby’s Men andLord Strange’s Men (Shakespeare’s company) played there, taking the plays performed for their aristocratic patron on hisneighbouring estate to the townsfolk. To commemorate this lost northern theatre the project will replicate Inigo Jones’sJacobean cockpit theatre, on the site of an actual cockpit next to the playhouse site. Our paper explores this inversion ofsocial hierarchies and explores how the playhouse design and the design of surrounding spaces as a metaphorical Forest ofArden will enable a re-examination of performance within historic conditions whilst offering the potential for new site specificwork. The theatre of one historical moment is placed in relation to current theatrical developments and the performancecircumstances of the 1590’s layered onto those of 2014. The Shakespeare North Playhouse as an educational campus andreceiving house will attract students and visitors to breathe new commercial life into the locality so the project is also adriver for urban regeneration. The town sits in the borough of Knowsley, the third most socially deprived local authority inEngland and Wales. The area suffers acute economic inactivity and high levels of unemployment. 43% of residents have noqualifications, 10% higher than national averages. The number of school leavers going on to higher education is well belowaverage. Our paper will assess the economic impact of this project using comparable case studies from three similar new UKtheatre complexes and present data which considers the significant educational, cultural and social impactFIRT/IFTR World Congress, University of Warwick, 201465

Placing Performance in the Right Space, or The Highbrow-Lowbrow Continuum of KathakaliPerformanceGeneral PanelBoris Daussà-PastorInstitut del Teatre, BarcelonaBoris Daussà-Pastor is a Theatre PhD Candidate atThe Graduate Center-CUNY (New York), as well asProfessor, Head of the Theory and History Department,and Head of Graduate Programs at Institut del Teatre(Barcelona). Boris teaches subjects on Theatre Theory,History of Performing Arts, Acting, Asian Theatre,and Performance Studies. He combines his academiccareer with work in the theatre as an actor and director.He is assistant director and movement coach for thecompany Dei Furbi, which won the 2014 MAX Awardfor best musical theatre performance in Spain for itsproduction of The Magic Flute. Boris has publishedarticles and book reviews in several academic journalsand also written a training guide for kathakali with hiskathakali teacher. His dissertation focuses on how Indiannationalism has reshaped the training and performancepractice of kathakali. Boris Daussà-Pastor is a memberof the Executive Committee of IFTR.This paper builds upon previous work on the politics of context in kathakali presented at the IFTR conference in Santiagode Chile 2012. In the original paper, I argued that the choice of venue reflects the cultural politics of kathakali, deemingsome venues more appropriate for highbrow kathakali and some others only acceptable for lowbrow forms of kathakali. Ialso proposed that there are three main contextual aspects that affect the reception of kathakali: adherence to tradition,references to nationalism or nation-building, and a certain reinforcement of its exclusive performative aspects, which oftenresult in some sort of cultural exoticism. Following the lead of this year’s conference, the current paper explores the differentlayers that add meaning to a tradition that is otherwise strictly conventional and with little room for interpretation. The paperfocuses on the relationship between performance venue and the contextual aspects mentioned above (nationalism, tradition,cultural exoticism). It examines how this relationship operates at two different levels: first, within the perceived continuumof highbrow-lowbrow kathakali among connoisseurs; and second, among general audiences of non-connoisseurs. I suggestthat the cultural value given to a kathakali performance in a particular venue is different for each of these audiences. I claimthat this difference may be related to the role that kathakali had in the building of a common imaginary for the Indian nation.This paper is related to a larger issue explored in my dissertation project, which studies the changes that kathakali trainingand performance conventions in the context of Indian nationalism and nation building.FIRT/IFTR World Congress, University of Warwick, 201466

The Audience’s Social Class and Theatre Crisis: A Comparative Reading of the Critique ofSpectators by the Metadrama of European avant-garde and the Egyptian Fringe.General PanelRasha DawoodUniversity of ExeterRasha Ahmed Khairy Dawood is a PhD candidate at theDepartment of Drama in University of Exeter, UK. Fromthe Higher Institute of Theatre Arts in Egypt, Dawoodgot her MA of drama and theatrical criticism in 2004(Excellent with distinction). After getting her BA in1995, Dawood finished a two-year Diploma of dramaand theatrical criticism in 1997. In the period betweenOctober 1996 and October 2007, Dawood worked as anassistant lecturer in drama and theatre criticism at theHigher Institute of Theatre Arts, the Academy of Arts.Dawood was a member of the organising committee ofthe conferences that accompanied Cairo InternationalFestival for Experimental Theatre (CIFET) in the years1997-2000. Dawood’s adaptation of Yusuf Idris’ shortstory Beit Min Lahm (House of Flesh) was premieredin Egypt at the AUC in 1998. In 2000 the play wasproduced by the Egyptian Ministry of Culture andperformed for 30 nights. Directed by Assem Nagati, anEnglish translation of Dawood’s play was performed atthe Performing Arts Centre, Ohio State University inSeptember 2010 for two weeks.One of the difficulties that faced the European avant-garde theatre during the second half of the twentieth century wasthe dominance of the commercial theatre. In what seems to be a response to the incontestable popularity of melodramaand vaudeville plays of Andreyev, Kaiser, Pirandello, Lorca, Giraudoux, Frisch, and Ionesco utilise meta-theatrical devices inorder to comment on spectators’ lack of interest in the fringe performances. The criticism of the popular theatre withinthese meta-plays takes the form of discussion between dramatic characters, which represent theatre practitioners and/ormembers of the fictional audience of the play-within-the play. Within these avant-garde plays, spectators’ preferences andbehaviour are usually linked with their social-classes. In addition, the critique of the audience is accompanied by commentson two inseparable aspects of theatre industry: systems of production and the function of theatre. Both elements reflecton the ideological conflict between Marxism and Capitalism, on which the artistic dispute between socially-committed andentertaining art is partly based. Thus, dramatic characters’ discourse within these plays seems to engage with the callsfor reforming theatre raised by academics, critics, and practitioners. Responding to different socio-political and artisticcircumstances, dramatic characters of many Egyptian fringe playwrights in the second half of the twentieth century criticallycomment on Egyptian theatre industry, including spectators. Influences of the European meta-theatre on Egyptian dramaare mingled with traces of traditional forms of entertainment. By focusing on the reformative function of both European andEgyptian meta-drama, my theoretical approach draws from the fields of meta-theatrical studies; the history of European andEgyptian theatre; sociological, political and cultural studies; and theories of modern criticism.khairy_rasha@hotmail.comFIRT/IFTR World Congress, University of Warwick, 201467

Politics, nationhood and recession: Staging la Crisis in CataloniaGeneral PanelThe Catalan government of Artur Mas has called a referendum on independence for November 2014, despite opposition fromthe centre right Spanish government of Mariano Rajoy’s People’s Party who have declared the referendum unconstitutional.As Catalonia articulates its unease both with the limitations of the Constitution of 1978 and the Spanish state’s managementof the recession, the faultlines of a democracy where regional autonomy appears incompatible with the centralising legislationof Rajoy’s government appear highly exposed. This paper looks at the ways in which Catalonia has ‘staged’ nationalist dissentat a time of recession (2009-13). Exploring the fragmented layers that constitute Catalan culture, it seeks to interrogate thelayers of history that come into play when considering what it means to stage a stratified cultural present.Maria DelgadoQueen Mary, University of LondonMaria M. Delgado is an academic, critic and curator.She is currently Professor of Theatre and Screen Arts atQueen Mary, University of London and co-editor of theRoutledge journal, Contemporary Theatre Review. Shehas published widely in the area of European theatre:her books include Federico García Lorca (Routledge2008) and ‘Other’ Spanish Theatres (MUP, 2003) andeight co-edited volumes. Her translations of the workof Ramón del Valle-Inclán, Bernard-Marie Koltès andMario Benedetti have been staged in theatres in the UK,USA and Australia. Her film work includes 16 years as aprogramme advisor (on Spanish and Spanish-AmericanCinema) to the London Film Festival. She has alsocurated work for the Ciné Lumière and BFI Southbankand is a programming associate for the Argentine FilmFestival London. She writes on film and theatre for arange of publications including Sight & Sound and PlaysInternational, and is a regular contributor to a range ofBBC Radio programmes. She has served on a range ofjuries and panels and is currently Chair of the Board ofActors Touring Company [ATC] and an artistic assessorfor Arts Council England.m.m.delgado@qmul.ac.ukPhoto of La Cubana’s Campanades de boda (Wedding Bells,2012-13), Catalonia’s most conspicuous theatrical successin the 2012-13 theatre season. Photo Josep Aznar, courtesyof La Cubana.FIRT/IFTR World Congress, University of Warwick, 201468

Locating and Performing Irish Theatre HistoryGeneral PanelLAPITH is a new EU-funded project which, building on the presenter’s earlier digital visualisation, in 2011, of the old AbbeyTheatre, blends digital visualisation, oral history, performance and film-making to address major lacunae in prevailinghistorical narratives:* critically, by challenging the hegemony of the Abbey Theatre in accounts of early 20th- century Irish theatre history, byinvestigating the material and social history of both the Queen’s Theatre from 1909-1951, and the nearby 3rd Theatre Royal(1935-1962; at 4,000 seats, among the largest venues in Europe);* historiographically, by providing highly-detailed studies of theatre architecture, spectatorship and performance, includingscenography, lighting design and costume, countervailing the dominant textual, biographical, and political focus of previousstudies;Hugh DenardTrinity College DublinDr Hugh Denard is Assistant Professor in Digital Artsand Humanities at Trinity College Dublin, teaching onthe MPhil Digital Humanities and Culture and on degreeprogrammes in the Department of Classics. A historianof twentieth-century Irish theatre and ancient Greek andRoman, he was a core member of research groups at theUniversity of Warwick and King’s College London exploringthe use of digital visualisation for the arts, humanitiesand in the cultural heritage sector. He initiated and editsthe internationally-recognised “London Charter for theComputer-based Visualisation of Cultural Heritage” andhas co-directed projects funded by the AHRC, Arts CouncilEngland, British Council-Italian Ministry of Research,Eduserv Foundation, EU, JISC, Leverhulme Trust, andthe Metropolitan Museum of Art. Currently part of aninternational, Mellon-funded consortium exploring the useof Virtual Worlds in humanities research, his recent workincludes a collaboration with artist Michael Takeo Magruder,and a project on the history of Dublin’s Abbey Theatre.www.londoncharter.orgwww.kvl.cch.kcl.ac.ukhttp://www.takeo.org/nspace/sl005/http://blog.oldabbeytheatre.nethdenard@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014* methodologically, by recursively combining archival research, digital architectural modelling, film-making and oral historyas mutually-enhancing research processes.Through oral history methods (a priority given that the theatres under scrutiny are still within living memory), contemporaneouswritten accounts, economic data and photographic evidence, the LAPITH project will create ‘thick’ descriptions of thetypes of audiences that attended different types of events in the various Dublin theatres, examining how different factorsseparated audiences into socio-economically-distinct seating sections. Using chroma key (or ‘green screen’) technologies,the roles of theatre staff, performers and audiences will be integrated into the virtually reconstituted spaces, and a series ofshort films will document the research process and outcomes. In parallel, this historical research forms a test-bed for furtherdeveloping the London Charter for the Computer-based Visualization of Cultural Heritage, a widely-adopted internationalmethodological standard for historical visualisation, developed by the presenter. This paper will present the results of theinitial Abbey Theatre, 1904 project, and set out the conceptual and methodological premises of the new, wider-rangingproject.http://blog.oldabbeytheatre.net/69

Experiments in Modernist Drama: Women and the First World WarGeneral PanelRebecca D’MontéUniversity of the West of England, BristolRebecca D’Monté is Senior Lecturer in Drama at theUniversity of the West of England. She has edited bookson early modern female communities and 1990s Britishdrama, and published extensively on the plays of womendramatists, including Margaret Cavendish, AgathaChristie, Daphne du Maurier and April de Angelis.Currently she is preparing two monographs on BritishTheatre and Performances 1900-1950 for the MethuenDrama Critical Companion series, and British Theatreduring the Second World War.From the start of the First World War to the onset of the Second, playwrights grappled with the problem of how to articulatethe physical, psychological and ethical issues of conflict. Several turned to symbolism and allegory, as with George BernardShaw’s Heartbreak House (1919) and Sean O’Casey’s The Silver Tassie (1928), which were controversial but also provokedinterest in their bold use of dramatic technique. Like their male contemporaries, women’s anti-war plays can also be seen asimportant experiments in modernist drama, but these have often been overlooked in theatre history. The reasons for this arevarious: as well as the prevailing assumption that war was not a topic of interest to women, several of these plays were stagedin unconventional spaces, remained unpublished (or quickly fell out of print), or were not produced professionally or evenat all. A surprisingly large number also took the form of the usually less well-regarded one-act drama. Taking up Toril Moiand Kirsten Shepherd-Barr’s exposure of the misguided view of the ‘anti-theatricality’ of modernism, this paper argues thatworks like Vernon Lee’s The Ballet of the Nations (1915) and Satan the Waster (1920), Verona Pilcher’s unproduced The Searcher(1929) and Ira Gandy’s In the House of Despair (1937), as well as Cicely Hamilton’s The Old Adam (1924) and Muriel and SydneyBox’s Peace in Our Time (1934), all helped to create a new form of theatrical language as a means to express the inexpressible:that of the horror of war. These plays fuse together traditional forms such as Greek teichoskopia, medieval morality plays andhistorical pageants with European expressionism and physical theatre. An exploration of their use of genre and the mise enscéne allows us to further excavate women’s theatre of this time, as well as redefine the boundaries of modernism.DMonte1@blueyonder.co.ukFIRT/IFTR World Congress, University of Warwick, 201470

Revisiting the GesamtkunstwerkGeneral PanelThe paper discusses Wagner’s notion of the Gesamtkunstwerk as it was deflected, criticised and developed by central Europeantheorists and practitioners of the early 20th century avantgarde. The paper addressed theoretical reflections andmodels suggested by the theorists of the Prague School, relating it to experiments in the opera and music theatre fromProkofiev (and Meyerhold), through Brecht/Weill to avantgarde Czech and German composers (Zemlinsky, Ullmann, Haas,Krása, Burian, Martinů and others).Pavel DrábekUniversity of HullPavel Drábek is Professor of Drama and Theatre Practiceat the University of Hull. His interests include earlymodern drama and theatre in Europe, drama translation,music theatre and theatre theory. He has publishedon translations of Shakespeare (České pokusy oShakespeara (Czech Attempts at Shakespeare), 2012),John Fletcher (Fletcherian Dramatic Achievement: TheMature Plays of John Fletcher, 2010), seventeenthcenturyEnglish comedy in Germany, early modern puppettheatre, and theatre structuralism (collaborating withthe StruG Project, Masaryk University). He is an operalibrettist (mostly for composer Ondřej Kyas), playwrightand translator, and Artistic Director of the Ensemble OperaDiversa, a professional music and modern opera companybased in Brno. Recent theatre work includes a radio playbased on Everyman (Everyman čili Kdokoli, 2013) for theCzech Radio 3, and Ondřej Kyas’s and his 2013 chamberopera Ponava (Lost Rivers) for the Diversa. He is writing aplay about Jaroslav Vrchlický for Ivan Rajmont (F. X. ŠaldaTheatre, Liberec, CZ), writing (with Ondřej Kyas) a musicalfor Tomáš Studený (Janáček Academy of Performing Arts,Brno, CZ), and a play based on Joseph Roth’s “Leviathan”with Mark McLaughlin and Lizzy Steel.www.operadiversa.czP.Drabek@hull.ac.ukFIRT/IFTR World Congress, University of Warwick, 201471

Dealings: Economic action and aesthetic practice in contemporary performance productionGeneral PanelThe differentiation between “poiesis” and “praxis” that can be traced back to Aristotle reflects different concepts of action:While “praxis” is used to mean those actions whose purpose is incorporated in the action itself (energeia), the term “poiesis”means those actions that are based on the teleological production of a result, or even a product. But this differentiation itselfalready also implies the stratification of different hierarchies of values that include aspects of the economic, the aestheticand the ethical.The institutional changes in the field of art production in recent decades have now shown that individual hierarchies ofvalues have shifted: While, for instance, in the theatre and film industries, state funding is increasingly questioned as partof the criticism of the European and German culture of subsidies, and the (global) marketing of individual productions, oreven products (ergon), is growing, in contrast, on a theoretical, academic level, study of the process of production, i.e. the“energeia”, is becoming increasingly important.Miriam DrewesLudwig-Maximilians-Universität MünchenMiriam Drewes studied Theatre Studies, German Languageand Literature and Political Sciences in Viennaand Munich and received her Ph.D. at LMU Munichabout “Theater als Ort der Utopie. Zur Ästhetik vonEreignis und Präsenz”. Since 2008 she is lecturer atLMU München, from 2009-2014 she was coordinatorof the Ph.D.-Program ProArt at LMU Munich. She alsohas worked as lecturer at Universität Bayreuth and atHochschule für Fernsehen und Film (HFF) München.This paper aims to take up this view of production processes and investigate a possible shift in the meaning of differentmeasures of value in art production, which potentially challenges the idea of the increasing economization of the lifeworld.A comparison of theatre and film production and distribution will be used to show that a modified concept of “poiesis” and“praxis” can also reveal a new perspective on economic and aesthetic production processes and their respective measuresof value: The value of an action in the sense of a “praxis”, as is customarily attributed to actions in the field of performance,no longer has to be – at least from the point of view of theatre studies – placed above action in the sense of a “poiesis”.Conversely: Poietic action must no longer be understood as purely functional, utilitarian action.Parallel to her academic work she was working as filmdramaturgeand as Head of the First Movie Program(debut feature film and documentary).Her research interests lie in theatre theory andhistoriography, dramaturgy, film theory and analysis,institutional and economic relations to the arts.miriam.drewes@gmx.deFIRT/IFTR World Congress, University of Warwick, 201472

Materiality of Sound and Text (Jiří Veltruský meets Bob Wilson)General PanelDavid DrozdMasaryk UniversityMgA. David Drozd, PhD (1976) is dramaturge, translatorand theatre theoretician. His main research interest arestructural and semiotics theory of theatre (with specialattention to Prague Linguistic Circle), performanceanalysis. He focuses mainly on modern and postmodernCzech Theatre Culture.In the theoretical texts by Jiří Veltruský (1919-1994), one of the most important theatre scholars connected with PragueLinguistic Circle, the text/textual element is a crucial component in the complex interplay of material and immaterialcomponents of the theatre production. In his essays “Dramatic text as Component of Theatre” (first version in Czech 1941,English version 1976) or “Sound Qualities of the Text and Actors Performance” (1991) and posthumous An Approach to theSemiotics of Theatre (2012), the position of the (dramatic) text might seem even overestimated from a contemporary pointof view.The dramatic text has lost its prominent position - performance is often considered as an autonomous act of the director andthe actors, who create their own theatrical world that also includes the text. But criticism hardly ever discusses the details ofthis appropriation (such as cuts, rewritings and other textual changes). The prevailing focus is on the materiality of almost anyelement of theatre performance. The “materiality” of performance is regarded as one of the key features of contemporarytheatre praxis. Re-reading Veltruský’s concepts shows that as early as in 1941 he saw the structure of the text as somethingautonomous; later he approaches its structure through the sound qualities of the text and speech. In this way, the text -however neglected - is still present in the materiality of its sound structure, which is actualized in actors’ enunciation. Thismethodological approach opens interesting ways of applying Veltruský’s concepts to contemporary performance analysis- as I will try to demonstrate on Bob Wilson’s approach to the dramatic text in some of his recent theatre productions.drozd@mail.muni.czFIRT/IFTR World Congress, University of Warwick, 201473

Im/mobile Audiences. Wagner and Distributed Aesthetics 2.0.General PanelIn this paper, I will suggest looking at two opposing concepts of mobilized audience, one bottom up making practical use ofan artwork and one top down consuming it. Taking into account the production of Wagner’s operas in Bayreuth, I will look atdifferent strategies of social stratification in the field of music theatre. Starting off from the notion of distributed aestheticsby Geert Lovink and Anna Munster, I am particularly interested in ways in which digital networks and broadcasting alter theidea of an autonomous work of live art. I will pursue the question: Which social role does a specific audience perform withina given network loosely known by the name Wagner? I maintain the idea, that through the sometimes desperate attemptsof opera management to combine the nineteenth century bourgeois ideology of an passive audience with the logic ofpostfordistic nomadic consumers, distributed aesthetics is at stake. If this is so does this also mean, that there is ample roomfor an aesthetic experience coming close to the idea of the beauty or the sublime?Wolf-Dieter ErnstUniversity of BayreuthWolf-Dieter Ernst is professor for theatre studies atBayreuth University. He holds an MA first class degree inApplied Theatre Studies (Gießen), and a PhD in GermanLiterature at the University of Basel with a thesis onInteractive Media and Performance (Performance derSchnittstelle, Passagen Publishers 2003). As principalinvestigator of the research group “Vorschrift und Affekt”(History and Discourse of Acting Schools 1870-1930)funded by the German Research Foundation, he finishedthe monograph Der affektive Schauspieler at Theater derZeit-Press in 2012. He has published on contemporaryperformance art, interactive art, and theatre, and onthe history of actor’s training and acting theory. Recentarticles include (2014) „Western Im/Mobility. LIGNA’sRadioballet, Western Transit Zones and the PublicSphere.“ In: K. Amine, J. Radouani, and GF. Roberson, eds.:Intermediality, Performance and the Public Sphere, Amherst,Denver, Tangier: Collaborative Media International; (2012)„ Actor‘s Training, Rehearsal Practice and Body Politics inPostdramatic Theater. The Case of René Pollesch‘s PingPong D‘Amour (2009).” In: Anja Klöck (Hg.): The Politics ofBeing on Stage, Hildesheim: Olms, pp.185-201; (2010) „GobSquad. Room Service (2003).“ In: Chiel Kattenbelt, RobinNelson, Andrew Lavender (Eds.): Mapping digital Culture.Amsterdam: Rodopi, pp. 204-209.w.ernst@uni-bayreuth.dehttp://www.theaterwissenschaft-ernst.uni-bayreuth.de/FIRT/IFTR World Congress, University of Warwick, 201474

Hierarchical Changes Between Characters and Actors / Actors and Spectators: Cuban and CatalanexamplesGeneral PanelOrestes Pérez EstanqueroUniversidad de las Artes de Cuba (ISA) / UniversitatAutònomaOrestes Pérez Estanquero (Habana, 1962) is an artist anda PhD candidate in Catalan Philology at the UniversitatAutònoma de Barcelona (UAB) and in Performing Arts atthe Universidad de las Artes de Cuba (ISA). After his degreein Dramatic Art (1985) and his Arts (Theatre) MA degreeat ISA (2002), he earned a Performing Art ResearchMA degree from UAB (2008). As an actor he has playedsingulars characters: Prospero in Otra Tempestad by TeatroBuendía at Shakespeare’s Globe Theatre in London, Fidelat the Argentinean movie Hasta la Victoria Siempre, etc.He has directed different theatrical productions: Chamaco(2006) in Semaver Kumpanya (Istanbul), Aura (1999), inTeatro del Tablon, Chubut, Patagonia; etc. In Cuba hehas been taught from pre-universities grades (from 6to 12 grades, as Teacher of Drama at the InternationalSchool of Havana) to universities grades (pre and post, asSenior Adjunct Professor of Acting, at ISA). His researchhas focused, among others matters, on the practices ofcontemporary actor. He has published in theatre journalssuch as Conjunto and Tablas (Cuba) Gestos and Ollantay(USA), Assaig de Teatre (Spain), etc. He has participed inseveral festivals: Perth (Australia), Bello Horizonte (Brazil),Edinburgh (Scotland), etc.orestesteatro@yahoo.comThe researcher is interested in theatrical performances produced in traditional theatrical spaces but no longer subject tothe requirements of dramatic theatre. His work entails examples from La Habana (between 1985 and 2005) and Barcelona(from 2000 to 2012). In the Cuban cases, the category of ‘the character’ is questioned; the actor -a normally trainedactor that is not always the center of what happens thanks to the protagonism of the space, light, music, videos, objects,etc.- seems to replace it. In the Catalan cases, the category of “actor” is questioned. The scenic agents are actors withoutcharacter, “witnesses of themselves” (Cornago), and are not necessarily stage professionals. The spectators tend to be thescenic agents. While the Cuban performances are addressed from the post-dramatic perspective, the Catalan examples riseout of the agency and the performativity. Both groups are studied as layers of the performative turn. The Cubans are followedby the Catalans, not only in a time frame because of the dates involved but, and above all, by the progressive displacementof the assumptions and the epistemologies of the discipline: the increasing tendency to do away with texts, scores, etc.;the growing stage radicalism where the performative takes precedence over the referential level; etc. Hierarchical changesare produced between the subjects on these theatrical performances (post-dramatic, trans-disciplinary, rhapsodic,performative, post-spectaculars, etc.): among those related to the fiction (characters and actors/performers, Cuban cases)and among those related to the event (performers/actors and spectators, Catalan cases). The researcher lectures on thetwo layers and explains the sequence where they are integrated and explains how both strata and the order in which theyare presented provide a structure for the stage work -much as in a laboratory experiment- that he prepares as performer(Orestes´s Performances by A&PE)FIRT/IFTR World Congress, University of Warwick, 201475

Becoming Citizens: Ex-combatant’s Perspectives on the Reintegration in ColombiaGeneral PanelBy drawing on the strength of performance to illuminate and analyse cultural politics, this paper explores the performativityof ex-combatants’ reintegration. This means the social and cultural dynamics that are rehearsed in the institutional spacefor reintegration, and how such rehearsals are translated to a civilian context. How do reintegration programmes providea site of liminality that facilitates the rehearsal of civilian identities and out of which recognition of agency can emerge?In theoretical terms the crucial point is that there are no clear standards of what constitutes a successful reintegrationprocess. By implementing ethnographic research methods this paper seeks to explore ex-combatant’s perspectives on howinstitutional settings assist their transition from combatant to civilian identities.María Estrada-FuentesUniversity of WarwickMaría Estrada-Fuentes is a doctoral candidate atthe School of Theatre and Performance Studies,University of Warwick. She holds an MA in InternationalPerformance Research (Universities of Warwick andTampere) and a Bachelor in Arts, with a concentrationin Art History and Theory (Los Andes University).Her current research examines peace-building andconflict transformation initiatives that focus on thereintegration of ex-combatants in Colombia. She isparticularly interested in how discursive performativesshape these transitional subjects, emphasising onunder-18 persons who are widely known as “ChildSoldiers”. Other research interests include performanceart and contemporary art practice; photography, videoand installation; applied arts/theatre; dance and itsrelation to everyday life.M.A.Estrada-Fuentes@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 201476

‘And I shall be able to see the stars’: Aled Jones Williams’s Stratified Performative VisionGeneral PanelOver the past twenty years, Aled Jones Williams has become one of Wales’ most prolific writers and is particularly recognisedas a writer for the theatre. He has written over fifteen stage works, most of which have been published and performed, inaddition to several volumes of autobiographical prose, fictional novels, and poetry. He has been bestowed with the rarest ofprizes for a Welsh-language theatre writer: an edited collection published while still alive.While his works allude to the structural and performance conventions of drama, they largely eschew dramatic unity andrarely adhere to dramatic logic. This is not only evident in his work for the stage, but is also a feature of his radio texts, novels,and poetry. All share a singular and distinctive aesthetic vision, despite the differences in form; it is a vision that is patentlyperformative. His theatre texts are not dramatic plays intended for the stage, but are written to be enunciated in spaces forperformance.Gareth EvansAberystwyth UniversityLecturer in Theatre and Performance at AberystwythUniversity. My research focuses on Welsh-languagecontemporary performance, theatre historiography andmusic theatre. I am currently preparing a monograph onthe works of Aled Jones Williams for University of WalesPress.Despite Williams’ prominence his work remains habitually misinterpreted within a theatre culture that appears to be unwillingor unable to stage his works as anything other than drama. They are regarded as cohesive (if challenging) dramatic plays; theyare staged, performed, and critiqued as such.This paper will propose that Williams’ work and performative vision can be more appropriately comprehended as one that isstratified. Viewed as a series of concentric circles, his work continuously attempts to negotiate the tensions existing betweena series of outwardly expanding strata. It begins with the earth and the concrete materiality of the site, moving outwardstowards the body, the body in relation to other bodies, towards the imperceptibility of language, and finally, towards theheavens.gae@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 201477

“What are You Trying to Do to Me? – I’m Doing It”: Djuna Barnes’s Metatheatrical Parodies andQueer Modernist Performance in and Across TimeGeneral PanelPenny FarfanUniversity of CalgaryIn her lifetime, Djuna Barnes was, in her own words, the “most famous unknown author in the world,” yet her work not onlyanticipated but has been central to feminist and queer modernist studies. The title of Barnes’s last major work, The Antiphon(1958), with its suggestion of echoing resonances, provides a metaphor by which to understand the long-term impact of herwork, in the academy if not on the stage. In The Return of the Real, Hal Foster describes the impact of the historical avantgarde in terms of “deferred action.” Echoing across time as much or more than in her own time, Barnes’s modernist parodies,replaying conventional representational tropes in order to stage queer feminist critiques of representation, might also beunderstood in terms of “deferred action” in that, while her work had a limited audience within its original historical context,it has been a crucial touchstone within contemporary feminist and queer modernist studies, in a sense helping to bring forththese related fields. Barnes’s work may thus function as an analogy for the critical performativity of feminist and queermodernist performance more generally, providing a way to understand its productive impact not only in its original historicalcontext but across time, into the present and beyond.Penny Farfan is Professor of Drama at the Universityof Calgary, Canada. She is the author of Women,Modernism, and Performance as well as many articles andbook chapters on modernism and performance and oncontemporary women playwrights. She is also the editor(with Lesley Ferris) of Contemporary Women Playwrights:Into the Twenty-First Century and a past editor of TheatreJournal.farfan@ucalgary.caFIRT/IFTR World Congress, University of Warwick, 201478

The Non-Making of Sadallah Wannous´ Ritual and Signs of Transformations: A Syrian Play Enters theSyrian Stage - and gets ExpelledGeneral PanelFriederike FelbeckUniversität HamburgMy paper excavates the many layers of a play by Syrian playwright Sadallah Wannous as well as the process of its firstproduction for the Syrian stage in 2005 that was followed by its closing down only a few days before the official opening.Wannous, the most significant Syrian playwright of the 20th century, wrote his play Tuqûs al-ishârât wa al-tahawwulât in 1994,never expecting it to be presented on stage. It is now regarded as one of the most important plays in Arab drama. The playaims at contemporary issues of Syrian society by choosing the detour of a 19th century setting during the time of Turkishoccupation. The virus of revolution and upheaval against the unloved government is being spread over the city of Damascusby the principal (female) character Mumina/Alamassa and leads both the political as well as the clerical rulers into chaos.From today´s point of view, the play can be seen as an anticipation of conflicts that are still virulent in Syria. Looking closelyat the difficult and lengthy process of planning and producing the play at the National Theatre in Damascus in 2005 as partof a German-Syrian co-production, the paper reflects on the working conditions of the Syrian actors between film industryand theatre. It describes the artistic approaches towards the challenging material of Wannous´ play through a generationraised in a world of surveillance and control. The paper analyses the effective mechanisms of behind-the-scenes censorshipand the challenges of an international co-production with unequal partners.Friederike Felbeck is a director, writer and producer. Afterstudying with Jürgen Flimm, she was a personal assistantto Armand Gatti and Roberto Ciulli. Her debut afterPasolini´s Pig´s Stall preceded productions of classicaland contemporary authors in Germany and abroad. Shehas written plays on fine artists Eva Hesse and Alexejvon Jawlensky and developed performances on urbandevelopment and architecture. Her travels to the MiddleEast led to the first Syrian-German co-production afterSadallah Wannus Tuqûs al-ishârât wa al-tahawwulât. Recentproductions include Everyman by Hofmannsthal withGerman and Senegalese actors, Antigone, performed ata former National Socialist military training institution,and Government Poetry, an artistic view on the UNESCOConvention on the Protection and Promotion of theDiversity of Cultural Expressions. She is a member of theInternational Theatre Institute (ITI), was a fellow at theInternational Research Center of Freie Universität Berlin,at Saari Residence held by the Kone Foundation Finlandand has received a stipend from the German AcademicExchange Service (DAAD). As a theatre critic (AITC), shewrites for Didaskalia, Theater der Zeit and Nachtkritik.friederike.felbeck@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 201479

‘Live Wire’ Lesbians: Edith Craig’s Pioneering VisionsGeneral Panel“They talk. It is enchanting talk; it ranges widely. . . .how stimulating it is! . . . What live wires they all are; what a sense of lifeone gets from them.” (Vita Sackville-West (1949)Lesley FerrisThe Ohio State UniversityLesley Ferris is Arts and Humanities DistinguishedProfessor of Theatre at The Ohio State University, USA.Her publications include numerous essays on genderand performance and Caribbean-derived carnival.Her most recent devised piece, The CamouflageProject, focused on British women undercover agentsin occupied France during World War II. She is theeditor (with Penny Farfan) of Contemporary WomenPlaywrights: Into the Twenty-First Century.So said Vita Sackville-West in a commemorative tribute to Edith Craig. Sackville-West refers to the unconventional lifeCraig led with Christopher St. John and Tony Atwood. Craig, in her lifetime, was considered one of Britain’s most innovativedirectors and costume designers, yet her legacy in relation to early 20th century British theatre is, until recently, largelyignored and overshadowed by male theatre artists of the era. Craig’s company, the Pioneer Players, focused on breakingnew ground, as its name suggests. Within a range of new and experimental works Craig produced three plays that featureddancing by a woman as a central theme or motif. One such play was The Girl and the Puppet produced in 1918. The play wasadapted from the short story by Pierre Louys, the French poet who was the recipient of Oscar Wilde’s book dedication inSalome in 1893. Months following Craig’s production, Wilde’s play with its infamous dancing seductress played by Americandancer Maud Allan, was produced. The production—and Allan herself---became the centerpiece of what was called the ‘LibelCase of the Century’. Allan, publically accused of lesbian activity by homophobic politician Pemberton Billing, took Billingto court, provoking a media frenzy as the trial brought lesbianism into public debate. This paper focuses on Craig’s obliquerelationship to this trial through her own productions of dancing women, and it speculates on her role in voicing concernagainst ever present homophobic threats when she gave a keynote address to the nascent British Drama League a yearfollowing the trial.ferris.36@osu.eduFIRT/IFTR World Congress, University of Warwick, 201480

Kevin Finnan shares his experience as Choreographer and Director of Movement for the London2012 Paralympic GamesGeneral PanelMotionhouse’s Artistic Director Kevin Finnan talks about his once in a lifetime experience as Choreographer and Directorof Movement for the Opening Ceremony of the London 2012 Paralympic Games. Kevin’s humorous insight spans froma surprising telephone call on a dark December evening through the breakneck experience of 2012 during which he wasalready creating the large outdoor spectacle The Voyage. The resulting show brought 3,000 volunteers of all levels of abilitytogether with Professor Stephen Hawking and Sir Ian McKellan and entertained a worldwide TV audience of more than 1billion people.Kevin FinnanArtistic Director, MotionhouseMotionhouse is one of the UK’s foremost dance theatre companies known for its startling and passionate dance theatre.In 2013 Motionhouse celebrated its 25 th anniversary with the creation of two new shows, a theatre production Broken andCaptive for the outdoor festival market. During this year Kevin Finnan was also awarded an MBE for his services to dance andthe work he created for the Paralympic Games Opening Ceremony.Kevin Finnan founded Motionhouse with Louise Richardsin 1988, and as Artistic Director has created or co-createdeach of their major touring production. He has createdsuch extraordinary dance spectacles as the acclaimedMachine Dance for JCB diggers and dancers. He wasChoreographer and Movement Director for the openingceremony of the London 2012 Paralympic Games andcollaborated with Sydney’s Legs On The Wall to createa large scale spectacle, The Voyage for the London 2012Festival. He has worked with artists from many disciplinesincluding writer A.L.Kennedy, installation artist RosaSanchez, film-makers Logela Multimedia, set visionarySimon Dormon and international companies such asVancouver’s Headlines Theatre. Kevin has an MA inContemporary Performing Arts from University CollegeBretton Hall and a PhD in Theatre from Warwick University.He is a visiting Fellow at the University of Warwick andAssociate Artist of Greenwich+Docklands InternationalFestival. In 2013 he was awarded an MBE for his services todance, and presented with an honorary doctorate from theUniversity of Warwick.FIRT/IFTR World Congress, University of Warwick, 201481

The Theatre of Eduardo De Filippo: Probing into Human NatureGeneral PanelThe actor-author-director Eduardo De Filippo (1900-1984) is rightly considered one of the most influential Italian playwrightson the twentieth century. Eduardo was Neapolitan and his birthplace as well as his cultural roots played a major partin his theatrical production. Eduardo’s plays delve into the folds of the psyche and into the complexity of human relationshipsthrough the observation of the family unit. The latter represents a form of magnifying lens which relays alarming images ofconflict, misunderstandings and, in the later works, unrestrained hatred. The microcosm of the family as a self-destructiveunit is the metaphor of a very sick social macrocosm.Donatella FischerUniversity of GlasgowLecturer in Italian Studies, University of GlasgowSuch dark view found its most disturbing representation in Eduardo’s last 1972 satire, Gli esami non finiscono mai literally‘Examinations never end’. Inevitably the unrelenting probing into the depth of human nature has strong echoes of Pirandellobut, as Eduardo himself claimed, his theatre is also indebted to Shakespearian theatre. Undoubtedly, Eduardo’s work shows athick level of ‘stratification’: several traditions, dating all the way back to the commedia dell’arte form a palimpsest on whichhis plays are founded.Eduardo’s texts are written to be performed and, over the years, he developed and refined an acting technique which rejectedsome of the often histrionic techniques of traditional Italian acting. He favoured ‘underplaying’: therefore suggesting, andsometimes rejecting speech as a limiting tool, so much so that silence could often be more eloquent than words.PhD University of Leeds and University of StrathclydeResearch interests: 1. Modern Italian Theatre; 2.ItalianLiterature and Cultural IdentityMajor publications:“The Tradition of the Actor-Author in Italian Theatre”(edited volume), (Oxford: Legenda, 2013)Il teatro di Eduardo de Filippo. La crisi della famiglia patriarcale(Oxford, Legenda, 2007).I have written several articles on Neapolitan theatre(Viviani, De Filippo) and on the history of Italian theatre ,as well as articles on the literature and theatre of Triesteand its cultural identity.I am currently working on the Triestine writers PaoloRumiz and Claudio Magris.donatella.fischer@glasgow.ac.ukFIRT/IFTR World Congress, University of Warwick, 201482

Ballybeg: The Construction of Memory and the Performance of Place in Irish TheatreGeneral PanelRobert M Nelson notes that “cultural identities, like individual identities, emerge not from class struggle but rather from theland”. This paper will examine how theatrical space has evolved, becoming not just the space of the theatre itself, but alsothe surrounding landscape. This embodiment of outside place on the stage changes through time and becomes somethingthat is remembered, laid down and becomes embedded within cultural memory. Here is an opportunity to look closely at therelationship between the urban theatrical space and the evolution of an idealised rural landscape in Irish theatre. Throughthe prism of Brian Friel’s fictional town of Ballybeg this paper will explore the layering of the past and our ever-changing relationshipwith it. How is the fictional landscape made real? Does it exist solely in the field of memory? How can those layersof memory be disentangled?Lisa FitzgeraldNational University of Ireland, GalwayLisa Fitzgerald is a PhD candidate based in the NationalUniversity of Ireland, Galway. Funded by the Digital Artsand Humanities PhD program, her research interestsfocus on site-specific theatre, cultural memory,ecocriticism and the role of place on the theatricalstage. Drawing on ecocritical discourse, Lisa’s PhDresearch is concerned with the intersection betweengeographical/landscape studies and Irish theatre.lisa.fitzgerald@yahoo.comFIRT/IFTR World Congress, University of Warwick, 201483

Implementation of Drama Courses in Primary in Catalonia. A Case of a Semi-private School.General PanelSergi FontUniversitat Internacional de CatalunyaDrama is not a compulsory subject in the curriculum of primary education in Catalonia. In recent years the schools areincorporating subjects connected with the theater, or after school hours or as specific activities in language subjects . So theGeneralitat (Catalan Government) has published a tutorial on how to apply acting techniques to improve communicationskills in primary school . Annex 1 of the decree in force ( the 142/2007 of 26 June) asks integrate different learning promotingthe transversality of knowledge. The school year 2012/13 The school La Vall, semi private school, wanted to introduce Dramaas a mandatory class in primary. They used one hour of English per week, thus they could do Drama classes in English. LaVall is a feminine school on the outskirts of Barcelona (Bellaterra) with more of 100 students per course. The school lookedfor the support of two professionals of theater world for monitor and assist in the implementation. This article explainedthrough qualitative research techniques the process of setting up the subject of drama in the school. For do it, we usesome questionnaires for all English teachers who participated in Drama classes. After this, we compare the results in a indepthinterview with the coordinator of the English section. The findings mark the main difficulties found the school : A / noqualified teachers and must therefore be trained in technical theater teachers of English. B/ there isn’t any Planning aboutthe implementation of Drama C/ the schedules of all the teachers are very full and it would be better to hire specific peoplefor do the Drama classes in English.Voice and body language professor at UniversitatInternacional de Catalunya. Professor of Drama andcommunication techniques in the UAO (Barcelona).Coordinator of the master the Voice and the body inthe UAO. Professor of Voice in the master of radiobroadcasting of University Pompeu Fabra.sfont@uic.catFIRT/IFTR World Congress, University of Warwick, 201484

An Intercultural Contact of the Actress in the Stratification of Japanese Modern Theatre: RitsukoMori’s stay in London (1913)General PanelAyumi FujiokaSugiyama UniversityRitsuko Mori, who later became a star actress in the Japanese Imperial Theatre, was one of the first Japanese actresses tovisit the United Kingdom. This presentation will explore the implications of this intercultural contact experienced by theactress in the context of the stratification of Japanese modern theatre. The modernisation of Japanese theatre was largelyinfluenced by Western theatre. The first appearance of women on stage coincides with the acceptance of Western theatrein Japan. The Imperial Theatre, which was at the forefront of the modernisation movement established a drama school foryoung women. Ritsuko, one of the first female graduates of this school, visited London upon her graduation. During her stay,she attended numerous theatrical performances, learned acting methods in RADA, and met British actresses such as Mrs.Tree, Gertrude Eliot, and Mrs. Patrick Campbell. Her sojourn in London exerted a great influence on her career, and led herto write, A View of West; My Journey (1913). Her writing shows that she was eager to absorb Western techniques to moderniseJapanese theatre, similar to her male colleagues. However, Ritsuko, as a Japanese actress, must also be considered fromthe gender viewpoint. British actresses at that time were influenced by the suffrage movement, which had provoked self/political awakening. What did the dual influence of intercultural contact as well as self/political awakenings have on Ritsuko’scareer? Her confrontation of those frictions is critical in considering the stratification of Japanese modern theatre.Ayumi Fujioka is an associate professor in Theatre ofthe Department of Cross-cultural Studies at SugiyamaUniversity (Japan). She has published essays and articleson the history of Edwardian theatre, nationalism/internationalism of the National Theatre, suffragettetheatre, popular theatre of the Edwardian period,Granville Barker, Elizabeth Robins, and Dan Leno. Herpublications include ‘The Intercultural and GenderedDynamics in the Context of New Woman; the Caseof Elizabeth Robins, Sugiyama University Collection ofEssays vol. 45 (2014), ‘An actress who tells the story of‘myself’ emerged; Elizabeth Robins in British ModernTheatre’, Some Critical Subjects of Theatre, Sankei-sha(2011), ‘Reconsideration of Granville Barker’s ExemplaryTheatre’, Meiji University Collection of Essays vol. 111(2010). She is currently editing Modern British Theatreand Theatreland (2015). Her research has receivedgrants from Sugiyama University and the Japan Societyfor the Promotion of Science.ayumi@sugiyama-u.ac.jpFIRT/IFTR World Congress, University of Warwick, 201485

Constructing the Experimental Aesthetics in a Time of Crisis: The Phenomenon of Cantine Romanein the ‘60s and ‘70sGeneral PanelRaffaele FurnoArcadia UniversityStarting in the 1960s, the city of Rome became the preferred set for a new generation of actors and directors generallylabeled as experimental. The phenomenon of the cantine romane – small underground chamber theatres in the historic citycenter – took one of these two forms: collective groups, or the single actor-director-author. In both cases, the thematic,aesthetic, political and socio-cultural implications of the cantine contributed to the radical transformation of the relationshipbetween actors and spectators. Experimental artists used obscenity, sex, profanity and violence to construct the new poeticof their performances. The inclusion of such elements contributed to changing the audience’s capability and willingnessto accept them. The more artists pushed the boundaries of tolerance away from a certain bourgeois good taste, the moresociety overall grew receptive of extreme imagery in its cultural production. Given this premise, the paper will analyze thelayered and complex connections between the original intent of experimental artists - shocking the middle class, shackingspectators from their apathy, and liberating the female or queer body from narrow cultural cages – in relation to the dominantcultural traits of Italy in the ‘60s and ‘70s – the country’s secularization, loss of collective life in favor of individualism,rampant hedonism, and economic commodification of culture.Raffaele Furno is a Fulbright Scholar and currentlyProfessor of Performance Theory and History of ItalianTheatre at Arcadia University - The College of GlobalStudies, Rome Campus. He is author of the book IntraculturalTheatre: Performing the Life of Black Migrantsto Italy and of many articles on the interplay betweensocio-political elements and theatre-making processesin Europe and the USA. In 2015 he will serve as visitingscholar at Taipei National University. He is also a theatredirector, whose shows have been extensively stagedin Italy, Senegal, Morocco, Northern America, Franceand Germany. He is founder of Compagnia Imprevistie Probabilità, and artistic director of the PerformanceFestival Deviazioni Recitative in Formia.raf.furno@libero.itFIRT/IFTR World Congress, University of Warwick, 201486

The Political Theatre of Utpal Dutt in a Global FrameGeneral PanelMy presentation focuses on the theatrical output of Bengali playwright, theatre actor and director Utpal Dutt during the late-1960s. A lifelong Marxist with a consistent belief in ‘internationalism,’ Dutt added a radical inflection to his theatre during thisperiod producing some of his most notable plays including Teer [Arrow], a dramatization of the militant peasant movement atNaxalbari in Northern Bengal; Ajeya Vietnam [Invincible Vietnam], a documentary play on the war in Vietnam; and ManusherAdhikarey [The Rights of Man], a re-staging of the infamous Scottsboro Trials in 1930s Alabama as a response to the CivilRights Movement in the United States. Through a brief survey of Dutt’s theatrical work during this period I attempt to offer acomparative reading of the genealogies of theatrical forms and techniques like agit-prop and documentary theatre. The factthat Ajeya Vietnam, for instance, was not only published in English but also translated and staged as Unbesiegbares Vietnam atthe Volkstheater Rostock in the former GDR further attests to different histories of the global circulation of political theatreduring the time of the Cold War and anti-colonial struggles in the ‘Third World.’Avishek GangulyRhode Island School of DesignAvishek Ganguly is Assistant Professor of English atRhode Island School of Design in Providence, USA.His research addresses questions of translation,multilingualism, everyday life and urban space inContemporary Drama, Theatre and Performance andGlobal Literatures in English with an emphasis on SouthAsia based comparative work.aganguly@risd.eduFIRT/IFTR World Congress, University of Warwick, 201487

...What Dreams May Come: Interaction of Hamlet’s Political layers with Iranian Political OrderGeneral PanelAzadeh GanjehUniversity of BernAzadeh Ganjeh is a translator, playwright, director andTheater Scholar born on 1983 in Tehran (Iran). She iscurrently a Theater studies PhD candidate in Universityof Berne (Switzerland). Her special interest in theaterfor development, Social Theater and Women rightslead to achieving several national and internationalprizes for her site-specific theater Productions. Sheis specialized in Iranian Theater History and becauseof her interest in Cultural mobility topic she is writingher dissertation on Performing Hamlet in Modern Iran(1900-2012); effects of major Iranian revolutions onperforming Hamlet. After receiving her Master in CivilEngineering in Isfahan University, She earned a Theaterdirecting M.A degree from Tehran Art University. Sheteaches directing workshops with concentration onEnvironmental Theater and Interactive Theater as wellas theater therapy workshops for Afghan immigrantchildren in Iran. She is a member of Iranian Theaterdirectors’ forum as well as the international Society forIranian Studies (ISIS).During the play of Hamlet, Denmark is going through some remarkable changes as the regime shifts from Hamlet Sr.’s reignto Claudius’. One of the primary shifts is toward a multilayer political domination. Hamlet is struggling with different layersof a totalitarian monarchy; developing spy network, Inversion of reality, dissension sowing, physical elimination of opponentsand lack of freedom in speech. This situation is not so far different from the dominant situation in modern Iran history; Acountry that theater played a major role in its cultural and political modernization. Iranian intellectuals imported Moderntheater as a cultural commodity in order to function as a tool for democracy. They put so much hope on theater’s political andcultural effects during several historical periods and this seems to be continued despite all oppressions. Among those PlaysHamlet has been one of the first performances to be staged in Iran (1932). Although ever since the seventeenth century theinterest in Shakespeare’s Hamlet appropriations beyond the borders of Britain has always been so great, this paper puts thematter in a new venue; Iran- a country with one hundred years history of performing Hamlet. The paper tries to answer Howtheatre as a practice is positioned within functioning hierarchies of political order in Iran By analysing representation of theking and Fortinbras in Iranian Hamlet case studies performed during different Iranian political orders. The survey questionsif the encounter of performance and political stratification has lead to an interaction within them and finds out its effecton performance politics. The research has a descriptive method and analysis this matter through qualitative data collection,semiotic studies, and Personal interviews. This paper is part of SNCF funded project „Hamlet- Odyssey” and an on-goingresearch “Performing Hamlet in modern Iran (1900-2012)” in Institute of Theater Studies, Bern University.azadeh.ganjeh@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 201488

Defending the Body, Defending the Self: Women Performers and the Law in the Edwardian PeriodGeneral PanelMrs Monckton [Gertie Millar] got her living as an actress, and was constantly before the public. She allowed people tophotograph her and she took money for it. … Supposing, for instance you were to publish a photograph of the vicar’s wife as LaSource[, she] would have reason to be annoyed. But… [Mr Justice Darling, January 1907]If the lady [Jane Wood] sat as an ordinary customer, the negative was her property. But if she was an actress...[Mr JusticeScruton, September 1913]Viv GardnerUniversity of ManchesterViv Gardner is Professor Emerita at the University ofManchester. A theatre and performance historian,her work focuses on gender and sexuality at the fin desiècle, particularly the exchange between the radicaland popular. Recent publications include: ‘The imageof a well-ordered city: nineteenth century Manchestertheatre architecture and the urban spectator’ (Culturein Manchester: Institutions and urban change since 1850,Manchester University Press, 2013); ‘The Sandow Girland her Sisters: Edwardian musical comedy, culturaltransfer and the staging of the healthy female body’(Popular Musical Theatre in London and Berlin: 1890to 1939, Cambridge University Press, forthcoming,2014) and ‘The Theatre of the Flappers?: gender,spectatorship and musical theatre 1914-1918’ (BritishTheatre and the Great War 1914-1919: New Perspectives,Palgrave Macmillan, forthcoming). Current projectsinclude: Staging the New Sex: performances of genderand sexuality 1890-1914, and I pose therefore I am:performance and performativity in the lives of the 5 thMarquis of Anglesey.In the period before the First World War, British women increasingly used the courts as a platform to challenge their lowerlegal, social and political status in Edwardian society, most notably in the defences mounted by militant suffragists at theOld Bailey in May 1912. In a different way, women performers were using the courts to argue for self-determination andcontrol, particularly of their public image. This paper will explore four such libel cases: Marie Studholme against a dentist whohad used her photograph to promote his dentures [1904], Gertie Millar against a postcard publisher for superimposing herhead on other women’s bodies [1907], Jane Wood [1914] against Eugen Sandow in relation to a corset advertisement, anda criminal libel involving Phyllis Dare about whom a rumour had been circulated that she had been ‘drugged by somethingput into sweets’ and impregnated by her co-star, Seymour Hicks [1906]. Each of the cases raises issues for the performancehistorian not only about the excavation and deployment of non-theatrical evidence (legal material, court reporting etc.),but also of the complexities of gender and class ‘stratification’ (court hierarchies, actors in society and their profession, theinfluence of commercial interests et al) revealed by these cases.viv.gardner@manchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 201489

Lady Anne: A Case Study in Collaboration as a Way to Excavate and Renegotiate HistoryGeneral PanelHeike GehringRhodes UniversityThis paper will focus on the creative approaches that were used to create Lady Anne (2007), a multi-layered theatreproduction based on Antjie Krog’s poetry collection, Lady Anne (1989), which in turn was based on the life and experiencesof Lady Anne Barnard, as documented in her writing (diaries, letters, journals) during her stay in the Cape Colony from1795-1806. In this process, historical writing was recycled into contemporary protest poetry, which in turn formed part ofa theatre production, indicating an ongoing shift in a) genre and b) historical perspectives, creating a layered performancewhere fragments of the past could be detected in the present. These layers were unearthed by means of a collaborativeprocess during which “people, in times of transition, [could] negotiate and translate their cultural identities in a discontinuousintertextual temporality of cultural difference” (Veit-Wild, 1997, p.74). Such a collaborative process enabled the assemblageof multiple layers and cultural codes through which a syncretic production could be created, offering opportunities fordestabilizing fixed identities and cultural contexts; a production in which the aim was to “to articulate differences in spaceand time, to link words and images in new symbolic orders, to intervene in the forest of signs and mediate what may seem tobe incommensurable values or contradictory realities” (Bhabha 1996, p.8) in alignment with Homi Bhabha’s notion of a “ThirdSpace”. The manner in which “new symbolic orders” were created during the creation of Lady Anne and the historical layersinherent in the production, will be discussed in the paper.Heike Gehring is lecturer at the Drama departmentof Rhodes University where she specialises inContemporary Performance, Acting and Voice Studies.She is also a theatre director with a particular interestin collaboration and devised theatre and is the directorof the Rhodes University Theatre Complex. Gehring’sproductions are mostly interrogations of culturaland gender identity in which she mixes historical andcurrent events. The productions are recognisablefor the integration and fusion of multiple languages,performance styles, artistic disciplines and multimedia.She is currently working on her PhD which is aninvestigation of multi-cultural theatre at Afrikaans artsfestivals.h.gehring@ru.ac.zaFIRT/IFTR World Congress, University of Warwick, 201490

Staging History: 1914 - Theatrical Performing Documents and Searching for AnswersGeneral PanelNataša GlišićUniversity of Banja Luka, Republic of SrpskaNataša Glišić is an Associate Professor in the TheatreDepartment, Academy of Arts, the University of BanjaLuka in Republic of Srpska, Bosnia and Herzegovina.She holds BA and MA in Comparative Literature fromthe University of Novi Sad, and PhD in Drama fromUniversity of Arts in Belgrade (2008). Nataša’s researchinterests include: history and theory of drama andtheatre, dramaturgy, world theatre, and contemporaryEuropean theatre (especially Serbian theatre). She haspublished two books Danilo Kiš’s Elektra as Citationof Euripides’s Drama (Elektra kao citat, 2006) and TheProblem of Mourning in Contemporary Adaptations of theMyth of Electra (Kome priliči crnina, 2012). Nataša is alsovery active and well respected as a cultural programmerand has published her research in journals such asZbornik Matice srpske za scenske umetnosti, Riječ, Anrić-Initiative, Agon and Tmača Art.As the hundredth anniversary of the First World War is approaching, many European theatres are putting on performancesdealing with the First World thematic: the causes and the motive of the Great War. In the first part of this paper, I focus onan exciting new performance entitled Četrnaesta (Fouteenth), written and directed by Ana Đorđević, a young Belgrade-baseddirector, which had its premiere at the National Theatre of the Republic of Srpska in Banja Luka, Bosnia and Herzegovina,in October 2013. This is the first of many theatre productions dealing with the momentous events of 1914 that are to bepresented in Bosnia and Herzegovina and Western Balkans in 2014. Since the beginning of the 20th century, Europe hasstriven toward a global war, and 1914 is a year in which the author, by using a theatrical discourse, has been searching foranswers to many questions regarding the First World War and its causes. 1914 marked a turning point in the whole world.This is the time of the end of one period (belle époque) and the beginning of another (modern age) – the age of wars. AnaĐorđević’s play, mostly created through dramatization of a book by Vladimir Dedijer entitled Sarajevo 1914, is a complexmaterial with a plenitude of factographic facts, dates, places, persons, events, phenomena, quotes and testimonies. Throughdirectorial acts of assemblage and deassemblage, in her staging of the play Đorđević’s digs out certain well-hidden layers ofhistory raising questions, looking for answers, indicating the need and (in)ability to comprehend the whole historical truth.The second part of the paper represents a review of other previous and recent performances and films dealing with on thesubject of “a world that was going to explode in a revolution and a horrible war”.https://www.dropbox.com/sh/n5mo18gc2ni76e3/AADWzu2Hugs3eWIMqv5pYhAzanatasha@blic.netFIRT/IFTR World Congress, University of Warwick, 201491

Young Bosnia and the First World War: Fanaticism, Revolt and the Spiritualisation of PoliticsGeneral PanelIn First World War studies, Serbia and Bosnia are almost always relegated to a crucial but fleeting appearance beforebecoming a minor campaign in a secondary theatre of a global war. Engaging the on-going debates concerning the origins,causes, consequences, repercussions, and legacy of the First World War, the paper will discuss a number of recent plays andperformances coming from Serbia, Austria and Bosnia and Herzegovina which mine layers of historical discourse dealingwith Young Bosnia, the assassination of the Austro-Hungarian Prince Ferdinand and the outbreak of the First World War. Inthe process it will engage in particular with Alberto Toscano’s compelling counter-history of fanaticism, exploring the criticalrole fanaticism played in forming modern politics and the liberal state, questioning the idea that liberalism and fanaticism areirrevocably opposed.Milija GluhovicUniversity of WarwickMilija Gluhovic is Associate Professor of Theatre andPerformance at the University of Warwick. His researchinterests include contemporary European theatreand performance, memory studies, and discourses ofEuropean identity, migrations and human rights. Hismonograph Performing European Memories: Trauma,Ethics, Politics and an edited volume titled Performingthe ‘New’ Europe: Identities, Feelings, and Politics inthe Eurovision Song Contest (with Karen Fricker) werepublished by Palgrave in 2013. He is currently workingwith Jisha Menon (Stanford) on a volume entitledRethinking the Secular: Performance, Religion, and thePublic Sphere, which explores the itineraries of “thesecular” within the modern world and considers theways “the secular” has translated into the theatre andperformance studies perspectives.m.gluhovic@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 201492

Feminism and Irony in Untitled Feminist Show (Young Jean Lee) and Big Hits(GETINTHEBACKOFTHEVAN)General PanelSarah GormanRoehampton University, LondonSarah Gorman is a Reader in Drama, Theatre &Performance Studies at Roehampton University,London. Her current research focuses on feministtheatre and performance and contemporary Europeanand North American experimental theatre. Her bookThe Theatre of Richard Maxwell and the New York CityPlayers was published by Routledge Research in 2011.She has published a wide range of articles and reviewsin publications such as Feminist Review, PerformanceResearch, Contemporary Theatre Review, New TheatreQuarterly. Commissioned articles have included workon Forced Entertainment, for Graham Saunders’ BritishTheatre Companies: From Fringe to Mainstream andNew Media for Holdsworth and Luckhursts’ A ConciseCompanion to British and Irish Drama.This paper will critically interrogate the use of irony in performances by Young Jean Lee (US – Untitled Feminist Show, 2012)and GETINTHEBACKOFTHEVAN (UK – Big Hits, 2013). Both Young Jean Lee and GETINTHEBACKOFTHEVAN make femaleidentifiedperformance but hold back from explicitly identifying as feminist theatre makers. Indeed, Young Jean Lee has saidthat she, “chafe[s] at the thought of writing an ‘identity’ play” (quoted in Shimakawa 2007: 92). In this paper I will argue thatboth companies explicitly raise questions about gender, feminism, comedy and representation but render their attitudetowards these subjects ambiguous by employing irony as a mechanism to problematize sincerity. I propose that the use ofirony in this work marks a desire to move away from the identity-driven performance work popular in the UK and US in the1980s and 1990s and to identify an alternative way of bringing gender issues to the fore without becoming association witha fixed ideological position. Claire Colebrook has warned of the “elitist” nature of irony because “to say something contraryto what is understood, relies on the possibility that those who are not enlightened or privy to the context will be excluded.”(Colebrook 2004: 19). Following Colebrook’s logic irony has the potential to stratify and divide audiences according to theirfacility for recognising the relevant signs. Given the complication of potential stratification of those who ‘get’ the joke andthose who don’t I investigate the use-value of irony as a tool for contemporary feminist artists and measure its potential forcreating scenarios of resistance rather than conservatism.Colebrook, Claire (2004) Irony (the New Critical Idiom) London: RoutledgeShimakawa, Karen (2007) “Young Jean Lee’s Ugly Feelings about Race and Gender: Stuplime Animation in Songs of theDragons Flying to Heaven” in Women and Performance, 17: 1, pp.89-102s.gorman@roehampton.ac.ukFIRT/IFTR World Congress, University of Warwick, 201493

Music in Theatre, Music as a Resistance to ‘Theatre’General Panel‘Theatre’ in India came with colonialism and is seen as a colonial product. Post-colonial modernity had to negotiate with itscolonial legacy. One major area of theatre which from the colonial to the post colonial moment within the theatre createdits moment of departures, or even resistance, was the music and use of songs and dance. The songs and dance styles wereimported from popular and traditional forms which went against the notion of the colonial modernity and within its ownperformance created stratified readings. The paper considers how theatre songs were re-adopted in the post-independentperiod for theatres which at one point tried to create a break with their past, focusing on the intervention in songs. The newrepertoire of a post-colonial theatre re-adopted music and songs, which incorporated the very hybrid traditions of musicand, through it, tried to create a resistance as well as an Indian identity. As case studies I would analyse the use of music anddance used in the theatre of the Indian People’s Theatre Association (1950s) and in the theatre of the Progressive Amateurmovement in Bengal (1960s and 1970s). These art forms circulated beyond their own circuit to move to the larger publicspaces which were reflecting a strong criticality of the new nation and the state.Subhra GoswamiRanjanee Inc.Subhra Goswami is a Science teacher in NYC PublicHigh Schools. She is the Founder and Artistic Directorof Ranjanee Inc, an Indian performing arts institute,focusing on song, dance and theatre, based in New YorkCity. Subhra received a degree in Music from Kolkata,India and has performed with the People’s Little TheatreGroup in India and international theatre festivals in NewYork.subhragosw@aol.comFIRT/IFTR World Congress, University of Warwick, 201494

“Google Translator!” Global English and the Hierarchies of Language in Rafael Spregelburd’sSPAMGeneral PanelI recently completed the English-language translation of Argentinean playwright-performer Rafael Spregelburd’s latest text,SPAM. The play’s modular structure, 31 days of Spam, includes three scenes that involve Google Translate (GT). In thispresentation, I discuss the original Buenos Aires production and its bilingual staging of these scenes as well as my ownapproach to their translation for an English-speaking audience. To do so, I pay particular attention to the larger contextof today’s Internet, especially GT’s operation by linguistic precedent, a practice that privileges English-to-other-languagetranslations and elides the human labour that produced the very texts GT scans to generate its translations. Both theSpanish original and the English translation –through different approaches to GT-- contribute to SPAM’s indictment of theproblematic but key role Google plays in contemporary language and cultural politics.Jean Graham-JonesThe City University of New York’s Graduate CenterJean Graham-Jones is a Professor at the City Universityof New York’s Graduate Center, where she currentlyserves as head of the Ph.D. Program in Theatre. Ascholar and translator of Argentine and Latin Americantheatre, her publications include Exorcising History:Argentine Theater under Dictatorship (2000), ReasonObscured: Nine Plays by Ricardo Monti (ed. and trans.,2004), BAiT: Buenos Aires in Translation (ed. and trans.,2008), Timbre 4: 2 Plays by Claudio Tolcachir (ed. andtrans., 2010), and Evita, Inevitably: Performing Argentina’sFemale Icons Before and After Eva Perón (forthcoming,2014). She is a former editor of Theatre Journal andcurrently serves as an elected member of IFTR’sExecutive Committee.jgraham-jones@gc.cuny.eduFIRT/IFTR World Congress, University of Warwick, 201495

The Place and Role of the Audience in Some Swedish theatres.General PanelMy paper deals with the place of the audience in various Stockholm theatres and a few others for reference: The RoyalDramatic Theatre; The City Theatre, a private commercial theatre and some independent theatre groups. I study where thetheatre building/site is situated, how the audience is received, where they are supposed to be at different times, how thebreaks are organised etc. I discuss the personal treatment of the audience, but also the possibilities and restrictions of thetheatre sites themselves. I also study the role of the spectators in some productions: where/how are they seated (standing)during the performance, and what is expected of them. Are they treated as individuals or a collective; is there any obviousinteraction, etc.Sara GranathSodertorns hogskola, StockholmSara Granath, assistant professor in Literature, Sodertornshogskola, Stockholm, Sweden; theatre critic at theSvenska Dagbladet (national daily newspaper) PhD intheatre studies, Stockholm university; special interest inperformance analysis and creative writing. Member ofthe Feminist Working Group.sara_g@bredband.netFIRT/IFTR World Congress, University of Warwick, 201496

‘“What ceremony else?”: Performing Power from Divine Right to the Age of Irony.’General PanelLawrence GreenUniversity of WarwickLawrence Green is an Associate Fellow in The Centre forthe Study of the Renaissance at Warwick University (UK)specialising in the English Literary Renaissance. Recentresearch has focused on the relationship between EarlyModern literature and the visual arts, polemical writing inthe reign of Queen Elizabeth I and Shakespeare’s historyplays in performance, this last arising from his PhD researchon Shakespeare’s Second Tetralogy at the ShakespeareInstitute (Birmingham University) in Stratford-upon-Avon.During this research he was given the Stephen JosephAward (1990-91) by the Society for Theatre Research.His last conference paper was on Thomas Churchyard,the sixteenth century soldier-poet for the Society forRenaissance Studies at Manchester University (2012). Hehas edited two Shakespeare plays (2003 & 2004) for theOUP//Nelson Thornes Shakespeare series and has editeda number of text sections for the new edition of JohnNichols’s The Progresses and Public Processions of QueenElizabeth I (London, 1788-1823) published (5 vols.) by OUP(2014). Details of these and other publications may beviewed at his Renaissance Centre web page:The theatre of royal pageantry may be represented as symbolising national unity, a visible image of the mystical marriage ofmonarch and the nation’s diverse social strata. Conversely, it may signify a grotesque reinforcement of social and culturalhierarchies, a vehicle of Establishment propaganda in which a people cooperates in its own subjugation: “Thus it has alwaysbeen; the people on the outside looking in” was the Socialist Party of Great Britain’s response to the coronation in 1953 ata time that celebrated The People’s Coronation. This paper will explore the staged representation of the panoply of powerin Shakespeare’s history plays. In Shakespeare’s own time public displays of pageantry provided the principal spectacle inthe lives of the citizens. Thus staged ceremonial could operate dramatically, illustrating regal authority, martial triumph orheroic decline in ways that spoke severally to the cognitive eye of both aristocrat and penny stinkard. It also functionedto shape a sense of nationhood whilst simultaneously probing social tensions in a society wrought with religious divisionsand experiencing unprecedented social flux. Down the centuries, in fact, the pageantic mode in the theatre has sought toreflect the national temper towards not only coronations but also moments of martial triumphalism – of 1945 no less than1588. Conversely, in a post-modern era of social instability, intellectual anxiety and moral relativism the iconography ofpageantry and ritual have provided a stable vocabulary to probe both monarchical and political ideologies whilst continuingto interrogate the ritual basis of the human condition. The apprehension generated by the abdication, Post-Falklandsambivalence, the war-weariness of Vietnam, the excesses that surrounded the death of The People’s Princess and the classwar between King Coal and ‘Queen’ Margaret have all been reflected in the language of pageantry, subtly tuned to addresstime and occasion.http://www2.warwick.ac.uk/fac/arts/ren/about_us/people/lawrencegreenL.C.Green.1@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 201497

Curated Panel: Strata of FacilitationGeneral PanelThis panel will explore the diverse roles and strata found in participatory performance, with a specific focus on the facilitatorin socially engaged theatre practice. Within the working approaches found in socially engaged theatre practices, the diverseroles of the participants and the facilitator, particularly relationships of agency and emotional labour have been explored(Preston 2013; White 2013).Bringing into question whether there are levels of participation, across which the roles of facilitators and different kindsof participants are distributed, the three panel members will approach these themes from different perspectives, Kat Lowreflecting on her investigation of the teaching of socially engaged practice, Gareth White elaborating on facilitation asan aesthetic practice, Selina Busby power relationships in facilitating creative work in the criminal justice system and SamHaddow discussing stratas of ‘ignorance’ in facilitation, initially critiquing the Rawlsian ‘veil of ignorance’ that facilitatorsoften draw upon in simulating a democratic environment.Sam HaddowRoyal Central School of Speech & DramaLecturer on the BA Drama, Applied Theatre andEducation at Central School of Speech and Drama,graduated with a PhD in Theatre and Historiographyfrom the University of Nottingham in 2013. Researchinterests include Apocalypse and End-Narratives,Protest and Disobedience (especially comedic),intersections between performance and historiography,contemporary political theatre. Forthcomingpublications include The Terror of End Narratives in RoryMullarkey’s “Cannibals” (CDDE); The Feminine Passivein Edward Bond’s “Saved” (“Bond’s Women”, PublisherTBC), Verbatim Theatre and Historiographic Theory (CSP).sam.haddow@cssd.ac.ukWe will begin by considering whether these roles are fixed. Is facilitation a matter of enabling roles and/or moving peoplebetween levels of engagement? By using the language of levels and strata, do we imply fixedness? Can individuals (bothparticipant and facilitator) inhabit multiple levels, and if so, what stresses does this create? We will examine the differentperceptions a facilitator may hold about their practice and ways of working. Namely, the layers of intention and how theyview their practice, which can in some instances hint at martyrdom and on other occasions are driven by a ‘quiet desperation’to make a meaningful change for participants.Talking from different perspectives, from teaching socially engaged practice to interviews with experiences practitioners, this panelwill address questions of:· Power· Hierarchies· Ownership· Commitment/intentionFIRT/IFTR World Congress, University of Warwick, 201498

Aspects of being a Theatre ConsultantGeneral PanelA Theatre Consultants is lead member of the teams which design new buildings, major conversions or modernisations ortechnical installations, be they of box office systems, seating, lighting or stage machinery. Our primary role is to use ourexperience to extend the vision and aspirations of client and design team and to maintain an overall picture of the coreobjectives throughout the project. In addition we add practical detail to ensure well-functioning stages, practical backstagefacilities, comfortable auditoria and adequate audience circulation areas to meet current expectations and future demands.The presentation will include illustrations of current examples of innovation in spaces for performance.http://charcoalblue.comPeter Ruthven HallCharcoalbluePeter Ruthven Hall provides consultancy in all aspects ofthe design of theatres specialising in auditorium design,theatre planning, feasibility and briefing studies, seatingsystem design, theatre sightlines and accessibility. Trainedas an architect at Bristol University and Oxford BrookesUniversity, he later spent 18 years as a successful set andcostume designer, working in theatre and opera beforeturning to theatre consultancy. He recently completed theMA in Theatre Consultancy at University of Warwick.Peter has a reputation as a skilful auditorium designercreating both new spaces and reimagining existing ones.Current projects include The Old Vic in London, theNational Theatre’s Dorfman Theatre and Centerstage inBaltimore. Completed projects include the refurbishedCrucible Theatre in Sheffield, Eden Court Theatres inInverness and a range of new theatres in the UK.He is recognised for his extensive contribution to theSociety of British Theatre Designers as well as for histhree books on British design. With other designersaround the world, he has assembled exhibitions and madepresentations at many conferences. He was instrumental inwinning the Golden Triga for Great Britain for the third timeat the International Prague Quadrennial in 2003.http://charcoalblue.com/index.php/people/consultants-team/peter-rh.htmlhttp://www.theatredesign.org.uk/designer-pages/peterruthvenhall/ruthvenh@gmail.comFIRT/IFTR World Congress, University of Warwick, 201499

Szenarien Buch of Václav Thám (Pszczyna 1805 – 1806): Critical Edition of the ManuscriptGeneral PanelMartin HanoušekCharles University, PragueThe paper treats two-year time period in the life of the Czech playwright, actor and translator Václav Thám (1765 – ca. 1816).From 1805 to 1806 he was employed as an actor, dramaturge and director in the castle´s theatre group of the Duke fromAnhalt-Köthen in the town of Pszczyna (not far from Katowice), situated on the Prussian part of Silesia, now belonging toPoland. It was one of many Thám´s artistic stops after he left his engagement in Vlastenské divadlo in Prague in 1799. The paperconcentrates on the project of critical edition of the manuscript, the first part of Thám´s Szenarien Buch, a book of scripts.Thám started writing this book after joining the castle´s theatre group in Pszczyna. These notes bring a unique testimonyabout the theatre stage practice at the beginning of 19 th century. Thám recorded not only the repertoire of the theatregroup in Pszczyna, but also described the ways how the repertoire for the realization on the stage was prepared. Thám wrotenotes for the scenic arrangement of the characters in performances, visual form of the scene, scenic metamorphosis orinformation about costumes and music. The work on the critical edition contains the transliteration of the manuscript fromthe old German script (kurrent) to Latin. Complexity of this material still offers a possibility to make comparisons betweenthe repertoire of the theatre group in Pszczyna and Thám´s Prague dramaturgy (repertoire, roles) in the years from 1789 to1799 when he was a member of the ensemble of Vlastenské divadlo.I was born on 19 th of January 1979. In the time period2007 – 2010 I studied the bachelor´s degree ofthe Theatre Studies on the Faculty of Arts, Masarykuniversity in Brno. I continued in Master´s degree ofTheatre Studies on the same Faculty and Universityand finished in June 2012. Since 2013 I am a student ofpostgradual program of Theatre Studies on Faculty ofArts, Charles University in Prague. Since 2012 I workin Art and Theatre Institut in Prague as an archivist andresearcher in the Cabinet for the research of the Czechtheatre.martin.hanousek@divadlo.czFIRT/IFTR World Congress, University of Warwick, 2014100

Acts of Memory: Methodological VariablesGeneral PanelPil HansenUniversity of TorontoDr. Pil Hansen is Assistant Professor at the Universityof Toronto teaching cognitive performance studies andmethodology, dramaturgy, and arts management. Hercurrent projects, Performance Generating Systems andthe SSHRC-funded Acts of Memory, examine layers ofmemory and perception in creative processes throughinterdisciplinary behavioral experiments and researchbasedpractice. She developed a compositional toolnamed “perceptual dramaturgy” and (with Dr. BruceBarton) a cross-disciplinary methodology for practicebasedresearch. Research appeared in Peripeti, TDR: TheDrama Review, Journal of Dramatic Theory and Criticism,Theatre Topics, Performance Research, KoreografiskJournal, and Canadian Theatre Review and: Space andComposition, RE:SEARCHING, At the Intersection BetweenArt and Research, and Developing Nation. She recentlyco-edited two issues of Canadian Theatre Review onMemory and on Dance and Movement Dramaturgy and iscurrently co-editing Dance Dramaturgy for Palgrave. Sheis a founding member of Vertical City Performance andworked as dramaturg and manager of Scandinavian andCanadian dance, devising, and new circus companies since2000. Current collaborators are Kaeja d’Dance, PublicRecordings, and Theatre Replacement.When co-proposing a model of “Research-Based-Practice” in a 2009 issue of TDR, I was acting on a need to move beyondtheoretical applications of cognitive science to performance research and take on the methodological challenge ofempirical application in order to earn a higher degree of precision and produce a different kind of knowledge from myinquiries into perception, memory, and dramaturgy. There was no shortage of practice-as-research taking inspiration fromthe sciences or scientists using artists as research subjects, but projects daring to cross the strata of art and science oninterdisciplinary terms were rare. Facing methodological incompatibility, I opted to set up two spaces of respectively artisticpractice/research and cognitive experimentation that were defined by different methodologies and intentions but workedwith the same subjects. Inquiries and results where channelled to a co-defined 3rd space of interdisciplinary exploration.The design was envisioned as a feed-back system allowing a research team to advance through exchange and collaborationwithout surrendering disciplinary specificity. A version of this model was realized in Acts of Memory (University of Toronto,2009-12), investigating the adaptation of performers’ autobiographical memories in dance and devising processes. Severalof Theatre Replacement and Public Recordings’ creation processes were observed and interpreted through cognitive theoryon memory, perception, and learning to induce hypotheses. They were then tested deductively in controlled behavioralexperiments, which revealed irreversible adaptation of autobiographical memory. The discovered dynamic of adaptationwas explored creatively in a 3rd Space, resulting in a new performance-generating system that continuously increased theeffort and skills of the performers. This paper will report on the methodological challenges and solutions of Acts of Memorywith a particular focus on the kind of precision that was earned, the aspects of complexity that were lost, and the kinds ofknowledge that thus were produced.p.hansen@utoronto.caFIRT/IFTR World Congress, University of Warwick, 2014101

The Status of the Score in First Empire MelodramaGeneral PanelKatherine HambridgeUniversity of WarwickKatherine Hambridge is a post-doctoral ResearchFellow on the interdisciplinary, AHRC-funded project‘French Theatre of the Napoleonic Era’ at the Universityof Warwick. She completed her PhD, entitled ‘ThePerformance of History: Music, Politics and Identityin Berlin, 1800-1815’, in 2013, at the University ofCambridge under Dr Benjamin Walton: she is currentlypreparing her PhD for publication as a series ofarticles. In March, she convened a conference at King’sCollege London on the circulation of melodrama inearly nineteenth-century Europe: an edited volume‘The Melodramatic Moment, 1790-1820’ is now inpreparation with the University of Chicago Press.Melodrama, the most popular form of theatre under Napoleon, has long been characterised as a theatrical genre notable forthe importance of music – without the extant musical scores being subject to substantial scholarly attention. Dealing withsuch scores, however, immediately raises a number of questions about their ontological status. To what extent was musicconsidered by theatres and audiences a part of the “work”? Unlike English melodrama, scores were rarely printed for homeconsumption, and when melodramas left Paris for the provincial theatres, local composers would often write new music.Would there have been a hierarchy between the “original” music at the premiere, and subsequent scores? What might weconclude from the relatively scarce critical commentary on melodramatic music in newspaper reviews? This paper is anattempt to historicise the ontological status of the musical score in First Empire melodrama. The relation between “score”and “work” has long been problematized and theorised within musicology, and a comparison with opera can be productivelyapplied here, particularly given Pixérécourt’s claim that he invented melodrama by taking the songs out of opéra comique.Considering what might have been distinctive about the theoretical and practical role of music in melodrama, as opposedto other musico-theatrical genres, reveals the interrelation of questions of high and low art and publishing and performingpractices in determining the status of music in theatre. Combining source studies and close-readings of musical scoreswith historical approaches to production and reception, I explore how music functioned and was received as a stratum ofmelodrama: in performance, in discourse, and in its textual residues. Specific attention will be given to the scores for someof the most popular melodramas of this period, including Pixérécourt’s La Forteresse, La femme à deux maris, La Citerne andRobinson Crusoe, and Caigniez’s Le Jugement de Salomone.K.Hambridge@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014102

Self-Immolation in Tibet as Political Protest: Performance as a Terminal ActGeneral PanelDavid HammerbeckNazarbayev UniversitySince 2009, over 120 Tibetan monks and nuns have committed suicide in Tibetan populated areas of Sichuan and Xinjiangprovinces of China, and in the Tibetan Autonomous Region (TAR). These terminal acts have been performed as bothstatements against policies enacted in these regions by the Chinese government, as well against as the continued presenceof the Chinese government, army, and police forces in these same areas since the Chinese invasion, which commenced in1949. In this paper I focus on performance aspects of this highly troubling wave of self-immolations in the political, religiousand social context of the ongoing political oppression of Tibetans in the TAR, Sichuan and Xinjiang. Many complex anddisturbing questions arise out of exploring the performance-related traits of these acts of protest. What does it mean whensuicide is used as performance, or when the body is used as the site for such a performance, given the finality of the act? Howdoes media coverage influence these acts or performances? Have Tibetan monks and nuns been influenced by similar actsof protest from recent history? These acts performed by Tibetan nuns, monks and laypeople perform embodied expressionsof humane values, and the denial of such values to the Tibetan people by the Chinese government. I will also examine theramifications of such acts with the Tibetan diaspora community, how different factions within these same societies view theirown people burning themselves in the name of freedom and self-determination.Dr. Hammerbeck has earned a PhD from the UCLA Schoolof Theatre, Film and Television, as well as a Master’s Degreein Theatre Arts from the University of Wisconsin-Madisonand a BA in Theatre Arts from UC Santa Cruz, as well as adiploma in Acting from the Drama Studio, London. He haspreviously taught at Loyola Marymount University, DePaulUniversity, California State University-Pomona and BallState University, and is currently an Assistant Professorat Nazarbayev University. He has published articles foracademic journals, including The Journal of DramaticCriticism and Theory, Theatre Journal, The Asian Journal ofEnglish Studies and The Journal of European Studies, amongothers. He will have an article on Orientalism, 18 th - and 19 th -century French Theatre, and the representation of Indiaappearing this year in The Journal of Dramatic Theory andCriticism, and is currently working on a manuscript whichengages with the same subject material. He has presentedpapers at national and international theatre and literatureconferences, including ATHE and IFTR from Los Angelesand New York to Oxford, Barcelona, Pune, Amsterdam,Toronto, and now, Warwick. His research interests includeFrench Theatre and Orientalism, contemporary SouthAsian Performance, Literature and Cinema, and issuesconcerning the ongoing political repression of Tibet.David.hammerbeck@nu.edu.kzFIRT/IFTR World Congress, University of Warwick, 2014103

A Madness or Religion? Revisiting a Danced Modernism Through Local ArchivesGeneral PanelLena HammergrenStockholm UniversityThis paper presents a series of historiographical perspectives useful for analysing the dancing taking place in Sweden at theturn of the century 1800s-1900s. It is argued that a re-evaluation of the years that internationally have been characterizedas the period of the modern dance pioneers benefits from investigating local source material from a country existing in themargins of the Western geography in which the danced modernism has traditionally been located. Some of the productiveviewpoints in this analysis include the replacement of artistic originality and aesthetic value by looking at dance as a kindof news event; the acknowledgement of a stratified layering of different dance genres and practices, of both high andpopular cultures; and close readings of the local reception of international guest performances. The question whether dancecould be seen as “a madness or religion” was expressed in a review of Isadora Duncan’s guest performance in Stockholmin 1906. The critic discusses her aesthetic expression in relation to that of the Swedish folk dances and to the craze ofthe time the Spanish dancing, and finds the two latter more pleasing. Hence, the review exemplifies the juxtaposition ofdifferent genres as well as between theatrical and participatory dancing that is typical of this time and place. In addition,treating archival sources within a framework of semiotic history permits a mapping of how sources translate social forms andvalues concerning particular genres (Nye, 1983). This method helps us to interpret the importance also of those artists whohistorians have neglected because of a lack of assumed avant-gardes aesthetics.Lena Hammergren is Professor of Theatre Studies at theDepartment for Musicology and Performance Studies,Stockholm University and Professor of Dance Studiesat DOCH, part of Stockholm University of the Arts. Herresearch focus is on dance history and cultural theory.Her recent publications in English include “The Powerof Classification” in Worlding Dance (ed. S.L. Foster,2009); “Dance and Democracy” in Dance and theFormation of Norden: Emergences and Struggles (ed. K.Vedel, 2011) and “Dancing African American Jazz in theNordic Region”, in Nordic Dance Spaces: Practicing andImagining a Region (eds. K. Vedel and P. Hoppu, 2014).Between 2007 and 2013 she was member of the Boardof Directors, the Society for Dance History Scholars(SDHS).lena.hammergren@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014104

The High Road, the Low Road and the “Many Roads to Truth”: Richard Schechner, Peter Brookand the Royal Shakespeare Company’s 1966 Production of USGeneral PanelJames HardingUniversity of WarwickJames Harding is Professor of Theatre and PerformanceStudies at the University of Warwick. He is the authorof The Ghosts of the Avant-Garde(s) (Michigan, 2012),Cutting Performances: Collage Events, Feminist Artists andthe American Avant-Garde (Michigan, 2010) and Adornoand a Writing of the Ruins (SUNY, 1997). His other booksinclude The Rise of Performance Studies: RethinkingRichard Schechner’s Broad Spectrum (Palgrave, 2011),which he co-edited with Cindy Rosenthal.In the second, now famous, editorial that he penned in1963 as the newly minted Editor of the Tulane Drama Review, RichardSchechner threw a gauntlet before his readers telling them bluntly: “You choose Broadway and I’ll choose an experimentaltheatre. There are many roads to truth. But neither of us can choose both Broadway and an experimental theatre. That’s acontradiction in intention.”[Tulane Drama Review 7.4 (1963): 21.] While one can certainly debate whether this early provocationfrom Schechner was based upon a false dichotomy, the broad rejection of commercial theatre implicit in the choice thatSchechner posited between Broadway and experimental theatre established one of the most enduring hierarchies in theatrescholarship on the 1960s: one that subordinates mainstream commercial theatre to the presumably more innovative, artisticand political orientation of experimental theatre. As ingrained as this hierarchy might be among theatre historians, there is asubstantial amount of evidence from the history of theatrical practice in the 1960s to challenge its underlying assumptions.Though there are many examples from which to choose, I would suggest that there are few better examples to illustrate thispoint than that provided by the work of Peter Brook, both with regard to his own writings about theatre in the 1960s and withregard to his work as a theatre practitioner. In my paper, I propose then to begin with a contrast between the visions for thetheatre laid out by Schechner and by Brook, and then to use this contrast as a frame for a study of the anti-war piece entitledUS that Brook devised with the Royal Shakespeare Company and that premiered at the Aldwych Theatre in London in 1966.J.M.Harding@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014105

“Opening Doors” to New Audiences: Exploring the Theory and Practice of ‘Hospitality’ in Two UKbasedRegional Arts OrganisationsGeneral PanelNatilie HartUniversity of WarwickDr Natalie Hart is a Research Fellow at the University ofWarwick. She is currently working on the two-year WarwickCommission on the Future of Cultural Value examiningwhat kinds of investment we need to ensure the future ofculture and how we can work to ensure that all forms ofculture are inclusive and accessible for all. Natalie recentlycompleted an AHRC funded doctoral study at Universityof Warwick in collaboration with the Birmingham RepertoryTheatre (The REP) which focused on the youth theatregroups (The Young REP) fostered by the theatre. Throughan examination of multiculturalism, internationalismand spatial dynamics the three case studies exploredthe impact of ethnicity and social class on participation.The research also reflected on the effectiveness of thetheatre’s strategies for engaging with young people.Alongside more traditional research methods she usesdrama, art and photography. Natalie is an experienceddrama facilitator and has designed and delivered projectsfor the Warwick Arts Centre, The REP and The RSC. DrHart’s research areas are applied performance, communityarts, cultural value and drama & theatre education. Hertheoretical interests include space/place, community,identity, multiculturalism, ethnicity, class, accessibility andparticipation.Most subsidised arts organisations state that they aim to be open, accessible and representative of the communities in whichthey are located. This paper considers the role of the regional arts organisation as a potential site of “hospitality” for its local,multicultural and diverse micro-publics. It refers to the findings of two inter-linked but distinct AHRC funded CollaborativeDoctoral research projects (completed in 2013) that investigated two internationally renowned regional arts organisations,Warwick Arts Centre (WAC) and The Birmingham Repertory Theatre (The REP), in the West Midlands, UK. This paper opensup questions about the strategies used to welcome visitors across their thresholds. Both of these qualitative case studiesapplied a range of theatre methods in order to examine existing modes of community engagement as well as to createnew, participatory spaces for irregular and non-attenders. Drawing on Derrida’s notion of “conditional” and “unconditional”hospitality, this paper considers the political and economic conditions that often impose limits on the nature of the host’swelcome and the stranger/guest visitation (Derrida and Dufourmantelle, 2000). The paper reflects on the conference themeof stratification by focusing on three core strands. Firstly, it considers the role of ethnicity and class in creating hierarchies ofengagement with these venues. Secondly, it questions the ways arts venues stratify audiences into different types of ‘visitors’and, thirdly, it considers the differentiated ways such venues act as ‘host’ to their multiple users. Through illustrative practicalexamples from the research conducted with young people this paper will reflect on how hospitality is experienced by a rangeof arts users and the problematics of the host-guest relationship.Warwick Commission on the Future of Cultural Value:http://www2.warwick.ac.uk/research/warwickcommission/futureculture/Birmingham Repertory Theatre:http://www.birmingham-rep.co.uk/n.hart@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014106

The National Theatre as PatronGeneral PanelIn many places around the globe, contemporary political, economic and social conditions are dominated by neoliberalcapitalism and “austerity” economics. In the UK, from where I write, these conditions protect arts organizations deemed“too big to fail” while they simultaneously risk condemning others as “too small to succeed”. Fundamentally at stake in suchstratified economic circumstances is the health of a diverse and dynamic arts ecology. In these contemporary conditions ofgross precarity, this presentation explores and evaluates the ways that the major UK arts organization the National Theatrehelps to support and develop smaller arts organizations, projects and artists. It examines the work of the NT Studio butother projects and structures of support as well to consider their effectiveness in supporting and enriching smaller artsorganizations, their potential resilience and ways of disseminating their success. It also considers their potential fragility.It aims to identify ways that large, well-funded arts organizations such as the National can nurture the diversity of our artsecology in challenging times.Jen HarvieQueen Mary, University of LondonJen Harvie is Professor of Contemporary Theatre andPerformance at Queen Mary University of London,UK. She has published widely on the cultural politics ofcontemporary theatre, performance and art, exploringthe relationships between creative and cultural practicesand the conditions of globalization, urban change andeconomic and social neoliberalism. She focuses onhow contemporary social and economic conditions canjeopardize social justice and how cultural practices canpotentially protect and reinforce it. She is author of FairPlay – Art, Performance and Neoliberalism (2013), Theatre &the City (2009) and Staging the UK (2005) and co-authorof The Routledge Companion to Theatre and Performance(2006, second revised, expanded and illustratededition 2014). She is co-editor of Making ContemporaryTheatre: International Rehearsal Processes (2010), twoissues of Contemporary Theatre Review (on “Theatre andGlobalisation”, 2006; and “The Cultural Politics of London2012”, 2013) and the Palgrave Macmillan series Theatre&. She is currently working with Lois Weaver on a bookon Weaver’s performance practices (forthcoming in theseries Intellect Live published by Intellect and the Live ArtDevelopment Agency, 2015).j.harvie@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014107

Rethinking Theatre History: The Concept of Theatricality by Rudolf MünzGeneral PanelMaria HeinzerUniversity of BerneMaria-Elisabeth Heinzer has studied Theater Studies,German Linguistics and German Literature at theUniversities of Berne (Switzerland) and Leipzig(Germany). She is a Ph.D. student and research assistantat the Institute of Theatre Studies in Berne. Since 2010she has been working on her Ph.D. Project, Theatrein the Gap. Scenic Sequences in the Early Middle Ages.Maria-Elisabeth Heinzer is member of the GraduateSchool at the Institute of Advanced Study in theHumanities and the Social Sciences at the University ofBerne.In the late 1980s, the theatre historian Rudolf Münz established a new model for research in theatre history. Criticizingtraditional theatre historiography, which is confined to the history of drama and institutional theatre, Münz proposed adifferent way of exploring theatre history by introducing a concept of theatricality as a system of different layers. This paperposes the central question, what impact the concept of theatricality has on research in theatre history. I am going to arguethat Münz not only broadened the view on theatre and theatricality but also implied a new concept of theatre history. In afirst step I will have a closer look at the concept of theatricality of Münz, who established a new way of exploring theatre inits social framework. By defining theatricality as a relationship between different occurrences of theatre and different waysof handling it, he considered theatre not only as an institution or a type of fine art but as a vivid and indispensable componentof every social community. In a second step I will explore the changes made by introducing the concept of theatricality intotheatre historiography. With the help of recent works about theatre history, I will show how the concept of theatricalityenriches theatre historiographical research. In a last step I will examine my proposition that Münz is establishing not onlya new way of seeing theatre in its social context, but implying a new concept of theatre history as well. In talking abouttheatre and stratification, this paper argues that theatre history according to Münz is not to be seen as a linear narrative, butas an arrangement of various layers of theatrical structures. This shift opens a new perspective for theatre historians andchallenges our notions of theatre history.maheinzer@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014108

Ibsen in Practice: Politics and Class in Thomas Ostermeier’s Hedda GablerGeneral PanelFrode HellandUniversity of OsloIn this paper I have two aims: First, through an analysis of the quantitative data collected in the repertoire database IbsenStageat the Centre for Ibsen Studies, University of Oslo, I will show that Thomas Ostermeier is by far the most successful andinfluential director of Ibsen’s plays today. Since the premier of Nora, oder ein Puppenheim in 2002 he has directed six Ibsenperformances,four of them at the Schaubühne am Lehniner Platz in Berlin. The data on these performances show not onlyhow immensely successful they have been at the Schaubühne, but also their extraordinary international reach. When plottedonto a world map, the picture should prove that Ostermeier’s Ibsen productions constitute a truly international theatricalsuccess. A crude materialist view on this success would try to explain it in terms of funding and economic strength. However,since there are many theatres in Germany and elsewhere that are well funded, this cannot be a sufficient explanation. Hencemy second aim will be to try to delve deeper into one of these performances, his version of Hedda Gabler from 2005 (stillon the repertoire in Berlin, and still touring internationally). Through an analysis of this performance I will try to show that itsstrengths lies in its critical exploration of the workings of a contemporary capitalist class-society. For the most part faithfulto Ibsen’s text, Ostermeier has finely tuned and adjusted the performance in order to critically address problems and needswithin a specific Western middle class environment, ranging from the fear of social descent, ideological blindness, violence,a “corrosion of character” (Sennett) to the lack of agency.Frode Helland is Head of Department at the Centre forIbsen Studies at the University of Oslo. His publicationsinclude Ibsen in Practice, (forthcoming, 2014) MethuenÅ lese drama. Innføring i teori og analyse, (co-authoredwith Lisbeth P. Wærp) Scandinavian University Press,Oslo 2005 and 2011 (revised ed.) Voldens blomster?Henrik Wergelands Blomsterstykke i estetikkhistorisklys, Scandinavian University Press, Oslo 2003 andMelankoliens spill. En studie i Henrik Ibsens siste dramaer,Scandinavian University Press, Oslo 2000. Some ofhis many articles include (only English) “Petrified time :Ibsen’s response to modernity, with special emphasis onLittle Eyolf”, Ibsen studies, Routledge, 3:2 (2003): 135-144, and “Empire and Culture in Ibsen. Some Notes onthe Dangers and Ambiguities of Interculturalism”, IbsenStudies 9.2 (2009): 136-159.frode.helland@ibsen.uio.noFIRT/IFTR World Congress, University of Warwick, 2014109

Shakespeare North: Theatre Architecture as a Key to Urban RegenerationGeneral PanelNicholas HelmIndependent ScholarDr. Nicholas Helm is a practicing architect and principalof his own practice since 1990. Graduating from theArchitectural Association, he pursued a programmeof post qualification academic research studies atUCL. Collaborating with director Paul Jepson, havinginvestigated ideal theatre environments with director DavidThacker, he promoted a programme of live experimentalwork at the interface of theatre and architecture. RoseBruford College of Theatre & Performance sponsored anexperimental piece devised by Nick and Paul in 2009, MindSweeper out of which The Four Dee Theatre Company wasthen formed to promote avant-garde theatre informedby new architectural thinking. Helm Architecture has withEnglish Heritage, HLF and the Arts Council. In 2003 thepractice won a Shin-Kenchiku (New- Architecture) Awardfor a glass theatre in Japan, ‘Transparent Theatre’. Examplesof their work include: Shakespeare North, a project for atheatre and post graduate University College, and The RoseRevealed visitor centre: a performance - education centreand museum on the archaeological site of the BanksideRose Playhouse.Our paper is a critical case study of a theatre project in the North West of England that will be realised in 2016. Prescotnear Liverpool was the site of a purpose-built indoor playhouse in the early 1590s. It is likely that Lord Derby’s Men andLord Strange’s Men (Shakespeare’s company) played there, taking the plays performed for their aristocratic patron on hisneighbouring estate to the townsfolk. To commemorate this lost northern theatre the project will replicate Inigo Jones’sJacobean cockpit theatre, on the site of an actual cockpit next to the playhouse site. Our paper explores this inversion ofsocial hierarchies and explores how the playhouse design and the design of surrounding spaces as a metaphorical Forestof Arden will enable a re-examination of performance within historic conditions whilst offering the potential for newsite-specific work. The theatre of one historical moment is placed in relation to current theatrical developments and theperformance circumstances of the 1590’s layered onto those of 2014. The Shakespeare North Playhouse as an educationalcampus and receiving house will attract students and visitors to breathe new commercial life into the locality so the project isalso a driver for urban regeneration. The town sits in the borough of Knowsley, the third most socially deprived local authorityin England and Wales. The area suffers acute economic inactivity and high levels of unemployment. 43% of residents have noqualifications, 10% higher than the national average. The number of school leavers going on to higher education is well belowaverage. Our paper will assess the economic impact of this project using comparable case studies from three similar newUK theatre complexes and present data which considers the significant educational, cultural and social impact of the build.nh@helmarchitecture.comFIRT/IFTR World Congress, University of Warwick, 2014110

Curating (in) Crisis: Europe and the TheatreGeneral PanelLonneke van HeugtenUniversity of AmsterdamAfter obtaining a Master degree in Culture and ScienceStudies at Maastricht University in 2006 Lonneke vanHeugten worked in the areas of festival and theatreproduction, director’s assistance and marketing. In2008 her interest in dramaturgy and research led herto the Master in International Performance Research(MAIPR) at the Universities of Amsterdam and Warwick.Subsequently, her thesis - ‘Theatre as a Vortex ofBehaviour in Dutch Multicultural Society’ - was awardedthe national Theatre Thesis Prize of the Theatre InstituteNetherlands and has been published with TectumVerlag. Currently she is working on her PhD-project atthe Amsterdam School for Cultural Analysis, focusingon the EU as a curator in the European theatre world.She also teaches at Theatre Studies of the University ofAmsterdam.The dominant narrative for Europe has in recent years been one of a seemingly interminable crisis with not only financial,but also political, social and cultural complications. Culture, then, is in a precarious position; while its diversity is blamedfor problems in society, policy makers propose culture as solution to issues of social cohesion. This expediency of culture(Yúdice) in public discourse and cultural policy affects the arts. The European Culture Programme 2007-2013 endorsesthe UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005) which sees culturaldiversity as “a mainspring for sustainable development for communities, peoples and nations.” Meanwhile, the constantlychanging context of the crisis calls into question the assumptions and rationales for the EU “encouraging culture.” Likewise,for the theatre, national cuts in government spending propel a rethinking of modes of operation for survival. Combined,EU support and the societal imperative “cooperate or perish” impel towards the internationalisation of the theatre worldin Europe. The question is whether this is a critical “internationalism” as in Reinelt’s sense of the pursuit to interconnect, todevelop cosmopolitan perspectives on the local and to understand the ever-shifting global context. The paper draws on thenew network House on Fire that brings together theatres and festivals from ten European countries, to examine ways inwhich cultural discourses and theatre practices are presented, co-produced and generated in the EU context. How do theprocesses of curation of such networks - which involve negotiations of Actors beyond the theatre - problematise, translateand perform the concepts of “diversity”, “community” and “sustainability” prevalent in EU cultural policy?l.vanheugten@uva.nlFIRT/IFTR World Congress, University of Warwick, 2014111

‘The Abstract and Brief Chronicles of the Time’: Redefining the ‘History Play’ through Twenty-FirstCentury DramaGeneral PanelLaura HigginsOxford Brookes UniversityDr Laura Higgins is Lecturer in Modern andContemporary Drama at Oxford Brookes University andVisiting Lecturer in Shakespeare: Text and Performanceat Arcadia University, London. She has also lecturedin Drama and Theatre at Royal Holloway University ofLondon and Kingston University. Her research interestsinclude theatre history and historiography; Shakespearein contemporary production; and performance spaces.Her research and teaching are underpinned by aninterest in the continual dialogue between the theatricalpast and contemporary theatre practice and her workdraws on theories from cultural geography to articulatethe complex interactions between actor, text and placein performance. She has published on Shakespeare incontemporary production and is currently working on amonograph which explores the staging and significanceof ghosts in drama from Shakespeare to present day.This paper explores how the deployment of historical events by contemporary British playwrights figures in a reappraisal ofthe ‘history play’ and necessitates a fresh conceptualization of political theatre. I take as my starting point two contrastingplays based on recent events: Alecky Blythe’s London Road (2011), developed from her interviews with people in Ipswichfollowing the murder of five prostitutes in 2006; and Simon Stephens’ Pornography (2007), which situates its fracturednarratives in the week when Britain’s success in winning the Olympic bid was followed by the 7/7 bombings. Blythe’s modeof verbatim theatre and commitment to the authentic reproduction of her participants’ voices were challenged throughLondon Road on which she collaborated with composer Adam Cork to produce a new piece of musical theatre. Stephens,although his monologues suggest similarities with verbatim theatre, stresses that his characters are fictitious and, evenwhen constructing violent figures such as the suicide bomber in Pornography, is ‘interested in the possibility of redemption’and writes ‘from a position of forgiveness’ (Guardian 4 August 2008). Despite their differences, both plays participate inthe ongoing dialogue around the relations between truth and fiction which permeate theatre’s engagement with history;they constitute a provocative springboard from which to raise timely questions about whose voices are layered into whatbecomes part of the chronicles of the time. Through an analysis of their production and reception and a discussion of theplaywrights’ creative processes and the discourses that underpin their respective approaches, this paper will consider theethical and political implications of the representation of these voices and ask what, beyond the events that triggered them,the plays document.lhiggins@brookes.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014112

‘The Theatre,’ Archaeological Stratification, and Shakespeare’s PlayhousesGeneral PanelThis year Shakespeare’s Globe in London opened the Sam Wanamaker indoor playhouse, lighting up 10,000 candles (overthe course of the season), in celebration of Shakespeare’s 450th birthday. The indoor playhouse is the compliment to theopen-air Globe and in recent years the archaeological reports on the Globe, Rose, and Hope have been published along withpreliminary reports on the Theatre and Curtain, with other investigations in the planning stages. This talk will examine someof the ways in which our thinking about the Shakespearean theatres has changed since the opening of Shakespeare’s Globeseventeen years ago.Franklin J. HildyUniversity of MarylandProfessor Hildy is Director of Graduate Studies for theSchool of Theatre, Dance and Performance Studies atthe University of Maryland. In 2010 he was elected tothe College of Fellows of the American Theatre. He ispart of the Architecture Research Group and the GlobeCouncil of Advisors for the Trusties of Shakespeare’sGlobe in London and is Director of The ShakespeareGlobe Center (USA)-Research Archive. He is an electedmember of the Association of Historic Theatres in Europe(PERSPECTIVE), the founding convener for the TheatreArchitecture Working Group, current co-convener of theDigital Humanities in Theatre Research Working Group forIFTR, and co-convener of the Shakespeare PerformanceResearch Group for the American Society for TheatreResearch (ASTR). Dr Hildy organized and ran the 2005IFTR conference, was co-organizer of a 3-year InternationalSymposium on Theatre Historiography at National TaiwanUniversity and is an elected member of the faculty of theCenter for East Asian Studies. He is co-author, with OscarG. Brockett, of five editions of History of the Theatre, authorof Shakespeare at the Maddermarket, editor of New Issues inthe Reconstruction of Shakespeare’s Theatre.General Editor of theatre-finder.orghildy@umd.eduFIRT/IFTR World Congress, University of Warwick, 2014113

Feeling Out of Place: Affect and the Postfeminist Spectator in The Boys of Foley StreetGeneral PanelShonagh HillSt Patrick’s College, DrumcondraShonagh Hill is currently teaching in St Patrick’sCollege, Drumcondra, Dublin. Her principle researchinterests lie in issues of gender, embodiment andperformance in Irish theatre. She completed herdoctoral thesis at Queen’s University Belfast, titled“Embodied Mythmaking: Reperforming Myths ofFemininity in the Work of Twentieth and Twenty-First Century Irish Women Playwrights”. Shonagh haspublished articles in Theatre Research International andÉtudes Irlandaises, as well as contributing to the editedcollection Staging Thought: Essays on Irish Theatre,Scholarship and Practice (Bern: Peter Lang, 2012). Shehas articles forthcoming (late 2014) on the playwrightMarie Jones and on the Irish actress Olwen Fouéré.My paper will discuss the affective experience of the site-specific performance The Boys of Foley Street (Dublin TheatreFestival, 2012) as a means of engaging with the contradictions of neoliberalism. I argue that the site-specific experiencevacillates between contradictory affects of isolation and connection, to explore paradoxes of amnesia and memory,reassurance and discomfort, emotional distance and vulnerability. The Boys of Foley Street returns to the 1970s to exposethose who had, and still have, no prospects, thus countering the Celtic Tiger myth of financial gain and progress. I addresssocial and economic disparity specifically in terms of women’s lives in order to explore the widening gap between thepostfeminist middle-classes who benefitted from the Celtic Tiger and those whose experience of precarity has endured.Postfeminist discourses have emerged in tandem with neoliberalism and in order to counter the violence done to feminism,its undoing (McRobbie), it is vital to expose the contradictions which neoliberalism has opened up in feminism: how thegap between women who benefited from the Celtic Tiger and the forgotten urban-working classes is both exposed andobscured in The Boys of Foley Street. Within the context of neoliberalism and postfeminism, site-specific performance runsthe risk of situating the audience in a reassuring position of power, as tourist and voyeur. However, in The Boys of Foley Streetthe affect of discomfort offers the possibility of forging feminist affiliations; affiliations invigorated by an understandingof the contradictions of neoliberalism and aware of feminism’s precarity. Drawing on my own affective experience of theperformance, I argue that key moments in The Boys of Foley Street offer the possibility of creating a temporary affectivefeminist community to counter neo-liberal violence and moral paralysis.shonagh_hill@yahoo.co.ukFIRT/IFTR World Congress, University of Warwick, 2014114

The Three Layers of Kabuki Activating TraditionGeneral PanelChieko HiranoiHosei UniversityProfessor in the Faculty of Humanity and Environment,at Hosei University in Japan, teaching comparativetheatre and regional theatre in Japan. Researchinterests include British theatre, Japanese theatre,regional theatre, theatre festivals and dramatic worksapplied to education. Her most recent publicationrelated to the presentation are “A Shameless PriestTravelling Overseas-The Entertainment of Hokaibo,or Sumidagawa Gonichi no Omokage-”(2013), “OganoKabuki Today”(2006) and “A Pedagogical Perspectiveon the Edo-haku Kabuki Performance Nebiki noKadomatsu”(2005).Kabuki has basically been categorized into three layers of production, Oo-kabuki, Ko-shibai and Ji-shibai. Oo-kabuki haslong been the mainstream production of professional kabuki since the mid-seventeenth century in big cities. NowadaysOo-kabuki is produced by the Shochiku Company with well-known actors from distinguished kabuki families. The currentprosperity in modern Oo-kabuki is supported by rich theatre-goers who love big events such as shumei, or name-takingceremonies, kokeraotoshi, or theatre opening ceremonies and performances overseas. Ko-shibai was also professional,but originally actors who could not stay in Oo-kabuki theatres came to join Ko-shibai troupes to continue to play kabuki.Ko-shibai actors often toured provinces to perform and to instruct amateur Ji-shibai actors as a way of making a living.However, Ko-shibai theatres also offered Oo-kabuki actors opportunities for experimental performance or trainingduring the golden age of Ko-hibai in Tokyo, while they offered less well-known Ko-shibai actors opportunities for playingbig roles. Unfortunately, the layer of Ko-shibai vanished with the last Ko-shibai troupe, Katabami-za in the early 1960s,affected by diversity of entertainment caused by the economic development after the Second World War.Ji-shibai is local amateur kabuki performed mainly in rural farming villages. Basically, Ji-shibai was supposed to beclosely related to annual village festivals praying for good harvests and it was originally performed by farmers duringagricultural off-seasons. Nowadays, Ji-shibai has become a kind of regional attraction supported by local governmentsand used as advertising for sightseeing and cultural policies. The recent trend of citizen participation in arts has alsoencouraged Ji-shibai performances. The presenter will discuss how each of the three layers of kabuki has made a contributionin activating the kabuki culture in modern Japan, separately and interactively.chieko@hosei.ac.jpFIRT/IFTR World Congress, University of Warwick, 2014115

Architectural Paint Research and its Use to Inform Treatment SpecificationsGeneral PanelArchitectural decorative finishes form a significant part of the building archaeology, which through careful and targetedresearch can be unlocked to gain vital information on the history and development of the building and used to informpotential conservation treatment options. The paper will explore the methodology of Architectural Paint research and howit has been used to guide programmes of conservation, restoration and reconstruction. In particular, the paper will explorehow recognised standards of conservation such as the Burra and Venice Charters can be applied to the results of paintresearch and the different outcomes that each project dictates. This will be followed by a discussion of how paint researchnot only impacts on the proposed conservation of historic paint films, but also on the conservation of the paint support andbuilding envelope, such as plaster stabilisation, environmental monitoring and repair strategies. Three case studies will bepresented for the purposes of this paper: Stockport Plaza, a sumptuous art deco theatre designed by W. Thornley of Wigan;Leeds Grand Theatre, built in 1877-8 and designed by George Corson, and The Leeds City Varieties Music Hall, c1865 byGeorge Smith, the results of which have allowed a conservation strategy to be developed.Elizabeth HirstIndependent ScholarElizabeth Hirst established Hirst Conservation in 1986 aftermany years of training in medieval wall painting and stoneconservation with the eminent wall paintings conservatorsEve and Professor Robert Baker. The company has grown tobe a multi-disciplined organisation possessing a wide rangeof skills and technical expertise, working in the UK andoverseas on projects ranging from the Roman period tothe 20th century. Elizabeth is an accredited conservator asrecognised by the Institute of Conservation, as well as a fullmember of the Institute of Historic Building Conservationand a fellow of the Royal Society of Arts. Today, she spendsmuch of her time working as an architectural conservationconsultant and is involved in a broad range of projectsthat combine practical, preventative conservation andthe development of strategic conservation plans andspecifications. Elizabeth has worked on the editorialboard of the Journal of Architectural Conservation since1995, becoming consultant editor in 2005, and was thejoint editor for the book Windows: History, Repair andConservation, published in 2007. In 2014 she became aLiveryman of the Worshipful Company of Masons.liz@hirst-conservation.comFIRT/IFTR World Congress, University of Warwick, 2014116

Not So Great a Globe - But True Unto ItselfGeneral PanelThe Globe playhouse reconstruction has been in Southwark now for 18 years. When the design was formalised forconstruction in 1993 there was evidence from the Rose and the Globe archaeology but firm conclusions were difficult todraw. The academic work, which had been based on the apparent accuracy of the Hollar Long View engraving printed in1647, held considerable sway. Underlying the 1993 decisions were an expectation that the 99ft. (30m) diameter Globe, asthe most ‘important’ of the playhouses, would be larger than the 74ft. (22.5m) diameter indicated by the Rose excavation.Michael HoldenUniversity of WarwickMichael Holden is a postgraduate doctoral student at theUniversity of Warwick. He was the Theatre Consultantto the Globe from 1971 to 1998 and the Chief Executivefollowing Sam Wanamaker’s death in 1993 through theconstruction period of the Globe and its opening seasons.As a theatre consultant he has enjoyed a 40 year careerwith nearly 100 theatres designed though, inevitably, ratherfewer have been built. He is chairman of the Society ofTheatre Consultants.His unpublished MA thesis reviewed the evidence of thephysical size and form of the public playhouse 1567–1666.This paper draws on and amplifies that work in respectto the Globe. His current research is on the creation ofthe commercial business of theatre in the playhouses andindoor theatres of the period 1567–1666. It looks at theinitial formation of theatre practises in this period in whichcommercial practices were developed which we recognisein theatre today. It will explore also the development ofthe private shareholding company at this time and showthe close parallels between the practice of theatre and theburgeoning trading companies of the period.Experience from performances at the present Globe indicates that the reconstruction is too large and the more recentarchaeology of the Theatre and Curtain playhouses suggest a far greater similarity in size to that of the Rose. The excavationof the Hope may suggest that the Paris Garden Estate Survey of 1627 showing the Swan playhouse (on which the Hope wasto be modelled) may be more accurate than it has generally been thought. The survey indicates that the Swan was about66ft. (20m) in diameter yet that theatre was reported as being the ‘largest and most distinguished’ in London (Arend vanBuchell reporting Johannes de Witt about 1596).The paper proposes a suggested interpretation of the Globe as a rather smaller diameter building than the currentreconstruction and in doing so explains an hitherto uncertain outlying foundation disclosed in the Globe excavations.This interpretation also suggests that the second Globe was skewed relative to the first to accommodate the stair towers. Indoing so the interpretation also suggests an explanation for the puzzling elements of foundations within the ring of galleriesas the front edges of the stage in the two phases of the Globe.M.D.Holden@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014117

Historical Mourning and the Threat of the Whore: Lynn Hershman Leeson is Here, There, andEverywhereGeneral PanelLauren Barri HolsteinQueen Mary, University of LondonLauren Barri Holstein is currently completing her PhDat Queen Mary, University of London. Her researchfocuses on the agency of the displayed female bodyin contemporary feminism and performance, with aparticular interest in the politicizing potential of “ugly”affects, such as humiliation, boredom, and disgust.Holstein has a number of upcoming publications,including an article in the Performance Researchspecial edition, “On Affirmation”, edited by CatherineSilverstone and Fintan Walsh, entitled “Splat!: Death,Mess, Failure and Blue-Balling”, and a chapter in anupcoming book, On Repetition: Writing, Performance,Art, edited by Eirini Kartsaki and Gareth Farmer andpublished by Intellect. Holstein, also known as “TheFamous,” is a performance maker of large-scale, stagebased,disastrous feminist spectacles. Her most recentwork, Splat! premiered at The Barbican in April 2013 asthe opening for SPILL Festival of Performance and wasfeatured on BBC Radio 4’s popular show, Women’s Hour.Holstein’s participation the this conference has beensupported by the Glynne Wickham Scholarship.In The Culture of Redemption, Bersani discusses the problematic temptation to read art as a recuperative repetition of the“valueless experience” of “real life”. Past experience and its flaws are mourned, and then, with the divine band-aid of art,rewritten and redeemed. In The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I, the only book devoted entirelyto Hershman’s work, Fox develops a plotline of Hershman and her practice that works through the familiar trajectory of thevictimized woman, who, in the end, finds “redemption” through her art. I argue, however, that this impositional narrative,in which Hershman is cast as a victim, is Fox’s attempt at redeeming Hershman– for being an identity whore. The politicalpotential in Hershman’s work, I argue, lies not in her ability to “redeem” herself from victimization through her art, but in theconstant re-framing of the question of her subjectivity, and female subjectivity more broadly. This potential, I argue, is alsowhat is threatening about her work. Hershman’s un-know-ability, her noncommittal and unreliable portrayal of her “self” –her “identity whoreness”– is precisely what Fox attempts to redeem. Like Bersani’s claims about the flaws of “real life”, I arguethat there is a historical mourning for a phantasmatic experience– here, of “purity”– that defines the cultural threat of “thewhore”. By designating her as a victim, the whore is redeemed. She is relieved of blame, guilt, or responsibility, simultaneouslystripped of her agency, and, most importantly, pinned down. Fox’s narrative is an attempt to stabilize Hershman in her gameof identity hide-and-seek, as well as to stabilize the indeterminate female subjectivity her work proposes. I aim to show thatwhile the temptation to redeem Hershman as a victim is due to her infelidity, her infelidity is precisely the political potencyher work.l.holstein@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014118

A Burning Theatre ArchiveGeneral PanelRikard HooglandStockholm UniversityOn June 30, 1925, the theatre building Svenska Teatern was burning down in the middle of Stockholm. It was one of the finalsteps in the history of Albert Ranft’s large private imperium of theatres. One year later it was under bankruptcy. A lot ofarchival material was melting down during the fire, other was rescued or stored in different locations. Ranft has been seenas the Swedish theatre king, being owner of 10 theatres and also a couple of touring companies. He had the possibility toproduce production over a stratification of genres and cultural values. He was important in building playwrights’, actors’ anddirectors’ careers. The loss of archival material open up questions if there are other traces that could be followed, otherarchives or sources that should be investigated? (D. Taylor 2003) Ranft has not been seen as a holder of cultural capital,more as a business entrepreneur who was more eager to produce entertainment than art. This has led to neglecting histheatre company’s importance in the Swedish stage history, which also has had an impact on the European theatre history.I will in my paper point to some of the tracks that could be followed for renewing and rethinking the source material of thetheatre history. Actors, directors and playwrights as Harriet Bosse, Lars Hanson, Tora Teje, Anders de Wahl, August Lindberg,Henrik Ibsen, and August Strindberg are used as case studies. The main topic concerns how to find new sources for theresearch, in archives that previously have not been considered as valid for Theatre research and to reread, question, andestablish new contexts for the findings that has shaped the perspective on the theatre history. (T Postlewait 2009)Rikard Hoogland is PhD and associate professorin performance studies at Stockholm University.He is also head of the department for Musicologyand Performance Studies. Main research topics areEuropean Theatre History, Contemporary EuropeanTheatre and Cultural Policy. His dissertation The playabout theatre policy was defended in 2005. In 2008he published a study over pedagogues at two NationalTheatre Schools in Sweden. He has published articlesin Nordic Journal of Cultural Policy and Perepti and inbooks published by Cambridge Scholars, CambridgeUniversity Press, Rodopi, Georg Olms Verlag. Between2008 and 2010 Hoogland was editor-in-chief for thepeer reviewed journal Nordic Theatre Studies. He is alsomember of the working group Theatrical event.rikard.hoogland@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014119

Winds of Change? Race and Shakespeare in 1960s BritainGeneral PanelTony HowardUniversity of WarwickTony Howard is Professor of English at WarwickUniversity. He is the author of Women as Hamlet:Performance as Interpretation in Theatre, Film and Fiction(CUP), and is lead investigator of the AHRC-funded‘Multicultural Shakespeare’ project, an historical enquiryinto British Black and Asian practitioners’ contributionto the interpretation and popularisation of Shakespeare.Tony Howard translates Polish drama and poetry withBarbara Bogoczek and edited Reading the Apocalypse inBed: Selected Plays of Tadeusz Rozewicz (Marian Boyars).His own plays include “I Have Done the State SomeService”: Robeson, Othello and the FBI, and A Short SharpShock! with Howard Brenton. Plays and translations havebeen performed at the Royal Court, the Barbican, theSouth Bank, Theatre Royal, E.15, Battersea Arts Centreand Riverside Studios. He has curated exhibitionson Paul Robeson and on British Black and AsianShakespeare.Paul Robeson’s performance of Othello at Stratford in 1959 marked the close of his revolutionary career as an actor-activistemploying Shakespeare to comment on the history and politics of race. This production encouraged performers, directorsand theatre managers in the UK to reconsider the place of non-white performers on the Shakespearean stage. Within months,the Guyanese actor-singer (and barrister) Cy Grant appeared on schools television in scenes from Othello opposite a youngJudi Dench; he then played at Bristol Old Vic and in Europe in a role created for him, the Chorus in a Comedy of Errorsrelocated to a Caribbean island. Next year the RSC cast the Pakistani actor Zia Mohyeddin as Romeo.In Autumn 1962 theTrinidadian playwright Errol John joined the Old Vic company for The Merchant of Venice; but months later his groundbreakingOthello there was dismissed by one critic as an ‘immigrant spade’. More performances and controversies followed throughthe decade, reflecting Britain’s changing demographics and a determination in some quarters to open the Shakespeareanstage to a wider, multi-racial, range of talents - from the UK, the USA, the West Indies, and Apartheid South Africa. Thispaper, based on archive research and interviews, explores the impact of Robeson’s last Othello, the internal politics of thatproduction, and the decision-making processes which opened up the possibility that the modern Shakespearean stage mightrespond to the changing realities of race at home and abroad. As an analysis of achievements and frustrations, it pointstowards the situation in classical British theatre today.http://www2.warwick.ac.uk/fac/arts/english/research/currentprojects/multiculturalshakespeare/A.Howard@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014120

Nationalism and Stereotypes: Towards the Popularization of the Chilean Theatre.General PanelMaría Gabriela HuidobroUniversidad Andres Bello, ChileMaría Gabriela Huidobro is Director of Research ofthe Faculty of Humanities and Education, UniversidadAndres Bello, Chile. She is Phd. on History, by thePontificia Universidad Católica de Chile. Her workis part of her role as co-researcher on the projectFondecyt 1140339, Chile, entiteled: “De cholo, cuicos yrotos: el teatro como tribuna de discursos y arquetiposen tiempos de la Guerra del Pacífico” (“About cholos,cuicos and rotos: the theatre as platform of speechesand archetypes in times of the Pacific’s war”).Until the 19th Century the social elite in Chile, as in most of Latin America, gathered together in theaters. The art of dramawas a space where civic and moral education took place as well. Nevertheless, the war that Chile faced against Peru andBolivia between 1879 and 1883, produced the need to generate national collective feelings. This changed the traditionalscheme of the Chilean drama and originated a new format of play centred on real characters and circumstances of themoment in order to highlight the values of the Chilean nation, satirising and denigrating the enemies. In this way, the localtheatre and dramatic production took part in the warlike process as an ideal space to promote a patriotic and nationalistspeech, based on the construction of common stereotypes, specially the one of the Chilean popular figure and that of theridiculed Peruvian and Bolivian leaders. Maybe for the first time, the world of the Chilean people was visualised on the stage,represented by characters outstanding for their courage and commitment. They were not portrayed as extraordinary heroesbut as persons distinguished by their “possible virtues”, to allow an easy identification between them and the audience.The favourable reception of these dramatic works at that time meant the positioning of an alternative variety of theatricaloptions, transforming the Chilean drama in a popular way to transmit a simple, close and identifiable speech for the masses.As a cultural phenomenon, Chilean drama during the war had the merit of approaching the dramatic genre to urban popularsectors. From then the theatres became a legitimate space where to canalise speeches associated with contingent problemsof the Chilean society. The propose of this paper is to analyse this phenomenon, that opened since then the Chilean theatresfor new social groups.mhuidobro@unab.clFIRT/IFTR World Congress, University of Warwick, 2014121

Performance as a Gesture of Resistance in Laila Soliman’s No Time for ArtGeneral PanelNesreen HusseinMiddlesex UniversityNesreen Hussein is an Egyptian art and performancepractitioner. She is a Lecturer in Contemporary TheatreTheory and Practice at Middlesex University. She holdsa BFA in Scenography and Interior Architecture fromthe Faculty of Fine Arts, Helwan University in Cairo andreceived both her MA and PhD degrees in Drama andTheatre from Royal Holloway, University of London.Nesreen’s interdisciplinary research and teaching reflecther background in visual arts and their intersectionwith theatre and performance practices. She workedinternationally as an independent artist with establishedpractitioners and theatre companies. Her current researchexplores the “performativity” of acts of resistance inrelation to issues of agency, identity and belonging. Shehas published articles related to her ongoing research andcontributed to the edited collection Performance and theGlobal City, eds. D.J. Hopkins and Kim Solga (Palgrave 2013)with the chapter entitled “Cairo: My City, My Revolution”. In2011, Nesreen was awarded the Helsinki Essay Prize and theNew Scholars’ Prize from the International Federation forTheatre Research (IFTR).Protesters and activists during the Arab Revolutions forcefully attempt to forge an alternative discourse through acts ofresistance charged with creative force, utilizing a diversity of mediums to intervene in the stratified spaces of oppression.These “gestures” of protest shift between the symbolic and the “real”, generating affective power and effective change.The notion of “gesture” here is understood as an action where the impulse, means and ends of production are inseparable.As Giorgio Agamben argues, “it is only as a gesture in which potential and action, nature and artifice, contingency andnecessity, become indiscernible” (137). It’s an ongoing act that facilitates, or points towards, a contemporary crisis and thefutures beyond it without “neither production nor enactment, but undertaking and supporting” (140). No Time for Art is aseries of “documentary” and verbatim performances directed by Egyptian artist Laila Soliman. The series aims to confront itsaudience with the realities of living under military junta in Egypt, drawing focus to the ongoing violence against civilians. Theseries is described as being “bare to the bone”, offering “raw artistic reactions that aim at preventing history to be rewrittenby those who are rewriting it at the moment”. The series in its confrontational stance questions the adequacy of art during atime of crisis, since “these times don’t need art, or do they?” (No Time for Art). Touching on Agamben’s notion of “gesture”,this paper looks at the dissolving boundary between art production and political activism and the inseparability between thepolitical act and the creative process. In Soliman’s work, I argue, the performance gesture does not necessarily assume aseparation from the ongoing battles between civilians and state authority, but it extends them, repositioning them within theambiguous frame of performance, sustaining a revolution’s open-endedness.http://www.mdx.ac.uk/aboutus/staffdirectory/nesreen-hussein.aspxn.hussein@mdx.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014122

Black Box/White Space: Art, Exhibition and the Performative Layering of HistoryGeneral PanelYvette HutchisonUniversity of WarwickYvette Hutchison is associate professor in theDepartment of Theatre & Performance Studies atthe University of Warwick, UK. Her research focuseson Anglophone African theatre and history, and hownarratives of memory inform efficacy and advocacy,both for the individual and the society in whichthey find themselves. She is also interested in howintercultural performance practice is challenged byongoing postcolonial issues. She is associate editor ofthe South African Theatre Journal and the African Theatreseries, and has co-edited books with Kole Omotosoand Eckhard Breitinger. She has recently completeda Leverhulme project entitled Performing Memory:Theatricalising identity in contemporary South Africa,resulting in the monograph South African Performanceand Archives of Memory (Manchester Universitypress, 2013). Her next project will be considering theaesthetics contemporary South African women areusing to address contemporary issues of gender andconflict.An exploration of how contemporary visual and performance artists are consciously appropriating gallery or exhibition spacesto re-visit, review and re-contextualise cultural artefacts and their relationship to history and the present world. This paperwill compare Chokri Chikha’s (University Ghent) The Truth Commission: The Human Zoo (http://www.actionzoohumain.be/en),which revisits the Philippino and Senegalese villages that comprised the 1913 World Expo in Ghent, and the interactive soundinstallation Between Words and Images, curated by visual artist Ernestine White (Michaelis School of Art, UCT) and performedby South African oral poet Toni Stuart (http://tonistuart.tumblr.com/) at Rust en Vreugd museum, IZIKO (Cape Town, 2013),which dramatises the imagined experiences of an unknown Hottentot woman who was drawn and described by the late18 th century French explorer, François Le Vaillant. There will also be some reference to South African Brett Bailey’s Exhibits(http://www.thirdworldbunfight.co.za/), which revisit African colonial history in relation to contemporary Germany/ Austria,France/ Belgium and Britain, respectively. I will consider what the artists’ ‘recalling’ of particular experiences in the format ofperformative installations in gallery spaces reveal about the stratification of history, and the layers that underpin dominantnarratives, as well as considering the potential impact of their particular aesthetic choices in making the silenced colonised‘Other’ audible or visible in the contemporary, increasingly globalised and mediatised world.http://www.actionzoohumain.be/enhttp://www.thirdworldbunfight.co.za/http://tonistuart.tumblr.com/Y.A.Hutchison@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014123

Stratification of Asians in Cold War America: Foreigner to Family in Leonard Spigelgass’ A Majorityof OneGeneral PanelSeunghyun HwangThe Ohio State UniversitySeunghyun Hwang is majoring in Theatre at Ohio StateUniversity and will obtain his Ph.D. on August 10, 2014.His dissertation investigates “Remaking the AmericanFamily: Asian Americans on Broadway during the ColdWar Era.” His research interests are Asian Americantheatre, Asian theatre, post-colonial theory, and culturaladaptation. He has a M.A. in English Literature (thesis:“Problems of Delivering Truth in Hamlet”) and a M.A.in Theatre (thesis: “Exploding Stereotypes Inside andOut: The Theatre of Young Jean Lee and Issues ofGender and Racial Identity”). Hwang has presentedat various conferences including ASTR (2008 and2009), ATHE (2013), III International Conference onAmerican Theatre and Drama (2009), and MATC (2013and 2014). His article has been selected for a bookproject, Asian American Performance Critical Reader, coeditedby Esther Kim Lee, Ron West, and Yutian Wong.Another of his articles is in the process of “Revisionand Resubmission” to the Journal of American Studies,Cambridge University Press.In 1959, three years after President Dwight D. Eisenhower initiated a People-to-People Policy establishing cultural exchangeprogram, Leonard Spigelgass’ Cold War play opened on Broadway focusing on a relationship between an American citizenand a Japanese person. Considered a success with 556 performances, a Theatre World Award, and Tony Awards, A Majorityof One transported the audience into a New York City living room fifteen years after the end of World War II and deliveredthe humorous story of two people thrown together in an exchange of cultures with seriousness sprinkled amongst theantics of a matronly Jewish widow. The play presented the Cold War audience with a semi-realistic experience featuringauthentic Japanese dialogue and staging. In this research, I analyze the stratification of Asians in Cold War America fromforeigner to neighbor and even family member to American citizen through the examination of A Majority of One. In thehistorical context of the Cold War, the U.S. government highlighted itself as a racially tolerant nation in response to the anti-American propaganda of communist nations which criticized its racism. This play portrays the pivotal moment of transitionfrom unassimilable foreigners to loveable friends worthy of joining the American family as Asian Americans, thus shifting thestratification of the word American prior to the Civil Right Acts of 1964. This research focuses on stratified codes embeddedin the U.S. governmental People-to-People Policy to control the depth of societal inclusion of Asians through the analysisof three separate spaces: two culture specific homes on two islands (Long and Honshu) and one governmental residence.The portrayal of these spaces and how the characters shift through them reveals the layers of acceptance through whichminorities must progress to be assimilable and considered American.loveins1019@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014124

With or Without the System? The Stanislavski System in Stanislavski’s Work with the Moscow ArtsTheatre’s Female ActorsGeneral PanelMaria IgnatievaThe Ohio State UniversityDr. Maria Ignatieva is an Associate Professor at theOhio State University, Department of Theatre. Aspecialist in Russian theatre history and contemporarytheatre, Ignatieva has presented papers at variousconferences in Finland, Australia, Germany, Poland,Great Britain, Canada, and Spain. Ignatieva has over 40essays and articles to her name in English and Russiantheatre journals and magazines, such as Theatre HistoryStudies, Slavic and East European Performances,West European Performances, Theatre Life (Russia),Stanislavsky (Russia). Her book Stanislavsky andFemale Actors: Women in Stanislavsky’s Life and Art waspublished in 2008 by the University Press of America.Her recent publications include chapters in suchanthologies as, The Flight of the dead Bird: Chekhov’sThe Seagull and Williams’s The Notebook of Trigorin,”in “Adapting Chekhov: The Text and Its Mutations,”Routledge, 2012, Stanislavsky as Amateur: The AlekseyevCircle and the Society of Art and Literature, in TheRoutledge Stanislavsky Companion, October 2013; andRussian Women Stage Directors, in “International WomenStage Directors,” University of Illinois Press, October2013.One of the important goals of stratification of 20th century theatre history and practices is the de-mythologizing of existingmyths, one of which is the three-part myth MAT—Stanislavsky—the Stanislavsky System. A few facts should be taken intoconsideration: the Moscow Art Theatre is most famous for the first 7 years of its artistic life (not the following 116); thefounder-actors who performed in the US and set acting standards for American actors were not trained under the System;the System itself went through several stages of development, and the first one (circa 1910) significantly differs from the lasttwo (circa 1930). Since the 90s, theatre professionals from Russia have taught the System in the US, successfully promotingunder the brand Stanislavsky System their personal interpretations of it. Has the so-called System become a general termfor evoking creativity and successfully teaching acting skills? In order to answer some of these questions, we need to havea flashback: How did the System influence the training of actors during Stanislavsky’s life? In my presentation, I would liketo talk about four female actors and their training: Maria Lilina, who embraced work on the System at all the stages of itsdevelopment throughout 40 years (however, when Lilina taught it herself, she used the approaches of the System circa1910); Olga Knipper, who did not accept the System and whose acting was influenced by it the least; Olga Gzovskaya, an actorfrom the Maly Theatre, who tried to be re-borne as an MAT actor with the help of the System but failed; and Irina Rozanova,who rejected studying the System, but demonstrated the best practical results of it during rehearsals with Stanislavsky.ignatieva.1@osu.eduFIRT/IFTR World Congress, University of Warwick, 2014125

Amuse Bouche: Recipes for PerformanceGeneral PanelKathleen IrwinUniversity of ReginaKathleen Irwin (Doctor of Arts) is a scenographer, writerand educator (Head of Theatre Department, University ofRegina, Canada) whose practical and theoretical researchfocuses on site-specific, community-based practice andalternative performative spaces including found spaceand the internet. As co-artistic Director of KnowhereProductions Inc., she produces large-scale, site-specificperformances. As co-founder of ArtsAction Inc., she hasadvocated for the redevelopment of urban space forcultural re-use. She presents at international conferencesand has given workshops in Helsinki, Belgrade, Tallinn,and Utrecht, Melbourne, Cardiff and Rome. Her researchis published in Canadian and international journals anddisseminated through documentaries and web-basedarchives. She is Canadian Education Commissioner forOISTAT (International Organization for Theatre Research)and Scholarly Awards Co-ordinator for the CanadianAssociation for Theatre Research. Works include Sighting /Citing / Sighting (Co. Ed., University of Regina Press, 2009),The Ambit of Performativity (University of Art and DesignHelsinki Press, 2007) and chapters in many anthologies.In the hierarchy of staged production, scenography (frequently women’s work) has often been considered merely decorativeand “in service.” The presentation redresses this attenuation by [re]considering the intersection of scenography and foodas a primary, radical, gendered, and embodied performative practice. Here we consider the table as a space of expandedscenography and how the putting of meals on it is, simultaneously, a sensory and aesthetic performance, memory play, andpolitical act crossing spatial / temporal / gender borders. The research develops a transhistory including the present-future,where technology is fundamentally implicated in social interaction, performance and adequate global food delivery, and thepast, where self-starvation, force-feeding and binge eating point to circumstances that mark[ed] our vexed relationship withfood. Reflecting the specificities of our discrete practices, collaborators serve up a variety of performative and designedoutcomes offered as delicious amuse-bouches, tasty mini-performances and theoretical gestures, real and virtual bites/bytes, illustrating what can be done with food, imagination and the mobile devises at hand. Reiterating earlier collaborations,via a project website, , we illustrate our processes and decisions regarding how andwhat to archive. Our reasons are partly circumstantial, and partly ideological. Circumstantial in that most of us have mobiledevices such as an iPhone. Ideological in that we want to inhabit the internet using the means most readily available toinhabitants of the 21st century. Social media is therefore central to this ‘inhabitation’, with mobile devices being an importantaccess point. The resulting recipes are a living document of our investigations. The website is a platform for our ongoingconversations into the connections between food, gender, and technology – a map, a document, a cookbook for futuremeals and an invitation to join us at the table.http://rachelhann.com/foodprojectFIRT/IFTR World Congress, University of Warwick, 2014126

Debate Over the Outside Narrator: How Japanese Understood the Difference between Opera andKabuki at the Turn of the 20th CenturyGeneral PanelYuki ItohWaseda UniversityYuki Itoh is an adjunct researcher at the Institutefor Research in Opera and Music Theatre, WasedaUniversity, and also works as a part-time lecturerat several universities in Tokyo. Having completedthe doctoral coursework in the field of comparativeliterature and translation studies at the University ofTokyo, Komaba, she is now writing her dissertationon the reception of opera in Japan in the early 20thcentury, mainly focusing on how opera libretti in versewere translated into non-accentual Japanese, and howthe new eclectic styles of musical theatre graduallyemerged under Western influences.After Japan abandoned its closed-door policy (1639–1854), even its traditional theatre community faced pressure towesternize. Government officials, inspired by seeing opera during their inspection tour of the U.S. and Europe, recognizedthe need to establish a “national” music and/or play to be performed on diplomatic occasions and urged musicians andtheatre practitioners to “improve” their respective genres. It led the scholars and practitioners of Japanese traditional musicaltheatre, including noh and kabuki, to study opera and other genres of Western theatre from comparative perspectives. Oneof the differences between Western and Japanese drama, they soon noticed, was in the narrative styles of the scripts: whilemodern Western drama was basically composed with conversations between characters, scripts of noh and kabuki containeda significant amount of narrative lines that were typically sung from outside of the performance area and that describedthe landscapes, background situations and, characters’ actions and inner thoughts. Gradually, two opinions arose: somesuggested creating a new theatre form without the outsiders’ narrative, and others insisted on preserving the narration as adistinct characteristic of Japanese drama. In this paper, we will take a brief look at some of the new scenarios written at thebeginning of the 20th century, focusing on narrative voices from outside of the scene. With some rare exceptions, most ofthese pieces still employed outside narratives, suggesting the difficulty of getting out of the tradition. Given that most criticsand amateur audiences still regarded these plays as something new and influenced by Western opera, we will also examinethe public understanding of opera at that time.For more information, visit her website:http://researchmap.jp/itoh_yuki/boccaccio1915@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014127

Space and the Sacred: The Scenography of Attending the HolyGeneral PanelTal ItzhakiAcademy of Performing Arts, Tel AvivThe biblical account of the death of Nadav and Avihu, the two eldest sons of Aaron the High Priest (Leviticus 10:1-2), maybe read as revealing various facets of tragic flaw in attending holiness: a sanction on overstepping the level of intimacy inapproaching the holy beyond the boundaries of aesthetic distance; a perspective on donning an appropriate costume whenfacing the sacred; the hubris of two uninitiated, unmarried Icaruses, childlessly consumed by fire for offering divinity an“alien fire,” a shocking stage effect manifesting the extremity of retribution for ignoring the decorum assigned by Deity forrevealing its presence to human agents; and then – a post catastrophic silence, a kind of Hegelian compromise characterizedby void expunging the memory of sin. It is with the theatrical variations and permutations of “alien fire” that this paper deals.It will not survey definitions of the holy; rather, it will speak to the scenographic expression of theatrical events searchingthe right space for seeking the sacred or the sublime. It rethinks Virilio’s dictum that “The speed of light does not merelytransform the world. It becomes the world. Globalization is the speed of light,” juxtaposing it with Brook’s concept of “holytheatre”; and attempts an understanding of the scenography of holiness in reborn Judaism devoid of any theatrical tradition,struggling with the visual components of the non-visible to realize and produce, within a Godless space, a scenographicimage and symbolic architecture of the sacred precariously haunted by the menacing speed of “alien fire.”Tal Itzhaki is the director of the Academy of PerformingArts, Tel Aviv. She graduated from the College of ArtTeachers and the Department of Theatre arts of TelAviv University, where she is completing her PhD ontheatre design. She taught at Tel Aviv University andSapir Academic College, and created and headed theTheatre Design program at the University of Haifa. Shewas Visiting Professor of Theatre for three years atColumbia University, New York, where she co-authoredand designed dramatic collages such as Neighbors andXandra. She designed sets, costumes and puppets forover 180 shows in major theatres, dance companies, andtheatre schools. Among others, she designed productionsof Shakespeare, Sophocles, Euripides, Aristophanes, Ibsen,Lorca, Brecht, O’Casey, Miller, Williams, Pinter, Simon,Sondheim, Sheppard, Kroetz, Churchill, Fornes, Daniels,Harvey, Levin, as well as Yael Feiler’s A Woman from theEarth (Best Design Award) and Kanafani’s Men in the Sun.She has translated plays into Hebrew, was general secretaryof the Israeli Association of Stage Designers, designed andcurated exhibitions, such as the Israeli exhibitions of StageDesign at the Prague Quadrienalle since 1991; refereedinternational competitions, lectured and conductedworkshops worldwide.tali.itzhaki@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014128

Key Players. Schools and their Role within the Swiss Theatre System.General PanelTristan Damian JäggiUniversity of BerneTristan Jäggi (born March 16 1982) studied TheatreStudies, Theology, Philosophy and Sociology at theUniversity of Berne, Switzerland. During his yearsof study, which is from 2003 to 2010, he continuedto work as a choirmaster and was also involved innumerous theatre and marketing projects. At themoment he is finishing his doctoral thesis about thesituation of theatre in upper secondary schools inSwitzerland.Since the Middle Ages, educational institutions like monastery schools and grammar schools have been playing a decisiverole in facilitating theatre to the European society. By performing plays for the local public, they created some of the mostimportant theatre venues of their time. Yet the relevance of schools to the theatre is not merely historical. School theatrerelatedactivities still provide immensely to the shape of regional theatre-landscapes. Nowadays, it is mostly schools thatimpart practical and theoretical theatre knowledge to young people of all ranks. Take for example mandatory field tripsto the theatre or guest performances at school, think of optional theatre classes and theatre workshops and consider thereading of dramas within the regular curriculum - schools appear as pivotal breading grounds for theatre-goers and theatremakersof the future. Yet theatre-related activities in schools are normally not confined to students only, but extend in oneway or another also to parents, relatives, drama teachers, schoolfellows, cultural institutions and administrative bodies. In mypresentation, I would like to shed light on this interlocking by taking the example of upper secondary schools in Switzerland.Having taken the first comprehensive inventory of the contemporary situation of theatre in Swiss higher educationalinstitutions, I shall point out how school theatre-activities protrude into the society and how theatre-related institutionsinteract with schools vice versa. By tracing the different stakeholders of actual theatre-related activities in Swiss uppersecondary schools, my presentation aims not only to encourage further research on the bearing of educational institutionsupon the shape of a national theatre-system. It also seeks to stimulate discussions about the importance of school theatreactivities in general.tristan.jaeggi@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014129

Unified Movement, Unified MindsGeneral PanelIn the nineteenth century, a gymnastics craze swept from Western Europe eastwards, from Germany through North Koreaand China. This paper examines one of the most fascinating incarnations of mass gymnastics, one that reveals unexpectedstratifications in the nationalist activity: the Slety (“flocking of birds”) in Prague. This paper traces how these unifyingexercises--mass events that, by 1960, involved 750,000 gymnasts and over 2,000,000 spectators--built on the attractivepower of moving together in time. The allure of unified movement—and the aim of capturing a unified ideal though this—drew the people together, demonstrating a political effectiveness all too obvious in other realms of modern politics.Kimberly JannaroneUniversity of California, Santa CruzKimberly Jannarone is Professor of Theater Arts, DigitalArts and New Media, and History of Consciousnessat UC Santa Cruz, where she holds the Gary D. LickerMemorial Chair. She received her MFA and DFA fromthe Yale School of Drama. Jannarone is the authorof Artaud and His Doubles, winner of the HonorableMention for the Joe Callaway Prize for best book indrama. She has published in journals including TheatreJournal, French Forum, Modernism/Modernity, TDR, andthe Chinese journal Theater Arts. She won the GeraldKahan Scholar’s Prize and Honorable Mention forthe Oscar Brockett Essay Prize for essays on Artaud.Forthcoming books include Mass Performance, History,and the Invention of Tradition and the edited volumeVanguard Performance Beyond Left and Right. She alsodirects, dramaturgs, and translates experimental drama,including works by Beckett, Fornes, Churchill, Stein,Pinter, Shakespeare, and original works. In 2012-13, sheproduced and directed the multi-media, internationalGynt Project in Santa Cruz, California.kmj@ucsc.eduFIRT/IFTR World Congress, University of Warwick, 2014130

Stratification and the City: Belgrade ItinerariesGeneral PanelThis paper explores stratification and the city, looking at the synchronic and diachronic layering of Belgrade. The essaysearches for a spatial synecdoche in the present-day Belgrade—a single place, a detail, that stands for the wider urbanarea—as a device to decode personal and political dimensions of the city. The point of departure is Supermarket—a smartconceptual space in the heart of Belgrade—that embodies some of the city’s aspirations, contradictions and codes ofbelonging. It rebrands the city’s imaginaries in a paradoxical mixture of bourgeois cosmopolitanism, exclusivity, and utopianperformativity. Understood as a gestic space in Brechtian sense, Supermarket reveals both the gist and the attitude ofBelgrade’s genius loci.Silvija JestrovicUniversity of WarwickSilvija Jestrovic is Associate Professor at Universityof Warwick. She is the author of Performance, Space,Utopia: Cities of War, Cities of Exile (Palgrave, 2012)and Theatre of Estrangement: Theory, Practice, Ideology(University of Toronto Press, 2006). She also co-edited,with Yana Meerzon, the collection Performance, Exile,‘America’.s.jestrovic@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014131

Women Playwrights in the Transition and Change of the Modern BreakthroughThe Case of the Swedish Playwright Alfhild AgrellGeneral PanelBirgitta JohanssonGothenburg UniversityPh.D. Birgitta Johansson is a Senior Lecturer at theDepartment of Literature, History of Ideas and Religionat Gothenburg University, Sweden. She is currentlyworking on the research project “Emotion and liberation –sentimental and melodramatic elements in women’s sociorealisticplays of the modern breakthrough”. The methodof the research is based on finding new ways of readingand interpreting womens’ drama compared to canonicalinterpretations of plays from the Modern Breakthrough, bytaking the women’s positions in the field of theatre and theconventions of theatrical productions into consideration.She also takes part in the research project Turning Pointsand Continuity: The Changing Roles of Performance in Society1880-1925, funded by the Swedish Research Council(VR). In this project she studies the conditions of Nordicwomen playwrights in Swedish theatre 1890 - 1910. Herdoctoral thesis Befrielsen är nära: Feminism och teaterpraktiki Margareta Garpes and Suzanne Ostens 1970-talsteater(Liberation is at hand: Feminism and Theatrical Practicein Margareta Garpe’s and Suzanne Osten’s Theatre of the1970’s, (2006) deals with strategies of communicationin feminist theatre and in the reviews of the daily paperswithin the context of the social movements of the 1970’s.www.lir.gu.se/english/staff/teachers-and-researchers/birgitta-johanssonbirgitta.johansson@lir.gu.seFIRT/IFTR World Congress, University of Warwick, 2014In most theatre histories the 1880’s are described as a period of change in Swedish theatre and drama. Socio- critical playsand the new naturalistic aesthetics aroused strong feelings among the theatre- goers as well as among the conservativecritics. The sensitive subject matters and aesthetics of naturalism were considered an attack on decency, thus on the moralcore of society. With representatives such as August Strindberg naturalism waged a decisive struggle against the acceptedtheatrical conventions of the past. The decade is also described as the period when Swedish women playwrights at a largescale but for a short period of time, had their plays performed at high prestige theatres, the possibility opened by maledramatist’s making the theatrical stages forums for debating the bourgeois family. This traditional narrative about the dramaand theatre of the 1880’s is structured according to the idea of a few male geniuses in the vanguard of progression, with afew women epigones in tow. If one, instead takes the departure in the repertoires of the theatres of the 1880’s and in theplays by the women playwrights another narrative emerges. The line between the artistic strategies of the avant-garde andthose of the highly moral idealistic aesthetics, which informed the norms and conventions at the Scandinavian prestigioustheatres, breaks down. In my paper I will use the examples of the Swedish playwright Alfhild Agrell to illustrate how a womanplaywright with radical ideas on matters concerning decency could navigate in a changing theatrical landscape. In doing so Iwill touch upon the dramaturgy of her plays, the reception and her other activities within the theatrical field.132

Interdisciplinary Strata in Applied Performance and ActivismGeneral PanelOla JohanssonMiddlesex UniversityOla Johansson is Reader in Contemporary PerformancePractice at Centre for Research into Creation in thePerforming Arts (ResCen), Middlesex University. Hehas taught and conducted theoretical and practice-ledresearch in applied performance, collaborative theatreand activism in Sweden, UK, India, Australia, Tanzaniaand South Africa. Johansson has published two books,namely Performance and Philosophy: InterdisciplinaryApproaches to the Performing Arts (VDM Verlag, 2008),and Community Theatre and AIDS (Palgrave Macmillan,2011). Johansson’s next monograph will deal with therecent historical and future links between applied/activist performance, artistic research and radicaldemocracy. Along with his scholarly work he has doneworks of performance art and video art as an artisticresearcher and previously worked as theatre critic anddocumentary filmmaker.The paper addresses the challenges and advantages of collaborative stratification in the continuum of theatre, fine artsand activism, with examples from applied performance projects in international contexts. With different approaches toperformance/media, acting/agency, devising/curatorship and participation/social engagement, collaborative processeshave proved to be quite incongruent in method and motif, although inclusive and versatile in media tactics and politicaloutreach. In post-Brechtian theatre the critical impetus of contextual factors and material circumstances always carry asmuch meaning as ostensive character relations, yielding a force field which is exemplified in the co-extensive performativityof applied theatre, institutional critique and activist initiatives in the cases of the paper. Three collaborative projects led byOla Johansson and Amanda Newall (Senior Lecturer in Fine Art, Royal Institute of Art, Stockholm) will be discussed: (1) anactivist intervention against IKEA with the American performance/media group The Yes Men; (2) a bio-arts performance/video work on post-colonial Western Australia; and (3) a theatre production about male privilege in Sweden and SouthAfrica. In all three projects Newall’s use of costume, material objects and visual effects stand in paratactical relations toJohansson’s devised processes with the intent to open a critical third space where ‘emancipated spectators’ (Rancière) makean active choice of taking action or remaining passive (both options are equally decisive in the force field of radical/directdemocracy). This will be discussed in reference to the educational legacy of performance art (e.g., John Dewey’s creativedemocracy) and applied theatre (e.g., Paolo Freire’s participatory pedagogy) and its subsequent artistic initiatives to activatethe chasm between performer and spectator (conceptualized simultaneously although independently by Allan Kaprow andAugusto Boal). Hence the paper will pursue interdisciplinary genealogies of performance research and attempt to revive adiscourse on political efficacy and prefigurative alternatives in applied performance.Blodlopp, video work:https://www.youtube.com/watch?v=y_GBqzLXwcsolajohansson99@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014133

Two Topographies of North Korea’s Theaters : Smooth or Striated?General PanelHyun Shik JuSungkyul UniversityAccording to Gilles Deleuze, topography has two figures, that is, smooth space or striated space. Smooth space is flexible,line-oriented, unbounded. On the other hands, striated space is static, point-oriented, bounded. So, in smooth space,transference, passing, and scattering take place. But, in striated space, restriction, belonging, and allocation occur. As aresult, this two topographies’ arrangement is connected to two cultural, social systems. In other words, nomadic, deterritorialsystem, and, state-centering, control-oriented system. In striated space, smooth space is dangerous, so confined. In smoothspace, striated space lacks freedom, so interrupts a natural opening. But, Deleuze argues that two topographies is unparted.To achieve a state’s control power, state manages to capture a smooth space in striated space, transform it into rule mode. Ithink this Deleuze’s argument applies to the politics of North Korea’s theater. Utopia socialism’s imagination forms the basisof North Korea’s theater. Therefore, its erupting melodramatic imagination facilitates flight, deterritorial passing, infinitefreedom from space of people’s enemy, such as the rich, the west. But, finally, this smooth space is restricted by the realisticproject of North Korea’s state power. The controlling power divides inside, sameness, self from outside, difference, others.This paper aims to study such a stratified politics of North Korea’s theater.I am a full time lecturer at Kangnam University’s KoreanLanguage and Literature. I graduated from Sogang University’sKorean Language and Literature Departmentwith Doctor of Literature. My Ph.D’s dissertation titleis “A Study on Reflexivity of the Korean Masked DanceDrama”. In this dissertation, I studied the performativeof Korean traditional theater. Currently, I am studyingperformitivity of Korean drama, theater, media, andcultures.yeats126@hanmail.netFIRT/IFTR World Congress, University of Warwick, 2014134

Theatre Performances and Audience Segregation in NigeriaGeneral PanelIn Nigeria, prior to the advent of the University of Ibadan School of Drama in 1962/63 academic year, theatrical performancesprovided avenue for the rich, poor, powerful, educated, and non-educated in the society to mingle while enjoying theactivities of actors on stage. During this period, dramatic performances were favorite pastime of the Nigerian people acrossthe length and breath of the country. This is because performances were taken to the people in their locality and presentedto them in their indigenous languages. The plays performed, treated easy to understand issues that the people were familiarwith. Shortly after the establishment of different theatre schools, and the formation of theatre groups by university educatedtheatre practitioners, the once vibrant theatre that allowed for interaction of people from different socio-economic andpolitical class faces an imminent disintegration as class consciousness and segregation emerged. This paper traces thecollapse of the once vibrant popular theatre in Nigeria to the emphasis placed on literary based theatre over non-scriptedperformances that allows for improvisation and iconic actors. It also emphasizes the fact that performances of literarytheatre in a language that the majority of the people cannot comprehend created a theatre of the elite.Rantimi Jays Julius-AdeoyeRedeemer’s University‘Rantimi Jays Julius-Adeoye (PhD), studied for hisdiploma, B.A., and M.A., degrees in Theatre Arts atUniversity of Ibadan, Nigeria. He obtained a PhDfrom University of Leiden, The Netherlands with hisdissertation titled: The Drama of Ahmed Yerima: Studiesin Nigerian Theatre. He taught at Lagos State UniversitySchool of Communication (LASUSOC), and was aVisiting Scholar and Researcher at Leiden UniversityCentre for the Arts in Society (LUCAS), Universityof Leiden, Netherlands (August 2009 to May 2013).He currently lectures with Theatre Arts Department,Redeemer’s University (RUN), Ogun State Nigeria.Julius-Adeoye’s specialization is in the area of theatrehistory, directing, theatre for development, drama andmedia (especially film, radio, television and the newmedia) criticism. He has publications in journals, books,conference proceedings, and has presented researchpapers on African video-film, community radio, thedrama of Ahmed Yerima, issues in African drama, andTheatre for Development (TfD) at major conferencesaround the world.julius.rantimi@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014135

Traces of Others in Istanbul PerformancesGeneral PanelHasibe KalkanIstanbul UniversityAccording to Agamben, to ostracize someone is the first political act. Criterias that confom the individual to the standartsof society are determined by the political power thus these change due to the unsteady structure of the politics. Thereforeshifting among the social stratum may occur both gradually and unexpectedly. Play en titled “Iz” (Trace) brought on the stageby Galata Perform and being performed currently in this season of 2013-2014, discusses the political and social changesin Istanbul for the last sixty years, focusing on three historical parts. “Iz” (Trace) brought Ahmet Sami Özbudak on theHeidelberger Stückemarkt the prize of “the best young playwright”. He gets people who lived in three different era togetherat the same time and place. Hence Özbudak brings together three different historical layers and asks: “what are the dinamicswhich makes someone a doer or a victim?” In the same setting; two women sidelined due to their ethnicity and religionduring 6-7 th September occurences – vandalism against Turkish Greek Orthodox Cummunity - , a man socially outcast after80’s coup because of his leftist political choice and a Kurdish young man marginalized on account of his transsexual identity,are brought together and presented as the witnesses of the history of Turkey. Aim of my paper is a kind of going on a razzlethrough other experimental theatres that bring these social outcasters and cases hushed up on the stage in Istanbul, startingfrom Galata Perform’s “Iz” (Trace) and analyse how much these reflect the political properties of Hans-Thies Lehmann’spost-dramatic theatre.Hasibe Kalkan studied German Literature in Ankara andTheatre in Istanbul. She work as an associate professorat the Theatre Department of Istanbul University. Shealso writes reviews for theatre magazines and dailynewspapers Oyun and Radikal. Over the past decade,she has been conducting research on interculturalismin theatre and theatre made by Turkish community inBerlin. She has published books on Documentary Theatreand Theatresemiotics, as well as articles on the worksof Theater an der Ruhr, Eugenio Barba, Peter Brook, PinaBausch and Turkish Theatre Companies in Germany. Shewas in Germany for research program at Theater an derRuhr (Germany) and she was a fellow at the InternationalResearch Center for Interveawing Perfomance Cultures.She is a member of IATC (International Association ofTheatre Critics), GIG (Gesellschaft für InterkulturelleGermanistik) and IFTR (Internatioanl Federation ofTheatre Research).hasibe_kocabay@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014136

Layers of Imagination: Imagination in Mind, History, Text and on the StageGeneral PanelUlla KallenbachUniversity of CopenhagenThe purpose of this paper is to examine how multiple layers of imagination may be observed both in the mind of thespectator, in the drama text and on the stage – and to analyse how these multiple layers interact. This includes a focus onlayers of e.g. visibility and invisibility, presence and absence, concreteness and abstractness. Through its history, the conceptof imagination has undergone several fundamental transitions and redefinitions. Accordingly, for unfolding the layers ofimagination a historical, contextualised understanding of imagination is key. Furthermore, the unfolding of these layers alsopresuppose the presence of an audience and the materiality of the stage. Analysing the plays from such a perspective, mayallow for the discovery of aspects, which are not discernible on the narrative, intra-fictional level alone. Shakespeare’s Macbeth(c. 1606) will serve as an example of a drama that deals specifically with multiple layers of imagination, both on the level ofthe title character and on that of the spectator. This will be studied in light of the cognitive as well as political conception ofimagination as a rebellious and potentially dangerous faculty. I shall look firstly at how the interplay between the present andthe imagined is orchestrated to activate the spectator; secondly, at how an understanding of the early modern imaginationcan facilitate an understanding of the psychology of Macbeth; and thirdly, how the play via the imagination of the spectatorbecomes part of a larger intertextual, and public, political context.Part-time lecturer at the University of Copenhagen.MA in Text and Performance (2005, King’s CollegeLondon/Royal Academy of Dramatic Arts) and MA inTheatre Studies (2007, University of Copenhagen).Recipient of the University of Copenhagen’s GoldMedal for the Master thesis Space and Visuality in theDrama Text (2007). I have recently completed my Ph.D.thesis, The Theatre of Imagining: Imagination in the Mind– Imagination on the Stage. For a publication relevant tothe topic of my paper see: ‘Macbeth – The Catastropheof Regicide and the Crisis of Imagination’ in C Meiner& K Veel (red), The Cultural Life of Catastrophes andCrises. Walter de Gruyter. Concepts for the Study ofCulture, vol. 3. (2012), pp. 193-202.ulla.kallenbach@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014137

Towards a Training of Immanence: An Exploration of Psychophysical Training through Plato’s Theoryof FormsGeneral PanelMaria KapsaliUniversity of LeedsI am a Lecturer in Physical Performance in the Schoolof Performance and Cultural Industries at the Universityof Leeds. I have completed a practice based PhD whichexplored the use of yoga in actor training (2011 Universityof Exeter). I am a certified teacher of Iyengar Yoga andI have also trained in Indian Martial Art Kalaripayattuwith Phillip Zarrilli and at CVN Kalari, Trivandrum. Thesubject of my research is the use of psychophysicaldisciplines in performer training and theatre making.Through theory and practice I examine the way somaticdisciplines have informed the work of 20 th and 21 st centurytheatre practitioners; the ideological contexts in whichpsychophysical techniques operate; and the ways in whichthey can inform the performer’s process in relation tospecific performative and preperformative demands. Ihave published in Theatre, Dance and Performance TrainingJournal, Journal of Dance and Somatic Practices, StanislavskiStudies, and Studies in South Asian Film and Media. I havealso edited the current special issue of Theatre Dance andPerformance Training Journal entitled ‘Training, Politics andIdeology’ (July 2015) and I am working on a co-authoredDVD-booklet on Yoga and Actor Training, due to bepublished by Routledge in 2015.This paper draws on Plato’s Theory of Forms in order to examine the use of movement forms in actor training regimes with aparticular focus on the relationship between the trainee’s acculturated body and the embodiment of the shape of the form.It could be argued that existing pedagogies view this relationship as a process of stratification whereby the positions andmovements of the form are superimposed onto the skeleton-muscular layers of the trainee’s individual body. This relationshiphowever is often presented and/or perceived as unequal. The pre-trained body is considered to be inculcated in habits andtendencies that limit the actor’s expressivity. The trainee is thus invited to undo the pre-existing layers and patiently overlaya new layer of muscular responses and bodily memories. As such, the training process is evaluated according to the progressof this stratification process. It could be further supported that this relationship reflects the platonic paradigm according towhich an individual example of any form is by necessity inferior to the ideal. Nevertheless, there is another strand in platonicscholarship, which argues that the relationship between the One Ideal shape and its many individual instances is immanentrather than transcendent; each individual instance is not an inferior replication of the Ideal, it is rather a realization of theIdeal in the here and now. In light of these sources, I would argue that a similar shift can be applied on the way forms are usedand taught in actor training pedagogies. Drawing on scholarly sources and practical examples, I will discuss how actor trainingpedagogies can move away from the existing metaphor of stratification, and work towards a paradigm of immanence thatvalidates processual and in-the-moment encounters.M.Kapsali@leeds.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014138

Neoliberalising Stratification: Creaturely Matters of the AbjectGeneral PanelEve KatsourakiUniversity of East LondonEve Katsouraki is a Senior Lecturer in Theatre Studies atthe University of East London. She is the co-convenorof TaPRA Theatre, Performance & Philosophy, and acore convenor of Performance Philosophy researchnetwork. Her research concerns the intersections ofperformance theory and philosophy. She has publishedvarious chapters and articles on modernist theatre andperformance in relation to aesthetic theory, politicalphilosophy and cultural theory in Performance Researchand Somatechnics. She is currently writing a monographon aesthetics and politics of early modernist theatre(Edinburgh University Press) and recently co-edited ajournal edition on ‘Bodies of Failure’ for SomatechnicsJournal (Edinburgh University Press, May 2013).She is also working on a book project on Failure,Representation and Negative Theatre, and a co-editedcollection of essays on Performing Antagonism: Theatre,Performance and Radical Democracy.This paper has a philosophical taking of the abject and related to it, a political one. The philosophical taking is essentiallyrooted in Bataille’s thesis that perceives abjection as the outcast, often passive, marginalised, yet also raw, brute, and inert,and which is juxtaposed with Kristeva’s dictum that “from its place of banishment, the abject does not cease to challengeits master’ (1982:2) The increased interest in contemporary performance in using the animal as abject matter is noteworthy.From Kira O’Reilly’s two durational ‘pig projects’ (the first dancing with the carcass of a pig, the second symbiotic ‘living’ with apig in a confined space), to her most recent ‘bio’ performance art experiments with chicken embryos, and Mathew Herbert’s‘One Pig’ blending recordings of a new born pig with electronic beats before the animal is finally slaughtered and cooked onstage, the animal stands so much as a definite ‘other’ as it constitutes an abject subjectivity. Yet it is through such creaturelyabjection that we come to experience the conditions of subjectivity as the ‘radically excluded,’ a subjectivity that is conceivedin this article as simultaneously subversive and a by-product of the rule of neoliberal governmentality. If Global capitalism hasprovided the socio-economic tools for regulating, dominating, subjugating, and ultimately, transforming, if not altogethereliminating, nature, then this paper argues that interspecies performances negotiate and replicate a hierarchical reorderingof human-nature relations and social divisions in complex and contradictory ways. On the one hand, by occasioning violencethat arguably is exhorted and aligned with sovereign power, animal performance ultimately cumulates in the production andpreservation of subject abjection. But on the other, by staging the suffering of violence, creaturely abject matter challengesthe orthodox political economic model of neoliberalism by exposing it as an abuser and a facilitator for the exclusion andabandonment of those ‘Others’ that fall outside of neoliberal normativity. Subjugated, therefore, under the intricacies of therule of neoliberal governmentality, performance investigations with the animal ‘bio’ as ‘environment’ and as ‘life’ sit in a verycomplex aesthetic and political terrain whose ethical dimension is only one layer of a neoliberalising stratification entrenchedin the performative structure of anthropocentric representation.e.katsouraki@uel.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014139

Floating England: Voices in the Air in the BBC Third ProgrammeGeneral PanelTakeshi KawashimaDoshisha UniversityTakeshi Kawashima earned a PhD from University ofTokyo, and an MPhil from Goldsmith College, Universityof London. He worked as research associate for theTheatre Museum at Waseda University, assistantprofessor for Waseda University, and associateprofessor at Hiroshima University, before taking upassociate professor at Doshisha University (Kyoto,Japan) in April, 2014. His papers on Samuel Beckett orHarold Pinter appear in various academic journals. Heis currently researching on the BBC Third Programmeon a period when England established itself as a welfarestate after World War II.This study investigates the BBC Third Programme’s radio dramas in the context of postwar England’s situation. In the 1950sand 60s, the BBC Third Programme produced radio dramas by famous writers such as Samuel Beckett and Dylan Thomas.Among many important works, I focus on Donald Cotton’s Voices in the Air (1960). This radio drama includes various shortscripts by several writers such as John Betjeman and Harold Pinter. The former was a founding member of the VictorianSociety and acquired the position of Poet Laureate in 1972, while the latter made his debut as an absurd playwright andwound himself up as a ferocious assailant of America’s political and economical dominances. Although the scripts are sodiscontinuous that they have no theme in common, a few absurd elements are found in all the texts, such as no sense ofgeography, loss of identity, and confusion of communication. In this sense, Cotton’s introductory vignette is significant.In Cotton’s text, which is a parody of Shakespeare’s The Tempest, Prospero and Miranda are isolated on an island as in theoriginal. The difference between the parody and the original is that, in the parody, they are surrounded by ‘Voices of weird /Cultured modulation / Holding conversations / All through the night’. This passage not only serves to anticipate what listenersare going to experience, but also reflects England’s situation in the 1950s and 60s. Stripped of most colonies, Englandwas no longer the centre of the world but a small island surrounded by great powers. Voices in the Air represents the ThirdProgramme’s commitment to Englishness, which was renewed in the postwar era. By analysing Cotton’s work and the otherscripts of Voices in the Air, I would like to explore how radio dramas contributed to forging a new image of England.takawash@mail.doshisha.ac.jpFIRT/IFTR World Congress, University of Warwick, 2014140

The Mirror Cracked: Illusions of Consciousness in Mark O’Rowe’s TerminusGeneral PanelMarie KellyUniversity College CorkAccording to William W. Demastes, ‘[t]he story of theatre is quite literally the story of consciousness drawn out of materialexistence.’ The stage either recreates or challenges the Cartesian cogito, the illusion of consciousness as a soul that isunquestionably single and whole, unfragmented and capable of existing beyond the material body and world. In the seminalessays of cognitive scientist Daniel Dennett the character of Hamlet is consistently used to exemplify the refuted existenceof the ‘inner man’. Meanwhile, the ‘global workspace theory’ of consciousness proposed by theoretical neurobiologistBernard J. Baars is also based on theatre metaphor in his rejection of the Cartesian. What Dennett and Baars put forwardas models or explanations for consciousness are much more in keeping with the extremes of postmodern and postdramatictheatre styles. Consciousness as a series of processes of ‘multiple drafts’ or ‘fragments at various stages of editing in variousplaces in the brain’ (Dennett), or consciousness as a gateway to the vastness of the entire mental lexicon, voluntary andinvoluntary (Baars). In Ireland a new generation of playwrights are experimenting with form. Mark O’Rowe is one of themost outstanding of these. His theatre fuses violence with myth and has increasingly turned towards the monologue form.O’Rowe’s most recent play, Terminus (2007), savagely smashes through the Cartesian mirror frame, the illusion upon whichthe theatre metaphor rests. This paper picks through the fragments of Terminus to see where this work fits in with or buttsagainst current definitions of mind and consciousness and to discuss this within the frame of Irish theatre.Dr. Marie Kelly is a lecturer in Drama and TheatreStudies at University College Cork. She has an MA inModern Drama and Performance (2005) and a PhD inDrama Studies (2011), both from the School of English,Drama and Film at University College Dublin. Prior tothat Marie was Casting Director at the Abbey Theatre.She recently co-edited The Theatre of Tom Mac Intyre:Strays from the Ether (Carysfort Press, 2010) with Dr.Bernadette Sweeney, University of Missoula, Montana.kelly.marie@ucc.ieFIRT/IFTR World Congress, University of Warwick, 2014141

Sexuality and Political Theatre: Khawaja Sara in the Pakistani Election 2013General PanelShahnaz KhanWilfred Laurier UniversityThis discussion examines the complex role of non-normative sexualities in a Muslim society, Pakistan. Their struggles identifya form of political theatre that has the potential to further de-stabilize contemporary understandings of gender and sexuality.I focus on the ways in which khawaja sara (eunuchs) enter political space as activists and as candidates in recent Pakistanielections. While they draw upon a rights discourse to demand space within the nation, they also refuse to be contained withinthe binaries of normative gender and sexuality and do not always display the subdued mannerisms that accompany notionsof middle class morality in Pakistan. Refusing to submit to the hetero/homosexual binary, khawaja sara offer a sexuality thatis non-procreative and un-regulated by the bonds of heterosexual marriage as they take their activism into civil society.Khawaja sara activism identifies the complex nature of queer politics in a context where the state both brutalizes khawajasara and is sympathetic to their plight through laws that guarantee their rights as members of Pakistani society. The strugglesfor queer rights reveal the struggles of a dynamic society at work as khawaja sara labour as organic intellectuals to set theirown rights agenda and forge their own path for the future. In the process queer lives and activism provide evidence of acomplicated relationship among sexuality, gender and modernity in contemporary Pakistan.Shahnaz Khan is Professor of Gender Studies at WilfredLaurier University, with an interest in gender, sexualityand Islam.FIRT/IFTR World Congress, University of Warwick, 2014142

“Opening Doors” to New Audiences: Exploring the Theory and Practice of ‘Hospitality’ in Two UKbasedRegional Arts OrganisationsGeneral PanelRachel KingUniversity of WarwickSince 2012 Rachel King has been working as SeniorTeaching Fellow for the MA in Drama and TheatreEducation, in the Centre for Education Studies,University of Warwick. In 2007, she received aCollaborative Doctorate Award (CDA) from the Artsand Humanities Research Council (AHRC) to work incollaboration with Warwick Arts Centre (WAC) andthe School of Theatre Studies, University of Warwickunder the supervision of Professor Baz Kershaw andAlan Rivett, Director of WAC. Her PhD researchdeveloped practice-led methods to investigate thedynamic interactions between notions and perceptionsof ‘multiculturalism’ and ‘internationalism’ in relationto WAC’s programming, commissioning and educationactivities. Having completed her PhD in 2013, shecontinues to develop her practice-led researchby exploring the ways drama and theatre-basedpedagogies can be used to create hospitable andconvivial spaces for interaction between multi-ethniccommunities.Most subsidised arts organisations state that they aim to be open, accessible and representative of the communities in whichthey are located. This paper considers the role of the regional arts organisation as a potential site of “hospitality” for its local,multicultural and diverse micro-publics. It refers to the findings of two inter-linked but distinct AHRC funded CollaborativeDoctoral research projects (completed in 2013) that investigated two internationally renowned regional arts organisations,Warwick Arts Centre (WAC) and The Birmingham Repertory Theatre (The REP), in the West Midlands, UK. This paper opensup questions about the strategies used to welcome visitors across their thresholds. Both of these qualitative case studiesapplied a range of theatre methods in order to examine existing modes of community engagement as well as to createnew, participatory spaces for irregular and non-attenders. Drawing on Derrida’s notion of “conditional” and “unconditional”hospitality, this paper considers the political and economic conditions that often impose limits on the nature of the host’swelcome and the stranger/guest visitation (Derrida and Dufourmantelle, 2000). The paper reflects on the conference themeof stratification by focusing on three core strands. Firstly, it considers the role of ethnicity and class in creating hierarchies ofengagement with these venues. Secondly, it questions the ways arts venues stratify audiences into different types of ‘visitors’and, thirdly, it considers the differentiated ways such venues act as ‘host’ to their multiple users. Through illustrative practicalexamples from the research conducted with young people this paper will reflect on how hospitality is experienced by a rangeof arts users and the problematics of the host-guest relationship.r.e.king@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014143

Stratified Sound in Ayumee-aawach Oomama-mowan: Speaking to Their MotherGeneral PanelSabine KimMainz UniversityIn Ayumee-aawach Oomama-mowan: Speaking to Their Mother, a dozen First Nations elders take turns speaking into agiant megaphone set up on a hillside on the Canadian side of the Rocky Mountains. First performed in the months followingthe Oka Crisis, in which the Mohawk Nation in Quebec resisted the proposed expansion of a golf course onto ancestrallands, the work by performance artist Rebecca Belmore (Anishnaabe) uses the sound of amplified Aboriginal languagesto draw attention to complexly layered Native histories of and relations to the land. Set up at sites where struggles overland exist, the towering form of the oversized megaphone visually reinforces the rich, booming “speaking back” of theoversized megaphone. Partly hand-carved from wood and partly made by weaving bark into a form resembling an eight-footgramophone horn, Belmore’s megaphone unmistakably evokes associations with the anthropologist’s recording device, butis here put to use in a different kind of field work. The artist’s performance focuses on the dialogic, rather than monologic,potential of the voice. Whereas the colonial powers and then the Canadian state discursively legitimated their expropriationof Aboriginal territories by declaring them vacant and thus available for settlement, Belmore’s performance repurposes theanthropological gramophone in order to release rather than to capture sounds. As I will argue, this reversal excavates thefractured spaces of postcolonial indigenous Canada.Sabine Kim is a doctoral student in the InternationalPhD Programme in Performance and Media Studies atMainz University, where she also teaches in the Dept. ofEnglish and Linguistics.kimsa@uni-mainz.deFIRT/IFTR World Congress, University of Warwick, 2014144

Japonism in European Stage Dance from 1890 to 1930General PanelTanja KlankertInstitute of Advanced Study in the Humanities, BernTanja Klankert is a research assistant at the Institute ofTheater Studies (ITW) and a member of the GraduateSchool of the Institute of Advanced Study in theHumanities and the Social Sciences (IASH) in Bern. Shestudied philosophy, German studies, and linguistics inHeidelberg and Stuttgart. After receiving her Master’sdegree, she completed a post-graduate programmein Dance Culture at the University of Bern. Herdissertation, “Floating Worlds. Japonism in EuropeanStage Dance,” is part of a research project on culturaltransfer in dance between Japan and Europe funded bythe Swiss National Science Foundation.Japonism, which began with the end of Japan’s isolation in 1854, decisively shaped the fine arts in Europe in the 19th andthe first half of the 20th century. In European stage dance, Japonaiseries can be found in different genres of dance, e.g. inballet, in New Dance and in Modern Dance, in revues and in vaudeville, in burlesques and in grotesques. They were presentedin theatre and opera houses, in private parlours, as well as in cabarets and in varietés, where they were received by a broadaudience. The artistic appropriation that manifests itself in the dance productions at distinct historical moments is subjectto discursive concepts, which are based on the construction of cultural difference and on cultural stratification (high andlow culture). Therefore, the Japonaiseries and their reception reveal the auto-perception and the perceptions croisées (MichelEspagne) in the complex interactions between popular, avant-garde and commerce at different times. Focusing on theperiod between 1890 and 1930, I will investigate the transferts culturels: What were the material, medial, social and economicconditions of transfer? Who were the actors, which institutions were involved (e.g. high, low and middlebrow stages), andhow can the social and cultural context be described? How did artistic appropriation and its reception change within thecontext of cultural transfer and knowledge transfer over time? I will argue that different periods of Japonism in Europeanstage dance can be distinguished and that these indicate shifts in the auto-perception and the perception croisée betweenEurope and Japan.http://p3.snf.ch/project-149693http://theaterwissenschaft.ch/mitarbeitende/tanjaklankerttanja.klankert@iash.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014145

The Theatre of Restratification and Destratification. The Case of Polish Historical PolicyGeneral PanelDariusz KosińskiJagiellonian UniversityAfter the fall of the communism in Poland in 1989 the issue of history and memory became crucial to the political debate alsoas important factor of creating political identities. At the beginning of the 21st century some Polish conservative politiciansproposed and run so called “historical policy”. Chosen events from Polish history (eg. Warsaw battle 1920; Katyń massacre1940; Warsaw uprising 1944) were interpreted, presented and sometimes performed (mostly in the form of “historicalreconstructions”) in a specific heroical and martyrological way. They were also used as the model of idealized version ofPolish “national character” that should be preserved and presented also in today’s politics. Almost immediately some theatreartists started to propose their alternative version of historical policy staging performances that radically deconstructedthe idealized version of the history. If the strategy of the politicians can be seen as the one of restratification – an attemptto put the historical events in proposed context, the theatre tactics (in Michel de Certeau’s understanding of the term) maybe described and analysed as the theatre of destratification. In my paper I would like to develop this notion comparing twomeaningful examples: the film The Warsaw Battle 1920 directed by Jerzy Hoffmann (2011) and the performance under thesame title created in 2013 by Paweł Demirski (dramaturgy) and Monika Strzępka (director) in Stary Theatre in Kraków.Dariusz Kosiński is a professor at the Chair ofPerformance Studies of the Jagiellonian University,Kraków, Poland. His main publications are: Polski teatrprzemiany (“Polish Theatre of Transformation”, 2007).Grotowski. Przewodnik (“Grotowski. The Guide” , 2009),Teatra polskie. Historie (“Polish Theatres. The Histories”,2010; German translation, 2011). In 2010–2013 he wasthe research director of the Grotowski Institute inWrocław. He was the member of the editorial board ofJerzy Grotowski collected texts, published in Polish in2012. From February 2014 he is the research director ofthe Theatre Institute in Warsaw.kosinski@performer.art.plFIRT/IFTR World Congress, University of Warwick, 2014146

Shakespeare through Butoh: Hijikata Tatsumi’s Choreography of Macbeth.General PanelHayato KosugeKeio UniversityHayato Kosuge is professor of Foreign Languages andLiberal Arts, Keio University, Tokyo. He earned BA andMA degrees in English literature at Keio University, andfinished doctoral course in 1993 at Keio. His researchinterests include the Japanese underground movement ofthe 1960s and 1970s, with a focus on Butoh. He is involvedin the Hijikata Tatsumi Archive in Keio University ArtCentre, and is a research fellow at the Research Institutefor Digital Media and Content, Keio University. He is theproject leader of the research group, Portfolio Butoh. Heis also interested in English Tudor drama mainly focusingon Shakespearean dramaturgy. Regarding Shakespearenot as canonical but as material sources, he has beenconsidering the relationship between the dramaticconventions and the cultural context, and the influencesand contrasts of performance between East and West.Among his many publications, he is the editor of Fuhai toSaisei (Corruption and Regeneration), and coauthor ofShintai I Bunka-ron (Body, Medicine, and Culture). He isvisiting scholar at the University of Cambridge in 1996-98,and Stanford University in 2003.Hijikata Tatsumi (1928-1986), one of the founders of Butoh and the most celebrated avant-gardists in Japan, choreographedthe Three Witches in Macbeth at the Nikkei Hall Theatre in Tokyo, 1972. This collaboration by a pioneer of a newly createdperformance genre with a Western classical dramatic piece is significant for two reasons. Firstly, it shows the verticalstratification of the interpretation of supernatural power and its expression in the history of Shakespearean production.Japan has been generating various types of Weird Sisters with a short but rich Shakespearean tradition such as KurosawaAkira’s film Kumonosu-jô (Thorne of Blood, 1957), Ninagawa’s Macbeth (premiered in Tokyo in 1980) and many othertranslated productions and adaptations. With the choreography focused on the corporeality of the Three Witches, Hijikatanewly presented figures with the senses and feelings experienced by the “undomesticated” bodies of malevolent creatures.This work might mark the breaking point away from Japan’s 1960s avant-garde and little theatre movements as well asaway from Western aestheticism, not only with the expression of outwardly Samurai-style, but inwardly as regards theawareness of his own body. Secondly, this choreography might have symbolic and substantial value for understanding thecreation of Butoh. After a four-year hiatus from Nikutai-no-Hanran (The Rebellion of the Body) in 1968, Hosotan (A Tale ofSmall Pox) was produced based on Hijikata’s basic concept around Tôhoku in 1972. Hijikata clearly paid much attention toShakespearean witches as both invisible forces and malevolent indigenous creatures. In the context of the conference’stheme of “theatre and stratification,” Hijikata Tatsumi’s choreography of the Three Witches is worthwhile as a means ofexamining the stratification of contemporary productions of classical works and the collaborative possibilities of Butoh withestablished styles of theatre production.Portfolio BUTOH: Hijikata Tatsumi and Butoh research project at Keio University, Tokyo (Project leader: Hayato KOSUGE).http://www.portfolio-butoh.jp/hamlet@a3.keio.jphayatok@kvj.biglobe.ne.jpFIRT/IFTR World Congress, University of Warwick, 2014147

Quasi-Translation: Adapting the ForeignGeneral PanelKatja KrebsUniversity of BristolThis paper investigates instances of quasi-translation whereby performers adopt identities of the foreign, non-native speaker,as a quintessential characteristic of their act. This paper argues that such instances of pretence allow an insight into historicalunderstanding of translation as well as the foreign, and engenders an analysis of dramaturgical representation of translationand adaptation. Case studies will be comprised of supposedly European performers which accompanied panoramas anddioramas in London in the second half of the nineteenth-century as well as variety acts which toured the regions. Whilethe presentation of the European other did not necessarily satisfy the demand for novelty and curiosity to the extent towhich exhibitions of the colonies could, they arguably answered to stereotypes of learnedness and authenticity. Rather thanengaging in great detail with established touring performance families who relied on reputation and lineage in genres suchas circus and magic, this paper is particularly concerned with stereotypes of the European other that were played out inspeciality acts from the music halls and variety theatres. Examples include: cycling performer Ernest James Beresford fromNewcastle under Lyme aka Dartignan and later the Great Diavolo; acrobats ‘Karina’ and ‘Renaldi’ aka Winefred Haszar Morradfrom Bromley-by-Bow and Reginald Edward Smith; M’Lita Dolores or Mary Poole from Stoke on Trent who was known as atrick cyclist and roller-skater; and Gypsy Lola aka Gladys Hughes.2008-present Senior Lecturer in Performance andTheatre Studies, Department of Drama: Theatre,Film and TV, University of Bristol, UK. July 2003 PhD,Performance Translation Centre, Drama Department,University of Hull, UK. Select publications: Translationand Adaptation in Film and Performance, London andNew York: Routledge (2013); “A Portrait of EuropeanCultural Exchange: The Deutsches Theater in Londonat the Turn of the Twentieth Century,” Angermion 5(2012): 119-134; “Translation and Adaptation: Two Sidesof an Ideological Coin,” Translation Adaptation andTransformation, Lawrence Raw (ed.) London: Continuum,2012. 42-53. (2010), “Megamusicals, Memory andHaunted Audiences: The Producers at Berloin’sAdmiralspalast,” Quaderns de Filoliga Estudis Literarius XV(2010): 41-54.k.krebs@bristol.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014148

Playing the Game: a PaR Prototype Project at a Chilean UniversityGeneral PanelAndrea Pelegrí KristićPontificia Universidad Católica de ChileIn 2013, the Pontificia Universidad Católica de Chile created the first PhD in Arts in the country offering the possibility forstudents to register for research based on practice. The hands-on component of this PhD is one of its assets, but at the sametime, one of its liabilities. Surely many Chilean artists might feel drawn to enroll in a PhD that is more related to their artisticpractice than to traditional scholarship. Yet during the first year of the program it has become evident that artistic practiceand academia coexist problematically since the expectations for these students are still unclear. While in other countriessuch as USA, Canada or the UK these PhDs have existed for at least thirty years, in Chile the arts and their research methodsare struggling for their rightful place within the Chilean academia. One of the mandatory courses of the PhD program duringthe first year is called “Practice as research”. Its main objective is to introduce the students to PaR through critical discussionof literature on the subject and a PaR research prototype project. For the first time in a Chilean university, students wereable to devise their own PaR project. One of the projects, called Playing the Game, dealt with the relationship between GuitarHero game system, virtual spaces and the development of musical skills. In this paper, we will discuss the methodological andartistic outcome of this research, as well as analyze the problems and challenges of PaR in the Chilean academia.Andrea Pelegrí Kristić is an actress, translator, associateprofessor and PhD candidate (Arts) at PontificiaUniversidad Católica de Chile. She holds an MA intheatre from the University of Ottawa, Canada. Herthesis, Approche fonctionaliste de la langue au theatre.Pour une version chilienne du Chant du Dire-Dire de DanielDanis has been nominated for two prizes (Humanitiesaward and Rene Lupien award). In 2006, she co-fundedthe theatre company Tiatro, which has been awarded indifferent Chilean festivals in 2006 and 2008. She haspublished scholarly articles and translations in Chileanand Canadian journals. She is currently Senior Editor ofthe theatre journal Apuntes de Teatro. In 2012, she waspart of the organizing committee of IFTR conference inSantiago.appelegr@uc.clFIRT/IFTR World Congress, University of Warwick, 2014149

Stratificated Theatre: How National and EU Financing Systems Influence Theatres’ Activities inPolandGeneral PanelDaria KubiakUniversity of LodzDaria Kubiak is the holder of two MAs – in Marketing(2007) and Theatre Studies (2012), both from Universityof Lodz (Poland). She is a PhD candidate at theDepartment of Drama and Theatre in the Institute ofContemporary Culture at the University of Lodz, andshe has worked in theatre as a project, public relations,and marketing manager. Her research interests lie withintheatre management, marketing approaches to thetheatre, promotion of culture and arts and audiencedevelopment. She is a double awardee of Polish Ministryof Education scholarship (2010 and 2011). Since 2012she has been vice-chair of the Rococo Foundationand responsible for its cultural research programme(Observatory of Culture) and its programme forimplementing management and marketing tools intocultural organisations (Laboratory of Culture).Contemporary theatre is an artistic and social phenomenon that operates, for better or worse, within limitations of theadministrative and financial structures of the home country. Research on Polish cultural politics after 1989 divides thedevelopment of the country’s theatre system into four phases: first, 1989-1991, the initial stage of the transformation, whenthe process of decentralization of public tasks in the field of culture was launched; second, 1991-1993, an attempt to reformthe system of cultural institutions by dividing their organisation into state and local government (it failed); third, 1993-1997,when a central governmental model of control and management of cultural institutions was maintained; fourth, startingin 1997, a phase of lasting decentralization reform. Those changes have impacted theatres’ functioning in crucial ways, ofcourse. However, my observations lead me to the conclusion that there is one more phase, which started after 2000, whentheatres gained the possibility to apply for additional funding on both national and EU levels. It became one of the reasonsfor internal stratification of the theatres’ activities. In my paper, I intend to discuss how the system of financing culturalactivities in Poland has motivated theatres (among other cultural institutions) to introduce new programmes and activities,which are not directly connected to their core purpose, e.g. educational and other cultural activities. Thus there are reasonsfor many Polish theatres to change into cultural centres – reasons that cannot merely be attributed to assessments oflocal audience demands or attempts to entice people to go to the theatre but which are connected with the measures ofcultural politics and design of funding strategies themselves. One may question if these strategies take into considerationthe possible impact on local diversity of cultural activity offers and, hence, the viability of broadly encouraging theatres tobecome cultural centres.daria.kubiak@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014150

Resisting Stratification in the Cold War: Western and Eastern Theatres in the Joint ProductionTogether (1983)General PanelRadka KunderováJanáček Academy of Music and Performing ArtsWhile the tension between the two superpowers of the Cold War was elevating in the beginning of the 1980, four Europeantheatre companies from the West and the East decided to challenge the global geopolitical stratification by producing ajoint “project” Together. It was produced as a part of the international theatre festival Fools 4 in Copenhagen, Denmark. TheWestern perspective was presented by the British company Cardiff Laboratory Theatre and Den Blå Hest from Denmark, theEastern one by the Polish Teatr 77 and Divadlo na provázku from Czechoslovakia. The latter provided a textual basis for theproduction, a philosophical baroque allegory Labyrinth of the World and the Paradise of the Heart by a Czech philosopher andeducator J. A. Comenius (1592–1680). In Copenhagen, eighty artists living as an egalitarian commune in caravans adopted aruin of a factory and created a site-specific production under the patronage of UNESCO. It was visited by 10.000 spectatorsover the summer of 1983. The artists strived to resist the stratified world not only at the level of the project’s organisationbut also by confronting ideological structures of the West and the East “on stage”. The existing social hierarchies wereapplied even to the audience divided for one sequence by a violent passport control. In my paper, I will analyse multiple andsometimes contradictory layers of dealing with stratification in the project´s organization, its performance and audienceresponse and consider a question of theatre’s potential to resist political stratification by performing it.Radka Kunderová is a researcher, editor, critic andlecturer. She graduated from the Charles University inPrague in theatre studies, media studies and journalism,studied also in England and Greece. She has beengiving varied lectures at JAMU and at the Departmentof Theatre Studies, Masaryk University Brno, whereshe received her PhD with the dissertation Erosion ofthe Authoritative Discourse in Czech Theatre ReviewingPractice within the Period of So-called Perestroika (1985-1989). Her research interests include issues of politics,language and ideology in theatre discourse appliedmostly to the communist era in Czechoslovakia (1948-1989), new media in contemporary theatre, politicaland documentary theatre. She has participated invarious Czech and foreign conferences and researchprojects, recently in Contemporary Central EuropeanTheatre: Document/ary versus Postmemory held by theInternational Alternative Culture Center, Budapest. Asa theatre critic, she is an external editor of the leadingCzech theatre magazine Svět a divadlo (World andTheatre).kunderova@jamu.czFIRT/IFTR World Congress, University of Warwick, 2014151

Locality, Community, and Sociocultural Layers of Ningyo Jōruri: How the Tradition of JapanesePuppet Theatre (Ningyo Jōruri) is Maintained by Three Companies with Different Traditions,Resources, and CommitmentsGeneral PanelMy paper explores cultural, social and political stratification in Ningyo Jōruri by examining three companies’ relationship withtheir local communities and each company’s role within the tradition of Ningyo Jōruri which, along with Kabuki and Nohtheater, is one of the traditional Japanese theatre forms. The three companies are Bunraku-za, Awaji Ningyo-za, and NosēJōruri Rokkaku-za.Yuko KurahashiKent State UniversityYuko Kurahashi is an associate professor of theatre,Graduate Coordinator, and AOT (Art of the Theatre)supervisor in the School of Theatre and Dance at KentState University. The courses Dr. Kurahashi has taughtinclude: Script Analysis, Art of the Theatre, VariableTopics Seminars, Theatre in a Multicultural America,Intro to Graduate Study, College Teaching, and SpecialTopics. She is the author of Asian American Culture onStage: The History of the East West Players (Garland,1999) and Multicultural Theatre (Kendall/Hunt, 2004& 2006). Her article on Terrence Spivey and KaramuHouse was published in February issue of AmericanTheatre Magazine in 2009.Bunraku-za is nationally subsidized and considered the most professional Ningyo Jōruri company. Bunraku-za has, since1984, been based in its own theatre, the National Bunraku Theatre in Osaka. The theatre is staffed by renowned puppetmasters and puppeteers some of whom are identified as Japanese National Treasures. Due to the renown of its performersand stable funding, Bunraku-za has been seen as the most important carrier of the tradition. However, recently, the mayor ofOsaka has made statements indicating he plans to drastically cut Bunraku-za budget which threatens the status of Bunrakuzaand ability to carry forward the tradition.The Awaji Ningyo-za, located in Awajishima, which is known as the birth place of the first “puppet master,” has a long andrich history of performance. The members of the company are all local professional puppeteers and musicians. It is primarilyinvolved in providing local performances, community centered programs including the training of local school children.The Rokkaku-za company consists of Nosē community residents who study puppet theatre under the Bunraku-za company’spuppet masters. Their primary goal is to maintain the tradition of Japanese puppet theatre by active participation in learningthe form.Each theatre company serves as a force to maintain one of the most important traditional Japanese theatre forms in theircommunity. My paper will discuss how the three companies, though different focuses and approaches have played importantroles in traditional Japanese theatre.ykurahas@kent.eduFIRT/IFTR World Congress, University of Warwick, 2014152

Searching for the Perfect Sign: Structuralist Theory and Asian Acting TechniquesGeneral PanelThe paper is based on the ongoing research focused on Czech Structuralist thought on theatre and on my research on thelinguistic qualities of the Kutiyattam, the traditional theatre of Kerala. The topic is treated in the broader context of actingtechniques of Asian theatre genres. My paper will focus on the Kutiyattam’s expressive tools and their limitations. I willdiscuss Asian acting styles from a Structuralist point of view in connection with the works of Czech theatre theorists - e.g.Jiří Veltruský. The main question is whether the Asian theatre genres and their acting techniques could provide a sufficientmodel of the theatrical sign for “Occidental” theatre theory. I will also discuss the potential of theoretical reflections of Asiantheatre practice for Western theatre theory. The paper also takes into consideration the intercultural discussion of theatretheory from a historical perspective.Šárka Havlíčková KysováMasaryk UniversityŠárka Havlíčková Kysová is Assistant Professor in theDepartment of Theatre Studies, Masaryk Universityin Brno, Czech Republic. She received her M.A. inTheatre history and theory and in Czech languageand literature from Masaryk University in 2007, andcontinued her graduate studies and received her PhDin 2010 (doctoral thesis Hastabhinaya. Hand gestures intraditional theatre art of India). From 2009 till 2012 shetaught theatre theory at Palacky University in Olomouc.Since 2011 she works on the research project CzechStructuralist Thought on Theatre: Context and Potencyat Masaryk University, and since 2012 on the projectOperational Programme Education for Competitiveness- 2.2 Higher Education (Masaryk University).In her research and courses she focuses on theatretheory (mostly on cognitive approach), scenographyand opera. Her research focus is also on Asian – mostlyIndian – traditional theatre, with special interest inSanskrit theatre of Kootiyattam.sarka.havlicek@centrum.czFIRT/IFTR World Congress, University of Warwick, 2014153

What Demands Does a Stratified Theatre Performance Lay on its Spectators?General PanelOuti LahtinenUniversity of HelsinkiOuti Lahtinen is a doctoral student at the Universityof Helsinki. She has worked at the Universities ofHelsinki and Tampere since 2002 lecturing on theatrecriticism, performance research, performance analysisand theatre history. She has participated in severalpublications writing especially about Finnish theatresince the 1990’s, theatre criticism theory and actors’work. Lahtinen also writes reviews.My doctoral dissertation focuses on the performance analytic adaptation of the concept of performative as it originatesfrom J. L. Austin, and is further developed by e. g. Jacques Derrida, Shoshana Felman, Stanley Cavell and Judith Butler,and what this adaptation produces in analysis of theatre production. Thus, I am concerned about the performativity in itsdiscursive dimension regarding theatrical performance. The theory of performativity directs the analysis to three aspectsof the production: first, to the representations set forth by the production and their relation to the relevant conventionsand norms; second, to the context and framing of the production; and third, to the identities or subject positions that theproduction suggests to its makers, to the spectators, and also to the theatrical work of art itself. The production I havechosen as the object of the analysis included many historical layers. It was based on an adaptation of a novel which alsoincludes citations from other sources, mainly from works by the same author. The novel was first published 1910 and it hasbeen a popular source of stage adaptations. The production I focus on premiered 2001, and it reclaimed an earlier adaptationwhich dated back to the 1970’s. In addition to these literary sources, the production included imagery which pointed atcertain cultural and historical incidents and contexts. In this paper I will discuss how the concept of performativity directsto analyse how the production invites its spectators to a particular way of responding to the performance. The layers whichare embedded in the production as strata call for recognition, instead of adjusting to a network of intertextual references.One of the most interesting questions of the analysis is how the prerequisite a stratified performance sets for its spectatorsis met by the contemporary audience.outi.lahtinen@helsinki.fiFIRT/IFTR World Congress, University of Warwick, 2014154

I Just Like Pearls: Julian Eltinge’s Gender StratificationGeneral PanelThe early 20th century drag star, Julian Eltinge constantly existed in the in-between. Praised as hyper-masculine off-stage anddelicately feminine on-stage, he seemed to negate himself and have an ethereal asexuality. Women and men appreciated theextreme control of his performance apparatus in a time that could be described as increasingly hostile towards performanceof sex and sexuality.Though now largely forgotten, Eltinge fills an important place in drag history, existing between the dame performances ofthe 19th century and the more common “glamor drag” of the late 20th century. This essay explores Eltinge’s performancestyle and proposes that what he created was a sort of “accidental drag,” a delicate construct in which the performer had todress like a woman to pull off a ruse or a grave mistake.Kevin LandisUniversity of ColoradoIn line with the themes of the conference, I Just Like Pearls considers the stratification of drag vis-à-vis Eltinge’s delicateperformances contrasted by his vociferous off-stage denials of his sexual orientation. The essay contextualizes Eltinge’sunique performance style within the strata of gender performance.Kevin Landis is an assistant professor of Theatre inthe Department of Visual and Performing Arts at theUniversity of Colorado, Colorado Springs. His researchinterests and publications are varied. In recent yearshe has been studying contemporary “avant-garde”theatre groups, Eastern European actor trainingmethods, Native American melodrama, American drag,and performance analyses both of evangelical churchservices as well as restaurant food preparation. Landis isan MFA trained actor and member of the Actor’s EquityAssociation. He specializes in physical theatre trainingderived from his work with Grotowski’s lead actress,Rena Mirecka. Landis uses an eclectic training methodthat includes Michael Chekhov Technique, Suzuki andLeCoq clown and mask work. The training focuses onthe actor’s understanding of his/her body as the integralcomponent for vocal expression and performativecreativity.kevinlandis@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014155

Discussion of the role of stage engineering within international-standard performing arts buildings,with a specific focus on typical design challenges.General PanelGuiding a design team through the sometimes surprising nature of performance requirements– “There are how manyelephants are in the finale?”www.theatreprojects.comTom LammingTheatre Projects ConsultantsTom Lamming is a Director of Theatre Projects Consultantsand leads their stage engineering team. His understandingof equipment systems used in theatres and productionsenables him to suggest the most appropriate solutionsfor use in new and refurbished performing arts spaces.His design experience includes the National Theatre ofBahrain, the Stavros Niarchos Foundation Cultural Centre(the new home of the Greek National Opera) in Athens,the Convention Centre Dublin, the renovation of theGrieghallen concert hall in Norway, and new performingarts facilities for London’s Guildhall School of Music andDrama. Tom previously worked for Delstar Engineering onprojects from quotation to installation and was responsiblefor creating complete designs for manufacture, oftenstarting with a blank piece of paper. He has designed thecapital equipment for the Royal Shakespeare Company andat the Royal Festival Hall, and was involved in designingproduction equipment for shows at the Royal NationalTheatre and Glyndebourne. Tom holds a Bachelor ofEngineering (Hons) in mechanical engineering withaeronautics and is currently studying for a Master of Artsin theatre consulting at the University of Warwick. He is anassociate member of the Institute of Mechanical Engineers.tlamming@theatreprojects.comFIRT/IFTR World Congress, University of Warwick, 2014156

Theatre Directing in Chile, 1940-1979: An Approach Towards the Ideological Constructs of theStageGeneral PanelJaviera LarraínPontificia Universidad Católica de Chile - CONICYTJaviera Larraín holds a degree in Spanish Literatura atPontificia Universidad Católica de Chile, and is Master ofArts with a Major in Theatre Directing at Universidad deChile. She is currently a PhD student in Literature. Shehas participated in numerous research projects relatedto theater, narrative writers, arts and culture in Chile; andin different international congresses: Argentina, México,Uruguay, Barcelona, London, and elsewhere. She hasalso published articles in international academic journals,book chapters and has undertaken editing work onseveral theater books. She s currently preparing her bookHistory of theater direction in Chile: 1940-1979 (NationalResearch FONDART 2013), which is funded by a nationalinvestigation grant. Since 2011, Larraín has worked as atheater director of Cronópolis Theatre Company. In 2011,she debuted with her first play, Prueba Viviente (LivingProof), written and directed by herself. In the same yearLarraín toured Buenos Aires, Argentina. In 2012, shedebuted with a new play Rojo claro sobre rojo oscuro (Lightred on dark red), which was funded by a national grant(FONDART 2012). Her third play, about women writers(Gabriela Mistral, Virginia Woolf and Simone De Beauvoir),Tríptico (Tryptic) was premiered in 2013.The history of the proper Chilean theatre begins during the 1940’s decade by means of the University Theatres. These wereinstitutions directly linked to Chile’s most traditional and important universities, and which took the first step in the longroad towards the professionalization of the theatre directing trade. The figure of the stage director became henceforththat of a civil agent, a sort of metaphor for the political and sociocultural changes that the country would undergo. Thus,the following investigation seeks to give an account of the evolutions and transmutations that the role of theatre directorhas experienced Chile, particularly in relation to the social transformations happening between 1940 and 1979. This periodhas been chosen due to its framing within the first configuration of the methodological and ideological paradigm of theChilean theatrical scene, which was interrupted by the military dictatorship of the 1970s. It is possible to assert, duringthe four decades chosen, the existence of three conceptual stages: birth, institutionalization and discredit. Additionally,in this period there are two important phenomena present: the creation of a network of diverse artistic connections fromChile to other countries; and, especially, the irruption of the figure of the professional theatrical director within the Chileancultural field. The following work will address the practices of Chilean theatrical direction, understanding them through theideological practices of the State, linking them to certain historical processes such as educational and cultural reforms, socialstratification, and adjustments in the economic system. All of this is aiming to understand the behavioural processes of thetheatre director and the Chilean scene as staged cultural correspondences of the nation.javiera.larraing@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014157

Distributed Theatre: Real-time Remote Performance for Mediated Spectator EngagementGeneral PanelAndy LavenderUniversity of SurreyAndy Lavender is Professor of Theatre & Performanceand Head of the School of Arts at the University ofSurrey. He is co-editor of Making Contemporary Theatre:International Rehearsal Processes (Manchester UniversityPress, 2010) and Mapping Intermediality in Performance(Amsterdam University Press, 2010). Recent writingincludes articles for Contemporary Theatre Review,Theatre Journal and Studies in Theatre & Performance.Andy was a founding convener of TaPRA’s Performanceand New Technologies working group, and served asco-convener of the IFTR’s Intermediality in Theatre& Performance working group. He is an associateeditor for Theatre, Dance and Performance Training anda member of the editorial board of the InternationalJournal of Performance Arts and Digital Media. He isartistic director of the theatre/performance companyLightwork.This paper addresses stratification by way of an interleaving of places, modes of performance, and historical forms. Itexamines issues that arise in considering a meld of co-present theatre production and performance on the Internet. Itaddresses a practice-research approach to Hecabe, a classical Greek tragedy by Euripides (424 BC). The project envisagesa theatre event that takes place in three diverse locations as a single production in real time. Each space features an actorwho performs to camera. Audiences can see the piece live in one of the spaces (with the other actors mediated by Internetenabledvideo projection), or onscreen through the Internet (where all three actors appear as part of a single theatricalpresentation). The research aims to implement a robust system for Web-based performance, which still confronts technicalchallenges to do with time-delay and interconnectivity, and aesthetic challenges to modes of narration and dramatisation. Itexplores interaction design solutions across Internet, video and live performance protocols; theatrical, cinematic and onlineaesthetics; and an arrangement for Internet spectatorship that responds to the growing popularity of screenings of liveperformances. The process is concerned with both manifesting and merging the project’s stratifications – making the variouselements of theatrical and Internet-based performance work meaningfully together, whilst being productively separate.Classical Greek tragedy inherently produces tensions between presence and absence. The project aims to rework these in acontemporary paradigm. It adopts the classical model of a protagonist and two antagonists (playing all the other characters);explores media-enabled means of realising the chorus; and develops non-linear ways of dealing with consistencies of timeand space. The paper reflects on broader kinds of stratification and overlap: between dramaturgy and engineering; industrialand scholarly agendas in practice-research; and the separate affordances of intermedial theatre for actors and audiences.a.lavender@surrey.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014158

Performing Ruhe: Police, Prevention & the Archive (ca. 1800)General PanelTaking Jacques Derrida’s theory of the archive (Archive Fever, 1995) as a starting point, this paper focuses on the cominginto existence of police censorship archives. Against the backdrop of the German eighteenth century theater reformmovement, which strives to re-define theater as the performance of a literary text (and makes it thus accessible to theatercensorship), I will focus on different practices of audience control or pastoral surveillance. I will argue that a regime of Ruhemediates between the effectiveness of the stage and the state’s desire to preserve peace, order and security in the publicsphere. Here, three different regimes of prevention will be discussed (hygiene, inoculation and precaution). These regimes,I argue, could be seen as the “nomological principle” (Derrida) of censorship archives.Jan LazardzigUniversity of AmsterdamAssociate Professor for Theater Studies at the Universityof Amsterdam. 2011-2013 Feodor Lynen ResearchFellow in the Department for Germanic Studies at theUniversity of Chicago. 2010/11 Visiting Professor at theAcademy of Fine Arts in Münster. 2005-2010 Lecturerfor Theater Studies at the Freie Universität Berlin andmember of the Collaborative Research Center Kulturendes Performativen. Visiting Scholar at the Universitiesof Erlangen and Hildesheim. 2009-2012 co-convenorfor the Historiography Working Group. Among thebook publications are Theatermaschine und Festungsbau.Paradoxien der Wissensproduktion im 17. Jahrhundert (Berlin:Akademie Verlag, 2007); Theaterhistoriografie: EineEinführung (G. Narr, UTB, 2012) co-authored with MatthiasWarstat and Viktoria Tkaczyk; Ruinierte Öffentlichkeit:Theater, Architektur und Kunst in den 1950er Jahren (Berlin:Diaphanes, 2012) co-edited with Claudia Bluemle. Since2003 co-editor of the book series Theatrum Scientiarum(Walter de Gruyter), a study on the intersection betweenthe history of science and the history of theater in the17th and early 20th century. The current research projectquestions the manifold relationships between theater andthe police in nineteenth-century Germany.jlazardzig@uva.nlFIRT/IFTR World Congress, University of Warwick, 2014159

Matka Polska, do widzenia! Feminism as the New LeftGeneral PanelThis paper will interrogate how feminism, treated as a relic of counterculture and an unwelcome imposition under stateimposedsocialism, was marginalized in the 1990s in Poland by the political mainstream, but reemerged as a provocativeand effective critical lens over the past decade that reinvigorated leftist theatre practice. I will argue that a crucial newopposition was established in Polish theatre through the publication of Joanna Krakowska and Krystyna Duniec’s manifesto“W stronę teatru lewicowo-feministycznego?” (“Towards a Left-Feminist Theatre?” 2006), which argued for a ‘postbrutalisttheater’ alliance that would directly engage third-wave feminism and the ethics of the cultural left. Moving away from thebrutalist theatre that was so popular in the first years of the new millennium, I will chart recent performances that workagainst this paradigm in an effort to deconstruct patriarchy that continues to dominate Polish nationalism, contest thestereotype of Matka Polska (Mother Poland) and reinforce a cultural, ideological and semantic revolution in gender relations.Bryce LeaseRoyal Holloway, University of LondonBryce Lease is Lecturer in Drama & Theatre at RoyalHolloway, University of London. His research interestsinclude contemporary European theatre, avant-gardedirectors, national identity, gender, sexuality, politics,cultural geography and queer studies. He is currentlyleading an AHRC-funded project, Sequins, Self &Struggle: Performing and Archiving Sex, Place and Classin Pageant Competitions in Cape Town.Bryce.Lease@rhul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014160

“Our Breasts Are Also Dripping”: Pigs, Motherhood, and Humanity in Anna Augustynowicz’sProduction of Migrena by Antonina GrzegorzewskaGeneral PanelKasia LechCanterbury Christ Church UniversityKasia Lech, a lecturer in Performing Arts at CanterburyChrist Church University, holds a doctorate in theatrestudies from University College Dublin. Her researchon the importance of verse structure in theatricalperformance was supported by the Irish ResearchCouncil. Kasia trained as an actor and completed herMA in acting at the Ludwik Solski State Drama Schoolin Wrocław (Poland). She is also a trained puppeteer.Her professional acting career started in Poland andhas been continued in Ireland and UK in theatre, film,storytelling, voiceover, and applied drama. Kasia’sresearch interests include actor training, verse dramaand performance, performance of poetry, translationstudies, and selected aspects of Polish, Irish, andSpanish theatre. She has published on cultural andlinguistic translation and contemporary Irish and Polishdrama. Her translation of Kate O’Shea’s poetry has beenpublished by Translation Ireland. Kasia is a co-founder ofPolish Theatre Ireland – a multicultural theatre companybased in Dublin.This paper explores vegan feminist interrogation of differences between animals and humans in the 2010 Polish productionof Antonina Grzegorzewska’s Migrena [Migraine] directed by Anna Augustynowicz for Teatr Współczesny [WspółczesnyTheatre] in Szczecin. Migrena, inspired by a Norwegian Nobel laureate Sigrid Undset’s short story, focuses on Helena, whoadopted a boy abandoned by his biological mother. However Helena has no rights to keep him, when Fanny (biologicalmother) decides to take him back. The play is written in prose, but Grzegorzewska employs two formal elements: rhymes andthe chorus of three Pigs, who comment on the events, while awaiting their death in a slaughterhouse. The play was writtenfor Anna Augustynowicz, one of the most eminent of Polish directors. Augustynowicz in her production casts three femaleactors to perform the pigs and marks their “piggish” identity through masks. By employing text and performance analyses,this paper explores Augustynowicz’s use of masks, rhymes, and bodies of female actors. These analyses are connected withCarol J. Adams’s theories on vegan feminism and with her work on links between the slaughter of animals and violencedirected against women. In so doing, this paper argues that the staging raises the status of the Pigs to the main protagonistsof the play and the most “humane” of all stage personae to explore the interconnections between the oppression againstwomen and animals. Consequently, the production challenges the dichotomy of human and animal and works towards, touse Adams’ idea, dethroning “human”.kasia.lech@canterbury.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014161

Asian Avant-Garde and Asian American Theatre: A Comparative Study of Yoko Ono and YoungJean LeeGeneral PanelEsther LeeUniversity of MarylandYoung Jean Lee has recently emerged as one of the most exciting American playwrights of her generation. She is recognizedas an experimental playwright who has written about various topics in ways that many consider subversive and avant-garde.She is also an Asian American playwright who writes about identity and other political issues in unconventional ways. AsianAmerican theatre began in the 1960s and the 1970s with the explicit purpose of increasing representation of Asian Americanactors and stories onstage. Realism and political agency were prioritized over artistic experimentation, and efforts weremade to include Asian American theatre in “mainstream” American theatre. Around the same time, many artists from Asiareceived international recognition for their avant-garde work. Artists such as Nam June Paik and Yoko Ono led Fluxus andother experimental art movements to create what I call the Asian avant-garde. This paper compares Young Jean Lee to YokoOno to explore the similarities and differences between two Asian/American female artists at two distinct yet importanttime periods in New York City. The artists are examined in the context of other Asian and Asian American artists whohave navigated the different communities of theatre and performance. The paper questions how and why Asian and AsianAmerican artists have promoted experimental theatre and what kind of impact their involvement in avant-garde theatre hashad on Asian American theatre.Esther Kim Lee is Associate Professor in the Schoolof Theatre, Dance, and Performance Studies at theUniversity of Maryland, College Park. She is the authorof A History of Asian American Theatre (CambridgeUniversity Press, 2006), which received the 2007Award for Outstanding Book given by Association forTheatre in Higher Education and the editor of SevenContemporary Plays from the Korean Diaspora in theAmericas (Duke University Press, 2012). She is currentlythe Editor of Theatre Survey, the flagship journal of theAmerican Society for Theatre Research. She is currentlyworking on a book project on the Chinese Americanplaywright David Henry Hwang.eklee@umd.eduFIRT/IFTR World Congress, University of Warwick, 2014162

Staging the Actress: A Genealogy of Female PerformanceGeneral PanelMelissa LeeOhio StateMelissa Lee is currently completely her dissertation onthe actress at The Ohio State University. Her researchhas been funded by a Coca-Cola Critical Differencefor Women Research Grant as well as a PresidentialFellowship from the Graduate School at Ohio State. Shehas recently published “Performing (Our)Selves: TheRole of the Actress in Theatre-History Plays by Women,”co-authored with Lesley Ferris in the collectionContemporary Women Playwrights: Into the Twenty-FirstCentury.Rebelling against the hegemonic control of the “grand narrative” that privileges the literary male genius, Jacky Brattonproposes the study of acting family genealogies, an untapped—and according to Bratton, potentially subversive—approachto uncovering new theatre histories. In this paper, I propose a genealogy of female performance, an excavation of women’stheatre history as charted through successive generations of the professional actress. Serving as a model for my inquiry isChristopher St. John’s suffrage play The First Actress (1911). St. John innovatively links the fight for women’s suffrage withthe historical struggle of actresses for professional acceptance by staging the wisdom of hindsight: a pageant of ten wellknownactresses from British theatre history appear to counter the titular first actress Margaret Hughes’s fear that her faileddebut has made it impossible for other women to take up the profession. The appearance of these “future” actresses—bothas historical characters within the dramatic world of the play and as performed by real women—strategically functions astestimony to female autonomy and an endorsement of another inevitable “first”: the enfranchisement of women. In St.John’s feminist forward-looking past-as-future spectacle, each individual actress, up to the present theatrical moment ofthe play’s performance, is part of a larger family of actresses reaching back to the pioneer Hughes. In this vein, I look to playsthat stage the actress across different eras to uncover both the theatrical and cultural stratification and the continuity of“familial” ties that define and link actresses through a shared history of exclusion and censure. This paper will demonstratehow this archive of overlooked actress-plays stage the actress, and how these dramatic representations chart their owncultural narrative that is at once the product of the vexed legacy of the professional actress and repeated attempts toreform and reshape it.lee.3113@osu.eduFIRT/IFTR World Congress, University of Warwick, 2014163

Yeats’ The Only Jealousy of Emer: Staging StrangenessGeneral PanelCatherine LeeneyUniversity College DublinA photograph in the Yeats Centre in Sligo, Ireland, led us to research into the links between W.B. Yeats and the Dutch directorAlbert van Dalsum in the 1920’s. The photo shows masks made by the Dutch sculptor Hildo Krop for the world premiere in1922 of Yeats’s The only jealousy of Emer, in Amsterdam. Though the contacts that led to Van Dalsum’s pioneering work onYeats’s play are known to many Yeats scholars, the scenography of this innovative production has yet to be explored in detail.The production was exemplary of the gesamtkunstwerk movement in theatre and dance performance in the early century.In its collaborative creation, which involved the key figures of Van Dalsum (a talented director and avant garde in much ofhis work), Krop (an architect, sculptor and designer whose philosophy of social egalitarianism informed his artistic career),and the choreographer Lili Green, (avant garde choreographer and performer) qualities of aesthetic expression in language,costume, mask, staging, music and choreography were tested before an audience hungry for change and experiment. In thispaper we will excavate the events and influences leading to this extraordinarily daring and idealistic venture, and explore itsachievements and limits. Broader cultural and socially ideological movements on mainland Europe proved to be an importantbase for this work, and its aim to create and engage audiences in new ways beyond narrative, but it was the aestheticachievement, in particular Krop’s designs for masks, that led Yeats to re-conceive his play and to create a new performanceof it in 1929, borrowing Krop’s masks and featuring the choreography of the dancer Ninette de Valois.Cathy Leeney lectures in Drama Studies at UniversityCollege Dublin and is director of the MA programmein Directing for Theatre. She has published on IrishTheatre in the twentieth and twenty-first centuries,on Directors, and on contemporary performance. Herbooks include Irish Women Playwrights 1900 - 1939(2010), and she is currently working on a study ofdirecting and scenographic practices in Irish theatre.Catherine.leeney@ucd.ieFIRT/IFTR World Congress, University of Warwick, 2014164

Sacrifice and TheaterGeneral PanelShimon LevyTel Aviv UniversityIn bringing a sacrificial offering, a typically religious performative act, man expresses his (un?-conscious belief that he issubject to the ravages of time and nature, to human frailties, to the slings and arrows of fortune; as well as to the hope thathe can communicate with God, the gods, or various forces of nature and other enemies, and give them something meaningfulof his own in order to receive from him/her/them/it something no less important: life, health, abundance, absolutionfor imagined or real guilt, and other material, mental, and spiritual benefits. Sacrifice, as Freud taught, is motivated primarilyby fear and guilt. The sacrificial offering, both symbol and non-symbol, image and non-image, indicates faith in its validity asa means of exchange in the trading with those powers stronger than man. The sacrificial offering, as a physical substance,constitutes a mental and social bridge connecting one with a spiritual destination, whose foundations are concealed in theobscurity between hope and terror. The similarities between a theater play and the sacrificial offering may be misleading.There are still, of course, forms of theater that use ritual and sacrificial techniques, either due to their psychological andsocial efficacy or to the beliefs of their creators. But the main mission of theater today is not to utilize theatrical means toexpress guilt or fear, hopes or bargaining; but, rather as a radical replacement of the spiritual goal. The play-offering will nolonger be presented to God - but to the participants, creators and audiences alike. God, if still there, will receive only a faintwhiff of the burning, as the Bible says.Dr. Shimon Levy is Full Professor (Emeritus) at Tel AvivUniversity where he has held the position of Chair ofthe Theatre Department. His recent books include TheBible as Theatre (Eng. 2000; Heb. 2013) The SensitiveChaos, focusing on the plays of Samuel Beckett (2002);Israeli Drama (Arabic, 2007) and The Israeli TheatreCanon (Heb. 2002) exploring Hebrew drama. He is theeditor of Theatre and Holy Script (Eng., 1999), and DoNot Chase Me Away, New Studies on The Dybbuk (withDorit Yerushalmi, Heb. 2009) and has also publishednumerous articles in Hebrew, English and German.Levy has translated over 140 plays into Hebrew. He wasthe artistic director of the Acco Festival of AlternativeIsraeli Theatre and served on various Israeli arts counciland ministry of culture committees. Levy has alsowritten and directed plays for theatre and radio in Israel,Canada and Europe.shilev@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014165

Objecting to/Abjecting Whiteness: Excavating Whiteness in the Global PostcolonyGeneral PanelMegan LewisUniversity of MassachusettsDr. Megan Lewis is a South African-American theatre,performance, & film scholar concerned with the stagingof national identity, gender, and race across a varietyof performance media. Her first book, WhitewashedNation: Performing and Reforming Whiteness in SouthAfrican Theatrical and Public Life is forthcoming fromIowa University Press. Dr. Lewis is also co-editing acollection of essays and interviews about Cape TownbasedMagnet Theatre’s 25 years of theatre-makingin South Africa with Dr. Anton Krueger at RhodesUniversity for Intellect Books and Unisa Press. Lewishas published on South African performance in TheatreJournal, Performing Arts Journal, Text & Performance,Theatre Topics, and The Journal of Dramatic Theoryand Criticism. She is currently an Assistant Professor ofTheater at the University of Massachusetts Amherst.Whiteness, a historically constructed, imagined category, is layered into cultural systems at every level; it consists of “anideologically supported social positionality” (Steyn 2005) structured upon “supremacist assumptions” (Bonnett 1999). Itis maintained by sustaining “norms, cultural capital, and contingent hierarchies” (Garner 2007) that privilege white people,values, and ways of being. As a “machine” (Martinot 2010) designed to perpetuate itself, whiteness leverages performance,maintaining itself through “stylized repetitions of acts” (Butler 1990). Marking something “as performance,” theatre is auseful frame though which to bring the construction of whiteness into the spotlight. As central to social systems that relyon stratifications of race, whiteness usually occupies the invisible default. Recently, an international spate of popular cultureperformances have resisted hegemonic versions of whiteness in favor of enactments that abject, parody, or otherwise knockwhiteness off its pedestal. I analyze four global sites: 1) Canadian mockumentary Trailer Park Boys, parodying poor whitesin Dartmouth, Nova Scotia, 2) Chav performances in contemporary England, 3) American reality TV shows that focus on“white trash” microcultures, such as Red Neck Island, Turtle Man, or Honey Boo Boo, and 4) South African rave-rap sensations,Die Antwoord, who perform dirty abjections of white Afrikaner identity in the new democracy. In my analysis, I ask how--across these former nations of empire, built on ideologies of whiteness, and ordering individuals and institutions withinsocio-political hierarchies--whiteness is being enacted in our global, postcolonial moment. What, I ask, happens when whiteperformances challenge social stratification, or move down the social ladder? How might whiteness be positioned differentlyand/or resist its historic power? And what are the liberatory potentials—and racialized pitfalls—of white bodies performing inthe postcolony (Mbembe 2001)?meganlewis@theater.umass.eduFIRT/IFTR World Congress, University of Warwick, 2014166

The Dissolution of the Subject in Martin Crimp’s Fewer Emergencies (2005)General PanelLia Wen-Ching LiangNational Tsing Hua UniversitySince the rise of post-structuralism in the 1970s, the concept of the subject has become a centre of contention and receivedcontinuous problematization. Yet in theatre the dissolution of the subject has rarely been a theme explored artistically ortheoretically with enthusiasm. One notable recent exception has been the writings of Martin Crimp, the British playwrightwho mistrusts theatrical realism and persistently challenges the notions of theatricality and subjectivity in his works. Thispaper provides an assessment of Crimp’s Fewer Emergencies (2005) in the light of the post-humanist turn in criticism andsocial theories. Theatre scholars have tended to view Crimp’s works as apocalyptic fables reflecting the imminent crisis oflate capitalist society. This paper suggests a different direction of reading. While the three short plays in Fewer Emergenciesall contain stories alluding to the horror of modern life from hatred to mass murder, what is striking is that Crimp offersneither coherent and humane explanations nor moral instructions about such social failures. This paper argues that, byproceeding with flowing dialogues uttered by characterless actors, Fewer Emergencies is more about the mediatization ofthe contemporary world than telling horrible prophecies. I suggest that Crimp is most astute in his exposure of the subjectand the dramatic event as consisting of layers of mutually observing and interacting discursive forces. In conclusion, I raisefurther questions about Crimp’s observation of the modern world, and points to potential directions for future research.Lia Wen-Ching Liang (Ph.D, Royal Holloway, Universityof London) is Assistant Professor at Department ofForeign Languages and Literature, National Tsing HuaUniversitty, Taiwan. She teaches Contemporary BritishTheatre, Shakespeare, and Deleuze and Literature.Taking points of departure from Deleuze’s concepts, shehas published articles on Shakespearean productions,intercultural theatre, postdramatic theatre, and popularentertainment. She is currently a board member ofTaiwan Shakespeare Association. Her current researchproject is about the post-911 landscapes in MartinCrimp’s plays.wcliang@mx.nthu.edu.twFIRT/IFTR World Congress, University of Warwick, 2014167

Curated Panel: Strata of FacilitationGeneral PanelThis panel will explore the diverse roles and strata found in participatory performance, with a specific focus on the facilitatorin socially engaged theatre practice. Within the working approaches found in socially engaged theatre practices, the diverseroles of the participants and the facilitator, particularly relationships of agency and emotional labour have been explored(Preston 2013; White 2013).Bringing into question whether there are levels of participation, across which the roles of facilitators and different kindsof participants are distributed, the three panel members will approach these themes from different perspectives, Kat Lowreflecting on her investigation of the teaching of socially engaged practice, Gareth White elaborating on facilitation asan aesthetic practice, Selina Busby power relationships in facilitating creative work in the criminal justice system and SamHaddow discussing stratas of ‘ignorance’ in facilitation, initially critiquing the Rawlsian ‘veil of ignorance’ that facilitatorsoften draw upon in simulating a democratic environment.Katharine Emma LowRoyal Central School of Speech & DramaDr. Katharine E. Low is an applied theatre practitionerspecialising in health communication and sexual health andis currently a lecturer in Applied Theatre and CommunityPerformance at the Royal Central School of Speechand Drama. Since 2003, she has been researching anddeveloping social theatre practices as an approach tosexual and reproductive health communication. As apractitioner, she has developed and facilitated practice inTanzania, South Africa and the UK with diverse groups ofparticipants. Prior to teaching full-time at Central, she wasthe convenor of the MA in Applied Theatre at Goldsmiths,offering a course called ‘Performance, Art and Health’. In2012-2013, she was awarded an HEA teaching developmentgrant with Sue Mayo (Goldsmiths College), to researchhow socially engaged theatre practice is taught at MA level.Her current interests lie in the field of arts & health, sexualhealth communication, teaching & learning, dementia careand prison theatre. She has published articles based onher research on theatre and health in RiDE: The Journal ofApplied Theatre and Performance, the Journal of Applied Artsand Health and Gender Forum. She is currently co-editing abook with Dr Veronica Baxter entitled Performing Health &Wellbeing for Methuen.We will begin by considering whether these roles are fixed. Is facilitation a matter of enabling roles and/or moving peoplebetween levels of engagement? By using the language of levels and strata, do we imply fixedness? Can individuals (bothparticipant and facilitator) inhabit multiple levels, and if so, what stresses does this create? We will examine the differentperceptions a facilitator may hold about their practice and ways of working. Namely, the layers of intention and how theyview their practice, which can in some instances hint at martyrdom and on other occasions are driven by a ‘quiet desperation’to make a meaningful change for participants.Talking from different perspectives, from teaching socially engaged practice to interviews with experiences practitioners, this panelwill address questions of:· Power· Hierarchies· Ownership· Commitment/intentionKatharine.Low@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014168

When Traditional Songs Resist Nationalist Constructions of Culture and TraditionGeneral PanelVirginie MagnatUniversity of British ColumbiaVirginie Magnat is the author of Grotowski, Women, andContemporary Performance: Meetings with RemarkableWomen published in the Routledge Advances in Theatre andPerformance Studies Series (2014). This monograph, whichreceived the Canadian Association for Theatre Research2014 Ann Saddlemyer Book Award Honorable Mention,and its companion documentary film series featuredon the Routledge Performance Archive, constitute thefirst examination of the artistic journeys and currentcreative practices of women from different cultures andgenerations who worked with Jerzy Grotowski during thevarious phases of his practical research. This project, whichentailed conducting four years of embodied research andmulti-sited fieldwork in Poland, Italy, France, and Denmark,was funded by two major grants from the Social Sciencesand Humanities Research Council of Canada. Originallyfrom France, Magnat holds a Ph.D. in Theatre from theUniversity of California where she also was a PostdoctoralFaculty Fellow in Anthropology. She is currently AssociateProfessor of Performance at the University of BritishColumbia. Her new cross-cultural project examines howthe performance of traditional songs can become an actof resistance that challenges contemporary nationalistconstructions of culture and tradition.I examine in this paper the social, political, ecological, and spiritual implications of performing traditional songs as an actof resistance that challenges contemporary nationalist constructions of culture and tradition. I have learned from myconversations with Syilx Elders in the unceded territory of the Okanagan region in British Columbia, Canada, that singing is avital part of the cultural practices that have enabled North American Indigenous communities to remain deeply connectedto the land of their ancestors in spite of on-going colonial violence. In response to the current rise of extreme right-wingnationalist fervor that is producing a disturbing resurgence of xenophobia in France, I am (re)learning to perform Occitansongs from my own tradition. Occitan, which was my maternal grandmother’s language, was not transmitted to my mother’sgeneration because it was nearly eradicated by the imposition of the official northern language which buttressed Frenchnational unity. During the second world war, the Vichy government and the French extreme-right wing party reclaimedregional traditional cultures to bolster nationalist and fascist ideologies, thereby disavowing the cultural diversity reflectednot only in the multiplicity of regional specificities within Occitania, but also throughout the Mediterranean world. Performingthese songs is my way of honouring the vibrant convergence of Muslim, Jewish, and Christian worldviews within hybridMediterranean cultural practices. Significantly, Gérard de Sède’s Sept cents ans de révoltes occitanes, the unofficial historyof centuries of regional struggle for cultural sovereignty that remains conspicuously absent from French school textbooks,was re-edited in April 2013 with a preface by Occitan left-wing politician José Bové, an influential anti-globalizationenvironmentalist who indicts the hegemonic politics of the French State previously denounced by 1960s Occitan activistsas a form of internal colonialism.virginie.magnat@ubc.caFIRT/IFTR World Congress, University of Warwick, 2014169

Contemporary Theatre in a City of Contrasts: Muangthai Rachadalai Theatre and DemocrazyTheatre StudioGeneral PanelPawit MahasarinandChulalongkorn UniversityPawit Mahasarinand teaches world dramatic literatureand theatre and film criticism classes at ChulalongkornUniversity’s Department of Dramatic Arts, and has writtendance and theatre reviews for English-language dailynewspaper The Nation since 2001—two jobs which allowhim to watch about 150 performances a year, mostly inAsia and Europe. He read his academic papers on Thai andSoutheast Asian dance and theatre at IFTR conferencesin Canterbury, Lyon, Amsterdam, Osaka and Barcelona;and PSi conferences in Tempe, Singapore and Palo Alto.He also gave lectures at Tokyo Metropolitan Theatre;Goethe Institute, Jakarta; LaSalle University, Singapore andSoutheast University, Nanjing. His entries on Thai theatreare in The Encyclopedia of Asian Theatre (GreenwoodPress). As artistic director of “World Performances @Drama Chula”, worked with foreign embassies and culturalinstitutions in bringing contemporary performances,including Tim Crouch’s An Oak Tree and Oriza Hirata’sSayonara to the blackbox theatre in central Bangkok. Thefirst president of the International Association of TheatreCritics’ (IATC) Thailand centre, he was a critic-in-residenceat Festival/Tokyo 2011 and will be one at Asia Pacific DanceFestival in Hawaii next year.http://blog.NationMultimedia.com/DanceAndTheatrepompawit@gmail.comDespite the fact that the development of contemporary Thai theatre owes a great deal to the foundation of two universitydrama departments in the early 1970s, their productions and training of theatre professionals, contemporary Thai theatre hasnow moved further from translation and adaptation of European and American plays on campuses to private-run playhousesand is no longer an elite culture. This paper starts with a brief introduction on contemporary Thai theatre and then studiesin particular recent works presented at its two current hubs, namely Muangthai Rachadalai Theatre and Democrazy TheatreStudio. They are both in Bangkok, a city of contrasts where millennium-old Buddhist temples are next to modern shoppingmalls and luxury condominiums are a few hundred metres from slums. Rachadalai is a 1,500-seat proscenium playhouse atopa shopping mall where resident company Scenario has been, since 2007, staging formulaic Broadway-styled Thai musicals,most of whose books are adapted from popular Thai novels. Democrazy is a blackbox studio reconfigured from a twounitshophouse, with the maximum capacity of 80 audiences, where independent professional theatre groups have beenpresenting a wide variety of works since 2009. Scenario, which is also a television production company and whose stageand screen works are regarded as middle- to low-brows, is successful in expanding the spectatorship of contemporaryThai theatre by simple and familiar plots, spectacular production design, superstar cast as well as lucrative marketing plans.Democrazy has a higher number of productions, high- to middle- brows, with shorter runs and their marketing relies heavilyon Facebook. As Thailand’s ministry of culture allocates plenty more of its budget for the preservation of traditional theatre,Scenario relies on ticket sales and sponsorship, while Democrazy on box office only.FIRT/IFTR World Congress, University of Warwick, 2014170

Actor Training as The Missing Performance Event: How is Performer Training Stratified?General PanelAnna MakrzanowskaRose Bruford CollegeAnna Makrzanowska is a Senior Lecturer in theEuropean Theatre Arts programme at the Rose BrufordCollage, London. She graduated from The NationalTheatre Academy in Warsaw, Poland. Anna is currentlyworking on a PhD; her thesis ‘The Impossible Handbookof Acting - Training as Performance’ provides a newdefinition of performer training.The presentation examines the notion of ‘missing performance’ in my propose definition about performer training in thecontext of the philosophical debates about the performer training in the European theatre. In my strategy of thoughtperformer training is seen as a life-long experience, which takes place in the performer’s body. The body is investigatedas the place when training events are happening over the life-time. If those events are reconsidered as the fragments ofculture layered according to stratigraphic principles how can we find the continuity between those events? How can wedefine the space between those events? What can be missing and how can we expose a missing performance between thoseevents? When the performer is seen in the field of training? My definition of ‘Training as Performance’ is inspired by GeorgioAgamben’s notion of ‘potentialities’ and ‘Genius’. This paper will specifically focus on experiencing ‘Genius’ and ‘Fields/Zonesof Potentialities’ in the training; the importance of the missing element in the Agamben’s concept of ‘Genius’ and differentfunctions of ‘impotentiality.’ And finally the presentation will ask questions such as how can we establish a missing spectatorin the training? And what Agamben (2007) means when he says that the potentiality “have its own consistency and not alwaysdisappear immediately into actuality” (2007: 45)? How this concept of performer training could be seen in the context ofthe social stratification conditioned by historically constructed categories such as education, language, nationality, religionand ethnicity? How this strategy of thought creates the platform for the debate about the hierarchies of the contemporaryEuropean theatrical training?Anna.Makrzanowska@bruford.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014171

Performing a Myth of Multicultural Origin: The George Washington Bicentenary’s WakefieldPageantGeneral PanelHolly MaplesUniversity of East AngliaHolly Maples is a Lecturer in Drama at the Universityof East Anglia in the United Kingdom. Her researcharea includes the performance of collective identity innational festivals, identity and the body in dance theatre,and the Irish national theatre. Her book, Culture War:Commemoration, Controversy and the ContemporaryAbbey Theatre, was published by Peter Lang in 2011. Sheis also an actor and theatre director and has performedand produced work in Ireland, America and the UnitedKingdom.Hoping to engage Americans in acts of patriotism at a time fraught with tension over the Great Depression, the 1932 GeorgeWashington Bicentenary encouraged performances of poems, pageants, and speeches in honour of Washington acrossAmerica. In the nation’s capital, Percy MacKaye’s large-scale pageant, Wakefield: a Folk-Masque of America, was a multilayeredperformance interweaving American and colonial history with contemporary racial politics of the day. The community eventinvolved immigrant groups, Native Americans, African Americans, and other community groups to present a multiculturalmyth of origin for the Bicentenary. The pageant included folk songs and dances from the different groups, highlightingand celebrating the diversity of the American cultural landscape. The inclusion of Native American and African Americancommunities, moreover, was at the heart of the pageant’s message of America’s “unique” cultural heritage. Even the portrayalof the country itself, represented in the figure of “Wakefield,” was depicted as a combination of the old and new world:“Maternal, vital of earth, her figure is sibylline and calm, mysteriously blending aspects Classic and Amerind.” However, thiscelebration of diversity was not without its cultural politics. The depictions of the Native Americans in the event is decidedly“other-ing”, romanticizing them as spiritual figures of the land itself, with a similarity between their portrayal with that ofthe earth and the heavens, while the representation of African American communities is notably silent on the institution ofslavery. As a national pageant, moreover, much of the underlying message was to reabsorb the diverse communities into ahomogeneous whole, ending triumphantly with all singing “the Stars Spangled Banner.” This paper examines how communalperformances like the 1932 Wakefield Pageant straddle the uneasy landscape of cultural difference in an evolving nation.holly.maples@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014172

Walking in the Streets of Athens: A Reflection on Graffiti and ArchitectureGeneral PanelHari MariniQueen Mary, University of LondonHari Marini holds a PhD in Performance fromQueen Mary, University of London. Her researchexplores the relationship between contemporaryperformance practices and urban space, and looks atthe performative aspects of architecture and urbanplanning. She has presented papers to conferencesin the UK, Prague and New York. She also holds adiploma in Acting (Greece 2002) and a degree in CivilEngineering (Greece 1999). She has extensively workedas a performer/deviser in theatre performance and shehas taught theatre and performance at Queen Mary,University of London.This paper proposes to analyse my experience of walking in the streets of Athens and documenting the graffiti appeared onbuildings’ facades. I consider walking as a mode of travel, but also as a spatial practice that encourages creative responses,critical reflection and generates its own architecture. Therefore, I seek to create a narrative through my performativefieldwork that I conducted on foot in the streets of Athens and mapping the graffiti imprinted on the city’s fabric, in anattempt to unravel the complexity and multiplicity of contemporary Athens city-spaces and architecture. Since 2010, theproliferation of graffiti in the centre of Athens is evident and its connection with the financial and social crisis can be affirmedin at least two ways: the political messages graffiti adopts and the many available surfaces of abandoned businesses forgraffiti artists. Certainly, many public buildings, historic edifices and statues have also been ‘attacked’ by graffiti, and thishas been denounced by the majority of the press and media. How does graffiti transform Athenian streets and architecture,interrupting public and private space and reflecting the current social and economic situation of the country? To what extentdoes graffiti enliven or destroy Athenian city-spaces? Through the analysis of my walk I attempt to testify to layers of storiesand practices that create and (dis)connect contemporary spaces in Athens. For my discussion, I employ a combination of amaterialist and a performative analysis. In a materialist approach, I identify restrictions placed upon urban streets by urbanplanning and architecture. Whereas in a performative approach, I focus on the graffiti and the act of walking as a spatialpractice that contribute to the production of a social and participatory space.c.marini@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014173

Configuration and Criticism: Rancière and the Poetics of ResistanceGeneral Panel“There is politics because the common is divided. Now this division is not a difference of levels.” Jacques RancièreThis paper investigates the relationship between criticism and modes of configuration, drawing on the political philosophyof Jacques Rancière. In the first instance, I articulate my theorisation of criticism understood as a political event by drawingon Rancière’s conceptualisation of politics as dissensus and Alain Badiou’s theory of the event. I extend this identification ofcriticism as a political event to consider how notions of policing, resistance and appearance might provide an insight into theways in which configuration is deployed within the critical process.Diana Damian MartinRoyal Holloway, University of London and Royal CentralSchool of Speech and DramaDiana Damian Martin is a performance and live art writer,critic and dramaturg. Her research explores notions ofcriticism as a political event, drawing on such works asthose by Jacques Ranciere, Alain Badiou and HannahArendt. Navigating between performance criticism, criticaltheory and art writing, her work investigates the ways inwhich critical process might be articulated in relation topolitical practice, which she is exploring as part of a fundedPhD. Diana is a Lecturer in Performance Arts at RoyalCentral School of Speech and Drama and has publishedextensively in the UK, France, Belgium, Germany, CzechRepublic and Romania, for Scenes, Divadlo and TheaterHeute, amongst others. She is co-founder of Writingshop,a collaborative, pan-European project examining theprocesses and politics of contemporary critical practice,and Institute of Critical Practice, a nomadic [non]organisation explores the ways in which criticism currentlymanifests itself in contemporary performance as a mode ofinquiry and production, strategy for visibility and practiceof dissemination. Diana is Performance Editor at ExeuntMagazine, Guest Editor for Platform: A Journal of Theatreand Performance, and Managing Editor of Royal Holloway’sfirst practice-based publication, Generative Constraints.diana.d.damian@gmail.comI will proceed to identify and engage with Rancière’s deployment of Auerbach’s “scene”, theorised as an optical andconceptual tool, most notably in his recent publication Aisthesis. I will look at the ways in which Rancière’s critical strategymight be understood in light of a process of re-configuration. I will posit that in the delineation of a theory of politicalaesthetics residing in dissensus, Rancière does not only identify a stratification of discourses on modernity within art history;he also provides a conceptual tool that re-inscribes the very notion of strata.I conclude that by deploying the foundational axiom of equality found in Rancière’s thought, we are able to problematize thecritical encounter as residing within hierarchies understood as strata; instead I argue for an understanding of theses as sitesof dissensus. Criticism will thus be contextualised as a process at the meeting point between the legislated, the public andthe visible.FIRT/IFTR World Congress, University of Warwick, 2014174

Language Stratification in Eduardo De Filippo: The Missed Revolution of Dialect Theatre in GreatBritainGeneral PanelAlessandra de Martino-CappuccioUniversity of WarwickDr Alessandra De Martino Cappuccio is an AssociateResearch Fellow at the University of Warwick in theDepartment of Italian, where she teaches Italian languageand culture and Translation Skills. Her doctoral thesison theatre translation looked at the cultural transfer inthe English translations of a selection of plays by theNeapolitan playwright Eduardo De Filippo (1900-1984).Her research began by studying translation issues relatedto the rendering of Neapolitan dialect into English, withregard to the cultural message inherent in such plays. Shehas furthered her research interests looking at languageas a political instrument in society and at the relevance ofminority voices in contemporary theatre. Besides articlesand chapters in books, she has published the contemporarytheatre book Differences on Stage, co-edited with ProfPaolo Puppa and Dr Paola Toninato. She is a professionallegal translator, and worked for the Royal ShakespeareCompany as a theatre interpreter. She has translatedtheatre monologues by contemporary Italian authorssuch as Pippo Delbono, Lella Costa and Luca De Bei, andwill appear in the forthcoming crime investigation seriesEvil Up Close. She is now working on the Italian edition ofDifferences on Stage.Eduardo De Filippo portrayed humanity, from the highest sense of maternity to the lowest example of pettiness employingmainly Neapolitan dialect and in doing so he valued Italy’s multilingualism and local identities. Having said that, especially inhis later production, by juxtaposing standard language and dialect, he also offered a socio-linguistic portrayal of the complexpanorama of his time. The ongoing fortune of his plays and widespread appreciation by Anglo-Saxon audiences sanctionDe Filippo’s prominent position among the playwrights of the twentieth century in bringing dialect theatre to the fore inthe Italian theatrical panorama. Indeed, he used theatre in a militant way, to raise collective awareness and generate publicdebate on social issues such as prostitution and social inequality. In light of the Bakhtinian concept of heteroglossia as a wayto allow a multiplicity of social voices to speak out, the paper attempts to articulate how language stratification in De Filippo’splays represented social diversity through different speech types. However, from a textual analysis of English translationsof a selection of plays, it can be noticed that, through language standardization, the English versions seem to have levelledout this essential feature of De Filippo’s theatre. Moving from the premise that language is indissolubly linked to hegemony,as theorized also by the Italian thinker Antonio Gramsci, the paper discusses the implications of such linguistic flattening.Whilst suggesting that the English versions may have operated an act of linguistic neo-colonization, imposing “the languageof respectable society”, it proposes a stance more attentive to the representation of the variegated source language.a.cappuccio@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014175

Excavating Theatre History: The Re-Appearance of German Baroque DramaGeneral PanelIn contrast to Baroque Music and Opera, the drama oft he 17th century has been quite out of fashion in Germany for thelast decades: Its plays are commonly considered as dramaturgically problematic, its protagonists as cardboard figures in adated rhetorical gesture, and its plots as totally alien to a “modern” audience. And yet, in the last years the plays of CasparLohenstein have found their way back to the German stage. Directors like Hansgünther Heyme, or ensembles such as theTheatre of Mainz have restaged the plays with quite a positive resonance. The paper looks at these phenomena and asks towhat extent the performative re-appearance of these plays help us to redefine theatre in a post-post-dramatic era.Peter W. MarxUniversity of KoelnProf. Dr. Peter W. Marx holds the Chair for Media andTheatre Studies at the University of Cologne, and isdirector of the Theaterwissenschaftliche SammlungCologne. He received his PhD from Mainz University in2000 for a dissertation on Theatre and Cultural Memory,dealing with works of George Tabori, Tadeusz Kantor andRina Yerushalmi (published in 2003). He held a JuniorProfessorship in Mainz from 2003-2008. During thisperiod he was a Visiting Scholar (Feodor-Lynen-Fellow)at Columbia University in the City of New York and heldVisiting Professorships in Vienna, Hildesheim, and atthe Freie Universität Berlin. From 2009-2011 he was anAssociate Professor for Theatre Studies at the Universityof Berne before being appointed to his current positionin Cologne in 2012. Following his dissertation, Marx hasworked on theatre history, with a focus on German-Jewishartists in the late 19th, early 20th century. Two booksstem from this interest: Max Reinhardt (2006) and Eintheatralisches Zeitalter (2008). Most recently, he publishedhandbooks on the theory and history of Drama (2012) andon Hamlet (2014). His current work deals with Shakespearein performance (Hamlet’s Voyage to Germany)..peter.marx@uni-koeln.deFIRT/IFTR World Congress, University of Warwick, 2014176

The Limits of Mimesis in Religious PerformanceGeneral PanelDavid MasonRhodes CollegeReligious practices—not only rituals and ceremonies, but festivals, meditations, modes of dress, ways of speaking, publicand private prayer—are commonly characterized as theatrical. It is, perhaps, the consequence of the social sciences’ dashto theatrical metaphors in the 1960’s, whereby social phenomena of all sorts came to be seen as signifying activities. Theargument was so robust that it fell back on dramatic theory, reinforcing the old, Aristotelian notion that theatre is animitation of action. Hence, we have come to speak of theatre as, essentially, “re”: re-done, re-presented, re-peated, replayed.But the religious activities that have born this theatrical stigma can be otherwise regarded as phenomena that are,essentially, not re-done. The objection that religion is not merely theatre asserts that religious life has an authenticity, perse, a presence rather than a signified absence. Terms such as “sacred” and “holy” indicate that the rite, ceremony, prayer,etc., have a presence that is in the activity itself as itself, and not merely as a reference. And, perhaps, theatre is not merelytheatre. Christian living nativity scenes and Vaishnava râs lîlâ plays—religious practices which explicitly manifest an immediatepresence—may show us that theatrical performances of all sorts cannot be reduced to mimesis or representation. Even ifwe dispense with metaphysics, we still must confront the fact that no repetition serves perfectly, nothing can be whollyrestored. There is, then, in every performance—religious or secular—something original and authentic only to the moment ofactivity, something that is not imitated but is originally manifest.David Mason is Chair and Associate Professor ofTheatre at Rhodes College. He is the author of “Theatreand Religion on Krishna’s Stage” (Palgrave, 2009). Hehas published extensively on theatre in India and theintersection of theatre and religion in Theatre ResearchInternational, New Literary History, the Journal ofDramatic Theory and Criticism, and other journals. Hisbiography of Brigham Young will be published in 2014 byRoutledge.masond@rhodes.eduFIRT/IFTR World Congress, University of Warwick, 2014177

National Theatres in The Global Age: A PerspectiveGeneral PanelChihoko MatsudaSenshu UniversityChihoko Matsuda is a full-time lecturer at SenshuUniversity, Japan. She received her Ph. D. fromHitotsubashi University in Tokyo for her dissertationon the 1992 Nobel Laureate Derek Walcott and histheatrical works. Her current research interest is anational theatre as a cultural institution in an age ofglobalism. Her research works include article “‘HerBreathing… fills the Lungs of the Theatre’: A Womanon a Caribbean Stage in Derek Walcott’s A Branchof the Blue Nile (1983)” in Critical Perspectives onCaribbean Literature and Culture. eds. Dorsia Smith et al.(Cambridge Scholars Publishing, 2010) and an interview‘The Gem of Theater - Derek Walcott in Conversation’(Sargasso 2007-2008). Most recently she contributedrefereed article “Derek Walcott: A Caribbean ‘NationalTheatre’ vs. Neo-Colonialism” and interview “NationalTheatre in the Global Age—Derek Walcott Speaks” toComparative Theatre Review, vol. 13. No. 1, issued in April2014 (https://www.jstage.jst.go.jp/browse/ctr/13/1/_contents).The emergence and development of national theatre as a cultural institute is particularly conspicuous phenomena seenduring periods of founding and growth of a country or a nation, and its nature and role concerning domestic nationalism havebeen primary interests for the academics. Therefore, the former research studies have been highly initiated to examine thenational theatre’s history and roles within the national cultures of various countries, that is, its political function as a culturaldevice connected with domestic nationalism. Today it is expected that the role of the national theatre in contemporaryglobalised societies (including Japan) will be redefined soon. Yet, analyses from certain viewpoints remain incomplete. Forinstance, an ongoing search continues for the history and significance of this cultural institution, although its origins anddevelopment correlate closely with the formation of the nation-state. Additionally, the national theatre’s essential functions—not only nation-oriented but international—remain undefined. In other words, its role in making an international appeal todemonstrating a country’s national identity to an international society is unclear. Above all, it seems crucial to explain whyand how the concept of a national theatre was introduced to numbers of non-European countries and to contemporaryand former colonies in Asia, Africa, the Americas, and the Caribbean. In addition, the manner in which the national theatreassimilated with or conflicted with local art and culture must be explored. In the paper, I will clarify basic ideas on my study onnational theatres in the global age, derived from the former researches, and then give two case studies concerning nationaltheatres’ political cultural uses within colonised countries—Ireland and Argentina.chihokobernadette@yahoo.co.jpFIRT/IFTR World Congress, University of Warwick, 2014178

On the Multi-Layered Nature of Site-Specific PerformanceGeneral PanelSite-specific performance can be considered one of the core practices of contemporary theatre seeking to explore anduncover multiple cultural, social and historical layers of a particular place. While abandoning conventional theatre spaces andquestioning traditional artistic strategies, the authors of site-specific productions consider performance space as a multiplediscourse embedded within distinct periods of sociocultural history, open to various artistic (re)readings and (re)writings.This paper examines the multi-layered nature of site-specific performances. On the one hand it deals with the possibilitiesof any site-specific production to research and exploit different stratus of a given site. On the other hand it examines suchsite-specific performances (like Pro Memoria St. Stephen’s street 7, created by environmental theatre group Miracle), whichare grounded in the history of the specific place, work as a multidimensional links between place, memory and identity, andenable spectators to perceive the multiple layers of the site.Rūta MažeikienėVytautas Magnus University, Kaunas, LithuaniaRūta Mažeikienė is associate professor and researcherat Theatre Studies Department, Vytautas MagnusUniversity, Kaunas, Lithuania. She has defended herPh.D. thesis The Transformation of the Conception of theRole: Acting in Contemporary Lithuanian Drama Theatre atVytautas Magnus University in 2005. During her Ph.D.studies she had internship at Dramaturgy Department,Institute of Aesthetic Disciplines, Art Institute, AarhusUniversity, Denmark (2003, CIRIUS scholarship).Since 2000 she has published scientific articles oncontemporary theatre and acting practice and has givenpresentations in a number of national and internationaltheatre conferences. She also contributes to variousjournals and magazines on contemporary culture and art(Lietuvos teatras, Lietuvos scena, Kultūros barai, Krantai,Darbai ir dienos, Logos, Dailė, Meno istorija ir kritika),belongs to editorial board of the scholarly periodicalSketches of Theatrology. Main research and teachinginterests are in the areas of theory and practice ofacting and contemporary Lithuanian and Europeantheatre.r.mazeikiene@mf.vdu.ltFIRT/IFTR World Congress, University of Warwick, 2014179

From ‘Institutional Theatricals’ to Theatrical Institutions: The Untold Histories of Performers withIntellectual Disabilities Inhabiting and Resisting Being on StageGeneral PanelTony McCaffreyUniversity of CanterburyTony McCaffrey has a BA in English from King’s College,Cambridge and, after many years of acting, directing and asa playwright worldwide, is completing a PhD in Theatre andFilm Studies at the University of Canterbury (working titleThe Politics and Aesthetics of Disability Performance). HeLectures in Creative Industries at Christchurch PolytechnicInstitute of Technology and is founder and Artistic Directorof Different Light Theatre Company, an ensemble of peopleperceived to have intellectual disabilities, in Christchurchsince 2004. He has given papers at the conferences ofthe Society for Disability Studies, Performance StudiesInternational and IFTR/FIRT in Santiago and Barcelona.Recent performances by Different Light include The PoorDears, the Powerhouse Museum, Sydney, Still Lives inSan Jose, California, The Earthquake in Chile a site specificperformance presented amid Christchurch’s earthquakes incollaboration with Free Theatre and Richard Gough of CPR,a developed version of Still Lives at the Ludus InternationalFestival of Performance, Leeds, 2012, The Lonely and theLovely: a Different Soap Opera at the Concourse in Sydneyand The Canterbury Tales (2013), a site specific series ofperformances.Recently performances by Australia’s Back to Back Theatre Company and other companies involving people perceivedto have intellectual disabilities have become staples of international Arts Festivals and other prestigious touring circuits.How do these current performances of high cultural capital value relate to histories of marginalized, stigmatized theatricalperformance involving people with intellectual disabilities or, indeed, to the histories of the social construction and exclusionof ‘intellectual disability’ or to the histories of the different visibility of people so diagnosed? Which strata of these historiesor genealogies are still apparent and which occluded in contemporary performance around intellectual disability? I wish tolook at an early example of such performance: the ‘mentally retarded’ children’s institutional theatrical performance thatconcludes John Cassavetes’ 1963 film, A Child is Waiting, This took place some years before the onset of the current wave ofinternational companies involving people with intellectual disabilities, such as Back to Back, but it is, however, paradigmaticof the nexus of aesthetic, political and ethical issues generated by such performance. In discussing this performance as atrace or strata, I will make use of Erving Goffman’s ironic analysis from Asylums (1961) of the paradigm of the ‘institutionaltheatrical’: a display of institutional largesse, a permitted, but temporary, relaxation of the institution’s rules for an invitedaudience. The asylums may have gone: but what are the contemporary ‘institutions’ governing performance by people withintellectual disability? I wish to recycle Goffman’s analytical trope in the light of Nancy’s troubling of community and Puar’srecasting of disability as debility to show how, in their most recent works, Ganesh versus the Third Reich and Super DiscountBack to Back still carry the traces of the performers of the institutional theatrical but now seek both to inhabit and resistcontemporary ‘institutions’: community, disability and theatre.tony.mccaffrey@cpit.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014180

Indian Theatre Arts, Global Institutionalization and ‘Stratification’General PanelAvanthi MeduriUniversity of RoehamptonDr. Avanthi Meduri is a scholar/dancer/actress/playwright/curator and arts administrator. Born in India, she receivedher PhD in Performance Studies from the Tisch Schoolof Arts, New York University, in 1996. Currently a Readerin Dance and Performance Studies, Meduri is Convenerof the first post graduate South Asian Dance StudiesProgramme at Roehampton University, London. A Fellow atthe International Research Centre, Freie Universität, Berlin,Meduri is co-founder of the Asian Performing Arts Forum,London, a consortia of three London Universities engagedwith Asian dance, theatre and performance Recipient ofseveral national and international awards and fellowships,Meduri has over 40 publications, among which a book onRukmini Devi Arundale, which has seen several reprints.As a Ford Fellow, and Academic Director of the Centrefor Contemporary Culture, New Delhi, Meduri curatedthe Rukmini Devi Arundale (1904-1986) photo-archiveand presented it in India, Sri Lanka, Malaysia, Singapore,Australia, Japan and the UK (2003-2004). Trained inBharatanatyam and Kuchipudi, two classical forms of India,Meduri’s performance work explore the intersectionsbetween archives and biography history.My paper speaks to the ‘stratification’ theme of the conference and explores its usefulness in historicizing the globalinstitutionalization of Indian theatre arts realized within Dance and Theatre Departments in the US and UK in the 1980s and1990s. I take as my example the cluster of seven Indian dance theatre traditions (Kathak, Kathakali, Bharatanatyam, Manipuri,Mohiniattam; Odissi, Kuchipudi) and historicize their selective global institutionalization as world dance genres in the USand UK. While Kathakali was absorbed into Asian theatre departments, the others six forms were integrated into dancedepartments and classified as Indian, ethnic, South Asian and world dance genres in the 1990s. My paper explores the globalpolitics of this selective re-institutionalziation of Indian theatre arts, within what I describe as the ‘academic stratification’framework and tease out its implications for Indian/Asian dance theatre studies more broadly. The stratification thematicinvites us to both rethink the hierarchies that regulate dance and theatre studies scholarship; and also revisit concernsaround ‘interdisciplinarity’ that informed the global reinstitutionalization of dance/theatre in the US and UK in the 1990s.While ‘interdisciplinarity’ continues to inspire theatre makers and scholars, they are constrained to work within genre specificsystems of patronage and dissemination. How useful are these academic classifications in the global cultural production andpractice of theatre arts? How do dance/theatre practitioners and scholars negotiate academic/patronage classifications inthe different domains of research and performance today? My paper will explore these and other questions relating to thetheory and practice of Indian theatre arts within a global arts perspective.a.meduri@roehampton.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014181

Between I, Je andGeneral Panel: Staging the heteroglossia of exilic autobiographyYana MeerzonUniversity of OttowaDr. Yana Meerzon is an Associate Professor, Departmentof Theatre, University of Ottawa, interested in drama andperformance theory, theatre semiotics and communication,theatre of exile, and cultural and interdisciplinary studies.She finished her study on Michael Chekhov’s actingtheory and pedagogy, “A Path of the Character: MichaelChekhov’s Inspired Acting and Theatre Semiotics”, PeterLang Publishing House, in 2005. Her research project“Theatricality and Exile” was sponsored by the SocialSciences and Humanities Research Council (SSHRC). Hermanuscript “Performing Exile - Performing Self: Drama,Theatre, Film” was published by Palgrave, 2012. She hasco-edited two books: “Performance, Exile and ‘America’”(with Dr. Silvija Jestrovic) Palgrave, 2009; and “AdaptingChekhov: The Text and Its Mutations” (with Dr. J. DouglasClayton) Routledge, 2012. Current projects are: “RoutledgeCompanion to Michael Chekhov” (co-edited with Marie-Christine Autant-Mathieu, CNRS, France); and “History,Memory, Performance” (co-edited with Dr. David Dean andDr. Kathryn Prince) forthcoming with Palgrave, 2014. Herarticles appeared in New England Theatre Journal, Slavicand East European Journal, Semiotica, Modern Drama,Theatre Research in Canada, Journal of Dramatic Theoryand Criticism, and others.ymeerzon@uottawa.caFIRT/IFTR World Congress, University of Warwick, 2014In his famous work on the discourse in the novel, Bakhtin defines heteroglossia as a conflictual coexistence of distinct narrativevoices within a unified literary utterance, characterized by “a diversity of social speech types” and “a diversity of individualvoices, artistically organized” (262). By analogy, I argue, Bakhtin’s view of the authorial discourse in the novel, as a territoryfor many voices to interfere and compete, can help examining the inherent heteroglossia of the exilic autobiographicalnarrative, when both the voice of the author and the voice of the character are diversified and intertwined within themonological structure of a solo performance. Product of a certain social and cultural environment, I content, the authorialnarrative of an exilic autobiography reflects the “internal stratification present in every language at any given moment ofits historical existence” (263). As my example, I use the autobiographical solo performance UN by Mani Soleymanlou, aQuebecois theatre artist of Iranian origin, in which the author/narrator Mani tells a story of the character Mani, who grewup in a multiplicity of cultural and linguistic settings in Tehran, Paris, Toronto, and Montreal. As a result, the hybrid self of theartist - “un Torontois-Arabe-Iranien qui a vecu en France et Ottawa” (17), and his performance become heteroglossic. AsMani attempts to share the complexity of Iran’s history with his Québécois audiences, he quickly realizes that he does not ownhis story. The only narrative he can share is the meltdown of his ascribed linguistic identity. The disorderly heteroglossia ofMani’s exilic self takes over the stylistic unity of his solo: the final monologue is a mix of French, English and Farsi. As I argue,the heteroglossia of the stratified being makes Mani`s artistic utterance, it creates a new stratified authorial monoglossia ofthe exilic autobiographical solo performance.182

Time’s Markings/Marking Times: Rosemary Butcher’s Secrets of the Open SeaGeneral PanelRosemary Butcher’s Secrets of the Open Sea is a new choreographic work merging archive material and current film withlive movement. Inspired, she reports, by the perception of form in ruins, the focus of Butcher’s new work is the creationof new histories through her re-engagement with her own past work which is also – far from coincidentally – one history ofcontemporary dance. We report on Butcher’s creative process with dancer Lucy Suggate, which involves an active enquiryinto what remains, a ‘looking at something that has its root elsewhere’, in a process of choreographic notation that shiftsforward and backwards in time.Susan MelroseMiddlesex UniversitySusan Melrose is Professor of Performing Arts atMiddlesex University and former Director of ResearchDegrees in the School of Arts and Education. Shehas worked with choreographer Rosemary Butcherover the past decade, co-editing Rosemary Butcher:Choreography, Collisions and Collaborations (MiddlesexUniversity Press) in 2005. Her primary researchconcern (www.sfmelrose.org.uk) is with the epistemicstatus of expert practices in performance-making,in the university research context, and with enablingexpert practitioners to develop their research practicesin the higher education context. In 2005, on the basisof her proposal, Middlesex University established theDoctorate of the Arts (ArtsD) which requires theproduction and submission of a portfolio of expertcreativework as 80% of the doctoral submission. Itis accompanied by a written commentary whoseprimary task is to illuminate creative decision-making.She supervises doctoral students in areas of creativepractice that include performance composition,performance improvisation and collaboration.Working with the conception of ‘activities’, Butcher investigates the ‘doing of the movement’, aiming to show its construction,rather than ‘finished’ form. This ‘doing of movement’ involves the choreographer and dancer in a simultaneous working oflayers of past and future choreographic ‘things’. The work – already in process – moves away from a central focus on thedancer’s body inhabiting its own space, to work as well with a sense of ‘imprinting’ the dancer’s bodywork onto the floor andinto the air.With these processes in mind, we explore Jean-François Lyotard’s notion of the technical as one constitutive aspect of theart work (‘L’Obédience’, 1988), arguing that in Butcher’s process we can see her engagement with an abstract yet rationalchoreographic dispositif, allowing us to speak about an inventive ‘dance’ that explores developments in visual art but remainsidentifiable as such. We discuss how Butcher’s creative process employs a layering of temporal materialities while remaining‘new’ and draw on Jakub Zdebik’s writing on the productive function of the diagram in art-making (Deleuze and the Diagram,2012) as well as Lyotard’s “autostructurisation” or ‘working through’ strata of materials.Steffi Sachsenmaier and Susan Melrose © May 2014www.sfmelrose.org.uks.f.melrose@sfmelrose.org.ukFIRT/IFTR World Congress, University of Warwick, 2014183

Absolute Cute: “New Dimensions” of Stratification in KATHY’s Animated BodiesGeneral PanelKatherine MezurIndependent ScholarWhat if cute was on the charts of high emotional aesthetic catharsis? What if we really wiped our hearts clean and startedfresh with a miraculous hit of sweetness? What if we measured and stratified great art by how adorable it is? What if wevalued intensities of soft child-like wonder and out-of-this-world ecstasy? How might cute acts obliterate the stratificationof our senses and their corporeal codes set by state and social programming? How are our bodies strategically stratifiedinto accepting specific and limited codes of behaviour? My examples of cute corporeal strategies, which challenge stratifiednorms of gender, sexuality, age, and race, will be drawn from the live and media performances of KATHY, an all femaleJapanese performance troupe who cover their faces with black tights and wear pretty pastel dresses or kimono, blondebobbed styled wigs, and perform ballet-based choreographies in site specific, event-specific occasions. While there areother groups such as Mezurashii Kinoko and Nibrol two other women-led performance groups that have been producingcute choreographies for over a decade in Japan, KATHY’s corporeal strategies, subvert mainstream stratifications of highart and social behaviour norms. Kawaii or cute aesthetics may already seem globally ubiquitous, but kawaii corporeality hasa radical agenda in the hands of KATHY. In contrast to Hello Kitty and Ghibli animation, KATHY blow up, erase, and eventerrorize with their cute versions of age, gender, and “girl” sexuality acts. KATHY’s corporeal strategies create what they terma “new dimension,” where stratification loses its valence.Katherine Mezur holds a PhD in Theatre and Dancefrom the University of Hawai’i Manoa, (MA DanceMills College, BA Film Hampshire/Mt. Holyoke), and isa freelance scholar/artist. She was a Research Fellowat the International Research Center, “InterweavingPerformance Cultures,” at Freie Universität Berlin.She has held teaching positions in Theatre, Dance,and East Asian Studies departments at the Universityof Washington, Seattle, Mills College, GeorgetownUniversity, McGill University, and UC Santa Barbaraand Davis. Her research focuses on Asia Pacific andtransnational performing arts, popular culture, visualmedia and gender studies. Her books and articlesinclude, Beautiful Boys/Outlaw Bodies: Devising KabukiFemale-Likeness (Palgrave, 2005) and in progress: CuteMutant Girls, Mobile Citizens and Stranger Communities;and Choreographing Zeal: Radical Youth Performance.kmezur@sbcglobal.netFIRT/IFTR World Congress, University of Warwick, 2014184

“It’s the Institution, Stupid” Notes on the Institutional Change of German Public Theatres in theLast CenturyGeneral PanelBianca MichaelsLudwig-Maximilians-Universität MünchenThe German theatrical scene consists of a dense net of approximately 140 public theatres. Thus, performances are stagedeverywhere – from smaller towns like Bautzen to big cities like Berlin. Although at a first glance, the repertoire and theorganizational structures of the public (municipal) theatres appear to resemble each other closely, the very factors andspecific conditions which have led to this wealth of public theatres differ considerably from each other. Lacking a broad andlong-term oriented federal, national or even communal cultural policy during the process of municipalization in the beginningof the 20th century, the institutions themselves and their organizational bases are grounded on very different conditions. Bylooking at selected historical and contemporary examples of municipal theatres, I will examine the organizational, (cultural)political and economic predicaments that had led to their particular institutional formations. Varying significantly from eachother, each formation with its existing layers marks distinct local and historical conditions. Following up on these layers thepaper sets out to explain the institutional change of German public theatres within the last decades. Thus, this paper strivesto answer the question in which way not only the cultural products of the theatres but the institutional structures themselvescan be regarded as producers of cultural value.Bianca Michaels studied Theatre Studies, GermanPhilology, and Musicology at the Universities ofErlangen, Mainz, Vienna (Austria), and Stanford (US)and holds Master’s and PhD degrees in Theatre Studiesfrom the Universities of Mainz and the Universieit vanAmsterdam (NL). She currently holds the position ofa senior lecturer at the Ludwig Maximilian Universityof Munich where, in addition to her work in researchand teaching, she also has established and is now incharge of an advanced vocational training program intheatre and music management. Her research focuseson contemporary music theatre, media and televisionopera, and media theory. Her latest area of researchexplores institutional aspects of the theatre and itspolitical legitimization, cultural policy and culturalgovernance. She has recently published articles ontheatre and migration today and on cultural policyduring the Weimar Republic.michaels@lmu.deFIRT/IFTR World Congress, University of Warwick, 2014185

Playing (un)Dead Or: Searching For Redemption in The Withered Flesh of My Future SelfGeneral PanelLee MillerPlymouth UniversityDr Lee Miller (BA - Liverpool University, UK MA -Lancaster University, UK PhD - MMU, Cheshire, UK) isAssociate Professor, Theatre & Performance , PlymouthUniversity.Beginning with a thumbnail taxonomy of zombies, this paper will develop the idea of the “post-zombie”. In many ways thisemerging concept, if not a development of the “post-human”, is at least analogous to post-humanism’s attempt to resist thesingular unifying definition of renaissance humanism. In much the same way, post-zombieism attempts to offer a counterto the mindless zombie horde by imagining other ways of experiencing this collective. The paper will consider the legacy ofthe post-Romero zombie, a collective most often deployed as a metaphor to explore and critique a vast range of societalills. From Romero’s originary attack on a racially un-integrated America, a context in which the shoot-first-ask-questionslaterapproach results in the hero of the piece being gunned down by a mob as unthinking as the zombies they seek tooverpower, to an America bloated on consumerism, with the mindless appropriation of stuff replacing any real culture –turning the previously innocuous shopping mall into a kind of Frederic Jameson late-capitalist dystopia, Romero made thepassive masses something to fear and pity in equal measure. It is this legacy of zombie as critique that the paper will exploreby foregrounding the zombie attack as an example of community, with sacrifice of the individual a regular price paid for thegood of the group. By considering how the bodies of the zombie horde perform their individual role within the collective,the paper will begin to question if the shift towards the post-zombie might allow space for redemption of the zombie and ifthis open up a conversation around what implications the post-zombie state might have upon the concept of “eternity”, andultimately redemption.leedavidmiller@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014186

Curated Panel - Making Space for Performance: The Role of the Theatre ConsultantGeneral PanelA short summary of how theatre consultants help clients to establish the type of space that is appropriate for their range ofperformances and how the audience is disposed in the space relative to the stage. How, for the same capacity of audience,theatre consultants can advise architects on the form and volume most suited for theatre, opera and music. When is itappropriate to create a dedicated space for one art form and when it is better to consider a multifunction space? What canbe different considerations when working on international projects.www.ampcstudio.comAnne MinorsAnne Minors Performance ConsultantsAnne Minors has designed over 100 rooms for concerts,opera and theatre over the last 30 years. Between 1984-95, as Head of Design at TPC, with Richard Pilbrow andIain Mackintosh, she shaped many international projectsincluding - Cerritos Centre for the Performing Arts, LosAngeles; Chan Centre, Vancouver; Walt Disney ConcertHall, LA; Singapore Esplanade; Lowry Centre, Salford andGlyndebourne Opera House. She founded Anne MinorsPerformance Consultants (AMPC) in 1996. Her firstprojects were the reshaping of the Main House, RoyalOpera House, Covent Garden, the Linbury Studio and theBarbican Theatre Refurbishment. Anne oversees a multidisciplineteam of theatre practitioners and designers,creating unique solutions to each client’s needs usinginnovative design and technology. Key AMPC Projectsinclude - Menuhin Hall, Surrey; The Egg Children’s Theatre,Bath; Palace of Peace Opera House, Kazakhstan; KoernerHall, Toronto; Annette Strauss Artist Square, Dallas; ZorluPSM (two theatres), Istanbul; Hull Truck Theatre andBishopsgate Institute. Anne is past-Chairman of the Societyof Theatre Consultants, and a founder member for the MAin Theatre Consulting course at the University of Warwick,graduating with Distinction in 2012. She interests youngpeople in the arts wherever possible.anne.minors@ampcstudio.comFIRT/IFTR World Congress, University of Warwick, 2014187

Holocaust Theatre in the Approach of the Post-Survivor Age: Where Do We Go From Here?General PanelSamantha MitschkeUniversity of BirminghamSam Mitschke is a final-year PhD student at theUniversity of Birmingham, completing her thesisin the use of empathy in British and AmericanHolocaust theatre. She originally trained in acting andperformance, and holds an MPhil in Playwriting Studies(2009) and a BA (Hons) in Drama and Theatre Arts(2008), both from Birmingham. She is a playwrightfor The Bunbury Banter Theatre Company, writing forradio and stage, as well as an Associate Researcher forVoices of the Holocaust, a UK-based TiE company, andis a Volunteer Research Associate for the HolocaustTheater Archive. Sam has presented her research –ranging from Anne Frank and Holocaust cabaret tochild protagonists and representations of ‘Nazis asvictims’ – at conferences in the UK, USA, Canada andEurope, and her article “Bent and the Staging of theQueer Holocaust Experience” will be published later thisyear as part of an anthology by Palgrave Macmillan inassociation with the University of Ottawa. Her currentresearch projects include an investigation of empathyand the one-woman Holocaust play, and a co-authoredstudy on theatre and Argentina’s “dirty war”.At a recent conference to discuss the future of Holocaust studies, historians, educators and academics alike returnedagain and again to the ‘necessity’ of turning to the perpetrator narrative now that we are approaching the ‘post-survivor’age. Outside of the theatre survivors are a primary pedagogical resource in terms of teaching about the Holocaust, andHolocaust theatre is grounded within the victim/survivor narrative. Yet despite pressure for contemporary theatre to beavant-garde, is it really necessary to turn wholly to the perpetrator narrative when there is still so much of the victim/survivor narrative to explore? Scholars such as Daniel R. Schwarz (1999), Robert Skloot (1988) and Edward R. Isser (1997)have established the dominant foundation of Holocaust theatre and representation and simultaneously posited questionssurrounding their forward development. Is it possible to break new ground with Holocaust plays while contemporaneouslygoing ‘back to basics’? This provocative and challenging paper establishes a new “Holocaust performative” (Patraka, 1999)grounded within the three stratums of Holocaust theatre: which group’s perspective is taken (from the bedrock of victim/survivor to the shale of ‘Holocaust minorities’); the narrative form used (from the igneous nature of death and survivalto the more sedimentary ‘humanising’); and the purpose of the play (the granite foundations of engagement, educationand commemoration). It draws upon an overview of British and American Holocaust plays to examine how the Holocaustperformative has been constructed and perpetuated, including the formation of what I term the ‘Holocaust fairytale’, inorder to interrogate the range of possibilities available in Holocaust theatre when the Holocaust performative is recast: forinstance, what happens when a Holocaust play seeks to ‘offend’ its audience? Ultimately, this paper contests the ‘set in stone’nature of English-language Holocaust theatre and probes the question: what happens when Holocaust theatre becomesmetamorphic?sxm553@bham.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014188

‘Then Let Them Anatomize Regan’: Performance, Space, and the Reproductive Body in King LearGeneral PanelKathryn MoncriefWashington CollegeKathryn M. Moncrief holds a Ph.D in English from theUniversity of Iowa, an M.A. in English and Theatre fromthe University of Nebraska, and a B.A. in English andPsychology from Doane College. She is Professor andChair of English at Washington College in Chestertown,Maryland and is the recipient of Washington College’sAlumni Association Award for Distinguished Teaching.She is editor of Shakespeare Expressed: Page, Stage andClassroom in Early Modern Drama (Fairleigh DickinsonUP, 2013); Performing Pedagogy in Early Modern England:Gender, Instruction and Performance (Ashgate, 2011);and Performing Maternity in Early Modern England,(Ashgate, 2007). She is the author of articles publishedin book collections and journals including Gender andEarly Modern Constructions of Childhood, RenaissanceQuarterly and others and is also author of CompetitiveFigure Skating for Girls (Rosen, 2001).Shakespeare’s King Lear is an exceptionally corporeal play -- 51 references to eyes, 34 to hands, 20 to blood, and 49 to theheart; like an anatomy manual, it is full of disembodied parts. The sixteenth century marks the beginning of a rich periodof anatomical discovery that witnessed the production and circulation of numerous texts and images (including printedanatomical fugative sheets, the first English edition of Galen’s work, and Andreas Vesalius’s superbly illustrated De HumaniCorporis Fabrica) and the increasing presence of vivid depictions of anatomy and dissection in art. At the same timepurpose-built anatomy theatres for conducting dissections, where both medical professionals and members of the generalpublic could gain admission by paying an entrance fee, were constructed in London (1583), Padua (1594), and Leiden (1596),public theatres were being built in London, the Rose (1587), the Swan (1595), and the Globe (1599) among them. While manyscholars, including Sawday, Nunn, Billing, and Laoutaris, have profitably explored the physical similarities between anatomytheatres and public and private theatres in early modern London -- both were places for viewing and for entertainment—Igo further to suggest that both types of performance sites employ surveillance, spectacle, and human bodies as meansof discovery. How might the space, structure, and use of an anatomy theatre, including the positioning of its anatomist,the corpse, and audience, circulate in the imagination of a play-goer? And how might a play’s staging respond to and takeadvantage of this powerful architectural and performative correspondence? Using King Lear’s injunction to “anatomizeRegan; see what breeds/about her heart” (3.6.76-77) as a leaping off point, I examine the display and interrogation of thereproductive female body at the intersection of image, text, space, and performance.kmoncrief2@washcoll.eduFIRT/IFTR World Congress, University of Warwick, 2014189

The ‘Exotic’ on Stage: Drama as CatalogueGeneral PanelIt has been said that “melodramatic music, just as melodramatic incidents, characters, and dialogue, could be readilyassembled from ready-made parts, even as mosaics are fashioned from ready-cut chips of coloured tile” (Mayer 1980, 51).Far from investing melodrama exclusively, the trend to borrow from a variety of sources is a recurrent feature of the wholeof 19th-century drama, so that if in Britain “spectators, critics and pamphleteers imagined the playhouses as a miniatureparliament of the nation” (Moody 2000, 4), plays could be seen as miniature catalogues of available entertainment.Focusing in particular on the London scene, and on the theme of the ‘exotic’ on stage, this paper aims at exploring how therepresentation of the non-European Other worked as a catalyst for stratification, attracting references above all to popularentertainment, and thus creating a bridge between theatre and specific forms such as the freak show and the human zoo.I will ultimately contend that to portray the non-European Other on stage, far from merely inscribing plays within giventraditions, led to a continuous change in forms such as the extravaganza, the porosity of which was enhanced by the ‘exotic’.Tiziana MorosettiUniversity of OxfordTiziana Morosetti completed her PhD in AnglophoneLiteratures and Cultures at the University of Bolognain 2006, and is currently a Marie Curie research fellowat the University of Oxford with a project on “TheRepresentation of the ‘Exotic’ Body in 19th-centuryEnglish Drama”. She is deputy-director of the journalQuaderni del ’900, for which she is editor of numbersIV (Postcolonial Literature in Italian, 2005) and VII (Italyin Anglophone Literatures, 2008). Amongst her otherpublications: Introduzione al teatro nigeriano di linguainglese (2009), “PANAFEST 2005: A Review of benAbdallah’s The Slaves Revisited” (Research in AfricanLiterature, 38.2, 2007), “Gone with the (Western)Wind: Popular Genres in the Essays of Femi Osofisan”(Emerging Perspectives on Femi Osofisan, 2009), “Blackon Black: (In)visibility in African Literary Heterotopias”(Research in African Literatures, 44.2, 2013), andtwo entries (Bode Sowande and John Pepper Clark-Bekederemo) for the Oxford Dictionary of AfricanBiography (2011).tiziana.morosetti@ell.ox.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014190

Undermining Stratification: Transgressing the Determinants of Theatrical StatusGeneral PanelGay MorrisUniversity of Cape TownTheatre in Cape Town, South Africa, is uncomfortably wedged between the rock of “post-Apartheid-now-we-are-all-free”political speak and the hard place of growing social inequity - without the public or private financial means to leveragefundamental change in the arts milieu in which global products find relatively powerful support but local talent can scarcelyaccrue an audience. In this inopportune setting, deviations from traditional strategies for acquiring cultural and symboliccapital are sufficiently discernible to merit their tracing. Taking my impetus from research conducted over the past nine yearsinto the theatre-making and theatre-going practices of the black youth of Cape Town, and now recruiting the University ofCape Town’s Baxter Theatre as an exemplary instance, this paper proposes ways of making some of these altered tacticsvisible. How do people-driven strategies and tactics subvert long-sedimented cultural, institutional, organisational andaesthetic stratifications, such that a first-world theatre complex transgresses its own inheritance of privilege to changeperceptions of social, cultural, linguistic and racial distinction in Cape Town? Such changes affect and are effected by artisticmanagers, actors, audience, theatre-makers, directors and producers, marketing and production staff, designers and thespatial configuration of the building itself, as well, of course, as the staged works of theatre, such as drama, comedy, opera,dance and music. The interaction and intersection of these agents and elements will be traced and analysed to discernpatterns and trends, in order to provide insight into how theatre stratifies.Dr Gay Morris is an Emeritus Associate Professor in theDrama Department, University of Cape Town, SouthAfrica. Her recent research has focussed on theatreoriginating from Xhosa-speaking township communitiesin Cape Town. She contributed an essay to the mostrecent book published by the Theatrical Event WorkingGroup (2014) on Playing Culture, and to two otherforthcoming essay collections, all of these about theatrefrom the townships. She has also recently published inRiDE: The Journal of Applied Theatre and Performanceand the South African Theatre Journal (2013). Morrissupervises post-graduate students and is currently inher second term on the IFTR Committee. She is anactive member of the Theatrical Event Working Group.gay.morris@uct.ac.zaFIRT/IFTR World Congress, University of Warwick, 2014191

Ensemble: Documentary as Performance Concept Theatrical Aspects of Eva Könnemann’s filmGeneral PanelFor her documentary ensemble Berlin based filmmaker Eva Könnemann initiated a performance of Danton’s Tod at Kampnagelin Hamburg. She casted a director for the play, the actors, a musician and filmed the rehearsal process. The laboratorious setup unfolds a multi layered performance stored on film.Analysis of the film shines light on the complexities of documentary film making and Könnemann inscribes herself in itshistory, referencing a mixture of styles from Flaherty, Grierson, Vertov and the likes. An in-depth discussion of ensemblewould need to address her multilayered documentary style as well as ensemble’s connection to contemporary reality TV andscientific experiment.Dominik MüllerLudwig-Maximilians-UniversitätDominik Müller, M.A. is a theatre and literary scholarand sociologist. He graduated in 2013 with a thesison Performative Installations, therein exploring therelations between audiences and performers asconstituents for various installative and performativeworks, e.g. The Artist is Present by Marina Abramović.Since graduating he works for the international theatrefestival Impulse Theater Biennale in Düsseldorf, Cologneand Mülheim as well as a freelance dramaturg with -amongst others - CADAM. A Munich based group oftheatre and dance scholars who produce performances,that explore the relation between spaces, history andthe body. His research interest focuses on theatrespace, space as relation, social implications of theatre,art and politics as well as intermediality.In my paper, however, I am going to focus on ensemble as a realization of conceptual theatre, as Sandra Umathum describesit. In her article It is abstract conceptual theatre that reigns (Es reagiert das abstrakte Konzepttheater) the Hildesheim theatrescholar establishes a connection between the contemporary rehearsal process and 1960s conceptual art.Following and expanding her argument my paper will show that the movie ensemble, more than any of her own examples,must be regarded as a consequent and multilayered piece of conceptual theatre. The film marks both a duplication of therehearsal process: one depicted, one the depiction itself; as well as the media change so common in conceptual art. In herradical approach Könnemann among other things realizes a film as theatre rather than implementing the medium in a moretraditional performance.FIRT/IFTR World Congress, University of Warwick, 2014192

Externalizing an Interior Monologue: “Staging” of Alexandra Chichkanova’s I am Me in New YorkCityGeneral PanelIn my paper, I would posit that when an interior monologue, also known as stream of consciousness (as coined by philosopherand psychologist William James), is used on stage, it becomes twice removed from its original meaning. In non-dramaticliterature, associative leaps in thought and lack of punctuation, two of the more confusing features of stream of consciousnessas a literary device, are mitigated by linear narratives leading on to or out of interior-monologue parts, thus providing contextand making the text accessible to the reader. In theatre, with its lack of guiding descriptive narrative, the interior monologueneeds to combine the features of disjointed inner-thought processes and a streamlining, chronological descriptive narrative,in order to keep the audience engaged and sympathetic. Theatrical stream of consciousness thus becomes twice-removedfrom the term’s original, psychological meaning.Olga MuratovaCity University of New YorkOlga Muratova is a native of Moscow, Russia. Sheteaches Russian Studies at the City University of NewYork. She received her MA degree in Linguistics atthe Moscow University of Linguistics and her Ph.D. inComparative Literature at the CUNY Graduate Center.Alexandra Chichkanova wrote her monological play I am Me when she was 21 years old, less than 10 years before shecommitted suicide. Chichkanova allows the audience a glimpse at the stream of her fragmented inner thoughts, imitating thedisorganized flow of an interior monologue when it is not polished or refined for outside listeners and is meant for internaluse only. Staging a play like that, with no discernible action and no scenery, might be a challenge. However, Nicole Kontolefa,a New York actress and member of Studio Six, who fell in love with I am Me, found a wonderfully innovative way to keepher audiences engaged and literally on their toes while walking them through the winding labyrinths of both Chichkanova’sramblings and Prospect Park in Brooklyn, New York.murkissa@optonline.netFIRT/IFTR World Congress, University of Warwick, 2014193

Vagueness and the Description of an Old Post CardGeneral PanelHelen MurphyRoyal Central School of Speech and DramaThroughout my research, I have been concerned with conceptions of the “orient”, “exotic” and “erotic”. The provocation ofthis paper will be to consider the verbal description of a particular sort of post card reproduced during the period c.1890-1925 as a means of attending to vagueness. These are post cards that depict a female dancer’s figure in oriental costumeand/or setting. We might associate them with the above terms that I have questioningly put in inverted commas. Oneimplication of this could be an elusive and enigmatic lack of certainty or definition as to what it is that they are supposedto signify. Yet social and cultural historical narratives tell us that this was the time when, firstly, subjective (inner) humanexperience would be parsed, measured, named and given a language by processes of modern rationalisation and, secondly,modernists would be ‘making it new’ but, in doing so, would be critiquing their own cultural inheritance from the previouscentury, including that concerned with orientalism, decadence and pleasure. The material of these post cards as pictorial,exchangeable objects in popular, everyday use positions them as artefacts that cannot be subsumed into either narrativebut nevertheless bear reference to both. The post cards’ rendering of the pleasurable theatricality of fantasy could tell ussomething about subjective impressions and desires of the time without being inclined towards hierarchical structures ofknowledge. I ask how might their description and language of vagueness begin to interfere with what we may call strata.Helen Murphy is a writer, scenographer and researcher.She holds an MA in Scenography from the Royal CentralSchool of Speech and Drama, University of London andan MA (Hons) in Psychology/Theatre Studies from theUniversity of Glasgow. She has worked in a variety ofscenographic roles for professional productions in theUK and as a researcher at the Perception, Action andCognition Lab, University of Glasgow in contribution tothe ‘Watching Dance Project’. She is currently workingon her AHRC funded doctoral project at RCSSDentitled “Recto/Verso: The Orient, Modernity and thePost Card”. Her previous conference presentationsinclude papers delivered at IFTR Barcelona 2013 for theNew Scholars’ Forum and the CCCS Conference forCultural Memory 2013, Skopje.hmtmurphy@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014194

Contemporary Theatre, Social Democracy and the Pathology of Neoliberal PracticesGeneral PanelPaul MurphyQueen’s University BelfastWhen an event such as the 2008 financial crisis occurs with transnational consequences it is important to remember that suchevents, whatever their global magnitude, are nonetheless the outcomes of the actions of individuals which are themselvesprompted by particular values and beliefs. In the inevitable postmortem following the crisis, debate has centred on therelative merits of neoliberalism and its role in events leading to the crisis and subsequent recession. While neoliberalismcan be understood as an abstract ideology with global implications what matters is its materialization in the form of specificpractices and their related outcomes. The emphasis on the material practices inherent to neoliberalism is the focus of thispaper in terms of their representation in theatre produced subsequent to the 2008 crash. Terminology developed in the fieldof psychology will be used to describe these practices in relation to the broader framework of empirical research. The aim isto analyse these practices in terms of their theatrical representation with a view to understanding their related performancein the public sphere and their impact on the wider world. Lucy Prebble’s Enron (2009), Bruce Norris’s The Low Road (2013)and Dennis Kelly’s The Ritual Slaughter of Gorge Mastromas (2013) variously deal with different aspects of neoliberalism andlaissez-faire capitalism. Each play was produced at the Royal Court, London, whose geographical locale resonates all themore given London’s status as one of the world’s key financial centres from which neoliberal economics developed with thederegulation of financial services in 1986 known as the ‘big bang’.Paul Murphy teaches Drama in the Brian Friel Centre,Queen’s University Belfast. His current researchfocuses on theatre in relation to the conceptualisationof stratification and social justice in the wake ofpost-structuralism. Paul is Secretary General forCommunications for the IFTR.p.murphy@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014195

Resisting the Stratified World: Understading the Role of Performing Arts of Marginalized Indigenousand Tribal Communities in the Globalization ContextGeneral PanelRamakrishnan MuthiahCentral University of JharkhandDr Ramakrishnan is Assistant Professor, Centre for TribalFolklore, Language & Literature at Central Universityof Jharkhand, Brambe, India and is pursuing an MA inAnthropology following a doctorate in Folklore andsemiotics. He gained the highest Presidential Award in 2012for Young Scholar in Classical Tamil (for the book Kuralas Universal Schemata: Language, Culture and Cognition).Previously Executive Director, National Foundation forArts, Culture & Development, Chennai (2006); PostDoctoral Fellow, Central Institute of Indian Languages,Mysore (2006-2007 Nov); Associate Fellow, CentralInstitute of Classical Tamil, Chennai (2007-2013 June). Hehas published twenty articles and six books and his interestsinclude Semiotic Study of Folklore and Other CreativeExpressions, Narrative Discourses, Performing Arts,Sustainable Development and Folklore, Sangam Literaturefrom Folkloristic Perspective, Cognitive Approaches toClassical Tamil Texts, Modern and Post Modern TheoreticalApproaches to Cultural Studies, Comparative Studies onFolklore of Indian Tribal Communities, Cultural Criticism,Ancient Indian Civilizations Anthropological Perspectives,Application of Folklore.During the colonial period, the performing arts of various regions in India had been effectively used, either as they are or in amodified form, to mobilize the people in support of the freedom struggle. However, there is a change in the scenario in thepost-colonial India that the marginalized indigenous and tribal communities are systematically employing their performingart traditions for addressing their socio-cultural, economic and political marginalization as well as issues such as humanrights violation, equal opportunities in education and employment, various forms of exploitation, etc. The existing politicalorder and the unequal stratification of the Indian society reflecting hierarchical and exploitative relationships have forcedthe socio-cultural excluded communities to spontaneously exploit their cultural creative forms to represent their dissentingvoices. Similarly, there are political parties, non-governmental organizations and civil rights groups who have also beendemonstrating their support for the marginalized people and their initiatives have created opportunities and platforms forthe mobilization and consolidation of the voices of the excluded communities at national and international levels throughthe appropriation of their performing arts. The significance of this study can be understood on two grounds; the paradigmshift from entertainment to emancipation, from independent to collectiveness, from local to global, on the one hand andon the other hand, the space developed in the process of mobilization triumph over the stereotype of the stratified societyby exhilarating the interaction between people from different layers on the common agenda of establishing an egalitarianand ethical society. Thus, the performing arts of the marginalized communities must be studied with the help of theoreticalframeworks developed in the humanities and social sciences such that the comprehension of the new role and function ofperforming arts of the excluded sections of the society is possible.ilakkiyameen@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014196

Performative Acts of Age in Genders: An Evening with Judy by Raimund HogheGeneral PanelAlong with race and gender, age is a salient marker of socially constructed differences. Different cultures assign differentnorms of behaviour to different ages and create terms for identifying different stages. Norms are attached to the differentstages according to each society’s understanding of aging. German choreographer and performer Raimund Hoghe hasworked with Pina Bausch as her dramaturg, but since 1989, he has been working on his own pieces for various dancers andactors. He often makes reference to Japanese Butoh dancer Kazuo Ohno’s aging body, which, with its pride and beauty, isemancipated from the boundaries set by Western norms. In his recent piece, An Evening with Judy (2013), which is premieredin Asia at the Kabuki theatre in Kyoto, Shunju-za on June 4, 2014, the 65-year-old Hoghe re-enacts the female figure of JudyGarland with his two younger dancers, one of whom is a Japanese dancer. By interpreting his homage-performance in lightof queer aesthetics and cross-cultural constructions of gender, I explain how Hoghe embodies the Japanese aesthetics ofaging.Nanako NakajimaFreie Universität BerlinNanako Nakajima is a dance researcher, a dancedramaturg, a traditional Japanese dance teacher KannaeFujima, a Jacobs Pillow Dance festival 2006 ResearchFellow, a visiting scholar at Tisch School NYU 06. In 2007,she was awarded the DAAD research fellowship andcompleted her dissertation Aging Body in Dance at FreieUniversitaet Berlin. She worked as a post-doc researchfellow, the Japan Society for the Promotion of Scienceat Saitama University (2011-2014) and currently works asa fellow of International Research Center »InterweavingPerformance Cultures«, FU Berlin (2014-2015). She hasworked as a dance dramaturg in experimental art projectsincluding koosil-ja’s mech [a]OUTPUT (NY Japan Society2007), Luciana Achugar’s Bessie-award-winning ExhaustingLove at Danspace Project (St.Mark’s Church, NY, 2006),Osamu Jareo’s Thikwa plus Junkan Projekt (Berlin, Kobe, andKYOTO EXPERIMENT 2012). In 2012, she co-organizedthe international dance symposium Aging Body in Dancein Berlin, which was based on her PhD dissertation, andsuccessfully organized the second symposium of Oi ToOdori (The Aging Body in Dance) conceived from Japaneseperspective in Tokyo, in 2014.Website of Fiscal Year 2014 Cooperative Research Project “Dance Dramaturgy on Aging” Project Leader Nanako Nakajima,Kyoto University of Art and Design: Interdisciplinary Research Center for Performing Arts:http://www.k-pac.org/kyoten/guide/20140604/Symposium Website: http://agingbodyindance.tumblr.comnananakajima@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014197

The Making of Attawapiskat is no ExceptionGeneral PanelUrsula Neuerburg-DenzerConcordia UniversityUrsula Neuerburg-Denzer is a teacher, theater practitionerand scholar, who has directed and acted in Berlin, NewYork, Montreal and internationally. She holds an MA inPerformance Studies from NYU and a Ph.D. on EmotionTheories in Acting from the Freie University Berlin,supervised by Erika Fischer-Lichte. During the 1980’sshe did physical theatre in Berlin, in the 90’s she becameco-founder of Richard Schechner’s East Coast Artist. Since1989, she has been working regularly with the Bread &Puppet Theatre. She is a certified rasabox instructor. Since1996, Neuerburg-Denzer has been a full-time teacherof acting, directing, theater history and theory. She iscurrently an Assistant Professor of Theatre at ConcordiaUniversity in Montreal, focusing her research and teachinginterest on emotion studies for performers. Her latestessay can be found in E. Hurley’s “Theatres of Affect.”Neuerburg-Denzer is mostly interested in the effectsof war and other situations of extreme pressure on thehuman being and how these states have been and canbe expressed on stage. Lately this interest has led her toinvestigate the housing situation on Canadian reserves in“Attawapiskat is no Exception” a multi media performanceproject with Floyd Favel.“Early on in Canada’s history the special privileges and legal rights of the English-French charter groups became part ofthe countries social structure, yet the structures create by the various treaties and agreements with the Canadian Nativepopulation placed them in an underprivileged position.” (Edward J. Hedican, Understanding Aboriginal Issues, 2008, 224)During the past two years, I collaborated with Cree theater artist and playwright Floyd Favel on a performance creationproject, “Attawapiskat is no Exception,” investigating the housing situation on First Nations Reserves in Canada’s far North. InOctober 2011, Attawapiskat declared a state of emergency because of the intolerable condition of the available housing onthe reserve. Together with a group of Concordia students, some of them Native, most of European descent, we created a playduring the 2013/14 academic year. Favel guided the play-making phase of the process, transforming research findings intoplayable material, and extracting action and gesture from a variety of sources. In Winter 2014 I directed the multi media playat Concordia, but the research is still ongoing. I would like to focus my presentation on three topics: first, the stratificationsin the collaborative process playing along lines of race, perhaps gender, but also age and experience. Secondly, the waythese layers play into the contents of the project and position us vis-a-vis imagined and real audiences, urban and rural,white and native. Thirdly the process itself is oscillating between physical work inspired by our teachers from the 70’s and80’s (Grotowski, Suzuki, Butoh, Odin teatret), contemporary mediatization through video and life feed, and on approachesbased specifically in aboriginal imagery and pictography. I am looking forward to be able to share these reflections at IFTR.ursula.neuerburg-denzer@concordia.caFIRT/IFTR World Congress, University of Warwick, 2014198

“The Artist no Longer Creates, He Makes ...“ On the Relation Between Theatre Economy, Unionsand Collective Creation in the 1960sGeneral PanelNora NiethammerUniversity of BayreuthIn the 1960s, there have been lively and controversial debates on public and private arts funding as well as on the role offoundations such as Ford and Rockefeller in the United States. Terms such as “institution”, “middle-class” and the question,whom art “belongs” to were in the centre of these debates. At the same time and well embedded in this context, artist unionsand coalitions, aiming to provide artists with the possibility of organizing themselves on a broader basis, gained increasingrelevance and attention. One of the main aspects that were brought up by this increasing attention was the critical reflectionof the relation between “artists” and “workers” and the consequence of this relation for the artistic practices. In this paperI will consider concepts of collectivity, which aimed to serve as an alternative to artistic creation within an institutionalisedcontext. I shall discuss the role of the theatre economy as well as artist unions in the shaping of concepts of collectivecreation. Hereby, I will mainly focus on the New York theatre avant-garde in the 1960s by putting my focus on legal andadministrative documents, which show the relevance of economic factors such as funding within the discussion of collectivecreation.Nora Niethammer studied Theatre Studies, ModernGerman Literature and Comparative Literature at theUniversity of Bayreuth and the Ludwig-Maximilians-Universität Munich from which she graduated in2009. In 2006/2007 she was an Erasmus-scholar atthe Université Rennes II. Since November 2010 she isresearch assistant and lecturer in the field of TheatreStudies at the University of Bayreuth and currently alsoworking as a research assistant at the Research Institutefor Music Theatre Studies in Thurnau. She is also aPhD candidate within the PhD program “Music andPerformance“. Her project deals with collective creationin the performing arts since the 1960s, mainly focussingon economic and institutional aspects.Nora.Niethammer@uni-bayreuth.deFIRT/IFTR World Congress, University of Warwick, 2014199

“Reality of the Lowest Rank”: Strategies of Stratification in Works by Tadeusz KantorGeneral PanelSally Jane NormanUniversity of SussexSally Jane Norman is professor of PerformanceTechnologies and Director of the Attenborough Centre forthe Creative Arts at the University of Sussex. Preparing herDoctorat de 3è cycle and Doctorat d’état at the Institutd’études théâtrales, Paris III, working as associate memberof the CNRS Performing Arts Laboratory, she worked withDenis Bablet on audiovisual and textual publications dealingwith Tadeusz Kantor, whose work she followed for over adecade. Her research into embodiment and gesture, andemerging technologies, has underpinned such theoreticaland practical outputs as workshops at the InternationalInstitute of Puppetry (Charleville-Mézières), Zentrumfuer Kunst und Medientechnologie (Karlsruhe), Studiofor Electro-Instrumental Music (Amsterdam) as artisticco-director, Ecole européenne supérieure de l’Image(Angoulême-Poitiers) as director. She pursues interests inmotion capture and theatrical manifestations of artificiallife via research as founding director of Culture Lab, aninterdisciplinary creative digital hub at Newcastle University(2004-09), and as founding member of TelefonicaFoundation’s Vida Art and Artificial Life programme (1999).At Sussex, Sally Jane promotes cross-campus creativeresearch, teaches in the School of Media, Film and Music,and supervises a cohort of interdisciplinary PhD students.Layerings and collisions of memory formed the driving principle behind Tadeusz Kantor’s “theatre of death”. Employingwhat he called “constructivism of the emotions”, Kantor fabricated his works from discarded artefacts and fragments ofspeech, music, and gesture, excavated from sedimented histories. Through their repetitive staging within a given productionas much as across his opus of theatre works and happenings, paintings, and installations, he made tangible and intangible“found” objects appear both alien and oddly familiar. The haunting quality of his creations was partly due to recursivelynested, yet cunningly skewed techniques used to frame events: literally, by manipulating window and picture frames, asin or , and metaphorically, as in the duplicitous photography-gun freeze frames of group portraits in . It also derived fromKantor’s hallmark stage presence as conductor of rituals - beating time, marking crescendos and cuts in the action andin worn music recordings, meticulously realigning objects and postures, and scrutinising the mechanical parade of actorsand mannequin surrogates as they occupy and re-occupy the stage through doors that interweave threads of memory andimagination. Drawing on Kantor’s texts, critical writings (Bablet, Kobialka), and personal experience, I propose to presentTheatre of Death manifestations as a kind of mnemonic stratification that resonates strongly with contemporary work. Thewretched, unusable objects suspended between eternity and the garbage that Kantor considered to be quintessentiallyavailable for art feature in much experimental performance. Ready-made gestural repertories that cast Cricot 2 actors incommedia dell’arte-like typologies are often in evidence in devised performance work. Ultimately, though, Kantor’s stagingsof metaphysical encounters of life and death with his fiercely idiosyncratic memory machines thereby resonated all the morepowerfully with their audiences, and remain as inimitable as they are unforgettable.s.j.norman@sussex.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014200

Nineteenth-Century Lines of Business and the Heavy WomanGeneral PanelJanice NorwoodUniversity of HertfordshireDr Janice Norwood is a Senior Lecturer in EnglishLiterature, Drama and Theatre Studies at the Universityof Hertfordshire. Her research focuses on nineteenthcenturytheatrical performance, especially relatingto the theatres of the East End of London andpopular culture. She has published work on a rangeof nineteenth-century topics, including Victorianpantomime, adaptations of Wilkie Collins’s novels,performances of Shakespeare and the Britannia Theatre.Her edited volume on Lucia Elizabeth Vestris waspublished in the Lives of Shakespearian Actors series.She is currently researching nineteenth-century touringactresses. Janice is the Annual Lecture Programme Coordinatorfor the Society for Theatre Research.In 1864 the playwright T.W. Robertson wrote a series of articles for the British journal the Illustrated Times delineating“Theatrical Types”. His categorisation of the various lines of business played by mid-Victorian stage performers accords withadvertisements placed by those seeking or offering acting work. Such stratification was a recognised professional shorthandthat had obvious practical advantages when the majority of theatres housed stock companies. Robertson differentiates theparts for women under two groupings, “Leading Ladies, Walking Ladies, and Heavy Women” or “Chambermaids, Soubrettes,and Burlesque Actresses”, broadly corresponding to roles with tragic or comic characteristics respectively. Histories of thenineteenth-century stage have tended to focus on the leading ladies and have largely neglected the heavy woman. Thispaper addresses questions about the demarcation of parts for women. It will analyse the nature of the roles allotted to theheavy woman and examine the particular skills and qualities demanded of the actress specialising in this line of business. Towhat extent were these roles different from those described as character or old woman parts? How did the specialisationrelate to the career of the actress and what was its place within the theatrical acting hierarchy? What effect did the rise ofthe long run and the demise of the stock company have on the notion of the heavy woman? Particular attention will be paidto the performance practice and experience of minor touring actresses such as Julia Seaman and Alice Marriott..j.m.norwood@herts.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014201

The Amateur Strikes Back: John B. Keane’s 1959 production of SiveGeneral PanelFinian O’GormanNational University of Ireland, GalwayIn 1959, one of the first productions of John B. Keane’s Sive caused a riot in Limerick, Ireland. Historically, rioting was notan unusual occurrence in Irish playhouses: one of the most prominent examples is the riot which occurred during the firstproduction of J.M Synge’s The Playboy of the Western World in 1907. However, the most striking difference between the Siveriot and those which had gone before was that in the case of Sive, the rioters were trying to get into the theatre, ratherthan storm out in fury. Limerick’s tiny Playhouse theatre was so ill prepared for the huge crowd that had gathered, thateven Keane himself had to push his way through the crowd to gain entry. A further key difference in the case of Sive is thatthis was an amateur production, played by an amateur cast, and written by an amateur playwright. This paper dissects theevents surrounding the production of Sive, thus revealing a number of key ways in which theatre is stratified, both in Irelandand other countries. Through this process of dissection, various opposing layers are revealed: before its production by anamateur group, Sive was rejected by Ireland’s national theatre, the Abbey, and its subsequent success reveals an oppositionbetween amateur and professional theatre, in terms of audiences, themes and stereotypes. John B Keane’s status as a ruralwriter, writing in a distinctive rural dialect, reveals an increasing opposition between the rural and the urban in Ireland. Finally,the themes explored in the play itself are a striking portent of the changes which were to take place in the decade whichfollowed, as both Ireland and Europe underwent a period of rapid modernisation.Finian O’ Gorman is a PhD candidate in Drama andTheatre in NUI Galway. His thesis topic is titled ‘Ireland’sTheatre of Nation: The Amateur Theatre Movement,1932-1980’. His other research interests include Theatreand Cyberspace and the plays of Enda Walsh. He is anIrish Research Council scholar.fogorman@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014202

To Turn Your Back To The Audience: Re-definition of gender in nineteenth century SwedenGeneral PanelHélène OhlssonStockholm UniversityDuring the nineteenth century acting styles changed rapidly in the Western bourgeois theatres. This is the era of dandies andpopular divas and the origin of a modern star cult. They developed their specific style of acting and mannerisms accordingto their popularity. Also contemporary popular genres tainted and altered the traditional acting style. But innovationssoon solidified in traditions. How fast did a style go out of fashion? And how did this alter contemporary gender identity?After the 1850s actresses took the liberty of going beyond their specific role of trade both in a gestural sense and in theirinterpretations of classical roles. In the birth of the twentieth century different women were seen on stage that representedfemininities that had never been seen before. Also the dandy with his ambivalent masculinity was here to stay and would nolonger be passed into the shadows. Some actors had the audacity to turn their back at the audience, one started to use thewhole salon as a stage by throwing off slippers that made a lobe out over the audience, another used his feet to point withinstead of his hands. Critical feministic and queer theories are the point of departure for this paper. Special focus lies withbodies on stage, their gestural expansion and ambivalent gender representations. I will argue that the gestural provocationson stage are deeply linked with ideas of the era like the first wave feminist movement and the dawn of a gay identity.Hélène Ohlsson is PhD Candidate, an actress, directorand scriptwriter. She is educated at StockholmUniversity (Master degree 2011) and she also has apractical theatre education from Ecole Jacques Lecoqin Paris (1985-87). Since September 2012 she is a PhDCandidate in Theatre Studies at the department ofMusicology and Performance studies at StockholmUniversity. Her dissertation goes under the workingtitle: Swedish divas and subversive heroines in thenineteenth century. During the summer 2013 HélèneOhlsson participated at conferences: 1. PSI#19 atStanford University with her paper: Expanding bodies:The Diva performance in the nineteenth-century. 2. FIRTin Barcelona with her paper: Subversive heroines in thenineteenth-century. As an actress she has been linkedto, among others Vastanå Teater and Riksteatern, as adirector she has worked with for example Dala Teaternand Vasterbottensteatern. She has also been active as adrama teacher and dramaturg.helene.ohlsson@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014203

The Hapsburg Dynasty and the Franco Dictatorship: Double Layers of History in the Theatre ofAntonio Buero Vallejo, Las MeninasGeneral PanelJunko OkamotoOsaka UniversityJunko Okamoto is Assistant Professor of GraduateSchool of Language and Culture Department at OsakaUniversity. She received her Ph.D. in Language andCulture (Spanish Literature) from the Osaka Universityfor Foreign Studies in 2007. The title of her doctoralthesis is “The Dramaturgy and Resistance of AntonioBuero Vallejo”. She also published her papers on BueroVallejo in several scholarly journals. Her teachingand research fields include Theater Studies, SpanishLiterature, Spanish Drama and American Drama. In thearea of American Drama, she published papers on DavidRabe, Arthur Miller, Tony Kushner, Terrence McNally andAugust Wilson. Her main research interests at presentare contemporary Spanish dramas, especially during andafter the dictatorship.In 1960, Spanish playwright Antonio Buero Vallejo wrote Las Meninas, to commemorate the three hundredth anniversaryof the Spanish painter Velázquez’s death. Obviously based on the masterpiece of Velázquez, the play stages almost all thefigures painted in “Las Meninas”. The play centers on the court painter and the 17 th century’s society, but as I argue, closereading of the performance uncovers a figure of the playwright himself standing firm against the Franco Dictatorship. Toprove this, I study closely the four paintings that come to an issue on the stage: “Aesop”, “Menippus”, “Venus at her Mirror”and “Las Meninas”. First of all, I analyze that these paintings show persons looking at the viewer, thus put the viewer/audienceinside the pictures and furthermore in the 17 th century. Secondly, I discuss that Velázquez was less obedient to the Kingthan people generally think. He even painted a naked woman which was prohibited at that time. Buero Vallejo’s Velázquezis accused of this picture and subsequently put on trial. An analogy can be drawn between the painter and the playwright.Buero Vallejo as an artist must have felt the same frustration of censorship that Velázquez did. Finally, I clarify the cleverdramaturgy of this author. In order to pass censorship, it is not preferable to highlight the Franco’s regime. Therefore, theplay ends with the “tableau”, made by all the characters posing exactly same as Velázquez’s painting “Las Meninas”, and thussuccessfully lets the audience out of the 17 th century and back to the present. Subtitling the work as “A Fantasia in Two Parts”,Buero Vallejo camouflages his true intention, and at the same time enriches the artistic quality of the work.casaguitar@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014204

The Stratification of Okinawan Theatre – from “Marebito” to InternetGeneral PanelKayo OmineResearch Institute of Okinawa Prefectual University ofArtsKayo Omine completed coursework for the Ph.Dprogram in Art and Performance Studies at theGraduate School of Okinawa Prefectual University ofArts after she receiving her M.A. in Okinawan Literature.The purpose of this article is where Okinawan Theatre comes from. Generally, Okinawan Theatre comes from Kumi-wudui(Okinawan classical drama) which was Okinawan Court Performing Arts so as to entertain Sapposhi (the Chinese emissariesto act attending the coronation ceremonies), a kind of operetta form, combining music, dance, and drama, created byTamagusuku Chokun (1684-1734). But, it’s a lame explanation of Kumi-wudui that as entertainment show for the emissaries.There is censorship of though for some folk festival and culture policy between Japan and Ryukyuan kingdom (governedthe Ryukyu Islands from the 14th century to the 19th century). Reviewing though the beginning of Kumi-wudui, I indicatenot only origins of elements (music, dance, drama, actors’) but also traditional thought of Ryukyuan culture comes to thesurface analyze of stage structure. I try to examine the Stratification of Okinawan Theatre by classification of historicalperiods. (1)Stratification #1: Birth of the stage at folk festival to entertain ‘Marebito(Gest gods from NiraiKanai, the Okinawancosmology)’(~the 13 th century) (2)Stratification #2: The stage onto the castle for King -- an Theocracy era either of RyukyuanShinto religion and Buddhism (the 14 th century ~ the 16 th century) (3)Stratification #3: The stage which be performing Kumiwudui– determine the destiny of Ryukyuan kingdom after Satsuma invasion and flourishing of Japanese cultures (the 17 thcentury ~ the latter part of the 19 th century) (4)Stratification #4: Birth of ‘Kageki(Okinawan Opera)’ – The stage backs tocivilians according to the policy of Ryukyu Shobun (the abolition of the Ryukyuan kingdom and incorporation into the modernJapanese nation as Okinawan prefecture). (1879 ~ 1945) (5)The Power of Stratification: Okinawan theatre be effected frommedia (record, movie, radio, TV and internet) and impact for all over the world. (early 20 th century ~ now)At present, she is a research collaborator working onOkinawan theatre history at the Research Institute ofOkinawa Prefectual University of Arts. She is also theauthor of “Nasanpaa”(“the barren woman”), a playwritten in the Okinawan language which wonthe “Okinawa literature Award” in 2007.xiaomine213-coff@yahoo.co.jpFIRT/IFTR World Congress, University of Warwick, 2014205

City as Site: How Street Performance Transforms Urban Architecture into Stage During Santiago aMil Theater Festival, ChileGeneral PanelMarcela OteizaWesleyan UniversityAs street performances use public spaces as sites, integrating the existing urban architecture and the theatrical mise enscéne has become a common practice. This research project explores the way in which urban architecture is transformedinto a stage by street performances at the Santiago a Mil Theater Festival, which occurs in Chile each January throughout thecity of Santiago. In order to examine how festival performances interact with the urban architecture of the city, I analyzed thehistorical context, architectural features and characteristics, and urban usage of three specific sites: (1) La Plaza de Armas, (2)main street of the La Alameda, and (3) outdoor court of El Museo La Memoria. By recording the different performances thathave been staged at these three sites between 2012 and 2014, this research allows us to examine the place and audience–performer relationship to further understand how and when the theatrical event can transform urban architecture into astage. Through this research, I have discovered that, independently of the type of urban site present (such as, a transientarea [e.g., a street] or a place-making area [e.g., a park]), the performance intervention into a site causes the architecturalsurrounding to become the mise-en-scéne, thereby multi-layering the performance with the context of the urban site.Marcella Oreiza is a member of the Theater Departmentof Wesleyan University. She holds anM.F.A. in ScenicDesign from the California Institute of the Arts (2002)and a B.F.A. in Studio Arts from School of Fine Arts atthe University of Chile (1996). Her scenic and mediadesign credits include: The Last Days of The Wild Old Boy;Richard III; The Mystery of Irma Vep: A Penny Dreadful;The Threepenny Opera, Dr. Faust Lights the Lights;Pornographic Angel; The Deceased Woman; The GreatGod Brown; Peer Gynt; The Long Christmas Dinner; As youlike It; Master Peter; Meditations from a Garden Seat; Inthis House; and others.FIRT/IFTR World Congress, University of Warwick, 2014206

Theatre: An Impulse of the Stratified MindGeneral PanelNilüfer OvalıoğluMardin Artuklu UniversityNilüfer Ovalıoğlu is a performance and theatre practitionerfrom İstanbul, and is assistant professor at Mardin ArtukluUniversity in Eastern Turkey. Ovalıoğlu completed herMaster’s degree with a focus in performance at StateUniversity of New York in 2005 where she studied asa Fulbright Fellow. Her research on movement as anexpression tool led her to London International Schoolof Performing Arts where she received physical theatretraining. In 2010, she received her PhD degree onPerforming Arts-Drama at Brunel University, London,where she pursued practice-based research on ‘womanon stage and the grotesque’ resulting in her thesis entitled‘The Female Bouffon’. She performs and collaboratesinternationally in projects and solo performances that entailtopics from woman’s studies to ageing. Her experimentswith voice and ancient folk methods of singing led her toexamine ‘impulse’ as an artistic provocation. Her recentresearch intention has been on ‘consciousness’ and the‘archaic’ as origins of performance. Ovalıoğlu works acrossa variety of forms from cabaret, performance, playwritingto vocal work and visual arts to cultivate her practice.She has published articles in international journals such asPerformance Research: A Journal of the Performing Arts.Performance is an unconscious act, initiating from man’s search for a creator. Studies on the brain suggest that ancienthumans had been hearing voices and hallucinations that they interpreted by means of automatic, unconscious habit schemas,ordered as voices of Gods. Around 2000 BC these hallucinations begin to disappear, leaving the newly evolved mind of manin silence upon which consciousness developed. As a consequence of this evolution, written poetry filled the silence left fromgods as stories transmitted over generations weaved a shield around the archaic mind. Our minds, evolved, are stratified soilof stories. From this silence also aroused the theatrical impulse: the impulse to search for a meaning, the impulse to imitate,to act, and a particular impulse to remember the Gods, all acted out in rituals revealing the deep layers of the subconscious.Theatre has a particular relationship to the development of culture as interpreter. Emerging first in ritual and poetry, thetheatrical impulse serves to observe and transmit dramaturgies that prove the existence of a ‘meaning’. Mostly expressedwithin belief systems, the quest to find or render metaphors of this emptiness is ever so enduring since the beginning ofconsciousness. This paper reconsiders theatre and its processes that developed over centuries in the light of the evolutionof consciousness. Today, the archaic human mind rests stratified under excessive amount of information bombarded throughvarious channels of communication. The present-day condition of the human is reflected in contemporary theatre workssuch as Mnemonic of Theatre de Complicite where characters are in a state of ‘trying to remember’. The memory of theprimal impulse to make meaning remains under strata of human consciousness and unfolding this archaic stratum is a bid toreveal the sublime goal of theatre and to decipher its primal impulse.niluferovalioglu@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014207

The Seven Ages of a Project - The Evolving Role of Theatre ConsultantGeneral PanelAn examination of the various and changing roles and responsibilities of a Theatre Consultant throughout the course of amajor capital cultural project.The new RST was opened in November 2010 and produced its first shows in the Spring of 2011. This was a major milestonein the journey of a project that had its inception as early as 2000 and is still on-going. This presentation will examine thisjourney and highlight the input of various Theatre Consultants throughout the process.Gavin OwenCharcoalblueCharcoalblue’s website:http://www.charcoalblue.com/Gavin Owen provides project management andconsultancy on all aspects of theatre design, specialising instagelighting and audiovisual systems for the performingarts. He has a B.A (Hons) in Performance Managementfrom Bretton Hall, University of Leeds, is Associatemember of the Association of British Theatre Technicians,a Professional member of the Association of LightingDesigners, member of The Society of Theatre Consultants,and is working towards an MA in Theatre Consultancy atthe University of Warwick. He has twelve years’ experienceas a theatre practitioner, with four years in the lightingdepartment at the Royal Court Theatre, London, threeyears as Deputy Chief Electrician at the Palace Theatre,Watford, and worked as a freelance technician and LightingDesigner. Consultancies with Charcoalblue include:Philharmonic Hall, Liverpool; Royal Shakespeare TheatreRedevelopment, Stratford-upon-Avon;RE:NEW, Chester’sCultural Centre; Lyric Theatre, Hammersmith, London;The Quarterhouse, Folkestone; Graeae Rehearsal Space,London; Young Vic Theatre, London; Roundhouse, London;Carnival Arts Centre, Luton; RSC Courtyard Theatre,Stratford-upon-Avon; LAMDA, London; SteppenwolfTheatre, Chicago; and many more.gavin.owen@charcoalblue.comMicrosite specifically about the work carried out on the new RST in Stratford-upon-Avon:http://www.charcoalblue.com/RST/home.phpFIRT/IFTR World Congress, University of Warwick, 2014208

Time and money: British Theatre and the Financial CrisisGeneral PanelLouise OwenBirkbeck College, University of LondonLouise Owen works as Lecturer in Theatre andPerformance at Birkbeck College. Her researchexamines contemporary theatre and performance interms of economic change and modes of governance.Her essays have been published in edited collectionsand in TDR, Performance Research and frakcija. She coconvenesthe London Theatre Seminar.This paper asks after the ways in which historical event, dramatic form and discourse are layered and inter-articulated in playsproduced immediately before and after the financial crisis of 2007-8. David Eldridge’s Market Boy (2006, National Theatre)and Dennis Kelly’s Love and Money (2006, Royal Exchange Manchester, Young Vic) were presented to public audiences atthe height of the property boom of the 2000s. David Hare’s The Power of Yes (2009, National Theatre) and Lucy Prebble’sENRON (2009, Headlong) were written as quasi-investigative responses to the demise of the years of financialized boom,seeking to give audiences insight into what had brought about the crisis. Each of these plays is concerned in different wayswith capitalism as an economic and governmental system. The paper examines the dramaturgical form and narrative contentof the works on the page and in performance, focusing in particular on the conception each espouses of the historicalevent. It suggests that all four are concerned with the origins or foundations of action in the present, but that each offers adifferent account. Despite their focus on individual ‘experience’, I propose that Eldridge and Kelly’s more experimental works– the one, a nostalgic look back upon Romford Market in the 1980s, and the other, an uncompromising anatomization of theeffects of consumerism upon intimate relationships - subjected “casino capitalism” (Strange 1997 [1986]) to greater critiquethan those which more directly sought to explain its institutional workings. But, in view of the ongoing grip of Thatcheriteneoliberal ideology and its mantra ‘there is no alternative’, I consider whether we can see a tragic dramaturgical impulseacross all four works – a category of drama cited explicitly by Hare and Prebble, and likewise by commentators upon thefinancial crisis itself.FIRT/IFTR World Congress, University of Warwick, 2014209

Staging a True ‘Shared Future’: Belfast Theatre and the Stratification of Ethnic IdentityGeneral PanelEleanor OwickiTexas A&M UniversitySince the end of the twentieth century, immigration to Northern Ireland has dramatically increased. This has been dueto changes within EU legislation as well as the peace and relative prosperity that followed the end of the conflict knownas “the Troubles.” As a result, many people within the state have become increasingly aware of the limitations of the “twocommunities model,” in which everyone is either a Catholic or a Protestant. Since these categories denote membershipwithin an ethnic group as much as (if not more than) they do individual religious belief, even immigrants who are Christianmay not find a place in this model. This paper examines the ways Belfast theatre has treated these questions of ethnic andnational identity. As with the rest of Northern Irish discourse, theatre has not always been quick to depict these changes.Some plays, like Gavin Kostick’s This is What We Sang (2009) offer a nuanced view of the importance of those outside thetwo-communities model to the state. In this play, three generations of a Jewish family demonstrate that they have beencentral to Belfast’s life and growth throughout the 20 th century. These representations are relatively rare however. Whenimmigrants do appear onstage, they are frequently underdeveloped characters, primarily Eastern-European women whohave been sold into sexual slavery and lack any degree of agency. I also draw attention to the lack of non-white characters(either immigrants or those born in Northern Ireland) within these plays. Thus, this paper explores both theatre’s participationin and ability to resist the stratification that obscures the lives and experiences of immigrants.Eleanor Owicki is an Assistant Lecturer in theDepartment of Performance Studies at Texas A&MUniversity. She received her PhD from the University ofTexas’s Performance as Public Practice program in 2013.Her research focuses on performance in contemporaryNorthern Ireland, with specific reference to therelationship between theatre and the ongoing peaceprocess. Her dissertation, Staging a Shared Future:Performance and the Search for Inclusive Narratives in the“New” Belfast, was nominated by the University of TexasDepartment of Theatre and Dance for the university’sOutstanding Dissertation Award. Her publicationsinclude an article in Theatre Symposium, book andperformance reviews in Theatre Journal and Ecumenica,and two forthcoming peer-reviewed book chapters.She served as Assistant Editor of Theatre ResearchInternational during the 2012-2013 academic year. Sheis also the Resident Dramaturg at This is Water Theatrein College Station, TX.owicki@tamu.eduFIRT/IFTR World Congress, University of Warwick, 2014210

The Tragedy of Unwilling National ContainmentGeneral PanelAvraham OzUniversity of HaifaAs the current round of peace talks between Israelis and Palestinians reaches its recurring “moment of truth,” the problematicquestion of national identity surfaces as a major difficulty. From the Jewish Israeli perspective, whereas over 20% of the Israelipopulation would identify themselves as Palestinians, Jewish settlers In the Palestinian Occupied Territories have to live withthe growing acuteness of becoming citizens of the forthcoming Palestinian State. Writing what may be read as an allegoryon the universal ennui of blurred national identity, Gilead Evron embodies his Palestinian Ulysses (Ulysses on Bottles, 2011) asan Israeli Arab teacher, who against all odds and contrary to all logic, risks his life sailing on a fragile raft he made of woodenlogs and glass bottles to sieged Gazza to provide his fellow non-compatriots with unsolicited samples of Russian literature,grotesquely designed to sustain their souls. The absurdity of his self-appointed identity as both saviour and compassionateprophet, is addressed by the Israeli authorities who interfere with his project and keep him in both punitive and protectivecustody, just to release him eventually to fatally renew his obsessive mission, falls hardly short of tragic catharsis. This lattereffect emanates from the absence of empathy from what is revealed as a shallow image of nationhood, where patrioticempathy contained in the tragic sense of the imagined community exists on the verge of the unfathomable.Avraham Oz holds degrees from Tel Aviv University andThe University of Bristol. He was Head of Departmentof Theatre, Tel Aviv University, founder and Head of theDepartment of Theatre, University of Haifa, and foundermember of the Academy of Performing Arts, Tel Aviv. Hetaught at Beit Zvi School of Drama; Hakibbutzim Collegeand Sapir Academic College, was visiting lecturer at TheHebrew University in Jerusalem; served as associate artisticdirector at The Cameri Theatre, and dramaturge at theHaifa Municipal Theatre; wrote theatre reviews for majorpapers and the radio; a theatre editor for the magazineAkhshav, edited shows on radio and TV; and served aspresident of the Israeli Association for Theatre Research(IATR). Oz founded and edited Assaph: Theatre Studies, JTD:Journal of Theatre and Drama, and Mofa. Published workson Shakespeare, Marlowe, political theatre, and recentlya book on Hebrew Drama and Zionist narrative. Oz is thegeneral editor of the Hebrew edition of the works ofShakespeare, and his numerous translations of plays andoperas include nine Shakespearean plays, as well as plays byBrecht, Pinter, and many others.avitaloz@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014211

Protest in Colour and Concrete: Theatrical Textures in the Urban FabricGeneral PanelTeemu PaavolainenUniversity of TampereWhere Mike Pearson wishes to “celebrate the fact that we do and can still mark – insubordinate to the imperatives of publiccleansing, arhitectural sanitization, social decorum,” Tim Ingold urges us to celebrate “the openness of a life that will notbe contained, that overflows [all] boundaries … threading its way like the roots and runners of a rhizome through whateverclefts and fissures leave room for growth and movement.” The analogy of these quotes in mind, my paper pursues to discussvarities of artistic activism through the interwoven images of “urban fabric” (and hence social stratification), “weaving” (beit of politics or dramaturgy), and “evental texture,” thus unravelling some tensions between theatrical appearance (its excessor emptiness) and performative becoming (its novelty or normativity). Within this theoretical staging, the paper’s main focusis on the often-organic metaphors of activist practice as it cracks through the crevices of urban modernity, overflowing itsinstitutional pavements with a carnivalesque layer of colour: Whether the latter is woven out by orange dwarfs, rebel clowns,or knitted graffiti, the key examples range from the “Orange Alternative” of the Polish 1980s to contemporary practices of“craftivism.” In the stead of antagonistic dramaturgies of transgression, the layering and stretching of simultaneous texturesthat the paper performs helps imagine a more permissive politics of textural porosity and hence also of diversity in saturation.Teemu Paavolainen is an Academy of FinlandPostdoctoral Researcher at the Centre for Practiseas Research in Theatre, University of Tampere. HisTheatre/Ecology/Cognition: Theorizing Performer-ObjectInteraction in Grotowski, Kantor, and Meyerhold waspublished by Palgrave Macmillan in 2012.teemu.paavolainen@uta.fiFIRT/IFTR World Congress, University of Warwick, 2014212

Collaboration and Stratification: Writing Together for the Stage and the Page in the NineteenthCenturyGeneral PanelBeth PalmerUniversity of SurreyBeth Palmer is a Lecturer in English Literature at theUniversity of Surrey. She completed her doctorate atTrinity College, Oxford, then taught at Keble College,Royal Holloway, and the University of Leeds beforemoving to Surrey in 2010. Her published work includesa monograph, Women’s Authorship and Editorshipin Victorian Culture: Sensational Strategies, (OxfordUniversity Press, 2011) and a co-edited volume entitledA Return to the Common Reader: Print Culture and theNovel, 1850-1900 (Ashgate, 2011). She is currentlyworking on a book project exploring the relationshipbetween nineteenth-century popular theatre and thenovel and has further interests in Neo-Victorian dramaand fiction.This paper explores compositional practices in nineteenth-century popular drama to argue that collaborative workinvolved complex and shifting stratifications of creative power that reflected the individuals’ broader understanding of therelationship between the drama and the novel. Using the dramatist and novelist Charles Reade as a case study, this paperexamines his relationships with his playwright collaborators Tom Taylor and Dion Boucicault on the popular plays Masks andFaces (1852) and Foul Play (1868). Both texts were created collaboratively and both were adapted from their first dramaticformats into novels. Reade’s correspondence suggests that he understood the collaborative relationship differently to hiscolleagues. The dramatists Taylor and Boucicault emphasise process over result, they put forward a methodical procedure forthe steady co-production of work, and they see collaboration as non-hierarchical. Reade, however, exhibited an oppositionalattitude, wanting to reduce collaboration to a science and expressing anxiety around the balance of power among himselfand his colleagues, which led to conflict. Using archival material from collections at Princeton University and the LondonLibrary allows me to excavate the layers of co-authored work and to reconstruct the ways in which these collaboratorsconceptualised their working relationships and the larger relationship between drama and fiction. These case studies work toboth reinforce and challenge Jacky Bratton’s argument in New Readings in Theatre History (2003) that current theatre historyitself is founded on the polarising tendencies that were formed in the nineteenth century. The proximity and interdependenceof Reade’s early writing for page and stage seem to offer a significant alternative to the seeming polarity between novel andtheatre but the anxieties enmeshing his relationships with his dramatic collaborators work to reinsert stratifications betweenthe two forms.b.palmer@surrey.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014213

Queering Pakistani Politics: The Khawaja Saras’ Performance ModesGeneral PanelThe 2003 popular Punjabi theatre comedy ‘Eik Tera Sanum Khana’ (‘Your Place of Idols’) supplants its patriarchal feudalvillage ruler with a marginalised ‘neither male nor female’ khawaja sara/ hijra character to critique an excessively masculinisedarena of Pakistani politics, penetrated by neo-imperial agendas. S/he deflates the brutality of law enforcement agenciesthrough licentious joking patterns, exposes corruption by situating her/himself outside of the patrilineal bonds, and fightsthe machinery of invading imperial forces through an army of dancing sisters. I examine how these performance modesnegotiated dominant political hegemony through khawaja saras’ political participation in the lead up to the 2013 nationalelections, where a number of khawaja saras contested as candidates. I argue that by jostling between the subversive strategiesof popular culture and the conservative imagery of actual politics, the marginalised khawaja saras were able to make queerentries into the political realm.Claire PammentBeaconhouse National UniversityClaire Pamment is an assistant professor at theDepartment of Theatre, Film and Television,Beaconhouse National University, Lahore. Her researchinterests include South Asian theatre and popularperformance practices. She is presently working onthe performance culture of the khawaja sara througha Canadian Social Sciences and Humanities ResearchCouncil grant. She received her PhD from Royal CentralSchool of Speech and Drama for her thesis whichexplored comic performance in South Asia with a focuson the bhānd tradition and its transformations. Herarticles have been published in Asian Theatre Journal,Journal of South Asian Popular Culture and TDR.cpamment@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014214

Cracking the Surfaces: The Political Staging of Animal DissensusGeneral PanelJennifer Parker-StarbuckRoehampton UniversityJennifer Parker-Starbuck is a Reader in the Departmentof Drama, Theatre and Performance at the Universityof Roehampton. Her book Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance(Palgrave Macmillan, 2011) investigates multimediaperformance and contemporary subjectivity. Sheexplores animality and performance and her essay“Animal Ontologies and Media Representations: Robotics,Puppets, and the Real of War Horse” (Theatre Journal,Vol. 65, Number 3, October 2013) received the ATHE2014 Outstanding Article award. Her work has appearedin Theatre Journal, PAJ, Women and Performance, TheatreTopics, International Journal of Performance Arts andDigital Media, The Journal of Dramatic Theory and Criticism,and others. She is co-editor, with Lourdes Orozco, ofPerforming Animality: Animals in Performance Practices,(Palgrave, 2014) and co-author of Performance and Media:Taxonomies for a Changing Field (with Sarah Bay-Cheng andDavid Saltz, University of Michigan Press, forthcoming). Sheco-directs (with Prof. Garry Marvin) the InterdisciplinaryResearch Group for Human-Animal Studies at theRoehampton, is Associate Editor of the International Journalof Performance Arts and Digital Media and a ContributingEditor of PAJ: A Journal of Performance and Art.J.Parker-Starbuck@roehampton.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014This paper frames animals on what Ranciere calls a “political stage” as a form of dissensus. While animals are frequentlysubsumed by and conflated within hybridized and technologized practices, this paper argues that if considered as dissentingfigures, animals might begin to disrupt this assumed hierarchical stratification and conflation between animals andtechnologies. Ranciere writes that “There is no political life, but a political stage. Political action consists in showing as politicalwhat was viewed as ‘social,’ ‘economic,’ or ‘domestic.’ It consists in blurring the boundaries.” (Ranciere, J. Reading Ranciere,London: Continuum, 2011) As an increasing move towards “Animal Studies” spreads through a wide range of disciplines, theidea of “the animal” becomes an idea that might confront what it means to be “human.” As animal hybrids blur boundariesin art and science, Ranciere’s notion of dissensus becomes a useful notion for excavating the sedimented relations betweenhuman and non-human animals. Art using animal forms and parts (taxidermy, hybridized cells, animal and organisms livingor dead) often focus on aesthetic provocations which reiterate anthropocentric concerns. However, at times, such workcan be read politically, and the animal elements might move from dissenting as disturbing or disrupting towards a Rancieriansense of “tying together” in order to build relations between human and non-human animals. In works such as (Korean/US) Doo Sung Yoo’s animal-machine hybrids, specifically his robotic pig-heart jellyfish, and (Catalonian) performance artistMarcel lí Antúnez Roca’s use of taxidermied robotic animal hybrids, the “animal,” controlled by the human hand, is arguablyat its least “animal,” but it is this very disturbance to form that engages possibilities as a dissenting agent capable of shiftingthe layers of stratification in Anthropocentric work.215

‘Ancient City of the Future’: Reconstruction and Dissensus in BeirutGeneral PanelElla Parry-DaviesKing’s College London and the National University ofSingaporeElla Parry-Davies’ PhD research, supported by a jointdoctoral partnership at King’s College London and theNational University of Singapore, offers an interdisciplinaryconversation between performance studies and theoriesof distributed cognition, which postulate that cognitiveprocesses are co-enacted with ‘external’ actant resourcessuch as technologies, symbol systems and other artifacts.It interrogates the implications of this methodology withregard to memory and the mnemonics of public space,and attends to such questions in the context of postcivilwar Lebanon. Ella is co-convenor of Beirut: Bodies inPublic, a conference taking place this year in Lebanon inassociation with Performance Philosophy, and co-convenorof Research with Reach, a network and training programmefor emerging researchers developing a research practice indialogue with audiences beyond the academe (supportedby the KCL Graduate School). She has written for Exeuntmagazine and TheatreVoice, and is a PhD tutor in lowparticipation secondary schools with the Brilliant Club. Sheholds an MA in Performance and Culture from Goldsmiths,and a BA from Durham University.ella.parrydavies@gmail.comThe paper attends to frictions between notions of stratification and of Rancière’s ‘distribution of the sensible’, with referenceto the architectural and archaeological layering of post- civil war Beirut. Following the damage of the 1975-90 conflict,Beirut’s centre underwent reconstruction that carefully maintained the façades of the buildings and the area’s archeologicalassets, but hollowed out its souk (markets) in favour of a transnational shopping mall; an ‘island of wealth’. Whilst elementsof the tectonic stratification of the site (archeology, façades, orientation of streets) have been maintained, this layeringis paralleled by the superimposition of nostalgic rhetorics that gloss the ‘authentic’ pre-war architecture. Advertising itsLevantine ‘flavour’ in marketing campaigns that aim to promote the city over other financial centres in the region, discoursearound the reconstruction attempts to co-opt the site’s historical diversity into a consensus that excludes alternativeconfigurations of Beirut’s urban identity, announcing it conclusively – and infinitely – as the ‘Ancient city of the future’. Thesymbolic resonances of the site are thus policed by modes of visibility that stress a single, uncontested historical narrative;when in fact post-war memory remains complex and fragmented. The paper contests the usefulness of stratification as aframework of analysis, exploring instead a need to look beyond its implication of a ‘whole’ which aggregates, contains, orregulates its component parts or strata. Drawing on Rancière’s notion of the ‘void or supplement’ – that which has no part inthe distribution of the visible – the paper will look towards expressions of Beiruti and Lebanese identity that are incompatiblewith, or surplus to, this apparently comprehensive articulation of the city. It will explore the idea of a surfeit of memory thatstages an intervention into, or rupture of the symbolic order.Randa Mirza, Sexy Has a New AddressFIRT/IFTR World Congress, University of Warwick, 2014216

The Actor Enters the Theatre: Towards a Reinscription of the Ritualistic Dimension in TheatricalCreation.General PanelVicenta PesuticUniversidad de ChileB.A. in History with Honours at Universidad deChile, previously I did courses on Hispanic Literatureand Linguistics, and Political Science at PontificiaUniversidad Católica de Chile. I also have a diplomain Religious Theory and Comparative Religions at theCentro de Estudios Judaicos de Chile (in collaborationwith Centro de Estudios Árabes), which is the sametopic as the one of my undergraduate thesis, herepresented as an abstract. I have works in a myriadof fields: as a research assistant at CIAE (Centre forAdvance Research of Universidad de Chile), at CuatroVientos Publishing House, and as a private tutorof French for children. Recently, I have finished aPhotography course in Ciudad de México and now I’mworking on a shared anthropological research projecton psycho-emotional maps through autoethnographicmethodology and on an education project.This project was carried out and presented, in its original format, as a Thesis to obtain the B.A. in History degree at Universidadde Chile, in 2012. This interdisciplinary investigation broadens the limits of traditional Historiography by exploring the fieldof Theatre Theory from the point of view of religious and ritual studies. In the academic discussion about the Secularization(rationalization) Theory, the study puts in tension this field by suggesting the continuity of the primitive bond between art andritual after plunging into the creative world of the contemporary theatrical community in Chile. The investigation, indeed,gathers and assembles what is defined here as “the whole set of beliefs, practices, rites and superstitions embraced byactresses and actors as means of protecting their craft and communal recognition”, an inherited tradition which has enduredthe multiple transformations in the canon of theatrical representation during the processes of secularization. This revisionallows, likewise, the discovery of other dimensions of the relationship between the actor and the rite, permitting to drawsome general conjectures on the continuity and nature of their bond: how is it historically sustained? How is it organised?By bringing together thirteen interviews with important Chilean actors and directors, this work crystallises the existence ofa certain ritualistic essence of the theatre, which is defined here as “that unique opportunity to live that which may happento us without actually living it.” Therefore, these observations goes beyond the actor’s process and the theatrical sphere,suggesting that this singular ability of theatre seems to be the platform in which theatrical ritualism may find, today, its historicalcontinuity. Thus, theatre is conceived as a threshold of possibility, as a manifestation of a creative need that is fundamentalto humankind: that which is able to unremittingly reproduce its crucial capacity for socio-historical transformation.You can revise the thesis on the Website of the University of Chile:http://www.tesis.uchile.cl/handle/2250/112910vicentapesutic@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014217

Unmaking Theatre: Globalization as MethodGeneral PanelIn the process of globalization, space and distance lose their significance, symbols are circulated worldwide, and internationalnetworks are created. Thanks to new possibilities in communication and transport, the limits of the consciously perceivedworld are surpassed and extended. A multi-dimensional exchange, taking place within globalization, leads to an understandingof acting and performing as patchwork of diverging elements and positions.Daniela PillgrabUniversity of ViennaDaniela Pillgrab finished her doctorate in theatrestudies at the University of Vienna in 2010. After that,she was Visiting Scholar at the School of Arts andCommunication, Beijing Normal University, China.Since 2012, she is working on a research project called“Mimesis was a Greek Idea. Body Images in PerformingArts in the Age of Globalization”, which is carried outat the Department of Theater, Film und Media Studies,Vienna, Austria, and at the Department of Theatre andDance, University of Hawaii at Manoa, Honolulu, US.Here main areas of research are theatre, dance andperformance theories, body concepts, performing artsin East Asia, arts and politics.Based on the theses that the characteristics of globalization have a certain influence on the performing arts, I will discuss thefollowing questions: How did the socio-political processes of globalization influence the performing arts? Is it appropriateto convey the term “theatre” – which is of Greek provenance, is founded on the concept of “mimesis”, and has developedin a close relation to Greek/European philosophical tradition – in a transcultural context? Can we argue that methods oftransculturality have become a dominant aesthetic practice in a globalized world? Can we therefore assume that the processof globalization leads to new forms of perception, which consequently provoke a new aesthetics? Especially a transculturalcontext of our globalized world gives reason to reflect and denaturalize terminologies and paradigms. Therefore, I take thedynamics of globalization as methodological tools for my considerations.In order to achieve a fruitful and vital discussion, I will intertwine my theoretical considerations with practical examplesof contemporary performance art. Viennese director and performance artist Claudia Bosse, for instance, calls her work a“theatrical research”: Due to the impossibility to place her performance project dominant powers. what is to be done then?(2011), which takes the socio-political turmoil in the Arabic countries as a starting point of her artistic considerations, withinthe frame of performance art, Bosse calls it “a new artistic format of sprawling speech and sound spaces created with textfragments, auto-fictions, movements and landscapes of documents”.www.danielapillgrab.comdaniela.pillgrab@univie.ac.atFIRT/IFTR World Congress, University of Warwick, 2014218

Hamlet as a Playground for Negotiation of Conflicting Memory DiscoursesGeneral PanelSince the middle of the 19th century, Shakespeare’s Hamlet is an essential part of the theatrical repertoire in the region offormer Yugoslavia. Bearing this vivid staging tradition in mind, this paper is going to examine Ljubiša Georgievski’s Hamletperformance in the National Theatre in Bitola (Macedonia) in 1989. It poses the central question, how the canonical textfunctions in this performance as a projection surface for different dominant and suppressed memory discourses in formerYugoslavia.In reference to contemporary theoretical approaches about the interrelation between theatre and cultural memory (RebeccaSchneider 2011, Peter W. Marx 2003), this paper is going to argue that performances of dramatic texts have a certain agency(Worthen 2010) to become a mirror of actual socio-cultural circumstances in revealing different layers of cultural memory.Alexandra PortmannUniversity of BerneAlexandra Portmann has studied Philosophy andTheatre Studies at the University of Berne (Switzerland)and is a Ph.D. student at the Institute of TheatreStudies as well as at Graduate School at the Instituteof Advanced Study in the Humanities and the SocialSciences at the University of Berne. Her Ph.D. project“The time is out of joint - Hamlet in former Yugoslaviaform 1945 to the present” is part of the project“Hamlet’s Odyssey”, founded by the Swiss NationalScience Foundation. From September 2012 till March2013 she was a Visiting Training Fellow at the Universityof Kent (UK).In taking Ljubiša Georgievski’s interpretation of the Mousetrap as a starting point, in a first step I will analyse the performance’sdramaturgical strategy. The director works in with various intertextual references and stages instead of the Murder ofGonzago his own performance Svadbata na Mara by Vladimir Kostov, which was shown in the National Theatre in Bitola in1975 and which was juridical forbidden. In a second step the performance and particularly this scene has to be read in a largerpolitical and cultural context in order to understand the on-going political and cultural discourses, which are reflected in thisperformance. In a third I am going to argue that in staging of a past theatrical event, namely the performance of Svadbatana Mara, Georgievski radically calls the representation of dominant historiographical narratives in former Yugoslavia intoquestion and therefore offers a commentary on the changing political circumstances in 1989.alexandra.portmann@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014219

Resisting Stratification and Opposing Neoliberalism: The Case of the Theatre Uncut ProjectGeneral PanelJosé R. PradoUniversitat Jaume I de CastellóJosé Ramón Prado is Senior Lecturer in EnglishLiterature in the Department of English Studies,Universitat Jaume I de Castelló. He specialises in Britishcontemporary theatre with an emphasis on post-warpolitical drama. His research interests include: popularculture and literature; film adaptations of Shakespeare’splays; and British contemporary metafiction. He haspublished articles on British political theatre, includingplaywrights Caryl Churchill and Pam Gems, as well ason British postmodern fiction. He is the founder andeditor in chief of the Cultural Studies academic journal,Culture, Language and Representation, ISSN: 1697-7750,published by Universitat Jaume I. He is a member ofthe research group “Ethical issues in contemporaryBritish theatre since 1989: globalization, theatricality,spectatorship”, a three year research project funded bythe Spanish Ministry of Economy and Competitiveness(FFI2012-31842).This paper will explore the phenomenon of Theatre Uncut, emerging as a response to the implementation of austeritymeasures and policies in Britain. Neoliberalism rejects its being described as an ideology, its resilience emanating from itsmalleable nature to accommodate adverse and changing social conditions. However, the specific policies and messages thatsustain it look identical across Western countries and cultures, thus signalling otherwise. By focusing on the internationalappeal of the Theatre Uncut project, and how its British specificity translates almost unchanged to participants worldwide,this paper will examine possible faultlines in the cohesive discourse(s) of neoliberalism. The British centrality to the projectsimply acts as a catalyst and inspiration, dispersing power and control in a centripetal way to hand it back in the form of selforganizationand committed participation. A sense of virtual community that resembles viral digital strategies and mirrors theelusiveness of neoliberal discourses emerges naturally, disclosing paradoxically both the project’s strengths, and neoliberalweaknesses. While traditional models of community rely on the concept of shared physical space, Theatre Uncut resistscategorization and stratification by effectively discarding previous assumptions of community and consciousness raising,reinstating agency in the actors / collaborators. Among the strategies employed I will analyse: opportunities for involvement;resting modes of organization with participants themselves; use of digital media for communication; resisting stratificationby collapsing pre-established categories such as amateur / professional; art / politics; community / individualism; active /passive audience. The conclusion will look into the effectiveness and success of the Theatre Uncut oppositional strategiesand their ability to engage in the creation of new ethical sensibilities that break the pessimistic determinism of neoliberalgreedy individualism.prado@ang.uji.esFIRT/IFTR World Congress, University of Warwick, 2014220

Sharing the Wealth: Performance Studies in the Educational Lives of Young PeopleGeneral PanelMonica PrendergastUniversity of VictoriaDr. Monica Prendergast, Ph.D., Associate Professor ofDrama/Theatre Education, Department of Curriculum &Instruction, University of Victoria, works with graduatestudents in curriculum studies, interdisciplinary studies,language and literacy, social dimensions of health,educational psychology and leadership studies andapplied theatre. Her interests are drama-based curriculumand pedagogy, drama/theatre in community contexts,performance as an interdisciplinary topic and researchmethod, and arts-based qualitative research methods,particularly performance and poetic forms of inquiry. Worksinclude theatre audience education (Teaching Spectatorship,Cambria, 2008), poetic inquiry (Poetic Inquiry, Sense,2009) applied theatre (Applied Theatre, Intellect, 2009)and applied drama (Applied Drama, Intellect, 2013). HerCV includes journal contributions, chapters, book reviewsand professional contributions including five articles inCanadian Theatre Review. She has received six SocialSciences and Humanities Research Council of Canadascholarships, fellowships and grants (2004-2015), workedon a Ford Foundation grant investigating learning througharts integration (2008-2010), and her theatre companyhas received a Capital Regional District Arts DevelopmentProject Grant (2012).mprender@uvic.caFIRT/IFTR World Congress, University of Warwick, 2014Why is the rich, wide and deep polydisciplinary field of performance studies only taught at postsecondary level? How mightsecondary level students aged 16 to 18 respond to the opportunity to engage with/in performance studies? These questionsare currently being addressed in a Canadian nationally funded research project (2013-2015) that is developing a secondarylevel performance studies curriculum. This innovative curriculum draws on the field of performance studies but also onresearch designed to gain a deeper understanding of the role and value of performance in the lives of young people inthe early 21st century. A rich, relational, recursive and rigorously developed secondary performance studies curriculum(drawing on William Doll Jr.’s postmodern curriculum theory), as the key outcome for this study, will potentially offersecondary level educators, teacher educators and students multiple opportunities to consider how performance pervades,informs, oppresses and liberates almost all aspects of contemporary life. The completed postmodern and polydisciplinaryperformance studies curriculum will challenge young people and their teachers to consider, research, reflect, collaborate,create and perform their emergent understandings of the ways performance plays itself out in culture, politics and society.This paper will report on the first year of the project. At its completion, this research project will offer young people the skillsto interpret and understand how powerful performative forces play out in their daily lives in modes of efficiency, efficacyand effectiveness (as theorized by Jon McKenzie, “Perform or Else”). To consider education itself as a performance—and theteaching of performance in all its polydisciplinary possibilities as a worthwhile subject for young people—is to see better howperformance pervades 21st century society, culture and politics…for better and for worse.221

Constrained Bodies: Dance, Social Justice and Racial StratificationGeneral PanelStacey PrickettUniversity of RoehamptonIn Zaccho Dance Theatre’s production of Dying While Black and Brown, four black men in prison uniforms jostle and climbover each other, negotiating spatial and power hierarchies in and on the wooden frame resembling a small house. In Zaccho’sThe Monkey and the Devil two couples (one African American, one Caucasian) stand in the precariously balanced halves ofa room that has been cut down the middle, where they antagonise each other physically and verbally. These productionsconfront issues of social inequality in direct terms, engaging with W.E.B. DuBois’ ‘double consciousness’ and racial politics.Powerful emotional resonances emerge from the multiple codings and theatricality of the everyday, achieved by strippingdown quotidian actions or intensifying virtuosic performative spectacle. Negotiations of power are embodied in Zaccho’scorporeal challenges to ‘post-racial’ perceptions countered by events that circulate daily in American media. Hierarchiesof space, layers of social stratification, and institutional racism are investigated in relation to artistic responses to socialinjustice, drawing on scholarship that interrogates racial stratification in the work of Urban Bush Women (Nadine George-Graves), and African American historical realities (Brenda Dixon-Gottschild and Thomas DeFrantz). These acts of resistance,corporeal confrontations, are contemporary calls to consciousness and action.Dr Stacey Prickett is Principal Lecturer in DanceStudies at the University of Roehampton whereshe teaches contextual studies approaches andcoordinates the MPhil/PhD course. Her researchfocuses on intersections between dance, identitypolitics and sociological perspectives, explored intopics that include left-wing politics and dance in theUSA and Britain; South Asian dance practices andinstitutionalisation processes; outreach projects amongdiasporic communities; the politics of representationin hip-hop; and dance and political activism in theSan Francisco area. In 2013, Dance Books publishedher monograph, Embodied Politics: Dance, Protestand Identities. Her writing has appeared in numerousjournals, in the books Dance in the City (Helen Thomas,ed.), Fifty Contemporary Choreographers and Danceand Politics (Alexandra Kolb, ed.). She serves onthe executive committee of the Society for DanceResearch, the board of directors of the Congress onResearch in Dance and on the advisory board of thePaulo Freire Institute UK.s.prickett@roehampton.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014222

Development of the Theatre Organizational Systems in the EU countriesGeneral PanelThis project aims to collect, systematise ways in which theatres operate in selected countries of the European Union. Thepapers will focus on differences between historical traditions and origins of organisational structures of theatres in selectedcountries. The analysis of administrative and financial reports concerning current state of cultural policies and models oftheatre organisation will allow to describe the specificity of the development of the European theatre as a cultural institution.The conducted examination of the systems of theatre organization will include theatres belonging to three sectors ofcontemporary economy, that is the private sector, the public sector, and non-governmental organizations.Karolina Prykowska-MichalakUniversity of LodzKarolina Prykowska-Michalak Associate ProfessorAssistant Professor in the Department of Drama andTheatre University of Łódź Poland. Her research focuseson Polish and German modern theatre, history ofGerman theatre in Poland. She did her doctorate studiescourse at the Faculty of Philology at the Universityof Łódź and also at the Ludwig-Maximilians University(Munich). Since June 2003, she has held the post ofsecretary in the international scientific associationThalia-Gemanica.kprykows@uni.lodz.plFIRT/IFTR World Congress, University of Warwick, 2014223

Theatre as a Service: Development of Communicative Strategies in Lithuanian National TheatresGeneral PanelIna PukelytėKaunas Vytautas Magnus UniversityIna Pukelytė is associate professor of the Departmentof Theatre Studies at the Faculty of Arts, KaunasVytautas Magnus University. Before taking the positionof the Dean at the same faculty in 2010 she was theHead of National Kaunas Drama Theatre (2003-2007).As a member of Kaunas Municipality Council for Cultureand Arts she is actively engaged in cultural policies ofthe city, she is also an expert at Lithuanian council ofCulture. Her research fields are theatre management,cultural marketing, as well as theatre history and newmedia in theatre. In 2002 Ina Pukelytė published at theUniversity of Leipzig a book based on her doctor thesis“Funktionen der Bildmedien in Theaterinszenierungender neunziger Jahre des 20.Jahrhunderts”. Currentlyshe is publishing articles about theatre in differentLithuanian and foreign scientific journals, organizesan international festival for culture and ecology“Grynparkas”.As soon as the Soviet system had fallen down, Lithuanian theatre lost its extraordinary position of being entirely fundedand supported by the government. In spite of this privileged position, theatre could nevertheless criticize the regime andtherefore was held in esteem during Soviet times by audiences and wider publics. The funding and support system haschanged in the last twenty years: theatre was more and more left to overcome the challenges of the market economy on itsown and in effect had to create new relationships to audiences. Because of the expansion of other cultural means, audienceslost their interest in theatre. The paper will analyze how Lithuanian national theatres develop marketing strategies based oncommunicative actions and what are the main obstacles that hinder its development. The research will be informed by arecent study about the effectiveness of national theatres in LT (done by Liuga Audronis, Pukelyte Ina and Paknyte Diana) andspecific analysis of various financial models at work (arm’s length principal, direct funding, etc.). It will argue that politicaldecisions, influencing economical regimes inside theatres are crucial for successful theatres’ approach to its audience. Thepaper will also show how important new marketing strategies are for attracting audiences. These are nurtured throughnew communication channels, based on on-line technologies (Nicholas Garnham, John Hartley). This phenomenon will beillustrated with examples of successful case studies of relationship and social marketing in Lithuanian theatre.www.dramosteatras.ltwww.teatras.ltina.pukelyte@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014224

Performance/Writing/Performance/Writing: The Sedimentary Texts of Doctor FaustusGeneral PanelStephen PurcellUniversity of WarwickSince 2004, The Pantaloons Theatre Company have been working on an ongoing Practice-as-Research project investigatingthe scope for, and use of, improvisatory performance modes in early modern plays. This work has recently involved anexploration of the clowning scenes in the two texts of Marlowe’s Doctor Faustus (1604 and 1616). Actors from the companywere encouraged to look in the texts for cues for improvisation, before generating their own semi-improvised version ofone scene in particular. Both actors and spectators then took notes, translating the performance back into text. The variousscripts produced by this exercise in re-textualising improvised clowning revealed two overlapping but discernable trends: onthe one hand, some participants attempted to re-improvise the scene on the page, writing creatively and performatively;on the other, some recorded merely a skeleton sequence of cues, imagining their texts, perhaps, as springboards for futureimprovisations. These tendencies might be usefully mapped onto the surviving texts of Marlowe’s play, which seem atonce to recall (or even simulate) a number of past performances, whilst also anticipating and gesturing towards new ones.Modern performance of these texts, this paper will suggest, necessarily involves the re-animation of multiple layers of pastperformances and their traces in the written texts. This complex layering challenges the traditional attitude which positionsMarlowe’s writing as primary and performance of it as secondary.Stephen Purcell is Assistant Professor of Englishat the University of Warwick. His research focuseson Shakespeare and his contemporaries in modernperformance and popular culture, and his publicationsinclude Popular Shakespeare (2009) and Shakespeareand Audience in Practice (2013). He is also a professionaltheatre director, and has directed numerousproductions for the open-air theatre company ThePantaloons. He has led practice-as-research workshopswith academics, students, professional actors andmembers of the public at Shakespeare’s Globe Theatre,the University of Oxford’s Literature and Medicineseminar series, the British Shakespeare Association,the Shakespeare Association of America, and London’sOctober Gallery, among others.s.purcell@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014225

Guilty Creatures: On Theatrical CaptureGeneral PanelPaul RaeUniversity of MelbournePaul Rae teaches on the English and Theatre StudiesProgramme at the University of Melbourne. He is theauthor of Theatre & Human Rights (Palgrave, 2009), andAssociate Editor of Theatre Research International.The trope of theatrical captivation is venerable. It stretches as far back as the shadow theatre of Plato’s cave, and has recentlybeen contested in Jacques Rancière’s short essay ‘The Emancipated Spectator.’ Such debates turn on the extent to whichtheatrical events or situations influence the worldview, behaviour and social reality of their participants – and it is in thiscontext that conventional ideas about stratification tend to come into play. In this paper, I consider an aspect of theatricaland social participation that does not conform in any straightforward way to such models. Hamlet sets ‘The Mousetrap’ forClaudius on the basis that “guilty creatures sitting at a play” have been moved to confess their crimes “by the very cunningof the scene.” The reasoning is logical and seems to make intuitive sense, but the results – namely, everything else thatsubsequently happens in the play – are deleterious. The neat nesting of a play within a play, and the reciprocal structure oftheatrical abreaction that Hamlet sets up for Claudius unleash an excess of guilt-laden affects and creaturely energies thatare distributed laterally, as it were, across and through the characters and their relations. The scene, in other words, is morecunning than anyone anticipated, and in this paper I consider the lessons it holds for appreciating the distributed dynamicsof power, theatricality and social control in the present day. I focus in particular on Pythagoras, a theatrical installation bySingapore artist Ho Tzu Nyen. Ostensibly an arcane machinic puzzle that is resolutely Eurocentric in its references, I arguethat Pythagoras offers a reflection on theatrical suggestibility that makes distinctive – though not unique – sense in the‘control society’ of Singapore, and indicates how we might all be figured, in one way or another, as guilty creatures sitting ata play.paul.rae@unimelb.edu.auFIRT/IFTR World Congress, University of Warwick, 2014226

Naturalist Theatre and NecrophiliaGeneral PanelDan RebellatoRoyal Holloway, University of LondonDan Rebellato is Professor of Contemporary Theatreand Head of the Department of Drama and Theatreat Royal Holloway University of London. He haspublished widely on contemporary British theatre andphilosophy, including articles on theatre and mentalimagery, Suspect Culture, David Greig, Sarah Kane,Mark Ravenhill, Tim Crouch, duologues, violence,and authorship. His books include 1956 and All That,Theatre & Globalization, Contemporary European TheatreDirectors, The Suspect Culture Book, and Modern BritishPlaywriting 2000-2009. He is co-editor, with Jen Harvie,of the Theatre & series for Palgrave Macmillan. He is alsoa playwright and his plays for stage and radio – includingNegative Signs of Progress, Here’s What I Did With MyBody One Day, Static, Chekhov in Hell, Cavalry, and MyLife Is A Series of People Saying Goodbye – have beenperformed nationally and internationally. He is currentlywriting Naturalist Theatre: A New Cultural History forRoutledge.Naturalist theatre is about observing life but everywhere observes death. Naturalist theatre in the 1870s-1890s was obsessedwith death. It’s easy to see mortality as one of the various biological conditions and death from disease or violence as oneof the social ills that it set out to depict. But Naturalism had a more troubled relationship with death than that. This paperarises from a larger research project taking a new look at Naturalism, surely the most influential theatre movement, forgood or ill, of the last 300 years. In this paper I want to show that death is a problem for Naturalism in several ways. Thehistorical, social and political context in which Naturalism emerged meant that death was a subject freighted with urgentcultural significance; while Germany, Britain and Italy had seen rapid population growth in the second half of the nineteenthcentury, France’s population was stagnating. The crises of 1871 only added to the fear that France was in terminal ill-healthand decline. In this context, Naturalism’s insistence on surgical and medical metaphors to articulate its particular social valueis not innocent. Naturalism depicted death in order to expel it; death was a way of preserving life. But could Naturalism expeldeath? I shall argue that Naturalism is haunted by death because death lurks at the heart of the Naturalist project, in whichimages of life and death necessarily substitute for one another. Despite themselves, the Naturalists find themselves drawninto a necrophiliac thread that runs through French culture from Sade, through Baudelaire and Lautréamont, to Haraucourtand Rachilde. The paper will touch on decadence, degeneracy, sexology, zombies, and a deep faultline running through ThirdRepublic culture and the birth of theatrical Modernism.d.rebellato@rhul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014227

Take Up the Bodies: Corpses in the Anatomy TheatreGeneral PanelKara ReillyUniversity of ExeterAnatomists required corpses, so the history of anatomy is full of the strategems anatomists concocted in order to acquirecadavers. Vesalius boasted of the subterfuges that he underwent to procure corpses for dissection. In the Fabrica Vesaliuseven describes stealing the body of a thief who was still hanging from the Louvain gallows, thus becoming a thief himself. InBeggar’s Opera Ben Budge asks Mat of the Mint: ‘What is become of thy brother Tom?’ Matt replies: Poor brother Tom hadan accident, this time twelve-month, and so clever made a fellow he was, I could not save him from these fleaing rascals, thesurgeons; and now, poor man, he is among the otamies at Surgeons’ Hall. Here Macheath’s gang perceives theses anatomistsas lowly rascals. But corpses were necessary performing objects; however, unlike the bodies that hit the floor in a stagetragedy, the cadaver in the anatomy theatre is not representational. It is what it is. That final thing we all become. Indeed,the body in the operating theatre is treated, as Gianna Bouchard has argued, as a prop: ‘The corpse to be dissected withinthe theatre of anatomy is fundamentally a pedagogical prop, utilized by medical science to educate and elucidate throughvisual elaboration and proof.’ The anatomist’s skill is in interpreting the body by revealing Nature´s secrets layer upon layerlike a puzzle box. This paper investigates the macabre relationship between the human cadaver as performing object in theoperating theatre and the anatomist as showman with reference to eighteenth century English anatomists John and WilliamHunter.Kara Reilly is a theatre historian and dramaturg. Herbook Automata and Mimesis on the Stage of TheatreHistory (Basingstoke: Palgrave, 2011) focuses uponautomata or self-moving mechanical puppets andtheir influence upon theatre history and intellectualhistory from the Renaissance to the end of the FirstWorld War. Her edited collection, Theatre, Performanceand Analogue Technology (Palgrave, 2013) examinesa wide range of spectacular pre-digital technologies.Her current project is called Operating Theatres:Performing the Body as an Object during the LongEighteenth Century and examines the lived experienceof performers who survived medical procedures.k.reilly@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014228

LAB Other Places, Formats and Practices in Performance: Experiences and Discussions AboutPerformance as ResearchGeneral PanelThis paper discuss the experience realized in LAB < Other Places, Formats and Practices in Performance >, held in August2013 in the city of Fortaleza | Brazil.The LAB proposed meeting of six artists | researchers from Brazil and Germany in different areas, to reflect on the themes:Collaboration x Collective, Performance x Performativity, Public Space x Public Life.At the heart of this lab was the discussion of how we perceive, think and build the places , from the relationship between bodyand space, in particular, body and city.Walmeri RibeiroUniversidade Federal do CearáPHD in Communication and Semiotics from PUC-SP,Master Degree in Arts from UNICAMP and graduatein Radio and TV from UNESP. Walmeri Ribeiro is thecoordinator and professor in the Program of Post-Graduation (Master) in Arts at the Universidade Federaldo Ceará, and adjunct professor II in the course of cinemaand audiovisual, acting in the field of actors’ direction,cinema production and contemporary art. She is the writerof Poetics of Actor in the contemporary Brazilian cinema[Intermeios, 2014] and co-organizer of the book About Artsand its sensitive territories [Intermeios, 2014]. She has manyarticles published in national and international magazines.Her academic and artistic production is situated in therelations between performance and audiovisual.Since 2010 she has as a theme of research projectthe relations between arts, politics, city and nature.From the realized projects the following works arised:Videoinstallation/Performance Deserts [2013]|Berlin,Videoinstallation Unfoldings [2012] | São Paulo, InteractiveInstallation Beco da Poeira [2010/2011]- Fortaleza | Rio deJaneiro, Interactive Installation Praça da Bandeira [2010]| Fortaleza, Performance Expanded Territories [2014] |Fortaleza.ribeiro.walmeri@gmail.comWhat are the possibilities for awareness of the people about their city and their environments? How can we create otherperspectives and ways of living in the public space ? What is this “ place “ of the artist in the urban context ?These questions been explored from the performance, using the body and the senses as a basis for experience, to map andto give new meaning the city. It is with this body - thinking, sensitive and at the same time public, composed and presenteda different geography, both in Fortaleza, as their personal places, whether imaginary or not .http://laboratoriodeperformance.wordpress.com/FIRT/IFTR World Congress, University of Warwick, 2014229

Towards Non-stratification in Creating Performance: PIMA (Performance and Interactive MediaArts), a Utopian PedagogyGeneral PanelHelen E. RichardsonBrooklyn CollegeHelen E. Richardson, PhD (Dramatic Art, U.C. Berkely), isAssociate Professor of Theatre, Brooklyn College, Directorof the MFA Program in Performance and Interactive MediaArts, and focused on interdisciplinary, collaborative, technology-integratedtraining in performance. Editor, signals,featuring articles on international performance. Researchareas: contemporary performance and technology; Theatrein the Age of Globalization; the Théâtre du Soleil; theoriesof directing; methods of collaborative creation. ArtisticDirector, Global Theatre Ensemble. Co-curator, producer,and dramaturg of Global Theatre Ensemble’s project onEliminating Violence Against Women, commissioned by theUnited Nations, 2008. Chapter on the theatre practicesof the Théâtre du Soleil, in Actor Training by Routledge. Inpreparation, Theatre in a Global Context: A History. Workedas stage director and trained with Ariane Mnouchkine,Théâtre du Soleil, and Sotigui Kouyaté, Peter Brook Company.Served as Artistic Director of the Stalhouderij TheatreCompany, Amsterdam. Currently adapting Euripides’ Medea,and an opera on American Transcendentalist MargaretFuller. Artist in Residence, Theaterlab, 2014-15.http://www.pima-mfa.infohttp://contemporaryperformancejournal.comwww.theaterlabnyc.comhelenr@brooklyn.cuny.eduFIRT/IFTR World Congress, University of Warwick, 2014A decade ago the Performance and Interactive Media Arts (PIMA) MFA Program was established at Brooklyn College,bringing together Theater, Visual Arts, Television and Radio, and Computer and Information Science Departments, and theMusic Conservatory. The vision for the program is to provide training in performance that is interdisciplinary, collaborative,ensemble based, and non-hierarchical, and that brings together performance and technology in a creative partnership.Training includes: performance techniques; technology (from MaxMSP software to Final Cut Pro, Pro Tools and Isadora,among others); studies in modern performance history; contemporary performance and arts theory (including Debord,Bourriaud, Rancière, Fluxus, and Bishop); the art of installation; approaches to pedagogy; the business of working as aperformance artist; and cultivating curating skills. Various performance formats are engaged in from Immersive Theater,Dance/Movement and Analog/Digital Music/Sound, to Installation, Robotics, and virtual events. Students participate inrotating ensembles during their first year and for their final thesis form ensembles of their own choosing, with the caveat thatthe primary creative team is from the PIMA program. These ensembles are interdisciplinary including practitioners in theater,dance, music/sound, visual arts, and computer programing. Presentations are off-campus in various non-traditional NYCvenues. There is no director within the ensembles and participants are encouraged to work within each other’s disciplines inorder to expand their understanding of multi-disciplinarity and collaboration. Courses are often team taught by faculty fromdifferent disciplines. This paper will cover the challenges and accomplishments of a non-stratified interdisciplinary trainingin performance in the face of radical changes in process, form, content, and relationship to space and audience within theperforming arts. Administrative, pedagogical, curricular, aesthetic, and cultural issues will be addressed, as well as an indepthconsideration of non-stratified approaches to performance and pedagogy.230

Curated Panel - Making Space for Performance: The Role of the Theatre ConsultantGeneral PanelThis paper looks at the theatre consultant’s role in the early stages of a theatre building project, establishing the needs of theclient and the community the venue serves, and then preparing the brief for the design and fitting out of the of the building.The theatre consultant may start work on a project after many of the key decisions about the building have been made,sometimes construction may have started and the opportunity to make changes to the design is severely restricted. This canresult in a building which is not what the community needs. A concert hall instead of a theatre, a proscenium venue wherea more flexible space might have been appropriate, a venue with too many or too few seats or too little room in the foyersand public spaces.John RiddellTheatre Projects ConsultantsJohn Riddell is a project manager with Theatre ProjectsConsultants working with theatre practitioners, architectsand builders to design and refurbish performance venuesall over the world. John’s background is as a theatretechnician, production manager and lighting designer inthe UK and Ireland. He has worked in many types of venuesfrom new writing in small studios to large scale touringopera, but the bulk of his experience is in staging andlighting drama.Since joining Theatre Projects in 2008, John has workedon venues in the UK, Europe, the Middle East and China,including concert halls, theatres and a number of schoolsand conservatoires. He spends a lot of his time workingwith clients to develop the appropriate brief for a newbuilding, establishing the size and shape of rooms, the bestrelationship between audience and performer and the rightlevel of technical equipment.John’s work on brief writing and the planning of venuesand their operations has overlapped with his academicwork for the Warwick MA in Theatre Consultancy which hecompleted in 2012. He is now conducting further study intotheatres, community and cultural sustainability in NorthernIreland since Partition.JRiddell@theatreprojects.comWe are fortunate to be involved at the early stages of some projects when the first ideas about a venue are being explored.This allows us as theatre consultants to conduct a needs analysis, stepping back and taking a broad view of the performing artsin the community, visiting existing venues, seeing shows, talking to practitioners and audience members, local governmentand public and private funders. This process of fact-finding and extensive questioning of stakeholders allows us to presentoptions. It is not up to the theatre consultant to choose what is right, but to reflect back our findings to the decision makers.The paper examines this process with reference to practical examples and the use of benchmarking and study tours toprovide context and establish a common language. It explores how this goes on to form the basis of an effective brief forthe design of the building.FIRT/IFTR World Congress, University of Warwick, 2014231

How (Not?) To Adapt Chekhov: Adventures in DramaturgyGeneral PanelNathaniel RidleyVictoria University of WellingtonAdapting the plays of Anton Chekhov presents very specific challenges to a playwright, even more so if they are writing in apost-colonial context. This paper uses Chekhov’s plays as a proving ground for learning about the techniques and strategiesof adaptation from a practitioner’s perspective. Emphasising how a playwright might apply adaptation theory, this paperexplores practical dramaturgy through the creation of several adaptations of Chekhov’s Uncle Vanya designed specificallyto target a modern New Zealand audience. Through the creation of these adaptations we are able to identify the tools andtechniques of an adaptor and investigate the difficulties that post-colonial cultures pose towards reception of the coretexts of the Western canon. Also investigated is how adaptors engage with the themes of an ageing work, emphasising andclarifying them by applying new cultural models to their settings or even completely new genres to their narrative. This paperwill specifically address the problems generated by the frequently “Anglicised” nature of Chekhov’s plays and why findingnew, local voices for these works is important for their long term survival. In this regard translation has failed Anton Chekhovby creating a hierarchy of interpretation, privileging English versions of his works over those from the colonies. This paperhopes to demonstrate how adaptations can be use to frame classic works in a colonial context.Nathaniel Ridley was born in Dunedin in the deepsouth of New Zealand, spent his formative years in thevolcanic caldera of Rotorua and now lives in Wellington,the windiest city in the world. The product of homeschooling he recently completed his Master of Artsdegree in Theatre at Victoria University of Wellington,writing on the practical applications of adaptationtheory in a New Zealand context. He has previouslycompleted a Bachelor of Arts with Honours at Victoria,writing a thesis on how adaptation theory had beenvariously applied to the works of Anton Chekhov, usingthe New Zealand playwright Roger Hall’s Dream ofSussex Downs and indigenous Canadian writer FloydFavel Starr’s House of Sonya as case studies. He hasgrounded these studies with practical work as an actor(from evil Kentuckian spies to Frankenstein’s Monster),stage manager and director.ridleynath@myvuw.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014232

Shakespearean Stratification: The Media’s Part in CastingGeneral PanelThis paper seeks to pose questions about the ongoing – but little discussed – power of media representation of race and itsinfluence on casting practice in contemporary Shakespearean theatre production in the UK.Jami RogersUniversity of WarwickDr. Jami Rogers trained at LAMDA and holds anMA and a PhD from the Shakespeare Institute, theUniversity of Birmingham. Prior to obtaining her PhD,she spent 10 years working in public broadcasting inthe US including 8 years at PBS’s flagship programmes,Masterpiece Theatre and Mystery!, where awardsincluded a Primetime Emmy from the Academy ofArts and Television Sciences. Most recently she was aVisiting Lecturer at the University of Wolverhamptonand has taught at the Universities of Birmingham,Warwick, Central Lancashire, Bolton and the BritishAmerican Drama Academy. Her research interestsare the contemporary performances in the UK ofShakespeare and American drama. Her most recentpublication is “The Shakespearean Glass Ceiling: thestate of colorblind casting in contemporary Britishtheatre” (Shakespeare Bulletin 31:3). She has lecturedon Shakespeare and American drama at the NationalTheatre in London and works regularly with DavidThacker at the Octagon Theatre, Bolton. She is currentlyan Honorary Fellow in English at the University ofWarwick.In my article on colourblind casting in Shakespearean theatre in Shakespeare Bulletin (Vol. 31, No. 1: Fall 2013) “TheShakespearean Glass Ceiling”, I identified stratification in theatrical production by looking at casting data. By investigatingthe ratio of white to ethnic minority actors cast in British Shakespearean productions, I discovered an unacknowledged quotain casting in the form of an almost uniform standard of 10-20% ethnic minority actors, as well as the creation of a “blackcanon” of medium-sized roles. These casting practices have had the effect of institutionalizing racial inequality by creatinga racial glass ceiling within contemporary classical theatre. This paper will place these research findings within the widercontext of media coverage of race, with particular consideration given to the media’s shifting slant on immigration policy andother political initiatives such as multiculturalism. This paper will examine the relationship between theatrical publicity, mediaarts coverage in the UK and the overall media response to racially-infused policies. In the context of press and televisioncoverage of the 1980s riots, the aftermath of Stephen Lawrence’s murder, and the current backlash against multiculturalism,the paper sets out to map significant correspondences between media representations of racial politics and the ebb and flowof professional and artistic opportunities within British theatre.shakespearegoddess@mac.comFIRT/IFTR World Congress, University of Warwick, 2014233

Ancestors and Stratification in Roman Baroque Opera: the Dramaturgy of Giulio RospigliosiGeneral PanelAldo RomaSapienza University of RomeAldo Roma is a Ph.D. candidate in Music and thePerforming Arts, in the Department of Art History andPerformance Studies of Sapienza University of Rome.In 2011 he earned his Laurea Magistrale (equivalentof a Bachelor of Arts and Master of Art degree) inthe Study of Theatre, the Performing Arts, Film AndTechnologies for Digital Performances in the Schoolof Philosophy, Arts and Humanities and OrientalStudies of Sapienza University of Rome, presenting athesis on contemporary opera stage direction entitledStaging Don Giovanni: Mozartian opera in the readingsof Strehler, Bieito, Kušej and Guth. His research interestsare directed primarily at the interconnections betweenmusic and theatre. His current areas of research are indepthstudy of the development and layering of comicstrategies in the dramaturgy in the 17th Century Romanopera. In addition to his research activities, he is alsoan arranger, composer, and performer for the theatre.He is in his last year at Saint Louis College of Music inRome, in Vocal Jazz. He studied piano and music theoryat the conservatories “N. Rota” in Monopoli and “SantaCecilia” in Rome and received the first certificate.This paper discusses one of the most celebrated and successful example of 17th-Century Roman Opera: Giulio Rospigliosi(1600-1669), who became a Pope in the last two years of his life under the name of Clement IX. He wrote the librettos ofmany works staged at the papal court of brothers Barberini, cardinals and nephews of Pope Urban VIII. Musicology considershis librettos among those that contributed most to the development of Baroque opera. Rospigliosi’s dramaturgy has beenfairly studied, but it has not yet been satisfactorily explored for how it was the “sounding board” for other works, topoi andliterary models, that layered and settled on the theatrical culture of Baroque Rome. Certain operas, staged in the Barberini’sresidences in the 1630s are characterized by a substantial factor: in the history of musical theatre they are the first to includesome comic scenes in their dramatic structure in an organic way. The complex structures of these operas, the large numberof thematic motifs they contain, the mixture of elements from upper class culture and commoner culture: all these aspectsemphasize the influence of different genres and theatrical practices, such as the tragedies of the Roman Jesuit colleges, thepastoral tales thriving in the other Italian courts, as well as the Commedia dell’Arte of professional actors that reached Romealso through the filter of the commedia ridicolosa performed by amateur actors. Employing literary interpretive categories,this paper proposes to track and focus on those elements which, layering in Roman theatrical culture, characterize thedramaturgy of Rospigliosi. Looking at the same operas with historiographical categories, it is possible to reevaluate andreveal them as events charged of an ideological flow, an acme and vehicle for a specific political design of the Barberinipatronage.aldo.roma@uniroma1.itFIRT/IFTR World Congress, University of Warwick, 2014234

Tragicomedy in Portugal: Stratification Inside and Outside the StageGeneral PanelCarlos Junior Gontijo RosaUniversity of São PauloThis presentation is part of our studies about the works of António José da Silva, the Jew. The Portuguese playwriter’s textswere written at the Eighteenth century and were represented by puppets. When we were studying this Portuguese theaterperiod, we realized the influence of the Spanish Golden Age preceptives on the plays composition. The gracioso type –the servant – gain prominence on representations, because it happens to be the conducting wire of the audience on theplay’s narrative. Despite its prominence place on representations, this type is still a secondary character deeply linked tothe galán’s figure. Also the gracioso’s position as servant and subordinate remains intact. The gracioso is even the play’slower character. Now the protagonists, galanes and damas, are higher characters. This organization remains unchangedthe Aristotelian division between Tragedy and Comedy, though it puts together both dramatic genres at the same play. Themaintenance of social stratum denotes the stratification of the society itself and it also motives the own dramatic genresdiscrimination as we could see at the criticism of the Antônio José da Silva’s plays. Since the playwriter’s time until veryrecently, some critics believe the Jew’s works are not so good because he wrote his plays taking into account the audience’spreferences. However, the preceptives are the north of Silva’s literary production. When we understand that, we can see theJew’s greatness, inside its own context.Actor and Master in Literature Teory and History atthe University of Campinas (UNICAMP/SP/Brazil).Portuguese Literature PhD student at the Universityof São Paulo (USP/SP/Brazil) with scholarship fromFAPESP (Brazil). He was Investigator in the TheaterCenter of Studies of the Lisbon University (UL/Lisboa/Portugal) with scholarship from the Calouste GulbekianFoundation (Portugal). He was also Professor atthe Federal University of Rio Grande do Sul (UFRGS/RS/Brazil) and the National University of Timor-Leste (UNTL/Díli/East Timor). His research seeks theinteraction between text and scene on the analysis ofdramatic texts, especially on the works of António Joséda Silva, the Jew.carlosgontijo@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014235

Scenographing the Archive: Staging Multilayered Complexities in Local Dance CultureGeneral PanelToday almost anything can be thought of as an “archive”, and quite a few scholars as well as artists are conducting whatis believed to be critical archival research. Even so, it can be argued that the tools, methods, and practices for the actualreworking of marginalized theatre histories, still needs to be clarified, developed, and honed. The ability to engage in anexchange proper with source material such as photographs, drawings, fashion images, adverts, films as well as writtensources is one issue at stake.Astrid von RosenUniversity of GothenburgAstrid von Rosen is senior lecturer in Art History and VisualStudies, at the Department of Cultural Sciences, Universityof Gothenburg, Sweden. She is also a research coordinatorfor the Staging the Archives cluster, within Critical HeritageStudies. A major concern of von Rosen’s work is bringingtogether key approaches within the field of “ephemeral”and “intangible” heritage studies to propel debate innew trans-disciplinary directions. A former classical andcontemporary dancer, von Rosen is interested in theintersections between artistic and academic research,particularly in the fields of dance and scenography. Hercurrent research centres on critically informed waysof investigating past art and theatrical events throughcorporeal practice and extensive archival work. Amongother texts on the subject, her article “Ambulare: to Walk,to Keep Walking” (2014) can be mentioned. As part of aninterdisciplinary research group she works on “TurningPoints and Continuity: the Changing Roles of Performancein Society 1880–1925”, a three-year project financed by theSwedish Research Council. Currently von Rosen is leadingthe trans-disciplinary project “Dream-Playing: accessingthe non-texts of Strindberg’s A Dream Play in Düsseldorf1915–18”. She is also developing a project on the noninstitutionaldance of Gothenburg during the 1980s.Henceforth, I propose a “scenographing dance” with the archive. That is a temporal, spatial and corporeal exchange withtraces from past performances and their contexts on the interconnected levels of body, image and language. As I haveargued elsewhere, such a “web of translations” – an analytical model informed by Lacan’s notions the real, the imaginary, andthe symbolic – is a powerful tool in historical as well as contemporary explorations. The web produces many points of entry,threads to follow, affective shimmers, and twilight spaces to act in, and move with. Processes of knowledge developed inrelation to present events can be transferred, and thus applied to historical material.The workings of these ideas will be demonstrated through examples from a case study on dance culture in the Swedishcity of Gothenburg, exploring the complex interplay between local and transnational features. The contribution the paperwishes to make is to clarify – but not simplify – some of the multilayered complexities brought forth in, with and throughthe “dancerly” as well as scholarly exchange with traces. A second aim is to demonstrate how this might impact on previoushistorical writings foregrounding the male director, national aspects, the avant-garde, and the hierarchy of genres.astrid.von.rosen@arthist.gu.seFIRT/IFTR World Congress, University of Warwick, 2014236

Before Eduardo: Theatre Stratification in Late 19th and Early 20th Century NaplesGeneral PanelArmando RotondiNicolaus Copericus University in TorunThis paper aims to analyse the complex theatrical environment in late 19 th and early 20 th century Naples, focusing on thoseaspects that can be considered the main background in Eduardo De Filippo’s production. In that period, Naples is centre ofa strong intellectual conflict between a strong vernacular theatre tradition based on the figure of the capocomico (in thiscase similar to grande attore of the national theatre) and new authors’ idea of art. Capocomici, such as Antonio Petito andlater Eduardo and Vincenzino Scarpetta (respectively father and stepbrother of De Filippo), face the end of the mask infavour of the characters and then the challenge of authors, such as Salvatore Di Giacomo and Roberto Bracco, who wanta prominent role of the author instead of the one of capocomico and, consequently, they want to link Neapolitan theatreto the European movements. The result of this conflict is a very complex stratification of Neapolitan stage, that appearseven more complicated considering other kind of performing arts, such as macchietta, caffé chantant or caffé concerto,canzone classica napoletana in its golden age (1880-1940). All these elements are essential part in Eduardo De Filippo’straining and production, as appears from the analysis of his early career, when he was an actor in Vincenzino Scarpetta’scompany, a translator into Neapolitan of Luigi Pirandello’s plays and, together with Armando Curcio, an important author ofavanaspettacolo and varietà.Armando Rotondi is Lecturer at the NicolausCopernicus University in Torun. After having achieveda BA at the University of Naples “Federico II” and aMA at Rome “La Sapienza”, he completed his PhD atthe University of Strathclyde with a thesis on EduardoDe Filippo’s in the Anglophone world and then he wasLecturer in “History of Theatre” at the University ofNaples and Visiting Research Fellow at University ofBucharest.He works in theatre as translator and adaptor and isArtistic Director of the Festival “DieciLune” (Naples).His areas of interest are: European theatre history;adaptation and translation; acting and directingtheories; world theatre.He published 4 books and around 50 contributions(chapters, articles etc.) on theatre, film and performingarts. He was speaker at international conferences (USA,UK, Ireland, Italy, Czech Republic).armando.rotondi@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014237

The Murder of Hope or the Hope of Murder? A Feminist Reconsideration of Kokoschka’s MurdererWomen’s HopeGeneral PanelSusan RussellGettysburg CollegeSusan Frances Russell completed her dissertation on“Gender Ideologies on the Stages of the Weimar Republicand Their Relation to Fascism” at the University ofWashington. She also earned an M.A. in Drama at theUniversity of Wisconsin-Madison, after completing aFulbright year at the University of Dusseldorf, Germany.She has published articles and reviews in The Journalof Dramatic Theory and Criticism, Essays in Theatre, TheGerman Studies Review, and Theatre Journal. She workedin the literary office at Empty Space Theatre (Seattle, WA)and at the Oregon Shakespeare Festival. She is currentlyAssociate Professor of Theatre Arts at Gettysburg College,a small liberal arts college in Gettysburg, Pennsylvania,where she also teaches in the Women, Gender andSexualities Studies program. In addition to research andteaching, she has also performed in and directed over 70productions in the U.S. and Germany, including directingthe American premiere of George Tabori’s play, Jubilee.She recently received a grant from the Mellon Foundationto have a play she has written performed as a stagedreading in New York City. She also has an eight-year-oldson, Samuel Hale.During the twentieth century, few genres brought sexuality to the foreground such a radical way as German Expressionistdrama. Discourses swirling around sexuality influenced critical assessment of what theatre historians have dubbed “thefirst Expressionist play,” Oskar Kokoschka’s Morder Hoffnung der Frauen (1909). The play is considered important in partbecause it is deemed the first to incarnate traditional gender tropes—a staple of future Expressionist drama—using thisinnovative, “Expressionist” style. However, the play’s real importance lies in its status as a nexus for conflicting discourses onsexuality; the discursive territory this play inhabits is much larger and more complex than its previous standard interpretationsgenerally grant. Based on a reading grounded in the text as well as the contested circumstances of its premiere, this analysisis intended to foreground the text’s overlooked pacifist strains, expanding its possibilities of meaning beyond the mostlyreductive (and ultimately misogynist) interpretations previously offered. Within Kokoschka scholarship, five major trendshave emerged which future scholars would do well to avoid: 1) in the case of the original production, scholars have generallyaccepted uncritically the most comprehensive account available: Kokoschka’s own; 2) since the play was quickly labelled“Expressionist,” critical interpretations of the play (except for the reviews of Kokoschka’s contemporaries) have analysed italmost exclusively in terms of its supposed utilization of (later) Expressionist tropes based on essentialized and universalizednotions of “Man” and “Woman,” and the theme of “the battle of the sexes,” ignoring other possible interpretations; 3) themajority of contemporary textual criticism gives a strictly one-sided account of prominent discourses on sexuality in fin-desiecleVienna, neglecting counter-discourses which also influenced Kokoschka; 4) critics and historians have generally failedto acknowledge that there are several versions of the text, which have some significant differences; and 5) scholars havealmost always focused solely on the two main characters, “Man” and “Woman,” ignoring the role of the chorus.srussell@gettysburg.eduFIRT/IFTR World Congress, University of Warwick, 2014238

Time’s Markings/Marking Times: Rosemary Butcher’s Secrets of the Open SeaGeneral PanelRosemary Butcher’s Secrets of the Open Sea is a new choreographic work merging archive material and current film withlive movement. Inspired, she reports, by the perception of form in ruins, the focus of Butcher’s new work is the creationof new histories through her re-engagement with her own past work which is also – far from coincidentally – one history ofcontemporary dance. We report on Butcher’s creative process with dancer Lucy Suggate, which involves an active enquiryinto what remains, a ‘looking at something that has its root elsewhere’, in a process of choreographic notation that shiftsforward and backwards in time.Stefanie SachsenmaierMiddlesex UniversityStefanie Sachsenmaier (PhD Middlesex University, DEASorbonne Nlle, MA Goldsmiths) is Lecturer in TheatreArts at Middlesex University. She has a backgroundas a performer and trains and teaches tai chi at Wu’sTai Chi Chuan Academy London, Bethnal Green,regularly entering national as well as internationalcompetitions. Her research interests and publicationsrelate to the processual in creative practice. She haspublished articles related to her ongoing research withchoreographer Rosemary Butcher, such as “BeyondAllan Kaprow: An Interview with Rosemary Butcher”,Journal of Dance and Somatic Practices, 2012, and“Reinventing the Past: Rosemary Butcher encountersAllan Kaprow’s 18 Happenings in 6 Parts”, ChoreographicPractices Journal, 2013. She further contributed to theLaban Sourcebook, ed. Dick McCaw, Routledge 2011.She has co-organised two Symposia on Collaboration atMiddlesex University, London, in 2012 and 2013, and herco-edited publication (with N. Colin) on collaborativeperformance-making is forthcoming with Palgrave in2015.Working with the conception of ‘activities’, Butcher investigates the ‘doing of the movement’, aiming to show its construction,rather than ‘finished’ form. This ‘doing of movement’ involves the choreographer and dancer in a simultaneous working oflayers of past and future choreographic ‘things’. The work – already in process – moves away from a central focus on thedancer’s body inhabiting its own space, to work as well with a sense of ‘imprinting’ the dancer’s bodywork onto the floor andinto the air.With these processes in mind, we explore Jean-François Lyotard’s notion of the technical as one constitutive aspect of theart work (‘L’Obédience’, 1988), arguing that in Butcher’s process we can see her engagement with an abstract yet rationalchoreographic dispositif, allowing us to speak about an inventive ‘dance’ that explores developments in visual art but remainsidentifiable as such. We discuss how Butcher’s creative process employs a layering of temporal materialities while remaining‘new’ and draw on Jakub Zdebik’s writing on the productive function of the diagram in art-making (Deleuze and the Diagram,2012) as well as Lyotard’s “autostructurisation” or ‘working through’ strata of materials.Steffi Sachsenmaier and Susan Melrose © May 2014s.sachsenmaier@mdx.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014239

Against Domination: Macbeth in IranGeneral PanelNaghmeh SaminiUniversity of TehranMacbeth is a play among the other Shakespeare’s tragedies which more focuses on power and domination in a bloody world.The play speaks about power transformation and its disasters. The play can be re-read based on Foccult’s theory in whichthe inner relations of power are analyzed. Theatre in Iran used to be an intellectual activity from beginning till now. Andcritical approaches to power and domination have always been a very continuous subject for Iranian theatre practitioners.This is why that one may find Macbeth as one of the most performed plays in comparison with the other foreign plays in Iran.Whenever censorship does not allow theatre practitioners to speak about power and domination of government in an Iraniantext, Macbeth has been a suitable choice. This paper firstly mirrors the statistic of Shakespeare’s works in Iran. Thereby, onemay surprisingly find that Macbeth has been performed far more than any of his other tragedies and comedies in the last12 years. In continuation, the play is analyzed based on the political situation of Iran. The analysis is supported by argumentsfrom Foucault’s theory of power. The following questions are the key questions: Which part of the play and which charactersculturally and politically can be adapted to the recent political situation in Iran? How have the adaptations of Macbeth in Iranavoided censorship to show the power relations? There are many examples of performing Macbeth in Iran which are analyzedas case studies. Showing pictures and movies of the case studies will run along with the presentation.Naghmeh Samini was born in Iran and received her BAin Drama and MA in Cinema from University of Tehran-She is a PhD Holder in Drama and Mythology. Morethan 20 plays of her have been staged in Iran, France,and India. This award winning playwright has also writtenseveral screenplays. In 2007 she was selected by criticsas one of the five best playwrights in Iran. Her plays areexperimental in structure and very inspired by Thousandand One Nights, she tries the unfamiliar structures alongwith magic realistic stories in her plays with subjectsabout women, love and politics in the contemporary Iran.Since 2005 she has been an academic member of theUniversity of Tehran, Faculty of music and performingarts. At the moment she is an affiliate member of theUniversity of Washington. Besides running workshopsabout adaptation, as a researcher she has published twobooks: one about A Thousand and One Nights and oneabout Drama and Mythology in Iran (which won as thebest book of the year 2010). She has published severalarticles about cinema, theatre, and cultural studies inPersian and English. At the moment she is working on aproject entitled “Shakespeare in Iran.”NaghmehSamini@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014240

Layered Documentation: On the Process of Documentating Contemporary Dance and PhysicalTheatreGeneral PanelMercè SaumellInstitut del Teatre, BarcelonaPhd in Art History, specialist in contemporary theatreand opera, and more specifically Catalan devisedtheatre. She is Director of Cultural Services at Institutdel Teatre, Barcelona (Centre for Documentation andMuseum of Performing Arts, publications and researchprogram). She is professor of theatre at graduate level(MA and PhD). Mercè Saumell is the author of twobooks about contemporary theatre and has publishedseveral articles in international research journals.She was Organizer of the FIRT/IFTR Barcelona 2013Conference.saumellvm@institutdelteatre.catHow can Choreography and Physical Theatre pieces continue to live on and perpetuate the work after rendering? How topreserve their aura, their dynamics, their ephemeral and genuine nature as Walter Benjamin said? And memories of dance andphysical theatre are exceedingly intricate. The question is how to create a type of documentation that does not betray thevital flow of the event-based phenomenon, rather than the dissected one (such as Basque performer Esther Ferrer argued).Maybe we could point to a potentially new paradigm in dance and physical theatre documentation similar to the artist’soriginal process of creation: documents, interviews as a useful tool, documentation of exhibition (such as physical space)and environmental parameters. Performance for more than one hundred and fifty years has responded to the developmentof recording, first in photography, print and sound, then cinema and video, and now digital recording and circulation. Thedigital archives relating to the performing arts should reflect their complexity and accommodate hybrid media as well asother networking sites. Our notion of dance and physical theatre history are now influenced by digital processes of recordingand storing. It is more dispersed and also democratic, accessible from anywhere (as opposed to a single archive). There areother disparate voices regarding unofficial documentation. Thus Surrealists developed primarily nonlinear archives resistinghermeneutic and ordered presentations. Contemporary performance collectives such as Blast Theory or La Fura dels Bausprefer this kind of subjective and progressive documentation. The Uruguayan choreographer Ayara Hernández Holz onlywants the traces that remain in the memory of viewers. And the British artist and economist Tino Sehgal defends radical nodocumentationas a label of resistance.Esther Ferrerhttp://www.youtube.com/watch?v=iFk4f3TJdEA0:29-1:26Tino Sehgalhttp://www.youtube.com/watch?v=EUReasWFXmg6:09-7:12Fear to Death (2012), making of Ligeti’s Le Grand Macabre staged by La Fura dels Baus (Arthaus Musik), DVD 2, 21:05-23:01FIRT/IFTR World Congress, University of Warwick, 2014241

Sent to Coventry: Exile and the Royal Ulster Constabulary in the Work of Ron HutchinsonGeneral PanelThomas SaundersQueen’s University BelfastTom Saunders is in his second year of a PhD with theSchool of Creative Arts at Queen’s University Belfast. Hisdoctorate research is concerned with displacement andmarginalisation in Northern Irish theatre, and specificallywith the representation of the Royal Ulster Constabularyin writing from the province. Culminating in a thesis duefor submission in 2015, the research puts in tension artisticportrayals of the RUC, with subjective interpretationsof conflict from formers officers as expressed duringinterviews. In July 2013 he gave a paper at the IASIL annualconference which examined artistic representations ofthe security forces in the work of Stewart Parker, MartinLynch, Anne Devlin and Marie Jones. He has also recentlypresented a conference paper at Staging Beckett:Constructing Performance Histories, which was held inApril 2014 at the University of Reading. Informed by aninterview with Haris Pašović, who produced the 1993production of Waiting for Godot in Sarajevo, the workprimarily addressed the complications of reappropriation.His poetry has appeared in several local pamphlets, andhe is a member of a writing group at the Seamus HeaneyCentre under the guidance of Ciaran Carson.Specifically concerned with Rat in the Skull (1984) and Pygmies in the Ruins (1991), this paper addresses the representationof the Royal Ulster Constabulary in the work of Lisburn-born Ron Hutchinson, and considers the complications of writingabout a province marred by violence from beyond the blast-walls and barricades which define it. Considering the recentlydisbanded Royal Ulster Constabulary as a displaced community unto itself, which exists by necessity beyond the territorialimplications of the word in a colloquial context, this paper initially examines how Hutchinson’s nonconformist engagementwith the marginalised narrative of the RUC differs from that of his contemporaries; in particular Martin Lynch, Gary Mitchelland Stewart Parker. Positioning the work in relation to political violence in Ulster, as well as incidents such as the bombing ofthe Grand Hotel in Brighton in 1984, the paper then outlines the relationship which Irish theatre has with the English stage,paying particular attention to the 1995 London revival of Rat in the Skull a year after the first IRA ceasefire. With the purposeof providing a post-conflict investigation of Irish theatre which is notably absent from academic discussion, this paperhighlights the attempts made by Ron Hutchinson to present Irish and English audiences with an alternate interpretationof violence in Northern Ireland – namely through the lens of the Royal Ulster Constabulary. Furthermore the paper chartsHutchinson’s own attempts to comprehend the country he left behind for Coventry in his youth, drawing sharply into focusquestions of exile, immigration and the subsequent complications of identity. Just as Detective Sergeant Harry Washburn ofPygmies in the Ruins attempts to look for the ‘bloody naked bones of the place’, so too is this paper an academic excavationof a stratum of Irish society hitherto unexamined.tsaunders01@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014242

Rediscovering a Baroque Stage: Drottningholm 1922-2012General PanelThere are numerous more or less well-preserved theatre buildings around Europe that were built in the centuries betweenthe Renaissance and Romanticism. The oldest is the Teatro Olimpico, the nearest the theatre in Richmond, the best preservedis probably the one in Drottningholm. All of these theatres share the common question: how – if at all – can and should weperform on these historical stages? In my paper I will show how differently this question has been answered at Drottningholm.Reopened in 1922 with a divertissement displaying the perfectly functioning Baroque stage machinery, the labels one canemploy to describe the performances that were produced over the following decades reach from simple transference ofproductions from other venues to playful engagement with the stage machinery; and from complete negligence of Baroqueaesthetics to attempts of harmonisation, i.e. the coordination of the principles of early music and performative aesthetics ofthe late 18th century. Even a quick overview will reveal the variety of styles and concepts that have guided artistic directorsduring the first century of ‘modern’ performances at Drottningholm. At the same time I hope to open up for a discussion ofpossible principles concerning ‘historically informed performance’.Willmar SauterStockholm University Theatre and Dance StudiesWillmar Sauter, Professor of Theatre Studies atStockholm University, has studied audiences andreception processes over a number of years. He hasalso written on Swedish theatre history, from BronzeAge rock carvings to the free group movement in the1960s. His interest in the theories of the theatricalevent is documented in his book The Theatrical Event(2000) and summarized in Eventness (2006). He ispresently preparing a book on the Drottningholm CourtTheatre. Willmar Sauter is a founding member and thefirst chairman of the association of Nordic TheatreScholars. He has been the President of the InternationalFederation for Theatre Research (IFTR/FIRT). He alsoserved Stockholm University as Dean of the Faculty ofthe Humanities and as chair of the Research School ofAesthetics.Willmar.Sauter@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014243

The Inheritance of Capocomici in the Fascist EraGeneral PanelA central part in the change of the twentieth century Italian theatre, which took place during the thirties, was played bythe emerging concept of the theatrical direction. In the nineteenth century the Italian and European stages were merelygoverned by the vocal technique of capocomico/a, who was the leading actor or actress of his/her own company and ruledhis/her actors’ acting. But in the early decades of the twentieth century a new trend - which took over during the fascist era- was aiming to create a different kind of cultivated actors, whose performance should adhere to the playwright’s work andfollow the director’s will. The paper will explore how the supremacy of the director affected and changed previous principlesand rules of Italian actors’ craft, and what of the past tradition was preserved by the new generation.Irene ScaturroThe Sapienza University of RomeIrene Scaturro holds a PhD in “Digital Technologies andMethodologies applied to the Research on PerformingArts” and a BA in Theatre Studies, both from University ofRome “La Sapienza”. She trained as an actress in Italy andLondon and attended Anne Bogart’s directing coursesat New York Columbia University. From 1998 to 2010she worked in the national and international professionaltheatre circuit as an actress and assistant director, for bothstate theatre and experimental productions. She taughttheatre, coached acting, and participated in researchon sensorial theatre led by director and anthropologistEnrique Vargas and professor Ferruccio Marotti. Sheworked for Centro Teatro Ateneo at University of Rome “LaSapienza” to European projects aimed at the preservationof theatrical memory and now works edits for the academicjournal “Biblioteca Teatrale”, published by Bulzoni Editore.Her research interests include theatre anthropology,acting techniques, digital solutions applied to culturalheritage. She wrote on the artistic process of directingand on intercultural actor’s training, and about KnowledgeOrganization applied to the performing arts domain.irenescaturro@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014244

Genealogies of Shakespearean ActingGeneral PanelRichard SchochQueen’s University, BelfastA basic question in the historiography of Shakespeare in performance is the relationship between contemporary actorsand their predecessors. At any given moment in theatre history, do actors adopt the gesture, expression, rhythm, and poseof past thespians or do they break with tradition and give new shape to the actor’s art? To what extent has Shakespearein performance been regarded as a living archive, an embodiment of past performances? To what extent has performancebeen regarded as the opposite: a source of novelty and innovation that spurns its own past? There has never been a singleanswer to this question. In this paper I want to look at the commemorative tradition in its earliest incarnation: the Restorationtheatre, when the performances of Thomas Betterton were traced all the way back to Shakespeare’s instructions to hisactors. In Roscius Anglicanus (1708), the prompter John Downes famously remarked that “[t]he part of the King [HenryVIII] was so right and justly done by Mr. Betterton, he being Instructed in it by Sir William [Davenant], who had it from OldMr. Lowen, that had his Instructions from Mr. Shakespear himself”. The empirical validity of Downes’s claim (at any rate,impossible to verify) is less important than the cultural work that his claim performed. That work was nothing other than torestore a normative theatrical past. Writing only four decades after the reopening of the theatres, it was important for therevived theatrical profession to install an unbroken line of continuity between itself and the glories of Shakespeare in thepre-Civil War theatre. Here, the commemorative rhetoric was needed to give theatre its own history.Richard Schoch is Professor of Drama at Queen’sUniversity Belfast. He is the author of Shakespeare’sVictorian Stage, Not Shakespeare, Queen Victoria anthe Theatre of her Age and The Secrets of Happiness:Three Thousand Years of Searching for the Good Life.He currently holds a Leverhulme Major Researchfellowship and is writing a monograph on British theatrehistoriography, from which his IFTR paper derives. Hisessay ‘Inventing the Origins of Theatre History’ (Journalof Dramatic Theory and Criticism) received the 2012Oscar Brockett Prize from the American Society forTheatre Research. In November he will be leading aworkshop on Restoration Shakespeare at the FolgerShakespeare Library in Washington, DC.schochrichard@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014245

Religion and Indian TheatreGeneral PanelShuchi SharmaGGS Indraprastha UniversityShuchi Sharma, an Assistant Professor of English, joinedthe School of Humanities & Social Sciences in 2005.Her teaching and research interest include IndianTheatre, gender studies, cultural and communicationstudies. She has taught courses in gender narratives,Indian theatre, non verbal communication andmodern world literature. She is currently working onrepresentation of women in post modern Indian theatre.Her recent publications include an article on managingcultural differences in global business ventures.Religion and Indian theatre share multi-dimensional and multi-faceted relationship since times immemorial. Right fromancient Vedic ritualistic period to the present times religion manifested itself in different theatrical forms through differentperiods. Ancient Sanskrit drama definitely illustrate glorious phase of Indian theatre wherein guided by religious and criticaltanets, laid down in Bharat’s Natyashasta, playwrights like Kalidasa, Bhavbhuti and Bhasa created masterpieces which till datebeautifully evince the strong bond between religious ritual and theatre. But it was during the 15-16th centuries, the medievalperiod – known for Bhakti Movement - when religious theatre in India received a boost and became a forceful medium forboth Hinduism and theatrical arts. Almost all kinds of theatre across the country had strong religious elements. Theatricalforms such as Raslila, Ramlila, Jatra, Bhavai, Krishanattam, Mohiniattam, Yakshagna and Bihu, purported to depict the divineacts of God Krishna, God Shiva and Goddess Kali respectively. In the modern times, with the advent and immediate popularityof radio, television and cinema, Indian folk theatre received a jolt but it continued to be performed as it had the mass appealfor those rural Indians who were unable to connect to the hyper-active elements of radio and cinema. Indian folk theatrethrough its quixotic brilliance of music, dance and religious themes has continued to rule the Indian stage. The present paperseeks to study the fate of four important folk theatre forms of India namely Raslila, Krishnattam, Jatra and Bhavai in thepresent times. Though these four forms of regional theatre are distinct in form and flavour yet they share the common normof religious theatre. The paper shall investigate how performance norms have been modified, if any, in the present times inIndia to accommodate age-old myths.shuchi.sharma@ipu.ac.inFIRT/IFTR World Congress, University of Warwick, 2014246

Performance Impacts: Value, Aesthetics and Non Aesthetics in Encounters with ScienceGeneral PanelNicola ShaughnessyUniversity of KentProfessor Nicola Shaughnessy is Professor of Performancein the University of Kent’s School of Arts and Directorof the research centre for Cognition, Kinesthetics andPerformance. Her interests are in the areas of appliedtheatre, contemporary performance, dramatic auto/biography, cognition and performance and practice basedpedagogies. She was Head of Drama in three universitydepartments and managed drama projects in educational,social and community settings. She collaborates withresearchers from other disciplines to explore the processesof making performance and its affects on participants.Her current research explores the imagination in autism(film documentary and practical research), performingpsychologies and interdisciplinary modes of performancetraining. Recent works are her edited collection AffectivePerformance and Cognitive Science: Body, Brain and Being(Methuen, 2013) and Applying Performance: Live Art, SociallyEngaged Theatre and Affective Practice (Palgrave, 2012).Previous work includes Gertrude Stein for the Writers andtheir Work series (Northcote House, 2007). She is coeditorof Margaret Woffington in the Lives of ShakespeareanActors series (Pickering & Chatto, 2008) and series editorwith Prof. John Lutterbie for Methuen’s Performance andScience: Interdisciplinary Dialogues series.‘During their encounters in the realms of medical science, the artists were outsiders, or ‘foreigners’ bringing a differentset of aims and objectives to those of the researchers they met. Similarly, the majority of medical researchers are often‘foreigners’ in relation to the communities that they work with where local perceptions of their methods and protocol canvary greatly.’ (Wellcome Trust Exhibition, 2013) This paper explores the theme of stratification by considering encountersbetween performance and science, addressing as it does questions of value, disciplinary hierarchies and aesthetics. Whilstthe scientific turn in the humanities is creating bridges between the ‘two cultures’, the emphasis is too often on art as ‘soft’material in the service of ‘hard’ science as a means of making its vocabularies accessible through public engagement and asa qualitative methodology for science to measure audience response or well being. Questions remain, however, about theintrinsic function and value of arts research in inter-disciplinary collaborations. My current research explores new modes ofinteraction between cognitive science and participatory performance. Cognitive science is informing our understanding andconceptualization of creativity and performance processes as complex systems, while performance practices offer insightsinto areas of human experience which are hard to reach through traditional laboratory experimentation. Referring to casestudies of autism and dementia, the paper argues that by engaging with atypical neuropsychologies through participatoryperformance, there emerge new understandings of these conditions as relational processes rather than diagnostic fixities.These have the potential to inform the cultures of research and care, impacting upon current epistemologies of science andmedicine. I discuss my collaboration with arts practitioners, performance scholars and neuropsychologists to develop newtraining frameworks and evaluative methodologies to facilitate researchers working across disciplines, thereby irrigatingboth cultures with new theories and practicesn.shaughnessy@kent.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014247

Spectatorship, Universal Learning, and Classical Receptions of AntigoneGeneral PanelWill ShülerRoyal Holloway, University of LondonWill Shüler is a Visiting Lecturer and third year PhDcandidate at Royal Holloway. His dissertation examinesancient Greek theatre as a device that created commonknowledge. He is also the editor of Platform: Journalof Theatre and Performing Arts. He holds his MA intheatre history and criticism from Brooklyn College,City University of New York and his BA’s in theatre andeducation from Wagner College.Post-Hegelian approaches to Antigone have been steeped in an oppositional binary of themes and discourses emblematisedby the plays protagonist(s) and/or antagonist(s), Creon and Antigone. Popular twentieth century approaches to Antigone inperformance, such as those of Brecht and Fugard, have been built upon the notion of Antigone qua heroine of the people.On the other hand, classics scholarship, notably the work of Christiane Sourvinou-Inwood, has suggested that at the timeof its first performance the male, civic-minded audience of ancient Athens would identify entirely with Creon. In thesereadings, seeing Antigone as a protagonist of the tragedy is a modern invention and cannot be read backwards upon theplays conception. Both of these approaches lie within the sturcturalist stratification of Antigone themes: male/female, public/private, civic/familial, Olympian gods/Chthonic gods, etc, and stem from the literary criticism of Hegel. Instead of thinkingof the ancient audience as having one intended message to be got from these stratified themes in Antigone, I would suggestthat ‘meanings’ are to be found in the intentionally mixed/competing depictions of these themes for Attic spectators. Thisidea is grounded in the theory of ‘universal learning’ espoused by Jacques Ranciere in both The Ignorant Schoolmaster and“The Emancipated Spectator,” which asserts that the state of spectatorship is a human condition; at all times we are learningand making associations from what we witness, comparing it to the breadth of our prior knowledge. This will be evidencedby examples of the reception of the tragedy in ancient Greece; Antigone’s influence on military strategy, political discourse,subsequent tragedies, and Attic cults demonstrates the varied understandings and approaches to the play in antiquity.By examining the influences of Antigone in antiquity, I hope to demonstrate how the stratification of themes discussedcontemporaneously were originally viewed as a porous intermingling.shuler.will@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014248

Deciphering la drammatica.General PanelCombining metrical structure with gesture and expressiveness, the nineteenth-century Italian actors drew a distinguishedform of acting, to which they referred as la drammatica, that was based on a system of vocal modulation. La voce appositawas the predominant drammatica declamation symbol. It signalled an opening voice, or key-voice, which imposed gradesand intonations on emotions. The drammatica included four dominant types of voce apposita. The leading actor/actressof a company as well as actor-manager (capocomico) portrayed his/her roles and effected his/her acting fellows’ work.When properly applied, the four types of voce apposita produced a spontaneous and attractive recitation. Firstly, the paperwill explain how the author managed to decipher the neglected method of the drammatica; secondly, it will illustrate theapplication of la voce apposita as it emerges from the actors’ promptbooks.Anna SicaUniversity of PalermoAnna Sica (now Anna De Domenico Sica) is aPhD professor of Theatre at Palermo University, adistinguished scholar in History of Theatre, with specialreference to nineteenth and twentieth-century drama,as well as acting and directing. She also specialisesin Commedia dell’Arte, contemporary Italian dramaand in North-American and Russian theatre. Herdiscovering of the personal library which belonged tothe great Italian actress Eleonora Duse in Cambridgehas improved her methodology in the field as it emergesfrom the essay ‘Eleonora Duse’s Library: the disclosureof Aesthetic Value in Real Acting’ (NineteenthCentury Theatre and Film, 2010), and from the volumeThe Murray Edwards Duse Collection (Milan, Mimesis,2012). She has also deciphered the acting–code of ladrammatica and published the results of her research inLa drammatica-metodo italiano (Milan, Mimesis, 2013).Her last work (edited by) is The Italian Method of ladrammatica: Its Legacy and Reception (Mimesis, 2014,coming out).anna.sica@unipa.itFIRT/IFTR World Congress, University of Warwick, 2014249

Colonial Remains in European MuseumsGeneral PanelChanges are afoot in European museums housing the remains of the colonial past. Museum names, exhibiting techniques,and informational labels no longer overtly mention racial order and the civilizing mission. Yet the material remains ofaccumulation are still there. The vast array of things that European scientists, conquistadors, and traders acquired now posesa challenge to museum professionals. One of the most fraught questions they confront is what to do with human relics.Once regarded as objects, skulls, bones, and other body parts have been re-categorized as “human remains” or as “bodies,”and in some cases returned. These relics now serve as witnesses to colonial violence and claims for restitution. They areenlivened as well by the work they perform in the European metropoles, where they assist Afro European communities intheir efforts to critique the persistence of colonial mentalities. Artists, too, have helped to animate colonial remains to raiseethical and political questions. My presentation will discuss the performance installation Exhibit_B by South African theaterartist Brett Bailey, which has toured Europe since 2010, to think through the remnants of coloniality, the metamorphosis ofAfrican bodies, and the role of the arts in refashioning the museum.Katrin SiegGeorgetown UniversityKatrin Sieg is Professor of German and European Studiesat Georgetown University. She holds a PhD in Drama fromthe University of Washington, Seattle. Her areas of researchare modern and contemporary German theater, andEuropean cultural studies. She authored three monographson twentieth-century German theater and performance,which focus on the politics of nationality, race/ethnicity,and gender/sexuality: Exiles, Eccentrics, Activists: Womenin Contemporary German Theatre (University of MichiganPress, 1994); Ethnic Drag: Performing Race, Nation, Sexualityin West Germany (University of Michigan Press, 2002); andChoreographing the Global in European Cinema and Theater(Palgrave Macmillan, 2008). She has published in journalsin women’s studies, theater, German, and European studies.From 2009 to 2011, she was a member of an international,interdisciplinary research group examining the EurovisionSong Contest as a site where the “New Europe” is imaginedand performed. One of her ongoing research interestsis Turkish-German theater. She is currently working ona longer project about Colonial Remains, which asks howcultural institutions ranging from museums to mass culturecommemorate Europe’s colonial past, and how AfroEuropean artists are participating in the project of culturaldecolonization.ks253@georgetown.eduFIRT/IFTR World Congress, University of Warwick, 2014250

In hindsight: Theatrical Confrontation with Criticism on Mistakes of the PastGeneral PanelThis paper focuses on the reading of a Report from the Special Investigation Commission on the collapse of the Icelandiceconomy. The Commission was established by Act No. 142/2008 by Althingi, the Icelandic Parliament, in December 2008,to investigate and analyse the processes leading to the collapse of the three main banks in Iceland. The report was publishedin april 2010. The city theatre of Reykjavík staged a reading where the whole 8 volume report was read by actors on stage.The house was open for audience to come and go and the reading was also streamed through the internet. The reading ofthe report will also be put in context with other manifestations of the crisis seen in the artistic choice of the National Theatreof Iceland and the City Theatre of Reykjavík at the time. In this paper deals with the rift between boom years and crisis inIceland and the problems of reacting to, and performing, criticism of problems and mistakes in the times of its ramifications.Sigríður Lára SigurjónsdóttirUniversity of IcelandThis paper is an attempt to outline certain problems of political performance in post-collapse Iceland. Public demand openlyinsisted that the theatre dealt with the collapse of the economy. The financial problems of the crisis seemed to derive fromthe boom years. How do you perform dissidence on a period that has already been brought to an end in such a dramatic way?Sigríður Lára Sigurjónsdóttir holds masters degreesin Comparative literature and Practical editorship andtheory of publication from the University of Iceland,is currently a PhD student there and is working on herdissertation on Performance of dissidence in postcollapseIceland. She has been working on this research,intermittently, since 2009 with several other jobsamongst them teaching at the University of Icelandand having the temporary post of project manager forperforming arts in East Iceland. She has also workedas a playwright and a director in the Icelandic amateursector. She has been involved with the IFTR since 2009,is a part of the research group Performance in PublicSpace and is the Student member of the executivecommittee of IFTR for the term of 2013–2015.sls9@hi.isFIRT/IFTR World Congress, University of Warwick, 2014251

Elements for the Study of the Ethnoaesthetic Construction of Western National TheatresGeneral PanelInmaculada Lopez SilvaEscola Superior de Arte Dramática de GaliciaThe relation between theatre and nation is an interesting field of research in order to establish how the History of Societyand Aesthetics determines the definition of national theatres from an ethnical point of view. Unlike other social and historicalprocesses, this moment of definition can be determined by particular events and even by specific men and women leadingthese processes of collective self-definition and national construction. Both cultural and political fields take part in thistheatrical program and contribute to create the concept of national theatre in useful terms for the ethnical definition ofcollectivity. In many ways, this initial moment determines not only the upcoming aesthetical and political ways throughwhich theatre takes a position into society, but also how it participates in the stratification of theatre and arts in the publicsphere. In Europe, there are two main moments when these processes of national construction by means of theatre can befound, both coinciding with two great moments of definition of the European nations: 17th Century in England, Spain andeven France, and 19th Century in Ireland, Germany, Sweden and, in a very interesting way, the so-called “emerging nations”(Iceland, Galicia or Catalonia, for example). In this paper a general hypothesis about the main common elements that takepart in the aforementioned process of the definition of national theatres are proposed. It also analyzes how these factors donot only determine a common substrate of definition for Western national theatres, but also common ways of organizationand cultural intervention in the public sphere from a social and political point of view.Inmaculada Lopez Silva holds a Ph D. in Theory ofLiterature and Comparative Literature, University ofSantiago de Compostela, and Master of Arts, UniversityParis III – Sorbonne Nouvelle. Since 2005 she has beenProfessor in Theatre Theory at the Escola Superior deArte Dramática de Galicia. She is associate editor of thejournals Anuario Galego de Estudos Teatrais and RevistaGalega de Teatro, and theatre critic for other specializedjournals such as Primer Acto, Grial and Tempos Novos.She is very interested in the analysis of theatre politics,focusing her research on the configuration of emergingtheatre systems. She authored two books: Un Abrenteteatral (2002) about the recuperation of GalicianTheatre after Franco, and Teatro e canonización (2004),a theoretical approach to the construction of thetheatrical canon taking as an example the contemporaryGalician theatre.inma.lopez.silva@edu.xunta.esFIRT/IFTR World Congress, University of Warwick, 2014252

Layering the Lockout: ANU Productions’ Re-membering of Ireland’s Socialist RevolutionGeneral PanelBrian SingletonTrinity College DublinIn 2013 ANU Productions engaged directly over six months with a variety of performance methodologies to mark thecentenary of the 1913 Lockout, an aborted socialist revolution of unskilled and semi-skilled workers who were locked outof the jobs by their employers across Dublin by daring to join a union. Though now overshadowed by another unsuccessfulnationalist revolution three years later, the 1913 Lockout was marked a century on by the Irish trades union movement ina variety of performative methods and engaged with renowned theatre company ANU Productions to realize most ofthe. ANU highlighted the contemporary relevance of the stories of those written out of national narratives in a series ofthirteen performances, entitled Thirteen during the Dublin Fringe Festival in various sites throughout Dublin (in a park,a street, a hairdressers, a gallery, a basement, a graveyard, a tenement, a tram) using various methodologies, includinginstallation, site-responsive performance, audio-tour, abstract dance, political speeches and debate. Outside of the festivalcontext, however, ANU went further by providing a summer-long heritage experience of life of the urban poor mostaffected directly by the Lockout (Dublin Tenement Experience) as well as at a commemorative wreath-laying ceremonyat the grave of Alicia Brady one of the young victims of the Lockout. This paper will explore the layering of the Lockoutthrough ANU’s engagement with the stories of the marginalized, its collapsing of past time with present performativeexperience, as well as the ethics of elision of daily and performed life with the politics of memory.Brian Singleton is Samuel Beckett Professor Drama& Theatre, Academic Director of The Lir – NationalAcademy of Dramatic Art and champion of TrinityCollege’s interdisciplinary research theme Creative ArtsPractice. As well as publishing widely on orientalism andinterculturalism in performance, most notably in themonograph Oscar Asche, Orientalism and British MusicalComedy (Praeger, 2004), his most recent contributionto theatre research is his monograph Masculinities andthe Contemporary Irish Theatre (Palgrave Macmillan,2011). In 2012 he won the ATHE Excellence in EditingAward (along with Janelle Reinelt) for their book series‘Studies in International Performance’ published byPalgrave Macmillan.bsnglton@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014253

Napoleonic Neglect: The Case for Excavating French Theatre of the First Empire. Case study:tragedyGeneral PanelClare SiviterUniversity of WarwickClare Siviter is a PhD student investigating the evolution,performance, and political use of tragedy under Napoleon(1799-1815) on the AHRC funded project ‘French theatreof the Napoleonic Era’. As an undergraduate at Warwickand the Université Michel de Montaigne, Bordeaux 3 shedeveloped an interest in French classical theatre, focusingon its evolution, manipulation and reception over time.During her final year she researched Napoleon’s politicaluse of the Comédie-Française at Erfurt in 1808 andDresden in 1813. The re-interpretation of classical tragediesafter the fall of the ancien régime also led her to analyseBeaumarchais’s Figaro trilogy through the unusual lens ofgender performance. This resulted in her being awarded astipend to present a conference paper and chair a panel atthe first ever International Conference of UndergraduateResearch at Monash University, Melbourne, Australia inMay 2013. Alongside her research she is in the process ofestablishing a doctoral French Revolutionary (1789-1830)working group, and is assisting on a joint project betweenthe Departments of History and French Studies at Warwickfor a virtual exhibition on ‘Popular Reaction to Napoleon’s100 days: Print, Satire, Song and Theatre’.C.F.I.Siviter@warwick.ac.ukWhat happened between the death of French Classical tragedy and the birth of Romantic drama? This question has beenfrequently posed, yet never properly answered. Indeed, to believe some scholars, nothing of theatrical importance occurredbetween 1799 and 1815, despite the famous acting advances of Talma, the legendary reviews of Geoffroy, the developmentof scenography, melodrama and the drame. Therefore, as the bicentenary of the fall of Napoleon approaches, and afterthe successful revival of interest in French Revolutionary theatre, there is an urgent need to reassess Napoleonic theatre.This paper will address the initial methodological problems posed by the study of tragedy as a genre 1799-1815. Diggingdown through the accrued layers of two-hundred years of interpretation, it will use tragedy as a case study to show howNapoleonic theatre, text and performance, was received during this era and how, in contrast to the current literature on theNapoleonic era, a period’s theatre can never be limited to its own new dramatic productions, reinforcing the very dynamicnature of theatre produced throughout the ages on a specific audience. Moving from reception to perception, this paper willalso explore how memoires, theatre documents, contemporary theorisations to name but a few can lead to a more accurateunderstanding of how Napoleonic society conceived of their theatre in terms of a dramatic heritage or departure after thecaesura of the Revolution before the advent of Romanticism and in turn establish the dramatic education of the Romanticgeneration, essential to understanding their own movement. Consequently, this paper will be of interest to specialists ofFrench and British theatre specialists of the late 18 th and early 19 th centuries.FIRT/IFTR World Congress, University of Warwick, 2014254

Weavers and Mothers: Layers of Political Theatre in the Art of Käthe Kollwitz (1867-1945)General PanelYlva SommerlandIndependent ScholarPhD, Art history and Visual Studies, University ofGothenburg, Sweden, (2012)In this paper layers of political theatre in the art of the German artist Käthe Kollwitz (1867-1945) will in focus. I will discusshow her pacifist conviction and her engagement in the female body politics of her times are manifested as political activismin the interplay between her interest in contemporary political theatre and her work as an artist. The first example in focus isKollwitz print cycle Ein Weberaufstand : Zyklus in 6 Blättern, that she worked on between 1894 and 1898, inspired by GerhartHauptmann’s play Die Weber. After Kollwitz saw the première of Hauptmann’s Die Weber in 1894 at the Berliner Freie Bühneshe started her Weavers cycle, strongly affected by the play. (Kollwitz, 1995). The second example discussed in this paper isKollwitz’ illustrations for the social-democratic doctor Carl Credé’s book Frauen in Not : §218, later staged by Erwin Piscator,with over 300 performances throughout Germany between 1929 and 1930.(Usborne, 1992; Blubacher, 2005). Here Kollwitzillustrations to the play and the subject of the play will be discussed. Paragraph 218 was the law that dealt with abortion.In 1924 Käthe Kollwitz also created the poster Nieder mit den Abtreibungsparagraphen for the KPD (Kommunistishe ParteiDeutschland). Abortion rights was a burning political issue especially for working class women in the Weimar republic.(Usborne, 1992; Meskimmon, 1999). Also, numerous of artists and writers during the 1920s were engaged in the abolition ofthe law. Berthold Brecht wrote the song The Ballade of Paragraph 218 (Ballade vom Paragraphen 218) in 1929 that illustrate thedilemma for the poor families. Another example of a play dealing with abortion, contemporary with Crede’s play was Cyankaliby Friedrich Wolf, this play also directed by Piscator.ylva.sommerland@kultvet.gu.seFIRT/IFTR World Congress, University of Warwick, 2014255

Writing of a Glass of Sweetened Water: Layers of Time in a Performance of Sugar, Water and a GlassGeneral PanelThis paper presents a meditation on Bergson’s famous formulation of sugar in a glass of water – “If I want to mix a glassof sugar and water, I must willy-nilly, wait until the sugar melts. This little fact is big with meaning. For here the time I haveto wait is not that mathematical time [....]. It coincides with my impatience, that is to say with a certain portion of my ownduration, which I cannot protract or contract as I like.” The study of duration of things is also later analysed by Deleuze in hisBergsonism and Cinema 1: The Movement Image. I dig into the stratification of multiple layers of time overlooked in Bergson’sand Deleuze’s accounts – crystallisation of sugar and evaporation of water from the surface of water – in order to rethinkthe duration of performance through Bergson’s method of intuition that ‘bends thoughts backwards to things.’ I rewrite thestory from the perspective of sugared water in a glass in a manner that also gives my own perspective as a performance artistwith Bergson in my audience waiting for sugar to dissolve. Through this creative approach, I argue that spectating is not apassive activity, but an active waiting a-part.Jungmin SongUniversity of RoehamptonJungmin Song is a puppet maker and performanceartist. She holds a PhD from the University ofRoehampton. Her thesis, Animating Everyday Objects inPerformance, examined how objects displaced throughperformance from sites of customary use mighthighlight fluxes of materiality. Among her puppetmakingcredits are assistant maker (with Lyndie Wright)for the RSC/Little Angel Venus and Adonis (2004). Hersolo performances, including Lighter than the Air (EastEnd Collaborations, 2007), Crumbs of Crumbs (ShuntVault, 2008; Brighton Fringe, 2011), Spill (HaywardGallery, 2012), A Reel to a Reel (East End Collaboration,2009) , Mulle: A Spinning Wheel (Mullae Arts Center,Seoul, 2010) , Hamlet: (Tissues) (Sacred Festival atChelsea Theatre, 2010; Spill National Platform, 2011),have been presented in the UK and internationally.See her YouTube Channel for documents of theseperformances:http://www.youtube.com/songbaraes_jungmin@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014256

The Value of Amateur, Subsidised and Commercial Theatre for Tyneside’s AudiencesGeneral PanelMaja ŠorliAcademy of Theatre, Radio, Film and Television, Ljubljana“The Value of Amateur, Subsidised and Commercial Theatre for Tyneside’s Audiences” is a six-month project which will finishin July 2014. The aim of the research is to draw a complete picture of the theatrical life of the city of Newcastle uponTyne (England) and the surrounding Tyneside region, focusing on the perspectives of the audience. Conducted by RoyalCentral School of Speech and Drama, University of London, the project is done in partnership with most of the local theatrecommunity, and in particular the Empty Space, a valuable theatre resource organization for the local area. A combinationof quantitative and qualitative methods, including surveys, interviews, and focus groups is used to address questions like:who is attending which sort of theatre, what motivates spectators to attend, what experiences they have while there, andin what ways these experiences and values are different for amateur, commercial and subsidized theatre. This project drawsits methods from the Project on European Theatre Systems (STEP), a group of theatre sociologists from seven Europeancountries, led by Dutch arts sociologist Hans van Maanen. STEP has developed methods and metrics to collect this data ontheatre and audience experience, and has refined and tested them in a number of smaller European cities: Groningen, theNetherlands; Aarhus, Denmark; Berne, Switzerland; Maribor, Slovenia; Tartu, Estonia; and Debrecen, Hungary. By bringing toTyneside the same methods that have already been applied by STEP, we will ensure that this comparison can be systematicand evidence-based.Maja Šorli is a Research Associate in the Theatre andTransart Studies research programme at the Academyof Theatre, Radio, Film and Television (UL AGRFT) andcurrently works as Consultant Research Assistant atRoyal Central School of Speech and Drama (RCSSD),University of London. She graduated in psychology atthe Faculty of Arts in Ljubljana (2003) and finished herPhD in dramaturgy in 2011 at UL AGRFT. She is a memberof STEP: Project on European Theatre Systems group oftheatre sociologists from seven countries around Europesince 2008. Her most important articles were publishedin the monographs Hybrid Spaces of Art (Hibridni prostoriumetnosti, UL ARGFT and MASKA 2012), The Dynamics ofthe Changes in Slovenian 20th-Century Theatre (Dinamikasprememb v slovenskem gledališču 20. stoletja, ULARGFT and MASKA, 2010), Global changes - local stages:how theatre functions in smaller European countries(Rodopi, 2009) and Drama, Text, Writing (Drama, tekst,pisava, MGL, 2008). She has also attended the Institutfür Theaterwissenschaft (Freie Universität) in Berlinand various workshops. She also works as freelancedramaturge, script writer, teacher and creator intransmedia arts.maja.sorli1@guest.arnes.siFIRT/IFTR World Congress, University of Warwick, 2014257

Seeing the Unseen: Contemporary Italian theatre, Women Directors and Emma Dante in theBerlusconi Era (1994-2011)General PanelFrancesca SpedalieriThe Ohio State UniversityFrancesca Spedalieri is a Ph.D. candidate pursuing adegree in Theater History, Literature, and Criticism.Born in Italy, she attended the United World Collegeof the Atlantic in Wales, U.K., and the University ofFlorida, from which she received a BA in Theatre.She received her MA in Theatre from The Ohio StateUniversity. Her research focuses on contemporaryItalian theater, physical theatre, and multimedial theater.Francesca received the William Case Kramer Fellowshipthat enabled her to work on an international projecton the Italian theater of the twenty-first century andto complete her M.A. thesis entitled “Innovation andTradition: Kantor, Grotowski, and the Sicilian Schoolin the Theatre of Emma Dante.” Her dissertation willcontinue her research on the theatre of Emma Danteand contemporary Italian women directors during theBerlusconi Era. She has written articles for TheatreForumon The Builders Association and on the theatre ofEmma Dante. She is currently spearheading the EmmaDante Project for The Ohio State University. The projectwill bring Emma Dante’s company to The Ohio StateUniversity in September 2014 and sponsor a symposiumand exhibition on Dante’s work and Italian contemporarytheatre.The Berlusconi Era (1994-2011) precipitated Italy into a time of blatant institutionalized chauvinism as the stranglehold of thedeep-set social, political, cultural and economic crisis that ravaged the country since the late 1980s tightened around thenation. Over the last twenty years, Italian theatre practitioners have responded to this yet-to-be concluded era of unrestby producing compelling work. Yet, if we look at contemporary Italian theatre directors a quick survey of English literatureyields a short list of noteworthy practitioners, including Romeo Castellucci, and Dario Fo. Astonishingly, none of them arewomen. Although excluded from the English-language records (and, more disturbingly, also from Italian-language records),Italian women directors are straightforwardly addressing their marginalization while producing significant work aimed atcelebrating it. With an eye to the role of Italian theatre on the contemporary international stage, this paper investigates theabsence of Italian women directors from the canon of Italian (and even European) directors established by English-languagescholarship. Particularly, it focuses on the case of Emma Dante (b. 1967) as vital to understand the complexity of Italiantheatre history in the past two decades. It situates her work in the context of southern Italy and of the Berlusconi Era, readingit in conjunction to the construction of her directorial persona. Ultimately, Dante uses her persona, her productions, and thelanguage of her plays to break free from the artistic and social status quo of today’s Italy, allowing scholars to re-position hertheatre in the context of contemporary Italian and European theatre.francesca.spedalieri@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014258

Performing Historical and Ecological Stratification in a Posthuman Era: Thinking and Drinking Teawith eco-artist Benjamin VerdonckGeneral PanelThe posthuman perspective inaugurates a mode of activism as “a distributed agency with vibrant matter” (Bennett, 7),performing a complex ecological stratification. In this complex collectivity, eco-artists such as Flemish theatre maker andvisual artist Benjamin Verdonck might take up the role of what I call ‘diplomats of dissensus’, combining Bruno Latour’s writingson contemporary ecology with Rancière’s writings on dissensus. In his artistic tree houses, Verdonck inaugurates eco-activistlabour by inviting passers-by to think and drink tea in his artistic tree houses. As a ‘diplomat of dissensus’, Verdonck doesnot seek to convert people to unanimous consensus. Rather, he creates a pragmatic situation that invites people to thinkthrough that which concerns them, in close interconnection with the environmental community they dwell in.Christel StalpaertGhent UniversityChristel Stalpaert is Professor Theatre and PerformanceStudies at Ghent University. She is director of theresearch centre S:PAM (Studies in Performing Arts& Media) and director of the AOG PostdramaticAesthetics. Her main field of study is performingarts, dance and new media at the crossroads ofphilosophy. She has contributed to many journals suchas Performance Research and Dance Research Journaland edited the book on Jan Lauwers’ Theatre Work withNeedcompany (Academia Press, 2007) and Bastard orPlaymate? Adapting Theatre, Mutating Media and theContemporary Performing Arts (Amsterdam UniversityPress, 2012). Christel Stalpaert is currently finishingher book on Performing Violent Conflicts and Traumas.Towards an Embodied Poetics of Failure (forthcoming).Verdonck’s artistic pile dwellings and tree houses are on the one hand deliberately reminiscent of Thoreau’s cabin and henceof the Romantics’ sublimation of nature and their urge for a reclusive life in nature, far away from the decadent and wickedcity. On the other hand, Verdonck re-casts the hut in an urban environment and does not retreat in isolation. On the contrary,he engages with the things and people within the interconnected mesh of the collective he encounters in the present.Verdonck’s eco-activist invitation of thinking and drinking tea gently tickles the environment with ecological matters. Hedismantles market-driven conceptions of business and political activities. Moreover, in dismantling the Western Romantictradition of reclusive life, Verdonck performs the stratigraphic principles of the distinct historical period of Romanticism.With his visitors-spectators, he engages with a mode of ecological thinking in the present that is inherently connected withways of living together.Christel.Stalpaert@UGent.beFIRT/IFTR World Congress, University of Warwick, 2014259

Creating Audience: Spectatorship, Politics and the Rules of Aesthetic Communication in LithuanianTheatreGeneral PanelJurgita StaniškytėVytautas Magnus UniversityJurgita Staniškytė, Ph.D., heads the Theatre StudiesDepartment and is a Professor at the Faculty of Arts,Vytautas Magnus University (Kaunas, Lithuania). She haspublished numerous scientific and critical articles oncontemporary Lithuanian theatre in the context of theprocesses of Baltic theatre, performative aspects ofpost-soviet Lithuanian culture and actively participatesin various scholarly and artistic organizations as well asart and research projects. Jurgita Staniškytė has beena Fulbright scholar at the Department of PerformanceStudies, Northwestern University, Evanston and avisiting scholar at the Illinois University in Chicago. Shehas published monograph Kaitos ženklai: šiuolaikinisLietuvos teatras tarp modernizmo ir postmodernizmo[Changing Signs: Lithuanian Theatre between Modernismand Postmodernism] (Vilnius: Scena, 2008), collectivemonograph Postsovietinis Lietuvos teatras: istorija,tapatybė, atmintis [Post-Soviet Lithuanian Theatre:History, Memory, Identity] (Vilnius: VDA PublishingHouse, 2014) is her most recent book.Theatre can be interpreted as a place where various modes of participation in community or patterns of citizen’ behaviourcan be rehearsed. Modern theatre offered many examples of audience activation and publics’ engagement. The forms ofconstruction of “active spectatorship” ranged from engaging in the direct participation in aesthetic experience to physicalinterventions into public space; from ritual performances of involvement to the mental emancipation of audiences as “distantspectators and active interpreters of the spectacle offered to them” (Rancière, J., 2009, p.13). Contemporary theatres areeager to appropriate these strategies not only for artistic or political, but also for pragmatic means. New forms of audienceparticipation emerging in post-Soviet Lithuania result not only in different understanding of spectatorship practices, butalso in the construction of new publics or counter publics. This focus on “audience construction” was fostered by manyfactors. The growth of participatory culture manifested the importance of audience in the processes of content creationand distribution. The researches of perception pointed out that the audience is the place where meanings are produced.Moreover, it turned out that not only are audiences participating in the meaning construction, they themselves can alsobe built or created as spontaneous communities. On the political level the prioritizing of audience development in theagendas of EU policy makers also signalled the acknowledgment of audiences as the equal participant of the aestheticcommunication. In my paper I will focus on the theoretical implications of the term of “audience participation“ as a form ofeffective public engagement and the issues of its practical application as experienced by artistic institutions in Lithuania andother countries. I will also examine whether the building of “active spectatorship” in aesthetic sphere can contribute to theemergence of “active participant” in the public sphere.j.staniskyte@mf.vdu.ltFIRT/IFTR World Congress, University of Warwick, 2014260

Constellations of Stratification: Perceiving Media Convergence in Matthew Barney’s CremasterCycleGeneral PanelJulia StenzelUniversity of MainzJulia Stenzel is Junior Professor for Theatre Studies at JGUMainz. She studied Dramaturgy, Comparative Literatureand German Literature at LMU Munich and at BayerischeTheaterakademie August Everding (Diploma 2002). In2007, she received her doctoral degree (Dr. Phil.) fromLMU Munich. Since 2009, she worked on the postdoctoralproject Reformulierung der Antike. Arché und Kommentarin Antike-Inszenierungen des 19. Jahrhunderts, funded byBayern excellent. Until 2012 (April) she was an associatedfellow of the DFG research unit Anfänge (in) der Moderne.Furthermore, since 2011, she is a member of the YoungCollege of Bayerische Akademie der Wissenschaften.Julia‘s Dissertation on intersections of Theatre Studiesand Cognitive Science was published in 2010 as a booklengthstudy entitled Der Körper als Kartograph. Umrisseeiner historischen Mapping Theory. In her current research,Julia focuses on the reception of Attic Drama in Vor- andNachmärz Germany. She is also working on pre-moderntheatricality (e.g. medieval theatre), on concepts andmethods of historiography, and on theoretical approachesto interdisciplinarity.In my paper, I will discuss forms of layering in Matthew Barneys Cremaster V which is set in the baroque opera house ofBudapest. Cremaster V is, as I will show, both using and exploring theatre‘s nature as a meta-medium that can serve bothas a matrix and a metaphor for the performative reflection of different forms of medial presentation. Matthew BarneysCremaster Cycle includes a series of five feature length films that are shot in an order different from the proposed orderof presentation. But the Cremaster Cycle is not merely a constellation of those five films. It is often called a plurimedialGesamtkunstwerk, consisting of drawings, sculptures, film pieces, brought to performance by its audience, both in cinematicand in exhibition contexts. The Wagnerian term leads to a central question concerned with the special kind of mediaconvergence the Cycle provides. As well as its various paratexts (websites, interviews, the artist‘s statements in exhibitioncatalogues etc.), it provides numerous ways of perceiving the hierarchy of the different media it includes. The recipientis invited to perform a kind of perpetuous figure - ground reversal in evaluating if the films themselves or the sculpturalobjects they include, the performances presented eventually in the films or their narrative background, the cinematic or theexhibitional presentation are to be seen as starting point of understanding or even perceiving the cycle - let alone the factthat the order of production differs from the order of presentation of the films. Focusing on the theatrical setting as usedin Cremaster V, I will show how the film itself reflects the converging media environments the whole Cycle includes; I arguethat on a concepual level, Cremaster V can be seen as a pas pro toto for the Cycle.stenzel@uni-mainz.deFIRT/IFTR World Congress, University of Warwick, 2014261

Moving in Medias Res: Towards a Phenomenological Hermeneutics of Contemporary DanceGeneral PanelNigel StewartLancaster UniversityNigel Stewart is a dance artist and scholar. He is SeniorLecturer in Dance at the Institute for ContemporaryArts at Lancaster University, the Artistic Director ofSap Dance (www.lancs.ac.uk/fass/projects/jackscout),and was Principal Investigator of Re-enchantment andReclamation: New Perceptions of Morecambe Bay ThroughDance, Film and Sound. He has danced for variousUK and European choreographers, including ThomasLehmen, and as a solo artist. As a choreographerand director he has worked with Louise Ann WilsonCompany, Theatre Nova, Theatreworks, Triangleand many other UK companies, and Odin Teatretin Denmark. He is the author of many articles andchapters on dance phenomenology and environmentaldance, and co-editor of Performing Nature: Explorationsin Ecology and the Arts (Peter Lang 2005).This paper has three concentric aims. The first is to develop an understanding of the body in performance through thephenomenological hermeneutics of Paul Ricoeur. The second is to plot the process through which the moving bodyunfolds the world of which it is already a part by interpreting text kinaesthetically. The third aim is to demonstrate howphenomenological hermeneutics learns from, even as it supersedes, the transcendental phenomenology of Husserl, butequally modes of materialist analysis that have been critical of Husserlian phenomenology and have abandoned faith insubjective experience. From Stanislavsky to Grotowski, from Hijikata to Bausch, many directors and choreographers havebeen preoccupied with how the performer’s actions can be moulded and modulated by mental images. To the extent thatthese practices seek a plenitude of presence by eliminating a gap between internal impulse and outer reaction, they can becompared with Husserl’s project of reducing the object per se to the ineliminable essence of the subject’s pregiven intendingconsciousness of that object. For this reason, though, such practices have been roundly rejected by materialists whopropose that subjectivity is not pregiven but “discursively constituted” by “cultural, political and socioeconomic operations”(Garner 1994). An alternative way of understanding these practices is offered by phenomenological hermeneutics. Ricoeur(2002) proposes that “belonging” - the hermeneutic experience of “being-in-the-world” by unfolding the world throughinterpretation - “precedes [Husserlian] reflection”. Through attention to the complex relation of movement to subtext inworks by Sap Dance and in contemporary Butoh, I will argue that dance exemplifies belonging. In becoming the “site-in-life”of text, the dancer becomes an interpreter in media res: in the middle of a conversation towards which it is ever orientingitself so that it may be-in-the-world.N.Stewart@Lancaster.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014262

Director or Pedagogue? – The Function of the Teacher in the Classroom of a Drama SchoolGeneral PanelPia Elisabeth StricklerZurich University of the ArtsPia Elisabeth Strickler, Dr. phil., completed degrees inTheatre Studies, German Literature and Swiss Ethnologyat the Universities of Bern (Switzerland) and Berlin(Germany). 2010 Doctor of Philosophy, Universityof Bern (founded by the Swiss National ScienceFoundation). Currently, she is head of the researchproject ‘Actor Training as an Example of PolyculturalSwitzerland’ at the Institute for the Performing Arts andFilm/Zurich University of the Arts (founded by the SwissNational Science Foundation and the Federal Officeof Culture). Her research interests are: perceptionof performances, transitoriness and documentation,education in acting, European theatre systems.How to show feelings, how to develop a different character, how to make a somersault, how to kiss the partner on stage – inthe classroom of a drama school a group of young students is willing to learn acting techniques, taught by a person who isusually termed professor. The hierarchy in the classroom seems to be clear: The professor has the part of the master withthe duty to teach the craft and art of acting, the students want to learn as much as they can to be ready for a working sectorin which only the best will survive. Based on empirical research at four different professional drama schools in SwitzerlandI will explore in my presentation the various structures of relatedness between the student and the teacher. Looking at theteacher’s part during the classes, we see in particular two different ways of behaviour: the teacher as a director and theteacher as a pedagogue. How do the two types of teacher interact with their students during a class of several weeks? I askfor example how the introduction is given. Which goal is defined for the class? How is feedback given? Where in the roomdoes the teacher stand? The arrangement of the resulting parameters builds the transitory learning space for acting. Myfocus is on the question, why such a space – including the hierarchic pattern – sometimes may be ‘good’ for actors’ trainingand sometimes not. The source of my analysis is observation in the field of actors’ training over a period of 12 monthsincluding digital video and interviews. The observation involves classes with 20 different teachers. As methodologies I usebasically performance analysis (classes) and conversation analysis (classes and interviews).Link to the website of ‘Actor Training as an Example of Polycultural Switzerland’:http://www.zhdk.ch/?projektarchiv&id=1017pia.strickler@zhdk.chFIRT/IFTR World Congress, University of Warwick, 2014263

Postmodern Cinema, Thanks ShakespeareGeneral PanelIn postmodern called narrative-performative movies theatre and film gets closer – spoken from a dramaturgical point ofview. All of these can be classified as works of open form like Umberto Eco defined it. Open dramaturgy is traditionallyknown for theatre, but in the film production business many authors as well as director are lost when it comes to modern orpostmodern aesthetic and dramaturgy. These kind of movies are using the knowledge of the understanding of the Carnival(Bachtin), ‘Romantic Irony’ (Schlegel and Tieck) and dramaturgical pattern invented by Shakespeare, Büchner and Brecht.The importance of implicit dramaturgy is common for theater studies but completely new for most of the people in filmbusiness or film studies. With my presentation I’ll concentrate on implicit references to Shakespeare in movies like TheCabinett of Dr. Panassus as well as in a series like Grimm.Kerstin StutterheimHochschule für Film und Fernsehen Konrad WolfKerstin Stutterheim is Professor for Dramaturgyand Aesthetics at HFF Konrad Wolf. She has been afreelancer author, filmmaker, dramaturg. Her recentpublications include: Come and Play with us. Ästhetikund Dramaturgie im postmodernen Kino. Co-edited withChristine Lang. Marburg: Schüren, 2013, and Handbuchder Filmdramaturgy. 2nd. Frankfurt am Main: Peter Lang,2011.k.stutterheim@hff-potsdam.deFIRT/IFTR World Congress, University of Warwick, 2014264

Site-based Performance as Platform for a Political Ecology: Exploring Cohabitation with Non-Native AnimalsGeneral PanelMainstream representations of non-native animals in the UK, such as the American grey squirrel, the killer shrimp or theAmerican bullfrog, construct supplemental to their existence as animals, a second level of otherness. Labelled as ‘aliens’,being in the wrong place and ‘behaving badly’, they become, from an anthropocentric viewpoint, the ‘outlaws’ of anyecological system. Although non-native animals in many cases do constitute a serious challenge to existing ecosystems, thecurrent discourse in both lay and scientific contexts seems to a large extent informed by philosophical and political intereststhat originate outside the realm of ‘care for the environment’.Mariel Jana SupkaRoehampton UniversityMariel Jana Supka is a performance artist based in Londonand Berlin. She has worked as a freelance performerin devised theatre, experimental music theatre, andperformance art since 2001. Her work is focused oncollaborative production processes, which draw from acombination of practical and theoretical enquiry. Marielhas performed in major venues in Germany and Switzerland(Maxim Gorki Theatre Berlin, Hebbel am Ufer (HAU) Berlin,Neumarkt Theater Zürich), at international festivals (FringeFestival Dublin, Altstadtherbst Festival Düsseldorf, MusicaPolonica Nova Wroclaw), and at numerous independent andunderground performance spaces in Berlin and elsewherein Germany.Mariel is currently undertaking a funded PhD researchproject at the University of Roehampton. Her practicebasedproject Improv[is]ed Dwellings – PerformingWorldliness in Encounters with ‘Alien’ Animals engageswith scientific and public perceptions of non-nativeanimals. The project seeks to diversify and complicategeneralized negative and distinctive notions of thoseanimals through several practical artistic engagements,which are build on a critical theoretical framework.www.marieljanasupka.orgsupkam@roehampton.ac.ukI will argue that the occurrence of non-native animals – in opposition to the prevailing depiction as ‘ecological terrorists’ –above all manifests the emergence of mostly irreversible ecological changes, which are in most cases the result of humanactions. Referring to Jane Bennett’s (2010) understanding of non-human agency, which encompasses the acknowledgementof non-human matters as ‘vital players in the world’, Heddon and Mackey state that one possible response to thesedevelopments is to “more transparently locate the human animal within the environment, as one agent amongst many”(2012:163).A number of performance and visual artworks have engaged with non-native animals. For example, Exote (2011) by KrisVerdonck, or Parasitäre Architektur für Waschbären (2011), by the artists’ collective Berlin Wild Life. However, none of theseworks engages explicitly with ideas that challenge prevailing concepts of human dominated perceptions of those animals.In response, I propose a site-based engagement with non-native animals in performance arts, which explores notions ofcohabitation through collaborative creation and use of architectural artefacts. Thus, a platform will be created for possibleinterspecies relations, which is constituted by shared influences on its formation.FIRT/IFTR World Congress, University of Warwick, 2014265

The Stratification of the “Okinawan” Versions of A Midsummer Night’s Dream - From Rituals toTheatre and FilmGeneral PanelMasae SuzukiKyoto Sangyo University and Royal Holloway, University ofLondonOkinawan theatre has kept transforming by absorbing ‘foreign’ themes into their indigenous culture, and its stratification hasmultiple layers. In this presentation, I would like to examine the “Okinawan” versions of A Midsummer Night’s Dream (MND) asdepicted through the following: (1) Ryukuan Opera version by the all-female Otohime Gekidan, (2) the experimental versionsof Engeki-Kukan Daichi and (3) Nakane Yuji’s film version. The five layers of stratification of Okinawan theatre proposed byKayo Omine will be taken into consideration to analyze the origin of the nostalgic nature of the fairies depicted in thoseproductions, as well as the politics of gender and regionalism behind them. One example is that although the MND byOtohime Gekidan (first produced in 1954 and last produced in 1990) is apparently the product of “Stratification #4: Birth of‘Kageki(Okinawan Opera)’ (1879 ~ 1945)” of the Omine theory, it also depicts the conflict of the male god (Oberon) and thegoddess (Titania) which suggests the conflict related to the transformation from “Stratification #1: Birth of the stage as folkritual (until the 13th century)” to “Stratification #2: The stage for the king’s gusuku-castle - Theocracy era of Ryukyuan Shintoreligion and Buddhism (the 14th century up to the 16th century)”. Such reference to the rituals in the ancient matriarchalsociety attracts not only Okinawans, but the mainland Japanese such as Nakane Yuji, who depicted an imaginary Okinawanisland of disappearing fairies under the dynamic power of stratification. I would like to share these views with Okinawanscholars as well as with the audience interested in the fusion of western themes into Asian theatre.Masae Suzuki, working on a PhD thesis on AsianShakespeare at Royal Holloway, University of London,teaches English at Kyoto Sangyo University and has joinedthe project “Fusion of Eastern and Western ClassicalTheatre and the Creation of Geki Noh” at the Institution ofJapanese Culture at Hagoromo University of InternationalStudies. In past conferences, she has presented onNoda Hideki, Tsutsumi Harue, Noh Shakespeare and thereception of Shakespeare in Okinawa. Related worksare “The Rose and the Bamboo: Noda Hideki’s SandaimeRichaado,” in Performing Shakespeare in Japan (eds. Minami,Curruthers and Gillies, Cambridge University Press, 2001),“Shakespeare, Noh, Kyogen, and Okinawa Shibai,” inShakespeare, Disneyland and Cyberspace (eds. AlexanderC.Y. Huang and Charles S. Ross, Purdue University Press,2009) and “Shakespeare and Class: Othello in MainlandJapan and Okinawa,” in The Shakespeare Yearbook:Shakespeare and Asia (ed. Lingui Yang, Edwin Press, 2010).Her article on Okinawan Theatre will appear in A History ofJapanese Theatre, edited by Jonah Salz, to be published byCambridge University.bianca@cc.kyoto-su.ac.jpFIRT/IFTR World Congress, University of Warwick, 2014266

Peeling the Cosmic Onion: Medieval Performance of Universal Divinity in Small PlacesGeneral PanelTheatre scholars and social scientists have used terms like site, network, empty space, and mise-en-scène to describe theplaces of theatre events. These material boundaries and place-makers are often understood as inactive frames for themore compelling deeds of performing objects and humans. However architectures, sites, and terrains quite regularly attainexpository, agentive statuses in live theatre. A cathedral is as much performing object as the liturgical props and ritual actorsheld within. As the philosopher Graham Harman argues, “things” are not reducible down to their components or upwardsto their effects on their surroundings. This concept bears itself out in performance where imaginative play sanctions thetransformation of material lives of objects and spaces, disenchanting habitual relational powers among things. This paperexamines how the insertion of theatrical actants into everyday space rearranges the proxemics and poetics of topography.Christopher SwiftCity University of New YorkAt the City University of New York ChristopherSwift has mentored and directed a number ofprojects that explore the performative potential andcross-disciplinary dynamics among texts, historicaltechnologies, and innovative uses of media in theatre.He is currently a Fellow in NEH and Title V grantsthat support general education and the integration ofhumanities into STEM disciplines. Dr. Swift’s researchinterests include theatre and ritual in medieval Spain,avant-garde performance, puppetry, cybernetics,object-oriented ontology, and phenomenology ofspace. He has published journal articles and contributedbook chapters on a variety of medieval topics, includingaffective penance, sacred automatons, and autosacramentales. His current project is a full-length studyof theatre and intercultural exchange and conflict inlate medieval Seville.Specifically, I am interested in devotional objects and choreography that manifested likenesses across macro- andmicrocosmic domains in the late Middle Ages. Articulating statues of saints, hinged triptychs, and other liturgical objectsencouraged intimate interactions and rehearsals within the innermost sanctums of Christian shrines. Like churches that gaveplace to these shrines, humanoid dolls and ritual objects were designed to be dressed and undressed and opened and closedto reveal sacred history at the levels of touch, smell, and sound. The theatre of late medieval devotion often operated onthe principle of crossing thresholds of materiality in order to obtain closeness to essential matter—relics and the Eucharist. Icontend that the use of sacred space at the level of personal interaction mimicked the liturgical rites, saints’ day processions,and pilgrimages carried out in monumental spaces, metaphorically suggesting a universe that expanded centrifugally acrossbounded spaces. Statues, shrines, cathedrals, and cityscapes were metonyms for a constantly unfolding Christian world.cswift@citytech.cuny.eduT-O mappa mundi from 12 th c. copy ofEtymologiae, Isidore of Seville (7 th c.)FIRT/IFTR World Congress, University of Warwick, 2014267

Challenges of South Asian Shakespeare in BritainGeneral PanelThe year 2012 brought the World Shakespeare Festival to Britain, and with it a plethora of South Asian Shakespeareproductions; some came from India, Pakistan and Bangladesh, and others originated from different regions of the UnitedKingdom. Each group of performers from South Asian backgrounds used and enacted different accents, languages,performance traditions and cultural heritages. Referencing three productions as case studies, this paper aims to examineissues of cultural representation, repatriation, stereotyping and stratification that arose in South Asian Shakespeareanperformance 2012-2013.Sita ThomasUniversity of WarwickSita Thomas is a research scholar at the Universityof Warwick and is writing her PhD thesis as part ofthe AHRC funded project: British Black and AsianShakespeare that aims to capture and celebratea marginalised history of culturally importantShakespearean work. Sita received AHRC funding forher Masters at the Royal Central School of Speechand Drama. Whilst at Central she worked as MovementApprentice with Struan Leslie at the Royal ShakespeareCompany on productions including Julius Caesar (dir.Greg Doran) and Much Ado About Nothing (dir. IqbalKhan).In the space of two years, three very different productions of Shakespeare were performed by British Asian casts. Much AdoAbout Nothing directed by Iqbal Khan in 2012 for the Royal Shakespeare Company was set in contemporary Delhi. Despitethe Marketing campaign for the production suggesting a Bollywood style of performance, the director had a different visionfor his representation of Indian socio-politics. The following year, Samir Bhamra envisioned Cymbeline as a Bollywood epic,and cast Cymbeline as a Bollywood film mogul. The British actors did not adopt Indian accents, but costume, movementand performance style were clearly replicating those of Bollywood. Finally, in 2013 the National Theatre produced Romeoand Juliet with an entirely multicultural cast. The Capulet family were signified as British Asian and fine distinctions betweengenerations of Indian immigrants and their British born children were explored. These three productions highlight differentrelationships between British Asian identity and representations of Indian culture. By examining directorial choices of setting,costume, movement, songs and performance style, this paper aims to explore the impact, challenges and successes ofstaging racial and ethnic categories in Shakespeare and to celebrate the history of South Asian Shakespearean performancein Britain over the past decade.sita.thomas@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014268

The Functioning of Theatre in the City of Tartu, EstoniaGeneral PanelHedi-Liis ToomeUniversity of Tartu, EstoniaThis presentation describes the functioning of theatre in contemporary Europe through the example of a study of thetheatrical life of Tartu, Estonia. I will begin by briefly describing what types of theatre are offered to the audiences, and whichare best attended. I will then discuss issues of reception: who goes to theatre and why, what genres they prefer and what kindof experiences they have there. I will close with a brief analysis of the experiences audiences have, and how we can relatedifferent types of performances and forms of theatrical organization to different audience experiences. Both quantitative(numerical data about productions, performances and audiences; questionnaires) and qualitative (in-depth interviews, focusgroups, performances analysis) methods were used to conduct the study, which compared and analysed the experiencesof audiences of music, dance and spoken theatre of Tartu. The methodology the study is based on is developed by theinternational research group STEP (Project on European Theatre Systems) with the aim to compare the functioning oftheatre systems of comparable European countries. This presentation will join others which use parallel methods examiningthe theatre of Groningen, the Netherlands and Newcastle, United Kingdom to add a comparative perspective on thefunctioning of theatre in contemporary Europe.Since 2010 a PhD student in theatre research at theInstitute of Cultural Research and Fine Arts, Universityof Tartu, Estonia. My fields of research are functioningof theatre, audience and reception research, culturalpolicy. Since 2010 a member of international researchgroup STEP (Project on European Theatre Systems).Also I have been a project manager for the biggestEstonian national theatre festival DRAAMA, workedin Estonian Theatre Union, written theatre criticsfor national newspapers and magazines, edited twoyearbooks of Estonian Theatre. I am also a memberof Estonian Association of Theatre Researchers andTheatre Critics, head of the Association 2011-2012.hediliis@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014269

Mapping As Imagining PublicsGeneral PanelNese Ceren TosunUniversity of WarwickNese Ceren Tosun is a PhD candidate at the Schoolof Theatre, Performance and Cultural PolicyStudies, University of Warwick. Her research is onthe Performances of Home of the Turkish SpeakingCommunity in London. She holds a double degreeBA in Sociology and Political Science & InternationalRelations, with a minor in Film Studies (BogaziciUniversity) and an MA in International PerformanceStudies, (University of Warwick).Maps are by nature stratifying tools, creating hierarchies between what is to be revealed and what is to be concealed. Theyare the instruments of ordering an abundance of data into a coherent, functional visual representation, mostly with theintent of allowing navigation. They are also aesthetical interpretations of spatial features. As factual as they may be, theyare governed by the imaginations, sense of urgency and priorities of map-makers, be it individuals or institutions. Maps’engagement with publics is multifold. They are active in the making of publics, by way of circulation and connecting the“imagined communities” who consume the same visual representation, the same navigational tool for their engagement witha defined space. On the other hand, their making, particularly their stratification of information, is heavily influenced by thekind of public and public engagement with the space they initially envisage. In this paper, drawing on the examples of HarryBeck’s schematic London tube map and Sarah Harper’s Edible Campus Map produced as part of the Future Foodscapes: GrowWarwick project (curated by Susan Haedicke & Rosemary Collier,2013), I will speculate on two different publics and publicspheres that are imagined and performed by maps. These two maps, distinct in their purpose of making, will be comparedin terms of the content of information, ordering of data and aesthetic presentation, to reach an analysis of the kinds ofpublics and public spheres they imagine. Sarah Harper’s superimposition of historical data with imaginary possibilities that arerooted in scientific research is a multi-layered artistic proposition for the possible uses of spatial affordances. Harry Beck’stopological tube map is designed as a practical guide to quickly navigate the city’s veins, through single layered connections.In their discrepancies, these two maps are emblematic of the organic link between stratifying data for representationalpurposes and the creations of publics.neseceren@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014270

‘Brand Kneehigh’ and Cultural Identity – Kneehigh Theatre Company’s Global Ambitions andCornish National IdentityGeneral PanelCatherine TrenchfieldRoyal Holloway, University of LondonI am a part-time PhD student completing my 4 th year ofmy studies in addition to working as full time a lecturerof FE and HE at a college in West London, in whichI am a course leader and tutor for the HND (HigherNational Diploma) in performing arts. Previously Ihave worked as an actor and project manager for 2theatre in education companies, one of which wassponsored by British Telecom to perform the Talk-worksproduction, containing a 30 minute play and 1 houreducational workshop to primary schools around theUK and Northern Island, exploring good communicationskills. I have developed my skills in theatre, as well asan educational practitioner through my recent workwith Wireless Theatre Company, recording a radio playin August 2011 and through my work as a GSCE andA Level examiner for the exam board Pearson. Duringmy work as a lecturer I have developed an interest inKneehigh Theatre Company, taking my students towatch productions and discussing the creative elementsinherent in their work, this interest has lead to mycurrent studies examining their work through a hybrid/global gaze.My paper will offer an exploration into Kneehigh Theatre Company’s notions of ‘Brand Kneehigh’ a self-created term thatunderlines the company’s ambitions for growth and product diversity in addition to their assertion of their Cornish culturalidentity and heritage. This is a company who has achieved global success and positive responses in the UK, Australia, China,Lebanon and America amongst other international locations. The paper will look into the diverse nature of the company’swork experimenting with performance space, not only encompassing their own termed Landscape Theatre and ‘Wild Walks’environmental events, but will also look at the company’s ideas of a total entertainment experience likened to a festivalevent and Disney style theme park. The company’s ideas of a ‘total’ entertainment experience including live music, food anddrink, a range of theatre events and company products such as CD’s and books will additionally be examined. Kneehigh ininterviews, programs and production reviews have indicated their desire to create work for Cornwall and their pride at beingCornish. In support of this stance the company have created work based on Cornish history, folk tales and legends but havereflected on the difficulties of creating work for their home county. These tensions will also be discussed in the paper. Towhat extent has this brand successfully evolved/developed? What impact will, the active ‘branding’ and marketization of thecompany’s work, that has local and yet global content, have on their theatrical product? Finally, what tensions are evidentor experienced by the company who attempt to create a global and popularist theatre product, but also wish to stay true totheir Cornish national andctrenchfield@yahoo.co.ukFIRT/IFTR World Congress, University of Warwick, 2014271

‘Now I See the World’: An Excavation by Nicola Shaughnessy and Melissa TriminghamGeneral PanelIn keeping with Sarah Turner’s other works, the film Now I See the World attempts to access the phenomenology of theautistic experience of the world through filming the project. Imagining Autism prompts an understanding of autisticperception gleaned through an iterative cycle of immersive performances working alongside autistic children. ‘Now I seethe World’ here becomes a performance, one of Fleishman’s ‘embodied repetitions in time, on both micro and macrolevels, in search of a difference’. Nicola Shaughnessy and co-investigator on Imagining Autism Melissa Trimingham, presentthe film in sections, stratified by innumerable encounters and performances that have already taken place- in the lives oftheir autistic children, in Imagining Autism itself and in the life of a thirteen year old Japanese autistic boy Naoki Higashida.Nicola Shaugnessy and Melissa Trimingham are members of the University of Kent’s Centre for Cognition, Kinesthetics andPerformance. They have a deep commitment to performance practice as a qualitative and iterative research method, andare working with psychologists to build bridges of understanding between disciplines. NOTE: Naoki’s book The Reason IJump (2013) was translated by David Mitchell and Keiko Yoshida.Melissa TriminghamUniversity of KentMelissa Trimingham is a Senior Lecturer in Dramaat the University of Kent. Her research interestsare contemporary performance, puppetry andapplied theatre. As Co-Investigator on the AHRCproject ‘Imagining Autism: Drama, Performance andIntermediality as Interventions for Autistic SpectrumConditions’ she is researching drama interventions withchildren on the autistic spectrum using puppetry, masks,costumes, sound, light and projection in immersiveenvironments. She has published on the methodologyof practice as research, the Bauhaus stage and the useof puppetry with autistic children. Her monograph TheTheatre of the Bauhaus: the Modern and Postmodernstage of Oskar Schlemmer was published in 2011.M.F.Trimingham@kent.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014272

Stratum of Empires: Japanese Theaters in Hawaii, 1899-1908General PanelNahoko TsuneyamaKeio UniversityNahoko Tsuneyama is a Professor of Keio University,Department of Law in Tokyo, Japan and Ph.D. inAmerican Literature from Keio University (2000). Shewas a visiting scholar at University of Hawai’i at Manoa,Department of Theatre and Dance and an affiliate ofCenter for Japanese Studies at UHM from 2012-14.Her interest focuses on the 19th century Americandrama and reviewing of American theater history fromtrans-Atlantic as well as trans-Pacific perspectives. Herrecent research is on American and Japanese theatercultures in late 19th to early 20th century Hawai’iwhich have scarcely been explored in American theaterhistory. Author of Uncle Tom and Nineteenth-centuryAmerican Melodrama (2007, in Japanese) and AmericanShakespeare: A Cultural History of the Early AmericanTheatre (2003, in Japanese). Her essays have appearedin a variety of books and periodicals. Member ofJapanese Society for Theatre Research.After the first Japanese settlement in Hawaii in 1868, the demand for entertainment grew so high that two permanenttheaters were built exclusively for Japanese plays around the turn of the century. This paper aims to clarify the cultural andpolitical meanings of these theaters, the Asahi-za in 1899 and the Asahi Theater in 1908, referring to articles newly foundin The Yamato Shimbun, the Japanese newspaper published in Hawaii since the late 19th century. How did it come aboutthat Japanese immigrants desired to have their own theaters so ardently? One possible reason for such demand is thatimmigrants wanted to have their own theaters as proof of their Americanization. As the Japanese needed to show that theywere different from the Chinese, they adopted a unique model of racial hierarchy, insisting that the Japanese had a high-levelcivilization and thus could be part of American society. The two modern Western-style theaters certainly served such a goal.On the other hand, though both theater buildings were Western on the outside, their insides were totally conventional inthe Japanese tradition. Obviously, the second motivation for immigrants to build these theaters was to reproduce Japaneseculture in the middle of the Pacific. Thus, these two theaters in Hawaii served as both symbols of Americanization andmanifestations of Japanese power. This dual nature of the theaters reflects the dual identity of Japanese immigrants. Despitemost of these Japanese remained living in America for life, they continued to be treated as citizens of the Japanese Empire.While the American empire annexed Hawaii in 1898, the Japanese were the majority of island population. The Japanesetheaters in Hawaii reflect a power balance of the two empires, American and Japanese, expanding into the Pacific region atthe turn of the century.tsune@z6.keio.jpAsahi Theater in Honolulu (1908-28)FIRT/IFTR World Congress, University of Warwick, 2014273

Charles Calvert’s Henry V at Prince’s Theatre in Manchester on October 7th 1872 and thetransformation of KabukiGeneral PanelHarue TsutsumiSeijo UniversityHarue Tsutsumi, Ph.D., Indiana University, East AsianLanguages and Cultures, 2004. She is a lecturerof Seijo University, teaching History of Japanesetheater. Her interest has been in the transformationand westernization of Kabuki. She is also active as aplaywright. Her play, Kanadehon Hamuretto [KanadehonHamlet] received the Yomiuri Prize for Art in 1893and was produced in Tokyo, Osaka, New York, Londonand Moscow. The play was published in 1993. It wastranslated inEnglish by Faubion Bowers et. al., and was published inAsian TheatreJournal in 1998. Her recent publication related to thepresentation is “ ThePlays Witnessed by Iwakura Mission Members –TheUnited States andGreat Britain-“ (2010).My paper explores the reorganization of the social stratification of Japanese theater after 1868 Meiji restoration. In Tokugawaperiod (1603-1868), while No was strongly supported by the ruling samurai class, Kabuki was considered to be the vulgarentertainment for the lowest commoner class. However, the collapse of the Tokugawa regime resulted in elevating theposition of Kabuki in the social stratification of Japanese theater. This reorganization resulted first, from the elimination ofTokugawa class system. While No lost its elite status, Kabuki was liberated from strict regulations which Tokugawa governmenthad imposed on it. Another important factor which encouraged the reorganization was the new knowledge of westerntheater. Because of the Isolation Policy under the Tokugawa government, the Japanese had very limited access to westerncultures, including theater. The Japanese came across with western theater for the first time as the Tokugawa and the Meijigovernments sent missions during the 1860s and 1870s. In 1871, Iwakura Embassy headed by the important leaders of Japan’snew government was dispatched to the West. While travelling, the members were invited to theater productions. I arguethat as members of Japan’s new leading elite, the mission members realized that establishing cultural credentials was anecessary prerequisite for presenting Japan as a modern, western-style nation state. Upon returning to Japan, they tried totransform Kabuki into an upper class theater which would represent Japanese culture for foreign dignitaries. In Manchester,mission members witnessed Henry V. The central character was played by the actor manager of the Prince’s Theatre, CharlesCalvert (1828-1879). I would argue that this performance’s magnificent scale, patriotic nature, and elaborate spectacle, mayhave served, later, as a model for certain aspects of the attempt of transforming Kabuki.htsutsum77@nifty.comFIRT/IFTR World Congress, University of Warwick, 2014274

Intercultural Adaptations in the Yoruba Popular Travelling Theatre: A Focus on Ayox ArishekolaTheatreGeneral PanelNgozi UdengwuUniversity of NigeriaAdaptations and interculturalism have hardly formed subjects of inquiry in the Yoruba Popular Travelling Theatre discourses.However, recent research has revealed that some practitioners of the Yoruba Popular Travelling Theatre engaged inintercultural relations through adaptations of performance practices from other races. This paper is therefore, a criticalappraisal of adaptations in the theatre of Ayox Arishekola in particularly two of his performances – Eyin Laanro (Think ofthe future) and Tanimola? (Who Knows Tomorrow?) in which he incorporates Indian performance elements into Yorubatheatrical content to a great success. In the 1960s through the 1970s, Ayox Arishekola is one of the very popular performersin the Yoruba Popular Travelling theatre movement. Practitioners of this form of theatre are known to develop a brand withwhich they are known, and in the case of Arishekola he is known for his introduction of Indian performance elements in histheatre. This paper takes a look at forms of adaptations in the Yoruba Popular Travelling Theatre with particular focus on AyoxArishekola theatre incorporation of Indian musical rhythm and costume, particularly, in the two plays mentioned above. Thehistory of these adaptations will be captured as well as the rationale behind such practice and most importantly, the successof the exercise will be evaluated.Ngozi Udengwu is a Senior Lecturer in the Departmentof Theatre and Film Studies, University of Nigeria,Nsukka where she teaches a wide range of courses,as well as supervises research projects, at bothundergraduate and postgraduate levels. She holds aPhD in Theatre Arts from the University of Ibadan,Nigeria; MA in Literature and BA in Dramatic Artsboth from the University of Nigeria. A Fellow of theAmerican Council of Learned Societies, Ngozi Udengwuis currently working on a book on Women in theYoruba Popular Travelling Theatre, an outcome of herPostdoctoral Fellowship research. She has to her nameseveral articles in mainline academic journals, bookchapters and she is the author of Contemporary NigerianFemale Playwrights: A Study in Ideology and Themes. Shehas presented papers at both national and internationalconferences including USA, India, South Korea, SouthAfrica and Uganda and is a registered member of someorganizations including International Federation forTheatre Research, International Reading Association,ARTerial Network (Nigeria Chapter), African LiteratureAssociation, African Theatre Association, and Society ofNigeria Theatre Artists.ngozi.udengwu@unn.edu.ngFIRT/IFTR World Congress, University of Warwick, 2014275

The Director’s Notebook: Romeo CastellucciGeneral PanelLuk Van den DriesUniversiteit AntwerpenIn his reflections on art and ideology the French philosopher Louis Althusser writes that an “ideological structure can neverbe represented as a ‘presence’, in a person, in a positive sense (…) but only by traces and effects, in a negative sense, throughsigns of absence, as an ‘intaglio.’” This concept of the ‘intaglio’ that is both an imprint of what was or could be present and a signof absence is also very apt to capture the nature of the director’s notebook in contemporary so-called postdramatic theatre(Hans-Thies Lehmann). In his notebook the director records the heterogeneous material that can be of use in conceiving anew performance: he jots down ideas; assembles images and sounds from various sources of inspiration; sketches and makesdrafts in different media. Subsequently, this (often private) collection of traces of the director’s imagination is then activatedinto a new circuit of collective imagination during the rehearsal process, resulting in new outlines, scribbles and notations inthe director’s notebook. Typical for the director’s notebook is therefore it’s double function, between private and collective,bridging a void and a potentiality of theatricalisation. In this paper I want to discuss this necessary undefined in-betweenstatus of the director’s notebook in postdramatic theatre. By getting to know this ‘intaglio’ better we also can have a muchclearer view on what is getting articulated on stage. As a case-study I will discuss the notebooks of Romeo Castellucci as aparticular trace of his iconoclastic theatre work. From which kind of sketches and memo’s his creative processes are beingdeveloped? How does he give form to his ‘pilgrimage through matter’. And how does he leap from notebook to stage?Luk Van den Dries is Full Professor of Theatre Studiesat the University of Antwerp (Belgium) and head of thedepartment of Literature.His research deals with contemporary theatre, with afocus on postdramatic theatre . He wrote extensively onJan Fabre, one of the main examples of postdramatictheatre in Flanders. He wrote also on the representationof the body in contemporary theatre and co-editedthree books on this topic. Other important researchtopic is the creation process: the dynamics betweendirector’s notebook and rehearsal process.He was editor of the theatre magazine , organiser of theFlemish-Dutch Theatrefestival, president of the jury ofthe Flemish-Dutch Theatrefestival and president of theFlemish Arts Council. He co-founded the postgraduateacademy in theatre Apass and the arts centre forstarting theatre artists in Antwerp De Theatermaker.He works as a free lance dramaturg for Jan Fabre andtogether with Louise Chardon he founded the theatrecompany AndWhatBesidesDeath that specialises insensitive and intimate theatre.luc.vandendries@ua.ac.beFIRT/IFTR World Congress, University of Warwick, 2014276

How Do You Dance With Your Avatar? Dance-Technology Interfaces within the Second Life®PlatformGeneral PanelIsabel ValverdeFundação para a Ciência e a TecnologiaI would like to discuss the recent and increasing impact of the Second Life Multi-User Virtual Environment (MUVE)applications and experimentations in performance and dance-technology production, as well as the impact of this workon Second Life’s platform and participant users’ interfacing, subjective and inter-subjective engagement. The approach isbased on my Dance-Technology Interfaces, a theoretical framework for performance in the digital domain (Valverde, 2004).I investigate and compare examples of artworks inworld or including Second Life, by Ballet Pixelle, Fau Ferdinand/SecondFront, Eva and Franco Mattes, Second Life Modern Dance Theater, Paul Sermon, and Senses Places, my collaboration withTodd Cochrane and others. I particularly concentrate on how the different Second Life interface application and interfacingmodes were developed between the works’ participating elements: the choreographer/performer/dancer, the interfacedesigners/developers, the cross-disciplinary aspects/elements, and the audience. What are the implications of this MUVEand embodied character interaction for artistic modes of production (collaboration, creative process, and output format),aesthetics, and cross-disciplinary artistic-social-cultural-ethnographic research? What are their contributions to the renewaland/or perpetuation of practices and mentalities regarding art, corporeality and the development of inclusive embodiedcommunication?Isabel Valverde is a transdisciplinary performer,choreographer and researcher from Portugal whohas developed experimental solo and collaborativeintermedia performance art/dance work since 1986.Graduated in Dance Theory and History (UCR),Interdisciplinary Arts (SFSU), New Dance (SNDD/AHK) and Dance (FMH/UTL), Isabel’s doctoralthesis, Interfacing Dance and Technology: a theoreticalframework for performance in the digital domain, hasbeen translated to Portuguese and published byFCG/FCT (2010). Valverde’s research on Dances andTechnologies addresses somatic based performancewithin hybrid embodied interactions and the continuumof actualization and virtualization, coordinating theCAT/IHSIS, Center for Arts and Technologies/Institutefor Human Studies and Intelligent Sciences. Isabel is anassociated researcher at GAIPS/INESC-ID, IntelligentAgents and Synthetic Characters’ Group, includingcross-disciplinary artistic practice-theory, collaborationson mixed-realities performative environments andcultures, and with robot NAO.isabelv63@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014277

Neoliberalism: A Feminist Performance PerspectiveGeneral PanelDenise VarneyUniversity of MelbourneDenise Varney is Associate Professor in Theatre Studies inthe English and Theatre Program, School of Culture andCommunication, at the University of Melbourne. In 2013she became co-director of the Australian Centre, a centrefor research into colonial and contemporary AustralianCulture. She has research publications in contemporaryAustralian, Asia-Pacific, and German focusing on feministthemes, performance theory, theatrical modernism,political theatre and modernity. She is the co-convenorwith Elin Diamond of the Feminist Research Working Group(FIRT) and the Australasian Reviews Editor for TheatreResearch International. Her books include The Dolls’Revolution: Australian Theatre and Cultural Imagination (coauthoredwith Rachel Fensham, 2005), Theatre in the BerlinRepublic (2008), Radical Visions: The Impact of the Sixtieson Australian Drama (2011) and Theatre and Performance inthe Asia Pacific: Regional Modernities in the Global Era (coauthored,Palgrave 2013). In 2014 she begins a new project‘Patrick White and Australian Theatrical Modernism: frommodern drama to contemporary performance’ funded bythe Australian Research Council 2014 – 2017.David Harvey’s claim that neoliberalism is ‘a radical reconfiguration of class relations’ aimed at restoring ‘ruling-classpower’ calls for a reprise of the question materialist feminism asked of Marxist theory: what of the role of gender andsexuality as well as race in the formation of social relations under capitalism. For the current phase of capitalism, feministscan quickly identify the implied female subject of neoliberalism. She is the historical liberal feminist, now represented asan entrepreneurial, individualistic, global player and a postfeminist who demands equality in a man’s world. Aesthetic andeveryday representations also reveal a subject dispossessed of the human well being and power that neoliberalism offers butwithholds from those stratas of society deemed poor, undeserving, stateless, unprotected or, simply, a less than ideal female.Over the last three years, the Feminist Research Working Group has analysed theatrical and non-theatrical performancesthat mark the hierarchies of privilege and entitlement engendered by global neoliberalisation. These performance eventsexpose the uneven development, exclusions, and opacity that sits beneath the surface of freedom and enterprise. It isincreasingly evident that gender violence and oppression run deep within the radical reconfiguration of class relations thatis neoliberalism. This paper draws on the theme of stratification to work through, historically and aesthetically, the layers offeminist theory that might articulate a gendered understanding of neoliberalism in the interests of renewed ‘critical agency’(Butler & Athanasiou). It asks how corporatisation, managerialism and marketisation play out in our field in the form of postandneoliberal feminist discourse (Sheryl Sandberg’s Lean In) and in resistant radical positions (‘Destroy the Joint’, Australia).In doing so, it hopes to acknowledge the work of resistance and contribute to new thinking about how feminist theory andperformance open up critical and activist spaces inside/outside neoliberal times.dvarney@unimelb.edu.auFIRT/IFTR World Congress, University of Warwick, 2014278

In the Meta-, Somewhat Eluviated: Critiquing Interdisciplinary Metaphors through Arts-SciencesResearchGeneral PanelFreya Vass-RheeUniversity of KentIn varied analyses, the concept of stratification is being productively complicated through recognition of culturally inflectedmodels of vertical hierarchy and subordination. As the other papers in this panel demonstrate, interdisciplinary collaborationsbetween the arts and the sciences are challenged by complex dynamics of history, rigour, and perceived refinement.Such engagements, however, also enable interrogation of the concepts of strata and stratification themselves. Commonmetaphors of disciplines as terrains and interdisciplinarity as the bridging of these terrains imply a solidity and staticity thatboth misconstrues the nature of intra-disciplinary thought and fail to accurately indicate the sources of friction. Discussingcollaborative research initiated under the auspices of the Dance Engaging Science workgroup (2011-13), which broughtdancers, scientists and scholars together aiming to refine dance-science research methodologies, I draw alternate metaphorsfrom the field of pedology, which recognises soils as porous, stratified ecologies of dynamic, interactive complexity and flux.As I argue, collaborations across the arts and sciences reveal differences not only in intra- and interdisciplinary constitutionand dynamicity but also in the accretion, function, and firmness of methodological and ideological bedrock. I conclude thismetacritique with suggestions aimed to enrich both the individual source research domain strata and their’ interdisciplinaryecology.Dr. Freya Vass-Rhee is a Lecturer in Drama and Theatreat the University of Kent, with a research affiliationat Kent’s Centre for Cognition, Kinesthetics andPerformance. Following a 16-year career as a dancer,ballet mistress, teacher, and choreographer in Europeand the U.S., she completed a PhD in Dance History andTheory at the University of California, Riverside, with aninterdisciplinary dissertation that examines visuo-sonicstructuring in the works and choreographic methodsof William Forsythe. From 2006-13, Vass-Rhee servedas dramaturg and production assistant to The ForsytheCompany, collaborating on over 15 new works, and alsofreelancing for other choreographers including DavidDawson. Currently, Vass-Rhee is collaborating withcognitive scientists to derive experimental studies basedon her dissertation, along with other studies exploringhow dance is perceived. Her research on cognitivedance studies, performativity, visuo-sonority in dance,dance dramaturgy, and arts-sciences interdisciplinarityhas appeared in several academic journals and editedvolumes, and she lectures on Forsythe worldwide.F.Vass-Rhee@kent.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014279

Nature vs. Society: Ramon Griffero and the Dramaturgy of SpaceGeneral PanelThis paper will explore the work of Chilean playwright/director Ramon Griffero and the aesthetic philosophy that is describedin his book The Dramaturgy of Space and articulated in his theatre practice. Griffero posits that human society conceivesof space primarily in terms of squares and rectangles but those forms don’t occur naturally in the non-human environment.This paper will examine Griffero’s dramaturgical and directorial orientation towards incorporating the circle not the square.Both the dramatic structure of his plays and the mise en scène of his productions are highly layered, creating myriad strataas they return us to conceptual and aesthetic formulations that were present long before humans walked the earth and willbe present long after we are gone. What can the examination of the use of space tell us about both human and non-humanutilization of form? Do the spaces we inhabit define us, or do we define those spaces by how we inhabit them? If time,culture, and history are all conceived of as circular rather than square does that alter the notion of human beings as the mosthighly evolved species on the planet? If we accept Griffero’s formulation does a non-human dramaturgy become possible?These are some of the questions that this essay will assay.Adam VersényiThe University of North CarolinaAdam Versényi is the Chair of Dramatic Art and SeniorDramaturg for PlayMakers Repertory Company. Atheatre scholar, dramaturg, critic, translator anddirector, he is the author of Theatre in Latin America:Religion,Politics, and Culture From Cortés to the1980s (Cambridge UniversityPress) and The Theatreof Sabina Berman: The Agony of Ecstasy and OtherPlays (Southern Illinois University Press), among others.He has written widely on Latin American theatre, U.S.Latino/a theatre, dramaturgy, theatre production, andtheatrical translation. He is the founder and editorof The Mercurian: A Theatrical Translation Review, anon-line journal. Dramaturg for PlayMakers RepertoryCompany since 1988, he has also worked at YaleRepertory Theatre, Florida Studio Theatre, NewYork Shakespeare Festival, and La Mama E.T.C, aswell as other regional theatres and universities, bothnationally and internationally. He received his B.A.in the Combined Major in Literature in English andSpanish from Yale College, and his M.F.A. and D.F.A.in Dramaturgy and Dramatic Criticism from the YaleSchool of Drama.anversen@email.unc.eduFIRT/IFTR World Congress, University of Warwick, 2014280

Set Design: Contemporary Reflections and Social StatementsGeneral PanelEmmanouela VogiatzakiUniversity of PeloponneseEmmanouela Vogiatzaki received a BA in Economics fromUniversity of Athens, BA and MA in Set and CostumeDesign from University of the Arts, Central Saint Martinsin London and an MA in Audio Visual Productions fromLondon Metropolitan University with emphasis in Directingand Editing. She is a member of University of Peloponnese,School of Fine Arts in Department of Theatre Studies, and aPhD candidate with subject The impact of new technologiesin performing arts at the Open University of Cyprus. Sheworked as a set and costume designer in London, Utrechtand Athens, directed and edited several short and futuremovies and worked as a TV Studio Operator at BBC NewsResources in London focusing on robotic cameras andlights for live news broadcasts. She wrote two theatreplays, works as a set/costume and video designer, andparticipates as Technical Committee member at prestigiousinternational conferences. Her research interests includeCyborg Theatre, Virtual Environments and 3D Sets, Tele-Presence, Smart collaborative Environments, Mixed Real,Virtual and Immersive-Reality Systems, Immersive UserInterfaces, Serious Gaming in the Context of e-Health(rehabilitation), Media Broadcasting and Future TV/Cinemabeyond HD. She is member RFSAT, OISTAT and IFTR.More than a century ago we used to consider scenography as a decorative part of a performance. Nowadays, set designscreate new performance structures not only in terms of directing and acting, but also in terms of narration. The term “stage”has received new meanings, not necessarily related to a typical theatrical space or any other closed space. Scenographycombined with technology became able to create powerful worlds, realistic and imaginary ones. Virtual sets, digital imagesand performers’ bodies became the central illusionistic environment, which absorbs not only the actor but also her/hisaudience. “Scenography has become a setting that can be created by a body suit controlled by the spectator via a computeras an interface.” Current set designs construct new socio-political realms, strongly influenced and affected not only bythe technological advancement, but also by the societies that they belong. They express social needs and they possiblyforesee the future ones. Contemporary scenography becomes a medium, which can lead us to unconscious, predictable orunpredictable worlds by allowing us, artists or spectators, to experience senses in public that we would never imagine in ourprivate lives. This paper sees scenography as a social statement in our contemporary societies. We will argue the set designsnarrate stories and transmit socio political messages. Scenography is a reflection of our worlds and possibly announces theupcoming ones.Emmanouela@rfsat.comFIRT/IFTR World Congress, University of Warwick, 2014281

Rehearsals as a Method of Stratification in Director’s TheatreGeneral PanelViktoria VolkovaFreie Universität BerlinViktoria Volkova was raised and completed her studiesin Moscow, studying German, Linguistics, Pedagogicsand Psychology at Moscow State Linguistic University.Her early interest for theatre refers to the school periodwhen she participated in theatre performances whichwere part of educational programme of her school. Aboveher main studies, she also attended a theatre course inMichael Chekhov’s Acting Technique in Moscow. It wasan impulse for her to investigate the concealed potentialof improvisation in her postgraduate phase. Currently sheis completing her Ph.D. under supervision of ProfessorErika Fischer-Lichte and Professor Christoph Wulf in theInternational Research Training Group InterArt Studies atFree University of Berlin.Her research interests include history, methodologyand rituality of rehearsals, constitution of the rolecharacters during the rehearsal processes, the role ofstage improvisation in the rehearsals, and emergingof social emotions in social interaction in rituals. Herresearch material is based on rehearsals at famous theatresin Berlin such as the Hebbel am Ufer, the DeutschesTheater Berlin, the Berliner Ensemble, the Schaubühne amLehniner Platz.Nowadays we cannot imagine director’s theatre without a rehearsal process. But both the profession of the theatre directorand rehearsals are relatively new inventions. For example in German theatre tradition, rehearsal practice is rooted in the 18 thcentury, and the profession of the director (who fulfills not only an administrative but also an artistic function) was introducedby J. W. Goethe during the establishment of the Weimarer Hoftheater. Historical “excavation” of the roots of rehearsalpractice is, therefore, one of the methodological approaches to stratification in director’s theatre. In the first part of mypaper, I give a brief historical retrospective of the establishment of rehearsal practice. A consideration of the stratificationof director’s theatre involves zooming in on social situation during the rehearsal process. The methodology I apply in mydissertation deals with the rehearsal situation observed during rehearsals for which I attended three full-length rehearsalprocesses at major theatres in Berlin. In my thesis I investigate the way characters are constituted by actors within therehearsal situations during social interactions. Social interactions, in their turn, possess a ritual character. I define rehearsalprocesses as ritual group processes carried out by groups of artists who isolate themselves from the outer world for a setperiod of time and create a performance together. Turning back to the rehearsal methodology, I focus on the emotionalevents – social emotions – participants are experiencing during the situations. Therefore, in the second part of my paper, Ispeak about rehearsals as ritual practices (another methodological approach I use for rehearsal investigation) and focus onrehearsal situation as an entity and unity of any rehearsal process. I regard a rehearsal situation as the deepest “stratum” ofdirector’s theatre and as a clue to its exploration.viktoriavolkova@yandex.ruFIRT/IFTR World Congress, University of Warwick, 2014282

Reflecting Upon Theatre as a Public Sphere in the Baltic StatesGeneral PanelEdgaras Klivis VytautasMagnus UniversityEdgaras Klivis is Associated Professor of theatre studiesat the Faculty of Arts at Vytautus Magnus University,Kaunas, Lithuania. His courses include theatre historyand theory, film theory, creative industries. His researchwork is focused on historical development of theatre andfilm in Soviet and post-Soviet periods in Lithuania andEastern Europe. He is the editor of recently publishedstudy on post-Soviet Lithuanian theatre and the author ofthe number of articles. His recent publications in Englishinclude: “Mimic Realities: The Construction of PopularIdentity in Contemporary Lithuanian Film” in Lituanus,2013 vol. 59; “The Future Is to Stay the Same: Nostalgiain the Soviet Regime” in Art History and Criticism, 2010vol. 6; “Nostalgia as Political Emotion: Eastern EuropeanSubjectivities in the (Post)Soviet Theatre Context” in NordicTheatre Studies, 2009, vol. 21; “Staging the Nation: the Caseof Lithuanian Fin de Siecle Theatre Productions in ForeignIndustrial Centers” in Methis: Studia Humaniora Estonica,2009, vol. 3; “Inadequate Subsidy and a Market Economyin the Baltic Countries” in National Theatres in a ChangingEurope, ed. by S. E. Wilmer, Palgrave Macmillan, 2008.The paper addresses the issue of theatre performance functioning as the element of the public sphere as defined by JürgenHabermas and builds on the examples from the Baltic countries where the ideas of modern citizenship and free criticaldebates have a very short tradition so far. There is a number of Lithuanian, Latvian and Estonian productions, addressingthe issue of negotiations of historical memory as well as critical analysis of political agendas in this post-Soviet regionthat are often seen as an alternative to commercialized mass media. The concept of performance as the space outsidepolitical supervision and private commercial interests for free critical dispute is supported by the artists and producers byinvolving audience, sending special invitations to major political figures, arranging discussions after the performance todevelop further the issues addressed in the production etc. To a certain degree it can be said that sharp critical discussiondeveloped as part of theatrical production or as its result has turned into effective strategy of public relations and marketing.For example in the National theatre of Lithuania under new leadership of progressive theatre managers of the youngergeneration, addressing the issues of migration, corruption, the memory of the Holocaust or religious fundamentalism worksas a way to draw media attention, prestigious audience and better funding. According to Habermas, however, public relationsare exactly the opposite of public sphere. Relating to Habermas, Charles Taylor, Arpad Czakolczai, Chantal Mouffe I will pointout also other discrepancies and complications that institutional theatres in the Baltic states confront in their attempts toinvolve in the construction of civic society.e.klivis@mf.vdu.ltFIRT/IFTR World Congress, University of Warwick, 2014283

Amateurs, Dilettanti, Art Lovers – Trespassing the Boundaries of TheatreGeneral PanelIn my contribution I am looking at amateur practices of theatre that challenge concepts and rules of high brow-theatre.Amateur theatre is considered to have pedagogical aims focusing on the subjective self-education of the participants. Onthe other hand, theatre in the frame of art should bring about aesthetic pleasure and elevation, but rather for the audiencethan for the players. Theatre practices that transgress the borders between these two realms contest the ‘rules of art’ on thelevel of the framing institution, the public sphere and the aesthetic concepts. Drawing back on Goethe/Schiller’s “Dilettanti-Scheme” (1799) and their rejection of amateur theatre practices of their time I will elaborate the historical background ofthese theatre concepts still having an impact on our thinking about the rules and conditions of theatre art today. I will thenpresent the Theater Hora and its prize-winning performance Disabled Theater (2013, dir. Jerôme Bel) as a theatre practicethat challenges clear-cut distinctions between amateur and professional performance.Meike WagnerLudwig-Maximilians-Universität MüncheMeike Wagner received her PhD degree from MainzUniversity with a dissertation on the mediality of thetheatrical body (Sutured Puppet Bodies. On the TheatreBody and the Medial Gaze. Bielefeld 2003). She isassociate professor of theatre studies at LMU Munichand is the author of Theatre and the Public Sphere in‚Vormaerz’. Berlin, Munich and Vienna as Playgroundsof Bourgeois Media Practices (Berlin 2013). Her mainresearch interests are theatre and media, performanceand contemporary theatre, animation film, puppetry,theatre history, 19th century theatre, theatre andpolitics. She publishes in various theatre journals andedited various volumes on theatre and media.meike.wagner@lmu.deFIRT/IFTR World Congress, University of Warwick, 2014284

Excavating Layers of Theater History and Politics at Senegal’s National TheaterGeneral PanelStratification is a rich and particularly apt metaphor for an American scholar’s exploration of Senegal’s national theater, theThéâtre National Daniel Sorano. This paper examines the historical, political and artistic layers that comprise the theater’sidentity as a key institution of Francophone culture to understand why a familiar canon has such resonance in Dakar.I begin by reviewing the theater’s roots in “French West Africa”. The colonial European power created a conservatory topreserve indigenous culture but primarily to perform exoticism for European audiences. This condescending gesture wouldhave unanticipated results for the nation that inherited the cultural infrastructure. As a newly independent African nationsought recognition on the world stage, its national theater staged classics of the European canon and also new work byFrancophone African playwrights.Martha WalkerMary Baldwin CollegeI am professor of French and women’s studies atMary Baldwin College, a small, liberal arts college forwomen in Staunton, Virginia (USA) where I also hold anadministrative position as Chair of the School of Arts,Humanities & Renaissance Studies. My work focuseson the intersections of gender and state politics andrepresentations of control in Francophone theater. A2012 sabbatical in Paris and Dakar provided much of thebasis for the current paper. Earlier work, published injournals in the US, UK and Canada, looks at women asfigures of political speech in French theater since theSecond World War. I received my PhD from Harvardand my undergraduate degree in French and Economicsfrom Duke.The repertoire is the focus of the paper’s next main section as I explore staging and reception of early productions (Racine,Shakespeare, Anta Kâ). There is a cultural and political agenda at work here in a theater that must also, of course, think ofthe question of what will sell tickets.Stratification of the audience comes into play given the choice to perform in French, the language of the educated (andmonied) elite. The strata themselves were clear in a May 2012 production of Marvaux’s L’Île des esclaves directed by SaikouLo. The text was not altered but the set and costumes evoked African social hierarchies and adapted European influences. Itwas to be among the last plays staged under Ousmane Diakhate’s direction of the theater. In April 2013 he was replaced byMassamba Guèye, a professor of French, specialist in oral literary traditions, and storyteller himself – in Wolof. A new layerof cultural significance appears to be developing at TNDS.mwalker@mbc.eduFIRT/IFTR World Congress, University of Warwick, 2014285

Object Lessons: How History Matters in the Plays of Adrienne Kennedy and Suzan-Lori ParksGeneral PanelOffering a new materialist approach to stage props in the plays of Adrienne Kennedy and Suzan-Lori Parks, I explore what thedramatization of animate and inanimate bodies (e.g., mounds of dirt, jars of specimens, present and absent “figures”) revealsabout social actors, sedimented knowledges, and the pedagogical potential of performance. I am interested in the waytheir objects show us how – and which - things come to matter and how their use – and misuse – in productions challengeour habits of thought. Focusing on object relations, on the affective hold specific props come to have - on characters,actors, and audiences – I argue that the experimental aesthetics of these two African-American female dramatists invite usto reconsider what theater teaches us about the past when it takes historical artefacts (real and fabricated) as its object ofinquiry.Sara WarnerCornell UniversitySara Warner is an associate professor in the Departmentof Performing & Media Arts at Cornell. Her first book,Acts of Gaiety: LGBT Performance and the Politics ofPleasure, received the Outstanding Book Award fromATHE, an Honourable Mention for the ASTR BarnardHewitt Award, and was a Lambda Literary Award finalist.She is working on two books: Suzan Lori Parks on Stageand Screen and SCUM: The Life and Times of ValerieSolanas. Sara has served as President of WTP, DramaDivision Delegate for the MLA, and Secretary of ATHE.slw42@cornell.eduFIRT/IFTR World Congress, University of Warwick, 2014286

Direct Action: Aesthetic Politics beyond Stratification?General Panel‚Direct action’ is the name of a certain kind of political protest which refuses to respect state authorities and which proceedsas if there were no governmental bodies, police forces, or official acts of repression. Going back to 19th-century anarchisttraditions, ‚direct action’ advocates a behaviour that ignores not only hierarchical organisations (as for example establishedtrade unions) but also social boundaries and fixed patterns of social stratification. When you take an action which is intendedto either obstruct another political agent from performing his/her agenda or to directly solve perceived problems, youwouldn’t primarily ask whether your opponent or your ally belongs to a certain social class or milieu. Therefore, this kind oflibertarian protest has always been distinct from strategically organised class politics.Matthias WarstatFreie Universität BerlinMatthias Warstat (born 1972) is professor of theatrestudies at Freie Universität Berlin since August 2012.After graduating in theatre studies and modern historyat Freie Universität Berlin (1999) ,he worked in anDFG-research network on „Theatricality as a Paradigmfor Cultural Studies” and finished his PhD.-thesis ontheatrical aspects of early 20th century working classcelebrations in 2002. In his habilitation thesis (2008)he analysed the dialectics of crisis and healing in avantgardetheatre and aesthetics. During the years 2006 to2009, he also run a project on „International TheatreFestivals in Europe” funded by the German FederalMinistry of Education an Research. Between 2008and 2012, he was chair of theatre and media studies atFriedrich-Alexander-Universität Erlangen-Nürnberg.In 2012, he was awarded an ERC advanced grant. Hismain research topics are contemporary theatre andsociety, theatricality of politics, and the historiographyof modern European theatre.At least since the 1960s ,direct action’ has also emerged as an artistic concept in the field of avant-garde art movements,particularly in connection with the Situationist International and radical performance art. The term may also apply to earlierforms of dissident political art (e.g. Dadaist soirées and public demonstrations). In this field, ,direct action’ seems to promisetransformative performance with significant ,direct’ consequences. My talk will start from the question whether or not arather strict concept of ,direct action’ can actually apply to (theatrical) performances within an art framework. If so, it canbe compared to other recent strategies of aesthetic politics - particularly to egalitarian ones borrowing from Althusser,Badiou, and Rancière. The talk will also refer to contemporary forms of ‚applied theatre’ or ‚social theatre’: Since these formsexplicitly promise collective action, participation, and social consequences, there seems to be a subliminal correspondenceto the tradition of ‚direct action’.matthias.warstat@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014287

Zouave Politics, History, PerformanceGeneral PanelJerry WassermanUniversity of British ColumbiaZouave performance was a mainstay of popular entertainment from 1860 to 1920, yet its origins, genealogy and popularityhave barely been investigated. Zouave demarcates a style of both costuming and performance: a particular mode ofOrientalist dress (leggings, pantaloons, sashed waist, braided jacket, turban or fez) utilized in the performance of an especiallyathletic form of military drill. By the 1870s, Zouave troupes of women and children, minstrel Zouaves and aboriginal Zouaveswere touring the world. Laura Keene, Clara Morris, George L. Fox, Harrigan and Hart, and Buster Keaton all incorporatedZouave routines in their shows. My paper examines the historical stratification of Zouaverie, from its origins among theZouaoua tribesmen of North Africa and the French colonization of Algeria, to its popularization and theatricalization duringthe Crimean War, to its Americanization during the Civil War, and globalization not long thereafter. One aboriginal NorthAmerican Zouave troupe, Captain Macdonald’s Occidentals, played to large audiences in San Francisco, Victoria, New York,London and Paris in the 1870s. It reveals the political stratifications of Zouave performance in its framing of Native NorthAmericans as a people both defeated and capable of being civilized. Dig down through the strata of American boardingschool and Canadian residential school histories and you’ll find Zouave performance..Jerry Wasserman is Professor of English and Theatreat the University of British Columbia in Vancouverwith specializations in Canadian and Americandrama and performance, theatre history and popularentertainment. He is editor of the two-volumeanthology Modern Canadian Plays, now in its 5th edition,Spectacle of Empire: Marc Lescarbot’s Theatre of Neptunein New France, and (with Sherrill Grace) Theatre andAutoBiography. He is also a stage, TV and film actor withmore than 200 professional credits (see imdb.com) anda long-time theatre reviewer for Canadian newspapersand radio.jerrywas@mail.ubc.caFIRT/IFTR World Congress, University of Warwick, 2014288

Space, Affect and the Performance of Stratification: The Affective Institution of the BatterseaArts CentreGeneral PanelPhilip WatkinsonQueen Mary, University of LondonPhilip Watkinson is an AHRC-funded PhD candidate inthe Department of Drama at Queen Mary Universityof London. He completed his MA in European Theatreat the University of Kent, where he studied under Prof.Hans Thies-Lehmann and Prof. Patrice Pavis, and holdsa first-class BA in Performing Arts from the Universityof Winchester. His doctoral research examines theinterrelations between space and affect in postdramaticperformance contexts, and seeks to develop anaffective-materialist approach to performance research.His other research interests include the radicality of thecontemporary theatrical avant-garde and the shiftingrole of the dramaturg in the 21st Century. His criticalwriting has appeared in Total Theatre Magazine andBirmingham Journal of Literature and Language.In the autumn of 2013 the Battersea Arts Centre (BAC) celebrated its 120th anniversary with a season of speciallycommissioned performance works that celebrated the political and cultural heritage of the building. Drawing on an originalcombination of ethnographic and dialectical materialist frameworks, this paper examines the tensions that were presentedbetween the BAC’s multilayered histories and its ongoing mission to “invent the future of theatre”. Thinking through its roleas a socio-cultural centre and a home of innovative artistic practice, the BAC is considered as an affective institution wherenew forms of immaterial labour, communality and spatio-affective relations are produced and explored. The particular spatialand temporal dynamics that the BAC generates are examined, enabling an analysis of not only how the building shapes theexperiences of its audiences but also how the audiences shape the building in both social and physical ways. Drawing on arange of examples, including the 1-on-1-on-1 festival London Stories and Seth Kriebel’s performance game The Unbuilt Room,it is shown how work performed at the BAC simultaneously embeds itself within and constructs a complex stratigraphy,where events from its history are placed in dialectical relation with events occurring in the present. During this season ofwork, audience members and visitors engaged with the layers of existing social, political and cultural histories in direct andperformative ways, affecting both their perceptions of the works and of the space itself. This paper presents an innovativedevelopment in the study of space and affect in theatre and performance, allowing the relationship between performanceand site to be viewed in a new light, as well as probing further the affective potential of cultural institutions.p.m.watkinson@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014289

The Stratification of Performance in Knowledge Acquisition: Progressive Pedagogy and the ForeignLanguage Classroom.General PanelEmploying a fieldwork approach to research, I propose examining the embedded layering of performance strategies in aparticular educational setting, which, I will argue, has implications for the broader remit of knowledge acquisition in general.In Perform or Else, Jon McKenzie speculated a greatly expanded role for performance in the twentieth and twenty-firstcenturies as it becomes the “onto-historical formation of power and knowledge” (p.18) that was the domain of discipline in theeighteenth and nineteenth centuries.Ian WatsonRutgers UniversityIan Watson is Professor of Theatre and Chair of theDepartment of Arts, Culture and Media as well as theCoordinator of the Theatre Program at Rutgers University-Newark. He authored Towards a Third Theatre: EugenioBarba and the Odin Teatret (Routledge, 1995, 1993) andNegotiating Cultures: Eugenio Barba and the InterculturalDebate (Manchester University Press, 2002). He editedPerformer Training Across Cultures (Harwood/Routledge,2001). He has contributed to such books as Creation inModern Performance (Palgrave/MacMillan, 2013), TwentiethCentury Actor Training, (Routledge, (2010, 2000), ScholarlyActs: A Practical Guide to Performance Research (Palgrave/Macmillan, 2009), Acting [Re]Considered (Routledge, 2002,1995), Performer Training: Developments Across Cultures(Harwood/Routledge, 2001), and is a contributor to theOxford Encyclopedia of Theatre and Performance. He haspublished many articles in journals such as New TheatreQuarterly; About Performance; The Drama Review; Theatre,Dance and Performer Training; Issues in Integrative Studies;The Latin American Theatre Review; Asian Theatre Journal;Latin American Theatre Review; and Gestos. He is anAdvisory Editor for New Theatre Quarterly; Theatre, Danceand Performer Training; About Performance; StanislavskiStudies; and Kultura I Społeczeńśtwo (Culture and Society).In the spirit of McKenzie’s assertion, I have recently begun working on a new project, part of which explores the relationshipbetween performance and learning.This proposal involves one fieldwork phase of my research, the teaching of a foreign language to middle school boys.Early last year I conducted fieldwork in an inner-city, private school in New York City, the Collegiate School, where I intervieweda particular Spanish teacher and observed her work in the classroom. The teacher in question is renowned internationally inprivate education for her progressive take on teaching and learning (particularly of boys) as well as for putting her innovativeideas at work in the classroom; and most importantly for my concerns, someone whose students consistently outscore theirpeers in terms of foreign language acquisition.My proposed presentation will include video of the teacher at work in the classroom following which it will examine thefundamental relationship between performance and pedagogy in her work; a relationship which is best understood by“unpacking” the embedded layering of various performance strategies that both mark and reveal the learning taking place -as confirmed by the ways in which the boy’s assert, retain, and are able to apply their newly learned knowledge.idwatson@rutgers.eduFIRT/IFTR World Congress, University of Warwick, 2014290

Constructing and Performing Identity/Rituals of DeathGeneral PanelCarol Marie WebsterUniversity of Leeds and the University of OxfordI am a professional dance artist and interdisciplinaryperformance researcher working in the areas of religion,‘race’/ethnicity, gender, class, and disability, examiningconcerns around identity and belonging, knowledgeformation and transmission, history and legacy, andmigration, with specific focus on the African Diaspora/The Black Atlantic. I hold a PhD in Interdisciplinary GenderStudies from the University of Leeds. From February 2013to March 2014, I was an AHRC Cultural EngagementResearch Fellow at the Oxford Research Centre in theHumanities (TORCH) at the University of Oxford. Iserved as project leader on the project ‘TransportationTransformation: Migration, Teleportation, and Railways’ (TT:MTR), a performance research and cultural engagementproject drawing on narratives of migration from membersof the African Caribbean community in Chapeltown,Leeds and narratives of experimentation from physicistsresearching quantum teleportation at the University ofOxford. These narratives were brought together to engagein critical conversation around the similar complexitiesof human migration and quantum teleportation. I identifymyself as an interdisciplinary performance researcherbecause of my expressed reliance on and grounding inBlack/African Diaspora performance traditions.Carol.Webster@humanities.ac.ukAccording to historian Vincent Brown (2008) transatlantic enslavement culture in Jamaica was “brutal and volatile [...],contentious and unstable in the best of times.” Disease, brutality, acts of resistance and accidents made the Jamaicancolonial space dense with the possibility of death and dying. Tensions and anxieties around the inevitability of death wereinescapable contributors to the foundation of Jamaica’s transatlantic enslavement culture, where death, or the possibilitiesof death, was the way of life. In Jamaica, death and dying were effectively theatrical spaces in which cultural and religiousstratification informed the construction of identity, community, and belonging. Through examination of internment practicesin colonial Jamaica, this paper presents critical discussions on the formation and fortification of identity, community, andbelonging, exploring the construction of racialised notions of white and black in the Jamaican context. Drawing on danceand performance studies approaches, the paper explores of the visual strategies called on by European communities andthe somatic practices deployed by enslaved Africans and their descendants. European communities strove to understandand codify themselves as belonging to a single community of whites, and enslaved Africans and their descendants workedthemselves into cohesive communities that re/aligned the dead and the living within African informed culturally valuedconcepts of wholeness.dancewithoutsurrender.wordpress.com/transportation-transformation.co.uk/FIRT/IFTR World Congress, University of Warwick, 2014291

Performance as Research: The Problem of Original PracticesGeneral PanelDon WeingustSouthern Utah UniversityOne of the claimed raisons d’etre for the original-practices movement in Shakespearean performance is the suggestion thatemulating the performance practices of Shakespeare’s theater will shed light on the nature of performance in early modernEngland. Challenges to this line of thought have not only to do with the difficulty in knowing the practices of Shakespeare’stheatre, but also with the selectivity of practices engaged in under the aegis of original practices. There is much to learnfrom actors playing in light shared with their audiences, performing in early modern playing spaces (or attempted replicas)and in donning garments constructed as might have been those of the early modern period. Of greater challenge, however,may be some of the immaterial aspects of early modern performance and performance preparation, which few if any latermodernplaying companies are willing to attempt. While Shakespeare’s plays were performed in his period as part of largerepertories, with each new production afforded only a single group rehearsal, companies engaged in original-practicesperformance today tend to rehearse productions as fully as they might non-original-practices productions, and performthem generally one at a time, or as parts of very limited repertories. As such, the theatrical events created cannot come closeto approximating the theatrical events of Shakespeare’s day. This paper, part of a forthcoming book on original practices forPalgrave Macmillan, will examine the opportunities and limits of performance as research in original-practices performanceof early modern drama.Don Weingust is Director of Shakespeare Studiesand Associate Professor of Theatre at the Center forShakespeare Studies of Southern Utah University andthe Utah Shakespeare Festival, where he is a dramaturg.A Berkeley-trained Ph. D., he authored Acting fromShakespeare’s First Folio: Theory, Text and Performancefor Routledge and the forthcoming Original Practices forPalgrave Macmillan, as well as many articles, includingfor Shakespeare, the journal of the British ShakespeareAssociation, the Folger Shakespeare Library and theforthcoming Cambridge World Shakespeare Encyclopedia.A member of the Editorial Board of Theatre Survey,eight years ago Don founded and now co-chairs theShakespearean Performance Research Group, the largestcontinuing group within the American Society for TheatreResearch. He has led other seminars for ASTR and for theShakespeare Association of America, has taught for theOregon Shakespeare Festival Institute and is a memberof the International Shakespeare Conference of theShakespeare Institute, Stratford-upon-Avon. A member ofActors Equity Association, Don trained with the legendaryStella Adler, and has performed extensively on Off-Broadway and in regional repertory theatre.weingust@suu.eduFIRT/IFTR World Congress, University of Warwick, 2014292

The Theatre In Byzantium: Notes For Excavations Of Our Most Critical MillenniumGeneral PanelFor generations, theatre scholars have tended to pass over the theatre of the Byzantine Empire in silence; we have noteven begun ‘excavations’ on what is arguably the richest, most critical site for the formation of theatre and performancestudies—the Greek-speaking, Eastern Roman Empire (circa 4 th— 15 th centuries CE). The reasons for this are easy to grasp: theByzantines inherited traditional theatres but ceased building them and ended nearly all funding for public shows, and althoughthey preserved our ancient dramatic texts (thus making our profession possible) their literati produced almost nothingrecognizable to us as dramatic literature. The challenge they present to us is immense, because in order for excavations tobegin we must first discard all of our traditional tools; we must sift through the debris of modern assumptions and definitions,and enter this vast site with the understanding that these Greeks were not curators but innovators who constantly refined,re-configured and re-defined the theatre for their own times.Andrew Walker WhiteStratford University, VirginiaAndrew Walker White is an active theatre artist whoreceived his Ph.D. in Theatre and Performance Studiesfrom the University of Maryland, College Park, underthe direction of Franklin J. Hildy. An alumnus ofthe Fulbright Program, White has conducted onsiteresearch in Greece and Turkey and has lecturedboth in the United States and Europe. In addition tonumerous articles in journals and essay collections ina variety of fields, White is currently under contractwith Cambridge University Press for two books—thefirst, a revised version of his dissertation on theatre andritual in Byzantium, and the second an adaptation ofWalter Puchner’s ground-breaking history of ModernGreek theatre. He currently serves as Adjunct Facultyin Humanities for Stratford University in Woodbridge,Virginia.This presentation will offer a guided tour of the Byzantine theatre’s colorful but poorly understood remains, identifyingseveral distinct sets of strata—linguistic, literary, political, ecclesiastical—that developed throughout the Greek-speakingworld during the so-called Byzantine millennium. Byzantium was a cultural space where distinctions were drawn betweenpopular and civic performance; between dramatic and homiletic dialogue; and, even more importantly, between stagedhypocrisia (i.e., acting) and rhetorical ēthopoieia (‘characterization’ or ‘character study’). These distinctions are essential tounderstanding the theatre of Byzantium, a scene which in the final analysis was not unlike our own, where traditional theatrehad become so thoroughly ingrained in the psyche that it expanded well beyond the confines of the physical building and thescript; it was seemingly nowhere, and yet it was everywhere.awhite@stratford.eduFIRT/IFTR World Congress, University of Warwick, 2014293

Curated Panel: Strata of FacilitationGeneral PanelThis panel will explore the diverse roles and strata found in participatory performance, with a specific focus on the facilitatorin socially engaged theatre practice. Within the working approaches found in socially engaged theatre practices, the diverseroles of the participants and the facilitator, particularly relationships of agency and emotional labour have been explored(Preston 2013; White 2013).Bringing into question whether there are levels of participation, across which the roles of facilitators and different kindsof participants are distributed, the three panel members will approach these themes from different perspectives, Kat Lowreflecting on her investigation of the teaching of socially engaged practice, Gareth White elaborating on facilitation asan aesthetic practice, Selina Busby power relationships in facilitating creative work in the criminal justice system and SamHaddow discussing stratas of ‘ignorance’ in facilitation, initially critiquing the Rawlsian ‘veil of ignorance’ that facilitatorsoften draw upon in simulating a democratic environment.Gareth WhiteRoyal Central School of Speech & DramaGareth White is Senior Lecturer in CommunityPerformance and Applied Theatre, at Central Schoolof Speech and Drama. His research is concerned withthe aesthetics of participation, in a variety of settingsand senses. Recently this has centred on audienceparticipation in contemporary practices from appliedperformance to live art to immersive theatre; whileforthcoming publications explore the aesthetic aspectsof longer-term participatory practices. Publicationsinclude Audience Participation in Theatre: Aesthetics ofthe Invitation, 2013; ‘On Immersive Theatre’, in TheatreResearch International, October 2012; and ‘Noise,Conceptual Noise, and the Potential of AudienceParticipation’ in Kendrick & Roesner’s TheatreNoise(2011).We will begin by considering whether these roles are fixed. Is facilitation a matter of enabling roles and/or moving peoplebetween levels of engagement? By using the language of levels and strata, do we imply fixedness? Can individuals (bothparticipant and facilitator) inhabit multiple levels, and if so, what stresses does this create? We will examine the differentperceptions a facilitator may hold about their practice and ways of working. Namely, the layers of intention and how theyview their practice, which can in some instances hint at martyrdom and on other occasions are driven by a ‘quiet desperation’to make a meaningful change for participants.Talking from different perspectives, from teaching socially engaged practice to interviews with experiences practitioners, this panelwill address questions of:· Power· Hierarchies· Ownership· Commitment/intentiong.white@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014294

The Plinth and the People: Anthony Gormley’s One and OtherGeneral PanelTaking the instance of a freeze mob at one of central London’s most well-known and frequented sites, Trafalgar Square, asits point of departure, the paper goes on to consider Anthony Gormley’s durational fourth plinth piece One and Other interms of its desire to engage a broader participating public in playful yet productive ways. Against a backdrop of the Square’shistorical and institutional composition - featuring, among other elements, nineteenth century monuments to Britishimperialist and colonialist power, of which Nelson’s Column is evidently the most renowned - the intervention represents anattempt to take into account Trafalgar’s specificity as a site of multi-layered narratives and inscriptions that seek to performboth national and urban identities.Nicolas WhybrowUniversity of WarwickNicolas Whybrow is Associate Professor (Reader)in the School of Theatre, Performance and CulturalPolicy Studies at the University of Warwick, UK. Hismost recent books are Art and the City (2011) and, aseditor, Performance and the Contemporary City: anInterdisciplinary Reader (2010). He also co-edited the‘On Foot’ issue of Performance Research journal (2012).The edited volume Performing Cities, with chaptercontributions from an international line-up of artists andscholars, will appear later in 2014. An expanded versionof his IFTR paper is forthcoming as a chapter in thevolume The Uses of Art in Public Space (2014), edited byQuentin Stevens and Julia Lossau.n.whybrow@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014295

Unpicking the AlterationsGeneral PanelDavid WilmoreIndependent ScholarThe architectural intervention of a theatre can be a life-changing and game-changing event; it can be the resolution of ageoldproblems or simply the introduction of another layer of issues. In the 1970s, changes were made to a number of significanttheatres without truly understanding the original architect’s intentions and, perhaps more importantly, the changes thathad been made. In those days, a ‘Conservation Management Plan’ was unheard of and the approach was rather more “outwith the old and in with the new”. Over the last 30 years Theatresearch has developed an approach which draws togethera whole raft of considerations that need to be considered at the outset of a project before a design has been producedor a concept developed. These include: previous designs by the original architect, known architectural interventions andtheir pedigree - which then goes down to the next layer - what were the architectural influences, the intended style ofpresentation - music hall or opera? Why were the changes made, did they work and was the later architect well versed in theissues? In demonstrating this approach we will use our recent project at the Theatre Royal, Newcastle (a building originallycreated in 1837), to demonstrate the way in which the analysis was carried out including having to date at least five significantinterventions into the auditorium caused by desire for change, by fire and, not least, incompetence!David Wilmore went to Newcastle University to studygeology and became involved with the restoration of theTyne Theatre & Opera House. He then undertook a PhD atHull University, concerning the development of theatricalstage machinery. During the final months of writing uphis thesis he was called upon to restore the Tyne Theatreonce more when a disastrous fire gutted the stage ofthe theatre on Christmas Day 1985.In 1986 he foundedTheatresearch, a historic theatre restoration consultancyand has been involved with many theatre restorationprojects including Playhouse, Charing Cross; GaietyTheatre & Opera House, Isle of Man; Georgian TheatreRoyal, Richmond; Theatre Royal, Bury St. Edmunds. Hehas written and lectured on theatre architecture andedited Edwin O. Sachs: Architect, Stagehand, Engineer &Fireman in 1998, and co-edited British Theatrical Patents1801-1900 and British Theatrical Patents 1901-1950 withDr Terence Rees. In 2008 he edited Frank Matcham & Co.and has recently been working on James Winston and ‘TheTheatric Tourist’ as a post-doctoral Leverhulme fellow atthe University of Manchester.office@theatresearch.co.ukFIRT/IFTR World Congress, University of Warwick, 2014296

Walking with Manet: a Palimpsestic ApproachGeneral PanelNick WoodRoyal Central School of Speech and DramaAfter Oxford University, Nick Wood first worked as aPlayground Leader with Ed Berman in North Kensington,and as Assistant Director with Lindsay Anderson at theRoyal Court. Writing credits include Hampstead Theatre,Orange Tree, Kings Head, BAC as well as radio andtelevision. Directing credits include a UK tour with theimprovisation group ‘Theatre Machine.’ Appointed Lecturerin Dramaturgy at the Central School of Speech and Dramain 1994, he was a Convenor of Dramaturgy: A User’s GuideConference (1999), Edward Gordon Craig Colloquium (2002)and a founder of the Dramaturgy Forum (dramforum.com) (2000). Papers and workshops include: Scenographyand Performance Symposium (Loughborough University,2004); How to Act Conference (Central School of Speechand Drama, 2007); Improvisation Continuums (Universityof Glamorgan, 2007); Writing Continuums (York St.JohnUniversity, 2008), Theatre Applications (Central Schoolof Speech and Drama, 2010), and FIRT/IFTR Conference(Barcelona, 2013). He has been a regular Judge at the‘’Oxford University New Writing Festival’’ and for the ‘‘TotalTheatre Awards’’ at the Edinburgh Festival. For the pasttwenty years he has been part of the MA Advanced TheatrePractice which he leads at Central – linked to many of thechanges and developments occurring in contemporarytheatre.n.wood@cssd.ac.ukAll of my work since A Short Walk in the Country – St. John’s College Oxford to Benson (2010) has been predicated on aparticular place or journey. In each case, the pathway towards the work has been carefully planned or designed, while thework arising from it has been contingent on the actual event, often in surprising or unexpected ways. With A Short Walk in aCity at the Edinburgh Festival (2010) this accidental quality was brought to the fore as the audience attempted to negotiatea straight line through Edinburgh’s complex historical topography; while A Short Walk in the National Gallery (2013) focussedon the idea that a repeated progression through the rooms containing Quattrocento paintings (themselves examples of thegrowing understanding of perspective in art) might influence or stimulate the writer into imagining a new play or event – inthis case for the much deeper stage of the present Hampstead Theatre compared with its older shallower version. Usingphotographs of all of these walks or immersions, as well as extracts from the written work which they have generated, thispaper will seek to reflect on this process of using one kind of performance as a palimpsest for another. As an example of thisapproach, this visual reflection will itself be predicated on a journey – created for the purpose of eliciting a new performanceor paper – past the paintings of Eduard Manet currently hanging in the National Gallery. Taking each of these paintings inturn as a heading or provocation – and with reference to Michel Foucault’s Manet and the Object of Painting – this paper willseek to unearth fresh insights into the palimpsestic approach, in which one form of performance is layered upon another,and suggest reasons for its particular resonance at the present time.A Short Walk in the Country – St. John’s College Oxford to Benson(2010)FIRT/IFTR World Congress, University of Warwick, 2014297

Synaesthetic Resonances and De-Stratification in the Intermedial Soundtrack of Imitating The Dog’sTales from the Bar of Lost SoulsGeneral PanelPiotr WoycickiAberystwyth UniversityPiotr Woycicki is a Lecturer in Theatre and Performanceat the University of Aberystwyth, having previouslylectured at the University of Exeter and LancasterUniversity. His main areas of research and publicationconcern the intersections between political andaesthetic theory, particularly the work of Lyotard,Deleuze, and Rancière and contemporary intermedialperformance practice. He is an active member of theIntermediality Working Group within the InternationalFederation for Theatre Research (IFTR). He has alsocollaborated as composer and deviser with the UKbased intermedial company Imitating the Dog anddirector Pete Brooks on a number of internationalprojects.As with most hybrid performances the experience of spectating Imitating the Dog’s Tales from the Bar of Lost Souls (reworkedto become 6 Degrees Below the Horizon) is a multifaceted one. Part cinema, part theatre and musical this intermedialmelodrama employed strategies which addressed a myriad of sensorial experiences. On a formal level the piece can besaid to explore how cinematic culture affects our perceptions of storytelling, by staging a ‘decomposition’ of what could bedefined as an Eisensteinian cinematic metaphor. This theatrical deconstruction and de-stratification of cinematic aestheticsoffers possibilities of reading the piece and its cinematic connotations as a an ‘open text’. My focus will be on approachingthe intermedial parataxis of this piece in relation to its synesthetic qualities. Synesthesia is often associated with the blendingof the senses, harmony and aesthetic cohesion. In mainstream culture, such as cinema, computer games, rock concertsetc. the use of aesthetic superstructures (strata) which act on many sensory levels is often associated with notions ofcreating ‘immersiveness’, ‘illusionism’ and by extension passive spectatorship. Thus the paper will look at the deconstructionof synaesthetic experiences and synaesthesia as a phenomena of de-stratification, focusing in particular on the role of thesoundtrack in this deconstruction.The paper will use a neuro-scientific framework, namely the theories of V.S. Ramachandran and E.M. Hubbard in conjunctionwith the Stephen Palmer’s notion of ‘structural isomorphism’ as applied to aesthetic experience in order to explore howthe soundtrack with its mix of aesthetics, genres and registers triggered a variety of potential perceptions of the stagedcinematic phenomena becoming what Lyotard has termed a ‘composite of decompositions’. It will look at the synestheticqualities of the soundtrack in the context of: mediaphorisation, the automatisation of music and the deferral of meaning inscenic construction.pwoycicki@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014298

Staging Captivity: Stratifying Monstrous IdentitiesGeneral PanelSarah YoussefUniversity of CologneJeffrey Jerome Cohen’s first thesis in Monster Theory: Reading Culture (1996) claims that “the monster’s body is culturalbody”, implying that the monstrous is not only an “embodiment of a cultural moment”, but also shapes the collectivebehavior. Michel Foucault opens his widely acclaimed book Discipline and Punish: The Birth of the Prison (1975) with what hecalls the “theater of terror”, describing executions and torture as a public spectacle. Both Cohen’s theses on monster cultureand Foucault’s analysis of the penal system address cultural performances. The monstrous body has a long history on thetheatrical stage. Drawing on the two concepts, this paper claims that the contemporary monster of the theatrical stage isthe captive and incarcerated body, the seized, prosecuted and punished individual. Thus, in my line of argumentation, thetheatrical stage becomes a space of cultural performance, where race, gender, sexuality and class mark the representationof criminal bodies. Prisons, and their inherit “unity of place”, lend themselves as a “stage” of political drama, reflecting onthe social orders constructed by society as a whole. Focusing on contemporary plays, such as Guantanamo: ‘Honour Bound toDefend Freedom’ by Victoria Brittain and Gillian Slovo and contemporary performances, such as Yasiin Bey’s reprieve videoagainst forced-feedings, this paper will analyze the birth of the modern monstrous body, questioning narratives of crime,punishment and of justice that are believed to be true.After completing her BA degree in Theater at theAmerican University in Cairo, Egypt, Sarah Youssefreceived her MA in Text & Performance Studies fromRADA, London, UK and a MA Cross Sectoral andCommunity Arts at Goldsmiths College, London, UK.Internationally she has worked as a director, writer anddramaturg. She is a part of the CAST Artists’ Network -Creative Arts Schools Trust, an organization that supportsthe international theater training with politically andsocially disadvantaged children, founded by DavidMorrissey. In August 2010, her first full-length playCitizen Erased premiered in London at the CamdenFringe Festival. Additionally she has worked as afreelance assistant director on numerous productions inGermany and was dramaturg and education manager atTheater im Bauturm, Cologne. Since spring 2012, Sarahis a PhD candidate, editorial assistant of Gender Forum– An Internet Journal for Gender Studies and researchassistant at the University of Cologne, Germany.sarah.youssef@uni-koeln.deFIRT/IFTR World Congress, University of Warwick, 2014299

INTER|Auditorium. The Architecture of the Auditorium and the City.General PanelThe main subject of my research is the relation between the auditorium and the urban interior. Both are a part of the publicspace. This relation is possible when passerby become a viewer .Most typologies focus on the relations between the auditorium and the stage but I have separated them. I have focused onlyon the auditorium as a place designed for viewers, which enable them see and hear what is happening on the stage.Today’s viewers’ perception has changed - but auditorium reproduces patterns from the past.We distinguished two types of auditorium: galleries and amphitheaters. The typology of the auditorium, which I haveelaborated, presents both types. I have created spatial models, which show that the amphitheatrical auditorium constructsthe floor, whereas the gallery auditorium constructs the walls. These two types of auditorium still exist in our cities. I haveelaborated also the examples of a formal relation between the urban interiors and the auditorium.Katarzyna ZawistowskaThe Academy of Fine Arts, GdanskI obtained my Ph.D. degree at the Department ofArchitecture and Design at the Academy of Fine Artsin Gdansk,Poland (2013), where I have been working inthe Studio of Scenography since 2005. In my researchI am interested in the architecture of the auditorium asthe spatial phenomenon and seeking relation betweenauditorium and the city. In the last few years (2006-2011)I designed scenography and costumes to operas, dramaand dance performances. I was a leader of workshops in setdesign with students; last one during Summer Academy inParis (2013) and Hochschule für Künste in Bremen(2014).In 2011, I was the recipient of the City of Danzig Award forArtists in the Field of Culture. In 2012, I was awarded theyearly Theatrical Award of the Pomeranian Region.I presented my works during Quadrennial of Scenographyin Prague (2007, 2011) also in Hooyong Performing ArtsCentre in South Korea (2008).I took part in the conferenceorganised by the International Federation for TheatreResearch (Prague 2007, Seoul 2008). My participation inthe World Stage Design in Cardiff was an opportunity topresent my project of the performance at the river Theatreon The Barge. The Possible City.(2013).katarzyna.zawistowska@asp.gda.plIt is the time to search for a new architecture of the auditorium - especially in conjunction with the contemporary city, whichfits to the contemporary viewers. I was proposing a new type of auditorium: the footbridge auditorium.In this auditorium viewers can move and change their viewing position during performance. They do not have to sit at oneplace. They can use all their senses, not only seeing and hearing.I have discovered the existing forms of the footbridge auditorium inside the examples of best known historic theatrearchitecture.We have already learned to advance seeing towards perceiving. However, the visual perception has radically advanced inrecent times - we should remember about the role of other senses. New form of auditorium should be design in conjunctionwith the urban structures and the perception of the contemporary viewers.http://www.wsd2013.com/katarzyna-zawistowska-martyna-groth/FIRT/IFTR World Congress, University of Warwick, 2014300

Stage Directions as the Founder Element of Dramaturgical Anaysis in Realistic TheatreGeneral PanelVecihe Ozge ZerenCanakkale Onsekiz Mart UniversityVecihe Özge Zeren is currently a lecturer at ÇanakkaleOnsekiz Mart University in Turkey. After graduatingfrom Faculty of Letters, University of Ankara in 2006,she completed her MA at The Graduate School ofArts and Humanities, University of Ankara in 2011 forher thesis Stage Directions as a Founder Element inRealistic Theatre. Her two articles titled “Theatre ofBeckett: Theatricality of Nonverbal Language” and“Theatricality and Perception of Reality” were publishedby New Theatre Journal. She is a PhD candidate at theUniversity of Dokuz Eylul.The aim of this paper is to determine the function of stage directions as a meaning building tool in realistic drama. Theresearcher accepted the place of stage directions in dramatic literature theoretically drawing on the approaches oftheoreticians such as Roman Ingarden, Martin Esslin, Georg Savona, Elaine Aston and Sam Smiley, who identified four typesof basic stage directions: opening stage directions, character stage directions, situational stage directions and action stagedirections. Stage directions also function as the founder element, which foreshadows the structure of the text and constructa sound background for the dramaturgical analysis. Stage directions as the founder element of realist theatre are researchedin terms of the historical background of realist theatre and discussed the basic aesthetic problems of early modern drama.The relation between theatre and novel is evaluated and in this context the mimetic and diegetic forms of narration aredetermined. 19th century novel tradition had an impact on theatre literature. Consequently novel narration entered intodramatic narration through stage directions. In this period, there was a diegetic narration with long and detailed stagedirections. The researcher draws upon Gérard Genette’s thesis discussing the relation between mimetic and diegetic formsof narration. In the paper, the researcher discussed narration in novel and plot in drama; description and stage directionshaving technical characteristics; and discourse and stage directions given by author with “first singular person” narration interms of their contribution to dramaturgical anaysis. In addition, the selection realist theatre examples by the writers suchas Henrik Ibsen, August Strindberg, Anton Çehov, Eugene O’Neill, Bernard Shaw, Tennessee Williams and Arthur Miller areanalysed in terms of the use of stage directions.vozgezeren@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014301

The Functioning of Theatre in the City of Groningen (Netherlands)General PanelSince 2005, the international research group Project on European Theatre Systems (STEP) has investigated the functioningof theatre in smaller European countries. STEP has set up a City Group, in which researchers focus on the functioning oftheatre in a set of comparable cities across the continent: Aarhus (Denmark), Berne (Switzerland), Debrecen (Hungary),Groningen (The Netherlands), Maribor (Slovenia) and Tartu (Estonia). (A project on Newcastle, England has been recentlyadded.) This research has used the experiential value approach developed by Hans van Maanen in ‘How to study artworlds’(2009) and other members of the ‘Groninger school’ in order to make the relationship between the potential values of atheatrical event and the realization of experiential values by its audience members classifiable.A combination of quantitative and qualitative methods has been used to gain insight into the way the experiential values andbenefits that audiences realize by attending theatrical events are connected to the way the supply of theatre is organized.This includes questionnaires, focus groups, in-depth interviews, event analysis and document analysis.Antine ZijlstraUniversity of GroningenAntine Zijlstra (1965) is PhD Candidate in the field oftheatre studies and arts marketing at the University ofGroningen. She focuses on qualitative research into thevalues of theatre attendance as part of European STEPresearch and worked on research reports in that area.She taught arts marketing at Arts, Culture and Mediaat the University of Groningen. She currently worksas Projectleader Research at the department Art andEducation at the NHL Leeuwarden.The paper presentation focuses on the research in the city of Groningen (The Netherlands) and describes the characteristicsof the theatrical experiences, both in types of audiences and types of experiences, and how these are related to specificcharacteristics of the theatre system of the Netherlands.After the presentations on the outcomes of the City Project in three different cities, we would like to add a comparativeperspective on the functioning of theatre in ‘common’ European cities.azijlstra@xs4all.nlFIRT/IFTR World Congress, University of Warwick, 2014302

Working GroupsAfrican and CaribbeanMemory of War and Riddles for the Future of the Postcolonial State in Femi Osofisan’s The Chatteringand the Song.Working Groups: African and CaribbeanSola AdeyemiUniversity of GreenwichSola Adeyemi teaches theatre and performancestudies, with a general focus on African Performanceand Contemporary British Theatre at the University ofGreenwich. His researches are in postcolonial theatreand performance studies, particular the works of FemiOsofisan; diasporic African and black British theatre,especially the works of Kwame Kwei-Armah, OladipoAgboluaje and Ade Solanke as they explore the politicsof identity on the British stage; and the performanceof creative writing – short stories and poetry. Heis currently working on a book, ‘Osofisan’s Visionof Change in his Dialectical Reading of History andPolitical Discourse’. He is the Editor of Opon Ifa Review,a Literature and Performance Journal.The Nigerian dramatist Femi Osofisan wrote The Chattering and the Song as a ‘treatise for revolution’ at the end of theNigeria-Biafra war, with the main theme of a new social order based on justice and fairness, using the Iwori Otura motiffrom Ifa philosophy, and also portrayed in the hope expressed in the Farmers’ Anthem and the expected success of thefarmers’ revolution. It is a play of protest as the title suggests; Osofisan uses the weaverbirds as a symbol of expression inthe clamouring for social justice. The particular Ifa verse denotes temporary success and relates to people gifted with theability to see things in true perspective. The verse talks about treachery, dissension and loss; things get worse before theyget better. When this odu is divined for anyone, it allows the person to have a cognitive knowledge of whatever he wantsto do and motivates him to purposeful activity in that regard. However, the Ifa verse has a contradictory nature and, likehuman destiny, forces the person to make a choice: temporary success following a hasty and impetuous action or a lessdirect success after a period of suffering and confusion. The second part of the verse grants victory over enemies but warnsthat patience and magnanimity bring great rewards, and peace only comes from inner knowledge, a kind of knowledge thatallows a person to use an opponent’s strength against him, often surreptitiously. The verse casts riddles for both the divinerand the subject, forcing them to initiate a course of action that can unintentionally go against plans. In Chattering, Osofisanuses the Ifa motif and an exploration of Yoruba tradition, history and culture to interpret modern Nigerian social and politicalcircumstances. In this presentation, I assess the narratives of the drama and the political experience of the postcolonial stateof Nigeria.essay@femiosofisan.orgFIRT/IFTR World Congress, University of Warwick, 2014303

What‘s in a Handshake: Embodied Politics and the Performance of American Soft Power at Ghana’sIndependence CelebrationsWorking Groups: African and CaribbeanDavid DonkorTexas A&M UniversityMy paper examines the performance-embodied politics of international diplomacy during the celebration of Ghana’sindependence from British colonial rule in March 1957. At the celebration, where events ranged from the staged ceremonialsof postcolonial political succession to durbars, festivals, grand parades, rallies, canoe regattas, and formal balls, Ghanahosted over 50 official foreign dignitaries including U.S. Vice President Richard Nixon and his wife Pat. Ghana had a particularimportance to the U.S. due to the broad implications that its new independence had for America’s domestic race relations,its “special” relationship with Great Britain, and its Cold War era foreign policy. The Nixons’ trip to Ghana aimed at exertingAmerican influence in the emerging postcolonial African world through performative spectacles of soft power. The visit waspraised as well as criticized in the American press for the couples’ diplomatic stagecraft, including their vigorous, proximal,handshakes and hugs with black Africans, from government ministers and traditional chiefs to precocious preteens and cuddlybabies. I argue that the mix of praise and criticism for what one newspaper called their “handshaking tour,” indicates not justthe potentially fraught nature of embodied politics or the particularly ambivalent nature of performance in general but alsothe complexly transnational stakes in the political meaning of emerging post-colonies at the dawn of African independence.David Donkor (PhD Northwestern University) isAssistant Professor of Performance Studies andAfricana Studies at Texas A&M University. His researchexplores how theater and performance practices figurein Africa-based cultures of democracy. His articleshave appeared in TDR, Theatre Survey, Cultural Studies,Ghana Studies, and in an edited volume on the Ghanaiandramatist Efua Sutherland. Dr. Donkor is also a theaterdirector/actor and the recipient of an ACRAG (ArtsCritics and Reviewers Association of Ghana) Award forhis role in the film Shoeshine Boy.donkod@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014304

Roverman Productions: A New Ghanaian Popular Theatre?Working Groups: African and CaribbeanThis paper provides an overview of contemporary Ghanaian theatre over the last decade with a particular focus on theatricalactivities in the National Theatre venue in Accra. The central concern of this research is Roverman productions- a recentphenomenon in the theatrical and entertainment culture in Accra. Considering its creation of a new theatre audience,developing an awareness for theatre management and the inculcation of the business of theatre into its practice, Rovermanproductions create for itself a niche/ genre that is comparable to the growth and development of the colonial popular‘traditional’ art form known as concert party. This paper seeks to analyse the place of Roverman productions within thecontext of contemporary Ghanaian theatrical activities, through a discourse from two perspectives; the indigene and thereturnee.Ekua EkumahGoldsmith’s, University of GhanaEkua Ekumah is a PhD student at Goldsmiths College,University of London attached to an AHRC fundedresearch project, in the Theatre and PerformanceDepartment. Ekua holds a MFA in Theatre Arts, from theSchool of Performing Arts, University of Ghana, Legon,where she lectures in the Department of Theatre Arts.She is a trained actor, earning a BA (Hons) in TheatreArts from Rose Bruford College of Speech and Drama.eekumah@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014305

Dealing with Bad Memories: Xenophobia and Trauma in South African TheatreWorking Groups: African and CaribbeanJulius HeinickeFreie Universität BerlinFollowing the presentation of my paper “Dealing with Bad Memories: Theatre and Reconciliation in Zimbabwe” at the IFTRWorking Group Meeting last year in Barcelona, this paper focuses on issues around this topic area in South Africa. Althoughthere is a lot of research on theatre and reconciliation in the South African context (concerning the TRC and its hearings),research by theatre scholars on current plays and theatre programmes dealing with xenophobia and individual trauma is rare.With my last IFTR presentation and the discussion of the working group in Barcelona in mind, my paper aims to consider,on the basis of one play and one theatre project, why theatre and its specific mechanisms are useful in dealing with ‘badmemories’ such as xenophobic attacks and individually experienced violence. Gina Shmukler’s The Line was presented atMarket Theatre in Johannesburg, Baxter Theatre in Cape Town and at the HIFA in Harare. The Bonfire Theatre Project,my second example, is based in Cape Town. The Line deals with xenophobic attacks in Johannesburg in 2008, which werereported in the media all over the world. The projects for traumatised children of Bonfire Theatre, who use theatre skills tohelp deal with their individual challenges are not presented in public. Because various theatre (or even theatrical) strategiesare used in a different context, this paper asks why and on which theatrical levels the ‘dealing with bad memories’ takes place.Julius Heinicke studied Culture and Drama atHumboldt-Universität in Berlin. In 2012 he finished hisPhD thesis on Theatre in Zimbabwe at the Departmentof African Studies. (Supervisors: Flora Veit-Wild, HUBerlin and Christopher Balme, LMU München) InDecember 2012 he started his postdoctoral researchon theatre in southern Africa in the ERC-Project “TheAesthetics of Applied Theatre” at the Department ofTheatre Studies, Freie Universität Berlin.julius.heinicke@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014306

When the Hail Stops Falling on Zamfara: Arrested Justice in Sefi Atta’s The Sentence at the TheaterKrefeld/MönchengladbachWorking Groups: African and CaribbeanIn October 2011 the Theater Krefeld/Mönchengladbach, Germany, staged the world premiere of Sefi Atta’s play, The Sentence- Hagel auf Zamfara, in a German translation. Drawing on prominent cases of death by stoning in North Nigeria in the early2000s, Hagel auf Zamfara recounts the story of an unnamed Muslim woman unjustly sentenced to death for adultery. As theplay progresses the protagonist not only becomes a symbol of perceived injustice for Nigerian and international media, italso transpires that the woman has been interpellated, and actively participates, in a system based on gender inequality andreligious bigotry. Atta adapted the play from a short story, “Hail on Zamfara”, which was initially conceived as a monologueand later published in her collection of short stories, Lawless (2008) [UK/US edition: News from Home (2010)]. In 2011,Nicholas Monu directed the play at Krefeld/Mönchengladbach as part of their “non-European theatre” stream. This paperexamines how the idea of arrested justice was not only translated from page to stage, but also from an English-languagescript to a theatre show for a largely white middle-class audience at a German Stadttheater.Christine MatzkeUniversity of BayreuthChristine Matzke teaches English and African literatureat the University of Bayreuth. Recent publicationsinclude chapters on a South Sudanese Cymbeline (2013)and Hamlet in Africa (2014), and the co-edited Life is aThriller: Investigating African Crime Fiction (2012) (withAnja Oed). She specialises on theatre and performancein Eritrea.http://www.theater-kr-mg.de/spielplan/videos/archiv/hagel-auf-zamfara.htmchristine.matzke@uni-bayreuth.deFIRT/IFTR World Congress, University of Warwick, 2014307

The African Dilemma Tale in Performance: Cultural Conundrums, Feminist Staging, and Ama AtaAidoo’s AnowaWorking Groups: African and CaribbeanChristina McMahonUniversity of California-Santa BarbaraChristina McMahon is an associate professorin the Theater and Dance Department at the Universityof California-Santa Barbara. Her first book, RecastingTransnationalism through Performance: Theatre Festivalsin Cape Verde, Mozambique, and Brazil, was recentlypublished by Palgrave Macmillan in the “Studies inInternational Performance” series. She has publishedarticles in Theatre Survey, Theatre Research International,Theatre History Studies, and Latin American TheatreReview. She is a past recipient of the IFTR New Scholar’sPrize (2007) and a Fulbright-Hays grant. Her currentresearch project focuses on best practices for teachingand producing African theatre in the West. Her firstplay, Stand By: Meditations on Africa and the Afterlife,received a reading in the LAUNCH PAD program fornew play development at UCSB in 2014.What are the risks posed by presenting African theatre to American audiences unfamiliar with its cultural contexts? Whichcasting and production techniques might encourage spectators to think critically about racial and gender oppression, ratherthan viewing African culture through the stereotypical lens employed by the American media? In this paper, I address thosequestions by examining the 2012 UC-Santa Barbara production of Anowa by Ghanaian playwright Ama Ata Aidoo. Set inthe late 19 th century, Anowa is about an independent-minded Fante woman who becomes an unwilling sponsor of slaveryin Ghana by virtue of her husband’s slave ownership. True to the dilemma tale structure, the play resists a neat ending andprompts a critical evaluation of social forces. To highlight that dilemma, our production team utilized methods endorsedby feminist scholars and practitioners: cross-racial and cross-gender casting, collaborative approaches to staging, and anensemble that represented the characters’ larger community. I argue that such strategies may coax actors and audiencesto recognize the constructed nature of race and gender – a first step in identifying the complex socio-economic factorsundergirding histories of slavery. Yet I also analyze the pitfalls of these methods, since as dramaturg, I observed how theymight result in production choices that unwittingly reinforce cultural stereotypes. By discussing how the cast of multi-racialactors ultimately provided correctives to the white director’s and their own preconceptions about Africa, I lay out tenetsfor how college productions of African theatre may serve important pedagogical purposes without exoticizing its subjectmatter.mcmahon@theaterdance.ucsb.eduFIRT/IFTR World Congress, University of Warwick, 2014308

Memories of Yoruba Bata Music and Dance and its Evolution in Global Dance Performance TraditionWorking Groups: African and CaribbeanThe Yoruba Bata tradition in performance historically has moved with times, threading the religious/ritual activities andsocial entertainment realm. Bata, which serves as a confidant and associate to the Yoruba god of thunder and lightning,Sango, has been a ‘stimulant’ in theatrical performance arena. This study therefore applies the historical, participant observerapproach and interviews of notable personalities cum practitioners for an effective reminiscence, through memories ofunique performances of personalities like Duro Ladipo, Fatai Ojuade, Lamidi Ayankunle and others.The study reveals that Bata in such performances remains virile stimulant , and often heighten the performance mood andadds aesthetic value to the performance. The study concludes that Bata stands the chance of operating in global danceperformance idioms and academic studies. It has equally moved out of the religious/ritual enclave and receiving seriousattention in diaspora / global applicationsJeleel OjuadeUniversity of Ilorinhttp://www.youtube.com/watch?v=Xfgk2pdLeHsJeleel Olasunkanmi Ojuade is a Lecturer and Researcherin the Performing Arts Department for over a decade, andcurrently the Assistant Director (Operations), Centre forInternational Education, University of Ilorin, Nigeria. Anexpert dancer (with emphasis on Yoruba Bata and Dundundances), he holds a B.A (Hons) in Performing Arts fromthe University of Ilorin; M.A (African Studies) in Danceand his PhD in Performance Studies from the Institute ofAfrican Studies, University of Ibadan. Other qualificationsinclude LL.B (Hons) Common Law; was called to theNigerian Bar; Masters in Business Administration; Masterof Law (LL.M) in Common Law. Jeleel belongs to a numberof national and International organizations. He started hisdancing career at age four and has been involved in severalperformances and workshops locally and internationally.He was a member of the troupe (The National Theatre ofNigeria) that represented Nigeria at the XII CommonwealthGames and Warana Festival in Brisbane, Australia (1982)and in a performance tour of the Federal Republic of SouthKorea in 1983. He has attended and presented academicpapers at local, national and International conferenceswhere his works have been published with particularemphasis on Yoruba Bata and Dundun.jeleelo@yahoo.co.ukFIRT/IFTR World Congress, University of Warwick, 2014309

Memory, Lived experience: the Manifestation/Articulation of a Caribbean Performance Aesthetic,Further Developing the DiscourseWorking Groups: African and CaribbeanThis paper seeks to further the discussion on the same theme on which I presented on at the Barcelona conference last year:the articulation of a Caribbean Aesthetic.In this phase of the discussion, I am particularly interested in how folk and tradition are influenced and in turn influence thecontemporary performance. More specifically I am interested in continuing to explore the areas of vocabulary, technique andstyle, with a view to identifying, understanding and documenting continuities, disjunctures, discontinuities, circumventionsand innovations that are the result of the lived experience: the engagement that is the Caribbean reality.C. M. Harclyde WalcottUniversity of the West IndiesThe paper will take as its core, the discussion of the pioneering work on dance technique by L’Antoinette Stines, DennisScott’s use of language and staging, and the use of ritual and structuring of action in Rawle Gibbons’ works, such as “I lawah”and “Sheppard”, among others..C. M. Harclyde Walcott was born in Bridgetown,Barbados. He was educated at Erdiston Model, thenModern High in Bridgetown, and York Universityin Toronto, Canada. Mr. Walcott has among otheroccupations, worked as a Theatre Director, Film-Maker and Photo-Journalist. He has been an activepractitioner, lecturer and researcher in the areas ofculture, theatre, film, photography and communications,and has curated over 25 major exhibitions ofphotography, exhibited as an Art Photographer andPhotojournalist, and has had his work published inbooks, magazines and newspapers. His activity in thetheatre includes over 50 major productions, as Director,Producer and/or Technical Director. Mr. Walcott iscurrently attached to the Errol Barrow Centre forCreative Imagination, at the Cave Hill Campus of theUniversity of the West Indies.harclyde.walcott@cavehill.uwi.eduFIRT/IFTR World Congress, University of Warwick, 2014310

Theater, Memory and National Consciousness in the Work of Edouard GlissantWorking Groups: African and CaribbeanKeithley WoolwardCollege of the BahamasDoctor of Philosophy, French and FrancophoneStudies, September 2008 New York University, NewYork, NY, U.S.A. Francophone Literature and Culture:France, Francophone Africa (including the Maghreb),the Caribbean; Francophone Theater; Post ColonialTheory/Criticism; 20th Century French/AfricanAmerican Cultural Studies. Dissertation Project: Towardsa Performative Theory of Liberation: Theatre, “Play,” andPerformance in the work of Frantz Fanon. PensionnaireÉtranger, École Normale Supérieure, Paris, France.2004-2005 Master of Arts, French and FrancophoneLiterature, September, 2002 New York Universityin France, Paris, France. French and FrancophoneLiterature; History of Colonization and Decolonization.Bachelor of Arts, French and Comparative Literature,May, 2001 Hamilton College, New York, U.S.A.French and Comparative Literature Concentration:Comparative African/Caribbean Diaspora Studies.Upon his return to Martinique in 1965, Edouard Glissant founded the Institut Martiniquais d’Etudes with the central focus of itseducational activities to provide the Martinician population and particularly the youth with an education, in the broadest sense,relevant to their social, cultural and psychological Antillean heritage. The IME project was intended as a robust interventioninto an extremely constrained, compromised situation in which political resistance to the forces of departmentalizationwere drastically limited. The institute, through the publication of the journal ACOMA documents and analyzes at once theobstacles that make independence virtually impossible while attempting to articulate a framework for shifting the structuralrelations of Martinique’s passive, neo-colonial dependency on metropolitan France. This paper proposes a return to EdouardGlissant seminal essay “Theatre: Conscience du peuple” (“Theater: Consciousness of the People”) originally published in theJuly 1971 edition of ACOMA highlighting the fundamental link he makes between the theater as conduit through which to giveexpression to the “collective consciousness of the people,” which would be the corner stone of a national liberation project:Le théâtre est l’acte par lequel la conscience collective se voit, et par conséquent se dépasse. En son commencement, iln’est pas de nation sans théâtre. (Theater is the act by which collective consciousness sees itself and, as a consequence,moves beyond itself. There is no nation without theater at its source.) Glissant sees the theater, and the theatrical expressionand practices of the Caribbean as a viable form of resistance which can mobilize the transformative power of “embodiedperformance.” “Theatre: Conscience du peuple” proposes a new form of creativity (cultural resistance) that can bring aboutcollectivity and consciousness into profound dialogue to generate genuinely original forms of Caribbean identity.kpw206@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014311

Writing the Dead in Future Tense: Transmitting Memories Through Letters and Songs in Post-Genocide RwandaWorking Groups: African and CaribbeanNina ZaytzeffNew York UniversityThis presentation will focus on the project Mumataha, Remember Me, started by Odile Gakire in 2009 in Rwanda and tobe continued for the twentieth commemoration in 2014. In 2009, Gakire asked orphans, widows, and perpetrators of thegenocide to write to people they had lost or killed, gathering one hundred letters that address the dead as if they werealive, giving and asking for news, and evoking personal memories. Singer and composer Moyize Mutangana wrote an albuminspired by these letters, which was recorded in 2012, in which he addresses and channels the departed, from ancestors togenocide victims. Looking at the week-long workshops during which the letters were written as a performance of memory, Iexplore how the introduction of the practice of writing allowed for a work of deconstruction and resignification of the usualvocabulary available to evoke the dead. As Gakire encouraged the participants to imagine the dead alive, I argue that someletters create a confusion between past, present and future that re-animates the link between generations that was severedduring the genocide. Speaking for and with the dead, Mutangana’s songs continue this work of re-connection with the pastusing Rwandan rhythms and instruments and collaborating with musicians from Burkina Faso. In both instances, I questionhow the introduction of foreign practices influences the return to the past and speaks to the necessity to reinvent traditionafter the genocide.Ariane Nina Zaytzeff is a theater artist and PhDcandidate in Performance Studies at the Tisch Schoolof the Arts, New York University. Her research focuseson the role of contemporary artists in the transmissionof culture and memory in Rwanda after the genocide.She has collaborated with numerous theatre and dancecompanies in Rwanda as project manager and assistantdirector and is one of the founders of the East AfricanNights of Tolerance dance platform.az543@nyu.eduFIRT/IFTR World Congress, University of Warwick, 2014312

Working GroupsArabic TheatreA President of his Own Republic (2013): Revisiting Mikhail Ruman’s SmokeWorking Groups: Arabic TheatreAnwaar AbdallaHelwan UniversityAnwaar Abdalla is Associate Professor of DramaticCriticism at Helwan University, Egypt. An accomplishedauthor and essayist in both Arabic and Englishpublications, she is a weekly columnist at The WashingtonTimes’ “Communities” Section. She is also the translatorof several books published by the Ministry of Cultureincluding Shadows on the Grass, Impossible Peace andThe Secret Rapture. She is a member of the Egyptianand Arab women’s writer’s union and the Cairo WomenAssociation.Mikhail Roman (1927-1973) is believed to be one of the most controversial dramatists in the Egyptian theatre. His playsprovide a moving and eloquent account of his major theme, namely the freedom of the individual. In fact, the staging ofsome of his plays was banned by the censor. Al-DukhKhan (Smoke, 1962) is believed to be his first full length play and as suchit is considered a significant achievement. The play is contumacy against the oppressive practices of a political system whichdegrades the levels of human existence. Through the painful experience of Hamdy, who tries to shake himself free from thebondage of drug addiction, Roman depicts the suffering of a lower-middle-class family. This paper attempts to shed lighton the stratification of the Egyptian society through a comparative analysis between the original play of Roman writtenin the seventies and the new adaptation of director Sameh Bassiouny, performed in 2014 and entitled Raees GhomhourietNafsouh (A President of his Own Republic). Sameh focuses on the current social issues, namely addiction, as a threat to man’sfreedom and existence. Major intellectual issues are examined such as family commitment, loyalty and betrayal, freedomand tyranny. In the new performance scenography plays a vital symbolic role which is related to the interpretation of man’sdignity. For example, a picture of Gamal Abdel Nasser is hung on the wall, which offers an ambivalent interpretation of hisera. One interpretation is that Nasser is not held responsible for people’s deifying him and, as a result, they lost their dignityand freedom. However, another interpretation is that Nasser cannot escape the blame for creating a political system which,whether he knows it or not, relies upon the suppression of the truth and the absence of freedom and dignity.anwaarabdalla@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014313

“We Do Not Need Copied Solutions,” The Iraqi Political Landscape in Summer Showers.Working Groups: Arabic TheatreFarah AliUniversity of HullI’m Farah Ali, a current Ph.D. student at the Universityof Hull. Born and raised up in Baghdad in 1983. In 2005,I got my bachelor degree, and decided to pursue myM.A. directly afterwards. In 2007, I got my M.A. degreein Drama, and started lecturing at the University ofBaghdad. Worked in many other related jobs such astranslation, and journalism. I Got an admission to theUniversity of Hull for Ph.D. Drama course in 2012. Myresearch tackles the dilemma of identity in a selectednumber of Harold Pinter’s plays in terms of humanbeing’s attitudes and actions at the personal level thatmay have profound implications for action on the publicand even global levels of life. The current dissertationbreaks down the concept of identity into differenttypes while applying political, linguistic, psychological,feminist, and even anthropological theories to probethe psychology of the characters involved. A specialfocus on the construction/deconstruction of the femalecharacters’ identities is another aspect of the close textanalysis sustained through the work.The impact of conflicts does not leave its imprints on material infrastructure of life only, but also on the human psyche. Thedeconstructed human being who undergoes atrocities of wars, loses parts of his inner self, in the aftermath through theinflicted fragmentation of his soul. The best reflection of such suffering is theatre, which has always served as an archivefor all human civilizations. This paper investigates human suffering in the Iraqi Theatre through Summer Showers a work thatcaptures the deconstruction of the political and social situation in Iraq in the aftermath of the 2003 invasion. The play depictsthe idea of a lady pining for her missing husband during the war. The pains of waiting leaves its imprints on the consciousnessof the lady who hankers for her husband . Therefore, she decides to order a replica of him. Another waiting follows forthe ordered copy, an atmosphere of memories, fears, anticipation, and sometimes little joys is all captured through themonologues of the eager wife. With each knock on the door, a new hope is born, but soon fades away like summer showersas the knocker is not the husband. Upon his return, the husband attempts to convince his wife that he is not an impostor, butin vain, as someone else awaits outside with a similar claim. This paper will investigate all these fluctuations with an emphasison theatre in connection to the political situation in Iraqhttps://www.youtube.com/watch?v=6bfm46XPW0EFarah.ali83@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014314

Competing Gazes and Multi-Voiced Monologues: The Double Case History of the Post-30 JuneEgyptian StageWorking Groups: Arabic TheatreHazem AzmyAin Shams University, EgyptHazem Azmy is Visiting Assistant Professor at theDepartment of Drama and Theatre Criticism of Ain ShamsUniversity, in his home country Egypt, and co-convenerof the Arabic Theatre Working Group of the InternationalFederation for Theatre Research (IFTR/FIRT). In November2013, he became a member of the Steering Committeefor Theatre at the Supreme Council of Culture andDeputy Editor-in-Chief of Al-Masrah prestigious specialistquarterly. He is also a founding member of the board of theEgyptian Centre of the International Theatre Institute (ITI).He gained his Ph.D. at the University of Warwick, UK, with athesis on post-9/11 performance realities and continues tomaintain an internationally-oriented career as theatre andinterdisciplinary humanities researcher; university teacher;professional translator of literary, media and audiovisualtexts; theatre and literary critic; and cross-culturalanimateur. Recent international publications include guestco-editing (with Marvin Carlson) a special issue of TheatreResearch International on “Theatre and the Arab Spring”(38.2), as well as contributing a chapter on Egypt in TheCambridge Companion to Theatre History (2013). His bookStaging Egypt on the Global Stage: Egyptian PerformanceRealities from 9/11 to the Arab Spring (working title) isforthcoming from Palgrave Macmillan.hmazmy@aucegypt.eduOn 3 June 2014, Abdel-Fattah al-Sisi was declared the landslide winner of Egypt’s presidential elections, thereby becomingthe third to hold this office in just three years, itself an indication of the arduous soul searching that the nation has been madeto undergo since the toppling of former dictator Hosni Mubarak in 2011 uprising. As such, the Egyptian public sphere hasbeen marked by increasing confusion over the meaning and import of many key terms that define the course of the nation,coupled by a ferocious competition among various ideological groups, each advancing a diametrically opposite narrative ofthe country’s recent history and foreseeable future. Indeed, for a considerable section of revolutionary-minded Egyptians,typically but not exclusively younger ones, the ascension of former army chief al-Sisi could only represent an anti-revolutionof sorts, a shameless return to the geronotacratic, military-dominated plutocracy that had been the hallmark of Egyptbefore the 2011 uprising. However, for the overwhelming majority that voted al-Sisi into power, the new era can only augurwell for the conflict-weary nation, since the man now at the helm is a strong and able leader who risked his own life tosupport the June 30 “true revolution” that, in turn, put an end to the dark rule of the Muslim Brotherhood group, nowdeclared a terrorist one in bed with Egypt’s Western and regional enemies. In this presentation, a snapshot of a decade-longresearch agenda on post-9/11 Egyptian “performance realities”, I will discuss a representative sample of post-30 Egyptiantheatrical performances, focusing on how the conflictual realities at play collide with one another on stage, at the audiencearea, and in the larger “outside” world. Engagement with select instances of this process shows us anew how theatre andits surrounding moment are forever in conversation with each other even if—or, more typically, when—the theatre/culturalproducers involved cannot consciously process all aspects of the cultural crossfire at which their works operate.A snapshot from the 2013 Egyptian Performance HelmBlastik (A Plastic Dream) + Passport-Sized PhotoFIRT/IFTR World Congress, University of Warwick, 2014315

Theatre Festivals in Arab Gulf States: Shifting RealitiesWorking Groups: Arabic TheatreTheatre Festivals in the Arab Gulf States act as a substitute for the theatre season, where performance is limited to occasionssuch as feasts (esp. Eid Al Adha) or celebrating International Theatre Day. Every country in that region has at least onelocal festival, in addition to regional Arab world festivals and international ones. How do these festivals, mostly governmentsponsored, maintain the local performance arts? How do they contribute to maintaining the Arab Gulf people’s identityand heritage, while the society is going under comprehensive and intense modernization? What are their content selectioncriteria? Are they alternatives for all-year theatre seasons? How do these festivals reflect the change in the Arab world afterthe Arab Spring? This presentation attempts to answer the above questions.Sebaie El-SayyedArab Association for Theatre CriticsSebaie El-Sayyed is an Egyptian theatre scholarliving in Qatar, founding co-ordinator of the ArabAssociation for Theatre Critics and Associate Editorof Al-Masrah Quarterly (Egypt) as well as Editor of AlMasrah Dot Com, an online portal for theatre since2002. Translations into Arabic include Theatre at theCrossroads of Culture (Patrice Pavis), The Field of Drama(Martin Esslin) and Theatre as Sign System: A Semioticsof Text and Performance (Elaine Aston and GeorgeSavona).www.al-masrah.comsebaie@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014316

A Socio-Historical Reading of Muhammad Taymur’s The Trial Of The PlaywrightsWorking Groups: Arabic TheatreSameh HannaUniversity of LeedsAfter completing my undergraduate studies in Englishliterature and linguistics and MA degree in Literary Theoryat Ain Shams University (Egypt) in 2000, I moved toUniversity of Manchester where I completed my PhD inTranslation and Intercultural Studies with a dissertationon the sociological reading of the Arabic translationsof Shakespeare’s tragedies (2006). Immediately after Ifinished my PhD, I joined University College London (UCL)as an Andrew Mellon Postdoctoral Fellow in the Humanitieswhere I contributed to teaching translation studies andliterary translation and pursued my research into thesociology of drama translation and the social history ofliterary translation in late nineteenth and early twentiethcentury Egypt. Before I joined Leeds University in 2013,I held a lectureship in Arabic and Translation Studies atthe University of Salford from 2007. At Leeds University Iteach a wide range of subjects within the areas of Arabicliterature/culture and translation. My research expertise isin the intersection of a number of fields, including Arabicliterature, translation studies, theatre studies, Shakespearestudies and the sociology of culture.This paper looks into one of the foundational texts in Arabic theatre criticism and tries to locate it in its socio-culturaland historical context to examine the interface of theatre production, theatre translation and theatre criticism. Trial of thePlaywrights is a series of satirical narrative articles written by playwright and theatre critic Muhammad Taymur (1892-1921)and published in the Egyptian literary weekly al-Sufur in 1920. In a humorous dramatic style, Taymur elaborates in thesearticles on the practices of playwriting, theatre translation and adaptation in turn-of-the-century Egypt. The key argumentin this paper is that the genesis and development of the foundational concepts in Arabic theatre criticism have alwaysbeen conditioned and fashioned by the problematic relationship between Arab theatre makers and ‘theatrical otherness’.Taymur imagines a trial where members of the jury include such foreign playwrights as Shakespeare, Moliere, Racine andCorneille and the defendants include such well-known Arab playwrights and theatre translators of the day as K. Mutran,Farah Antun and Ibrahim Ramzi. Against the backdrop of this trial and within this hierarchical relation between ‘jury’ and‘defendant’, Taymur develops concepts of authorship, theatre translation, theatre adaptation, theatre reception and theatrecritical review, among others. The paper argues that the hierarchy of ‘foreign playwright’ vs. ‘Arab translator/adaptor’ hasbeen mapped onto the relationship between the dramatic text and the play script, the playwright and the director, theatreproducers and theatre consumers. Taymur’s series of articles played a significant role in establishing these hierarchies whichhave only been challenged recently. Through looking into the modes of theatrical production that were prevalent at the timeof Taymur, this paper discusses the theoretical assumptions which helped in changing these modes. Drawing on both theatreand translation historiographies, this paper ultimately aims at calling into question the role played by theatre translation.s.hanna@leeds.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014317

Satire, Strikes, and Storming the Stage: How Yemen Celebrates World Theatre DayWorking Groups: Arabic TheatreKatherine HennesseyAmerican Institute for Yemeni Studies & Sana’aUniversityEvery year for the past decade the Ministry of Culture in Sana’a has sponsored a theatre festival in conjunction with WorldTheatre Day. Though subject to fluctuating budgets, political instability, and the occasional electricity crisis, the festivalusually achieves around ten plays in as many evenings, with Yemeni actors and directors staging texts by Yemeni, Arab,and international authors. The 2013 festival was a fascinating admixture of tensions between various factions of Yemenisociety. When faced with an unexpected delay in the distribution of funds promised by the Ministry, the theatre practitionerseffectively went on strike. World Theatre Day came and went; the sums were eventually disbursed, however, and the festivalre-scheduled for early May. Yet that scuffle paled in comparison to the debacle that ensued on the festival’s final evening,when armed tribesmen stormed into the auditorium and demanded that a performance cease. (The play treated historicalevents in which the tribe played a central role,and this group objected to what they feared would be a humiliating portrayal.)Despite these challenges, the festival succeeded in staging an intriguing melange of plays, many of which reflected criticallyon recent upheavals in Yemeni politics and society. One production in particular, a “Yemenized” version of Yusuf Idris’s al-Farafir, stood out for both its production quality and its hilariously caustic socio-political commentary. The 2014 festival,organized by a comedic actor famous for his pre-2011 opposition to the Saleh regime, has defied a similar share of difficulties,achieving some memorable successes, as well as a few ludicrous flops. This paper will contrast the execution of the 2013 and2014 festivals and analyse the plays’ content, to illustrate what the Yemeni stage can teach us about contemporary Yemen.Katherine Hennessey holds a PhD and two MAs fromthe University of Notre Dame in the US. In 2008and 2009 she served as an Assistant Professor in theEnglish Department of Bethlehem University in the HolyLand, on the Palestinian West Bank. Since late 2009Katherine has lived in Sana’a, where she researchesand writes about Yemeni theatre. She has publishedacademic articles on topics ranging from Yemeniadaptations of Shakespeare to the inaugural seasonof the Royal Opera House Muscat; her most recentarticles treat Yemeni theatre before, during, and afterthe Arab Spring. She also teaches Italian literature atSana’a University, and is the director of a forthcomingfilm on the 2014 Yemeni theatre festival.hennessey818@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014318

A Feminist Quest for Breaking the Taboo: The Case of Dalia Bassiouny’s The Magic of BorolosWorking Groups: Arabic TheatreIn the aftermath of the 2011Egyptian Revolution, Dalia Bassiouny, a promising young Egyptian dramaturg/actress/directorpresented an interesting performance The Magic of Borolos. The performance dramatizes the conflict between traditionalismand modernity from a feminist perspective. Her main concern is to resist the phobia of change which overwhelms somepeople and makes them almost incapacitated. The presentation will argue that as a postmodernist performance, it isstructured of a collage of intertexts, which she could have consciously or unconsciously been aware of. The presentation willseek to discuss how she presents such issues as her feminist quest for freedom of expression and democracy by breakinglong-standing taboos. Though the presentation argues that The Magic of Borolos is structured of other plays, it nonethelesstestifies to the play’s technical innovativeness.Amal MazharCairo UniversityAmal Mazhar is Professor of Drama and ComparativeLiterature at the Department of English language andLiterature, Faculty of Arts, Cairo University. Her maininterests are Irish, British and Egyptian drama. She is alsointerested in translation. She translated two Arabic playsinto English-Mahmoud Diyab’s The Gate to Conquest andAhmed Etman’s Cleopatra Loves Peace, and two novelsfrom English into Arabic-Amitav Gosh’s In An AntiqueLand and Chinua Achebee’s No Longer at Ease .Shecollaborated with others in translating The Dictionary ofthe Theatre(in 5 volumes)from English into Arabic.amalmazhar@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014319

Arab Spring and Tawfiq AL-Hakim’s Idea of the Social Responsibility of the ArtistWorking Groups: Arabic TheatreMajeed Mohammed MidhinUniversity of EssexMy name is Majeed Mohammed Midhin Al-Aubaidy.I am from Iraq. I have MA in English literature fromthe University of Baghdad- College of Languages in2002. The title of my MA thesis is “The Concept ofJustice in Selected Plays of William Shakespeare.” In1996, I have been awarded a B.A in English Languageand Literature. I have taught English Literature inseveral Iraqi universities since 2002. In 2008, I waspromoted to Assist. Prof. after I published five papers indifferent subjects that have relation to Shakespeareanand Modern Drama. In 2011, I was nominated for ascholarship to the UK to pursue my study, that is, to geta PhD in English Literature. Now I am a PhD studentat the University of Essex. My PhD proposal is “TheDilemma of the Artist in Contemporary British Theatre.”It is under the supervision of Dr. Clare Finbourgh.I am interested in modern drama which touchesthe immediate needs of people in society. I haveparticipated in many colloquiums and seminars relatedto modern drama.The present paper tackles the dilemma of the artist in Tawfiq Al-Hakim’s selected works. Al-Hakim is one pioneer of Arabicwriters who bestows the issue of the artist and his role in society a due attention. His view of Equilibrium(al-Ta‘āduliyya) formshis philosophy of art and life. His plays such as Braksa(1939), Pygmalion(1942) and others focus on the relationship betweenart and life. Accordingly, the function of the art exceeds the notion of “art for art’s sake” to art for other aims. It should beused as a means to revolt and change societies. So, he put his faith on the youth to fulfill this end. While he is young, al-Hakimhad been fascinated by the theatre and dramatic art as it was being practiced in Paris at that time. So it is not strange tosee that the ambitious man who was sent off to Paris to study law returned home with a burning desire to write plays andestablish the pillars of Arab serious theatre. At that time, the theatre had been regarded as a place for entertainment with nolinks to literature. So, al-Hakim, alongside Naguib Mahfouz, takes on his shoulder the task of modernizing Arabic theatre. Onreturning from Paris, he wrote his first play, Ahl al-Kahf (The people of the Cave), based on the legend of the Seven Sleepersof Ephesus, which is briefly referred to in the Qur’an. In all, al-Hakim wrote seventy full-length plays, deriving his materialfrom both Arabic and Foreign sources. His familiarity with authors such as Ionesco and Samuel Beckett made him aware ofsuch innovative movements as the theatre of the absurd. Al-Hakim dedicated much of his long life advance Arab literature,especially drama. Now, we see the fruits of his writings and other Arab writers in the Arab spring, which comes as a directresult of their burning pens.al_aubaidymajeed@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014320

Coptic Christian Theatre in Egypt: Development, Challenges, and Future DirectionsWorking Groups: Arabic TheatreMohammed Mos’adAcademy of Arts, EgyptIn this presentation, I will attempt to shed fresh light on the underexplored phenomenon of the Coptic Christian theatre inEgypt. I will begin by tracing the historical conditions that led to the emergence of Coptic theatrical activities under the aegisof the Church, particularly as a response of sorts to the continuing erosion of the nationalist consensus during the Mubarakera, the challenges of globalisation, and the coinciding ascendancy of radical Islamism which served to accentuate myriadsectarian tensions within the society. I will then move on to discuss the evolution of the relationship between the Coptictheatre and mainstream Egyptian theatre. As an indicative case study, I will discuss the brouhaha that greeted the play I wasBlind, but Now I can See, which was staged within the walls of the Church in 2005, but was soon to trigger sectarian clashesin Alexandria when a video recording of the play was mysteriously leaked. This incident served to draw the attention of thewider cultural and theatrical community to the hitherto concealed activities of the Coptic theatre. The desire to explorethis phenomenon has been growing steadily ever since, matched only by the desire of Coptic theatre makers themselves tobecome more open to wider Egyptian realities. Finally, I will conclude with a brief discussion of the future of this theatre inthe wake of the Egyptian revolution and all its concomitant seismic changes to the social and cultural landscape.Mohamed Mos’ad holds a BA in Drama and TheatreCriticism from the Higher Institute of Theatre Artsof the Academy of Arts, Egypt, where he is currentlycompleting a Master’s thesis on minority discoursein modern and contemporary Egyptian theatre. Aresearcher at the State Drama House (Ministry ofCulture), he is also a published theatre critic andreviewer. He blogs on theatre (in Arabic) .mmsh2278.blogspot.commmsh2278@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014321

An Overview of Contemporary Afghan TheatreWorking Groups: Arabic TheatreHannah NeumannUniversity of CologneBorn in 1981, I started my academic studies at theUniversity of Berne (Switzerland) in the Department ofDance and Theatre Studies and in the Department ofArt History in 2007, after I had worked for four yearsas an occupational therapist. I intermitted my studies inSwitzerland for six months in 2009/2010 to attend coursesat the Université VIII in Paris. Back in Berne, I worked asa junior research assistant at the university from 2010 to2012. During my studies I worked several times as a theatrepedagogue and stage direction assistant. Furthermore Iparticipated in several theatre productions as a performer.After I completed my final degree in January 2012 I movedto Cologne to start my PhD research project in theDepartment of Media Culture and Theatre and to workas a lecturer at the University of Cologne. My researchinterests are primarily figure theatre, dance, culturalexchanges and the theatre in Islamic cultures, especially inIran and Afghanistan, travelling through these countries onseveral occasions. Together with Iranian theater makers Ihave mounted productions in Tehran for Student TheatreFestivals.Art plays a special role in times of change: art documents, predicts, encourages, reveals – to mention just some qualities.During the “Arab Spring” many directors and performance groups dealt with topics concerning the revolution, for example,Masasit Matis puppet theatre’s Top Goon criticized the regime of Baschar al-Assad in Syria, while Laila Soliman in Egyptdocumented the atrocities committed against protestors with performances like No Time for Art. Performances fromcountries experiencing radical change can be seen in various festivals all over the world, or on social media platforms suchas youtube. But not all countries are represented on these international stages. Afghanistan, also going through change,is less visible. When analyzing Afghan performances, reading international reviews or watching programs from diversetheatre festivals, it becomes obvious that few Afghan performances are presented internationally and Afghan directorsare hardly known outside their country. The question is, why international interest in Afghan productions is not as great asfor productions from other countries, such as those engaged in the “Arab Spring” or in Iran? Furthermore it is not only thelack of international attention which makes a difference: Afghan performances deal with topics such as education or drugabuse or reflect on the general situation in the Taliban area, but rarely do they contend with the current Afghan regime orthe international forces in Afghanistan. It appears as if performers asking for a radical change in society are not appreciated,even though the Afghan people are dissatisfied with their actual domestic situation. This implies that Afghan theatre hasan alternative meaning for Afghan society. Within this paper, I will discuss where various perceptions and meanings arise byexamining the backgrounds of several distinctive Afghan theatre groups and their performances.hannah_neumann@gmx.deFIRT/IFTR World Congress, University of Warwick, 2014322

Neoliberal Authoritarianism and Digital Media: Performing Comedy Online in AmmanWorking Groups: Arabic TheatreWhy would the state security services raid the offices of a Jordanian digital start-up specializing in comedic sketches? Giventhe political tensions in a country nestled between Syria, Iraq, and Palestine, weren’t there more important issues thanYouTube videos from young comedians? Or do these videos have some connection to the series of protests, strikes, and callsfor change that have occurred throughout Jordan for the past two years?The latter of these statements certainly seems to be the likely answer, and this paper seeks to explore how digital comedicperformance has filled a political, communal, and performative gap in contemporary Jordanian society. Eschewing thecensorship regime and prohibitive technical costs of live performance, while also avoiding the divisionary politics of Jordan’sprotest movements, artists working in digital comedy have attempted to chart the economic and intercommunal strugglesof contemporary Jordan, and particularly the attempt to survive and define one’s life in modern Amman.George PotterValparaiso University, USAGeorge Potter is an Assistant Professor in theDepartment of English at Valparaiso University.Previously he taught Middle Eastern literature, film,and culture at the Council for International EducationalExchange Study Center in Amman, Jordan, as well asresearch methods for Earlham College’s study abroadprogram in Amman. His research in Jordan focuseson competing national narratives in film and musicalperformances in Amman. As a doctoral student at theUniversity of Cincinnati, he completed a dissertation onrepresentations of the “war on terror” in theater fromCairo, London, and New York. His work has previouslyappeared in Arizona Quarterly, The Journal of AmericanDrama and Theatre, Proteus: A Journal of Ideas, and twoedited book collections.In doing so, the artists have challenged official state narratives that create Jordan as a unified community, particularly inits East and West Bank communities, and that also define neoliberal “development” as the way forward for modern nationstates,regardless of the economic stratification and suffering that such programs inflict. In doing so, digital artists, likeneoliberal programs themselves, have crafted a strategy that moves beyond national borders in order to promote analternative sociality.georgep0@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014323

Women and the Public Sphere in “Arab Spring” MoroccoWorking Groups: Arabic TheatreJaouad RadouaniSidi Mohamed Ben Abdellah UniversityWomen are newcomers to the political scene in Morocco. Their presence has not been substantially felt and practically takeninto consideration in Moroccan politics until the last two decades. But, however new, their heavy presence has been verynoticeable in different social and political sectors. More specifically, the Arab Spring wave incidents brought women to thefore and marked them as basic socio-political players whose weight in the Moroccan society must be given due importanceand whose participation in such events as the Arab Spring makes all calculations possible, especially if other experiencesthat took place in neighbouring countries like Tunisia, Egypt, Yemen, and Syria are taken into consideration. In this paper Iseek to explore the theme of protest as a purely staged type of socio-political action/performance and the way women’spresence in streets and central plazas of big Moroccan cities affected the public sphere and gave it, next to males’ presence,a feminine dimension. This paper’s aim is to shed light on the role Moroccan women played in determining the spectacularfeatures of revolution and how they, as female agents, adopted clear ideas, took to the streets, staged protest, and expresseddefinite needs through performance. The objective is to locate women’s call for change, democracy, and more rights withinthe national political current and assess effects and prospected results which have been included in the newly chartedconstitution and also those which would ensue in the future out of such feminine politicised spectacular action.Jaouad Radouani is a Moroccan EFL teacher at a highschool and a PhD researcher in Performance Studiesat Mohamed Ben Abdellah University, Faculty ofLetters and Humanities, Fez. He is author of two booksStereotype and Prejudice in Elizabethan Drama and Poemsfrom the Moroccan Desert and has had many articles onpolitics, culture, identity, and art published in nationaland international books, newspapers, and magazines.He has participated in and organized many internationalconferences and study days and holds diplomas in otherfields (biblical studies, library science, and teachingEnglish as a foreign language).jaouadradouani@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014324

Modernity, Dance, and Female Entrepreneurship in Turn-of-the-Century JordanWorking Groups: Arabic TheatreMaral YessayanDartmouth CollegeThis paper examines the relationship between dance, the entrepreneurial subject, and political legitimacy in Jordan, toconsider the gendered impact of state-modernizing projects on the lives of young female choreographers and danceworkersin 21st century Amman. Specifically, it locates the emergence of the national dance company in the private sectorin light of monarchical initiatives focused on entrepreneurial spirit, creativity, and gender-equality that are geared to managethe increasing numbers of Jordan’s educated un(der)employed youths. Methodologically, I use the case of a gender-mixednational dance company in Amman, privately owned by a female dance entrepreneur, and combine ethnographic analysisof its gender dynamics with a Foucauldian-inspired theoretical framework on the subject, agency, and governmentality. Iargue that the induction of female dance entrepreneurs and young dance workers in the market place, made possible by themonarchy’s initiatives, allowed these artists access to various forms of new rights and opportunities, while also placing themunder new authorities of power and forms of subjection and gender discrimination – inside and outside the company. Theauthenticating value of their bodies – both in presence and practice – is connected to a larger national gendered politics thatultimately serves as important means to preserve and propagate monarchical legitimacy and state sovereignty.Maral Tatios Yessayan is a feminist performanceethnographer with research interests focusing on the bodyin issues related to dance, gender, Islam, sexuality, labor,and nation-branding in 21st century Jordan. Her book,Performing Jordan: Gender and Labor on the TransnationalStage, examines the politics of national dance and thetemporary dance workers who negotiate issues of gender,sexuality, and Islam while giving insight into how their danceand labor are linked to the creation of the ideal citizen, themanagement of Jordan’s global brand, and the promotionof the monarchy’s local/international appeal. She holdsa PhD in Critical Dance Studies from the University ofCalifornia–Riverside, and gained the GRID Fellowship at theGender Research Institute at Dartmouth, and the MellonDance Studies Fellowship at Brown University. She was aninvited plenary speaker at the joint conference organizedby The Society of Dance History Scholars (SDHS) andthe Congress on Research in Dance (CORD) with thetheme: De-Centering Dance Studies: Moving Toward NewGlobal Approaches. Her article “Dancing With Patriarchy:Jordanian Women on Stage and in Life” will be published inthe Journal of Middle East Women’s Studies later this year.maral.yessayan@dartmouth.eduFIRT/IFTR World Congress, University of Warwick, 2014325

Working GroupsAsian TheatreWatch and Learn: Training in Contemporary Ningyo Joruri (in Japan)Working Groups: Asian TheatreJeremy BidgoodRoyal Holloway, University of LondonJeremy Bidgood is a puppeteer, puppet-maker andtheatre researcher, based in London. He is artisticdirector of Pangolin’s Teatime, an award winning newwritingpuppet company, with whom he regularly toursthe UK. He is a recipient of the RSC Buzz GoodbodyDirecting award and his work is regularly invited toperform at festivals such as the Manipulate Festival ofVisual Theatre and the Suspense Puppet Festival. He isalso the current chair of British UNIMA. As a researcherhe is currently undertaking a practice-led PhD at RoyalHolloway, University of London. His research focuses onthe influence of Japanese ningyō jōruri on world theatrepractice and has a particular interest in the work ofcontemporary companies, such as Handspring PuppetCompany, Blind Summit and Complicite and theiruse of so called ‘bunraku-style’ puppets. Jeremy alsoteaches puppet theory and practice to practitioners andstudents.Much has been made by Western theatre practitioners of the supposedly ‘fascistic’ training of the puppeteers of the OsakaBunraku theatre. The often repeated description of ten years training for puppet’s legs, ten years for the left arm andten years for the head and right arm has become commonplace in English language books on Japanese puppetry and asort of mantra amongst many Western puppeteers who recite it with a mixture of fear and envy. However, the reality ofa puppeteers’ training in many ningyō jōruri troupes rarely reflects this description. Often it is far more functional andincreasingly makes use of books, DVDs and even YouTube to transmit the technologies and techniques of ningyō jōruri. Tosome extent such methods are greatly increasing ningyō jōruri’s accessibility: Awaji island’s many flourishing school groupsrely on video recordings to supplement the occasional instruction they receive from the professionals of the Awaji ningyōjōruri theatre. However, as professional companies also increasingly use video recordings in their own training there is adanger of stagnation and homogenisation. Much of the image of these troupes is built on a rhetoric of authenticity that seeksto legitimise the troupe through association with and descendency from an often semi-fictionalised past. This has, in part,served to keep ningyō jōruri troupes as the ‘true guardians’ of their knowledge. However, as videos are increasingly becomingauthenticated repositories of knowledge for training whilst also becoming more available to the those outside the troupecan and should the outsider make a claim to this ‘authenticated’ knowledge? This paper discusses some of the contemporarytraining practices of Awaji ningyō jōruri and evaluates them in relation to theories of authenticity and tradtionality in orderto evaluate how changing practices may affect the future of ningyō jōruri in Japan and abroad.jeremy_bidgood@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014326

The Heyday of Popular Theatre (in Indonesia)Working Groups: Asian TheatreMatthew Isaac CohenRoyal Holloway, University of LondonMatthew Isaac Cohen is Professor of International Theatreat Royal Holloway, University of London and scholar ofIndonesian arts, puppet theatres around the world anditinerant performance. Born and educated in the US andtrained in Indonesia in pedhalangan (puppetry), his researchexamines tradition in modernity, the emergence of newartistic forms and practices in sites of cultural complexity,representations of alterity and transnational arts. He wasvisiting associate professor at the University of Malaya inMalaysia, visiting scholar at Sanata Dharma University inIndonesia, fellow-in-residence at the Netherlands Institutefor Advanced Study in the Humanities and Social Sciencesand in 2015 will be a visiting professor at the Universityof Connecticut. Chair of ASEASUK, the UK’s nationalsubject association of Southeast Asia, and an associateeditor of Asian Theatre Journal, he also co-convenes theAsian Performing Arts Forum, a London-based strategicpartnership bringing together academics, artists andcommunity members to discuss current issues and researchinto Asian theatre, dance and music. His books include TheKomedie Stamboel: Popular Theater in Colonial Indonesia,1891-1903 (Ohio UP and KITLV Press, 2006) and PerformingOtherness: Java and Bali on International Stages, 1905-1952(Palgrave Macmillan, 2010).The 1920s and 30s were decades of rapid change in the popular theater of Indonesia. Itinerant theater groups workingin the lingua franca of Malay (renamed bahasa Indonesia, “the language of Indonesia,” in 1928 by nationalists) embracedcosmopolitan styles and themes, abandoning the rusty formulae of komedi stambul for Hollywood-inspired melodramasinterspersed with jazzy extra turns. The flagship companies Miss Riboet and Dardanella proudly proclaimed themselves to beproper tonil companies, equating themselves with the Dutch “theater” (tooneel). Tonil was not only a vehicle for escapism,but also carried subtle political messages, as demonstrated by tonil plays based on Hollywood films such as Frankenstein andThe Mummy which were written and produced by Sukarno, Indonesia’s first president, in 1934-1938. Regional theatres suchas Javanese-language kethoprak and Minang-language randai of this period can be viewed productively through the lens ofwhat Stuart Hall calls “vernacular modernity,” performed in the interstices of enchantment with cosmopolitan modernityand familiar comfort of local tradition. Despised by European scholars and noble elites for degrading Javanese high culture,kethoprak also alarmed government officials from its beginnings in central Java in the 1920s due to its insertion of politicalmessages in coded Javanese performed to the to the illiterate Javanese masses. Randai, a youth theatre of West Sumatrabased on traditional tales, is today taken as an emblem of Minangkabau heritage, but took its current form in the late 1930sas a reflex of intense conflict between adat authorities busy formalizing customs and implementing traditional authority andfundamentalist Islamic scholars and leaders wishing to purge the region of accreted local traditions and transform Islamicpractice to line up with Middle Eastern norms.matthew.cohen@rhul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014327

Staging Sexual Diversity with Chinese Characteristics: A 350-Year Old “Lesbian-Themed” RomanticComedy in 21st Century BeijingWorking Groups: Asian TheatreMegan EvansVictoria University of Wellington, NZMegan Evans, PhD Hawai’i, is a Senior Lecturer in theTheatre Programme at Victoria University of Wellington,New Zealand. Her research interests include thehistory and development of directing and performanceof xiqu (Chinese opera) in contemporary China andon interactions between xiqu for stage and movingimage media. She has published in TDR, Asian TheatreJournal, Theatre Research International and New ZealandJournal of Asian Studies. She has trained in performancetechniques of traditional Asian forms at the Universityof Hawai’i at Manoa and the Academy of ChineseTheatre Arts in Beijing and in contemporary physicalperformance approaches including Suzuki Method andButoh with Zen Zen Zo Physical Theatre Company andFrank Oz in Australia. Recent directing credits include:Gao Xingjian’s Wild Man, Ōta Shōgo’s The Water Station,and Madam X and Mister Q, her adaptation of Can Xue’snovel Five Spice Street (published by Yale UniversityPress), which tied for best Theatre entry in the 2013 NZFringe Festival.Billed as the earliest traditional Chinese opera to present lesbian themes, the 2010 re-working of A Romance: Two Belles inLove was based on Li Yu’s play Lianxiang ban and challenged the heteronormative media landscape of 21 st century Beijing.Its publicity campaign plastered the city with images of same-sex desire and established the production’s pro-gay agendawithin a traditional Chinese ethical framework: “Two Belles in Love reveals an interesting cultural phenomenon three hundredyears ago—the Christian culture in the West banned homosexuality while the Confucian culture in China adopted a morelenient attitude.” In modern China, however, homosexuality remained officially classified as a mental illness until 2001 andstigma and discrimination continue. The production of Two Belles was headed by Stanley Kwan, the first openly gay filmdirector in the Chinese cinema scene. By offering a male performer in one of the leading female roles, it also exploited awider trend reviving the practice of male performers portraying female roles that had been discouraged since Communistvictory in 1949. Reviews in mainstream Chinese press were mostly positive, but Two Belles has also been criticized in Westernacademic press for not living up to its pro-gay media package. I argue that the staging must be considered in conjunctionwith, rather than in competition against, its marketing package in order to assess its impact on popular debate about sexualdiversity. Indeed, the production itself was seen by only a few thousand while the publicity package likely reached millions.I argue that the event taken as a whole strategically normalized same-sex desire within traditional Chinese ethical andaesthetic structures. It deployed a multi-directional subversion—offering a conception of homoeroticism as pre-modern yetprogressive, cosmopolitan yet with uniquely Chinese characteristics.megan.evans@vuw.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014328

Stratifying The Good Person of Szechwan in Classical Chinese TheatreWorking Groups: Asian TheatreWei FengTrinity College DublinWei Feng is a Chinese PhD candidate studying in theDepartment of Drama, Trinity College Dublin. He iscurrently working on intercultural performances inclassical Chinese theatre for his dissertation.Bertolt Brecht’s theory has a greater impact on classical Chinese theatre than otherwise, despite his incorrect and misleadingperception on Mei Lanfang. The reception of his theory, particularly alienation effect, by Chinese artists and scholarswitnesses the evolution of classical Chinese theatre’s reconstruction of subjectivity after the Cultural Revolution. This paperstratifies two chuanju [Sichuan opera] adaptations of The Good Person of Szechwan, focusing on how Brecht’s ideas regardingstage-audience relation were received and negotiated through varying socio-political contexts. The adaptation in 1987painstakingly imposed Brechtian alienation devices on classical Chinese theatre, which won wide academic acclaim becauseof its courageous experimentation with Brecht. Its overemphasis on formal integration of Brecht and Chinese theatrenevertheless shadowed Brecht’s politics. In its 2002 re-adaptation the obsession with formalistic alienation was considerablydiminished and the story retold. Despite its de-emphasis on Brecht’s formal devices, this adaptation was more alienatingthan the previous one. Central to this adaptation was Brecht’s quintessential dialecticism and political critique, which wereembedded in the play’s plot structure. In retrospection, there was a dearth of self-conscious in the first adaptation thatsurrendered to Brecht’s glory, corresponding to Chinese theatre’s mistaken preference of avant-garde form to politicalengagement because of cultural inferiority back to the 1980s; adapted by a more thoughtful and experienced playwright,the second one was confident and politically oriented, so that Brecht works productively if not faithfully for the Chinesetradition.arthurfw@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014329

Ibsen in One Take: Wang Chong’s Double Coded New Wave Theatre (in China)Working Groups: Asian TheatreMade with a shoestring budget, the award-winning 2012 production Ibsen in One Take results from the internationalcollaboration between the Chinese avant-garde theatre director WANG Chong and the Norwegian playwright Oda Fiskum.As a multi-media production, Ibsen in One Take sheds light on Wang’s innovation in Chinese theatre, the New Wave Theatre,by probing into the dichotomy of virtuality and reality in terms of both narrative strategy and theatrical form.In terms of the narrative strategy, Ibsen in One Take tells the life story of an ordinary man in the contemporary Chinesesociety by first deconstructing Ibsen’s 26 plays and then reassembling lines, plots, and characters. Challenging the traditionalreading of Ibsen’s plays in China, namely Ibsenism that emphasizes social problems, the production focuses on the leadingcharacter’s psychology instead. Presenting the mental flashback of the dying leading character, the production adopts anarrative strategy that resembles stream of consciousness and blurs the distinction between reality and reverie.Yizhou HuangTufts UniversityYizhou Huang is a first-year graduate student atDepartment of Drama, Tufts University. She graduatedfrom Beijing Foreign Studies University with a B.A. inEnglish Literature in June 2013. She was awarded FirstClass Merit-Based Scholarship twice at Beijing ForeignStudies University and Best Research Award at theSecond Boya Undergraduate Symposium in China.She has also worked as an intern at the Departmentof Program, National Centre for the Performing Arts(Beijing) to assist the administration of productions byforeign artists such as Sylvie Guillem. She presentedthe paper, “The Über-Marionette and the Pure Man:Craig’s Symbolist Total Theatre in the Light of Daoism,”at the 2014 Comparative Drama Conference. She hasbeen selected as winner of the 2014 Helsinki Prize ofIFTR. Her current research interests are political theatreand intercultural performances between China and theWest.In terms of the theatrical form, Ibsen in One Take is a two-dimensional production, simultaneously offering audience thelive performance and the stage movie. This mode of presentation corresponds with the narrative strategy to explorethe boundary between theatrical virtuality and reality. Employing cinematography of the long take, the stage movie alsoreinforces the production’s psychological perspective.The dichotomy of virtuality and reality embodies the spirit and hidden political agenda of Wang’s New Wave Theatre, a genrehe creates. This paper ends by discussing Wang’s New Wave Theatre and the position that Ibsen in One Take occupies inWang’s repertoire of the New Wave Theatre.Yizhou.Huang@tufts.eduFIRT/IFTR World Congress, University of Warwick, 2014330

The Contribution of Translated English Western Drama to the Modernization of Korean TheatreWorking Groups: Asian TheatreMeewon LeeKorean National University of ArtsMeewon Lee is a professor of Korea NationalUniversity of Arts in Seoul, Korea. She received herPh.D. at the University of Pittsburgh in the U.S.A.in 1983. Since then, she has been a professor andcritic in Korea. She served as the president ofKorean Theatre Research Association, and as thevice president of Korean Theatre Critics Association;these two groups are the biggest organizations fortheatre in South Korea. She was also the director ofthe Folklore Institute at KyungHee University, whereshe had been a professor between 1986 and 2002,and the director of Korean National Research Centerfor Arts. She published ten books such as KoreanModern Drama, Globalization and Deconstruction incontemporary Korea theatre, Korea Mask-Dance Theatre,and Contemporary Korean Playwrights. Her Englishworks are “Kamyonguk: The Mask-Dance Theatre ofKorea(Ph.D. Dissertation),” “Shamanistic Elements ofKorean Folk Theatre, Kamyonguk,” “Tradition and Estheticsof Korean Drama,” “The Roots and Transmission of KoreanPerforming Arts” and many others. She is interested inesthetics of Korean theatre in relation to its traditionsand the world-wide theatrical conventions and theories.The modernization of Korean theatre began at the turn of the 20 th century with the reception of Western theatre. Thefirst English work translated to Korean was Tales from Shakespeare by Charles and Mary Lamb in the 1910s. More Englishworks were translated in the 1920s. Many works of Shakespeare’s were translated in extracted and adapted versions,including The Tempest, The Merchant of Venice, Cymbeline, Hamlet, Romeo and Juliet, Macbeth, Othello, Julius Caesar and AMidsummer Night’s Dream. Their translations were abridged, cut-down, and still highly likely from Japanese. In addition toShakespeare, works of Shaw, Lord Dunsany, Lady Gregory, Wild and Synge were introduced. The 1930s was the period thatdirect translations from their original languages and complete translations were established. In addition, many translationswere actually performed. The translations of classical drama were relatively few compared to those of modern drama inthe 1930s. The writers of Abbey theatre and Shaw remained popular, while American writers such as Eugene O’Neill andClifford Odets were newly introduced. The introduction of American drama made a big progress in the 1930s comparedto the 1920s. Indeed, the Western realistic plays became widespread with the translations of the 1930s. Because theJapanese as well as the colonized Koreans were under wartime in the first half of the 1940s, translations of foreign playswere generally prohibited. Korea was finally liberated in 1945 after Japan lost World War II and the new era was begun.In conclusion, the modernization of Korean theatre began with the introduction of English western plays, especiallyShakespeare and realistic plays, which performed a big role in developing the modern western-style Korean theatre.mwjolee@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014331

Translating Modernity: Labiche Comedy in Modern ChinaWorking Groups: Asian TheatreThe topic of “translating modernity” has been attracting researchers’ attention. In fact, the development of Chinese moderndrama can be regarded as a history of translation and reception of western drama. In different issues of Xin qingnian (NewYouth), Ouyang Yuqian and Hu Shi have pointed out the necessity of translating western drama. Ouyang Yuqian emphasizedthe importance of “translating dramatic works, taking them as references and imitating them”. Hu Shi suggested to hiscontemporary to select 300 “excellent” plays and translate them. From 1923 to 1937, Song Chunfang published threevolumes of Song Chunfang lunju (Essays on Theater). In addition to the essays and his own translations collected in these threevolumes, Song has also given a survey of available translations in the second volume of his Essays.Shih-Lung LoParis Diderot UniversityShih-Lung Lo holds a BA in Foreign Literature fromNational Taiwan University (Taiwan), and an MA and aPhD in Theatre Studies from Sorbonne Nouvelle - Paris IIIUniversity (France). He currently teaches Chinese writingand reading in the Department of Chinese Studies inParis Diderot - Paris VII University (France). His researchinterests include modern Chinese theatre, translation andreception of Chinese theatre in France, and the activitiesof Chinese performers in the 19th- and 20th- centuryEurope. He has recently published several articles onthese topics (in French, Chinese, or English), such as “TheConcept of ‘su’ in Modern Chinese Theatre” (Estheticof Notions: Resonances between Arts and Cultures,L’Harmattan, France, 2013), “A Sino-Japanese Productionof The Peony Pavilion: a Historical Survey of the Receptionof Kunqu in France” (Journal of Studies on Tang Xianzu,China, 2013), “Chinese Performers in French Theatre inthe Second Half of the Nineteenth Century” (Journalof Theatre Studies, Taiwan, 2012), “Exhibitions, TravelingTroupes, and Chinese Performances on the French Stagein the 1850s” (Revista de Estudos Chineses, Portugal,2012), etc.Among the plays presented in Song’s Essays, French playwright Eugene Labiche’s works are highly recommended. Muchdifferent from other contemporary who proclaim the “Ibsenism” as social problem remedy, Song prefers the “plays forpleasure”. According to Song, “the only object of a play is to please the audience – not only the minority but the majorityof the audience.” Song’s presentation will be published in the preface of Zhao Shaohou’s Mi yan de sha zi (Shanghai, Xinyueshudian, 1929), one of the Chinese translations of La Poudre aux yeux (Throwing Dust in People’s Eyes, 1861) in the Republicanperiod. In this paper, I will focus on different versions of the same play – including Cao Yu’s adaptation – which parodies themanner of middle-class civility through the marriage of a young couple. I will examine how the ironic scenes are transportedto the context of urban Chinese family’s daily scenes in the 1930, and how they become Chinese audience’s “plays forpleasure”.loshihlung@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014332

Ibsen Reception in the 1910s and Early 20s in Japan: the Complexity of the Early History of Shingeki,the Modern Japanese DramaWorking Groups: Asian TheatreMitsuya MoriSeijo UniversityMitsuya Mori was Professor of Theatre Studies atSeijo University, Tokyo, from 1983 to 2008. He is nowProfessor Emeritus at Seijo University. He was thePresident of the Japanese Society for Theatre Researchfrom 1996 to 2006, and a member of the executivecommittee of the International Federation for TheatreResearch from 1995 to 1999 and from 2001 to 2005.He has been a member of Norwegian Academy ofScience since 1997. Mitsuya Mori’s research worksare categorized mainly into three fields: aesthetics oftheatre, Ibsen and Scandinavian drama, and comparativetheatre history focused on the modernizing processof theatre in Japan. His published books includeScandinavian Theatre (1981), Ibsen’s Realism (1984),Comparative Theatre of the East and the West (ed. 1994),Ibsen’s fin de siècle (1995), The Poetics of Theatre (2007),and Changing Aspects of Theatre Studies (ed. 2007).Mitsuya Mori also has translated a number of Ibsen’sand Strindberg’s plays, and directed some of themwith professional theatre companies. His productionof Double Nora, a modern noh play based on A Doll’sHouse, was invited to the International Ibsen Festival inOslo in 2006.In the present paper I will discuss about the Ibsen reception in Japan, concerned mainly with the Ibsen productions fromthe first one in 1909 to the one right before the great earthquake in Tokyo area in 1923. (This earthquake transformed thewhole theatre scene in Tokyo.) Twenty-two Ibsen productions are counted in this period, including both adaptations andtranslations. It is generally understood that Ibsen not only promoted the starting point of modern Japanese theatre, shingeki,but also exercised a great influence on Japanese drama at the early stage of shingeki history. However, examining those Ibsenproductions, we may throw doubt on this prevailing view. Ibsen’s realism might have been insufficiently digested in theseproductions, for the traditional acting convention of female impersonation was still practiced in some of them. AlthoughIbsen criticism by Japanese critics in this period was much advanced in comparison to that in previous times, it was onlyfollowing the Western criticism at the time. So that, after the earthquake, Ibsen was regarded to be already dated; this wasthe tendency of the Europeans perspective on Ibsen after the First World War. The majority of new Japanese plays writtenin this period, called “Taisho golden ages of drama,” were one-act plays, and so few dealt with social problems as deeply asIbsen did. However, these are problems not only of Ibsen reception but also of the reception of the modern Western dramain general. The difference between the modern Japanese drama at the time and the traditional kabuki sewa-mono, plays ofeveryday life, was not so clear as one imagines today. It seems to me that the Western concept of drama was, and still is tosome extent, foreign to the Japanese mind. Here lies the complexity of the early history of shingeki in Japan.morimit@seijo.ac.jpFIRT/IFTR World Congress, University of Warwick, 2014333

On Some Aspects of Modernization of Japanese and Asian TheatresWorking Groups: Asian TheatreJapanese underground theatre produced lots of fruitful works. After the 80’s it seems Japanese-Asian theatrical syncretismonce more opened to Asia with an expansion of globalization. Although it was not different from a pre-war Pan-Asianperspective, it was inseparably intertwined with a Japanese self-orientalist view point. In this paper I will argue some aspectsof the Modernization of Japanese and Asian Theatres and that they have some shared experiences in World War II, The ColdWar, Globalization, Economic development, Urbanization and Preservation of Traditions. Exploring these factors I will showthese have promoted unique theatrical trials of modernization of traditional Japan and Asia. At the same time they haveindicated some ways to articulate Asian theatrical proximity.Yasushi NagataOsaka UniversityYasushi Nagata is a Professor of Theatre Studies atGraduate School of Letters, Osaka University. He hasstudied Russian and Japanese theatre history and drama.Focusing trans-cultural study on Japanese-Asian-Russian theatrical interaction, he is a author of manyarticles and co-authored books in the areas of theatrehistory and theory, dramatic and production analysis.He also teaches Performance Studies on the GraduatePrograms of Arts and Media, Osaka University.nagatays@let.osaka-u.ac.jpFIRT/IFTR World Congress, University of Warwick, 2014334

Sinicizing Shakespeare: Macbeth In Traditional Chinese OperasWorking Groups: Asian TheatreRenfang TangUniversity of HullRenfang Tang is Associate Professor of English atNanjing Audit University, Nanjing, China and a PhDstudent at the School of Drama, Music and Screen(Drama), University of Hull, UK. Her ongoing PhD thesis,“Shakespeare in the Chinese theatre, an InterculturalStudy,” aims to find out what and how interactions takeplace among Shakespearean text and performance andChinese culture by examining various genres of stageproductions and film adaptations of Shakespeare in China.Her research interests include intercultural theatre,Shakespeare and performance, music in Shakespeareand Shakespeare on screen.Over the past three decades, adaptations of Shakespeare in xiqu (traditional Chinese opera) have attracted Western audienceswith their stage charms. Back home, these productions have successfully engaged audiences formerly uninterested intraditional theatre and also promoted serious intercultural speculations. This paper examines two sinicized adaptations ofMacbeth—the kunju opera Blood-stained Hands (Xue shou ji) and the yueju opera General Ma Long (Ma Long jiangjun), with afocus on their dramatic techniques and styles of adaptations. The two adaptations illustrate that Macbeth’s encounter withChinese recipients has been hugely influenced by the rapid socio-political-economic changes in Mainland China over thepast thirty years. Set in this context, this paper compares the two adaptations’ distinct approaches toward matters suchas the interpretation of Shakespeare’s characters, the strategy for presenting the philosophical issues, restructuring theoriginal play for the operatic genre, the creation of arias and the performers’ gestures, movements, makeup and costumes,and the mise-en-scène. Underneath their iridescent theatricality, the two adaptations of Macbeth each inculcate valuesstructured by their distinct sociopolitical and cultural environs. In the kunju Blood-stained Hands, Shakespeare was used tocelebrate the ancient theatrical tradition and to reaffirm concerns and sentiment that had been deliberately destroyed inthe previous decade. The all-female yueju opera General Ma Long, conversely, resorted to Shakespeare’s authority for artisticexperiments in an attempt to revitalize a theatre with its repertoire traditionally confined to plays of romance and love andexpand its acting vocabulary. The two sinicized adaptations are innovative artistic development to renew Shakespeare. Theytake the international cultural icon off his pedestal in English literature to illuminate China in the context of globalization andcross-cultural exchange.renfangtang@163.comWu Fenghua as Ma Long/Macbeth on his triumphant return afterquashing the rebellion. yueju General Ma Long/Macbeth (2001).Courtesy of Zhejiang Shaoxing Xiaobaihua Yueju Opera Troupe.FIRT/IFTR World Congress, University of Warwick, 2014335

A Tradition in Modernization: The Contemporary Development of Kunqu in Mainland China,2001—2012Working Groups: Asian TheatreMing YangUniversity of Hawaii at ManoaMing Yang is a PhD Candidate in the Asian TheatreProgram of Department of Theatre and Dance at theUniversity of Hawai‘i at Manoa. Her presented papersinclude: “Between Two Countries and Across 1450Years -- A Study on the Chinese Origin of the JapaneseGagaku Masterpiece Ran Ryôô” and “Transforming withThe White Snake – A Personal Perspective on the Cross-Cultural Representation of Jingju in Hawaii.”Kunqu (also translated as Kun Opera) is one of the oldest indigenous Chinese theatre (xiqu) genres. It originated in the16th century during the Ming dynasty, achieved two hundred years of prosperity as China’s national theatre form, andis still widely performed across the country. Kunqu carries on the characteristics that it inherited from older forms andexerted great influence on the development of a number of the newer ones. The comprehensive fusion of performanceelements in Kunqu includes song, speech, dance, acting and acrobatic skill, and it boasts a treasury of materials for newplays and numerous scenes that have been transplanted to other forms. It is regarded as having “the highest taste ofclassical dramatic literature,” claiming the “perfect system of classical theatre performance,” and enjoying the status ofbai xi zhi mu (“Mother of hundreds of xiqu forms”). Nonetheless, like other classical xiqu arts, Kunqu was in decline by theend of the 20th century. However, the contemporary development of Kunqu in the 21st century is characterized with theconstant disputes over the priority of revitalizing efforts – whether Kunqu should be preserved as a traditional art form orit should be innovated to keep up with the process of modernization in a globalized context. My study proposes to reviewand examine the Kunqu productions, over 50 of them in total, in mainland China between 2001 and 2012, summarizethe general tendencies by selecting and analyzing the specific examples of 8 to 10 representative productions by majorprofessional Kunqu companies, and construct the contemporary aesthetic system of Kunqu in the process of preservation,inheritance, innovation and development.yangming@hawaii.eduFIRT/IFTR World Congress, University of Warwick, 2014336

Gender Stratification in Okinawan Theatre with Focus on Ikuko Uema’s Specific IdentityWorking Groups: Asian TheatreIkuko Uema (1906-1990) was not a well-known Juri (courtesan) but a distinguished Ryukyu dancer. It meant that sherepresented the female performer’s identity even though women’s performance had been underestimated in the maleoriented Okinawan performing history and modern society. The male dominated performing entertainment had been thecommon cultural sphere in Okinawa since the 17th century when Satsuma invaded the kingdom of Ryukyus. It was the normthat only men could perform on the stage in the kingdom of Ryukyu and the same norm lasted until the end of WWII.In the history of the Ryukyu kingdom and modern Okinawa after it was annexed by Japan, female performers’ figures werecovered or hidden in the pleasure quarters in Naha since 1672; however, their pursuance of performing songs and dances hadbeen pursued for the 273 years of this period. Nonetheless, it was also true that a ceremonial/ritual dances like Ushide-ku ineach village or community were solely performed by women.Shoko YonahaThe University of RyukyusShoko Yonaha is a theatre critic and PhD candidateat the University of the Ryukyus. She is currentlyworking on Grant in Aid for Science research about“Varied aspects of Juri (Yujo or courtesan) in OkinawanCultural Representation” (2013-2016). She has written“Okinawan Drama: Its Ethnicity and Identity underAssimilation to Japan” in Ethnicity and Identity:GlobalPerformance (Rawat Publication, Jaipur, 2005), andedited The Genealogy of Kumiodori-from Chokun’s FiveMastgerpieces of Kumiodori to Okinawan Shibai(Plays)and Jinruikan(The House of Man)(2012)Through Ikuko Uema’s active role as a Ryukyu dancer and performer, I’d like to shed light on women actors’ faces in themodern Okinawa performing arts history.How women acted under the norm, what women had to deal with in the male dominated society would illustrate Ikuko’sextraordinary gifts as a performer. She became the first leader of a female theatre troupe OTOHIME in 1949. Ikuko certainlyrepresented the gender stratification of Okinawan theatre.nasaki78@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014337

Working GroupsChoreography and CorporealityThe Neoliberal Body in Kris Verdonck’s UNTITLED: Performing the MascotWorking Groups: Choreography and CorporealityKristof van BaarleGhent UniversityKristof van Baarle (°1989) holds MA degrees in ArtScience (Ghent University) and Theatre Studies(University of Antwerp) and since October 2013 heis a research scholar (promotor: Christel Stalpaert)at Ghent University with a Ph. D. fellowship of theResearch Foundation - Flanders (FWO). His researchconcerns the philosophy of Giorgio Agamben, thework of Belgian artist Kris Verdonck and the relationbetween technology and the human in a philosophicalposthumanist constellation. He has published aboutthis in Performance Research and DOCUMENTA and hisMA thesis, Language: Impossible, has been published inthe series AGENT-New Theses in Performance Research(2014). Kristof also works as a dramaturge for KrisVerdonck - A Two Dogs Company and is an editor of thejournal Ecetera.The global late capitalist logic is based on action (praxis) and production (Agamben 1999, 2007). However, capitalism and itscurrent radical form, neoliberalism, are according to Giorgio Agamben ‘anarchos’, without origin, which led him to call thecentre of capitalism ‘inoperative’ (Agamben 2007). The emptiness at the core of capitalism but also of humanity (Agamben2000 and 2004) has a paradoxical relation with the prevalence of the notion of performativity over the past fifty yearsin the fields of technology, science and culture (McKenzie 2001 and Brown 2003). The proliferation of consumption andproduction without fundament has led to an ontological crisis for the neoliberal consumer, whose existence has lost allfoundation, leading to feelings of impotency and distress. Also, Richard Sennett has pointed at the redundancy of theemployee in this system that increasingly reificates the human being and that has reduced the worker to a disposable,replaceable unit (Sennett 2006, Verhaeghe 2012 and Pinxten 2013). Belgian theatre maker Kris Verdonck’s UNTITLED (2014)reflects on this socio-economic and political situation. The deadlocked position of the worker is represented through thefigure of the mascot. Disappeared in his or her suit, the mascot performer cannot but represent and must remain hidden atthe same time. This neoliberal body, which suspends the subject in favour of the object, has lost its face and is the nexus ofentertainment, consumption and work but also of absence, emptiness and the inhuman. This paper will show, however, howVerdonck explores the socio-economic and political aspects of the mascot, as well as its performative and aesthetic nature.The crossroads of extremes of the neoliberal body of the mascot is part of Verdonck’s broader artistic research on the bodyobjectrelation, emptiness and ‘ways not to be’.kristof.vanbaarle@ugent.beFIRT/IFTR World Congress, University of Warwick, 2014338

Still Still Living (Olga Desmond)Working Groups: Choreography and CorporealityMy paper starts from a photograph of Olga Desmond’s Schönheit-Abende (Soirées of ‘Beauty’), performed and recorded 1908in Berlin. Beginning with a description of the photograph as well as the context of the performances, I would like to addressa number of questions: The motif of “Galathée” - the statue coming to life - as an iconographic reference which allows toshape the perception of the nude body between motion and stillness; Desmond’s choice of the performance practice ofliving pictures in the context of more radical practices of nude dances she also performed; the status of the photographitself in the economies of images and desire between the scarcity of performance and the abundance of photographs. Howcan we, looking at the photographs today, address Desmond’s performative practice of becoming an image which we areonly able to see through the photographic image, itself a still? Is there evidence of Desmond’s still living in any material traceswe can see in the photographic image? What would be techniques of the still still living? These observations and questionsevolve within the framework of more general thoughts about the relation of image and movement and about the problemsof material sources in theatre and dance historiography.Bettina Brandl-RisiUniversity of Erlangen NurembergBettina Brandl-Risi studied Theatre Studies and Germanliterature at the Universities of Munich and Mainz(Germany) as well as Basel (Switzerland). She obtained herDr. phil. in German literary studies from Basel Universityin 2007 with a dissertation on tableaux vivants on stageand in literature in the context of the visual culture ofthe 19th century. From 2005 to 2011, she worked at FreieUniversitaet Berlin as a postdoctoral research fellowat the Collaborative Research Center „Kulturen desPerformativen“. In addition to that, she taught theatrestudies at FU Berlin and, during spring term 2008, at theYale School of Drama. In 2010, she was Max Kade VisitingAssociate Professor of Performance Studies and GermanStudies at Brown University as well as a Visiting Scholarat the University of Chicago. In 2011, she was appointedJuniorprofessor of Performance and ContemporaryTheatre at Friedrich-Alexander-Universitaet Erlangen-Nuernberg. Bettina’s research interests include: historyand aesthetics of theatre from the 18th century untiltoday; relations of literature, theatre and the visual arts;theatre history and picture theory; image and movement;contemporary theatre; virtuosity; participation andaudience; re-enactment.bettina.brandl-risi@fau.deFIRT/IFTR World Congress, University of Warwick, 2014339

History, Memory and the Impossibility of Reconstructing AudiencesWorking Groups: Choreography and CorporealityRamsay BurtDe Montfort UniversityRamsay Burt is Professor of Dance History at DeMontfort University, UK. His publications includeThe Male Dancer (1995, revised 2007), Alien Bodies(1997), Judson Dance Theater (2006), and, with ValerieBriginshaw, Writing Dancing Together (2009). In 1999he was Visiting Professor at the Department ofPerformance Studies, New York University, and he is avisiting teacher at PARTS in Brussels. With Susan Foster,he is founder editor of Discourses in Dance. With ChristyAdair he is currently running an AHRC-funded researchproject into British dance and the African diaspora.An underlying concern within recent European contemporary dance is history and memory and what happens when theseare brought to bear on the present. Over the last ten to fifteen years, there have been a growing number of pieces thataim to reconstruct, re-enact, reinvent, reactivate or in other, similar ways cite past works in a performative way. Reflectingon his reconstructions of experimental performances from communist-era Slovenia, the director Janez Jansa notes that:‘What makes a performance part of its time is not only the performance itself but its audience. In this sense, the only realreconstruction would be the reconstruction of the audience’. Even if one could reassemble, years later, the original cast andall the audience members from a particular performance, the result would not be the same performance. Performers andspectators would be older and have had new experiences since the initial performance that would affect the subsequentone. Histories and memories are fundamental to the event of live performance. Recent works that reconnect with andvalue histories and memories are, in Walter Benjamin’s terms, attempts to save an oppressed past that is threatened byprogress and in danger of disappearing into the empty time of oblivion. Acts of remembrance that occur in recent Europeanwork have the potential to uncover and reveal the effects of the oppressed past and thus help performers and spectatorsunderstand better the potential of the present. Benjamin writes about blasting ‘a specific era out of the homogeneouscourse of history, blasting a specific life out of the era or a specific work out of the lifework’; when this is done, he suggests,one can recognise ‘a revolutionary chance in the fight for the oppressed past’. This paper discusses acts of remembrance thathelp us recognise what times we live in.rburt@dmu.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014340

Choreography and Stratification: Cycling Through Eiko & Koma’s Body of WorkWorking Groups: Choreography and CorporealityRosemary CandelarioTexas Woman’s UniversityEiko & Koma’s body of work created over more than four decades invites consideration of stratification as a cyclical process.Rather than lodged in a layer or left behind, their themes, movements, and dances are the subject of frequent reconsiderationand continual circulation through which contexts and meanings accrue even as they reappear. At the heart of their work isa notion of site-adaptability that extends beyond pieces explicitly designed for multiple outdoor locations to the very ideaof choreography itself. This adaptability is ingrained both in the way Eiko & Koma develop the concepts of their pieces andin their approach to each specific performance. Sets, costumes, and even music may change, or be recycled, according toperformance conditions. This orientation to choreography as a flexible and recurring structure challenges traditional notionsof what choreography is. Accordingly, methods of choreographic analysis based in representation or signification are notsufficient for a study of Eiko & Koma’s repertoire. In this paper I expand on Eiko & Koma’s practice of site-adaptability anddiscuss how I adapted methods of choreographic analysis in order to account for the effective and affective work of Eiko& Koma’s dances. I conclude by suggesting how this cyclical, rather than layered, choreographic approach engenders adifferent relationship to history.Rosemary Candelario is Assistant Professor ofDance at Texas Woman’s University. Her researchinterests include the globalization of butoh, Asian andAsian American dance, artist archives, site-specificperformance, arts activism, and representations of sexand reproduction in performance and popular culture.She is working on a book on Eiko & Koma for WesleyanUniversity Press and has published in the Journal ofTheatre, Dance and Performance Training, Asian TheatreJournal, and The Scholar and Feminist Online. Rosemaryearned a PhD in Culture and Performance from UCLA.rcandelario@twu.eduFIRT/IFTR World Congress, University of Warwick, 2014341

Spatial Metaphors in the Analysis of Children’s Bodily Experiences in Early ChildhoodWorking Groups: Choreography and CorporealityPaulina Maria CaonFederal University of UberlândiaPaulina Maria Caon is a Masters in Performing Artsby ECA-USP and a student in the doctoral programof the same institution. She is a professor at theFederal University of Uberlândia. She has two graduatedegrees from the Department of Performing Arts inthe University of São Paulo: Degree in Art Educationwith specialization in Performing Arts (2003) andBachelor of Arts major in Theatre Theory (1999). Paulinais a member in the Theatre Collective Dodecaphonicsince 2008, investigating procedures for creatingcontemporary theater. Between 2001 and 2007 shedevoted herself to the study of Klauss Vianna´s workwith Obara - research and creation group . She servedas professor in the Department of Performing Arts atUSP in 2009 and 2010, and in various public projectsfinanced by public funds in São Paulo since 2000. Inthe last ten years has established interfaces betweencorporeality, theater, education and anthropology.These relationships have motivated the research ofMasters, whose dissertation entitled “Building bodies,weaving stories – body education and culture in twocommunities in São Paulo” was presented in 2009 andpublished in 2012 by Ed Annablume.This present paper will share part of my PhD research, focusing on further analysis of young children bodies in the schoolcontext, through different moments of interaction between adult and children bodies. The doctoral research in a generallevel has its axis in the study of the corporeality found in teaching and learning processes in school contexts, questioning thepossibility of naming the body modulations present in the contemporary and delimiting “the” corporeality of children andyouth in Brazilian Basic Education. The study of the embodiment methodological paradigm, from Thomas Csordas, as well asthe dialogue with the Anthropology of Body and Performance Research Group at the University of Buenos Aires, has improvemy research and analyzes. I had a fieldwork inspired on phenomenological and ethnographic observation which took place intwo schools in Uberlândia - Minas Gerais - Brazil. In this paper, my starting point is precisely such theoretical-methodologicalcontext and the contributions received in the last Congress (Barcelona - 2013). I will approach the fieldwork notes andimages taken from the Centro Educacional Maria de Nazaré (School of Early Childhood Education) to share some summarieswhich emerged from observation so far, by using spatial metaphors. Such spatial metaphors (drifts, tangles, groupings)create general categories which are based on the interaction between bodies and spaces, without thereby standardizingthe uniqueness from the corporeal experiences and bodily states of each child. Such metaphors seem fertile to me - in theanalysis of corporeal experiences and interactions between children and adults of the school in different situations (“free”games, body improvisations proposed by adults, several games) - as they engender senses accurately without losing thecomplexity of the experience from which they emerged.paulinamariaus@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014342

Embodying the Social: Examining Stratification and Audience in Participatory WorksWorking Groups: Choreography and CorporealityRebecca FreeGoucher CollegeRebecca Free is Associate Professor of Theatre andholds the Hans Froelicher Professorship in the Artsat Goucher College (Baltimore, MD, USA), where sheteaches acting and theatre history. She received herPhD in Theatre from Indiana University-Bloomington.Her work as a theatre historian has focused on acting,the body, and images of the feminine in early twentiethcentury France. She is currently working on a studyof public art in contemporary Marseille. She is alsoa practicing director and performer, with her dancepractice at present focusing on the performance ofreconstructed historical social dance forms.My research addresses theatre in contemporary Marseille, especially performance that is “participatory” in two senses:relational art, using direct interaction with and between audience members as the fundamental medium for the performanceevent; and community-based art, co-produced with and targeted primarily for specific publics (e.g., inhabitants of a particularneighborhood) in preference to a more abstractly defined general public. Scholarship on participatory arts has interrogatedthe significance of and process for creating a productive relationship between audience and performers; I am interestedespecially in how virtuosity in movement inflects this relationship, where trained actor/movers perform alongside amateurs.What counts as virtuosity in this framework, and how does the highlighting in performance of certain physical actions asexceptional tell us about the ways such theatre both reflects and seeks to change relations of social stratification? My maincase is the Théâtre de la Mer, a substantial part of whose repertoire includes site-specific performances addressing publiccommons spaces in disadvantaged neighborhoods. The troupe draws on physical-theatre techniques in works that seek toempower and give voice to the neighborhoods’ residents. I am investigating how the artists’ use of corporeal strategiessuch as precarious balance articulates connectivity, meaning intra-corporeal, somatic connection as well as interpersonaland relatively impalpable connectedness. Analysis of this work helps us understand how the social may be mediated bytechniques of embodiment in theatre seeking an artistically and politically productive relationship with audience members.Despite its political goals of empowerment, such socially-ameliorative work has sometimes been criticized for privilegingconsensus over dissent. It is not always clear whether “participation” contributes to the desired changes to social hierarchy.How might one understand the embodied performance techniques themselves as politically productive? How might oneunderstand the civic implications of such work by examining corporeality?rfree@goucher.eduFIRT/IFTR World Congress, University of Warwick, 2014343

Melodramatic Dancing in Musical Theatre.Working Groups: Choreography and CorporealityThe text concerns dance in “light” musical theatre during the first half of the twentieth Century. In order to comprehendthat dancing, I turned to melodrama a year ago. During the last two decades musicologists have published interesting workson music theatre by connecting it to melodrama, as have other cultural theorists. Ben Singer (2001) studied melodrama inconnection with film, Sarah Hibberd (2011) edited a book on melodramatic voices, where she emphasized the voice in operawhile Millie Taylor (2011) studied Musical Theatre where melodramatic features seem close.My assumption is that it is fruitful to look at dancing in operetta and musical comedy as the corporal aspect of melodrama.Authors do not have the same understanding of what melodrama is, but in all these studies, excessive expression, music, andgestures, are qualities that are ascribed typical for melodrama.My study of the dance at Stora Teatern in Gothemburg 1929-1960, an outspoken lyrical theatre, shows that its dance livedon the borders between the town’s high- and middle-brow cultures, presenting matters of class, race, and nationality as veryimportant features in the genre.Lotta HarrysonUniversity of StockholmMA in theatre and dance studies. I have been in thedance field since early childhood. Former freelancedancer and teacher. Former head of the boardof Danscentrum, a national association for noninstitutional, professional dancers, and member of theboard of Dansens Hus. Currently member of the boardand writing in Danstidningen, a Swedish journal ondance and mobile stage art.lotta@soundhabits.seFIRT/IFTR World Congress, University of Warwick, 2014344

Suspended/Attacked: Breathing Strategies as Performative Knowledge in the Dance PerformanceRosas danst RosasWorking Groups: Choreography and CorporealityLaura KarremanGhent UniversityLaura Karreman is a member of the research centreStudies of Performing Arts and Media at GhentUniversity where she is currently working on the PhDresearch project ‘Transmitting Dance Movements’ thatexamines the implications of digital media like motioncapture technology for the analysis and transmissionof dance. She holds a BA in Theatre, Film and Televisionstudies from Utrecht University and an MA in ArtStudies from the University of Amsterdam. She workedas a freelance dramaturg and researcher in the fieldof theatre, dance and visual arts, was performing artsadvisor for the Amsterdam Art Fund and worked forTheatre Frascati in Amsterdam, ArtEZ Institute for theArts in Arnhem, and the Theatre studies department ofUtrecht University.Now that motion capture technology is becoming increasingly advanced, the solution for a digital mode of dance transmissionis at our doorstep. Or is it? Today, the key challenge in this field of study is - even if the considerable practical difficulties torecord dance movements in a motion capture setting are overcome - to interpret and visualize the resulting data in a waythat is meaningful for dance practice and research. This paper argues that to make this motion data ‘speak’, it is worth tofurther examine the ‘performative knowledge’ that is incorporated in texts and practices of dance transmission. In dance, thebody is the archive. Body-to-body communication in the studio is the unchallenged ‘golden standard’ of dance transmission.As opposed to choreographic knowledge, the tacit knowledge or ‘know-how’ that is at the centre of this practice oftenremains under-represented in dance literature. The curiosity towards dance knowledge coming from other fields that alsodeal with questions related to ‘corporeal computation’, such as the film, gaming and robotics industries, may well give a newimpulse that could also benefit the dance field; these exchanges offer new opportunities to articulate embodied knowledge.To give an example of how such an analysis of performative knowledge may be conducted, this paper examines three keysources relating to the dance performance Rosas danst Rosas by the Flemish dance company Rosas: the recent publicationA Choreographer’s Score, interviews with Rosas dancers, and the film that was based on the choreography. Whereas AChoreographer’s Score is a rich source for choreographic and contextual knowledge about the performance; the interviewsemphasize the relationship between breathing strategies and expression, which is a performance feature that is also madepalpable by the film. How may this type of performance analysis inform our thinking about corporeal computation and digitalways to transmit dance?laura.karreman@gmail.comLaura Karreman (left) interviews Rosas dancer ElizavetaPenkova (right).FIRT/IFTR World Congress, University of Warwick, 2014345

Bursting Bubbles: Dance, Space and AffectWorking Groups: Choreography and CorporealityThis paper will examine instances in dance performance when the choreographed intrusion of a moment of distressing“reality” allows for an experience of a “space of affective adjacency”. I understand such a space to be one that allows forthe creation and experience of affects that go against the grain of their surroundings, allowing for alternative realities to beglimpsed. I will look at Fearghus Ó’Conchúir’s Cure (2013), a collaboratively choreographed solo dance about what ‘emergesfrom the experience of collapse - personal, political, moral, economic’ (Ó’Conchúir, 2013), and that includes a moment ofphysical illness. This moment of an intruding “reality” into dance performance will be discussed from two perspectives. Iwill first explore how such moments might serve to highlight the spatial and affective interconnectedness of spectator andperformer, and how these instances of a heightened awareness of co-existence in a shared space point to the fragility andvulnerability of social connections in everyday life. I will also look at these moments of “reality” as attempts to provide a sortof inoculation (a small dose of something dangerous) against the chaotic and precarious socio-political and cultural contextsout of which the dance work examined emerged.Aoife McGrathQueen’s University BelfastDr Aoife McGrath is a lecturer at the School of CreativeArts, Queen’s University Belfast, where she researchesand teaches dance and theatre. She has worked as adancer and choreographer, and as dance adviser forthe Irish Arts Council. Her research interests includedance and politics, performance and philosophy, andcultural and affect studies. She is a co-convener of theChoreography and Corporeality Working Group of theInternational Federation for Theatre Research. Recentpublications include her monograph, Dance Theatre inIreland: Revolutionary Moves (Palgrave Macmillan, 2013).aoife.mcgrath@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014346

Moving Knowledge: Using Memory and Music to Investigate Choreographic ProcessesWorking Groups: Choreography and CorporealityVahri McKenzieEdith Cowan UniversityDr Vahri McKenzie lectures in the interdisciplinaryArts Program at Edith Cowan University (South West)in Western Australia. She engages in practice-ledresearch, and traditional research with a creative artsfocus (The Creativity Market, ed. D. Hecq, 2012; LiminaJournal of Historical and Cultural Studies, 2007). Shehas a particular interest in interdisciplinary creative artspedagogy and research methodologies; recent projectsinclude Underscore Alchemy (2013), which looks at theuses of improvisation for creative artists who aren’tperformers, and Moving Knowledge (2014). Vahri makesperformance works (Perth Institute of ContemporaryArt, 2012, 2010; Fringe World Festival, 2012; AdelaideFringe Festival, 2011) and publishes short fiction,non-fiction and poetry (Margaret River Press, 2012;dotdotdash, 2011). Her writing on contact improvisationhas been published by Adbusters Journal of the MentalEnvironment (2008); proximity magazine: contactimprovisation, new dance, movement improvisation (2012,2011, 2008); The Touch&Play Project (2012).Moving Knowledge investigates the choreographic processes of eight Western Australian choreographers to develop casestudies that examine the links between memory, music and movement. Investigation takes place within the context of adance work, With a Bullet: The Album Project (Nat Cursio, 2013) that poses a nostalgic and experimental challenge to thechoreographers, inviting them to recall the first song to which they ever ‘made up a dance’, and to use this piece of musicas a springboard for, and soundtrack to, an entirely new piece of choreography. The project explores how ‘complex dancevocabularies challenge the view of human memory as a storehouse of linguistic propositions’ (McKechnie and Stevens,2009), and utilises the evocative power of music to trigger the processes of physical memory, mediated through the artisticdecision-making of mature experience. The case studies are informed by in-depth interviews that unpack the memories,emotions, and sensations that illuminate creative decision making in experts, and the processes that reveal the transferof choreographic aesthetics, in order to gain new perspectives on alternative ways of knowing and articulating creativeprocesses. The research draws upon the phenomenology of body memory, which distinguishes between explicit or declarativememory, and implicit memory, which resides in tacit know-how and experience, and which can be difficult to verbalise. Thisresearch is a collaboration between Dr Vahri McKenzie, choreographers from the Western Australian Academy of PerformingArts, and Dr Shona Erskine, co-curator of the Australia Council for the Arts supported dance work, With a Bullet: The AlbumProject (Nat Cursio, 2013).With a Bullet: The Album Project (2013) web page from Nat Cursio’s site:http://www.natcursio.com/project/with-a-bullet-wa-editionWith a Bullet: The Album Project (2006, 2007) web page from Nat Cursio’s site:http://www.natcursio.com/project/with-a-bullet-the-album-projectv.mckenzie@ecu.edu.auFIRT/IFTR World Congress, University of Warwick, 2014347

Expanding the Improvisatory FieldWorking Groups: Choreography and CorporealityVida MidgelowMiddlesex UniversityDance Artist/Academic, Vida L Midgelow, joined MiddlesexUniversity as Professor in Dance and ChoreographicPractices in 2012. Prior to this she was Professor andDirector of Research at University of Northampton. She isco-director of the Choreographic Lab, based at Dance4,Nottingham, and co-edits the peer reviewed journal,Choreographic Practices. Her movement and video workhas been shown internationally and she publishes herresearch in professional, online and academic journals. Asa movement artist she focuses upon somatic approachesto dance training, improvisation and articulatingchoreographic processes. Recent works include: Skript;ScreenBody; Voice (a retracing) and Threshold : Fleshfold.Her book Reworking the Ballet: Counter Narratives andAlternative Bodies was published by Routledge in 2007.In the same year the TRACE: Improvisation in a box waspublished. For these projects she received funding fromAHRC and Arts Council England. Recent essays include:“Nomadism and Ethics in/as Improvised MovementPractices” (Critical Studies in Improvisation, 2012) and“Sensualities: dancing/writing/experiencing,” (New Writing:The International Journal for the Practice and Theory ofCreative Writing, 2013). She is currently editing a volume onDance Improvisation (Oxford University Press, forthcoming).Improvisation in dance comes in many forms and has been developed and employed for far reaching purposes. It is, for manydance artists, a central approach within the choreographic process, for others it is a performance form in its own right. It isalso a key, although often implicit, feature of most social dance forms. Further, the insights and techniques of improvisatoryapproaches have been developed and utilised in therapeutic and educational contexts, amongst others. Yet, while widespread, the histories and significance of improvisation in dance has been largely unexplored and unspoken. As Susan Fosternoted in a reconsideration of dance histories, improvised events have been ‘frequently omitted from the historical recordor glossed over as insubstantial or indescribable’ (2003: 196). In the same year David Gere similarly noted a gap in thescholarship, pointing out that little consideration has been given to ‘improvisation in social dance forms, from salsa to goth’and encouraged scholars to take up research in this territory (2003: xix). This hitherto absence reflects the implicit historicaldance hegemony that valorizes choreographed movements over and above improvised ones, and art contexts over socialones. Countering these dominant approaches, this essay will consider improvisatory forms across disciplines and in a rangeof contexts, to reposition improvisation as a critical, highly rigorous activity, that is an essential part of human existenceand interaction. In doing so I seek to expand our understanding of improvisation as a form of transaction, giving rise tounpredictable directions, bringing about particular forms of individual agency and collective relations that are especiallypressing but largely unexamined and under-explored realities that demand our attention.vidamidgelow@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014348

Dewey Dell: Dance, Dramaturgy, Sound and the Visual ArtsWorking Groups: Choreography and CorporealityThe intersection of dance, dramaturgy, music, and the visual arts in the work of Italian company Dewey Dell illuminates howthe youngest generation of European performing artists is producing renewed understandings of the theatrical. Companymembers Agata, Demetrio, and Teodora Castellucci, and Eugenio Resta met during their formative years at Stoa, a theaterschool that Socìetas Raffaello Sanzio established in 2002 with the purpose of guiding students towards the investigationof “physical and philosophical movement.” Founded in 2006, Dewey Dell engages in highly collaborative artistic processesanchored in conceptual questioning to yield a sophisticated and unusually seamless integration of different artistic fields.Dewey Dell’s exploration of topics ranging from an Eastern perspective on raw animal energy (à elle vide) to an abstractinterpretation of Western political history based on the figure of King Richard the Lionheart (KIN KEEN KING) create arrestingperformances that are at the same time nostalgic and contemporary, visually stunning and musically powerful. Last yearDewey Dell collaborated with Japanese artists Kuro Tanino and Yuichi Yokoyama to devise Marzo, currently on tour.Cláudia Tatinge NascimentoWesleyan UniversityCláudia Tatinge Nascimento holds an Acting ConservatoryDegree from Casa das Artes de Laranjeiras and a Ph.D.in Theatre and Drama from the University of Wisconsin-Madison. An actor, director, and scholar, her professionalstage career began while living in Rio de Janeiro. In theUnited States, Tatinge Nascimento joined Cleveland’sNew World Performance Laboratory (NWPL). With thiscompany she took part in Jerzy Grotowski’s final ObjectiveDrama Session at the UC-Irvine, and performed in Europe,North and South America. In 2007, she gained a ConsulateGeneral of Brazil in New York Arts Grant to directPornographic Angel, her published adaptation of Brazilianplaywright Nelson Rodrigues’ short stories. She authoredCrossing Cultural Borders Through the Actor’s Work: ForeignBodies of Knowledge (Routledge, 2008). Her articles appearin journals such as TDR, Theatre Research International,Biblioteca Teatrale, Didaskalia, Dance Research Journal,A[l]berto, and Folhetim. Recently she was a scholar withthe Workcenter of Jerzy Grotowski and Thomas Richardsand a fellow at Freie Universität-Berlin’s “InterweavingPerformance Cultures” International Research Center. Hercurrent project examines the performances of the Brazilianpost-dictatorship generation. She is Associate Professor ofTheater and Performance Studies at Wesleyan University.cnascimento@wesleyan.eduDewey Dell’s website:http://www.deweydell.com/Promo excerpt for Marzo:http://vimeo.com/80813494Short interview with dewey dell and Kuro Tanino about Marzo:http://vimeo.com/73539086FIRT/IFTR World Congress, University of Warwick, 2014349

The Dancing ‘Body-Installation’ of Nelisiwe XabaWorking Groups: Choreography and CorporealityAnnalisa PiccirilloUniversity of NaplesAnnalisa Piccirillo completed her Ph.D. in “Culturaland Postcolonial Studies of the Anglophone World”at the University of Naples “L’Orientale” (2012) witha dissertation entitled Disseminated Choreographies:Body-Archives of Women’s Dance. Thanks to a researchfellowship by the Regione Campania (P.O.R. 2013) shehas developed the project: “New Practices of Memory:the Mediterranean Matri-Archives”, devoted to theanalysis of contemporary artworks produced by femaledancers and performance artists and circulating in theMediterranean area. At the present she carries outher gender-critical investigation on the contemporaryforms and practices of archiving, at the Departmentof Human and Social Sciences of “L’Orientale”, andcurates a web based archiving model, with a native App,to be used for educational and didactic purposes. Atthe crossroad of Deconstruction and Performance andDance Studies she combines her academic work withindependent curatorial projects on dance, video-danceand visual art.My paper aims to discuss the choreographic work developed by the contemporary South African artist Neliwe Xaba. On theedges of performance art and the edges of dance, in between the use of in-visible and hyper-visible masks and corporealstratifications, Xaba exploits the transformative power of her female body. In her solo pieces, she investigates the creativeand sarcastic use of costumes, props and scenography; before the audience she alters her matter-figure-identity and discoversherself becoming a ‘body-installation’. In her choreographic technique-poetics, Xaba consults and exposes, stratifiesand disseminates different bodily memories, with the purpose of challenging - re-archiving - the Eurocentric sexual andracial stereotypes layered on, and embodied by, the female body – and not only on the African female body. I will brieflydraw my attention to Xaba’s solos devoted to the figure of Saartjie Baartman – better known as the Hottentot Venus.For this project, comprehensive of two solos and a new site-specific work created for the South African Pavilion at theVenice Biennale 2013, Xaba self-designs her body-installation: a white long skirt turns into a screen animated by ironic videoprojections (They Look at Me and That’s All They Think, 2008); while the manipulation of a black leather bustier transmutesher physicality into a ‘beast’ who counter-dances on the contemporary postcolonial stage/cage (Sarkozy says NON to theVenus, 2009). In the spectral dimension of these gender-critical performances, the South-African dancer recalls, un-veilsand re-archives the historical figure of the Hottentot: a body-archive whose movement and memory have been ‘installed’ bythe colonial knowledge, and which today re-dances her(s) agency through the corporeal strata displayed by Nelisiwe Xaba.annalisa.piccirillo@libero.itNelisiwe Xaba, They Look at Me and That’s All They Think, 25July 2010, photograph, Castello di Monte Sant’Angelo (IT),© Annalisa Piccirillo;FIRT/IFTR World Congress, University of Warwick, 2014350

The Skin of PerformanceWorking Groups: Choreography and CorporealityIn 2013, outside a theatre in Plymouth-UK, a woman excitedly remarked to her friend “its been ages since I saw an Indianclassical dance performance, and I’m really looking forward to this show”. In the post-performance talk, both women seemedrather ruffled. The British artist Hetain Patel’s TEN was far from an Indian classical dance concert. TEN sits somewhere inbetween the boundaries of physical theatre, choreography and live art, with three men of different nationalities – BritishAsian, Scottish and Jamaican British – asking searching questions about cultural identity, and what that means to them. Likethese men, the audience could not quite put a finger on their multi-layered performance form or cultural condition. The twowomen in the audience were disappointed because the poster with Patel’s brown Asian body and the title’s reference to the10 beat rhythmic cycle (jhaaptaal) from Indian classical music led them to believe that this would be a classical performance.Brown skin and Indian content equals traditional work: if it does not deliver tradition, and instead offers experimentation, itdisappoints.Prarthana PurkayasthaPlymouth UniversityDr. Prarthana Purkayastha is Lecturer in Theatre andPerformance at Plymouth University, United Kingdom.She has published her research in leading internationaljournals such as Dance Research Journal, South AsiaResearch and Studies in South Asian Film and Media, andhas contributed entries to the Routledge Encyclopaediaof Modernism and the Sage Encyclopaedia of SocialMovement and Media. Her forthcoming monograph,Indian Modern Dance, Feminism and Transnationalism ispublished by Palgrave Macmillan and examines moderndance in India as an embodied form of resistance.Prarthana trained in Indian contemporary dance andshe continues to direct contemporary devised work fortheatre and dance practitioners and generate practiceas-researchwork.This paper is not interested in asking if audience remarks or reactions such as those mentioned above are more the norm thanthe exception, or vice versa. That these remarks are uttered confirms certain received ideas about modernity that are still incirculation - that if, as Dipesh Chakraborty states, modernity “is to be a definable, delimited concept, then we must identifysome people and practices as non-modern” (2002: xix). This paper critically interrogates the problem of skin in performanceand examines how artists like Patel urge us to consider not just its colour but also its multiple layers that together comprisethis complex organ of the body. The skin becomes the metaphor for stratified meaning-making in performance.prarthana.purkayastha@plymouth.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014351

Imitation, Improvisation and Embodied MemoryWorking Groups: Corporeality and ChoreographySusanne RavnUniversity of Southern DenmarkIn a Danish context, dance is considered a mandatory part of physical education. Interestingly, in this context imitation andimprovisation is used as if they are to be understood as dichotomies. Accordingly, in the related pedagogical descriptions,improvisation is thought at as processes in which the students unfold and free their potentials while imitation is describedas more closely related to apprenticeship learning and technique training – copying the skills of others. By comparison,within the field of contemporary dance forms in Denmark – and internationally – improvisation refers to different kinds ofimprovisation-techniques. In this paper I describe and explore the different practices of how imitation and improvisationis thought at and handled in dance in a Danish context. The aim is to indicate how further theoretical exploration of theconcept of imitation and improvisation can constructively challenge the understanding of the concepts and the practicesin the different kinds of dance contexts and to suggest that the theoretical exploration could add to facilitate cooperationbetween the different Danish contexts of dance practices. The theoretical exploration is based on descriptions of how theembodied memory is handled differently depending on how the dance practitioners understand imitation in relation toimprovisation. In the exploration I critically draw on recent phenomenological descriptions of how habitual movement is partof embodied memory and how embodied memory unfolds as informed and possibly transformed by the present situationand the dance practitioners’ unique intentions.Susanne Ravn is Associate Professor at the Departmentof Sports Science and Biomechanics at the Universityof Southern Denmark. Her research interestsrevolve around exploring how dancers and eliteathletes shape their bodies and senses differently,and on the methodological challenges related toemploying phenomenological thinking into qualitativemethodologies. Among her recent book publications areSensing Movement, Living Spaces, VDM Verlag (2009);Dance Spaces: Practices of Movement, University Pressof Southern Denmark (2012) (co-edited with LeenaRouhiainen) and Tics, træning og tango – Bevæggrundefor bevægelse[Tics, training and tango – motivations formovement], University Press of Southern Denmark(2013) (co-edited with Jørn Hansen). Ravn is theformer Chair of the Nordic Forum for Dance Research(NOFOD) board and has recently been elected to theSociety of Dance History Scholars (SDHS) Board ofDirectors.sravn@health.sdu.dkFIRT/IFTR World Congress, University of Warwick, 2014352

Dancing: Empowering and Gendering in Contemporary SpainWorking Groups: Choreography and CorporealityIn Bésame el Cactus (2004), Sol Picó, integrates flamenco- as cultural symbol of Spain- into a contemporary performance.In a Spain still impacted by Franco’s dictatorship (1939-1975), the peculiar ambiguous choice of using flamenco in a modernperformance raises questions about the construction of national and gender identity, both during the dictatorship andnow. Franco’s regime promoted a centralized nationalism, imposing it on regional cultures, which were linked to the historiccommunities of Catalonia, Galicia and the Basque Country that were part of the Spanish state. During Francoism popular andfolk dances were employed as an effort to construct a unified Spanish culture. This paper will address the problems of genderand national construction in contemporary Spain through a close reading of Picó’s choreographic piece. A methodologicalanalysis of Bésame el Cactus will be presented using applied performing arts theories. Drawing from philosophical approachesof Foucault and Butler, this paper will tackle concepts of social control and gendered roles. In conclusion, this paper willillustrate the ways in which the heritage of Francoism still informs choreographers’ choices, and thereby creates an artificialnational dance repertoire in Spain.Eva Aymamí ReñéUniversity of SurreyEva Aymamí Reñé is a doctoral candidate in dancestudies at University of Surrey, United Kingdom. AFulbright fellow, she holds a master’s degree in Cultureand Performance from University of California, LosAngeles, where she was a lecturer at the Spanish andPortuguese department. Eva is currently an AffiliateLecturer at Cambridge University. She is currentlyworking in the interrelation between corporeal theoriesand resistance actions, focusing on the transition todemocracy in Spain and the construction of politicalidentities through dance.evaaymami@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014353

Stratification, Bodies, ForcesWorking Groups: Choreography and CorporealityThis paper is an attempt to think through the notion of stratification in relation to the activity of dancing. How might welook at stratification in corporeal terms? The discussion begins with Deleuze’s account of the body as a momentary relationbetween forces (Nietzsche and Philosophy). This idea of movement moves with the activity of dancing, seen as the utilisationof a range of potentials, drives or impulses. Stratification enters the picture in terms of the way in which forces come to thefore in action, that is, through the dominance of one force over others, and the utilisation of the variety of elements broughtinto play within the sphere of dance. The aim of this paper is to think through these concepts in relation to dance practice.Philipa RothfieldLa Trobe UniversityDr Philipa Rothfield is an honorary Senior Lecturer inPhilosophy at La Trobe University, Melbourne, Australia.She writes on philosophy of the body largely in relationto dance. She is a co-convenor of the Choreographyand Corporeality working group with Aoife McGrath(International Federation of Theatre Research). She isa dance reviewer for RealTime Magazine (http://www.realtimearts.net/), an Australian arts magazine, MommMagazine (Korea) and head of the Editorial Board forthe Dancehouse Diary (http://www.dancehouse.com.au). She is also Creative Advisor for Dancehouse,Melbourne. Alongside these commitments, she hasengaged in an ongoing but intermittent performanceproject with Russell Dumas (director Dance Exchange,Australia). She is a member of Footfall, an improvisationdance group (dir. Alice Cummins).http://www.realtimearts.net/http://www.dancehouse.com.aup.rothfield@latrobe.edu.auFIRT/IFTR World Congress, University of Warwick, 2014354

How to Stand Still? Choreographies of the ImmobileWorking Groups: Choreography and CorporealityIn the early evening of June 17th, 2013, the Turkish dancer and choreographer Erdem Gündüz entered Taksim square inIstanbul, where he proceeded to stand motionless in front of Atatürk’s portrait for close to eight hours. The Media called him“standing man” or “Duran Adam”. With this embodied action, he became “the face of the revolution” during the Gezi Parkprotests. Standing is commonly known as a way of non-violent protest, which has been used as a form of passive resistance(Sharp 1973). At the same time, there is a tradition of standing on stage (Lepecki 2001). In my paper, I examine ways ofstanding still in the context of dance and performance art and discuss concepts of the »standing men« in urban citizenship.I’m interested in interweaving different kinds of standing on stage with the media representation of the »standing men« asconcepts of urban behaviour. To examine these aspects, I’m going to look at Jérôme Bel who emphasizes standing still (asan artistic strategy) to challenge traditional modes of performance and Lin Hwai-Min, who focuses on standing as an act ofmeditation and body control. Finally, I want to consider the qualities of the immobile in times of acceleration and simultaneity.Katja SchneiderLudwig Maximilians University MunichPD Dr. Katja Schneider (born 1963 in Munich) is alecturer at the Department for Theatre Studies at theLudwig Maximilians University in Munich. She workedas a freelance writer and editor for several dancemagazines (“tanzdrama”, “tanzjournal”, “tanz”). Sheworte her habilitation 2013 about “Dance and Text”.dr.katja.schneider@web.deFIRT/IFTR World Congress, University of Warwick, 2014355

Genealogical Legacy in Dance through Memory and ForgettingWorking Groups: Choreography and CorporealityMelina ScialomUniversity of RoehamptonHow does the transmission of practices unfolds into contemporary practice? This paper aims to introduce a discussionthat integrates my current doctorate research over the transmission and appropriation of Rudolf Laban’s praxis in Brazil.It shares an enquiry alongside a proposal for looking at the transmission of a specific dance/movement heritage in dance.The formation of dance legacies depends on the way the knowledge – corporeal (embodied) or aesthetical – is created,preserved and transmitted (Noland, 2013). In the dance/movement medium the transmission of legacies passes from oneperson to the other, from the creator or institution (choreographer, teacher, master) to its successors (dancers, pupils,students). An embodied knowledge genealogically transmitted – past to present – in a descent line is addressed throughthe work of Joseph Roach (1993) and Noland and Ness (2008) who suggests perspectives that can illuminate the ways thatpractice is transferred from one person to another and appropriated, composing legacies of practice. Roach’s conceptof memory and forgetting applied at the work (or legacy) developed by Rudolf Laban, allows a fresh discussion over theformation of heritages of practice through the use of memories and forgettings of Laban praxis, present in the work of hispast and contemporary advocates in Brazil.Melina Scialom is a dance practitioner and scholarwho has been engaged in the practice and researchof Rudolf Laban’s praxis of movement and dance.Melina is a Choreologist (Laban-Specialist), has aBachelor in Dance from the State University ofCampinas and a Masters in Research in PerformingArts from the Federal University of Bahia, both inBrazil. Together with the academic research Melina isa performer and choreographer who works with theintersections of dance and other media and art forms.Currently is finishing her doctoral thesis related to thedevelopments of Rudolf Laban’s theories.melinascialom@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014356

Cyborgs and Other OthersWorking Groups: Choreography and CorporealityAneta StojnićGhent UniversityTheoretician, artist and curator born in Belgrade(Yugoslavia). Currently a post-doc researcher (Basileus) atGhent University, Faculty of Arts and Philosophy Researchcentre S:PAM (Studies in Performing Arts & Media),she obtained her PhD at University of Arts in Belgrade(Interdisciplinary Studies - Theory of Art and Media)defending a thesis: “Theory of Performance in Digital Art:Towards the New Political Performance”. Aneta was visitingscholar at the Academy of Fine Arts in Vienna, ConceptualArt study program, IBK in 2013, artist in residence inTanzquartier Vienna in 2011, and writer in residence atKulturKontakt Austria in 2012. Her work displays a strongconnection between art theory and practice as well asinterdisciplinary approach to art practices that affirmcritical thinking. She authored a number of internationalpublications on contemporary art and media, and variousartistic and curatorial projects. She collaborated withinstitutions and organizations such as: Tanzquartier Wien,Open Systems (Vienna), Les Laboratoires d’Aubervillier(Paris), Quartier21 (MQ Vienna), Dansens Hus Stockholm,Odin Teatret (Denmark), BITEF Theatre (Belgrade), TkHWalking Theory, October Salon (Belgrade), Pančevo Biennaland many others.In this paper I will focus on relations between corporality and technology in situation of cyber performance and technoperformance. Technologically conceived subversions of a body will be analyzed in terms of biopolitics and necropolitics.Referring to the processes of subjectivisation resulting from relations between substance and aparatus (Agamben), I intendedto offer an analyses of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary embodiedrealizations. I shall examine how the symbolic place of cyborg has changed, in the light of present power relations. With thedevelopment of technology, today it is possible to completely redesign one’s own corporality trough variety of medical andcosmetic interventions - for those who can of ford it. Therefore I will argue here that today the possibility for cyborgizationof one’s own body has become a matter of class privilege. Unlike cyborg figure of cyberpunk fictionalizations that haslong been an important metaphor in cyber-feminism (Haraway), contemporary cyborgs are not oppressed, unprivileged,outcasts. On the contrary, they are privileged to have the possibility to become cyborgs. This means that cyborg is no longerthe asymmetrical other, but privileged first. Paradoxically cyborg’s symbolical social status in cyberpunk fiction, is now inreality inhabited by those who are denied the possibility of ever having a choice to become a cyborg. Those are the humansubjects helplessly and hopelessly trapped in their unchangeable, bodily, biological, perishable, irreparable, deadly, exploitedhumanness. Today outside of cyborgized, privileged society, remains only the dispensable, bare life.In this paper I will focus on how these newly established relations, protocols and procedures of corporality are, and can beused in performance artistic practices.Keywords: biopolitics, necropolitics, cyborg manifesto, performance, body, racialisation, technology, classaneta.s7@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014357

SandSkin | BloodWater: Tracing Topographies through FloodlandsWorking Groups: Choreography and CorporealityThis paper will introduce dance ecologist Rachel Sweeney’s recent land water project, Sandskin | Bloodwater, developedin the Gascoyne region of Western Australia, that responds to themes of climate change through engaging in collectivesustainable practices formed during recent widespread flooding. Working along the front line of rural land management, theaim of Sandskin | Bloodwater is to generate cross disciplinary dialogue surrounding flood management by promoting sensateexchange between the languages of contemporary choreography, physical geography, ecology and environmentalism.Rachel SweeneyLiverpool Hope UniversityRachel Sweeney is a Senior Lecturer and SubjectLeader in Dance at Liverpool Hope University, andhas published on the area of site based choreography,contemporary performance training and Butoh.Research posts include a Visiting Fellowship through theHumanities Research Centre at the Australian NationalUniversity (2012) and also Centre Fellowship throughthe Centre for Sustainable Futures at the University ofPlymouth (2007-08).This illustrated lecture will explore the temporal dynamisms of land through contemporary choreographic design, reflectingon pre-existing models of site based contemporary performance practice. In particular, I will consider how the performanceresearch practices surrounding Sandskin | Bloodwater are interwoven between embodied response, domiciled historiesof place and immersive movement practices. Informing a relationship of body, place and memory, the terms topographicmovement, choreography as cartographic process and physical synaesthesia will stimulate further debate on the role of thesenses in developing movement responses to flooded environments.This paper will be illustrated throughout with collated visual materials highlighting certain collective somatic responses to waterthat draw on collated stories, photographic documentation and other environmental materials produced during Sandskin |Bloodwater. Finally, this paper considers how the body in contemporary site based dance performance might operate as ashifting site reflecting current cultural and ecological concerns, by directly engaging with matters surrounding sustainabilitybased on its ability to articulate physically a critical response to interior (anatomical) and exterior (environmental) states.www.orrandsweeney.comrachsweeney@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014358

Bringing Ethics to the Surface: the AND_Lab Project from RE.ALWorking Groups: Choreography and CorporealityGustavo VicenteUniversity of LisbonThe assumption that performing arts have an ethical dimension per se can be reductionist when it comes to differentiatebetween aesthetical proposals. Much has been written about the relationship of ethical accountability that is formally builtwith spectators, but little attention has been given to how a project mobilizes (more or less) aesthetic forces that refer toan existential questioning. And what is the relevance of that questioning in the way we live our lives together. Anchored indeconstructionism as a (almost normative) method of aesthetic production and in subjectivity as an inexorable condition forits mediation, much of contemporary performances have been casting a growing shadow over the ability to make constructiveproposals. In consequence, the need for advanced creative processes that are not aimed primarily to produce a work of art,but at achieving other ethical-political ends is now becoming increasingly significant, especially in places - such as Portugal -affected by the aporias of socio-economic depressions and that find themselves in the midst of a crisis of self-recognition. Inthis communication I will address the ways in which the connection between ethics and aesthetics has been coming to fore,using the AND_Lab project from RE.AL (one of the pioneer structures of the Portuguese New Dance Movement from theeighties) as an example of a proposal that brings the process of artistic composition to a new way of ethical questioning andpositioning, putting new tensions on what it means to produce art in the objectified realm of performing arts today.Gustavo Vicente is a post-doctoral researcher at theCentre for Theatre Studies from the Faculty of Lettersof the University of Lisbon (grant from the Fundaçãopara a Ciência e Tecnologia). He published severalarticles and essays on contemporary performing arts,with special emphasis on the Portuguese practice. He isa member of the IFTR’s Choreography and CorporealityWorking Group. In last year’s conference at Barcelonahe presented a communication called Looking atperforming arts through the mnemonics of the body:the case of Portugal. Gustavo is also an actor, havingworked with several important artists both in theatreand cinema. In 2009 won the 1 st prize of the PortugueseAcademic Theatre Festival with his first project as anartistic director. He always combined his theatre makingwith a comprehensive research experience.gvicente@fl.ul.ptFIRT/IFTR World Congress, University of Warwick, 2014359

Winding & SkirtingWorking Groups: Choreography and CorporealityAmy VorisUniversity of ChichesterThis experiential paper / mini workshop will relate to corporeality via exploration of the somatic practice known as AuthenticMovement. My current research is concerned with Authentic Movement as a methodology for generating and contemplatingchoreographic material as it emerges and is shaped over time. As a contemplative practice, Authentic Movement embraceswhat is present through movement (including sensation, emotion, image, idea) followed by processes of reflection andarticulation in the presence of a witness (Adler 2002; Pallaro 1999, 2007). This paper (which is designed to accompany anOpen Mic durational performance, skirting) proposes that the creative methodology suggested by Authentic Movement(Bacon 2010) both generates and documents a process-oriented approach to making dances. Such an approach highlightsthe innate reflexivity and cyclical qualities of “somatically-informed” (Garrett Brown 2009) choreographic practice. Thechoreographic work is located across and in the movement between media, including live presence, writing, drawing andphotography. Such ranging materials are woven together through the reflective and attentive practice of “scoring” (Halprin1969, Worth & Poynor 2004) which tracks and perpetuates the work’s winding emergence. This paper will be offeredexperientially (with an accompanying written document), inviting participants to score the seed of a moment.Amy Voris is a dance-artist based in Manchester. Herpractice is process-oriented and collaborative. Sheworks with photographer Christian Kipp, composerJames Buchanan, lighting designer Cath Cullinaneand is a co-founder of the enter inhabit, L219 andaMigAeNterpriSes projects. She has taught in highereducation for over a decade and recently completedtraining in Integrative Bodywork and Movement Therapywith Linda Hartley. She is currently pursuing a practiceas research PhD at the University of Chichester.www.amyvoris.comwww.enterinhabit.comdoridheavybody@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014360

Working GroupsDigital HumanitiesCommand Performances: Digital Historiography and TheatreWorking Groups: Digital HumanitiesSarah Bay-ChengThe University at BuffaloAs Lev Manovich argues in his book, Software Takes Command, “The use of software re-configures most basic social andcultural practices and makes us rethink the concepts and theories we developed to describe them.” According to Manovich,instead of analyzing static documents we now engage with “dynamic outputs of a real-time computation” that he identifiesas “dynamic software performances.” As theatre collections become digitized, these software performances increasinglyconverge with historical accounts of actual performances. This paper considers the impact of software environments intheatre historiography. How do different platforms affect the spectacle of past performances and the reconstruction oftheatrical events in an historical record? This paper considers how different forms of digital presentation and annotationshape our sense of the historical events they document.Sarah Bay-Cheng is Professor of Theatre and Directorof Graduate Studies in Theatre & Performance at theUniversity at Buffalo, where she also serves as theFounding Director of the Technē Institute for Arts andEmerging Technologies. Her current research focuseson digital technologies in performance historiography,and social media as performance in contemporaryculture.baycheng@buffalo.eduFIRT/IFTR World Congress, University of Warwick, 2014361

Who’s Who? Resolving Identities and Matching Records Across Data Sets in Theatre ResearchWorking Groups: Digital HumanitiesTheatre researchers and data custodians for the digital humanities need to develop a methodology for resolving identities andmatching records on people, organisations, places and works. As databases of performance-related data develop, identifyingcodes are applied to distinguish the identities of records. These ‘identifiers’ are typically unique to each data set. They areusually not matched across databases. This can make searching across related databases a repetitive and unsatisfactoryexperience. It also presents a significant obstacle to realising the research potential of linking data sets and minimising thereduplication of effort.Jennifer FewsterAusStage, Flinders University, Adelaide, South AustraliaJenny Fewster has been with the AusStage Project sinceit began in 2000. She was appointed Project Managerin 2003.This presentation explores these issues in relation to areas of importance in the documentation of theatre production:people, organisations, places and works. Each of these entities has distinguishing characteristics that could enable thematching and linking of corresponding records from different data sets. However, there are challenges to be overcome,for example: differences in data formats, languages and scripts; variations in data due to human error, misinformation anddiscrepancies in source materials; and the ongoing editing and open-ended evolution of the originating data sets.Various methodological solutions are considered, including the use of common identifiers for matching records, such asthe Virtual International Authority File and other authority files of international scope; the development and application ofalgorithms for probabilistic data matching; processes for resolving field-level conflicts between records and merging ‘like’records; and the provision for users to assert ‘same-as’ relationships in aggregated data sets.AusStage provides an accessible online resource forresearching live performance in Australia. Developmentis led by a consortium of universities, governmentagencies, industry organisations and collectinginstitutions with funding from the Australian ResearchCouncil and other sources. AusStage enables researchon live performance as a wealth-producing creativeindustry, a generator of social capital and an indicator ofthe nation’s cultural vitality.AusStage is committed to collecting and sharinginformation about Australian live performance as anongoing, open-access and collaborative endeavour.Our project office and server infrastructure are housedat Flinders University in Adelaide, South Australia. Ourusers come from across Australia and around the world.By sharing our knowledge through AusStage, we canlearn more about Australian performance than everbefore.jenny.fewster@flinders.edu.auFIRT/IFTR World Congress, University of Warwick, 2014362

TAPAC: Theatre and Performance Across Cultures, Culture Hub: Multilingual Networking Tools forthe International Theatre and Performance CommunityWorking Groups: Digital HumanitiesDuncan JamiesonTAPAC/Culture HubDuncan Jamieson is an independent researcher,translator, and co-editor of Polish Theatre Perspectives(PTP), a peer-reviewed series that investigates Polishtheatre cultures – past and present – and brings theminto dialogue with other world traditions of critical andcreative practice. In 2012, together with Adela Karsznia,Jamieson co-founded TAPAC: Theatre and PerformanceAcross Cultures, a nonprofit initiative focused onbuilding multilingual and digital networking capacityin the field. Since 2012, he has also been developinga cross-cultural community platform – Culture Hub,currently in beta version – which provides a range ofcommunication and content-sharing tools for use byperformance practitioners, researchers, students, andorganisations.This paper will present an overview and the first-phase findings of a digital research and development project that hasbeen in progress since late 2012. “Culture Hub” is a multilingual networking and epublishing platform that explores thepotential of current digital tools to open up new pathways for engagement across the international theatre community.Realised in partnership with colleagues from Europe and the Americas, the project seeks to respond in a systematic wayto a key challenge laid down by leading artists and academics, of establishing a “truly international performance culture,appropriate to the global context in which we are living” (see the three-part debate “Is Performance Studies Imperialist?”,TDR 2006-7). Building on design and testing of a bilingual, Anglo-Polish prototype in 2012-13, Culture Hub’s beta version(2014) investigates ways of linking people and content across diverse regions, through the addition of further tools andlanguages. With enhanced social media and content-sharing functionality, fully interoperable multilingual interfaces, and acommunity translation management system, the software provides a rich mix of features for local users looking to connectwith the wider field. Such capacity is potentially crucial, since online trends indicate rapid expansion in web usage by non-Anglophone communities worldwide. Culture Hub’s central R&D proposition is thus to bring the latest insights from userdriventranslation systems to enhancing the range of cross-cultural interactions possible in the arts sector. This paper willuse a mixed-method approach to report on the process of researching, designing, developing, and testing the first publicversion of the platform – drawing on ethnographically-informed documentation of the project team’s work and selectedcase studies, and on our collaboration with Digital Humanities researchers. It will also examine various prospective extensionsand applications of the project software and learning.For more information and to access the Beta version of the platform, please visit www.culturehub.co.duncan.jamieson@tapacnetwork.orgFIRT/IFTR World Congress, University of Warwick, 2014363

TAPAC: Theatre and Performance Across Cultures, Culture Hub: Multilingual Networking Tools forthe International Theatre and Performance CommunityWorking Groups: Digital HumanitiesAdela KarszniaTAPAC/Culture HubAdela Karsznia is an independent researcher, translator,and co-editor of Polish Theatre Perspectives (PTP), apeer-reviewed series that investigates Polish theatrecultures – past and present – and brings them intodialogue with other world traditions of critical andcreative practice. In 2012, together with DuncanJamieson, Karsznia co-founded TAPAC: Theatre andPerformance Across Cultures, a nonprofit initiativefocused on building multilingual and digital networkingcapacity in the field. Since 2012, she has also beendeveloping a cross-cultural community platform –Culture Hub, currently in beta version – which providesa range of communication and content-sharing toolsfor use by performance practitioners, researchers,students, and organisations.This paper will present an overview and the first-phase findings of a digital research and development project that hasbeen in progress since late 2012. “Culture Hub” is a multilingual networking and epublishing platform that explores thepotential of current digital tools to open up new pathways for engagement across the international theatre community.Realised in partnership with colleagues from Europe and the Americas, the project seeks to respond in a systematic wayto a key challenge laid down by leading artists and academics, of establishing a “truly international performance culture,appropriate to the global context in which we are living” (see the three-part debate “Is Performance Studies Imperialist?”,TDR 2006-7). Building on design and testing of a bilingual, Anglo-Polish prototype in 2012-13, Culture Hub’s beta version(2014) investigates ways of linking people and content across diverse regions, through the addition of further tools andlanguages. With enhanced social media and content-sharing functionality, fully interoperable multilingual interfaces, and acommunity translation management system, the software provides a rich mix of features for local users looking to connectwith the wider field. Such capacity is potentially crucial, since online trends indicate rapid expansion in web usage by non-Anglophone communities worldwide. Culture Hub’s central R&D proposition is thus to bring the latest insights from userdriventranslation systems to enhancing the range of cross-cultural interactions possible in the arts sector. This paper willuse a mixed-method approach to report on the process of researching, designing, developing, and testing the first publicversion of the platform – drawing on ethnographically-informed documentation of the project team’s work and selectedcase studies, and on our collaboration with Digital Humanities researchers. It will also examine various prospective extensionsand applications of the project software and learning.For more information and to access the Beta version of the platform, please visit www.culturehub.co.adela.karsznia@ptpjournal.comFIRT/IFTR World Congress, University of Warwick, 2014364

3D Virtualisation of Sources for Baroque and Romantic Scenic SpacesWorking Groups: Digital HumanitiesDominique LauvernierEcole Pratique des Hautes Etudes, Paris EA HISTARAAfter studying French and Ancient literature (Agrégation1982, DEA 1998 in Lettres classiques), I taught at highschool, and was appointed in 2003 as a full time teacher inTheatre Studies at the Département des Arts du Spectacle,Caen University, France, where I share experienceswith the CIREVE, an Interdisciplinary Center for VirtualReality. My research deals with the study of French Courtspectacles (dramas and operas), after the widest rangeof sources and remains, and sets a protocol of restitutionwith 3D interactive virtual reality, associating “academic”traditions with new techonologies. At the Ecole Pratiquedes Hautes Etudes, Paris, I am putting an end to my thesisin the team HISTARA, under the direction of Prof. SabineFrommel. I am also a member of ACRAS – Association pourun Centre de Recherche sur les Arts du Spectacle des XVIIeet XVIIIe siècles. I participate in international Conferencesabout opera and historic theatres, and am presentlyexpertising the scenic decorations and spaces of the 19thcentury Theatres in Châtellerault and Saint-Omer for theirrestoration and collaborate in the team for the Dictionnairede l’Académie Royale de Musique sous l’Ancien Régime.Our aim in this paper is to demonstrate the range of possibilities that a digital modelisation can offer for analyzing oursources.Using a dedicated library of 3d objects, according to the field of research - baroque and romantic theatres, Italian sceneriesand machinery - we restitute spaces known mainly by a few sources as archives, floorplans, drawings. This methodologyexpands in many ways the academic tools used traditionally for interpreting the sources, as drawing plans and sketches oreven building wooden models.The paper will mainly focus on these two points. First, the importance of a dedicated protocol, and two, a few samplesof virtualisation, namely disappeared French Court Theatres: extruding floorplans from archives, building virtual stagedecorations after drawings, archives, and scarce remains when available.As a conclusion, we shall consider the future. A collaborative workspace for searchers and performers, based upon the 3dlibrary of components and a real time walkingthrough software. Acoustic simulations for the showroom and the stage, lettingus being aware of the actual rehearsal. The benefits of UHD (4K and next to come 8K) for a realistic and accurate rendering.The use of an immersive CAVE, and of virtual touring in a theatre of high interest. A new tool for restituting dance practiceand acting/singing/playing music - mainly with the help of interaction between man and virtual world.The virtual museum, far from being a new dead graphic world, will enhance our knowledge of these lost or never built scenicspaces and open doors for practice.The documents provided with the written version of the paper should encourage the debate during the session of ourworking group.http://equipe.histara.org/lauvernierdomini/index.htmlhttp://www.sabinefrommel.eu/lauvernier.pdfhttp://www.archifacts.orghttp://www.unicaen.fr/cireve/http://www.dominique.lauvernier.eudominique.lauvernier@unicaen.frFIRT/IFTR World Congress, University of Warwick, 2014365

Exploring the Impact of Digital Humanities on Theatre Historiography: The Abbey Theatre DigitalArchiveWorking Groups: Digital HumanitiesPatrick LonerganNational University of Ireland, GalwayPatrick Lonergan is Professor of Drama and Theatre atNational University of Ireland, Galway. He is the authorof Theatre and Globalization: Irish Drama in the CelticTiger Era (Theatre Book Prize Winner, 2008) and TheTheatre and Films of Martin McDonagh (Bloomsbury,2012), and he has published many collections of essays,critical editions and anthologies about Irish drama. Heblogs about Irish theatre on http://patricklonergan.wordpress.com/ His forthcoming publications includeTheatre & Social Media (Palgrave Macmillan) andThe Methuen Drama Anthology of Contemporary IrishPlays. For Methuen Drama, he is editor of the CriticalCompanions to Drama and Theatre series.In 2012, NUI Galway began a project to digitize the archive of the Abbey Theatre, Ireland’s national theatre. When completedin 2016, the resource will host 1.5 million items across a variety of media (promptbooks, videos, photographs, set designs,etc), and will run to approximately 70 TB in size. It includes original material from hundreds of major dramatists and theatremakers,from the 1890s to the present. Since the beginning of the project, our research group has encountered a varietyof interesting challenges relating to such issues as copyright, searching across media, automated redaction processes, etc.The aim of this paper, however, is to consider the impact of this resource on theatre historiography generally. The history ofIrish drama is largely considered to be a history of Irish playwrights. There are many reasons for that bias, but one of the mostsignificant is the availability of large documentary archives for the major figures in Irish drama, from W.B. Yeats to SamuelBeckett to Brian Friel, and so on. The excessive focus on text-based histories has tended to skew awareness of Irish theatrehistory, causing scholars to neglect such prominent figures as actors and directors, as well as stage managers, administratorsand, of course, the audience. Interestingly, the focus on text has further skewed attention towards the male-dominatedwritten canon, significantly inhibiting awareness of the contributions of women to Irish theatre. By discussing how the Abbeyarchive is transforming awareness of the role of women in Irish theatre, this paper seeks to address the conference theme,and to consider how digital technology can allow new kinds of theatre history to emerge. Digital resources make availabledata about the whole theatre-making process but also allow for new correspondences to be identified, new relationships tobe analysed, and for a much broader picture to emerge.Project website (background information):http://www.nuigalway.ie/abbey-digital-archive-partnership/Youtube video:https://www.youtube.com/watch?v=kRVLRFWhOP0pflonergan@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014366

Visualizing Broadway: A Project in the Digital HumanitiesWorking Groups: Digital HumanitiesDerek MillerHarvard UniversityDerek Miller is an Assistant Professor of English atHarvard University. He holds a PhD in Theater andPerformance Studies from Stanford University. Hisarticles include “Performative Performances: AHistory and Theory of the ‘Copyright Performance,’”Theatre Journal 64.2 (2012), “On Piano Performance- Technology and Technique,” Contemporary TheatreReview 21.3 (2011), and articles and reviews on musicaltheater for Studies in Musical Theatre and TDR: TheDrama Review. His current book project addressesthe political economy of performance as expressedin copyright law for theater and music. He is alsodeveloping a digital humanities project to understandtheater as a field of cultural production.If you decide to attend a Broadway show, you must choose what to see. The new musical? A comic star vehicle? A laudedIbsen revival? This year’s Pulitzer winner? You must choose because Broadway shows are not isolated events, but part ofan industry in which plays compete: for audiences, of course, but also for actors, designers, directors, producers (and theircapital), theaters, critical recognition, etc. Theater’s resources, in other words, are scarce. Too much theater history assumesa world of plenty, and thus fails to consider the immediate theatrical context within which all plays appear. Acknowledgingthat context requires a history that accounts for the theater as a community, as an industry, as a complex, competitive whole.Visualizing Broadway draws on a large data set to understand Broadway as a field of cultural production. Data visualizationsincluding bubble charts, line graphs, and network graphs illuminate the history of Broadway as an agglomeration of individualproduction histories. Later stages of the project will allow users to manipulate data themselves and to explore questions suchas the relative gender balance of casts, the prevalence of different dramatic genres, or the average length of an actor’s stagecareer. By examining Broadway as a cultural field, we can begin to understand how the industry itself works as a creativeforce.http://visualizingbroadway.comdmiller@fas.harvard.eduFIRT/IFTR World Congress, University of Warwick, 2014367

Designing Scholarly Interfaces: Intermedial Writing for Theatre ResearchWorking Groups: Digital HumanitiesThe confluence of different media is essential to the aesthetic experience of many contemporary performances. Yet, thescholarship that engages these intermedial practices is communicated primarily through the printed text. What would itmean to create research outputs that are themselves located in between media?I have tried to answer to this question by programming and designing a website that integrates video recordings, computergenerated diagrams, images and texts. This website is my attempt to respond to the complexity of wayang kontemporer(contemporary wayang) performances. These performances combine new media with Java’s oldest performance practice,wayang kulit (Javanese shadow puppets).Miguel Escobar VarelaNational University of SingaporeIn this paper, I describe the technical and epistemological challenges involved in the development of this website. By referringto projects and concepts from the digital humanities, I theorize on how web interfaces can enhance academic discourse. Inorder to support this theoretical exploration, I draw on the notions of medium-specificity, ergodic narrative and electracy topresent an argument for creatively redefining academic research outputs in theatre studies.Miguel Escobar Varela is a web programmer, translatorand performer who has lived in Mexico, Indonesia,The Netherlands and Singapore. His main researchinterests are Javanese theatre, the cultural history ofSoutheast Asia, intermediality in performance, anddigital humanities.For more information see www.miguelescobar.com.m.escobar@nus.edu.sgFIRT/IFTR World Congress, University of Warwick, 2014368

Digital Resources in Theatre Research: A Look into the Databases of the Centre for Theatre Studiesof LisbonWorking Groups: Digital HumanitiesJoana Soares VieiraUniversity of LisbonJoana Soares Vieira completed her graduate degree inArtistic Studies, at the Faculty of Letters – Universityof Lisbon, in 2007. In 2008 she began her Mastersdegree in Performance and Culture: InterdisciplinaryPerspectives, at Goldsmiths College Universityof London, which she completed in 2009, with adissertation on hybridity, titled “Blurred Borders: aDiscussion on Hybridity in Wilson and the WoosterGroup”. Currently, Joana works at the Centre forTheatre Studies (CET) of the University of Lisbon, with abursary for the project CETbase, a database for theatrein Portugal (http://ww3.fl.ul.pt/CETbase/), with whichshe has collaborated since 2010, coordinating the dailyinvestigation work, managing the archives and trainingnew investigators. She currently investigates theatrecriticism during the Portuguese dictatorship in the 20thcentury and has presented papers on the subject atinternational conferences during the past year.The Centre for Theatre Studies (CET), a research unit of the University of Lisbon, launched drama and performance studiesin Portuguese academia and has invested in the quest for sources and the creation of resources to overcome the lack ofinformation and its availability. Among its projects, three digital databases have been created: CETbase, OPSIS and HTPonline.CETbase, a database of theatre in Portugal, registers information about practitioners, companies, festivals, venues, fundingand includes a thesaurus, enabling several search criteria. Initiated in 1998, it gathers over 100,000 records, focusing on the20th and 21st centuries. OPSIS, an iconographic database, assembles images related to the theatre produced in Portugal untilmid-20th century, and makes accessible a documental collection connecting theatre studies with art history, architectureand photography. Initiated in 2006, it gathers over 15,000 images in digital format, held by different public and privateentities. HTPonline, a database of primary sources pertaining to the History of Portuguese Theatre, offers documents inthree formats (scanned, transcribed in both diplomatic and modern scripts), as well as processed data composing dictionaryentries. Initiated in 2006, it gathers over 4.000 documents from the 16th to the 19th century, organised in categories andsearchable according to each user’s requirements. The impact of the three databases on the research developed in Portugallies not only in the availability of information, but also in the productivity of the electronic tools that enable infinite pathsin the study of Portuguese theatre and performance. The experience with these projects, and the specificities of eachdatabase, has originated much reflection within the CET, surrounding some problems and its solutions. The discussion ofthese issues within the DHTR working group will be an excellent contribution to the development of a platform connectingthe three databases, which is the CET’s main current project.http://ww3.fl.ul.pt/CETbase/FIRT/IFTR World Congress, University of Warwick, 2014369

Working GroupsFeminist ResearchRegina José Galindo and the Re-Performance of Gendered ViolenceWorking Groups: Feminist ResearchCandice AmichCarnegie Mellon UniversityCandice Amich is currently an A.W. Mellon PostdoctoralFellow in the Humanities at Carnegie Mellon University,where she teaches courses in transnational Americanstudies. Next fall she will be joining the Englishdepartment at Vanderbilt University as an AssistantProfessor with specialization in Latina/o literature.Her current book project, The Poetics of Globalization:Performing Precarity in the Neoliberal Americas, examinesthe aesthetic strategies Latina, Caribbean, US andLatin American feminist poets and performance artistsemploy to counter the abstractions of globalizationdiscourse. She has articles published and forthcomingin The Global South, Modern Drama, and Theatre ResearchInternational.This paper examines the role of feminist performance in contesting historical amnesia in the context of Guatemala’s postdictatorshipculture. I argue that the re-performance of gendered violence in such contexts is a response to the limits oftruth-telling regimes associated with the transition to liberal democracy in the aftermath of civil war; the truth commissionis a form that was prominently employed throughout Latin American in the 1980s and 1990s as a means of consolidatingneoliberal governance. As historian Greg Grandin summarizes, “Reconciliation, forgiveness and political consensus havebeen understood as the basis for moving forward into an era of market-driven economic progress.” As exemplified in theextreme body art of Regina José Galindo, feminist performance disrupts the neoliberal sensorium in contexts of prematurereconciliation to re-introduce culturally repressed forms of affect, such as political anger. While consensus erases collectivememory of the past through the continued repression of trauma, performance unleashes this inappropriate affect, repoliticizinghistorical memory. Galindo’s work draws attention to the differential distribution of precarity, for example,highlighting the rising rates of deadly violence against women in Guatemala’s free trade zones. Carving into her flesh, curlinginto a plastic bag to be dumped among garbage, or encouraging audience members to urinate on her, Galindo makes visibleand audible neoliberalism’s economies of gendered violence.candiceamich@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014370

The Task of Translation: Elfriede Jelinek’s Response to Fukushima in Kein Licht [No Light]Working Groups: Feminist ResearchSruti BalaUniversity of AmsterdamElfriede Jelinek’s theatre text Kein Licht [No Light], published online in 2011-12, features the nuclear catastrophe of Fukushimaand its aftermath as its main theme, engaging with it through a mode of what I term reparative translation. Translation is to beunderstood here in a very specific sense, namely, as Gayatri Spivak derives it from the work of psychoanalyst Melanie Klein:‘Translation is the making of the subject in reparation’. It is not a matter of establishing well-tailored linguistic equivalences.Rather, reparative translation is understood as a process of subject-constitution in the shuttle between interior and exterior,self and other, between individual and collective, between the psyche and the social or political. ‘Translation’ in this sense isambivalent in that the process of subject constitution is both violent in its negativity towards and rejection of the externalworld, as well as affirmative in its work of reparation. Reparation in psychoanalytical terms, as proposed by Klein, refers tothe response to a fundamental negativity that is the precondition of subject emergence, the passage through which selfbecomes self. Through her reading of Klein, Spivak introduces an ethical accountability and responsibility towards the otherin the work of literary and cultural translation. I read Kein Licht as such an instance of reparative translation. I argue thatJelinek’s text foregrounds the feminist work of intersubjective self-constitution as emergent and inseparable from a worldof negativity, however impossible or unfinishable this task may be.Dr. Sruti Bala (IND) is Assistant Professor at theDepartment of Theatre Studies, University ofAmsterdam. Her research interests are in the fieldsof participatory art, theatre and conflict, feministtheory, and pedagogy. Following her doctoral study onThe Performativity of Nonviolent Protest in South Asia(2009), her essays have appeared in the journals TheatreResearch International, Research in Drama Education,Peace & Change, and the Dutch Yearbook for Women’sHistory, as well as in anthologies in German and English.In 2014-15 she will be a research fellow at the FreeUniversity of Berlin’s International Research Programme‘Interweaving Performance Cultures’.s.bala@uva.nlFIRT/IFTR World Congress, University of Warwick, 2014371

Berna Reale: Performance and AffectWorking Groups: Feminist ResearchAna BernsteinFederal University of the State of Rio de JaneiroAna Bernstein is a Professor of Aesthetics and TheaterTheory at the Federal University of the State of Rio deJaneiro (UNIRIO) - Brazil. She has a PhD in PerformanceStudies (New York University) and a Masters in SocialHistory of Culture (PUC-Rio de Janeiro). She is theauthor of Of the Body/Of the Text - Desire and Affectin Performance (doctoral dissertation), Here and Now...Again and Again - Re-performance as Difference andRepetition (Variations no. 19, Peter Lang, 2011), FrancescaWoodman: Photography and Performativity (RevistaPortfolio #3, 2014), and A Crítica Cúmplice - Décio deAlmeida Prado e a formação do teatro brasileiro moderno(São Paulo: IMS, 2005), nominated for the JabutiPrize. Research interests include performance theory,body art, gender studies,visual arts, and art history andcriticism. She is also a photographer, translator, andcurator of exhibitions and theater festivals.In Aesthetics and Anaesthetics:Walter Benjamin’s Artwork Essay Reconsidered, Susan Buck-Morss discusses how Benjamin,drawing on Freud’s insight that consciousness shields the organism against an excess of outside stimuli, identifies shock asthe very “norm for ‘modern life’.” Shocks that once arouse only from extreme situations such as war and catastrophes, havebecome part of everyday life, forcing our sensory systems to shut down in order to cope with the excess of stimuli. Thus whatpreviously functioned as a synaesthetic cognitive system, “a mode of being in touch with reality,” became an “anaesthetic”system, for which the “goal is to numb the organism, to deaden the senses, to repress memory… a way of blocking outreality.” (Buck-Morss) It is precisely this numbness to everyday shock in face of a staggering violence and the Estate’s utterindifference to the suffering of the non-privileged in Brazil, that the work of performance artist Berna Reale addresses.Pushing a cart filled with bones of unidentified murdered victims through the streets, or laying naked on a table in the city’scentral market with her body covered with entrails while vultures swarm over her, or being carried naked like a slaughteredanimal on its way to market through the streets of Belém, Reale’s performances interpellate both the audience and theauthorities. This paper will examine how, in a country caught between the euphoria of the World Cup and the Olympics andthe mass protests against government’s spending on those events over the investment in health, education, and housing,and where recent economic growth has done very little to improve social inequality, Reale employs her gendered body,affectively and politically, to disrupt the symbolic and political orders, inviting us to transform it.ab60@nyu.eduFIRT/IFTR World Congress, University of Warwick, 2014372

Mapping Abramović, From Affect to EmotionWorking Groups: Feminist ResearchMarla CarlsonUniversity of GeorgiaMarla Carlson is working on a book provisionallycalled Affect, Animals, and Autists: Feeling Around theEdges of the “Human” in Performance that developsthemes addressed by her article “Furry Cartography:Performing Species,” published by Theatre Journalin 2011. Her earlier research focused on spectatorresponse to physical suffering, and Palgrave Macmillanpublished Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists in 2010. Marla isAssociate Professor and Graduate Coordinator for theDepartment of Theatre and Film Studies at UGA andcurrent Secretary of ASTR.For the last twenty years, Marina Abramović has re-performed her earlier body art actions, inscribing them within a biographicalnarrative that packages their affective power for consumption as a representation of her personal emotion. This narrativecontainment offers the comprehensibility necessary for an audience to enter imaginatively into the artist’s experience,which analytical philosophy identifies as a necessary condition for empathy. Recent work in affect theory moves beyondthis conception of empathy as a fully rational process, though, using terms such as “feeling into” or “affect contagion” todelineate a felt connection to experience that we do not presume to comprehend and to beings (human and other) dissimilarfrom ourselves. As an approach to performance analysis, this critical paradigm moves beyond language-based interpretationof experience to also include embodied and embedded cognition, responses that can have impact without becoming fullyconscious, and performance as a stimulus to types of thought other than interpretation. Abramović’s forty-year careerprovides a rich terrain across which to map the conceptual tools central to affect theory, which in turn reveals the ways inwhich the artist’s recent emergence as a blockbuster art star is bound up with her implicit embrace of neoliberal individualismand explicit rejection of feminism. I argue that when body art functions as an aesthetic encounter that produced a “shockto thought”—that is, a sign that is felt but cannot be fully decoded and thus causes one to think—meaning is to an arguablygreater extent produced by rather than being conveyed to the receiver. Abramović’s re-performances increasingly closedown the field of affective possibility as she markets her emotional experience with astonishing success.marlac@uga.eduFIRT/IFTR World Congress, University of Warwick, 2014373

Preparing for Action: Affect, Activism and Feminist Performance in Neoliberal TimesWorking Groups: Feminist ResearchElin DiamondRutgers UniversityElin Diamond holds a BA-Honors. Brandeis University(1970) MA and Ph.D. University of California, Davis(1980) She is Professor of English and ComparativeLiterature, Rutgers University, 1983-present.Guest teaching: Columbia University (1990); MAIPRProgram, Amsterdam and Warwick, 2012.BOOKS: Pinter’s Comic Play (1985); Unmaking Mimesis:Essays on Feminism and Theater (1997)EDITED BOOKS: Performance and Cultural Politics (1996ed. E. Diamond); The Cambridge Companion to CarylChurchill (2009, co-edited with E. Aston) RECENTESSAYS: “Deb Margolin, Robbie McCauley, Peggy Shaw:Affect and Performance”, eds. Penny Farfan and LesleyFerris, Contemporary Women Playwrights into the Twenty-First Century (London: Palgrave Macmillan, 2013), pp.258-274; “On Churchill and Terror” in The CambridgeCompanion to Caryl Churchill, eds. E. Aston and E.Diamond (Cambridge: Cambridge University Press, Dec2009), 125-143.The wave of affect theory, especially in its Deleuze/Massumi aspect in the 1990s and 2000s, recharges an old avant-gardeperformance idea about revolutionary action through and by the body. As Deleuzian Eric Strouse puts it, “affect is thebody’s way of preparing itself for action…by adding intensity to the quality of experience” - in opposition to “the linguisticturn” of postmodern theory which imprisons the body in discourse and ideology critique. While feminist theory deploysideology critique to lay bare an apparatus of representation in theater/performance practice, it never loses sight of thebody as the basis of knowledge, desire, feeling, and critique. Yet—and here the conference theme of stratification is mostuseful-- ideology critique can seem predictable, predigested, and unresponsive to the heterogeneous layerings of an event.Thus, while challenging the blinkered nature of some affect theory, this paper takes on board its most interesting argumentsas well as those of the “new materialists,” who argue for a renovated materiality for feminism, specifically an “agenticnature” that includes human, nonhuman, and posthuman configurations (Material Feminisms, eds. Alaimo and Hekman,2008; New Materialisms, eds. Coole and Frost, 2010). Oddly, while wanting to be revolutionary, the new materialism oftenignores neoliberalism. An economic policy based on the privatization and unequal marketization of civic and personal life,neoliberalism is also a layering of affective responses to psychic and social precarity. When Eric Strouse, by way of imagininga body prepared for action, ungenders it and releases it into action unfettered by political commitments, is he fueling theindividualist entrepreneurial self-regard so basic to neoliberal policies or is he freeing us to form new associations? Suchquestions are explored via a range performances and queries, from Valie Export to Pussy Riot.elin.diamond@rutgers.eduFIRT/IFTR World Congress, University of Warwick, 2014374

Neoliberalism and the Family in Emma Dante and Marina Carr’s Plays: A (Heterosexual) MarriageMade in Heaven?Working Groups: Feminist ResearchBrenda DonohueTrinity College DublinIn 2013 Brenda Donohue completed her doctoralstudies in the Dept. of Italian in Trinity College Dublin,funded by the School of Languages, Literaturesand Cultural Studies. Entitled Towards a Theory ofthe Anxiety of Ontology, her thesis focused on thethemes of death and feminist ontology in the workof two contemporary female playwrights, MarinaCarr and Emma Dante. Her research interests includefeminism and performance, Irish and Italian theatre, andtranslation for theatre. Brenda’s recent publicationsinclude the article “ Marina Carr – Writing as a FeministAct,” published in the edited collection PerformingFeminisms (2013), edited by Lisa Fitzpatrick and thetranslation of an article by mask-maker Stefano Peroccofor The Routledge Companion to Commedia dell’Arte(ed.) Oliver Crick (Forthcoming). Brenda is a memberof the Irish Society for Theatre Research and theInternational Federation for Theatre Research.The idea of family has long been central to the idea of social, economic and cultural life in Italy and Ireland, and is consideredthe fundamental building block on which both societies are constructed. This position has been further bolstered by theadvent of Neoliberalism, which, in keeping with Catholic historical teaching, holds the concept of the family in its traditionaliteration as patriarchal, child-centred and marked by defined gender roles, as an integral part of its project. As JenniferWingard points out, Neoliberalism has “branded” the family in a heteronormative utopian paradigm. Across their oeuvre,playwrights Emma Dante and Marina Carr challenge such superficial, untroublesome and unproblematic depictions of familylife, presenting instead a stratified vision of the complex, complicated and conflicted nature of real familial relations. Incontrast to the traditional and prevailing romanticization of the family under Neoliberalism, Dante and Carr often presenta dystopic vision of family relationships, depicting it as a site of oppression, neglect, violence and abuse. The traditionalpatriarchal, child-centred and normative institution of the family, which is vital to the machinations of Neoliberalism, isrevealed in its oppressive and destructive potential. Inherent in this process of deconstruction, is however, the possibilityof redemption for the concept and lived experience of “family” through a process of transformation and development thatresists the demands of Neoliberalism. Two key strategies are put forward; firstly, the acceptance of difference - particularlyin relation to gender roles, mothering and sexuality - and the creation of alternative family groupings. Such a depiction,resisting as it does Neoliberalism’s elevation and mythologizing of the traditional family, breaks open this closed concept toreveal its multi-layered and varied realities, while calling into question the validity of the neoliberal project itself.bdonohu@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014375

Theatres of Striated Speech: Or, What Happens when Indigenous Women Address the Public inthe Form of a Rebuke?Working Groups: Feminist ResearchSandra D’UrsoThe University of MelbourneSandra D’Urso is a PhD candidate and an early careerresearcher at The University of Melbourne, Australia.Her research interests include performance art andtheatre. Current research interests are interdisciplinaryand explore the conjunction of performative cultureswithin religion, politics and the law. Sandra is the coconvenerof Performance Studies Melbourne and acurrent member of the IFTR Feminist Working Group.On Monday the 18th November I attended a convergence on the lawns outside Parliament House in Canberra, to protestthe Tony Abbott Government’s prohibitive immigration and asylum- seeker policies. The official part of the ceremonybegan with a traditional Welcome to Country delivered by an Indigenous Elder. By the day’s end however, an accompanyingIndigenous Elder who had waited to speak was cut short as the organizers of the event packed away the microphone. Thesound of her rebuke just managed to echo through the microphone as it was being unplugged. ‘I have waited a long time tospeak! This has been happening to my people for hundreds of years’! What ensued in the form of a performed rebuke wasa damning indictment on Australian politics and history. Despised by a White Nation and abandoned by its law, the Elder’srebuke echoed out, unamplified, through the voice of a double dispossession; firstly as an Indigenous person and then as anIndigenous woman. Her trailing words, ‘I have waited a long time to speak’ carried the full weight of history within them, andtransmitted the fact of their continuing occlusion from the public sphere. With the imposing steely structure of ParliamentHouse, invigilating in the background, and a highly choreographed police presence over the street and lawns, it was apparentthat there was a dark dramaturgy of ‘Nation’ being played out on these grounds. I will argue that this event performativelyrelayed something of what an Australian state of exception in law looks like- and who may, or may not, be counted as fullyhuman within it.sandzi@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014376

Post-Feminism, Neoliberalism and Neo-Burlesque: Moira Finucane and The Burlesque HourWorking Groups: Feminist ResearchSarah FrenchThe University of MelbourneDr. Sarah French is Research Fellow in the Schoolof Languages and Linguistics at the University ofMelbourne. She has research interests spanning theareas of contemporary theatre and performance,feminist theory, gender studies, cinema studies,philosophy and television studies. Her recentpublications include articles on Chris Marker’s film SansSoleil, the TV series Mad Men, Australian performanceartist Moira Finucane and the performance TheBurlesque Hour. She is a member of the IFTR FeministResearch Working Group and the Matters of the BodyResearch Cluster at the Victorian College of the Arts.Sarah has lectured in Theatre Studies, Cinema Studiesand Gender Studies at the University of Melbourne.She is currently writing a book on Sexuality and GenderPolitics in Contemporary Australian Theatre andPerformance (forthcoming, Palgrave Macmillan 2016).At the IFTR conference in Barcelona in 2013 I explored the relationship between post-feminism, neoliberalism and neoburlesquethrough an analysis of Australian performance artist Moira Finucane. I argued that Finucane’s performancesengage the spectator on both visceral and political levels through the use of gender inversion, abjection and affect. Incontrast to the apolitical tendencies of the neo-burlesque revival, Finucane’s performances reignite the political originsof the genre, challenge conventional images of sexuality and gender and incorporate feminist and queer theoretical ideas.While continuing to argue for the subversive power of Finucane’s performances, this paper contextualises her work bydeveloping a critique of the Finucane & Smith production The Burlesque Hour (2004-2014), a highly commercial venture thathas reportedly been seen by 125,000 people around the globe. I argue that the cultural and political agenda of The BurlesqueHour has undergone a gradual shift over the decade, characterized by a move away from the show’s subcultural originstowards a more commercially viable positioning. This move is indicative of the neo-burlesque genre as a whole and I suggestthat such shifts can be linked to the impact of neoliberal economic and cultural imperatives upon the theatre industry. Suchimperatives may result in the waning of feminist politics, yet it is also important to acknowledge the potential for momentsof critical feminist disruption to emerge from within neoliberal cultural practice. This paper resists a straightforward readingof The Burlesque Hour as either feminist or antifeminist and instead highlights the ambiguous and polysemic nature of theperformances. It reads the contradictory political and aesthetic choices in the 2013 production as a reflection of the paradoxof a contemporary feminism that wants to challenge patriarchal constructs of female sexuality and take pleasure in them atthe same time.frenchs@unimelb.edu.auFIRT/IFTR World Congress, University of Warwick, 2014377

Deux expressions du féminisme sur la scène tchèque contemporaineWorking Groups: Feminist ResearchUnlike Western Europe, the Czech Republic did not experience the second wave of feminism in its theatrical expression.After all, communism had, in theory, neutralised and resolved this problem. However, since the fall of the Berlin wall, thisissue has greatly increased in importance, as witnessed and supported by cultural institutions (Radok-Žába na prameni prize,since 2006). This interest may have been part of a determination, in the first instance, to make up for lost time: but itswidespread importance at the moment reveals a shortage of funds and a real need on the part of artists and public alike. Thisdocument, therefore, will analyse two specific – if divergent – ways in which Czech feminist theatre addresses this problemby studying the work of two collectives from the writing stage to production.In Prague, the Kampa theatre, directed by Iveta Dušková, plays host to several companies who address feminist issues viaimprovisation, collective creation or dance. The common denominator of these companies (Cylindr, PAP, Bilá Velryba) is themove away from politics towards personal development or even an esoteric approach.Katia HalaUniverzita PardubiceKatia Hala is the author of a doctoral thesis, The sixties:the golden age of Czech theatre?, presented in 2009 atthe Université de Paris IV-Sorbonne in co-operationwith the Charles University in Prague. She is the authorof a number of articles on Czech and central Europeantheatre and has translated and/or directed for theFrench stage several Czech dramatists (V. Havel, I.Vyskočil, P. Zelenka, R. Sikora, P. Kolčko, D. Drábek)and is now translating the works of French playwrightsinto Czech (F. Bégaudeau, M. Visniec). Since teachingCzech language and culture at the Université de ParisIV-Sorbonne, where she remains affiliated to theCIRCE (Centre for Central European InterdisciplinaryResearch), she is currently working as a teacher andpost-doctoral researcher at the University of Pardubice(Department of Women’s History) where her researchcentres on theatre and gender. She has contributed tothe Dictionnaire des créatrices (Editions des Femmes,2013) and is preparing for 2014 Ženy, divadlo,dějiny(Women, Theatre, History) the first monograph ontheatre and gender in the Czech Republic.In Brno, the Anna Saavedra/Janka Ryšánek Schmiedtová partnership adopts a more daring, more committed approach basedon social involvement. Their latest creation, SAMODIVA/ theatrical blues for single mothers, brought together ten womenin difficult economic circumstances – ten unemployed mothers bringing up their children on their own. Their experiencesprovided the material for a theatrical event and a documentary film: the preparation for the theatrical event gave themothers employment for six months and the training necessary to return to the job market.katerina.hala@upce.czFIRT/IFTR World Congress, University of Warwick, 2014378

Eve Ensler and One Billion RisingWorking Groups: Feminist ResearchEve Ensler’s play The Vagina Monologues and the various campaigns associated with it including V Day, the City of Joy inthe Congo and One Billion Rising, have always provoked controversy. Most of Ensler’s feminist critics acknowledge theconscious raising potential of these initiatives and their support of ‘grass roots’ activism. Nevertheless, many have agreedwith Catherine Cooper (2007) that not only does The Vagina Monologues promotes an ‘essentialist’ feminism and provides‘catharsis’ for its performers and audiences but that Ensler engages in ‘market-place’ activism. Similarly, many might agreewith Kerry Bystrom (2013) that Ensler’s international projects represent ‘cosmopolitics’ rather than ‘transnational’ feminism.While I am in sympathy with many of points raised in these analyses, I am aware of Jill Dolan’s contention that in thecommodified West there is little or no performance work (or activism) that can be said to operate entirely ‘outside’ ofmainstream culture. Equally I agree with her insistence that, in the current political climate, there is an urgent need forfeminists to ‘work on all fronts and support each other’s efforts, methods, languages and means’ (2012).Geraldine HarrisLancaster UniversityGeraldine (Gerry) Harris is Professor in Theatre Studiesat Lancaster University, UK. She has published widelyon the politics and aesthetics of Theatre, Performanceand Television Drama. Her books include StagingFeminities, Performance and Performativity (ManchesterUniversity Press 1999), Beyond Representation: ThePolitics and Aesthetics of Television Drama (ManchesterUniversity Press, 2006) Feminist Futures? Theatre Theory,Performance, co-edited with Elaine Aston (Palgrave,2006) and Practice and Process: Contemporary [Women]Practitioners, co-authored with Elaine Aston (Palgrave,2007). A Good Night Out for the Girls: Popular Feminismsin Contemporary Theatre and Performance, co-authoredwith Elaine Aston (Palgrave, 2013).Without ignoring its problems and limitations then I want to explore One Billion Rising 2013 and performances it provoked inthe spirit of critical and political ‘generosity’. This bearing in mind that evidence suggests that, under this banner, a substantialnumber of people in a significant number of countries participated in protesting against violence against women in February2013.g.harris@lancaster.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014379

Precarity and Performance in Recent Works by Ito Tari and Yamashiro ChikakoWorking Groups: Feminist ResearchThis paper is part of a project that examines intersections between activism, performance and contemporary art as expressedin recent works by ItoTari and Yamashiro Chikako and other women artists who continue to produce innovative work inthe wake of the triple disasters of March 11, 2011. Feminist performance artist Ito Tari’s live-art work, ‘Perhaps it’s betterthat radiation has no color’…. sigh (2011), exposes the precarious state of daily life in communities near Fukushima DaiichiNuclear Power Plant, where promises by the government to “de-contaminate” public and private lands continue to dividecommunities and families, and leave many living in an ongoing state of uncertainty.Rebecca JennisonKyoto Seika UniversityRebecca Jennison is Professor in the Department ofHumanities at Kyoto Seika University, Kyoto, Japan. Shecompleted her M.A. in the Department of East AsianLanguages and Literatures at Cornell University. Shehas published numerous articles about the work ofcontemporary women artists based in Japan including“Post-Memory in the Work of Oh Haji and Soni Kum”( Zansho no Oto Iwanami Press, Tokyo, 2009) “Imagesfor a Turbulent Time” ( Hiruko and the Puppeteers: ATale of Sea Wanderers, Gendai Kikakushitsu, Tokyo,2009) and Imagination Without Borders: FeministArtist Tomiyama Taeko and Social Responsibility (coeditedwith Laura Hein, Center for Japanese Studies,University of Michigan, Ann Arbor, 2010). She cocuratedthe exhibition, Art, Performance and Activismin Contemporary Japan (Pump House Gallery, London,2012) in which works by Yamashiro Chikako, Soni Kumand others were shown, and collaborated on a bi-lingualpublication of MOVE: Ito Tari’s Performance Art (ImpactShuppan, Tokyo, 2012) She is currently working on a coeditedvolume titled Resonant Scars that will introduceEnglish readers to the works of artists and scholars whoparticipated in the Asia, Politics and Art Project.In Woman of the Butcher Shop (2012), performance and video artist Yamashiro Chikako, develops the notion of “connivance”seen in earlier works such as Seaweed Woman(2009), to explore economic and environmental precarity in communitieswhere Okinawans and “disaster refugees” live in close proximity to U.S. military bases. Yamashiro’s use of a flea market thatsprings up at the edge of a U.S. base as the setting for the work, underscores both the vulnerability of the community thatforms around it, and what the Critical Art Ensemble notes might be the positive potential of precarity. Yamashiro’s workalso helps direct our attention to new forms of post-3/11 activism and exchange emerging in the marché in communities ofFukushima refugees where safe food, ideas and goods are being exchanged outside of the established market system.The works of these artists constitute profoundly important interventions in a context where public trust has been badlyshaken in the wake of the triple disasters of 2011, and where debates about nuclear power, human and bio-diversity as well asenvironmental and human security are ongoing.r.jennison@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014380

Between “Radical Particularity” and “Essential Humanity”: Mabou Mines’ Doll House and DisabilityTheory’s Challenge to FeminismWorking Groups: Feminist ResearchStefka MihaylovaUniversity of WashingtonStefka Mihaylova holds a Ph.D. in Theatre Studiesfrom Northwestern University. Her research focuseson gender and racial aspects of spectatorshipin contemporary American and British feministtheatre. She has published articles on the plays andperformances of Tony Kushner, Carolee Schneemann,and the Guerrilla Girls. She has also worked as aproduction dramaturg at several theatres in Chicagoand has read play manuscripts for Chicago’s GoodmanTheatre.In Feminist Disability Studies (2011), Kim Hall critiques the established feminist approaches which use disability as a metaphorfor gender inequality. This metaphorical use, she argues, disregards the reality of living with disability. Hall is right; manyof the plays that have been central to US and British feminist theatre criticism since the 1990s feature disabled femalecentral characters. But we have yet to account for how these characters’ bodies, “radically marked by particularity,” mayhave influenced our definitions of feminist drama or feminist spectatorship. Drawing on disability scholars’ reading of thedisabled body as at once “radically marked” and “essentially human,” I analyze the body politics of Mabou Mines Doll House(2003). In this production, small actors played all male parts, and during Nora’s last monologue the actress Maude Mitchellstripped her costume to reveal an emaciated-looking body evocative of cancer treatment. These body choices may be oneof the first direct responses to Tobin Sieber’s call for creating a realism of disability: an aesthetic which neither erases, norromanticizes the experience of disability, but instead depicts the complex ways in which disability pits the mind against thebody, undermining fantasies of stable identities. At the same time, disabled bodies share with female and non-white bodiesa history of freakish spectacularity. The semiotic burden of this history is impossible to ignore in Mabou Mines’ production.Indeed, the neoliberal climate in which the company approached Ibsen’s classic makes imperative a consideration of thesocial and market potentials of the production’s body choices. I analyze how the affects of discomfort and distaste influenceDoll House’s gendered bodies’ vacillation between radical objects and spectacular commodities. I am also interested in howbringing the disabled body to the center of our discussion may produce insights about the relationship between feminism,performance, and realism.stefka.mihaylova@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014381

The Virtuoso as Nostalgia MachineWorking Groups: Feminist ResearchAoife MonksBirkbeck University of LondonIt was in the late 18th Century that the virtuoso emerged as a category of performance, in the figure of a seeminglysuperhuman performer capable of apparently magical (if not demonic) transcendence of the material conditions of thestage. This paper investigates the relationship between the birth of the virtuoso and the emergence of the emotionalcategory of nostalgia – homesickness – and suggests that they might both be viewed as symptoms of the disorientingaffects of modernity. Furthermore, I will investigate the ways in which virtuosity is often attributed to the bodies of maleperformers, with their attendant myths of heroic individualism, and consider how virtuosity might grow out of, and enable,structures of masculinity, connected into the qualities of risk, innovation and entrepreneurialism. The virtuosic performersthat I will consider in this paper – Dion Boucicault in the 19th Century and Michael Flatley in the 20th Century – have bothtraded in nostalgia, wedding performances that inspire terror and awe with the longing for ‘home’. However, the particularforms of modernity that these performers occupied – Boucicault’s mid-19th industrial metropolitan context, and Flatley’slate 20th Century neo-liberal globalised performance practices, enable me to consider the historical specificity of therelationship between virtuosity, masculinity and nostalgia in performance.Aoife Monks is a Senior Lecturer in Theatre Studies atBirkbeck, University of London. She is the author ofThe Actor in Costume (Palgrave Macmillan), which wonthe TAPRA David Bradby Prize, along with publicationsin Theatre Journal, Modern Drama and various editedcollections. She is the co-editor of ContemporaryTheatre Review journal, and the convenor of theBirkbeck Centre for Contemporary Theatre.a.monks@bbk.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014382

Revisiting Social Democracy Memory, Performance, and NeoliberalismWorking Groups: Feminist ResearchInterest in the murdered Swedish Prime Minister Olof Palme has re-emerged in a number of new biographies, films, andperformances. In these productions and works of art, a younger generation of dramatists and artists pose questions aboutthe downsizing of the social democratic project, and the dream of a model welfare society that seemed to be fading as thatgeneration reached adulthood. It appears to not only represent nostalgia for Palme, but also a public mourning of the lostvision of a social democratic nation.For younger Swedes the story of Olof Palme starts with the assassination on Sveavägen in central Stockholm in 1986. Thisbrutal act, the confused and confusing police investigation that followed, the different conspiracy theories flourishing inthe media, and the eventual capture of a murder suspect who was later released constitute a national trauma that never hasentirely healed.Tiina RosenbergUniversity of StockholmTiina Rosenberg is the rector of the University ofthe Arts Helsinki, Finland. She is also the chair ofFinland’s Arts Council, and a professor of PerformanceStudies at Stockholm University, Sweden. Rosenberghas previously been professor of gender studies atStockholm University and at Lund University, and haswritten extensively on performing arts, feminism andqueer theory. Rosenberg’s most recent book, entitledIlska, hopp och solidaritet. Med feministisk scenkonst in iframtiden [Anger, Hope and Solidarity: Carrying FeministPerformance Art into the Future, 2012], is a study ofcontemporary feminist performance in Sweden. Sheis working on a new book Arvot mekin ansaitsemme:kansakunta, demokratia ja tasa-arvo [We Have theValues We Deserve: Nation, Democracy and Equality]forthcoming in the fall 2014.This paper discusses the image-memory of social democracy, the tension between a nostalgic idealization and the neoliberalreality in a country where social democracy has been marginalized even though nothing would fit Sweden better than a truesocial democracy. Palme’s controversial cult status has also obscured the view of decades of social democratic politicalpower and Cold War secrecy. Palme’s way into politics was turbulent and full of scandals, a fact that have nourished numeroustheatrical interpretations.tiina.rosenberg@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014383

Buy One, Get One Free: The Dance-Body Package for the Indian Film / Television IndustryWorking Groups: Feminist ResearchUrmimala SarkarJawaharlal Nehru UniversityIn the “world” of global Bollywood and Indian television reality shows, gender norms are constructed and pushed to createpowerful and plastic mediated images of hyper-gendered female bodies as commercial items, used relentlessly for sellingproducts, films, and life style choices. Both beauty and labour are bought and sold as commodities. Skills are transient andacquired for short term utility (unlike the long investment of the dancers who spend their whole lives in honing their skills andtechniques). It is necessary to understand the movement patterns and their generation by a completely different group of“teachers” who dominate this world of image/dance making. These dance gurus, who emerge as the principal marketers ofspecialized skill-sets, provide the dancers short term use-and-throw packages for reality shows, for Bollywood item numbersor for momentary appearances by background dancers in the midst of a group. I would like to attempt a possible theorizationof this through the concepts of accumulation – by which the female sexuality as property can be owned by the marketeconomy (though is hoarded often by women) which drives the hyper-masculine film and television Industry of India. Theother theoretical paradigm of dispossession of the woman is inevitable as they merely hold in trust, their assets (in this casebody, skills sexuality) for the rightful owners. The rights to the body and the magic it can create through the display and useof skills, are commodities, where buying one means getting the other free.Urmimala Sarkar is an Associate Professor, teachingTheatre and Performance Studies at the School of Arts andAesthetics in Jawaharlal Nehru University, New Delhi, India.She is a dancer and a choreographer trained in and hasperformed extensively within and outside India. Urmimalahas published extensively in important publications. Someof her works are Engendering Performance: Indian WomenPerformers Searching for Identity (2010) – co- authoredwith Bishnupriya Dutt (sage, New Delhi), TraversingTradition: Celebrating Dance in India (2010) - co-edited withStephanie Burridge (Routledge, India), Dance: TranscendingBorder (2009) edited by Urmimala Sarkar (Tulika Books:New Delhi). With a Ph.D. in Social Anthropology and Post-Doctoral research in Dance Anthropology, her currentresearch focuses on politics of performance, gender anddance, and performance as research. She is a resourceperson for Kolkata Sanved, an NGO working to providedance and movement therapy in rural and urban India,Bangladesh and Nepal for psychosocial rehabilitation ofvictims of violence and trafficking, mental health patients,women and children suffering from HIV/AIDS, domesticworkers, railway platform children and mainstream schoolchildren.Urmimala.sarkar@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014384

Voices of the ‘880 Thousand Won Generation’Working Groups: Feminist ResearchPrecarity now seems to be an undeniable global socio-cultural phenomenon. Precarity in more specific Korean context,however, immediately connects with the so-called ‘IMF financial crisis in 1997’ for most of the Korean people. Since 1997,Korea has become more rapidly integrated into the globalization process. By 2013, the so-called ‘post-IMF syndrome’ seemto characterize our society, namely the bi-polarization of its social brackets along with disruption of the middle-class bracket,that the nation had so laboriously been building up since the 1960’s. Now Korean society reveals characteristics of globalprecarity such as widening gap between high-income and low-income brackets, the aristocracized Jaebol(big businesscombines) and small-medium businesses, intermittent labor, youth unemployment and the formation and spread of Koreanprecariat bracket.Jung-Soon ShimSoongsil UniversityJung-Soon Shim is Professor of English at SoongsilUniversity, Seoul, Korea. She has served as Presidentof Korean Theatre Studies Association and of KoreanAssociation of Women in Theatre. She is a theatercritic, and won the Yuh Suk-ki Theatre Critic Award byKATC in 2003. Her major books include Twenty-firstCentury Korean Theatre Women Directors (2004). Herarticles have appeared in TRI, New Theatre Quarterly,Australasian Drama Studies.In theatre sector, precariousness has been the spectre ever haunting modern Korean theatre and theatre practitioners fromits beginning in the 1920’s to the present times. If the national agenda for liberation from Japanese colonialism characterizedmodern Korean theatre largely as a socio-cultural movement up until 1945, the year of Liberation, the same impetuscontinued to upgrade the national standards to match the international ones roughly up until 1997. Then the post-IMF eradrastically affected and changed the above-mentioned characteristics of modern Korean theatre to those of theatre industry.Presently Korean theatre sector has become not only generally commercialized but also bi-polarized as well between milliondollartranslated western musical productions dominating the market and small-space theatre productions struggling at theperiphery. Against this post-IMF socio-cultural background, this paper will examine several play productions by Park Geun-Hyung, Jang Seong-Hee(woman) and Choi Cheol, playwrights representing the so-called ‘880 Thousand Won’ generation,focusing on how each playwright render differently their sense of precariousness in their plays; and how curiously these playsaddress precariousness rather indirectly than directly tackle the social issues of precariats. This paper explores the potentialmeaning and significance of such tendency as well.FIRT/IFTR World Congress, University of Warwick, 2014385

Unsettled by Empathy and Affection: An Audience Meeting with Nisti StêrkWorking Groups: Feminist ResearchChristina SvensUmeå UniversitetLectureship in Literature – Drama, Theatre, Film, (100%)at the Department of Culture and Media Studies, UmeåUniversity /Screenwriting for Film, TV and New Media /Programme DirectorIn För Sverige i tiden! (2007/2008) the Kurdish-Swedish actor Nisti Stêrk investigates and unravels the social stitching thatis connected to her as an immigrant in Sweden. She historicizes socio-cultural processes at a backdrop of a critical revuetradition, popular culture and cultural traditions. Playing with the figure of the stranger as a colonial imagination that occupiesand defines her place in society in line with a multi-cultural politics that confuse ethnicity with culture and work to separatepeople as fixed in cultural essences, she creates an audience meeting built on cultural differences as positive social forcesof power grounded in embodied experience. This ontological position enables her to address the audience with empathyto estrange what is assumed as familiar and also seems to be affectively true. The objective is to make visible the invisibleworkings of manipulation and indoctrination as they play out with regard to politics of gender, ethnicity and othering. Stêrkreveals how the figure of the stranger along other imaginations tends to reify bodies. Her way of creating an alternativesocial belonging works to decolonize an approach that fix others in regimes of difference - in separate universes in thesame context and time – as people become appropriated into the imaginary and globalized economy of difference. Stêrkestablishes an alliance with the audience where both are surprised by and irritated of what happens between them, whichallows them to be unsettled in the very meeting. In this sense her performance is about political struggle; about being movedby feelings into a different relation to norms that need to be contested as a way of learning to deal with and finding ways toget through also affective blockages in meetings with “others”.Latest research: “The Stranger” on the Stage: Kurdish-Swedish Actors Perform Identity (50 %,) funded by TheSwedish Research Council, 2009-2012 and Faculty ofArts, Umeå University 2013 and Course Evaluation withGender Awareness (20 %,) cooperation between fourUniversities in Sweden and funded by the Council forEquality in Higher Education, 2010-2013.christina.svens@kultmed.umu.seFIRT/IFTR World Congress, University of Warwick, 2014386

Working GroupsHistoriography“Not Metamora Again!” Can the Merely Popular be Canonical?Working Groups: HistoriographyRosemarie BankKent State UniversityRosemarie Bank is Professor of Theatre at Kent StateUniversity in the USA. She is the author of THEATRECULTURE IN AMERICA, 1825-1860 (Cambridge, 1997)and many articles and conference papers.rbank@kent.eduIn 1828, the American actor Edwin Forrest announced a playwriting competition for a $500 prize, “of which the hero, orprinciple character, shall be an aboriginal of this country.” The winning entry was John Augustus Stone’s METAMORA; OR,THE LAST OF THE WAMPANOGS, first performed in 1829. The play was a hit and prompted a surge of Indian dramas in the1830s and 40s, including John Brougham’s burlesque METAMORA; OR, THE LAST OF THE POLLYWOGS (1847). Stone’s playbecame a staple of Forrest’s repertory until the actor’s death in 1872, and was the most theatrically successful of the Indiandramas written during the nineteenth century. From the heights of fame and influence, METAMORA plunged to obscurityafter Forrest’s death. The full text of the play was not reassembled and published until the 1960s and its reception in the lasthalf-century has not authorized its view of the “aboriginal(s) of this country” or led to performances of the play, while, at thesame time, METAMORA has become part of the nineteenth-century American dramatic “canon.” The paper I propose forthe 2014 meeting of the Theatre Historiography Working Group will examine the “canonical” status accorded Stone’s andForrest’s METAMORA since the 1960s. Why has this popular theatre piece emerged as part of the dramatic canon, indeed,how has the nineteenth-century American dramatic canon been formed? What masters of social stratification does thatformation serve, with respect to American cultural history? How, on the other hand, has METAMORA come to representthe views and values of nineteenth-century Americans, whether “white” or “aboriginal,” that is, how has this play canonized aparticular view of American history in the nineteenth century?FIRT/IFTR World Congress, University of Warwick, 2014387

Print, Drama and Entertainment: Theatre and the Making of Modern Assam (1880-1930)Working Groups: HistoriographyMaitri BaruahUniversity of DelhiAssistant Professor, Department of English, HansrajCollege, University of Delhi. Currently doctoral studentin the Centre for English Studies, Language, Literatureand Culture Studies, Jawaharlal Nehru University. Mywork examines the relationship between theatricalpractices and narratives of identity within the publicsphere from the late 19 th to early 20 th century in colonialAssam. Other areas of interest include History of theBook, Translation Studies, and Literature and SocialHistory of Sport.From the time the first modern play in Asomiya was serialized in the journal Orunodoi (1846-1880) published by the AmericanBaptist Missionaries, modern Drama in Asomiya became an important cultural artefact constituted through the newtextual practices and forms forged in the discursive spaces created by the new vernacular print media. My work attemptsto investigate modern drama in Asomiya vis-à-vis new sites of cultural production (for e.g. the vernacular periodicals)implicated in the contestation of traditional structures of patronage and new elite claims. The attempt in this paper is toexplore the critical intervention the newly forged text of modern drama (sourced out of oral and traditional performanceaesthetics alongside models of European realism) made in the discursive development of a cultural consensus about theparameters of Asomiya cultural identity. Yet these oral and traditional performance aesthetics existed in different forms ofcirculation and which staged social shifts (tribe-caste continuities), historical transitions (migration) and borderland identitiesthat challenged any cultural consensus consolidating in the process new linguistic and performative communities. The keyquestion that I would like to examine here is the critical intervention theatre made in the discursive development of themeanings and mechanisms of the politically charged concept of jati (imagined community) within the landscape of changingpolitical boundaries in colonial Assam. Drama became the mainstay of the literary public sphere’s attempts to create a‘literary’ vocabulary implicated in the creation of linguistic hierarchies and in new definitions of Asomiya language and itsimagined community. But other forces at work (migration etc) in Assam led to different forms of theatrical practices whichcontested the dominant literary sphere. The intersection of language politics, print and theatrical cultures are crucial to theconstruct of modern Assam.maitri_baruah@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014388

Performing Cultural Heritage: Authenticity and the Spirit of RebellionWorking Groups: HistoriographyAngela CampbellFederation University, BallaratCultural heritage aims for authenticity, but is not quite history. It may best be understood as stratified deposits of memory,affect and lived experience; a layering of private and public relationships, objects, sites, regulations and traditions that passbetween the past, present and future. To expand upon Joseph Roach’s reflection on memory, cultural heritage “operates asboth quotation and invention, an improvisation on borrowed themes, with claims on the future as well as the past” (Cities ofthe Dead, 33). Cultural heritage is examined here in three different performative iterations from “funded” to “commercial”to “homegrown” (applying John Holden’s analysis of stratification in the production and consumption of culture, Key Issuesin the Arts and Entertainment Industry, 182). Each engages with the story of Australian democracy and the 19 th centurytale of the Eureka Rebellion in the Ballarat Goldfields. The discussion considers the role that such performances play inthe maintenance of categories of “authority and power, access and mobility, privilege and entitlement”. Following BazKershaw’s challenge to pursue a “paradoxology of performance … which deploys paradoxical methods – searching for hopein desperation” (Performing Heritage, 124) the paper posits that the past can only be experienced in the present, that thosewho have been excluded from the pageant of history might be the hope for the future, and that history and/or authenticitymay sometimes be found in the reflexive play of cliché and pastiche.Angela Campbell graduated as an actor from theVictorian College of the Arts, and later received herMA from University of Queensland and her PhD fromMurdoch University, Western Australia. Before joiningFederation University in Ballarat as Lecturer in CriticalStudies, Angela worked as a freelance actor and theatremaker, creating new work and touring nationally andinternationally with her company, Hildegard Theatre.Her research has been both practical and theoretical,focusing on place and space in performance. Sheis currently investigating the connections betweentheatre, history and democracy.acampbell@federation.edu.auFIRT/IFTR World Congress, University of Warwick, 2014389

The Creation of a Canon: The Comédie-Française, 1680 to 1687Working Groups: HistoriographyJan ClarkeDurham UniversityJan Clarke is Professor of French at Durham Universityin the UK and is currently Secretary General of IFTR.She has published extensively on all aspects of 17thand early 18th-century theatre history, includingarchitecture, acoustics, stage design, spectacle,music, company organisation, programming, and theparticipation of women in the theatrical event as bothactresses and employees. She is perhaps best known forher three-volume series on the Guénégaud theatre andis currently engaged on an edition of the machine playsand operas of Thomas Corneille and a monograph onthe early years of the Comédie-Française.Nowhere is the idea of a national canon more deeply engrained than in France, where the whole of seventeenth-centurytheatrical activity is often boiled down to just three men — Corneille, Molière, Racine — and the Comédie-Française is knownas the ‘Maison de Molière’. However, Molière died seven years before the Comédie-Française was founded and the gap wasbridged by a troupe performing at the Hôtel Guénégaud that succeeded in keeping his inheritance alive. The Guénégaudthen became the first home of the Comédie-Française in 1680, when it was decided that only one troupe of French actorsshould be allowed to operate in Paris. I have long been interested in the related concepts of repertory, programming andcanon and have published a number of articles on the subject (1986, 1988, 1998, 2004, 2006), examining for example themaintenance of Molière as an attraction or the exploitation of spectacle via the production of ‘machine plays’ that havesince dropped almost entirely from the national consciousness. My current research project concerns the early years ofthe Comédie-Française, examining the company’s changing social and political status and the enhanced and sometimescapricious degree of state control it had to endure, which also impacted on its repertory. This is frequently seen as a periodof deterioration or even decadence – the great national playwrights were dead or retired, no one of merit had come alongto replace them, and the increasingly mercenary nature of society was reflected in its theatre. In my paper, therefore, I willquestion this view, while expanding on my previous work to show how new plays were introduced, significant (frequentlyspectacular) revivals decided upon, and the ‘classics’ propped up, so that what at the Guénégaud had been part of a graduallyevolving repertory came eventually to be embalmed as a national canon.https://www.dur.ac.uk/mlac/french/staff/display/?id=2037jan.clarke@durham.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014390

Hierarchies of Value and Cultural Stratification in Regional English Theatre HistoryWorking Groups: HistoriographyClaire CochraneWorcester UniversityHistorians wield immense power over the living as well as the dead. In the process of valuation and evaluation which determineswhat the historian chooses to “fix” in the historical record are embedded conscious and unconscious cultural hierarchieswhich in turn have social and economic consequences. As a historian my attention has been primarily focused on the Britishexperience of theatre outside London and the need to redress the historical balance which has been very substantially skewedtowards a metropolitan narrative. My aim has not only been to acknowledge and pay tribute to the marginalised regionaltheatres of the past, but also to draw attention to continuing inequalities in the present. Within the academy where scholarlyadvantage may be predicated on the foregrounding of perceived excellence, or various models of the avant-garde, sheerprofessional pragmatism steers the historian in the direction of the resource-rich centre. As a result, the historian of the“provincial” risks an obscurity as profound as her subject’s. A kind of cultural stratification thus constrains both the historianand the histories which are made. Using selected examples drawn from English regional theatre, my paper will attempt toprobe through the fragmented layers of existing records in order to understand more clearly why this has happened. Also in thecontext of the controversy provoked by the recent publication of the report Rebalancing Our Cultural Capital: A Contributionto the Debate on National Policy for the Arts and Culture in England which has produced clear statistical evidence of long-termstructural inequality, consider how the rebalancing of the historian’s work might contribute fresh perspectives for the future.Claire Cochrane is Professor of Theatre Studies at theUniversity of Worcester. She is the author of two bookson the Birmingham Repertory Theatre: Shakespeare andthe Birmingham Repertory Theatre 1913-1929 ( Societyfor Theatre Research, 1993)and Birmingham Rep: ACity’s Theatre 1962-2002 ( The Sir Barry Jackson Trust,2003). Her book Twentieth Century British TheatreIndustry, Art and Empire was published by CUP in 2011.Other publications include essays on developments inBlack British and British Asian theatre and audiences inBirmingham, Nottingham and Leicester. Most recentlyshe has published on the Belgrade Theatre in Coventry.c.cochrane@worc.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014391

The Poetry of the ListWorking Groups: HistoriographyClare FosterCambridge UniversityListing is a fundamental imaginative mode in which classicists, in particular, have recently discussed and compared productionsof Greek drama in Britain. Without some or other titular naming and dating of events it is not possible to contextualise historicalphenomena at all. But this paper offers one example of the power of the narrative characteristics of chronology, and theliterary effects of listing, in creating imagined continuities. Early archaeological productions of Greek dramatic texts in theoriginal Greek, part of broader experiments with authenticity in the 1870s and early 1880s, became retroactively attached asthe origins of a tradition of elite performance in Oxford and Cambridge, for example, when in fact they had been progressivegestures precisely about new forms of access to authority and education on behalf of previously excluded groups (women,for example). Chronologies perform such traditions, and vice versa: an agency obscured by the apparently objective functionof lists of performances as simply sequence and category. But such historiographical approaches to Greek plays also workto reinforce two key ideas: that the play is its text, and that theatre is meaningfully a unitary and transhistorical concept.These both serve the idea of the text as having autonomous agency i.e. ‘causing’ its own continuity. This paper examines oneset of historical conditions from which this view of theatre emerged, via early self-declared authentic productions of BritishGreek drama, the contest over which at the time dramatises how the listing of performances by play title and date activelyprescribes, as well as describes, theatrical events.Clare Foster has a degree in Classics and teaching Greekliterature from Harvard and studied at UCLA’s film school(1989-93). She has won awards for her short films andfeature scripts and worked as a screenwriter in Los Angeles.Among others, she worked with Mike Newell, Kristin Scott-Thomas, and Geena Davis adapting writers such as JohnUpdike, Sebastian Faulks, Norman Lewis, and Flora Fraserfor companies such as Fox Searchlight, Film Four, andDisney. She moved to the UK in 2009. Her recent AHRCfundedPhD at Cambridge (on British Greek plays 1880-1921) explores the history of ideas of tradition, authenticityand the classic in modern conceptions of theatre; currentcreative practice in theatre and film reflects theseinterests. Her play A Progress Report, a riff on Bunyan’sPilgrim’s Progress, will be performed at Cambridge’sFestival of Ideas in October 2014. Co-founder and coconvenerof the Cambridge Interdisciplinary PerformanceNetwork, a Mellon-Newton group at CRASSH (Centre forResearch in the Arts Social Sciences and Humanities) atCambridge, she is currently Course Director for the MAinterdisciplinary module ‘Ancient Rome on Film’ at UCL.http://www.crassh.cam.ac.uk/programmes/performancenetworkclarelefoster@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014392

Layers of History in Theatre Production: The Unknown Soldier by Kristian SmedsWorking Groups: HistoriographyHanna KorsbergUniversity of HelsinkiIn my paper I am going to discuss the stratification strategies the performance uses in discussing history. My case studywill analyze the images of violence director Kristian Smeds used in his production of The Unknown Soldier performed atthe Finnish National Theatre in 2007–2009. The Unknown Soldier ran for over two years at the Finnish National Theatreand almost all of the performances were sold out. It was performed for 122 times and about 75 000 spectators saw it. Theproduction was based, at least partly, on a very well-known novel by author Väinö Linna published in 1954, discussing theContinuation War 1941–1944 between Finland and the Soviet Union. The images of violence from different layers of historywere used in discussing the questions of war and peace. In the production of The Unknown Soldier, the video technique hadmultiple functions. Images projected on the screens onstage were part of the staging; it enabled expansion of the stageand created new spaces. The use of the video allowed the use of the close-ups. The fragmented form, simultaneousnessand parallelism were highlighted. It enabled restructuring the narrative of the performance. I am arguing that the novel,though controversially received after portraying Finnish soldiers’ behavior in a negative light, was still very mild in its pacifistictone and criticism towards the war. Whereas the production was very critical towards the war and the use of violence. Itdeconstructed the heroism of the Finnish soldiers that was still present in the novel. These issues were discussed on the mainstage of the national theatre which strengthened the argument.Hanna Korsberg, PhD, Professor, Theatre Research atthe University of Helsinki. She has written about therelationship between theatre and politics in Finland indoctoral dissertation (2004) and in another monograph.She is also the author of several articles discussingtheatre history, historiography and performanceresearch. She has been an active member of the IFTRHistoriography Working Group since 2001 (a convenorof the group 2006–2009) and an executive committeemember 2007–2011 and 2011–2015. She has beenactively participating in the Association of NordicTheatre Scholars as a board member 1999–2009and the chairperson 2008–2009 and in the (Finnish)Theatre Research Society as a board member 2005–2008 and as the chairperson 2007–2008. Currently,she serves as a member of the editorial board of theContemporary Theatre Review and Nordic TheatreStudies. She was a Joint Academic Board member andtaught in the MA in International Performance Research2008–2014. Also, she has several positions of trust atthe University of Helsinki.hanna.korsberg@helsinki.fiFIRT/IFTR World Congress, University of Warwick, 2014393

Reaffirming the Canon: Chekhov Productions and a New GenerationWorking Groups: HistoriographyBetween 1947 and 1966 Eino Kalima, the general director of the National Theatre of Finland until 1950, gained a reputation ofbeing an excellent Chekhov expert in Finland and abroad. His productions visited foreign countries, and he visited as directormany other theatres in Finland and abroad. His style was called as Stanislavskian with influences from the French 1920’s and1930’s theatre. In Finland, his interpretations became a base for a Chekhov canon, if we adapt this concept quite freely (intheatre, it is also problematic). However, following closely Kalima’s style would have been a dead end. As Robert Alter saysabout modern novelists: “If their writing in certain respects unsettles the canon, makes us read it differently, invite us toimagine its cultural role in altered terms, they also reaffirm the continuing authority of the canon as a resource of collectivememory and as a guide for contemplating the dense tangle of human fate” (pp. 19-20). The National Theatre had this kind ofchallenge; it had to find a balance between breaking and following the former convention.Pirkko KoskiUniversity of HelsinkiProfessor emerita Pirkko Koski was responsible forthe Department of Theatre Research in the Instituteof Art Research at the University of Helsinki, and thedirector of the Institute of Art Research until the endof 2007. Her research concentrates on performanceanalysis, historiography, and Finnish theatre and itshistory. Except scholarly articles, she has publishedseveral books in these fields, the most recent of themNäyttelijänä Suomessa (“Acting and Actors in Finland”)in 2013. She has also edited several anthologies aboutFinnish theatre, and volumes of scholarly articlestranslated into Finnish.I will survey the four next Chekhov interpretations at the National Theatre and their strategies in reading the major plays byChekhov in a new way. They were directed by different directors, two of them internationally appreciated Russian artists,and their links with the Stanislavskian tradition differed from each other’s. The theatrical and social context becomes animportant background. The survey both exploits the former definitions of canon and via these examples tries to develop theirtheatrical use. The discussion about the stratification of differing layers in structuring the historiographic survey of a theatreinstitution and its productions forms the survey’s wider conceptual frame.pirkko.koski@helsinki.fiFIRT/IFTR World Congress, University of Warwick, 2014394

Canonizing the French Avant-garde in America: From Copeau to BarsacqWorking Groups: HistoriographyThe period from 1913 to 1938 saw several attempts to establish permanent or semi-permanent French theatre troupes in theUnited States (and New York City in particular). From the Théâtre français d’Amérique to Jacques Copeau’s Vieux Colombierfollowed by André Barsacq’s collaboration between his Théâtre des Quatre Saisons and the French Theatre of New York,these companies struggled to find the French repertoire that would satisfy the expectations of American audiences. Thispaper explores how French artists, working against received notions that only classical or Boulevard plays would succeed,opened new pathways in the U.S. theatrical market, establishing avant-garde drama as their defining contribution to thepromotion of French arts in the United States.Mechele LeonUniversity of KansasMechele Leon is Associate Professor and Chair of theDepartment of Theatre at the University of Kansas(USA) where she teaches, directs, and performs. Herarea of specialty is the history of French theatre, with afocus on cultural politics and national identity. Her book,Moliere, the French Revolution, and the Theatrical Afterlife(University of Iowa Press, 2009) was honored with theBarnard Hewitt Award for Outstanding Research inTheatre History. Her current research explores 20thcenturyFrench cultural diplomacy through the work ofFrench language theatre in the United States. Livingin France from 1996-2001, she taught at the AmericanUniversity of Paris and at the University of Paris.mleon@ku.eduFIRT/IFTR World Congress, University of Warwick, 2014395

Arcadian Amateurs and Rural Workers: The Competing Theatrical Repertoires of Rural CultureWorking Groups: HistoriographyThe history and heritage of amateur dramatics, a neglected realm of theatrical practice, sheds interesting light on thequestion of theatrical stratification. Part of a research project on Amateur Dramatics: Crafting Communities in Time and Space,this paper examines the relationship between repertoire and cultural value in the experience of three amateur theatregroups in rural Devon. The Playgoers of Dartington Hall was an amateur dramatics group initiated by the Elmhirsts in 1946 aspart of their aspiration for a rural utopia. This group had a strong connection to the London avant-garde, and sought to bringthe ‘advanced’ repertoire of the city to regenerate the cultural life of the countryside. This paper will reflect on this group’srelationship to existing village amateur groups in the locality, specifically the minstrel and variety shows of the South BrentMinstrel troupes, and the historical pageant performances initiated by Mary Kelly’s Village Drama Society. The conflicts thatemerged from these competing theatrical repertoires illustrates much about the role of amateur dramatics in defining place,belonging, and cultural value in these rural communities, in the immediate aftermath of World War II.Jane MillingUniversity of ExeterJane Milling is Senior Lecturer in Drama at theUniversity of Exeter. Her interest in politicalperformance and the public sphere in the longeighteenth century has led to publications on womendramatists, popular performers, and stage institutionsin Theatre Survey, Restoration and Eighteenth CenturyTheatre and Theatre Notebook. She is currently workingon a number of AHRC collaborative projects aroundquestions of everyday and amateur cultural participationand performance.J.R.Milling@ex.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014396

Editing Texts, Understanding Contexts: Semiotic Layers in an Anthology of Classical BurlesquesWorking Groups: HistoriographyNineteenth-century classical burlesque is a valuable source for understanding the politics, culture, humour and aesthetictaste of Victorian England. Recurrent allusions to the progress of science and the development of the railway for examplecoexisted in burlesque with comments of agreed marriages and financial crises, for which the popular stage became a forumfor discussion.Recent studies show how the analysis of classical burlesques en masse allows theatre historians to unravel the anachronisticinterplay between various strata: the social codes, cultural commodities and Greek and Roman myths which are juxtaposedin the texts. Other complementary research techniques which unveil countless semiotic and historical layers in a criticalanthology are textual criticism and Bratton’s (2003) and Davis’ (2012) foundational ideas of ‘intertheatricality’ and‘repertoire’. Taking as an example Edward L. Blanchard’s Antigone Travestie (1845) the focus of this paper is on eliciting howediting classical burlesque allows the theatre historian to build historical contexts.Laura Monrós-GasparUniversitat de València(MA, PhD) University Lecturer in English at theDepartment of English and German Studies at theUniversitat de València. In 2004 she became member ofGRATUV (Group for Theatre Research at the Universitatde València) directed by Prof. Carmen Morenilla-Talens,where she is now a research fellow. In 2007 she wasvisiting student at the Archive of Performances ofGreek and Roman Drama (APGRD) at the University ofOxford under the supervision of Dr. Fiona Macintosh.At present she is Research Associate at the APGRD. In2008-2010 she was university lecturer in English at theUniversidad de Alicante. Her recent publications includeCassandra the Fortune-Teller: Prophets, Gipsies andVictorian Burlesque (Levante Editori, 2011); Persiguiendoa Safo: escritoras victorianas y mitología clásica (JPMEdiciones, 2012) and a translation into Spanish ofFlorence Nightingale’s Cassandra (Institució Alfonsel Magnànim, 2011). She is co-editor of the journalTycho and author of the forthcoming volume VictorianClassical Burlesques. A Critical Anthology (BloomsburyAcademic)Antigone Travestie was first staged at the New Strand theatre in London on 3 February 1845 coinciding in time with theswindle of the ‘Independent and West Middlesex Insurance Company’ and the passing of the Bank Charter Act in 1844. As Ishall demonstrate, the humour of the droll relied not only on the classical hypotext but also on the intertheatricality of theplay; on the unseen constellations of meanings established between the audience and the performance which linked the playto a financial breakdown little regarded in the books of economic history.Blanchard’s discovery of the formal conventions of Greek tragedy as a comic source for the popular stage established aroutine in approaching a canon. Such routine, built on the dialogue between topical History and classical archetypes, isthe key to disentangle the ways in which editing classical burlesque must necessarily mirror the historical construction ofVictorian England..laura.monros@uv.esFIRT/IFTR World Congress, University of Warwick, 2014397

Theatre, Community and Nationhood: A Critique of a Secular Historiography of the Parsi TheatreWorking Groups: HistoriographyRashna NicholsonLudwig Maximilian University of MunichRashna Darius Nicholson is a doctoral candidate at theTheatre Studies Department at the Ludwig MaximilianUniversity of Munich. Her research focus is thedevelopment of the Parsi Theatre in Bombay from 1850to 1970.The Parsi Theatre that began in 1853 in Bombay due to the reformist endeavours of the Parsi community developed in threedecades into South Asia’s primary form of visual entertainment. By this time the theatrical form had established itself as apan-Asian phenomenon that presumably had little to do with the community that it came from and was, according to recentscholarship, a site of communal harmony where Parsis, Hindus and Muslims consorted amicably. Although the widespreadreach and success of the theatrical form is incontestable, such a secular historiography undermines the Parsi Theatre’ssignificant role in the politics of the communities it represented, in the standardization and stratification of Indian languagesand in the formation of antagonistic conceptions of community and nationhood. Furthermore, the premise of a generic, allinclusiveand harmonious theatrical form spanning the breadth between Bombay and Burma denies the basic idea that thestage can disrupt, alter and generate national, religious, ethnic and linguistic identities. As profit making enterprises, Parsitheatrical troupes manipulated and articulated religious and linguistic divides by representing Hindu, Muslim and Zoroastriandeities and prophets and by re-enacting mythological episodes that both propagated new modes of veneration as well asserved, at times, to ignite the ire of the communities that they aimed to please. By analysing the Parsi Theatre’s contentiousrelationship to one community, that of the Parsis, this paper will substantiate the need for a re-assessment of the secularnature of the early modern South Asian Theatre in light of 19 th and early 20 th century sectarian conflicts within the city ofBombay.rashna.nicholson@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014398

American Expressionism in Moscow: Alexander Tairov’s Productions of The Hairy Ape and MachinalWorking Groups: HistoriographyDassia PosnerNorthwestern UniversityDassia N. Posner is Assistant Professor of Theatre atNorthwestern University, where she teaches Russiantheatre history, history of directing, dramaturgy, andpuppetry. Her articles have appeared in Theatre Survey,Theatre Topics, Slavic and East European Performance,Communications from the International Brecht Society,and Puppetry International. She is co-editor of TheRoutledge Companion to Puppetry and MaterialPerformance (2014) and is currently writing a book onRussian directors and the creative process entitled TheDirector’s Prism. Recent dramaturgy credits includeThree Sisters and Russian Transport at SteppenwolfTheatre Company.How does one erase a director? For Stalin, this question had numerous answers. Vsevelod Meyerhold was tortured and killedas an “enemy of the people” and his name written out of Soviet books for fifteen years. Although Konstantin Stanislavskiwas canonized, his experimentation was occluded and a distorted version of his teachings yoked to the service of the state.The significance of Alexander Tairov was erased in a third way. Tairov, who founded the Moscow Kamerny Theatre in 1914,was neither canonized nor killed, yet the persistent erosion of his reputation under Stalin has proved more enduring thanMeyerhold’s abrupt death. Although Tairov’s productions were not in opposition to the state, they were also not confined toits aims. His interest in the human condition broadly writ demanded connections that reached beyond borders, languages, andcultures, aims that were unpopular in the Soviet Union’s increasingly totalitarian atmosphere. Tairov’s theatre was condemnedrepeatedly in the press and finally was liquidated in 1949. This paper draws from archival sources to reclaim the significanceof Tairov’s productions of American plays in the 1920s and 30s, focusing on O’Neill’s The Hairy Ape (1926) and Treadwell’sMachinal (1933), both of which depict oppressed individuals at odds with an oppressive, mechanistic society, a theme thatwas resonant in both the U.S. and Soviet Union in different ways. Although Tairov spoke officially about these plays’ anticapitalistthemes, he created theatrical images that invited open, associations, encouraging audiences to ponder oppressionas it related to class, gender, artistic freedom, and individual agency. This paper will ultimately become a chapter in the firstEnglish-language monograph on the Kamerny, a book project in which I aim to expand the purview of current scholarshipthat focuses primarily on Stanislavski and Meyerhold and to recapture the vibrant plurality of early Soviet directors.dassia2@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014399

Objects that Mean the World: Carl Niessen and the Stratified Traces of PerformanceWorking Groups: HistoriographyNora ProbstUniversity of CologneNora Probst M.A. is research assistant at thetheatre collection of the University of Cologne(Theaterwissenschaftliche Sammlung) and doctoral studentwith Prof. Dr. Peter W. Marx at the Cologne Institute forTheatre and Media Culture. She studied theatre and filmstudies, German literature and art history at the Universityof Cologne. Her research interests include theatreand performance art of the early twentieth century,intercultural relations of performance and the historyof theatre studies in Germany. She is also interested indifferent forms and patterns of cultural memory especiallywithin theatre collections and archives. Nora Probst iscurrently working on her PhD aiming to explore the culturalhistory / cultural stories of early theatre studies with theirdifferent traditions between humanities and ethnography(working title: Objects that mean the World. CulturalHiStories/Layers and Assemblages of Theatre Studies inCologne. / Objekte, die die Welt bedeuten.KulturGeSchichtenund Assemblagen der Theaterwissenschaft in Köln). Thisproject is to a great extend based on the analysis of archivaldocuments in the literary estate of Carl Niessen (1890-1969), founder of the Theaterwissenschaftliche Sammlung.nora.probst@uni-koeln.deIn the early 1920s the theatre scholar Carl Niessen (1890-1969) began to make use of a research practice that was builton his comprehensive concept of the term theatre: Through comparative analysis of archival sources and objects likephotographs, programs, masks, shadow play figures and so on, he was looking for a scientific method between ethnographyand theatre studies that allowed him to analyze the multi-layered connections between different forms of performanceworldwide. The whole idea of my presentation revolves around Niessen’s research with and through objects. Currently we canobserve a rising interest of Universities, research institutions and cultural studies in general in material collections. Niessensought for stratified traces of performance encoded in the objects themselves, revealing different forms of performancepractices, intercultural relations, and cultural mobility. In his rereading of Niessen’s Handbook of Theatre Studies (Handbuchder Theaterwissenschaft, 1949-1958), Christopher Balme describes Niessen as one of the pioneers of ‚performance studiesavant la lettre‘. In my presentation I will raise the question, to what extend it makes sense to refer to Niessen‘s research as‚performance studies‘: What does Niessen’s approach tell us about the prehistory of ‚performance studies‘ long beforeSchechner and Turner? And what are the different layers of performance studies that Niessen made use of in his research? Iseek to find a different understanding of historiographic aspects of performance studies and I would like to analyze differentlayers of Niessen’s research by looking at it as an assemblage of epistemological practices using objects as carriers ofmeaning.Carl Niessen’s collection of slides (detail)FIRT/IFTR World Congress, University of Warwick, 2014400

The Ups and Downs of Mei and MeyerWorking Groups: HistoriographyJanne RisumAarhus UniversityDr. Phil., Associate professor of Dramaturgy at theDepartment of Aesthetics and Communication atAarhus University, Denmark. She has published widelyin English on past and present theatre and actingin Europe and in Asia. Her dissertation on the guestappearance of the Chinese male performer of femaleroles Mei Lanfang and his Beijing opera troupe inMoscow in 1935 and its effects, The Mei Lanfang Effect(2008), is based on extensive archive studies.The processes of canonizing, decanonizing, or recanonizing a theatre tradition or a theatre artist are likely to be prompted bychanging constellations of forces within the religious, political, gendered, aesthetic, commercial, or intercultural dimensionsof what we call theatre. So are the more anonymous processes of dissemination, borrowing, and assimilation of their artisticdevices by other performers in other cultural contexts. In a historiographical perspective I shall discuss two modern andinterculturally related cases of this: Mei Lanfang and Meyerhold. To put the current guest appearance of the male performerof female roles Mei Lanfang and his Jingju (Beijing opera) troupe in Moscow in 1935 into perspective, the Russian filmdirector Sergei Eisenstein pointed out the modern stage conventionality of Vsevolod Meyerhold as being the only vitalapproximation to the devices used by Mei Lanfang which he knew, for which reason he jokingly dubbed them ‘Mei andMeyer’. He was referring to the maximum of theatricality which their two sets of conventions have in common, despite thefact that one is rooted in a feudal Chinese past and the other in a Russian version of modernity. Evidently there is more tosay. They represented different stages of history, but they did so as simultaneously performing bids - among many - for atheatrical canon within the context of modernity, and while being scrutinized as such. I survey and compare the mobile - infact: drastically roller coaster-like - historical processes of canonization and decanonization of Mei and Meyerhold as men ofthe theatre, which took place during their lives, as well as in retrospect, in China and in Russia respectively, as well as abroad.How may we understand those ups and downs in a larger historiographical perspective since the Enlightenment?drajr@hum.au.dkFIRT/IFTR World Congress, University of Warwick, 2014401

Digging Through ‘Pleasant Pastures’: The Rural in Theatre HistoryWorking Groups: HistoriographyJo RobinsonUniversity of NottinghamJo Robinson is Associate Professor in Drama and Performancein the School of English, University of Nottingham,UK. Her research focuses on understanding the role ofcommunities and audiences in the creation and receptionof performance across different periods; she has stronginterests in theatre historiography and the use of digitalhumanities in theatre research. From 2006-09 she led theAHRC-funded interdisciplinary project, ‘Mapping PerformanceCulture’, creating an innovative map interface thatenabled exploration of nineteenth-century performancehistory and culture in Nottingham. More recently her workwith regional theatre organisations has resulted in supervisionof two AHRC funded Collaborative Doctoral Awardsfor projects focused on developing theatre for specifichard to reach communities. Her current research focuseson theatre and community in the East Midlands. Drawingon extensive archival research and interviews, this projectaims to map and analyse the complex interrelationshipsbetween community, place, repertoire, funding and engagementin both urban and rural settings since the 1970s.It will result in an exhibition at the Lakeside Arts Centre,Nottingham in 2015 as well as a series of publications andconference papers. Theatre & the Rural will be published byPalgrave as part of their Theatre & series in 2015.jo.robinson@nottingham.ac.ukRegional, rural, local: these terms are increasingly central to the emphasis in social and political geography on rural communitiesas key sites for glocalization and resistance to the feared homogeneity of the global. Yet, with honourable exceptions (seeClaire Cochrane’s topographies of British theatre in her 2011 Twentieth Century British Theatre), while theatre practice hasbegun to gesture towards equal weighting of the urban and the rural - as evidenced in the new National Theatre of Wales’claim that its stage is ‘From forests to beaches, from aircraft hangars to post-industrial towns, village halls to nightclubs’ –the focus of theatre history, and our understanding of theatre as event, has tended to prioritise theatre buildings in urbancentres over sites in the rural peripheries. An engagement with stratification suggests potential reasons for this neglect.The accumulated freight of what Raymond Williams identified in The Country and the City (1973) as ‘the idea of a naturalway of life: of peace, innocence and simple virtue’, even though ‘the real history [of the countryside], throughout, has beenastonishingly varied’, reflects a tendency to stratification between core and periphery, city and country which raises potentialbarriers to theatre research in this area. This paper, part of an ongoing project on the complex relationship between theatreand the rural which draws on a detailed history of key rural touring theatre groups in the UK since the 1970s, thus aims toaddress the historiographic problems caused by such stratification. By digging through the sedimented layers of conceptionof what Williams terms ‘the country’, it aims to disrupt understandings of the rural both as a theme and a site for practice.Flyer for New Perspectives’ rural touring shows, Autumn/Winter 1995FIRT/IFTR World Congress, University of Warwick, 2014402

Layers of Shakespeare: Religion in Western TheatreWorking Groups: HistoriographyThesis: Theatre often reflects on culture, including religion, which in modern and postmodern scholarship tends to be viewedas a separate reality from the rest of life. This is evident in studies and performances of Shakespeare’s canon that do notaccount for the embedding of religious discussion and even ritual into the plays. Without understanding that dialogue onreligious values may occur in performance, the canonization of a secular Shakespeare misses the vitality of theatre forcommunity. Focusing on how and why plays of this time traditionally ended with dance, I examine stratification of religiousethics into performance as a part of Western theatre.Cia SautterGraduate Theological UnionTrained as a dancer first, Cia Sautter’s interests inreligion and theatre developed in College. She wenton to dance and act in performances related to sacredtraditions while earning a seminary masters degree, andeventually earned a doctorate in Religion and the Artsfrom the Graduate Theological Union. She continuesto perform in Minneapolis/St. Paul with her story dancetheatre pieces, featuring flamenco and Jewish stories.Her book The Miriam Tradition explores Jewish women’sdance and music leadership. Her new book, PerformingReligion, she examines how sacred values are reflectedon in theatrical performances of all types, even thosethat are not obviously “religious.” The study questionshow theatre history is presented, and why spiritualityand religion is a missing part of the conversation.Background: This study is part of a larger work on Performing Religion, using Shakespeare as a means of examining howWestern theatrical performance deals with highest values. The 16 th and early 17 th century is transition time, where supposedlysecular theatre develops. Yet religious discussion is cleverly layered into productions through symbolic language andmovement, especially dance. During this period it was a meaningful activity, capable of signifying morality, order, and justice.To establish this point, I consider the culture of dance at the time in church, and at the Inns of CourtMethods of Inquiry: Besides inclusion of current studies on Shakespeare and religion, I employ Martha Nussbaum’sconception of performance as a means of ethical discussion, as well as Walter Benjamin’s embodied aesthetics, to considerhow and why dance on stage was used as a means of religious dialogue, a tool for teaching morality, and a means of reflectingon ethics. Analysis of dance in the Globe Theatre’s production of Macbeth serves as a modern example of how it may stillconvey a statement on highest values to an audience.http://ciasautter.blogspot.com/http://joyfullmovement.blogspot.com/cialuna@earthlink.netFIRT/IFTR World Congress, University of Warwick, 2014403

Marble Bust and Feet of Clay: Stanislavsky’s ReputationWorking Groups: HistoriographyLaurence SenelickTufts UniversityIt may be claimed that Stanislavsky is the only name of a Russian actor and his “system” the only designation of actor trainingmethod recognized by the general public. They have grown to be brands or trademarks often detached from any exactsignificance or clearly defined authority. Stanislavsky’s reputation was a slow-growth process. Before 1898 he was knownonly to Muscovites and only as a talented amateur actor; by 1906 his renown had spread, via Moscow Art Theatre tours, toGermany and the Balkans, which bestowed on him and the company a prestige they did not enjoy at home. Since Stanislavskyhad published nothing, his fame remained limited to Central and Eastern Europe. His experiments in acting and actortraining were known only “in-house.” Not until 1922-23, with tours to Western Europe and the U.S., and the subsequentpublication of My Life in Art, did he become “a name to conjure with.” Ironically, at this very time, his reputation in the SovietUnion was at its lowest. He was sidelined by the cultural establishment until the mid-1930s when, to promote socialist realismas the paradigm of Communist art, Stalin decided to recognize the MAT as the national model for theatres. Thereupon,an increasingly isolated Stanislavsky became canonized in his lifetime. The hagiographic aura was perpetuated by émigrésto enhance their own reputations. As a result, a serious attitude to acting became associated with Russian culture. Muchmodified or perverted, Stanislavsky’s writings on actor training began to be widely disseminated, usually devoid of context.Laurence Senelick is Fletcher Professor of Drama andOratory at Tufts University, a Fellow of the AmericanAcademy of Arts and Sciences, and an Alt-Fellow of theWissenschaftskolleg zu Berlin. He has just published histranslation of Stanislavsky’s letters (Routledge); nextyear will see The Soviet Theatre: A Documentary History(Yale University Press). He has been the recipientof awards from the National Endowment for theHumanities, the John Simon Guggenheim Foundation,the American Council on Learned Societies, theInternational Research & Exchanges Board, and manyother institutions. Other recent books include TheAmerican Stage: Writing on the Theater from WashingtonIrving to Tony Kushner (Library of America) and ‘TheatreArts’ on Acting (Routledge).Laurence.Senelick@tufts.eduFIRT/IFTR World Congress, University of Warwick, 2014404

Razzle Dazzle Progress Trails: The Global Spectacles of Twenty-First-Century Olympic CeremoniesWorking Groups: HistoriographySusan TennerielloCity University of New YorkSusan Tenneriello is Assistant Professor of Theatrein the Fine and Performing Arts Department ofBaruch College, CUNY. Her research interests areinterdisciplinary, often bridging dance, theatre, visualart, and technology. She is the author of SpectacleCulture and American Identity: 1815-1940 (PalgraveMacmillan, 2013), which examines the development ofimmersive spectacles in nineteenth-century US culture.The wide assortment of spectacles in contemporary cultural production often reanimate features of past spectacle practices.In particular, the opening and closing ceremonies of recent Olympic Games in the twenty-first century demonstrate adazzling array of global spectacles combining theatrical stagecraft with new technology that reformulate symbolic progressnarratives. My working paper focuses on Australian theatre director, producer, choreographer David Atkins, who initiateda new standard for the 2000 Summer Olympic Games opening ceremony in Sydney, Australia, with an epic extravaganza.He returned to the Olympic stage when he directed and produced the Vancouver 2010 Winter Olympic ceremonies witha team of Canadian designers. His use of video projections, digital cycloramas, and even computer generated holographicimages expanded the dimensions of “stage illusion” possible. The production’s travelogue through the regional history ofCanada reassembled patterns seen in nineteenth-century touring panoramic shows that invoked the people, culture, andindustries of world destinations. In succession, film director Zhang Yimou’s stunning reboot of China’s world image for theBeijing 2008 Olympics and film director David Boyle’s witty reframing of social legacy at the London Olympics in 2012suggest a repurposed transmission of heritage lore as global brand of national and cultural identity. Yet, the current regimeof these global spectacles are not only layered with political, social, and economic propaganda but by a vast public presencedestabilizing narrative control--as seen in the recent controversies over corruption and civil rights surrounding the 2014Sochi Winter Olympic Games in Russia. My examination of Olympic spectacles relates them to historic intersections amongtheatre, new technology, and mass media transmitting popular notions of progress.susan.tenneriello@baruch.cuny.edustenneriello@earthlink.netFIRT/IFTR World Congress, University of Warwick, 2014405

Stupid, Laughing People? Introducing Bedroom Farce in Icelandic TheatreWorking Groups: HistoriographyMagnus Thor ThorbergssonIceland Academy of the ArtsIn the mid-1920s a new form of lowbrow comedy was introduced onto the Icelandic stage: bourgeois bedroom farce, mostprominently in the form of translations or even adaptations of works by the German duo Franz Arnold and Ernst Bach. Thesecomedies enjoyed increased popularity in the following years, becoming a regular part of the repertoire of the leadingIcelandic theatre of the period, The Reykjavik Theatre Company. Despite the popularity of the bedroom farce, a strong voiceof disapproval was often heard towards the plays, such as by one of the first trained actors in Iceland, Haraldur Björnsson,who claimed, it was not the aim of theatre to “make stupid people laugh”. The bedroom farce, or Schwank as it is calledin German, has never been a popular subject of research within theatre studies. One of the few studies dealing with thebedroom farce would be the book Bürgerliches Lachtheater by Volker Klotz, which highlights the representation of the risingbourgeois middle class in the plays. In the context of Icelandic theatre history, the bedroom farce has been largely overlookedand generally regarded simply as a (somewhat detested) method of increasing box office revenues. The paper looks at theemergence of the bedroom farce in Icelandic theatre from two aspects. Firstly, the effect (or role) of the bedroom farceson the legitimation of The Reykjavik Theatre Company as a stand-in for a national theatre in the late 1920s, and secondly,the representation of class and gender identities in the bedroom farces in the context of societal developments in earlytwentieth-century Iceland.Magnus Thor Thorbergsson (born in Reykjavik, Iceland,April 1st 1971) holds a BA-degree in ComparativeLiterature from the University of Iceland (1994) and aMA-degree in Theatre Studies from the Free UniversityBerlin (1999). He has been a lecturer at the IcelandAcademy of the Arts, Department of Theatre since2001, 2005-2012 as a programme director of thenewly founded programme ‘Theory & Practice’, andwas appointed assistant professor in 2007. Currently,Magnus is working on his PhD, which focuses onthe Icelandic theatre in the 1920s and its role in theconstruction and development of Icelandic culturalidentity and tradition.magnusthor@lhi.isFIRT/IFTR World Congress, University of Warwick, 2014406

The Stratification of Power: Theatre Directors’ Wives in the 19th CenturyWorking Groups: HistoriographyKatharina WesselyUniversity of BerneIn the 19th century, many theatre directors in the German speaking countries were married to women who had a theatricalbackground themselves. Mostly actresses and singers, some of them also got involved in the management of the theatrestheir husbands managed. Not always acclaimed by audience and press, the image of the director’s wife, the ‘Frau Direktor’,who illegitimately and unprofessionally interfered with the directors’ objective and professional management soon becamea topos. Not much research exists on the lives and professional practices of these women, but it seems that this commontopos conceals a more complex situation. This paper explores the possibilities women had in managing theatres from theexample of Johanna Berghof, the wife of Carl Berghof, director of the theatres in Regensburg and, later, Olomouc. At firstresponsible for the theatres’ financial management, she started directing on her own in the 1890s . Her productions of themodern plays of e.g. Ibsen and Sudermann were highly praised in the newspapers, which started to give her the unofficial title‘Directrice’. The paper asks if a closer look into the periphery would perhaps show that it was not the avant-garde theatreswith their revolutionary artistic concepts that provided chances for women to (co-)manage theatres and to direct plays,but the liminal spheres of the small town theatres. Here, traditional management practices of theatres as small-scale familybusinesses merged with modern concepts of stage directing, therefore characterising these theatres not simply as remnantsof the past, but at the same time as forerunners of the future.Katharina Wessely studied Theatre, Film and MediaStudies at the University of Vienna, Austria, and didher PhD there in 2007 with the dissertation Theaterder Identität. Das Brünner deutsche Theater derZwischenkriegszeit (transcript 2011). She participatedin several research projects, 2004-2005 she wasJunior_Fellow at the IFK (International Research CentreCultural Studies), Vienna, Austria; 2005 she receivedthe Theodor Körner Award for Science for her PhDproject. After research stays in Prague, Czech Republic,and Munich, Germany, she worked as Junior Lecturerfor German at the Department of German at theFaculty of Arts at the Masaryk University Brno, CzechRepublic (2006-2009). 2008-2010 she was lecturingTheatre History at the Department of Theatre, Filmand Media Studies at the University of Vienna, Austria;2011-2013 she was Marie Curie Fellow at the Institute ofTheatre Studies at the University of Berne, Switzerland.Currently she is fellow at the IASH (Institute ofAdvanced Study in the Humanities and the SocialSciences) at the University of Berne.kathi.wessely@gmx.atFIRT/IFTR World Congress, University of Warwick, 2014407

Acting in Baroque Theatres: Lessons from DrottningholmWorking Groups: HistoriographyDavid WilesUniversity of ExeterOn the stage of Shakespeare’s Globe, modern actors learned how to work in an unfamiliar space and develop an interactivestyle; however, experimentation with ‘authentic’ costume was short lived, and the Globe stage imposed no demand todifferentiate a modern body from a historical body. The insistence at the Globe has always been that the text should speakthrough the performer’s ‘natural’ body. On the stage of Drottningholm, with its rake and perfectly preserved perspectivalsettings, the pursuit of a ‘natural’ body is fruitless, and in practice aesthetically disastrous. The modern body has to bereconstructed at Drottningholm so it sits in harmony (or potentially in counterpoint) with the visual settings, and with theacoustic. The stage therefore constitutes a unique laboratory for engaging with the historically contingent nature of theactor’s body as a vehicle for meaning – or rather, for emotion, according to the priorities of the eighteenth century. Howfeasible is it to create a performance that is historically other and exposes the layering of history? I shall contrast some ofthe experimentation at Drottningholm with the first 2014 experiments on the stage of the new Sam Wanamaker Playhouse,a theatre based on mid 17 th century architectural drawings, and part of the Globe complex. In particular, I shall examine whatemerges at Drottningholm and at the Sam Wanamaker from staging a baroque opera by Francesco Cavalli in what purportsto be an authentic historical space, since the vocal demands of opera make it much harder for actors to pass off the modernbody as a timeless ‘natural’ body.David Wiles is Professor of Drama at the Universityof Exeter, having previously taught for 26 years atRoyal Holloway. He has published extensively in thefields of Greek and Elizabethan theatre, theatre space,mask and citizenship. Theatre and Citizenship (CUP) willshortly appear in paperback, and Theatre & Time will bepublished by Palgrave in September He was lead editorfor the recent Cambridge Companion to Theatre Historyto which many members of IFTR contributed. Thissummer will also see the publication of The Theatre ofDrottningholm – Then and Now, cowritten with WillmarSauter. He became interested in performance in thiseighteenth-century building because of his concernwith theatre space, but the issues arising from thisresearch project have stimulated his current field ofinvestigation: classical acting – the tradition of actinginspired by antiquity and informing the methods ofactors until the end of the nineteenth century.d.wiles@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014408

The Stratification of National and Little Theatres at the Turn of the 20th CenturyWorking Groups: HistoriographyAt the end of the 19 th and the beginning of the 20 th centuries, a number of national theatres were created in the capitalcities of future countries that were not yet recognised as nation-states such as in Oslo, Prague, and Helsinki. At roughly thesame time a number of little theatres such as the Theatre Libre in Paris, the Independent theatre in London, the Intimanteatteri in Stockholm, the Moscow Art Theatre, and the Provincetown Playhouse, which were initially private and/or amateurenterprises, rapidly gained significance as incubators of new drama. (The Abbey Theatre in Dublin perhaps uniquely occupiedboth positions simultaneously.) Today theatre historians ascribe considerable importance to both of these types of theatre.However, all of them had to strive to gain legitimacy in their respective countries. The purpose of the paper is to show therelationship and differences between these two types of theatre and the process of legitimation and “stratification” of thesetheatres by comparison with the more established theatres around them.Steve WilmerTrinity College DublinSteve Wilmer has just retired as Professor of Drama atTrinity College Dublin, and remains a Fellow of the Collegeand plans to take up a fellowship at the InternationalResearch Center “Interweaving Performance Cultures”at the Freie Universität Berlin in the autumn of 2014. Hehas been Head of the School of Drama, Film and Music atTrinity College Dublin and Director of the Samuel BeckettCentre. He is the author of Theatre, Society and the Nation:Staging American Identities (Cambridge University Press,2002) and (with Pirkko Koski) The Dynamic World of FinnishTheatre (Like, 2006. Other books that he has edited or coeditedrecently include Interrogating Antigone in PostmodernPhilosophy and Criticism (Oxford University Press, 2010),Native American Performance and Representation (ArizonaUniversity Press, 2009); and National Theatres in a ChangingEurope (Palgrave Macmillan, 2008). He is currently coeditingResisting Biopolitics: Philosophical, Political, andPerformative Strategies (Routledge, forthcoming) andDeleuze and Beckett. He has served on the executivecommittees of the American Society for Theatre Researchand the International Federation for Theatre Research andas Chair of Publications for ASTR. He has also served as aVisiting Professor at Stanford University and the Universityof California at Berkeley.swilmer@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014409

From Disparate Fragments to Stratified History: The Israeli Theatre in Search of TraditionWorking Groups: HistoriographyThroughout the history of Jewish culture, theatre, as art and institution, functioned in the tension between interdictionand fascination. Although a handful of dramas were written during the ages – in various genres and styles, and at varioustimes and locations in Jewish cultures– no continuous theatrical tradition developed within Jewish communities in theJewish diaspora. Researchers explain the absence of Jewish theatre in earlier centuries on grounds of ritual or theology,the abstract nature of Judaic monotheism, for philosophical and historical reasons, or because of particular social andpolitical circumstances. Since the middle of the 19th century, due to the Jewish Enlightenment movement, we witness theestablishment of parallel Jewish theatre histories differentiated by time, space and language: the establishment of a Yiddishtheatre in the middle of the 19th century in Eastern Europe, the emergence of Modern Hebrew theatre in the end of the 19thcentury in Eastern Europe, and the emergence of Hebrew-Israeli theatre in the beginning of the 20th century. In my paper, Iwill use stratigraphic principles to collect these theatrical fragments, learn their context and their significance in an attemptto establish a genealogy of the Israeli theatre.Nurit YaariTel Aviv UniversityNurit Yaari is Professor of Theatre Studies at theYolanda and David Katz Faculty of Arts, Tel AvivUniversity, Israel. She has authored two books, FrenchContemporary Theatre 1960 - 1992 (1994) and Le Thèâtrede Hanokh Levin: Ensemble à l’ombre des canons (2008),edited On Interpretation in the Arts (2000), and twobooks on Israeli prominent playwrights The Man withthe Myth in the Middle: The Theatre of Hanoch Levin(with Shimon Levy, 2004) and On Kings, Gypsies andPerformers: The Theatre of Nissim Aloni (2006). Herarticles, published in Hebrew, English and French, focuson Ancient Greek tragedy and its reception in thetheatre of the 20th century, and on different aspectsof the Israeli theatre. Prof. Yaari is serving as artisticconsultant for the Khan Theatre of Jerusalem.yaari@post.tau.ac.ilFIRT/IFTR World Congress, University of Warwick, 2014410

Rewriting Theatre Histories: Viewing 1950s’ British Theatre Six Decades LaterWorking Groups: HistoriographyYael Zarhy-LevoTel Aviv UniversityProfessor Yael Zarhy-Levo teaches theatre history,theatre criticism and modern British theatre in theDepartment of Literature at Tel-Aviv University, Israel.Her publications include: The Theatrical Critic as CulturalAgent: Constructing Pinter, Orton and Stoppard asAbsurdist Playwrights (Peter Lang, 2001); The Making ofTheatrical Reputations: Studies from the Modern LondonTheatre (Studies in Theatre History and Culture, ed.Thomas Postlewait, University of Iowa Press, 2008);articles in Poetics, Theatre History Studies, Journal ofDramatic Theory and Criticism, Journal of Adaptation inFilm & Performance, Connotations, Journal of Theatreand Drama, Theatre Survey, Semiotica, Journal of BritishCinema and Television, Studies in Theatre & Performance,and Theatre Research International; chapters in TheCambridge Companion to Harold Pinter (Cambridge,2001, and 2 nd Edition, 2009), and, with FreddieRokem, in Writing & Rewriting National TheatreHistories (University of Iowa Press, 2004).In regard to British theatre the 1950s is commonly seen as a decade of change. This decade has also come to be largelyassociated with two rival narratives, concerning the major factors contributing to the perceived theatrical transformation.The initial narrative prevailed from the mid-late 1950s for four following decades, while the revisionist narrative emerged inthe mid-late 1990s. In light of these two narratives and other subsequent, alternative, perceptions, as well as of the varioustheatrical developments that have occurred in the last five decades, a rewritten history of the 1950s – the transformation age– published in the century that has followed offers an intriguing subject for inquiry. Here I focus in particular on the volumeaccounting for the 1950s, the first of the six-volume series Modern British Playwriting, published in 2012. The theatrical workof these six decades is reassessed by the series’ editors as having produced highly significant achievements (comparableonly to those of the Elizabethan and Jacobean dramatists). The first volume is of interest both in itself and within the broadercontext of the series, engaging with the first decade of the six with which the series deals. This volume accounts for thetransformation age and, hence, inevitably introduces the issue of a dominant narrative of twentieth-century British drama:a narrative that has not only been extensively discussed but that has eventually also been challenged by alternative rivalperceptions of the decade. Given the issues noted above concerning this 2012 volume, I set out to examine how it tacklesthe 1950s, discussing its policy of selection and emphasis, while also considering this policy in light of certain key issuesregarding the rewriting of theatre histories.lyaell@post.tau.ac.ilFIRT/IFTR World Congress, University of Warwick, 2014411

Working GroupsIntermediality in Theatre and PerformanceThe Politics of Perception: Rethinking Intermediality in Lebanon’s Post-War Art SceneWorking Groups: IntermedialityKatia ArfaraOnassis Cultural CenterKatia Arfara is an independent researcher and curator inthe field of the performing arts based in Athens. She holdsa PhD in contemporary art history from Paris I- Panthéon/Sorbonne University. Her essays at the crossroads oftheatre, dance and visual arts have appeared in variousjournals such as Theatre Research International, PerformanceResearch, Perspective, 20/21. siècles, Ligéia, AlternativesThéâtrales, and critical anthologies such as “Bastard orPlaymate?” (Amsterdam University Press, 2012), “MappingIntermediality in Performance” (Amsterdam UniversityPress, 2010), “La citation dans le théâtre contemporain”(Editions Universitaires de Dijon, 2010). Her currentinterests focus on post-documentary theatres, new mediapractices and performative installations. She has lecturedextensively in France (Paris I- Panthéon/Sorbonne, ParisIII- Nouvelle Sorbonne, Picardie University) and Greece(Aristotle University of Thessaloniki, Athens School ofVisual Arts). Dr Arfara is a member of the Intermedialityin Theatre and Performance working group of the IFTR.She is currently Artistic Director of Theatre and Dance atthe Onassis Cultural Center in Athens. She is the authorof the book “Théâtralités contemporaines. Entre les artsplastiques et les arts de la scène “(Peter Lang, 2011).Working in the field of performing and visual arts, Rabih Mroué belongs to a generation of artists who, since the officialend of the Lebanese Civil Wars, have developed mixed media practices to critically analyze the complex history and currentsituation of post-war Lebanon. Breaking away from the rhetorical dichotomy between the real and the fictional, biographyand statistics, collective and individual memory, Mroué appropriates the hybrid format of lecture-performances andinstallations in order to produce counter-narratives which question political procedures and official refusals in Lebanon’smulti-sectarian system. By radicalising the use of documents as critical tools, Mroué stages an intermedial political theatrewhich “points towards different politics of the sensible” (Jacques Rancière) refusing to anticipate its own effect or meaning.At the same time, the Lebanese artist operates in-the-between space of a Western and a Middle Eastern art field underminingmajor post-dramatic issues such as authenticity and authorship. This paper aims more specifically to focus on Lookingfor a Missing Employee (2003) and 33 rounds and a few seconds (2012) as paradigmatic performances of Mroué’s radicalcriticism of dominant representational strategies and socio-political stratifications in Lebanon. Being highly mediatised,both performances deprive the stage from the performer’s body which can no longer be present as a vehicle of truth. Byreshaping the ‘here and now’ condition of a staged event, the artist investigates different degrees of audience’s implication.This paper will analyze the ways in which Mroué’s mixed media performances problematize the notion of the intermedial incontemporary Middle Eastern art scene while introduce alternative representational practices which confront the audiencewith a multi-layered process of presentification.k.arfara@sgt.grFIRT/IFTR World Congress, University of Warwick, 2014412

Comic Book Theatre – The Intermedial Dramaturgy of TeZukAWorking Groups: IntermedialityMathias P. BremgartnerUniversity of BerneMathias Bremgartner is an assistant lecturer andPhD candidate at the Institute of Theatre Studies,University of Berne, Switzerland. Having studied inBerne, Zurich and Berlin, he holds an MA in TheatreStudies, Modern History and Film Studies. Since2009, he is a member of the Graduate School at theInstitute of Advanced Study in the Humanities andthe Social Sciences, University of Berne. His primaryresearch interests are in contemporary theatre, theinterplay of theatre, media and popular culture and thefunctioning of theatre systems and theatre policy. Inhis PhD project “Performing Comics”, he explores theinterplay of theatre and comics from the perspectiveof intermediality. In addition to his academic activities,Mathias worked as an assistant director at the citytheatre of Berne and in public relations at Hebbel-am-Ufer Theatre in Berlin. He is currently dramaturgicallyadvising and managing several Swiss fringe theatrecompanies.In recent years, comics have become an important source of inspiration for cultural production. The influence of comicshas increased extensively, not only on cinema, TV, video games and the visual arts, but also on theatre. A broad varietyof city theatres, fringe theatre groups and dance companies are creating performances that make use of and play withthe aesthetics, narrative structures, stories and characters of comics. From a perspective of intermediality, these theatreproductions raise a number of interesting questions: How does the interaction of comics and theatre manifest itself inspecific performances? What is the impact of playing with the aesthetics and structures of comics on the dramaturgy andintermediality of theatrical events? And what potential effects are produced by the interplay of theatre and comics? Thepaper investigates these issues in a detailed performance analysis of TeZukA, a dance theatre production which premiered in2011. In this performance, Belgian-Moroccan choreographer Sidi Larbi Cherkhaoui adapts the biography and selected popularcharacters of famous Japanese Manga artist Osamu Tezuka for the stage. The performance features dancers interacting withpre-produced digital clips and images using comic book aesthetics displayed on a huge screen in the background of thestage. Based on this intriguing combination of live-action elements and digital media technology, the performance analysisfocuses on the intermedial dramaturgy of TeZukA. Intermedial dramaturgy describes the structure as well as functions andeffects of theatrical events, for which the use of media, media combination and/or intermedial references are constitutive.The aim of the paper is two-part: It investigates the specific interplay between comics and theatre in TeZukA and discussespossible applications of the concept of intermedial dramaturgy in performance analysis.Official website of the performance TeZukA:http://www.east-man.be/en/14/19/TezukaShort Trailer of the performance TeZukA:http://www.youtube.com/watch?v=plbEvqGNFOomathias.bremgartner@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014413

Visceral and Virtual: Multiple Layering of Perspectives and Connections in Intermedial TelematicDance PerformancesWorking Groups: IntermedialityThis session will introduce how artistic exploration in intermedial telematic performance in dance has been identifyingmultiple layers of perspective built by conjoining the visceral bodies with the virtual bodies of the dancers. It will refer to aseries of seven telematic dance performances that have brought together dancers from west coast England with east coastAmerica between 2007-2013. Together, yet from a distance, they have inhabited a space that Rubidge describes as one in‘flux, space characterised not by consistency and stability but by variation, [a] space that is achieved through a continuousinterplay through vectors’ (2012, p 23). The ‘vectors’ in this instance are the global space linked by the Internet and identifiedthrough the projector screen, and the local space defined by the physicality of the studio theatre. The performers becometransformative beings. Their live and digital bodies are arranged to create virtual performers, and by doing so the performancespace is also transformed.Pauline BrooksLiverpool John Moores UniversityDr Pauline Brooks is Senior Lecturer in Dance atLiverpool John Moores University. Her creativeresearch in telematic dance involves collaborationwith Dr Luke Kahlich Professor Emeritus of TempleUniversity in Philadelphia, and Adjunct Professorat Nova Southeastern University, Florida. Her workin the area of Technology Enhanced Learning andsemantic web tools has been with Professor PatrickCarmichael and the Ensemble Project http://ensemble.ljmu.ac.uk/wp/projects/dance Before lecturing atLJMU, she performed with Nexus Dance Theatre(Scotland), Springs Dance Co. (England), Ann Vachon/Dance Conduit and Sybil Dance Co. (USA). She haschoreographed and taught extensively in the UnitedKingdom and overseas, including posts at Temple andClarion Universities in America, and at Aberdeen andEdinburgh Universities. She was also active in dancein the community, especially in Scotland where sheheld the post of Dance Artist in Residence for StirlingDistrict Council, and she served as Chair of CommunityDance Scotland and the Scottish Youth Dance Festival.Contextualization will be made of the seven year international collaborative research endeavour to explore intermedial andtelematic choreography and performance and pedagogy. The projects have explored how the technological and artisticspace has allowed the sharing of performance synchronously in time and, as this presentation will expand upon, to developdistinct performance environments, or layers of performance zones.With the aid of video clips, photographs, statements from performers, audience members and the directors the presentationwill unpeel the multiple layers of connections and perspectives that have been choreographed with these visceral and virtualbodies in the live and virtual spaces for the audiences who view the work from a variety of perspectives.http://ensemble.ljmu.ac.uk/wp/projects/dancep.a.brooks@ljmu.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014414

Stratifying Levels of Audience Experience in Multi-Platform PerformanceWorking Groups: IntermedialityJames BuglewiczEast Los Angeles CollegeJames Buglewicz received a B.F.A. from New YorkUniversity’s Experimental Theatre Wing, where he studiedwith Anne Bogart, Richard Schechner and Richard Ciezlack,and an M.F.A. in Directing from the University of Arizona.He was a faculty member of the Watkins Film School inNashville, and at Missouri Western University in SaintJoseph, Missouri, is currently faculty member at East LosAngeles College, and is also artistic director for ELACStorytheatre, a traveling theatre for children and seniors.Productions include ‘A Macbeth’ and ‘Personal Messages’both multi-platform performance narratives and multimediaproductions of Harold Pinter’s ‘The Dumbwaiter’ and‘Ashes to Ashes’, Luis Valdez’, ‘Mummified Deer’, ‘Pinochle’at the Fountain Theatre in Los Angeles and ‘A Night withPaul Lynde’, at The Ultra Suede Lounge in West Hollywood,California. Film directing credits are the comedy, ‘TheImportance of Blind Dating’, ‘Lobby Rats’, a hotel farce,and the documentary, ‘Defining Male’. Papers andworkshops include ‘Personal Messages’ Multi-Technologyin Performance’ (IFTR 2012), ‘Physical Metaphor in Processand Direction’, ‘Discovering the Dialectic in CaucasianChalk Circle’, ‘Physical Shakespeare’ and ‘From Analysis toRehearsal, Developing a Vocabulary of Action’.The incorporation of digital technology into everyday life has profoundly changed our experience as an audience with alltypes of media and the ‘machines’ and applications that deliver information and entertainment. Consider how the audienceexperience of watching a movie has changed. Once, it was possible only to see a movie on film in a theater, then, onbroadcast or cable in the living room, then, on a videotape, DVD, P.C. or laptop in any room and now on a tablet or phone inpublic, private, anytime, anywhere. What was once a clearly defined audience experience is now more complex depending onthe delivery platform, media format, device, and ‘venue’. The theatre experience has changed in the same way over time. Theexperience of an audience watching The Seagull in a proscenium theatre is necessarily different from watching The Seagullwith three actors, video, projections and portions of the script text messaged to your mobile. As practitioners add to theirdigital palette and intermedial performance grows more complex the complexity of the audience experience and responseto mediation also grows. The paper will identify factors that stratify audience experience to intermedial performance usingthe following criteria. What is the physical and/or spatial relationship of the audience member to the delivery platform? Whatis the spatial relationship between the audience and the performance frame? Is the performer or action live or representedvirtually? What is the media’s delivery format? And, is the experience an active acquisition of contextual clues or passiveobservation? The paper will also address how analyzing the audience experience and identifying it’s various stratifications is atool for practitioners to guide sequencing, placement and type of media in a given performance and a practical vocabularyto articulate artistic choices with other designers and performers.jbuglewicz@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014415

Intermedial Performance and the Generation of Differential Narrative EnvironmentsWorking Groups: IntermedialityLuis Manuel CamposRose Bruford CollegeLuis Campos is an artist, a researcher, and a lecturer.He currently lectures in European Theatre Arts at RoseBruford College in London. After completing his studiesin Geomorphology, Luis left his native Spain and movedto New York City, where he trained as an actor at theH.B. Studio and the Stella Adler Institute. In 2006,he was awarded a MA in Actor Training and Coachingat Royal Central School of Speech and Drama and in2008 gained a Postgraduate Certificate in Educationat Canterbury Christ University. His doctoral researchexplored the application of a constructivist readingof epistemology within the context of intermediality.In 2013, he obtained a Postgraduate Certificate inTeaching and Learning in Higher Education and is nowa member of the Higher Education Academy in the UK.Luis has performed in Spain, US and the UK, and hastaught in New York, Madrid, Bilbao and London. He hasdirected and devised productions in the US and UK. Asa researcher, he has presented his work in performanceconferences such as IFTR, TaPRA and PSi. As an artist,his latest practices have been developing into areas ofinstallation art that include mediatized elements andperformance aspects.This paper interrogates intermedial performance with a particular focus on the use of locative digital technologies. Itproposes that the use of these technologies articulates unfolding narrative orchestrations through which an open andevental system of interrelated and functional narrative attending variables re-activate ad infinitum. From the theoreticalmodels of ‘any-space-whatsoever’, ‘any-time-whatsoever’ and ‘mise-en-abyme’ suggested by Deleuze in Cinema 1 (1986), tothe notions of de-territorialization and territorialization described by Deleuze and Guattari in Anti-Oedipus (1983), this paperaims to articulate a conceptualization of intermedial narrative as one in which the temporal and the spatial enable narrativeconstructions that can be categorized as immanent, self-emergent, and evental in nature. With this in mind, this paperproposes that intermedial narrative needs to be described as a practice in which material, semiotic and formal aspects areexecuted in a constant manner of territorialising re-configurations. These are performance practices that, in their emergentmanner, disrupt traditional notions of representation in favour of notions of re-presentation grasped as of-the-momentnarrative re-formations. The conception and the sustained existence of such narrative ecologies are connected to multileveledand differential spatio-temporal activations that enable an open, organic and boundless narrative environment.These types of narrative environments are characterized by an immanent compositional movement within what Deleuze andGuattari, in What is Philosophy? (1994), call the ‘plane of composition’; that is, a compositional level in which the synthesisof the creative forces combine to create a plane composed of immanent subdivisions arising from internal relations. Withinthis remark, the intermedial narrative ‘plane of composition’ can be understood as a constructed event in which materiality,semioticity, form and content coincide, re-activate and unfold in a process of renewal and becoming, tending towards theconstant creation of the narrative new.l.campos1972@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014416

Intermediality / Firefall / Telepresence / Randomness: Stratification or Apophenia?Working Groups: IntermedialityChristophe CollardVrije Universiteit, BrusselsChristophe Collard works as an IUAP PostdoctoralResearch Fellow and guest lecturer in PerformingArts at the Vrije Universiteit Brussel (Free Universityof Brussels), where he equally serves as secretary ofthe Centre for Literature, Intermediality, and Culture(CLIC). He holds a BA and MA in English and GermanLiterature, and a PhD in American Drama for whichhe studied the media and genre crossings in the workof David Mamet. Articles of his have appeared amongothers in Performance Research, Adaptation, New TheatreQuarterly, Literature/Film Quarterly, Somatechnics,Theatre Topics, and Theatre Annual. He is also the authorof the monograph study Artist on the Make: DavidMamet’s Work Across Media and Genres (2012).The notion of ‘telepresence’ implies parallel experiences in at least three places simultaneously: a) the space where viewers arephysically located; b) per tele-perception in a virtual space; c) per tele-action at the physical locations affected by the datawork(Dixon, 2007). Accordingly, the interface enabling co-presence across physical, technical, and referential boundariescould be termed a ‘medium’ on behalf, precisely, of its mediating agency. From this angle theatrical performance, too,could be considered as an interface allowing for the co-presence of actors and spectators, yet with the added specificationthat the ‘live’ bodies it relies upon act as ‘overdetermined’ signifiers – thereby even echoing telepresence’s third, proxemicdimension. Confronting the concepts of ‘telepresence’ and ‘theatre,’ if anything, allows to highlight what Bradd Shore callsthe human mind’s ecological inclination to fuse a boundless range of unrelated impulses while blurring boundaries of allkinds (1996). When moreover considering the insight yielded by intermedia studies that borders between communicativemodes are the product of a similar kind of irreducible flux (see Elleström, 2010), intermedial theatre productions stagingthe reality of telepresence without allowing its illusionism – like John Jesurun’s Firefall (2006-2009) does – thus can helpus recalibrating the quality of our thinking. Through their interconnectedness to the Internet the characters inhabitingJesurun’s pluri-medial polyphony of discordant impulses and fragmented narratives all function by virtue of trying to findreason in randomness. Interpretation here, then, is not simply a matter of organizing and stratifying the different layers ofmeaning we are bombarded with. Hierarchical thinking, after all, is but the anxiety-driven by-product of “situations of hightask uncertainty” (Evans, 2005). Jesurun’s Firefall instead ushers its ‘users’ to embrace the related notion of apophenia –i.e. discerning patterns in random data – and so sidestep surface meanings in favour of more fundamental strategies ofsignification (see Hayles, 2012).http://www.youtube.com/watch?v=impR2U0dPtwclcollar@vub.ac.beFIRT/IFTR World Congress, University of Warwick, 2014417

Movie Montage in Theatrical Spaces: Katie Mitchell’s Intermedial Practice as Theatre’s ModernismWorking Groups: IntermedialityBenjamin FowlerUniversity of WarwickBenjamin Fowler is in the final year of a PhD at WarwickUniversity (Dept. of English & Comparative LiteraryStudies), in which he examines the relationship betweentext and performance in the work of two contemporarytheatre directors: one British (Katie Mitchell) and theother German (Thomas Ostermeier). After graduatingfrom an MFA in Theatre Directing at Birkbeck College,London, in 2008, Ben spent four years as a freelancedirector and assistant director, working with companiesincluding the Royal Shakespeare Company, the AlmeidaTheatre, and the Manchester Royal Exchange, alsospending three months in Japan as associate directoron a production of Romeo and Juliet in Japanese. He hasbeen published in Shakespeare Bulletin and New TheatreQuarterly (reviews and a forthcoming peer-reviewedessay on The Wooster Group/RSC Troilus & Cressida),and has contributed working group papers at annualmeetings of the American Society for Theatre Research(ASTR Dallas 2013), Shakespeare Association ofAmerica (SAA St. Louis 2014), Theatre & PerformanceResearch Association (TaPRA Royal Holloway 2014) aswell as a paper for a symposium on Simon Stephens atthe University of Sussex.“On or about December 1910, human character changed,” wrote Virginia Woolf (Mr. Bennett and Mrs. Brown,1924),announcing the arrival of modernity. With this infamous sentence, Woolf attempted to explode the stratifying rhetoric ofnineteenth century social and artistic hierarchies (“masters and servants, husbands and wives, parents and children”) in orderto energize modernist innovations in society, politics and literature. Almost 100 years on, Katie Mitchell’s intermedial creationsforce film, novel, poetry and theatre into collision, in a strand of performance work inaugurated by her theatricalization ofWoolf’s novel The Waves (National Theatre, 2006). This paper scrutinizes Mitchell’s free adaptation of Strindberg’s Miss Julie(Schaubühne, Berlin, 2009), in which a team of performers construct a cinematic version of Strindberg’s play, reconfiguredfrom the point of view of the servant Christine, and projected live above the stage. It argues that Mitchell’s intermedialpractice not only questions the hierarchical stratification of various media—allowing, as Kattenbelt argues (and as Woolfasserted in her 1924 essay), “new dimensions of perception and experience to be explored”—it also troubles the stratificationof historical aesthetic regimes. The various lenses used to evaluate contemporary experimental practice (e.g. postdramatictheatre, postmodernism) rely on what Koepnick and McGlothlin call “teleological historiography,” and the structuring logicof the “break” or “turn”. An Intermedial approach, on the other hand, allows us to think of new media experminentationas contesting spatial and temporal hierarchies of old and new, offering instead the tools to “actualize certain promises ofthe past while at the same time changing our very understanding of that past” (Lev Manovich). This paper, then, poses thefollowing question: what might we gain (in contesting “the hierarchies that regulate the past, present and future of theinstitutions of theatre and scholarship,” IFTR) by contemplating Katie Mitchell’s intermedial practice as theatre’s modernism?benjamin.b.fowler@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014418

Plugging-in Ziggy Stardust : Intermedial Stratification Between Static and Dynamic Models in theWorks of Renaud CojoWorking Groups: IntermedialityJulie GaillardEmory UniversityJulie Gaillard is a doctoral candidate in the Departmentof French and Italian at Emory University. She is also anassociated fellow in the International Research TrainingGroup Interart Studies (Freie Universität Berlin) forthe current academic year. She has studied literatureand philosophy in Strasbourg, Berlin and Paris. Theworking title of her thesis is : “derailments of the real:the hinge of the proper name in the works of SamuelBeckett, Edouard Levé, Renaud Cojo and Invader”(“Déraillements du réel: la charnière du nom proprechez Samuel Beckett, Edouard Levé, Renaud Cojo andInvader”)This paper seeks to investigate the idea of a ‘contemporary schizophrenia’ through an observation of the interweaving ofmedial strata in French performer Renaud Cojo’s show ...And then I asked Christian to play the intro of Ziggy Stardust. Theshow investigates the porosity of the self opened to identification. It hunts down anonymous Ziggy Stardust imitators,online via Youtube streams, but also « away from keyboard », via video projections (recorded prior to the show), via liveperformance (musical covers ; re-staging of pictures). Additionally, Cojo brings cameras, internet search-engines, and books(on schizophrenia) on the stage. The show unfolds as the unveiling of its upstream work. Like a geological outcrop, the showas a whole seems to consist in the actuality of a constituted object that gives to read the layers of its very constitution. Butone needs to take a step back and acknowledge the organic disorder whose dynamism is frozen by the geological scrutiny. Allthese strata are impermeable, but they are constantly interwoven, twirling in the joyful chaos rising from the stage, the hearthon which they are dynamically plugged-in. The intermedial structure of the show reflects the thematic guiding thread of thedissolution of the limits of the self, in a movement comparable to Deleuze’s definition of schizophrenia : the inarticulatedstage, sort of « body without organs », would be plugged in to « desiring machines » - or « technological extensions » ? Wewould then have a paradoxical movement, where stratified and impervious layers of mediality, of temporality, of reality,through the desiring motion proper to performance, converge and regain a productive communication.http://www.ouvrelechien.com/maintenant/ziggystardust.htmljgailla@emory.eduFIRT/IFTR World Congress, University of Warwick, 2014419

Body Meeting with Digital MediaWorking Groups: IntermedialityRaquel GuerraFederal University of Santa MariaThe article investigates the presence and use of new media and technologies in the context of artistic production with theaim of identifying creative procedures which demonstrate technological intervention on the body and on the within theartistic space by the action of the actor / performer, mainly associated with the use of light projection images and videos.In other words, this text focuses especially improvisation and projection. In order to contextualize this subject, the paperwill recall some artistic practices developed since 1960, such as experimental theater, performance art, video art, videoinstallation and others. The experimental practices with multimedia and performing accomplished by artists as diverse asJohn Cage, Nam June Paik, Robert Wilson, among others were sources of studies which inspired the development of scenicexperiments performed by drama students in two Brazilian Universities: UDESC and UFSM. These practices investigatedsome relations that the artist’s body establishes with the video and image technologies, which may result in different artforms as video projection in theatrical plays in public spaces, video installations, video performance or video dance. Thus, thepaper intent to point out the establishment of relations (historical, conceptual and practical) between body arts (theater,dance, performance) and new technologies and media. The point which the text aims to achieve is a confluence space ofthe arts of the body, their intersections and mutual influences and, on this way, the work here exposed is situated in anintermediate field of the theatre and the visual arts.Since 2012 Raquel Guerra is a professor at FederalUniversity of Santa Maria (UFSM) - RS, Brazil, wheredevelops projects in the field of theatrical pedagogy,theater and education and cultural management. Sheis PhD student and Masters in Theatre at the GraduateProgram in Theatre (PPGT), from State University ofSanta Catarina (UDESC) and Bachelor of TheatricalInterpretation at UFSM. Currently she participates inthe organization of cultural events such as Seminary ofthe Degree in Theatre; Meeting of Clowns and theatrefestivals. In Undergraduate Theatre and PerformingArts at UFSM she teaches the following subjects: BodyExpression, Theatre and education, Legislation andTheatrical Production (cultural manangement).guerra.raquel@hotmail.comteatropibidufsm@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014420

Reclaiming the Neoliberal City: Ban-optical Power and its Subversion in René Pollesch’s Valley ofthe Flying Knives (2008)Working Groups: IntermedialityHenriette Kassay-SchusterUniversity of MelbourneMy paper takes René Pollesch’s Valley of the Flying Knives (2008) as a case study for exemplifying how intermediality intheatre and performance can challenge the social stratification effected by the hegemony of neoliberal ideology andits assimilation of public space. Arguing that Pollesch’s production destabilizes neoliberal power by way of subverting itsmechanisms of stratification, I offer a reading of the performance as political critique. In drawing on the idea of the “banopticon”(Bauman and Lyon 2013) as neoliberal technique of power, I first consider how the ban-opticon employs videosurveillance technology towards creating and safeguarding exclusive neoliberal space before I examine how Pollesch’s Valleyof the Flying Knives playfully subverts this dispositif: whereas in the neoliberal city video technology is appropriated as a banopticaldevice and thus as a filtering tool for effecting social stratification, I argue, in Pollesch’s production the opposite isthe case. The performance, I propose, therefore turns the ban-opticon on its head. Rather than deploying video technologyas a means for exclusion, it instead utilizes it, as I will show, as a counter-force to stratification in that video technology herefacilitates the return of the undesired into the exclusive domain of neoliberal space and stages the symbolic reunion of thedivided community.Henriette Kassay-Schuster is a PhD student at theUniversity of Melbourne and holds an MA in TheatreStudies from the Universität Erlangen-Nürnberg. Her PhDresearch asks how global cultural processes, propelledby globalization and the digital revolution, infuse theimagination and resonate in contemporary culturalproduction. Her thesis exemplifies these interrelations inan examination of intermediality in the theatre of FrankCastorf and René Pollesch, with a focus on intermedialplay and spectatorship. Henriette is also a practisingartist and performer. Recently, she has shown intermedialperformative installations with her collaborator HermioneMerry in Melbourne, Brisbane and Berlin. Together, theyheld residencies at Takt Kunstprojektraum and Pistorius1.4.2. in Berlin (2011) and were selected for the InnovatorsProgram at Linden Centre for Contemporary Arts inMelbourne, the Under the Radar program at BrisbaneFestival (both 2012) and as finalists for the SubstationContemporary Art Prize (2013). As a performer, Henriettehas collaborated with independent theatre companies andformations both in Australia and in Germany. She has alsoextensively worked in various roles for major arts festivals inboth countries.kassay.schuster@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014421

The Theory and Application of Theatrical Images in Live Performance SamplingWorking Groups: IntermedialitySanjin MuftićUniversity of Cape TownSanjin Muftić, Bosnian born, completed his undergradin Canada, before he mastered a postgraduate degreeat UCT in theatre directing. Since then he has directedheightened texts and multimedia productions. Togetherwith Jon Keevy, as part of Yawazzi, he designedproduction videography for the Baxter Theatre, Magnet,and Richard Wagner Society. They also produced severalmusical cabarets with Godfrey Johnson as well as aninternationally acclaimed children’s play, Under the Stars,Above the Tree. He has directed several Barker textsand a Hamlet, while also composing his own work withThe Life and Work of Petrovic Petar (2007). Working onsampling live performance, he was awarded a fellowshipat the Gordon Institute of Performing and Creative Artsat UCT, and performed at Infecting the City 2012 withBricolage. He directed Amy Jephta’s Other People’s Livesat Artscape in the same year. He currently serves asthe Head of Acting Department at CityVarsity Schoolof Media and Arts and is working on his Phd at UCT.His recent work includes presenting at the GIPCA LiveArt Festival and at the IFTR conference in Barcelona in2013, both on the subject of intermediality.In this paper I will expand on the working theory of live performance sampling and hypothesize its dramaturgical potentialin the creation of intermedial performances. Inspired by music and art, where sampling of old material is often used in thecreation of new work, my previous research has explored the possibility of applying the same approach to live performance.The first part of my presentation is the argument that unpacks the image theories of Belting, Mitchell, and Read to theorizethe Theatrical Image as the fundamental component of live performance which can be used in the sampling process. Intheory, this would allow for Theatrical Images to be layered and placed in a cross conversation with others from differentcultures, performance styles, and geographic locations. The dramaturgical benefit in this kind of stratification would allow usto investigate the intervals (or as Warburg identified them, “ruptures”) between the layers of Theatrical Images. The secondpart is the practical application of this theory, with the help of technological aids to capture and sample live performancein an interactive intermedial space. Such a space encourages the Performer As Sampler, interacting with Theatrical Imagesand stratifying them through an exploratory performance. The third and final part speculates the possibilities of the practicalexploration of Theatrical Images, and how this interactive, intermedial space can be used as a dramaturgical tool to exploreand sample new performance narratives.Frank and Fanette (sampling demo): https://vimeo.com/23426812His portfolio is at: http://sanjinmuftic.tumblr.com/sanjin.muftic@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014422

Participate or Else…: A Story or Two About Ubiquitous Intermedial PracticeWorking Groups: IntermedialityEirini NedelkopoulouYork St. John UniversityTechnological innovations, from RFID databases, ubiquitous networks to the Internet of Things and distributed cognition,have a significant impact on artistic practice, cultural production and, as an extension, on modes of audience participation.Drawing on different examples of intermedial performance (UVA, Rimini Protokoll, Blast Theory), the paper focuses on therelational and ubiquitous aspects of technologies, which according to Katherine Hayles offer the audience “the power to reallymove into the environment, surveil what’s happening and also communicate between the devices” (2009: 48). Audiences arehardly ever left alone, as even their idleness activates or deactivates certain aspects of the art works. The distributed natureof technologies enables constant communication between different devices and the participants, while it responds to bothindividual and group activities, presenting the audience with the choice to be alone, while together. Nevertheless, ubiquitoustechnology can bring to the foreground networking anxiety often identified with surveillance, invasion of privacy, and evencommodification of interactivity. The question that this paper poses is whether participation in the context of networkedintermedial practice becomes a case of participate or…else, or, as Jason Farman puts it, “participate or lose all agency” (70:2012). Does the audience’s constant visibility escape any treacherous scenarios of a dystopian cultural production? Andfinally to what extent could this visibility be enabling - moving away from the troubling theme of surveillance - in a contextthat so keenly seeks for new modes of participation and rigorous management of the audience’s attention?Eirini Nedelkopoulou is a Lecturer in Theatre atYork St John University. She has published oninteractive performance, participation, digital mediaart and phenomenology. She is co-editor of theforthcoming Performance & Phenomenology: Traditionsand Transformations (Routledge) and of the special issue“Hybridity: The intersections between Performance andScience” (International Journal of Performance Arts &Digital Media, Taylor & Francis). She is co-convenor ofTaPRA’s Performance and New Technologies WorkingGroup.e.nedelkopoulou@yorksj.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014423

Utopia and/or Dystopia: Staging Classics in Von Krahl TheatreWorking Groups: IntermedialityRiina OruaasUniversity of TartuI’m lecturer and PhD student of theatre research at theInstitute of Cultural Research and Fine Arts, Universityof Tartu. I have also taught theory of drama at theDepartment of Scenography, Estonian Academy of Artsand I at the Estonian Drama Theatre as editor. I havea MA (2010) in theatre studies from the University ofTartu, with master thesis “Theatre Based on Ethnic Heritagein Estonia in the beginning of 21st century”. Since2012 I am PhD student in the doctoral programme“Literature and Cultural Research at Tartu University,majoring in theatre research, writing thesis on topic“Postmodernist aesthetics in Estonian Theatre”. Currentadministrative responsibilities: Estonian Association ofTheatre Researchers and Theatre Critics, chair (since2012).The Von Krahl Theatre (Tallinn, Estonia), led by Peeter Jalakas, is mostly known for its experimental postmodernist and sociallycritical productions, also for multimedia performances and blurring genres (drama, dance, music). Interpretations of classicalliterary and musical works in postmodernist and postdramatic ways have been pivotal for this theatre. In my presentation,I am going to take a look at three works of Peeter Jalakas and freelance Russian choreographer Aleksandr Pepelyaev: TheSwan Lake (2003, staged by Jalakas and Pepelyaev, Bessie Award in 2004), Hamlets (2006, Pepelyaev and Juhan Ulfsak),and The Magic Flute (2006, Jalakas). These productions are deconstructions of a Tchaikovsky’s classic ballet, Shakespeare’stragedy, and Mozart’s opera respectively. All three works are intermedial productions where video projections, onstagemontage and its relation to performativae action on stage assume a crucial role. Hybrid realities of different utopic and/ordystopic worlds are created, and several aesthetic and philosophical questions raised, for example the problem of the idealand the idol, representation and corporeality. All production can be seen both as images of utopia and/or dystopia: theSoviet past and ideal of absolute beauty in contemporary dance performance The Swan Lake, live and mediated presenceof the actor in Juhan Ulfsak’s solo performance Hamlets, and (im)possible future after ecological catastrophe followingthe humankind’s last war in The Magic Flute. I’m going to analyze these works focusing on intermediality and postmoderndeconstruction of classical texts with the aim of delineating ways in which different strata of cultural memory, history andtheatrical conventions are emerging in these emerging hybrid realities.riina_oruaas@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014424

I Want to See the World: Stratifying WandersWorking Groups: IntermedialityIn his article, ‘Making routes: Relational journeys in contemporary performance’, David Overend responds to contemporaryperformance practice “acting upon the impulse to travel and connect with others” (p.379), he suggests that “technologicalinnovation and globalization have placed journeys and travel at the centre of this global stage” (ibid)Karen SavageUniversity of LincolnKaren Savage is co-artistic director (along withDr Joanna Bucknall) of KeepHouse Performance.KeepHouse Performance explores contemporary issuesthrough interdisciplinary approaches, with an emphasison the roles of collaboration and the documentation ofprocess.Derrida considers globalization as mondialisation, the world, rather than the globe. The globe is foreclosing and completesitself – full circle, “for Derrida, the difference between the Anglo- American “globalization” and the Latinate Frenchmondialisation is the difference between a teleologically informed homo-hegemonization of the earth and a world [monde]exposed to infinite universalization, to what is forever ‘to come.’” (Li, pp. 141-154, 2007). My presentation will explore thenotion of the journey and how Overend’s thoughts can be considered alongside intermedial practice. How does travel fitwithin intermediality? Can we consider the centre of travel? Does the performance of a journey inhabit a central space ora temporal dimension that can be considered to stratify time – time-travel. We will consider this alongside the Derrideanellipsis, using video and performance to reposition the notion of the journey and what it might mean to travel and ‘see theworld’.http://www.youtube.com/edit?o=U&video_id=8p_SSsNtie4Karen works part-time at the University of Lincoln inboth the school of Performing Arts and the School ofMedia. Her research interests include Intermedialityin performance, Interdisciplinarity, collaborativeprocesses, practice-as-research methodologies,politics and performance, experimental film andvideo, documentary, performance art, live art, andperformance documents.Karen has been a member of the Intermediality inPerformance Working Group since 2006.ksavage@lincoln.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014425

Working GroupsMusic TheatreNo Large Bills or Small Change? Four Twentieth-Century Johann Strauss AnniversariesWorking Groups: Music TheatreCorrina ConnorOxford Brookes UniversityCorrina Conner is currently in the first year of a PhDin musicology at Oxford Brookes University, whereshe is supervised by Dr Alexandra Wilson in the operaresearch unit OBERTO. Her thesis is provisionallytitled ‘Performing Masculinity in Johann Strauss’sDie Fledermaus’. Corrina completed a BMusHons inperformance and music history at Victoria University ofWellington before reading for an MPhil in performanceand musicology at Oxford University. She combinesresearch with work as a professional musician, andregularly contributes programme notes to the LondonHandel Festival and the Jacqueline du Pré MusicBuilding concert series, amongst other organizations.Since its premiere on 5 April 1874 at the Theater an der Wien, Johann Strauss’s Die Fledermaus has been a constant presencein opera house repertory, its popularity spreading swiftly throughout Europe before moving to Britain and North Americawithin a few years. Die Fledermaus has also been adapted for film and theatre in such guises as Waltz Time (1933) and Oh ...Rosalinda!! (1955). In 2013 there were more than 900 performances of Die Fledermaus in over more than 150 productionsand 100 cities: Die Fledermaus was performed in German, and vernacular productions took place in Romania (Liliacul), Italy (Ilpipistrello), Poland (Zemsta nietoperza), the Czech Republic (Netopýr), Russia, and Canada (Le Chauve-Souris). This remarkableproliferation of performances reflects the enormous popularity of Die Fledermaus and suggests that Johann Strauss wouldbe widely commemorated in anniversary celebrations when the significant dates occur. However, even though Strausshimself was an inveterate commemorator of anniversaries in the Habsburg lands and beyond, his own anniversaries have notreceived the same lavish “stagings” that Die Fledermaus has enjoyed in the hands of the impressive assortment of conductors– including Gustav Mahler, Richard Strauss, Bruno Walter, Herbert von Karajan, Karl Böhm and James Levine – who have keptthis work in the repertory. The case of Johann Strauss makes it apparent that operatic anniversaries are inextricably tied todistinctions between ‘repertory’ and ‘canon’ and concepts of the musical work. Using Die Fledermaus as an example of theinteraction between market forces, scholarship, musicianship – and the conflict between conceptions of high- and low-browmusical entertainment – this paper examines four significant dates (1925, 1974, 1975, and 1999) in the theatrical “afterlife”of Johann Strauss.13093039@brookes.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014426

‘Rock the ground’: Music & Sound in Filter Theatre’s A Midsummer Night’s DreamWorking Groups: Music TheatreAdrian CurtinUniversity of ExeterAdrian Curtin is a lecturer in Drama at the Universityof Exeter. He is the author of Avant-Garde TheatreSound: Engaging Sonic Modernity (New York: PalgraveMacmillan, 2014). He has written journal articles andbook chapters on theatre sound, musical performance,and modernism. He is a recipient of a PresidentialFellowship from Northwestern University and the 2010winner of the New Scholar’s Prize, awarded by theInternational Federation of Theatre Research.A signature element of Filter Theatre’s style is virtuosic use of music and sound. Musicians typically share the stage withactors and engage the audience’s audiovisual attention throughout. Filter’s 2012 production of A Midsummer Night’s Dreamwas conducted in this vein. Tom Haines and Chris Branch—members of the London Snorkelling Team, an independent musicaloutfit that creates quirky electronic and lounge-style music—were cast in the roles of the mechanicals and performed thesound design live. They had to hand a drum kit, an electric guitar, keyboards, a glockenspiel, a tuning fork, a small bell, andother sundry sound-making devices, including microphones and laptops. These last items were crucial to the operationbecause the sound design was largely achieved by digitally manipulating sounds that were recorded live. In this paper, Iwill analyse the music/sound design for Filter’s Dream, investigating its formal and aesthetic features in order to betterunderstand its usage and historical significance. Filter’s version of Shakespeare’s play was deeply involved with contemporaryaudio culture, e.g. sonic branding: the association of sounds with products. Filter’s Dream presented a world suffused withelectronic sounds and jingles, a world in which one’s interaction with the environment, objects, and other people is coded,triggered, and sound-tracked, recalling Caliban’s “the isle is full of noises” speech, with the “thousand twangling instruments”that would hum about his ears. Technological sonification may be more vexatious than dreamy, unlike the “sounds and sweetairs” that give Caliban delight and “hurt not”, but it still works to condition our experience and perceptions of the modernworld and our roles as consuming/producing subjects within it. I suggest that Filter delights our fancy as theatregoers whileholding up an “acoustic mirror” to contemporary modes of sounding and ways of being.a.curtin@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014427

The Musical Actor: Beyond StanislavskiWorking Groups: Music TheatreZachary DunbarRoyal Central School of Speech and DramaZachary Dunbar trained as a concert pianist in the US(Rollins College, Yale University) and UK as a Fulbrightscholar (Royal College of Music), before embarking on acareer in music and theatre. He works as a director, writer,composer and musician in different genres which haveincluded radio drama (BBC 4), stage plays, musical theatre,Beijing opera, soundscape drama, and dance theatre. Hisplays and musicals have been staged at Camden People’sTheatre, Pleasance Theatre, Bloomsbury Theatre, BrightonUnderbelly, the Embassy Theatre, several Edinburgh-fringeproductions (Fringe-First nominated), and the JungehundeFestival (Denmark). At RCSSD, MD for The Year of the Pig,Into The Woods, Sunday in the Park with George, The Baker’sWife. Directing credits include Euripides’ Bacchae (Central)and forthcoming Martin Crimp’s The Country (CamdenFringe Festival) with Twice Born Theatre. He has severalacademic publications in the field of Music theatre andin ancient Greek tragedy. He is Senior Lecturer in MusicTheatre at Royal Central School of Speech and Drama, andalso teaches on Central’s MA Acting course.Musical theatre acting idealises an aesthetic experience in the performer based on the notion of truthfulness and otherpsychophysical qualities handed down by Stanislavski. At the intersection of acting through song, however, disparities inthe process of psychophysical acting and of singing are particularly acute. What are acting principles formulated for therepertoire of Anton Chekov doing in (and for) modern musical theatre training? In this paper I will focus on the privilegedposition of Stanislavski-based approaches in current actor-training for musical theatre. I will critique the entrenched positionfrom both a practical and historical view. On a practical level, the use of breath and sound production when acting throughsong, challenges the presumed integrative experience of psychophysical processes. From a historical perspective, I look atpre-Stanislavski traditions of actor-training, particularly in Elizabethan theatre and in melodrama where the actor’s ‘tool kit’evidences a practical dynamic of musical and rhetorical-physical training. The actor geared as it were to affect different styles,tastes, and genres, perhaps in contradistinction to the idealised fusion of ‘inner’ actor and ‘outer’ character promulgated byStanislavski, seems to me to represent actor training suited for the hyper-realities and multi-stylistic modes demanded ofmusical theatre. From this observation we might also start to ask what the presumed ontologies and cognates of the ‘actor’and of ‘actor-training’ are in context of the specialised training that is required of a performer in musical theatre.www.zebfontaine.comhttp://www.cssd.ac.uk/staff/profiles/dr-zachary-dunbarba-pg-dip-mmus-phdzachary.dunbar@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014428

Musicality in the Work of Konstantin Stanislavsky: Towards PhysicalisationWorking Groups: Music TheatreMario FrendoUniversity of MaltaMario Frendo lectures theatre and performance atthe Theatre Studies Department within the Schoolof Performing Arts, University of Malta. Following aneighteen-year career as professional musician with theMalta Philharmonic Orchestra, Frendo read Music andTheatre Studies at the University of Malta and obtaineda Masters Degree in music composition from the sameuniversity. In 2013 he completed his doctoral research atthe University of Sussex, UK, with a thesis entitled Musicalityand the Act of Theatre: Developing Musicalised Dramaturgiesfor Theatre Performance. The research project was aimed atrenegotiating the relationships between music and theatrein order to investigate their interdisciplinary potential inperformance. Frendo is one of the directors of Theatre ArtsResearching the Foundations (Malta), a research platforminvestigating contemporary performance practices, andco-founder of Icarus Publishing together with Odin Teatret(Denmark) and the Grotowski Institute (Poland). Hisresearch interests include musicalised processes in theatrepractice, musical composition as a performative process,and interdisciplinarity in performance. In line with this year’sconference theme Theatre and Stratification, Frendo willpresent a paper entitled Musicality in the Work of KonstantinStanislavsky: Towards Physicalisation.mario.frendo@um.edu.mtThis paper investigates the musical dimension of Stanislavsky’s theatre practice and how through musical elements Stanislavskyworked towards the physicalisation of action. In line with this year’s conference theme Theatre and Stratification, the authorproposes that music for Stanislavsky was one of the essential strata in his reconsiderations of the actor’s craft. In the wake ofNietzsche’s claim that tragedy, the genesis of Western theatre, emerged “out of the spirit of music”, Stanislavsky’s musicalapproach is located within a historical context where theatre practitioners were seeking alternative means to promote theactor as creator. Stanislavsky spent the last years of his life investigating the dynamic relationship between music and theatrein the most direct manner by working within a context – the Opera-Dramatic Studio of 1935 – framed around the belief thatthe key for an enhanced performative experience was in the music-theatre dynamic. It will be argued that musicality was afundamental layer via which Stanislavsky would arrive to physicalisation in performance, reflected in his Method of PhysicalActions and Active Analysis. Although not visible as outcome of his theatricality, the musical stratum was embedded asone of the “multiple layers of theatre itself” (http://iftr2014warwick.org/theme/). The author points out that Stanislavsky’srevolution in theatre was manifested in a musicality which, rather than limiting the actor’s craft to imitation of scripted texts,promoted acting as a process of embodiment. Beyond the limits of music as background to action, the paper investigatesthe implications of Stanislavsky’s musicality by focusing on rhythm and tempo-rhythm, and how through them Stanislavskypenetrated the physical domain.FIRT/IFTR World Congress, University of Warwick, 2014429

The Dramatic Meaning of Musical Numbers of the Musical The Mystery of Edwin DroodWorking Groups: Music TheatreMayuko FujiwaraWaseda UniversityThis paper will question the ideal of integration of song, dance, and story in the Broadway musical and re-evaluate thedramatic importance of musical numbers therein by means of an analysis of The Mystery of Edwin Drood (or Drood; firstproduced 1986), a musical adaptation of Charles Dickens’s unfinished novel of the same name. The show became a criticaland commercial success and won that year’s Tony Award for Best Musical. However, because the adaptation of the novel wasconceived as a show-within-a-show in its performance at London’s Music Hall Royale, with the murderer chosen by audiencevote, Drood is referred to as “unfaithful” to its source in some reviews. Moreover, the musical is unfaithful to the ideal of theintegrated musical. While integrated musicals aim to unify story, song and dance into a seamless whole, Drood’s performanceis repeatedly interrupted. The show stops abruptly in the middle of the musical number “Don’t Quit While You’re Ahead,” asit reaches the point where the original story ceases due to the untimely death of its author. This scene suggests that, whilereviews and previous studies focus on the narrative of Drood and the conceptual nature of its adaptation, the musical is infact a story of the actors of the Music Hall Royale and their desire to perform through the interruption, the diversion, and thevote on the murderer and other roles. In Drood, the songs are not the “servant” of the play, as in integrated musicals. Instead,the performance of musical numbers is the focus of the show. This paper will analyse how songs transform the purpose ofthe show and examine the unique dramatic meaning of the musical numbers in Drood.Fujiwara, Mayuko is an invited researcher of TsubouchiMemorial Theatre Museum, Tokyo, Japan. She receivedher PhD from Waseda University. She has interests instage musicals, Broadway musicals and Japanese musicaltheater. Her monographs include “The Function of MusicalNumbers in Cabaret” (2008), “Know that You’re Whole: AnExamination of the Structure and the Form of the RockMusical Hedwig and the Angry Inch” (2010), “An Examinationof The Musical of Musicals (The Musical!)” (2011) and “Is Itthe Effect of Music?”: The Representation of Character andDrama in Allegro, A “Flop” of Rogers and Hammerstein”(2013) in Theater and Film Studies, Comparative TheaterReview and The Journal of Japanese Society for TheaterResearch. Currently she is a lecturer of Faculty of Letters,Arts and Sciences, Waseda University and other academicinstitutions. She was also an assistant TV programmer ofTakarazuka Creative Arts from 2005 to 2006, a researchassociate of Theater and Film course of Waseda Universityfrom 2008 to 2009 and an associate fellow of The GlobalCenter Of Excellence Program of International Institutefor Education and Research in Theater and Film Arts from2007 to 2013. She is also a translator for internationaltouring companies of musicals.yadrehtona.re@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014430

“Say It Any Way You Can”: Challenging the Stratification of Speech, Song, and Dance in the MusicalTheatreWorking Groups: Music TheatreMatthew LockittMonash UniversityConventional wisdom states the fundamental relationship between speech, song, and dance in the Musical Theatre relatesto an emotional hierarchy. This structural stratification of the primary elements suggests that when emotion becomes toostrong for words the character sings, when it overwhelms song, they dance. There are certainly many instances in musicalswhere this structural foundation does occur. Nevertheless, there are also numerous examples within the repertoire that denythis strict stratification. Some characters speak rather than sing at supposed ‘high’ moments of the drama. Further, somemusicals do not dance at all. This paper acts as a provocation and challenges the notion of this standard emotional hierarchy.To do this I will draw on research and examples from my doctoral thesis. Specifically, I will employ the Apollonian and theDionysian – which Friedrich Nietzsche theorised as the forces of from which the ancient Tragedy was conceived – as a meansof repositioning particular dramatic examples. Further, I suggest the elements of speech, song, and dance, be reframed asword, music, and movement, with each element considered within the scale of this theoretical schema. Through this paper Iwill question if this standard stratification can be adjusted. If so, is it a re-stratification in which the elements remain ranked,but in an alternate order? Or perhaps it is possible to enact a de-stratification of the elements, a democratisation, in whichword, music, and movement are no longer layered, but sit juxtaposed to one other.PhD. Candidate, Matthew Lockitt currently holds aBachelor of Performing Arts and a Graduate Diploma ofTheatre, from Monash University. He also holds a Diplomaof Music (voice) from the Melba Conservatorium ofMusic. He currently teaches Musical Theatre within theCentre for Theatre and Performance, Monash. Threeoriginal performance-as-research musicals developed forsecond year students resulted in the co-authored article“The Uncertain Musical: An Experiment in Performanceas Pedagogy”, Australasian Drama Studies #57 (2010)His article “’Proposition’: To reconsider the non-singingcharacter and the songless moment” is published in Studiesin Musical Theatre 6.2 (2012). Matthew is also a contributorin the book, Gestures of Music Theatre: The Performativityof Song and Dance, edited by Dominic Symonds and MillieTaylor (2014), with his chapter, “’Love, Let Me Sing You’: TheLiminality of Song and Dance in LaChiusa’s Bernarda Alba.”He has recently acted as dramaturge and director on a newmusical Aesop’s Fables, devised and written by second yearstudents at the Centre for Theatre and Performance, incollaboration with composition and conducting studentsfrom the Sir Zelman Cowen School of Music, MonashUniversity. Matthew also supplied additional book and lyricsfor this new practice-as-research project.matt.lockitt@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014431

Mamma Mia! and the Jukebox MusicalWorking Groups: Music TheatreThis paper will explore both the aesthetics of the sub-genre and the commercial factors that have driven its popularity as aform. Mamma Mia will be discussed in relation to Our House, Taboo and Never Forget. It will present varying representations ofthe collapse of the nuclear family, the dominance of the ‘single mother’ figure and the absence of fathers. This is reflectedin the dramaturgy of the piece as well as in its narrative structure. Even if Dolan states that Mamma Mia presents us with“a string of ABBA songs never meant for the theatre that are stuck along a plot no more than a millimeter thick”, (Dolan2008) it is one of the more successful examples of the jukebox genre. The discussion will link Mamma Mia to Sondheim’sconcept musical Company and its controversial/unorthodox views on marriage and analyse its differences and similarities.Its formulaic structure will be juxtaposed with Millie Taylor’s views on the jukebox musical (Taylor, 2012) and the differentghostings of the songs. As Wolf writes, “when the songs are heard outside the musical itself, they are always ghosted by theoriginal voice” (Wolf 2002: 42).George RodosthenousUniversity of LeedsDr. George Rodosthenous is Lecturer in MusicTheatre at the School of Performance and CulturalIndustries of the University of Leeds. He is the ArtisticDirector of the theatre company “Altitude North”.His research interests are “the body in performance”,“refining improvisational techniques and compositionalpractices for performance”, “devising pieces with livemusical soundscapes as interdisciplinary process”,“director as coach”, “updating Greek Tragedy” and “TheBritish Musical”. He is the editor of the book Theatreas Voyeurism: the Pleasures of Watching (Palgrave)and currently working on the two edited volumesContemporary adaptations of Greek Tragedy: Focusing onthe Director and The Disney Musical: Critical Approacheson Stage and Screen.g.rodosthenous@leeds.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014432

Boxing Clever: The Threat of the Triple ThreatWorking Groups: Music TheatreWhen we speak of the triple-threat performer, we acknowledge within musical theatre both a diversity and a limitation toour box of tricks. Ours is an interdisciplinary pursuit, though any notion of interdisciplinarity would be meaningless withoutacknowledging the walls that stand between practices (acting, singing, dancing), genres (musical theatre, opera) anddisciplines (theatre studies, musicology, performance studies). We regularly seek to either defend the boundaries of our ownempires, or bleed through the membranes of those walls in a constant challenge to the disciplinarity that defines us. Thisconference asks us not to look at the vertical partitions that this analogy implies, but rather the stratified layers of influencethat press upon us. In this, new pressures and relationships emerge, where we see in perhaps less parochial ways the variousthreats to our discursive identity. Perhaps the triple threat is less defined by the adjacent skills of discipline (acting, singing,dancing) but more by stratified layers (development, promotion, collaboration) or dynamics (aurality, physicality, vocality).This paper explores and asks what is to be gained in conceptually reorganizing boxes into strata?Dominic SymondsUniversity of LincolnDominic Symonds is Reader in Drama at the Universityof Lincoln. His research focuses on post-structuralistapproaches to the musical. He is joint editor of Studies inMusical Theatre (Intellect) and founded the internationalconference Song, Stage and Screen. He is also coconvenorof the music theatre working group of theInternational Federation for Theatre Research. He hasrecently co-edited two collections of essays for theIFTR, The Legacy of Opera: Reading Music Theatre asExperience and Performance (Rodopi) and Gestures ofMusic Theatre: The Performativity of Song and Dance(OUP), both due out this year. His monographs We’llHave Manhattan: The Early Work of Rodgers and Hart(OUP) and Broadway Rhythm: Imaging the City in Song(University of Michigan Press), will appear in 2014.dsymonds@lincoln.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014433

Performative Silence: Race, Riot and the End of MulticulturalismWorking Groups: Music TheatreMarcus TanQueen’s University BelfastMarcus Tan obtained his PhD from Trinity CollegeDublin and now lectures at Queen’s University Belfast.His primary research interests include interculturaltheatre, globalisation and performance, sound studies,Asian Shakespeares and virtual performativities.He has published in Contemporary Theatre Review,Theatre Research International, The Drama Review, andis the author of Acoustic Interculturalism: Listeningto Performance (Palgrave Macmillan 2012). Marcuswas also the winner of the Theatre and PerformanceResearch Association’s Postgraduate Essay Competitionin 2010.On 8 December 2013, the monotonous placidity of Singapore’s streets was disrupted by anti-social violence in the formof a riot. Such acts of mass aggression were unheard of in a country whose policies of multiculturalism, or one might evenclaim ‘interculturalism’, have been hailed as exemplary for developed nations. The “Little India Riot” was a consequence ofspontaneous mob reaction to an Indian national migrant labourer who was run over by a bus, driven by a Chinese Singaporean.Of the 400 rioters, made up of Indian and Bangladeshi nationals, 57 ‘instigators’ were summarily found guilty of rioting andpromptly repatriated to their home countries in just 11 days following the historic event. Civil society activists and organisationshave criticised the government’s ruthless measures that violently silenced the voices of these migrant workers who havelong been the exploited base on which Singapore’s superstructural wealth was built on. This silencing was also prevalent instate-controlled media which muted the subjective lived experiences of the rioters and, instead, underscored the objectiveviolence wrought from excessive alcohol consumption. The increasingly dominant yet xenophobic voices of virtual citizensfurther racialised the incident with ethnic slurs and racial condescension. This paper thus explores the performativities ofsilence and violence as they exemplify what George Bataille problematises as the dialectic of “civilized speech vs. silentviolence,” where silence is regarded as dispossession and objectification, and vocality as empowerment and subjectivity.What is evident from the riot and its reaction is a systematic disregard of new forms of stratification – ones where racial andethnic stratums have become reified and refigured by neo-liberal global capital. The riot can thus be considered as an eventof dissensus; this “politics that comes solely through interruption” inevitably enunciated the end of state multiculturalism inSingapore.m.tan@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014434

Macbeth to Matilda: Musical collaborations at the Royal Shakespeare CompanyWorking Groups: Music TheatreThere is, of course, a historical reason for the employment of music and musicians at the Royal Shakespeare Theatre – thereare lots of songs in the plays and there was lots of other music played during and around the performances in Shakespeariantheatre. As Christopher R. Wilson remarks ‘music for Shakespeare was an essential part of his dramatic and thematic material…It was never simply an acoustic or esoteric adjunct’ (Wilson 2011:138). This historical argument doesn’t really account for thewidespread use of music in contemporary RSC productions, however.Millie TaylorUniversity of WinchesterMillie Taylor is Professor of Musical Theatre at theUniversity of Winchester. She worked as a freelancemusical director and, for almost twenty years, touredBritain and Europe with a variety of musicals includingWest Side Story, Rocky Horror Show, Little Shop of Horrorsand Sweeney Todd. Recent publications include BritishPantomime Performance (Intellect 2007), Singing forMusicals: A Practical Guide (Crowood Press 2008),Musical Theatre, Realism and Entertainment (AshgatePress, 2012 in the series Interdisciplinary Studiesin Opera), and with Dominic Symonds the editedcollection Gestures of Music Theatre: The Performativityof Song and Dance (Oxford University Press, 2014). Shewas guest editor of a special issue of the journal Studiesin Musical Theatre ‘If I Sing: Voice and Excess’ (Jan 2012).Forthcoming publications include a text book StudyingMusical Theatre (co-authored with Dominic Symonds forPalgrave Macmillan).In the early twentieth century at Stratford period or ‘authentic’ music became part of the experience of Shakespeareperformances. When the Shakespeare Company was formed in 1961 music continued to be performed by a contractedwind band and a music advisor was a permanent member of the creative team. Gradually the construction of the musicdepartment and the employment patterns for musicians have changed, as has the variety of musical styles, uses of musicand genres attached to productions, but no matter how stretched the finances became the music department has remaineda vital component in the creative development of new productions. In this paper, and at the start of a new research project,rather than unpacking the dramaturgy, what I attempt to discover is a philosophical or theoretical reason for the continuedubiquity of music in this literary and visual theatre, exploring the importance and affect resulting from hearing and listeningas a complement to visuality in the theatre. What I will argue is that the combination of music and performance is more thanthe sum of its parts – that identifying the constituent signifiers doesn’t entirely account for the experience of performance.Wilson, C. R. ‘Shakespeare and Early Modern Music’ in Burnett, Streete and Wray (eds), The Edinburgh Companion toShakespeare and the Arts (Edinburgh University Press, 2011): 119-41.millie.taylor@winchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014435

The Moving Voice: Reflections on (Movement) Directing and OperaWorking Groups: Music TheatreKonstantinos ThomaidisUniversity of PortsmouthDr Konstantinos Thomaidis is a Lecturer in Drama andTheatre at the University of Portsmouth. He recentlycompleted his PhD at Royal Holloway University of London,focusing on physiovocal training in Korean pansori, thePolish theatre company Gardzienice and modern belcanto. He is the Head of Movement of Opera in Space(ACE funded), an Associate Artist of Experience VocalDance Company, and a founding member of Waving notDrowning! Physical Theatre. He is joint convenor of theCentre for Interdisciplinary Voice Studies and co-editorof the forthcoming Journal of Voice Studies (Intellect).Recent publications include a chapter on physiovocalityin Gestures of Music Theater (Oxford University Press), anarticle on the interweaving of football and vocal trainingin Gardzienice in Theatre, Dance and Performance TrainingJournal (Routledge), and a chapter on the notion ofthe vocal body in Body in Performance (Triarchy Press).Alongside Prof Mark Evans and Dr Libby Worth, he coconvenesthe Performer Training Working Group at TaPRA.Konstantinos is an Associate Artist of the New TheatreRoyal Portsmouth. He is contracted to co-edit the bookVoice Studies: Critical Approaches to Process, Performanceand Experience (Routledge, 2015).While unpacking the “implicit metaphysics of opera,” Nicholas Till suggests that the “classical western audiences have beenacculturated to ignore the physicality of musical performance” (2013: 39, 52). In the operatic stage, this metaphysicaltendency has promulgated the disembodiment of the voice. Despite current scholarly debates that foreground the visceralreception of singing and the explicit aspiration of opera to be an all-encompassing genre, in performance the body ofthe opera singer, in its struggle to sustain a constant flow of breath and cover breaks with the technique of passaggio,remains almost immobile. Sporadic attempts have been made, though, to explore the possibilities of physicality in operaticperformance. Such prominent choreographers as Pina Bausch (Orpheus and Eurydice [1975]) or Trisha Brown (L’ Orfeo[1998]) and directors/actor trainers like Peter Brook (La Tragédie de Carmen [1981]) or Simon McBurney (A Dog’s Heart[2010] and A Magic Flute [2013]) have attempted to integrate movement in the productions. These attempts are significant,but they relocate the movement to the chorus or the ensemble and in the end reproduce the same paradigm of the voiceras a non-mover. In this paper, I will draw on my experience as the Head of Movement of a new opera collective, Opera inSpace, in order to reflect on fresh possibilities towards an integrated singer-actor-mover. My analysis will focus on threerecent productions, Handel’s Semele (2011-12), Purcell’s Dido and Aeneas (2013), and Humperdinck’s Hansel and Gretel(2013). My aim is to draw attention to three distinct rehearsal and devising methodologies, namely those of the directorchoreographer,the choreographer, and the integrated movement director respectively, in order to reflect on the respectivere-conceptualizations they advocate for the operatic body.konstantinos.thomaidis@port.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014436

Issues in the Historical Materialist Study of OperaWorking Groups: Music TheatreIn this paper I will raise some questions about methodology relating to my current research project into the relationshipbetween early opera and modernity. The project seeks to make connections between social and political developmentsaround 1600 and the forms of sung drama that became opera. My approach is historical materialist, but there areconflicting historical materialist (Marxist) understandings of the economic, social and political transition to modernity,and to the socio-political determinants of artistic forms. I will discuss these problems in relation to issues such as thepredominance of pastoral forms in early opera and changes in patterns of landownership and cultivation in northern Italyaround 1600, modern concepts of individuality and subjectivity as represented in the madrigal and opera, and the impactof print cultures upon early 17th-century musical production.Nick TillUniversity of SussexHistorian, theorist and practitioner in opera andmusic theatre. Professor of Opera and Music Theatre,University of Sussex, and Leverhulme Research Fellow,2012-1015. Books include Mozart and the Enlightenment(1992) and The Cambridge Companion to Opera Studies(2012).n.till@sussex.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014437

Struggle and Conflict for Clarifying Differences between Theatre and Film in the Stage Version ofSingin’ in the RainWorking Groups: Music TheatreSahoko TsujiWaseda UniversityThis paper will focus on the stage version of Singin’ in the Rain (1985) as one of the studies about the librettists, Betty Comdenand Adolph Green (hereafter Comden & Green), and investigate how the theatrical distinctiveness is expressed in the stageversion by analysing the libretto. The film version (1952) had been honoured as one of the masterpieces written by Comden& Green; they also participated in the Broadway run as the librettists to avoid letting “someone would be hired write thebook” (Gritten 2005 A5). Thus, Comden & Green would have liked to take the responsibility for the quality of their own work,but at the same time to revise their book more suitable for the new medium: theatre. Nevertheless, the struggle occurredbetween Comden & Green and the director and choreographer, Twyla Tharp, and Tharp finally banned Comden & Greenattending the rehearsal, because Tharp would have liked to reproduce the original movie version as identical as possible onthe stage. Comden & Green could not help but being dissatisfied with the Broadway version’s quality, and wrote the librettofor future revival. Therefore, this paper’s purpose will be clarifying the show’s essential features beyond the differencesbetween the media, the show’s distinctiveness as the stage musical through studying the libretto; this paper will also urgethe reconsideration towards the position of Singin’ in the Rain in the 1980’s Broadway musical.Sahoko Tsuji is a research fellow of Japan Societyfor the Promotion of Science from April 2014, and adoctoral student in Waseda University, Japan. She willstudy abroad as a visiting scholar in Martin E. SegalTheatre Center of City University of New York from fall2014. Her specialty is American musical theatre andmusical film, especially focusing on the musical showswritten by Betty Comden and Adolph Green throughthe show’s textual analysis. “The Presence of PhysicalityIndicated through Skew Lines of the Narrative and theForm: The Analysis of Fade Out – Fade In” (2013, inEnglish), “A Study of the Musical Number’s Function inOn the Twentieth Century: Considering the Backgroundas the Adaptation from the Screwball Comedy” (2013,in Japanese), “‘Time is Precious Stuff’ -- Representationof Time in On the Town” (2012, in Japanese) and“Telephone, Actor, the Performative Mode of Acting --A Study of Bells Are Ringing” (2012, in Japanese).FIRT/IFTR World Congress, University of Warwick, 2014438

Cherubino, Perverted: Revising, Re-Staging, and Adapting Le nozze di Figaro for theContemporary Operatic StageWorking Groups: Music TheatreBrianna WellsUniversity of AlbertaBrianna Wells is a doctoral candidate at the University ofAlberta in the Department of English and Film Studies.Her dissertation explores the circulation of opera incontemporary North America through public discourses,technologies of distribution, popular forms, and producingpractices of Canadian and U.S. opera companies. She isbuilding case studies of Le nozze di Figaro and MadamaButterfly to map the circulation of operatic texts, themes,and citations through different cultural registers in thelate twentieth century. Her research includes interviewswith North American opera professionals and artists,as well as archival work at the New York Public Libraryfor the Performing Arts, and Opera America’s NationalOpera Center. Brianna holds an MA in English fromMcGill University and a Bachelor of Arts (Honours)from the University of British Columbia. Her doctoralresearch is rooted in her professional experience as theCommunications Manager for Edmonton Opera from2007- 2010. She holds a Canada Graduate Scholarshipfrom the Social Sciences and Humanities Research Councilof Canada and has recently published in 19th-Century Musicand Opera America Magazine.blw@ualberta.caSince premiering on the operatic stage in 1786, the trouser role of Cherubino has become one of the most famous examplesof gender play on the operatic stage. The opera’s extensive production history in both Europe and North America forms awell-established tradition of performance practices, and while Cherubino is neither the sole reason for, nor symptom of, theopera’s lasting popularity, his various subversities hold an obvious fascination for recent producers of the work – especiallythose engaged in revisions, adaptations and re-stagings. I read the social, sexual, and gender performance excesses ofCherubino as a central locus for new directorial statements in the last thirty years, and argue for the performative characterof circulation as a means to read through and beyond the situating of operatic works in contemporary contexts. As directorsand producers have increasingly sought a fresh voice for the heavily canonized Figaro, Cherubino has in many instancesbeen the cipher through which new ‘concepts’ or mises-en-scène function. In productions from the Pepsico Festival (1989),Salzburg Festival (2006), Opera Omaha (2010), and Morningside Opera’s Figaro ¡90210! (2013), the treatment of Cherubinoas, respectively, a hockey fan, a set of singer/dancer dopplegängers, an embodied spirit of young Mozart, and an aspiringrap artist illustrates more than another example of the vogue for modernized or re-articulated productions. The opennessof Cherubino’s gender and political status is both an opportunity for aesthetic or political experimentation, and a challengefor directors seeking to produce a sense of contemporary, and geographically specific immediacy within their productions.FIRT/IFTR World Congress, University of Warwick, 2014439

Excavating And Rebuilding Twang!!Working Groups: Music TheatreJulian WoolfordUniversity of SurreyBased on the myth of Robin Hood, Lionel Bart’s Twang!! became a bye-word for a musical theatre flop after its notoriouspre-London tryout and subsequent West End opening. Created by a dysfunctional group of the brightest talents of the mid-1960s British theatre, it was a dismal failure, where the collaborators singularly failed to collaborate effectively. Followingits inglorious closing it entirely disappeared, except from popular memory, where it became the subject of rumour, gossipand jokes. In 2010 The Estate of Lionel Bart commissioned an all-new Book for the musical to re-launch it in the newmillennium. In this paper I excavate through the strata of hearsay of Twang!!’s first production, separating fabrication fromfact through primary source interviews with original cast members, contemporary media reports and reviews. Following thisis a consideration of the events surrounding the rediscovery of some of the original materials, the challenges inherent inrewriting such an infamous musical for a modern audience, and an assessment of the success of the piece in performanceat GSA/University of Surrey in 2013. There is also deliberation of the adaptation of the mythic qualities of the Robin Hoodlegend for the stage and scrutiny of how the shadow of failure has affected attempts to remount Twang!! and create otherRobin Hood musicals in the UK.Julian Woolford is currently Head of PostgraduateMusical Theatre at GSA/University of Surrey. Previouslyhe was Artistic Director of the Global Search for NewMusicals at the International Festival of Musical Theatre,Artistic Director of Sevenoaks Playhouse, AssociateDirector of the Queen’s Theatre Hornchurch and hasdirected in the West End, Off-Broadway extensively inEurope. His productions include The Bakewell Bake-Off(Landor Theatre, 2013), The Importance of Being Earnest,Mrs Warren’s Profession (English Theatre Hamburg,2013 and 2011) and National Tours of Oklahoma!, SouthPacific, Carousel and Fiddler On The Roof. As a writer hiswork includes The Bakewell Bake-Off (co-writer, 2013),musical adaptations of The Railway Children (SamuelFrench, 2007) and Wind In the Willows (2006), the newbook for Lionel Bart’s Twang!! (2013) lyrics to songs forThe Importance of Being Earnest (2013), the libretto forThe Devil’s Advocate and the book How Musicals Work(Nick Hern Books, 2012).www.julianwoolford.netFIRT/IFTR World Congress, University of Warwick, 2014440

Working GroupsPerformance and ConsciousnessPerformance: Human Without Cortex-AttemptsWorking Groups: Performance and ConsciousnessIntegrating the eponymous poem by Grünbein, a dialogue of fractals arises from movement, language, video, trombone.3 Arkana, 3 attempts, atmospheres, theory, imagination and reason in free interplay. Is that art or philosophy? Or is it thevery bewilderment of thinking, of the self-image of the individual that releases creativity and thus opens up the possibility ofphilosophy as art?Aurelia BaumgartnerIndependent ScholarAurelia Baumgartner is a ‘philosophizing dancer anddancing philosopher’. She toured worldwide as a freestyleski dancer with the National Team of Germany andstudied Philosophy, Theater and Literature at the LMUUniversity of Munich, obtaining her Master of Artsin Philosophy in 1993. She trained as a dancer anddance teacher at ‘Iwanson International’ and workedat WDR television station “Philosophy Today” in Köln.Since 2000 she has trained in Asian Martial Arts (BlackBelt III.Pakua), Taiji (Yang Stile and Pakua) and JangShen Practices. In 2001 she founded the School ofContemporary Dance in Berg (Munich), in 2004 shefounded the Aureliana Contemporary Dance Projectand started to produce full-length philosophical danceand video performances. From 2007-09 she performedas a soloist at the group” Sol y Sombra”; In 2010/11 shedanced in the production “Co-Pirates” of Richard Siegalat the opening of the Dance Festival 2010 in Munich.Inspired by her work as a dancer, choreographer andphilosopher she develops ‘Körper-denken’, ‘body-thinking’,a semiotic theory of the body in which relations createdout of movement are world structuring and worldcreating.This performance promoted byKulturreferat derLandeshauptstadt MünchenLink to the Videos “changes - open room” & “changes - melting elements”:http://tanzphilosophie.de/video/download/download.htmlaurelia@tanzphilosophie.deFIRT/IFTR World Congress, University of Warwick, 2014441

Workshop: When Performance Goes RightWorking Groups: Performance and ConsciousnessJorge CrecisGoldsmiths, University of LondonJorge Crecis holds a degree in Sport Sciences and studiedcontemporary dance at the Real Conservatorio of Madrid.As a professional dancer he worked with companies inBarcelona, Brussels and London. His has lectured at LondonContemporary Dance School (The Place; 2008 to 2012)and taught at international renowned institutions. In 2012he funded SQx; based upon Jorge’s synthesis of sport anddance movement patterns, SQx’s team lead workshopsof this cutting-edge performance training methodology,allowing professionals and youth participants to enhancetheir performative skills. Over the last five years Jorgehas been commissioned by companies based in Europe,Russia, and China and also by postgraduate companiessuch as EDge, Mapdance and Intoto. His latest workwill be premiere by Scottish Dance Theatre in February2014. His work has been supported by ACE, SwindonDance and the Spanish Ministry of Culture. Based on thepowerful situations that the dancers undergo throughhis work, Jorge states that he devises experiences ratherthan choreographing dance pieces. He is currently a PhDcandidate at Goldsmiths, University of London, focusingon cutting-edge methodologies for training and replicatinghigher states of consciousness for dancers in performance.Every performer can report they have entered a state of being, or a ‘zone’, while executing their greatest performancesand personal bests (Hefferon, 2006, p. 141). It seems that a particular and ideal state of mind for performing isexperienced; therefore it is possible to conclude that there is a particular state of consciousness associated to peakperformances. For instance, Constatin Stanislavski used the Russian word, przeżywanie, translated as ‘live the scene’ todescribe what the actor should experience in performance; Mihaly Csikszentmihalyi coined the term ‘flow’ to describean optimal state of experience, and Deborah Hay defines her performance as consciousness of movement. The statesdescribed by these three authors might have been pursued by different methodologies and they might even havedifferent connotations, but all of them require an exceptional state of concentration and awareness. At the same time,although theatre directors and choreographers seek different qualities from their performers, they seem to agree thatone essential priority is for the performer to fully commit to his performance. E.g. choreographer Alain Platel, claimedthat “when performers are willing, [performance] does happen” (Platel, 2010). During the last six years, I have beendevising a training methodology that help the performer to locate and reproduce at will that performative state ofmind associated to total concentration and commitment of the individual during the continuous present moment ofthe performance. During this workshop it would be possible to explore some of those physical exercises which help theperformer to enter into a deep state of complete awareness. The innovation of this practice lays in the simplicity of theexercises. The participants will experience a state of mindfulness state in such an unsophisticated way, that it will be veryeasy for them to identify it and ultimately, incorporate it into their practice.Kingdom. Commissioned by Scottish Dance Theatrehttps://vimeo.com/album/2792060/video/90732704Trans la Valo. Commissioned by Beijing NINE Dance Company.https://vimeo.com/album/2792060/video/71721144‘36’https://vimeo.com/album/2792060/video/44150840crecis@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014442

Backstage Laborers: The Invisible Cosmological Constant of the Theatre’s UniverseWorking Groups: Performance and ConsciousnessMaria Cristina GarciaCity University of New YorkBA in Theatre Studies from Emerson College. Currentlya fourth-year doctoral student in the Theatre Ph.D.Program at CUNY’s Graduate Center with a PresidentialMAGNET Fellowship. Practical theatre experienceoff-off-Broadway and at Chicago’s Goodman Theatre.Previously presented at ATHE’s 2013 Conference inOrlando, Florida.In her article “Staging Nothing: Hamlet and Cognitive Science” (SubStance 35.2, 2006), Amy Cook interrogates “suspensionof disbelief,” a problematic mechanism which mainstream theatre scholars continue to take for granted. Her arguments arepersuasive, however, they highlight only the experiences of actors and audiences who are “living in the blend” as describedby conceptual blending theory. In my paper, I use the same cognitive science tools to explore how stage managers,stagehands, and other technicians live in the blend while simultaneously co-creating it. This paper is intended as a correctiveto a hierarchical organization of theatre production, consumption, and criticism that tends to dismiss backstage laborers---if those laborers are acknowledged at all. A December 28 2013 article in The New York Times essentially repudiates thevalue of work performed by members of Local 1 of the International Alliance of Theatrical Stage Employees. Christin Essin’sarticle “An Aesthetic of Backstage Labor” (Theatre Topics 21.1, 2011) argues for the value of backstage laborers, but does soon the terms of the more visible (and therefore more celebrated) members of the theatre community; this well-meaningperversion denies the blend that backstage laborers so skillfully cultivate. Backstage laborers are the cosmological constantof the theatre’s universe. Dark energy is invisible, but we see its effects in the small portion of the world that sciencecan perceive. In the same way, backstage laborers are invisible, yet their contributions literally hold together everythingperceivable onstage. This paper phenomenologically describes the experiences of backstage laborers’ collaborations intheatre production, and seeks to theorize what happens when an audience member experiences that collaboration from thehouse during performance.mgarcialynch@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014443

Layers of Thinking in Scenographic DesignWorking Groups: Performance and ConsciousnessLaura GröndahlUniversity of TampereLaura Gröndahl works currently as a university lecturerof theatre, drama and media culture at the Universityof Tampere.She has previously been employed as thefixed-term professor of practice for stage design at theAalto University School of Art, Design and Architecture;as a university lecture of visual communication at theUniversity of Lapland; and as a visiting lecturer at theUniversity of Helsinki and at the Theatre Academy,Helsinki. She received her doctoral degree in 2004,after which she has done research on the contemporarypractices of making performances and the currentchanges in scenographic thinking and agency. Beforeher academic career she has worked as a practicingscenographer in various Finnish theatres since 1983.My current research deals with the development of scenographic strategies in Finnish theatre during the past decades.In my proposed paper I will focus on the modernist tradition, which was hegemonic during the 70es and early 80es. I willanalyze the thinking of prominent scenographers of that time and contextualize them to the history of design tradition,especially to Bauhaus, which was influential to our scenography education. Instead of final performances I am interested inthe ways scenographers constitute the mood of reception through their practice. The design strategies are always basedon the designers’ intuitive beliefs about spectators’ capabilities of perceiving and interpreting the perceived performance.How do the chosen artistic and practical strategies incorporate conceptions about the stage as a place for generating andtransmitting thoughts and experiences to audiences? As an artistic activity, scenography consists of the design, constructionand use of stage space, which (roughly speaking) is a combination of three elements: the material set, the bodily actors andthe lighting. The spectator is placed into the performance event by means of the spatial arrangements, which define hisviewing position. The use of the set as a functional part of acting (or the lack of it) can metaphorically express the relationbetween man and the environment. The lighting directs and focuses the spectator’s gaze and manipulates his perceptualmood. How are these elements used to generate the expected impact in reception? I suggest that hegemonic modes ofintuitive reasoning and ontological or epistemological folk theories can be found in the operational culture of scenography.I will discuss how they are manifested in e.g. designers’ speech, working methods, scenography education and performance.laurakgrondahl@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014444

Audience as Performers: Inverting Sight-LinesWorking Groups: Performance and ConsciousnessThis paper proposes that in the theatre, there are two troupes of performers: actors and audience. Although academicshave scrutinised how audiences respond, make meaning and co-create while watching a performance, little research hasconsidered the behaviour of the theatre audience as a performance in and of itself, similar to the performance given by theactors. I consider how the myriad gestural, vocal and paralingual actions of audiences constitute a performance. Drawingfrom my own experience as a professional actor this paper uses the actor’s lexicon to construct the audience as a performer.Theodor Lipps’s understanding of empathy and its associated phenomenon, emotional contagion, provides the paradigmthrough which I explore the audience’s repertoire of actions performed during the theatrical event. I posit that it is not onlyan audience’s learnt behaviours that characterise audience performance: aspects such as performing a prescribed role,wearing a costume, following a script and performing to an audience at the theatrical event are important signifiers.Caroline HeimQueensland University of TechnologyCaroline Heim is a lecturer in Performance Studies atQueensland University of Technology. She holds a PhDin Drama from the University of Queensland. Caroline’spublications are in the area of Audience Reception.Her conference paper borrows from the title of herforthcoming book: Audience as Performer: The ChangingRole of Theatre Audiences in the Twenty-first Century tobe published by Routledge. Recent publications include“Found in translation: debating the abstract elementsof cultures through actor training styles” (2013) in TDPTand “‘Argue with Us’: Audience Co-creation throughPost-performance Discussions” (2012) in NTQ. Beforeentering academia Caroline worked as a professionalactor on New York stages winning a Drama LeagueAward.Reliant “biographers” on audiences are usually considered to be highbrow and middlebrow academics and theatre criticsdrawing from their own perspectives. This unspoken, yet pervasive, stratification places the voice of the audience memberat the lowest end of the hierarchy. In Theatre & Audience Helen Freshwater calls emphatically for audience theorists to ask“‘ordinary’ theatre-goers – with no professional stake in the theatre – what they make of a performance” (4, 2009). Theresearch draws from eighty-plus interviews undertaken in New York, London and Sydney with “ordinary” audience membersand actors during or directly after mainstream theatre productions in 2013/14. This article analyses the praxis that constructsthe audience as performer providing a fresh reading of audience performance from the sight-lines of two of the conspicuousauthorities on the audience: the actors and the audience themselvescaroline.heim@qut.edu.auFIRT/IFTR World Congress, University of Warwick, 2014445

Moving with a Free-Mind: Layers of Self-Consciousness in Performing with Buddhist VipassanaMeditationWorking Groups: Performance and ConsciousnessTanatchaporn KittikongKhon Kaen UniversityMs Tanatchaporn Kittikong is a performing artspractitioner from Thailand. She has been trained asan actress in Russia by Russian National Artist Koniev,V. A. from the Maly Theatre. She later discoveredan affinity for improvisation in creative process,educational settings and artistic ends. Currently, herinterest lies firmly on a performer’s inner experienceand body movement through the eyes of TheravadaBuddhism. In the context of contemporary practicesof performance, her latest research explores amindfulness-based approach to body movement inestablishing a meditation-based performance. Inspiredby her practice of Buddhist Vipassana meditation,Tanatchaporn seeks to understand what lies beyond aperformer’s consciousness and how the notion of selfor non-self and body interplays. Tanatchaporn Kittikongis a full-time instructor and lecturer in Performing ArtsDepartment, Faculty of Fine and Applied Arts, KhonKaen University, Thailand.“When the mind is at peace, the mind will not own the body. Because the mind is set free from all attachment […] The freemind integrates to its own elements of knowing. This knowing, however, is associated with no-thing.” (Venerable Thai BuddhistMonk - Ajan Opas Dhammadhipo, 2011). The most exciting aspects of Buddhist Theravada philosophy and its Vipassanameditation concern the emphasis given to how consciousness interweaves with pure mind. The pure mind is a separate entityto what consciousness recognises as ‘the self’. Therefore, Buddhist Vipassana strives to nurture a consciousness which actsto distance the mind from the self. By distancing the mind from self, the body-consciousness becomes perceptible in layersof phenomena. Uniquely, this process is manifested through the body. With a Thai background, the mind starts to pave itsway of moving from Thai culture to movement of no boundaries. My practice-based research explores the Thai practice ofconsciousness encountered in meditation taken into performance. Moving with a free mind in the context of contemporaryThai culture provokes a dancing consciousness through the observational techniques of Vipassana meditation that has beenpractised for 2,600 years. Elements of embodied experience are firstly examined in my creative development of training ina search for what lies within, beyond, or on the next level of my particularised bodily consciousness. Exercises soon developinto transitory acts of knowing and observing the self. The process aims to exhibit manifestations of the concept of ‘non-self’in the embodied responses of the Thai performer who searches for what lies beyond consciousness in performance.www.notingtheself.comKidkidduhaid@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014446

Rasa and Beyond the Architecture of SensingWorking Groups: Performance and ConsciousnessSarasa KrishnanMurdoch UniversitySarasa Krishnan is an Indian classical dancer,choreographer and visual artist whose work reflectsthe philosophy, aesthetics and the metaphysicalabstractions of the Indian tradition. Her exploration ofmovement-on-canvas with movement-in-space, withinuncommon performance structures, have been wellreceived in France, Italy, Singapore, Malaysia, Australia,USA, Scotland and India. Presently working withina multidisciplinary methodology in dance, paintingand metaphysics in her doctoral studies at MurdochUniversity, she is also the Artistic Director of theTemple of Fine Arts and Deputy Director of SaraswatiMahaVidhyalaya Perth.Our consciousness is informed by, all that we see, all that we have experienced and all that we hear and have learnt.The way that we move and act is based upon this past experience, and this, in turn, informs the way we perceive theworld. Perception as an entity, has in recent years, been examined by neuroscientists as well as by theatre professionalsand how it transforms consciousness. My paper will discuss two separate performances as examples in experimentalperformance structures. While one focuses on the encapsulated spaces in awareness before the creative act, other willbe viewing adaptive responses in consciousness. It will also be an attempt at a systematic observation of experience,a lived human experience as it appears in the areas of consciousness, emotion, language, reasoning, cognition andaesthetics. Implicitly, it is a creative analysis of a link from ‘thought to action’, that correlates creative processes withinthe mind of an artist, dancer and more importantly observing entity within dancer/choreographer and the paintingartist. This relationship between the artist and observer also highlights the significance of who is the ‘self’ in the observerand what exactly is being observed as aesthetic object. The investigation will also briefly question Edmund Husserl’sphenomenological concept of ‘retention’ in perceiving and Bharata’s Rasa theory in appreciating a work of art andthe recognition of its representational content either of its graphic or plastic qualities within a temporal framework.The issue of unpredictability used as an interpretive framework within these performances, question both Husserl’sphenomenological insights and the abstractions in the Rasa theory. Though both are adjunct to the intention of theartist and the empathy in audience perception, in transcending the mundane, the question of temporality poses newphilosophical questions in cognition.https://www.youtube.com/watch?v=kS2NeEjOkcs&index=2&list=PLhEpVhai_R_JZ9y1Q6XzUQDp3O0tVtmI6www.sarasakrishnan.comhttp://www.smv.org.ausarasa.krishnan@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014447

Déjà vu and the Looping Pedal: Constructing the Experience of Altered States of Consciousnesswithin Live Intermedial PerformanceWorking Groups: Performance and ConsciousnessThis paper reflects upon an ongoing collaborative practice-as-research experiment whereby a series of neurological testsincluding a 24 Hour Ambulatory EEG (Electroencephalogram) conducted on one of the practitioners in December 2012 andAugust 2013 were used as the basis for a series of live intermedial collaborations. With one researcher responding in real timeto the altered states of consciousness experienced as a result of their temporal lobe epilepsy and the other using the liveactivation of sound, image, text and object to respond to this event, an interactive and collaborative space was generatedbetween us.Deirdre McLaughlinThe Royal Central School of Speech & DramaDeirdre McLaughlin is a research practitioner andteaching artist working in London. She is in the thirdyear of her PhD research, ‘My Character, My Self:A Neurophenomenological Account of the Actor’sConscious Experience’. Deirdre’s experience withtemporal lobe epilepsy serves as the starting point ofthis collaborative practice and research.In this paper we reflect on our divergent research interests in cognitive science and live digital languages and their operationin the experience, recording, and performance of altered states of consciousness, specifically the occurrence of déjà vu (thealready seen), déjà visite (the already visited) and déjà vecu (the already experienced or live through) as they converge in thiscollaborative moment.We contend that this experiment represents a model of convergence and divergence in relation to our interactivity, perceivedelectrical activity and psychophysiological responses that is reflective of the very nature of a seizure experienced by manywith temporal lobe epilepsy – coming and going, here but not here, familiar and yet completely foreign.Through focusing on particular moments of reciprocity or convergence, which were generated by and through the digitaland neurological ‘systems’ in which we were both placed, we approach the analysis of these altered state of consciousnessand the resulting collaborations from our divergent positioning and roles within the experiment in order to analyse the natureof the interactive processes and experiences created.FIRT/IFTR World Congress, University of Warwick, 2014448

Consciousness and the Opera Master ClassWorking Groups: Performance and ConsciousnessThe paper develops further my exploration of opera and consciousness, on this occasion focusing on expectations andimplications of the master class in the context of opera.Daniel Meyer-DinkgräfeUniversity of LincolnDaniel Meyer-Dinkgräfe studied English and Philosophyat the Universität Düsseldorf. In 1994 he obtainedhis Ph.D. from the University of London. From 1994to 2007, he was Lecturer and Senior Lecturer in theDepartment of Theatre, Film and Television Studies,University of Wales Aberystwyth. Since October2007 he has been Professor of Drama at the LincolnSchool of Performing Arts, University of Lincoln. Hehas numerous publications on the topic of Theatreand Consciousness to his credit, and is founding editorof the peer-reviewed web-journal Consciousness,Literature and the Arts and the book series of the sametitle with Rodopi.dmeyerdinkgrafe@lincoln.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014449

Collapsing Binaries and Shifting Perspectives in Performance Theory and Praxis: A StratigraphicAnalysis and Metatheoretical Examination of the Performer - Audience RelationshipWorking Groups: Performance and ConsciousnessDeborah NewtonLeeds Metropolitan UniversityDeborah Newton is Principal Academic Lecturer andContemporary Performance Tutor at The Arden Schoolof Theatre in Manchester, currently pursuing a PhD inPerformance. As an artist she is actively involved inpresenting papers at conferences and performancemakingboth in this country and abroad. She recentlyperformed in Dionysus Festival in Croatia in April 2014 andis currently devising a performance with her students totake to the International Festival in Belarus. Achieving adistinction in her Foundation studies at The Arden Schoolof Theatre in Manchester, Deborah progressed to BA(HONS) studies in Contemporary Performance Practice atLeeds Metropolitan University for which she received theaward of First Class Honours, and later undertook an MA inPerformance Works achieving a Distinction. Her doctoralthesis involves a metatheoretical and interpretivists’analysis of contemporary performance-making involvingthe search for a new metatheorum with the capacity toinfluence both performance theory and praxis. Deborahlives in Manchester and thrives on the bustling natureof the city and her involvement in and with a wide rangeof performance companies in the North West and thedevelopment opportunities they present for both herstudents and herself.debbie.newton01@gmail.comThis paper cuts across the themes of performance theory and praxis, communication theory and phenomenology andargues that theatrical performance sets in motion a dynamic which collapses terminological binaries and fuses dichotomousoppositions. Arguing that this dynamic is an integral part of the performance event, it is seen as pivotal to enter the multilayereddialogue involving attempts to attain a sharper articulation and fuller understanding of the conceptual richness ofthe performance construct. The main argument presented is that performance cannot be grasped in binary opposition,the most important of which is the performer-audience relationship. In rejecting the focus on a salient division betweenthe spectator and the performer, it challenges a range of such dichotomous oppositions calling for a shift in perspectivefrom dominant repressive approaches about audience involvement and participation in performance to research into theperformer-audience relationship which moves from an ‘either-or’ to an ‘as-well-as’ perspective (Fischer-Lichte, 2008). Bycollapsing these binaries and moving them away from the stabilising dichotomies of our culture, an explanation is advancedfor how performance brings about a state of liminal transformation of all participants, performers and audience alike. Thepaper progresses to claiming that shifting the emphasis of research into the performer-audience relationship from a mimeticto a poietic perspective, together with a metatheoretical interpretation and examination of performance theory and praxis,results in the emergence of a new metatheorum referred to by the author as ‘Metacommunicative Performative Competence’(MPC). MPC stresses the view that performance is created in a particular cultural-historical context and is interpreted ina different context. It is this metacommunicative dislocation, manifested in the new term ‘symbiotic performativity’, whichhelps us to understand the nature of the performer-audience relationship, providing the much-needed response to thecurrent research literature detailing a plethora of instances where assertion outstrips explanation.FIRT/IFTR World Congress, University of Warwick, 2014450

I-Positions in the Dialogical Process of Approaching a CharacterWorking Groups: Performance and ConsciousnessThe relationships between theater and therapy have made it possible to examine the processes that go with the creation,including concepts that facilitate the understanding of a character – and consequently, of its construction. This idea hasbeen supported by almost any psychosocial analysis and interventions that have used role playing as a heuristic of humanbehavior in society. Based on this, as well as on the Dialogical Self Theory (DST), we propose the concept of I-positions toapproach the process of building a character. Specifically, we introduce the origins and main features of the DST, highlightingthe concept of I-positions as a heuristic for the applied research in selfhood processes. In this sense, I-positions is comparedwith other terms close to the idea of multiplicity within the person. Moreover, the usefulness of I-positions, in approachinga character, is exemplified with the scene of the Bride and Leonardo (from Federico Garcia Lorca’s Blood Wedding). Finally,from the proposal and example described, the potentials of the concept of I-positions (and by extension, the DST) are valuedfor the field of theatrical creation that emphasizes the processes of self-knowledge. [This contribution is co-authored withNuria Codina]Jose V. PestanaUniversity of BarcelonaDegree in Psychology from the Central University ofVenezuela (1993) and PhD in Psychology (Universityof Barcelona, 2007). Professional actor (1993-1999)trained in the Latin American Center of TheatricalResearch and Creation (CELCIT, Caracas) and LaCasona Theatre School (Barcelona), also attendingworkshops in the Odin Teatret (Holstebro). AssociateProfessor in the University of Barcelona since 2001and visiting scholar in the University of Georgia (USA).Member of the Research Group PsicoSAO (2009SRG 210 —supported by the regional government ofCatalonia, Spain), OcioGune Leisure Research Network(University of Deusto, Spain), and the Social PsychologyTeaching Innovation Group in the UB (2009 GID-UB/15).jvpestana@ub.eduFIRT/IFTR World Congress, University of Warwick, 2014451

Between Corporeality’s Transitions on Performer and M.C. Escher’s FiguresWorking Groups: Performance and ConsciousnessEduardo Augusto Rosa SantanaFederal University of BahiaEduardo Augusto Rosa Santana with artistic names DutoSantana and Eduardo Rosa has developed practices in thefollowing dance and performing arts areas: artistic creationand performance, pedagogy of the body (ContemporaryDance and Hatha Yoga), critical writing, artistic culturalmanagement and academic research. He is PhD studentin Performing Arts, in the research line called Somatics,Performance and New Medias (Postgraduate Programin Performing Arts - Federal University of Bahia – withPhD. Professor Ciane Fernandes). He has Mastersin Dance (Postgraduate Program in Dance/2009with PhD. Professor Leda Iannitelli ), Specialization inContemporary Studies in Dance (Postgraduate Programin Dance - Federal University of Bahia/2006 – with PhD.Professor Ivani Santana) as well as Bachelor and TrainingPsychologist (Federal University of Uberlandia/2004).He has been developing artwork in Contemporary Dancesince 2003, and he is co-founder of Artistic CollectiveConstruções Compartilhadas (Shared Constructions). Hewas collaborative professor in Federal University of Bahia- School of Dance (Theory and Choreographic CreationDepartment - 2005/ 2006) and Dance School of CulturalFoundation of Bahia (2007/ 2012).Creative experiences practiced in performing art, which deals with a moving approach called bodily paths, have been thecontext of this research. In one of his most settings outlined, body path implies the reversal of attention over one own’sbody, amplifying somatic perception at a level possible to feel and follow pulsations of movement. A witness quality ofconsciousness is duplicated as a testimonial perceiver and a performing mover simultaneously, following this pulsations,along the bodily path then started. Being awake to proeminent pulses, one can take them selectively as a bodily support. Thecommonly attention, directed to “outside” in search of objects in the world, than converted to “inside”, stepping up fromthis bodily support generates a level of integration of the whole body. Corporeality is these ongoing result, wich came fromthis pulsional integration, wich appears after flowing in movement and attention through somatic experience. It arises froman “auttunement”, a movement-attention-engagement line, gainning it’s own spaciality and temporality through the rhythmthat movement creates. From performer movement, this bodily path produces another corporeality from himself same.Formally similar, through visuality, M. C. Escher proposes divisions of the plan producing changes and developments throughtransitions which suggest support in configurative corporeality of the figures in transformation. This considerations investeson finding aspects related to what has already designed in this transport process experienced by performer Carlos Santanaon “Bicho” (“Animal” – facilitated by this author), material made through his bodily path and a quite changing quality existingin some of the Escher’s “Metamorphosis” works.Bodily path: “Bicho”/”Animal”https://www.youtube.com/watch?v=sa0gkA30eo8eduardo.a.rosa.s@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014452

Formation and Cut: The Distinct Stratification of Live Media PerformanceWorking Groups: Performance and ConsciousnessThis presentation uses the theme of stratification in relation to Karen Barad’s “agential cut” (in Kember and Zylinska 2012:81) to argue for a discrete understanding of live media work within the field of intermediality. Live media performanceencompasses modes where media elements are activated in real time and in the presence of the experiencers, includingpractices such as VJ-ing, live cinema, live coding and my own practice of live intermediality. The distinctive stratification oflive media performance is revealed through its relation to the ‘cut’, which, in archaeological terms, is where an incision ismade into the strata and a cross section of stratified material removed. Using such ideas as a lens through which to view thepractice of live media performance, the real time formation of the intermedial space and successive events of stratificationenacted by the performer are highlighted. In this work the strata, as they are formed, are held in a charged and compositeintermedial moment, before their erasure, through the performer’s onstage ‘cut’ is enacted. As a result, live media workfocuses attention on what Karen Barad calls the “agential cut”, in that the “intra-action” (in Kember and Zylinska 2012: 81)between performer and intermedial space is a present part of meaning-making within the work.Joanne ScottRoyal Central School of Speech and DramaJo Scott is a research practitioner and teacher,based in London. She is in the third year of her PhDresearch currently titled ‘New Forms of Livenessin Live Intermedial Performance’, a practice-asresearchproject addressing liveness in performanceand investigating its construction and manifestation,specifically within an intermedial context.joanneemmascott@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014453

StarStruck: The Phenomenological Affect of Celebrity on BroadwayWorking Groups: Performance and ConsciousnessPeter ZazzaliUniversity of KansasPeter Zazzali is currently an Assistant Professor oftheatre at the University of Kansas (USA). His areas ofscholarship include actor training, theories of actingand directing, and the sociology of theatre. He haspublished work in numerous journals and is currentlyworking on a book project that critically examinesactor training in US higher education. Zazzali is also aprofessional actor and director whose work has beenseen on stages throughout the world. He holds a Ph.D.from the CUNY Graduate Center and an MFA from theUniversity of Delaware.During the spring of 2013, Nora Ephron’s drama Lucky Guy recouped its producers’ initial investment of $3.6 million after amere eight weeks, a remarkable feat for a Broadway drama. Whereas most successes on the Great White Way are splashymusicals with high production values¾think Wicked and Cinderella¾so-called “straight plays” usually operate at a financialloss. Lucky Guy, however, was an exception in that Ephron’s play grossed over $1 million weekly while earning Tony Awardnominations for its director, playwright, and most significantly, its celebrity actor: Tom Hanks. 1 As Guy Debord states inhis seminal work, The Society of the Spectacle, celebrity is a “commodity [that] attains the total occupation of social life,” 2 aconceit that speaks to the fetishization of movie stars like Hanks who try their hand at stage acting. What gets lost in thenegotiation between celebrity film star and newfound theatre artist? What is the spectator’s state of consciousness in thiscommodified exchange? Ultimately, what does society’s penchant for celebrity mean for theatre? This paper will depictcelebrity as a socially induced phenomenon that results in regressive perceptions of stage acting, and by extension, the art oftheatre. Using theories of affect labor, I will examine the phenomenological connection between celebrity actors and theiradoring “stage” audience. In sum, I will argue that the festishization of a celebrity such as Hanks relies on affect to produce aviable, if imagined, relationship with his audience, a negotiation that despite its financial benefits, has reductive implicationsfor stage acting.Adam Hetrick, “Nora Ephron’s Lucky Guy, Starring Tom Hanks, Ends Broadway Run, July 3rd,” Playbill. Com, http://www.playbill.com/news/article/179720-Nora-Ephrons-Lucky-Guy-Starring-Tom-Hanks-Ends-Broadway-Run-July-3 (accessed15 January 2014).Guy DeBord, Society of the Spectacle (Detroit, MI: Black and Red, 1983), sec. 42.pzazzali@ku.eduFIRT/IFTR World Congress, University of Warwick, 2014454

Working GroupsPerformance and DisabilitySpeaking the UnspeakableWorking Groups: Performance and DisabilityMargaret AmesAberystwyth UniversityMargaret Patricia Ames has a background in DanceMovement Therapy, dance and physical theatre. Sheworked as part of a Multi Disciplinary Team in AdultPsychiatry including EMI settings. She also worked ina Primary school with children with Behavioural andEducational Problems. She completed a GraduateDiploma in Dance Movement Therapy in 1996. Priorto this; 1985 - 1992 she worked for East DyfedHealth Authority Psychiatric Services as a NursingAssistant and as a Dance Movement Therapist. Shewas a founder member and Artistic Director of DawnsDyfed Community Dance Project and establishedCyrff Ystwyth as part of Dawns Dyfed. She was anassociate member of Brith Gof Theatre Company andcontributed as a performer and with assistant direction.She performed solo and collaborative work in danceand physical theatre. She is a Senior Lecturer in theDepartment of Theatre Film and Television StudiesUniversity of Aberystwyth and Departmental SeniorTutor. Her research is with Cyrff Ystwyth concerningthe nature of dance theatre made by learning disabledartists within cultural context of rural Wales and howthis work contributes to current discourses arounddisability and aesthetics.In response to the question; ‘how is disability and performance explored through a dialogue between theory and practice?’I will examine the process of making a recent work by Cyrff Ystwyth which illustrates critical issues within the context ofpractice as research. 20 years in Hospital was authored by a company member. This performer had appeared in many pieceswith Cyrff Ystwyth but had never made his own work before. His confident initial approach encouraged me to proceed withmaking the piece but issues concerned with the manifestations and effects of learning disability such as responsibility andagency produced ethical dilemmas that this paper will consider. Goodley and Rapley’s critique (2006) of learning disabilityas ‘dispositional attribute’ is countered with the proposition that it is in fact ‘situational artefact’ (ibid). Here lies theoreticalmaterial that enables deeper readings of the practice and its outcome as public performance. During the making process thedecisions made produced an aesthetic and dramaturgical approach whilst offering a practical approach to the ethical issuewithin Goodley and Rapley’s argument.I contend that these positions of subjectivity in relationship with others lie at the heart of Cyrff Ystwyth’s practice whichforms my research and that it is also embodied ethics in action that constitutes the dialogue between theory and practice.How this work was made and what issues it dealt with will be the focus.mma@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014455

How To Feel A Screen: Telematics, Stratification, and Possibility in Poetic Performance andDisabilityWorking Groups: Performance and DisabilityKhairani BarokkaIndependent ScholarKhairani Barokka (Okka) is an internationally-workingartist, writer, and advocate with disability, whose poetry,fiction and nonfiction have been published in the US,Australia, the Middle East, and Southeast Asia, andwho has taken her spoken word and performance artto India, Singapore, Malaysia, the US, Australia, andher native Indonesia. This year, she presents the WorldPremiere of solo show “Eve and Mary Are HavingCoffee” at the Edinburgh Fringe, and goes on her firstEuropean tour. Okka has a masters in new media andinnovation from NYU’s Tisch School of the Arts, as aTisch Departmental Fellow, and among her awardsand honors was Emerging Writers Festival’s (AUS)Inaugural International Writer-In-Residence for 2013,and Indonesia’s first Writer-In-Residence at the largestartists’ and writers’ residency in the US, Vermont StudioCenter (2011).As a spoken word poet, artist, and researcher in arts, technology, and disability, the author will discuss lessons learnedand future directions gleaned from three cross-national poetry performances conducted in 2012, between Southeast Asiaand the United States, involving telepresence and livestreaming as tools in collaborations querying dis/ability, corporeality,gender and affect in relation to technology. These events are a spoken word performance involving poets livestreamed fromLA to Jakarta, as well as a performance in Jakarta, and a poetic performance on disability livestreamed from Kuala Lumpur toNYC. In addition, the paper draws on lessons from challenges and advantages inherent in transnational multimedia projects.Accessibility, inclusion, and other sociopolitical concerns in North-South and urban-rural projects will be discussed, especiallyin formulating future cross-cultural collaborations. Disparities in understandings of performance, conceptions of disabilityboth societally and among the artistic players, funding structures, facilities, linguistic, cultural and technological landscapesbetween partners in various collaborative performances will be dissected, and resulting collaborations queried in terms ofcelebratory possibilities as well as their contradictions. In addition, possibilities will be interrogated for various combinationsof installation, live performance, screen-based performance, web-based interaction and collaboration, telepresence, andother modes of art with the use of spoken word and theatre, with the limits and affordances of each in specific artisticcontexts. The “visibility” of disability and the accommodation or lack thereof of sensorial diversity and various abilities are aconstant lens throughout both “behind the scenes” and in execution.http://www.atamerica.or.id/video/detail/246/So-They-Say-You-Hate-Poetry-Art-Out-Loud-by-Poet-Performers/http://www.atamerica.or.id/video/detail/466/Hear-Artist-Hear-Ability-Pentas-Berbeda-Bahagia/https://www.flickr.com/photos/culturehubnyc/8241416205/?rb=1/www.khairanibarokka.comkbarokka@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014456

Logics of Exclusion: Disability, Recognition and Applied TheatreWorking Groups: Performance and DisabilityThe extent to which cultural activities reflect and replicate the structures that exclude can be found in all areas of art andreception. The difficulty in creating politically critical art, or rather, art which offers cultural or political critique, is epitomizedin disability culture, with its relentless return to the exhausted yet perpetually unresolved tension between quality andequality, between participatory ownership and stylistic coherence.Giorgio Agamben writes that ‘exception reifies the structure of sovereignty’ (p.18). Exception emerges from social anddemocratic processes and is recognized, and then its exceptional nature is accepted as a structuring principle of the universe.In a contrary moment, I think of Sigmund Freud’s pronouncement that his work and his understanding of the unconsciousis based on the observation of ‘the dregs of the dregs’ of humanity. Both images work together to help me to think ofexception or exclusion as both contested structuring principle and as gradually deposited sediment. Both are helpful whenthinking of disability performance.Colette ConroyUniversity of HullI am a Senior Lecturer in Drama at the University ofHull. I’m the author of Theatre & the Body (2009) andvarious articles and chapters about disability, theatreand the politics of identity. I co-edit the journal RiDE:The Journal of Applied Theatre and Performance. I have abackground in disability theatre and convene a coursecalled Disability culture and performance.For this paper I shall try one approach to developing a theoretical critique of notions of inclusion and participation indemocracy and in art, playing between the reading strategies offered by Agamben and by Freud, and using the work by paidand non-paid disabled performers to explore the political claims to recognition and to democratic voice.c.conroy@hull.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014457

Pharmakos and the Performance of VulnerabilityWorking Groups: Performance and DisabilityAs a reflective dance practitioner my research draws from my choreography, Pharmakos, an installation piece inspired bythe Japanese erotic art of rope tying known as Shibari (excerpts will be screened in the presentation). Performing withdancer/collaborator, Emilia Rubio, we construct a web of tension and suspension with bodies and objects inside a shippingcontainer on the Wellington waterfront. Through the process we ask questions about the performance of vulnerability andhow it relates to disability and aspects of sexuality. How does an audience read vulnerability and how do they respond? Whatis the process of fetishization and how is it read in relation to the art of Shibari rope tying? Fetishization raises questionsabout desire and particularly the desirability of restriction or containment. How is it desirable in some contexts and not inothers? We subvert terms like wheelchair bound, transforming them into a playground of suspended meaning and desire.The vulnerability of disability or restriction is embraced as a means of extending bodily/psychic boundaries and transformingnegative associations with restriction into a specific aesthetic of design and a doorway for liberation. Through this practiceas research we develop movement pathways that highlight vulnerability as a platform for creativity.Suzanne CowanUniversity of AucklandSuzanne Cowan has been involved in professionalcontemporary dance for 15 years as a dancer,choreographer and researcher. She was recentlyawarded the June Opie Fellowship (2014), the IanCampbell Scholarship (2014), and an AMP NationalScholarship (2013) in recognition of her research andwork in the fields of contemporary dance and disability.Based at the University of Auckland in New Zealand herdoctoral studies explore how dance choreography canreshape thinking around difference and disability. In2010 she completed the Caroline Plummer CommunityDance Fellowship at Otago University in July and in2009 she completed her Masters in Creative andPerforming Arts at Auckland University. Suzannewas a member of Candoco Dance Company, based inLondon, from 2000 to 2003 and in 2004 returned toNZ to choreograph her own work and to research thechallenge that disabled dancers pose to contemporarydance and their choreographic potential. She performsand choreographs for NZ’s Touch Compass DanceCompany.suzecowan@xtra.co.nzFIRT/IFTR World Congress, University of Warwick, 2014458

Autistic or Artistic? The Somatic-Performative Approach to Trauma and ResilienceWorking Groups: Performance and DisabilityThe research explores Authentic Movement (dancetherapy method performed indoors) with and within natural environment,transforming traumatic experiences in aesthetic somatic integration. From the starting points of Authentic Movement,Somatic Experiencing and Somatic Education, the paper shifts the perspective of “autism” into a context of creativity,performance, somatic attunement and integration. Through Body-Environment Merger, a traumatized child transgressesmisconceptions of (and misdiagnosis as) autism, reinstalling his resilience, energy flow flunctuations and interaction with/in the world. Through embodied dance practices and Movement Analysis (Laban/Bartenieff and Kestenberg MovementProfile), symptoms become aesthetic explorations of tension flow rhythms in the body-space dynamics. In ecoperformance,the child becomes an active agent of his own somatic identity, rather than a passive patient to be stigmatized as autisticor victim of trauma. Within this somatic-performative approach, “inclusiveness” is replaced by “participative openness”,validating and stimulating multiple poetic possibilities of difference in contemporary scenarios.Ciane FernandesFederal University of BahiaCiane Fernandes received a PhD in art and humanities forperforming artists from New York University, a post-doctoraldegree in Contemporary Culture and Communicationsfrom Federal University of Bahia, and a Certificateof Movement Analysis from Laban/Bartenieff Institute ofMovement Studies, where she is an associate researcher.She studied at the Rajyashree Ramesh Academy(2001-2003), associating Laban Movement Analysis andBharatanatyam, and is tenured professor at the School ofTheater and at the Performing Arts Graduate Program ofthe Federal University of Bahia. She is founder/director ofthe A-FFECTUS Dance Theater, and coordinator of thePerformance Laboratory, where she developed the practicalresearch method of Somatic-Performative Research.Author of Pina Bausch and The Wuppertal Dance Theater: TheAesthetics of Repetition and Transformation (Peter Lang) andThe Moving Researcher: Laban/Bartenieff Movement Analysisin Performing Arts Education and Creative Arts Therapy(Jessica Kingsley, in press), and editor of eight academicjournals on Dance Theater and Somatic Education (FederalUniversity of Bahia).www.cianefernandes.pro.brcianef@gmail.comVideos:http://www.youtube.com/watch?v=dvefzCmrpxU&feature=youtu.behttps://www.youtube.com/watch?v=AG3kMUYn-uA&feature=youtu.behttp://www.youtube.com/watch?v=oniJoVwlCPYPhotos:http://www.alechimwich.com/Dance/Studio-Sessions/Ciane-fernandes/http://www.marcioramosfoto.com.br/luz/?m=201209http://performatus.net/o-avesso-da-travessia-o-espacotempo-somatico-performativo/www.ppgac.tea.ufba.brhttp://lattes.cnpq.br/2276710235171349FIRT/IFTR World Congress, University of Warwick, 2014459

‘The History of this Monster’: Puppetry as an Intervention in Disability StratificationWorking Groups: Performance and DisabilityLaura Purcell GatesBath Spa UniversityDr Laura Purcell Gates is Senior Lecturer in Drama atBath Spa University and Co-Artistic Director of Wattle& Daub Figure Theatre, a UK-based puppetry andvisual theatre company. Her main areas of researchconcern constructions of and approaches to the body,including intersectional perspectives on bodies, puppetor corpse bodies, and embodied critical pedagogies. Inaddition to her work with Wattle & Daub, she hasworked as a director, applied theatre facilitator, actor,and puppeteer in New York, Boston, Los Angeles, andMinneapolis. She is currently researching intersectionsof puppetry, disability, and the medical humanities inconnection with Wattle & Daub’s upcoming puppetchamber opera The Depraved Appetite of Tarrare theFreak.In 1839 John Gideon Millengen, military surgeon, wrote of the strange case of Tarrare: “The history of this monster is ascurious as his habits disgusting.” His terminology enacts a medical discourse in the late 18 th and early 19 th centuries thatpositioned non-normative bodies as “monstrous”. The Depraved Appetite of Tarrare the Freak, a chamber opera for puppetscurrently in development by Wattle & Daub Figure Theatre, explores the story of Tarrare, a late 18 th century Frenchpolyphagist whose insatiable appetite for food and for increasingly bizarre objects, alongside his emaciated and distendedphysique, was showcased in street performances. These performances were followed by his recruitment by the FrenchRevolutionary Army to swallow documents and smuggle them across enemy lines, his hospitalisation, doctors’ unsuccessful—and increasingly unpleasant—attempts at curing him, and his eventual early death and public autopsy. A public engagementproject surrounding the piece focuses on the notion of the “monstrous” body, examining, through workshops and publictalks, what constitutes corporeal monstrosity in the 18 th century and today. Workshops are being developed in collaborationwith disability groups, artists, and scholars to engage disabled and non-disabled participants around the idea of monstrosity,the normative body, and stratified codes of power associated with each. This paper examines these workshops as attemptsto intervene in an embodied form of what Lisa Delpit terms “discourse stacking”, in which those with normative and nonnormativebodies are stratified within society; such stratification has implications for access to embodied codes of power.Key questions that are explored include: In what ways can puppetry be used as a tool for critical examination of issuessurrounding disability? Specifically, can puppetry engage with embodied codes of power in a way that allows these codes tobe taken apart, examined, and strategically challenged?Information, trailer, photos, and links to public engagement events for The Depraved Appetite of Tarrare the Freak, currentlyin development by Wattle & Daub Figure Theatre:http://www.wattleanddaub.co.uk/tarrarel.purcellgates@bathspa.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014460

Autistic Perception, Neurodiversity, and Contemporary Performance: Toward an UnhumanAestheticsWorking Groups: Performance and DisabilityLeon HiltonNew York UniversityThis paper considers the question of cognitive disability and performance by focusing on the concept of “autistic perception”in relation to recent attempts to broaden the terms of aesthetic and performance theory beyond the human subject.Alternately debilitated and super-capacitated in relation to the demands of postindustrial modes of capitalist production—with their reliance upon affective, immaterial, and informational forms of labor—the specter of autism and the autistic mindmight be said to haunt what has been called “cybernetic capitalism” as the most extreme and terrifying realization of itsdepersonalizing tendencies. In this paper I wager that the terror provoked by the specter of what I call autism’s “unhumanism”might also provide grounds for aesthetic and political possibility. I argue that a conception of performance aesthetics asan affective encounter beyond the perceiving human subject resonates with attempts by neurodiversity advocates andaesthetic practitioners to augment “neurotypical” conceptions of what it means to communicate, interact, and engage withthe world. With reference to examples from contemporary performance and video art by Amanda Baggs and Wu Tsange,I argue that a heightened aesthetic attention to the contours of neuro-atypical cognitive perception expands the termsthrough which we can think the politics of the present.Leon Hilton is a doctoral candidate in the departmentof performance studies, where his work focuses onthe intersections of disability studies, performancetheory, and queer studies. His dissertation exploresthe historical emergence of autism and the conceptsof “neurodiversity” and neurological difference inrelationship to postwar performance and aesthetics.His work has been published in GLQ, Dance ResearchJournal, and The Journal of Popular Music Studies, andhe has a forthcoming essay on Jerome Bel’s “DisabledTheater” in TDR, where he was also managing editorfrom 2011-2013. He has received a Mellon/ACLSDissertation Completion Fellowship for 2014/15.leon.hilton@nyu.eduFIRT/IFTR World Congress, University of Warwick, 2014461

Seldom Heard Voices: Using Performance Poetry as a Participatory Methodology to ExploreYoung People’s Lived Experiences of DisabilityWorking Groups: Performance and DisabilityCaroline HodgesBournemouth UniversityI am a Senior Lecturer in Communication and Cultureand my research explores ways in which cultural politics,the Media and marketing interconnect. I am usingconcepts of performativity and performance to explorethe marketisation of subaltern popular culture withinLatin American cities and am involved in collaborativework using participatory arts-based methods – inparticular, performance poetry - to challenge dominantrepresentations of disability.chodges@bournemouth.ac.ukThis paper explores ways for academics to work in collaboration with artists and community groups using grassroots “artsactivism”, or radical arts based inquiry (Finley, 2005, 689), with the aim of facilitating empowerment and participationof disabled people to challenge policies and practices which serve to marginalise and exclude them. We will considerthe cultural politics of disability, which suggests that dominant modes of cultural production deprive disabled people ofrepresentation, and propose that Disability Arts / Disability Culture can play a more inclusive role in a creative struggle overthe rights and representation of disabled people by allowing for many voices to be heard whilst also supplanting dominantrepresentations with diverse interpretations which more authentically reflect the varied experiences, values and identitiesof disabled people (Barnes & Mercer, 2010). We explore how the arts can be used as a tool and process of research and amethod of knowledge dissemination that is accessible, educational and entertaining and encourages action for change. Wewill share our experiences as co-collaborators in an “arts activism” project – ‘Seen but Seldom Heard’, which offers a groupof young disabled people “voice” to collectively challenge existing dominant attitudes and stereotypes by sharing their ownpersonal stories through the medium of performance poetry. Within this context, emphasis will also be placed upon howarts-based methods can challenge us to reflect upon our perceptions of what “disabled”, “access” and “voice” mean and theway in which performance poetry, in particular, can engage with audiences on a critical and emotional level and is, therefore,a valuable way of educating the public about disability.ReferencesBarnes, C & Mercer, G., 2010, Exploring Disability, Cambridge: Polity Press.Finley, S., 2005, ‘Arts-based inquiry: performing revolutionary pedagogy’, In N.K. Denzin & Y.S. Lincoln, Eds., The Sage Handbookof Qualitative Research. 3 ed, Thousand Oaks, CA: Sage, 681-694.Seen but Seldom Heard project microsite:http://microsites.bournemouth.ac.uk/seen-but-seldom-heard/Seen but Seldom Heard You Tube channel:http://www.youtube.com/channel/UC2Yg6lFwfsERBuT1cTjtBLgSeen but Seldom Heard ‘taster’ documentary:http://www.youtube.com/watch?v=-PUPL42e3kwFIRT/IFTR World Congress, University of Warwick, 2014462

Exploring Relationships and Imagining PossibilitieWorking Groups: Performance and DisabilityJennifer JimenezAiding Dramatic Change in DevelopmentJennifer Jimenez is a devised theatre maker, workshopfacilitator and Scenographer. She has a BEd and a BFAin Theatre Production and Design from York University,Canada. She completed her MA in Advanced TheatrePractice with a focus on Devised Theatre and LightingDesign at the Central School of Speech and Drama,in London, UK. The experience sparked a passion forcollaborative creative processes. While in London, shedevised and designed various productions, includingInfusion – a multi arts event weaving video, spoken poetry,live music and physical theatre. She has trained with RobertLepage’s ExMachina, and Ariane Mnouchkine’s Teatre duSoleil. She has designed lights for theatre productionsthat have toured across Canada, to Europe and theMiddle East. She has directed community performancesin South Africa and Canada. Jennifer is the co-founder ofAiding Dramatic Change in Development, a non-profitthat works to support sustainable development and socialtransformation, in Canada and abroad, through communitydialogue and participatory arts processes. She works tointegrate her disciplines, and explore the resulting possibleforms of performance, creation, and social engagement.She is currently exploring the integration of inclusivenessand accessibility with the aesthetics of performance.Opportunities for participating in devised theatre and performance are rare for people with complex physical andcommunication needs. Aiding Dramatic Change in Development has been on a collaborative journey with a group ofadults who have Cerebral Palsy and use Alternative Augmentative Communication (AAC). The project is exploring ways ofincreasing AAC users ability to connect with others through the arts and engage in a creative process that allows for increasedparticipation and independence in the creative expression of their stories. We are currently in the research and developmentphase with a focus on process. Collaboratively, we have been exploring aesthetic space and spatial approaches to transcendphysical limitations and expectations around meaning making. This has put less emphasis on verbal communication and moreemphasis on connecting and being present with others in the room. Group members have been encouraged to connect tothe emotions and energy created by others in the space, and respond with their own energy and emotion. Connecting witheach other in this way transcends some of the physical challenges of the participants. Our discoveries are leading us to exploreimmersive environments and participatory and interactive performance as a way of facilitating, creation and performanceby individuals, and engagement of audience members, with complex physical challenges. We are working towards sharingstories through an interdisciplinary montage of visual and performance elements. The group are creating a piece, whichincludes music and video, is environmental and participatory and encourages the audience members to immerse themselvesin the world created by the performers. Our presentation will have a practice as research approach. We will share some ofthe discoveries in the developmental process, and intersections between performance, applied theatre practice and thisjourney of enhancing creative expression.jenny@adcid.orgFIRT/IFTR World Congress, University of Warwick, 2014463

From Blueprints to Experimental Theatre: A Case Study for Exploring Inclusion’s Layers in TheatreArchitectureWorking Groups: Performance and DisabilityKirsty JohnstonUniversity of British ColumbiaAs part of a larger project aimed at examining inclusion practices in a range of professional theatres, this paper investigatesone site where the goal of building a wheelchair accessible theatre for learning and production animated design, planningand construction. Located in Vancouver, British Columbia, Simon Fraser University’s Fei & Milton Wong ExperimentalTheatre emerged as part of a much wider project of urban redevelopment. Situated within an abandoned departmentstore in Vancouver’s downtown eastside, the Woodward’s building project became a fulcrum of debate about social justiceand the city. Following several years of community consultation, the theatre opened in 2010 with a production of RobertLepage’s The Blue Dragon in tandem with the city’s hosting of the Olympic Games. Spine, a co-production involving disabilitytheatre artist James Sanders, followed and ran alongside the Paralympic Games. The theatre has been cited as state of theart and wheelchair accessible for technicians, performers, and audiences. In the wider complex, disability theatre artistshave obtained spaces for offices. This paper asks how inclusion ideals were imagined in the design process and addressed,re-imagined or troubled in practice. Through this individual example, I hope to raise more general issues for internationalcomparison around urban redevelopment and theatre architecture, disability politics and gentrification and inclusive theatrepractice in the city.Kirsty Johnston is an associate professor in theDepartment of Theatre and Film at the University ofBritish Columbia. Her research focuses on intersectionsof theatre, disability and health and, in 2012, McGill-Queen’s University Press published her monograph,Stage Turns: Canadian Disability Theatre, shortlisted forthe Canada Prize in the Humanities and recipient of theCanadian Studies Network best book prize.kirsty.johnston@ubc.caFIRT/IFTR World Congress, University of Warwick, 2014464

Land-Based Performance Pedagogies: Embodiment/EnmindmentWorking Groups: Performance and DisabilityIn keeping with indigenous calls for a more sustainable relationship between knowledge production and decolonization,my paper will address how disability performance approaches can be in respectful and sustaining relation to indigenouscommunities, to land-based knowing, and to colonial practices of removal. How can land emerge as a site of knowledge,learning and critique for disabled people? How can artful approaches to sitedness address contemporary concerns aboutecological embedment, environmental awareness and different people’s histories of power and agency? Taking my cue fromfeminist disability theorists like Alison Kafer and Mel Chen, I chart how embodied methods can sustain our classrooms, notonly our performance practices, and how various kinds of public sites can become nexi of learning. Examples will include aperformance action at Fort Wayne in Detroit, Michigan, and work in Aotearoa/New Zealand. All unearth strata of habitationand engagement, the histories of power relations played out on land formation and architectural engagement with naturalsites. Disabled bodyminds fit complexly into the particular sedimented habitation shapes of modernity: how can ourperformances address the opportunities and challenges of these mis/fits?Petra KuppersUniversity of MichiganPetra Kuppers is a disability culture activist, acommunity performance artist, and Professorof English, Women’s Studies, Art and Design andTheatre at the University of Michigan. She alsoteaches on Goddard College’s Low Residency MFAin Interdisciplinary Arts. She leads The Olimpias, aperformance research collective (www.olimpias.org).Petra’s books include Disability and ContemporaryPerformance: Bodies on Edge (Routledge, 2003),The Scar of Visibility: Medical Performance andContemporary Art (Minnesota, 2007) and CommunityPerformance: An Introduction (Routledge, 2007).Edited work includes Somatic Engagement (2011), andCommunity Performance: A Reader (2007). Her mostrecent monograph, Disability Culture and CommunityPerformance: Find a Strange and Twisted Shape (Palgrave,2011, paperback 2013) explores The Olimpias’ artsbasedresearch methods, and won the Biennial SallyBanes Prize by the American Society for TheatreResearch. She is currently finishing a new textbook forundergraduate classrooms, Studying Disability Arts andCulture (Palgrave, 2014).petra@umich.eduFIRT/IFTR World Congress, University of Warwick, 2014465

Tender Rehearsals of Theatre Terrific: Canada’s Oldest Mixed-Ability GroupWorking Groups: Performance and DisabilityAshley McAskillConcordia UniversityCurrently there are very few theatre groups in Canada that work with individuals with disabilities for purely artistic purposes.My research project will investigate the rich and tender territory theatre companies comprised of performers with/withoutdisabilities (also known as mixed-ability groups) navigate through. I use the word “tender” here to emphasize the rawness andpersonal nature of my project, and the energy it will contribute to the field. This paper will outline my experience workingwith Canada’s oldest known mixed-ability theatre group, Theatre Terrific, located in Vancouver, B.C. The diverse membersof Theatre Terrific include individuals with and without intellectual and physical disabilities and mental health issues. Althougha ‘mixed-ability’ ensemble, Terrific’s work is not about disability, yet rather more interested in “the rigorous creation ofprovocative theatre” (“Theatre Terrific”). From July 2013-September 2013, I participated as an ensemble member in theirFringe Festival production, Portraits. Some of my fellow cast members were diagnosed with schizophrenia, Down syndrome,muscular dystrophy, autism, and other mobility and speech challenges. I will outline the process work that we engaged in,recite some of the work members created, and describe some of the tender challenges we faced/experienced as a groupduring the rehearsal and final production. The significance of this paper will be to draw the complexities performers withdisabilities are faced with when attempting to be a member of Canadian theatre scene, and will also address how this speaksto their role as a social minority in Canada at large.Ashley McAskill is currently in her third year of her PhDin Communication Studies at Concordia University inMontreal, Quebec. She has a BA in Theatre and FilmStudies and English, and a MA in Communications andNew Media from McMaster University. For her doctoralwork Ashley is researching disability and ethical theatrepractices, specifically within mixed ability groupswhereby artists with and without disabilities worktogether. One of her biggest ventures for her doctoralproject (and overall artistic hope) will be the creationof a permanent mixed-ability theatre collaborative inMontreal. Other research interests include gender andbeauty practices, the spectacle of public performativity,feminist media studies, and performance art.FIRT/IFTR World Congress, University of Warwick, 2014466

Performing the Spectacle, Reconsidering “Inspiration”Working Groups: Performance and DisabilityNina MuehlemannKing’s College, LondonNina Muehlemann is currently in the second year of herPhD at King’s College London. She has published in theContemporary Theatre Review and presented at variousconferences, including the International Federationfor Theatre Research as part of the ‘Disability andPerformance’ working group and the London TheatreSeminar, and also facilitated Mat Fraser’s performanceat King’s College London for the Arts and HumanitiesFestival 2013.During the summer of 2012, the imagery of the disabled “superhuman” was omnipresent in the media due to the London2012 Paralympics. The Cultural Olympiad, and especially the Unlimited commissions, provided more nuanced perspectiveson disability, and allowed for disabled artists to reject, rework or extend the narrative of the disabled superhuman. One ofthe most prominent Unlimited commissions was Sue Austin’s performance piece Creating the Spectacle!. This production,consisting of videos and live performances, sees her floating under water in a specially adapted electric wheelchair, conjuringup the enchanting, otherworldly vision of a mermaid, a cyborg or a super heroine. How does Austin’s underwater wheelchair,which she calls a “portal”, figure in her performance to reshape preconceptions about desire and the stigma attached tomobility aids and the impaired body? A picture of Austin was also as the main marketing picture for the Unlimited Festival,which makes it possible to draw parallels between ‘Creating the Spectacle’ and the Channel 4 “Meet the Superhumans”advert for the 2012 Paralympics. This paper will discuss Austin’s production alongside Channel 4’s “Meet the Superhumans”advert. It will explore how Austin creates an “inspirational” counter-narrative through her performance that differs fromcommon ‘supercrip’ narratives. Austin is able to make the audience and their different reactions to the piece part of theartwork. This inclusivity allows for reflection on what makes “inspirational” performance in a disability context. Furthermore,this paper will discuss how Austin uses different ways of performance to explore different nuances in her work – throughvideo projection, online presence, and live performances in front of various different audiences.In addition to her PhD work, Nina Muehlemann isa writer and blogger for Disability Arts Online, andpublished many reviews of Unlimited productions, aswell as in-depth interviews with artists and collaboratorson the website.FIRT/IFTR World Congress, University of Warwick, 2014467

Accessibility in Theater: An Actor’s Point of ViewWorking Groups: Performance and DisabilityRiikka PapunenThe University of TampereRiikka Papunen is a Doctoral Student in the School ofCommunication, Media and Theatre at the University ofTampere in Finland. Her major subject is Theatrical Arts.She has worked in several theatre performances as anactress and she is a proud mom of her little son.The accessibility in Finnish theatres is slowly gaining ground. Little by little the theatre buildings are transforming to be moreaccessible and the discussion around accessibility is growing. Still, with the exception of few theatre groups, there is a longway in Finnish theatres to implement accessibility in more profound way. As an actress, I consider it important to be part ofdeveloping the accessibility and methods of inclusive working. Artistic research offers a proper playground to explore andadvance this development. My doctoral research focuses on exploring what inclusion means in Finnish theatres. I aim toexplore the actor’s experience of inclusive working e.g. the experiences working with otherness and question what the ethicsin actors work are, not forgetting the societal aspects. Viewed from the stage as an actor’s point of view and by using themethods of artistic research (Practice as Research and Participatory Action Research), I attempt to search answers to thesequestions. One of the key interests that the artistic part of my research has is to focus on the use of the subtitles in theatreperformance. In the spring 2011, the Centre of Practice as Research in Theatre (at the University of Tampere) explored thenew prospects of using the subtitles as part of a theatre performance. In this experiment I worked as an actor. The subtitleswere projected on the props and designed to be easily movable, which gave them an active role in the performance. One ofthe results was, that the actors had a possibility to communicate with the subtitles and, moreover, with the written speechof their characters. This alters notably the former one-dimensional mission of the subtitles and gives actors new ways ofexpression.riikka.papunen@uta.fiFIRT/IFTR World Congress, University of Warwick, 2014468

Stratified Authorship in Disability TheatreWorking Groups: Performance and DisabilityYvonne SchmidtZurich University of the ArtsYvonne Schmidt received her PhD in Theatre Studiesfrom the University of Berne in 2013 and is a ResearchAssociate at the Zurich University of the Arts, Institute forthe Performing Arts and Film since 2008. Currently, sheis head of the Swiss National Science Foundation (SNSF)funded interdisciplinary research project Today’s Festival incooperation with the Institute of Theatre Studies, Universityof Berne, and the Research Institute for the Public Sphaereand Society, University of Zurich. Her research interests arethe intersections of Theatre Studies and Disability Studies,methodologies and approaches for investigating creativeprocesses or rehearsals, and community-based theatretraditions in Switzerland. 2012 she was a PhD Fellow at theUniversity of Illinois at Chicago, Program on Disability Arts,Culture, and Humanities. During her 9-month fellowship sheconducted field research in the Bay Area, Chicago, Denver,and New York. She is the co-convener of the IFTR-FIRTWorking Group Performance and Disability and chair ofconferences in close dialogue between art and research(No Limits-Festival Berlin). Her monography on performerswith different abilities in the context of acting discourseswill be published in the publication series Materialien desITW Bern.My paper explores the relation of acting/performing, authorship, and artistic leadership, using the example of theatrewith disabled performers. The division of responsibilities during the creative process of theatre making is currentlysubject to debate. Emerging performing artists decide to found artist collectives by re-installing different perceptionsof „community“ (Jean-Luc Nancy). Theatre as a social art form is both manifested and challenged. The position of bothactors and directors is to be reconsidered. Nevertheless, in projects with and by disabled performers, the question ofartistic leadership seems to be clearly defined. Usually, performers with disabilities, particularly performers with cognitivedifferences, are staged by directors or choreographers who do not identify as disabled. At the same time, performersuse their “extraordinary bodies” (Garland-Thomson) as a site of memory or bring their biographical backgrounds intheatrical performance. There is an area of tension between the performers’ authorship and the inability to assumeartistic leadership. Recently, in a few productions in the German speaking countries, performers with cognitive disabilitiesthemselves take charge of the production – as directors, authors and performers at the same time. To which extendare performers considered to be authors from a historiographical perspective? How is authorship stratified within theparticular context of disability performance, in the crossing area of social stratification and stratification inside the theatre?These questions are investigated through field research in the context of Freie Republic Hora (Free Republic Hora) by theZurich based company Theater Hora which became internationally known because of Disabled Theater by Jérôme Bel.yvonne.schmidt@zhdk.chFIRT/IFTR World Congress, University of Warwick, 2014469

Exploring Relationships and Imagining PossibilitiesWorking Groups: Performance and DisabilityStephen SillettAiding Dramatic Change in DevelopmentStephen Sillett is a participatory theatre artist, workshopfacilitator and process designer. He has a BSc in Chemistryfrom the University of Sheffield and PgDip from theLondon College of the Arts. He is a member of theInternational Association of Facilitators and is co-executivedirector of Aiding Dramatic Change in Development(ADCID), an organization that facilitates dialogue, dramaand art processes for healing and innovative communitydevelopment. Through ADCID projects and in partnershipwith other social actors, he is exploring approaches thatengage community members in conversations, consciouslyorientated to maturing visions of the future. A commonthread in all ADCID work involves how contextual dramaand theatre can provide the enabling capacities forbottom-up community development. We seek to positionmarginalised communities beyond their deficits and towardbeing meaningful contributors to social developmentand artistic performance. Holding these intents togetherStephen has created an InFusion Framework, where fieldsof practice can be configured into larger projects. Bydoing so he seeks to enable cross-disciplinary dialogue,deliberation and policy making to occur, integrating thefields of theatre, therapy, scientific analysis and socialdevelopment practice.stephen@adcid.orgFIRT/IFTR World Congress, University of Warwick, 2014Opportunities for participating in devised theatre and performance are rare for people with complex physical andcommunication needs. Aiding Dramatic Change in Development has been on a collaborative journey with a group ofadults who have Cerebral Palsy and use Alternative Augmentative Communication (AAC). The project is exploring ways ofincreasing AAC users ability to connect with others through the arts and engage in a creative process that allows for increasedparticipation and independence in the creative expression of their stories. We are currently in the research and developmentphase with a focus on process. Collaboratively, we have been exploring aesthetic space and spatial approaches to transcendphysical limitations and expectations around meaning making. This has put less emphasis on verbal communication and moreemphasis on connecting and being present with others in the room. Group members have been encouraged to connect tothe emotions and energy created by others in the space, and respond with their own energy and emotion. Connecting witheach other in this way transcends some of the physical challenges of the participants. Our discoveries are leading us to exploreimmersive environments and participatory and interactive performance as a way of facilitating, creation and performanceby individuals, and engagement of audience members, with complex physical challenges. We are working towards sharingstories through an interdisciplinary montage of visual and performance elements. The group are creating a piece, whichincludes music and video, is environmental and participatory and encourages the audience members to immerse themselvesin the world created by the performers. Our presentation will have a practice as research approach. We will share some ofthe discoveries in the developmental process, and intersections between performance, applied theatre practice and thisjourney of enhancing creative expression.470

Differing Abilities, Inspiration, Ethics and Practice Based ResearchWorking Groups: Performance and DisabilityMy practice based research was inspired by audience members with low or no vision (VIPs). I had been making work foraudiences that included VIPs in Spain for some time, but once formal research began on my topic of Blind Spectatorship Iwas disconnected from a familiar audience by a need to relocate the study to the UK. The British research never connectedwith a substantial audience of VIPs and became limited by their low and nearly negligible participation. In order to salvagethe project, VIPs became the inspiration, rather than the focus of the study. This paper proposes to explore the layers thatinformed the research project and the results that ultimately defined its conclusions. What are the political, ethical andtheoretical dynamics of conducting research inspired by a different ability than one’s own? I identify as having full visualacuity and the genesis of my research was rooted in the experience of VIPs. Rather than being a purely reflective paper, thispresentation will propose actions and guidelines that have emerged from the conclusions of this project. A goal of this paperis to generate discussion around the various strata of production (practice), ability and research.Mark SwetzHumboldt State UniversityMark Swetz is an Assistant Professor of Theatre, Filmand Dance at Humboldt State University. He specialisesin the creation and presentation of new stage and mediawork and the integration of performance by and forpeople of all abilities.http://www.linkedin.com/in/swetzmark.swetz@humboldt.eduFIRT/IFTR World Congress, University of Warwick, 2014471

Defining Reverence: Why Inclusive Disability Theatre?Working Groups: Performance and DisabilitySusanna UchatiusIndependent ScholarSusanna Uchatius has worked 30 years in many theatrefacets. She has a BFA in theatre from Simon FraserUniversity, further worked at The Banff Centre for the Arts,the National Voice Intensive at UBC and Siti Theatre NY.Since 2005, Susanna has been the Artistic Director ofTheatre Terrific, the longest running inclusive theatrecompany in Vancouver, Canada. As a producing AD, shehas written, directed and collaborated in creation of overtwenty professional, community and site-specific newworks from dramatic classical to absurdist comedy.Susanna has developed a respected reputation incollaboratively creating theatre with diverse artists of allabilities. She has developed a rigorous play developmentprocess that includes Viewpoints, Suzuki, ensemblecomposition and unique exercises that support an inclusivestrong ensemble structure. She strives to validate,with respect, rigor, and risk, the voice of the emergingchallenged artist; seeking to break the boundaries thatsegregate and label artists according to their mental,developmental and/or physical challenges. The goal is tobring together artists who normally would never have theopportunity to know, work and create art together. Theresult is profound mosaic theatre that addresses universalhuman issues from a highly unusual prismatic perception.susanna@theatreterrific.caIf something is stratified in society or in art, it is because we value it more or less than something of similar identity. If givena choice, which theater performance would the average playgoer attend? Suppose there are free tickets to Hamlet, one atan established mainstream theatre company and one at a disability theatre company. Most would choose the mainstreamHamlet. Why? A ticket costs more, so it must be better? Lots of media, so it must be good? It’s Shakespeare for heaven’ssake! This is venerable theatre: highbrow, important, quality production values, established actors. If the playgoer can say,“I saw Hamlet at the established theatre company played by big name actors,” that carries a lot of social, academic, culturaland intellectual weight. It is revered. However, if the playgoer instead choses the inclusive disability theatre’s twist on Hamlet,let’s say Hamlet’s Omelette, what weight does that carry? I did a good deed? I will be commended for my social conscience?A gratuitous; “Well, isn’t that nice. Good for you!” Revere? Get outta here! What do these disparate responses say aboutthe perception of the art in these two Hamlets? I will argue that awe, respect, honour, esteem, value and yes, reverence, candefine inclusive disability theatre. In today’s world we need it as a vital partner for the very survival of theatre as we think wecould and should know it.Egni’s Eye: Mutti hat nichts gesagt - The Story of Inge Morath, wife of playwright Arthur Miller and their invisible son Daniel,born with Down Syndrome. Short clip:https://vimeo.com/89609242A Glass Box - published by Playwrights Canada Press Ltd, 2014, in the anthology, Theatre of Affect, by Erin Hurley as part ofthe McGill University series New Essays On Canadian Theatre. Promo:http://www.youtube.com/watch?v=b7_8btbmaoA&list=UUuOp4en9rNCTLdU3quFx9NA&index=2The Birthday Party The Institutional Blues Inga remembersFIRT/IFTR World Congress, University of Warwick, 2014472

Embodying Disfigurment: Performing Body in Pottan Teyyam.Working Groups: Performance and DisabilityThe idea of ‘normal body’ is a social construct, which differs according to time and space. It is in relation with the idea of‘normal body’ that the discourses on various kinds of ‘other’ bodies develop. My paper will explore the Indian traditionalperformance practices to trace a specific kind of ‘othering’- a process what I have termed ‘disfigurement’- and criticallyexplore how normality is constituted and destabilized in this process. It is a violent and malicious act of deforming whichhas underlined power indications. In this paper, Pottan Teyyam One figuration in Teyyam, a ritual healing performance fromsouth Indian state of Kerala will be taken as the case study for analysis to conceptualize the process of disfigurement inperformance.Akhila Vimal CJawaharlal Nehru University2012-Present : Research Scholar in the M.Phil program,Theatre and Performance Studies, School of Art andAesthetics, Jawaharlal Nehru University, New Delhi. I amworking on ‘Performing Disfiguration: ‘Othering’ Bodiesof Kathakali and Teyyam’ as part of my M.Phil research.I completed my Masters in Arts and Aesthetics fromthe School of Art and Aesthetics, Jawaharlal NehruUniversity New Delhi (2012). Awarded Certificate forpassing National Eligibility Test for Lectureship with JuniorResearch Fellowship in Performing Arts – Dance/Drama/Theatre by University Grants Commission of India. (2012)Presented a paper titled ‘Disfiguration in Performance:Politics of Embodying the Other’ during Indian Society forTheatre Research 10th International Conference themed‘Interdisciplinary Negotiations in Performing Arts: Indo-Global Praxis’, hosted by Department of Culture and MediaStudies, Central University of Rajasthan. I am a traineddancer in Kathakali, Mohiniyattam and Bharatanatyam.I have completed Schooling in Mohiniyattam andBharatanatyam from Kerala Kala Mandalam. My researchinterests are Disfiguration, Disability, Gender, Dance,Political Theatre, Sanskrit and Rituals.In Teyyam, where the performer is considered to be transformed into the local deity/god, there is a larger autonomyexercised in terms of bodily performance. How does such greater autonomy, which transgresses the standardizations of anytextual performance rules, conceive the idea of ‘disfigurement’? For instance, the performing body of Pottan Teyyam clearlyindicates the dynamics of caste. The myth of the ‘Pottan Teyyam’ talks about Sankaracharya, a Hindu philosopher fromKerala, as he was journeying to climb the `Sarwanja Peedam’, (considered to be the throne of knowledge) when Siva appeareddisguised as a Dalit. In the performance, after Tottam, (vocal narrative sung before performance), the Teyyam, Pottan, ratherthan highlighting the transformation from visibly different and disfigured Pottan in to the god, Siva, behaves like ‘pottan’in real sense. . The word pottan literally mean “dumb” or “mute”, and links together both the negative senses of the word“dumb” in the mainstream—a disability as also indicating foolishness. My thrust on this paper is to analyze the interface ofdisfigurment and disability through the embodiment of ‘dumbness’ by Pottan Teyyam.akhilavimal@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014473

Re-Embodying the Image: Structures for the Disabled Dancer in PerformanceWorking Groups: Performance and DisabilitySarah WhatleyCoventry UniversitySarah Whatley is Professor of Dance and Directorof the Centre for Dance Research (C-DaRE) atCoventry University. Her research interests includedance and new technologies, dance analysis, somaticdance practice and pedagogy, and inclusive dancepractices. Her current AHRC-funded project is ‘InVisibleDifference; Dance, Disability and Law. She is alsoleading a major EU-funded project (EuropeanaSpace),which is exploring the creative reuse of digital culturalcontent and is part of the team leading the EU-fundedRICHES project that is exploring the impact of digitaltechnologies on dance and performance-based culturalheritage. She led the AHRC-funded Siobhan Daviesdigital archive project, RePlay, and has publishedwidely on Davies’ work and archival practices in danceand performance. She is Academic Advisor: DigitalEnvironment for The Routledge Performance Archive.She is also Editor of the Journal of Dance and SomaticPractices and sits on the Editorial Boards of severalother Journals.In many ways, performers with disabilities are probably more aware of the stratification of the performance environmentthan non-disabled artists. Their entry and participation in professional performance both draws attention to the stratificationof the theatre system and provides the opportunity to challenge existing structures through the work they make. Thispresentation will focus on the current project by British/Australian dance artist, Caroline Bowditch, who is working withdancers and designers on a work that draws on the life and work of Mexican artist Frida Kahlo and combines dance, design,food and text to create a modular work that is designed for different theatrical contexts. The work, still evolving, drawsattention to the ways in which images (and particularly iconic images) transmit the somatic experience of disability, andhow this can be re-embodied through dance. The process is providing Bowditch and her dancers with what seems to beinformation about their own somatic experience of physical impairment as source for the performance. The presentation isbased on observations of rehearsals as part of the ‘InVisible Difference’ project that is focusing on the experience of disableddance artists in relation to questions of ownership, authorship and copyright, so will also reference this broader context forthe discussion.http://c-dare.co.uk/http://www.invisibledifference.org.ukwww.siobhandaviesreplay.comhttp://jdsp.coventry.ac.ukhttp://www.riches-project.eu/project.htmlhttp://www.europeana-space.euhttp://journals.library.wisc.edu/index.php/screendancehttp://www.intellectbooks.co.uk/journals/view-Journal,id=232/http://www.tandfonline.com/loi/.U3trihZlBUQs.whatley@coventry.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014474

Working GroupsPerformance and ReligionThe Jewish Liturgical Soundscape in Hanna Rovina’s Performance of the Messiah’s MotherMonologue in The Eternal JewWorking Groups: Performance and ReligionRuthie AbeliovichThe Hebrew University, JerusalemRuthie Abeliovich is a Post-Doctoral fellow at theICORE Center for the Study of Cultures of Placein Jewish Modernity at the Hebrew University,Jerusalem. She is an adjunct lecturer in the TheatreStudies Department at the Hebrew University, atthe Interdisciplinary Program in the Arts (GraduateProgram) at Tel Aviv University, and at the WesternGalilee Collage. She recently completed her PhDtitled: Voice, Identity, Presence: The Rhetoric’s ofVentriloquism in Contemporary Women’s Voice Art, inthe Department of Theatre Arts at Tel Aviv University.Her main academic interests are feminist performanceart, and theories of sound and embodiment.ruthie105@gmail.comMy paper examines an audio recording of the Messiah’s mother’s monologue from Habima’s performance of The Eternal Jew(1919/1923) by David Pinski, performed by Hanna Rovina. The recorded dialogue presents Rovina’s vocal recitation of thedramatic monologue in a melodious rendition that evokes Jewish liturgical musical patterns traditionally performed in thesynagogue. This paper will analyze the soundscape represented in Rovina’s monologue and suggest an interpretation to theconnotative space and the metaphorical meanings it constitutes.The musical recitation of the drama was central to the reception of Habima’s performances. The majority of Habima’scontemporary audiences did not comprehend the Hebrew language. The presented drama was therefore understood fromthe relations between the spectacular elements and the non-verbal vocal properties of the performance. The auditorymanifestations of Habima’s performances served as a crucial component in the decoding of the theatrical events, andtherefore posit the fundamental issues: What impact did Rovina’s pronunciation style have on the audience? What memoriesdid her vocal performance conjure up?A study of Rovina’s audio recording offers possible answers to these questions. Rovina’s voice is a physiological and personaltrait that when stylized transforms into a vehicle serving divergent political and moralizing national purposes. While thespoken Hebrew in the monologue presents the missionary efforts of the Jewish national cultural revival, her melodic-liturgicalmusical recitation conjures the synagogue soundscape of the European diaspora. The proposed research will examine thetension inherent in the musical recitation between Habima’s inculcation of the new secular Hebrew culture on the one hand,and on the other hand, the artistic manifestations of its longing for a familiar cultural sphere—the sounds and voices of the“diaspora”, which the Zionist movement sought to replace.https://www.youtube.com/watch?v=_ChWMZoTOX4FIRT/IFTR World Congress, University of Warwick, 2014475

Realization of the Spiritual in Interactive TheatreWorking Groups: Performance and ReligionLouise BaggerIndependent ScholarLouise Bagger holds an MA in Theatre Studies andFrench from University of Copenhagen. She is anIndependent Scholar, drama teacher, critic, directorand actor. Her Master Thesis examined the playingdramaturge – the actor as a dramaturgical element ininteractive theatre using the Danish company SIGNAas an example. She has worked with SIGNA and theinteractive event company Mak & Par as an actor. Shehas also organized workshops at theatres, been a guestlecturer at University of Copenhagen and Universityof Strasbourg and presented papers at seminars andinternational conferences such as PSi and IFTR.Interactive theatre is a media-inspired innovative understanding of theatrical community associated with the idea that theaudience has real influence on the performance and the fiction unfolding. The American director and actor Gary Izzo hasdeveloped a dramaturgical system for devising interactive theatre events, which bears mixed traces of Greco-Christiantraditions in terms of its ethos. Izzo uses the ancient Greek term temenos to describe the acting space as a sacred circle orconsecrated site where the actors improvise while inviting the audience to take part within the frame of a fiction. Accordingto Izzo interactive theatre is “the art of play” – i.e. children’s play. Rediscovering the ability to play can be seen as a stateof transcendence, an experience of the spiritual. The play has the potential of making the audience forget themselvesand become part of something that is bigger than the self during the interaction. I intend to discuss the facilitation ofsuch a playful state of transcendence. I apply Merleau-Ponty’s ideas about children’s immediacy to experience and MihalyCsikszentmihalyi’s theory about flow to a discussion of this psychophysical state as immanent transcendence. Examining thephenomenology and the concept of flow as performative accesses to this spiritual state, I focus on the actor’s dramaturgicaltools for turning the audience into co-players. An aspect of this is the initialization of the audience: how they make their stepover the threshold into the temenos, which will be compared to a rite de passage, referring to Victor Turner’s theory aboutthe liminoid . Audience engagement can easily fail, especially if play becomes compulsory, as seen when it imposes itself onvisitors as acts of cruelty. Based on my actor experiences with SIGNA I apply the devise of flirting to the spiritual ethos ofinteractive dramaturgy (Bagger: NTS, Vol.24, 2013).louise.bagger@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014476

The Catholic Community and the Destruction of an Icon on Stage: On the Concept of the Face,Regarding the Son of God by Romeo Castellucci.Working Groups: Performance and ReligionThis presentation offers an analytical interpretation of the theatrical piece On the Concept of the Face, Regarding the Son ofGod devised by Romeo Castellucci in view of the critical reaction of the Catholic community.Silvia BattistaRoyal Holloway, University of LondonDr. Silvia Battista is an artist and researcher in the fieldof visual, theatre and performance studies. She holds aPhD (2008-2014) awarded by the Drama and TheatreDepartment of the Royal Holloway University in London,an MA (2004-2006) in Communication Art and Design(Royal College of Art and Design, London) and a FirstClass Honours degree (1992-1996) in Fine Art (Academyof Fine Art, Rome). She began her career realizing a twoyears participative project (1997-1999) with the deathrow inmate Jeffery Douthie in Texas (USA) and a seriesof performative urban interventions (1999) in Prague incollaboration with FAMU University. In 2000 she movedto London to assist the artist Wolfgang Tillmans andsince 2009 she has been working as visiting lecturer forthe Royal Holloway University. Her writings have beenpublished in the journal Performance Research (2012),and the online critical platform Arts Vs Rehab (2012)and two essay are waiting publications in two peerreviewed edited books. Since 2007 she has performedand installed her work various venues such as theAlsager Gallery (Manchester 2007), the Market Gallery(Glasgow 2007), the Nightingale Theatre (Brighton2011) and at the Apiary Studios (London 2012).The piece consists of a man in his forties taking care of his old father whom increasingly, deteriorating body is repeatedlylacking control over defecation. In time the stage is heavily stained with excrement meanwhile the hall is filled with its heavysmell. This tragic scene unfolds in the foreground of a huge backdrop reproducing the face of Christ painted by Antonello daMessina (1430-1479), overpoweringly looking toward the audience. This theatrical setting produces a double, layered levelof spectatorship: one between the audience looking at the scene happening on stage and the other between spectatorsand the portrait of Christ. Each spectator engaged with the latter by reciprocating Christ’s gaze, a practice that in timesensually saturated the material of the image as if an immanent numinous presence in space was activated. Eventually thesame portrait is destroyed.By referring to recent studies on icons and sensuality (Pentcheva) and more generally to materiality studies I intend to endorsethe hypothesis that the structural modalities employed by Castellucci to devise his theatrical production transformed animage into an active icon/actant (Bennett). Therefore, when this image is eventually destroyed or repeatedly hit by a groupof children throwing stones at it, the effect is terribly affective. A numinous presence is in fact activated in theatre and afterdemolished, a process that generated a cycle of emotional responses from the community of Catholic believers.silviabattista68@googlemail.comFIRT/IFTR World Congress, University of Warwick, 2014477

Clerical Betrayal and Christian AffirmationWorking Groups: Performance and ReligionJoshua EdelmanThe Royal Central School of Speech and DramaThe affirmation of one’s identity as part of a particular public is a basic political act, and a particular public’s choice of who it iswilling to accept as a member is a key aspect of its political self-definition. These acts of affirmation may include propositionalcontent, but they are first and foremost iterative performances, being recognized as valid because of their (creative) useof the pattern of affirmations that have gone before. In this, religious communities are no different than other ones: thequestion of how membership can be affirmed, and by who, is a major aspect of determining the nature of that community.This paper will look at a particularly difficult aspect of the performative affirmation of the Christian Church’s claim of theuniversal relevance and openness of its work: the need to include survivors of sexual abuse at the hands of Christian clergywithin the Church’s fellowship, and to affirm their experiences as significant and potent within the larger Christian narrative,rather than outside of it. It will focus on the performative interventions of the survivors’ group MACSAS from the 1990s.It will describe the ways that MACSAS’s performances—generally staged as church services in existing church buildings—make vivid the problem of survivors’ simultaneous need to both acknowledge the evil of what has happened to them inthe Church’s name and to have their affirmation of full Church fellowship accepted and acknowledged by the Church as abody. That double acknowledgement may, in the end, have been too bitter a pill for the Church to swallow, but in examiningMACSAS’s work we can better understand the nature of religious community and its performative affirmation.Joshua Edelman is Fellow in Research and Enterpriseat the Royal Central School of Speech and Drama,University of London, where he writes on the workingsof theatre and performance in the religious and politicalsystems of the contemporary West. He is a member ofthe Project on European Theatre Systems, works withthe Institute for Theology, Imagination and the Arts atthe University of St Andrews, and currently serves asco-convener of the Performance and Religion WorkingGroup of the International Federation for TheatreResearch. He is the co-editor of Performing Religion inPublic (Palgrave, 2013), and his articles have appeared injournals from Performance Research to Nordic TheatreStudies to Liturgy.joshua.edelman@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014478

The Christmas Shows of Protestant Communities in SingaporeWorking Groups: Performance and ReligionAlvin Eng Hui LimNational University of Singapore and King’s College,LondonAlvin Lim is a doctoral student on a Joint PhDprogramme with the National University of Singaporeand King’s College, London. He is currently completinghis PhD dissertation on popular religious practices andspirit mediums in Singapore. His key research interestsare syncretised and online religious practices, spiritmediums and rituals. He is the Deputy Director andTechnology and Online Editor (Mandarin) of the AsianShakespeare Intercultural Archive (http://a-s-i-a-web.org/), a multilingual online archive of Asian Shakespeareperformance materials being developed by scholars,translators and practitioners in the East and SoutheastAsian region. He is also a member of the AsianIntercultural Digital Archives (AIDA) project that aims tomake some of the most important contemporary Asiantheatre practices available and accessible online to awide audience.In 2013, I was asked by Gospel Light Christian Church (GLCC) in Singapore to direct a Christmas show and make it professionaland “experiential”. The church leadership was fully aware of the pre-existing Christmas shows put up by “megachurches” suchas New Creation Church and Faith Community Baptist Church—Protestant churches that average at least two thousandtotal attendees in their weekend services (Scott Thumma and Dave Travis). Their Christmas shows are known to be hugeconcert-like events, requiring large performance venues and elaborate set and lighting designs. GLCC wanted to have itsown Christmas show, which three different language congregations (English, Mandarin and Tagalog) could attend, withoutthe concert aesthetics associated with the megachurches. This paper will examine how non-professional actors respondedto my direction, my position as a Christian and a theatre director which were at times conflicting, how the staging wasadapted to suit the church’s teachings, and how tensions arose when certain theatre conventions were considered nondoctrinal.For example, GLCC was resistant to having popular music and dance on stage. Despite pre-existing theatricalprejudices such as no applauding or dancing during a service, GLCC church leaders recognised how performance providedthe means of communicating the gospel message, by which the community could be maintained and renewed. Nonetheless,artistic choices were made and couched in spiritual terms, often after an open prayer. Rehearsals opened and closed withprayers. Tensions were also performatively expressed as the tension between the bible’s call to “go ye into all the world,and preach the gospel to every creature” (Mark 16:15) and what was considered proper to the church, such as “speaking toyourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord” (Ephesians 5:19),which revealed the interpretative preferences of the church community.Videos cited:Short video of “Born to Save”, a Christmas production by Gospel Light Christian Church:http://www.glcc-online.org/2014/01/born-to-save-2013/Recording of Dr Paul Choo’s sermon:http://www.glcc-online.org/2012/08/prosperity-gospel/http://a-s-i-a-web.org/alvin.lim@kcl.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014479

“The Tyranny of the Middle-Class Jewish Family”: Hip Mid 20th Century American ComedyEnvironments as Religious CommunitiesWorking Groups: Performance and ReligionRoberta MockPlymouth UniversityRoberta Mock is Professor of Performance Studiesand the Director of the Doctoral Training Centre in theArts & Humanities at Plymouth University (UK). She isalso co-director of the AHRC-funded 3D3 Centre forDoctoral Training in digital art, design and performance.Her research tends to focus on the body, genderand sexuality and her books include Jewish Women onStage, Film & Television; Performance, Embodiment andCultural Memory (as co-editor with Colin Counsell);and Walking, Writing and Performance (as editor). Sheis currently co-editing a special edition of Studies inTheatre & Performance on zombies and performanceand completing a book entitled Doing PerformanceResearch with Baz Kershaw for Palgrave Macmillan.From 1996 to 2006, Roberta directed and performedwith Lusty Juventus physical theatre. Her most recentcreative project is a EU-funded dancefilm inspired bythe writing of Jean Genet, entitled Heaven is a Place(2014), which will be shown during the conference’s ‘OnScreen’ programme.According to one of the co-founders of The Compass Players, what this ground-breaking improvisational company was “allabout” was “the tyranny of the middle-class Jewish family.” This paper analyses this gendered dynamic in a lineage of sketchand character-based revue comedy from the mid-1950s to early 1980s, radiating from what we might call the “American”Great Lakes region (or Rust Belt or Midwest) – that is, stretching between upstate New York and Chicago via Toronto.It will focus, in particular, on the intersection of Jewishness, class and performance-making in the work of The CompassPlayers (1955-1958), The Second City (founded 1959) and the original cast and writers of NBC television’s Saturday NightLive (1975-1980). Although Second City and SNL were quickly co-opted (and formed models for) a powerful (and ironicallypredictable) franchised comedy industry, each was originally heralded as hip and radical in both form and content. Mirroringthe strategies and concerns of (Jewish) stand-ups such as Lenny Bruce and Mort Sahl, this was largely due to the increasinglypoliticised voicing of specific ethnic and religious identities. While never associated primarily with Jewish audiences (as inthe Borscht Belt), these communities were largely created and run by Jews and featured high profile Jewish performers. AsMarilyn Suzanne Miller, one of the show’s original writers, has said, “Saturday Night Live waved the wand and said ‘Let therebe Jews,’ and there were Jews, on the network, on the show, openly discussing their lives in sketches, as writers and actors.”By concentrating on the work of Elaine May, Joan Rivers and Gilda Radner (both within organisational structures as well astheir staged characterisations), this paper will explore the extent to which specific creative environments can be consideredsecular religious communities that perform middle-class, middle “American”, mid-20th century Jewishness.roberta.mock@plymouth.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014480

The Thin Line Between Ritual and Performance: Theatre, Eating and Bathing at Kumbh MelaWorking Groups: Performance and ReligionKumbh Mela is a pan-Indian religious gathering. It is considered by Hindus to be the oldest religious festival known in theWorld History. Undoubted, it is the biggest: according to the Indian officials more than 100 million people attended the 2013Kumbh Mela. The power this gathering to bind the pilgrims all over India in the present and through the history into a strongreligious community comes from its continuity with the mythical times of the Vedas. Like then, in the illo tempore devotee’smain purpose is to acquire a strong purification of karma through bathing in the Ganges River in some auspicious days closeto their living saints and in the presence of their invisible gods. Besides this, other religious activities are carried out in thepresence or proximity of Holy Men, folk religious theatre performances being one of them. The paper, based on a personalresearch at Maha Kumbh Mela in Allahabad in February 2013, will describe this theatre as integrated in the all day religiousroutine, focusing on its devotional aspects and its aim to mediate the epiphany to the audience. Second, I will recognizesimilarities in other two important rituals, serving food and bathing.Traian PenciucUniversity of Arts, Targu MuresTraian Penciuc, PhD. is assistant professor a Universityof Arts Târgu-Mureş and stage director. He obtained hisLicence in Theatrical Arts with major in Stage directing(five-year university degree) at the University of ArtsTârgu-Mureş. His Ph.D. in music was at “GheorgheDima” Music Academy, Cluj Napoca. Traian Penciuchas staged in Romania and Serbia. His repertoireincludes Beckett, Shakespeare, Molière, Neil LaBute,Mrozek, but also Romanian playwrights as Lucian Blaga.All his productions were invited in festivals and somewere awarded. His main interest is in phantasmaticcommunication in theatre and opera, with extensionsin culture and religious theatre, materialized in his PhDthesis, papers and workshops. In connection, he isresearching Mircea Eliade’s conceptions about theatreand his Indian biography. Participant at the InternationalSeminar on Hystory of Religions, Academic Staff College- Jawaharlal Nehru University, New Delhi, and the paneldiscution Orientalism Revisited, at Victoria Memorial,Calcutta, India.penciuctraian@yahoo.comChild impersonating God Rama. MahaKumbh Mela, Allahabad, 14.02.2013FIRT/IFTR World Congress, University of Warwick, 2014481

The Path of Cultivation: Dharma Art and Art as Vehicle.Working Groups: Performance and ReligionDaniel Reis PláUniversidade Federal de Santa MariaThis text discuss the performer training as a cultivation path (Yuasa, 2010) and the embodiment of social ideologies. It willbe focused in two examples: The artistic practice as Dharma Art, proposed by Chögyam Trungpa Rimpoche, and the art asvehicle, term that designates the work lead by the Workcenter of Jerzy Grotowski and Thomas Richards. Chögyam TrungpaRimpoche, one of the main representatives of the Tibetan Buddhist Community on the 70’s, worked hardly to adapt theBuddhist teachings to the western context. Part of his efforts involved gathering a group of artists who were his students toinvestigate ways to unify meditation and artistic practice. This approach of art was named Dharma Art, which does not meanart depicting Buddhist symbols or ideas but refers to art that springs from the meditative state. In this sense art becomesa vehicle to perpetuate the values of the Tibetan Buddhist community. In the same period, Jerzy Grotowski, a revolutionarypolish director, starts the paratheatre project, seeking for that which is common to any human being. This work will be thefirst step to Grotowski’s final phase, named Art as Vehicle, which goal was the work of the Performer on itself. This projectaims, first, to explore how Dharma Art and Art as Vehicle can be seen as cultivation paths, also approaching these artisticproposals as embodiments of the cultural and social environments from respectively the Buddhist and the Grotowski’s actorscommunities. And, second, explore the new approaches those practices brings to contemporary discussion on performerstraining.Daniel Plá is a lecturer at Performing Arts departmentin the Universidade Federal de Santa Maria – Brazil,where is responsible by the subjects: Classical GreekTheater (tragedy and comedy); acting techniquesand directing. As an actor and director has worked inspectacles of different styles focusing in the physicalactions methodologies. During his doctorate developeda research focusing on the relationship between actor’straining and Buddhist meditation which resulted in thethesis entitled “How to tame the wind: Contributionsfrom the Buddhist meditation to the dialog on actor’straining”. At the university he leads a working groupnamed Echoes of sacred in the contemporary scenewhere investigate themes as technique, training andcultivation; psycophysical training; practice as research;mindfulness and creation.dreispla@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014482

Comb On! This Common Commune Ain’t So Common: Gambhira, the Ritual Performance of BengalWorking Groups: Performance and ReligionAmit RanjanJanki Devi Memorial CollegeDr Amit Ranjan is a wanderer and a poet. His doctoralthesis, about the obscure figure John Lang, arguablythe first Australian-born novelist who spent most of hislife in mid-19th century India as a lawyer, journalist andnovelist, has generated a lot of interest internationally.He was recipient of the prestigious Endeavour andInlaks research awards, which took him to Sydney asa visiting fellow at UNSW. His MPhil dissertation fromJNU probing narratives of violence was awarded withthe highest grade. As a poet at the Sangam Houseresidency in 2010, he ended up spending most of histime at the village bars with a Korean friend, whichresulted in his self-professed epic poem entitledHesaraghatta Bar. Amit is currently working on a novelwith dogs from various centuries as his protagonists.He teaches literature at Janki Devi Memorial College inDelhi.Gambhira is a folk tradition of undivided Bengal (now West Bengal in India, and Bangladesh) that has remained ‘undivided’ foralmost a millennium and a half; the first noticeable mention is in the 7th century Chinese traveller Huen Tsang’s accounts.Layers of diverse religious performative cultures form this variegated and intriguing cultural form. What probably beganas a pagan ritual of worshipping the sun was co-opted into the Hindu fold as worship of Shiva, in turn influenced by Tantrikand shamanic forms of Buddhism. The sacred masks used in the ritual bear resemblance to Tibetan masks. In medieval timesthe Islamic Sufi saints generally used local idioms and songs in vernacular languages to spread their message. They took tothis tradition most enthusiastically. During the colonial period, there was a lot of conversion of tribals to Christianity. Theytook up a new religion against caste-ridden Hinduism, but continued to savour this tradition, thereby bringing in Christianinfluences too. As it stands today, in parts of Bangladesh, which is a Muslim-majority country, there are Muslims who arecarriers of this tradition, that has Shiva as its prime deity. Gambhira is a living tradition that has adapted itself to all the agesand ravages it’s seen. In a typical performance, a common man from the village presides over the function as Shiva, whomthe villagers and actors supplicate to, satirise and mock, at the same time. Popular cinema tunes, current political problems,and improvisation of the actors are the highlights of this gripping performance. This paper shall look at not just the historicaland the religious stratification of this ritual performance, but also at the astute political layering and strata of the seeminglyBakhtinian carnival that makes this performance ever alive, controversial and cathartic for the communities.FIRT/IFTR World Congress, University of Warwick, 2014483

Redemption through Secular Reinvention: Staging a Community of Dissent in ContemporaryLiturgical DramaWorking Groups: Performance and ReligionKim Skjoldager-NielsenStockholm UniversityKim Skjoldager-Nielsen is a doctoral fellow in theatrestudies at Stockholm University. He is currentlywriting his PhD on the staging of spiritual experiencein the crossover field of ritual and theatre. He earnedhis MA degree in theatre studies from University ofCopenhagen in 2008 with a thesis on interactivity asdramaturgical strategy. 2004-2006 he participatedin University of Copenhagen’s focus research areaReligion in the 21st Century’s theatre program. Since2010 he is a member of the Network for Aesthetics,Theology and Natural Sciences, based at University ofOslo and supported by the research program PluRel –Religion in Pluralist Societies. 2010-2013 he served asco-editor of the journal Nordic Theatre Studies, and heis currently the president of The Association of NordicTheatre Scholars. With the International Federation forTheatre Research, he is the co-convener of the workinggroup Performance and Religion. He has published onconnections between theatre and ritual, performativity,spirituality and religion in research anthologies andin journals including Performance Research and Kritiskforum for praktisk teologi.In the Swedish Church of the 1950s liturgical drama was reinvented as kyrkospel, church play. The theologian and writer OlovHartman recognized the necessity of “a secularized listening” (Krook) in theology, for it to address the existential needsof modern man. Hartman recognized in art a potential for “seeing” or recognizing the individual, and he considered theartist a welcomed critic of the church’s liturgical and congregational praxes. Through his own dramatic production and incollaboration with the director Tuve Nyström, Hartman wanted to revitalize the liturgy of the church. It was not to be a merePR trick to entice people to come to church; the source of its renewal had to be found within contemporary liturgical praxisitself, that is, in the mass, and he wrote plays that addressed actual existential and social problems. The insertion of the artisticdrama in the liturgical frame was then to act as “a gust of wind blowing through the church gate”. Hartman’s legacy has livedon in the church plays of Lund Cathedral for more than 50 years now. In my paper I will discuss the innovative ontology ofHartman’s poetics, its avant-garde and “prophetic” or self- critical potentials (Svenungsson), using a performance basedon a play by the Norwegian neo- existentialist Jon Fosse I Am that I Am (2004/5) as my example. I will argue how the playwithin its liturgical frame facilitates what I call aesthetic redemption in terms of its Hartmanian “seeing” or recognition ofdifferences in spectators’ needs and beliefs. By pitching a non-confessional though profoundly existential text against theheavily symbolic-laden church space and the liturgy of a mass a “holy/un-whole” (Aronson- Lehavi & Gal) event is created,whereby the performance may accommodate a heterogeneously believing audience realizing a temporary community ofdissent or counterpublics (Warner).kim.skjoldager-nielsen@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014484

Theatre Hierarchy and Deities in BaliWorking Groups: Performance and ReligionSusan StudhamWest Australian Academy of the Arts, Edith CowanUniversityIn ‘western’ theatre, the stage manager is responsible for the flow of the performance. What happens if this responsibilityis lifted from its cultural context and placed in Bali in a production where the gods intervene with process, production andperformance? What is the stratification of theatre hierarchy and authority when working with a community where dailylife is inextricably linked to the presence of powerful deities in relationships that intertwine with performance? This paperexplores a cross-cultural encounter, mediated by a theatre production involving an international creative team and Balineseperformers. The impact of Balinese religious beliefs on a ‘western’ style production of a Balinese legend is discussed froman American-Australian stage manager’s perspective. The study considers the organisational production processes andthe ceremony or rituals necessary in mounting such a show, and how one might handle intervention of the gods by way ofsignals and trances. The discussion canvasses the types of protocols required in producing a show, and who decides whenthese are necessary. Examining situations that challenge western processes of stage and production management raisesintriguing questions. What type of performance-making community emerges in combining Balinese values and western styletheatre practice? How do beliefs and values interact in the process of realizing a performance? How do religion and theatreconverge?Sue Fenty Studham is a professional stage manger aswell as a practice-led-research PhD candidate at theWest Australian Academy of Performing Arts, EdithCowan University. Her doctoral project is entitled“Stage Management: a question of approach inintercultural theatre”. With almost three decades oftheatre industry experience across five continents,Sue is investigating cultural approaches to stagemanagement. She continues to stage manage as wellas guest lecture in stage management in WesternAustralia and Bali, Indonesia. Her most recentproduction credits include shows with Bali Theatrein Indonesia, His Majesty’s Theatre, Black Swan StateTheatre Company, Yirra Yaakin Theatre Company andThe Perth International Arts Festival in Australia. Shehas presented her research at various graduate andprofessional conferences in Australia, Chile and Spain.Sue is a recipient of the IFTR New Scholars’ Prize2013-14. Her essay “Alternative approaches to stagemanagement in Bali” was published in Changing Facts;Changing Minds; Changing Worlds (Black Swan Press,2013).fenty@westnet.com.auFIRT/IFTR World Congress, University of Warwick, 2014485

Belief and Prejudice: Interrogating the Christian Dimension in The Merchant of Venice through theLens of Chinese DirectorsWorking Groups: Performance and ReligionJenny WongUniversity of GlasgowPolitical and religious issues within a drama are often the subject of manipulation and re-writing in order to conform tothe predominant ideology and socio-cultural conditions. In China, from late Qing period to contemporary Communist era,Christian references in Shakespearean works are often marginalised, if not lost, at the receiving end. When religious materialin an English play embedded in a Christian culture is translated on stage in an atheist culture, how is religiosity marginalizedthrough a cultural filter weaved by directors and/or translators? This paper presents two case studies of the treatment ofreligious discourse in The Merchant of Venice staged in the Greater China. Using an interdisciplinary approach, I explorethe socio-cultural conditions, cognitive conditions and situational conditions that give rise to the present treatment andperformativity of religiosity in the theatre translation. Interviews with directors show that the translatability of the religiousdimension depends largely on the theology of directors and translators. Religiosity that contrasts their theology is oftensuppressed in the translation. In addition, the study shows that the use of religious dimension in the play, and the translation(and non-translation) of this, serves to interrogate existing religious practices and prejudices within a community. In particular,directors’ religious experiences give rise to their unique view of Christianity and Christian hypocrisy; as a consequence, thereligious dimension in the play is subject to the directors’ manipulation.Jenny Wong taught translation and applied ethicsat Beijing Normal University – Hong Kong BaptistUniversity, United International College from 2008-2012. Prior to this, she had taught media translationat Open University of Hong Kong, and advancedcommercial translation at Chinese University of HongKong. Professionally trained in areas of commercialand media translation, her research interests lie in thestudy of Bible and English literature which grew outof her two postgraduate degrees: MA in Translatingand Interpreting (Newcastle, UK) and MA in ChristianStudies (CUHK). She is the founder of SELBL www.selbl.org, a non-profit organisation based in Hong Kong thatpromotes the cultural significance of the Bible amonginternational students. Her most recently publishedtranslation is Meeting Jesus Again for the First Time byMarcus Borg. She is currently studying PhD in literatureand theology at the University of Glasgow, UnitedKingdom, and is thesis supervisor at the University ofStirling in 2013.www.selbl.orgFIRT/IFTR World Congress, University of Warwick, 2014486

Working GroupsPerformance as ResearchPerforming with Plants – Challenges to Traditional Hierarchies?Working Groups: Performance as ResearchAnnette ArlanderUniversity of the Arts, HelsinkiAnnette Arlander artist, researcher and pedagogue, apioneer of Finnish performance art and trailblazer ofartistic research, graduated from the Theatre Academy,Helsinki as director in 1981, as Doctor of Arts (Theatreand Drama) in 1999. Professor of Performance Art andTheory at Theatre Academy, Helsinki 2001-2013, head ofPerforming Arts Research Centre 2007-2009. Arlander’sartwork is focused on performing landscape by means ofvideo or recorded voice. Research interests include artisticresearch, performance-as-research, performance studies,site-specificity and the environment. Recent publicationsin English include: Annette Arlander (ed.) The Impactof Performance as Research. Proceedings of Carpa 3 –Colloquium on artistic research in performing arts. (2014);“Riding and Ox in Search of an Ox” in Annette Arlander(ed.). This and That – Essays on Live Art and PerformanceStudies. Episodi 04. (2014); “Immediate Mediation – Onthe Performativity of Blogging” in Bruce Barton, MelanieDreyer-Lude & Anna Birch (cur/eds.) Experiments andIntensities Vol 3 Mediating Practices(s) Performance asresearch and – in – through – mediation (2013).Personal website: www.annettearlander.comannette.arlander@teak.fiThe division of the world into mineral, vegetal and animal kingdoms, “the great chain of being” with rocks at the bottomand humans at the top is a traditional stratification that influences our way of making and understanding performances.In his study Plant-Thinking (2013) Michael Marder offers a critique of this legacy by focusing on vegetal anti-metaphysics.Although more focused on philosophy than vegetation and almost neglecting the crucial role of photosynthesis for life onthe planet, his work prompts us to reconsider performance practices that involve plants. Typically, in a recent project, Yearof the Snake Swinging (2014), the last part in a series of twelve one-year projects, performed for the camera on the sameisland, once a week each year, an aspen provided the setting and support for a small swing, and served as a figure showingthe shifting seasons and weather, without receiving credit for this enforced contribution. The series Animal Years, whichI began in 2002, is based on the Chinese calendar and its cycle of twelve years, with each year named after a specificanimal, and explores the question how to perform landscape today. It is based on the traditions of performance art, videoart and environmental art, moving in the borderland between them. The most obvious layer of the work this year, is themovement of the swing, which is explored by visiting performers and myself (see project blog). This type of hierarchical andutilitarian approach to collaboration, where plants form the background or basis, is illustrative of the role of plants in mostperformances, and by extension in performance-as-research. Nevertheless this example also shows, albeit unintentionally,our complete dependence of plants, here in a very literal sense.Project blog: http://aa-yearofthesnake.blogspot.fiShort video: https://vimeo.com/88325298Links to recent publications:The Impact of Performance as Research. Proceedings of C ARPA 3http://nivel.teak.fi/carpa/“Riding and Ox in Search of an Ox”https://helda.helsinki.fi/handle/10138/43179“Immediate Mediation – On the Performativity of Blogging”http://www.experimentsandintensities.com/published/vol-3/“Wind Rail – Sort of a Beginning”FIRT/IFTR World Congress, University of Warwick, 2014http://www.researchcatalogue.net/view/42484/42634/53.487

Micro Performance: Intimacy at the Intersection of Intermediality, Interdisciplinarity, andImmersivityWorking Groups: Performance as ResearchThere is increasing interest, internationally, in the form, function, and potential of micro performance. Beyond issues ofexpediency, micro performance affords both artists and audience members access to levels of embodied intimacy unattainablein larger audience situations, providing an intense relational forum for the enactment, examination, and potential reimaginingof social and cultural negotiations. I here focus on micro performance that seeks to combine pronounced physical contactand/or interaction with conventional tropes of theatricality. These instances, I propose, seek to push past what Erika Fischer-Lichte (2008) identifies as the “perceptional multistability” between “[p]erceiving the ‘real’, phenomenal body of the actor”and “the actor’s body as sign for a fictional character,” in pursuit of mutually constructed and (potentially) socially revisionistphenomenological ambivalence.Bruce BartonUniversity of TorontoBruce Barton is a creator/scholar who teachesperformance creation, dramaturgy, intermedialperformance, and practice-based research at theUniversity of Toronto. He has published in a wide rangeof peer-reviewed and practical periodicals, includingPerformance Research, TDR, Theatre Journal, andTheatre Topics, as well as several international essaycollections. He is the author or editor/contributorof 7 books and guest editor/contributor on multipletheme issues for Canadian Theatre Review and TheatreResearch in Canada. Bruce is also an award-winningplaymaker. His stage and radio plays have beenproduced across Canada, nominated for nationalawards, and anthologized. He also works extensively as adramaturg, writer and director with numerous devisingand intermedial performance companies across Canadaand internationally. He is also the Artistic Director ofVertical City, an interdisciplinary performance hublocated in Toronto. Recent Vertical City projects includeYouTopia (2013) and All Good Things (2013-14).Extending past research, I am in the planning stages of a multi-year project to explore the possibilities of/for/in intimacy atthe intersection of three practical and conceptual “lenses” for the examination of affective experience: interdisciplinarity,intermediality, and immersivity. My recent 1-2-1 performance All Good Things (Vertical City Performance) premiered lastFebruary at Toronto’s Rhubarb Festival and has been invited to Vancouver’s Micro Performance Series next spring. I proposeto use this production as a preliminary performance-as-research case study. Within my IFTR 2014 presentation I will adopt anenactivist focus on the experience (my own, as writer/director, and that of the performer, Martin Julien) in both the originalstaging in 2013 and in our preparations for the remounted production in June of this year. In the process, my goal is to 1)articulate a preliminary dramaturgical and experiential framework for the creation and analysis of performance contextscapable of generating this specific dynamic of productive phenomenological ambivalence and 2) examine the utility ofembodied performance as both the basis and the processual ‘object’ of performance-as-research.Production website: http://brucewbarton.com/all-good-things/bruce.barton@utoronto.caPhoto by Bruce Barton © 2014. Martin Julien in All GoodThings, a Vertical City Performance.FIRT/IFTR World Congress, University of Warwick, 2014488

Earthworks or Plutarch’s EWorking Groups: Performance as ResearchIn this paper I will interrogate the hermaphrodite I have become in the course of splicing my artistic practice with theacademic research. I will query its nature and the existential problem arising from it – how to know and be in order to live.Think Plutarch on the E at Delphi. This points directly to what has happened through the process of splicing: unearthingDelphi and the oldest strata of democracy beneath a contemporary dramatic text. I shall be discussing my productionof Carole Fréchette’s Thinking of Yu (Munich, 2013) as an instance of excavating knowledge as researcher, director anddesigner. In this artistic practice I take text as evidence of stratification, a first layer. The overall frame, my hermaphroditicalmind-body-problem, I enact in the long-term Venus & Adonis Project which on my part serves both to be able to live practiceand research as well as find out about its specific phenomenological epistemology. Research hypothesis and methodologyoverlap: I find myself to be a hermaphrodite who has different ways of knowing.Stefanie BauerochseIndependent ResearcherStefanie Bauerochse is a researcher, theatre director,designer and performer. She runs workshops on EarlyModern Theatre, emblematic perception and practiceas research. Stefanie studied English, Art and Theatre/ Theatre Studies at the Universities of Braunschweig,Warwick and the Workshop Theatre, University of Leeds.Her directing credits for theatre include the worldpremiereof Marianna Salzmann’s Satt at the BavarianState Theatre, Munich, for she which she was awardedthe Kurt-Meisel Young Director Award.stefaniebauerochse@hotmail.comThe V&A project: V&A I: Force Measured InPhenomenologyPerformance: Stefanie Bauerochse / Photo: JoMcgreanDramatic text as first evidence of stratification: CaroleFréchette. Thinking of Yu.Set-design, directing, research: Stefanie Bauerochsein action, enacting the archive: Gabriele Graf, MelanieMira, Ulrich Zentnertime exposure photograph (duration of performance)FIRT/IFTR World Congress, University of Warwick, 2014489

They Make Noise: Plethora, Plenitude, Power and PaRWorking Groups: Performance as ResearchYvon BonenfantUniversity of WinchesterYvon Bonenfant works with and from the extranormalvoice. He is interested in non-normative vocaluse, the tactile register, and in the othered aspectsof performer and audience bodies. A practice-ledresearcher, his works have shown in ten countries, ingallery, media, theatrical, choreographic, musical andstreet intervention contexts. He experiments withmethods for making work from vocality, with audienceengagement, and with aesthetic hybridity, and haspublished peer-reviewed work, presented and givenworkshops internationally. He founded the onlinepublishing platform Experiments and Intensities. Hisfunders have included the Wellcome Trust (Large andSmall Arts Awards), Arts Council England, Arts andHumanities Research Council, the British Academy, andother bodies. His current pieces: a live performance,an iPad app and an installation, focus on eliciting theextra-normal voice from child and family audiences andcelebrating its qualities (www.yourvivaciousvoice.com).He is Reader in Performing Arts at the University ofWinchester.The most exciting PaR processes’ research outcomes are noisy, both literally and metaphorically. Researching with andthrough the extra-normal voice makes this noise tangible. Using the audience’s extra-normal voicing as a focal starting point,this presentation draws from the three Your Vivacious Voice artworks.In order to explore the nature of this noise through three lenses: plethora, plenitude and power. Plethora: We illustrate thecomplex and almost ungraspable layers of outcome generated by the project, ranging from the artworks themselves toaudience feedback through to ‘data’ about funding, touring, negotiating the contents of, and undertaking the collaborativeprocess behind the work. Plenitude: We reflect on how this plethora of outcomes is mirrored by the chaotic and (seemingly)random expressive impulses of the audience, whose work’s aesthetic qualities vary widely. Yet, the audience is bound togetherby a carefully designed corporeal/somatic experience of cumulative vocal excess, which generally gratifies. Power: Wereflect on the status politics of this work in cultural circumstances that largely relegate performance for children to a minorart modality within restrictive aesthetic boundaries. We also address the oxymoronic power dynamics of exerting authorityin order to liberate the extra-normal vocal qualities of children, as well as some complex issues derived from collaborationwith scientists within University research cultures. Taken together, we thus explore some of the many practical, creative,and ultimately methodological variables that feed into and are continually emerging from this project. Through so doing, wedemonstrate how experimentalist artistic processes provide us with alternative visions of what learning from research mightencompass: attending to the noise of methodological adventure in ways that help unearth means for yoking together andmaking (literal, felt) sense of seeming contradictions.The Your Vivacious Voice project: http://www.yourvivaciousvoice.com/Uluzuzulalia, a touring performance for children, trailer: http://www.uluzuzulalia.com/what-happens/Voice Bubbles for iPad: http://www.voicebubblesapp.com/see-it-work/The Voice Trunk, an interactive installation: http://www.thevoicetrunk.com/Anonymized audience sound creations from Uluzuzulalia http://yourvivaciousvoice.com/uluzuzulalia/your-sounds/www.yourvivaciousvoice.comyvon.bonenfant@winchester.ac.ukChildren engaging with the live performanceUluzuzulalia. Photo: Stephen J. CookStill image from Voice Bubbles for iPadFIRT/IFTR World Congress, University of Warwick, 2014490

The Daisy Chain Model: Epistemic Mapping as a Mode of Performative Documentation andDissemination of Practice as ResearchWorking Groups: Performance as ResearchJoanna BucknallUniversity of PortsmouthI propose to consider the ways in which questions, problems, artistic experiments and ‘feedback loops’ work in relationto performance process and the ways in which the practitioner navigates and generates knowledges/discourses andepistemologies in relation to dissemination and institutional expectations. In sharing my development of the DaisyChain Model as an epistemic approach to mapping and marshalling PaR activity, I will start to consider the ways in whichdocumentation and dissemination situates practice as research within the wider stratosphere of research. I will define anddemonstrate the ways in which the ‘Daisy Chain Model’ can be applied as a strategy to marshal and map the symbioticrelationship between PaR and other research activity. I have devised the ‘Daisy Chain Model’ by developing Trimingham’s,‘Spiral Model’ (Trimingham 2002), to suit my own particular PaR needs. Through explicating the nature of the ‘Daisy ChainModel’ as a model for marshalling, mapping, documenting and reflecting upon PaR I intend to discuss how this might be seento impact upon the perceived value of the work as research and as performance within the context of Doctoral study in theUK. I will also unfold the ways in which such models can be employed in order to demonstrate the necessary rigour that is anunavoidable aspect of such a context for PaR. I hope to open up a discourse that exposes and challenges the hierarchies ofperformance as research in HE within the UK context.Joanna Bucknell is a Lecturer in the School of CreativeArts, Film and Media at the University of Portsmouth.Her publications include: ‘Book Review: Making aPerformance: Devising Histories and ContemporaryPractices’ Platform Online Postgraduate Journal 2.2,and her article “Love Letters and Liminoid Invitations:‘Participative’ dramaturgy and the ‘material creatorly’participants” will be published in Framing Theatre andPerformance: Immersive Theatre. Ed. James Frieze.Basingstoke: Palgrave Macmillan, 2014.joanna.bucknall@port.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014491

Parasites, Satellites and Spin-Offs: Examining Possibility in Audience EngagementWorking Groups: Performance as ResearchMelanie Dreyer-LudeCornell UniversityMelanie Dreyer-Lude is a theater practitioner and professorof performance. She specializes in international theatercollaboration, using theater as a platform for culturalencounters that generate multiple nodes of inquiry.Most recently she was a guest at the Performance asResearch Festival in Ottersberg, Germany, where she andher collaborators presented a multilingual performanceintervention exploring place and space. In 2011, shedirected and produced S/he in Ithaca, New York andIstanbul, Turkey, a bilingual production with Turkish theaterartists exploring the female body as a battleground. In2007, she directed a bilingual production of OutsideInn, presented in collaboration with German theaterartists from Theater Rampe Stuttgart, which played inPittsburgh, Pennsylvania, New York City, and Stuttgart,Germany. Fluent in German, Dreyer-Lude translates anddirects contemporary German plays, which have beenproduced in the United States and Canada and published ininternational magazines and anthologies. She has directedover sixty productions, including work in the United States,Germany, and Turkey. She is an Assistant Professor atMissouri State University where she teaches acting anddirecting.In Audience Engagement and the Role of Arts Talk in the Digital Era Lynne Conner argues that, “The pleasure inherent in theinterpretive function is enhanced significantly when meaning is made social (Palgrave 2013)”. The contemporary theatreaudience has become a restless participant in a traditionally constructed (e.g. passive) viewing experience. Those who go tothe theater don’t want to just sit and watch a play; they want to talk about it. The Google/YouTube/Twitter/Facebook worldwe live in has trained us to engage, to talk back, to question what we see and hear in the world around us. As immersivetheater’s current popularity testifies, if we want to develop a deep and meaningful relationship with those who witness ourwork, we need to rethink the audience engagement paradigm. This paper will examine the mechanisms and possibilities inaudience engagement before, after, in and around the presentation of a play. What is the value of providing extra eventsfor theater patrons? What value for the artist? What are possible modes of engagement that can broaden, deepen, refractor redirect the artist/patron conversation? Using actual examples of a variety of engagement techniques (including clipsand photographs), I will demonstrate how getting the audience involved in and around the production has the potential toprovide a deeper layer of meaning for the theater patron and to facilitate the social engagement many long to experiencewhen attending the theater.Local Experts (post show discussion): Ithaca High School Students share their experience of texting and sexting. Audienceengagement activity for S/he, International Culture Lab, May 2011:http://vimeo.com/89896554Culture Camp (pre-show mini lecture): Noor Hashem “Covering Muslims: On Representations of Gendered Bodies.” Audienceengagement activity for S/he, International Culture Lab, May 2011:http://vimeo.com/89896489Mock Trial on Head Scarf Harassment. Spin Off event for Cornell Law School. Audience engagement activity for S/he,International Culture Lab, May 2011:http://vimeo.com/96454111Narratively embedded audience interactive events for Emergence, a science/art theatre collaboration, Cornell University,September 2012:http://vimeo.com/76784090Frontstage, technology based audience engagement activity using iPhones and iPads for Long Ago in May, Cornell UniversityApril 2012http://vimeo.com/96454965FIRT/IFTR World Congress, University of Warwick, 2014492

‘Where the place?’ Performance-as-Research and the ArchiveWorking Groups: Performance as ResearchAre we no longer at a crossroads? The disciplines of theatre and performance have frequently positioned themselvesmetaphorically, at an intersection or junction of multiple pathways (e.g. Pavis 1992, Conquergood 2002, Fischer-Lichte2003). This paper will reconsider such dislocations in relation to methodologies of practice and histories of experimentation.For Mark Fleishman, ‘performance as research (PaR) is a series of embodied repetitions in time, on both micro (bodies,movements, sounds, improvisations, moments) and macro (events, productions, projects, installations) levels, in search of adifference’ (2012: 30). This stratification of the methodology into two levels, the micro and the macro, will be explored withreference to PaR projects at Warwick over the last five years, including Discords (after Shakespeare) and Fail Better Fragments.In doing so, the paper will examine shifting definitions of ‘the Archive and the Repertoire’ (Taylor 2003) alongside BazKershaw’s notion of PaR as ‘transdisciplinary innovation in action’ (2011: 63). Ultimately, the paper will consider alternativemetaphors to the perpetual ‘crossroads’ of theatre and performance studies.Jonathan HeronUniversity of Warwickwww.failbetter.co.ukJonathan Heron is IATL Senior Teaching Fellow atUniversity of Warwick and Co-Convenor of the IFTRPerformance-as-Research working group. His writinghas been published in Open-space Learning: A Studyin Transdisciplinary Pedagogy (Bloomsbury, 2011),Performing Early Modern Drama Today (Cambridge UP,2012) and the Journal of Beckett Studies (EdinburghUP, 2014). His theatre directing has included Phaedra’sLove by Sarah Kane (Underbelly Edinburgh, 2004),Play Without a Title by Federico Garcia Lorca (BelgradeCoventry, 2008), Rough for Theatre II by Samuel Beckett(Oxford Playhouse, 2009) and Diary of a Madman byNikolai Gogol (Warwick Arts Centre, 2011). He wasYouth Arts Leader at Pegasus Theatre Oxford 2010-11and has been Artistic Director of Fail Better Productionssince 2001.www.warwick.ac.uk/iatlJ.P.Heron@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014493

Beyond Think Global/Act Local! Messing About in a Field for Creative De-Stratification ofPerformance Ecology Research in ActionWorking Groups: Performance as ResearchBaz KershawUniversity of WarwickBaz Kershaw is Emeritus Professor of Performance atUniversity of Warwick and formerly Foundation Chair ofDrama, University of Bristol. An engineer before gainingEnglish, philosophy and drama awards from Manchester(BA), Hawaii (MA) and Exeter (PhD) Universities, he hasbeen keynote speaker at many international conferencesand directed Practice as Research in Performance (2000-06), the first major initiative to investigate and championcreative performance as research. He has directed/devised over 40 shows in experimental, communityand radical theatre, including events at the legendary/notorious London Drury Lane Arts Lab, creating the firstreminiscence theatre (Fair Old Times), plus burning downHouses of Parliament and Raising the Titanic with WelfareState International. His numerous publications include ThePolitics of Performance (1992), The Radical in Performance(1999), The Cambridge History of British Theatre Vol III (ed.2005), Theatre Ecology (2007) and Research Methods inTheatre and Performance (co. ed. Helen Nicholson, 2011).Since 2000 in South West England he has made eco-specificevents on a heritage ocean liner, in a former printing factory,at a Victorian zoo and elsewhere. He then set up an EarthriseRepair Shop (2010), a land-based performing diversityexperiment that works to mend broken imaginings of Earth.Often however which way one looks at Earth and all its creatures – plus naturally other biota – they appear all too obviouslyas stratified. Then, arguably, whatever taxonomies – or similar “systems” – humans invent to account for that, they are boundto build up deficits. An undefined surplus, excess, differance, or what have you. So from that perspective there should beno surprise if, say, the reversal of carbon-fed climate change currently is losing out to globalised capital. Because the latterwill be caught up in incidentally reinforcing ecological discomforts for Homo sapiens, as routinely it cannot resist reactingrepressively on challenges to its stratifying dominance. So what is poor young “performance-as-research” to do in face ofthat particularly monstrous prospect? In recent years I have argued for a take on PaR as a trans-disciplinary endeavour. Iwas also intrigued to follow a flourishing of sci-art, bio-art, eco-art and other experiments in reconfiguring academic stratathrough inter- and multi-disciplinary collaborations involving existent fields of research. But how might performance scholarartistsengage trans-disciplinarity direct, so to speak, and what could ensue from such an entirely out of order approach toknowledge making? This presentation reports on Kershaw’s somewhat awkward attempts to tangle with those conundrumsin his current Earthrise Repair Shop performance ecology/diversity investigations. Focusing on the invention of “meadowmeanders” as a nascent creative anti-genre, it substitutes an actual field of grass for the stratifications of knowing that shapelife in the looking glass of established disciplines. It speculates how these simple paths might help in some small ways toforestall the environmental endgame promised by turbo-capitalist plunder of Earthly riches. Meanwhile their inventor aimsto put his new vocation on the line by making some real-life meanders available for exploration by Congress colleagues.baz.kershaw@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014494

Dublin Contemporary Dance Theatre: Layers of Performance as Research in Revisiting DanceArchivesWorking Groups: Performance as ResearchEmma MeehanCoventry UniversityDr. Emma Meehan is a research assistant at CoventryUniversity’s Centre for Dance Research. She receivedher BA and PhD from the Drama Department, TrinityCollege, Dublin, where she taught part-time on theBA and MA programmes. Articles include: “ImmersiveEnvironments: Somatics and Space” in Immersive Theatreand Performance edited by James Frieze (forthcoming),“The Autobiographical Body”, in Ways of Seeing theBody: Body in Performance edited by Sandra Reeve(Triarchy Press, 2013), “Visuality, Discipline and SomaticPractices: The Maya Lila Performances of Joan Davis”,in The Journal of Dance and Somatic Practices (IntellectPress, Vol. 2, No. 2, 2010). Funding and awards include:postgraduate studentship from Trinity College Dublin,the Samuel Beckett Studentship from the Departmentof Arts, Sport and Tourism/ Trinity College Provost’sPerforming Arts Fund, Dance Bursary/Artist in theCommunity Scheme /Travel and Training Awards fromthe Arts Council of Ireland, Dublin City Council andDance Ireland residencies amongst others. She is theeditorial assistant for the Journal of Dance and SomaticPractices and co-convenor of the Performance asResearch Working Group at IFTR.Dublin Contemporary Dance Theatre were a highly significant company in the development of dance in Ireland, however,their work has not been documented or analysed substantially to date. The importance of documenting Irish physicalperformance has been made apparent in studies that recognise the marginalisation of such work for cultural and politicalreasons (e.g. Sweeney, 2008, McGrath, 2013). This paper explores the Irish context for the company’s work, discussing therelationship between the body and language in Irish social, political and cultural history. I also explore forms of researchingthe body-based knowledges contained in the company’s work, following studies by Bonenfant (2013), Longely (2010) andClarke (2009). In the next layer of this project, I will work in the studio with the original dancers to reconstruct performancesegments and interrogate them from a contemporary position, further developing the relationship between researcher andresearched, creating what Longely has described as a “kinaesthetic archive”. Underlying the studio-based exploration, thefollowing questions will guide the process: What happens when we revisit past work from a contemporary perspective withchanges in aesthetics, practices and priorities? What can reembodying choreographic work tell us about our current practiceand can it inform new projects? How do past dance practices inform current styles, approaches and dance cultures? Theproject marks the 25 year anniversary of the closing of Dublin Contemporary Dance Theatre due to funding difficulties, andis an important moment to consider both dance legacies and dance futures, considering the current economic climate.meehanemma@yahoo.co.ukFIRT/IFTR World Congress, University of Warwick, 2014495

Taking Up Space: Performance as Research Aims to OccupyWorking Groups: Performance as ResearchJuan Manuel Aldape MunozIndependent Researcher and ArtistAs practitioner and researcher, Juan Manuel AldapeMunoz’s interests lie at the intersection of borderstudies, ethnography and dance studies. His currentwork focuses on movement, migration and mappingdiscourses related to the choreographic and theundocumented. Most recently, he co-founded APerFarmance Project, site-specific collaborationsbetween farmers and performers researching theconcept of community from rural/urban perspectives.He will commence the Performance Studies doctoralprogram at UC Berkeley in autumn 2014. He is anErasmus Mundus Scholar and a regular contributor toloveDancemore performance journal. Juan Manuelholds an MA in International Performance Researchfrom the University of Warwick (UK) and the Universityof Arts in Belgrade (RS).This article analyses the relationship between Performance as Research (PaR) and occupy discourse. In particular, I engagethe PaR working group sessions at the 2013 IFTR Conference in Barcelona, Spain. Using Atonio Negris’ concept of constituentpower in conjunction with Henry Lefebvre’s notion of “truth of space,” I observe how PaR occupies the general thinking andspace that is the conference event—which privileges logos over eros. I argue that scattered acts stabilize the topology ofPaR in relation to seeking knowledge, and, as a result, makes it difficult to pin down. The manner in which the investigativeperformance acts disperse over the space at Institute de Teatre, and re-appropriate the conference, is of interest in thisinvestigation. For example, the simultaneous occupation of separate public and private areas, for the exercise “Orientation,Exchange, Crisis and Practice,” disrupts the socio-normative order of the conference itself. As such, PaR’s dispersingmethodologies are congruous with the manner in which the Occupy Movement seeks to inhabit political discussion, albeit inan academic system. PaR sessions at the conference exhibit an undirected objective, slowing down and holding space akinto the occupiers in places such as Times Square and St.Paul’s Cathedral Square. By observing PaR as an act of constituentpower, through the optic of occupy rhetoric, I unpack the manner in which the working sessions shed some insight into PaR’sontology: it is both ready-to-disperse and marked by its aim to occupy both space and time. Furthermore, this parallacticcharacteristic exposes why PaR maintains secondary status in academic research. Full disclosure, I was a participant the 2013conference working group.juanmaldape@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014496

Schizoanalytic Performance Practice: Affect Relations and BiopoliticsWorking Groups: Performance as ResearchThis paper aims to investigate theoretical and practical questions, which are related to my schizoanalytic performancepractice and research. My aim is to append theoretical apparatus with material and tacit knowledge produced by practiceand workshops held.Deleuze writes that our body has a limited ability to be affected, where affect is not an atmospheric sensation, but a capacityto make relations.Tero NauhaUniversity of HelsinkiTero Nauha is a performance and visual artist. He isfinishing his PhD in Artistic Research at The TheatreAcademy of University of the Arts Helsinki. Recentarticles of his can be found online in the RUUKKU andJAR peer-review magazines. His artistic works havebeen presented in CSW Kronika in Bytom, Poland,Performance Matters in London, New PerformanceTurku festival and Kiasma Theatre in Helsinki amongseveral other venues.There is a distinction between the stratified limit, which is internalized within a subject and the unlimited, full body of theexteriority. It is also a distinction between the molecular desiring-machines and the molar apparatuses of signification andrepresentation. In my schizoanalytic practice my aim is to investigate the folding in of the molecular non-discursivity andstratified representations. Capitalism stratifies the non-discursive molecular movements through structuration of oikonomia– the biopolitical administration. The schizoanalytic practice is a research of these stratifications and junctions, where themodern biopolitics destabilizes molecular flows and produce repression, signification and representations.What are these molecular conjunctions between humans, non-humans and materials if not intensive affect relations, whichin turn are stratified by the molar apparatuses? Molecular and molar, a-signified intensities and signifying functions are twosides of a coin. Not only on the aspect of repression, but also on that the smooth flows require stratification in order tofunction. The infinite of potentiality lies within the molecular affect relations and may reshape what a body can do.http://www.teronauha.comteronauha@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014497

The “Hyper(play)text:” A Poetics of Moving and Staying on a Continuously Present Feedback LoopWorking Groups: Performance as ResearchJohn Michael RossiUniversity of Reading and the University ofBedfordshireJohn Michael Rossi is a theatre-maker and artseducator, currently completing a practice-led PhDat University of Reading. He is Lecturer in Theatre &Performing Arts at University of Bedfordshire, andthe founding artistic director of the Brooklyn-basedcompany, newFangled theatReR, for which he haswritten, directed and produced several new works. JMhas worked as a teaching artist in over eighty publicschools in NYC. He worked with Vital Theatre to formBrooklyn Theatre Arts High School, and is the formerEducation Director of Women’s Project. He has alsotaught for Lincoln Center Institute, Brooklyn ArtsCouncil and Manhattan New Music Project.The IFTR 2014 conference theme, Stratification and Theatre, which considers the process of arranging in categories,resonates with my practice as a playwright and director. Aristotle’s Poetics has shaped our understanding of what makes aplay, more specifically drama, establishing six elements: character, plot, setting, thought, verbal expression, visual adornmentand song composition. The dramatic play is often written, designed, built and staged in layers. My practice-based researchinvolves the development of the first-ever ‘hyper(play)text,’ which experiments with playwrighting through web design, inorder to create a “(syn)aesthetic” play as defined by Josephine Machon. Rumi High, conceived as an interactive play, anddeveloped with a network of “collabo-wrighters,” is located at a website, and designed with hypermedia. This paper will leanon Stein’s notion of the “continuous present” and Aristotle’s Poetics in order to discuss the following strands: A. Layering:How does web design expand Aristotelean dramatic elements (plot, character and setting), and shift the writing process to a“wrighting” process? I will discuss how the use of font and layout and various hypermedia can present Character, Setting andPlot in new ways. B. Positioning: How can the hyper(play)text situate (or position) the reader in a specific role that enableshim/her to interact with a multilinear plot that is navigated by making active choices? I will discuss how the use of hyperlinksto construct a complex plot structure, and the opportunity to leave the traces of one’s own reading keep the text alive, ona feedback loop.C. Exposing hierarchies: Does the hyper(play)text increase or relinquish my control as author? Further, does my position thatthe process is collabowrighterly problematize the notion of authorship?www.RumiHigh.orgjmrossi@me.comFIRT/IFTR World Congress, University of Warwick, 2014498

Face-to-face//Artistic and Scientific Strategies of New Theatre FormatsWorking Groups: Performance as ResearchStructural changes in the communication and participation patterns of social networks require new performative methods intheatre. A new distribution in the multilayered structure of theory and practice is accomplished most notably by approachesthat shed light upon postdramatic theatre and deploy latest self-critical potential. André Eiermann’s “post-spectacular”theatre is thought to be an advancement and counter-version of post-dramatic theatre, subsuming/reflecting scenicalformats that include theoretical discourse, thus questioning own theoretical criteria. These forms of scientific work “applyartistic strategies as much in the sense of producing evidence as in the sense of testing and surveying scientific hypotheses”(Eiermann).Christina SchmutzUniversitat Autònoma BarcelonaChristina Schmutz studied Economy and Philology inFreiburg (Germany), and moved to Barcelona in 1998 with ascholarship on contemporary dramaturgy, where she stagescontemporary plays of German writers such as Falk Richter,Igor Bauersima, Sybille Berg, Roland Schimmelpfennig,Anja Hilling, and Elfriede Jelinek (for the Festival de Sitges,Nau Ivanow, Espai Escènic Joan Brossa, GREC Festival,Videoarte loop Festival, Teatre Tantarantana). From 1999to 2004 placards/installations and photographs of hersappear in Barcelona and elsewhere: e.g. the placard projectfor Panorama Festival (Olot, 2006; Galería h2o Barcelona).Since 2006, with theatre director and theorist FrithwinWagner-Lippok, she has initiated research and stagedprojects on postdramatic and performative theatre. She ispursuing a PhD at Universidad Autónoma Barcelona andNational Investigation Madrid. She lectures on new theatreforms at congresses and universities. Publications in ActesIII Simposi Internacional d´Arts Escèniques, Universitatd´Alacant (2013), GRAE Universitat Autònoma, Barcelona(2012), Estudis Escenics, Barcelona (2011; 2009), Theater derZeit, Berlín (2010), Pausa, Barcelona (2010), InternationalSymposion on Contemporary Catalan Theatre 05, Barcelona(2005).www.lecturas2go-performaticas.eucschmutz@telefonica.netThe instant face-to-face-communication of spectators and actors, being esthetically normative in postdramatic/performativetheatre in order to “break the rules”, is by now substituted by new distance, bringing a third, imaginative, instance ofcommunication into play. This actual research area of performative esthetics illuminates the context of performativity andimagination. Methodically the level of reflecting artistic research is shifted towards the artistic experience itself implying anot-distant point of view. As an “embodied knowledge” subjectivity becomes a key factor in artistic experience and research.While theatre theory pulls in new distances between stage and audience, and while research methodologies reduce moreand more distances and unfold an “analytical theatrality”, the economic distance between social strata is broadening: Howcorrelates the theoretical and artistic skepticism towards face-to-face-communication to this development of socialstratification? May artistic strategies that thwart the mutual and simultaneous perceptibility and presence of spectators andactors, have new critical potential and can they conduce to utopian thinking?FIRT/IFTR World Congress, University of Warwick, 2014499

Stratum, Sediment, Self: Embodiment as the Site of Critical Realism.Working Groups: Performance as ResearchSociologists and anthropologists of practice have long studied the ways in which an organism or actor engages with itsimmediate physical environment through processes that may be conceptualized as “skillful practice” (Tim Ingold), “tinkering”(Karin Knorr Cetina), or “tuning” (Laurent Thevenot). For most thinkers, this phenomenon is primarily conceived in relationto the world of external things and landscapes, as in James Gibson’s influential notion of “affordances.” However, I arguethat the body itself is the first affordance and the primary site at which questions of realism and objectivity are resolved ona practical level. From quotidian enculturation to virtuosic training, skillful practice is neither more nor less than a preciseand intimate negotiation of the strata of embodiment. This paper explores three metaphors for stratification in this sense: atemporal process of sedimentation (Bourdieu); a spatial landscape of mixed densities or speeds (Deleuze); and an energeticvariation in the “expense” value of possible actions (Rappaport). All three have in common the realization that the mind/bodyrelation is better conceived as a gradiant of stratification than in binary or dualistic terms.Ben SpatzUniversity of HuddersfieldBen Spatz is Lecturer in Drama and Theatre at theUniversity of Huddersfield. He holds a doctorate inTheatre from the City University of New York, wherehe taught acting, theatre, and performance from2008 to 2013. Ben’s writing has been published inboth academic and artistic journals and he is a memberof the Performance as Research Working Groups ofboth IFTR and ASTR. In New York City he performedand presented work at Movement Research, AbronsArts Center, Lincoln Center Rubenstein Atrium, TheLiving Theatre, HERE Arts Center, New York Live Arts,United Solo Festival, Performance Mix Festival, andelsewhere. Ben lived in Poland from 2003 to 2005 as anensemble performer at the Centre for Theatre PracticesGardzienice and a Fulbright Fellow at the GrotowskiInstitute. He was an Artist- in-Residence at MovementResearch (2010-2012) and a studio resident artist atLeimay/Cave (2011- 2013).www.urbanresearchtheater.comb.spatz@hud.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014500

Mapping the Remapping of the Catastrophe: Dramatic Encounters with the Map and the Self inOrder to Recover Meaning from Making PerformanceWorking Groups: Performance as ResearchMyer TaubUniversity of PretoriaMyer Taub teaches in the Drama Department at theUniversity of Pretoria. Here his field of interest is toengage with the complexities of practise-as-researchand performance as research; so as to develop creativeand critical facilities through experiential learning;and promote a working process and a mode ofperformance conducive to the development of artistas scholar. He completed his post-doctoral researchat the Research Centre for Visual Identity and Design,(VIAD) University of Johannesburg; where his focuswas situated around the multi-disciplinary nature ofthe discourse of enterprise in producing performanceprojects. He completed his doctorate called LessonsFrom An Aftermath, a combined study in drama practiceand narrative strategy at the University of Cape Townin 2009. He considers himself to be a multi-disciplinarycreative arts practitioner who works as in writes,performs and produces across various fields in theatre,visual arts, urban exploration, heritage, video / film andtreasure hunts.What are phenomena rescued from? Not only, and not in the main, from the discredit and neglect into which they havefallen, but from the catastrophe represented very often by a certain strain in their dissemination, their ‘enshrinement asheritage’. They are saved through their exhibition of the fissure within them. There is a tradition that is catastrophe (WalterBenjamin 1999: 473). This paper has had a particular history that informs its epistemology as generative and of sequence:some of this, is its presentation as part of a collaborative, mentoring process during the Performance as Research WorkingGroup meetings at the IFTR conference in Barcelona 2013. Subsequently the paper was rewritten so as to reflect upon theprocess of re-writing while emerged in actively engaging with reflexive themes of the self in performance as collaborationwhile making meaning. At its core are examples of the author’s own heritage based performance projects in South Africathat present an intention to articulate how cartography as the study of mapping and remapping is also an interactive,performance-as-research, frame. Projects emerging in various interdisciplinary forms were made alongside both subjectiveand historical contexts of catastrophe. The projects here include treasure hunts, text adaptations, text proliferations, andperformances as social intervention. These particular kinds of performance projects incorporate the possibility of interactiverecovery and consider how recognition as a subjective act is not merely a reflection of identity but rather as ‘deliberateinscription and dissemination of non normative discursive identities’ (see Baker 2010).myersuniverse@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014501

Working GroupsPerformance in Public SpacesTemporal Spaces, Mobile Identities: Street as Stage in Post Colonial DelhiWorking Groups: Performance in Public SpacesSwati AroraUniversity of ExeterSwati Arora completed her dual Masters in InternationalPerformance Research from University of Warwick/University of Amsterdam on Erasmus MundusScholarship. At present, she is reading towards herdoctoral degree in Performance Studies at theUniversity of Exeter on UKEIRI funding where she islooking at the transformation in the urban public spacesof Delhi through the lens of performance. Swati is alsothe founder-director of a collaborative artist’s ensemblein Delhi called Dvandva Collective. Her researchinterests are Indian Theatre Historiography, PostcolonialDramaturgies, Performance and the City, CulturalGeography, Feminism.I will be looking at the nature of urban performance spaces in post-colonial Delhi through the idea of ‘temporality’. Byanalyzing various ‘sites’ of performance of one of the oldest street theatre groups, Jana Natya Manch, I will argue thatDelhi as a capital city witnesses a crisis of its own at regular historical intervals which contributes to the temporariness of itsvarious identities - be it political, intellectual or sociological, and this is what sets it apart from other big cities in the country.Open ‘maidans’ (huge grounds) are used as demonstration sites by political parties during the day and the same spaces areconverted into performance venue for a traditional ‘nautanki’ in the evening. Addressing the nature of performance andspectatorship, the paper will try to shed light on the intersections of class, caste and gender to examine questions of accessto public spaces, exploring the ways in which urban dwellers’ use of and relation to neighbourhood spaces are shaped byinequalities of status and power.http://www.jananatyamanch.org/about-janamswatiaroris@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014502

Theorizing the Second Public Sphere: The Historical Layers of Alternative Publicness in Central-East-European PerformanceWorking Groups: Performance in Public SpacesIn the proposed paper I´d like to focus on a debate I´ve already touched upon in last year´s conference presentation: are the“Western” theories of the public sphere adequate to understand the mechanisms of Central-Eastern-European action art?This paper is one of the first attempts to combine a theory of a second public sphere with characteristics of performing artbeyond the Iron Curtain in the period of the late 1960s until the end of the 1980s. It should provide a possible explanation forthe existence of a tight alliance between an experimental, event-based art and a parallel culture.The first part of the talk will contrast well established public sphere-theories (e.g. Jürgen Habermas, Theodor W. Adorno,Oskar Negt, Alexander Kluge, Chantal Mouffe, Nancy Fraser) with concepts of an alternative publicness, which originates inthe geo-cultural region of Central-East-Europe (e.g. Valcáv Benda, Ivan M. Jirous, Elemér Hankiss, Miklós Haraszti, GyörgyKonrád, András Hegedűs).Katalin CsehLudwig-Maximilians-Universität MünchenKatalin Cseh holds a Master’s degree (2010) in Theatre,Film and Media Studies from the University of Vienna.She is working currently as a research assistant and PhDcandidate at the Graduate School of East and SoutheastEuropean Studies at the Ludwig-Maximilians-University inMunich and as a lecturer at the Department of Theatre,Film and Media Studies at the University of Vienna.Through her research on the doctoral project entitledRebelling (Play)Spaces and Underground Networks. The„Second Public Sphere” of the Hungarian Avant-Gardeshe got acquainted with Adam Czirak. They proposedtogether the international and interdisciplinary researchproject Performing Arts in the Second Public Sphere (2013-2015) where Katalin works as a project co-ordinator.Besides her administrational duties Katalin presents andpublishes extensively (amongst others) on the theoryof public spheres in the former Eastern Bloc, creativepractices of Hungarian samizdat respectively archivingand performative and medial spaces of the Hungarianexperimental art scene in the period of the late 1960s tothe early 1990s.Katalin.Cseh@lmu.deThe second part of the presentation will at the beginning outline the basic features of the second public sphere in the neoandpost-avant-garde art of late socialism – as an introduction to its analysis from performance study´s point of view. In thecontinuation the differences between an actual debate on the public sphere as a venue of performative events (see e.g.Janelle Reinelt, Judith Butler, Pia Wiegmink) and the special circumstances of art production in the Eastern Bloc should becomplied.After the initiation of the exhibition Body and the East (curated by Zdenka Badovinac, 1998) the (art history-based) discourseon performance art in Eastern Europe seemed to be silent, respectively stayed fragmentary. In the framework of theseworking group sessions I´d like to envisage the first results of the research project Performing Arts in the Second Public Sphere(Freie Universität Berlin/ERSTE Foundation, 2013-2015) and would like to give some insights into specific results of myongoing dissertation.www.2ndpublic.orgFIRT/IFTR World Congress, University of Warwick, 2014503

Penetrating Habitual Stratifications: Traversing Urban Spaces en routeWorking Groups: Performance in Public SpacesLesley DelmenicoGrinnell CollegeLesley Delmenico is associate professor of theatre atGrinnell College, Grinnell, Iowa. Her interest is on theatre’spolitical roles in contemporary society, particularly theintersections of performance with urban spaces, thenatural environment, immigration, gender, and culture. Sheis co-editing Mobile Publics with Mary Elizabeth Anderson,addressing new, technologically-mediated ways in whichaudiences engage with spaces of performance. She isworking with three London immigrant women’s NGOs onissues of tradition, sexuality, law, the body, and changingidentities in the metropolis, and previously createdcommunity-based performances in Mumbai and Grinnelland studied community and intercultural performance inEast Timor and Darwin, Sydney, and Melbourne. Interestedin trauma-induced performances, she has written onaffective re-placing of destroyed urban sites in the DistrictSix Museum, Cape Town, and theatre about trauma andreconciliation in Dili. Her teaching includes an experiential,site-specific course, “London as Performance,” for Grinnelland for the Associated Colleges of the Midwest. Her M.A.and Ph.D. are in Theatre and Performance Studies fromNorthwestern University, where she explored interculturalmetropolitan postcoloniality in specific urban spaces.delmenic@grinnell.eduIn The Practice of Everyday Life, Michel de Certeau observes way in which urban dwellers pass through public areas.Habituated to tuning out the built environment and others, everyday walkers often ignore people at the physical and socialmargins, stratifying urban zones. Melbourne theatre company One Step at a Time Like This stages en route, an affectingambulatory performance, in such settings. Ipods with oversized headphones, cell phone prompts, and strategic appearancesof company members guide its solo audience traversals. Although en route uses similar scripts for all of its locales, eachcity’s built environment and unexpected human presences (actors? accidents?) provoke participants’ emotional and criticalengagement. This paper builds on discussions of en route’s affect and its theoretical basis in Debord and Situationism. Usinginterviews and embodied experience, it focuses on ways the Chicago and London Stratford East performances carefullymapped walkers’ routes to expose urban hierarchies. The 2012 London Olympics en route, for example, framed the grandglobalism/ nationalism of its sports venues and the UK’s newest and largest upscale shopping mall with vistas of demolishedbuildings, housing estates, and a bridge on which there was a knifing (and subsequent police presence) during the show’srun. This en route iteration created a visually and experientially striking statement about social strata while ignoring thesedissonances in its text. As in all of the production’s urban sites, Stratford East performances placed urban spaces in tensionbetween the global and local. Decentering walkers and prompting (safely guided) vulnerability to encounter and disoriented/re-oriented sensual engagement, en route penetrated strata of the habitual practices of spatial traverse. It created indelibleimages and, for at least some audience members, lasting perceptions of city spaces.This Youtube website of an Edinburgh en route performance of 2010 provides a good introduction to One Step at a Time’smethodologies:https://www.youtube.com/watch?v=jnW5Kto7lic“Wall of Longing” after a day’s en route performance at theTheatre Royal, Stratford East, July 2012.FIRT/IFTR World Congress, University of Warwick, 2014504

Scarring the Metropolis: Indigenous Manifestations and Body MemoryWorking Groups: Performance in Public SpacesThis paper considers the concept of stratification through a close focus on several live performances staged as part ofthe 2013 London exhibition EcoCentrix: Indigenous Arts, Sustainable Acts. Ranging from costumed displays of self-consciousindigeneity to subtle remembrance ceremonies, these public acts and interventions were variously designed to market theevent, celebrate its opening, animate the exhibition space, and, crucially, connect the diverse exhibits to each other and tothe London’s indigenous denizens, past and present. We examine the performances as experiments in making manifest the(post)colonial scars that run through the city’s fabric (historically, socially, architecturally, culturally) and theorise potentiallinks between such scars and an emergent trans-indigenous public sphere. At the broader level, our research also seeks toilluminate ways in which performative acts sustain indigenous cultures within, against and beyond the forces of the neoliberalmarket place.Helen GilbertRoyal Holloway, University of LondonHelen Gilbert is Professor of Theatre at Royal Holloway,University of London. She currently runs a 5-yearproject on contemporary indigenous performance inthe Americas, the Pacific, Australia and South Africa,funded by the European Research Council. Her booksinclude Recasting Commodity and Spectacle in theIndigenous Americas (edited with Charlotte Gleghorn,2014), Performance and Cosmopolitics: Cross-CulturalTransactions in Australasia (co-authored with JacquelineLo, 2007) and The Wild Man of Borneo: A Cultural Historyof the Orangutan (with Robert Cribb and Helen Tiffin).helen.gilbert@rhul.ac.ukPasifikan artist Rosanna Raymond strolls through London’sCanary Wharf business precinct, 2013. Photo: Simon Owen.Tahltan artist Peter Morin performs ‘Cultural Graffiti inLondon’, 2013. Photo: Dylan Robinson.FIRT/IFTR World Congress, University of Warwick, 2014505

Aroma-Home: A Community Garden’s Palimpsest of Social SpaceWorking Groups: Performance in Public SpacesSusan HaedickeUniversity of WarwickSusan Haedicke is Associate Professor in the Schoolof Theatre, Performance, and Cultural Policy Studiesat University of Warwick in the UK. She has recentlypublished Contemporary Street Arts in Europe: Aestheticsand Politics (2013) with Palgrave Macmillan as wellas several articles and book chapters on street artsover the last few years. She has co-edited PoliticalPerformances: Theory and Practice (Rodopi, 2009) andPerforming Democracy: International Perspectives onUrban Community-Based Performance (University ofMichigan Press, 2001). She also works as a professionaldramaturg in France and the United States.The idea of a community garden is associated with a plot of land on which a number of people garden together to producelocal food crops, but it is the complex social processes at the core of the community garden that are truly fascinating. Theplace to garden represents just a small part of the community garden’s social space as claims about its social, psychological,economic and ecological benefits and various educational, art-based, skills-training, or leadership development activities andprograms are etched into its ethos. Questions about the uses of public space, urban renewal, allocation of resources, anddiversity of populations layer onto and intrude into a simple concept of place. Thus a community garden is both a physical siteand a complex and concentrated web of social processes that negotiate contemporary socio-political issues as diverse asimmigration, citizenship, preservation of ethnic traditions, education, empowerment, food security, health and wellbeing. Allthese issues are affected by, but also have an impact on, the site’s location, environment, socio-political context, economicviability, nutritional advantages and group dynamics, and they can suggest a way to understand the past and to determine ourfuture. This presentation seeks to interrogate the palimpsest of Aroma-Home, a unique artist-led community garden projectbased in Villetaneuse, outside of Paris, in its specific geographic, social, political and economic site: its unique public space.Here, Sarah Harper of Friches Théâtre Urbain, sets up her caravan of scents and flavours unexpectedly around the town toact as a performative hub from which she and the diverse community residents share tastes and recipes from faraway lands,plant tiny gardens of herbs and spices from ‘home’ in abandoned lots, cracks in the pavement and edges of worksites andharvest local stories.s.haedicke@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014506

Theatre of Advocacy: “Asking for It” and the Audibility of Women in Nirbhaya, “the Fearless” andof Malala, the “Heroine”Working Groups: Performance in Public SpacesMaggie InchleyQueen Mary, University of LondonMaggie Inchley is an early career researcher andlecturer at Queen Mary, University of London. Hermain interests are in the voice, how it is expressed andheard artistically, culturally and politically, and in relatedissues of cultural audibility in the public sphere. She isalso developing work in applied fields, including the useof the voice and listening practice in care for older andyounger people. Maggie’s work on the representationof young voices in contemporary theatre, and onthe representation of the voices of female killers ofchildren, has been published in Contemporary TheatreReview. Her work on the Scottish demotic voice isincluded in the edited collection Cosmotopia (2011).She is currently working on a book commission fromPalgrave Macmillan provisionally entitled, Voice inNew British Theatre Writing, Acting and Performance,1997-2007, which maps the use of the voice in theatreagainst the period’s preferences for apparently ‘normal’,‘transparent’, and ‘sincere’ vocal delivery. Maggie is alsoa practitioner, and has directed and developed a rangeof scripts and shows for Edinburgh and London venuesas well as for radio broadcast.International pressure is growing for the elimination of violence against women to be one of the 2015 UN Development Goals.A shift has occurred, following Charlotte Bunch’s 1990 article, towards “women’s rights as human rights”, and away from thediscrimination framework behind the UN code of 1979 that enjoined states “[t]o modify the social and cultural patterns ofconduct of men and women”. If violence is performed through cultural relationships, as argued by Anderson and Menon inViolence Performed (2011), then what are the implications of a transnational female ‘empowerment’ that bleeds through thestrata and segments of global and local cultures? In the face of Arundhati Roy’s claim that ‘a new kind of violence againstwomen’ is being created, it is timely to explore how artistic practitioners seek to disrupt the violence implied in conventionalglobalized and local performances of gendered relations in order to advocate the protection of vulnerable women in ‘real’contexts. The gang rape of Jyoti Singh Pandey in Delhi in December 2012 led US-based Indian actress-producer PoornaJagannathan to contact South African director Yael Farber. They made Nirbhaya using Indian actresses’ personal testimoniesof sexual abuse, producing it in Edinburgh and winning an Amnesty prize. Nirbhaya’s performances of female truth telling, ofviolence, of protest and activism, make of Singh Pandey, and others who have suffered violence such as Pakistani schoolgirlMalala Yousafzai, a “condensation symbol” of a politically transnational advocacy movement. This paper explores Nirbhaya’sexplosion of stigmatized space and the political-economic-artistic choices behind the play’s construction of ‘the fearlessone’; suggests that the pained and generous responses of audiences proceed from realignments of the private, public andprivatised; and points to a transnational advocacy movement that aspires to transmute violence against women into widersocial change through female empowerment.maggieinchley@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014507

The Socio-Choreographic Apparatus: Developing a Practice of Social Choreography throughPractice of Individual and Collective EmbodimentWorking Groups: Performance in Public SpacesBeatrice JarvisUniversity of Ulster and University of KingstonBeatrice Jarvis is an urban space creative facilitator,choreographer and researcher. She utilizes key conceptsof choreography and visual arts methodologies with theintention to develop, original doctoral research on theconnections between choreography and urban culturesdeveloping heightened socio-cultural responses to theurban realm. Her practice merges essential techniques in asociological framework of critical perspectives, cultivatinga unique stance point to practice based research. She is avisiting lecturer at various town planning and architecturedepartments in London and wider afield in Europedeveloping a platform for the conceptual and physicalintegration of urban planning, sociology and choreographyleading to practical social creative implementation andcuration. She is keen to create platforms social interactionusing urban wastelands, conflict zones and areas of socialand cultural transformation and reflections on urbanhabitation as a creative resource. Her research has beenprofiled in numerous European conferences; including;dOCUMENTA (13), (Kassel) Pina Bausch Symposium,(London), Universitatii Nationale de Arte, (Bucharest) AAGAnnual Meeting in LA 2013; and various spaces in Berlin.Her research and practice explores the position of thebody as social and political archive.beatricemaryjarvis@googlemail.comFIRT/IFTR World Congress, University of Warwick, 2014This paper discusses how far group choreographic workshops can explore the power of the body as a social archive ofpolitical ideologies in public space. It examines the function of dance as social apparatus and reflects on significant socialpractices which enable dance to become a social vehicle for expression of the individual in society. My case study, developedin the Derry (NI), demonstrates how site-specific choreographic practice became symbolic of political expression in spatialpractice through exploring the dimensions of social and collective memory. It considers how choreography might functionas a mode of social expression and how cultural forms of social expression can become a means of exploring and exposingspecific social issues. My doctoral research evaluates choreographic-based enquiry as a method for determining patternsof movement and spatial behavior within specific urban localities in conflict or post conflict societies. Following a practicebasedinvestigation (funded by AHRC and developed in partnership with Belfast Regeneration Council) my practice addressessocial boundaries, reflecting cultural patterns, exploring somatic awareness in the city so enabling research participants totake on an active role in their relationship to spatial ownership, spatial politics and spatial governance within the city. Thetheory underpinning this research is framed by deconstructing the question - what is choreography and how can it beexpanded as a social practice? I will use the work of Agamben, Rancière, Sennett, Goffman, Deleuze, Schechner, Hewitt,Ngũgĩ wa Thiong’, Rowe, Nmebe to construct a framework for choreographic practice to generate an apparatus to reviewsocial context in movement exercises.508

Burano and Manhattan: Cross Cultural Analysis of Public Spheres and Public Spaces, What can beLearned for the New Millennium?Working Groups: Performance in Public SpacesAmira JoelsonThe City University of New YorkAmira Joelson AIA LEED AP+ is a registered architectpracticing in New York City and an adjunct Professor atNYCCT/CUNY and at Fordham University. She teachesadvanced urban/architecture design studio, materialsin architecture and urbanism, and holds a Master ofArchitecture degree from Columbia University where shereceived an AAUW fellowship grant and the Lucille SmyserLowenfish Memorial design prize. She holds an InteriorDesign degree from Parsons School of Design and a Masterdegree in Communications. As a researcher in AppliedSocial Studies she explored the relationships between theurban environment and quality of life. She pursues thestudy of the relationship between human experience andthe built environment. Amira works on cultural, institutionaland residential architectural projects as well as waterfrontprojects and public spaces. She was a semi-finalist in thePentagon 9/11 Memorial Competition and won the advisorselectedhonor for the competition “Designing the HighLine“. Her work was shown at Van Alan Institute and atthe National Building Museum. Joelson has served as avisiting jury critic at the architecture schools of ColumbiaUniversity, Parsons, NYIT and Pratt Institute among others.She served as jury member for the AIA National HonorAwards in Architecture.ajoelson.jade@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014My paper attempts to contribute to international analysis of the concept of public spheres and how physical public urbanspaces manifest existing strata of public spheres while at the same time impacting the dynamic of public spheres throughtheir design, in content and in expression. Habermas’s The Structural Transformation of the Public Sphere is criticized fordiscussing one homogenous public sphere, rather than recognizing the multiplicity of public spheres that existed in thevarious historical periods he discusses (the women and the slaves in ancient Athens; the working classes during the 18 thcentury, etc.). In the modern age – which Janelle Reinelt refers to as the global age – it is relatively easy to detect themany layers that constitute the multiplicity of public spheres. By comparison – in historical and in contemporary traditionalsocieties – the scene seems to be homogeneous, making one dominant public sphere visible. However, the point of view ofmy paper is that in each case other hidden public spheres can be identified and perhaps related public spaces can be located.Starting simultaneously at the two ends of the wide gap, the traditional face-to-face society of Burano and the complexsociety of multiple crisscrossing public spheres in New York City, the paper will explore various existing and potentialrelationships between the public spheres and physical public spaces in the two locations, using a variety of tools, includinganalysis of historical-geographical horizontal stratification and of socio-political vertical stratification. Exploration resultswill be used to consider whether there is a need or a possibility to propose changes to the public spaces reviewed in Buranoand in Manhattan. Can “lessons learned” in either location influence the design of public spaces in the other and if so forwhat purpose.509

Real Scars and Imaginary Healings: Staging Derry-Londonderry in the Year of Culture.Working Groups: Performance in Public SpacesHaving been designated as the inaugural UK City of Culture for 2013, Derry-Londonderry staged a significant numberof large-scale outdoor events. These events had multiple purposes and functions, including contributing to economicregeneration and re-imaging the city, repairing the damage of the decades of violent conflict in Northern Ireland generallyand economic under-investment in the city in particular. Focusing on the use of the former military base at Ebrington as acultural and performance venue, this paper explores the relationships between the different publics of its past and present.The re-developed site itself is materially marked by its various historical uses (palimpsests), while at the same time, specificredevelopments have created gaps (scars) that silence this history. It investigates also the tensions evident in the large-scaleevents hosted there between the necessity of acknowledging the individual and private legacies of violence and the use ofpublic art to imagine a new shared future. There is an interaction between these various levels of public and private with thevirtual worlds of social media through which other interpenetrations of public and private are evident.Tom MaguireUniversity of UlsterTom Maguire is a Senior Lecturer and DistinguishedTeaching fellow at the University of Ulster. He teaches,makes and researches contemporary performance. Hisfocus has been on British and Irish theatre, publishingMaking Theatre in Northern Ireland: Through and Beyondthe Troubles in 2006 and essays on popular performance,Irish theatre and Scottish theatre to a wide range of editedcollections and international journals. His research includesP-a-R and he has written and directed a range of work,particularly for children staged at international festivalsin Liverpool and Belfast. He co-edited Theatre for YoungAudiences in the UK: a critical handbook (2013) and hismonograph Performing Story on the Contemporary Stagewill be published in January 2015 by Palgrave MacMillan. Heis currently co-editing a collection of essays on playwrightMarie Jones for Carysfort press. He is a former Chair ofSCUDD, the UK subject association for Drama in highereducation, and was recently appointed to the Peer ReviewCollege of the Arts and Humanities Research Council. He isa member of the Editorial Board for About Performance andChair of the Board of Big Telly Theatre Company, NorthernIreland.https://ulster.academia.edu/TomMaguiretj.maguire@ulster.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014510

Scarring the Metropolis: Indigenous Manifestations and Body MemoryWorking Groups: Performance in Public SpacesThis paper considers the concept of stratification through a close focus on several live performances staged as part ofthe 2013 London exhibition EcoCentrix: Indigenous Arts, Sustainable Acts. Ranging from costumed displays of self-consciousindigeneity to subtle remembrance ceremonies, these public acts and interventions were variously designed to market theevent, celebrate its opening, animate the exhibition space, and, crucially, connect the diverse exhibits to each other and tothe London’s indigenous denizens, past and present. We examine the performances as experiments in making manifest the(post)colonial scars that run through the city’s fabric (historically, socially, architecturally, culturally) and theorise potentiallinks between such scars and an emergent trans-indigenous public sphere. At the broader level, our research also seeks toilluminate ways in which performative acts sustain indigenous cultures within, against and beyond the forces of the neoliberalmarket place.Dani PhillipsonRoyal Holloway, University of LondonDani Phillipson is a research associate on theIndigeneity in the Contemporary World project at RoyalHolloway. Before moving to the UK to study for her PhDat Oxford, she was Assistant Professor at the Universityof Regina, Canada, and also worked with a varietyof professional, community, and student companiesin a number of technical roles. She has assisted inthe development of First Nations productions for aCanadian regional theatre company, facilitated thecreation of autobiographical fringe shows and servedas a member of the dramaturgical committee of theSaskatchewan Playwrights Centre.dani.phillipson@rhul.ac.ukPasifikan artist Rosanna Raymond strolls through London’sCanary Wharf business precinct, 2013. Photo: Simon Owen.Tahltan artist Peter Morin performs ‘Cultural Graffiti inLondon’, 2013. Photo: Dylan Robinson.FIRT/IFTR World Congress, University of Warwick, 2014511

The Emerging Urban FatigueWorking Groups: Performance in Public SpacesEsther Belvis PonsIndependent ScholarContemporary cities are shaped by the solid and fluid conglomerates that form their affective strata. The movements andgestures that locals and foreign wanderers perform within the historical, cultural and social layers infuse the aesthetics of theirexistence and thus their ideological controversies. What we commonly call the ‘character’ or ‘atmosphere’ of a city is oftenexplained by the particular dialogical choreographies that the citizens are capable of performing despite or thanks to theseaffective strata, subsequently triggering its social theatricality. These immanent affective qualities - being affect understoodas force or forces of encounter (Seigworth and Gregg, 2010) - are the ones that make cities appealing or interesting andconsequently visited. Acknowledging these facts I would like to argue how the affective strata of Las Ramblas, the mainhotspot in Barcelona, and its neighbourhood it is representative of today’s cities fatigue. As Berlin based philosopher Byung-Chul Han argues in his book Die Müdigkeitsgesellschaft (2010), western societies suffer from a constant state of fatigue. Thisfatigue appears as a result of a pervasive positivity that is linked to the values of neoliberalism. Following Han’s theory I wouldlike to apply his ideas to urban space to address the following questions: to which extent is tourism promoting this sense offatigue? Are the particularities of our local social theatricality disappearing? Are all the strata subjugated to create an illusoryand a fictionalized experience for the visitor? Which aspects remain from our cultural, historical and social strata when thesurface is inhabited by globalized rituals? Have we lost our home?Esther Belvis Pons is an independent researcherartistand educator. She is lecturer at the MA inPerforming Arts and Visual Culture offered by theUniversidad of Castilla-La Mancha and the NationalMuseum Center of Art Reina Sofía and member ofArtea, an arts organization based in Madrid that bringstogether scholars and artists with the aim of promotingresearch in the arts. She holds a PhD in Theatre Studiesjointly awarded by the University of Warwick and theUniversitat Autònoma de Barcelona.ebelvis.pons@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014512

Our Broken Voice – Aesthetic In(ter)ventions as Stagings of Collective Foundational Scenarios inthe Cracks, Gaps and Fissures traversing Public Space(s)Working Groups: Performance in Public SpacesFrauke SurmannFreie Universität BerlinFrauke Surmann is a postdoctoral Honors Fellow of theDahlem Research School at Freie Universität Berlin.Her current research project “Polītikḗ Téchnē: The Artsof the Political. Theatrical Stagings between Art andPolitics” fathoms out the notion of the political in itsgenuine theatricality by analysing contemporary protestmovements. Her doctoral dissertation “AestheticIn(ter)ventions in Public Space. Main Features of aPolitical Aesthetics” will be published by Fink in the fallof 2014. Frequently being invited to speak at nationaland international conferences bringing together aninterdisciplinary field of scholars, artists and activists,her most recent article „Mourning over the Loss ofTragedy in Contemporary Performance Art: A CaseStudy“ has been published by de Gruyter in 2012.Surmann has studied theatre and performance studies,musicology, cultural studies and InterArt studies inBerlin, London and Paris. Her main areas of researchcomprise the interrelation between aesthetics andpolitics, contemporary performance art in the contextof digital arts and new media as well as historical,philosophical and/or theatrical stagings of the Common.In an interview with Simon Susan in 2013 John Holloway states “The only way we can think of changing the world is bychanging it interstitially […]”. According to Henri Lefebvre public space continually constitutes itself anew in the dynamicinterplay between consolidating and modifying tendencies. As a social product public space(s) thus consist of more or lesssedimented strata of joint agreements. Based on the case analysis of Our Broken Voice, an audio-guided subtlemob, this paperargues that aesthetic in(ter)ventions breaking into public policies as “social interstices” (Bourriaud 1998: 14; 47f.) uncoverthose strata, revealing them as ultimately modifiable while putting them up for negotiation. While aesthetic in(ter)ventionstherefore incise the sedimented strata constituting public space(s) and establish the cracks, gaps and fissures necessaryfor their critical reflection, the actual wound care, as will be shown, is left to the freedom of decision of the participants.It is ultimately them who appropriate, transform and (re)design public space(s) by embodying individual ways of use andinterrelations with their surroundings within the scope of action framed by the in(ter)vention. In the performative executionof its relational embodiment however, the socio-spatial stratification defining a designated public space is overwrittenby a collectively created spatiality. As a joint process of continuous figuration, this spatiality, as will be seen, appears as afoundational scenario reflecting on a particular notion of participatory democracy based not on predetermined consensusbut the performance of conflictual encounters and obstructions. The key hypothesis of this paper indicates that aestheticin(ter)ventions such as Our Broken Voice reveal public space(s) as modifiable palimpsests of temporary social agreementswhile at the same time facilitating the performative foundation of a democratic spatiality less in terms of a utopian draft butrather based on and rooted in the always already given socio-spatial strata.frauke.surmann@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014513

From a Local to National to Transnational Public Sphere: The Emergence of Solidarity from aTheatrical PerspectiveWorking Groups: Performance in Public SpacesEven though the Polish people repeatedly showed their resentment toward the communist regime in their country – asduring the riots of 1956, 1970 and 1976 – only the strike of August 1980 enforced the leading party to enter into negotiationswith the striking workers and to agree to the foundation of the first independent trade union in a Soviet-bloc country. Thisunion was called Solidarity (pl. Solidarnosc). Herewith, a gradual political change was initiated that eventually led to thefall of the Iron Curtain nine years later. In this paper, I will focus on this historical strike at the Lenin Shipyard in Gdansk inAugust of 1980 and analyse it from a theatrical perspective. Referring to Janelle Reinelt, who describes the public sphereas non monolithic (Reinelt 2011), I argue that the success of this strike lay in the creation of a public sphere, which can beunderstood as threefoldly stratified: local, national and transnational.Berenika Szymanski-DüllLudwig-Maximilians-Universität MünchenIn 2011, Berenika Szymanski-Düll received her PhD inTheatre Studies and Eastern European History fromthe Ludwig-Maximilians-University of Munich. In herdissertation, she outlined the theatricality of the Polishresistance movements in the 1980s. Currently, she isholding a PostDoc position in Theatre Studies at theGraduate School for East and South East EuropeanStudies (Munich/Regensburg) and is affiliated with theresearch project “Global Theatre Histories” supervisedby Professor Christopher Balme.FIRT/IFTR World Congress, University of Warwick, 2014514

Little Reckonings in Great RoomsWorking Groups: Performance in Public SpacesFor ninety minutes on 22 September 1900, the burgeoning French Republic celebrated 108 years since its proclamationwith a meal that sought to embody the democratic structure of the nation, overlaying the symbolic centre of the city withthe actual agents of its enactment across the entire nation. 22,278 guests - the mayors of all of France - were seated inthe garden of the Tuilleres, arranged according to a prescribed hierarchy, and consumed a menu intended to celebrate thegastronomic abundance of the country. This paper not only indulges in a sense of wonder at the logistics required to mountsuch an event and its accompanying entertainments but also uses it as the pretext to reflect upon the viability of publicgatherings to embrace the democratic structures upon which they are founded.Tim WhiteUniversity of WarwickTim White is Principal Teaching Fellow in Theatre andPerformance Studies at Warwick, having previouslyheld a full-time post at Central Saint Martins inLondon. He currently teaches modules on practicalvideo, experimental music, food and performance andperforming online. Publications include Diaghilev tothe Pet Shop Boys (Lund Humphries Publishers, 1996)as well as articles for Contemporary Theatre Review,Dance Theatre Journal, Performance Research and hascontributed to the recent volume Theatre Noise. He isCo-Convenor of the IFTR working group Performancein Public Spaces. Current research interests includecommunity gardens, music, online performance and thetheatricality of dining.t.white@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014515

Working GroupsPolitical PerformanceDie Ermittlung in Athens, Tannhäuser in Düsseldorf: Retrieving the Anxiety of Always FailedStratificationWorking Groups: Political PerformanceChara BaklavaIndependent ScholarIn the environment of the University of Warwick, CharaBaklava (BA, MA, PhD) had the opportunity to configureProfessor Margaret Archer’s “Morphogenetic Approach”for theatre studies. An “Analytical History of Emergence”was thereby introduced, namely, an analysis of Greekproductions of ancient Greek tragedy as perceptualattitudes towards the historical time 1900-1930 in termsof analytically distinct and temporally separable emergentstructural, cultural and agential relationships. This PhDthesis gave rise to her interest in Nazi, Nazified andtotalitarian theatrical perception and in the role of the pastas a perceptual middle. In her recent monograph, The SultryFalseness of Aesthetics. An Act of Facetiousness: TheatricalInsatiability in the Hitlerian Era (under review), she uncovershow the manifestation of Kultur macht frei, conceivedin Weimar years, turns theatre into a “force” capable ofproducing future; a stage that accelerates the comingof devastating realities immanent to itself. Following thedrama of post-war consolidated perceptuality of Europeannessas a dangerous distraction in the configuration ofanxiety of staging, equivocation of the perceptual, andagon of theatricality, she is preparing a paper on Austrianstaged “de-nazification” and a monograph on the theatreof the former German Democratic Republic.In a “Thatcherian”, disintegrated, Europe, stratified theatre, for all its freedom and anarchy, appears as triumphant politicalchurch, as the sociology of the over-controlled, exploitive “secular” is inverted into the sociality of saviours. Productionsseem to yield a reflexivity which knows that it is bound to resound with politics and aesthetics whose diremption is to bewitnessed, investigated and, ultimately, mended. However, when it is argued that it is society or culture, or even Historyitself, which confers objective validity on theatrical events or values, then, the argument acquires a metacritical or “quasitranscendental”structure and misses the point that the current diremption of structure, culture and agency cannot bemended by turning, however unconsciously, the struggle between the performative and the social into a public history offalse aggressiveness. For the security of any new spectatorship is undermined when the tension between the contraries ofperception and perceptuality appears as unconceptualized aporia – Event of Being, Incursion of Democracy in Aesthetics,Exorcism of Divergence in Law – as a theatricality without its opposites of playhouse and the perceptual. This work begins byexploring the diremption of present and “future past” as it appears not between but within the conceptuality of productionsof resistance and the resistance of aesthetics; and with a crisis of communication, where the debate between performancesis restaged through the predicament of the formal and substantial arrogation of political and cultural authority in theirperceptions – and in mine. By recognizing and discussing the suppressed intellectual and historical barriers of stratification,this paper shows that the stage obstinately returns this diremption to where it cannot be overcome in exclusive thought orpartial action – as long as its political history persists. For the complementarity of theatre to diremption involves reflectionon what may be ventured – without mending diremption onstage or offstage.charab@otenet.grFIRT/IFTR World Congress, University of Warwick, 2014516

Regarding the Bare LifeWorking Groups: Political PerformanceJulia BollZukunftskollegJulia Boll holds a doctorate from the Universityof Edinburgh. She is now a Marie Curie Fellow atthe University of Konstanz. Her book The New WarPlays: From Kane to Harris was published by PalgraveMacmillan in 2013.The homo sacer, or the bare life, appears in contemporary plays as a victim of war and conflict or as a person or group ofpeople that have been legally ostracised from or have never been part of the community (such as asylum seekers, refugees,illegal immigrants, etc.). Giorgio Agamben points out that Western politics is based on the simultaneous exclusion andinclusion of bare life into its legislation. Mostly, the bare life has remained invisible – the taboo status of the homo sacerdemanding a shielding from the public eye. It has also remained the last taboo to be brought to the theatre. What happensif the bare life is ‘piled up’ on stage? Patterns of the depiction of the homo sacer can be traced across the whole of theWestern sphere, allowing for parallels to be drawn between the present-day Western realm and the ancient polis as to theirmutual policies concerning the consolidation of borders, citizenship based on exclusion, and a consensus about the humanvalue of those excluded. Ariane Mnouchkine’s epic production Le Dernier Caravansérail (Odyssées) (2003-2005) for herThéâtre du Soleil explores the fate of contemporary refugees at a time when the political, geographical and cultural spacecommonly called ‘the West’ has turned into a huge gated community. By contemplating Mnouchkine’s depiction of refugeeodysseys across dangerous waters in the desperate search for a new homeland, which turns out to be a place where therefugee is not regarded as deserving of citizen status, we may come to an understanding of the way Western civilizationdefines itself politically and culturally with respect to those it excludes, and we might find an answer as to why a post-modernsociety sees fit to let people drown at its borders.j.boll@uni-konstanz.deFIRT/IFTR World Congress, University of Warwick, 2014517

History as Resistance in Contemporary British Political TheatreWorking Groups: Political PerformancePaola BothamBirmingham City UniversityIn an era that may have “forgotten how to think historically”, to quote Fredric Jameson, a recovery of stratification as thelayering of history can be a powerful antidote against stratification in its other sense, as the upholding of socio-economic andpolitical hierarchies. Now that reactionary claims about the end of history have proved wrong, some British dramatists arereturning to the history play as a political genre, not in the mould of the foundational Elizabethan form but in that of its post-1968 incarnation, variously named “radical” (Peacock, 1991), “oppositional” (Palmer, 1998) or “revisionist” (Berninger, 2002).This kind of history play – bold and critical – is experiencing a revival in the twenty-first century, albeit with qualifications andthe healthy scepticism towards ideological certainties that typifies our times. Among current playwrights looking at the pastas a way of addressing and resisting present political realities are veterans of the so-called alternative theatre movement,such as Howard Brenton, and also new dramatists like James Graham. Graham has surprised the critics with an appetitefor history (and politics) that is considered uncharacteristic for his years: born in 1982, he wrote his first play Coal not Dole,about the miners’ strikes, at the age of 20. This paper focuses mainly on Graham’s most acclaimed work to date, This House(National Theatre, 2012), which charts the inner life of the British parliament between 1974 and 1979. Although Graham’sbackground is, in his words, not “Left or Right but a dialogue between the two”, I would argue that his eagerness to placepolitical history centre stage constitutes in itself a radical act.Dr Paola Botham (née Sotomayor) is a Chileanacademic working in the UK. She is Visiting Lecturerin English and Drama at Birmingham City Universityand the University of Warwick. Her main interests aremodern and contemporary British and Hispanic drama,political theatre and critical theory. Publications includechapter contributions to the series Decades of ModernBritish Playwriting (on Caryl Churchill) and Themes inTheatre (on the tribunal play), as well as articles in JCDE,Contemporary Theatre Review and the Chilean journalsRevista Chilena de Literatura and Cátedra de Artes. Earlierresearch focused on the application of Habermasiantheory – particularly the notion of the public sphere– to post-Cold War political theatre. Her most recentwork concerns the revival of the history play on the 21 st -century British stage. At IFTR she is co-convenor of thePolitical Performances working group.paola.botham@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014518

Identity, Body and Memory in Natasha Davis’ Performance Works 2009-2014Working Groups: Political PerformanceNatasha DavisUniversity of WarwickDrawing on existing theoretical research and my own practice-as-research, I will discuss how I have used body and memoryin my interdisciplinary performance works to create politically engaged material on identity, migration and exile. I willspecifically focus on my recent performance trilogy Rupture, Asphyxia and Suspended, which is concerned with the materialityof endurance, the body as a permanent site of trauma, and the politics of reclaiming and embracing a cultural backgroundand state of bodily health. The performances raise questions such as if living in the liminal space between two worlds, can oneof them ever become home? How do memories preserve identity? Does dust ever settle on the past? Does grass grow overit? The questions are played against the political categories of crossing borders, marking cities, embodied contradictionsand transformations, memory and land. As part of my talk I will present visual documentation of selected brief excerptsfrom my performance works, films for performance and visual material used in my own practice-as-research exploring theperformance of migration, including images of objects and installations used in performances. The work itself is a poeticpolitical comment on immigration today and is concerned with the notion of displacement in place and time, rooted both inloss and liberation. The performance works explore exilic journeys spanning over longer periods of time, looking at eventswhich alternate between forgetting and remembering, vanishing and rematerialising.Natasha Davis is a performance and visual artist,visiting lecturer at Brunel University and the Universityof Warwick, and a practice-as-research PhD studentexploring body, memory, identity and migration. She haspresented her performances, films and installations in theUK (National Theatre Studio, Chelsea Theatre London,Birmingham Rep Door, Barbican Plymouth, PlayhouseDerry, Capstone Liverpool, Colchester Arts Centre andmany others) and beyond, most recently at The PointCentre for Contemporary Art in Nicosia/Cyprus, ProjectArts Centre in Dublin/Ireland and Cummings Art Galleryin Palo Alto/California. Her performance Internal Terrainshas toured since January 2013 and will be shown as partof IFTR cultural programme at Warwick Arts Centre.She has received awards from Arts Council England,Platforma, Humanities Research Fund, Tower Hamlets,Hosking Houses Trust (as a female artist of establishedmerit), Transatlantic Fellowship and others, collaboratedwith contemporary artists such as Pacitti Company, BlastTheory, Tino Sehgal, Mikhail Karikis, Helen Paris and LeslieHill, and delivered workshops, master classes and talksglobally.www.natashaproductions.comnatasha@natashaproductions.comFIRT/IFTR World Congress, University of Warwick, 2014519

‘Dirty protest’ and the Politics of Disgusting Participation: Performing Radical Resistance inNorthern IrelandWorking Groups: Political PerformancePatrick DugganUniversity of ExeterPatrick Duggan is a lecturer in the Department ofDrama at University of Exeter. His research interests liein critical approaches to contemporary performanceand the relationship between performance and thewider socio-cultural and political contexts in which itis made. Engaging with poststructuralist and politicalphilosophy his research is interdisciplinary in natureand particularly focused on questions of spectatorship,witnessing, trauma and ethics and is concernedto explore the socio-political efficacy of theatre,performance and other cultural practices. Recentpublications include: a co-edited special edition of thejournal Performance Research, ‘On Trauma’ (16:1, 2011);a monograph entitled Trauma-Tragedy: Symptoms ofContemporary Performance (Manchester UP, 2012) ; anda co-edited volume, Reverberations across Small-ScaleBritish Theatre: Politics, Aesthetics and Forms (Intellect,2013).It is perhaps problematic to position socio-political protests within a frame of theatricality for this is potentially to dismiss themas in some way artificial or ‘merely’ symbolic (cf. Nield 2010). Nevertheless it is undeniable that many such events adhere tostructures of performance. As such, and holding the problematic of the anti-theatrical prejudice in view, performance offersa constructive means through which to analyse protest events. Underpinned by and structured around the assumption ofunified action/participation, the ‘dirty protests’ in Northern Ireland’s Maze Prison (1978 – 1981) used theatrical techniques todisrupt, reclaim and physically and metaphorically inscribe the prison space with a particular set of highly charged embodiedpolitics. These social performances forever altered the reading of the prison space through organised use of bodies andbodily functions, the playing of ‘characters’, re-organisation of space, disruption of time and normative penal narratives. Inso doing the protests and the institutional response to them created a diegetic world that operated through a theatricaliseddeployment ‘aesthetic disgust’ (Korsmeyer 2012), the natural result of which was a deeply politicised and violently chargedlongitudinal social performance. The later hunger strikes (1981) were a progression of this performance where the aestheticsshifted from a politics of disgust to a politics of what I term ‘dis-ease’, where the seriousness of the protest was considerablyratcheted up as the end point was ultimately death. Participation in both was designed to bring about a rethinking of thepolitics of incarceration in the context of political violence. This paper looks to explore participation in public action as apolitically active performance of resistance and to ask what it means to be a participant, to act, to collaborate, and what itmeant to refuse those things, in an environment of violence and resistance.p.duggan@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014520

Ethics, Precariousness and the ‘Inclination’ Towards the Other in debbie tucker green’s dirtybutterfly (2003), Laura Wade’s Posh (2010) and Martin Crimp’s In the Republic of Happiness (2012)Working Groups: Political PerformanceClara Escoda-AgustíUniversity of BarcelonaClara Escoda-Agustí is Lecturer of English Literatureand Drama at University of Barcelona. She holdsa BA with a major in English Studies (University ofBarcelona), and an MA in the Humanities (HoodCollege, Maryland, USA), with a concentration onAfrican American literature. She has recently publishedher PhD thesis, Martin Crimp’s Theatre: Collapse asResistance to Late Capitalist Society (De Gruyter).She has published articles on Martin Crimp’s playsand witnessing and testimony in journals such as NewTheatre Quarterly and Contemporary Theatre Review,and has attended conferences such as the AnnualConference of the German Society for ContemporaryTheatre and Drama in English (CDE). She is a memberof “The representation of politics and the politics ofrepresentation in post-1990 British drama and theatre”,a three-year research project funded by the SpanishMinistry of Science and Innovation (FFI2009-07598)and of “Ethical issues in contemporary British theatresince 1989: globalization, theatricality, spectatorship”,funded by the Spanish Ministry of Economy andCompetitiveness (FFI2012-31842).This paper aims to explore how debbie tucker green’s dirty butterfly (2003), Laura Wade’s Posh (2010), and Martin Crimp’sIn the Republic of Happiness (2012) have responded to the increasing social, political and economic crisis of late capitalism.Drawing on Judith Butler’s reflections on precariousness, on Adriana Cavarero’s article “Inclining the Subject: Ethics, Alterityand Natality”, and on Jean-Luc Nancy’s concept of the “clinamen” (1991: 3), it contends that the three plays highlight whatButler calls the “unequal distribution” of precarity (2012: 169), and dramatize the necessity to (re)structure social bondsaccording to the condition of “mutual need and exposure” (Butler 2012: 169). It suggests that the three plays seek toactivate the spectators’ ‘response-ability’ by positioning them as witnesses of contemporary precarity and thus impel themto “assume responsibility for the fragile life of the Other” (Ridout 2009: 8). Specifically, the paper will attempt to showhow they dramatize the violence and loneliness of what Cavarero has theorized as the “vertical” (2011a: 195), neoliberalself inherited from modernity, understood as a ‘private’, Cartesian body that is shut off from the Other. Instead, they invitespectators to conceive of subjectivities that, quoting Cavarero, may “inclin[e]” (2011a:195) themselves towards the Other,thus “re-energiz[ing] an ethical responsibility towards the body’s vulnerability and precariousness” (Fragkou 2012: 25). Thepaper will finally consider how these three contemporary British plays evoke the mother as a “figure” (Cavarero 2011b: 16) ofopenness and inclination towards the Other. Through representing the mother as a ‘figure’ of dispossession and inclination,the plays invite spectators to work towards an ethics based on a reconfiguration of the human in which it is the “relationto the other that counts”, allowing for an “ontology of linkage and dependence to come to the fore” (Cavarero 2009: 21).clescodag@ub.eduFIRT/IFTR World Congress, University of Warwick, 2014521

“Archeological Strata” and the Occupation of Palestinian Land: Stage Adaptations of Jean Genet’sFour Hours in ChatilaWorking Groups: Political PerformanceClare FinburghUniversity of EssexClare Finburgh is Senior Lecturer in Modern Dramaat the University of Essex. She has co-written JeanGenet (with David Bradby, 2011), on Genet’s plays inproduction. She has also co-edited Genet: Performanceand Politics (with Carl Lavery and Maria Shevtsova,2006) and Contemporary French Theatre andPerformance (with Carl Lavery, 2011). She has publishedwidely both on Genet, and a range of contemporaryFrench and Francophone theatre-makers, includingValère Novarina, Noëlle Renaude and Kateb Yacine. Shehas translated into English two plays by Noëlle Renaude,one of which, By the Way, was performed at theEdinburgh Fringe in 2008. In addition to her specialismin French and Francophone theatre, Clare is currentlypreparing a monograph on representations of war andconflict in contemporary British theatre.In 1982, the Palestinian refugee camps of Sabra and Shatila in Lebanon were the site of horrific massacres. The death toll,estimated at around a thousand, has never been confirmed. In this paper, I compare stage adaptations of “Four Hours inShatila” by French author Jean Genet – one of the first people to enter the camps after the atrocities were committed –with other artistic representations of the event, notably poet June Jordan’s Living Room (1985), documentary filmmakerRichard Dindo’s Genet à Chatila (1999), and film director Ari Folman’s Waltz with Bashir (2008). Focusing mainly on stageadaptations of Genet’s text by Alain Milianti (1991) and by Mahmoud Saïd (2005), I illustrate my talk with visual material.For Palestinian historian Elias Sanbar, rather than being an occupied land, Palestinian territories are a “buried”: “One layerhas covered another, like archaeological strata. It’s a country that has been drowned, buried, by successive occupations.”From 1970 to 1971, Genet had spent six months amongst the Palestinians. I demonstrate how in his text and in its stagings,an emphasis on the vivacity of the Palestinian struggle, rather than on the morbidity of the massacred, buried bodies,results in a vertical, rather than horizontal disposition, where figures, performers and scenography rise from successivestrata of occupation and oppression. I consult notions of commemoration in the works of Judith Butler, Tony Judt, GeorgesPerec and Jacques Derrida, whose discussion of Genet’s text with Elias Sanbar, Palestinian politician Leila Shahid and Genetexpert Albert Dichy, remains unpublished. I suggest that Genet and his directors mark the unmarked deaths of those whodied in the massacres by emphasising Palestinian resurgence, revival and survival, restoring humanity to those who haveendured generations of hierarchised political and social stratification.cfinb@essex.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014522

Who Gets to Represent the Past and Why Should they Bother? Maltese Political Theatre in the1980sWorking Groups: Political PerformanceMarco GaleaUniversity of MaltaIt is not a common occurrence for new plays for a national theatre to be commissioned directly by a Prime Minister. Howeverthis is what happened in Malta in 1987 when a veteran playwright and novelist was asked to write a play about a popularuprising which had taken place in 1919, at the height of British colonial rule. The play encountered a number of unusualreactions, with strong opposition from a very suspicious theatre community even before the play was performed. The play,the first artistic act to interpret this specific revolt, was immediately seen as an attempt by a political grouping to attributehistorical meaning which could be directly used to legitimize the same group’s political ideology and claims to representation.The paper will attempt to analyse the events surrounding this play’s performance as an attempt by a community to makesense of its postcolonial existence by negotiating through interpretations of its colonial past. At the centre of my argumentwill be a discussion of the close relationship that exists in many postcolonial societies between theatre-makers and politicaldecision-makers. Through the example of Malta in the 1980s I will try to question whether it is possible for political theatremakersto acquire an autonomous voice in situations where their existence as theatre-makers is watched over by politicians,policy-makers and distributers of funding who can be in turn affected by the theatre-makers’ activity.Marco Galea studied at the University of Malta andthe Department of Drama and Theatre Arts of theUniversity of Birmingham where he was awarded a PhDin 2004. He has published on Maltese theatre history,Maltese literature, postcolonial theatre and postcolonialtheory. Between 2005-2007 he was President ofL-Akkademja tal-Malti (The Maltese Writers’ Union)during which time the Maltese organization wasaccepted into the European Writers’ Council. He issenior lecturer in Theatre Studies in the School ofPerforming Arts at the University of Malta. His playcelebrating the life and works of Francis Ebejer, GħażiżFrancis, was performed successfully in 2007 and duringthe Malta International Arts Festival in 2008.marco.galea@um.edu.mtFIRT/IFTR World Congress, University of Warwick, 2014523

Transnational Process in Aftaab Theatre’s La Ronde de nuitWorking Groups: Political PerformanceJulia GoldsteinCity University of New YorkJulia Goldstein is a doctoral candidate in Theatre atthe CUNY Graduate Center. She teaches at BaruchCollege, where she is also a Communication Fellow atthe Bernard L. Schwartz Communication Institute. Juliahas presented work at ASTR, ATHE, and at the Art ofPublic Memory Conference. Her dissertation examinestransnational collaborative processes in case studies ofcontemporary post-conflict performance.Critics and international publications hail Aftaab Theatre as the leading force in reestablishing Afghan professional theatre inthe international eye. Indeed, the company advertises itself as the new, authentic voice of post-Taliban era Afghan culturaland artistic expression, working toward the goal of rebuilding theatre in Afghanistan. Aftaab’s emergence, however, from aseries of outreach workshops in Kabul run by Ariane Mnouchkine’s Paris-based Théâtre du Soleil, and its ongoing dependenceon foreign directors, classical European plays, and international theatre festivals in Europe, complicate this picture of thecompany as an enterprise of local rebirth and autonomous artistic expression. Aftaab’s most recent piece, La Ronde de nuit(The Night Round), exemplifies the company’s new process of collective creation. The play, which depicts Afghan refugeessharing stories of life in war-torn Afghanistan with a night watchman at a French theatre, is the company’s most overtengagement with international perceptions of life in Afghanistan and experiences of immigration and displacement. Throughanalyzing the collaborative process of development and production between the two companies, as well as the performanceitself, this paper will examine dynamics of transnationalism in Aftaab’s work. It will ask, who is the intended audience of TheNight Round, and what does it convey to this audience about life in twenty-first century Afghanistan? What do the artistsinvolved achieve through this collaboration, and how does the collaborative process shape the work? Finally, what are theimplications of the company’s work for Afghanistan, if economic and social factors prohibit the work from being performedthere?goldstein.julia@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014524

Not Fossils, but Felicitous Forms: Challenging Stratifications of Political TheatreWorking Groups: Political PerformanceFocusing on “political theatre” made in British contexts in the 1970s, Maria DiCenzo has observed that some models ofpolitically motivated theatre have traditionally received more academic attention than others. She also notes that certainmodels of practice have tended to be understood and represented in the canon as more efficacious and sophisticated, thancertain others (DiCenzo, 1996). In view of DiCenzo’s perspectives, this paper questions how political theatre has arguablybeen “stratified” according to certain contexts and criteria, and attempts to trouble the stability of such an ordering. Afterinitially acknowledging the layered and complex status of the term “political theatre”, by using my practice-based doctoralresearch as a case study, it questions the cost of rejecting or marginalising past forms of political theatre practice. Rather, itargues that excavating “outmoded” forms of political theatre can usefully inform effective politically motivated performancetoday.Rebecca HillmanUniversity of ReadingRebecca Hillman holds a doctorate from theUniversity of Reading, where she completed practicebasedresearch on efficacies of politically motivatedperformances developed in Britain from the 1970s –today. Her work explores what modes and combinationsof theatrical response are effective for addressingpolitical issues for contemporary audiences, taking intoaccount preproduction and postproduction processes,community-organising models, and site-specificityfor instigating/maintaining community activism. Sheis a practicing playwright and director, and foundedReading-based theatre collective In Good Company in2011. She teaches for the department of Film, Theatre& Television and for the Institute of Education at theUniversity of Reading. She is currently working withBanner Theatre, Reel News and the General Federationof Trade Unions to design a festival of political art toencourage a productive convergence of the work ofcultural workers and trade unionists, due to take place inLeicestershire in 2015.rebecca.hillman@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014525

A Selected History of Theatre and its PoorWorking Groups: Political PerformanceJenny HughesUniversity of ManchesterI am a Senior Lecturer in Drama at the University ofManchester (UK), currently working on an AHRC EarlyCareer Research Fellowship called ‘Poor theatres:a critical exploration of theatre, performance andeconomic precarity’. This research explores theatre asa cultural response to economic precarity, focusing onthe representation of and engagement with experiencesof poverty across very different kinds of theatricalprojects, from theatre-based welfare initiatives,activist performance events, through to experimentaland commercial theatre. My other research interestsinclude: protest performance and theatre activism;theatre, performance and war; aspects of appliedtheatre and performance, especially theatre andperformance practices with young people living withrisk, and the epistemologies and ontologies of appliedtheatre. Publications include a monograph, Performancein a time of terror (Manchester University Press, 2011)and co-authored book (with James Thompson andMichael Balfour), Performance in place of war (2009,Seagull/Chicago).The paper marks out, on the one hand, how socially and politically engaged theatre has engaged with economic precarityand economically disenfranchised communities in ways that have challenged liberal and neoliberal economic frameworks.On the other hand, it explores how ‘the poor’ have been constructed by theatre practitioners as subjects in deficit - inneed of improving interventions. As such, poor communities have been foundational to the self-definition of socially andpolitically engaged theatre but excluded from framing and developing the terms of debate. The title of the paper borrowsfrom Rancière’s The Philosopher and His Poor (2004 [1983]), which explores how political philosophers have performedmodes of ‘exclusion by homage’ to the poor by providing critical schemas founded on denials of the poor’s capacity to thinkfor themselves. For Rancière, such denials create the ‘division of labour’ that produces the critical agency of the philosopher.Taking up the invitation of the conference to consider ‘how the theatre of one historical moment is positioned in relation toother moments or events of history’, the paper offers a trans-historical analysis of two examples of theatre and its poor, botharising from the birthplace of the cooperative movement, Rochdale in Lancashire. Selected performances of and for thoseliving in the town’s workhouses following the Poor Law in 1834 will be considered alongside an art-based welfare scheme forthe ‘workless’ communities of 21st century Rochdale. Here, the accepted history of socially and politically engaged theatre asemerging from the theatres of the political left and progressive education movements of the late 19 th and early 20 th century,will meet its shadowy other – theatre as an agent of liberal and neoliberal economic schemas, rooted in technologies ofdiscipline and punishment that produce economically viable bodies.http://blog.alc.manchester.ac.uk/poortheatres/jenny.hughes@manchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014526

İstanbul Calling: One Week Challenge!Working Groups: Political PerformanceAysenur KarabulutUniversity of SussexAysenur (Ayşenur) Karabulut is a Turkish pedagogue &theatre-maker who works in youth theatre and is interestedin exploring the links between psychology, media andperformance. Having completed two Masters Degrees inEducational Studies (University of Warwick) and in FamilyCounselling&Education (Dokuz Eylul University), Aysenurhas specialised in narration, play and self-development.As director, she was involved in teaching at local theatres,schools and NGOs working with young people and adults.Recognising the important role of performance and mediain social movements, Aysenur has developed a growinginterest in political theatre and considers performance asa key component of self-expression in street movements.In January 2014, she founded a non-governmentalorganisation, Performa İstanbul, and started to run “OneWeek Challenge!” projects to create a community whereactors and non-actors working together for a week to readthe media in a critical way and devise a performance toaddress up-to-date issues through performances in publicspaces. She is conducting her PhD research in Theatre &Performance studies at the University of Sussex whereshe focused in devised theatre and storytelling working onSamad Behrangi’s revolutionary story; The Little Black Fish.A.Karabulut@sussex.ac.ukAccording to the Internet Computing Research run by Interactive Advertising Bureau (IAB, 2011), there are over 9 millionpeople reading news online in Turkey which approximately corresponds to 12,4% of the population. The portion of 87.6%receives news from mainstream media which is under a great deal of censorship and oppression by the government. Turkeywas also ranked 154 th place among 179 countries in 2013 World Press Freedom Index released by Reporters Without Borders.The report identifies Turkey as “the world’s biggest prison for journalists” (RWB, 2013). Turkey’s agenda is changing at anincredible speed. A story covers the front pages of the newspapers can be forgotten a few days later. This manipulationover media has caused a bad influence on societal memory. From Gezi Park resistance to the corruption scandal, we havewitnessed how public perception can be altered by media. Accordingly, we had to be quick in responding to the politicalagenda and thus designed “One Week Challenge!” project. We have intensively worked with volunteers for a week at atime focusing on critical issues on the agenda for devising the performance in public spaces. Working with people who didnot necessarily have a theatrical background, we had to find ways to develop people’s trust and confidence to engage insomething totally new and risky. Therefore, I devised an approach called “Isolated room” where participants can feel free andalone with their actions and thoughts which helped them in building confidence in their performance. One Week Challengeis an organised way of making a decision into action for the benefit of society through performance. It is understandable,agreeable, and based on trust and willingness. The project has gained local political and community support and has resultedin four performance events in İstanbul, Turkey.Photographs from “İstanbul Calling: One Week Challenge!” performance project. It took place in İstanbul, Turkey between2 nd -8 th January 2014. (http://www.flickr.com/photos/114285253@N02/sets/72157639729688174/)FIRT/IFTR World Congress, University of Warwick, 2014527

The Politics of Staging Race: Unapologetic Realism in Synge’s and Hurston’s TheatreWorking Groups: Political PerformanceChante Mouton KinyonNational University of Ireland, GalwayPrincipal research interests include nineteenth andtwentieth century literature. Past projects have focusedon American and British literature in these periods. Allpast projects have focused on literature that illuminates“the other’s” experience. Current research plans includea comparative project on theatre of the Irish andHarlem Renaissances. The project examines the plays ofJ.M. Synge and Zora Neale Hurston. Currently studyingfor a Doctor of Philosophy in English Literature at theNational University of Ireland, Galway with a dissertationentitled STAGING AUTHENTICITY: RACE, LANGUAGE,AND NATION IN J.M. SYNGE’S AND ZORA NEALEHURSTON’S THEATRE. Master of Arts in EnglishLiterature, San Francisco State University: 2010. Thesis,THE ARTIST AS CRITIC: An in-depth look at gender andsexuality in the work of Alfred Hitchcock and his viewson conformity in Western society.Grotesque and ludicrous depictions of African-Americans, and the Irish, were commonplace in early twentieth centurypopular culture. In an attempt to reclaim or form an identity that would be seen as “authentic”, participants of both the Irishand Harlem Renaissances created art against such caricatures hoping more “authentic” representations would help to shapea countering identity to the degrading racial and ethnic stereotyping each group experienced in that era. While a considerationof the political landscape was unavoidable in their respective eras, unlike many of their contemporaries, J.M. Synge and ZoraNeale Hurston did not produce art based on overt political aspirations. The plays of Synge and Hurston ignored conceptsof social reform and concentrated more on documenting what each author had witnessed on their various journeys andanthropological-esque research trips. While their respective communities longed for so-called authentic representations,Synge’s and Hurston’s use of realism acerbated tensions in already fraught and racially charged environments: Hurston wasaccused of carrying on the minstrel technique and Synge was accused of regressive nativism. Moreover, Hurston’s use ofthe African-American Vernacular, and Synge’s use of Hiberno-English, connects their theatres to each culture’s painful past:slavery in the African-American context and, in the Irish context, the history of British colonial oppression. In this paper, Iexamine how each author worked to create theatre that challenged historically constructed categories of race, language,and nation by focusing on Synge’s The Tinker’s Wedding and Hurston’s Color Struck, plays that were not staged in eitherauthor’s life time.chante.mouton@nuigalway.ieFIRT/IFTR World Congress, University of Warwick, 2014528

Resisting Stratification, ‘Memories Matter’: Arts Practice as Political Activism in the Health Careof the ElderlyWorking Groups: Political PerformanceAccording to recent government figures, 10 million people in the UK are over 65 years old. The latest projections are for 5½million more elderly people in 20 years’ time and the number will have nearly doubled to around 19 million by 2050. 1These statistics have considerable consequences for public services. They are also significant when one considers thestratification of contemporary British society, a society which places a higher value on its economically prosperous members.Sheila McCormickEdge Hill UniversityAfter first qualifying as a nurse, Sheila McCormick wenton to study acting at the Arden School of Theatre andhas worked as an actor and director in Ireland, Americaand the United Kingdom. She later obtained an M.Phil inIrish Theatre and Film from the Beckett Centre, TrinityCollege Dublin and a PhD from the National Universityof Ireland, Galway. Her doctoral thesis explored Britishand Irish documentary theatre production between2000 and 2010. To date, Sheila’s research interestsinclude documentary, Irish, applied and politicaltheatre. More recently, Sheila has been drawing on herexperiences in health care to explore research interestsin medical humanities and creative practice and health.She is currently working on two research projects inthese areas, one on applied theatre with, for and byolder members of the community and one on artspractice and palliative care.A recent headline from The Daily Telegraph stated, ‘NHS faces ‘bankruptcy’ over ageing population’. 2 Similarly, the BBC newswebsite produced a headline that read ‘Ageing population ‘to strain NHS’’. 3 This rhetoric is important for two reasons. Firstly,it points to a need within the National Health Service to find alternative strategies for health and wellbeing in relation to theelderly community. Secondly, it points to a growing tendency trend to blame a section of society for its ‘drain on services’,thus potentially further marginalising this section, the elderly, in the process.This paper examines the practice of Liverpool theatre company RMD Memory Matters and Creative Encounters, whichincludes their Third Age theatre company and Arts and Dementia Workshops. It examines such practice, questioning itsability to engage the elderly in the act of reaffirming their position in society while also potentially addressing the need foralternative therapeutic pathways. Finally, it questions the potential of this type of practice to rally against the stratificationof society through processes of education, engagement and understanding.The Aging Population, UK Parliament, http://www.parliament.uk/business/publications/research/key-issues-for-the-newparliament/value-for-money-in-public-services/the-ageing-population,accessed 27.1.14Dominiczak, Peter, The NHS faces ‘bankruptcy’ over ageing population, The Daily Telegraph, http://www.telegraph.co.uk/health/nhs/10387187/NHS-faces-bankruptcy-over-ageing-population.html, accessed 27.1.14Ageing population ‘to strain NHS’, BBC World News, http://news.bbc.co.uk/1/hi/health/4512934.stm, accessed 27.1.14mccormis@edgehill.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014529

The Interactive Production of Space and The Politics of Imagination.Working Groups: Political PerformanceThe politics of theatrical performance might very well have just as much to do with the way space is conceived, perceivedand lived (Lefebvre) through a given performance than with any thematic critique or discursive knowledge produced bythe performance. Taking its theoretical inspiration from Henri Lefebvre, Gaston Bachelard – and on a more general levelNiklas Luhmann – this paper will present and analyze a series of experiments with “environmental theatre” (to use RichardSchechners old term) that reconfigures the relationship between imagination and social space in order to interrupt anddestabilize everyday conceptions, perceptions and “performance” of space.Thomas Rosendal NielsenUniversity of AarhusPh.D.-dissertation on interactive dramaturgies,assistant professor at the Department of Aestheticsand Communication, University of Aarhus. Editor at thedanish academic journal on dramaturgy, Peripeti, and atthe nordic journal of applied drama, Drama.Further information:The experiments are created by an international network of performance and installation artists (http://www.sensworkshop.com) working with participatory strategies – many of them with connections to the Barcelona-based Teatro de los Sentidos.The network doesn’t have an explicit political agenda, and compared to the typical participatory performance group of the20 th century avant-gardes, the poetics of the group has stronger ties to romanticist conceptions of the autonomy of art.Their experiments are based on research questions concerning aesthetic form and interaction, but – probably inadvertently– they are reinventing the project of Friedrich Schiller: through carefully framed aesthetic experiences they are drawing onthe “spieltrieb” of the participants in a way that challenges the usual ‘distribution of the sensible’ (Ranciere).My reading of their experiments will take its starting point from three spatial metaphors that represent different strategiesfor reconfiguring spatial relations: the strategy of interruption (the fissure), the strategy of isolation (the island) and thestrategy of reconnecting the particular with the universal (the sky).http://www.sensworkshop.com/http://bit.ly/1nvkvAtthomas.rosendal@dac.au.dkFIRT/IFTR World Congress, University of Warwick, 2014530

Memory and the Present: The Problem of Heterogeneous Time and Voicing in State of ExceptionWorking Groups: Political PerformanceAmeet ParameswaranJawaharlal Nehru UniversityAmeet Parameswaran completed his Ph.D. (2012) inTheatre and Performance Studies at the University ofCalifornia – Los Angeles and submitted dissertationtitled Playing Nativized Bodies: Performative Body asDisjuncture in the Indian Liberalization Regime.. He iscurrently Adjunct faculty in the School of Cultureand Creative Expressions, Ambedkar University andVisiting Faculty in the School of Arts and Aesthetics,Jawaharlal Nehru University, India. Areas of interestinclude performance theory, neo-liberal regimes andperformance; modernisms; political theatre; and theintersection of technology and bodies.The dynamic period of the 1970-80s in India has seen diverse contradictory articulations of collective, from naxalite politics(movement inspired by Maoism) to the declaration of the national emergency from 1975-77 that created a constitutionaldictatorship curtailing the basic democratic rights of the people. While the period has been studied in terms of the newdiscursive terrain it generated, the role of theatricality and an aesthetics of ‘excess’ that the period threw up has beenunderstudied. In the present paper, by analyzing the landmark performances of the play Nadugaddika written by K. J. Baby, Iexplore the relationship between state of exception and politics of voicing. Nadugaddika brought together articulations ofmilitant insurgency and ethnic identity, and was performed widely in the early 1980s in the ‘tribal’ areas of south-Indian state,Kerala. Inspired from the logic of the ritual performance nadugaddika that is performed by the moopan (heads) of varioustribes to exorcise the evil spirits of the land, the performance was done amidst the huts in the tribal settlement and oftenthe performance ended with discussions in the huts. Nadugaddika became controversial when the performance movedfrom the tribal areas to the mainstream as the eighteen actors of the group were arrested and put in jail for three months.These performances have been often seen as introducing a new dialogic space in political theatre in India and simultaneouslystanding for the one of the earliest ethnic and ecological turn within the left articulations. Analyzing closely the differentkinds of voices it brought together—the auratic voice (of possession), voice of recollection and the voicing of hunger—thepaper interrogates how the performance interrogates the condition of state of exception by precisely giving a ‘density’ tothe space-time of the region.ameet.parameswaran@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014531

The Jérôme Bel Economy: Theatre, Stratification & ResistanceWorking Groups: Political PerformanceKaterina ParamanaUniversity of Roehampton and Birkbeck, University ofLondonKaterina Paramana makes performances, installation- andlecture-performances. Her work, displayed in theatres andgalleries in Europe and the US, examines the constructionof systems, the relationships they afford and the economiesof thought, interaction and exchange they (re)produce.She has performed for companies and artists such asTino Sehgal, Ivana Müller, Bojana Cvejić and ChristineDe Smedt, Liz Lerman Dance Exchange, and SimonVincenzi, and is currently completing a PhD at Universityof Roehampton, London supervised by Professor JoeKelleher and Dr Anna Pakes and funded by the Alexander S.Onassis Public Benefit Foundation. Her research has beenpresented in conferences and symposia internationally.She holds an MA in Choreography (Laban Conservatoireof Music and Dance) and BAs in Theatre and in Dance(University of Maryland, US), was an Associate Researcherwith Performance Matters directed by Adrian Heathfield,Gavin Butt and Lois Keidan and is Guest Editor of activatee-journal. She has taught on live art, dance, theatre andperformance in graduate and postgraduate programmesand is an Associate Lecturer at Birkbeck, University ofLondon.www.katerinaparamana.comkaterinaparamana@hotmail.comJérôme Bel has been widely discussed by dance, theatre and performance artists, reviewers and theorists. He is knownas a ‘contemporary’, ‘postmodern’ or ‘conceptual’ choreographer, although he calls himself a theatre director who makesperformances about what is ‘around’ dance. Bel initiated a new understanding of what dance can be and do, influencingthe thinking and making of artists and scholars through the creation of what I will call ‘Jeromebelianism’: the Jérôme Beleconomy. In this paper, I will argue that Bel’s work and the relations it produces are best read under the notion of economy,for economy reveals most strikingly both how elements in the work are layered (the work’s internal economy of time,gesture relations etc.), but also how the work is complicit, resists or reveals the stratification – the existing relationships andhierarchies – of the economies in which it is embedded: those of dance, performance, culture and the global economy. Todo this, I will bring into conversation Bel’s The Show Must Go On (2001) and Veronique Doisneau (2004). With the Show, I willaddress the work’s internal economy and its relation to that of dance. With Veronique, I will address the economies in whichthe work is embedded and their relation to the larger economy through the work’s production of economies of thought,interaction and exchange. I will conclude with a discussion of how Bel’s introduction of objects in the economy of dance andart in general could affect change in today’s neoliberal capitalist economy through, as I will argue, the kinds of solidarity, ofenacted support towards the ‘other’, the work suggests.FIRT/IFTR World Congress, University of Warwick, 2014532

Mental and ExtInked: Para-human Assemblies and Gesture Politics in PerformanceWorking Groups: Political PerformanceSimon ParryUniversity of ManchesterSimon Parry is Lecturer in Drama and Arts Management atthe University of Manchester. Simon’s research interestsinclude: activist performance, applied theatre, drama aspublic engagement with research, contemporary sciencein performance, and approaches to arts evaluation. He iscurrently co-editing (with Jenny Hughes) a special issue ofContemporary Theatre Review on “Activist Performance”. Heis also working with colleagues at the University of Derbyand Isinglass Consultancy in researching Y Touring TheatreCompany’s Theatre of Debate programme which aims tostimulate debate amongst young people about ethicalissues raised by scientific research using a combinationof theatre and digital media. This project is part of a widerinvestigation into the role of theatre and performance inmediating public engagement with contemporary scientificresearch. Some of the questions posed in this researchemerged from the Creative Encounters programmedocumented in a book co-edited with Helen Nicholsonand Ralph Levinson and published by the Wellcome Trustin 2008. Before moving to Manchester, Simon worked atthe charity the Wellcome Trust, the University of Klagenfurt(Austria) and managed and evaluated a number of arts andeducation projects across the UK and Europe.This paper will discuss how two examples of theatrical activism have negotiated the politics of the post- or para-human(Rotman 2008) brought to the fore by virtual media and environmental change. Such politics rethink what it might meanto assemble a collective and rehabilitate embodied gesture as political action. In the case studies, humans and non-humans,experts and non-experts are convened in different configurations through performance, challenging stratifications ofknowledge-making and modes of political representation. Manchester-based UHC Collective have combined art andactivism in relation to a range of political objectives. In their ExtInked project begun in 2009, they attempted to stimulateinter-species solidarities through tattooing 100 volunteers with drawings of endangered species. The act of tattooing andthe gesture of wearing /representing another species constituted a new form of eco-political participation through the skin.Artist activist, “the vacuum cleaner”, has drawn on his own health and police records, collected through the Data ProtectionAct, in his 2013/14 solo performance entitled Mental. In the work, via an act of excavation and translation, he reconstructshis autobiography both with and against his printed sources. These practices should be seen within the context of work oncitizen science in their privileging of unauthorised expertise and creation of new solidarities (Leach et al. 2005). However,they also draw heavily on modes of theatricality in their gestural vocabularies and point towards a performance politicsbeyond a conservative vs. progressive binary.http://www.extinked.org.uk/http://www.thevacuumcleaner.co.uk/simon.parry@manchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014533

Theatre and the #occupy Movement in Italy: The Case of Teatro ValleWorking Groups: Political PerformanceIlaria PinnaUniversity of ExeterIlaria Pinna is a PhD candidate in Drama at theUniversity of Exeter. She holds a BA in Spanish(Università degli Studi di Sassari) and she was awardedan MA in Drama Research (Exeter) with a dissertationon Franca Rame’s Tutta casa, letto e chiesa. Herdoctoral research explores the politics of theatre andperformance in Italy, especially focusing on politics ofrepresentation, identity politics, and citizenship. She isparticularly interested in analyzing how performancecan endorse, challenge, or question cultural identity.Her research interests also include gender studies,theatre for children and young audiences, storytelling,and dramaturgy.In 2011, one of Rome’s most prestigious venues, the Teatro Valle, was in danger. The Italian Theatre Agency (ETI), the bodythat managed this venue and many others all over the country, was slashed by a recent budget law, and the Valle was likely toclose or be sold. In June of the same year, a group of performers, technicians, directors and playwrights occupied the Valle inprotest against cuts in the arts sector. Determined to keep the venue public, the occupiers opened it to the city, promotingperformances and workshops at low prices, whilst collaborating with artistic institutions and grassroots associations. At thecore of the occupiers’ struggle is the idea of Teatro Valle as ‘commons’: a cultural asset neither private nor state-owned, butshared by arts workers and theatregoers, who take responsibility over its preservation and management. In the past threeyears, the occupation of Teatro Valle has fostered an important debate on cultural resources, and has nourished an activecollaboration between artists, law scholars and political movements. Their aim is to promote legislative reform to includethe commons in the Italian legislation (thereby breaking the dichotomy private vs. state property), and provide participatoryexperiments, such as the occupied Valle, with the necessary juridical backing. Following the Valle, other closed or abandonedvenues all over Italy have been occupied by arts professionals. Despite their differences, three key features seem to recur:the reclaiming of closed, often derelict buildings for the local community; the necessity to explore participatory approachesto cultural management; and the active engagement in debates around the natural, social and cultural commons. This paperwill analyse some key characteristics of the occupation of Teatro Valle, especially focusing on the relationship betweenpolitical and cultural practice.pinna.ilaria@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014534

Contemporary Theatre and Citizenship in Scotland: Referendum 2014Working Groups: Political PerformanceTrish ReidKingston University, LondonTrish Reid is Associate Professor of Drama and Directorof Learning and Teaching in the School of Performanceand Screen Studies at Kingston University. Her researchinterests are primarily in contemporary Scottish theatreand performance. Her recent publications include,‘Casanova’ in Graham Eatough and Dan Rebellato eds.,The Suspect Culture Book (London: Oberon, 2013),Theatre & Scotland (Basingstoke: Palgrave, 2013),‘Anthony Neilson’ in the Aleks Sierz, Modern BritishPlaywriting: the 1990s (London: Methuen, 2012) and‘Post- Devolutionary Drama’, in Ian Brown ed., TheEdinburgh Companion to Scottish Drama (Edinburgh:Edinburgh University Press 2011). She is currentlyworking on a longer monograph for Palgrave oncontemporary Scottish theatre and performance and ona critical companion to Anthony Neilson for Methuen.Trish is from Glasgow.Performance is a medium highly suited to intervene in the interrogation, formation and transformation of national identities.At a moment when particular pressure is being brought to bear on the constitutional settlement that underpins the UK, thispaper will examine two productions in the National Theatre of Scotland’s (NTS) 2014 season – Rantin and The Great Don’tKnow Show – that engage with discourses surrounding the upcoming Independence Referendum (September 2014). Devisedand performed by the celebrated young theatre maker Kieran Hurley, in collaboration with Gav Prentice, Julia Taudevinand Drew Wright, Rantin is a small scale touring show that draws on storytelling, live music and the Scottish folk tradition,in an attempt to stitch together over exposed myths of Scotland’s romantic past with its shifting present, in the processrevealing identity as a kind of patchwork. On a larger scale, The Great Don’t Know Show, will be led by two of Scotland’s mostrespected and established theatre makers, the award-winning playwright David Greig who has declared himself in the YEScamp, and David MacLennan, founder member of 7:84 Scotland who intends to vote NO. The show will be multi-authored,consisting in a series of five minute theatre pieces broadcast online and explicitly intended to offer multiple perspectives onthe referendum debate. This paper will examine a number of aspects of stratification as they manifest in these contemporaryScottish productions including generational, geographical and political tensions and hierarchies but also hierarchs of ‘mode’of performance. In the wider context it will also consider how the NTS’s prodigious output since its inaugural season in 2006has contributed to the conceptualizing and problematizing of boundaries and borders in post-devolutionary Scotland.p.reid@kingston.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014535

Severing Ties: the Performance of Divorce in Spanish Transition to DemocracyWorking Groups: Political PerformanceThe biggest success of the 1981 season in Madrid was Five Hours With Mario, a theatrical adaptation of a best-seller novelby Miguel Delibes. This was a one-person show in which the actor Lola Herrera interpreted Carmen Sotillos’s monologueoccurring during her husband’s wake. This play did a sold-out tour for three years, and yet critics discredited the conservativepolitics of the protagonist, and neglected to appreciate the alleged feminism of the piece.David Rodriguez-SolasMiddlebury CollegeDavid Rodríguez Solás (PhD, The Graduate Center,CUNY) is author of Teatros Nacionales Republicanos(Iberoamericana-Vervuert, 2014). In it, he studies theways the Spanish theatrical tradition was used in publicand private projects in the process of building a nationalidentity during the 1930s. Currently he is working on abook in which he examines the Spanish theatre and filmthat circulated during the Transition to democracy. Hisresearch on theatre and nation building has appearedin Gestos: Teoría y Práctica del Teatro Hispánico andAnales de la Literatura Española Contemporánea. Heteaches Spanish and Latin American Theatre and Film atAmherst College and has taught in universities in Spain,Canada and the United States.When this play premiered, a controversial divorce legislation had just passed; it was one of the first laws of the new democracyfollowing the death of General Francisco Franco. At around the same time, Herrera had herself filed for a marriage annulmentbefore a church tribunal i.e., a sort of performance which, up until 1981, was the only possible way to severe matrimonial ties.Interestingly, the link between the role and the actor was exploited further in the film Night Act (1981), where we see Herreratalking about the experience of playing Sotillos, as well as confronting her still husband in her dressing room. In my paper,I argue the occasion, the casting, and public reflection on the creative process reveal the tensions of the production andreception of this play in a time of intense negotiation of identities in Spain. This paper will question what was sanctioned aspolitical theatre at that time. I will examine the intersections of theatre and politics, the audience response to this adaptationand the film starred by Herrera, and the problematic use of politics in mainstream theatre.http://youtu.be/wQKUjpMopewdsolas@middlebury.eduFIRT/IFTR World Congress, University of Warwick, 2014536

The Political Responsibility of the Performance Maker in Contemporary Political Comedy: Krakowon the Book Shelf and TabooWorking Groups: Political PerformanceEvi StamatiouRoyal Central School of Speech and DramaCourse Coordinator, HE Lecturer in Performing Arts atWessex Academy of Performing Arts. Greek, Londonbasedtheatre practitioner and educator. Ten yearsof international experience in acting, directing, stagemanagement, teaching and workshop leading. ResearchStudent at RCSSD, University of London. Recentproductions: Krakow on the Book Self (Krakow, December2013). Caryatid Unplugged (Edinburg Fringe Festival,August 2013). The Patmos Project (April 2013, Hamburg).In 2010 established Upopirates Theatre Company andwon a distinction at Off Off Athens At Colonus Festivalfor Thinking about Jean Genet’s Tightrope. Focused onpractice-led research. Professional experience andresearch interests; political, post-modern, devised, physical,intercultural-interlingual theatre and Ancient Greek Drama.MA Arts Policy and Management (Birkbeck University,London), MA Theatre Directing (UEL), BA Theatre Studies(University of Patras), Drama School Diploma (ModernGreek Theatre), MSc Social Psychiatry-Child Psychiatry(University of Ioannina) and BA Nursing (University ofAthens). Speaks English, Greek, Italian, French, Spanish.Has studied and performed in Ancient Greek. Member ofLincoln Center Theater Directors Lab, NY. Equity member,UK.What would be the recipe for the ideal political comedy? Tracing back in history, I would say that the ideal recipe has beenAristophanes’ comedy as “He advised the Athenians to live in concord with one another and restore the rights of thedisfranchised”. The ingredients were plot, contemporary politics, a chorus consisted of slaves and foreigners and an audiencederiving from all Athenian social classes. The practical implementation of the ingredients resulted to comic catharsis and thejourney from ekhtroi (enemies) to philoi (friends). The present paper is exploring how the performance maker in contemporarypostmodern performance may lead an audience to comic catharsis in political performance. The methodology has beenpractice based, using specific practices that have resonances with Aristophanes’ comedy as Bertolt Brecht, Augusto Boal,Joan Littlewood, Rimini Protocol, Anne Bogart and Tina Landau. I collaborated with Zero Hour Theatre Company on the sitespecific, promenade performance Krakow on the Book Self, which was performed in Massolit bookshop, Krakow, Poland,in December 2013. The performance was exploring Krakow’s identity as perceived by the English theatre company and asinformed by history and global economy through the Holocaust and polish economic immigration. You can see a video ofthe performance at the link below. Before the final performance, the performance was censored, as some parts of it wereconsidered disturbing. The theatre company reflected on it regarding how comic catharsis was affected and what is thepolitical responsibility of the performance maker in such cases. What is offensive? Isn’t Aristophanes’ comedy still offensivein specific cases? Isn’t that a basic ingredient so as to achieve the “ekthroi” (enemies) and then result to the “philoi” (friends)?http://www.youtube.com/watch?v=TCeNHyjBHr8evistama@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014537

Buttershaw Revisited: Archaeologies of Class, Histories and PerformancesWorking Groups: Political PerformanceLib TaylorUniversity of ReadingLib Taylor is Professor of Theatre and Performance at theUniversity of Reading. She has published on the body inperformance, women’s theatre and contemporary Britishtheatre and performance, including articles in TheatreResearch International, Performance Research, Studiesin Theatre and Performance and Contemporary TheatreReview. She is co-editor of and contributor to the bookThe Indeterminate Body, has written on the boundaries ofthe perceptions of performance within extraordinary andunexpected events, and is a theatre director and devisorof research performances, including multimedia devisedperformances and recent stagings of Marguerite Duras’sEden Cinema and Savannah Bay and the theatre writingsof Gertrude Stein. She was co-investigator on the AHRCfunded project, Acting with Facts: Performing The RealOn Stage And Screen 1990-2010 and has published onverbatim and documentary theatre and on the politics ofverbatim theatre.http://www.reading.ac.uk/ftt/about/staff/l-j-taylor.aspxhttp://www.reading.ac.uk/ftt/research/fttactingwithfacts.aspxhttp://www.reading.ac.uk/ftt/research/fttactingwithfacts-interviews.aspxl.j.taylor@reading.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014This paper will consider the nexus of dramas which focus on the life and work Andrea Dunbar, a playwright from Buttershawin Bradford, one of poorest housing estates in the UK. The dramas frame representations of the past imbricated with thepresent, adopting different forms in a cycle of pieces for stage and screen that recapitulate each other in a layered supertext.The paper will refer to Dunbar’s own plays, The Arbor and Rita, Sue and Bob Too, written in the early 1980s, prior to her deathat the age of 28 in 1990 and directed by Max Stafford Clark; A State Affair, a verbatim play developed by Robin Soans andStafford-Clark with Out of Joint, based on interviews with residents from the Buttershaw Estate in 2000; and Clio Barnard’s2011 film The Arbor, a ‘quasi-documentary’ drawn from testimonies by Dunbar’s family. These dramas represent a complexmicrocosm of working class Britain over the last 30 years. Both Soan’s A State Affair and Barnard’s The Arbor juxtapose pastand present; A State Affair updates reflection on the communities that Dunbar was writing about. Barnard’s film interweavesseveral temporalities, including archive footage of Dunbar and her family and the stories her daughters tell about their livesin recorded interviews, an account of the circumstances surrounding the development of Dunbar’s The Arbor, and fragmentsfrom a performance of the play in the centre of the Buttershaw Estate for an audience of local residents. The paper willreflect on the persistence of class deprivation in the light of shifts in the forms adopted to represent it. It will consider themethodological challenge of addressing these layered texts and their politics in the context of their moments of productionand reception538

Mis-Recognising the AudienceWorking Groups: Political PerformanceElizabeth TomlinUniversity of BirminghamFirst coined by Tim Etchells, the notion of misrecognising the audience can be applied to theatre practice that casts itsaudience into a particular role, and addresses them in this role during the course of the production. I would like to examinethe implications that arise in terms of reception when an audience member – in this instance myself – is cast in a way thatimposes a particular ideological identity – and set of predicted responses - onto that spectator which is at odds with theirown sense of selfhood and capacity for self-determined interpretation. This occurred for me most vividly in two recentexperiences - The Author by Tim Crouch, and Gym Party by Made In China. Both productions left me feeling strangely angryin a way that is rare and – from an academic perspective – hugely interesting. Why did I feel so violated by a simple andimplicit act of positioning? In no way did either performance humiliate or expose me in front of others, yet I was unable toremain merely dissatisfied, analytically troubled or irritated by the misrecognition, and responded emotionally as if I had beenpublicly displayed in the framework I had privately resisted. This paper will analyse my responses to these two pieces of work.To ask the question as to what this anger – if indeed this was an anticipated or invited response by the artists – might behoped to achieve? And if it is commonly felt that confirmation and self-congratulation are not the most efficacious audienceresponses for politically inspired theatre, is it over-simplistic to simply assume that making audiences feel uncomfortable,alienated, disgusted or angry must somehow set us well on the way to political change?Liz Tomlin is currently a senior lecturer in drama at theUniversity of Birmingham. Her latest monograph Actsand Apparitions: Discourses on the Real in PerformancePractice and Theory was published by ManchesterUniversity Press in 2013, and she is currently editingthe third and final volume (1995-2013) in the Methuenseries British Theatre Companies. Her most recent pieceof professional practice was The Pool Game which wasproduced by the collective Geiger Counter in 2012, andshe is currently developing a spoken word performanceexploring audience positioning: The CassandraCommission.e.j.tomlin@bham.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014539

ResIstanbul: Turkey’s Gezi Spirit and its Ghosts in PerformanceWorking Groups: Political PerformanceLast year, Turkey has seen waves of protest lead by the young and proletarianized middle classes, which has left a mark inTurkey’s social history. The protests meant to thousands of citizens the unimagined possibility of channelling an energy,dubbed the ‘Gezi spirit’, to collectively produce new forms of resistance and organization against the State power and itsinduced social stratification in a climate of neoliberalism, trade globalism and urban transformation.Pieter VerstraeteBilgi University IstanbulPieter Verstraete is a post-doc researcher based inTurkey. He holds an Honorary University Fellowship of theUniversity of Exeter, where he was previously Lecturerin Drama. He is currently researching at the MigrationResearch Center of Bilgi University Istanbul. Sincecompleting his PhD at the University of Amsterdam in2009, he has co-edited and authored works on sound,voice and aurality in theatre, the most recent beingpublished in Theatre Noise (CSP 2011) and The Legacy ofOpera (Rodopi 2013). He is co-editor of Cathy Berberian:Pioneer of Contemporary Vocality (Ashgate 2014). Hissecond field of expertise is on Turkish post-migrant formsof theatre and opera, which was granted the support ofa Tübitak Fellowship at Ankara University, a Mercator-IPCFellowship at Sabancı University, and a Türkiye ResearchScholarship at Bilgi University Istanbul. The results will bepublished in a comprehensive policy report, entitled Post-Migration in Theatre: Turkey’s Incentive to Support CulturalEducation and Diversity through the Performing Arts (IPC2014). Verstraete published a policy brief, “The StandingMan Effect” (June 2013), on the Gezi Park Resistancemovement, and an op-ed, “Staging Migrant Storiesbetween Turkey and Europe” in Radikal (May 2013), both inTurkish and English.pieter_verstraete@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014In the midst of these complex social developments stands the individual artist who is faced with a looming privatisation,censorship as well as with his own deficiency to have a real social impact through his art. It is known that the Prime Minister’sgesture of inviting eight artists to resolve the Gezi Park occupation was in effect a feint action. Concomitantly, he induceda defamation campaign against theatre director Mehmet Ali Alabora for the role his theatre play, Mi Minor, supposedlyhad played in ‘preparing the revolution’. However, the protests have also demonstrated signs of hope as they turned into afestival, much like Mikhail Bakhtin’s suggestions of the carnivalesque, as ritualized rebellion where things are infused withnew meanings.I will present some of the forms of performance (a forum theatre, a storytelling play, dance theatre initiatives and a musical)as well as the very performance of resistance in public space inspired by the standing man’s action by Erdem Gündüz onTaksim. I will put these examples against a background of a social stratification in transformation, a civic awareness fordiversity, the precarious situation of the arts, as well as a general fear for loss of liberties and representation. I will reflect onthe believed and real impacts of performance in ‘post-Gezi’ times and question how to approach the complexity of it withinour discipline.http://ipc.sabanciuniv.edu/en/wp-content/uploads/2013/07/IPC_standingman_SON1.pdfhttp://ipc.sabanciuniv.edu/en/wp-content/uploads/2012/10/Theatre-on-Migration-in-Turkey.pdf540

Authenticity and Affective Space in Political PerformancesWorking Groups: Political PerformanceFrithwin Wagner-LippokUniversity of BayreuthFrithwin Wagner-Lippok - international theatre directorand theorist. Professor for representation and presencetechnics at Technical University Duale Hochschule Baden-Württemberg Karlsruhe, Germany. His PhD (University ofBayreuth) is concerned with authenticity and affectivity intheatre. His projects focus upon contemporary esthetics,performativity, and the restructuring of affects bymedialization and its effects on contemporanian theatre.Founded avantgarde theatre group Tantalus, was employedby several German theatres and collaborated in operaproductions. He directed over 15 plays and developedwith Christina Schmutz in Barcelona new formats such asentrevistas performáticas and lecturas2go performáticasengaging with theorists and performers such as She ShePop and Rimini Protokoll. After working at the Institut delTeatre, Barcelona, he partakes at the Pontifícia UniversidadeCatólica PUC in Rio de Janeiro, Brazil in the project„Theoretical Imagination in Contemporary Literary Studiesand Theatre Practice”. He held a lecture at the BayreuthSymposium WagnerWorldWide:Reflections on postdramaticphenomena in Richard Wagner’s music (2013).http://lecturas2goperformaticas.euhimmelschwarz@hotmail.com“Step aside, please. Attention. We jump. Now!” – shouts the actor Fabian Hinrichs softly towards the audience at thebeginning of René Pollesch’s Kill your Darlings – Streets of Berladelphia in Berlin’s theatre Volksbühne, and the audience,enlaced in the music of Bruce Springsteen, is immediately captured and keeps enthralled right to the end. Subsequently, agroup of gymnasts perform stunning jumps, and, later on, Hinrichs will sit on an excavator and wear an octopus fancy dress.Only few theatre plays come about as wellness-like nice and completely “unpolitical” as this production. Appearances aredeceptive. The political of a performance sets up by esthetics, not (only) by its sujet. Its framing makes the “harmless” show apolitical performance. The lecture analyzes how theatre gets political, reflecting its own social and economic presuppositionsas formal frames and thwarting them systematically in the first place. This recursive reflexivity meets a performativeauthenticity concept as proposed by Ferrara and Taylor that combines ethics and esthetics in the principle of “exemplarity”.The “authentic” auto-reference of one’s own prerequisits allows the political frame of artistic reflection and of one’s ownactions to be tangible in theatre – something which, following Niklas Luhmann, for the sake of the maintenance of a system,usually must be kept invisible: A concept of such communicative “authenticity” permits a position against conformismtowards prevailing political patterns: the political “rule” (Rancière) can be interrupted. The lecture discusses the estheticalconditions of political performance: the structural implication of the spectator which “unveils his latent co-responsabilityfor the theatrical moment” (Lehmann), and the opening of new space for action by the “affective actor” (Wolf-Dieter Ernst)who, by his outpacing or underbiding of role proposals, acts subversively – dress rehearsal for political resistance. “Affectivespace” (Tygstrup) thus becomes a key requirement for political performance as an “authentic” event.FIRT/IFTR World Congress, University of Warwick, 2014541

The Staging of Capitalisation and the Capitalised Stage: Meng Jinghui’s Accidental Death of anAnarchistWorking Groups: Political PerformanceZheyu WeiTrinity College DublinZheyu Wei received his B. A. in Sun Yat-sen Universityand his M. A. in Nanjing University in China, both inEnglish Language and Literature. Co-funded by TrinityCollege Dublin and Chinese Scholarship Council, heis currently a first-year PhD student in Department ofDrama in Trinity College Dublin. His doctoral research“Post-Cold War Experimental Theatre of China: StagingCapitalization, Globalization, and Interculturality”offers a study of contemporary Chinese spoken drama,especially experimental theatre, through the theoreticallens of globalisation, consumerism and interculturalism.As one of the most representative and influential figures of contemporary Chinese theatre, Meng Jinghui through his “littletheatre” experiments since the early 1990s and the following large-scale industrialised productions, has received criticalacclaim and enjoyed enormous commercial success. What marks the start of this transformation is his play in 1998, AccidentalDeath of an Anarchist (an adaptation of Dario Fo’s original work by Chinese playwright Huang Jisu). Adopting Marxist andpost-colonial theories, this paper studies the ways in which Meng Jinghui locates and carries out his artistic and sociopoliticalpraxis in the Left-wing play Accidental Death of an Anarchist, while his characterisation of Capitalism was contradictedby the connection between his avant-garde experiments with popular culture and the market that came from Capitalism,and marketing of the play itself. It is also examined how this theoretical foundation of his intimacy with the audience –interaction, playfulness and localisation of alien avant-garde elements – formed the shape of the “Meng-style theatre” in thefollowing decade. Furthermore, the paper points out that Meng’s consumerisation of avant-garde symbols tries to constructan egalitarian subculture among his middle-class audiences yet occasionally dissolves the critical agency of the individualspectator. Meng Jinghui, the author argues, is a typical example of many contemporary Chinese theatre practitioners whostarted from little theatre experiments, engaging themselves with endeavouring exploration of new theatrical forms, andeventually turned to commercial theatre, which actually mirrors the social transformation from centrally planned economyto market economy of China at the turn of the new century, yet evokes further debates concerning balance between art andmarket as well as understanding and representing Capitalism in contemporary China.weizh@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014542

The Bricolage Aesthetic in Ecological PerformanceWorking Groups: Political PerformanceLisa WoynarskiRoyal Central School of Speech & DramaLisa Woynarski is a performance-maker, researcher,and ecodramaturg working at the intersection ofperformance and ecology. Currently a PhD candidateat Royal Central School of Speech & Drama, herresearch is on the development and articulation of anecological performance aesthetic, interrogating theway performance can foreground, reveal, and critiqueecological relationships. Her practice involves workingin urban green spaces, with her company Green Stageand performance collective Plantable. Her work as anecodramaturg has been across various disciplines, fromsite-specific work to dance pieces about the Arctic.Along with creating research-informed performances,she co-convenes a Performance and Ecology Networkat the Young Vic, which connects theatre practitionersinterested in engaging with ecology.Ecological performance is an emergent field of study, representing the intersection of performance and ecology. Broadly,it brings ecological thinking to bear on performance criticism, dramaturgy and performance making practice. Ecology isinherently bound up with place, politics, community and social context: ecological performance responds to and engageswith a mix of all of these relational conditions. The aim of this paper is to examine the way in which the elements containedwithin ecology are engaged with, critiqued and reinvented in ecological performance, which I suggest is always political. Irefer to this as bricolage, considered as a strategy to resist stratification, as it is about responding to the things that makeup a place, revealing the mesh of components, both material and otherwise, implicated within the ecological relationshipsof a site. Bricolage also refers to the responsive and reflective elements of ecological performance: the creation of workfrom what is immediately available, including a diversity of materials and sites, and re-imagining of the everyday within aperformance context. Taking my own practice Trans-Plantable Living Room (2013) as an example of a bricolage aesthetic, Iwill consider how it represents a dynamic dialogue between performance, community, politics and plants. Considering theecological effects of cosmopolitanism and putting it in dialogue with the localism, through Heise’s (2008) conception ofeco-cosmopolitanism, I contend that the process of bricolage underpins ecological performance. Extending and elaboratingthe idea of urban bricolage as a political and civic strategy, ecological performance offers a the potential to consider theurban space through theories of vital materialism, or the vibrancy of the bricolage of heterogeneous ecological relationshipswithin a city.performanceandecology.wordpress.comlisawoynarski@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014543

Working GroupsPopular EntertainmentsPlaying with the Flop: Failure in the Clown classroomWorking Groups: Popular EntertainmentsLucy AmsdenUniversity of GlasgowI am a third year PhD Student at the University ofGlasgow, writing a thesis on the Clown Pedagogy of theEcole Philippe Gaulier. This follows an undergraduatedegree and Masters by research at University ofBirmingham. I spent two months at the school, initiallyjoining as an aspiring performer, but found myselfmore interested in the critical questions that becamemy research projects. I have presented twice to thePerformer Training working group at TaPRA, and havealso been part of the Popular Theatres working groupthere, spoken at postgrad colloquia and the LondonComedy Forum, and published a review of Jon Davison’sbook, Clown, in Contemporary Theatre Review. I havespoken about my research at Bright Club, a stand-upcomedy/outreach event in Glasgow and Edinburgh,where I am also involved in training development.In this paper I unfold the flop as it is understood by students of the Ecole Philippe Gaulier, and consider how this moment ofperformance failure may inform a theoretical understanding of clowning. In the flop, what initially seems to be failure maybe transformed into comedy. I explore notions of ‘badness’ discussed by Gaulier students, to discover differing views onthe seriousness or finality of flops experienced in the classroom. The comic theory of Peter Marteinson provides an insightinto how epistemological failure makes audiences laugh. I examine how Gaulier encourages and engineers moments wherestudents don’t understand – this makes them flop, and in turn enables them to learn to use flops to generate laughter. Iinterrogate the current understanding of Gaulier’s ‘via negativa’ pedagogy, arguing that the way he engages with studentsexperiencing flop allows for more nuanced lessons to be learnt than straightforward negation would allow. I suggest thatflops are used as fertile ground for comedy. I go on to engage with Jon Davison’s criticism of the understanding of clownfailure as revelatory of the performer, using an example from Gaulier’s classroom to question how necessary the authenticflop is for comic performance. I offer that students are asked to identify for themselves the ways in which they can appear tofail, creating comedy that lies not in genuine failure, but in the performed appearance of failure.https://glasgow.academia.edu/LucyAmsdenl.amsden.1@research.gla.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014544

“A Fine Mental Training… a Splendid Physical Exercise”: Unearthing the Influence of the ProfessionalStage Trainer at the Turn of the 20th CenturyWorking Groups: Popular EntertainmentsA Melbourne newspaper reported in September 1907 that a local child had accepted a two-year contract with the LiddiardJuvenile Company ‘to tour through India and the far East.’ Well known to the Brunswick community through her charityperformances, little Dinah Campbell was the second pupil of Madam Lilley to have recently been offered a professionalengagement on an international tour. Although Miss Campbell did not pursue an adult career on the stage, the influence ofMadam Lilley indicates a theatrical network inclusive of teachers with the clout to mediate between high profile producers,talented children, and their families.Gillian ArrighiUniversity of Newcastle, AustraliaGillian Arrighi is Senior Lecturer in Creative andPerforming Arts in the School of Creative Arts, at theUniversity of Newcastle, Australia. Her research hasbeen published in scholarly journals such as TheatreJournal (on performing animals), Australasian DramaStudies (on circus history and on teaching devisedperformance), New Theatre Quarterly (on childrenand the entertainment industry), the Journal of EarlyVisual Popular Culture (on circus and Modernity),Theatre Research International (on circus and Sumo)and in edited collections on topics such as early-20 th century amusement parks, and on the socialconstruction of archives. Current research projectsinclude an ongoing investigation into the contributionof children to the global entertainment industry andan expanding investigation into global ‘youth’ and‘social’ circus. She is associate editor of the scholarlye-journal, Popular Entertainment Studies, and her latestbook (co-edited with Victor Emeljanow) is EntertainingChildren: The Participation of Youth in the EntertainmentIndustry (Palgrave Macmillan, 2014). This year hernew monograph, Shaping Nationhood: The Role of TheFitzGerald Brothers’ Circus will also be published.Another professional stage teacher, Jessie Brenan, the woman responsible for training ‘all the children associated with theJ. C. Williamson enterprises for some years past,’ spoke in 1911 of visiting Copenhagen, Berlin, Paris, and London, ‘in order tostudy new methods of training [children].’ Considering her role in developing young performers for eventual employment inthe adult companies of the Williamson empire, Brenan added—with something of a proto-feminist sentiment—that theatricaltraining was especially good for girls, ‘for whom so few professions are open.’In Australia at least, Madam Lilley, Jessie Brenan, and other women who trained children for the musical and variety stage, wereinheritors of practices established thirty years before by Mrs Lewis (Rose Edouin), at her Academy of Music in Melbourne.Unlike Mrs Lewis, herself an established and popular actress, those who came afterwards appear only as shadowy presencesin the public records of musical theatre and variety performance. Decades before the first professional training schoolopened in Australia, these women wielded considerable artistic, stylistic, and personal influence through their pupils, and theproductions to which they themselves contributed. This paper seeks to unearth and understand the extent of that influence.Gillian.Arrighi@newcastle.edu.auFIRT/IFTR World Congress, University of Warwick, 2014545

The ‘New’ Hippodrama: Contemporary Equestrian SpectacleWorking Groups: Popular EntertainmentsThe hippodrama existed as a popular spectacle during the nineteenth century, an entertainment marrying the equestrianacts that were staples of the early modern circus, with a grander narrative purpose. As such it was denigrated by theguardians of ‘legitimate drama’, such as Leigh Hunt, as an example of the triumph of the taste over the masses over theclaims of the intellect. Within circus, equestrian performances declined in importance during the twentieth century, cedingprominence to wild animal and spectacular aerial acts. While animal performance within circus has declined, the performinghorse continues to make its presence felt in the theatrical arena. Théâtre du Centaure has involved horses in performancesof Genet’s The Maids and Macbeth, while Théâtre Zingaro has referenced the most famous of hippodramas, Mazeppa.Kim BastonLa Trobe UniversityThe relationship of horse with human is radically redefined in these contemporary hippodramas, a relationship based onan ‘equal’, or ‘reciprocal’ sharing of the theatrical space, emphasizing non-human animal agency and de-emphasizingsuggestions of coercion. Yet the spectacle presented is based on the traditional divisions of equestrian acts within thecircus, from the formal movements of haute école to liberty acts. This paper investigates the shifting narratives surroundingthe contemporary equestrian performance.Kim Baston is a Senior Lecturer in Theatre and Dramaat La Trobe University, and Academic Chair of NICA(National Institute of Circus Arts) in Melbourne,Australia. Her research interests include the use ofmusic in theatre, applied theatre, and circus history andculture. She has spent many years working as an actor,director and composer in theatre and film, in the UK andin Australia.k.baston@latrobe.edu.auFIRT/IFTR World Congress, University of Warwick, 2014546

Australian Entertainers in Singapore in the 1950s and 1960sWorking Groups: Popular EntertainmentsJonathan BollenFlinders UniversityIn the 1950s and 1960s, young Australian entertainers found international recognition in Singapore. For many, it was thefirst stop on a journey encompassing the uncertain aspirations of launching a career in the world of entertainment. Theirsuccesses were as varied as their destinations. Their touring routes were typically circuitous. Some journeyed on to work inthe night clubs of western Europe and north America; others found onward bookings in Manila, Hong Kong and other citiesin East and Southeast Asia; a few returned directly to Australia. Since the 1920s, audiences in Singapore had enjoyed a variedprogram of entertainment that appealed across the city’s population mix. Singapore’s famous amusement parks – NewWorld (1923-1987), Great World (early 1930s-1964) and Happy World (1936-2000, renamed Gay World in 1966) – presentedMalay dramatic theatre, with dance interludes, magic shows, comedy, sketches and circus acts, alongside Chinese operas,all-girl revues, singing shows, boxing matches and martial arts, modern western dramas and jazz music for dancing. Drawingon a survey of newspapers and archival research, this paper assesses the contributions of Australian singers, comedians andadagio duos to Singapore’s distinctive entertainment mix. In particular, it considers the significance of their appearance atnewer venues associated with film production companies (Cathay Organisation, Shaw Brothers), international hotels andhighly-capitalised night clubs.Jonathan Bollen holds academic status as SeniorLecturer in Drama at Flinders University of SouthAustralia. He is the co-author of Men at Play:Masculinities in Australian Theatre since the 1950s(Rodopi 2008) and a contributor to the AusStagedatabase (http://www.ausstage.edu.au). His research ongender, sexuality and entertainment has appeared in TheDrama Review, Social Semiotics, The Journal of AustralianStudies and Australasian Drama Studies. He has receivedresearch fellowships from the Australian ResearchCouncil and the National Film and Sound Archive.jonathan.bollen@flinders.edu.auFIRT/IFTR World Congress, University of Warwick, 2014547

Reading Between the Lines: Touring Vera BeringerWorking Groups: Popular EntertainmentsDyan ColcloughManchester Metropolitan UniversityDyan Colclough teaches in the Department of Historyand Economic History at Manchester MetropolitanUniversity. Her PhD entitled, “Manufacturing Childhood:The Contribution of Child Labour to the Success of theBritish Theatrical Industry, 1875–1903” was shortlisted in2009 by The Economic History Society for the Thirsk-Feinstein PhD Dissertation Prize, and she has presentedconference papers that include “Marketing thePantomime Child: The Theatrical Training Industry andIts Practices” (University of Birmingham 2010) and “TheLegacy of ‘At Homes’ for Victorian Middle Class Women1780–1900” (Royal Holloway University of London2011). Her most recent publication is entitled “BritishChild Performers 1920–40 “. Entertaining Children.(May 2014); 73–90. Palgrave Macmillan. 23 May 2014.The expansion of popular performance-based entertainment during the latter half of the nineteenth century stimulatedthe nationwide recruitment of thousands of child performers. Popular entertainment also spawned a satellite industry thatcomprised a massive growth in the publication of theatrical journals which relied on industry advertising for their revenue.Examination of periodicals demonstrates that selective reporting and self-interest within the journalistic industry was a keyfactor which helped to fashion the public image of popular child performers and helped to draw a veil over the actualityof their work. The use of nineteenth century periodicals as historical source material is not unproblematic. The very natureof journalistic evidence implies editing and selection. However the weaknesses of this source material can also be usedto positive effect. What is not included in the text can be as important as what has been written. Through their inclusionof interviews, reviews and advertising, periodicals reflected the industry’s self-promoting tone about the talents of childperformers. In doing so they also, inadvertently, exposed months of relentless working regimes. Editorials, supposedly takinga ‘peep behind the scenes’, invariably dwelt on the self-sacrifice of theatre managers and performance tutors who, in thename of art and as servants of the public, could never be off duty. Such claims fly in the face of their assertions whichequated the work of popular child performers with a few hours of play on stage. In its exploration of this topic, this paper willfocus on a case study of Vera Beringer (1879-1964) who, when aged 9 years, toured the country in the lead role of The RealLittle Lord Fauntleroy.d.colclough@mmu.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014548

Awkward Clowns and Several Government Inspectors: from Meyerhold to The Mighty BooshWorking Groups: Popular EntertainmentsThis paper will analyse a range of approaches to the comic performances in Gogol’s 1836 satire of small town corruption, TheGovernment Inspector. It will focus on the application of clown practices in the 2011 co-production at the Young Vic, whichstarred the absurdist comedian Julian Barratt of The Mighty Boosh, and an apparently more traditional Romanian productionby the Comedy Theatre of Bucharest seen at the Edinburgh Festival in 2007. The paper will refer to Meyerhold’s groundbreakingproduction in 1926, which confronted the audience with their complicity in corruption, with a digression on thesubversive actions of Pussy Riot. The paper then discusses Serguei Alex. Oushakine’s account in his article, Red Laughter:On Refined Weapons of Soviet Jesters, which analyses the official edicts by the Ministry of Culture in the former Soviet Unionfrom the 1920s – the 1950s, and maintains that comedians should develop a new form of satire and comedy which will workpositively with the proletariat instead of the jesters telling the truth to kings and thereby still recognising class distinctions(2012: 191 – 202). The paper asks whether subversion by clown and comedians is most awkward when tolerance and dissentare most stifled.Richard CumingUniversity of WinchesterI am a Lecturer in the Department of Performing Artsand programme leader of the MA Devised Performanceat the University of Winchester. My teaching andresearch are in devised performance, focusingespecially on contemporary clown practices and theirrelationship to institutional practices. I was a foundermember of clown troupe Zippo & Co way back, andwas Course Director of the Academy of Circus Artsfor 5 years. From 1986 I ran performance companyfishproductions which was dedicated to performancein non-theatre spaces and cross-art forms. Duringthe Year of the Artist in 2000 the company livedas a family in a caravan on a campsite for a week. Icurrently perform with Fuse Performance in a streetperformance, The Misguided Tour, a sci-art project,Café Lente, and was dramaturg on Fuse’s installationperformance The Village Fete, which is a real /fakevillage fete. I am an artistic associate of Belgian puppetcompany Sac a Dos with whom I worked in 1990, anda director of touring company Platform 4. I am on theeditorial board of Total Theatre magazine, for which Iregularly write and review. In 2011 I was awarded myPhD, entitled The Clown and the Institution.Bibliography:Government Inspector by Nikolai Gogol (2011) Adapted by David Harrower. Directed by Richard Jones [Young Vic, London,4 th June]Oushakine, S.A. Red Laughter: On Refined Weapons of Soviet Jesters, Social Research, 79 (Spring 2012, Issue 1), pp.189 -215The Government Inspector by Nikolai Gogol (2007) Directed by Horaţiu Mãlãele [Majestic Theatre, Assembly Universal Arts.22 nd August]Doon Mackichan; Kyle Soller and Julian Barratt talking about the Young Vic, London and Warwick Arts Centre 2011 coproductionof Nikolai Gogol’s The Government Inspector:http://www.youtube.com/watch?v=YrmroYKJ4jcRichard.Cuming@winchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014549

Pierrots and Pierrettes: an Excursion into Concert Parties and their Female Impersonators duringWorld War 1Working Groups: Popular EntertainmentsVictor EmeljanowUniversity of Newcastle, AustraliaVictor Emeljanow is Emeritus Professor, School ofCreative Arts, the University of Newcastle, Australia andGeneral Editor of the e-journal Popular EntertainmentStudies. He has published widely on such subjectsas the reception of Chekhov in Britain, the careerof Theodore Kommisarjevsky, the engagement ofBeerbohm Tree with Ibsen on the West End andVictorian popular dramatists. He co-wrote with JimDavis the award-winning book Reflecting the Audience:London theatregoing 1840-1880 in 2001. His chapter onstaging the pirate in the 19 th century has appeared in thevolume: Grace Moore (ed), Swashbucklers and Swindlers:Pirates and Mutineers in Nineteenth-Century Literatureand Culture, Ashgate , 2011 and his volume on HerbertBeerbohm Tree in the Pickering and Chatto series Livesof Shakespearian Actors, 2012. An interest in the roleof children in the entertainment industry which heshares with Gillian Arrighi, is reflected in their recentlypublished Entertaining children: the participation of youthin the entertainment industry (Palgrave, 2014). He is theconvenor of the Popular Entertainments Working Groupof the International Federation for Theatre Research. Anexperienced theatre director, he has won many awardsfor his productions.Concert parties formed an indispensable support mechanism for combatants during both World Wars. Male and femaleperformers were mobilised at the outbreak of hostilities into touring groups that presented shows at garrison theatresattached to training camps but as quickly could be found at base camps behind the front lines of the various theatres ofwar. Their repertoires reinforced a sense of continuity and connectedness with values and experiences that the combatantsbrought with them from the ‘homes’ that they had left behind. Just as indispensable, however, were the concert partieswhich soldiers formed themselves and were located within the range of enemy guns. From these women were perforceexcluded. By the end of World War 1, every divisional group possessed multiple concert parties, most of which demonstrateda remarkable longevity. Some even developed a life of their own after the cessation of hostilities: the British Splinters,the Australian Smart Set Diggers, the New Zealand Digger Pierrots, and the Canadian Dumbells as examples, which touredextensively after the war. Mainstays of the soldiers’ concert parties were the female impersonators whose abilities insuredtheir longevity. This paper explores the significance of these impersonators and the roles which they played, both literallyand metaphorically. It will be grounded with references, among others, to Charles Holt attached to the Australian 13 th FieldAmbulance, A.I.F. who led the Australian Smart Set Diggers, and Tommy Keele, who was the principal female impersonator inthe Ace of Spades concert party attached to the British Army’s 12 th Division, 1917-19.Victor.Emeljanow@newcastle.edu.auFIRT/IFTR World Congress, University of Warwick, 2014550

Equestrian Drama and Circus Feats under the Aurora Borealis: The Winter Season of Gautier & Co.in Trondheim, Norway 1839-40Working Groups: Popular EntertainmentsLate in the year 1839 Mr D. Gautier with family and company arrived in Trondheim, Norway, ready to provide a season ofentertainments. The troupe, which in 1838 counted 22 persons and 22 horses, stayed in town for at least three months.The Gautier troupe was well known in Scandinavia for their equestrian skills, in addition they had skills in acting, dancing,tightrope walking, acrobatics and fireworks. Their repertoire of pantomimes, performed both on and off horseback, formedan integral part of their performances. In the keep of The Regional State Archives in Trondheim are 13 richly illustrated postersannouncing some of the troupe’s productions while in town. The posters announce performances between December 26,1839, and March 8, 1840. According to these posters, the troupe gave at least 29 performances during this period. In thispaper I will examine the pantomimes of the Gautier troupe, as stated on their posters, focusing on the two forms offered bythem: comical pantomimes versus so-called “historical” ones. How do these two forms relate to the overall skills possessedby the troupe?Ellen GjervanNorwegian University of Science and TechnologyEllen Karoline Gjervan is a postdoctoral researchfellow at the Department of Art and Media Studiesat NTNU, where she is part of the interdisciplinaryresearch project “Performing arts between dilettantismand professionalism. Music, theatre and dance in theNorwegian public sphere 1770-1850” (pArts). In thisproject, Gjervan takes a special interest in the itineranttheatre artists operating in Norway and NorthernEurope around 1800. Gjervan received her PhD inTheatre Studies from the University of Bergen, Norway,in 2010, with a dissertation on how Henrik Ibsen createdand used theatrical space in the production books hekept during his employment at the Bergen theatre, 1851-1857. Gjervan has co- authored an academic textbookon dramaturgy, Dramaturgi – forestillinger om teater(2005). She has published articles on Ibsen’s theatricalcareer, on dramaturgy and on late 18 th century and early19 th century stagecraft.ellen.gjervan@ntnu.noFIRT/IFTR World Congress, University of Warwick, 2014551

Shoulder Rubbing with Celebrities: The Actors’ Orphanage Fund Theatrical Garden Parties 1904-1925Working Groups: Popular EntertainmentsCatherine HindsonUniversity of BristolFounded in 1896, the Actors’ Orphanage Fund formed part of a second wave of theatrical charities, guided by new, late-Victorian approaches to charitable activity. Between 1904 and the early 1950s the theatrical garden parties functioned asthe charity’s main annual fundraiser. Located betwixt industry and society networks, these day-long spectacular events filledthe Botanic Gardens in Regents Park or the Hospital Gardens in Chelsea, attracting, rain or shine, crowds of between ten andfourteen thousand visitors. Rooted in a long-standing connection between the theatre industry, charity and public events,the theatrical garden parties drew on devices, forms and traditions from the theatre, the village fete and the society gardenparty. Amongst the numerous diversions on offer, visitors could play hook a duck, chance their luck in the champagne grotto,watch a purpose-written melodrama in the Royal Palladium marquee and visit Mrs Jarley’s Waxworks. Stalls and sideshowswere staffed by theatrical celebrities and, later, Hollywood stars. This paper explores the theatrical garden parties stagedbetween 1904 and 1925 and questions the significance of such events to the theatre industry and to constructs of theatricalcelebrity.Catherine Hindson is Senior Lecturer in Theatre andPerformance Studies at the University of Bristol. Shehas published widely on popular performance between1820 and 1920 and on the role of theatre history intheatre redevelopment, particularly in relation to theBristol Old Vic. She is currently completing a bookexploring the relationship between theatre and charity -The Stand and Deliver Business: Charity, London Theatreand the Actress, 1880-1920 (University of Iowa Press,2015).Catherine.Hindson@bristol.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014552

Rocking the Town: Black Women Entertainers in Australia 1950s-1960sWorking Groups: Popular EntertainmentsVeronica KellyUniversity of QueenslandThe black women entertainers who were major presences in the Australian entertainment mainstream after 1945 were notindigenous Australians. Rather, a succession of top-line American and British artistes worked in the varied fields of concertrecitals, modern dance and popular instrumentalism during Australia’s two crucial decades of changing racial relations,culminating in the 1967 Referendum which guaranteed Aboriginals full citizenship. In the context of variety, Tivoli tours wereundertaken by the American jazz dancer Norma Miller (1955) and Katherine Dunham (1956), anthropologist and proponentof Afro-Caribbean choreography. The nineteen-year-old Welsh popular singer Shirley Bassey focussed wide attention on theproblematic nexus of femininity, sexuality and race. The most popular and politically engaged black woman artiste was thedignified and devout Trinidadian-British boogie-woogie pianist Winifred Atwell, a major recording and concert star. Arrivingfirst in 1955, the genial Atwell used her status to focus attention on Aboriginals, and in 1983 she died as an Australian citizen.These were determined and conscientious artistes whose respect and acclaim won them high national visibility. Inescapablyaware of marginalisation, most were spokeswomen for racial equality, and their national prominence in popular Australianentertainment contributed to the context of Aboriginal struggles for social and constitutional equality.Veronica Kelly is Emeritus Professor at the University ofQueensland, a Fellow of the Australian Academy of theHumanities and investigator for the AusStage Project.She is a founding editor of the journal AustralasianDrama Studies and former General Editor of the Rodopi“Australian Playtexts” series. She has published widelyon modern Australian drama and theatre and specialisesin nineteenth-century theatre history. She has editedcolonial playtexts and written a major monographon Louis Nowra. Her most recent book is The EmpireActors: Stars of Australian Costume Drama (2011).Currently she researches cultural exchange betweenAustralia and Britain in the early twentieth century, ona Leverhulme Project Grant with associates Jim Davis,Martina Lipton and Pat Smythe. Her research with thePopular Entertainment Group of IFTR maps the acts,performers and industrial circumstances of post-warAustralian variety ‘s: British stars Tommy Trinder, GracieFields, Stanley Holloway. Her research with the GlobalTheatre History Project (Munich) concentrates onmodern transnational flows of popular entertainment.v.kelly@uq.edu.auFIRT/IFTR World Congress, University of Warwick, 2014553

Professional Wrestling and/as Theatre: Form and FinanceWorking Groups: Popular EntertainmentsProfessional wrestling is a popular spectacle in which muscular men and women throw, body slam, and attempt to pineach other in stadiums full of screaming fans. Professional wrestling thus has many of the trappings of contemporarysports; however, it also fulfills many of the established formal definitions of theatre in that it is scripted, live entertainmentperformed before an audience by individuals playing characters. Indeed, the serial nature of professional wrestling withongoing story arcs, places professional wrestling within a long tradition of popular, theatrical entertainment. This paper takesup professional wrestling in the context of other globalizing theatres and forms such as Broadway musicals, Cirque du Soleil,and the Metropolitan Opera’s Live in HD series to distinguish relations among production, circulation, and spectatorship.These relations are brought into sharp relief through the so-called “lowbrow” performance of professional wrestling and itsassociation with high finance through the largest wrestling company in the world, World Wrestling Entertainment (WWE),which is publicly traded on the New York Stock Exchange. Examining professional wrestling thus reveals formal and financialdistinctions that trace the contours of the stratified field of globalizing live entertainment.Eero LaineCity University of New YorkEero Laine is a PhD candidate in the Theatre Programand Film Studies Certificate Program at The GraduateCenter of the City University of New York (CUNY).His dissertation focuses on the theatricalization ofglobal business practices and the financialization ofperformance through the case study of the professionalwrestling industry. Eero’s research is currentlysupported by a competitive dissertation fellowship.Eero was a recipient of the Thomas Marshall GraduateStudent Award from the American Society for TheatreResearch and the Vice Chancellor’s Excellence inLeadership Award from the City University of New York.He has recently published an article on the labor ofprofessional wrestling in Performance Research, whichwas collaboratively authored with Broderick Chow. Heis a contributor to American History Through AmericanSports (edited by Bob Batchelor and Danielle Coombs)and The Žižek Dictionary (edited by Rex Butler). His workhas also been published in Theatre Journal and WesternEuropean Stages. Eero teaches acting, performancehistory, and introductory courses in the Performing andCreative Arts Department at CUNY’s College of StatenIsland.elaine@gc.cuny.eduFIRT/IFTR World Congress, University of Warwick, 2014554

“Evergreen Jessie”: Jessie Matthews’ Tours to Australia in the 1950s and 1960sWorking Groups: Popular EntertainmentsMartina LiptonUniversity of WarwickDr Martina Lipton, Research Fellow (Australia) at theUniversity of Warwick and Honorary Associate Lecturerat the University of Queensland, has published severalarticles in Australasian Drama Studies, ContemporaryTheatre Review, Popular Entertainment Studies and NewTheatre Quarterly and A World of Popular Entertainments:An Edited Volume of Critical Essays (2012). Her researchtopics include twentieth-century pantomime in Britainand Australia, with a focus on pantomime in timesof war, and also transnational theatre stars on theearly-twentieth-century Australasian stage. She iscurrently researching the challenges of modernity forprofessional pantomime on the Australian stage 1920-60.Postwar tours by British theatre stars and prestigious overseas companies to Australia, such as George Formby Junior, ArthurAskey, the Old Vic Company with Laurence Olivier and Vivien Leigh, and the Shakespeare Memorial Company with AnthonyQuayle, began in 1946 when English comedian Tommy Trinder led the return of imported stars. These tours connectedEngland and Australia in a diplomatic manoeuvre that acknowledged the latter’s support during the Second World War andencouraged its further assistance in the Food for Britain Fund campaign, which was launched in Sydney in April 1946. JessieMatthews’ tours in 1952 and 1957 were thus part of a sequence of commercially successful imported productions, whichwere heralded as a great boom era in Australian theatre. However, the Australian media criticised the glut of overseas ‘hasbeens’,as a procession of ‘so-called stars’ who played in Australia since they could no longer command their once-high feesat home. Jessie Matthews was forty-five years old when she first toured to Australia. Her waning popularity in Britain sincethe 1940s, due to her absence from film, meant that by the time she arrived in Melbourne she was no longer recognisable asthe screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘Evergreen Jessie’s’ succession ofBritish film hits including Evergreen (1934). This film adaptation was originally a stage musical (1930) also starring Matthews.This paper examines the critical and public reception of Matthews’ tours with a focus on the strategic management of herstar persona, both on and off stage, including her transition from musical comedy on screen to straight actress on stage andher specific choice of charity work and public criticism of Australian theatre management.mlipton@optusnet.com.auFIRT/IFTR World Congress, University of Warwick, 2014555

Memory Remade: The Legacies of The Clansman and Birth of a Nation in Popular CultureWorking Groups: Popular EntertainmentsBirth of a Nation burst onto the U.S. national scene in 1915, inciting riots and bans, breaking box office records, enjoying aspecial showing for President Wilson in the White House, and serving as a successful recruiting tool for the Ku Klux Klan. Nearlya century later the film holds a special place in the public imaginary for its pioneering use of cinematography, rampant racism,and ability to inspire critical and popular responses. My interest in Birth of a Nation, Thomas Dixon, Jr.’s The Clansman (bothplay and novel), and the popular entertainments they inspire, revolves around the ways these pieces interrogate intersectionsof memory, history, time, and performance. How have The Clansman and Birth of a Nation performed Reconstruction-erahistory for the American public and the world? How do performances and re-performances that encapsulate elements ofhistory reverberate through popular culture and take on lives of their own, effectively rewriting the past for the future?My paper considers these reverberations in two contemporary pieces, DJ Spooky’s Rebirth of a Nation (2005) and AddaeMoon’s Four Days of Fury: Atlanta 1906 (2013), both of which explore the persistence of The Clansman’s and Birth of aNation’s legacies in popular culture.Elizabeth OsborneFlorida State UniversityElizabeth Osborne is an associate professor in TheatreStudies at Florida State University. Her work hasappeared in Theatre Symposium, Theatre History Studies,Theatre Journal, and The Journal of American Drama andTheatre, and her book—Staging the People: Communityand Identity in the Federal Theatre Project—was publishedin Palgrave’s Studies in Theatre and Performanceseries in 2011. She is currently co-editing Working in theWings: New Perspectives on Theatre History and Laborin the United States (Southern Illinois University Press,2015) and has several essays appearing in forthcomingcollections. Elizabeth is the book review editor for theJournal of Dramatic Theory and Criticism, an executiveboard member for the American Theatre and DramaSociety, and the conference planner for the Mid-America Theatre Conference.bosborne@fsu.eduFIRT/IFTR World Congress, University of Warwick, 2014556

Battles of War as Amusement Enterprise: Fillis’s Spectacles in London and St. LouisWorking Groups: Popular EntertainmentsThe first circuses arrived in South Africa in the mid 1800s and generally followed the same recipe of displays of horsemanship,clown, acrobatic and some animal acts. Frank Fillis came from England in 1880 to join Bell’s circus, which he took over afterBell’s death. Fillis was a brilliant horseman and animal trainer, but it was especially his taste for grand spectacles which madehim a legend in the circus world.Bett PaceyTshwane University of TechnologyDr Bett Pacey is a senior lecturer at the Department ofDrama and Film at Tshwane University of Technology,Pretoria. Her focus areas for research are South Africantheatre and popular entertainments, including streettheatre, carnivals, puppetry, the circus and film. She hasbeen a member of International Federation for TheatreResearch since 2001 and a member of the IFTR PopularEntertainments working group since 2006. She hasdelivered papers at national conferences, several IFTRconferences and other international conferences, andhas published articles in peer-reviewed journals andchapters in books. She is a part-time voice artist and haswritten three plays and a musical. She has directed overtwenty plays, ranging from Shakespeare to Ionesco andPinter, as well as works by contemporary South Africanplaywrights.Fillis’ was the coordinator and choreographer of the spectacle Savage South Africa for The Greater British Exhibition of1899 in London. It opened in the Empress theatre at Earl’s Court in May, later transferred to the Olympia and during 1900toured the British Isles. The spectacle included Boer families, representatives of different ethnic groups and featured animalssuch as elephants, leopards, lions, and buck, but the main focus was the re-enactment of battles from the Matabele War(1893) and the Matabele rebellion (1896) which appealed to British colonial tastes. The second Anglo-Boer War broke out inOctober 1899 and Fillis returned to South Africa, where he found it difficult to turn a profit, especially in the dire economiccircumstances after the war. When he was offered the opportunity of coordinating and choreographing a spectacle for the StLouis World’s Fair, he jumped at the chance. The Boer War and National South African Exhibition included a Boer laager, Britishmilitary camp and a reconstructed kraal featuring various indigenous tribes. The main attraction was re-enactments of theAnglo-Boer War battles of Colenso and Paardeberg, which included Boer veterans such as General Ben Viljoen and GeneralPiet Cronjé. This paper will address various aspects of these two spectacles such as programme compilation, technical feats,controversies and audience reception.PaceyB@tut.ac.zaFIRT/IFTR World Congress, University of Warwick, 2014557

From Mother Goose to Master: Training Networks and Knowledge Transfer in Contemporary BritishPantomimeWorking Groups: Popular EntertainmentsSimon SladenVictoria and Albert MuseumThis paper builds upon the first ever UK pantomime training survey conducted in Summer 2013, which saw 50 practitionersparticipate in an online questionnaire about their personal training route into the industry and pantomime career to date.Using data from the survey, as well as interviews with pantomime producers, this paper will identify the industry’s formaland informal training routes and thereby explore the transmission of genre conventions through pantomime’s complexnetwork of practitioners. Paying particular attention to the role of pantomime Dame, this paper seeks to examine the waysin which training and practitioners contribute to and influence the genre’s evolutionary course. By tracking and tracingperformers’ career trajectories via the genealogical tool of the ‘family tree’, key practitioners of influence will be identifiedand their influence and influences explored in an examination of the apprentice: master: expert relationship. The inheritance,adaptation and adoption of practises combined with its embracing of new trends, forms and fashions makes pantomimea multi-layered performance genre. That this can be traced through the industry’s networks of knowledge transfer and inperformance via inherited and influenced practice not only allows us to excavate pantomime’s past, but also experience it incontemporary performance.Simon Sladen is Assistant Curator, Modern andContemporary Performance at the Victoria and AlbertMuseum. His research interests include modern Britishpantomime, its evolution since 1945 and the genre’s useof celebrity. He is Curator of the National Database ofPantomime Performance and Founder / Co-ordinatorof National Panto Day.s.sladen@vam.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014558

Jekyll v. HydeWorking Groups: Popular EntertainmentsIt didn’t take long for actors to see the dramatic possibilities afforded by Robert Louis Stevenson’s 1886 novella The StrangeCase of Dr Jekyll and Mr. Hyde. First came Richard Mansfield’s Dr Jekyll and Mr. Hyde, in 1887, which often played to standingroom only. Crucially, Mansfield had the support of Robert Louis Stevenson, who was pleased to receive his “monthly checks”in exchange for his authorisation. Competing productions swiftly sprang up, most notably that of Daniel E. Bandmann, aGerman actor long resident in America. Bandmann was ‘elated’ when he thought (perhaps mistakenly) that Stevenson hadagreed to endorse his production. He and Mansfield entered a battle – which the latter was destined to win – in which theyraced to steal a march on one another. An anecdote suggests that Bandmann set up his own production in a fit of pique,having been insulted by Mansfield.Lisa WarringtonUniversity of OtagoLisa Warrington is an Associate Professor in TheatreStudies at the University of Otago, New Zealand. Sheis also a theatre director of many years standing, withover 130 productions to her credit. She is a long-timechampion of New Zealand theatre. Her current researchinterests include Pasifika theatre, Shakespeare inperformance, 19th century New Zealand theatre, sitespecific work and directing. She has published in all ofthese areas. She created and runs Theatre Aotearoa,a major database which covers theatre productions inNew Zealand from the early 19th century to the present,which can be found at:“Bandmann sent a request for tickets for himself and friends to Mansfield’s performance. Mansfield replied thathe didn’t give tickets to dime museum people - Bandmann has of late played at “popular prices” - whereupon HerrBandmann determined to play the part himself.” (Atchison Daily Globe, 20 July 1888).Their battle reached its summit in London, in August 1888, where Mansfield performed at the Lyceum, with Henry Irving’sblessing, while Bandmann’s version played at the Opera Comique – until Mansfield’s injunction forced him to cease.Meanwhile, the actor George M. Wood had set up his own adaptation of the play, and the game continued. In this paper,whilst exploring the various strands of “Jekyll vs Hyde”, I will also examine what drove Bandmann in particular, exploring hisdifficult and often bullying personality and his abilities as an actor in the latter part of his life.http://tadb.otago.ac.nzlisa.warrington@otago.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014559

Audiences and Animality: Taste, Laughter and the Animal VaudevillianWorking Groups: Popular EntertainmentsUS vaudeville magnate B.F. Keith used architectural grandeur and the proscenium arch to layer signs of legitimacy andstatus onto variety entertainment. Yet, even Keith could not conceal the troubling evocation of fecund, fairground-styleentertainments as embodied by animal vaudevillians somersaulting and leaping across Keith’s stages. These animal performerswere part of a complex negotiation of humor and taste at the turn of the twentieth century in the United States. Drawingon Rick DesRochers’ and Henry Jenkins’ analyses of the New Humor, I argue that it was not merely animal bodies on theproscenium stage that reminded audiences of nature’s excesses. It was the type of laughter the acts elicited that markedthem as stains on middle-class respectability.Catherine YoungCity University of New YorkCatherine Young is a doctoral candidate in TheatreStudies at The Graduate Center, City University ofNew York. Her dissertation investigates the materialconditions and symbolic meanings of animal acts inbig-time vaudeville in the United States (1885-1932).Her areas of interest include animal studies, earlytwentieth-century popular entertainments, feministcriticism, and critical race theory. Young’s essay “‘AVery Good Act For an Unimportant Place’: Animals,Ambivalence, and Abuse in Big-Time Vaudeville” willappear in the collection Performing Animality, editedby Jennifer Parker-Starbuck and Lourdes Orozco(Palgrave Macmillan). Catherine collaborated with tenother graduate students and Professor David Savran onthe article “‘Let Our Freak Flags Fly’: Shrek the Musicaland the Branding of Diversity,” which was published inTheatre Journal (May 2010). Her performance and bookreviews can also be found in Theatre Journal and TheatreSurvey. She teaches Introduction to Theatre Arts andIntroduction to Acting at Baruch College, where she isalso a Communication Fellow.Discourses of animality were deeply embedded in debates about the New Humor, which was characterized as impulsiveand unevolved, and therefore at odds with the “thoughtful laughter” promoted by intellectuals aiming to shape US culturalidentity. One writer likened primitive laughter to a spasm suffered by a mollusk: immediate and involuntary. Animal vaudevilliansembodied humor debates in the most literal form possible as it was animals themselves who could provoke spectators’unrestrained, animalistic response. This “primitive” reaction was acceptable for children in the audience but not for adults. Inorder to mediate animals’ potential threat to adult decorum, Keith’s publicity machine marketed such fare as opportunitiesfor temporary regression via nostalgia that could be recouped by the higher-class material of other performers on the billand the opulence of the theatre itself.catherineyoung100@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014560

Working GroupsProcessus De Création. La Génétique De La ReprésentationThe Intermedial Transposition of Director’s Notes into PerformanceWorking Group: Processes of Creation; Genetics of PerformanceEdith CassiersUniversity of Antwerp and University of BrusselsEdith Cassiers (1990) obtained a Bachelor in Dutch- Theatre, Film and Literature Studies and a Mastersdegree in Theatre and Film Studies at the Universityof Antwerp. In 2010, she was assistant-dramaturge forJan Fabre for the production “Prometheus LandscapeII”. Since 2011 she has worked as a researcher forLaboratorium/Troubleyn which studies artisticmethodologies of ‘the performer of the 21st century’,including the acting method of Jan Fabre. Currently,she is a fellow of the Research Foundation Flanders(FWO) and is preparing a PhD within the project “TheDidascalic Imagination” about contemporary theatricalnotebooks.Directors’ notes originally stand between the drama-text and the staging, consisting of the director’s instructions totransform the drama text into a performance text, to transpose it from page to stage. However, in the history of the modernstage, the text becomes less prominent or even disappears in favour of the visual and auditory imagination of the director– hence Hans-Thies Lehmann’s term ‘post-dramatic’ theatre (1999). With the emergence of new media, the mediality ofdirectors’ notes also changes. Post-dramatic notebooks are based on a crucially different materiality and mediality (drawing,writing, scores, video and audio, digital) than the performances they help originate. What is the relationship between thesedifferent semiotic and medial modes? What are the similarities and differences between source and target text? How arecontemporary rehearsal documents ‘translated’ into the rhythmical and visual structures that are often characteristic of a(post-dramatic) theatrical production? The hypothesis of this paper is that the visual narrative on stage is co-directed anddetermined by the composition techniques used by theatre makers during the rehearsal process, producing an equivalenceof both content and form in different media. The resulting performance exists of a ‘medial layering’ and entails a selfreflexiveinteraction between different semiotic modes. Drawing from, amongst others, translation and adaptation studies,I will suggest some concepts to analyse the intersemiotic and intermedial transformation process from (post-dramatic)directors’ notes into performance. In order to elaborate and test this theory, notes of three contemporary directors (RomeoCastellucci, Jan Fabre, Luk Perceval) will be examined. Although this abstract and the corresponding paper are writtenin English, the presentation will be held in French to conform to the requirements of the Working Group “Processus DeCréation”.FIRT/IFTR World Congress, University of Warwick, 2014561

Le chemin périlleux vers la scène au dix-huitième siècle: le cas du premier Hamlet françaisWorking Group: Processus De Création. La Génétique De La ReprésentationShakespeare mit plus d’un siècle et demi à atteindre une scène publique en France, celle de la Comédie-Française. Lapièce en question fut Hamlet et le dramaturge qui eut le culot d’offrir cet ouvrage baroque aux comédiens du bastion del’esthétique néo-classique fut Jean-François Ducis. Ne savant pas l’anglais, Ducis prit comme source la traduction partiellede Pierre-Antoine de La Place, publiée dans son Théâtre anglais (1745-49).John GolderUniversity of New South WalesJohn Golder is Senior Visiting Fellow in Theatre in theSchool of the Arts & Media at the University of New SouthWales. Following his doctoral studies at the Universityof Bristol, he taught at the Université de Poitiers beforejoining the staff at UNSW. His principal areas of researchare the performance practices and architecture oftheatres in France in the pre-Revolutionary period.He has published extensively on the architecture andstaging practices at the Hôtel de Bourgogne, France’sfirst public playhouse, as well as on Shakespeare on theFrench stage, on which topic he published Shakespeare forthe age of reason: the earliest stage adaptations of Jean-François Ducis (Voltaire Foundation, 1992) and is currentlypreparing a new critical edition of the Shakespeareantragedies of Ducis for the Classiques Garnier. In additionto a volume entitled O Brave New World: Two Centuriesof Shakespeare on the Australian Stage (Currency Press,2001), he has translated plays, for performance and/orpublication by Molière, Lesage, Marivaux, Victor Hugo andFeydeau. He was co-organiser of the IFTR conference inSydney in 2001.Le premier témoignage que nous avons des intentions de Ducis date de septembre 1767, et son Hamlet fut mis en scènele 30 septembre 1769. Il est très probable que pour Ducis les deux années intermédiaires duraient un siècle et demi, car leprocessus de mettre en scène une pièce au dix-huitième siècle fut lent et difficile, et l’auteur eut beaucoup d’obstacles àfranchir. Non seulement eut-il à obéir des conventions longtemps établies par l’usage (des lectures devant des amis et desconfrères d’un texte à moitié rédigé), mais aussi des protocoles stricts à observer au théâtre (l’enregistrement de la piècechez les comédiens, une lecture (deux or trois même) aux comédiens rassemblés) avant que sa pièce fusse reçue. Puisl’auteur fut obligé à attendre son tour après plusieurs autres avant que les comédiens commencèrent à apprendre leursrôles et à répéter sa pièce. Mais pour Ducis il y eut un obstacle encore plus difficile à franchir. Grâce en partie à Voltaire,dont les tragédies nourrissaient leur répertoire tout au long du siècle, pour la plupart des Comédiens français monter unetragédie de Shakespeare sentait la trahison culturelle.j.golder@unsw.edu.auFIRT/IFTR World Congress, University of Warwick, 2014562

La poétique du comédienWorking Groups: Processus De Création. La Génétique De La ReprésentationMilena GrassPontificia Universidad Católica de ChileMilena Grass Kleiner, traductrice, PhD © en Literature(P. Universidad Católica de Chile), Maîtrise en ÉtudesLatinoaméricains (Universidad de Chile) et Directricede l’École de Théâtre de la P. Universidad Católica deChile. Professeur et chercheur, elle travaille depuislongtemps dans le domaine de la recherche au sujetdes processus de création, l’esthétique de la mémoirey rapport entre le théâtre et l’histoire. En tant quetraductrice (fracias-español, anglais-espagnol) destextes dramatiques contemporains, elle a fondé l’Atelierde Traduction Théâtral (1996-2001, École de ThéâtreUC et Programme de Traduction UC). Ses traductionspubliés incluent des pièces dramatiques, libres dethéorie théâtrale et d’histoire chilien. Elle a publié aussi“La investigación de los procesos teatrales. Manual deuso” (2011, Frontera Sur – Ediciones Apuntes, Chile) etplusieurs articles.Au cours des dernières années, la recherche de processus de création a gagné de plus en plus de terrain ; ainsi le témoignentle travail de J. Féral, les communications présentées au WG Processus de Création de la FIRT et les résultats d’autresrecherches de plus en plus nombreuses. Cependant, cet ouvrage analytique se concentre généralement sur la figure dumetteur en scène comme celui qui conçoit et articule la totalité de la mise en scène - et dont la voix souvent invisibilise celledes autres créateurs qui participent au projet théâtral. En plus, malgré le fait que les dernières décennies ont donné aussi uneimportance croissante au rôle créatif du comédien, on connaît très peu de travaux systématiques qui essayent de déterminersi l’on peut parler d’un poétique actoral avec certains éléments constantes qui soit mise au service des différents metteursen scène selon chaque projet de création particulier. Ainsi, cette communication présente les résultats d’une rechercheeffectuée à l’École de Théâtre UC qui vise à identifier les éléments constitutifs des méthodologies de création appliqué parle comédien Daniel Gallo dans la création de cinq personnages divers. On utilisant différents matériaux–la présentation etles enregistrements de mises en scène, la création des monologues où le comédien donne a voir les éléments impliquésdans le processus de création de personnage, et d’autres sources (la formulation des projets de mise en scéne, le scriptannoté, des articles, etc.) on va a essayer d’établir s’il est possible de parler d’une poétique du comédien et quelles séraientses caractéristiques. Finalement, on chercher à proposer aussi une méthodologie tentative pour le travail de recherche deprocessus de création centré sur le travail du comédien.milena.grass@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014563

L’anthropophagie comme poétique transculturelle, l’exemple de Mundéu, o segredo da noiteWorking Groups: Processus De Création. La Génétique De La ReprésentationGilberto IcleUniversité Fédéral du Rio Grande do SulÀ partir de la description et de la problématisation du processus de création du spectacle Mundéu, o segredo da noite, créépar la compagnie brésilienne Usina do Trabalho do Ator – UTA (Usine du Travail de l’Acteur - UTA) ce travail propose uneréflexion sur le concept d’Anthropophagie envisagé en tant que possibilité de poétique transculturelle. Il s’agit d’analyserl’utilisation et l’adaptation du Bharata Natyam (un genre de danse-théâtre qui vient du sud de l’Inde), comme élémentétranger et son « engloutissement » par les techniques corporelles. Le concept d’Anthropophagie ouvre donc la discussionsur la transculturalité, mettant en évidence la relation entre identité et différence. Pour cela, sera donc question de décrirele processus génétique, soit les documents qui on a pris pour la recherche, soit la mélange entre la mémoire personnelleet la mémoire des acteurs par le biais des entretiens. Finalement, il s’agit de décrire toutes les étapes et les dimensionsdu processus de création : 1) la manière comme les acteurs ont appris le Bharata Natyam ; 2) la façon de mélanger lestechniques « étrangers » avec les techniques locales ; 3) la forme de la construction de la dramaturgie (inspirée par les Lendasdo Sul, une compilation assez connue de légendes du sud du Brésil recueillies et écrites par Simoes Lopes Neto, dans laquelleun ensemble de contes et traditions populaires orales est présenté sous une forme littéraire) ; 4) la structure du spectacle ;5) les chemins pour lesquels les costumes ont devenu scénographie. Ce travail de recherche faire attention sur le processusde création, en mettant en évidence la méthodologie de la recherche.Gilberto Icle est Docteur en Éducation parl’Universidade Federal du Rio Grande do Sul (UFRGS),Brésil. Professeur au troisième cycle en Arts etÉducation, il coordonne le Groupe d’Études enÉducation, Théâtre et Performance (GETEPE-UFRGS).Il dirige également l’UTA – Usina do Trabalho do Ator,groupe de recherche et de production théâtrale. Il estle rédacteur en chef de la Revista Brasileira de Estudosda Presença (Brazilian Journal on Presence Studies) www.seer.ufrgs.br/presenca et chercheur attaché au CNPQ –Conseil National de la Recherche Scientifique du Brésil.gilbertoicle@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014564

Reading as a Form of Composition : l’interartialité comme processus de création chez HeinerGoebbelsWorking Groups: Processus De Création. La Génétique De La ReprésentationMaude B. LafranceUniversité du Québec à MontréalMaude B. Lafrance est étudiante au doctorat en étudeset pratiques des arts de l’Université du Québec àMontréal. Elle est récipiendaire de la bourse d’étudessupérieures du Canada Joseph-Armand-Bombardier.Ses intérêts de recherche portent sur les nouvellesformes de dramaturgies dans le théâtre contemporain.Sa thèse se concentre sur les rapports entre la scèneperformative et la culture populaire. En 2012, elle acomplété une maîtrise en littérature comparée portantsur le son et l’écoute dans Inferno de Romeo Castellucci.Elle détient également une formation en littératurefrançaise (Université McGill) et en études italiennes(Università per stranieri di Perugia). Elle a écrit pour lesrevues JEU, Aparté et pour le Dictionnaire des œuvreslittéraires du Québec.Les œuvres du créateur allemand Heiner Goebbels apparaissent comme un tressage de médiums ou formes artistiques.Tressage qui ne semble pas destiné à se dissimuler sous une somme englobante. Prenons pour exemple le spectacleEraritjaritjaka (2004) : si la musique prend appui sur l’image ou le texte, elle ne se fond pas dans l’ensemble et demeurebien discernable en tant que musique. On rejoint là les notions de transparence (immediacy) et d’opacité (hypermediacy)amenées par Bolter et Grusin. Si, dans la logique ‘’immédiatique’’ « the user is no longer aware of confronting a medium »(Bolter et Grusin, p. 24), la logique ‘’hypermédiatique’’ veut que l’on soit au contraire tout à fait conscient du procédémédiatique à l’œuvre. Ce soulignement de la médialité des composantes scéniques constitue un aspect fondamental de ladémarche de Goebbels, qui affirme : « My interest is to share my observations with the reader or with the listener or, lookingbehind the authors’ way of writing, to show some of their writing strategies, to be able to understand more levels than justthe overall semantic one » (Goebbels, 2004). La conception que peut avoir Goebbels d’une œuvre d’art devient chez luipartie prenante du processus de création et sera éventuellement transposée dans le spectacle final. Cette transmutation desspécificités formelles d’une œuvre (littéraire, musicale, etc.) à la scène laisse entrevoir un mode de composition où les artsne se font plus seulement mode d’expression ou de représentation, mais prennent la fonction de catalyseur de la création.Cette communication explorera ainsi l’hypothèse d’une démarche interatielle où les matériaux artistiques s’offrent commedispositifs de création. L’analyse prendra principalement appui sur Eraritjaritjaka en l’envisageant (entre autres) à l’aune desconcepts de mode d’existence et de situation questionnante élaborés par Étienne Souriau.maude.b.lafrance@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014565

Digging the Director: Rehearsal Process and Stratification.Working Groups: Processes of Creation; Genetics of PerformanceAdam LedgerUniversity of BirminghamI am a Senior Lecturer in Drama and Theatre Arts at theUniversity of Birmingham, UK and taught previously at theUniversity of Hull, UK and University College Cork, Ireland.My research interests centre on performance practice,through both publication and practice as research. Myfirst monograph concerned Odin Teatret’s contemporarywork and I am now working on The Director and Directing:Craft, Process and Aesthetic in Contemporary Theatre(Palgrave Macmillan) as well as an edited volume ondevising and adaptation. I have forthcoming publicationson my experiences of creating participatory theatre. Iam joint artistic director of The Bone Ensemble and leadperformance projects internationally. My most recentpublications include: 2013: (chapter) ‘Stan’s Cafe: theVision of the Ensemble’, Encountering Ensemble, ed. JohnBritton, London: Bloomsbury. 2013: (chapter) ‘WomenDirectors in the UK’, International Women Stage Directors,eds. Anne L. Fliotsos and Wendy Vierow, Champaign:University of Illinois Press. 2012: (monograph): Odin Teatret:Theatre in a New Century, Basingstoke: Palgrave Macmillan.2011: (chapter): ‘Documentation: creative strategies inpractice as research’, Research Methods in Theatre Studies,eds. Baz Kershaw and Helen Nicholson, Edinburgh:Edinburgh University Press.a.j.ledger@bham.ac.ukHow might a stratification of rehearsal be conceived and play out in practice? Patrice Pavis has recently called thecontemporary director “a postmodern neo-subject”, a “limited company … whose powers are lost and dispersed” (Pavis,Contemporary Mise en Scène, 2013, p. 279). For Pavis, the director may be a conflicted figure no longer able to createmeaning through the mise en scène of the (play) text. Set against this is the contemporary interest in the director as auteurand the authority of Regie. Both of these positions deny the stratification inherent in any director’s work and view only thefinal production and aesthetics of performance as representative of directing. To respond to the conference’s geologicalhistoricaltheme, such positions are to privilege the topographical-representational artefact of performance only. In orderto move away from the fixity of definition around directors or their identification within a typology of work, this paper seeksto move to an alternative stratus, that of rehearsal. I am particularly interested in precise but interconnected or relatedexamples of directorial decisions that lead to performative, dramaturgical and scenographic outcomes. This directorial miseen jeu (Pavis, 2013, p. 98) must therefore negotiate a set of collaborators, particularly actors. In turn, this may exposealternative hierarchies of process, though I am also interested to pursue a clearer understanding of what happens, whatis rehearsed, in an ultimately interrelated process of making a performance. In terms of methodology, the paper draws ondirect observation of rehearsal, including that of Katie Mitchell, the Toneelgroep Amsterdam, Steppenwolf Theatre Companyand the Chicago Shakespeare Theatre. Aspects of these rehearsals can exemplify a stratified process and reveal a morecomplex palimpsest of practice than discussion of the ‘end result’ in performance.FIRT/IFTR World Congress, University of Warwick, 2014566

À propos de la grammaire et la pragmatique dans les processus créatifs de l’acteur proposés pardes artistes affiliés de Grotowski et Barba: Thomas Richards e Mario BiaginiWorking Groups: Processus De Création. La Génétique De La ReprésentationElizabeth LopesUniversidade de São PauloCet article vise à réfléchir sur deux expériences développées par processus de création affiliés au théâtre de Jerzy Grotowskiet Eugenio Barba. Thomas Richards et Mario Biagini sont des acteurs qui, dans le cadre de leur travail artistique, proposentla transmission des expériences partagées avec leurs maîtres, dans processus pédagogiques de création avec e pourl’acteur. À partir de la grande clé thématique qui est l’action, mais comprenant qu’il n’y a pas possibilité de parler d’elle sansimpliquer en dédoublements, l’analyse se concentre sur une sorte de grammaire et pragmatique de l’actuation, qui tourneautour de la recherche de la fluidité des actions, dans les corps chantantes et les corps parleurs. Des termes comme ligned’action, organicité, impulsion et mémoire, composent le lexique du processus d’associations, qui, entre autres concepts,comprennent les pratiques incorporées d’actions par un type d’acteur qui construit la réalité scénique partant de son propreêtre indivisible, et reflètent la relation entre l’éthique et l’esthétique, concernant a des chemins différents dans la vie et l’artde l’acteur. L’article s’articule avec le texte proposé par le Prof. Dr. José Batista (Zebba) Dal Farra Martins: “A propos de lagrammaire et la pragmatique dans les processus de création de l’acteur proposés par artistes affiliés de Grotowski et Barba:François Khan et Jan Ferslev”.Beth Lopes est metteur en scène, chercheur et professeurdes arts du spectacle à l’Université de São Paulo. Ellea fait une post-doctoral en linguistique au Brésil, dansl’analyse du discours, sur la mémoire du acteur (2006)et une deuxième postdoctorale sur performance dans laTisch School of the Arts de la NYU (2009-2010) sous lasupervision de Richard Schechner. Avec l’ HemisphericInstitute of Performance and Politics/NYU, conduite parDiana Taylor, en Janvier 2013, elle a coordonné au Brésille 8° ENCUENTRO - CIDADE, CORPO, AÇÃO: A Políticadas Paixões nas Américas. Actuellement, elle coordonne leprogramme d’études supérieures en arts du spectacle à lamême université. A été invité à coordonner le FIRT 2016,qui auront lieu à São Paulo. Comme directeur et fondateurde la Compagnie de Théâtre en Quadrinhos (BandeDessiné), Beth Lopes a plus de 40 spectacles reconnus parla puissance du travail avec les acteurs et mise en scène. Sarecherche artistique, pédagogique e académique sont surle processus créatif: l’acteur/ performer, la performance, lacorporéité, la mémoire et le grotesque. Elle a travaillé avecle Theatret Odin; Workcenter de Jerzy avec Grotovski etThomas Richards; Viewpoints avec Anne Bogartbethlopes@usp.brFIRT/IFTR World Congress, University of Warwick, 2014567

À propos de la grammaire et la pragmatique dans les processus créatifs de l’acteur proposés pardes artistes affiliés de Grotowski et Barba: François Kahn et Jan FerslevWorking Groups: Processus De Création. La Génétique De La ReprésentationJosé Batista (Zebba) Dal Farra MartinsUniversidade de São PauloCet article vise à réfléchir sur deux expériences développées par processus de création affiliés au théâtre de JerzyGrotowski et Eugenio Barba. François Kahn et Jan Ferslev sont des acteurs qui, dans le cadre de leur travail artistique,proposent la transmission des expériences partagées avec leurs maîtres, dans processus pédagogiques de création avece pour l’acteur. À partir de la grande clé thématique qui est l’action, mais comprenant qu’il n’y a pas possibilité de parlerd’elle sans impliquer en dédoublements, l’analyse se concentre sur une sorte de grammaire et pragmatique de l’actuation,qui tourne autour de la recherche de la fluidité des actions, dans les corps chantantes et les corps parleurs. Des termescomme ligne d’action, organicité, impulsion et mémoire, composent le lexique du processus d’associations, qui, entreautres concepts, comprennent les pratiques incorporées d’actions par un type d’acteur qui construit la réalité scéniquepartant de son propre être indivisible, et reflètent la relation entre l’éthique et l’esthétique, concernant a des cheminsdifférents dans la vie et l’art de l’acteur. L’article s’articule avec le texte proposé par la Profª. Dr.ª Elisabeth Lopes: ‘`Apropos de la grammaire et la pragmatique dans les processus de création de l’acteur proposés par artistes affiliés deGrotowski et Barba: Thomas Richards et Mario Biagini’.Zebba Dal Farra est metteur en scène, musicien,professeur et chercheur a l’Universidade de São Paulo,au Brésil, dans le domaine ‘Corps, voix et interpretation’.Il est actuellement le coordonnateur pédagogique duDepartmento de Artes Cênicas. Sa formation théâtraleest basé sur l’expérience avec divers artistes, y compris:Augusto Boal, Marcio Aurelio et Alcides Nogueira, FlavioImpério et Myriam Muniz, avec qui il avait une coopérationplus étroite et plus profonde, de 1984 à 2004. De 2000 à2010, Dal Farra a dirigé le Grupo dos 7, troupe musical dethéâtre, avec qui il a enregistré le DVD Caixotes no Caixote.En 1981, il enregistre l’album Um palco é preciso, avec ‘OOutro Bando da Lua’. En 1995, il a produit le CD Boca, avecla chanteuse et actrice Claudia Pacheco. Il est diplômé engénie civil et en mathématiques, et a développé un mastère(1986) et un doctorat (1998), a l’Escola Politécnica del’Universidade de São Paulo. A l’Universitat de Barcelona,il a fait une recherche post-doctorale, sous la supervisondu philosophe Jorge Larrosa (2011). Zebba Dal Farra etBeth Lopes dirigent le group de recherche Poétiques deCréation Théâtrale, du Conselho Nacional deabacaro@uol.com.brFIRT/IFTR World Congress, University of Warwick, 2014568

La stratification et la destruction de la mouette- processus de créationWorking Groups: Processus De Création. La Génétique De La ReprésentationMarcilene De Moura ProuvostMinistry of Education of BrazilFranco-Brésilienne, Marcilene L. de Moura Provoust(nom artistique : Marcela Moura), est titulaire d´uneLicence en Science de l´Informatique (UFGo), d´uneLicence en Théorie du Théâtre et d´un Master en ArtsScéniques (UNIRIO-RJ). Aujourd´hui, elle est doctorantà la Sorbonne dans le cadre d´une cotutelle avecl´Université Fédérale brésilienne, UNIRIO-RJ (bourseCAPES). Elle a débuté comme comédienne avec laCompagnie Martim-Cererê (Goiás – Brésil), où elle atravaillé pendant 10 ans. À partir de 1997, elle s´estinstallée à Rio de Janeiro où elle a poursuivi sa carrièrede comédienne au théâtre, au cinéma et à la télévision.Elle a notamment participé d’un collectif de créationavec le metteur en scène Enrique Diaz durant 3 ans,lequel a réalisé un grand nombre de performances à Riode Janeiro. Elle a aussi dirigé pendant 4 ans une troupede jeunes acteurs originaires de la favela de la Maré-RJ(ONG Enda Brasil), et a reçu de la Ville de Rio le prixde la meilleure direction pour le spectacle Noite de SãoJoão. Sa pièce Queridos Convidados a gagné le prix dansla catégorie nouvelles dramaturgies du concours duCentre Culturel Banco do Brasil - CCBB-RJ.Cette communication se propose de présenter une analyse du spectacle A Gaviota - Tema para um conto curto, d’après letexte La mouette, de Tchékhov, mise-en scène par Enrique Diaz, un des plus importants metteurs en scène au Brésil. EnriqueDiaz, est le co-fondateur de la Companhia dos Atores, à Rio de Janeiro, au sein de laquelle il a joué et mis en scène des textesclassiques, contemporains et des adaptations littéraires, avec un intérêt récurrent pour le thème de la création artistiqueet la révélation de son processus. En 2002, après un séjour de 2 ans à New York, il devient aussi le co-fondateur du ColetivoImproviso, un collectif d’artistes fondé sur la pluridisciplinarité et l’improvisation. Le texte de Tchékhov a la particularité dequestionner la création théâtrale faisant usage de la technique dramatique du méta-théâtre, un dédoublement structurelselon lequel on est en présence d´une pièce insérée dans une autre pièce. La mise en scène de ce texte par Diaz, produiten outre, un effet de dédoublement thématique, une mise en abyme, dans la mesure où il expose et partage avec le publicson processus de création et ceux des comédiens, multipliant les points de vue des narratives et brouillant les sens de lareprésentation. Au sein de la pratique méta-discursive et critique de Diaz, les acteurs exposent en scène leurs opinionssur le texte et les personnages, leurs relations interpersonnelles, leurs données biographiques et les difficultés et doutesrencontrés dans leur création. L’acteur-performeur peut devenir spectateur de la scène, en complicité avec le public ou bien,une espèce de narrateur et maître de cérémonie de la pièce. Ils ont aussi leur image dédoublée en scène par la projectiond’images captées pendant leurs répétitions ou la projection d’images de leurs travaux antérieurs au théâtre et au cinéma.http://www.youtube.com/watch?v=ayqjk5l-G9Mhttp://www.youtube.com/watch?v=LKiI4ILU320http://www.youtube.com/watch?v=GipLT9KHD3omarcelamo1313@outlook.comFIRT/IFTR World Congress, University of Warwick, 2014569

Heteronomy and Collectivity in Contemporary Creation ProcessesWorking Groups: Processus De Création. La Génétique De La ReprésentationFrederik Le RoyAntwerp University and Ghent UniversityFrederik Le Roy holds degrees in Philosophy (CatholicUniversity of Leuven, 2003) and Performance Studiesand Film (Ghent University, 2005) and was visitingresearch student at the Department of Theatre, Dance,and Performance Studies at UC Berkeley in 2006. He iscurrently a postdoctoral researcher at the Research Centrefor Visual Poetics at Antwerp University, working on theresearch project “The Didascalic Imagination” (funded bythe FWO - Research Foundation Flanders), a postdoctoralresearcher at Studies in Performing Arts and Film at GhentUniversity and the coordinator of the Master of Drama(KASK, Ghent). In 2012 he obtained his doctoral degree atGhent University with a dissertation entitled Verknooptetijd, verfrommelde geschiedenis (Entangled Time, CrumpledHistory). Inspired by the philosophy of history of WalterBenjamin, this research dealt with the politics of memoryof performative strategies in historic and contemporary(cultural) performances that deal with the presence of thepast in the present (e.g. re-enactment, historical montage,testimony). He is co-editor of a special issue of the journalArcadia entitled “Performing Cultural Trauma in Theatre andFilm,” co-editor of a book on Jan Lauwers (Academia Pressand IT&FB, 2007) and on catastrophe in art and philosophy(Academia Press, 2011).The past few years were marked by a growing interest in the study of creation processes in the performing arts. An increasingnumber of publications, by performing artists and performance/theatre scholars, aim to document, reconstruct or analysethe genesis of the performance. However, the study of the creation process evokes numerous methodological challenges,not only because the “pre-performance” (Féral 2008), like the performance itself, leaves scant and shattered traces, but alsobecause the artistic creation process is intertwined with (some might even say “polluted by”) social and economic processes.To make, create and work in performance inevitably involves a (most often implicit) negotiation with existing institutional andsocietal definitions of what it means to make, create and work. The reflection on the artist’s status as ‘immaterial labourer’par excellence in post-Fordism (Gielen 2008), on the relationship between cultural, technological and organizational notionsof performance (McKenzie 2001) or on ‘social choreography’ (Hewitt 2005; Cvejic & Vujanovi 2013) are but a few examplesthat signal this crucial heteronomous nature of artistic creation in the performing arts. In this presentation, I want to addresshow this ‘layering’ has become a central concern in the discourse and practice of numerous performance makers workingtoday. The co-existence of the artistic and the socio-economic is explored especially when the procedural and collectivenature of the creation process in performance is concerned. Connected a critical discourse, often informed by post-Marxistthought, revolving around ‘collaboration’, ‘community’ and ‘collectivity’ has been actualized. To address this, I will focus onthe working methods of performance collectives from the European performance scene that explicitly engage with thecreation process’s various “co-s”, namely Rimini Protokoll, andcompany&co and badco. Conform to the policy of the workinggroup this presentation will be in French.frederikleroy@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014570

La dynamique des strates dans le processus de création de René PolleschWorking Groups: Processus De Création. La Génétique De La ReprésentationMariana SimoniPontifícia Universidade Católica do Rio de JaneiroMariana Simoni est chercheur et professeur duProgramme de Postgraduation Literatura, Culturae Contemporaneidade de la Pontifícia UniversidadeCatólica do Rio de Janeiro. Avec une bourse d’étudesFAPERJ, elle développe le projet de Post-DoctoratImagination théorique dans les études littéraires et dansla pratique théâtrale contemporaine qui intègre aussi sonactivité pratique de comédienne et performeuse. Elle aréçu une bourse CAPES pour développer une recherchede Doctorat à l’Institut de Teatre de Barcelona e àBerlin (2008-2009). Parmis ses principaux intérêtsd’investigation: performativité, théâtre allemandcontemporain, esthétique du performatif, des effetsaffectives dans la production théâtrale du présent.Nous interrogeons dans cette communication les possibilités de relation entre la notion de stratification et la pratiquedu metteur-en-scène allemand René Pollesch, en particulier dans le processus de création de sa pièce Kill your darlings!Streets of Berladelphia, sortie le 18 janvier 2012 au théâtre Volksbühne de Berlin. Pollesch s’est intégré sur la scène théâtraleallemande, à partir des années 2000, par sa critique du capitalisme et ses implications sur les conditions de travail etd’affection dans la société contemporaine. Il est une figure clé du renouveau du théâtre politique en Allemagne, concevantses pièces à partir de l’appropriation scénique des éléments esthétiques appartenant à cette même culture capitalisteainsi qu’aux discours théoriques associés aux théories économiques, sociales, féministes et à la philosophie même. Sesprocédures de travail reposent sur l’incorporation au coeur du processus de création de la thématisation permanente de lasituation communicative théâtrale. Nous nous plaçons du point de vue de la génétique du spectacle, en nous concentrant enparticulier sur l’importance fondamentale pour le processus créatif des procédures d’écriture ainsi que des lectures des textsthéoriques d’auteurs tels les sociologues Luc Boltanski et Ève Chiapello. Nous aborderons aussi la mise en valeur des corpsdes acteurs comme procédure spécifique de production de matérialité à l’arrière-plan d’un discours verbal sophistiqué. Lanotion d’observation de second ordre (Luhmann) nous permettra d’interroger dans quelle mesure l’autoréférentialité etl’auto-consicence développées en répétition engendrent un bouleversement des codes et du cadre de la représentation.Dans cette perspective, le mouvement pendulaire qui permet aux corps des acteurs une résistance autonome à l’illustrationdes mots proférés leur permet, également, de contourner leur cristallisation au statut d’œuvre. Possiblement parce que,irrémédiablement condamnés au présent de cette situation de communication, les corps ne peuvent que manifesterleur potentiel dynamique de constante autocréation, autotransformation – d’événement.maiasimoni@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014571

Le processus de création à partir de mémoire du corps : observation, analyse et traductionWorking Groups: Processus De Création. La Génétique De La ReprésentationAndrea UbalUniversidad CatolicaAndrea Ubal Rodriguez travaille comme comédienne,metteure en scène. Professeure en jeu et mouvementà l’École de Théâtre de l’Universidad Católica de Chile,depuis 1996; elle gère aussi la Maîtrise en Arts de laFaculté des Arts depuis 2012. Elle a fait des études enjeu et de mise en scène dans le même Université, etdétient une maîtrise en Théâtre de l’École Supérieure deThéâtre à l’Université du Québec à Montréal, (UQAM,2012).De l’histoire au corps et du corps à la scène, une proposition pour essayer de passer de l’histoire vécue, à la représentationde la mémoire issue du corps. En particulier nous allons réviser l’expérience du processus de recherche-création présentéà l’ÉST de l’UQAM(Montréal) dans le cadre de notre maîtrise qui avait pour objectif une recherche sur la mémoire du corpscomme source de creation. Pour cette communication, qui voudrait s’inscrire dans le groupe de travail « Processus DeCréation La Génétique De La Représentation », nous proposons de faire une réflexion critique à propos du parcours méthodologiqueque nous avons emprunté pour passer du témoignage à la scène. De cette manière, explorer les étapes de travailqui ont compris la réalisation d’entrevues filmées avec des femmes chiliennes nous racontant leurs souvenirs du coup d’État(1973), l’observation et l’analyse des mouvements, pour enfin traduire et composer une partition corporelle qui a donnénaissance à la création Traces, et les semelles pour des futures recherches-créations. Pour ce faire, nous voudrions partagerun fragment d’un des témoignages recueillis, ainsi qu’un fragment de notre mise en scène. Nous expliquerons la manièred’observer et d’analyser le témoignage, puis de traduire le contenu sur scène: celle-ci vise un partage de l’expérience de la «corporéité » (Bernard, 2002) comme vecteur de communication et de mémoire. Le corps en mouvement perçu comme unobjet tangible, lié au présent, mais aussi comme objet intangible lié au passé, constitue notre axe d’exploration.« Comprendre les gestes et leur fonction peut donc être un moyen de comprendre les gens » (Laban,1991).Elle développe sa recherche sur la thématique de lamémoire du corps comme source de création.andreaubal@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014572

Mise en scène comme dispositif de jeu - un rapport avec le spectateurWorking Groups: Processus De Création. La Génétique De La ReprésentationCette présentation prétend analyser deux manifestations scéniques, présentées à São Paulo, qui mettent en lumière lamobilité urbaine : O Farol – uma contemplação da velocidade, de OPOVOEMPÉ, et Estrada do Sul, du Grupo XIX de Teatro.Toutes les deux se caractérisent par l’occupation de l’espace public et se situent sur la frontière entre l’art et la réalitéet entre le théâtre et la performance. En outre, chacune à son tour, elles incorporent le spectateur comme un élémentconstitutif de l’événement en le transformant en « principe actif » de l’action.Verônica VelosoUniversidade de São PauloDoctorante en Arts de l’École des Communications etdes Arts à l’Université de São Paulo, où elle a égalementobtenu le titre de maître et le diplôme en ÉducationArtistique. Elle développe ses activités artistiquesavec le Coletivo Teatro Dodecafônico, depuis 2008,où elle a réalisé les mise en scènes suivantes : « ODisfarce do Ovo », une réaction à deux oeuvres deClarice Lispector ; « O que Ali se viu », une réactionaux histoires d’Alices de Lewis Carroll et « Salta ! »,une réaction des films de Lucrecia Martel (réalisatriceargentine). Le collectif réalise aussi des interventions etperformances urbaines, c’est le cas de la série intitulés« São Paulo à travers le miroir », qui a été reformuléedans d’autres quatre villes ; et aussi du travail derecherche actuelle du groupe « Deriva Dodecafônica ».Dans O Farol, chaque acteur n’est accompagné que par deux spectateurs, munis des casques d’écoute, tout au long d’unparcours qui part d’un quartier d’entreprise et arrive à la banlieue de São Paulo. Pendant ce trajet, tous marchent et se serventde différents moyens de transport comme le taxi et le métro, en exploitant les difficultés de déplacement dans de grandscentres urbains. Dans Estrada do Sul, environ soixante spectateurs accompagnent la mise en scène en tant que passagers dedix-huit voitures instalées dans une rue de la périphérie. La mise en scène est basée sur un conte de Julio Cortazar, où l’auteurrelate un embouteillage. L’histoire qui se déroule sur une autoroute française est actualisée dans le contexte de São Paulo, oùl’expérience de pause provoquée par des embouteillages est recourante pour les habitants de la ville.L’intérêt de la recherche se concentre sur les propositions articulées par les artistes qui créent des dispositifs de jeuspécifiques, en mettant le spectateur dans le centre de l´événement. Dans ce sens, chaque mise en scène organise unrapport avec le spectateur en produisant des procédures tout à fait pensées pour elle. Ces exemples révèlent le mode parlequel de différentes modalités scéniques incorporent le spectateur comme agent de l’action.verotvelo@yahoo.com.brFIRT/IFTR World Congress, University of Warwick, 2014573

Working GroupsQueer FuturesArchiving the Ephemeral Queer Pride in Plymouth through the use of the Oral History InterviewWorking Groups: Queer FuturesAlan ButlerPlymouth UniversityAlan Butler is a Plymouth University student working onan AHRC funded collaborative PhD called “PerformingLGBT Pride in Plymouth 1950 -2010”. The project hasinvolved the formation of a community LGBT archivewhich has also been included into the city’s officialarchives. The material comprises of over forty five oralhistory interviews along with memorabilia pertainingto the performance of LGBT identity in the city over asixty-year period. In 2012 the Plymouth LGBT Archivewas awarded the “Most Inspirational” archive award bythe Community Archive and Heritage Group and alsoinformed the nine week “Pride in Our Past” exhibitionin the Plymouth City Museum and Art Gallery. Alancollected the award and highlighted his work with thearchive at the CAHG awards and has spoken since abouthis work with the archive at Royal Holloway’s PerformanceLegacies conference and the LGBT archives conference atthe London Metropolitan Archive. He also recently actedas community dramaturg and liaison for a EU-fundeddance film inspired by the writing of Jean Genet, entitledHeaven is a Place (2014), which will be shown during theconference’s ‘On Screen’ programme.The oral history interview exists at the intersection between two forms of memory which have been identified by performancestudies scholar, Diana Taylor. The first is the physical and concrete manifestation of ‘archival memory’ most commonlyassociated with archives such as letters and photographs. While the second relates to the repertoire of acts which are “usuallythought of as ephemeral non-reproducible knowledge”. Oral history interviews, are a method which provides a point wherehistorians can endeavour to capture aspects of the repertoire for inclusion into the more traditional archive, providing accessto knowledge which has tended not to be considered within historical discourse. Little archival material exists to representthe historical experience of many LGBT (Lesbian, Gay, Bisexual and Transgendered) communities due to the fact that diariescould fall into the wrong hands and letters could become a means of blackmail. LGBT identity has usually been forged ina shared moment and through interactions in places considered safe to perform in ways that challenged the hegemonicnorms. As a result, much of the history of LGBT communities can only be explored through repertoire of those individualswho have been, and continue to be, part of those communities. In this way, it has been possible to create a historiography ofthe some of the queer communities in Plymouth and, through examination of these oral history interviews, this paper seeksto highlight examples of the representation of memory, occurring within these LGBT communities of Plymouth, and explaintheir potential significance for both the conventional archives of the city and also the possibility of queer pride in its future.Plymouth LGBT Archive:http://plymlgbtarchive.org.ukalanbutler45@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014574

Heritable Pasts or Passing Through PerformanceWorking Groups: Queer FuturesStarting from an assumption that queer culture is more noticeably ‘learned’ this paper seeks to engage with the various modesin which gay and queer cultures ‘pass on’ historical material through performance. By way of Elizabeth Freeman’s emphasis onquotidian knowledge, the argument centres on embodied performative knowledges present in queer performance cultures.With a particular emphasis on drag performance in its traditional and experimental forms, the paper explores how the imageof stratification might in some way support a queer account of the pressure the past places on the present in the moment ofperformance. In doing so, the paper seeks to account for the manner in which gay and queer culture is passed in non-familialterms through performance cultures, informal training and everyday exposure to identity work in performance. The paperends by sketching some early ideas for how we might describe heritability and the past without recourse to problematicimages of the familial, teleology or an assumed issue of a generation gap that needs bridging.Stephen FarrierRoyal Central School of Speech and DramaStephen Farrier is a Senior Lecturer and CourseDirector of the BA (hons) Drama, Applied Theatreand Education degree at the Royal Central School ofSpeech and Drama, University of London. His researchfocusses on identity, gender and queer studies inrelation to theatre and performance. Of particularinterest in his work is the relationship between theatricalform and politics, with a particular focus on how formcan be a site of queerness as well as a site of thegeneration of normativity. He has written and deliveredpapers on queerness and soap opera; queer and SarahKane; Ibsen and gayness; queer and new cabaret; queerand intergenerational projects; and queer and postdrag performances. He supervises PhD candidates ina number of related areas including projects focusedon sissiness, queer movement, queer autobiography inperformance, and gender, comedy and burlesques.farrier@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014575

Queering the Scene: Imagination, Memory and FutureWorking Groups: Queer FuturesSascha FörsterUniversity of CologneSascha Förster studied Theatre Studies and CommunicationStudies at Freie Universität Berlin from 2005 to 2011,earned the Bachelor’s degree in 2008 with a thesisentitled Kreatives Verfehlen. Momente des Scheiterns imzeitgenössischen Theater, and a Master’s degree in 2011with a thesis about the Thomas-Münzer-Festspiele 1931in Bad Frankenhausen (supervisors: Prof. Erika Fischer-Lichte and Prof. Peter W. Marx; awarded with theFörderpreis der Gesellschaft für Theatergeschichte e.V.).Sascha is a doctoral candidate within the SNSF Sinergiaproject “The Interior: Art, Space, and Performance” atthe Department of Media Culture and Theatre and theTheaterwissenschaftliche Sammlung (Theatre Archive),University of Cologne. His PhD thesis is entitled Projectionsof History. Zeitgeist and the Scenes of Imagination.He is founding member of Dramazone, a Germanperformance collective, and convenor of the workinggroup “Dramaturgie ohne Drama” of the DramaturgischeGesellschaft (with Kaja Jakstat and Ann-Christine Simke).He co-curated the 2012 exhibition Raum-Maschine Theaterat the Museum of Applied Arts, Cologne. Publications:Paradiese am Rand (co-editor, 2010), Versprechungen,Gemeinschaften und Identitäten bei den Thomas-Münzer-Festspielen 1931 in Bad Frankenhausen (2014).In Tony Kushner’s Angels in America the character of Harper states that “[i]magination can’t create anything new, can it? Itonly recycles bits and pieces from the world and reassembles them into visions... Am I making sense right now?” (Kushner2007, 38) Whilst being rooted in memory, imagination may not be able to create anything new but it might have the potentialto evoke past visions of different futures, to reassemble utopian ideas from the past and to relocate the here and now toa “better” there and then. In the theatre, the scene – as a cultural-historical understanding of the stage as a place thatnegotiates images between actors, directors and audience members, and between the past and the future (Peter Marx2012) – motivates these modes of imagination by means of set design, costumes and props, but also by tools framingthe performance (programmes, theatre buildings, etc.). Connecting these ideas of the scene to queer culture promisesto challenge this understanding and open it up to a broader (and maybe even more political) view on these “scenes ofimagination.” My paper wants to explore these notions (and challenges) of the scenes of imagination by investigating theproduction of Tony Kushner’s Angels in America at the Studiobühne Köln (directed by Uwe Hotz, 1995/1996). Cologne, a citythat calls itself the “gay capital” of Germany, builds the contextual frame for my historiographical analysis. Therefore, thescene shall be understood as, on the one hand, an artistic medium through which the inner images are being conjured upand, on the other hand, as a specific social environment for the homosexual community (taking into consideration Kottman2008). The paper aims at exploring the different and interconnected layers of cultural and individual memory by linking themto collective ideas of different futures.https://www.dropbox.com/sh/gvs6uuyyugfxv3d/AABNEgpo7lbEHchOIe115Cn0asascha.foerster@uni-koeln.deFIRT/IFTR World Congress, University of Warwick, 2014576

Temporal Attachments: Queer Time and the (Re)Staging of MonogamyWorking Groups: Queer FuturesSteve GreerUniversity of GlasgowThough queer conceptions of history have allowed the recognition and critique of ‘chrononormative’ narratives ofproductivity, inheritance and family, those same logics – which frequently figure the present as a hybrid encounter with thepast – may yet sustain prescriptive values. In exploring that claim, this paper examines the temporal politics of Alexi KayeCampbell’s multi-award winning drama The Pride, which layers and blurs two historical periods: a repressed 1950s and aliberated contemporary era. Reading against a broadly affirmative critical reception of its politics, I argue that Campbell’s textstages a conservatizing form of Elizabeth Freeman’s notion of temporal drag that explores ‘the whole notion of inheritanceand what one generation inherits from a previous one’ (Campbell, quoted in Blackbook 2010) by setting the possibility of‘pride’ in oneself against a consistently problematic promiscuity, given as the expression of a culturally-inherited form ofself-loathing. In response, I suggest how we might counter a historical stratification of relationship forms, sexuality anddesire through an examination of the play’s historical absence – namely the AIDS crisis which falls, unmarked, between thetwo periods depicted on Campbell’s stage. To that end, I turn to two early AIDS-era works, Larry Kramer’s The Normal Heart(1986) and Robert Chesley’s Jerker (1986) to reframe the representation of non-monogamous attachments, and argue thatthe forms of resistance enabled by Freeman’s queer project of erotohistoriography demand a refusal of linear genealogiesof cause and effect.Stephen Greer is Lecturer in Theatre Practices at theUniversity of Glasgow, where his research focuseson the intersection of contemporary performance,cultural politics and queer theory. Formerly based atAberystwyth University following his PhD from theUniversity of Edinburgh, his writing includes works onrepresentations of place and belonging in contemporaryWelsh queer performance, the possibilities for ‘playingqueer’ in mass-market videogames and a re-examinationof Jose Esteban Munoz’s concept of disidentificationfor a volume on Slavoj Žižek and performance. He isthe author of Contemporary British Queer Performance(2012) and is currently working on the politics ofexceptionality in solo performance.stevie.greer@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014577

Theatre, Queer Theory, Education and ContemporaneityWorking Groups: Queer FuturesAlberto Ferreira da Rocha JuniorUniversidade Federal de São João del-ReiTheatre Professor at São João del-Rei Federal Universitysince 1993. Outreach Projects Vice-dean from 2004to 2008. General coordinator of the UniversityWinter Art’s Festival from 2004 and 2008. Advisor toBrazil’s Vice-Minister of Culture from 2009 to 2010.Member of the Cultural Politics National Council from2007 to 2009. Coordinator of the Theatre ArchivesProject (www.acervos.ufsj.edu.br) from 2003 to 2005.Coordinator of the Research and Outreach Project“Araci” about Theatre and LGBTI with financial supportby the Ministry of Education and by FAPEMIG (MinasGerais Research Foundation). Has presented papers atInternational Conferences (IFTR, Portuguese Diaspora,Humour Association etc.). Was invited to BIARI (aBrown International Program in 2012 - USA). Latelyhas published some articles and book chapters ontheatre and autobiography. Has organized a book aboutbiographies that will be published in 2014 in Brazil. Hasorganized and published a book on University CulturalOutreach Projects around Brazil.Usually, researches on theatre aim at developing new performance techniques or at analyzing postdramatic theatre. Thispaper aims at presenting a research based on the idea of an interested theatre, as Agamben understands interested art,and based on an outreach activity: theatre undergraduate students and people that do not belong to the university willproduce a 30 minute performance based on individual LGBTI life stories. The project has a financial support of Brazil’sMinistry of Education (MEC) and of Minas Gerais’ Research Foundation (FAPEMIG). Our main interest is to investigatehow to build a short play in a contemporary aesthetic perspective – it means, a play that is not based on a previous textand that is not built in a realistic way – and at the same time touches the important question of LGBTI human rights. Queertheory and its relations to other fields such as education, art and literature guide our research. We want to create scenes inwhich the boundaries between genders are blurred and not scenes that reinforce social groups identities. The importanceof diversity is emphasized when these boundaries are not clear. From a political point of view when we reinforce socialidentities, although we respect diversity, we usually do not see the importance of the ‘Other’ in the constitution of the ‘Self’.We have already built a 15 minute performance that was presented last year and are building a new one that will be presentedin public schools from June to July 2014..www.acervos.ufsj.edu.brtibaji.alberto@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014578

Rehearsals for Un/Happiness: Time, Community and Hope in Rajni Shah’s Glorious and JuliaBardsley’s Meta-FamilyWorking Groups: Queer FuturesThis paper will compare the differing cyclical temporalities in the staging of Rajni Shah’s 2011 production of Glorious atthe Barbican and Julia Bardsley’s 2011 production of Meta-Family at the People’s Palace at QMUL. Meta-Family’s sense ofcyclicality was produced both by an open ending and, as the name indicates, the reference to a framework beyond theperformance itself. Glorious on the other hand relied on the repetition of stage actions, such as songs, utterances andmovement.Caoimhe Mader McGuinnessQueen Mary, University of LondonCaoimhe Mader McGuinness is an AHRC fundedpostgraduate research student at the DramaDepartment of Queen Mary University of London.Her current research project centres around liberalconstructions of sociality and relationality in theatre,and how some performances might resist these. She hasbeen published in Contemporary Theatre Review andStudia Dramatica. Her research interests are ‘antisocial’queer theory, Marxism and Frankfurt School theorists,particularly with regards to how these might relate toliberal narratives of inclusion. The scope of her researchcentres around contemporary European and Britishtheatre.Through comparing both these performances this paper will explore what might be implied through these cyclical structureswith regards to broader temporal politics. Combining writings about futurity, such as in Edelman’s No Future, with writingsabout nostalgia and melancholia, such as in Wendy Brown and Heather Love’s work, the aim will be to analyse what politicalclaims might be made about Shah’s and Bardsley’s pieces. Both pieces differing approaches to cyclical structures mightindicate a broader relationship to a liberal mode of engaging with the social.Both performances are formally rooted in using the ‘present’ as a structural strategy. Yet the effect of this was very different:Meta-Family’s structure appeared much more static, even stuck, than that of Glorious. This might be related to the desireof Shah to research ‘the messy but beautiful business of becoming a community’, which implies a journey. Shah’s insistenceon the present within the time of the performance, as well the insistence on community, arguably created a sense of whatI will call ‘nostalgic futurity’. This ‘nostalgic futurity’, in its quest for a form of communal harmony on and off stage, mightnevertheless produce a less dynamic political effect than a performance as ejective of both hope and nostalgia, that is Meta-Family.c.e.k.madermcguinness@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014579

Queering Lesbian History: Duckie Goes To The Gateways (2013)Working Groups: Queer FuturesThe Gateways, London’s longest running lesbian club, provided a unique, underground space in which lesbians could socialiseand seduce during the 1940’s until the mid - 1980’s. 1 Duckie is ‘a post-gay performance and events collective’ who host aweekly eponymous club night at the Royal Vauxhall Tavern. 2 In the summer of 2013, with the aim of ‘conserving queer Britishheritage’, Duckie recreated The Gateways Club in Camden Town Hall as ‘a performance-bar-discotheque that [was] 50% maleand 50% female, 50% butch and 50% femme.’ 3 Through an analysis of Duckie Goes to the Gateways this paper interrogatesthe idea of reimagining lesbian history. It takes as its starting point Elizabeth Freeman’s notion of ‘temporal drag’ and focuseson the responsibilities and complications surrounding this reimagining, particularly in light of the often turbulent relationshipbetween ‘lesbian’ and ‘queer’ identity labels.Sarah MullanQueen Mary University of LondonSarah Mullan is in her second year of a College fundedPhD in the Department of Drama at Queen Mary,University of London. Her thesis considers the interplaybetween contemporary lesbian performance and queerepistemologies.Jill Gardiner, From the Closet to the Screen: Women and the Gateways Club, 1945-1985 (London: Pandora, 2003).2‘Manifesto’, Duckie [accessed 19 May 2014].3‘Duckie Goes to the Gateways’ [accessed 29 July 2013].s.j.mullan@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014580

Queering the ‘Punishment Paradox’ of AIDS in Irish Realist TheatreWorking Groups: Queer FuturesCormac O’BrienUniversity College DublinCormac O’Brien has recently completed his PhD onMasculinities in Contemporary Irish Theatre at UCD.O’Briens research interests are in queer theatre andqueering theatre history, the HIV positive body andAIDS in performance, and performance theories. Hehas published several peer-reviewed journal articles andchapters in edited collections to date, interrogating,mainly, masculinities in Irish theatre, and HIV/AIDS inperformance.This paper discusses how queer dramaturgical strategies expose the ‘good gays/bad queers’ binary that undergirds HIV/AIDS characters in Irish realist dramas as being bound up in queer and class shaming. To frame my argument, I identify the‘punishment paradox’ of AIDS in several Irish realist dramas whereby HIV/AIDS characters are vaguely suggested as victimsof society, yet paradoxically punished with AIDS for being ‘bad queers’ who operate outside the paradigms of what severalqueer theorists identify as ‘homonormativity’. Meanwhile, the ‘good gays’, those homonormative bodies who fit in with theneoliberal commodification of gay life and living as an apolitical, hyper-consumerist, and media-friendly suburban norm,are handsomely rewarded with assimilation into mainstream culture. Through a performance analysis of BrokenTalkers’2008 song-cycle Silver Stars, I interrogate how an experiential, labile, multi-media dramaturgy disrupts AIDS-aspunishmentmetaphors. Silver Stars presents individuated, non-binarised HIV-figures who perform – through songs thattransition imperceptibly from poignant solo-voice to rousing, multi-vocal choruses – as ever-forming subjectivities, thusconfounding the fixity of stereotyped ‘bad queers’. Silver Stars’ fluid song-sequences, video footage, and non-hierarchaldialogues, in which AIDS histories and narratives float into, around, and through each other, foreground the malleableboundaries between the personal and the political, particularly in terms of conservative HIV/AIDS discourses and thequeer activism that resists them. Thus Silver Stars dramaturgically disrupts the ‘good gays/bad queers binary by presentingseveral narratives that capture the complexities of a global pandemic, while performing quotidian experience within thatpandemic, situating the spectator simultaneously in both the global and the localcormac.o-brien@ucdconnect.ieFIRT/IFTR World Congress, University of Warwick, 2014581

“Truth Traps” and “Dissemblage”: Queer/Trans Practice as Research and the Creation of StringsAttached v1.0Working Groups: Queer FuturesLazlo PearlmanRoyal Central School of Speech and Drama‘Strings Attached’ is a solo “Autobiographical” Practice as Research (PaR) performance that will have its first showing in theannual PaR conference at Royal Central School of Speech and Drama, London, in 2014. A main focus of my professional anddoctoral research centres on unpacking and unpicking expectations and requirements of identity performance on stage.‘Strings Attached’ is my second PaR interrogation of the received wisdom that the highest goal as performers of minoritarianidentities is tell our ‘truth’. Performance acts of “Confession” are considered key to visible and liveable ‘identities’ not only forthe performers ourselves but as representatives of identity groups as a whole. However, Foucault considered the Westernmoral and ethical need to confess our truth an internalised regime of disciplinary power. ‘Strings Attached’ is a performanceexperiment designed to use the tropes and test the mechanisms of autobiographical performance; to develop what I amcalling techniques of ‘Dissemblage’ and ‘truth traps’ in order to discover what might disrupt, disregard and/or circumventthe machinery of confession and whether resisting with lies could be experienced as an act of counter-power. For Derrida,keeping secrets was a form of civil disobedience. It was “resistance against and beyond the order of the political” If secretscould be civil disobedience, why not lies? This presentation will chart the process and progress of the creation of the PaRTechniques and Performance of ‘Strings Attached’, v1.0.Currently Pursuing Doctoral Research at RCSSDentitled “Stripping Bare and Telling Lies: Strategies forProductive Disruption via the Subversion and Coercionof Autobiographical Theatre Performing”, Lazlo IlyaPearlman is a Performance Artist and Visiting Lecturerat RCSSD, teaching Contemporary Studies and CriticalContexts. Publications include: Arts and CultureChapter and Arts Editor for Trans Bodies/Trans Selvespublished by Oxford University Press. Forthcoming:Stripping Bare and Telling Lies, an article published byColloquy Journal; ‘Kisses Cause Trouble: Queeeringthe French, Frenching the Queer’, published in QueerInstruments by Palgrave. Forthcoming: Performing andlecturing on the Trans* Body onstage internationally.lazlopearlman@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014582

FAR OUT: Sun Ra’s Meeting Place For A Queer FutureWorking Groups: Queer FuturesIn some far off placeMany light years in space…I’ll build a world of abstract dreamsAnd wait for you.—Sun Ra, Monorails and SatellitesWe may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality.—José Esteban Muñoz, Cruising Utopia: The Then and There of Queer FuturityEva PeskinBrooklyn CollegeEva Peskin is a performing artist and member ofANIMALS Performance Group. Working primarilyin collaborative environments, Eva has served as aperformer, musician, composer, technologist, andrigorous conceptualizer with New York-based artistsNature Theater of Oklahoma, Banana Bag & Bodice, HoiPolloi, Target Margin Theatre, among many others. Herwork has been seen at The Public Theater, Dixon Place,PS122, the Edinburgh Fringe Festival and New YorkInternational Fringe. Peskin’s research interests focuson gender, queerness, and performance, and she was adelegate at the 2014 ACS Gender Studies Conference.She graduated from Barnard College, ColumbiaUniversity summa cum laude, with a B.A. in music, is amember of Phi Beta Kappa, and is an M.F.A. candidatein Performance and Interactive Media Arts at BrooklynCollege.Sun Ra, a play by white, transgender/queer playwright Sylvan Oswald, explores the life of Sun Ra, the black jazz musician,whose life and work gave birth to an artistic movement Mark Dery dubbed Afrofuturism. Dery asks, “Can a communitywhose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search forlegible traces of its history, imagine possible futures?” (180) By measure of race, Oswald would be acquitted from the anxietyDery invokes. Lee Edelman suggests, however, “queerness…is understood as bringing children and childhood to an end.” (19)Fundamentally non-reproductive, sex removes queers from a temporal logic that organizes life by birth, marriage, offspring,and death. “The Future” becomes a realm of imaginative impossibility: how can black people imagine a wholesome futurewhen their past is fractured; how can queer people imagine themselves in the future when their sex does not bear children?I propose that Oswald’s theatrical excavation of Sun Ra’s life-as-art-as-life offers an opportunity to explore what imaginativework is being done on behalf of queer and black futurity. This paper investigates how the creation of Sun Ra, the person andthe play, contributes to a queer mythology that can be lived and relived in a way that makes possible the idea of futurityoutside of the reproductive matrix that privileges white, straight subjectivity.eva.peskin@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014583

Curating IntimacyWorking Groups: Queer FuturesFintan WalshBirkbeck University of LondonWe want performance to seduce us, and performance wants to be seductive to us. But what forms of intimacy do thesecircuits of desire model or deliver, and what might they reveal about intimacy on a wider level? This presentation addressesour peculiar relationship with intimacy in performance, by examining a selection of burgeoning contemporary practicesthat explore boundaries between performers, participants, and public spaces. It investigates the conditions that might beseen to give rise to the seemingly contradictory desire for intimacy among ostensible strangers in public, albeit in accepted“artistic” contexts, while considering some of the ways in which performance engages this phenomenon by cultivating it,unnerving it, or pursuing a more ambiguous trajectory still. I focus on three recent performances that pivot on relationshipsof touch, flirtation, and whispering: forms of contact which slip into, and back on, one another: Scottish performer AdrianHowells’ Foot Washing for the Sole (2009); Belgian theatre company Ontroerend Goed’s Internal (2007); and German-Britishartist Tino Sehgal’s These Associations (2012). I’m not sure how queer these works are, or how useful a queer methodologyis through which to interpret them. And yet the question of public intimacy, which structures my broader research project,seems to have a lot to say and ask of queer performance.Fintan Walsh is a lecturer in Theatre and Performance atBirkbeck, University of London.f.walsh@bbk.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014584

Working GroupsSamuel BeckettMemories and Images: A Leading Actress Died Performing Estragon on a Brazilian Stage in 1969Working Groups: Samuel BeckettThis paper will present details of the first professional production of Waiting for Godot done in Brazil, São Paulo, from April8, 1969 to May 6, 1969. Two major Brazilian actors were on stage: Walmor Chagas (Wladimir) and his wife Cacilda Becker(Estrangon).Robson CamargoUniversidade Federal de GoiásProfessor of Drama and Performance at UniversidadeFederal de Goiás. Head of the Masters Program onCultural Performances UFG. Ph.D. from Universityof São Paulo. Theater director: “Waiting for Godot”,“Company” and “What Where” (Samuel Beckett). Books:Mundo é um Moinho: Reflexions of Popular Drama onXX century. Master Classes Poland (Sopot) ‘TheatricalLeavenings’ - End Game de Samuel Beckett. Dramacritic at Folha de São Paulo (1983-1987) and Movimento(1976-1977), and at Internacional Drama Festival of RioPreto – Brasil and São José dos Campos - Festivale2008 (SP). Editorial Board of Karpa (California State),Editora Anthem Press (England) Performances andDrama; Moringa (UFPb); Fênix - Revista de Históriae Estudos Culturais (UFU) and Rebento – Revista deArtes do Espetáculo (UNESP). Has published on Gestos(Irvine-EUA), Manuscrítica (USP/SP), Sala Preta (ECA/USP), Journal of Beckett Studies (Florida State), Teatroal Sur (Buenos Aires), Revista Fênix (UFU), Moringa deTeatro e Dança (UFPb), Urdimento (UDESC), Topos(Poland). Free copy of papers at:This was one of the most important performances in Brazilian’s theatrical history during the dictatorship (1964-1984). Inmany interviews Cacilda Becker spoke about the acting process, the aesthetical goals of this performance, and how sheperformed the male character. This show done in a huge theatre was a big success.Unfortunately, during the show, after a month of staging Godot, Cacilda Becker had a stroke and was taken to the hospitalwith Estragon’s dresses, and she will dye after a month at the hospital, with daily press coverage about her health state.This paper will analyze the playbill of that show, and the newspapers coverage focusing mainly in how actors and directordealt with the stage directions on that performance. It will show some details of the performance, the difficulties found atthat time by an actress performing a male character, how Cacilda Becker dealt with the cross gender technics, and also somecharacteristics of the reception of Beckett in Brazil at that time.Link to a Portuguese article at Revista Fenix (Brazil), which has some pictures of the first performance of Waiting for Godotin Brazil (1955) and a picture of Cacilda Becker a leading actress performing Estragon at 1969, a successful performance andimportant performance at Brazilian drama history:http://www.revistafenix.pro.br/PDF29/DOSSIE_ARTIGO_8_ROBSON_CORREA_DE_CAMARGO_FENIX_MAI_JUN_JUL_AGO_2012.pdfhttp://ufg.academia.edu/RobsonCamargo.FIRT/IFTR World Congress, University of Warwick, 2014585

Object and Event: The Performance of Samuel Beckett’s ProseWorking Groups: Samuel BeckettNicholas JohnsonTrinity College DublinNicholas Johnson is an Assistant Professor in Dramaat Trinity College Dublin, as well as a performer,director, and writer. He holds an acting degreefrom Northwestern University and a PhD (on theperformance of Samuel Beckett’s prose works) fromTrinity College Dublin. In 2014 he co-edited a specialissue of the Journal of Beckett Studies with JonathanHeron (“The Performance Issue,” JOBS 23.1). Hisrecent research has been published in Theatre ResearchInternational, Forum Modernes Theater, the Journalof Beckett Studies, and in several edited collections,including the Methuen Critical Companion The Plays ofSamuel Beckett. Recent directing projects include hisadaptation of The Brothers Karamazov (Dublin 2014),his translation of Ernst Toller’s The Machinewreckers(Dublin 2014), Ethica: Four Shorts by Samuel Beckett(Sofia/Dublin 2012, Enniskillen/Áras an Uachtaráin2013), Bypass (Absolut Fringe 2012), and The Way of theLanguage (ATRL 2011). Since 2005 he has been artisticdirector of Painted Filly Theatre, and he is one of theco-directors of the Samuel Beckett Summer School.This paper introduces some practical and philosophical issues posed by the adaptation of Samuel Beckett’s prose to thestage. It explores the performance of non-dramatic text as a special case of trans-generic critical/archival methodology,operating at an interdisciplinary divide between research and artwork. Does adapting a novel constitute a resistance to thecommodification and objectification of art, or does it destroy the radical integrity of form? What tendencies in directorialand design decisions can be generalized, when the work does not offer a precise stage image? What barriers do suchpractices encounter, either at university level or in the wider culture industry? This working group submission, taken from theintroduction to a monograph in progress, is designed to extend the group’s discussion from Beckett’s plays to other modesof “Beckettian” performance. A key question that informs this research is whether literature is to be treated as an “object”or an “event”, particularly when the technologies of the culture industry are in a period of transformation. It is a truism thatthe prism of performance enables a deeper reading of dramatic literature, and that a purely textual understanding of a playmay fall short in certain ways. If critical avenues are opened by “doing” a play, why would this not be the case for other typesof text? Rather than constrain researchers within generic boundaries increasingly tested by new forms, a performativeapproach has confirmed what archival work has shown empirically: a unified definition of “the text” as a fixed object fails tocapture the immanent mobility of textual development and reception. Within the rich experimental heritage of adaptationpractice, this paper will challenge the meaning of genre in Beckett, the political interventions of his Estate, and the binarytheory-practice divide.johnson@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014586

Rock Her OffWorking Groups: Samuel BeckettTeresa Rosell NicolásUniversity of BarcelonaSamuel Beckett was very much concerned with the use of imagery in his works and the images that he created now belongto popular culture. The word “Beckettian” immediately evokes bleak spaces with a solitary tree, an old boot or leglesscharacters. In his last plays, however, imagery is not so well-known and the result is much more compressed, abstractedand, at the same time, poetic, subtle and precise, like the daring image of a woman in a rocking chair in Rockaby. Referencesin classic literature associate the rocking chair with tradition, motherly comfort and hospitality. Also, the action of rockingcreates a rhythm which can be related to music and, therefore, to a disposition to transmit rhymes, songs, popular tales andpoems from one generation to another. The question which arises in Rockaby is in what way this traditional homely image isreversed into a more elusive, disturbing one. In this play, the woman does not have the control of communication and welisten to a pre-recorded voice in conflict with her own voice in the live stage action. This only character on the stage cannotdominate the rocking movement either, as the power that keeps the chair moving back and forth comes from outside her.This maternal symbol, related to the lullabies that babies hear in cradles, is used by Beckett as the rhythm of the passingof time, perhaps the woman’s heartbeats until they cease, in a play where w cannot control her own representation, being“played” by the chair.Teresa Rosell is an Associate Assistant Professor ofLiterary Theory and Comparative Literature at theUniversity of Barcelona. She is a member of tworesearch groups on Spanish Literary Thought in theTwentieth Century and on Comparative Literature in theEuropean Intellectual Space. Her contributions to theseprojects have been published in recent articles (four ofthem forthcoming) in academic journals and she has coeditedJoan Fuster: a Figure of Time (with Antoni MartíMonterde, Ube, 2012). Her interests as a teacher andas a researcher are Hermeneutics, Drama Theory andAesthetic Representation in the Post-War Period.teresarosell@ub.eduFIRT/IFTR World Congress, University of Warwick, 2014587

Godot in Tuscany, October 2005Working Groups: Samuel BeckettAnita PiemontiUniversità di PisaBorn in Gorizia (Italy) in 1948. Graduation (Dr. inLettere Moderne) at the University of Pisa (Italy) in 1971.Lecturer, then Professor at the University of Pisa andat the University of Calabria (Italy) for Film and TheatreHistory, German Theatre, Austrian Literature, History ofthe Theories of Theatre from 1971/1972 to 2010/2011.Retired in 2011; since then, teaching appointment forHistory of the Theories of the Theatre at the Universityof Pisa. Research subjects: German theatre (Lessing,Piscator); Austrian theatre (Grillparzer, Raimund).a.piemonti@arte.unipi.itIn 1984 the Compagnia Pontedera Teatro, based in Pontedera, a small town located in Tuscany between Pisa and Florence,had the honour of presenting the Italian production of Beckett directs Beckett project by the San Quentin Drama Workshopdirected by Rick Chucley under Beckett’s supervision. Referring to that very experience and the close connection withJerzy Grotowski and his actors, on October 21, 2005 the Compagnia Laboratorio di Pontedera staged Aspettando Godot(Waiting for Godot) by Samuel Beckett. The long-lasting labour included a law suit decided in favour of the Company by theLaw Court during the performances (see The Guardian, Saturday 4 February 2006). The director Roberto Bacci with theatrescholar Stefano Geraci’s dramaturgical advice, the set and costumes designed by Brazilian Marcio Medina and the essentialmusic composed and played by bassist Ares Tavolazzi with his double bass (a CD was published afterwards) produced a stageversion of the play performed by Savino Paparella, Tazio Torrini, Maria Pasello and the twins Silvia and Luisa Pasello as Vladimirand Estragon. Their performance was a challenge to hierarchies of gender and sexuality. More than that, it was an inquiry intothe layering of human beings from the very particular point of view of their twin nature. This last inquiry in 2005 was not theirfirst: a previous one had been A. da Agata (1986), directed by Thierry Salmon, based on Marguerite Duras’s play Agatha; thelast was Due lupi (Two wolfes, 2011) directed by Virgilio Sieni, based on Agota Kristof’s The Notebook. The main purpose of mypaper is to examine how the extraordinary condition of the twin actresses, performing with the skills acquired through yearsof research theatre praxis, affected the stratification of the theatrical text.link to video Aspettando Godot Atto I, 1:17:02:http://www.youtube.com/watch?feature=player_detailpage&v=LjsxalmTcKElink to: video Aspettando Godot Atto II, 1:00:50:http://www.youtube.com/watch?feature=player_detailpage&v=YL5Nk-9u6hMlink to website Fondazione Pontedera Teatro:www.pontederateatro.itFIRT/IFTR World Congress, University of Warwick, 2014588

Levels of Interpretation and Japanese Audience Response to ImagesWorking Groups: Samuel BeckettThis paper analyzes how Japanese audiences are interpreting Samuel Beckett’s drama by finding its imagery within thecontext of Japanese society, culture and traditions. Without deviating from the original texts, the images are transformedthrough intersemiotic translation. Roman Jakobson describes in his ‘On Linguistic Aspects of Translation’ that “Interlingualtranslation or translation proper is an interpretation of verbal signs by means of some other language” (Jakobson, 1959,p.113), and that “Intersemiotic translation or transmutation is an interpretation of verbal signs by means of signs of nonverbalsign systems” (ibid.). This paper introduces levels of imagery in Samuel Beckett’s drama recently performed in Japan fromboth linguistic and nonverbal viewpoints of interpreting theatre in our contemporary age.Work Cited: Jakobson, Roman. (1959/2000). ‘On Linguistic Aspects of Translation’. In Lawrence Venuti (Ed.), The TranslationStudies Reader. Second Edition (pp. 138-143). New York: Routledge.Yoshiko TakebeShujitsu UniversityYoshiko Takebe is a full-time lecturer at Departmentof Practical English, Shujitsu University in Japan. Herinterest lies in the correlation between nonverbal andverbal forms of expressions with respect to drama andtheatre. Studied Drama and Theatre in Research atRoyal Holloway, University of London.FIRT/IFTR World Congress, University of Warwick, 2014589

Filmic Images of the Narrative of Beckett with Particular Emphasis on A Piece of MonologueWorking Groups: Samuel Beckett“Murphy consists of a number of ‘filmed’ and ‘edited’ scenes”, writes James Acheson, “[…] abounds in self-conscious flashbacks,close-ups and long shots […]”, and its narrator is “in the role of ‘film-editor’” (Samuel Beckett’s Artistic Theory andPractice, 47). The novel was written when Beckett was avidly reading theories of the silent film by Rudolph Arnheim, SergeiEisenstein, and Vsevolod Pudovkin.It is not only in Murphy but also in many other wartime and postwar writings by Beckett that we can find filmic scenes. In APiece of Monologue, the Speaker’s narration gives us a sensation of watching filmed and edited scenes as Sarah West rightlysays that “this short play aspires to being screened rather than staged” (Say It, 177).Mariko Hori TanakaAoyama Gakuin UniversityMariko Hori Tanaka is Professor of English at AoyamaGakuin University in Tokyo. She has published widely onBeckett’s work in comparison with Japanese theatreand art, including a book in Japanese, Beckett Junrei(Pilgrimage) : In Search of Samuel Beckett (Sanseido,2007) . She co-translated James Knowlson’s Damnedto Fame: The Life of Samuel Beckett (Hakusuisha, 2003)and co-edited Samuel Beckett and Pain (Rodopi,2012). Her recent articles on Beckett published are “‘Struggling With a Dead Language’: Language of Othersin All That Fall and the Japanese Avant-Garde Theatrein the 1960s” in The Edinburgh Companion to SamuelBeckett and the Arts edited by S.E. Gontarski (EdinburghUniversity Press, 2014) and “The ‘Freedom’ of Sartreand Beckett: The Flies versus Eleutheria” in SBT/A:Beckett in the Cultural Field / Beckett dans le champculturel edited by Jürgen Siess, Matthijs Engelberts andAngela Moorjani (Rodopi, 2013). She has helped TheatreX in Tokyo to bring Dublin-based Irish theatre companyMouth on Fire and produce their Beckett short plays atTheatre X in February 2013 and April 2014.While the long-shot gives us an objective observation of the whole scene, the close-up “takes some characteristic featureout of the whole” (Arnheim, Film as Art, 79), so that the spectator, losing the sense of wholeness, will be suspended and feeldislocated in watching close-up scenes. Beckett utilises such an effect of the close-up in many places in the play to make thespectator sense the uncanniness of the protagonist being a ghost. He also employs unusual camera angles and framing inthe funeral scene to express the protagonist’s trauma.By creating a kind of film text, Beckett, who challenged the limit of language, must have found a way to depict somethingdifficult to describe in words, because he knew the effects of what Bela Balazs calls “poetic montage” (Theory of the Film,126) in the film-making.This paper aims to explore how early film theories are reflected in the filmic images in the narrative of A Piece of Monologueand effectively structuring a dramatic text illustrating the “profounds of mind” (Ohio Impromptu, CDW, 448) of an old man.FIRT/IFTR World Congress, University of Warwick, 2014590

BEGINNING TO END: Exhaustion in Word and ImageWorking Groups: Samuel BeckettNicola SchmidtFreie Universität BerlinNicola Schmidt works as a Research Associate at theTheatre Studies Department of the Freie UniversitätBerlin. After graduating she worked for the nationwidetheatre festival Theatertreffen and as a dramaturg.Besides teaching she is currently writing her PhDthesis about influences of Samuel Beckett’s oeuvre onspecific positions of Visual Art (e.g. Bruce Nauman,Stan Douglas, Nam June Paik) and their interweaving.Further research interests: Contemporary Theatre,interrelations of knowledge spaces between Philosophyand Physics, and interfaces of Theatre and Fine Arts.BEGINNING TO END – that rare anthology is a particulary promising piece to look at Samuel Beckett and his way of dealing withhis own oeuvre. An alterating trial balloon of an artist who constantly questioned the representation of his own works lookingfor a final materiality of the „image“, trying to get closer to his idea of „nothing“. Not just did Beckett try out BEGINNING TOEND in different media (stage, radio and TV) but furthermore developed it with a collage like method of patching differentexcerpts of his existing texts which thus lead to a genuinely new piece. BEGINNING TO END’s fragmentary text structurealready lays out the disintegration of the character, often focussing on the concept of the moving image, achieved throughword-ritornelli (e.g. MOLLOY´s sucking stones). That momentum is imminent for Beckett’s figures especially in context withthe camera, where the character splits with particular frequency in an „I that talks and one that listens (to itself); theydisintegrate into an I that perceives or presents itself (...) and one that feels observed.“(Michael Lommel 2006) During thecourse of the anthology the text escalates as well as the rhythm of speech increases up to an apparent disintegration ofrigor, up to a never ending end. A soliloquy, to put it with Gilles Deleuze that can only be held by someone „exhausted“.Because „what matters for him [the exhausted] is the order in which to do what he must, and, following which combinations,be able to do two things at once – when it is again necessary – for nothing.“(Gilles Deleuze 1995) This exemplifies Beckett´sapproach of emphasising visual repetition as well as gruelling word-circuits to dissolve the linearity of a narrative in favourof an exhausting visual fragmentation.nicola.schmidt@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014591

The Sound of Embers as Object VoiceWorking Groups: Samuel BeckettAnna SiggMcGill UniversityAnna Sigg is a Ph.D. candidate in the department ofEnglish at McGill University, Montreal, Canada. Sheis also the recipient of a FQRSC Doctoral Fellowship(Fonds québécois de la recherche sur la société etla culture). Her dissertation focuses on the workSamuel Beckett, Sarah Kane, and Bertolt Brecht. Morespecifically, it explores the connection between trauma,sound, and the body in modern and postmodern drama.Beckett was adamant that Embers, just like his other radio plays, not to be performed on stage: it was meant to be broadcastas a one-time event. Embers effectively “blinds” its listener and places him in a mental cave, a ghostly place of darkness fromwhich the trauma depicted in the play emerges. This intimate atmosphere serves to create a close connection between thecharacter and the witnessing listener of the traumatic events. Embers focuses on the character Henry, who finds himself ina cycle of traumatic repetition. Throughout the play, he is tortured by a roaring tinnitus, a sea-like sound, which reminds himof the death of his father and of his own mortality. He describes his trauma as the “same old grave [he] cannot tear [him]self away from” (203). Henry re-enacts the various stories of his past, but he is unable to finish any of them with the useof words. However, they can be completed by listening to the sound of the roaring tinnitus, which, in the BBC productioncan always be heard during the pauses. The connection between Henry’s past and his perception of the sea sound is bestilluminated by drawing on Dolar’s idea of the object voice. I argue that the broadcasted, internalized sound of the sea, as anobject-voice, is an uncanny intimation of the unconscious, and therefore expresses Henry’s ultimate experience of trauma:his confrontation with mortality. According to Dolar, the object voice, or acousmatic voice, is not attached to a subject,but emerges from a traumatic place of otherness and alienation. It is disembodied and resounds from “elsewhere.” Žižekdescribes the estrangement, which this voice generates as “adding a soundtrack to a silent film” (Gaze 92), or, as I argue, asa traumatizing bodily countermelody that Henry refuses, but essentially cannot avoid.anna.sigg@mail.mcgill.caFIRT/IFTR World Congress, University of Warwick, 2014592

Working GroupsScenographyLayering the Material: A Comparative Study of the Impact of New Technologies on Performancein India and the UKWorking Groups: ScenographyBalakrishnan AnanthakrishnanUniversity of HyderabadB. Ananthakrishnan is currently Professor of TheatreArts and Dean, S N School of Arts & Communication atUniversity of Hyderabad, Hyderabad, India. Specializingin Indian performance studies he has published articleson Indian Theatre in journals such as Theatre India,Theatre Research International and contributed articlesto different anthologies including the Encyclopediaof Asian Theatre, edited by Sam Leiter, Greenwood,Westport, 2007. As an executive committee member(2009-2013) of the International Federation for TheatreResearch (IFTR) and general secretary (2003-2013)of Indian Society for Theatre Research (ISTR) he hastaken up a number of different research initiatives tofoster the research culture of theatre and performancein India. He is co-project director of the UK-IndiaEducation Research Initiative (UKIERI) ThematicPartnership with Wimbledon College of Art, London,which aims to enhance understanding of the impact ofnew media on contemporary performance culture inIndia and the UK.This joint paper will discuss the current partnership between the S.N. School of Art and Communication, HyderabadUniversity and Wimbledon College in Art, London. This funded project aims to create a cross cultural research platform, atthe inter-face of fine art and theatre, to investigate the impact of digital media on performance in India and UK. In the UK,lines between these two approaches to performance have already been breached as new technologies blur the boundariesbetween established traditions. Increasingly in India, plays and fine art installations use video and digital projections thatmerge the theatrical and the experiential under the umbrella of performance. Using scenography as a frame of reference,the project seeks to conceptualise and understand how this layering of technologies – both ancient and contemporary- is affecting ways of making and viewing performance in our respective nations. Indian cultural critic Rustom Bharuchaargued at the end of the twentieth century, ‘[at] this point in time, one can say that technology has not yet co-opted the‘visionary’ possibilities of seeing assumed by our spectators…’ (1993). Does this still hold true at the beginning of the twentyfirst century? Describing the viewing habits of European and American audiences Arnold Aronson suggests, ‘The increasingubiquity of the World Wide Web and its particular visual aesthetic is what most spectators associate with performativeimagery’ (2008). How are these new scenographic landscapes stratified, in their composition and reception? This paperwill analyse the findings of the project so far, including cross disciplinary workshops conducted in India and UK and arguehow by focusing on the materiality of performance, this partnership, will broaden understanding of the formations andstratifications of performance in both cultures.http://sdaukieri.theatreartsuoh.inananthu60@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014593

“What lies Beneath” The Dance Between Performer and Scenography in Theatre and LifeWorking Groups: ScenographyNicholas ArnoldAdam Mickiewicz UniversityNicholas Arnold was educated at Oxford, where heread History and researched in Social Anthropology.He then worked professionally as a performer,director, and deviser before moving to academia. Hehas taught at Oxford, Aston, Birmingham, and DeMontfort universities, and led Theatre in the team whichdeveloped the innovative degree course in PerformingArts at Leicester Polytechnic. He has been significantlyinvolved in international collaborations and in personalinternational activity. He is currently National ProfessorEmeritus in Cultural Studies at the Adam MickiewiczUniversity, Poznań, Poland, visiting professor at theUniversities of Rome ‘La Sapienza’ and Malta, andTutor for the multi-national European Masters in theScience of Performer Creativity. His current researchand practice interests are in New Performance, theanthropology and neurology of performance, and theestablishment of a phenomenology and ethology ofperformance.A performer negotiates with the scenography. Performers “walk the stage” – a process of understanding the new physicalreality which has grown from under their feet; ground-plans and pictures becoming walls, doors and windows. The newlyencounteredphysical reality creates a new performance: a complete re-appraisal not only of tempi and dynamics, but of actsand ideas. The scenography thus has multiple iterations, its role open to debate – a debate which is active and embodied. Thisexpresses in microcosm the constant attempts by humans to (re)create environments for themselves, which become in turnscenographies which limit or re-define, rather than responding to, the behaviour of their inhabitants. These tensions can beseen in the palimpsests revealed by archaeology - Hausmann laid over the mediaeval - and in the different modes of cultureand behaviour implied or required – Iron Age round-houses within sight of Roman marching-camps. These scenographicpalimpsests are revisited in embodied revivals of past behaviours – not only in the tourist routes of historic sites, but in sitespecificperformances which deliberately make use of the multiple overlays of the underfoot environment. But the plannedideal is also at the mercy of time and rough usage. The landscape designs of Capability Brown, environments for carefullydesigned human activities, become hostages to the future “slow sculpture” of their organic components. A speeded-upversion of such a process can be found in the “garden make-over” TV shows, where immediate delight is superseded bythe painful process of discovering/negotiating a way of living with/in such environments. One resolution of such tensionslies in performances where the only scenography is that described by the performers: fluid, protean, and appealing to theimagination rather than to the eyes of the audience.nicholas.arnold7@virgin.netFIRT/IFTR World Congress, University of Warwick, 2014594

Changing Scenes and Flying Machines: Stratification in Restoration TheatreWorking Groups: Scenography“The Clouds divide, and Juno appears in a Machine drawn by Peacocks; while a Symphony is playing, it moves gently forward,and as it descends, it opens and discovers the Tail of the Peacock, which is so Large, that it almost fills the opening of the Stagebetween Scene and Scene.”(John Dryden, Albion and Albanius)The stratification of theatre is particularly relevant when considering the theatrical practices of Restoration theatre. Thispaper will draw on stage directions and first-hand accounts, relating to plays from 1660 to 1737, to dissever the multiplelayers of the stage spectacle, and extend our understanding of Restoration theatre production in order to establish principleswhich may be valuable in furthering scenographic research.Lyndsey BakewellLoughborough UniversityLyndsey Bakewell is a PhD student at LoughboroughUniversity. She is exploring the spectacular nature ofperformance on the Restoration stage, focusing on theoperation of the stage and its machinery; intending toprovide a better understanding of the performance spacesas a whole. In 2012, she presented “Alternative Spectacle inAphra Behn’s The Emperor of the Moon” at the Aphra Behnin her Seventeenth-century Contexts conference held atLoughborough University. The paper sought to redefinethe current expectations of spectacle whilst building onthe work of other academics to expand the categories ofRestoration performance. She also presented “UnnaturalOrnaments – The Playwright, The Character and The Actor”at the Reading Early Modern Conference in 2013, exploringthe spectacular role of the actor in Restoration plays. Lastyear Lyndsey visited a number of theatres in the UK andthe Castle Theatre in Cesky Krumlov, gaining first-handexperience of operating the surviving eighteenth-centurystage machinery. This summer Lyndsey will be presentingpapers on “Religion and the Female body in Restorationtheatre” at Loughborough University and “ChangingScenes and Flying Machines: Stratification in RestorationTheatre” at the IFTR conference in Warwick.For the purposes of this paper, the stage practices of the Restoration will be divided into two distinct fields: the materialand bodily. My paper will explore the relationship between the two fields, in order to create a comprehensive observationof the stage practices being employed. The paper will initially address the fundamental foundations of the stage, includingtrapdoors and stage floors, before focusing on the multiple additions such as, flying machines, automata, moving scenes,set, props, and costumes. Secondly, this paper will explore the physical design element of the actor, to demonstrate how thehuman body, especially that of the newly introduced female, creates new theatrical meaning in conjunction with the materialcomponents. Considering both elements of scenic design together, this paper will conclude by provide an exploration of thelayered, visual impact experienced by the Restoration audience.l.l.bakewell@lboro.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014595

What is Eco-Scenography?Working Groups: ScenographyGlobal environmental concerns bring with them an opportunity to shift current practices throughout our cultural sectors.This paper will explore the intersection between performance and ecological stage design practice, with emphasis onthe emerging paradigm of ‘eco-scenography’ – a movement that seeks to integrate ecological principles into all stagesof scenographic production. Eco-scenography rethinks past processes of stage design practice and embraces creativeopportunities of ecological thinking. Using a selection of practice-as-research project examples, this presentation willexamine the role of the eco-scenographer as an activist and facilitator of change within the performing arts and the broadercommunity.Tanja BeerUniversity of MelbourneTanja Beer is a scenographer and researcher investigatingecological design for performance, with 15 yearsprofessional experience, including creating over 50 designsfor a variety of theatre companies and festivals in Australia(Sydney Opera House, Melbourne International ArtsFestival, Melbourne Theatre Company). She founded TheLiving Stage – an eco-scenographic concept combiningstage design, permaculture and community engagement tocreate a recyclable, biodegradable and edible performancespace (created for the Castlemaine State Festival andWorld Stage Design 2013). She has recieved a 2011 AsialinkResidency (Australia Council for the Arts) with the TokyoInstitute of Technology (Japan) and a 2013 NormanMacgeorge Scholarship (Australia) with the Royal CentralSchool of Speech and Drama (London). Tanja has a Mastersin Stage Design (KUG, Austria), a Graduate Diploma inPerformance Making (VCA, Australia) and is currently aPhD candidate at the University of Melbourne where sheteaches subjects in Design Research, Scenography andClimate Change. Recently “Activist in Residence” at Julie’sBicycle (UK), Tanja has spoken about ecological design atacademic and non-academic events around the world.www.tanjabeer.comhttp://tanjabeer.ideastap.com/tbeer@student.unimelb.edu.auTrans-Plantable Living Room at WSD 2013 (short trailer):http://vimeo.com/95562183FIRT/IFTR World Congress, University of Warwick, 2014596

Stages of Disaster: On Stratification and CollapseWorking Groups: ScenographyThe notion of ‘disaster’ forms an integral part of society, and both exposure to disaster and its prevention contribute toa nation’s self-image and identity. Disaster transgresses the borders between nature and culture and in the dialecticalprocesses of destruction and resurrection, the social, cultural and political framework of a society is open for all to see.Disaster research in the social sciences has long recognized that“Not every windstorm, earth-tremor, or rush of water is a catastrophe. (…) It is the collapse of the culturalprotections that constitutes the disaster proper.” (Carr 1932: 211, as cited in Dombrowsky)While „cultural protections“ are designed to hold material and ideological exchanges in a specific relationship, a disasterexplodes and reinforces social stratification.Thea BrejzekUniversity of Technology, SydneyThea Brejzek, Professor of Spatial Theory, Facultyfor Design, Architecture and Building, University ofTechnology, Sydney. 2013 Visiting Professor at BartlettSchool of Architecture and former Professor ofScenography at Zurich University of the Arts (-2012).Research focuses on performative space in all areas ofspatial practice. Current projects are concerned with Siteand Perception and The Model as Performance. Recentpublications include ‘Experts of the Everyday’, RiminiProtokoll ReLektueren, ed Garde, U., and Mumford, M.,(forthcoming); ‘Derealisation, Perception and Site: SomeNotes on the Doppelganger Space’ (with L. Wallen),Perception in Architecture, ed Perren, C. and Mlecek,(forthcoming); ‘Modulating Light in Theatre and Event’,Lightopia, ed Kugler, (2013). ‘Subject, Site and Sight: Freudand Tschumi on the Acropolis’, (with L. Wallen) ReverseProjections, ed Breen Lovett, S., and Perren, C. (2013);Brejzek, T. & Wallen, L.P. ‘Artist’s pages: ‘Cronulla NSW2230 Australia : A Fotonovela’, Performance Research(2013); Brejzek, T., Greisenegger, W. & Wallen, L.P. (eds),Space and Desire: Scenographic Strategies in Theatre, Art andMedia (2012).thea.brejzek@uts.edu.auThis paper looks at the spatiotemporal scenographic articulations of how a city’s „social space“ (Lefebvre 1991) andprescribed economy of objects and ideologies become open to re-negotiation and re-definition in the wake of a disaster. Itwill re-examine the social science view that “Disasters both reveal elemental processes of the social order and are explainedby them” (Keps 1986) and looks at the mise en scene of disaster and its materiality in theatre and performance. How can acollapsing world be understood as a chance for change? How does scenography construct the liminal spaces out of whicharises Victor Turner’s “communitas” - a social model of anti-structure and resistance, and Jean-Luc Nancy’s “community”,namely “resistance itself”.“Stages of Disaster” looks at how scenographic practice spatializes the transgressive potentiality of the collapse andreinforcement of social and material stratification that places individual and society at the exact meeting point of natureand culture in, during and after the event.The Earthquake in Chile, Photographer: Matthias HornFIRT/IFTR World Congress, University of Warwick, 2014597

Relating Chekhov to Young AudiencesWorking Groups: ScenographyFernando CalzadillaNew York UniversityFernando Calzadilla is a theater designer, dramaturg,director, performance scholar and artist. His workas Resident Artist for Miami Theater Center (MTC)includes: Inanna and the Huluppu Tree, The Red Thread,Everybody Drinks The Same Water, Co-Writer/ Set,Costume & Lighting Designer; Three Sisters and Alice’sAdventure’s in Wonderland, Co-Adapter/ Set, Costume& Lighting Designer. He directed his own adaptationof Sophocles’ Electra for Teatro Prometeo/Miami-Dade College in Spanish language. As a performanceartist presented Julie in collaboration with dancerKatie Wiegman at MTC. Teaching credits include:Performance Art (Florida International University);Performance Art (Design and Architecture Senior High– DASH); East Coast Artists Performance Workshop(New York University); lead professor of the firstTaller Telemundo: Escritores de Telenovela (M-DC); andrasaboxes workshops (US and abroad). He has won14 regional and national design awards in Venezuela,including: Best Costume Design, Salieri and Best SetDesign, Happy Days. He earned a BFA in Scenic Designand MA/PhD in Performance Studies at New YorkUniversity.fc270@nyu.eduMiami Theater Center’s production of Chekhov’s Three Sisters will probe how by a process of unmasking layers, performerscreated bridges that allowed audiences to experience Chekhov without historical distance and related to his predicamentin today’s world. Our approach to the production was to build anew while keeping a commitment to the original’s essence.We unmasked the levels of immersion and the layers of theater design. A 49-seat rotating audience riser placed on thestage broke the fourth wall while the Prozorov’s house extended over the original seating area. The theater building asplace was intertwined with the set as space. A maid clad in a 19th century dress received the audience in the lobby. Ratherthan hide the artifice, we unmasked the theatricality that created it, revealing simultaneously place and space. By beingout of synchronicity with the story the furniture became presentational, de-familiarized. A 1950’s chair became a socialcommentary, it performed chair. Father’s chair was a presence; the chaise was a longing, the dining table, a gathering.Lighting established nastroenie (Russian for mood), and also allowed actors and spectators to share an intimate space ofsuspended time. It performed between place and space. The costumes, closer to the actor’s body were closer to the time/space of Chekhov’s story. To dissolve the historical distance, we used American idioms and mixed up periods and referenceswhile keeping the Russian language’s original intention. We placed the actors in a symbolic time/space that moved betweenthe theater’s stage in 2012 and the Prózorov’s house in 1903, for example, Masha and Vershinin sang Embraceable You insteadof Eugene Onegin. We created bridges to connect the fictional world of the characters with the very theater itself so today’syoung audiences could have Chekhov.Three SistersAdapted by Stephanie Ansin and Fernando CalzadillaDesigned by Fernando CalzadillaDirected by Stephanie AnsinMiami Theater Center, Miami, FL, 2012http://www.mtcmiami.org/gallery/three-sisters/Photo Credits Daniel Bock 2012FIRT/IFTR World Congress, University of Warwick, 2014598

Scenography Through the Looking Glass: How the Audio Walk Operates Protocols of Immersionand Strategies for RecognitionWorking Groups: ScenographyInspired by Alice’s story of immersion triggered by her passing through the looking glass and fall into an-other side, this paperproposes to address the audio-walk as a form of negotiation of body and space, and of body in space.The audio-walk is an audio-guided journey through space that excavates between reality and fiction, feeding from bothworlds, and making abyssal space for the audience’s participatory reception. Through the manipulation of sound, image andword, the audio-walk organizes a thread of intersections of spaces to evoke and provoke the pleasure of extreme sensorialexperience. Space and place are re-designed through soundscape, intersecting each other at multiple levels and resultingin a complex multi-layered object where reality absorbs scenography, and this operation seems to work as a protocol ofimmersion.Inês De CarvalhoIndependent ScholarTrained at the Lisbon School of Theatre and Film [BATheatre Design, 1998], at the Slade School Of Fine Art,UCL [Master of Fine Art Theatre Design, 2000], and atthe University of Évora [ attended the Master in VisualArts Inter-media, 2005-2007]. Recently exhibited asfinalist at the World Stage Design 2013, in Cardiff. TeachesScenography, Costume, Make-up. Collaborates with VisõesÚteis since 2009, as a Designer for Performance andLandscape Art interventions such as Audio-walks.Lives in Porto and practices scenography, beyonddefinitions and boundaries, often overflowing theconventional stage. Develops projects that cross research,practice, production and pedagogy in the visual andperforming arts. Directs performative projects inspired bythe materiality of the space and its inherent capability tobe written on/in/within. Practices the art of scenographyas living and livable space, questioning places - of who/what sees and who/what is seen, by expanding notionsand definitions and exploring the permeability betweendisciplines, reinventing methods and the creative processitself. Participates in international conferences and runsworkshops, with the audio -walk and immersive spacetellingperformance at the centre of her theoretical andpractical research.www.inesdecarvalho.cominesdecarvalho@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014How can we look at this intangible topology of depth? How can we trace this journey of crossing and carving space? Can weunbend the time of the walk to look deeper into the meanders of this operation? Can we speak of “walk”, “stance” and “trace”as agencies of experience or as strategies for the cognition and re-cognition of the audience’s body performing in space?To illustrate these inquiries I will share examples from my practice as scenographer, visual artist, and co-creator of audio-walksand installations with Visões Uteis Theatre Group, and will refer to Foucault’s heterotopias, Aronson´s abyss, and Machon´simmersive theatres.Using the inspiring image of Alice’s imbalance into an abyssal space, I suggest that the audio-walk invites the audience toperform a journey of tightrope walking between dimensions, whose continuous tension forces a plunge into an-other world.http://www.visoesuteis.ptVU’s audio-walk: The bones that the stone is made of _ a film by Michele PutortìVU’s audio-walks: Travelling with the soul _ a film by Michele PutortìVU’s audio-walk: Errare _ a film by Michele Putortì599

The Roles of Scenography in the Emerging Creative ProcessWorking Groups: ScenographyMing ChenKennesaw State UniversityBorn in Shanghai, China, Ming Chen is a professor/theatrical designer at Kennesaw State University in the U.S.She authored the textbook Visual Literacy for Theatre andhas published articles in such leading peer reviewed journalsas Theatre Topics, TD&T, and Theatre Arts. Her designs wereseen at Prague Quadrennial in Czechoslovakia, China’sNational Stage Design Exhibition in Beijing and Tokyo,Kennedy Center American College Dance Festivals in NYCand Washington D.C., Shanghai International Arts Festival,Shanghai Theatre Festival, and Edinburgh Festival Fringe,cities in India, theatres in Atlanta, including the AllianceTheatre, Horizon Theatre and Atlanta Ballet, and universitytheatres such as SUNY at Buffalo and Cornell University.She received design awards including those from PragueQuadrennial (co-design) and Kennedy Center AmericanCollege Theatre Festival. Drawing from her cross-culturalexperiences, she directed intercultural projects whichreceived more than 30 grants, including those fromNational Endowment for the Arts (USA), the CulturalServices of French Embassy, the Georgia HumanitiesCouncil (USA), the French Consulate in Atlanta, ConfuciusInstitute (China), and Coca Cola Foundation (USA).Theatre and performance practitioners are forever seeking creative processes that foster a compelling fusion of visual andauditory theatrical signs to communicate story, character, theme, and worldview to an audience. Historically, mainstreamWestern theatre has privileged the dramatic (written) text as the guiding force for generating a theatrical performance.In the 1930s and 1940s, aestheticians started questioning the traditional hierarchy of producing theatre and performancethat begins with the script as a blueprint for production. Semioticians categorized components of theatrical performanceand discovered the “changeability” among the various sign systems. These theoretical developments encouraged collectivecreation practices that dissolve a script-driven hierarchy through “the abolishment of individual authorship” and the cocreationof all sign systems that comprise a theatrical performance. Certainly, this collective mode of creation with itsrecord of success merits inclusion in theatre pedagogy. This paper is an attempt to bridge the gap between semiotic theoryand collective creation practices by offering a useful framework to guide the new process. It investigates the dynamicrelationships among the sign systems, especially the non-traditional roles scenography has played and can play in thisemerging creation process. These include, but are not limited to, 1) scenography as a source of inspiration that instigates thecreation; 2) scenography as a physical and visual base that sets the perimeters for the creation; 3) scenography as an agentthat carries out the action of a theatrical work; 4) scenography as the reason for creation. While the new creation processopened up unprecedented possibilities for artists working in theatre, this paper discuss works that push the boundaries inthese uncharted territories.chenming.55@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014600

Layering the Material: A Comparative Study of the Impact of New Technologies on Performancein India and the UKWorking Groups: ScenographyJane CollinsUniversity of the Arts, LondonJane Collins is Professor of Theatre and Performance,University of the Arts, London. She is a writer and theatremaker who works in the UK and internationally. For TheRoyal Court, in partnership with the National Theatreof Uganda, she co-directed Maama Nalukalala N_dezzeLye (Mother Courage and her Children) by Bertolt Brecht,with a Ugandan cast in Kampala, touring to America andSouth Africa in 2001. The Story of the African Choir, whichshe researched, wrote and directed, was staged at theGrahamstown International Festival in 2007. Recentwork in India has resulted in a successful bid to develop aThematic Partnership with the University of Hyderabadthrough the UK-India Education Research Initiative(UKIERI) to enhance understanding of the impact of newmedia on contemporary performance culture in India andthe UK. In addition to journal articles, recent publicationsinclude, co-editor with Andrew Nisbet of Theatre andPerformance Design: a Reader in Scenography (RoutledgeMarch 2010), a chapter in Performing Site-Specific Theatre:Politics, Place, Practice (Palgrave Macmillan 2012). Editor ofAesthetics of Absence, English translation of a collection ofessays by Heiner Goebbels, forthcoming 2015. Co-editorwith Arnold Aronson, Columbia University of forthcomingjournal, Theatre and Performance Design (Routledge 2015).j.a.collins@wimbledon.arts.ac.ukThis joint paper will discuss the current partnership between the S.N. School of Art and Communication, HyderabadUniversity and Wimbledon College in Art, London. This funded project aims to create a cross cultural research platform, atthe inter-face of fine art and theatre, to investigate the impact of digital media on performance in India and UK. In the UK,lines between these two approaches to performance have already been breached as new technologies blur the boundariesbetween established traditions. Increasingly in India, plays and fine art installations use video and digital projections thatmerge the theatrical and the experiential under the umbrella of performance. Using scenography as a frame of reference,the project seeks to conceptualise and understand how this layering of technologies – both ancient and contemporary- is affecting ways of making and viewing performance in our respective nations. Indian cultural critic Rustom Bharuchaargued at the end of the twentieth century, ‘[at] this point in time, one can say that technology has not yet co-opted the‘visionary’ possibilities of seeing assumed by our spectators…’ (1993). Does this still hold true at the beginning of the twentyfirst century? Describing the viewing habits of European and American audiences Arnold Aronson suggests, ‘The increasingubiquity of the World Wide Web and its particular visual aesthetic is what most spectators associate with performativeimagery’ (2008). How are these new scenographic landscapes stratified, in their composition and reception? This paperwill analyse the findings of the project so far, including cross disciplinary workshops conducted in India and UK and arguehow by focusing on the materiality of performance, this partnership, will broaden understanding of the formations andstratifications of performance in both cultures.http://sdaukieri.theatreartsuoh.inFIRT/IFTR World Congress, University of Warwick, 2014601

Open and Empty - “The New Materialists” at the Royal Shakespeare Company 1962-1968Working Groups: ScenographyLiam DoonaIndependent Scholar“What is necessary however is an incomplete design; a design that has clarity without rigidity: one that could be called “open”as against “ shut”. Writing in 1968 Peter Brook outlines what has since become an established scenographic axiom; that inthe theatre, the visual is vestigial; incomplete until the action of performance reveals and resolves the overall dramatic andcontextual intention of the spatial/ temporal situation. This paper will argue that from 1962 with the production of Brook’sKing Lear, The RSC is the location of a scenographic coup d’état, as an established school of Neo Romantic scenographersled by, amongst others, Leslie Hurry, Lilia De Nobli and Loudon St Hill are deposed by a new generation of designers who I willcall the “New Materialists” . Comprising members such as Peter Brook, Ralph Koltai and John Bury they quickly revolutionisethe visual hierarchies of scenography as part of a rediscovery of celerity and “open” ness. Their spaces – though visuallydiverse – sharing a central characteristic – an anti illusionistic purge of the directly representational, the decorative and thesuperficial. A change which will ultimately lead to a dematerialisation of the dominant s pictorial and episodic scenography ofBritish Shakespeare production in the 1950s and the establishment of the archetypal “empty space”. The birth and cradling ofthis new scenography at the RSC establishes a series of material /architectonic tropes which are to have a lasting influenceon British scenography, its methods and physicality.Liam Doona worked extensively in the UK both as apracticing designer and academic before relocatingto Ireland in 2006 to take up the post of Head ofDesign and Visual Arts at IADT. Liam has led anddeveloped programmes in scenography at a number ofBritish Universities including the University of CentralEngland, Bretton Hall and Nottingham Trent University.Liam has recently co-authored Irelands first suite ofhonours degrees in Design for Stage and Screen,incorporating Production Design, Make up Designand Costume Design. He is an Expert Panellist (Art,Design and Drama) for the Higher Education Trainingand Awards Council ( Ireland)and a highly experiencedexternal examiner. Liam’s design work was includedin the Collaborators Exhibition at The Victoria andAlbert Museum London. His work can be seen in “2D3D” (2002) and “Collaborators”(2007), the quadrennialreviews of British Stage Design published by SBTD. Hisstudy of American designer Jo Mielziner was recentlyre published by Routledge, A Reader in Scenography. Heis currently designing for the Abbey, Irelands NationalTheatre.liam.doona@iadt.ieFIRT/IFTR World Congress, University of Warwick, 2014602

Fusion and Con-Fusion: Stratification and Performance SpaceWorking Groups: ScenographyIrene Eynat-ConfinoTel-Aviv UniversityDr. Irene Eynat-Confino, from Tel-Aviv University, is theauthor of Beyond the Mask: Gordon Craig, Movement,and the Actor (1987) and On the Uses of the Fantasticin Modern Theatre: Cocteau, Oedipus, and the Monster(2008), and the co-editor of Space and the PostmodernStage (2000) and Patronage, Spectacle, and the Stage(2006). She has published on Gordon Craig, AdolpheAppia, Oscar Wilde, Yeats, Cocteau, Beckett, andAnsky. Dr. Eynat-Confino served as a Member of theExecutive Committee of the International Federationof Theatre Research (FIRT/IFTR) and as a Convener ofits Scenography Working Group, and was a ResearchFellow of the National Humanities Center in NorthCarolina. She is the Editor of Theatre Arts Journal:Studies in Scenography and Performance.The first part of my presentation will explore the use of the term “stratification” as a metaphor in scenography research.“Stratification” denotes both a process and its final product, both the action of ranging in layers and the ensuing layeredcondition. Most important, both action and result imply linearity and stability in the action of ordering of the orderedlayers. But can we legitimately use the notion of stratification when we study performance, theatre design, and/or designin performance? Performance is an ongoing process that is credited with temporality and instability, distinguished as itis by simultaneous linear and non-linear interactions between its various components. Even in a one-set production, thespectator’s perception of the performance space is constantly affected by the simultaneous action of the performer, sound,and light; thus, while the signifying potential of the space is steadfast, its significations shift. This is why “stratification” asa metaphor is non-applicable in our field of research. On the other hand, the use of “stratification” as an analytical toolenhances our understanding of the artistic process involved in theatre design as well as our comprehension of the multipleand simultaneous non-linear layers of meaning that interact with each other and shape the intellectual, aesthetic, and sensualexperience of both the spectator and the performer. With one caveat: the linearity inherent in the notion of stratificationnot only determines but also renders such an analytical discourse reductive. The second part of my presentation will employ“stratification” as an analytical tool for the study of past theatrical events. I will discuss the performance space in productionsthat were “Broadway hits” avant la lettre on the 19th-century Parisian “Boulevard du crime” and soon became commercialand cultural hits on foreign stages.FIRT/IFTR World Congress, University of Warwick, 2014603

Analog and Digital: Reconciling New Presentation Methods with Traditional Techniques in DrawingWorking Groups: ScenographyHarry FeinerCity University of New YorkVisual artists habitually refer to the importance of “process” in their work, often times ascribing more significance to themeans by which a project is realized than to the finished project, which in our case consists of scenographic environmentsand costumes. New tools change processes and radical developments in available tools and materials have the potential totransform thinking and ideas. They do so not by just making new options for expression available, but also by their potentialfor affecting our cognitive processes, offering or demanding alterations in our established practice, and the possibility ofnew courses of procedure. Through projections developed for a dance project I will discuss how the blending of the strata ofdigital programs (such as Photoshop) and my own penchant for traditional rendering became a new process, enabling me toalter my attitude toward new rendering methods by adapting what seemed like the best qualities of both strata for a type ofexpression different from my established mind set. I will also seek to explicate several associated cognitive ideas about thecreative process: our tendency to resist change, (which contributes to stratification), and how the clash of processes cancontribute to imaginative jumps. By drawing connections to information regarding canonical and mirror neurons, as well asresearch on the existence of synesthesia, I will also suggest neurological reasons that may explain the concepts discussed.Scenery and lighting designer for theatre, opera anddance; over 30 Off-Broadway and regional productions.Designs for: Peccadilo Theatre Company, Pearl Theatre,Virginia Stage, Missouri Repertory Theatre, EnsembleTheatre, Pittsburgh Public Theatre, Capital Rep, DelawareTheatre Company, Two River Theatre, GEVA, George StreetPlayhouse, Syracuse Stage, Theatre Virginia, PhiladelphiaDrama Guild, The Pennsylvania Stage Company & TheActors’ Studio. Designs for The Shakespeare Theatreof New Jersey, Colorado, Alabama, and North CarolinaShakespeare Festivals. Dance designs: Rioult Dance,Germaul Barnes’ Viewsonic Dance & North Carolina DanceTheatre. Opera designs: Central City Opera, Boston LyricOpera, Florida State Opera, Pennsylvania Opera Theatre,Syracuse Opera, Chatauqua Opera, Opera Theatre ofPittsburgh, Fort Worth Opera, Orchestra of St. Luke’sand Manhattan School of Music. Exhibitions includePrague Quadrennials, World Stage Design Exhibition andUSITT. Received Graham and Tobin Foundation grants,nominations and awards in Boston, Connecticut and SantaBarbara, and company commendations with the PearlTheatre Company (Drama Desk and Obies). He has writtenon the relationship between consciousness studies and thearts.hfeinerdesign@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014604

‘Can I Get a Signal in Here?’: Mobile Technologies, Food, and PerformanceWorking Groups: ScenographyComposed of an international group of artists (actors, directors, scenographers, architects and academics), the original aimof ‘The Food Project’ was to investigate how women perform questions of identity and social politics through the practicesof food preparation, eating, and cleaning. The project investigates this aim by considering how a ‘scenographic’ sensibilitymight reveal the underlying social contexts inherent within the presentation and consumption of food. Importantly, we alsoemploy social media as part of our documentation strategy: see our project website for details (http://rachelhann.com/foodproject/). Our reasons for using social media platforms (such as Twitter and Vine) are partly circumstantial, and partlyideological. Circumstantial in that most of us have mobile devices such as an iPhone. Ideological in that we want to inhabitthe Internet using the means most readily available to inhabitants of the 21st century. Social media is therefore central tothis ‘inhabitation’, with mobile devices being an important access point. The resulting ‘recipes’, or guide to the creation of an‘event’, are a social document of our investigations.Rachel HannEdge Hill UniversityDr. Rachel Hann is a Senior Lecturer in Performance atEdge Hill University. Her principal teaching and researchinterests are aligned with the study of scenography,performance histories, and architecture. To date,Rachel’s publications have focused on the legacies ofmodernist performance practices within contemporaryarchitecture and installation art. In 2013 she co-foundedthe scholarly and professional research network‘Critical Costume’. Outcomes of this project include aninternational symposium and exhibition, as well as a coeditorshipof a special issue of the peer-reviewed journal‘Scene’ (Intellect) due in late 2014. Rachel is currentlyin the process of writing a monograph entitled ‘BeyondScenography: Cultures of Performance Design’ forRoutledge (due 2017). Rachel is also on the ExecutiveCommittee for the Theatre and Performance ResearchAssociation (TaPRA), having previously co-convened theScenography working group.My own line of critical enquiry, within the project, has focused on the question of ‘labour’ and food consumption (withparticular regards to the ‘performativity’ of empty plates). For instance, in one workshop exercise we periodically capturedphotographs of our empty plates, after eating, and uploaded these images to the social media site Pinterest. This platformwas selected deliberately, as there is a prominent culture of women posting images of prepared food (pre-consumption).Indicative of a wider ‘scenographic’ culture within the presentation of food, the empty plate is also an important sign oflabour: the labour of cooking, the forthcoming labour of eating, and the evidential labour of cleaning. In that regard, we willcontinue this, and other, lines of enquiry through a performative workshop / event at IFTR.www.rachelhann.com/foodprojectrachel.hann@edgehill.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014605

The Brazilian Scene by Lina Bo BardiWorking Groups: ScenographyDenise Avivit De Alcantara HochbaumIndependent ScholarThis year, 2014, is especially important in Brazil because of two events: the more popular event is The World Cup; the secondevent, less popular, but also extremely important for the world of architects, artists and set designers, is the centenary ofthe birth of the Italian architect Lina Bo Bardi. Lina moved from Italy to Brazil in the middle of World War II and from thattime on, she developed a comprehensive understanding of Brazilian culture. Her work is marked by the design of remarkablebuildings in Brazil such as MASP (Museum of Sao Paulo) and Sesc Fabrica da Pompeia. However, she was more than atalented architect who inspired generations of architects; her creativity was also directed to other design fields, establishinga very important legacy for the Brazilian theatrical scene. This paper is committed to showing her ideas for theatre and herfeelings for the performance itself: of actors, the stage, as well as costumes and props. Working with texts written by Brecht/Weill, Albert Camus and Alfred Jarry and also with a total connection to Brazilian dramaturgies and renowned set directors,she always searched for a genuine identity for the Brazilian national theatre’s avant-garde atmosphere that predominatedin the 60’s and 70’s. Lina developed drawings for theatre, cinema and exhibition. This paper predominately describes thetheatrical scenography in the following productions: The Threepenny Opera and The Jungle Cities (B.Brecht); Caligula (AlbertCamus); Gracias Senor (Adriano Suassuna); UBU, The king – Folies Physics, Pataphisics and Musicals (Alfred Jerry); GraciasSenhor ( Oswaldo de Andrade)Denise Hochbaum is an architect and theater designer.Received the Master in Arts in 1996 and Doctor in UrbanStructures in 2003, both from the University of Sao Paulo,Brazil. Former Technical Director at Theatro Municipalof Sao Paulo, developed a large number of architecturalprojects including for the stage. She also was responsiblefor assembling and coordinating the extensive stageprograms that include ballet – local and international,orchestras and operas. She created set designs forseveral theatre and dance productions. For 20 years,she has been a teacher in architectural design, historyof art and architecture in the School of Architecture ofSantos (FAUS). She was graduate adviser in architectureand collaborates on film sets with her students. In Brazil,she wrote articles for university magazines and specialpublications. Living in USA since 2007, she has beendeveloping a presence for Brazilian architecture in theAmerican context, inviting renowned names of Brazilianarchitecture and talented young Brazilian architecturalfirms to give lectures at the American Institute ofArchitects, NY and designing exhibitions for special events.denise.hochbaum@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014606

Digging the Present: A (Partial) Archaeology of Contemporary ScenographyWorking Groups: ScenographyNick HuntRose Bruford CollegeNick Hunt was a professional lighting designer andtechnician before starting to teach lighting designat Rose Bruford College, where he is now Head ofthe School of Design, Management and TechnicalArts. Nick’s research interests include the performativepotential of light, digital scenography and performance,theatre technology history, and the roles and status oftheatre-making personnel. Nick is an Associate Editorof the International Journal of Performance Arts andDigital Media, and a co-convenor of the ScenographyWorking Group of TaPRA 2010-2013.Adopting the conference’s theme of stratification and Michel Foucault’s notion of archaeology as a technique to write a“history of the present,” I examine the place of video projection in mainstream theatre production today. The growth of theuse of video in theatre scenography has in turn challenged established professional disciplinary boundaries, with the newrole of video designer (itself a contested title) disrupting creative and production processes. This rupture was exemplifiedrecently in the UK when the 2013 Olivier Award for “Best Set Design” was won jointly by Bunny Christie (set and costume)and Finn Ross (video) for their work on The Curious Incident of the Dog in the Night Time. Despite the use of video beingwell established in mainstream theatre, there is still no Olivier Award for video design, which may be the reason for thejoint award; equally, media commentary suggests that even theatre professionals and critics sometimes fail to distinguishthe contributions made by different scenographic elements and designers. The recent National Theatre (UK) productionof Emil and the Detectives further illustrates the point. Video projection, conventional lighting, internally-illuminated setelements and painted surfaces are so finely integrated that even experienced designers may find it difficult to tell whatcombination of techniques is producing what visual effect. Nevertheless, the working practices of designers and technicalstaff are still largely structured on traditional lines, in a material-historical layering: set, costume, light, sound, and now video.The production process is itself stratified, with light and projection applied to a pre-existing set, again implying a hierarchyat odds with what is (sometimes) seen on stage in performance. The emergence of the video designer as a professional rolerepresents a surface rupture through which we may penetrate a part of the underlying historic formations of professionaltheatre practices.nick.hunt@bruford.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014607

Staging Contemporary China: Chimerica and The World of Extreme HappinessWorking Groups: ScenographyThis presentation concerns the role which theatre design plays in interrogating the structures and strategies of globalization,as pertains to contemporary China. I will consider Chimerica by Lucy Kirkwood, produced in 2013 at the Almeida Theatre,London and The World of Extreme Happiness by Frances Ya-Chu Cowhig, produced at The Shed (National Theatre) in 2013.Both plays offer a highly critical view of China and its role in a globalized economy: The World of Extreme Happiness showsthe journey of a young woman from rural poverty to working in an urban factory producing export goods, whilst Chimericapresents two divergent stances on China’s engagement with Western media and investigative journalism, from both anAmerican and a Chinese perspective. I aim to look at how scenic elements serve as theatrical signifiers. My argument is thatin these cases, the role of scenography goes beyond ‘décor’ to creating strong visual metaphors for the themes of theseplays, and at times offers a counter-narrative to these transnational texts.Valerie Kaneko-LucasRegent’s University, LondonDr. Valerie Kaneko-Lucas is Programme Directorof Theatre and Performance at Regent’s UniversityLondon, where she created the BA Acting and GlobalTheatre. As a scenographer, director and writer, hertheatrical work includes productions for the BritishCouncil, Hackney Empire, and Welsh National Opera.She has been a contributor to Performing Hybridityand Alternatives Within the Mainstream. Her researchinterests include theatres of the post-Empire diaspora,site-based performance and the transnationalperformance.vklucas@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014608

New Theatre Venues In Warsaw as Foucault’s HeterotopiesWorking Groups: ScenographyIn Poland the idea of unconventional theatre spaces emerged in the beginning of XX century with the work of StanisławWyspiański (painter, poet, playwright, scenographer and theatre theoretician 1865-1907) and later on, it found its embodimentin variety of realisations. After the political change of 1989 it came back with new dynamics. Over the last decade theatregroups have been penetrating postindustrial zones and various abandoned places to find the venues for their activities.In Warsaw several companies perform in such places: Soho Factory company at the ruined railway siding, Nowy Theatreat the abandoned garbage collecting company’s garage, Komuna Warszawa company at worn out loft and several others.These places play the role of Foucault’s heterotopies. In my investigations I refer to Massey’s issue „how complex sociaIrelationships are implicit in the spatial” (see Hannah, Harslof 2008, 52) and I try to identify the interplay of strata of meaninggenerated by the „old” and „new”.Danuta KuźnickaInstitute of Art of the Polish Academy of SciencesDanuta Kuźnicka is a Professor and deputy director ofthe Institute of Art of the Polish Academy of Sciencesin Warsaw, Poland. Born in 1952 in Warsaw, in 1976she graduated at the Warsaw University and she wasemployed in the Institute of Art. Two years between1981 and 1984 she spent working and studying inthe United States of America. After coming back toPoland in 1985 she defended her Ph.D. thesis on WilliamShakespeare’s Hamlet on the Polish stage 1946-1980.From 1992 to 2013 in addition to research work atthe Institute of Art she has been a Professor at theAcademy of Theatre in Warsaw. In 2008 Kuźnickareceived habilitation based on her book Hope andDespair. Jerzy Grzegorzewski’s Theatre 1966-2005 andwas nominated Professor. Kuźnicka’s research hasalways dealt with visual aspects of contemporary stageand theory of theatre. Beside her book she publishedvariety of articles and delivered lectures in variousacademic institutions. She is an adviser of severaldoctoral students. Her two sons Przemysław and Arturare adult now.danuta.kuznicka@ispan.plFIRT/IFTR World Congress, University of Warwick, 2014609

The Door. The Short Story of the Space of Art Stratification by a Single ElementWorking Groups: ScenographyMy presentation I should start by asking one question: when did the theatre realize the power of illusion and started makinguse of it? Is it possible to point to a pre-prop, a primal, archetypal set element that originally had that function? My claimis that it was the door that functioned as a primitive part of the world shown on stage. It enabled directors to expand thestage area. At first it structured the skene building, then frons scenae, finally it occupied the entire box stage and becamea doorway, a frame for a gigantic illusory picture, only to return to its original classical function in the 20th century theatre.Only the door is a single element who can stratify the space in the way for the artist wish.Dominika ŁarionowUniversity of LodzDominika Larionow, PhD, works as a Lecturer at theDepartament of History of Art, University of Lodz. Shepublished a book about theater Scena Plastyczna ofLeszek Mądzik (Przestrzenie obrazów Leszka Mądzika/Spaces images Leszek Mądzik, Lublin, 2008). She is theauthor of several articles on the Polish stage design. Sherecently finished work on a book about things,objectspresent in the art of Tadeusz Kantor’s. The book will beat the end of 2014.larionow@gazeta.plThe American theatre historian and practitioner Arnold Aronson, in his essay titled Behind the Screen Door aptly notes thatthe appearance of the door in the theatre divides the area into two distinct beings, real and unreal, tangible and putative.In the words of Jim Morrison, the leader of The Doors, there are known and unknown things but between them there arealways doors. The metaphor is quite versatile. For Carl Gustav Jung sleep was the soul’s door, it was through analysis ofsleep and dream that major issues hidden deep in the human brain could be discovered. Aronson points to a wide use ofthis metaphor in television series. They are usually set inside buildings, where the real world remains outside, separatedby doors. Often a given episode begins and ends with the camera zooming in and then out of a door. The entire artificialworld that characters live in is locked within an “illusion trap” (Tadeusz Kantor, 1974) that the audience can only peep at.This brings to mind the “fourth wall” illusion, a cornerstone of 19th century naturalistic theatre. Let us just bring up thesignificance of the final scene of Chekhov’s The Cherry Orchard that includes closing a door.In the theatrical context, doors are not only meant for peering into somewhere or even the characters’ souls. The Ukrainianplaywright Neda Nezdana wrote, as the subtitle reads, a “Black comedy for the national tragic theatre” titled Who willopen the door?. The plot is centred round two women trapped in a morgue. Every now and then the telephone rings andthe caller very succinctly tells them that someone is coming for them or that they should brace themselves for the worst.Quite obviously, the focal problem is who is coming to open the locked door: the left-wing people (communists), theright-wing ones or, worse still, someone unknown. The final scene when the door bursts open makes no significant change.The dilemma of choice is still there for the two female protagonists. Nezdana turned a stage set element into a closingmetaphor, showing paralysing fear against the outside world.Thus the door may function as an indication of entering the characters’ private worlds, but it may also create an areaisolated from some reality, often unknown, therefore strange. A single stage element can become extremely meaningful.This can be enhanced by theatre directors who attempt to introduce the audience into the world of the play by grabbingthem already at the entrance to the theatre. In this way many performace artist use the door outside theatre context.FIRT/IFTR World Congress, University of Warwick, 2014610

Kites, Puppets, and Swirling Waters: Convergent Boundaries in a Site-Specific PerformanceWorking Groups: ScenographyJulia ListengartenUniversity of Central FloridaA theatre artist and scholar, Julia Listengarten iscurrently Professor of Theatre and Coordinator ofGraduate Studies at the University of Central Florida.Her research interests include avant-garde performanceand theory, contemporary scenographic practice, and“performances” of nationalism. Among her directingcredits are Marisol, Eurydice, Burial at Thebes, Gem ofthe Ocean, and Vinegar Tom.Recent site-specific performances have raised questions about the relationship between the site and the creative processand fostered discussions about mutual interactions among various players in a site-specific production such as the siteitself, performers, choreographers, designers, and spectators. As a group of theatre makers in the School of PerformingArts at the University of Central Florida, we are engaged in the process of conceiving a site-specific performance onuniversity campus that involves both traditional and non-traditional production layers. The live symphony concert--anannual event with pre-established history and audience-base--will now be integrated in a visual performance which willinclude a site-specific dance merged with an additional layer of performance objects such as kites and puppets. Thisproject will serve as a practice-as-research investigation of convergent boundaries between various hierarchies in acreative process and explore the ways in which multiple layers of a site-specific event intermingle, manipulate, repel, andconsume one another.Through the discussion of this project, we propose to interrogate the role of performance design in negotiating complexlayers in a site specific production, challenging traditional production structures, and disrupting the audience expectationsin experiencing a contemporary performance, specifically in relation to a specific place and space. What are the waysin which this scenographic practice will foster a new understanding of the relationship between human and non-humanperformance? How are the audience expectations altered or shattered as the attendants are immersed into the swirlingwaters of a non-traditional performance?And finally, how does the layering of performance design, live music, and dance, with the unique audience experience,change the ways a specific location has been conceived and interpreted traditionally and how it may be perceived, lived,and reinvented in current culture?julia.listengarten@ucf.eduFIRT/IFTR World Congress, University of Warwick, 2014611

uR: A Case Study in Tracking the Seam of Imaginative Exchange from Designer through Space andMaterials to AudienceWorking Groups: ScenographyIllka LouwRhodes UniversityOriginally from Cape Town, Illka Louw is anaccomplished theatre designer and scenographer whosupervises and lectures in design at Rhodes University inthe Eastern Cape, South Africa. Illka is also the residentdesigner for the department’s public performances,affording her an ideal setting for research in designand scenography. Illka received an MA in Theatre andPerformance at UCT, the University of Cape Town(cum laude) in 2013. In 2010, she completed an honorsdegree in Directing at UCT, and in 2005 she completeda post-graduate diploma in Theatre Design at the RoyalWelsh College of Music and Drama, Cardiff, Wales. Illkahas received numerous nominations and awards, suchas the Fleur du Cap award for Set and Costume Design(The Tempest in 2010 ;12 th Night in 2006). Most recently,Illka exhibited work at World Stage Design in Cardiff,Wales (September 2013). In 2003, 2007 and 2011 sheexhibited work as part of the South African contingentat the Prague Quadrennial Exhibit (PQ). At PQ’07, Illkavolunteered as special assistant for Scenofest andcurated the Babel exhibit. Illka is an individual member ofOISTAT (The International Organisation of Scenographers,Theatre Architects and Technicians).i.louw@telkomsa.netFIRT/IFTR World Congress, University of Warwick, 2014The proposed paper will take the form of a post-performance reflection of “uR” , a research-led collection of devisedscenographic experiments performed in November 2013 at the University of Cape Town, South Africa. The researchlocates itself within a post-dramatic milieu, mining the ore in-between traditional, dramatic stratifications of designer,director, performer, audience and theatrical space, to unearth a form of performance which does not depend on “theprinciples of narration and figuration” (Lehmann, 2006:18), neither on human presence on stage nor on the illusionof a three-dimensional “walled-off...fictional totality” in order for it to occur (2006:12). Instead, this paper describesa praxis which is especially dependent on the release of “active energies of imagination” (2006:16) extending beyondthe space of the live event, pointing to the interaction between t h e designer as visual dramaturge and her materials.“uR” explores the affective vitality of inanimate or non-conscious and non-human objects in their role as co-creatorsof the event. Theories on “vital materiality” (Bennett, 2010: 54) are explored along with the idea of “fluid space” (Moll &Law quoted by Ingold, 2011:86) where bodies and materials are no longer stratified, but reveal their surfaces to bepermeable and fluid. “uR” investigates the vibrancy of that permeable and fluid in-between state where designerand audience meet in an imaginative exchange in space and time and audience becomes a co-creator of theevent.ReferencesBennett, J. 2010. Vibrant Matter: A Political Ecology of Things. Durham, N.C.: Duke University Press.Ingold,T. 2011. Being Alive.London & New York.Routledge.Lehmann, H-T. 2006. Postdramatic Theatre. London & NewYork: Routledge.“uR” Part I: “Light Room” is an immersive andinteractive installation piece which attemptsto capture the fleeting nature of an idea andhow our sensate relationship with materialsfeeds our imagination. The audience enter theperformance space through the installation.“uR” Part III: A collection of small performance pieces where theperformer’s relationship to materials, space and the audience isexplored.612

Objects, Things and an Excess of Stuff: the Agency of Scenographic MaterialsWorking Groups: ScenographyThis paper investigates how, in the context of contemporary performance practices, the “phenomenal instability of objects”(Garner, 1998) suggests we should reconsider traditional hierarchies of theatre which usually privilege the human over thenon-human. Despite Jirí Veltruský’s identification of an “action force” (1964) which operates for both actors and objects inthe early part of the last century, concerns that objects might detract from actors are still common. But as contemporaryperformances practices such as site-specific, immersive and multi-media forms which embrace the potency of materialsabound, it becomes necessary to find ways to think about scenographic material which recognise the “textility” (Ingold,2010) of our encounters, as performers and as audience members, with materials. Rather than seeing objects as meaninglessuntil a performer brings them to life or thinking of materials as inert until some form is imposed on them by a designer, thisapproach acknowledges an inherent “vibrancy” of matter or “thing-power” (Bennett, 2010). I propose that by decentringthe anthropomorphic hold on our understanding of the operation of the scenographic we can more adequately account forthe material dimension of theatre.Joslin McKinneyUniversity of LeedsDr Joslin McKinney is an Associate Professor inScenography at the University of Leeds, UK andProgramme Manager for the MA in PerformanceDesign at Leeds. Joslin has a first degree in TheatreDesign and 10 years professional experience as a setand costume designer. In 2008 she was awarded aPhD for her practice-led study into the communicationof scenography. She is lead author of the CambridgeIntroduction to Scenography (CUP, 2009) and haspublished articles and chapters on the spectacle ofscenography, empathy and exchange in scenographyand scenographic research methods. Joslin was codirectorof the Performance Studies international (PSi)conference in Leeds, UK, 2012 and a member of thePSi board from 2011 -2013. In April 2014 she directedPerformance, Place, Possibility, a one day symposiumaimed at exploring ways in which the relationshipsbetween performance and place impact on audiences,communities, citizens and the city which was organisedin tandem with Ludus Festival Leeds:References:Bennett, Jane. 2010. Vibrant Matter: a political ecology of things, London: Duke University Press.Garner, Stanton B. Jr. 1998. ‘Staging “things”: Realism and the theatrical object in Shepard’s theatre’, Contemporary TheatreReview, 8:3, 55-66.Ingold, Tim. 2010. ‘The Textility of Making’, Cambridge Journal of Economics 34, pp 91–102.Veltruský’, Jirí. 1964. ‘Man and Object in the Theater’, in A Prague School Reader on Esthetics, Literary Structure, and Style, ed.and trans. Paul L. Garvin, Washington, DC: Georgetown University Press.http://ludusfestival.orgj.e.mckinney@leeds.ac.ukBeneath the Forest Floor (2013), photo: David ShearingFIRT/IFTR World Congress, University of Warwick, 2014613

Kites, Puppets, and Swirling Waters: Convergent Boundaries in a Site-Specific PerformanceWorking Groups: ScenographyTori OakesUniversity of Central FloridaTori Oakes is a freelance production manager andtechnical director. She is currently working as theproduction manager for CPS Productions in Potsdam,NY. She holds an MFA in theatre from the University ofCentral Florida.Recent site-specific performances have raised questions about the relationship between the site and the creative processand fostered discussions about mutual interactions among various players in a site-specific production such as the siteitself, performers, choreographers, designers, and spectators. As a group of theatre makers in the School of PerformingArts at the University of Central Florida, we are engaged in the process of conceiving a site-specific performance onuniversity campus that involves both traditional and non-traditional production layers. The live symphony concert--anannual event with pre-established history and audience-base--will now be integrated in a visual performance which willinclude a site-specific dance merged with an additional layer of performance objects such as kites and puppets. Thisproject will serve as a practice-as-research investigation of convergent boundaries between various hierarchies in acreative process and explore the ways in which multiple layers of a site-specific event intermingle, manipulate, repel, andconsume one another.Through the discussion of this project, we propose to interrogate the role of performance design in negotiating complexlayers in a site specific production, challenging traditional production structures, and disrupting the audience expectationsin experiencing a contemporary performance, specifically in relation to a specific place and space. What are the waysin which this scenographic practice will foster a new understanding of the relationship between human and non-humanperformance? How are the audience expectations altered or shattered as the attendants are immersed into the swirlingwaters of a non-traditional performance?And finally, how does the layering of performance design, live music, and dance, with the unique audience experience,change the ways a specific location has been conceived and interpreted traditionally and how it may be perceived, lived,and reinvented in current culture?FIRT/IFTR World Congress, University of Warwick, 2014614

Interactive Scenography: Stratification and the Dialectic of the Mathematisation of ArtWorking Groups: ScenographyNéill O’DwyerTrinity College DublinNéill O’Dwyer is a visual artist, PhD candidate and practicebasedresearcher at the Arts Technology Research Lab(ATRL), in the Department of Drama, Film and Music, atTrinity College Dublin. As a part-time member of staff inthe Department of Visual Culture at the National CollegeOf Art and Design (NCAD) he lectures and supervisesundergraduate theses. He is a member of the Digital StudiesNetwork at the Institute of Research and Innovation (IRI),at the Pompidou Centre, and is an associate researcherof the The Experiential: Re-Reading Aesthetics Seminar, atGradcam (Graduate School of Creative Arts and Media).He completed his joint honours undergrad in VisualCommunication and History of Art, at NCAD in 2001 andgraduated with first class honours from his MSc in DigitalMedia at Trinity College, in 2008. His ongoing researchat the ATRL investigates contingent and indeterminateartistic possibilities offered by processes of symbiosisduring human-computer interaction, how one can informthe other and why this is useful in broader socio-politicalcontexts.www.neillodwyer.comhttp://www.youtube.com/user/neillodwyer/videosodwyernc@tcd.ieThe increased use computer software in the arts provides innovative approaches to how it is practised and received, andpromotes cross-disciplinary exchange between the arts and sciences—particularly computer science. The consequence ofthis for theatre is the emergence of a new stratum which demands the participation of the mathematically literate mediaartist. Scenography, through its rationalisation of the performance space, is perhaps the leading theatrical profession toindulge in computational technologies. This increasing prevalence of digital media may be understood as a pharmakon—at once a poison and cure—because, while the increased use of computation, for artistic expression helps solidify artists’position at the forefront of epistemic research, it also demands that artists ‘speak’ computer programming languages, whichare generally reserved for those who are accomplished in mathematics. This fact threatens the inclusion of those who areartistically inclined but mathematically deficient, a characteristic which covers a large demographic of creative people.Furthermore, the over-rationalisation of artistic domains, which often advocate attitudes which challenge purposive rationalactivity, could decapitate thought that offers extra-societal commentary. The Frankfurt School has displayed a rich historyof engaging this dialectic, beginning with Adorno’s statement: “the wholly enlightened earth is radiant with triumphantcalamity” (Adorno, 2002, p.1). Using Bernard Stiegler’s concept of the pharmakon, this paper will pursue this “blessing andcurse” via a discussion of examples of digital performance. Within the paradigm of re-stratification imposed by digital culture,questions which surface accordingly are: How can theatre operate on an equivalent structure which balances the dialecticof reason and myth? And, what possibilities are available to the arts that would bring about a self-reflexive art form, whichdemonstrates restructuration, by offering critical, political and aesthetic reflection upon subjectivities of a digitised culture.FIRT/IFTR World Congress, University of Warwick, 2014615

Scenographic Interactions: Dublin’s Pike Theatre and 1950s’ IrelandWorking Groups: ScenographySiobhán O’GormanTrinity College DublinSiobhán O’Gorman is a post-doctoral researcher at theSchool of Drama, Film and Music, Trinity College Dublin.Her book project, provisionally titled ‘A Stage of Re-Vision: Scenography in Irish Theatre 1950-1990’, is fundedby the Irish Research Council. She taught at the EnglishDepartment, NUI Galway from 2008 to 2013, whereshe received a PhD for her thesis ‘Negotiating Gendersfrom the Page to the Stage.’ She was on the organisingcommittee for two conferences held at NUI Galway: the2012 meeting of the Irish Society for Theatre Research,and Pushing Form: Innovation and Interconnection inContemporary European Performance (2014). She is coconvenorof the TaPRA’s scenography working group, andcurrently lead organiser of Performing Space, a curatedsymposium taking place at the Long Room Hub, TrinityCollege Dublin as part of Dublin Theatre Festival 2014. Herwork has appeared or is forthcoming in such publicationsas Irish Studies Review, Precarious Parenthood: DoingFamily in Literature and Film, Verbal and Women, CollectiveCreation and Devised Theatre. She is co-editor of theforthcoming essay collection Devised Performance in IrishTheatre: Histories and Contemporary Practices (Dublin:Carysfort 2014) and was a critic for Irish Theatre Magazinefrom 2008 to 2013.The limits of scenography – like the limits of performance – are being continually expanded so that scenography is nolonger contained within the theatre but can encompass multiple performative environments beyond. The publication of aPerformance Research special issue on scenography in 2013, in addition to the emergence of international journals dedicatedexclusively to the discipline including Scene and TAJ, evidence the ‘research and creative endeavour that is being pursued toadvance its [scenography’s] purview, reach and application within and beyond theatre and performance design’ (Lotker andGough, ‘On Scenography’ 6). In this context, Ireland of the 1950s can be seen to have undergone significant scenographicchanges, in which visual culture was harnessed to improve Ireland’s performance on the international stage. Examining thePike theatre in different scenographic contexts reveals how Ireland’s increasingly image-conscious culture impacted on thevisual and performative character of Irish theatre. The Pike is usually remembered as compliant with the post-war efforts ofIreland’s political establishment to achieve internationalized modernity. Yet, the framework of scenography reveals muchmore about the complexity of the Pike’s history in relation to contemporary visual and performative cultures. In its stageimagery, lighting and sound, the Pike arguably made contributed to the drive towards design innovation that characterized1950s’ Ireland. Simultaneously, however, the Pike can be seen as striving to negotiate the tensions of the period. Its late-nightrevue series, for example, can be seen from the perspective of scenography to lampoon Ireland’s nascent internationalizationby riffing on such initiatives as An Tóstal (a contemporaneous series of pageants celebrating Irish culture and aiming topromote tourism). As such, this paper argues that the Pike occupies a significant, self-conscious and complicated position inrelation to Ireland’s scenographic histories.https://www.youtube.com/watch?v=glhlTizC53oThe RTÉ documentary, In Flags or Flitters: Pictures of Dublin, originally broadcast in 1991, showcases changes in the culturaland physical landscape of Ireland’s capital city from the 1950s on, illuminating what could be referred to as the shiftingscenography of Dublin city. It includes such images as Nelson’s Pillar, which visitors paid money to climb during the 1950s,but which was demolished by an IRA bomb in 1966, as well as the transformation of O’Connell Street into ‘a honky-tonkfreeway’ of commercial outlets, modernist office blocks and derelict sites between 1965 and 1985.ogormasi@tcd.ieFIRT/IFTR World Congress, University of Warwick, 2014616

Dark Matters: Layering of Light and Shadow in Contemporary ‘Immersive’ Performance practiceWorking Groups: ScenographyScott PalmerUniversity of LeedsScott Palmer is Deputy Head of the School ofPerformance & Cultural Industries at Universityof Leeds, UK. His teaching and research focus onscenography, immersive theatrical environments andthe interaction between technology and performance.He collaborated with Sita Popat and KMA CreativeTechnology on the AHRC-funded ProjectingPerformance project (2006-08). Performanceoutcomes from this work include the interactive kineticlight installation, Dancing in the Streets, (York, 2005)and experimental productions; A Midsummer Night’sDream (2007) and The Shakespeare Project (2008)also with Popat and KMA. This work contributed to thescenography for DV8 Physical Theatre’s Internationalproduction To Be Straight With You. (2007-9) His volumeLight : Readings in Theatre Practice (Palgrave Macmillan2013) presents a range of new perspectives on the useof light as a creative scenographic element.This paper focuses on the literal and metaphorical scenographic layers in the work of Punchdrunk – a UK-based companythat creates ‘immersive’ and ‘site-responsive’ performances. In particular it seeks to examine the use of light and darkness asa fundamental aspect of these audience experiences. Welton argues that “the visual experience of light is one of proximity.It is right there in front of you, and the pleasures and terrors of the dark surely rest on the collapse of distance as a result.(2013: 5) Light – and its absence, plays a major role in guiding both the audience’s responses and their physical journeysthrough Punchdrunk’s vast, multi-layered spaces. In these performances, typically lasting for three to four hours, audiencesare invited to explore a series of designed environments, (in which characters may or may not appear) which extend acrossseveral floors of a building. Punchdrunk’s It Felt Like A Kiss (2009) began by plunging the audience into a disorienting blackvoid from which they began to navigate the labyrinthine performance spaces. Our innate fear of the dark was used tounderscore both the failure of ‘The American Dream’ and to create a heightened visceral experience for the end of theaudience’s journey. In The Drowned Man (2013-14) audiences are introduced to a shadowy world that appears to hold secretsthat need to be discovered. Layers of light and shadow in both performances stimulate sensorial perception which Machonargues demands ‘a new taxonomy for holistic appreciation in immersive theatres.’ (2013: 80) This paper attempts to explore‘the curious hold which light and shadow can exercise over the imagination of the audience’ (Jones, 1941:123) and investigatethe ‘descent into endless night’ (ibid) which, in direct contrast to the modernist trend to create progressively brighter stagespaces, foregrounds the layering of darkness and shadow. [TRUNCATED]s.d.palmer@leeds.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014617

ASTERION: A Journey Through the Labyrinth – Architectonic and Telluric Research into Design ForPerformanceWorking Groups: ScenographyNatalie RewaQueen’s University, CanadaNatalie Rewa professor in the Departments of Dramaand Cultural Studies at Queen’s University in Kingston,Ontario, Canada. She is the author of Scenography inCanada (UToronto Press, 2004), editor of Design andScenography (Playwrights Canada Press, 2009) and wasa guest editor for Costumes and Costuming in the fall of2012.Asterion created by Canadian scenographer Jerrard Smith is the work that I propose to discuss. Smith builds on his designfor performance and collaboration with composer R. Murray Schafer on the Patria Cycle over the last three decades.Schafer conceptulalizes his Cycle out of his “profound recognition of the need for people to re-establish a connectionwith the world around us”(Schafer). Smith has sited effectively installments of the Cycle in urban landmarks as well as innatural environments. Asterion is the 7th part in the Patria Cycle and was developed over the last decade as an immersiveenvironment. In contradistinction to the other design for production Asterion is a labyrinth that comprises a built environmentincluding chamber performances spaces, almost a kilometer of suspended wooden pathways and paths that have beengrown/groomed over the last decade. In August 2013 it was opened to forty participants who passed through the labyrinthindividually. Smith’s labyrinth proposes a complex scenographic investigation of design for performance as proprioceptiveand sensual. Smith cites architectural scenographic events and lighting strategies all the while paying close attention tothe rhythms of walking through this integrated environment and its curated installations and performances. The structureof the labyrinth winds paths through highly wrought environments to emerge into a fragrant cedar forest. The labyrinthoffers reflection/mediation on monumental time – simultaneously with a solitary and communal experience. The designof the labyrinth stratifies ancient mythologies, immediate architectural events as a tectonics and models an increasinglyintrospective journey that is completed by a gradual release from the protective shade of the forest.rewan@queensu.caFIRT/IFTR World Congress, University of Warwick, 2014618

Scenographic Narratives: Masking Space as a Procedure of Layering RealityWorking Groups: ScenographyCristiano Cezarino RodriguesFederal University of Manas GeraisProfessor of the Architecture and Urbanism at theSchool of Architecture, Universidade Federal de MinasGerais (EAUFMG), Brazil. PhD in Architecture andUrbanism at EAUFMG. Brazilian architect and stagedesigner. Working with emphasis on research andcreation of scenography, events design and ephemeralarchitectures seeking the interface between space andperformance. Currently investigating the event designas a relational design that constitutes narrative spaces,with specific focus on scenography.The aim of this research is to propose a theoretical framework that assists in the analysis of the contemporary scenographyand, consequently, in their design processes. From the analysis of the issues raised by the development of practical worksand the analysis of some Brazilian cultural manifestations as the capoeira, the carnival and the religious processions, welisted some conceptual operators in order to understand how the performing space is characterized nowadays. When thescenic action leaves the traditional building and goes to the city, it enlarges the performativity of the event. The resultsof the displacement from the building to the city are unpredictable especially with the semantic game of urban spaces inrelation to the scenic action. We realize that the contemporary performing arts developed several procedures that extendthe performativity of the scenic event and it´s relation with the space. This affects the notion of theatricality. One of theseprocedures is the idea of masking. Mask and masking transform the scenic space into an extraordinary autonomous territoryof new dialogues in ordinary space and time of the city. The scenographic narratives that occupy the city make the spacesvisible through its masking. New layers of experience of the place are introduced and it acquires other meanings. This newparadigm affects the very idea of scenography. It becomes a spatial practice that is practiced in order to catalyze flows andencode the bodies and movements of those who engage in scenic event. Thus we understand that the contemporary stagedesign is conceived as a relational spatial practice that introduces new levels of performativity in the experience of everydayspace and time.Acknowledgment: CAPES – Coordenação de Aperfeiçoamento de Pessoal de Nível Superiorccezarino@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014619

The Conceptual Layers of Contemporary ScenographyWorking Groups: ScenographyAnna Solanilla RoselloInstitut del Teatre, BarcelonaIn order to understand contemporary scenography, we must establish at least three conceptual layers present in currentstaging, whether they are clearly distinguishable or mixed. The first layer is what we understand in the history of scenographyas illusionism. This concept was created by the scenography of the 16th to 18th century, with the aim of transporting theaudience through space and time by means of illusion. The next, following layer is the concept of scenography developedin modern times by the early avant-gardes, called constructive and/or expressive scenography. This is a scenography ofobjectives and strategies that seeks to transform the thought of the audience in the same manner that it modifies forms,colours and compositions. Finally, the last layer corresponds to the concept of contemporary staging, and we could call itthe layer of scenography with a sense of performance. This concept implies the dematerializing of devices, introducing newmethodologies and projection strategies. Nowadays, we cannot project, reflect, learn, or create in scenography withoutbeing clear about these three foci and understanding their specificities in terms of conceptualization, projection, andreception. But if we are capable of analyzing and studying these different conceptual layers and their consequences, we canalso articulate a solid thesis about the future of scenography and the best way to approach it. My presentation aims to givekeys to understanding these three conceptual layers and to draw conclusions about what they have to offer us, reflecting atthe same time on the future of scenography.Anna Solanilla Rosello is a teacher in artistic andscenographic fields, currently teaching at the Schoolof Drama (ESAD), in the Scenography Speciality atthe Institut del Teatre (Theatre School) in Barcelona.Previously she has been Head of Scenography Studies(2004-2009) and deputy director at ESAD (2009-2012). Her PhD (University of Barcelona, 2009)considered the work of Adrià Gual, the symbolist andCatalan set designer, pedagog, director, playwright andpainter. Other employment includes teaching at theSchool of Arts and Crafts, La Llotja, Fashion DesignDepartment (1995-1999) and having responsibility forwork placements in fashion business companies for theEuropean Social Fund. She provided teacher trainingat the summer courses at the College of Fine ArtGraduates of Barcelona (1996-1998) and has previouslygraduated with a Degree in Fine Arts (Faculty of FineArts, University of Barcelona, 1987) and Scenography(ESAD, Institut del Teatre, 1987). In 1990 she undertooka work placement in the New York City Opera on agrant from the Catalan Government.solanillara@institutdelteatre.catFIRT/IFTR World Congress, University of Warwick, 2014620

The Weather of ScenographyWorking Groups: ScenographyTim Ingold (2005) notes that the perception of the weather has received little attention as an academic subject - notleast as an aesthetic and phenomenal experience in performance. Similarly, Martin Welton observes in performanceanalysis, ‘what fills space has received less attention’ (Welton 2012 , p 130 emphasis in orginal). This paper draws upon ananalytical framework developed through a practice-based PhD investigation into audience immersion and the experienceof scenography. The weather is explored as both a physical and metaphorical model in which to conceptualise audienceexperience in and with performance design. It seeks to problematise notions of ‘layering’ of audience immersion, takinga phenomenological and perceptual account of how audiences experience fluctuations in the air. The paper will directlydraw upon audience responses taken from performance installation and it all comes down to this… (2012). It addresses theephemeral and transient experience of design and acknowledges scenographic elements such as haze, light and sound in theair as active dynamic elements of scenography reception and assesses the impact on audience immersion.David ShearingUniversity of LeedsDavid Shearing is a performance artist and academicexploring and creating immersive multimediainstallations. He has exhibited at various festivalsin the UK and presented work internationally. Heis currently Research Associate in Scenography atthe University of Leeds (School of Performance andCultural Industries) where he is completing a PhDtitled ‘Audience Immersion and the Experience ofScenography’. David’s interests span a number of fieldsincluding the integration of hi and low technologies,sound spatialisation, environmental design, performancearchitecture and video projection. The presentationof his work is often cross modal, creating hybridperformance and installation works that question thenature of the theatrical experience. In 2013 he wasawarded the Best Installation Design at World StageDesign, Cardiff for ‘and it all comes down to this…’. In2014 he received a Sky Academy Art Scholarship todevelop a new project exploring scenography and theweather.www.davidshearing.comd.shearing@leeds.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014621

The Philosophy of Shadows; or How Meyerhold’s Theatrical Space Met the Challenge of FourDimensionsWorking Groups: ScenographyAmy SkinnerUniversity of HullAmy Skinner is a Lecturer in Drama and TheatrePractice at the University of Hull. Her main researchinterest is in Russian and early Soviet Theatre and itsreception in the UK. Since achieving her Ph.D. in 2006(on collage in Meyerhold’s mise-en-scène), she hascontributed chapters on the theatre of Meyerholdto edited volumes The Russians in Britain (Routledge,2011) and Encountering Ensemble (Methuen, 2013). Hermonograph, Meyerhold and the Cubists: Perspectiveson Painting and Performance is due for publication byIntellect in summer 2015. Amy is the founder and coordinatorof the Russian Theatre Research NetworkUK (www.russiantheatreuk.com), and a member of theexecutive committee for the Standing Conference ofUniversity Drama Departments. Her other researchinterests include the scenography of musical theatreand the relationship between scenography and theatredirection.The theme of stratification is not a new one. The use of layering, metaphorical and literal, was definitive in the artisticapproaches of the early twentieth century avant-garde and is expressed in the philosophies of space which characterisedthe fin-de-siècle. The classification of space according to dimensions (two, three or four) is a theorization of perception whichrelies on strata, expanding the surface into depth, the depth into time. For P. D. Ouspensky, each dimension was a spatialconstruct, even the fourth, which was commonly understood as temporal progression. The Philosophy of Shadows exploresOuspensky’s model of four-dimensional space within a theatrical context. Focusing on the theatre of Vsevolod Meyerhold,and particularly on his use of the shadow as a scenographic element, the paper considers the radical spatial and temporalruptures which occur when different dimensions are represented within the performance space. The shadow is seen as anindependent layer within the spatial structure, a consciously realised and fore-fronted two-dimensional surface, and as atwo-dimensional synthesis of depth space. It is a malleable space, moving and responding to the action on stage, animatedby the actor, and it is a distorted space, in which the director’s theories of the grotesque could be realised in a visual form.However, the shadow is more than a layer. Meyerhold’s use of theatrical space was fundamentally metaphorical, and in thiscontext, the shadow is a representation of another reality, a stratum beyond the concrete stage space. Drawing on therepresentations of the shadow in literature and visual arts, Meyerhold’s shadows emerge as a philosophical idea in a theatreembedded in the complexities of reality in 1920s Russia.A.E.Skinner@hull.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014622

Scenography: The Final Layer of Meaning Making in the Stage Management PracticeWorking Groups: ScenographyThis paper will outline the various strata of meaning making in stage management practice from properties to objectives torelational semiotics in an attempt to further elucidate the difference between administrative and artistic stage managementpractices. The methodology involves the application of models and templates put forward by scenographic theorists andpractitioners (McAuley, McKinney and Butterworth, and Pilbrow) as structured reflective tools for recent stage managementpractices completed by the author. It is hoped that this paper will provide some insights into teaching and evaluating stagemanagement practices in addition to further establishing stage management as a scenographic practice as opposed to atechnical or administrative one.Michael SmalleyUniversity of Southern QueenslandMichael Smalley is the Stage Management andTechnical Production Lecturer at the University ofSouthern Queensland. He graduated from a BA(Theatre - Technical Production and Management)from QUT with distinction in 1999. Before becomingan academic, his professional theatre practice includedfreelance roles as a stage manager, lighting designer,director, and actor in Australia, England and Canada.His research interests include scenography, theatre foryoung audiences, and scenographic pedagogy. He iscurrently undertaking a Master of Arts at USQ exploringthe latent scenography of stage management.michael.smalley@usq.edu.auFIRT/IFTR World Congress, University of Warwick, 2014623

ASTERION: A Journey Through the LabyrinthWorking Groups: ScenographyAsterion is a multidisciplinary research project exploring the relationship between the scenographic environment and theparticipating audience member in the context of site specific theatre. The project involved the participation of artists froma variety of disciplines who collaborated on the development of a series of performance environments in the form of alabyrinth.Located on a rural property in Ontario, Canada, Asterion has been in development from 2004. In the summerof 2013, the work was completed and culminated in two days of public performance. My illustrated talk will chronicle thedevelopment of the project and will address the questions framed by the research:•Scenographic text and how design shapes narrative,•Theatricalized spatial configurations, proxemic distances and haptic surfaces as components of storytelling,Jerrard SmithUniversity of GuelphJerrard Smith, a set, costume, mask and puppet designer,and his wife Diana have collaborated with R. Murray Schaferon parts of the Patria Cycle such as The Princess of the Stars,RA and The Alchemical Theatre of Hermes, subsequent;yexhibited (2012) at the Clarington Museum (Bowmanville)and Design at Riverside (Cambridge). Past works includedesigns for Robert Desrosiers’ Corridors, Blue Snake andUltraCity and Debra Brown’s Apogée, costume designfor Walt Disney’s World on Ice productions, and a visualspectacle for the New Year’s Eve Millennium celebrationin Ottawa. Designs for Ann-Marie MacDonald’s NigredoHotel and for Phyzikal Theatre Company’s Flesh and Clayearned him Dora Mavor Moore Award nominations. He wonthe Ontario Arts Council’s 1994 Design Jury Award, andgrants from the Canada Council and SSHRC. He and Dianaexhibited at the 2007 Prague Quadrennial of Scenographyand have received “Honourable Scenographer” awardsfrom OISTAT. Asterion: A Journey Through the Labyrinthis a ten year research project with theatrical space. Hepreviously taught scenography at the University of Guelph.•Loci of transit – doors and portals,•The self and other and the transformation of spectator to performer.The talk will have the form of a media intensive story.jerrard@uoguelph.ca.FIRT/IFTR World Congress, University of Warwick, 2014624

Layering of Technology in Contemporary ExtravaganzaWorking Groups: ScenographyNebojša TabačkiUniversity of the Arts BerlinNebojša Tabački has degrees in architecture, stage andproduction design, as well as a PhD in art- and culturehistory from the Berlin University of the Arts. Histhesis “Kinetic Stages – The Reinvention of the Theatre inthe High-Tech-Experiments of the Scenographers SeanKenny and Josef Svoboda” will be published by TranscriptVerlag in August 2014. It is a research about visionaryconcepts of kinetic scenography and theatre buildingsof the 1960s and the 1970s influenced by modernistarchitecture heritage. Based in Berlin, Nebojša Tabačkiis working as a freelance artist in the theatre, film andTV industry. His credits include films such as “Perfume”,“The Baader Meinhof Complex”, “Pope Joan”, “3096 Days”or TV series “Borgia”.Since the end of the 1990s, we have witnessed an excessive accumulation of technology for contemporary extravaganzas.The use of complex kinetic structures, advanced rigging equipment or large amounts of water as scenographic elementshas resulted in tectonic shifts in the theatre building composition and technical staff organisation, both above and under thestage. Countless numbers of stage cues during the show have transformed the classical stage into a void, a negative spacewhich evokes associations with Alice in Wanderland´s rabbit hole. From the other end of it, one has the opportunity to seethings “differently”. After eight years of successful runs, the aquatic theatre “La Rêve” is now also offering a Diver´s Dreampackage, a chance for certified divers to enjoy the show from the under-stage water tank. By turning things upside down, theproduction of “La Rêve” has managed to involve the spectator directly within the show. Although this may seem too literalfor some, this new deal demonstrates how the complexity of the under-stage management and layering of technology hasadvanced to become the show itself. Based on the examples of contemporary aquatic theatres, this paper will question thecurrent developments in scenography for commercial events. Are we witnessing a phenomenon which is merely a productionof powerful “instant visual images” for “immediate persuasion” and an opportunity to boost the profits or is there more to it?Has the accumulation of technology in scenography created a parallel, visually striking environment accessible only to a smallnumber of specially trained visitors? The examination of the under-stage scenography of aquatic theatres as an additionallayer to the one on the stage itself, may shed new light upon this dilemma.ntabacki@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014625

Blending of Layers: Czech Scenography in Late “Normalization” (the 1980s)Working Groups: ScenographyVěra VelemanováDepartment of Czech Theatre Studies, Arts and TheatreInstituteThe expressions of the Czechoslovak culture in the epoch of the forty-year totality (1948-1989) progressed for a long timein two parallel layers – official and non-official. The best things of the official culture retained high standard in spite of manyunqualified interventions of the communistic chiefs (e.g. set design of Josef Svoboda or František Tröster, till 1968, smalltheatres originated in the 60s etc.). The scenography of Josef Svoboda is a fundamental stone of the national treasure, butart which forms future has other paths (indicated by works of Jaroslav Malina, Miroslav Melena and Jan Dušek in the 1970sand 1980s): creating scenic space and costumes progresses differently, by non-illusive scenography, and depends more onthe actor’s action. Trends issued from non-official or half-official sphere were so lifelike that they indicated and influencedboth the artistic activities of official spheres and the future face of scenography as such much more strongly than forexample splendid Svoboda’s work. It was characteristic for Czechoslovak culture in the time before the fall of communisticregime (in the 1980s) that the two or more precisely all three layers come together. One of the top expressions of the end ofthe 1980s is amateur, later professional formation of director and set designer Petr Lébl and production of so-called PragueFive (five small theatrical groups) – with set designers like Šimon Caban, Simona Rybáková, Tereza Kučerová…The paper covers expressions of the historical epoch, for which blending, understanding, coinciding of layers and styles inmultivocal meanings of these words is typical.Mgr. et Mgr. Věra Velemanová is a researcher andemployee of the Department of Czech Theatre Studies,Arts and Theatre Institute. Her research focuses on the 20 thcentury Czech set design and theatre history of Russianimmigrants in Czechoslovakia between 1918 and 1938. Sheis an author of texts elaborating on the issues of legionarytheatre in Russia between 1914 and 1920, and works as acurator of exhibitions.1984–1989: undergraduate and graduate studies at theFaculty of Education, Hradec Králové, major in Czechlanguage – Visual Arts Education1990 - 1996: undergraduate and graduate studies at theDepartment of Theatre and Film Studies of the Faculty ofArts, Charles University, Prague1997 - 2000: researcher, County Museum – Miners’Museum, Příbram2000 - Present: researcher, Department of Czech TheatreStudies, Arts and Theatre Institute, Prague2007-2010: maternity leaveSince 2013: postgraduate studies at the Department ofTheatre Studies of the Faculty of Arts, Charles university,Praguevera.velemanova@tiscali.czFIRT/IFTR World Congress, University of Warwick, 2014626

Kites, Puppets, and Swirling Waters: Convergent Boundaries in a Site-Specific PerformanceWorking Groups: ScenographyVindy WoodUniversity of Central FloridaVandy Wood is a visual artist and theatrical designerfrom Central New York. She is currently an associateprofessor of design and the coordinator of the MFAdesign and TYA programs for the theatre department atthe University of Central Florida.Recent site-specific performances have raised questions about the relationship between the site and the creative processand fostered discussions about mutual interactions among various players in a site-specific production such as the siteitself, performers, choreographers, designers, and spectators. As a group of theatre makers in the School of PerformingArts at the University of Central Florida, we are engaged in the process of conceiving a site-specific performance onuniversity campus that involves both traditional and non-traditional production layers. The live symphony concert--anannual event with pre-established history and audience-base--will now be integrated in a visual performance which willinclude a site-specific dance merged with an additional layer of performance objects such as kites and puppets. Thisproject will serve as a practice-as-research investigation of convergent boundaries between various hierarchies in acreative process and explore the ways in which multiple layers of a site-specific event intermingle, manipulate, repel, andconsume one another.Through the discussion of this project, we propose to interrogate the role of performance design in negotiating complexlayers in a site specific production, challenging traditional production structures, and disrupting the audience expectationsin experiencing a contemporary performance, specifically in relation to a specific place and space. What are the waysin which this scenographic practice will foster a new understanding of the relationship between human and non-humanperformance? How are the audience expectations altered or shattered as the attendants are immersed into the swirlingwaters of a non-traditional performance?And finally, how does the layering of performance design, live music, and dance, with the unique audience experience,change the ways a specific location has been conceived and interpreted traditionally and how it may be perceived, lived,and reinvented in current culture?FIRT/IFTR World Congress, University of Warwick, 2014627

Kites, Puppets, and Swirling Waters: Convergent Boundaries in a Site-Specific PerformanceWorking Groups: ScenographySarah YatesUniversity of Central FloridaSarah Yates received her MFA in design from theUniversity of Central Florida. She is currently thelighting designer and technical director for DaytonaState College in Daytona Beach, Florida.Recent site-specific performances have raised questions about the relationship between the site and the creative processand fostered discussions about mutual interactions among various players in a site-specific production such as the siteitself, performers, choreographers, designers, and spectators. As a group of theatre makers in the School of PerformingArts at the University of Central Florida, we are engaged in the process of conceiving a site-specific performance onuniversity campus that involves both traditional and non-traditional production layers. The live symphony concert--anannual event with pre-established history and audience-base--will now be integrated in a visual performance which willinclude a site-specific dance merged with an additional layer of performance objects such as kites and puppets. Thisproject will serve as a practice-as-research investigation of convergent boundaries between various hierarchies in acreative process and explore the ways in which multiple layers of a site-specific event intermingle, manipulate, repel, andconsume one another.Through the discussion of this project, we propose to interrogate the role of performance design in negotiating complexlayers in a site specific production, challenging traditional production structures, and disrupting the audience expectationsin experiencing a contemporary performance, specifically in relation to a specific place and space. What are the waysin which this scenographic practice will foster a new understanding of the relationship between human and non-humanperformance? How are the audience expectations altered or shattered as the attendants are immersed into the swirlingwaters of a non-traditional performance?And finally, how does the layering of performance design, live music, and dance, with the unique audience experience,change the ways a specific location has been conceived and interpreted traditionally and how it may be perceived, lived,and reinvented in current culture?FIRT/IFTR World Congress, University of Warwick, 2014628

Working GroupsTheatre and ArchitectureCome On In: Mediating the Lives of Others in Open House LondonWorking Groups: Theatre and ArchitectureStuart AndrewsUniversity of SurreyStuart Andrews is Lecturer in Theatre Studies at theUniversity of Surrey. His research focuses on sitespecificperformance and, particularly, performanceand architecture. Currently, he is collaborating with DrMatthew Wagner, also at the University of Surrey, on astudy of the door in performance, funded by the BritishAcademy/Leverhulme. He has published in the Journalof Media Practice, Digital Creativity and in Collision:Interarts Practice and Research. Stuart joined theUniversity of Surrey in 2008 to set up the BA TheatreStudies programme, which he led until 2012.s.andrews@surrey.ac.ukOn one weekend each September, Open House London (http://www.londonopenhouse.org) invites visitors to explore allmanner of buildings in the capital, many of which are private houses or apartments and which are opened for the occasionand for free. It is these private residences that interest me here. Visitors are able to roam properties and to meet owners,architects and/or volunteers in varying combinations. For that one weekend, people across the capital let complete strangersinto their houses and reveal where and how they live. From spatial design and environmental innovation to the state of therabbit hutch, the events offer an experience of the lives of those who inhabit or will inhabit each house.In this paper, I consider how we might understand points of connection between performance and architecture in OpenHouse London. I turn here to Pierre von Meiss, who has argued that ‘architecture makes visible the world as we live it’ (2013,p191). In Open House, that architectural ‘making visible’ occurs in combination with the welcome that is offered by owners,architects, volunteers, and experienced with other visitors. This welcome may comprise ‘socially engaged art’ and yet itoccurs in the context of the artistic ‘making visible’ of architecture (Thompson 2012). To explore this combination, I takeup Claire Bishop’s notion of a ‘mediating’ element in participatory art, which elicits ‘perverse, disturbing, and pleasurableexperiences that enlarge our capacity to imagine the world and our relations anew’ (Bishop in Thompson 2012, p45). Isarchitecture a mediating element in the performances of Open House? I suggest that the particular intersection of people,practices and places in Open House offers dialogic experiences for imagining ‘the world as we live it’ through architectureand performance, which contributes to discussion on mediation as enabling the imaginative potential of participatory/socially engaged art.http://www.londonopenhouse.orgFIRT/IFTR World Congress, University of Warwick, 2014629

Walter Benjamin’s Parisian Arcades and Strindberg’s Architectonics of PerformanceWorking Groups: Theatre and ArchitectureIn the 1930s, Walter Benjamin became one of the earliest critics to draw attention to dramaturgy and architecture ascomplementary practices. In his earliest writings on the Baroque Mourning Play, he posited historical sites as a mode ofperformance, and his detailed study of the Parisian Arcades as sites of spectacle that restructured modern experiencepioneered a critical reading of the interactions between spatial structure, architectural technology, and the lived needof urban dwellers for a meaningful spatial narrative. For Benjamin, the Arcades represented the Janus-like quality of theencounter between dramaturgy and architecture: on the one hand, they were glass-covered, marble-floored hallwaysrunning through entire house blocks, lined with elegant luxury shops that featured a phantasmagoric theatre of commodities.Conversely, this spectacle was made possible through a revolutionary architectural technology—the cast iron, which held theglass ceilings—that echoed its industrial and social usages.Klaus van den BergUniversity of TennesseeKlaus van den Berg (Ph.D. Indiana University) is AssociateProfessor in the Department of Theatre at the Universityof Tennessee teaching theatre history, dramatic literature,performance theory, and dramaturgy. His work centerson visual culture and the dramaturgy of space. Recentwork examines scenography in performance, the roleof spectacle in our society, the interlacing of urbanlandscapes and performance venues, and the image as acentral issue of critical theory. He has published works onAugust Strindberg, Richard Wagner, George Tabori, DanielLibeskind, Walter Benjamin, Dimiter Gotscheff, MichaelThalheimer, Max Frisch, image theory and essays for TheatreResearch International, Theatre Survey, TheatreForum,Contemporary Theatre Review, Theatre Journal, BrechtYearbook, Monatshefte, and Bühnentechnische Rundschau.He is resident dramaturg for the Clarence Brown Theatre,specializing in stage adaptations and translations andhas worked as dramaturg in national and internationaltheatres such as the Asolo Conservatory in Sarasota,Westport Country Playhouse, 7Stages Atlanta, AmericanConservatory Theatre San Francisco, New JerseyShakespeare Theatre in Madison, and English Theatre Berlin.His translation and adaptation of Schiller’s The Robberspremiered at the Asolo Conservatory in 2012.kbflyingdutchman@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014Through an exploration of August Strindberg’s key late works, A Dream Play and The Ghost Sonata, I argue that Strindbergoriginated a dramaturgy rooted in the Arcades’ architectonic practices of phantasmagoric display and innovative structure.Strindberg, who traversed the Arcades after they had already become ruins in the 1890s, may be considered an historicaleye-witness who composed his plays as spaces of action where Benjamin’s tropes emerge Avant-le-lettre. I show thatStrindberg’s dramaturgy of multiple locations, apparitions, film-like sequences and effects, and flaneur-like figures, adoptedthe practices that made the Arcades a complex dramatic space that allowed for a compelling displaying and unfolding ofaction. Ultimately, I argue that Strindberg anticipates Benjamin’s new understanding of performance as a critical exhibitionspace modeled on the Arcades: an innovative space consisting of a constellation of successive series of unfolding content,a site of sweeping, performative re-structuring of historical experience.630

Audio Obscura: Experiencing the Architecture of Audio PerformanceWorking Groups: Theatre and ArchitectureAndrew FilmerAberystwyth UniversityMy research broadly addresses issues of place, space,location and spectatorship in contemporary theatreand performance, especially the dramaturgical logicsand spectatorial practices inherent in site-specificperformance and the multiple sites of encounterbetween performance and architecture. Previously myresearch has focused on theatre architecture,examining performers’ experiences of the backstagespaces of theatre buildings. Currently I am developing aresearch project exploring the performance of running.Discussing the use of musical spaces and silence in his sound work Linked (2003-present), artist Graeme Miller has spokenof how slowing down the act of listening “creates a kind of architecture of space that is the equivalent of silence actually,it is like a little church, you are creating a little church on a street corner that filters out the background.” (Butler and Miller2005: 83) Miller’s reference to the architectural nature of his work echoes that of poet Lavinia Greenlaw, whose soundwork Audio Obscura was performed in Manchester Piccadilly and St Pancras International railway stations in 2011. Whileevoking the darkened viewing chamber of the camera obscura in her titling of the work, Greenlaw has also suggested thatwriting itself might be considered “an architectural process” in which poems serve as experiential containers (Greenlaw2011). In this paper I consider how an architectural sensibility might help reinvigorate scholarship on site-specific theatreand performance by avoiding the expansion of existing taxonomies and instead focusing on what it is that these works do;what they generate and disclose, and the means by which they do this. Building on Cathy Turner’s discussion of the parallelsbetween architecture and dramaturgy, and her suggestion that the concept of dramaturgy “offers a way of thinking aboutspace and event together” (Turner 2010: 161), I examine the architectural dimensions of Greenlaw’s site-based audio work,articulating its dramaturgical logics and describing the ways in which these are inhabited and experienced. What sort of auralarchitecture does the work create, how might a phenomenologically informed approach to spatial syntax analysis offer amore precise way of examining the positioning of the spectator/listener, and how might one write this positioning?awf@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014631

Between the “Representation of Space” and the “Space of Representation”: Two Critical CaseStudies of Theatre Architecture in BrazilWorking Groups: Theatre and ArchitectureEvelyn Furquim Werneck de LimaFederal University of the State of Rio de JaneiroEvelyn Furquim Werneck de Lima is an architect, PhD(UFRJ/EHESS), Associate Professor at Federal Universityof the State of Rio de Janeiro/Graduate Studies Programin Performing Arts, Researcher in Theatre Architecturefor the National Council of Technological and ScientificDevelopment-(CNPq) and for the FAPERJ Foundation,and member of the Municipal Heritage Council of Rio deJaneiro. She has published articles on theatre architectureand cultural heritage and has presented papers globally.Works include Between Architectures and Set Designs. LinaBo Bardi and the Theatre (2012); Architecture and Theatre:From Palladio to Portzamparc (2010), From the Avant-Gardesto Tradition (2006), Architecture for Performing Arts (2000/Institute of Brazilian Architects Award), President VargasAvenue: a drastic surgery (1990/Architect Olga VerjovskiAward). Editor of Architecture, Theatre and Culture: revisitingspaces, cities and playwrights of the seventeenth century(2012), Space and Theatre (2008), Space and City (2007),among others. Co-ordinator of the Laboratory of TheatreArchitecture and Urban Memory Studies at UNIRIO andwas a Visiting Researcher in the Collège de France (2011)www.unirio4.br/espacoteatralwww4.unirio.br/espacoteatral/Evelyn-Lima-short-CV.pdfevelynfwlima@yahoo.com.brThis paper presents arguments regarding the past and present of theatre architecture through discussion of Portzamparc´sCity of Music (now City for the Arts-2013) in Rio de Janeiro and Lina Bo Bardi´s SESC Pompeia Theatre in São Paulo (1982).The first theatre is a recently built cultural complex including an opera house and smaller theatres, constructed by themunicipality, while the second is the adaptation of an old factory warehouse into a theatre, constituting a cultural complexopened for an established labour association refurbished in an unusual style. In the latter, Bo Bardi built the theatre as theresult of a collective effort of multiple social actors at various phases since she made the construction site her own officeto listen to ideas of the employees – a genuine ‘lived space’ (Lefebvre, 1974). In contrast, Portzamparc created a landmark,an urban symbol in the western area of Rio de Janeiro. In addition to the enormous amount of public money spent onthe building, its location was chosen without tending to the everyday life of the district and without any general publicconsultation. The theatre is already causing huge traffic problems. This study aims to understand the significance of thesetwo buildings for performing arts within the urban and social contexts and how they have modified their environment,conditioning performances and spectatorship. Portzamparc´s design may be interpreted through the concepts of Levebvreas an accurate “representation of space” because cultural equipment has been imposed upon the city in a governmentalmarketing act while at the SESC Pompeia Theatre, the architect found a symbolic “space of representation” full of imaginativepossibilities, which constitutes an act of resistance to hegemonic culture. This study draws attention to some principles to beconsidered in the future of theatre architecture.FIRT/IFTR World Congress, University of Warwick, 2014632

Restoring Historiography: The Writing and Renovating of History in Toronto’s Royal Alexandra andElgin and Winter Garden TheatresWorking Groups: Theatre and ArchitectureAs a contemporary intervention performed upon an historic object, restoration transgresses temporal boundaries, as wellas historiographic and ideological ones. When the object being restored is one intended to fulfill a function, as a theatre is,the border between use and preservation is blurred. The “restorations” (a nebulous, potentially misleading term) of Toronto’sRoyal Alexandra Theatre and Elgin and Winter Garden Theatres illustrate the influence of ideology, politics, history, andfunction on what we decide to do to old theatres.Julie MathesonYork UniversityJulie Matheson is currently completing an MA inTheatre and Performance Studies at York University,and will begin working toward a PhD in the samedepartment this fall. Her primary research interestsrevolve around the restoration of historical theatres,and draw on her interdisciplinary academic background.She recently completed an MA in Contemporary Art,Design, and New Media Art Histories from OCADUniversity, and previously received her BA in Theatre(Technical Scenography) from Dalhousie University andthe University of King’s College.Drawing on the spatial and historiographic turns in the performance studies field, as well as museological and restorationtheory from the fields of archaeology and art history, this paper will frame the restoration of theatres as a meaning-makingact. Embodying history in the choices that are made throughout the process – about what is worth preserving, and what theend product should present – the historicization that takes place following a restoration inscribes meaning yet again. Thecase studies of the Royal Alex and the Elgin and Winter Garden and their individual written histories offer a point of insightinto two different approaches to restoration; the Royal Alex, restored by its private owners (the Mirvishes) in the 1960s, andthe Elgin and Winter Garden, restored by the Ontario Heritage Trust, a government agency, in the 1980s.julieamatheson@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014633

‘Cofiwch Dryweryn’ as an Enactment of Iconicity and DecayWorking Groups: Theatre and ArchitectureRoger OwenPrifysgol Aberystwyth UniversityDr Roger Owen is a Lecturer at the Department ofTheatre, Film and Television Studies at AberystwythUniversity. He has written widely on theatre andperformance in Wales, with particular focus onperformance in rural contexts. He is the author ofAr Wasgar (University of Wales Press, 2003) a historyof Welsh-language theatre between 1979-97, and afull-length study of the dramatist Gwenlyn Parry in theUniversity of Wales’s series Writers of Wales (2013).His most recent work is on the Welsh translationsof Shakespeare’s Hamlet, which was the basis for hispresentation at the Société Française Shakespeare’s450 th anniversary conference in Paris (April 2014).In a lay-by on the main A487 road between Aberystwyth and Llanrhystud, Ceredigion, UK, there is a wall, the remnant of aruined farm building, once known as Troed-y-Rhiw. On the wall, a painted graffiti inscription, “Cofiwch Dryweryn” (“RememberTryweryn”), has been visible in one form or another since the middle 1960s. It commemorates – and protests against – thedrowning of the village of Capel Celyn (near the town of Bala, about 60 miles to the north) to make way for the Llyn Celyn– occasionally known as the Tryweryn – reservoir. The slogan, although not listed for protection in any official capacity,has been regularly maintained and overpainted by several different individuals and groups, and has become recognisednationally as a significant cultural icon: it has been reproduced in paintings, model sculptures, dramatic presentations andcommercially-sold merchandise. It has also been regularly defaced, its status challenged and satirized. This paper will lookat the repainting as an act of commemoration, but will also consider the relationship between that action and the wall itself.Over the years, it has gradually crumbled, and several calls have been made for its reinforcement in order to preserve theslogan. The dramaturgical implications of this decay will be discussed, with the ever-smaller area available for the writingon the wall acting to intensify the urgency of the act of memory demanded of the viewer by the words “Cofiwch Dryweryn”.Finally, the paper will speculate upon the way in which the Llanrhystud wall and the reservoir at Llyn Celyn may be consideredas environmental artworks sustained either by human or atmospheric agency, and defined by their distinctive architecturalproperties.roo@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014634

Performative Paradigms in Design Education: Theatre as a Model for Thinking through ArchitecturalSpaceWorking Groups: Theatre and ArchitectureMaya Nanitchkova ÖztürkBilkent University, FADAMaya Nanitchkova Öztürk is Associate Professor inTheory and Criticism of Architecture. Her academicinterest and publications examine space-bodyrelationships and experience of space/place atbase of developing analytical methodologies andinterdisciplinary links in theory, and teaching. Herspecial focus is on social and collective sites, suchas exemplified in the case of theatre. She currentlyworks at Bilkent University, Faculty of Art, Design andArchitecture, Department of Interior Architecture andEnvironmental Design. She is the author of a book:Corporeality: Emergent consciousness within its spatialdimensions (Rodopi, 2014), and is on the editorial boardsof the web-journal Consciousness, Literature and the Artsand ISI journal Space and Culture.This study discusses the methodological framework of an elective course, which explores theatre as conceptual and materialsource and base for re-thinking architectural space and design practices ‘performatively’. The theoretical part seeks to extendstatic notions of architectural-space-as-object by examining the context of theatre from different disciplinary perspectives.This allows shifting from ‘appearance’, and ‘affordance’ to concerns with how space ‘works’, at multiple levels. Presentinga most formalized spatial entity theatre helps re-articulating the architectural in terms of ‘generic’ spatial mechanismsand effects, disclosing how space enables the performance, and, through the body, conditions experience. Furthermore,it offers opportunity to introduce a whole range of performance techniques, stage forms, staging strategies, as well asrepresentational technologies of a distinctly ‘theatrical’ kind, relevant in understanding how space formulates relations, andheightens the drama of presencing. This allows extending architectural sensitivities beyond conventional distinctions ofbuilt (permanent, immutable, fixed), and theatrical/scenic (temporary, provisional, artistic). The practical implementationof this framework is discussed by student projects which address social space in the context of performance (experimentaltheatre, cabaret), and culminate with the stage design for a particular play. This phase is conducted in collaboration with atheatre person (actor/director), incorporating a variety of ‘performative’ techniques in conceptualizing space. Taking uptheatre as paradigm does open up to a range of teaching methodologies, offering students means of grasping the generativecapacities of the architectural, the experimental and improvisational in performative practice and space, as well as thepossibilities embedded in the material world and its symbolic uses. It enhances analytical thinking, nourishes imaginationand helps engender design practices which begin incorporating productive potential of architectural space and affect intopotent strategies dramatizing experience.maya.n.ozturk@gmail.cominfo@evasansorleri.comFIRT/IFTR World Congress, University of Warwick, 2014635

Vestigial Architecture, Revenant Performance: Reading the Ruins, Assembling the TracesWorking Groups: Theatre and ArchitectureMike PearsonAberystwyth UniversityMike Pearson studied archaeology in UniversityCollege, Cardiff (1968–71). He was a member of R.A.T.Theatre (1972–3) and an artistic director of CardiffLaboratory Theatre (1973–80) and Brith Gof (1981–97).He continues to make performance as a solo artist andin collaboration with artist/designer Mike Brookes asPearson/Brookes (1997–present). In 2010, he directeda site-specific production of Aeschylus’s The Persiansfor National Theatre Wales (NTW) on the militarytraining ranges in mid-Wales; and Coriolan/us withBrookes in 2012 for NTW, in collaboration with theRoyal Shakespeare Company for the World ShakespeareFestival/London 2012. He is co-author with MichaelShanks of Theatre/Archaeology (2001) and authorof In Comes I: Performance, Memory and Landscape(2006), Site-Specific Performance (2010), The MickeryTheater: An Imperfect Archaeology (2011) and MarkingTime: Performance, Archaeology and the City (2013. Heis Professor of Performance Studies and LeverhulmeResearch Fellow in the Department of Theatre, Film andTelevision Studies, Aberystwyth University.This presentation examines the (archaeological) role of the documentation of performance in recording sites and buildingssince irrevocably altered, substantially renovated, reconfigured or demolished – incidentally, in the photographing andvideoing of productions enacted therein, glimpsed en passant; and more formally, in the preparatory and operationalplans, drawings and projections of site-works conceived in relation to specific architectures. In this, the presentationreferences the productions Welsh theatre company Brith Gof that were created in the late 1980s/early 1990s in regardto disused industrial buildings and other locations now disappeared and their attendant archival material. It then suggeststhat contemporary visitation to such places of past performance – with documentation in hand, in the presence of therecollections of those present at that time, and in reference to surviving material traces – can serve not only to recover andevoke the performances themselves but also to reimagine the architectures in which they were presented. In this, it takes asits model a coach trip – ‘a journey into Cardiff’s performance past’ – organized by Mike Pearson and Heike Roms in November2013. The four-hour journey visited a series of locations and venues where performances were created in the early 1970s:from barely altered lecture rooms to refurbished studios (black boxes turned white cubes) to reordered landscapes – fora variety of presentations including eyewitness testimony and informal re-enactments. The key aim was to demonstratehow the conjured and reimagined architectural conditions – of dimension, fabric, acoustic – informed and impacted on theoriginal form and nature of scenographic emplacements, dramaturgical structures and modes of dramatic exposition; howperformance practices – that so often focus and monopolize our current critical attention in visual records – resulted fromand related directly to frequently overlooked or disregarded architectural and environmental context and stricture.mip@aber.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014636

In, Out, Again - Architectural History as Performative Practice: Reading and Writing John Soane’sLectures at the Royal Institution (1817 & 1820)Working Groups: Theatre and ArchitectureSophie ReadUniversity College LondonSophie Read is a writer and architectural researchercurrently doing an AHRC-funded PhD in ArchitecturalHistory & Theory at The Bartlett School of Architecture(UCL). Sophie’s research proposes architectural historyas a performative practice, and explores the criticalvalue of this approach in developing a contemporaryunderstanding of the architectural object and role ofthe archive. Sophie has an MA in Architectural Historyfrom The Bartlett for which she received a distinction(2009-2010), and a First Class BA Honours degree inDrawing from Camberwell College of Art, UAL (2002-2007).This paper proposes architectural history as a performative practice and explores the critical value of this approach indeveloping a contemporary understanding of the architectural object and role of the archive. Focusing on the neglectedcase study of lectures delivered by the architect John Soane at the Royal Institution (1817 & 1820) and via the use of originalprimary archival evidence, I investigate the role of the lecture in a new way in the performance, production and circulationof architectural knowledge within early 19th century London. I draw from recent performance and theatre historiography,and concepts of performativity and reenactment largely ignored by the canon of architectural history (Jones 2007, Roach1996, Schneider 2011) and pay attention to primary and secondary evidence for an early 19th century understanding ofperformative utterance (Thelwall 1810, Esterhammer 2008). The concept and act of transcription, in particular, is developedas a performative architectural historical practice - operating as reflexive technique for collecting data, reenactive modefor scholarly enquiry, and critical methodology for writing the role of the architectural lecture and its afterlife. I showhow through transcription, evidence can be extracted that would not have otherwise been possible regarding Soane’spreparation and attitudes to oral delivery and visual/verbal performance. My research shifts the focus of existing scholarshipon Soane and his lectures: from a discussion of his intellectual journey in writing them and their formal content and discoursewritten about architecture (Watkin 1996, Bolton 1929), to one that considers the significance of the lecture events and theirpreparation in terms of being a form of performative architectural practice of communication, reception and transmission.Sophie.read.09@ucl.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014637

Housing Acts: Performing the Pursuit of Public HousingWorking Groups: Theatre and ArchitectureDavid RobertsUniversity College LondonDavid Roberts is a doctoral student in ArchitecturalDesign at The Bartlett School of Architecture, UCL,a course tutor in MSc Urban Studies, UCL, part ofcollaborative art practice Fugitive Images and partof architecture collective Involve. David uses poetry,photography and performance to explore the relationbetween place and people. He has exhibited, lecturedand published work related to architecture, housing,collaboration, critical methodologies and site-specificpractice.This paper will develop the methodology of cite-specific workshops in which archival material and architectural literatureis performed on the site that it addresses. It seeks to build different relationships where text and architecture is both tooland content, object and site of collaborative discussion. I will describe my long-term engagement with the communities oftwo East London housing estates at different stages of regeneration. The term regeneration has recently been subjectedto much criticism as a pervasive metaphor applied to problematic processes of urban change, often enacted behind closeddoors and excluding existing populations. Similarly, the way these debates are currently framed can leave many unaware andunable to contribute. My work uses performance practices to make public the act of research and process of regenerationto those experiencing it. In a series of site-specific workshops residents reenact the history of public housing, performingthe original ideals, sharing their everyday experiences and challenging decades of misrepresentation. I take inspirationfrom dramaturgy and devising to consider modes of narration and elicit collective responses. The workshops are staged ondifferent spaces of the estates where the site becomes an active participant in conversations, choreographing encounterwith the building and texts. On the soon-to-be demolished Haggerston Estate built by the LCC in 1936, residents revive thevirtuous heroines of 18th Century novelist Samuel Richardson after which the estate’s blocks were name, drawing parallelsbetween the spirit of moral improvement embodied in Richardson’s protagonists and municipal housing. At Balfron Towerdesigned by Hungarian socialist Ernö Goldfinger in 1968, residents reenact the parties and meetings Goldfinger hostedduring his two-month residency when the estate was first built, to bring together the disparate community and question thetower’s social ideals before it is emptied, refurbished and privatised.www.fugitiveimages.org.ukdavid.roberts@ucl.ac.ukFugitive Images, 2013. Briony Campbell, 2012.FIRT/IFTR World Congress, University of Warwick, 2014638

The Theatre of the Resettled.Working Groups: Theatre and ArchitectureSascha RoeslerFuture Cities Laboratory, Singapore and ETH, CentreDepartment of Architecture, ETH, ZurichThe Egyptian architect Hassan Fathy and the German playwright Heiner Müller did not know each other. Yet my exhibitionand publication project “The Theatre of the Resettled” is an attempt to bring the pair, post mortem, together in conversation.The exhibition provides indications that they would have had plenty to talk about. The subject of their conversation – inreference to Anthonin Artaud’s Theatre of Cruelty – might have been: “The Theatre of the Resettled”. In the exhibition,Scenes of a resettlement are placed beside each other, of how they were performed in the theatre at New Gourna (nearLuxor) and in the auditorium of the University of Economics in East-Berlin. For this, Müller’s piece “Die Umsiedlerin” (‘Theresettled woman’) serves as a reading aid, which help us discern the difficulties with which Fathy was confronted duringthe construction of the village. One of the least understood aspects of New Gourna is the unruly inhabitants who did notwant to accept the progress promised to them. The arrangement of the images on the table follows the running order ofthe 15 scenes in Müller’s play. Whilst it is the resettled inhabitants which appear as actors in the set of images from NewGourna, in Müller’s piece it is students who acted on the side of their economics studies. Müller thought that the amateuractors were rather suited to express unpleasant truths (about the social conditions). During the rehearsals he wrote aboutthe collaboration: “They act towards the text as they would with a tool. They are, and this is what makes them differ fromprofessional actors, unable to read texts out loud which they do not comprehend, which for them seem untrue.”Sascha Roesler is an architect and researcher working atthe intersection of architecture, ethnography and sciencestudies. Since 2013 he is a senior researcher and modulecoordinator at Future Cities Laboratory in Singapore(Singapore-ETH Centre), and holds a Doctorate from ETHZurich. He studied architecture at ETH Zurich and Theoryof Design und Art at the Zurich University of the Arts. Hewas a research assistant both at the Zurich University ofthe Arts and at the chair of architecture and constructionat ETH Zurich. His recent works comprise the first historyof ethnographic research conducted by modern architects(Weltkonstruktion, Gebr. Mann Verlag, Berlin 2013).2012, Swiss Art Award in Architecture by Ministry ofCulture, Switzerland.2012, Studio stipend by Center for Contemporary ArtFundaziun Nairs (Scuol), Switzerland.2011, Research Grant by Swiss Arts Council Pro Helvetia.2010, Research Grant by Swiss Arts Council Pro Helvetia.2008-2010, Research Grant for the PhD by Swiss NationalScience Foundation (SNF).http://www.sascharoesler.chroesler@arch.ethz.chBringing the Egyptian architect Hassan Fathy and theGerman playwright Heiner Müller post mortem together inconversation. Or: overlaying of two visual archives.FIRT/IFTR World Congress, University of Warwick, 2014639

Towards a Tectonics of Site-based Performance.Working Groups: Theatre and ArchitectureJuliet RuffordQueen Mary, University of LondonTheatre and architecture enjoy a rich, complex and sometimes fraught relationship: in part, they are radically dissimilar(perhaps opposite) disciplines; and yet, they share overlaps of material, concern and practice that range from a focus on timeand space, interests in the production, articulation and programming of space, in the structuring of action and event, in theconstruction and contestation of social relations, and in the meeting between human bodies and the built forms they occupy.This paper parts company with space- and place-oriented discussions of site-based performance to investigate the waysin which architecture operates as a generating, shaping and steering force in contemporary found space practices. It asks:what does it mean to produce performance by way of architecture? And, how does this approach differ from geographical,archaeological, cartographical or other spatial models of site-specific theatre? Setting out with a due sense of architecture’sstructural-constructional basis, it explores some of the tools, techniques, ways of seeing and of making that architectureoffers performance. In particular, it considers how the concept of the tectonic, re-vivified in 1995-6 by the architecturalhistorian Kenneth Frampton and radically expanded since, might help site-specific performance-makers achieve a sharpercritical dialogue between place (topos), building type (typos) and the poetics of the piece’s construction (tectonics): a set ofrelated concerns for which, I argue, the concepts of the genius loci, the heterotopia or, even the palimpsest are not alwaysadequate.Juliet Rufford is lecturer in drama, theatre andperformance at Queen Mary University of London.Her research, teaching and practical involvement inthe fields of theatre and architecture focus on thepolitics of space and the performativity of architectureand the object-world. Her work is centrally concernedwith how the theories and practices of theatre canbe used to explore and question architecture (andvice versa), producing new modes of knowledge. Anartist contributor to the 2011 Prague Quadrennial ofPerformance Design and Space and to the 2012 VeniceArchitecture Biennale, she has written academic articlesfor Contemporary Theatre Review, Journal of ArchitecturalEducation and New Theatre Quarterly. Her short bookTheatre & Architecture (Palgrave Macmillan) is due outthis year, and she is currently working on a full-lengthmonograph about the theatre projects of HaworthTompkins Architects.j.e.rufford@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014640

Crowd Compositions: Landscapes, Ruins and Wagnerian Spectatorship in the Sherborne andWarwick PageantsWorking Groups: Theatre and ArchitectureShilarna StokesThe Ohio State UniversityThis paper draws on examples from the first two pageants to emerge from the Edwardian pageantry movement— LouisNapoleon Parker’s Sherborne Pageant (1905) and his Warwick Pageant (1906)—to demonstrate that their authoredenvironments, though seemingly untouched, were essential to pageantry’s efforts to form affective communities capable ofbinding, however provisionally, rural “folk” and urban “crowds.” Known primarily as the originator of the twentieth-centuryEnglish pageantry revival, Parker was also a prominent Wagnerian. Although his pageants took place in the open air, withneither stage nor scenery, his precise instructions concerning the arrangement of pageant arenas with respect to locallandscapes and ruins, and the construction of grandstands reflected his explicitly Wagnerian longing to generate ideal,democratic, collective subjectivities by carefully composing the “natural” environment. I argue that in Parker’s pageants,as in the majority of Edwardian pageants, landscapes and ruins functioned as interfaces between nature and culture, andbetween past and present. As such, they encouraged urban spectators to recognize themselves in the non-modern “folk”represented in the pageant, while the same time allowing them to retain indelible impressions of their own modernity andcrowd subjectivity.Shilarna Stokes is an Assistant Professor of Theatreat the Ohio State University (United States). Shereceived her PhD in Theatre from Columbia Universityin New York in 2013. Her current research examinesthe politics of aesthetics in the performance ofmodern mass spectacles. Her developing book project,“Playing the Crowd: Mass Pageantry in Europe andthe United States,” considers questions of publicspace, spectatorship and collective performancethrough an analysis of large scale political pageantsperformed during the first half of the twentieth century.Her conference papers have won awards from theAmerican Theatre and Drama Society and from theAssociation for Theater in Higher Education, and shewas the recipient of a yearlong Dissertation Fellowshipfrom the American Association of University Women.She has directed over forty plays professionally,worked as a Guest Director at Hampshire, Fordham,SUNY-Brockport and Yale, and received directingfellowships from the Van Lier Foundation, Geva Theater,Williamstown Theater Festival and the Society of StageDirectors and Choreographers.stokes.217@osu.eduFIRT/IFTR World Congress, University of Warwick, 2014641

‘200 Warning Notices to Fix Up on this Common before Tea-Time’: Theatre, Mediation AndRegulation in Letchworth Garden CityWorking Groups: Theatre and ArchitectureCatherine TurnerUniversity of ExeterI work as Senior Lecturer at the University of Exeterand I am a founder of artist’s collective Wrights &Sites. This paper reflects part of my research for abook on Dramaturgy and Architecture, to be publishedby Palgrave Macmillan in 2015. Previous publicationsrelate to dramaturgy and site-based performance, andinclude Dramaturgy and Performance, co-written withSynne Behrndt (Palgrave 2008) and a co-edited issueof Contemporary Theatre Review (again with Behrndt), onthe subject of ‘new dramaturgies’, in 2010. She is coeditor,with Behrndt, of a forthcoming book series on“New Dramaturgies” for Palgrave. Working with DuskaRadosavljevic (University of Kent), and in partnership withShadow Casters (Croatia) and Tinderbox (N. Ireland), Iled a project on ‘Porous Dramaturgy: “Togetherness andCommunity in the structure of the artwork”, funded byAHRC, 2013-14. Work with Wrights & Sites concerns placeand space. Our work includes A Mis-Guide to Anywhere(2006) and An Exeter Mis-Guide (2003), as well asperformances, curation/mentoring, lectures and public artworks.The garden suburb of Hellerau is world famous for its theatre. Letchfield Garden City is not. This paper remembers thatHellerau was inspired by the work of England’s Ebenezer Howard and the example of the garden city at Letchworth. Whatwas happening with performance at Letchworth in 1910, as Dalcroze took up residence in Hellerau? In fact, Letchworth had alively and ambitious amateur theatrical group, producing Shaw, Shakespeare, Synge and others. Additionally, and in contrastto the radiant abstraction of Adolphe Appia’s scenography at Hellerau, Letchworth playfully represented itself and the livesof its residents on its amateur stages. One of the founders of Letchworth was C.B.Purdom. While holding positions in chargeof city finances, he also founded amateur theatre societies in both Letchworth and later, Welwyn Garden City. Alongside hiswriting on town planning, he wrote books on producing theatre. According to Purdom, the garden city is “not a mere plan;it is a creative organisation” (1921:n.p.). This paper explores the relationship between the ‘creative organisation’ of the newcity and that of its amateur stage. While both advocates and detractors have characterised garden cities as blandly tranquil,the stage provided a space for some release of residual tension. Purdom’s pantomimes are exercises in a gentle civic selfmockery,a form of Saturnalia: “It was the excellent social feeling in the town which made them possible and enabled them tobe treated as an enormous lark” (1913:136). At a time when our government advocates building new garden cities, this paperasks what Purdom’s theatre tells us about the garden city ideal, both in terms of its “excellent social feeling” and its problems.www.mis-guide.comexpandeddramaturgies.comC.Turner@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014642

Working GroupsTheatrical EventGustavian Court Playing CultureWorking Groups: Theatrical EventMaria BerlovaState Institute of Art Studies, MoscowI completed two PhDs, at the Russian University ofTheatre Art (GITIS) in 2011 and at the StockholmUniversity in 2013. I teach European theatre historyat GITIS and work as a Senior Researcher at the StateInstitute of Art Studies in Moscow. I am specializing inthe European theatre of the 18 th century, Swedish andRussian theatres in particular. At the present time I amworking on my book project Performing Power. PoliticalMasks of Gustav III (1771-1792).In my presentation I shall analyze the specificities of the Gustavian Court Playing Culture in order to demonstrate thesignificant role theater played in Gustavian era, a wide spectrum of its application, as well as its tight connections with thecourt life so much immersed in theatrical playing. The stratification of theater will be the focus of my analyses. The Gustavianera (1771-1792) was the Golden Age of the Swedish culture, theater in particular. King Gustav III, among other things, was aplaywright, stage director, and an actor of the court theater. Gustav III was a founding father of a national theater and thenational drama repertoire. Not just the formation of the national theater and national drama repertoire made the Gustavianera a theatrical epoch. Theater was firmly incorporated into the court life and constituted a special lifestyle. Besides regularcourt performances various spectacles were arranged both inside and outdoors in the royal parks. The King himself stagedtournaments and carrousels in which the aristocracy took part. Moreover being a courtier was a constant presentation of selfin Erving Goffman’s terms. Gustav III borrowed the spectacular court rituals and ceremonies of the Versailles of Louis XIVand grew them on the Swedish soil. Such rituals as the imitation of those of the Sun King can be viewed from the perspectiveof theatrical representations. The extended concept of theater is characteristic of the Gustavian court and to embrace allthe theatrical representations of the King from court performances to court rituals, divertissements and carrousels in theparks I use Willmar Sauter’s term Court Playing Culture.mashaberlova@yandex.ruFIRT/IFTR World Congress, University of Warwick, 2014643

Scandal and the High Moral Ground: Two Case Studies from MaltaWorking Groups: Theatrical EventThis paper will focus on a theatrical event that created great scandal in Malta in recent years. It deals with the refusal inJanuary 2009 by the official censor to allow the staging of the play ‘Stitching’ by Anthony Nielsen, on moral grounds. Thisresulted in an open controversy about censorship, and a hard-fought battle in the courts with regard to the staging of theplay. The case has partially contributed to changing the censorship laws, but meanwhile, it was also referred to the EuropeanCourt of Human Rights. The paper will discuss the issue of censorship and the way this has influenced public perceptionand condemnation or defence of performances. Who censors and what authority does s/he have to do so? What tools areused to effect censorship and to convince society of the moral necessity for such action? How does theatre work aroundcensorship and the issues it raises in society? How has censorship evolved in the light of the country’s development and entryinto the European Union? These are some of the questions that will be raised around this case study.Vicki Ann CremonaUniversity of MaltaProf. Vicki Ann Cremona is Chair of the School ofPerforming Arts at the University of Malta. She wasappointed as Ambassador of Malta to France between2005-2009, and to Tunisia between 2009-2013. Shewas member of and rapporteur for the EU Evaluationcommittee for the Valletta Capital of Culture 2018.She has published several articles internationally,mainly about Carnival, Maltese Theatre, and Commediadell’Arte. She has also co-edited various books includingtwo for the FIRT Theatrical Event Working Group:Theatrical Events. Borders, Dynamics, Frames (2004)and Playing Culture. Conventions and Extensions ofPerformance (2014). She is a founding member IcarusPublishing Enterprise, (IPE), a joint initiative betweenTARF, Odin Teatret (Denmark) and The GrotowskiInstitute (Poland).IPE is currently co-publishing “Theatreas a Laboratory’ series with Routledge.vicki.cremona@um.edu.mtFIRT/IFTR World Congress, University of Warwick, 2014644

Spreading like Wildfire. The Genesis and Evolution of Theatre Scandals.Working Groups: Theatrical EventIn this paper the analogy between contagious diseases and theatre scandals is explored. The potential of a scandal is presentin many theatrical events, but under what conditions does this potential come to fruition? And once the break-out of ascandal is a fact: how does it spread, what -if any- containment strategies are employed, how does it (eventually?) die outand are there any longer lasting effects - like immunity, scars, heightened susceptibility, and so on? The paper starts fromthe assumption that any derogatory statement on a (planned or actualized) theatrical expression, pronouncing it to bescandalous and denying its right to be performed, might become a full-fledged public scandal. How this process evolvesand how to measure the spread and magnitude of the scandal are some of the questions that are addressed by looking intomethods and concepts employed by epidemiology.Peter EversmannDepartment of Theatre Studies, University ofAmsterdamApplying such an analogy from the medical world is not without problems - think only of questions like “what is/are theorganism(s) that are infected?”; “in what way can a scandal be considered as a disease?”; etc. However, the analogy isnevertheless able to heighten our insight in the ontology, origins, development and classification of theatre scandals.Peter Eversmann (1955) studied a year at theWittenberg University, Ohio, USA and after thatcompleted his studies in Art History and in Theatre atthe University of Amsterdam in 1982. His dissertationDe ruimte van het theater (The Space of the Theatre) wasdefended in 1996. He is currently associate professorat the department of Theatre Studies, University ofAmsterdam. He teaches and has published on thetheory and history of theatre architecture as well ason empirical audience and reception research. Currentresearch interests include the theatrical experienceof the spectator as a specific form of the aestheticencounter, theatre iconology and the use of informationtechnologies for education in the performing arts. He iseditor in chief of the Themes in Theatre series publishedby Rodopi.p.eversmann@uva.nlFIRT/IFTR World Congress, University of Warwick, 2014645

“Desdemona Never Again”: A Street Community Project to Celebrate the International Day AgainstGender ViolenceWorking Groups: Theatrical EventInma GarínIndependent ScholarBorn in 1952 under Franco’s regime, after graduating inEnglish Studies, Dr. Inma Garin went to Stratford-upon-Avon as a trainee teacher. Later she has combined theroles of translator, producer, theatre critic and director.Among the writers she has translated are Caryl Churchill,Harold Pinter (The Caretaker, Birthday Party, Betrayal), SamShepard and David Mamet. Among her last productions:Perlas sobre la frente (Pearls on the forehead), based onpoems by Emily Dickinson and Mrs. Carrar’s guns, by BertoldBrecht. She has also produced plays by R. D. McDonald(Summit Conference), S. Shepard (True West), and directedplays by the Argentinian playright G. Gambarro (Ellas) andby the Valencian exiled playright J.R. Morales (Prohibida laReproducción). She has been interested both in adaptingnarratives to the theatre (Relatos) and lately she hasbeen interested in community work. Retired from a longteaching career, she has recently graduated in acting anddirecting in Valencia’s Estudio Dramatico, a private schoolrun by Pablo Corral. She has also done curses at the RADA(Forum Theatre) and Obrador Estiu, Barcelona, with Aprilde Angelis and David Harrower. She has a PhD in Educationfrom the Universitat Autònoma de Barcelona (2007).The aim of this paper is to relate an experience called Desdemona mai més (Desdemona never again) organized and rehearsed injust three months with non professional actors in order to celebrate the International Day against Gender Violence (November25th). The pageant’s purpose was to raise awareness among the citizens about this issue. There were two motivations forthis event. First, I had recently interpreted a scene from Othello in Estudio Dramático in which I had experienced the tragicfate of this female character. Secondly, I had attended the General Panel A Pageant of Great Women: Past and Present (IFTR2013), which was very inspiring. Desdemona never again, this is the title of the street event, has implied cultural practices ofcollaboration among several organizations (The Town Hall Social Services, and two Community groups). Twenty volunteercitizens acted recited poems from various poets. Placards with names and dates of murdered women during the last yearhanged from volunteers’ necks. Finally, there was an artist who designed an installation of T-shirts with relevant mottoes. Thecelebration took place on Saturday November 23rd 2013 at 19.00. Attendants were given candles. Two musicians openedthe parade after the opening speeches by the guests, a feminist writer and a councellor. They were followed by Desdemonawith holding a black rose. Next to her walked Death, a thin tall man, dressed in black. The party with the placards and candlesfollowed them through the decorated balconies in the streets. From some of those balconies poems were read. The eventended volunteers read their texts and where a couple of dance groups performed short shows related to the theme. Thispaper will show some of the political and feminist underpinnings, while illustrating the event with some photos.http://lapedreraderocafort.blogspot.com.es/2013/12/desdemona-mai-mes.htmlhttps://plus.google.com/photos/113140251258433444916/albums/5952438112728543409?banner=pwa&authkey=CKOtwvf75rGL3QEinmagarin@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014646

Exploring Environmental Scandals as Staged Events: Do They Make the Case for an EnvironmentalDiamond Model?Working Groups: Theatrical EventJulie HudsonWarwick UniversityJulie Hudson is a first year PhD student withWarwick University. Her main research interest is theenvironment on stage. This follows a long career inthe City where, as a part-timer, she still heads up UBS’snine-year-old Global ESG & Sustainability team. WithUBS’s support, Julie is a Visiting Business Fellow ofthe Smith School of Enterprise and the Environment,Oxford University, where she was a catalyst for theTORCH-Smith School ‘Mind the EnvironmentalGap’ humanities seminars (2012), and the associatedSymposium (2013). Julie holds a BA in ModernLanguages from Oxford University, a London University(SOAS) MSc. in Financial Economics, a City UniversityMSc. in Economic Regulation and Competition, andan MA in English Literature with Warwick University.Publications: ‘”If you want to be green hold yourbreath”: Climate Change in British Theatre’, 111 (2012);(Earthscan, 2011), and (Routledge 2013), both coauthoredwith UBS economist Paul Donovan; (ResearchFoundation of CFA Institute, August 2006).The dysfunctional relationship between human beings and the ecosystem they depend on is scandalous: science informs ofmounting risks, and planetary degradation exacerbates social inequalities, but human beings knowingly continue to destroythe planet. This scandal is sometimes dramatically staged. The UK Young Vic’s production of David Harrower’s 2013 play ,a version of Ibsen’s 1882 play , in effect accuses the audience of doing nothing about the environment problem since thenineteenth century. The same theatre group’s production of the sex-scandal play can be seen as deeply ironical given the outof-controlexplosion in society’s lust for energy in the interval between by August Strindberg (1888) and this second versionof the play by Patrick Marber (1996 and 2003), staged as a low energy play in 2012. In other theatres, no fewer than ninenew climate change plays crafted by UK playwrights appeared between 2004 and 2011. Some of them stage real-life climatechange scandals widely discussed in the press, such as Climategate and Glaciergate. Others connect abusive behaviourwithin families or bad behaviour in society (such as pornography and child trafficking) to environmental degradation. Inconsidering these and other examples, this paper finds that environmental scandals can be analysed in enlightening ways bymeans of Willmar Sauter’s well-known Diamond Model, particularly in the domains of Cultural Context, Playing Culture, andTheatrical Playing. The domain of Contextual Theatricality may however be where the real environmental scandal is found inthe theatre. Exploring the environmental scandal on stage through the lens of the Diamond Model this paper asks whetherit would be useful to extend the model. A Green Star Model is proposed for discussion.j.hudson@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014647

State Celebrations and the Modifications of the National CanonWorking Groups: Theatrical EventBarbara OrelUniversity of LjubljanaBarbara Orel is Associate Professor of PerformingArts Studies and head of the research group of theAcademy of Theatre, Radio, Film and Television at theUniversity of Ljubljana. Her major areas of researchare experimental theatre, avant-garde movementsand interdisciplinary performance practices. She haspublished numerous articles on Slovenian performingarts internationally and has also contributed toPerformance Research, (the Yale) Theater and PlayingCulture: Conventions and Extensions of Performance(Rodopi, 2014). Barbara Orel was curator of theSlovenian national theatre festivals the Week ofSlovenian Drama (2006–2007) and the BorstnikTheatre Festival (Borstnikovo srecanje, 2008–2009).She has been a member of the IFTR working groupTheatrical Event since 2008.This paper explores the theatrical events performed at the celebrations of Slovenian Statehood Day which challengedtraditional views on national identity. According to Christel Lane, national celebrations reflect but can also dictate socialreality. The paper focuses on those theatrical events that have used the site of state celebration as an attempt to revisesocial memory and cultural values. Since the founding of the Slovenian state in 1991, the transitional period from Yugoslavia(Slovenia used to be one of its republics) into the EU has been characterized by the change of the political-economic systemfrom self-management socialism to neoliberal capitalism. The foundations of culture and national community correspondingto the identity of the newly joined European country were intensely restructured at the state celebrations as well. Althoughthe directors of the theatrical events had no influence on the protocol part of the celebration (culminating in the President’saddress), their “stagings of the nation” decisively contributed to the interpellation of individuals into the national communityand the shaping of its identity. The selected literary narrations and political texts in the direction of Janez Pipan, BarbaraHieng Samobor, Matjaž Berger and Jurij Zrnec challenged the traditional representations of national identity and triggeredheated debates in the public sphere; Berger’s even grew into a scandal. Defining the difference between the provocativeand scandalous event, the paper argues that the misunderstandings caused by the intriguing theatrical events have createdfertile ground for negotiating conflict of interests and relevantly contributed to the modification of the traditional nationalcanon.barbara.orel@guest.arnes.siFIRT/IFTR World Congress, University of Warwick, 2014648

Burning the Bridge While Bridging the Gap: Rioters as Pedagogues in The Plough and the StarsRiot of 1926Working Groups: Theatrical EventBess RowenCity University of New YorkBess Rowen is currently a doctoral student in Theatre atCUNY, The Graduate Center and faculty member at PaceUniversity, SUNY Purchase, and LaGuardia CommunityCollege. She completed her MA in Performance Studiesat New York University in 2011, after graduating fromLehigh University Phi Beta Kappa and Magna Cum Laudewith a double major in English and Theatre and a minorin Psychology. She is an Equity Membership Candidateand has studied acting at Michael Howard Studios, TheBerkshire Theatre Festival, and The Gaiety School ofActing (The National Theatre School of Ireland). Shehas also directed, stage managed, and even done a littleplaywriting. Bess is currently an Associate Producer withThe Fulcrum Theater and has written scholarly reviews forpublications such as Women & Performance: A Journal ofFeminist Theory and Theatre Journal. Her article “NoblerWomanhood: An Exploration of Sororities and ScriptedFemininity” was published in Emerging Theatre Research.Bess has also presented at UVA’s Graduate EnglishStudents Association Conference on Sound and Unsoundas well as last year’s Association for Theatre in HigherEducation. She has an avid interest in stage directions,female playwrights, Irish theatre, and theatrical riots.A theatrical riot is a nexus of various kinds of performance. They are moments when the performativity of a productionis matched by the crowd reaction, creating an event that spans the disciplines of Theatre, Performance Studies, History,Sociology, and more. Ireland is particularly well known for its theatrical riots, and the continuum created by these eventsshows that they are inextricably bound to the productions, the socio-political situations that brought them about, and eachother. How did these riots come about? What did they learn from each other, and what can we learn from them as theatrescholars? By looking at these riots together, a clear pattern of pedagogy emerges, allowing the methods of rioting to teachthe modern day scholar a great deal. The riot functions as a time capsule as the scandalous nature of a disruption of thepeace provides an exciting and interesting site in history, which serves as a tool for another kind of critical intervention.Instead of looking at a theatrical building and trying to decipher how it was used, or reading a play and trying to assume howpeople reacted, a riot is a theatrical event that gives us a momentary glimpse into a theatrical and historical moment. The1926 Irish riot over Sean O’Casey’s The Plough and the Stars provides an interesting example of a group of rioters who bothlearned from their predecessors (i.e.The Playboy of the Western World riot of 1907) and set out to educate the masses abouttheir cause. I use Teresa Brennan’s affect theory (rhythmic entrainment), theatre history, and psychological phenomena suchas groupthink and deindividuation to observe how these rioters generated their scandalous theatrical intervention as well ashow this can be placed in the continuum of Ireland’s scandalous history of rioting over theatre.FIRT/IFTR World Congress, University of Warwick, 2014649

Rainer Werner Fassbinder’s Garbage, The City, and Death. A Four Act Scandal in Post-war GermanyWorking Groups: Theatrical EventBeate SchappachUniversity of BerneBeate Schappach studied Theatre and German Literatureat Freie Universität Berlin and at the Universities of Zurichand Berne. Since 2002, she has been working as a researchassistant and lecturer at the Institute of Theatre Studies,University of Berne. In 2011 she finished her PhD Aids inLiteratur, Theater und Film. Zur kulturellen Dramaturgie einesStörfalls (AIDS in Literature, Theatre, and Film. The CulturalDramaturgy of Disorder). She is currently working on herhabilitation project Dramaturgy. The Art of Tidying up. Sheis president of the Swiss Society for Cultural Studies andconvenor of the working group Literature–Medicine–Gender. In addition she worked as a dramaturg for theatreproductions in Germany and Switzerland, e.g. in 1997 TheFall of the House of Usher by Edgar Allan Poe, in 2006Turandot by Carlo Gozzi, in 2004 Judgement by BarryCollins and in 2006 Rich – Beautiful – Dead) adapted fromNo Exit by Jean-Paul Sartre. She curated several exhibitions,e.g. in 2013/14 Education as an Adventure and in 2011/12 HalfTime. Looking at the Middle Age at Vögele Kultur ZentrumPfäffikon (Switzerland) and in 2008 The Generation of’68. Short Summer – Long Impact at Historisches MuseumFrankfurt am Main (Germany).The paper explores the dramaturgy of the scandals around the play Garbage, The City and Death (Der Müll, die Stadt und derTod) by German playwright, theatre and film maker Rainer Werner Fassbinder. Published in 1976, the play immediately causeda scandal in West Germany, because it was accused of reproducing anti-Semitic stereotypes. The presentation sheds lighton the different phases of the scandal and their historical and cultural contexts in post-war Germany – starting as a literaryscandal in 1976, being transformed into a theatre scandal in the 1980ies and finally being dissolved by the German premierein 2009. The paper is structured as follows: Act One: The Literary Scandal. Destroying Fassbinder’s Garbage, Act Two:Preventing the Staging of the Play, Act Three: Blocking the Opening Night, Act Four: Performing the Play in Germany. Byanalysing the dramaturgical structure of this specific scandal, the paper discusses the following hypotheses: 1. Scandals arisethrough the circulation of decontextualised information in public. This is due to either a lack of information about the actualobject or incident being scandalised or a lack of information about the context of the object or incident. This lack is causedby the logic of the scandal itself: Because the play or the performance is prohibited, it has been withdrawn from the public,making it impossible to form a well-founded opinion on the controversy. 2. The scandal is driven forward by an emotionalisingrhetoric built around the decontextualised information. 3. Once the gap of information is filled, the scandalising rhetoricturns into a rhetoric of irrelevance: Reviews of the first performance of Garbage, The City and Death in Germany consideredthe play hardly a matter of public concern.beate.schappach@itw.unibe.chFIRT/IFTR World Congress, University of Warwick, 2014650

Theatre Scandals: Emotions During and Around the Theatrical EventWorking Groups: Theatrical EventThis contribution is a continuation of the presentation at the Barcelona conference in 2013. There the focus was on questionwhich “actors” (in sociological sense) were the cause that a theatrical event became a theatre scandal. The results made clearthat all imaginable “actors” were able to make theatrical events to scandalous events: (a) the theatre makers themselves,(b) the authors of plays, (c) politicians, (d) representatives of religious or other ideological groups in society, (e) the Unions,(f) spectators, and also (g) non-spectators who assume that something dreadful, disgusting, amoral etc. is happening in thetheatre, but who have not seen the event themselves. These possibilities have been illustrated with historical examples.A theatre scandal has been defined as a theatrical event that causes strong emotions outside that event because it becamea topic of public debate.Henri SchoenmakersUniversity College Roosevelt Utrecht and University ofErlangen-NürnbergIn this contribution the focus is on the type and nature of emotions taking place during and around the theatrical eventthat became a scandal. The relationship between the concerns and emotions within and outside the theatrical event willbe analyzed, also in relation with historical, geographical, social contexts and with regard to the theatrical or aestheticexperiences and ideologies of the people involved. Aim is to contribute to a theory about differences in reception betweengroups in the same historical and geographical conditions and changes in the reception in the course of time.Henri Schoenmakers became 1971 Assistant Professor atthe University of Amsterdam (Institute for Theatre Studies).In 1984 he was appointed full Professor for Theatre Studiesat Utrecht University and (till 2000) Head of the Theatre,and (1998 - 2001) also Director of the Institute for Mediaand Re/presentation Studies of Utrecht University. In 2000he became Professor for Theatre and Media Studies at theFriedrich Alexander Universität Erlangen-Nürnberg andHead of the newly founded Institute for Theatre and MediaStudies. From 2008 – 2013 he was responsible for theTheatre and Media courses at University College Roosevelt(Utrecht University). As visiting professor he taught at theuniversities of Thessaloniki (2007 till 2012), Athens (2003-2014), Stockholm (2009), Prague (2007, Brno 2007),Groningen (2007), Vienna (2008) and Erlangen-Nürnberg(2011 and 2012). Research and publications focus ontheory of theatrical arts and media (particularly, audienceand reception theory and research and intermediality),on innovations in theatre in the twentieth century, theperformance and adaptation history of ancient Greekdrama, and on theatre in education.hschoenmakers@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014651

We Had to Take Out the “God”: Scandal and Blasphemy in Clyde Fitch’s The CityWorking Groups: Theatrical EventMichael SchwartzIndiana University of PennsylvaniaIn the United States, “bad” words in entertainment remain newsworthy, as the recent release of Martin Scorcese’s film TheWolf of Wall Street illustrates. The film has gained notoriety for the sheer number of utterances of the word “f-ck”—some504, which apparently constitutes a record. In the spirit of examining taboo words and expressions, this paper will explorean early 20th century taboo-breaking production. “I remember we once did a play by Clyde Fitch called ‘The City,’” recalledproducer Lee Shubert in a January 1937 interview. “There was a God damn in the second act, the first time it had ever beenused on the stage. I’ll never forget that first night. The audience shuddered. The play was a hit but we had to take out the‘God.’” The play was produced in 1909, shortly after Fitch’s death. This paper examines the nature of stage blasphemy inthe U.S. in the first decade of the 20th century. Questions under analysis include why the “God damn” had such an impactwhen it did, and what was happening on the American stage that opened the door for this particular disruption. The playwill be placed within the context of Fitch’s career, and what Fitch might have hoped to accomplish by having a characterblaspheme. The paper will also take into consideration the audience that attended Fitch’s play—who they were in termsof class and status, and how they might have “read” a character uttering “God damn.” Discrepancies between accountsregarding how the blasphemy was received will also be examined, including the question of why and how an incident may beremembered. Finally, the paper will explore just what made the utterance an historical event.Michael Schwartz is an assistant professor of historyand playwriting in the theatre and dance department ofIndiana University of Pennsylvania (IUP). He has writtentwo books, Broadway and Corporate Capitalism: TheRise of the Professional Managerial Class (2009) andClass Divisions on the Broadway Stage: The Staging andTaming of the I.W.W. (2014). Two of Michael’s one-actplays were performed this summer, one as a stagedreading by Keystone Repertory Theater at IUP, andone as a production by the Indiana Players. His primaryresearch subject is early 20 th century American theatreand its relation to class development.mschwart@iup.eduFIRT/IFTR World Congress, University of Warwick, 2014652

Scandals on the Israeli Stage Dealing with the Israeli-Palestinian ConflictWorking Groups: Theatrical EventSince the 1970s, Israeli theatre has presented critical performances dealing with the Israel-Palestinian conflict which haveoften been quite controversial among practitioners, critics, politicians and spectators. Some of these performances havebeen very provocative, from the point of view of the Israeli mainstream political discourse and some have even causedscandals, i.e. the reception of the productions was characterized by rejection, protests and sometimes violence fromthe audience. I would like to analyze Return to Haifa - a production from the last years and discuss which elements ofthe performance and the production gave rise to a scandal. To analyze the production, I will make use of the dynamicof constructing or creating the scandal through Wilmar Sauter’s Theatrical Event model and the interdependence amongits four aspects (Playing Culture; Cultural Contexts; Contextual Theatricality; Theatrical Playing). I show a political tensionbetween the elements of the theatrical event: on the one hand, the Playing Culture and Cultural Contexts explain why theproduction was perceived as a provocation and on the other, the Contextual Theatricality and Theatrical Playing explain theattempt of the performance to mitigate the political message for the Israeli audience.Naphtaly Shem-TovTel-Aviv University and The Open University of IsraeDr. Naphtaly Shem-Tov teaches in the TheatreDepartment and School of Education at Tel-AvivUniversity as well as at the Open University of Israel. Hismain research interests are: Israeli alternative theatre,applied theatre and improvisational teaching.naphtalysh@openu.ac.ilFIRT/IFTR World Congress, University of Warwick, 2014653

Scandal as a Socially Critical Strategy and Moral Act in Theatre?Working Groups: Theatrical EventI examine the subject of scandalous events in my paper. Finnish theatre group, God’s Theatre performed in the City Theatreof Oulu, Finland, during the Finnish theatre makers’ annual meeting in 1987. The members of the God’s Theatre, four studentsof the Theatre Academy of Finland, aimed to convince other theatre makers that Finnish culture and theatre was in crisis.The cultural background of this crisis was the decay of former forms of socio culturally critical discourse and theatre, basedon e.g. critical theory (Lash 2002). In order to break the silence, God’s Theatre tried a new form of critical discourse. Theyperformed their subjective despair in an embodied and expressive form. They stripped off their clothes in the main stage ofthe City Theatre of Oulu, harmed themselves by whipping and making wounds by razorblades, and threw the partakers of themeeting, who were sitting in the auditorium, by pieces of shit.God’s Theatre’s performance was considered a scandal. Finnish theatre makers reported in media how shocked and upsetthey were. The members of the group were taken into custody by the police, and summoned to appear in court.Janne TapperUniversity of JyväskyläJanne Tapper (b. 1962) holds a PhD in 2012 from theUniversity of Helsinki, Finland, and MA in 1987 from theTheatre Academy of Finland. In his thesis he employedthe theoretical framework of systems thinking,interweaved with the disciplines of sociology andperformance studies. Currently he is a free researcher.Until January 2014 he worked as a post-doctoralresearcher in the Systemic Learning Solutions -valuenetwork, in Content Solutions -project, researching theelectronic architecture, performativity and contentof educational systems, at the Department of TeacherEducation, University of Helsinki. He has worked asa project researcher in the research project, ActorsArt in Modern Times (NTNA), at the Theatre Academyin 2008–2010. He has worked as a theatre directorsince 1987 in Finnish City Theatre’s, and The NationalBroadcasting Company of Finland (YLE).May this scandal be understood as a critical strategy and a moral act? It has been considered that the group’s initial discursivemotive disappeared into simulacra of media. In a larger picture, it can be detected a Finnish theatrical tradition to arrangescandals advisedly in order to raise critically public attention to issues which need correction, represented by the theatre ofFinnish theatre director Jouko Turkka, who was the pedagogue of group’s members in the Theatre Academy. A philosophicaland political network of Finnish theatre’s strategies is revealed, when one examines the background of God’s Theatre’s act.janne.tapper@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014654

Working GroupsTranslation, Adaptation and DramaturgyInterlinear Translation: the Dramaturgy of SurtitlesWorking Groups: Translation, Adaptation and DramaturgyGeraldine BrodieUniversity College LondonDr Geraldine Brodie teaches Translation Studies andsupervises the SELCS Writing Lab at University CollegeLondon (UCL). Her research centres on the role ofthe theatre translator, investigating issues of visibility,celebrity, agency and collaboration in translating forperformance. She is a frequent speaker and writer onthis topic, with recent contributions to ContemporaryTheatre Review and the Vita Traductiva volume Authorialand Editorial Voices in Translation. She initiated and coconvenesthe UCL Translation in History Lecture Seriesand Theatre Translation Forum, and is co-editor of thejournal New Voices in Translation Studies.Walter Benjamin envisaged the construction of translation as an integral element within the creation of a text. “All greatwritings contain their virtual translation between the lines”, he insisted, concluding that the interlinear version is thefundamental image or ideal of all translation. This paper will interrogate the proposition that, if translation is pre-inscribedwithin a text, particularly a staged text, the performative effect of that process is overtly displayed to the audience viathe intermediality and interlinearity of surtitles. The surtitling practices of two leading European theatre companies will beexamined, exemplified by their recent Shakespearean productions shown at the Barbican Theatre, London: ToneelgroepAmsterdam’s Dutch-language amalgamation of Coriolanus, Julius Caesar and Antony and Cleopatra into the six-hour RomanTragedies (2009); and Thomas Ostermeier’s German-language version of Hamlet (2011). Both of these productions, incontrast with the more frequently-encountered expulsion of surtitles to the wings or proscenium, explored the potentialof theatrical intermediality by incorporating surtitles into their presentations in a variety of modalities. I will investigate thedramaturgical effect of the integration of surtitles into the mise en scène of these productions and consider the motivationsfor this exploratory treatment. To what extent are such innovations a result of technological advances and the increasinginternationalisation of productions developed for touring? I will argue that, whether intentional or incidental, the intermedialpositioning and display of surtitles can be interpreted as a marker of the significance of the underlying translational act intheatrical communication.g.brodie@ucl.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014655

Retransferring The Cherry Orchard Into Its Own Cultural Area: Ferhan Sensoy’s Fisne PahcesuWorking Groups: Translation, Adaptation, DramaturgyAdnan ÇevikCanakkale Onsekiz Mart UniversityAdnan Çevik is currently an associated professor ofperforming arts in Faculty of Fine Arts at CanakkaleOnsekiz Mart University, Turkey. He is also the Vice-Dean of the faculty and Head of Performing andVisual Arts Department. He received his MA fromDepartment of Theatre, University of Ankara in 1998for his thesis “Fictional Technique of David Mamet”.He has contributed scholarly essays various nationaland international scientific conferences. He receivedhis PhD from The Institute of Fine Arts, Dokuz EylulUniversity for his thesis “Proposal for DramaturgicalAnalysis Methodology Based on Trauma Theories”. Hiscurrent research interest is audience perception oftheatrical and social performances. He has contributedscholarly essays various national and internationalscientific conferences. He was the coordinator ofa research project supported by The Scientific andTechnological Research Council of Turkey (TUBITAK)titled “Impact Rate of Theatre and Perception Level ofAudience: An Empirical Theatre Research in Canakkale”.This paper will analyze Anton Chekhov’s The Cherry Orchard (Вишневый сад) directed by Ferhan Sensoy in Istanbul, Turkeyin 2000. Ferhan Sensoy’s interpretation is based on the two simple facts about the dramatic text and its playwright. First,Cherry as a fruit originally belongs to Black Sea area especially grown in the Northern part of Anatolia. Cherry in English isnot the correct translation of this fruit’s name. In fact the fruit that Chekhov wanted to imply is not cherry in English (Prunusavium L.) but Visne (Prunus cerasus L.) in Turkish and Вишне in Russian. Second, Anton Chekhov was born in Taganrog, aBlack Sea city. As a result of these facts, according to Sensoy The Cherry Orchard is a Black-Sea play. This point of viewjustifies Sensoy’s local contextualization of the dramatic text which conflicts its global context. In Sensoy’s direction theplay takes place in an unknown Black Sea city in Turkey. The characters are people from the Black Sea district and theyspeak in Black Sea accent so they are the Laz, the people live in the area from approximately Trabzon in Turkey to Batumi inGeorgia. Although the names of the characters remain unchanged, the play is named as Fisne Pahcesu as it is pronouncedby the Laz instead of Visne Bahcesi, the exact translation of Cherry Orchard into Turkish. Thanks to a proper and surprisingdramaturgical trick, Sensoy skillfully criticizes the global traffic of female flesh in the form of show girls and prostituteswillingly or unwillingly brought from Russia to the Black Sea district of Turkey to serve former-peasant-turned-rich merchantsjust as Lophakin. Furthermore credit card debt, one of the hottest topics in Turkey and from which many people has beensuffering, is ingeniously embedded into the play as the cause of Ravensky family’s collapse. Consequently Sensoy not onlyretransfers the dramatic text into its original culture but also culture it in its own land with a staging motto: “Chekhov is theLaz and will remain the Laz forever”.acevik@comu.edu.trFIRT/IFTR World Congress, University of Warwick, 2014656

Transnational Dramaturgy: Nina Vance, Galina Volchek, and the Remounting of a Soviet Play inthe United StatesWorking Groups: Translation, Adaptation, DramaturgyAlison ChristyUniversity of KansasAlison Christy is a third-year Ph.D. student in theDepartment of Theatre at the University of Kansas. Sheholds a BFA in Theatre and a BA in Slavic Studies fromWayne State University and a MA in Theatre Studiesfrom the University of Houston. Before beginningdoctoral studies, she served as the Dramaturgy Fellowat the Alley Theatre and as an Assistant Dramaturg atthe Houston Shakespeare Festival. She currently worksreading and evaluating scripts for WordBRIDGE Theatreand the New American Voices Play Reading Series. Sherecently directed The Other Shore at the University ofKansas. Alison’s research interests include dramaturgy,representations of trauma and war, collective memory,documentary theatre, and Soviet and Russian dramaticliterature and performance.In 1977, Nina Vance, artistic director of Houston’s Alley Theatre and Galina Volchek, artistic director of Moscow’sSovremennik Theatre, hatched a plan: to restage a play in the United States exactly as it had appeared before audiences inthe Soviet Union. Drawing on primary source documents, interviews, and production reviews, this paper will examine Vanceand Volchek’s project as a process of transnational dramaturgy. The play was Mikhail Roshchin’s Echelon, a contemporarypiece about a group of women and children being evacuated from Moscow to Siberia as Axis forces advanced eastward.The production, which opened in Houston in January 1978, created a space that Mary Louise Pratt calls a contact zone:“social spaces where cultures meet, clash, and grapple with each other.” 1 The performance event stratified the contactzone into many interconnected points of contact: the physical, the linguistic, political, and performative. By using an Englishtranslation and American actors, Vance and Volchek complicated this space and created a need for a dramaturgy that wouldaccount for and ideological and cultural difference, yet produce a unified piece of theatre.” 1 Mary Louise Pratt, “The Arts of the Contact Zone,” 34alchristy@ku.eduFIRT/IFTR World Congress, University of Warwick, 2014657

New Dramaturgy Open Forum DiscussionWorking Groups: Translation, Adaptation, DramaturgyBernadette CochraneUniversity of QueenslandBernadette Cochrane is a lecturer, dramaturg anddirector based in both Australia and the UnitedKingdom. Currently a Research Fellow at the Universityof Queensland, as a freelance director and dramaturgshe has worked for several independent companiesin both Australia and the United Kingdom. She coconvenesthe Translation, Adaptation and DramaturgyWorking Group of IFTR and edited a special issue ofJournal of Adaptation in Film and Performance, whichfocused on the work of the Working Group (2011,Vol. 4 No. 3). With Katalin Trencsényi, she co-editedNew Dramaturgy: International Perspectives on Theoryand Practice (Bloomsbury, 2014). Bernadette has achapter forthcoming in Invisible Presences: Translation,Dramaturgy, and Performance (2014). Also forthcoming,is an article considering the recently proliferatingpractice of screening live performances - primarily ofopera, theatre, and dance - in cinemas in the journal,Adaptation (2014).Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think abouttheatre and performance today has changed our approaches to theatre-making. Emerging new aesthetics and new areasof dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand newapproaches and sensibilities. New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury, 2014), acomprehensive collection of essays, case studies and interviews, is the first book to explore new dramaturgy in depth,and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. It questions therelationship between new dramaturgy and the dramaturg in different geo-cultural regions. It considers current trends, ideasand practices, and questions what the future of dramaturgy might be. New Dramaturgy was conceived as existing within awider dramaturgical conversation. To this end, the editors, Katalin Trencsényi and Bernadette Cochrane, are proposing anopen forum discussion featuring some of the contributors, thus opening up the core questions of the book concerningtheory, text, devising, dance and spectatorship for further discussion and debate. Asia, South America, Africa, and the Arabicworld have sophisticated and varied dramaturgical traditions. These traditions can expand and invigorate the potential forpluralism in new dramaturgy perhaps still lacking in current articulations. Other voices should also be heard, other questionsasked – for instance is there a ‘queer’ new dramaturgy? What is the role of new media in this transformed but still evolvingdramaturgical landscape? Does new dramaturgy have a role to play in either musical theatre or children’s theatre? And if so,how might such a dramaturgy be shaped and articulated? – These are some of the questions the discussion, chaired by theeditors of the book aim to address.http://www.bloomsbury.com/uk/new-dramaturgy-9781408177082bernadette.cochrane@uq.edu.auFIRT/IFTR World Congress, University of Warwick, 2014658

Dramaturgical Excavations: Affective and Historical Strata in Maeterlinck´s and Rachilde´s SymbolistTheatreWorking Groups: Translation, Adaptation, DramaturgyGraça CorrêaUniversity of Algarve and University of LisboaGraça Corrêa is currently a post-doctoral research fellowat the Center for Philosophy of Sciences of the Universityof Lisboa (CFCUL), where she is member of the Scienceand Art research group; and at the Center of Investigationin Arts and Communication of the University of Algarve(CIAC), Corrêa holds a Ph.D. in Theatre and Film Studiesfrom the Graduate Center of the City University of NewYork; an MA in Theatre Education from Emerson College,Boston; a Licentiate in Architecture from UTL-Lisbon’sTechnical University, and a BA in Acting at ESTC -Theatreand Film College, Lisbon. Playwright and translator ofplays, director (theatre and television), set designer,dramaturg, she has taught Theatre Theory, Dramaturgy, andActing at UE-University of Évora, and in higher educationinstitutes. A Fulbright Scholar, she received fellowshipsfrom the Gulbenkian Foundation and from FCT-PortugueseFoundation for Science and Technology. She has publishedessays on Ecophilosophy, Landscape Theory in Drama andFilm, Gothic-Romanticism, Political Theatre, Dramaturgy,Theatre Architecture and Set Design in international peerreviewedjournals and anthologies; and recently a book,Sensory Landscapes in Harold Pinter: A Study on Ecocriticismand Symbolist Aesthetics (2011).Creative acts may be seen as territorial demarcations that offer a multi-stratified landscape to their beholders, and dramaturgyan exploration that digs into such terrain to find vestiges of the texts’ aesthetic-historical strata. Drawing on recentcritical approaches to landscape theory in the field of theatre and performance studies, and adopting phenomenologicalmethods of dramaturgical analysis, this paper explores the affective and aesthetic landscapes of two works that share aSymbolist worldview: Maurice Maeterlinck’s Aglavaine et Sélysette (1896), and Madame Rachilde’s Volupté (1893). Withintheir shared Symbolist mode, both plays question normative notions of love, sexuality, and gender identity through sensoryand lyrical landscapes: the former authored by the highbrow Maeterlinck, a canonical playwright already in his day; thelatter by Rachilde, a writer who deliberately distorted gender roles to question the stratification of social power, and oneof the few women Symbolists, although seldom discussed today. Additionally, a dramaturgical exploration of both playsallows us to map identifiable historical layers of the different aesthetic genres and modes that inspired Symbolist theatre—namely medieval morality plays, Japanese Noh drama, romantic tragedies, and Gothic tales—within its specific Europeanfin-de-siècle political and social context. By electing two playtexts as landscapes for dramaturgical excavation, I wish toacknowledge the controversy between performance and drama, and claim that the belittling of drama as an object of studyin recent years may be jeopardizing one of the specificities of theatre as a multi-stratified space where many different texts,including playtexts, lay and merge.graca.p.correa@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014659

‘All the world’s an Xbox’ (Candide, RSC, 2013): Layering Past and Present in New Work at the RoyalShakespeare CompanyWorking Groups: Translation, Adaptation, DramaturgyThe Royal Shakespeare Company (RSC) is internationally known for its staging of the work of Shakespeare and hiscontemporaries, and since its inception in 1961, has also been committed to commissioning, developing and staging newworks. However, to date there has been no sustained critical enquiry into what the effects of developing new writing in aninstitution explicitly aligned with Shakespeare might be on the dramaturgy of these productions.RSC-commissioned playwrights are encouraged to engage with the “muscularity and ambition of the classics and to setShakespeare’s world in the context of our own” (RSC, 2013). This engagement typically results in large-scale new plays thatfocus on specific historical contexts or adaptations of classical texts. In addition to the historical paradigms and supposeddialogical relationship between the classics and contemporary work that already underpin the RSC’s writing programme, thesubjects or source material for these new works also introduce another historical “layer” of their own.Catriona FallowQueen Mary, University of LondonCatriona Fallow is an AHRC-funded PhD student inthe Department of Drama at Queen Mary Universityof London. Her thesis considers the role of new writingat the Royal Shakespeare Company and Shakespeare’sGlobe. In it, she explores how contemporary literary andtheatrical productions within specific institutions coexistwith the historical and cultural heritage invoked bythese institutions.In this paper, I explore how interplay between these different layers is evidenced in the dramaturgy of these new works. Bylooking specifically at the 2013 production of RSC Playwright in Residence, Mark Ravenhill’s, Candide (inspired by Voltaire’s1759 novella of the same name), I consider how the relationship between past and present that is inherent within theinstitution’s writing ethos shapes the dramaturgical structure and aesthetics of the production itself. Moreover, I arguethat the writing practices and pedagogy used to develop new work at the RSC usefully challenge the increasingly rigidparameters of the new writing “genre” in Britain. In accounting for the historical layers at work within these practices,the play’s historical subject(s) and how these manifest within the work itself, I demonstrate how plays like Candide test thelimitations of what is and can be considered “new”.c.d.fallow@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014660

Textual-Linguistic, Visual, Spatial (Vertical-Horizontal), and Cultural Strata in a ‘Fringe’ Adaptation-Production of Chekhov’s The SeagullWorking Groups: Translation, Adaptation, DramaturgyThe proposed paper is an analysis of a new production–adaptation of Chekhov’s The Seagull, now running in a Tel-Aviv ‘fringe’venue; I am involved in this work — created by its Adaptor and Director, Ira Avneri — both as his ‘literary consultant’ and asthe translator of Chekhov’s text (into Hebrew). Video images, accompanied by my running commentary during presentation,illustrate major points in this analysis, conceived in strata of ‘telling’ and ‘showing’: the adaptation’s ‘story’ is ‘told’ fromwithin, subjectively, and production-samples are ‘shown’, from without as it were, to demonstrate how the adaptation’s ideasmaterialise on stage ‘objectively’. The paper’s analytical discourse aims at enacting a stratified two-tier model.Harai GolombTel-Aviv UniversityProfessor Emeritus, Faculty of Arts, Tel-Aviv University,teaching subjects such as The Poetics of Chekhov’s plays;Self-referential drama and theatre; Modern Hebrew poetry;Political verse in Israel; Analysing poetic and theatricaltranslation (between Hebrew and English); Syntax, rhythmand intonation in Hebrew and English verse; Music anddrama in Mozart’s operas; Analysis of recorded musicalperformance; Glenn Gould; Amadeus; Verse drama;Comparative poetics of temporal arts. Worked as a musiccritic and book reviewer for professional journals anddaily press in Israel and elsewhere. A versatile translatorof academic literature and music-linked (‘singable’) texts.Academic degrees, with distinction in literary theory,Tel-Aviv University (PhD), comparative literature, HebrewUniversity of Jerusalem (M.A.), Hebrew linguistics andmusic theory Tel-Aviv University (B.A). Publications includebooks on the poetics of Chekhov’s plays (2014), versetheory (1980); numerous academic studies in these andrelated fields, as well as on poetry and prose fiction (mainlyHebrew). Founding convener of two IFTR’s working groups:“Theatre from Page to Stage” (now “Adaptation, Translationand Dramaturgy”) and “Anton Chekhov”.1. The adaptation–production itself is highly stratified, e.g.: in its relation to Chekhov’s original; in its own multi-layeredorganisation of space, vertically and horizontally; in the crucial role of lighting, which is another layer in the stratifiedhierarchy of textual and visual interactions; and in transferring texts from absent characters to present ones: three originalpersonages (Masha’s parents and husband) are dropped, but most of their texts are retained, spoken by others, thuschanging characterisations and character-interactions (a technique Chekhov himself used in creating Uncle Vania out of TheWood Demon). Presences and absences are swapped, boundaries are frequently crossed, but the spoken text usually staysintact. The Seagull’s self-referential theatricality is powerfully underscored in this adaptation; carefully designed changes inChekhov’s text ‘converse’ with the original’s meanings, whose complexities — hardly ever reduced to simplifications — aretypically replaced with new, different ones.2. The paper’s own analysis is also stratified, e.g., in looking at the production’s strata from different perspectives (literally andmetaphorically), including the translator’s. Dialogical interactions between original and adaptation, and between creativeartist and scholarly analyst, hopefully clarify some of the intense complexities inherent in this bold, potentially-controversialattempt at fidelity through change.harai.golomb@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014661

Layers of Translation: Text, Context, PerformanceWorking Groups: Translation, Adaptation, DramaturgyJozefina KomporalyDe Montfort UniversityJozefina Komporaly is senior lecturer in drama at DeMontfort University in Leicester. She has a backgroundin modern languages, a PhD in gender and comparativeliterature (University of Warwick) and post-doctoralresearch experience in translation for the stage (Centrefor Performance Translation and Dramaturgy, Universityof Hull). Her research interests include Europeantheatre and performance; translation and adaptationfor the stage; women’s writing; contemporary Britishtheatre. Her publications include the monographStaging Motherhood: British Women Playwrights, 1956to the Present (Palgrave, 2006) and articles in variousedited collections and academic journals. Jozefina iseditor and co-translator of the first English-languageedition of Matei Visniec plays, entitled Matei Visniec:How to Explain the History of Communism to MentalPatients and Other Plays (forthcoming from SeagullBooks). She is currently preparing a monograph onradical revivals as adaptation for Palgrave.This paper seeks to illuminate connections between text, performance, spectatorship and allegiances to source and targetcultures, from the twin perspectives of academic scholarship and translation process and practice. French-Romanianplaywright Matei Visniec’s work is emblematic for the notion of stratification, as it integrates several layers: he writesin French and then transposes his plays himself into Romanian, and revisits key themes in multiple genres, being a poetand novelist in addition to writing drama. Visniec’s theatre also lends itself to the accumulation of successive layers oftranslation and adaptation, as it is a strongly poetic theatre that needs re-contextualisation in the light of specific situationsand performances. With the case study of the playwright’s Decomposed Theatre I wish to illustrate such a journey, tracingthe translation history of the play in English, including a US-based university project, an edited anthology aimed for a globalEnglish-speaking readership, and a British professional production. I aim to demonstrate that all three endeavours have thepotential to be successful in addressing their specific agendas, however, the interchange between them is problematic andany bartering requires careful examination. As editor of the anthology and co-translator of the English version for the Londonproduction, I draw on personal experience to suggest that the circumstances, conditions and politics surrounding a giventranslation automatically generate new dramaturgies and impose a layering of meaning(s). This contextual stratification isthen superimposed upon the inherent layers of connotation, repetition and accumulation that characterise Visniec’s theatre.In addition, Decomposed Theatre is also a ‘modular text’: a selection of independent scenes that can be combined in variouspermutations in performance, allowing theatre companies full flexibility in their artistic vision and inviting, in response,multiple layers of spectatorship.jokogoetz@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014662

Dramaturgy of Foreignization?Working Groups: Translation, Adaptation, DramaturgyMaria MytilinakiCity University of New York, The Graduate CenterMaria Mytilinaki is a dramaturg and theatre translator.She received her BA and MA in Theatre from theAristotle University of Thessaloniki, Greece, and her MAin Translation Studies from the University of Warwick,UK. She is a Fulbright doctoral candidate in Theatreat the Graduate Center, City University of New York,currently writing her dissertation on the translation ofModern Greek plays during the Eurozone crisis. Sheteaches Theatre and Communication courses at HunterCollege and Baruch College, City University of NewYork, and has worked as a dramaturg for the New YorkShakespeare Exchange and the National Theatre ofNorthern Greece.The international theatre market is currently very restricted, both in terms of audience development and in securingfunds. This general fact is necessarily a major concern for theatre companies, especially when it comes to contemporaryplaywriting. A new play is packaged and promoted within certain guidelines and usually serves certain marketing scopes. Itstarget market is inevitably specific and all surrounding paratextual elements, such as the playwright’s position in the literaryand theatrical system, are pressed into service in order to enhance the play’s reception and promotion in the marketplace. Inthe performance of new plays from what Deleuze and Guattari would call “minor” literatures, factors such as the playwright’scountry of origin are sometimes employed to extremes in order to accommodate the assumed aesthetic expectations of thetarget audience. In other words, while the plays of Henrik Ibsen can now “speak” any language, the translated plays of popularcontemporary Norwegian playwright Jon Fosse must first engage with the established cultural stereotypes of a fictionalcontemporary Nordic universe and their visual representations. The achromatic rendering of Fosse’s Deathvariations in a2013 production in Athens serves as a case study and starting point for the consideration of the restraints faced by the newplay as opposed to, say, the freedom now afforded to contemporary classics in translation, such as Ibsen’s The Doll’s House.In this paper I will attempt to examine the structures of hierarchy of theatre networks that are formed in translation. Mostimportantly, I would like to problematize the elusive balance sought in the processes of the “visible” translator, who works asa collaborator in the rehearsal room and attempts to retain elements of the foreign text in the target performance, and theoften occurring extroverted dramaturgy of the imposed cultural associations by the translator, dramaturg, director and/orperformers.MMytilinaki@gc.cuny.eduFIRT/IFTR World Congress, University of Warwick, 2014663

Flicking Through the Programme... Dramaturgical Practice at the Deutsches Theater Berlin Underthe Directorship of Max Reinhardt: An Analysis of the Historical Theatre Journal Die Blätter desDeutschen TheatersWorking Groups: Translation, Adaptation, DramaturgyAnn-Christine SimkeUniversity of GlasgowAnn-Christine Simke is a PhD candidate and GraduateTeaching Assistant in the Department for Theatre, Filmand Television Studies at the University of Glasgow.Her research is focussed on dramaturgical practicesbeyond performance and encompasses a series of casestudies about theatre institutions in Berlin throughoutthe 20th century. Since 2011, she is a convenor ofthe working group “Dramaturgie ohne Drama” of theDramaturgische Gesellschaft and since 2013 she isalso involved in the dramaturgy working group of theGerman Gesellschaft für Theaterwissenschaft. In additionto her academic work, Ann-Christine has a range ofdramaturgical experiences in theatre practice. She isa permanent member of the German performancecollective Dramazone.How does theatre as an institution enter into a dialogue with its audience beyond the time-frame of the performanceitself? Ways of opening up an artistic or even intellectual dialogue are manifold; through pre-show trailers and pamphlets,through community theatre and lecture series, through post-show talks and self-published journals. Whatever the modesof communication, I identify this role between the theatre institution and its audience as a quintessentially dramaturgicalone. The practice of dramaturgy does not only entail reading dramatic scripts, fostering new playwrights or shaping therepertoire but also building a meaningful relationship with the theatre’s audience, its surrounding local district, city, country,world and zeitgeist. In my paper, I am undertaking a reading of the historical theatre journal Die Blätter des Deutschen Theaterswith the aim of analysing how the artistic profile of the Deutsches Theater under the directorship of Max Reinhardt is beingproduced by and communicated through the work of the dramaturgs Felix Hollaender and Arthur Kahane. Using PeterFritzsche’s notion of the “word city” Berlin, I am interested in painting a picture of the audience’s experience as avid readersin the cosmopolitain setting of Wilhelmine Berlin. A brief overview over Max Reinhardt’s directing style in the context of theDT’s succession of artistic directors will prepare the ground for a close analysis of specific essays in the journal that pointto prominent artistic issues which the journal tries to communicate to its audience. Crucial albeit implicit to my argumentis the idea that it is the mostly hidden dramaturgical work of Kahane and Hollaender, the work at the interface between theaudience and the stage, represented through the item of the theatre journal, which plays a seminal part in the process of thebranding of the label Reinhardt at the beginning of the 20th century.a.simke.1@research.gla.ac.ukCover of the first issue of the theatre journal Die Blätter desDeutschen Theaters, August 1911.FIRT/IFTR World Congress, University of Warwick, 2014664

Offstage Drama in the Festival City: Contested Space in Edinburgh 2013Working Groups: Translation, Adaptation, DramaturgySarah ThomassonQueen Mary, University of LondonSarah Thomasson is a PhD candidate at Queen MaryUniversity of London in the departments of Dramaand Geography. Her dissertation, which is entitled“Producing the Festival City: Place Myths and theFestivals of Edinburgh and Adelaide”, comparesaspects of the Edinburgh International Festival, theAdelaide Festival and their associated Fringe Festivalsto interrogate the relationship between thesecultural events and their host cities. She also worksas Administrative Assistant for Contemporary TheatreReview.A major controversy to emerge from the dramaturgical narrative of Edinburgh’s August festivals in 2013 was a perceivedlack of theatrical engagement with the upcoming referendum on Scottish independence. Cultural commentators decriedthe small number of Fringe shows that confronted this issue, while Sir Jonathon Mills, artistic director of the EdinburghInternational Festival (EIF), intensified the debate by announcing that he would not be programming performances on thesubject in 2014. This recent controversy invokes a broader debate that runs throughout the histories of these festivals overthe role that they should play within their local culture. I argue that the ongoing question of what should be privileged – eitherwithin the programming of an international arts festival or by local companies performing on the Fringe – is symptomaticof a tension within Edinburgh’s construction as a Festival City. Geographer Rob Shields theorises place myths as sociallyconstructed meanings that are ascribed to places and are formed through a layering of meaning over the physical geographyof the city. In this case, the EIF and Fringe form the dominant place myth, or “set of core images” (Shields 1991: 60), thatare widely held and circulated about Edinburgh. I interrogate the meta-level narratives – or dramaturgy – of these festivalsin 2013 in order to analyse how Edinburgh’s construction as an international Festival City for the global market displaceslocal culture and politics in order to appear attractive to tourists and investors. Place myths provide a way of exploringtensions within the layering of meaning of arts festivals upon city spaces and for understanding the dramaturgy of theseevents. By examining the role that international arts festivals play in mythologising place, this case study provides a model forinterrogating the stakes involved in harnessing cultural events for place promotion.s.l.thomasson@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014665

New Dramaturgy Open Forum DiscussionWorking Groups: Translation, Adaptation, DramaturgyKatalin TrencsényiIndependent ResearcherKatalin Trencsényi is a London-based dramaturg. Shecompleted her PhD in Philosophy (Aesthetics) at theEötvös Loránd University, Budapest. As a freelancedramaturg, Katalin has worked with the NationalTheatre, the Royal Court Theatre, the CourtyardTheatre, Deafinitely Theatre, Corali Dance Company,and Company of Angels amongst others. Katalin cofoundedthe Dramaturgs’ Network with Hanna Slättnein 2001, and has worked on its various committees eversince. From 2010 to 2012 Katalin served as Presidentof the Dramaturgs’ Network. Katalin is one of thecontributors to the Routledge Companion to Dramaturgy(Routledge, 2014), and with Bernadette Cochrane coeditorof New Dramaturgy: International Perspectives onTheory and Practice (Bloomsbury, 2014). Her monographon contemporary dramaturgical practices, Dramaturgyin the Making, is to be published by Bloomsbury in 2015.Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think abouttheatre and performance today has changed our approaches to theatre-making. Emerging new aesthetics and new areasof dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand newapproaches and sensibilities. New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury, 2014), acomprehensive collection of essays, case studies and interviews, is the first book to explore new dramaturgy in depth,and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. It questions therelationship between new dramaturgy and the dramaturg in different geo-cultural regions. It considers current trends, ideasand practices, and questions what the future of dramaturgy might be. New Dramaturgy was conceived as existing within awider dramaturgical conversation. To this end, the editors, Katalin Trencsényi and Bernadette Cochrane, are proposing anopen forum discussion featuring some of the contributors, thus opening up the core questions of the book concerningtheory, text, devising, dance and spectatorship for further discussion and debate. Asia, South America, Africa, and the Arabicworld have sophisticated and varied dramaturgical traditions. These traditions can expand and invigorate the potential forpluralism in new dramaturgy perhaps still lacking in current articulations. Other voices should also be heard, other questionsasked – for instance is there a ‘queer’ new dramaturgy? What is the role of new media in this transformed but still evolvingdramaturgical landscape? Does new dramaturgy have a role to play in either musical theatre or children’s theatre? And if so,how might such a dramaturgy be shaped and articulated? – These are some of the questions the discussion, chaired by theeditors of the book aim to address.http://www.bloomsbury.com/uk/new-dramaturgy-9781408177082katalin.trencsenyi@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014666

Document of an OutsiderWorking Groups: Translation, Adaptation, DramaturgyJane TurnerManchester Metropolitan UniversityJane Turner is Principal Lecturer in ContemporaryArts at MMU. Her research embraces ethnographyand spectator experience. She has published work onEugenio Barba, theatre anthropology, Balinese andintercultural performance all of which were featuredareas in her PhD. She have spent time studying andresearching in Bali (most recently in 2012). Jane iscurrently further developing this research and focusingon the commensurability of bodies across bordersin relation to performer training and embodiment.In addition, Jane is actively engaged in exploringcritical frameworks such as the sublime in relationto contemporary British theatre. She is currentlyinvolved as ethnographer and dramaturg on a touringperformance titled The Good, The God and the Guillotine.Proto-type Theater and MMUle (Manchester Metropolitan University Laptop Ensemble) embarked on a process of creativecollaboration with an aim to produce a new performance work that might be termed ‘opera’, ‘composed theatre’ or ‘musicdriventheatre’. In addition to the theater company and laptop ensemble, a lighting designer and animator have also beeninvolved in the process of creative collaboration. A starting point for the project was Camus’s text The Outsider (L’Etranger)and the resulting event is titled The Good, The God and The Guillotine. All collaborators were considered to have a devisingand dramaturgical role, although the use of terminology here immediately highlights the challenges of finding a sharedvocabulary for any multidisciplinary, creative project. My initial role was to observe and document the creative process – anethnographic role that allowed me to observe the development of creative strata over a period of two years. Latterly, inthe final development phase I was also involved in a dramaturgical capacity. The resulting performance event creates whatEugenio Barba describes as a chiasm: a dramaturgical braid that poses challenges for the audience’s experience – it is atonce disorientating and sensorially overwhelming. Key issues that I am critically examining are the development of a sharedworking language as well as a performance language, and the strategies for collaboration and creative engagement thatemerged through the process of making. These perspectives explore both the accumulation of layers developed by thecollaborators and how these layers speak to each other in the final performance event. I am particularly interested here inexploring the ways in which aesthetic judgments occurred and lead towards the evolution of both a language and creativestrategies: shared principles that span and embrace visual practice, music composition and theatre practice.https://vimeo.com/94757266j.c.turner@mmu.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014667

Verbatim or Not? Combining Fabrication with Testimony in the Dramaturgy of Fact-Based TheatreWorking Groups: Translation, Adaptation, DramaturgyAlison Jeffers, among others, notes that fact-based or “verbatim” theatre is “a problematic performance methodology,especially in relation to its claims to authenticity.” Among the problematic issues that it raises is the very looseness, theslipperiness of the somewhat fetishised term “verbatim,” which connotes literal exactitude in the reproduction of testimony.Although many fact-based plays do comprise only words spoken by the people represented, others take liberties with thedocumentary record. In such instances, theatre-makers seldom identify what is quoted and what is invented, instead merelyacknowledging in a prefatory statement that “the vast majority of the words you are about to hear are taken from interviews.”Apparently, a text’s foundations in real testimony confer authenticity on the whole: referring to its “part-authored, partverbatim”Like Enemies of the State, BeFrank Theatre Company asserts, “We work from authentic source material.” Meanwhile,arguing that a playwright is concerned with “the difference between what people say and what they mean,” David Harepresumes to rephrase testimony when he can “make it into music which … reflect[s] what [the characters] wanted to say.”Stuart YoungUniversity of OtagoStuart Young is Associate Professor in the TheatreStudies programme at the University of Otago. Hisresearch interests include: Russian drama, in particularChekhov, and its reception abroad; Translation Studiesand translation for the theatre; modern British dramaand theatre; documentary/verbatim theatre; NewZealand theatre; and gay and queer drama. He haspublished in Modern Drama, Theatre Journal, New TheatreQuarterly, Australasian Drama Studies, New ZealandSlavonic Journal, and Journal of Dramatic Theory AndCriticism. His practice-led research on documentarytheatre has resulted in the creation of Hush: A VerbatimPlay about Family Violence, which played in various partsof New Zealand from 2009 to 2011; Be | Longing (2012),which explores immigrants’ experiences of settling inNew Zealand; and The Keys are in the Margarine (2014),a play about dementia. He is also a director, translator,and performance reviewer. He has translated plays byChekhov, Pushkin, and Simon Gantillon. Circa Theatre,Wellington, has produced his translations of The CherryOrchard and Uncle Vanya.This paper examines different dramaturgical practices – and their implications – in extrapolating additional or differentmaterial from the recorded testimony, such as Tommy Lexen’s insertion of simplified archetypal characters in Like Enemiesof the State. The paper also looks at Jessica Blank and Eric Jenson’s Aftermath, Pol Heyvaert and Dimitri Verhulst’s Aalst,Jonathan Holmes’s Fallujah, and Suhda Bhuchar’s My Name Is….stuart.young@otago.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014668

New Scholars’ ForumFar Away: Churchill’s ‘Ecological Thought’New Scholars’ ForumThis presentation will focus on how ecocriticism in an age of globalization plays itself out in the reading of a selecteddramatic work. Engaging in textual and descriptive analysis of Caryl Churchill’s Far Away as well as examining itscultural-ecological context, I will argue for the importance of ecological theatre in dislocating dominant forms ofanthropocentrism, reconceptualising distinctions between categories of human/non-human, and increasing ecologicalconsciousness.Mohebat AhmadiUniversity of MelbourneI hold MA and BA in English language and literature andhave been the faculty member of Azad University in Iranfor the past five years. I am now a PhD candidate at theUniversity of Melbourne and have started my researchin Australia from November 2012. My main interests ofresearch are bridging ecocriticism and globalization inthe world of contemporary theatre. My primary focusis on the ‘eco-global’, cultural, and political realm oftheatre. My latest publication is book review of Readingsin performance and ecology edited by Wendy Arons andTheresa J. May in Green Letters: Studies in Ecocriticism,Vol. 17, Issue. 2, 2013, pp. 189-10.In an attempt to look at Far Away from ecocritical perspective, I draw on Timothy Morton’s key concepts of ‘dark ecology’,‘the mesh’, and the strange stranger’. First, I consider Morton’s ‘ecological thought’ that gives us the idea of ‘mesh’,an ontology of interconnectedness of all living and non-living things. In such an ontology, external environment is notas an outside entity separate from other life forms. Closely related to ‘the mesh’ is the concept of ‘strange stranger’that reveals the intimacy of things in ‘the mesh’ is not a complete one and nothing exists all by itself. Morton’s ‘darkecology’ comes from the uncertainty that results from the coexistence of strangeness and intimacy. Then, I show whatan ecocritical reading of Far Away produces and how an ecocritical reading of the play’s theatrical space can respondto Morton’s ‘ecological thought’ and the uncertainty of ‘dark ecology’ in the age of ecological risks. I focus on the thirdscene of the play to illustrate how the terror among humans is transferred into the engagement of all creatures, both thehuman and the non-human, in a global war. I will conclude by talking about the role of contemporary theatre in bringing asense of ecological consciousness. I argue how the immediacy and ‘the inherent community’ of theatre provide a uniqueopportunity for building both intimacy and queerness as an ecological act.mahmadi@student.unimelb.edu.auFIRT/IFTR World Congress, University of Warwick, 2014669

Dance as a Performative Event: Reflections on What the Body Does Not Remember by BelgianChoreographer Wim VandekeybusNew Scholars’ ForumKarina AlmeidaState University of CampinasKarina Almeida is a Brazilian performer andchoreographer interested in creative collaborations. Sheworks with professional dance company Seis + 1 (Brazil).Karina studied contemporary dance at State Universityof Campinas (UNICAMP, Brazil), where she finished herMA research and currently develops the PhD researchproject “Between territories: the intersection of dancewith composition devices from related arts”.Dance composition can be understood as an embodied performative art. During the creation process, embodiment ofmovement implicates the whole person, a person conscious of being a living body, living that experience. The relationshipbetween body and space reveals the material and immaterial forces that affect any creative process and consequentlyreflects the way we engage with our art as composers, performers and spectators. According to Preston-Dunlop (2010)some choreographers of twentieth century turn a performance into a performative event of dance by making it clear thatthe expected rules of dance performance are not in operation. With this in mind, in this paper, I will discuss the notion ofperformative in dance through a brief analysis of the piece “What the Body Does Not Remember” by Belgian choreographerWim Vandekeybus. This piece, premiered in 1987, remains utterly contemporary and is recognized by its strong physicality:brick throwing and catching, dancers stomping on one another and so on, all evidenced by the way that the body limits canbe explored and challenged. After watching this piece and also having experienced a Master Class involving its creationpractices with Eduardo Torroja (Vandekeybus choreography assistant) I will try shed light on the performative aspects ofVandekeybus’ works. From the theoretical point of view, Lepecki, Preston-Dunlop, Sanchez-Goolberg and Briginshaw arethe references to this discussion.http://www.ultimavez.com/en/productions/what-body-does-not-rememberFIRT/IFTR World Congress, University of Warwick, 2014670

All Roads Lead to Jerusalem: Palestine, Theatre, Law, and ResistanceNew Scholars’ ForumTheatrical activity and live performances are often deeply affected by the laws that govern the movement of people, thefreedom to assemble, and the ability of artists to publicize their events in print. Throughout the twentieth century, the changinglegal status of cultural production played a significant role in suppressing the emergence of a vibrant Palestinian theatre.From the Ottoman era until the present, a survey of theatre-related laws demonstrates the progressive transformation ofPalestinian theatre from an unregulated civil art form to an illegal act of resistance under military occupation. After 1967,a series of military orders suppressed the theatrical movement throughout the West Bank, but unintentionally supportedthe flourishing of theatre in East Jerusalem in the seventies and eighties. In this presentation, I will briefly present the mostrelevant laws and military orders in the modern history of Palestinian theatre.Samer Al-SaberDavidson CollegeSamer Al-Saber is the Andrew W. Mellon PostdoctoralFellow at Davidson College. He is a theatre artistand scholar of Middle Eastern Theatre and CulturalProduction. Samer completed a PhD in Theatre History,Theory, and Criticism at the University of Washington,MFA in directing at the University of Calgary, andB.A. at the University of Ottawa. His directing creditsinclude Tom Stoppard’s The Real Thing, Diane Samuel’sThe True Life Fiction of Mata Hari, Noel Coward’s PrivateLives, and David Auburn’s Proof, and a reading of JohnHerbert’s Fortune and Men’s Eyes for the Calgary Opera.He also directed a series of youth plays in Yemen,A Midsummer Nights Dream in Ramallah’s Al-KasabaTheatre (toured to Germany), and Arthur Milner’s Factsin Bethlehem/Jerusalem (multiple city tour). Broadly,his academic areas of interest include the performanceof news, the tradition of the Arabian Nights, Arabnationalism, refugee crises, political rhetoric, modernArab dramatic literature, and the contemporary MiddleEast. His PhD dissertation was a cultural history ofPalestinian theatre in Jerusalem.samsaber@uw.eduFIRT/IFTR World Congress, University of Warwick, 2014671

Applied Theater and Clinical Education: Rehearsing the Doctor’s RoleNew Scholars’ ForumConstanza AlvaradoUniversidad Católica de ChileSince the 60’s, international medical education has incorporated simulation practices into its clinical skills developmentfor health professionals. In Chile, since 1995 the Universidad Católica (UC)’s Medical School has been a pioneer in the useof this technique, developing a long-term project of sustained work with actors performing as patients in order to providereal scenarios oriented toward clinical education. Through role play students practice their behavior in front of a patientand are introduced to the main issues that emerge in the doctor-patient encounter in a medical consultation context. Formy Master’s thesis, I have been involved in a collaborative research project between the UC’s Schools of Medicine andTheatre. My presentation is based on findings obtained from my participation in a third-year medicine course. I review theway medical students are trained to become doctors through the pedagogical practices of clinical simulation My analysis,conducted from a dramaturgical and performative perspective (Erving Goffman and Performance Studies), attempts toanswer questions like: What kinds of medical training do students receive through these practices? Which aspects are takeninto account and which are appear to be overlooked? And, finally, what possibilities can theatre offer to maximize thesepractices as inserted within an educational context?Constanza Alvarado is an actress graduated from theTheatre School in the Pontificia Universidad Católicade Chile (PUC, 2005). She has obtains an Aestheticsand Philosophy diploma from the same university in2009. In 2011 She won a scholarship from ConsejoNacional de la Cultura y las Artes (The National Councilof Culture and Arts) to study a Master in Arts with amention in Theatrical Research and Practices in thePUC. Nowadays she is writing her Master thesis in theframework of an interdisciplinary academic projectwith the Theatre and Medicine Schools of the PUC. Herthesis analyses the encounter between theatricality,clinical simulation and medical education. Since 2010to present she has worked as a research assistant atEncargArte UC, an Art School program focused onarts applied to social problemas. Since 2011 she worksfor Apuntes de Teatro Journal (Theatre Notes Journal)and Research and Archives of the Theatre sceneProgramme.caalvara@uc.clconstanzalvarado@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014672

Intersubjective Acting: A Phenomenological Approach After BrechtNew Scholars’ ForumCohen AmbroseUniversity of MontanaCohen Ambrose is an MA theatre studies and MFAdirecting candidate at the University of Montana.He holds a BA in philosophy and theatre from TheEvergreen State College. An actor, director, playwright,and scholar, Cohen has lived and worked in Montana,Washington, New York City, and Prague, CzechRepublic. His research and scholarship interestsinclude Brecht, Meyerhold, Chekhov, actor-training,phenomenology, and cognitive science. His work hasbeen published in Theatre Symposium, WheelhouseMagazine, State of the Arts, and by the University ofMontana Press. He has directed and/or acted in overtwenty professional and amateur productions.My research enquiry asks whether Bertolt Brecht’s Verfremdungseffekt can be assessed through the lens of phenomenologicalintersubjectivity. Adapting Nick Crossley’s definitions of what he calls Husserl’s “egological intersubjectivity” (an actor’sempathic transposition of self into the character) and Merleau-Ponty’s “radical intersubjectivity” (an actor’s reflexiveobjectification of the character as a distinct other), I argue that creating specific gestural distinctions between actor andcharacter, the actor develops a reflective intersubjective relationship with the written character. This new vocabulary givesthe actor some currency with which to understand and perform Brecht’s underlying theory that if the actor imagines hischaracter behaving in one attitude, but instead performs in an alternative attitude, the spectator will notice the actor’scomment on their character. “Intersubjective acting” is the actor’s reflective, empathic engagement with the character asa distinct other. Empirical evidence is drawn from documentary footage of a technique used in my recent production ofLanford Wilson’s Book of Days (1999). Much like Thornton Wilder’s Our Town, Wilson doubles the actors as characters and asnarrating chorus members who retell the events of a murder in rural Missouri. I intend to use the ten-minute presentationslot in two five-minute parts: first, I will describe the practical process of developing Verfremdungseffekte in rehearsals forBook of Days. I will play silent video footage of rehearsals and performances while describing a technique developed in therehearsal studio where the actor shifts from inside the psychophysical experience of the actor/narrator into the body ofthe character and back again. Second, I will define the theoretical framework with which I propose to analyse the practicaltechnique.www.cohenambrose.comcohen.ambrose@umontana.eduFIRT/IFTR World Congress, University of Warwick, 2014673

The European Court Ballet in the 19th Century and the ‘Entertainment Dance’ Around 1900. ATransatlantic Relationship.New Scholars’ ForumAnja Katharina ArendUniversity of SalzburgBorn 1986 and bred in Stuttgart and Bremen (Germany),Anja K. Arend holds a BA and MA in Musicology andDance Studies from the University of Salzburg (Austria).She completed her studies with an Erasmus-scholarshipfor the MA program Nordic Masters of Dance Studiesand courses in History and Theology. At present she isa PhD candidat in Dance Studies at the University ofSalzburg. Beside her studies she worked in the Derrade Moroda Dance Archive (Salzburg) at ZKM Museumof Contemporary Art, Karlsruhe (Germany) and asteachingassistent for the BA program Dance at AntonBruckner University, Linz (Austria).In my PhD thesis I hypothesise that there exists personnel, structural, choreographical and aesthetic relations between theEuropean court ballet of the 19th century and the modern ’entertainment dance’ arising around 1900. This hypothesis isbased on recognizable parallels between choreographic sketchbooks, dance notations, and pictures from the 19th centuryand the first photography of popular dances (order of the dancers, stage design, architectural structures in especially dancegroups) as well as on the results of my master’s thesis, which showed that the ballet at the Munich court in the middle of the19th century also participated in entertaining events like balls, divertissements, and breaks between drama and opera. Withthis I will open up two main research areas: first the distinction between high and low/popular art and second the relationbetween the U.S. and Europe in the arising of ’entertainment dance’. In my presentation I want to focus on the theoreticalapproach with the question how I could come closer to the specific aspects of ’entertainment dance’. While most of thetheories from communication studies are concentrated on the audiences’ reception, the approaches in the cultural studiesare focusing on social developments. Both approaches are not faithful to the specifics of dance or the moving body. So I tryto apply Jonathan Crary’s theory of perception to dance, which deals with changes in the visual perception during the 19thcentury. I will illustrate my considerations by choreographic sketches of dance groups by Opfermann and Taglioni as wellas with photography of early ’entertainment dance’. My 10 minutes of presentation I want to divide into three parts: first Iwill shortly explain why I was looking for a new theoretic approach, second I will represent the main ideas of Jonathan Crarywhich I thirdly want to apply to dance.anja.arend@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014674

Asking questions: An Analysis of Interviews Undertaken for a Study of the Plays of Philip RidleyNew Scholars’ ForumMy doctoral research project is examining the plays of British contemporary playwright, Philip Ridley, in particular the tenplays he has written for adult audiences as opposed to his plays for younger viewers and performers.There is no single work on Ridley so my thesis aims to provide a detailed overview of these plays through an analysis of thefew academic papers about his work, archive material about productions, and personal testimony through interviews withsome of the performers, directors and production staff directly involved in productions of his work and with Ridley himself.Cath BadhamUniversity of SheffieldCath Badham is currently studying part-time for a PhDat The University of Sheffield looking at the work ofBritish contemporary playwright Philip Ridley. She alsoworks as a freelance Stage Manager (as Cath Booth)and is using this experience and knowledge to informher research. She recently presented papers at theSociety for Theatre Research New Researchers NetworkInaugural Symposium and at the third “What HappensNow?” Conference, at the University of Lincoln. As aStage Manager she is lucky enough to have worked insome of the best theatres in the country including TheCrucible Theatre, Sheffield, Nottingham Playhouse, TheRoyal Exchange Theatre, Manchester and The StephenJoseph Theatre, Scarborough. She has also worked forthe Royal Shakespeare Company.This paper is an assessment of the interviews I have carried out so far. In it I shall talk about my methodology and howI conduct each interview including how my experiences as a stage manager for the past twenty years help or hinder theprocess and what information I am trying to obtain from the conversation. I shall also look at the possible problems ofobtaining and using oral testimony but also the insight that information from practitioners can give us when looking at a playas a whole production rather than as just a text.Then I shall give a brief analysis of the interviews I have undertaken so far to see what the views of the work undertakenby the interviewees are. I will also consider commonalities between these processes and how the experiences of peopleworking on productions of Ridley’s plays differ or not depending on whether they are a performer, a director or a memberof the production team.egp09cmb@sheffield.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014675

Laalu Gbode! : Adaptation and the African/Caribbean Theatre of the ‘Devil’New Scholars’ ForumThe structure of oral performance (which can rightly be called festival theatre) utilizes music, dance, storytelling, maskand mime. These are all elements central to the cultural practices and ritual observances,and provide the cultural matrixfrom which contemporary Black dramatists appropriate the material for the creation of their dramatic modes. In doingthis, the cultural and political significations of the Yoruba Orisa are often deployed as creative materials by dramatists whoexpress the same peculiarity of thought, action and feeling approximate to the patterns of traditional thought, action andfeeling from where they are sourced. As such, characters and themes often merge to engage a reality that is not only vividlycontemporary but also palpably historical and endearing. How do these adaptations respond to these specific realities?In what contexts do they source their appeal? How relevant are the modes of representation to the aesthetic/intentionalrealities? The intention of this paper is to examine Femi Osofisan’s Women of Owu and Aime Cesaire’s The Tragedy of KingChristophe in their conceptualization of this ritual trope through the African/Caribbean Black experiences and how they areable to reflect the present reality.Lekan BalogunVictoria University of WellingtonKeywords: adaptation, festival, postcolonialism,ritual imagination,social dialecticsLekan Balogun has worked variously and consistentlyin the theatre in the last two decades as an actor,playwright/writer-in-residence, producer and artisticdirector. He has written for radio, stage and television.He has worked with cultural and theatre organizationsincluding the National Troupe of Nigeria; the Centrefor Black and African Art and Civilization (CBAAC); theBritish Council, Nigeria; Royal Court Theatre, London;FLINN Theater, Germany among others. He holds a B.Aand M.A (Distinction) in Theatre/ Performance Studiesfrom the University of Lagos, Akoka, Nigeria. At present,he is a PhD candidate on doctoral scholarship at theVictoria University of Wellington, New Zealand. Hisareas of research interest are Postcolonial Shakespeareadaptation, and Intercultural Performance Studies.Lekan.Balogun@vuw.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014676

A Singer Who Sells, an Onlooker That Buys: Popular Performances of Kobigaan in Fairs and Festivalsof West Bengal and BangladeshNew Scholars’ ForumPriyanka BasuSchool of Oriental and African Studies, University ofLondonPriyanka Basu is a PhD Scholar at the Department of theLanguages and Cultures of South Asia, SOAS, London.She is working on the topic: ‘Cockfight in Tune: ReadingNations, Communities and Performance in the “Bengali”Kobigaan’ for which she has been awarded the FelixScholarship and has conducted fieldwork in India andBangladesh funded by the SOAS Postgraduate FieldworkAward (2012). She has completed her MA and MPhil fromthe Centre for English Studies, Jawaharlal Nehru Universityin New Delhi. She has presented at several national andinternational conferences including the BASAS 2012, WorldDance Alliance Global Summit 2012 and the Indian Societyfor Theatre Research (2009, 2010 and 2011). She has alsopublished on music and dance studies in peer-reviewedjournals and edited volumes of international acclaim. Shehas taught at Bethune College, Calcutta and has workedas a copy-editor with SAGE Publications, New Delhi,India. Currently, she is also a Graduate Teaching Assistantfor “South Asian Culture” and is convening a course on“Modern Bengal” at the Department of South Asia inSOAS. She has been trained in the Indian classical danceform of Odissi under Guru Smt. Kiran Segal and is stillundergoing training in London.priyankabasu85@gmail.comThis paper proposes to look at a song-theatre genre practiced and performed in West Bengal and Bangladesh known asKobigaan (literally, poet’s song). While the historiography of Kobigaan and its archived existence shapes its identity for thespectator, the spatio-temporal dynamics within its performed format is a stratified one. For example, the rural ritualisticpractice of Kobigaan is tailored carefully for festival performances and further shaped for media performances; a prolonged8-12 hour performance thus, sometimes boils down to a 45-minute format. In this paper, I wish to look at some of these fairand festival performances documented in the process of fieldwork in West Bengal and Bangladesh. Academic endeavourin the study of fairs in general and fair performances in particular has been relatively scarce, and the need is to criticallyunderstand both theses performance spaces and the performances therein essentially from the perspective of Theatreand Performance Studies. Drawing from Christopher Small’s concept of musicking (Musicking: The Meanings of Performingand Listening, 1998), where music (here, a song-theatre genre) is performed through different layers of social, cultural andpolitical relationships, my paper would locate the performance at the cross-roads of historical archiving and contemporaryperformance. How do we read performance over and above its immediate reality? Do cultural and collective memories offerpossibilities of reading a stratified performance? How do performers or performing communities themselves contributetowards such processes of stratification? Extending the performance in a song-theatre (like Kobigaan) from the “habitusof listening” (Judith Becker, 2004), to a “habitus of performing/enacting”, it can be analysed how a performed product ismulti-layered and that the historically-conceived and holistic understanding of a performance practice is methodologicallyinsufficient. This paper will thus address some of the key issues—cultural capital, performed product, creative industries,memory and lived experience—through Kobigaan.FIRT/IFTR World Congress, University of Warwick, 2014677

Body Training in Latin American Theatre Groups: Undoing ColonialismNew Scholars’ ForumThe purpose of this paper is to investigate the body training and practices of one Latin American theatre group through atheoretical framework rooted in ideas of undoing colonialism. Doing so, I aim to show how such practices raise questionsabout transcultural interchange in Latin America. My presentation will focus on the Brazilian theatre group LUME (Campinas,SP). Walter Mignolo (2013) argues that the “decolonization of knowledge and subjectivity” can lead to important changesin respect of economics and politics. In his view, the “colonial wound” influences the senses, emotion and intellect andthat such a “wound” is felt by those whose work deals creatively with such matters. Following Mignolo, what emerges isthe idea that to free subjectivity it is necessary to decolonize fields of artistic practice. I will go on to argue that a processof decolonialisation is necessary in theoretical fields of enquiry where colonialist thinking also has the capacity to “wound”marginalized cultures and theatre practices. Overall, my argument is that it is urgent to stimulate critical and theoreticalthinking informed by worldwide perspectives and in particular by Latin-American political, social and economic realities.Elisa Martins BelémUniversidade Federal de Minas GeraiGÓMEZ, Pedro Pablo Moreno e MIGNOLO, Walter. Estética decoloniales. Bogotá: Universidad Distrital Francisco José deCaldas, 2012. Oct, 2013..Elisa Belém is an actress; she researches theatre andother arts. She currently is a post-doctoral fellow inPerforming Arts at the Fine Arts School of the FederalUniversity of Minas Gerais, Belo Horinte (MG) (UFMG)(http://www.ufmg.br/), Brazil. She received her doctoraldegree in Performing Arts, at the Arts Institute of theUniversity of Campinas, São Paulo (UNICAMP) (http://www.iar.unicamp.br/), 2010/14. Her Ph.D. studieswere supported by a FAPESP fellowship – São PauloResearch Foundation (http://www.fapesp.br). She wasa Visiting Research Scholar at CUNY – City Universityof New York, from September 2012 to March 2013.She received her MA degree in Theatre (PerformanceStudies) at the Royal Holloway, University of London,(2004/2005). Her studies at the United Kingdomwere supported by the ALBAN Program – High LevelScholarship Program from the European Union to LatinAmerica. Her dissertation was approved by RHUL withdistinction. She has a BA in Theatre from the Fine ArtsSchool of UFMG (University of Minas Gerais) (2000-2003).elisabelem@yahoo.com.brFIRT/IFTR World Congress, University of Warwick, 2014678

“Communalysis Concept”: Wole Soyinka’s Death and the King’s Horseman and Lekan Balogun’sOlofin AjayeNew Scholars’ ForumOver the years, African drama and theatre have been analyzed using western ideologies and theories that are found wantingwithin the African context of their origin. At the same time, those approaches which show some signs of elucidation areunable to explicate the totality of the African way of life embedded in these dramas and theatres. It is thus difficult to reallyunderstand ‘real’ content and contexts of these arts. Therefore, this paper discusses Soyinka’s Death and the King’s Horsemanand Lekan Balogun’s Olofin Ajaye through the lens of “Communalysis concept”, a theory based on African(Yoruba) world viewand philosophy.Saheed BelloUniversity of Lagos, AkokaMy research works include my 2012 M.A Thesis, titled“Light and Sound as Vehicles of Narration: A Studyof Femi Lasode’s Sango and Williams Faure’s ShakaZulu”; and my 2009 B.A project entitled: “Playwrightsas Social Critics: A Study of George Bernard Shaw’sArms and the Man and Wole Soyinka’s A Play of Giants,both submitted to the Department of Creative Arts,University of Lagos, Nigeria; “Development of Designand Technology in the Nigerian Theatre; From Ibadanto Nassarawa.”, a paper which I presented alongsideProfessor Duro Oni (the most prominent Nigeriantheatre designer) at the International Conferencefor the celebration of 50 Years of Theatre in AfricanAcademy at the Department of Theatre Arts, Universityof Ibadan, Nigeria, 2013.bellosaheed77@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014679

Adrián Villar Rojas: An Archival Project of ‘Disappearance’New Scholars’ ForumMatthew BentQueen Mary, University of LondonI am a graduate of the University of Warwick Theatreand Performance Studies department (2013), and amcurrently studying on the MA Theatre and Performanceprogramme at Queen Mary, University of London.I will examine the work of Argentinian sculptor and installation artist Adrián Villar Rojas – particularly the exhibitions TodayWe Reboot the Planet (2013) and Films Before Revolution (2013-14). Villar Rojas’s ephemeral exhibitions of unfired claysculptures will be considered as performance events, with his manipulation of what might be referred to as “documentation”or “archiving” processes in the creation of new artworks opening up a space of provocation to debates within performancestudies on the relationship between the performance event and its documentation/archivisation, and the nature of timein performance. His work, particularly in Reboot the Planet, seemingly provides a resounding affirmation of performance’s“ontology” as “disappearance” (Phelan, 1993), with the accompanying atmosphere of loss and decay to boot. Yet, elsewhere,he elevates the performance document to the status of an artwork in its own right. With Villar Rojas, fragments of previousworks are re-thought or re-shaped to make something new. The unfired clay sculptures, their existence apparently defined bytheir impending (auto-)destruction, are imbued with new life in the form of vivid watercolour paintings, which pay a peculiarhomage to the previous works, presenting them in romantic or fantastical settings. These paintings complete an artistic cycleof sketching/imagining, to sculpting/realising/performing, to painting/reimagining – thus making a series of linked artisticproducts rich in associations and in defiance of traditional distinctions of product and document. The ephemeral event, inthe context of this cycle, is no longer wholly defined by death – and the multiple artworks created as part of the cycle providea stimulus to re-consider practices in performance more broadly.matt.bent.11@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014680

The Ideology in the Art: Russian Playwriting in Putin’s RussiaNew Scholars’ ForumThe socio-political landscape in Russia has changed dramatically since 2000. Putin’s rise to power ushered in significantchanges to the Russian state including its relationship to business and civil society; his leadership represents a resurgentauthoritarianism. My research aims to elucidate the following: to what extent, and in what ways, have the Russian authoritiesaltered the institutions of cultural production since 2000, in particular theatres?Researchers analysing contemporary Russian playwriting have tended to consider artistic output in isolation from sociopoliticalfactors. To the best of my knowledge, no extensive research has been conducted to date which evaluates theactions of the current Russian authorities in relation to theatrical cultural production.Noah Birksted-BreenQueen Mary, University of LondonOver a decade, I have worked as a director and translatorof contemporary Russian playwriting. My work has beenstaged at venues including the Soho Theatre and theBattersea Arts Centre. My undergraduate degree wasin Modern Languages at Oxford University (1995-1999)and I completed a Masters Degree in Advanced TheatrePractice at the Central School of Speech and Drama(2003-2004). After two years as a freelance director,I won a Channel 4 Theatre Directors’ Award and was atrainee director at Hampstead Theatre (2006-2008). Ifounded Sputnik Theatre Company in 2005 as the onlyBritish theatre company dedicated to sourcing andproducing contemporary Russian-language plays. Sputnikhas premiered eight contemporary Russian and Belarussianplays to the UK, gaining several Time Out Critics’ Choices.I am currently engaged on a PhD, funded by the AHRC’sCollaborative Doctoral Award, entitled ‘Alternative Voicesfrom an Acquiescent Society: the New Wave of RussianPlaywrights’ (2012 – ongoing). I am based at Queen MaryUniversity of London, working in partnership with theTheatre Royal Plymouth. Over three years, I am researchingRussian cultural politics and translating five new Russianplays to be presented by the Theatre Royal Plymouth atBritish premieres.noah@sputniktheatre.co.ukIn this paper, I will summarise some of the findings of my research, conducted between January and June 2014. My studydoes not look at sensational cases of state influence and intervention. Rather by examining the work, and working practices,of five theatres, it aims to test the hypothesis that the state has tried to gain more influence over cultural institutions since2000. I have purposefully selected theatres of different sizes as well as from the two dominant institutional ‘types’, namelystate-funded and privately-funded venues. The timeframe for this study is 2000 to 2014 and I have restricted my researchto the subsidised sector (i.e. not commercial theatres).In particular, I hope to elaborate on two areas: (i) an analysis of the most significant institutional changes in the case studytheatres; (ii) analysis of the most significant budgetary changes to the case study theatres. By way of conclusion, I willconsider the extent to which these findings confirm the hypothesis of a different state policy since 2000; I will also evaluatethe relevance of my findings to the field of theatrical cultural production in Russia beyond these particular case studies.FIRT/IFTR World Congress, University of Warwick, 2014681

Transforming Stratification in Contemporary Telugu TheatreNew Scholars’ ForumVenkata Naresh BurlaCentral University of JharkhandDesignation & Centre: Assistant Professor, Centre forMusic & Performing Arts Educational Qualification:M.P.A. Theatre Arts, MAIPR (Erasmus Mundus),Pursuing Ph.D. from Dept. of Theatre Arts, Universityof Hyderabad. Work experience: Worked in the lightingdepartment at Attakkalari Centre for Movement Arts,Bengaluru from August 2007 to March 2008. Workedas a Technical Assistant in the Department of TheatreArts, University of Hyderabad from August 2008to May 2009. Assistant Professor: Centre for Music& Performing Arts, Central University of Jharkhand(2013June Onwards)Like any other states in India, Andhra Pradesh (a Teluguspeaking state in Southern India) also has a matrix of highly stratifiedsocial structures on multiple grounds. The elements involved in that stratification play a vital role in the social, cultural andpolitical life of the people. But this stratification varies with each state, and accordingly the performance cultures also havedifferent layers in the practice and sustenance of different forms. Performance cultures frequently are transformed perthe transformations in these social stratifications. The paper looks at transforming layers (stratifications) of contemporarytheatre practice in Andhra Pradesh, where several contemporary practices like theatrical competition circuits as well astraditional performance cultures like Padya Natakam (Poetic Drama dominated by rending of classical verses) are fadingwhile at the same time new audiences and artists emerge in new cultural contexts. During the last decade the competitioncircuit in theatre – the dominant theatre network infrastructure in the state – has undergone several transformativephases leading to the instilling of new patterns in dramaturgy, scenography and new patronage structures at organizationallevels. The emergence of these trends must be seen against the backdrop of a new educational system in engineering andtechnology, large-scale migration from the rural to the urban, outflow of technocrats from the state to the US and to theEurope, the influence of global economy on the public and the birth of new audiences due to the television channel boom.The transforming stratifications in the society and their reflections on the Telugu contemporary theatre will be analyzed inthe paper keeping competition theatre circuit as a point of reference.burla.venkatanaresh@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014682

All the World’s a Stage: Utpal Dutt’s International Imaginings in the Evolution of RevolutionaryTheatreNew Scholars’ ForumAbin ChakrabortyBudge Budge Institute of TechnologyFrantz Fanon said, “A colonised people is not alone”. In keeping with Fanon’s assertion and what Robert J.C. Young identifiesas the ‘tricontinental’ spirit of postcolonialism, postcolonial literatures have repeatedly sought to channel their radical andemancipatory potentialities through a recognizably international framework that has been fostered by Marxist movementsof one kind or another. Utpal Dutt’s avowedly Marxist ‘revolutionary theatre’ is a potent example of this trend. Identifying thepost-independence Indian nation-state as one ruled by a bourgeois-elitist leadership which sabotaged the hopes of millionsof peasants and labourers, he vociferously sought to use theatre as an instrument of radical political change through themobilisation of militant masses. He therefore developed a dramaturgy that focused on episodes of heroic mass struggle(inspired to an extent by Gorky’s vision of revolutionary realism), from both Indian and international history, to inspirethe masses towards successful political mobilisation. Such plays were actually part of an eclectic as well as widespreadcontemporary political discourse which recurrently sought to relate international events, especially those of radical politicalmovements, to the political condition of India and specifically West Bengal. My paper focuses on Utpal Dutt’s ‘Barricade’, setin Hitler’s Germany, to explore the political strategies Dutt used, their intersections with evolving socio-political contextsand the postcolonial utopias they envisioned.Abin Chakraborty is Assistant Professor, Dept. ofHumanities, Budge Budge Institute of Technology and adoctoral student at the Department of English, Universityof Calcutta. He has completed his graduation and postgraduationin English Literature from the University ofCalcutta and is the recipient of several awards for toppingboth the examinations. His dissertation is entitled “Stagingthe Subaltern: The Politics of Postcolonial Subalterneityin the Plays of Utpal Dutt, Girish Karnad and MaheshDattani”. He has presented his papers in several nationaland international conferences in India and U.K., includingfive successive conferences of the Indian Society ofTheatre Research and his articles have also been publishedin various journals and anthologies. He was also one ofthe Assistant Coordinators of ISTR 2013 held in Kolkata.He has also taught as a Guest Faculty in a number ofinstitutions. He is also the co-editor of the anthology‘Uneven Terrains: Critical Perspectives in Postcolonialism’.His research interests include Indian theatre, subalternstudies, postcolonialism, diaspora studies and translation.abin_chakraborty@yahoo.co.inFIRT/IFTR World Congress, University of Warwick, 2014683

Theatricality and Experience: A Study of Attention and Memory at the Contemporary Scene’sFruitionNew Scholars’ ForumThis research proposes a study about the theater’s experience. The object of our thesis is the memory of the spectatorabout the theater event. In order to investigate the experience we are working with the case study, based in open interviewswith spectators that watched representations from directors Romeo Castellucci (Socìetas Raffaello Sanzio - Italy) andAntônio Araújo (Teatro da Vertigem - Brazil). This approach use, how analytical vector, the concept of attention/memory,especially the Hugo Münsterberg’s work (2004) updated by the latest research in this subject, such Gilberto Xavier (2013).We want understood how the attention/memory composes the experience. How the brain allows memory formation alongthe interactions history between organism and environment, building a structure entirely dependent on individual history.According to John Dewey (2010), only a process of full signification characterizes “an experience”, so the act of the spectatorit is complete when experience became. We try to understand this process, taking how start point the spectator’s speech.Leonel Martins CarneiroUniversity of São PauloActor, Director and Professor. Currently his research isfocused on the Spectacle’s reception and in the relationbetween memory, attention and experience. Ph.D. inTheatre in progress at University of São Paulo withcollaborative period in University Sorbonne Nouvelle -Paris 3 .Master´s in Theatre at University of São Paulo,Graduate in Theatre at State University of Campinas(2006). Member of Editorial Board: Sala Preta, aSPAsand Rascunhos.Research supported by “Fundação de Amparo àPesquisa do Estado de São Paulo (FAPESP)” (Grant no.2012/05571-3)leonelmcarneiro@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014684

Cripping Acting: Troubling Ocularcentric PerformanceNew Scholars’ ForumAmelia CavalloRoyal Central School of Speech and DramaAmelia Cavallo is an actor, singer, musician andcircus aerialist. She has also dabbled in burlesque,contemporary dance and physical theatre. She gainedher MA in acting music theatre in 2007 from the RoyalCentral School of Speech and Drama, and has sincereturned to RCSSD as a part time PhD candidate.Recent performance highlights include Jenny in GraeaeTheatre’s The ThreePenny Opera, various street theatreperformances with the Naturals Theatre Company,and sway pole performer in the Paralympic OpeningCeremony. She also works as a visiting lecturer forRCSSD, and as a workshop facilitator for various theatrecompanies, including Graeae Theatre and ExtantTheatre. For more information, see Amelia’s website orher blog below.I will explore the potential that I have as a blind theatre practitioner to “crip” the dominantly visual structures that intersectwith dramatic performance. I label these structures as “ocularcentric,” meaning that there is a privileging of sight overthe other senses, and that this privileging is a normative structure of able-bodiedness that both actors and audience areexpected to meet. I argue that when an actor is unable to meet this ocularcentric expectation, the processes by whichacting occurs and the subsequent representation of character have the potential to shift, rupture or fail all together. Thistrouble may then raise questions surrounding some normative structures within acting process and the implications thatthese structures have on wider concepts of representation. Trouble can be a place of tension, subversion and unease.It is also something that brings creative potential and the ability to identify previously unasked questions. Often thesequestions point towards unexplored terrain, with the potential answers having the ability to create more trouble andtherefore more questions. In my research, I question where the ocular sits in various acting techniques and styles, suchas Stanislavski’s naturalism, or various interpretations of Brecht. Within this, I also identify some of the troubling aspectsof crip performance, such as the concept of “cripping up” or passing as able-bodied on stage to fulfil various normativerepresentations of character and disability. Trouble also appears when access tools like audio description or line feedinginteract with acting processes. I am interested in exploring the effect that they might have on the creation of a character.This presentation will outline my practice as it has unfolded thus far in my research, point towards the questions that havebeen identified through my practice, and explore the trouble that has subsequently arisen.www.ameliacavallo.netameliacavallo.wordpress.comAmelia.Cavallo@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014685

Theatre and Consumers’ Society in Lithuania: From Rebellion to AdaptationNew Scholars’ ForumThe aim of my presentation is to define and review the relationship in contemporary Lithuania between theatre and consumersociety. In this paper consumer society is understood according to the theories set forth by Baumann, Baudillard, Jamesonand Eagleton. I will describe three approaches taken by contemporary theatre in Lithuania: the modern critique of consumersociety – the influence of the metaphorical theatre school and Lithuanian modern theatre traditions (directors like EimuntasNekrosius, Jonas Vaitkus and others); a rethinking of self-existence and shift in paradigms from the modern metaphoricaltheatre to the postmodern western theatre (e.g., Oskaras Korsunova’s theatre); and the influence of consumerism ontheatre production and the change in the concept of theatre management. Through theoretical approaches and practicalexamples, I will explain the influence on theatre production due to the changing social discourse from occupation period toindependence and the influence of consumerism, modifying Fromm’s postulate that being is equal to having. These are thenew forms that determine Lithuanian theatre production.Silvija Cizaite-RudokieneIndependent ScholarBorn in 1988. Since 2013 August works as a dramaturge inNational Kaunas Drama Theatre. Graduate bachelor’s andmaster’s degree studies in Vytautas Magnus University.Issue of dissertation: “Theatre and Consumers Society inLithuania: from Rebellion to Adaptation”. During the Masterstudies Silvija was awarded scholarships: “Professor BroniusVaškelis” and “Lithuanian art research”. Silvija publishedmore than 40 articles also was a member of committees oftheatre festivals: two times Fortūna member, internationalstudent festival “Po saule”, head of the committee in Alytuscomedy festival, consultant of Lithuanian drama laboratory.During studies she was “Theatre club” coordinator and oneof the theatre activity which topics were psychodramaand forum theatre methods. Silvija was theatrical evening“Persona Grata” moderators, participant in internationalLocalise Cultural Animation project, and author of thepapers in book „Creative Communities Field Notes“. At 2012attended in Estonian Theatre festival as a theatre criticand published the article in Estonia: Uus/vana siiruse SuurPauk. DRAAMA 2012. Järelkogumik. At 2013 participated inproject “Dancers vs Critics” as a dramatist.silvijacizaite@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014686

Post-Apartheid Stratification: The Trauma of Shattered Assumption in John Kani’s Nothing But theTruth.New Scholars’ ForumSoji ColeUniversity of IbadanTrauma has become one of the key interpretative categories of contemporary politics and culture. It is a conceptual toolwith historical application and moral specificity concerned with concrete psychological dynamics set in motion by events.This paper explores John Kani’s Nothing But the Truth as a dramatic text which explores the trauma of the immediate postapartheidSouth African society. Using the trauma theory of shattered assumption as propounded by Janoff-Bulman, thepaper argues that the play’s aesthetic is affected by its subject matter, as it attempts to address the psychoanalytic questionof how to conceptualize the interaction between the external reality and the internal reality (perceptions) of the characters.The shattered assumption in Nothing But the Truth suggests an act of witnessing as well as a performative response to thetraumatic events that mark South Africa’s history. By putting the characters in temporary spates of estrangement anddisillusionment, John Kani seems to fit the self into the embodying fragments that form an incomplete and discontinuousSouth African reality. As a play of trauma, Nothing But the Truth strives to build and to reveal memory, insisting that the tellingand the visualizing of traumatic stories are complicated process. It reframes the notion of victimhood, acknowledging thatone can come to know trauma through various means as it manifests itself differently on people’s minds and bodies, and thatone can concurrently be traumatized as a victim as well as a survivor.Soji Cole teaches playwriting in the Department ofTheatre Arts, University of Ibadan in Nigeria. He is awriter, actor, director and critic. He is a winner of theAfrican Theatre Association (AfTA) ‘Emerging Scholars’Prize’ in 2011. His essay; Trauma Unspeakable: Womenof Owu and the echoes of a Timeless Lament won a 2013International Federation for Theatre Research (IFTR)‘New Scholars’ Prize’. He is a recipient of The DiversityStudies International Teaching and Scholarship NetworkFellowship in 2013 at Carl von Ossietzky University,Oldenburg, Germany. By August, he will be taking upa 2014 – 2015 Fulbright JSD Research Scholarshipposition at Kansas State University, Manhattan,United States. His area of research is Drama therapy,Psychodrama and Trauma Studies.sojicole15us@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014687

Challenging the Uncertain: Medieval Board Games as Strategies for Coping with ContingencyNew Scholars’ ForumBoard games provide ‘similarity relations’ of the world, on account of which they can be read as moral, sociological orcosmological models. A constitutive feature is their performativity, caused by a combination of rules, spatial movements aswell as interactive networks between players as actors and game objects as actants. Thus, the knowledge negotiated throughthese games can be accessed through their performance only. It is impossible to translate game-related knowledge intoother forms of medial representation without epistemic losses.Michael Allman ConradFreie Universität BerlinMichael Allman Conrad (M. A.) studied theatre studiesand philosophy in Berlin and Mainz. His master thesisdiscusses photographic self-portraits as autonomoussubjectivation practices. Since 2012, he has beenworking as a research assistant in the project “Riskyfigurations of knowledge in the Middle Ages andEarly Modernity” under the guidance of Professor Dr.Helmar Schramm, where he investigates figurationsof risky knowledge from the Middle Ages to EarlyModernity in due consideration of ludic strategies forthe coping with contingency. The project is affiliatedto the Collaborative Research Center “Episteme inMotion. Transfer of Knowledge from the Ancient Worldto the Early Modern Period” at the Freie Universität inBerlin. Apart from that, his German translation of thephilosophical text book “Just the Arguments: 100 of theMost Important Arguments in Western Philosophy” byMichael Bruce and Steve Brabone was also published in2012.The confrontation with contingency is essential for the gaming experience and the joy of playing. Considering theepistemological double function of models, games at the same time contain models of contingency and models for copingwith it. Discussing the examples of medieval astrological board games, the presentation will therefore try to point out thatcontingency-related aspects of gaming were already being reflected during pre-modernity. These particular games areintroduced at the end of the Libro de los Juegos, a medieval manuscript compiled on behalf of King Alfonso X of Castile in1283. The book offers the first attempt in occidental history for a systematisation of board game-related knowledge. Byalso taking into account philosophical and theological debates of the 13th century, the talk will analyse board games in theircultural function as paradigms for an increasing awareness of contingency in terms of manageable risks, according to whichplaying, amongst other things, becomes a performative strategy for dealing with the uncertain.The presentation is associated with the project “Risky figurations of knowledge in the Middle Ages and Early Modernity”under the guidance of Professor Dr. Helmar Schramm.The astrological board game called “Escaques”, Alfonso X: Libro de los Juegos (The Book of Games), folio 96v.mconrad@zedat.fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014688

Performance Analysis of Where Did I Leave My Purdah?New Scholars’ ForumPerformance analysis studies has grown significantly after Pavis and attained considerable attention through the scholarshipof Schechner and others. My research focuses on three distinct layers of the performance analysis: the playwright, thedirector and the audience. The aims of my research are twofold. First, I investigate how Rasa theory can fit into performanceanalysis and address whether it is relevant for analysis. My second aim is to introduce rasa theory based performance analysismodel. The research, overall, deals with existing performance analysis models and limitations leading to a rasa theory-basedperformance analysis model. My presentation illustrates how the proposed model can be applied to a theatre performance,and I look at Mahesh Dattani’s Where Did I Leave My Purdah?(2013) directed by Lillete Dubey to analyze a specific moment(a still picture) with the proposed model providing detailed account of three layered approach of the model from point ofview of emotion. I viewed the performance at Chembur (Mumbai) on 2 nd February 2013 followed an interview with Dattaniand Dubey. I conclude by discussing how an emotion is differently felt by the playwright, perceived by the director in herinterpretation and received by the audience.Mrunal ChavdaUniversity of ExeterMrunal Chavda is a final year doctoral candidate at thedepartment of drama, university of Exeter. The title ofthe thesis is ‘Applying Rasa Aesthetics to British Asiantheatre and Contemporary Indian Theatre in English’.FIRT/IFTR World Congress, University of Warwick, 2014689

Re-Imagining the “African” Chronotope: The Exploration of Public Space by Contemporary TheatreTroupes in Nigeria and South AfricaNew Scholars’ ForumYing ChengSchool of Oriental and African Studies, University ofLondonMy encounter with African theatre was in 2009,when Nigerian playwright Femi Osofisan and theatrescholar Biodun Jeyifo came to China for the first time;I was fortunate to be chosen as the translator of theirpublic speeches in China. Later on, I became an M.A.student under their supervision at Peking University,and therefore had the privilege to be exposed totheir amazing interpretation of the vibrant theatreand performance culture in Africa. After gradationfrom China, in 2012, I was admitted by Departmentof African languages and cultures, SOAS, Universityof London, and officially started my PhD project onNigerian and South African theatre. In July and August2013, I completed my first field trip to Nigeria. Part ofmy presentation will be a reflection on contemporarytheatre activities in Lagos.My research project looks at contemporary examples of African dramatic performances, especially the emerging theatregroups in urban areas after 2000, and seeks to understand the dynamic intersection of theatre performance, public spaceand urban dwellers in Africa. I choose theatre groups from two Africa’s megacities, namely The Crown Troupe of Africabased in Lagos, Nigeria and Magnet Theatre based in Cape Town, South Africa, to explore the sociology of the contemporaryAfrican theatrical productions, especially relations between text and context, body and space, creativity and urbanization. Inorder to create critical spaces that emancipate from the constraints of an oppressive political climate, these contemporarytheatre practices employ communicative modes specific to systems of performance expression in responding to thehistorical, economic, political, social and ideological influences embodied in African urban experience, and transform themicro-spaces of everyday engagement and interaction into verbal and non-verbal texts. In terms of methodology, the studyproposes to consider both the finished work and the production process as fundamental aspects of investigating in whatways the everyday experience of living in an African city is represented, transformed and recreated.In the ten minutes presentation, I mainly use examples from the Crown Troupe of Africa and look at what kind of narrativeand performance spaces have they created, in attempts to engage with socio-political concerns affecting their immediateenvironment. Two productions drawn here, Mi Ò Ní Choice and Omo Dumping, relate to issues of excessive urbanization andsocial inequality in Lagos by represent the daily struggles of the “underclass” community in marginal urban space. With apowerful mixture of body language and elements from Yoruba popular culture, the productions stimulate new perceptionsand reflections among its performers and participants.chengying2008@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014690

Afghanistan, Shakespeare, and an Ethical Tragedy Of Errors?New Scholars’ ForumEdmund ChowUniversity of ManchesterEdmund Chow has been an educator in secondaryschools, university, and prison in Singapore since2001. He has been involved in the implementation ofdrama programmes for the rehabilitation of inmatesin New York and Singapore. He was also a committeemember with the Singapore Drama EducatorsAssociation (SDEA). Edmund has previously studiedwith Augusto Boal in Brazil and Robert Landy in NewYork. He received his Master’s degree in EducationalTheatre from New York University. With a postgraduatescholarship from the National Arts Council (Singapore),he is currently researching on theatre practices inAfghanistan and the construction of Afghan culturesin the post-9/11 period, supervised by Professor JamesThompson at the University of Manchester.In Afghanistan in 2005 French director Corinne Jaber directed Shakespeare’s “Love’s Labour Lost”, a production that wasconstrued as controversial and evocative. 2012 saw the same director export “The Comedy of Errors” from Afghanistanto the Globe Theatre with raving reviews from audiences. For what purposes were these performances made, and whatimplications were there for drawing on theatrical forms when public performances are still considered taboo in Kabul?Scholarship around the ethics of performance typically focuses on the vicarious acts of witnessing, and re-presenting,testimonies of horrors and tragedies (see Iball 2012, Keefe 2010, Luckhurst 2010, Thompson et al 2009). Borrowing Grehan’stheoretical positioning of Levinasian ethics, this presentation identifies the pragmatic complexities between responsibilityand aesthetics, in what Grehan calls “practical responsibility” involving choices in the midst of overwhelming tensions andglobal problems. My case study starts with Jaber’s claim “to do culture”, and not a “humanitarian project” in Afghanistan, whichcould be interpreted as an obstinate negligence of the dangers and taboos around theatre-making in Afghanistan, especiallyfor women. By specifically focusing on three Afghan actresses’ diverse responses to this theatre project – one feeling theneed to emancipate other women, another feeling visibly shaken by the possibilities of death threats, and another honouringthe sacrifices she is making – this case study further complicates and problematises the ethical responsibilities theatremakershave with their ensemble. In conclusion, I raise the possibility – and ethical dangers – in the complicity of globalaudiences and international theatre-makers in perpetuating violence in the name of culture, and reassert that the “ethicaldimensions of theatrical production and spectatorship cannot be separated from the specific historical circumstances inwhich they take place” (Ridout 2009).edmund.chow@postgrad.manchester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014691

Post-Apartheid Contradictions: Strategies In Post-Millenial South African Theatre And CultureNew Scholars’ ForumRobert CrotonKeele UniversityRobert Croton is a PhD candidate in Keele’s EnglishLiterature department. His project is funded by aFaculty of Humanities and Social Sciences Scholarship.He presented at the 3rd Biennial PSA Conference,“History, Postcolonialism and Tradition” at KingstonUniversity in September 2013. His paper was “The WineDark Atlantic’: Yael Farber’s Molora, and the History andTradition of South African and ‘World’ Theatre.” He alsoco-runs the Keele Work in Progress Forum at the RI forHumanities, and the Keele Postcolonial Forum. Robertwas awarded a BA (First Class) Hons. degree in Englishand History by Keele University in 2012, and a Masterof Research in Humanities (English Literature) by KeeleUniversity in 2014 (Distinction).In this presentation, I argue that, with the study of staging and performance in South Africa, there is a synergy betweenpostcolonial critiques of oppression, resistance and change. Drawing on Dwight Conquergood’s argument for orientingourselves at the ‘crossroads’ in Performance Studies, I analyse text, dramaturgy and plays in performance (particularlythrough scenography). The research question, what is the postcolonial, postapartheid significance of these representationsand techniques, will guide my presentation. With a shift in political aesthetics from apartheid to post-apartheid theatre,plays and practitioners have approached issues of South African identity politics from the stage. How this is achievedand performed is the object of my research. My presentation will establish how a new reading strategy, based aroundscenography and design (the materiality, meaning and aesthetics of performance), as well as text, can contribute to SouthAfrican performance studies. The National Theatre and Handspring Puppet Company’s War Horse (2007), and NicholasEllenbogen and Theatre for Africa’s Horn of Sorrow (1988) will be taken as case studies. Both play with the performance andconstruction of the human and animal on stage, and the relationships between human and animal in society. Scenography willbe shown to inform, and aestheticise, detailed political analysis of the production of meaning. These plays are opportunitiesfor performers and spectators to contest emotions, memories and trauma from the past, and therefore inform how topolitically tackle these issues in the present. The presentation will show how scenographic concepts can tackle interlinkingissues here from Animal Studies, environmentalism, postcolonialism, posthumanism, and the globalisation of theatre. To putit concisely, this presentation will show the potential of scenography as a scholarly framework: to further postcolonial theoryand performance studies in South Africa, and approach the complexity of political theatre in the past and present.r.j.croton@keele.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014692

Ta’zieh: The Persian Condolence TheatreNew Scholars’ ForumTa’zieh, or in different spelling Ta’ziyeh, terminologically means ‘mourning’ and/or ‘funeral’, but as a form of dramaticperformance it refers to a religious pageantry [held by Shi’a Muslims] which commemorates the martyrdom of ImamHussein, grandson of the Prophet Muhammad. Ta’zieh, which is considered as a tragic passion play, is the oldest religiousmourning/bereavement in Islamic tradition and narrates the history of the battle of Karbala. It is performed annually in Shi’aregions around the Middle East, especially in Iran, during the sacred month of Muharram. It is mostly performed in an openarea and consists of its special costumes. In my paper, I will primarily track back the history of the emergence of Ta’zieh as aperformative art in the history of the Persian theatre and then will study its long and gradual evolution during past centuries,especially during the late Qajar Iran (1785_1925). I will also discuss why at some periods during the Pahlavi dynasty (1925-1979)the performance of Ta’zieh had been forbidden in Iran, and how religious rituals, especially Ta’zieh, helped the advocates ofIslamic revolution of 1979 to propagandize their ideologies and put an end to the 2500-year tradition of monarchy in Iran.Esmaeil Najar DaronkolaePhD Student in Theatre History, Literature, and Criticism atthe Ohio State University, USAEsmaeil Najar Daronkolae is a PhD student in TheatreHistory, Literature, and Criticism at the Ohio StateUniversity. He received his Bachelor and Masters degrees inEnglish Literature in Tehran with concentration on modernBritish drama and Feminism. His interest in dramaticliterature during his studies coincided with his familiaritywith Gender and LGBT studies, especially the theories ofJudith Butler, which led him to have a “Butlerian Readingof Pam Gems’s Selected Plays” for his MA thesis. Besideshis emphasis on modern British drama, Iranian theatre,theatre history, and dramatic theory, his major plan for hisPhD at the Department of Theatre at OSU is to write PamGems’s biography and to re-introduce her and her worksto the younger generation of theatre lovers. His recentpublished essays include “James Joyce’s Usage of Dictionin Representation of Irish Society in Dubliners: The Analysisof ‘The Sisters’ and ‘The Dead’ in Historical Context,” “Bythe Name of Nature But Against Nature: An EcocriticalStudy of Joseph Conrad’s Heart of Darkness” [co-authoredwith Mehdi Bakhtiari], and “A Survey of Man’s Alienation inModern World: Existential Reading of Sam Shepard’s BuriedChild and True West” [co-authored with Mehdi Bakhtiari].najardaronkolae.1@buckeyemail.osu.eduFIRT/IFTR World Congress, University of Warwick, 2014693

Change and Deconstruction of Stage Hero in Post-Soviet Lithuanian TheatreNew Scholars’ ForumDeimante Dementaviciute-StankuvieneVytautas Magnus UniversityBorn in 1983. PhD student in Theatre Studies atVytautas Magnus University, in Kaunas, Lithuania(2011- to present). Holds MA in Theatre Studiesand Management and BA in Theory and History ofArts from VMU. Dissertation theme – changing anddeconstruction of the hero archetype in post-SovietLithuanian drama theatre. Research interests include:study of the stage hero, modern drama, particularly A.Strindberg’s dramas and processes of the contemporarytheatre.What and how stage heroes have been portrayed in theatre stage since Lithuania regained its independence in 1990? Thetheme of heroism is especially relevant when the Lithuanian theatre is discussed. The change of hero is inevitably relatedto social, political and cultural changes in Lithuania, thus, each decade is characterized by a slightly different stage hero. Itshould be noted that, in comparison to the Soviet period, during the last decade of the previous century, theatre directorswere bolder and freer in their interpretations of the classic Western heroes; great attention was paid to heroes of moderndramaturgy. In the twenty first century, the deconstruction of both classic and national heroes, and of the hero archetypehas been noticed. Recently, it has been attempted to remove the boundary between the concepts of reality and theatre bymoving heroes from political, Lithuanian everyday life to the stage; what is more, the concepts of hero and heroism have beendiscussed. All of this can be discerned in Oskaras Korsunovas’ performances. The performance Isvarymas (2011) analyses thetheme of emigration, the portraits of emigrants. The play was developed on the basis of the stories of emigrants, collectedand documented by the dramatist. Through the main (anti) hero – an emigrant – the problem of identity, and the search forit, is revealed. He reflects the portrait of a post-colonial subject: is ambivalent, imitating, living in permanent formation, hisportrait is fragmented. In emigration, he experiences many challenges and disasters, and the question that is being raised iswhether he is a hero or not. In an attempt to reveal the contradictory nature of the main character, O. Korsunovas uses thepostdramatic theatre style – an open structure of performance, dissociation of meaning, visual dramaturgy.deimantedi@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014694

Performing Time in Moving House CompanyNew Scholars’ ForumKornélia DeresEötvös Loránd UniversityIn my presentation I would like to take a closer look on the staging of time in contemporary Hungarian theatre from anintermedial perspective. By integrating the aesthetics and technologies of various forms of media, theatre as a hypermediumis able to address the different modes and techniques of human perception and offer an in-between mediality for spectators(see Bolter and Grusin 1999, Boenisch 2003, Balme 2004). Following these implications, I investigate how theatricalintermediality calls attention to the fragmented and constructed nature of perceiving time by showing a constant gap inwhich the binary oppositions of presence and absence, memory and imagination, the real and the imaginary are suspended.I am examining what happens when various constructions of time are juxtaposed on stage, mirroring multisensoral andmultimedial models of perception and at the same time denying linear narration and sequential layering of time and space(see Deleuze 1989, Gumbrecht 2011). In doing so, I analyse productions by Moving House Company (1996-2004), a Hungariancollective which was interested in how visual media (re)form the conception of time and memories in theatre. While retellingwell-known dramatic pieces from different viewpoints, their productions show how in-between mediality works bycombining mediatized and actual presence in a reflected way. Thus Moving House Company sets out the problem of how thesimultaneous time of the bodies and technologies affects the conventions of representation and the models of perception.Kornélia Deres studied English and Hungarian Studiesat Eötvös Loránd University, Budapest from 2005-2011. In 2011 she earned an MA in Hungarian Studieswith the thesis entitled „The Changing System ofHungarian Theatre After 1989” and in English Studieswith the thesis entitled „Documentary Theatre”. Since2011 she is a doctoral student within the ComparativeLiterary Studies Doctoral Programme at Eötvös LorándUniversity. As a researcher she is interested in the topicof intermediality within contemporary theatre. In 2013she was a research fellow at TheaterwissenschaftlicheSammlung, Köln. Besides her doctoral studies she is acritic, poet and editor.dereskornelia@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014695

Satyashodhak: Hegemonic Depositions through TheatreNew Scholars’ ForumMadhuri DixitTata Institute of Social SciencesI work as Assistant Professor in Pemraj SaradaCollege at Ahmednagar (MH) India. I am presently adoctoral student of Tata Institute of Social Sciences,Mumbai, India. For my doctoral research I am workingon representation of women in Marathi theatreperformances. My recent publication is ‘Begum Barve:Embodiment of Subversive Fantasy’, published in SouthAsian Film and Media Studies, Vol 5.1 (October 2013).I occasionally write about social and cultural issues inprint media and my academic interests include culturalstudies and gender and caste discourse in India.kishore_darak@yahoo.comNineteenth-century visionary Indian leader Jotirao Phule’s actions and writings address questions of dignity and access toresources for marginalized people, including Dalit and women. His critical thought exposed cultural and social appearancesof caste hegemony and aimed at annihilating caste and bringing in gender equality. His insights and works generated thenon-brahmanical discourse (brahmin being the highest in caste hierarchy) that has ideologically sustained counter culture tothe present. The play Satyashodhak (Seeker after Truth), written in Marathi by G P Deshpande and first performed in 1993,is based on Phule’s life. It was recently rejuvenated in 2012 by director Atul Pethe as a project of political education of PuneMunicipal sanitation workers, the majority of whom belong to the (formerly untouchable) Scheduled Castes. Accordingly,the workers were cast as actors in the performance, except in lead roles. Their marginalized social status and absence ofany previous engagement with theatre justified their participation as the unique selling point of the play. Recalling Phule’sunderstanding of caste and brahmanism, and his ways of emancipating politics, critical readings of the performance identifieda theatrical attempt to reinstate cultural hegemony and reinterpret Phule in subtle brahmanical ways. Interestingly, thesubsequent debate among Marathi intelligentsia chose to address questions of appropriateness of the critique over theatricalpolitics. Examining advertised qualifications of the performance, I intend to understand entanglement of reassertion ofcaste hegemony and theatrical conventions. I use the idea of stratification to show implications of theatrically powerful buthistorically unwarranted Brahmin friendliness of non-brahmanical discourse vis-à-vis current identity politics. My methodis to dissect layers of meaning generated by social actions, theatrical visuals and published documents which support myconclusion that the theatrical equals the political.1. A review of the playhttp://kafila.org/2012/06/17/satyashodhak-a-performance-3/2. Critical appreciation of the playhttp://kafila.org/2012/07/07/satyashodhak-brahminical-manoeuvre-madhuri-m-dixit/3. Website of the playhttp://satyashodhakplay.wordpress.com/4. Another review of the playhttp://www.mumbaitheatreguide.com/dramas/marathi/07-satyashodhak-marathi-play-preview.asp5. Photos of the playhttp://satyashodhakplay.wordpress.com/%E0%A4%AB%E0%A5%8B%E0%A4%9F%E0%A5%8B/6. Interview of the director, Atul Pethehttp://www.youtube.com/watch?v=zp5RMbnyaEwFIRT/IFTR World Congress, University of Warwick, 2014696

In the Shoes of an(Other): Toward a Definition of Immersive TheatreNew Scholars’ ForumNandita DineshMahindra United World College and University of CapeTownOver the last two decades the term “immersive theatre” has been invoked to describe a number of performances: fromthe UHC Collective’s week-long performance installations of Guantanamo Bay for a small number of volunteer-spectators(This is Camp X-Ray); to the site-specific, multi-sensorial, promenade performances by Punchdrunk that are inspired byexisting texts (Sleep No More, Faust); to a UN sponsored ‘simulation’ that seeks to educate audiences about the lives ofasylum seekers in the European Union (Un Voyage Pas Comme Les Autres Sur Les Chemins De L’Exil); to many more. Giventhis burgeoning trend of immersive performances, and given the limited literature that is available about the genre, mypaper will seek to arrive at a definition for this form of theatrical performance by considering its characteristics, political/pedagogical potential, and the risks/ethical complications when putting audience members – quite literally – in the shoesof an(Other). By analysing and reflecting upon instances from immersive theatre experiments that are part of my doctoralwork in Kashmir, this paper will problematize and theorise the possibilities and risks that the immersive form presents;especially when dealing with sensitive/ volatile conflicts and contexts. By highlighting the liminality, the ‘in-between-ness’, ofimmersive performances, this paper will propose a working definition for immersive theatre – a definition which might framean understanding, analysis, and critique of the form.Nandita Dinesh is a PhD candidate at the Universityof Cape Town, South Africa. Nandita has an M.A. inPerformance Studies from New York University, andholds a B.A. in Economics and Theatre Studies fromWellesley College, USA. As a recipient of the WatsonFellowship, Nandita pursued a project entitled ‘All theworld is a stage: Using Theatre to Address Conflict’ andparticipated in community theatre projects in Rwanda,Northern Ireland and Guatemala. With her primaryinterest in the role that theatre can play during / aftertimes of war, Nandita has conducted communitybasedtheatre projects in India, Mexico, Costa Rica,Guatemala, Rwanda, Uganda, Kenya, and Zimbabwe.As an early career researcher, Nandita’s work hasbeen presented/ published in: the African TheatreAssociation conference at the University of Cape Town,South Africa (2012), the South African Theatre Journal(2013), the Brown International Advanced ResearchInstitutes at Brown University, USA (2013), and theDrama for Life conference at the University of theWitwatersrand, Johannesburg (2013).nanditadinesh@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014697

Camp: ‘Difference’ as ‘Defiance’?New Scholars’ ForumSimon DodiRoyal Central School of Speech and DramaI am a recent graduate of the MA Performance Designand Practice course at Central Saint Martins Collegeof Art & Design and previously undertook my BA inDrama, Applied Theatre and Education at the CentralSchool of Speech and Drama. For my MPhil/PhDprogramme I have returned to the Central School withinJanuary of this year. I have proposed to continue myresearch within the discourse of Camp, focusing onthe performative and performance of identities in thepast, through archival analysis and locating connectionswithin the present through my performing body. Iam pursuing to work through a practice as researchmethodology, experimenting with my current practiceas a performer and performance maker currentlyexploring to make work within the boundaries of thetheatrical and live art.My research is within the discourse of Camp, signifying codes of gesture, posture and speech as excessive social mannerismsof effeminacy that express a sign of homosexuality in the past, and locating these within the present. Matt Houlbrookintroduces a testimony of Camp within Queer London (2006), as having a defiant role against what had been historicallyconsidered as normative structures and presentations of gender and sexuality. My main argument for this paper is to initiallychallenge Susan Sontag’s article Notes on Camp (1964) that propelled the term into a dominant ideology, and to speak aboutmy performance work and research on my MA programme which experimented with a methodology as cited by Moe Meyer,to reclaim the appropriated term from dominant ideology towards a theory to “provide an oppositional queer critique”(Meyer, 1994). By discussing my own performance practice that experimented with existing texts, I will demonstrate how Ihave used the tools of parody and exaggeration to subvert the presentation of normative gender binaries in relation to sexualorientation within these texts. I will explain my process of using Camp as a performance methodology, as cited by Meyer,to draw the discourse of Camp away from the appropriated dominant use by Sontag, and towards the origin introduced byHoulbrook, through the past Queer identities within London. Can using Camp as a performance methodology put into effectthe destabilising aspect of the Camp sign, or does exaggeration within the tools of subversion not allow for an oppositionalcritique?For the example of practice cited within the paper please see:http://www.luxuriouxsnacks.com/in-the-name-of-love/simondodi@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014698

The Sensational Body: A Study of the Audience´s Emotions, the Body on Stage and a Bearded ManNew Scholars’ ForumJonas EklundStockholm UniversityThe body has a central function in almost all kinds of artistic stage performance; the body is the tool used to give meaning toan action, to show a course of events or to tell a story. However, in some genres the body seems to be the main purpose ofthe act, the tool and the story all at once. I suggest that this is the case in three entertainment genres: burlesque, circus andfreak shows. The aim of my larger research project is to broaden the understanding of how, in these genres, the onstage bodyevokes emotions in the audience. The object of my studies are contemporary stage shows in the abovementioned genres. Mymethodology parallels performance and audience analysis, as I look for bodily emotive reactions in the audience and relatethese reactions to the actions on stage. Using Sauter´s model of communication in theatrical events, I will break down thecommunication, created by the bodily actions on stage, focusing on a sensory level, an artistic level and a symbolic level. Tobuild my case on the cause of the emotive reactions, I will use a range of theoretical ideas from other fields, applying themto the different levels of the acts. Hopefully this approach will provide clues to the cause of the reactions on a micro level,that all combined create a greater understanding of the audience emotive reactions at large. In my paper I will try out myproposed method by analyzing a circus act in the Cirkus Cirkör show Undermän (2011). Using ideas from gender studies andresearch on masculinity, I attempt to understand how the audience´s perception of the body in the act, and their emotiveresponse to it, are constructed in relation to the representation of masculinity in the showJonas Eklund (1981) is a PhD candidate in TheatreStudies, at the Department of Musicology andPerformance Studies at Stockholm University. He iscurrently writing his PhD dissertation on the audience’sreactions to the body on stage in Burlesque, Circus andFreak Show. He obtained a degree of Master of Artsin Theatre Studies from Stockholm University in 2012,writing his thesis on Nils Poppe (a Swedish comedyactor) and his comical acting, analyzed through aphenomenological point of view.jonas.eklund@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014699

Reflection on the Workshop Hemmed-Bodies: Testing the Significance of Costumed-Bodies Througha Study of the Tanztheater WuppertalNew Scholars’ ForumKatie ElliotWimbledon College of Arts, University of the ArtsLondonI am a costume designer and AHRC-funded PhDstudent at Wimbledon College of Art. My practice-ledPhD research examines the signification of costumedbodiesthrough a study of the German dance-theatrecompany Tanztheater Wuppertal. I have a 1st Class BA(Hons) in Costume Design from Wimbledon College ofArt, a distinction in MRes: Arts Practice (AHRC) fromChelsea College of Art and am currently employedby the University of the Arts London as a GraduateTeaching Assistant. As a member of TaPRA, I havedisseminated my PhD research at the 2013 TaPRAconference (Scenography Working Group).This presentation will reflect on “Hemmed-Bodies”, a practical costume workshop I conducted with volunteer performersat Wimbledon College of Arts. I propose that, while the performer’s body and the costume are inextricably connected,this workshop revealed instances where costume became critically distinguishable from the body of the performer, andthat these offer ways of exposing the workings of the costumed-body in performance. Hemmed-Bodies forms part ofan ongoing practice-led PhD (AHRC) into the significance of costumed-bodies through a study of the German dancetheatrecompany Tanztheater Wuppertal. In this research I use my position as a costume designer, drawer, and spectator oftheatre to respond to the under-representation of the costumed-body in current critical discourse relating to theatre andperformance. This paper will begin by explaining how the fluctuation of the costume’s hem as the dancer moved throughthe space, described in this study as ‘hem-steps’, stimulated the design of costumes that intended to highlight the aspectof ‘hem’. It will then present a one minute section of film edited down from footage taken during Hemmed-Bodies and willsummarise the main findings of the workshop.http://katieelliottcostumedesign.weebly.com/k.elliott7@wimbledon.arts.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014700

The (En)activated Spectator: How Sensory Modification Effects ReceptionNew Scholars’ ForumNatalia EslingUniversity of TorontoNatalia Esling is a second-year PhD student at theCentre for Drama, Theatre, and Performance Studiesat the University of Toronto. She holds a Master’s inEuropean Theatre from the University of Edinburgh.Her writing has been most recently published in theCanadian Theatre Review (CTR) and she is the recipientof an Ontario Government Scholarship (OGS). Trainedas a dancer, her research interests include theoriesof embodiment and perception, audience receptionin contemporary performance, site-specific andimmersive theatre, cognition studies, and contemporarydramaturgy.My research draws on theories of embodied and enactive cognition to evaluate the effects on audience reception ofblindfolding the spectator during an immersive/participatory performance. My approach to analysing the effects of this‘sense-specific’ disruption is to consider audience reception from the standpoints of both phenomenology and cognitivescience. I argue that, in the absence of visual signs, the generation of meaning becomes a redistribution of attention amongthe senses, relying less on symbolic cues and more on psychophysical and physiological encounters and responses. Followingmy case study (Projet in situ’s piece « Tu vois ce que je veux dire ? »), I evaluate the relationship between the blindfoldedspectator/participant and her dancer/guide in terms of conventional theories of audience reception. I then attend tothe spectator’s experience, proposing that the parameters of engagement for the piece are adaptable, which allows thespectator to experience a renewed sense of embodiment. Here, meaning is generated through the body and through action,and is not contingent upon informational interactions (Di Paulo 2012). I attempt to identify how an enactive theory ofspectatorship affects the quality of appreciation for this particular performance. Enactivism understands that our actionsand experiences are informed by “situated embodied interactions and engagements with worldly offerings” (Hutto and Myin2013). And yet, while basic mentality—understood as mental activity demonstrating both phenomenality and intentionaldirectedness—presumes to entail “the manipulation of content,” Hutto and Myin posit that embodied interactions arenot inherently “contentful.” Building on the concept of enactive representation, this presentation addresses the followingquestions: what are the physiological and perceptual effects of withdrawing the sense of sight, specifically in the contextof a performance that identifies itself as choreographic and involves self-motion? And how does this sensory modificationenhance or limit the process of “sense-making” for the spectator/participant (Machon 2011)?natalia.esling@mail.utoronto.caFIRT/IFTR World Congress, University of Warwick, 2014701

Assessment Centres as a Theatrical DeviceNew Scholars’ ForumToday we are aware of the phenomena of an omnipresent aestheticization and theatricalisation of the economic sphere.These phenomena express themselves in different ways: the concept of “corporate identity”, the mise en scene of productpresentations are all part of this, as well as theories of staging in everyday life of employees. These aspects build a kind ofmatrix for the use of applied theatre in economics as it will be presented in the following. For beyond these examples oftheatricality in the context of economics there is an ongoing interweaving of applied theatre and economy, that has grownin relevance and quantity over the last decades.Florian EversFreie Universität BerlinFlorian Evers studied Film and Theatre Studies at theFreie Universität Berlin. He has worked as a freelancewriter and transmedia storyteller and is the author ofthe book Vexierbilder des Holocaust focusing on theShoah as a theme in popular culture. Most recently, heco-authored the transmedia game TwinKomplex. SinceMarch 2013, he has worked as a research associate forthe ERC project The Aesthetics of Applied Theatre in theInstitute for Theatre Studies at the Freie UniversitätBerlin. As part of the subproject Corporate Theatre, heis working on a Ph.D. about assessment centres as atheatrical device.Even within the context of academic research on applied theatre, a theatre studies approach to the subject of the assessmentcentre appears to be largely unexplored. At an assessment centre, applicants are evaluated for several hours or even daysin improvised role-playing games, in order to determine not just their suitability for an advertised position, but also theircompatibility with the culture of the respective company. These theatre situations are used to assess their assertiveness,communication skills, and ludic innovation potential. The theatrical segments of the assessment centre procedure includesimulations of typical working situations in companies, stagings of business lunch or even fictional situations like survivingon a lonely island. These procedures raise questions towards the theatrical concepts of “play” and “role” as well as to theconcept of “games”. Why is it that human resource management seeks authenticity by theatrical means? What kind ofsubjectivity is required of an ideal candidate who excels in a role-play? Given that the role-plays of assessment centresare theatrical situations, but far away from being art, a practical example for such a “serious game” being played during apersonnel selection will be presented and discussed.http://www.applied-theatre.org/people/florian-eversevers.florian@googlemail.comFIRT/IFTR World Congress, University of Warwick, 2014702

Teacher-Artist-Spectator: An Empirical Reception StudyNew Scholars’ ForumTaís FerreiraUniversidade Federal de Pelotas and UniversidadeFederal da BahiaThis paper is about an empirical audience study with Brazilian dance and theater teachers. It’s a PhD research in progress atFederal University of Bahia, Brazil. For research contextualization is important to say that Brazilian governmental documentsfor basic education promulgate that an important level of art’s learning and teaching is the reception of cultural artifactsand the aesthetics fruition of art. However, the performing arts pedagogy in Brazil prefers developing the art practice thanthe theory and historical contextualization or the reception and aesthetic experiences. Thus, which experiences cross thetheater and dance teacher’s formation as spectators? And how teachers get conceptual and practice tools for developingan educative process in “spectator pedagogy”? Then, here is presented an empirical study with teachers for understandinghow success their trajectories as spectators and how these experiences influence their pedagogical practices in performingarts education. Where these teachers learn to be spectators? Which their experiences (formal and informal) as performingarts spectators? How these can influence their pedagogical practices? These are main questions in this research. Theresearch methodologies for the data construction are qualitative and quantitative, using tools as survey, large and openedquestionnaires, besides written testimonials. The theoretic referentials are the Cultural Studies, the Marco the Marinis’new teatrology, Marie-Madeleine Mervant-Roux’s spectators’ studies and the Jacques Rancière’s philosophy, among otherimportant studies about audience, reception and spectators experiences.Theater teacher at Federal University of Pelotas (Brazil),teaching and researching since 2004. Graduated inPerforming Arts from Federal University of Rio Grandedo Sul (2002), had a Master Degree in Educationfrom the same institution (2005). Ph.D. in progress inGraduate Program in Performing Arts from FederalUniversity of Bahia (Brazil) and cotutela in University ofBologna (Italy), under direction of Dr. Marco de Marinis.She has experience in Performing Arts, acting on thefollowing subjects: theater and education, receptionstudies, audiences studies, cultural studies and teacher’straining. She wrote many papers and books, publicatedin Brazil and others countries.http://lattes.cnpq.br/1053344699071170https://ufpel.academia.edu/Ta%C3%ADsFerreirataisferreirateatro@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014703

In Name Only? Transforming Education Programmes in UK TheatresNew Scholars’ ForumWhy did some theatres in Britain change their Education Departments to Creative Learning Departments? Is this a genuinemake-over or merely trendy cosmetics? My research considers the shift some UK theatres have undergone in renamingand retooling their Education departments. Have the content, focus and delivery changed in these departments, and, ifso, what are the ramifications? Have projects in education and learning departments been ‘directed towards deliveringpredetermined targets’ by policy and funding mandates? And how has New Labour and Arts Council England’s positionon ‘Creativity’ affected these projects and departments? By taking a brief, but broad, historical overview and then delvingdeeper into current policy and terminology, this paper examines the landscape of subsidised theatre education departmentsin the United Kingdom today and includes key case studies such as the Tricycle Theatre and the National Theatre.Phoebe Ferris-RotmanBirkbeck, University of LondonPhoebe Ferris-Rotman, an MA student in the ArtsPolicy and Management course at Birkbeck, is currentlyworking in performing arts education. Over the pastyear she has worked with the UK-wide ShakespeareSchools Festival and has helped run workshops atthe Tricycle Theatre in London. She also worked as aresearcher on the Unfinished Histories archive project,documenting the British alternative theatre movementfrom 1968-1988. She is currently researching recentdevelopments in education departments in UK theatresas part of her degree.phoebefr@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014704

Commemoration and Enactment in Twenty-First Century Russian Documentary TheatreNew Scholars’ ForumMolly FlynnKings College, University of CambridgeI am currently writing my doctoral thesis on Russiandocumentary theatre in the Slavonic StudiesDepartment at the University of Cambridge. Myresearch draws on my experience as a performer andcollaborator in one of Moscow’s leading documentarytheatre collectives. It seeks to contextualize the rapidgrowth of documentary theatre within the sociopoliticalsetting of the Putin years, and illustrateshow Russia’s growing interest in documentary formsaddresses certain cultural anxieties around theauthenticity of documents, the sincerity of testimony,and the dynamics of cultural memory in twenty-firstcentury Russian culture.February 2012 marked the ten-year anniversary of one of Russia’s most prolific and politically active theatre venues.Found on a side street not far from Moscow’s Pushkinskaia metro station, the chipped and varnished walls of the smallbasement black-box theatre Teatr.doc, or simply ‘doc’ as it is known to those who frequent it, have offered a home tomany of Russia’s most innovative and socially engaged theatre artists. In the decade following the dissolution of the SovietUnion, young Russian playwrights revived contemporary drama with their exploration and portrayal of everyday life inpost-Soviet Russia. Their pursuit of realistic dialogue soon found a close ally in verbatim theatre as it was introduced toRussian playwrights in a 1999 master-class led by delegates of London’s Royal Court Theatre. Since that time verbatimplaywriting and documentary methods have become integral to the development of contemporary Russian theatre. In itsshort fifteen-year history, documentary theatre has come to the forefront of the Russia’s experimental theatre practice.While documentary theatre became a darling of political performance internationally throughout the second half of thetwentieth-century, this presentation suggests that there are certain cultural and historical factors that distinguish thepractice as performed in its contemporary Russian context. I suggest that the notable interest in documentary theatre inMoscow, as well as throughout the country, has initiated an important process through which both artists and audiencescan publicly address the country’s fraught relationship to its past. By considering Russia’s documentary theatre practice asa unique form of cultural commemoration, this presentation illustrates how the performance of theatrical re-enactmenthas, in fact, become a primary mode for the enactment of new cultural narratives in twenty-first-century Russia.mollymaxine@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014705

Suffragettes Under Cover: The Role of the Comic Female in Evelyn Glover’s Suffrage Comedy AChat with Mrs ChickyNew Scholars’ ForumRebecca FlynnUniversity of CalgaryRebecca Flynn is currently a first year graduate studentenrolled in the MFA Theatre Studies program at theUniversity of Calgary. Rebecca recently completedher BAH degree in Drama and English literature fromQueen’s University. She worked as a Teaching Assistantat both Queen’s University and the University ofCalgary and is currently a Research Assistant withinthe University of Calgary’s Drama program. In additionto work in academia, Rebecca has been an actor,performer and writer with several years of involvementin both professional and non-professional theatrecompanies throughout Ontario and Alberta, Canada.This presentation examines the role of the female character and the adaptation of traditional comic form in Evelyn Glover’sone-act suffrage comedy A Chat with Mrs. Chicky (1913). The presentation places specific focus on how the insertion of acomic feminist character like Mrs. Chicky effectively contributed to the execution and reception of pro-suffrage sentimentson the turn-of-the-century stage in Britain. Methodologically, the presentation provides a close reading of Glover’s playand consults key archival material including production history, play reviews and historical and political context that situatesthe play within the late-nineteenth and early-twentieth century suffrage movement occurring on and off stage in Britain.Through Glover’s strategic use of the empowered Mrs. Chicky, this presentation examines how the comic female characteralters comic form and shaped the reception of pro-suffrage messages. By eliminating the conventional marital conclusionthat often accompanies comedies of the period, Glover’s comedy promotes a feminist, pro-suffrage message through the“victory” and “celebration” of an independent and empowered female character. In A Chat with Mrs. Chicky, the insertionof a witty, working-class female character in place of the conventional male comic hero grounds the play in immediatesocial relevancy, and in addition to promoting women’s enfranchisement as a step toward social continuity, opens up adiscussion about the economic diversity of women affected by the need for voting rights. The role of the empowered femalecharacter in Glover’s duologue stands as a bold departure from traditional theories of comedy, providing audiences witha revolutionary piece of theatre that held both dramatic and socio-political importance and would impact the scope andlegacy of modernist-feminist theatre during the fin-de-siècle in Britain.riflynn@ucalgary.caFIRT/IFTR World Congress, University of Warwick, 2014706

Parodies d’Ubu en espagnol : les adaptations de Teatro de los Andes et Els JoglarsNew Scholars’ ForumLaura FólicaPompeu Fabra UniversityDans cette communication on étudiera comment la traduction et adaptation d’une oeuvre de théâtre étrangère, parle biais de la parodie, permet de lancer une critique des rapports de pouvoir dans la société cible. Dès la perspectivethéorique des Études Descriptives de Traduction et des Études de Théâtre Comparées, on analysera deux adaptationsen espagnol de la pièce française Ubu roi (1896) d’Alfred Jarry réalisées par deux compagnies contemporaines : “Ubú enBolivia” (1994) de Teatro de los Andes et “Ubú president o Los últimos días de Pompeya” (2001) de Els Joglars. L’objectifest de comparer les scénarios des adaptations avec le texte français, en mettant en relief les éléments dans lesquelsl’adaptation s’éloigne de l’orignal selon un dessein parodique –pour ce faire on se concentrera surtout sur les « culturèmes» ou références culturelles. Dans ce sens et suivant à Linda Hutcheon dans sa théorie de la parodie, on ne se limitera pasà étudier les transformations opérées dans les textes dans leur rapport d’intertextualité, mais aussi on mettra l’accentsur la description des conditions de production des adaptations choisies. En d’autres termes, on étudiera non seulementles énoncés en question, mais aussi et surtout l’acte d’énonciation dans lequel ils tiennent place: la Bolivie (pour le Teatrode los Andes) et la Catalogne (pour Els Joglars), à l’époque de récupération démocratique de deux nations vers la fin duXXème siècle. En reprenant la force révulsive de la pièce française d’Alfred Jarry, les adaptations se serviront du motif duroi Ubu pour dénoncer, dès une approche interculturelle, les rapports de pouvoir et inégalité dans les sociétés cibles.Laura Fólica, née à Buenos Aires et habite à Barcelone.Elle est doctorante à l’Université Pompeu Fabra, où elleenseigne la traduction et la traductologie dans le cadredu Département de Traduction et Sciences du Langage.En tant que chercheuse, elle étudie la réceptionlittéraire d’Alfred Jarry et la ‘Pataphysique en AmériqueLatine et Espagne. Ses lignes de recherche sontl’histoire et la sociologie de la traduction, la réceptionlittéraire des avant-gardes et la traduction théâtrale.Comme traductrice littéraire, elle a traduit versl’espagnol des livres des auteurs tels que R. Chartier, E.Roudinesco, E. Traverso, Ch. Péguy, R. Goscinny, etc.laurafolica@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014707

“Theatre is a Public Sauna”: New Political Drama from Finland in the Tradition of Bertolt BrechtNew Scholars’ ForumNiklas FüllnerRuhr University BochumIn the last decade new drama has gained an extraordinary status in Finnish theatre and accounts today for more than onefourthof the repertoire of all theatres. One of the distinctive features of the new drama is that it wants to engage with theeveryday experience of the theatre audience. Finnish dramatists, aiming to contribute to a “repoliticization of the contemporaryFinnish society”, as theatre researcher Hanna Helavuori concludes, create plays which touch today’s social problemsand discuss political developments. This way they offer the theatregoers the possibility of experiencing community in away similar to a “public sauna”, as the director Kristian Smeds puts it. And not only the topics but also the writing style havechanged. The dramatists do not longer want to adhere to the socio-realist tradition that has dominated Finnish theatre anddrama since its beginnings. In search of ways to both speak critically about societal issues and to overcome realism in theirplays, many of them interestingly recur to the methods of Bertolt Brecht’s epic theatre. Examples of this new writing stylegrounded in Brechtian thinking are the works of Juha Jokela, Mika Myllyaho, Emilia Pöyhönen and Esa Leskinen. In my presentationI will describe the significant elements of Brecht’s theatre that are applied in Juha Jokela’s Esitystalous (PerformanceEconomy, 2010) and explain how they were transferred to the stage in the play’s premiere. The aim of my presentation will beto approach the questions of how the new political theatre in Finland can be characterised and how it can be distinguishedfrom Hans-Thies Lehmann’s often-quoted approach to political theatre as postulated in his Postdramatic Theatre.Niklas Füllner, born 1983, studied Theatre Researchand English Literature and Culture at the universitiesof Bayreuth, Bochum and Helsinki. In July 2014 hefinished his PhD at the Institute of Theatre Studies atRuhr University Bochum where he is currently workingas a lecturer. For his research project Brecht’s dramatictradition in the contemporary political drama in Finlandhe was awarded a three-year scholarship by theFaculty of Philology of the Ruhr University Bochum inOctober 2010. Niklas Füllner has presented his researchproject at conferences at the universities of Munich,Germany, and Tampere, Finland. He is also working asa lecturer at the Centre of Fine Arts of Ruhr UniversityBochum where he has directed several student theatreproductions.niklas.fuellner@rub.deFIRT/IFTR World Congress, University of Warwick, 2014708

Víctor Jara, an emblematic director of pre-dictatorship (1955-1973) Chilean (and Latin American)theaterNew Scholars’ ForumJimmy GavilánPontificia Universidad Catolica de ChileThe professional theater director figure emerged in Chile in the 1940s, as part of the founding of university theatres underthe auspices of the University of Chile and the Pontifical Catholic University of Chile. Educational reforms in Pedro AguirreCerda’s government promoted the professionalization of people related to the art world, particularly those in the areasof theater, where the emblematic figure of this process was the actor, director and musician Víctor Jara. My paper aimsto describe Jara’s career in the Chilean theater between 1955 and 1973. Thus, it seeks to outline the main coordinates ofhis stagings, which displayed an intense pursuit of a sonic universe, a rhythmic-scenographic consciousness, a significantpresence of the body on stage as a dancing object, and the use of live music, among other concerns present throughout hisprofessional stage career. Certainly, Víctor Jara embodied a pivotal role, not only in the history of Chilean music – consideringhis role as a singer-songwriter of the New Song Movement – but also within the country’s theater historiography. Retrievingthe career of this artist is a memory exercise attached to the need to understand the cultural shaping of Chile at that time,especially within a theater interested in achieving professional status.Jimmy Gavilán holds a bachelor’s degree in SpanishLiterature, and a master’s degree in Journalism, bothat Pontificia Universidad Católica de Chile. He hasparticipated in projects related to theater, criticaldiscourse analysis, and attended literature congressesin Chile and Argentina. He is currently writing hisbook “History of theater directing in Chile: 1940-1979” (National Research FONDART 2013), which issupported by a national research fund. His graduatethesis was on cultural movements in the Chilean prisonsystem. Since 2011 he works as a cultural journalist in theChilean newspaper El Mercurio.jimm.i.gavilan@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014709

Bringing Back “Political Theatre” through TEPANTOR (Unbound Space)New Scholars’ ForumPujya GhoshJawaharlal Nehru UniversityI am a 28 years old research scholar and presently in the3 rd year of my PhD in JNU, New Delhi. My current researchis titled “Permutations of Politics and Performance: Activism,Space and the Ethos of 1960’s and 70’s”. I completedmy M.Phil in Theatre and Performance in 2011. Idid my graduation and post graduation in Sociology fromPresidency College, Kolkata and JNU respectively. I havedone some amateur theatre contributing both on andoff-stage. I have also been a political activist since 2004.My research interest lies in the relation between politicsand performance. My background of studying Sociologyprovides a strong methodological base to my work. I amespecially interested in the period of 1960 and 70s andthe way it marked the cultural, intellectual and politicalshift, which has been the consequence of that period.My interest also lies in contemporary Maoist movementsand its representation through performance. I have beentrying to work towards a critical methodological approachto political and theatrical event working with oral history,cultural memory and Badiou’s philosophy and trying tocreate an apt theory-history interface. My work deals withspaces of political and performance interventions, civilsociety, spectatorship and citizenship.ghoshpujya@gmail.comThe 1960s and 70s and the “event” of Naxalbari created a political impulse which through performance intervention shapeda political and cultural nomenclature. A relationship between aesthetics and politics was created where the category of“political theatre” gained prominence. More than 40yrs later, though the “affect” still continues, the changes in political situationhave challenged those categories. But unlike Jackson and Schneider’s premise of performance art being the only truepolitical tool of critique, I argue that theatre cannot be discarded as capitalist rather there is a need to revisit the categoriesof political theatre and its critical potentialities under the new light of neo liberalism and global capital. We are performinglabour in a world where “immateriality of labour” is the catch word. Through this paper I want to bring back the materiality oflabour and argue for politics and art as a site of labour. Therefore, intervention into the social through performance, thoughimmensely important, has to be backed by a strong political and economic discourse of critique that theatre throws up. Tosum up my essay, I will take up the case study of Tepantor in a village called Saathkahuniya in Bengal, where around 15-20low caste and tribal families together make the theatre group Ebong Amra (And Us). With the help of the group’s founderand director they have together built this space, where they cultivate vegetables and fruits, do fishing and poultry in orderto sustain themselves fully without the need to work outside. The work there is mostly seasonal and since Tepantor is alsotheir theatre space, the members are full time actors. They not only produce plays with strong political overtones, they alsoexperiment with forms of theatre offering us an innovative model of theatre making and creating an alternate space forpolitical theatre.A part of TepantorTeaching body controlHouses of actors inside TepantorFIRT/IFTR World Congress, University of Warwick, 2014710

`Where Did We Come From? Where Are We Going?` Situated Performance Practices in NorthernIrelandNew Scholars’ ForumNorthern Ireland is currently undergoing a period of transformation post peace-process. It is attempting to generate a senseof place identity post-conflict and a new type of society is beginning to emerge. Moving on from conflict Northern Ireland hasto decide how to handle said conflict. We are being forced to ask ourselves “Where did we come from? Where are we going?”(Clancy, 2011, p.294). This paper will consider how situated performance practice in Northern Ireland explores various typesof place identity within Northern Ireland. With a particular focus on how performance considers our history, our “Where dowe come from”, this paper considers how some practices may exclude the political, attempting to annex Northern Irelandfrom its conflicted history, whilst others which focus on conflict tend to reinforce representations of a divided community.Whilst acknowledging these tensions, this paper argues that hope can be found within the situated practice model, whichcan, through an experience of multiplicity, complicate the often essentialising Northern Irish narrative.Lauren GraffinUniversity of UlsterLauren Graffin is a second year PhD student in theSchool of Creative Arts and Technologies, Universityof Ulster. Lauren received her MA in Applied Dramafrom the University of Exeter (2011) and her researchinterests lie in Applied Performance, communityperformance, disability arts and culture and the role ofplace in performance. Lauren has worked extensivelyas a workshop facilitator in a range of social contextsfrom prisons to hospitals, rehabilitation facilities tocommunity halls. Lauren’s current doctoral projectfocusses on the overlap between situated performanceand community performance, looking at the role ofspace, place and community in a performative context.graffin-l@email.ulster.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014711

The Stratified Black Body in the American MusicalNew Scholars’ ForumLes GrayUniversity of OregonLes Gray is currently working on her Master’s degreein Theatre Arts at the University of Oregon. Originallyfrom Winston-Salem, North Carolina, she gained herBachelor’s in Theatre from the University of NorthCarolina at Charlotte. Her research interest include therole of the black body onstage, domestic spaces, postcolonialtheory and dramaturgy.In the 1927 Jerome Kern and Oscar Hammerstein II musical Showboat, an American novel turned performance about showbusiness and the effects of miscegenation in the south, black bodies are placed onstage separately from psychologicallycomplex white characters to create the appearance of diverse theatrical landscape. A New York Times review of theproduction comments positively on “the colorful scenes on and around the showboat.” These colorful scenes are madeup of not only colorful sets but literally colorful bodies. I read the stratified black bodies of Showboat as what theorist JuliaKristeva calls the “abject,” a term she describes as “the jettisoned object” which “is radically excluded.” In my presentation,I will extract the black bodies from the abject so that they may be viewed through a lens dedicated to a non-exploitativeintercultural experience. By specifically interrogating past black embodiment on the white dominated stage, I will arguethat the racial integration of the early 20th century American musical occurred through the cautious introduction of blackbodies into the background of white works. The once homogeneous stage was integrated as black bodies began to beshown as appropriated images. These bodies were performed as not quite subjects or even people. Showboat, one of thefirst attempts to racially integrate the American stage, demonstrates the first impulses of a “diversity aesthetic,” or the useof black bodies to contribute to a mood. I contend that this “diversity aesthetic” is presented onstage and off to signifythe progressive practice of racial integration. Black bodies have been historically restricted to serve as a kind of “livingbackdrop” of the theatre. In order to truly remove blackness from the abject, we must interrogate the historical origins ofthe “blackground” currently relegating black bodies upstage, both literally and figuratively.lgray@uoregon.eduFIRT/IFTR World Congress, University of Warwick, 2014712

Shakespeare and the Carnivalesque: Shakesperean Parodies at the Edinburgh FringeNew Scholars’ ForumIsabel GuerreroUniversity of MurciaIsabel Guerrero is a PhD candidate in Literature andCultural Studies at the University of Murcia (Spain). Herresearch focuses on Shakespeare´s presence at theatrefestivals of different nature, from official to fringe andoff festivals. She is currently working on her dissertationabout Shakespeare and the festival phenomenon, withspecial attention to commemoration, canonicity andthe carnivalesque. Isabel Guerrero completed her MAin European Literature in the University of Murcia inSeptember 2013, the title of her MA thesis was “FestivalShakespeare and Fringe Shakespeare: PerformingShakespeare in Edinburgh, Avignon and Almagro.” She iscurrently completing a degree in Stage Direction in theESAD (Escuela Superior de Arte Dramático de Murcia).Festivals recall the concept of the carnivalesque described by Bakhtin because they often subvert everyday life. Thecarnivalesque explains the Edinburgh Fringe Festival especially well. Familiar and free interactions between people are anessential part of it, as casually talking with strangers in the streets becomes one of the frequent ways to select what tosee among the maelstrom of productions. Eccentric behaviour is seen everywhere as the performers invade the streets topromote their shows, and carnivalesque misalliances and the sacrilegious are essential parts of most of the productions. Asimilar process takes place in the case of many Shakespearean productions at the Fringe, particularly when Shakespeare’splays are parodied. What is subverted in these productions in not everyday life, but highbrow representations of Shakespeare.Humour and chaos are part of many of the Shakespeare related productions at this festival, transforming the Fringe intothe carnivalesque festivity of Shakespeare par excellence. This paper focuses on the high presence of Shakespeare parodiesat the Edinburgh Fringe, paying special attention to two shows that have been a success in several editions: Shakespeare forBreakfast (a parody at breakfast time) and Shit-faced Shakespeare (a Shakespeare´s play including a drunk actor). These twoshows are a good example of how the carnivalesque takes over Shakespeare at the Edinburgh Fringe, questioning the relationbetween Shakespeare and parody. Using a theoretical framework for the analysis of parody based on Linda Hutcheon andSimon Dentith, this paper aims to articulate the concept of “Fringe Shakespeare” and explores it in relation to forms of thecarnivalesque in Shakespeare for Breakfast and Shit-faced Shakespeare.isaesbel@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014713

Virtue and Folly: A Woman’s World of Ideas During the Late Eighteenth CenturyNew Scholars’ ForumMaria GullstamStockholm UniversityAnna Maria Lenngren (née Malmstedt, 1754-1817) was an eminent poet in Sweden during the 18 th century and she is stillknown as one of Stockholms Posten’s sharpest satirists. The early stage of her career as a translator of French operas, whenshe was recognised as “mamsell Malmstedt”, had a great impact on her following work, which has been largely neglected.Mamsell Malmstedt translated Jean-François Marmontel’s Lucile (1769/1776) and Zemire et Azor (1771/1778), both with musicby André Grétry, and La belle Arsène (1773/1779) by Charles-Simon Favart and Pierre-Alexandre Monsigny. Comparing thetranslations to their originals, shows that two expressions, often used to describe the female main characters in the texts,are frequently added and/or emphasized in mamsell Malmstedt’s translations: virtue (dygd) and folly (dårskap). Through theseexpressions, Malmstedt changes the stories and themes of the original texts, and through her use of virtue and folly in hertranslations, we get access to a world of ideas, that can give us a greater understanding of her being a writing woman inSweden during the 18 th century. To develop a better understanding of this world of ideas, this presentation also discussesthe feminist literary theory by Sandra Gilbert and Susan Gubar, which explains how and why women’s roles in literature, aseither angels or monsters, have had a great impact on female writers. Gilbert and Gubar’s theories are of great interest inthis context, since the female main characters in Anna Maria Malmstedt’s translations, defined by either virtue or folly, couldbe seen as ancestors of the angelic and monstrous characters that Gilbert and Gubar are discussing.I am a doctoral student in Theatre Studies within theproject “Performing Premodernity” at the Departmentof Musicology and Performance Studies, StockholmUniversity, interested in the concept virtue and its usageand meaning in 18 th -century Sweden. While the maleideal of virtue arguably developed towards enlightenedcivilisation, female virtue seems to have been driven inthe opposite direction, towards nature, innocence andvirginity, and away from the rights to education and artisticwork. The development of the term ‘virtue’ was relatedto influences from other countries in Europe, especiallyFrance. Thus I will use texts by Jean-Jacques Rousseauas a way of entering the thoughts and ideas about virtue,enlightenment, nature, theatre, and women’s rights andeducation, which were current in the period. I will examineparts of the opera and theatre repertoire in Swedenbetween 1770 and 1810 (with a focus on the DrottningholmCourt Theatre). A great part of the repertoire consistsof French works translated into Swedish, which makes itpossible to compare the concept of virtue in the Frenchoriginals to its application in the Swedish translations. Atthe moment, I am working with Rousseau’s essay Lettre àd’Alembert sur les spectacles (1758), investigating its impactin Sweden in the late 18 th century.maria.gullstam@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014714

De-Classifying the Archive: Theater in the Chilean BicentennialNew Scholars’ ForumIn 2010 Chile commemorated the bicentenary of independence. The theatre joined the commemoration by restaging whatare considered the country’s “classic” plays. What were those plays? How did cultural policies and curated festivals influencethis decision? By analysing the restagings of playwright Isidora Aguirre’s Los que van quedando en el camino (directed byGuillermo Calderón) as well as Trilogía Bicentenario by La Puerta Group (directed by Luis Ureta), I would like to demonstratehow the Chilean cultural field works and its relationship to the positioning of playwrights, directors and companies. In thissense, I will consider conceptualizing the “archive” within the framework of “do not record experience as its absences”(Spieker “The Big Archive”) and regarding the archive as an important device in Contemporary Theater in Chile.Pia GutierrezPontificia Universidad Católica de ChilePia Gutierrez is writing her doctoral thesis on recentChilean theater in the PhD in Literature at PUC in Chile.She’s a doctoral Fellow CONICYT (National Council ofScientific and Technological Research). She studied herM. A. in Literature and Art at the University of Poitiersin France with a Chilean Government Scholarshipfor outstanding students. She worked in her M. A. onplaywright Carlos Droguett, found in Archive Droguettin the CRLA-Archivos. Pia has published articles aboutChilean theater in research journals (Apuntes, Analesde Literatura Chilena (ISI), and Escritural), and hasparticipated in research projects. She currently has atwo-month internship at the Martin E. Segal TheatreCenter, The CUNY Graduate Center, New York.gutierrezdiazpia@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014715

Contemporary Arabic Theatre: Orientalist Discourse and the German Stage, Theatre Practice asResearchNew Scholars’ ForumConcerned about prevailing sentiments of incompatibility between so-called Western and Islamic societies, I am interestedin spaces of entanglement and their transformative potential. By developing my own theatre production, I am positioning myPhD project at the intersection of art and research and analyzing Orientalist discourse and (re)presentations of contemporaryArabic drama in Germany: Production process becomes fieldwork, becomes production process, analysis feeding practicefeeding analysis.Nora HaakhFreie Universität BerlinNora Haakh is a theatre artist and doctoral studentbased in Berlin. She studied Middle Eastern Studies,political science and modern history in Berlin, Paris,Istanbul and Cairo. She has been involved in varioustheatre projects concerning the Middle East and“postmigrant” Europe. She received her M.A. for a thesison theatrical interventions into the current debate onIslam in Germany. Since 2012 she has been workingas a dramaturge at Berlin’s “Postmigrant Theater”Ballhaus Naunynstraße. Parallel to her artistic work,she is in her first year as a doctoral student at BerlinGraduate School Muslim Cultures and Societies (FreieUniversität Berlin), developing a theatrical researchproject on Orientalist discourse and (re)presentationsof contemporary Arabic drama in Germany.As postcolonial perspectives fight for visibility, German theatre institutions, too, with their multiple (access) restrictions, arefacing new challenges. From within, “postmigrant theatre” is shaking up established habits of viewing, casting and canon. Fromwithout, we witness a growing presence of the alternative theatre scene that has been celebrating experiments in inventivesyncretism in most of the urban centres of the Middle East. Still, orientalist discourse remains mainstream in Germany,predominantly circulating around an overestimation of gender and religion as defining categories, and misunderstandingmigrants, muslims and the Middle East as a major mishmash. However, theatrical performances as discursive interventionscan offer strategies to subvert such narratives: as mirrors (of prevailing dynamics), showcases (for counter narratives) andlaboratories (for new, at times utopian, visions). Which strategies in dramaturgy, mise-en-scène and tradaptation (translation/ adaptation) can help us to create and promote imaginary and imaginative spaces that go beyond the homogenous to thetransformative?nora.haakh@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014716

Ban it if You MustNew Scholars’ ForumNoémi HerczogUniversity of Theatre and Film, BudapestNoémi Herczog (1986) is a critic, essayist, doctoralstudent and doctoral teacher at the University ofTheatre and Film Arts Budapest. As a researcher sheis interested in the topics of theatre criticism in theHungarian socialist era and Hungarian independenttheatre. She studied at the Eötvös Loránd University,Budapest (2005-2011) majoring in Theatre Studies,English Studies and Aesthetics. In 2011 she earned herMA in Aesthetics with a thesis entitled: The Poet asa Theatre Critic: the analysis of the theatre reviews bythe Hungarian poet, János Pilinszky (1921-1981), and inEnglish Studies with the thesis entitled PostdramaticTheatre. Beside her doctoral studies, she has beenthe presidential member of the Hungarian TheatreCritics’ Association since 2013, and an organiser ofcultural programmes. She is also a civil activist, tryingto mobilise a passive civil sphere in Hungary. Speaks anintermediate level of Spanish and basic German. Beingan active critic, her reviews and essays particularly ontheatre – have been frequently published in variousmajor Hungarian journals and weeklies since 2007.Maintaining autonomy to remain credible is one of the most daunting challenges of a theatre critic. In a dictatorship, thissovereign set of values comes into serious conflict with the external rules and expectations. This especially applied to thetheatre critic par excellence in the Hungarian socialist era, who had two options: either become a censor, or preserve theirown individual values and convictions in a world where the notion of ”value” was centralised and controlled ideologically. Thisis why sovereign theatre criticism in the socialist era had to speak between the lines just like the Hungarian theatre of thetime. As a theatre critic, I am prepared to outline how the discourse above changed in what is often referred to as denouncingreviews in the 1970s. How did criticism function in an era of dictatorship? What discourses were adopted? Or, more precisely,what kind of political, ideological subtext did the ”censor’s” language show? Methodologically, I analyse the languageof denouncing criticism by the close reading of a review - published in the leading Hungarian daily - on a happening by PéterHALÁSZ in 1973. This discourse-analysis can hopefully help to understand the dilemmas that permeated Hungarian theatrecriticism between 1949-1989, a legacy that can be felt even today: not irrespective of Hungarian society that lacks the democraticculture of critical thinking, where the criticsim of power is not tolerated. Contemporary theatre criticism in Hungaryis still a peripheral phenomenon, it still has not become an important factor in the cultural market since the political changeover.According to my hypothesis, the roots of this marginalisation lie in the ideological heritage of theatre criticism between1949-89. Obviously, concerning this matter, we are in the same boat with other countries in the post-socialist region.http://www.artpool.hu/boglar/Szabo_rep.htmlnoemi.herczog86@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014717

‘Gender Discombobulation’: Articulating the Phobia in HomophobiaNew Scholars’ ForumBryan HoganQueen’s University BelfastI am a graduate of Dublin Institute of Technologyand University College Dublin, where I earned myBA and MA respectively. I am pursuing my PhD aQueen’s University Belfast. I currently provide teachingassistance for the performance analysis module. Ipresented papers at the Performing Gender conferenceBelfast 2013 and for the Irish society of TheatreResearch at Birkbeck College 2013. Post-Stonewallthis research will trace, through the explicit plays ofthe seventies, through the AIDS dramas of the eightiesand In-Yer-face theatre of the nineties, the formationof a unique dramaturgy and aesthetic in Queer theatre,which may be linked back to Brecht. Can Brecht’slegacy be found in Kushner’s Theatre of the Fabulous orRavenhill’s In-Yer-Face theatre?On January 11th 2014, Rory O’Neill aka Panti Bliss appeared on The Saturday Night Show, a talk show for the national broadcasterRTE. There he identified opinion columnists and Catholic lobby groups as homophobic. The next day this interview wascensored and within the week damages of €85,000 were awarded to those aggrieved by being labeled homophobic. Fortwo weeks the debate raged on social media, while main media outlets stayed silent fearing litigation. This denied the wordhomophobia to homosexuals. Three weeks later Panti was given a voice on the Abbey theatre stage; Ireland’s National Theatre,as part of its production of The Risen People by James Plunkett. Panti delivered a ‘Noble call’ and the oration articulating thedifferent manifestations of homophobia and how it oppresses the LGBTQI community went viral. Panti’s ‘Noble Call’ is acelebration of difference, highlighting how no one should have to forgo their civil and human rights to be who they are.However accidental Panti’s appearance in drag was, it marked a departure in Irish LGBTQI activism, that assimilation isn’t theonly option to gain equality. Drag played an important role in early gay activism, by reinforcing that a culture, a communityor one’s individuality does not need to be sacrificed for equality. This presentation examines how Panti challenges hetero andhomo-normativity in Irish society. Reading drag as a Brechtian Verfremdung reveals its radical nature. Public commentatorsargue O’Neill cannot be taken seriously in a dress; this research will instead question how drag challenges heterosexism.Looking at the work of R.W. Connell and Judith Butler, this paper seeks to interrogate the root of homophobia and assert itis the ‘queerness’ or non-conformity of prescribed gender roles that is the crux of this phobia.bhogan01@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014718

The Impact of Peter Brook’s A Midsummer Night’s Dream on Japanese Shakespeare ProductionNew Scholars’ ForumRei InayamaMeiji UniversityRei Inayama is a graduate student of Meiji University,Japan. Her main concern is Peter Brook and the changeof theatrical scenes in 1960’s. Her resent paper is “PeterBrook’s Marat/Sade as a Music Drama” presented at theannual conference of the Japanese Society for TheatreResearch (2013).My presentation will aim to interrogate Peter Brook’s influence on the staging of Shakespeare on the Japanese stage.Brook’s A Midsummer Night’s Dream was first performed by the Royal Shakespeare Company in 1970. The stage wasconstructed of three white walls, and the actors, dressed in colourful costumes, flew and jumped like circus acrobats.The next year, the company started a world tour, and, in 1973, visited Japan and performed at Nissei Gekijou in Tokyo. Itwas the first time that Brook’s production was staged in Japan. The performance had a great influence on many Japaneseartists, including Yukio Ninagawa and Hideki Noda, both of whom are known for their international successes as theatredirectors. Hence, when they came to direct Shakespeare’s play, both were concerned to depart from rather than be undulyinfluenced by Brook’s production. When Ninagawa directed A Midsummer Night’s Dream in 1994, a famous critic arguedBrook’s influence. Admitting to the influence of Brook’s white, Western production, Ninagawa also laid claim to havingrealised a quite different aesthetic - earthier, grounded and grotesque. For example, instead of white walls, Ninagawalaid white sands on the floor, and the fairies appeared from below the stage, like earth spirits. Whereas the Westernactors performed their aerial acrobatics, the Japanese actors crawled grotesquely across the stage. Noda’s adaptationand direction of A Midsummer Night’s Dream in 1992 opted for garish coloured costumes, flash lighting, and reworkedShakespeare’s text. Superficially, these two Japanese productions appear to have little in common, but my presentation willargue that each through their respective deployments of the grotesque or their more earth-bound, brash aesthetics, weredesigned to evade the influence of Brook.The official web site of Noda Map, the company of Hideki Nodahttps://www.nodamap.com/site/en/inayama-r@pearl.ocn.ne.jpFIRT/IFTR World Congress, University of Warwick, 2014719

An Irish Liolà? Pirandello Revised and Revisited by the National Theatre, LondonNew Scholars’ ForumTanya Ronder’s new version of Luigi Pirandello’s Liolà (one of his less known Sicilian plays) at the National Theatre, Londonprovoked a heated debate on both sides of the Irish Sea when it premiered in July 2013 with a full Irish cast directed by RichardEyre. British and Irish audiences and critics responded both positively and negatively to this choice to keep the originalsetting of this Sicilian play while having the Irish cast performing in their own accent. The general perception was: why thispeculiar choice? British audiences are used to Pirandello’s modernist, more cerebral plays like his masterpiece Six Charactersin Search of an Author, which has been successfully adapted a number of times over the years. However, it is my contentionthat to translate Liolà from Sicilian to English RP would result in a misjudged attempt, the reasons for which I will address inmy presentation. Moreover, I agree with Ronder when she states: “the Irishness gives us the earth, heart and tongue whichwould be all but buried in an English counterpart.” (Programme note) Finally, at the centre of this presentation is a questionof how a multi-layered performance like the one considered here is perceived by its live audience, but is also judged by socialmedia communities, adding new layers of performance.Monica InsingaUniversity College DublinMonica Insinga is in her final year of Ph.D. at UniversityCollege Dublin (UCD) under the Graduate Researchand Education Programme in “Gender, Culture andIdentities” funded by the Irish Research Council for theHumanities and Social Sciences. Her thesis is a criticaland comparative analysis of a number of works bythe Italian playwright Luigi Pirandello, Nobel Prize forLiterature in 1934, and the internationally acclaimedIrish dramatist Marina Carr in terms of alternativeidentities, spaces and fates. Monica presented at anumber of conferences of Irish studies, Theatre studiesas well as Comparative studies, including IASIL, ISTRand Pirandello Studies. She has co-organised twoconferences, including “The European Avant-Garde,1890-1930”, funded by the Graduate School of Artsand Celtic Studies, UCD, after which she co-edited apeer-reviewed collection of essays by the title of TheEuropean Avant-Garde: Text and Image, published by CSPin 2012.http://www.nationaltheatre.org.uk/shows/liolamonica.insinga@ucdconnect.ieFIRT/IFTR World Congress, University of Warwick, 2014720

A Case Study of a Performance of The K-Version of Romeo and Juliet at The Sapporo Kiyota HighSchool, JapanNew Scholars’ ForumHiroaki KatoHokkaido UniversityWhile having taught at a public high school in Sapporofor 25 years, I have served until this March as the dramaclub supervisor at Sapporo Kiyota High School for12 years. (Now I work at different public high school inSapporo.) And at the same time as a mature studentat Hokkaido Univ. Ph.D. programme, I have beenworking on drama education, focusing on the dramaclub activity in Sapporo Kiyota high school.The purpose of this presentation is to analyze the relationship between educational outcomes and the supportive orsupervisory role of the teacher in high school theatre productions, taking a performance of “The K-Version of Romeo AndJuliet” at the Sapporo Kiyota High School as my case study. Underpinning my analysis is the method of qualitative inquiry,specifically “action research”, posited as an effective means for improvement on a variety of social activities (T. Schwandt,The sage Dictionary of Qualitative Inquiry, third edition.,2007),a method that has not received due attention in past researchon drama education in Japan. By contrast, I focus on its significance in terms of the researcher’s own experiential conditionand social character, generally disregarded in terms of more objective, conventional modes of research. In this presentationI will examine my role and practice self-reflexively by means of this “action research”: drawing on my own day-to-daydocumentation of the theatre project. I will use this as a basis to demonstrate how my supervisory role has evolved andtransformed through my interactions with my students. In terms of educational outcomes, there are three points my paperwill address: the capacity through the project for students to learn how to read text, to think creatively and to enhance theirpowers of expression. To conclude, concerning the relationship between these educational outcomes and the supportiverole of the teacher, I argue that the important thing would be to build trust between a teacher and students.hiroaki.kato@sapporo-c.ed.jpFIRT/IFTR World Congress, University of Warwick, 2014721

Roots Gone Wild: Feminist Poetic Utterance and Female Genealogies of Breath in PerformanceNew Scholars’ ForumManola Gayatri KumarswamyJawaharlal Nehru UniversityManola-Gayatri Kumarswamy is a PhD fellow at JNU.Her PhD tentatively titled, “Breath, Intersubjectivity andRadical Faith in Poetic Utterance: Reconfiguring a feministgenealogy of woman’s creative autonomy in performance”is due in 2014. Her MPhil thesis was Reconfiguring the Body:Simulation and Corporeality in Mediatized Performance.As TPS Teaching Assistant at JNU, she has offered anMA level Advanced Research Seminar and given input incourses for MA and MPhil classes in feminist performance,performances of faith, and body in performance. She guestlectured in Gender Studies at Bangalore University. Asresource person on body-work for a State-level leadershipprogramme with Elected Women Representatives, shecombined theatre, dance and myth for sessions onempowering the body (2007-2009). She has writtenand performed dramatic monologues taking projectsintersecting visual art and performance winning the 2009GATI Residency award for emerging choreographers. Herfuture interests are in embodied knowledges, PaR, feministphilosophy, performance sites and cyberfeminism. Sheis a founding member of ACTIVATE a feminist PaR ledcollective in India.manolagayatri@gmail.comBreath appears to be a rather ‘innocent’ phenomenon- a process of inhalation, exhalation with the occasional holding ofinhaled breath or moment of exhaled breathlessness. Studying breath traditions in performance however reveals that breathpractices are deeply influenced by geography, culture and gender with the incursion of digital technology impacting breath inperformance in radical ways. This paper tries to unlayer breath itself as a product of such stratification (of geography, gender,culture) at a performative and phenomenological level through the experiences emerging from Indian feminist performancepractice. While digital technologies certainly impact the aesthetics of performance practice the potential ontological shiftsengendered by this technology has for a while now allowed us to re-conceptualise models of understanding performance. Ananalysis of the phenomenon of breath in performance opens up the question about whether it is really a process of layeringthat an image of stratification offers, or can the process in performance be more closely identified with the rhizomaticquality that an image of the multiple nodes of the trachea offers instead? There is a potential in performance to explorewhat Kristeva calls the ‘pluri-vocal possibilities of poetic utterance’ and indeed many feminist performers appear to unleashthis potential through different strategies of contemporary performance practice with specific female experiences of thebody and the wor(l)d. This paper looks at performance-led-research explorations and other performance work of whatappears to be a search for creative language to articulate constantly negotiated subjecthoods by young Indian womenpractitioners against the backdrop of earlier and continuing explorations by established women practitioners. It also looksat the possibilities of a female genealogy of breath traditions that appear in these works and what the impact of digitaltechnologies may be for Indian feminist performance practice.FIRT/IFTR World Congress, University of Warwick, 2014722

The Case of Honest Cynicism: Obscene Tactics of SubversionNew Scholars’ ForumEster JagicaUniversity of TorontoEster Jagica is a PhD candidate in the Centre for Drama,Theatre and Performance Studies at the University ofToronto. She was awarded a DAAD- German AcademicExchange Service Fellowship in 2008, and a Universityof Toronto Departmental Fellowship.“Politics is the highest form of mass culture, and we - the creators of modern European pop-culture - think of ourselvesas politicians.” (NSK, 1987) . Deleuze described his approach to philosophical nomadism as “nothing more than a study ofregimes, of their differences and their transformations”, in other words, the hidden workings of social stratification. Can westill talk about genuine stratification today when everything is subjugated to the deadly logic of capital? In this study I aimto investigate the efficacy of activist performance practices in an almost completely depoliticized civil society. Within thehighly contestable space of artistic activism, contemporary performance art is the most prominent medium that readily andactively addresses the issues of power and bio-politics in today’s neoliberal technocracy. Powerful examples of engagedpolitical art are instantiated by the complex, experimental work of the Slovene NSK art collective and Istvan Kantor, aCanadian contemporary performance and multi-media artist. By applying a “micropolitical” analysis, I intend to question theefficacy of subversive affirmation by comparing NSK’s monumental eclecticism to Kantor’s radical tactics of provocation.Instead of a rational critique or ironic subversion of the ruling ideology, these artists choose to directly stage the underlyinginconsistent mixture of ideological fantasies of different historical regimes. In this regard, their retro-avant-garde aestheticactively inoculates the taboos and fallacies of historical stratification. Their work addresses the vexed questions of history,progress and/or tradition, the all-encompassing monopoly of superpowers, the prominent events in international politics, andthe function of “identity traps”, all of which inhabit hybrid social contexts that constitute the experience of the postmodernbody in conflict with its spatiotemporal environment. Such performative actions create what Žižek calls “short circuits” inthe political environment.bohika77@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014723

Man as “Amphitheater”: Theatrical Negotiations of Human MutabilityNew Scholars’ ForumAnna LaquaFreie Universität BerlinAnna Laqua (M. A.) studied theatre studies and modernGerman literature in Berlin. Since fall 2012, she hasbeen working as a research fellow at the CollaborativeResearch Centre “Episteme in Motion” (Free UniversityBerlin). There, she participates in the project “Riskyfigurations of knowledge in the Middle Ages and EarlyModernity” under the guidance of Professor Dr. HelmarSchramm.The aim of my project is to point out the theatrical character of two significant anthropological texts from the earlymodern period: John Bulwer’s “Anthropometamorphosis” (1650/1653) and Sebastian Brant’s “Ship of Fools” (1494). Apartfrom the use of explicitly theatrical metaphors, the two texts provide models of man and the human body, which applytheatrical principles of presentation and representation. This includes an understanding of the human body as theatre(the latter referring to the early modern concept of “theatrum”, that is to say, a designated space for generating visibility).Both texts are based on an equalization of ethics and aesthetics. They achieve their moral and didactic goals by seizingon practices of fragmentation in ways that result in a compartmentalized, virtually encyclopedic order of knowledge.The concise and memorisable bodily gestures and tableaus of social life created thereby draw on the tradition of an arsmemoriae. Paradoxically, despite this mnemonic and epistemological necessity of fragmentation and typologisation,at the same time these anthropological models strive to create the illusion of unity and integrity of man. Adopting amethodological approach that combines theatre historiography with the history of knowledge as well as with researchperspectives taken from German Historische Anthropologie, in my presentation I will argue that my two chosen examplesserve as a means to investigate changing historical aesthetics and social concepts such as “person”, “figure”, “figuration”and “identity”. Secondly, I will argue that an investigation into the concept of “metamorphosis” can provide insights intoearly modern fears of change and ambiguity, along with an understanding of the theatrical strategies deployed to assuagethis uneasiness. The presentation is associated with the project “Risky figurations of knowledge in the Middle Ages andEarly Modernity” under the guidance of Professor Dr. Helmar Schramm.anna.laqua@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014724

Cutting through the Noise: Examining Issues of Authorship and Representation in Stronghold, aCommunity Theatre Project with People with DisabilitiesNew Scholars’ ForumNatalie LazarooGriffith UniversityNatalie Lazaroo is a PhD candidate from GriffithUniversity in Brisbane, Australia. Her research projectis an ethnographic study of the current communityoutreach projects of Vulcana Women’s Circus, whereshe also trains in circus arts. Natalie’s research interestsinclude applied and community theatre, feministtheatre, physical theatre, and social circus. She isthe postgraduate representative of the AustralasianAssociation for Theatre, Drama, and PerformanceStudies (ADSA).In her article, “Disability: Creative Tensions between drama, theatre, and disability arts,” Conroy (2009) identifiesthe uneasy relationship between practitioners of applied/community theatre and disability arts, proposing that theconvergence of these two fields can offer a useful area of discursive practice. My PhD research examines the work ofVulcana Women’s Circus, a feminist community circus/theatre based in Brisbane, Australia. Through an ethnographicallyinspiredapproach, I document and examine the company’s process of creating “Stronghold,” a circus performance projectwith people with disabilities, thereby uncovering the complexities and possibilities of such work. Like the problematic -although promising - relationship between applied/community theatre and disability, feminist theatre too has an equivocalposition with regard to disability arts. These tensions can further become complicated when the underlying feministideologies and sense of “activism” of the facilitator may not necessarily reflect the objectives of the participants. Insuch cases, can the work still be political and seek to effect change? This paper thus draws from my larger study; I bringattention to the different layers of authorship and representation in the creation of “Stronghold,” and discuss how theselayers inevitably contribute to notions of control and power when creating participatory theatre work with people withdisabilities. I draw on critical moments in the workshop process that reveal such tensions, especially where the layers ofauthorship and representation are not always clearly defined. I propose that examining these moments through the lens ofaffect may be useful in clarifying the “noise” of anxiety that these tensions bring.natalie.lazaroo@griffithuni.edu.auFIRT/IFTR World Congress, University of Warwick, 2014725

Staging Herself: Autobiographical Solo Performance by Lenelle Moïse and Vanessa HidaryNew Scholars’ ForumJirye LeeThe Ohio State UniversityJirye Lee is a PhD Candidate in Theatre at the OhioState University. Her research focuses on gender andsexuality, solo performances in contemporary AmericanTheatre Scene, and woman solo artists who usetheir works to address social agendas. Currently, sheis working on her dissertation which explores femaleartists who, in the first decade of the twenty-firstcentury, have written their own narratives for performanceand based their stories, at least in part, on theirown lives. Recently, she has been awarded a Coca-ColaCritical Difference for Women Grant for Research onWomen, Gender, and Gender Equity for her proposal“Staging Stories of Her Own: Autobiographical Performanceby Women in Twenty-first Century.” As a theatrepractitioner, she has created, directed, and performedvarious types of stage performances including non-verbaltheatre pieces and drag performances since 1999.Currently, she is working as a team manager for theShakespeare and Autism project at OSU, and will bepart of the creative ensemble for the production of TheTempest, a co- production of OSU and RSC for childrenwith autism.Drawing on Hélène Cixous’s essay on women’s bodies and performance in “Aller at la mer” (1984), I frame my research basedon her concept of women taking control of their own fate in terms of the stage. In particular, I focus on two female soloartists who refused to be represented by someone else’s narrative and chose to tell their own stories from their own pointof view: Lenelle Moïse and Vanessa Hidary. Lenelle Moïse is a poet, playwright and solo performer who creates politicizedtexts about Haitian-American identity. As an artist-activist, she always initiates discussions dealing with race and genderissues through her performances. Vanessa Hidary, like Moïse, is also a solo artist who actively uses her work to discuss socialagendas. As a Sephardic Jew, who grew up in upper west side of Manhattan, she discusses the matter of cultural diversity,focusing on racial and ethnic differences in her works. I explore Moïse’s Womb-Words, Thirsting and Hidary’s Cultural Bandit.Insofar as both pieces created based on their autobiographical/personal narratives, put the subject matter of identity politicsat the front and center, and that both creators have the identities of marginalized-women who actively use their solo workto make social statements, their works are similar to each other. However, in terms of specific subjects that they choseto discuss through their pieces, and of the style they chose to use in delivering narratives, they reveal some of significantdifferences. In my research, I examine several similarities and differences between these two works at length. In additionto this, I also discuss the meaning of these pieces especially in relation to their function as social statements via women’sautobiography. In particular, I investigate how their autobiographical narratives acquired “autobiographical subjectivity”referring to Smith and Watson’s theoretical work.celafina@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014726

Process and Product: Participatory Arts Practice and Social HousingNew Scholars’ ForumThis research presentation will explore and critique the role of the artist within participatory, socially engaged arts practicebased in the field of social housing and neighbourhood regeneration. Drawing on Jen Harvie’s recent thoughts onspace-related performance and neoliberalism, as well as Claire Bishop’s writings on aesthetics and process, the paper willproblematise current arts regeneration schemes, community arts projects and the predominance of artworks which locatethemselves within demolition zones.Natalie LeeUniversity of HullI am currently a PhD student at The University of Hullin the Department of Drama. Previously, I completedmy undergraduate degree at Staffordshire Universityand went on to gain my masters qualification fromLiverpool Hope University. My research is concernedwith contemporary arts practice and its applicationswithin the field of social housing and regeneration,specifically relating to the notion of home. Myperformance practice specialises in installation art andsolo performance exploring themes of housing, identityand our relationship with our living space.While sincere in intentions of process, these artworks are less concerned with a political agenda and product and this presentationwill question what this means in relation to the ongoing part they may or may not play in effecting public opinionregarding housing. Socially engaged arts practice needs to consider its participants, but, in the midst of widespread gentrification,the government-led deconstruction of social housing and the rapidly diminishing public attitude towards our welfaresystem, there is a call for artworks that not only operate on an inner, community level through process but that also confrontthe stigmatisation and social stratification that exists within our housing structure in their product.This paper then essentially aims to deconstruct and investigate the need for the artist operating definitively within both ofthese territories - on the personal scale with the individual participant and community development as well as the wider,political scale with attempting to challenge public opinion and social attitudes. Why should the artist work to realise bothof these possibilities and how do they negotiate their role within these parameters? How does the artist work to achieve aprocess and a product that ensure both the adherence to their political principles in its participatory approach as well as astrong aesthetic force which resonates on a wider, public level?www.natalielee.netN.Lee@2013.hull.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014727

The Red Firefighter and the Blue Fairy: Commonalities between Communist Agitprop Theatre andOrganisational Theatre for Capitalist CompaniesNew Scholars’ ForumFabian LempaFreie Universität BerlinFabian Lempa studied Theatre and Media Studies andmodern German Literature at the Friedrich-Alexander-University Erlangen-Nuremberg. In the summersemester of 2012, he was a lecturer for special tasksat the Department of Theatre and Media Studies atthe Friedrich-Alexander University. Since December2012, he has been working – as part of the project TheAesthetics of Applied Theatre – on ethical, political, andaesthetic issues of theatre in business organisations,with a particular focus on the interweaving of freedom,power and participation. Other research interestsinclude: performance analysis, theatre historiography,and the relations between atmosphere and aesthetic.Wearing a fireman‘s uniform, shouting pithy slogans and with a fire hose in hand, the bourgeois actor Wolfgang Langhoffacted as ‘The Red Firefighter’ in front of workers in the early 1930s. After having discovered his sense of political missionagainst the background of the Great Depression, he founded a communist agitprop theatre company and committedhimself to fighting for the class struggle. More than seventy years later, in 2003, a young actress playing a blue-hairedand blue-skinned fairy attempted to reduce the fear of the employees of a company that was planning far-reachingorganizational restructuring measures. She was working for an organisational theatre provider that offers special theatreformats for business needs. At first glance it hardly seems productive to seek commonalities between these characters andthe apparently contrary forms of applied theatre, to which they belong. The agitprop theatre movement, which emergedin Germany in the mid1920s and developed only for a few years, was directed against the capitalist exploitation of theworking class and served to spread the socialist ideology. In contrast, the German organisational theatre industry, that hasbeen developing since the early 1990s, helps companies to master internal challenges and to achieve various objectives,such as staff motivation, work-specific information, change management or conflict resolution. While agitprop theatre wasaimed against capitalism, organisational theatre was explicitly created for its postmodern requirements. But are there reallyno commonalities? Starting with a brief comparison of the two preliminary mentioned characters, ‘The Red Firefighter’ and‘The Blue Fairy’, my paper will illustrate, that besides all obvious differences numerous parallels and common links can befound between agitprop theatre and contemporary organisational theatre, particularly in their methodologies, intentions,manifestations, addressing and aims. Furthermore the Epic Theatre of Brecht will be emphasized as a common point ofconnection.Fabian.Lempa@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014728

The Late Medieval Dance Macabre as a Theatrical Figuration of the UncertainNew Scholars’ ForumPeter LöffelbeinFreie Universität BerlinPeter Löffelbein (M. A.) studied theatre studies andtheology in Dublin and Berlin, where he graduated witha thesis on incomprehensibility in early Romanticism.Since 2012, he is a research assistant in the researchproject “Risky figurations of knowledge in the MiddleAges and Early Modernity” under the guidance ofProfessor Helmar Schramm. His research is focusedon medieval Danse Macabre as a figuration of theuncertain in the pre-modern era. The project is affiliatedto the Collaborative Research Center “Episteme inMotion. Transfer of Knowledge from the Ancient Worldto the Early Modern Period” at Freie Universität Berlin.The presentation discusses the question whether the late medieval Danse Macabre does not only serve as a mementomori, but in fact provides a mode for negotiating ambiguities mostly considered atypical for pre-modernity. In analogyto current model theories, the Danse Macabre can be understood as a figuration of the uncertain as well as a figurationfor coping with it. By discussing exemplary displays of the Danse Macabre (Paris 1424, Basel 1440, Reval 1480), thepresentation will focus on theatrical elements and their relevance for these figurational processes. It shall be clarified asto what extent these processes allow for an, albeit imaginary, encounter with death on the recipient’s part, enabling theconstitution of an attitude on the uncertain future, thus making its inherent ambiguities negotiable. By connecting dance,death and materiality in the late Middle Ages it shall be shown that the aforementioned processes are rather “fragile”, i.e.they can be characterised by two indeterminable aspects: (1) the pre-modern perception of human remains, whose doublestatus between passivity and agency was a subject of heavy debate even then; (2) dance being a dynamic yet regularlystructured representation with a potential for creating chaotic disturbances. Thus, the Danse Macabre at the same timereflects the impossibility of a concluding coming to terms with death and its inherent ambiguities. It will be argued that thisevidently performative way of representation, as a figuration for coping with the uncertain, in fact compels recipients torender their verdicts on the uncertain, with a potentially disruptive, and therefore risky, effect on epistemic patterns andpre-modern mentalities. The presentation is associated with the project “Risky figurations of knowledge in the Middle Agesand Early Modernity” (Guidance: Professor Dr. Helmar Schramm).peter.loeffelbein@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014729

Plot, Story and Narration in Kenneth MacMillan’s The Invitation (1960)New Scholars’ ForumCristina de LucasUniversity of RoehamptonFormerly an Attorney at Law, Cristina de Lucas becamea dance and film critic in 2009 when she moved toLondon. Subsequently, she completed a degree inEnglish and Literature she had started years before(2009), and an MA in Ballet Studies with Distinctionfrom University of Roehampton (2012). Her careerchange to dance research was consolidated when shewas awarded a full PhD scholarship starting in 2013 atRoehampton. There, she is currently a full time PhDstudent passionately carrying out a research on theearly career of the British choreographer KennethMacMillan. Her main focus is on the main narrativeelements of his ballets: story, plot, narration, characters,time and space. In addition to her academic research,she still writes film and dance reviews, contributingregularly to several publications in Spain and UK, thewebsite of the English National Ballet among them.My research project investigates four narrative ballets by the British choreographer Kenneth MacMillan (1929-1992). Myaim is to examine the context and internal elements of these pieces (choice of subject matter, movement style, structure,characters, music, design, etc.), extracting conclusions about his choreographic devices and influences. I am particularlyinterested in the way MacMillan deals with narrative. How does he develop a story? Which elements does he use todelineate the characters? How are emotions and ideas expressed? What is the relevance of movement? How is it combinedwith other ingredients such as music or set and costume designs? In order to address these questions, my methodologycombines several critical perspectives, including narrative studies (Ansgar Nünning and Roy Sommer, Monika Fludernik,David Herman), multimedia approaches (Stephanie Jordan, Daniel Albright) and dance studies (Geraldine Morris). The majorcategories of the narratological models (story, plot, character, time, space, etc.) are carefully adapted to a dance contextand used in combination with analytical tools from dance studies, such as Jordan’s choreomusical approach (music anddance relationships), Albright’s study of collaborations among the arts (music, dance, literature, design), and Morris’ danceanalysis framework, which develops Janet Adshead’s seminal proposal by adding Bonnie Rowell’s broad notion of contextand her own concept of choreographic style. My proposal for the New Scholars Forum focuses on the story of the ballet TheInvitation (1960). Drawing inspiration from two different novels (Colette’s The Ripening Seed (1923) and The House of theAngel (1954) by Beatriz Guido), MacMillan developed a scenario that merged some elements from both sources, transmutedothers and added new ones. The analysis of this creative process and its resulting product will reveal the relationships betweenstory, plot and narration in the ballet.delucasolmos@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014730

Exhibit B: Interrogating European Colonial Atrocities in AfricaNew Scholar’s ForumPedzisai MaedzaUniversity of Cape TownPedzisai Maedza is the 2014 Canon Collins Scholar’sScholar reading for a Drama PhD at the University ofCape Town, South Africa.This narrative analysis research project seeks to investigate and further our understanding of how theatre and performancemakers have devised theatre in response to and in the aftermath of mass violence and genocide in the post-colony. Thisstudy is a meditation on memory and on the ways in which memory has operated in Brett Bailey’s work on the 1904-1907San-Herero massacres in Namibia, and the Belgian and the French colonial atrocities in the two Congos. Although genocideis widely acknowledged as ‘the ultimate crime in the evolution of modern human conflict’ (Dadrian, 1993:173) this crime, oncecommitted, seems to fall into oblivion. According to Charny ‘most events of genocide are marked by massive indifference,silence, and inactivity’ (1982:284). In many instances it remains ‘the nameless crime’ (Winston Churchill, 1941). Using BrettBailey’s The Exhibit Series (2010-2013) this paper investigates how performance enacts memory in response for this ‘socialamnesia’ in the representation(s) of the extermination of African people in Namibia, by the Germany colonial establishment,arguably the first and unacknowledged genocide of the 20th century as well as in the Congo. This paper investigates theviolence through its representation. The main premise being that the research does not see the world and its representationsoperating independently of one another. It will also engage with the ethical questions the idea of enacting genocide orcreating a spectacle based on disastrous events raises. The paper will read the performance and makes the case that itrepresents contemporary body of artistic work we can refer to as theatre of genocide. The paper will make the case thatperformance stands as the public yet ephemeral and embodied commemoration of genocide violence. Performance fills thevoid of the absent murals and museums that are often built in commemoration of past and contemporary trauma.pedzisai.maedza@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014731

Staging Auditory Perception in Contemporary Music TheatreNew Scholars’ ForumIn my presentation for the IFTR New Scholars’ Forum I will outline an analytical approach towards contemporary musicotheatricalworks focused on the field of auditory experience. I will center my analysis on works that emphasize the auditoryside, describing how individual and scientific perspectives of listening inform one another to create the theatrical experienceor “auditory stage” in this context. I will outline my methodology in application to Adriana Hölszky’s work “Tragoedia”. Myconclusion is that the focus on a special kind of perception affects all stages of producing, performing and perceiving a work.Because auditory experience is dealt with marginally in theatre studies and traditional musicology has neglected performativeaspects of music theatre, in my investigation I take an interdisciplinary approach, connecting musical and theatrical aspectswhile placing emphasis on performance as a central category of (musical) analysis.Margarethe Maierhofer-LischkaUniversity of Performing Arts, GrazMy approach connects the three levels of “composed/intended”, “personal” and “phenomenological” listening. Doing so,I compare personal listening experiences with text-based analyses of musico-theatrical works, context- based strategiesof performance analysis, and perspectives from psychology/acoustics (Bregman), media studies (Chion) and philosophy(Mersch, Barthes and others). Auditory experiences in music theatre are thus described as complex phenomena in thecontext of multimodal perception.Margarethe Maierhofer-Lischka was born 1984 inRegensburg. She has completed master studies inmusicology, doublebass and contemporary music (TUDresden [2013], HMT Rostock [2010], KUG Graz [2013])and is a PhD candidate at the University of Arts, Graz.She works as a freelance researcher, journalist andmusician specialising mostly in contemporary music,music theatre, media art, and performance practice.She frequently performs with her own group “SchallfeldEnsemble“.http://bassomobile.wordpress.comgoldberg-variationen@web.deStage picture of “Tragoedia” as performed in Berlin in 2001.(Stage design: Sabrina Hölzer)FIRT/IFTR World Congress, University of Warwick, 2014732

The Gender Identification Game: Mokgadi Caster Semenya’s Masculine Performance of SexNew Scholars’ ForumSelogadi Ngwanangwato MampaneUniversity of PretoriaSelogadi Ngwanangwato Mampane is a Mastersstudent at the University of Pretoria in Performanceand Gender studies focusing on Female Masculinity.Mampane utilises a methodology of Queered Practice-Led Research (cited in Baker 2010) to constructsite-specific, performance as intervention, highlightingthe violence perpetrated against LGBTI peopleand the regulation their bodies face in some SouthAfrican communities and institutions. Mampane’spresentations include “ Verbatim, Drama Therapy,Performance Ethnography,”and “The Performance of‘Chromotherapy’.”When Mokgadi Caster Semenya won a gold medal in the 2009 World Championships in Athletics, in Beijing, her physicalperformance raised questions as to her sexed identity - is she male or female? If female sexed bodies perform in a masculinemanner, commonly associated with sexed male bodies, this female masculinity may be deemed as gender deviant behaviour.In the proposed research, I aim to interrogate and deconstruct the category of masculinity and how the construction of thiscategory and ideologies pertaining to sexuality, gender, race, ethnicity, class and culture have practical implications for thelives of Black, masculine presenting self-identified females, such as Semenya. Semenya’s athletic performance and physicalmake-up, seen as overtly masculine, deviate from expectations of what and how the sexed female body should perform.As Semenya’s sexed identity and masculine performance is questioned in the international media, she underwent tests tocompete on an international level such as the 2012 Olympic Games in London. Bodies that perform in the Olympic space,are sites of inscription expressing semiotic codes pertaining to sexuality. Semenya fails to perform her sexual identity inthe agreed-upon manner and she seems to be “not-man-not-woman” (Halberstam 1998:21) and deviates from expectednorms. Semenya’s convincing performance of masculinity deconstructs and exposes the fantasy of gender essentialism,deviating from socially constituted, heteronormative ideologies which circumscribe international constitutions regardinggender identity. Furthermore, colonial ideologies regarding sex and gender compound the reading of Semenya’s body asfemale, as it is held up against imperial representations and ideologies of Western (North American and Western European)femininity. What is significant is that Semenya does not ‘look like’ a girl, which raises the question: What does a girl look like?And according to what standards and ideologies is the identity girl/female/woman measured?artistsm@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014733

Documentation as Performative Event Through the Co-Existence of a Supplemented Body and anAlive BodyNew Scholars’ ForumSamantha ManzurCentral School of Speech and DramaSamantha Manzur, chilean actress andperformer graduated at Universidad Católica de Chile.Currently coursing MA in Performance Practice andResearch at The Royal Central School of Speech andDrama, University of London. During her carrier she hasperformed in: Sindicato (Labour Union),Yo te pido por todos los perros de la calle (I pray for all thestreet dogs) and participated in the acting laboratoryContemporary Tools in the Use of Spanish Verse. As adirector she has staged Bird´s Migration performanceshowed at Barrancabermeja, Colombia. She has also beenAssistant Professor in Classic and Contemporary ActingCourse at Universidad Católica de Chile.After my experience as a visitor to TRACES (2013), a retrospective exhibition of the work of Ana Mendieta, and specificallyfocusing on her piece SOURCE, I began to question the ways in which documentation goes beyond the mere act of capturinga past experience and could constitute a new form of the performer´s presence. By becoming aware of how the audienceand my body reacted, it was clear that in this video documentation some kind of presence emerged. Using notions ofdocumentation as an art form and considering the operation of the transference of matter - from flesh to light - whenthe performer is recorded and projected, I will address the emergence of a performative event in which the performer asa supplemented body appears through a new mediated nature. In arguing that Ana Mendieta’s body is not only absent inflesh because she is mediated through the video camera but also she doesn’t exist in flesh anymore, I will study how we areable to experience the event and the performer’s presence through video documentation. Using the concept of ´presence´in relation with absentia and the idea about intersubjectivity proposed by Amelia Jones, I will establish a starting point basedin an ontological understanding to be further developed in the supplemented body proposal using Derrida´s writings aboutDangerous supplement and the aureatic concept by Walter Benjamin. Finally, I will establish some ideas about the narrativeaspects that present the archive, allowing performativity to emerge through the persistence in the apparition of the corporalfluids from a dead body.Nowadays her research and practice is focused inperformance documentation and the relationshipbetween the file object and subject as a procedure thatallows performativity to emerge. This has developed toThe Procaryoticthe artistic collective ANAMENDIENTA ISDEAD.sammanzur@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014734

The Stratification of Identity in Contemporary Basque Experimental TheatreNew Scholars’ ForumRakel MarinUniversitat Autònoma de BarcelonaRakel Marin is an actress and singer born in BasqueCountry and based in Barcelona since 2001. She hasa BA with Honours in History of Art from Universityof Basque Country (UPV/EHU), with an Erasmus yearprogram in Paris at Denis Diderot University (JussieuVII), and a MA in Performance Studies from AutonomousUniversity of Barcelona (UAB) and Theatre Institut (IT).She combines professional work as performer (either inclassical, experimental or popular forms) with theoreticalor academic research projects: In 2007 and 2009 she wasawarded grants from KREA Expresión Contemporáneato conduct a study on contemporary Basque theatrehistory in relation to postmodern theory; during 2012-13academic year she was a Research Assistant to Dr. HenryDaniel (Simon Fraser University-Vancouver) for “ProjectBarca: New architectures of Memory and Identity”. She is aPhD candidate in Theatre Studies Doctoral Programme atUAB with a Thesis Project about Identity Configuration inContemporary Experimental Basque Theatre. Her projectconflates theatre practice, historical and sociological studyof contemporary theatre in Basque Country, and a casestudy of specific current mise-en-scènes.rakelezpeleta@hotmail.comBasque experimental theatre at the beginning of the twenty first century is flourishing. Basque companies and creators aregaining international visibility: from the anthropological theatre offered by FTI/Antzerkiola Imaginarioa to the post-dramaticconceptions of director Oskar Gómez and his companies Legaleón and l’Alakran. Despite being formally different, the worksof these companies share a distinct characteristic: their questioning of cultural identity. Their work inspires me to reflect onthe following kinds of questions: Which are the layers of cultural identity (memory, language, tradition, gender, social status…)that most influence theatre performers’ practice today? How are these layers configured in a mise-en-scène and how doesthe audience perceive them? To what extent are Basque companies influenced by and in turn influence international strandsof performance? Such questions underpin my thesis project, ‘The Configuration of Identity in Contemporary ExperimentalTheatre’, and my presentation will focus on select performance examples to highlight certain layers of identity that I haveuncovered as relevant to contemporary Basque society. I also propose to share some of the methodological and conceptualchallenges this project entails. Methodologically, the challenge is to establish a multilayered framework involving historical,sociological and anthropological approaches, along with the comparative analysis of significant theatre works, and my ownartistic practice that takes the form of a performative experiment created to test, and somehow objectify, perceptions ofidentity. Conceptually, the difficulty is how in theoretical terms to address this vibrant and ever-changing subject: practicethat ‘performs’ identity in a European community that is contemporary and globalized, but is also attached to a sense ofBasque culture and tradition.FIRT/IFTR World Congress, University of Warwick, 2014735

Bodies on/off Stage: Towards an Analysis of the Performance of Terror in Post-9/11 British TheatreNew Scholars’ forumIn 2002 Jean Baudrillard defined 9/11 as an event that disrupted the whole play not only of history and power but also of theconditions for its analysis. (2002: 4) In the aftermaths of this terrorist attacks, a series of discourses around concepts ofterror, globalisation and personal security were put into circulation, and discussions around notions of freedom, democracyand the relationship between politics and religion were brought back to the surface. How did theatre respond to it? Theaim of this paper is to establish the preliminaries for what will constitute an analysis of the performance of terror and itsrelationship to spectatorship in British theatre produced after the 9/11 terrorist attacks, which will culminate in an explorationof contemporary strategies of politicisation in British stages and dramaturgical responses to the ideological battles of theearly 21st century. For this purpose, special attention will be paid to the body and how it received, epitomized and incarnatedthis major event and its socio-political aftermaths. Emphasis will be placed on how discourses of terror permeate and stratifybodies, leading towards a state of precariousness and vulnerability, how political debates run through them and how is thistranslated into the theatrical event – thus allowing us to look into the relationship between bodies both on and off stage.Elisabeth MassanaUniversity of BarcelonaElisabeth Massana is a PhD candidate at the Universityof Barcelona, working on the performance of terrorin contemporary British Theatre, and a member of theresearch group Contemporary British Theatre – Barcelona(2014-1016). She has worked as an associate professorteaching British Contemporary Theatre in the Universityof Barcelona and tutors for History of the AnglosaxonCountries at Universidad Nacional de Educación aDistancia. She coordinates a theatre reading group andcollaborates with catalan playwright Jordi Faura in thetranslation of his writing. She has published interviewswith gender activists Itziar Ziga and Del LaGrace Volcanoin the volume Glamour i Resistència (“Glamour andResistance”) (El Tangram publishers), and with playwrightSimon Stephens in Pausa (Sala Beckett, Barcelona). Sheis a founding member of the seminar series “Theatre,Theory, Therapy. Barcelona” with fellow students fromthe University of Barcelona English Studies Department,and a former volunteer in the organisation of the 2013IFTR Barcelona Conference “Re-routing Performance”.Research interests include contemporary British drama,gender studies, the intersections between queer theoryand activism, performance studies and contemporaryphilosophy.elisabeth.massana@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014736

“Nice Town, Y’Know What I Mean?”: Racial Mimicry, Professional Play and Amateur Dramatics inHitchinNew Scholars’ ForumEleanor MassieQueen Mary UniversityEleanor Massie is an AHRC funded doctoral researcherin the Department of Drama at Queen Mary University,London. Her research project, supervised by DrNicholas Ridout, explores the terms “amateur” and“professional” and their usage in contemporaryperformance practice and theory. She will be presentingon some of her research to date at the TaPRAConference in September 2014. From 2011-12, she readan MA in Text and Performance run between the RoyalAcademy of Dramatic Art and Birkbeck College. Priorto that, she read English Literature at the University ofCambridge. Eleanor is cofounder of performance duoSHATTER RESISTANT (http://fragilerules.wordpress.com) and wrote a creative response on behalf of thecompany published in D.I.Y. (Do.It.Yourself.) (2014),edited by Robert Daniels (Bootworks Theatre). She alsoruns solo performance projects and collaborations withother artists (http://eleanormassie.wordpress.com).While recent publications have worked to recuperate the term “amateur” within the vocabulary of critical practice (Bailes,2011; Ridout, 2013) or to explore the traditions of amateur theatre in the UK (Cochrane, 2011; Dobson, 2011), this paperargues we must go further and acknowledge that each time a production is labelled professional or amateur a form of socialand cultural stratification is called upon. Through the excavation of the socio-historical associations of individual momentswithin performances, the traces of other strata (such as class or racial divides) are exposed. These other forms of stratificationoften influence the distinctions made between amateurism and professionalism across a range of social practices in the UK,including performance. Performances are particularly prone to reveal their hidden stratification when the mimicry of others’identities comes to the fore. One such moment is when performers labelled professional play amateurs as characters onstage, and vice versa; another is when race is mimicked on stage, such as in the traces of blackface present today (Lott,1993; Roach, 1996; Clover, 1995). In these moments mimicry often turns back on itself or breaks down entirely – identitytrembles – threatening the original categories of amateur and professional. This paper focuses on a single performance ofThornton Wilder’s Our Town at the Queen Mother Theatre, Hitchin, home to the local amateur dramatics groups Big Spiritand The Bancroft Players. It proposes that the traces of racial and social stratification within that play, when performed inthe context of Hitchin in 2013, feed into current concerns over the mimicry of identity; specifically the question of who canbe considered an amateur or a professional in the contemporary UK performance industry.http://fragilerules.wordpress.comhttp://eleanormassie.wordpress.come.massie@qmul.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014737

Ethical Responsibility and Emancipated Spectatorship in Sarah Kane’s PlaysNew Scholars’ ForumMarta Tirado MauriUniversity of BarcelonaMarta Tirado is a PhD candidate at the University ofBarcelona and research assistant for “Ethical issues incontemporary British theatre since 1989: globalization,theatricality, spectatorship”, a three-year research fundedby the Spanish Ministry of Economy and Competitiveness(FFI2012-31842). She holds a BA with a major in Humanities(University Pompeu Fabra), a BA in Drama and PerformingArts, with a major in Directing and Dramaturgy (Schoolof Drama of Institut del Teatre of Barcelona), and a MAin Comparative Studies in Literature, Arts and Thought(University Pompeu Fabra). Her minor thesis focused ona poetics comparison of Sarah Kane’s Crave and the playof the Catalan author Lluïsa Cunillé, Apocalipsi, supervisedby Dr. Carles Besa. She is currently working on her PhDthesis, which analyses the gradual transformation of theethical subjectivity in the plays of Kane from an aestheticperspective and is supervised by Dr. Mireia Aragay. Sheis a member of the three-year research project entitled“Ethical issues in contemporary British theatre since1989: globalization, theatricality, spectatorship”, fundedby the Spanish Ministry of Economy and Competitiveness(FFI2012-31842). She also forms part of the CBTBarcelonaresearch group recognised by the Catalan research agencyAGAUR (2014 SGR 49).This paper will propose an ethical reading of Sarah Kane’s work through Emmanuel Levinas’ ethical paradigm (1961, 1989), thathas been adopted by the critical analysis of the contemporary British theatre for the last years. Our objective is to re-considerKane’s radical aesthetics as a double ethical response: firstly, to the crisis of the subject under the neoliberalism’s effects and,secondly, to the increasing violence among individuals since the Holocaust. Considering that Levinas’ thought only conceivesan ethical encounter through a compromising relationship with the Other because of the recognition of the mutual humanvulnerability, the centre of our study will be the intersubjective links among the characters, their physical representation inthe scene and the “face-to-face” meeting between actors and spectators. Kane’s obvious problematization of the ethicalresponsibility to the alterity is translated in the plays by the representation of unequal relationships, which are shown throughphysical and psychological abuse. Judith Butler’s political dimension of Levinasian ethics (2004, 2011) notices that humanprecarity and bodily pain establish an ethical obligation among individuals who live together in close proximity, even thoughthis vulnerability is often used in order to create distrust and fear of otherness. Also, Butler underlines that there is not thesame level of precarity in all human beings, a fact that Kane’s work demonstrates when she deconstructs her characters onan aesthetic and performative level. Finally, the face-to-face encounter with the audience means that Kane’s “experientialtheatre” appeals to the spectator to take his own ethical responsibility about the pain implied in their relationships with theothers, an injury that he has identified on the stage. So, he becomes, in Jacques Rancière’s terms (2009), an “emancipatedspectator” who is transformed into an ethical witness, according to Felman and Laub’s witnessing and trauma theory (1992).martatirado@ub.eduFIRT/IFTR World Congress, University of Warwick, 2014738

Costume as Historiography in the Dance Performance Film Silk CycloneNew Scholars’ ForumMy research suggests that by using costume as vocabulary in dance choreography, dancers are able to extend the longevityof their performance careers.Costume used as part of choreographic language in a dance, can result in a significant example of creative phenomenologyadding a critical layer to performance. This is evident in the paradigm of the Canadian dancer Margie Gillis’ body of workwhere the artist uses fabrics and her hair entwined in the choreography of her performances.In constructing this presentation, l looked at Gillis’ performance and film (directed by Saskatchewan filmmaker Rob King) ofthe dance ‘Silk Cyclone’ (2012). An installation featuring the film was installed in the McKenzie Art Gallery (Regina, Canada)as part of an exhibition commemorating the 100 th anniversary of the Regina Cyclone (1912).Catherine (Cathy) McCombUniversity Of ReginaCatherine McComb has worked as a professional costumedesigner in Film, Television, and Theatre since 1991 (filmcostume design credits see imdb.com) . She trained as aprofessional dancer and as a dance teacher in the GrantMcEwan College dance teacher program, and gainedaccreditations from RAD (Elementary Level), and theSTDA, Scotland. Catherine worked for the Royal OntarioMuseum programs and public relations departmentfrom 1986 – 1989, programming performing arts andfilm programs for the museum to reflect the museumcollections, and was contracted by the University of ReginaTheatre Department as a sessional lecturer of costumedesign, costume history, and theatre design from 2002until 2014. She was involved in mentoring film costumetechnicians thru SIAST Future Skills Training Program inSaskatchewan. Nominated by the Canadian Academy ofFilm and Television for a Gemini award for best costumedesign (Lydia, 1998) she has also been honoured with threeSaskatchewan Showcase awards for best costume designin dramatic film. Board Chair of The Saskatchewan MotionPicture Industry Association (1999-2000) and a Boardmember of SMPIA (2008-2010). Catherine enrolled in theFaculty of Graduate Studies at the University of Reginapursuing a Masters degree in Interdisciplinary studies.The costume worn by Gillis’ and her fellow dancers acts as an extension of their physical beings; as a prosthetic layer thatdevours the dance, transforming it to automatic choreography extending the limitations of the human body. It performsas a prosthetic organism to be manipulated by the dancer inducing a phenomenological performance blurring the usualexpectations of the viewer.Thus costume, has the potential to be responsible for the exploration and creation of innovative choreography aiding in anextension of a dancer’s physical capability and providing the impetus to facilitate the longevity of a dancer’s performingcareer.Margiegillis.orgSilk Cyclone/ YouTubemccomb3c@uregina.caFIRT/IFTR World Congress, University of Warwick, 2014739

Power and Freedom: Representing the Past and the Present in Lithuanian theatreNew Scholars’ ForumMonika MeilutytėThe Art and Culture Magazine, Kulturos BaraiConsidering the past few decades, there were two dates very important for the life of Lithuania: in 1990, Lithuania’sindependence was re-established and, in 2004, Lithuania became a member of the European Union. Since the independenceof the country, Lithuanian theatre was freed from the soviet censorship, but, except few performances, theatre creatorsstill avoided to discuss political, social issues in a direct way. Such situation has changed about three years ago. The mostsignificant performances of the last few seasons were based on the following topics: work ethics, consumerism, exploitationof nature, material profit seeking policy, power of representatives of religion, mass-media influence to opinion of people, etc.In these theatre performances, the represented power-dependence relations and the conceptions of freedom appear as thebasis which allows revealing the previously mentioned topics, some of them are presented in the historical situations, others– in contemporary circumstances. It is possible to presume that the concept of power and freedom has changed sinceLithuania restored its independence and joined the European Union. Due to this reason, the aim of this paper is to presentwhat kind of understanding of power and freedom theatre performances suggest in Lithuania nowadays, how, according totheatre creators, Lithuanians consider these two subjects in the historical and today’s contexts. In order to achieve the aim,comparative method and theories of sociology and social psychology are applied to the research.Monika Meilutytė writes articles and reviews abouttheatre performances and festivals in Lithuania andabroad, analysis the problems of contemporary theatreand theatre history, participates in the internationalyoung theatre critics conferences. More than a yearMonika works as the editor of Theatre Column in the artand culture monthly magazine “Kultūros barai”. In June2013, Monika graduated from the master studies ofTheatre Research in the Lithuanian Academy of Musicand Theatre.mo.meilu@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014740

A Case Study of the ‘Small-Scale Puppets’ of Australian Performer Bronwyn VaughnNew Scholars’ ForumSince the mid-1970’s Bronwyn Vaughn has been engaged in theatrical performance for Australian audiences, primarily forchildren and young people. She has emerged as an important presence within the Australian theatrical scene and is noted forher use of puppets and performing objects that are integral to her performance practice, developed with the assistance ofa creative team of directors, designers and costumers. Vaughn writes, produces and performs her collaboratively developedshows in schools, galleries, community halls and festivals, as a solo performer. While seeking to outline and contextualiseVaughn’s performance practice, my presentation offers a particular, narrower focus on ‘small-scale puppetry’ within thisfield of work. The term ‘small-scale puppet’ is germane to my research project; it is a term I define as a puppet or performingobject that is no greater than 60 cm in height. Case studying Vaughn’s work, this paper aims to investigate and analyse theperformance of ‘small-scale puppetry’ within the Australian performing arts context. In brief, Vaughn’s performances with‘small puppets’ provide the ground for investigation into the phenomenon of the ‘small-scale puppet’, a field of puppetry thatto-date remains unacknowledged in histories concerning the ecology of puppet performance in Australia.Kayla MeredithUniversity of Newcastle, New South WalesKayla Meredith is a Research Higher Degree Studentat the University of Newcastle, Australia, where shealso teaches Creative and Performing Arts. She hascompleted a Bachelor of Arts in Drama and Englishand in 2012 she completed Honours in Drama with adissertation on the incorporation of new technologywithin puppetry. Kayla’s interests lie in puppets, masksand performing objects.c3092577@uon.edu.auFIRT/IFTR World Congress, University of Warwick, 2014741

The Need to Escape? Staging Northern Irish WomenNew Scholars’ ForumAs issues such as abortion and gender politics dominate the headlines in Ireland, Great Britain, and the United States, oneof the most conservative and intractable contingents in these debates remain the political and religious parties in NorthernIreland. Women’s access to abortion continues to be shrouded in foggy legality, and women continue to be underrepresentedin party politics at Stormont and Westminster, thereby limiting their ability to create change at a national level. Indeed, theGood Friday Agreement has enshrined the importance of sectarian, constitutional politics over gender politics: we continueto focus on issues of nationalist or unionist concerns. Considering both the reality of women in politics in Northern Irelandin the 20 th and 21 st centuries, as well as the staging of women on stage during this time, this paper will evaluate the genderedtraditions and frameworks that have dominated Northern Ireland and how ‘accepted’ gender norms and the gender politicsof the province are being challenged through the works of playwrights such as Abbie Spallen, Stacey Gregg, and LucyCaldwell. Is the solution, as Spallen says, to “Get out […] Until things change further, get out” 1 , or is it possible to createfeminist change from the stages of the province?Megan MinogueQueen’s University BelfastDr. Megan W. Minogue recently received her PhD inEnglish from Queen’s University Belfast for her thesisentitled “Performing Protestantism: Representations ofProtestant, Unionist, and Loyalist Identities in SelectedNorthern Irish Drama”. Her article “Home-Grown Politics:The Politicization of the Parlour Room in ContemporaryNorthern Irish Drama” was recently publishedby Studi Irlandesi: A Journal of Irish Studies, and shecurrently has another journal article and book chapterawaiting publication. Her current research interestsinclude gender in Irish writing from the 19 th century tothe present, Irish women writers, and changing role ofnational identity in the United Kingdom and Ireland aswe move towards an increasingly glocal world.Kiran Acharya, “Abbie Spallen”. http://www.culturenorthernireland.org/article/1488/abbie-spallenmminogue02@qub.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014742

Japanizing modern British Comedy: Kaoru Morimoto and his Contemporaries W. Somerset Maughamand Noël CowardNew Scholars’ ForumKaori MiyagawaMeiji UniversityMiyagawa Kaori is a PhD student of Meiji University,Tokyo, specializing in drama and theatre arts. Her mainconcern is modern British comedies especially NoelCoward’s. In Japanese Society for Theatre Research2012 conference, She presented some research ofCoward’s musical theatre works associated with CharlesB. Cochran.Kaoru Morimoto (1912-1946) is a playwright, translator who was one of the leading members of Japanese SHINGEKI company,Bungakuza, during and after the WW2. Now he is almost exclusively known for his later significant work, a five-act play AWoman’s Life ( 女 の 一 生 ) that has been performed as one of the monumental repertories of this company even today. But inaddition to this epical work which is strongly committed to social and political situations of those days, in his early careerhe wrote some short, intimate, and apolitical plays that are largely influenced by his British contemporaries: Maugham andCoward. When his younger days, Morimoto’s class teacher Syuji Yamamoto (1894-1976, a scholar of English literature anda critic) introduced him modern dramatists in Europe especially those two, and it encouraged him to have great interestin their sophisticated dramaturgy. There is another his notable work, A Magnificent Family ( 華 々しき 一 族 ) written in 1935 whenhe was twenty-three years old. This three-act play is a portrayal about a blended family. The eldest son Masatane and theyoungest daughter Mina are the children of Teppu (father, a movie director) and the eldest daughter Miyo is a child of Suwa(mother, dancer). The drama describes their complex feelings of love to each other in refined dialogs. My paper will showsome similarities between a Japanese playwright Kaoru Morimoto’s play and Noël Coward’s / W. Somerset Maugham’s worksin its dramatic structure, elaborate dialogs, and sense of humour. And describe how did young Morimoto adapt the essenceof the successors of British comedies of manners and evaluate his contribution to Japanese pre-war modern drama.mk-80reg@fa2.so-net.ne.jpFIRT/IFTR World Congress, University of Warwick, 2014743

Spaces that Transform Behaviour: The Scenography of Hélio Oiticica’s Environmental ProgrammeNew Scholars’ ForumCássia Maria MonteiroFederal University of Rio de JaneiroCássia Maria Monteiro is visual artist, scenographer,costume designer and curator. Since 2011, she teachesScenography at the Federal University of Rio de Janeiro(UFRJ) and, in 2012, she began her PHD studies atFederal University of the State of Rio de Janeiro(UNIRIO). Also in 2012, Cássia published with EvelynFurquim Werneck Lima the book “Between Achitecturesand Scenographies: Lina Bo Bardi and the Theatre.”Between the 60s and 70s, artist Hélio Oiticica [1937-1980] proposed the Environmental Programme. This programme couldbe read as a utopian search for an art of totality that conjugates language, different spaces and times, the disintegration ofimage and object in its creation. Aligned to this idea there is another: CRELAZER - synthesis of the state of creation andleisure, the search for a creative way of life. Art should be a proposal that stimulates a creative behaviour and extends itself tothe quotidian: a political principle par excellence. In Oiticica’s career, the creation of this concept determines an extension ofterritories from visual art to works that relates to dance, cinema, song and theater. This artist, responsible for Tropicália – anartwork that inspired the most important artistic avant-garde movement in Brazil – believed that plasticity, colour, structureand the bodies of participants work as mechanisms to enhance the perception of life. Within this framework, art should haveno limits imposed by language. To analyze Oiticica’s scenic environments is to understand how these work to underline thecultural substrata; how these are composed not only to see a cultural fabric, but also with a view to its transformation, and howsuch settings serve to stimulate the rediscovery of action and meaning either by performer or participant. His environmentalscenography creates the appearance of an expressionist strategy of construction: intends to change the natural order ofthe objects and the spectator’s ways of seeing. This paper aims to discuss works and thoughts that utilize the concept of“environment” to recognize the borders of socio-cultural liberation. Examining Hélio Oiticica’s Environment Programme,Allan Kaprow’s Environments and Richard Schechner’s Environmental Theater it may be possible to point similarities anddifferences among their ideas.cassiamariamonteiro@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014744

Meditations on the Grotesque through the Play The Story of Esther, by Salvador Espriu (1948)New Scholars’ ForumMaria MorenoPompeu Fabra UniversityThe Grotesque is an eminently linguistic phenomenon, as was pointed out by Bakhtin (1970). The distorting effects of theGrotesque serve to subvert linguistic registers, thereby affecting their established social order. In theatre, the Grotesque as asource of lexicological creation offers a new perspective from which the audience is allowed to understand what happens onthe stage (Fearnow 1997). In ‘The Story of Esther’ by Salvador Espriu (1948), through the use of the Grotesque an audiencehas to engage with a complex ironic structure that creates a distancing effect from lexical and scenic hierarchies. Throughthis ironic structure, apocalyptic image and fierce satire coexist on the same level as the Grotesque involves the abolitionof the ordering of aesthetic categories. This is why the primary aim of my presentation is to establish how the abolition ofaesthetic hierarchies on stage constitutes a key factor for understanding the meaning of the play – how Espriu uses myseen-abymeto eliminate the distance between biblical characters and the mythical universe based on the caricature of thebiting reality of a seaside town in the first half of the twentieth century. Secondly, I will aim to show how this procedure isan effective means by which the audience is guided in their interpretation of the play. Finally, my findings with regard to thedeployment of the Grotesque in Espriu’s play will be considered in relation to the use of the Grotesque in other examples oftwentieth-century theatre.Maria Moreno Domènech is a PhD candidate in CatalanLanguage and Literature and Theatre Studies. She hasa degree in Theory of Literature and ComparativeLiterature (2010) and a Master’s degree in TheatreStudies focusing on History and Theory of thePerforming Arts. Her research is about the grotesquein Salvador Espriu’s play The Story of Esther. She haspublished articles about dramatic authors such asSalvador Espriu and Ben Jonson.maria.moreno@upf.eduFIRT/IFTR World Congress, University of Warwick, 2014745

‘Knowing One’s Place’: Mapping Identities in Cape Town’s Infecting the City Festival (2009-2011)New Scholars’ ForumAwelani MoyoUniversity of WarwickSouth Africa’s social heterogeneity has posed challenges for the government’s nation-building agenda and for the notionof reconciliation and social cohesion (Mattes, 1999). The contemporary nation remains somewhat segmented acrosscultural, racial, religious and linguistic lines (Bornman, 2010). This is not only a matter of contrasting historical narratives andexperiences of the past, but also has to do with who controls the physical and discursive spaces in which individuals and groupsmight lay claims of their ‘authenticity’ within the body national. As such, belonging in South Africa is a complex and uneasyconcept, profoundly complicated by the effects of late capitalism and globalization. With this in mind, my paper considershow various cultural practices, or forms of ‘mapping’, attempt to make the world ‘knowable’, at the same time indicating whatescapes or exceeds the limits of their own codes of representation. In order to do this I will look at Cape Town’s Infectingthe City festival, the first public arts festival of its kind in South Africa. I explore how a number of performances (from 2009to 2011) serve to provoke and question public understandings of belonging in the new South Africa, and how the festivalattempts to ‘map’ the city by foregrounding forgotten histories, whilst also questioning the notion of shared cultural values. Idiscuss the impact of targeted spatial strategies used in a range of performances that challenge audiences to engage in thedebate around topical issues.Awelani Moyo is a researcher with a special interestin identity politics and site-specific performance.She is currently an Early Career Fellow in Instituteof Advanced Study at the University of Warwick.She recently completed her PhD in Theatre Studiesat Warwick. Her dissertation was entitled Re-tracinginvisible Maps: Landscape in and as performance incontemporary South Africa. She also holds an MA inContemporary Performance from Rhodes University,and in 2009 she was the Drama fellow for the GordonInstitute of Performing and Creative Arts, based at theUniversity of Cape Town.awelanimoyo@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014746

Distributing the Insensible: Assessing Lightning TestimoniesNew Scholars’ ForumManjari MukherjeeJawaharlal Nehru UniversityGiven the meteoric rise in rape testimonies across the country following the December 16 Delhi gang rape incident,there could hardly have been a better time to specifically look at the politics of representing a traumatic event, through acommunity’s shared experience through ‘Lightning Testimonies’. ‘Lighting Testimonies’ is Amar Kanwar’s 2007 installationpiece, which is not only a repository of several rape testimonials but is also a meeting point of several different mediums ofrepresentation and modes of expression of heinous crimes. Therefore it doesn’t merely represent the past nor is a mimesisof historic events but rather it is met with a process of exchange and reciprocity between the past fact and the presentexperience. This mediated response as well as the medium itself, I believe, create the conditions for its own existence andreception, by constituting different configurations of self, space and community that are charged with the possibility ofrevolution and collective responses. ‘Lightning Testimonies’, I argue, is a visual encapsulation of a collection of traumatichistories that embody the individual and collective breakaway from the normative setting through the creation of their ownsets of accepted “sensibilities”. During the presentation I will use Jacques Rancière’s theory of the distribution of sensibilitiesas a theoretical structure, and the famous Manipuri actor Sabitri Heisnam’s performance of Draupadi as captured in ‘LightningTestimonies’ as a physical example to express and reassess the stratification of representation, absorption and the expressionof trauma.Manjari Mukherjee holds an MS in Arts and Aestheticsfrom and a BA in English from Presidency College,Kolkata. Under tutelage of Pt. Birju Maharaj, Mukherjeeearned qualified as an Advanced level Kathak dancerand earned a Certificate and Advanced Course inDrama from Vidyasagar Academy. Mukherjee’s awardsinclude: the National Bal Shree Honour for Excellencein the field of Creative Performance from the formerPresident of India Dr. APJ Abdul Kalam; New Delhi,June 2007; The Chacha Nehru Scholarship for ArtisticAnd Innovative Excellence from the Government, June2007; The Balrampur Chini Mills Award for OutstandingTalent in Indian Classical Dancing, Kolkata, 2008; and,the CCRT Cultural Talent Search Scholarship from theGovernment of India, June 2003.mnj502@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014747

(Re)presenting an Indian Feminized Perspective: A Case Study of Geeta Chandran’s Gandhi: Warpand WeftNew Scholars’ ForumNithya NagarajanMonash University, Melbourne, AustraliaIn this presentation I propose to analyze the solo performance work Gandhi: Warp and Weft (2012) created and performed byGeeta Chandran, through the optic of the feminist spectator. This solo performance is essentially one woman’s embodied,feminized response to Gandhian philosophies, ranging from celibacy to ecological sustainability. Drawing on hybrid movementvocabularies from Bharatanatyam and contemporary theatre, Chandran defies convention by rupturing the Margam, thetraditional solo repertoire that is core to Bharatanatyam performance and is phallocentric in structure – designed for themale gaze and objectifying the “ideal” Indian woman. In order to analyze how Chandran lays claim to power and agencyby fracturing the Margam, I turn a feminist gaze on the following aspects of her performance: form, thematic content,aesthetics, identity of the dancer and representation. Structuring my reflections through each of these five elements, I willaim to show how this effects a feminist “re-envisioning” of the performance text (Adrienne Rich 1971). More generally, thiswill provide a framework through which to read and understand such transgressive performance texts in relation to theestablished conventions of classicism in Indian dance, overall addressing the question of how power and agency for theracialized and gendered performing body is negotiated and realized in such performances.Nithya Nagarajan is a PhD Candidate enrolledat Monash University, Melbourne, Australia. Herresearch focuses on the politics of gender andgenre in Indian dance. She is interested in analyzingkinaesthetic traces of similarity and departurefrom the traditional Bharatanatyam repertory.She investigates these traces as embodiedrepresentations of the Indian female body (re)claiming power and agency on the performancestage. Prior to this, Nithya has completed an MA inCulture, Creativity and Entrepreneurship from TheUniversity of Leeds, UK and a BCom in Accountingand Finance from The University of Madras, India.Nithya also has extensive performance experienceas a Bharatanatyam dancer.nithya.nagarajan@monash.eduFIRT/IFTR World Congress, University of Warwick, 2014748

Indian Dance in Singapore: Cultural Policy, Funding and ChoreographyNew Scholars’ ForumAparna NambiarIndependent Scholar2011-2012, University of Warwick & University ofAmsterdam Dual Masters in International PerformanceResearch (Erasmus Mundus) Dec 2012: MA Dissertation ‘ASingaporean co-production of Indian Cultural Performance’A study of the Indian performing arts in Singapore as alens to study the cultural evolution of Singapore’s Indianpopulation. Graded A by both the University of Warwickand Amsterdam. June 2012: University of Helsinki, FinlandSummer School in Curation and Practice-As-Researchin the Arts with Prof. Mark Fleishman Jan 2014- Present:Writer/Editor, iDance Central. Part of the foundingteam behind Dance Community Portal launched by theSingapore National Arts Council. June 2013- Jan 2014: Partof the founding team of Singapore Economic DevelopmentBoard funded arts-research centre, launched by theNanyang Technological University in October 2013. Sep2012: Belgrade International Theatre Festival (BITEF) 2012,Serbia, Performer for fringe series employing arts andculture as urban revitalization tools in public spaces. August2012: Critical Review and Documentation for Singapore’sfirst International Conference on Continuity and Change inIndian Classical Dance. August 2004- Present: Experiencein Bharatanatyam, Odissi and Indian contemporaryDance under Singapore based Indian dance practitioners.aparna.r.nambiar@gmail.comIn this paper I study the effect of Singaporean cultural policy, which influences the Singapore National Arts Council’s fundingcategories, on the ongoing evolution of the Indian dance genre in the city-state. I establish that the tight boundaries of ethniccategorization and the traditional/contemporary binary of these funding categories are derived from the CMIO (Chinese/Malay/Indian/Other) rubric of multiculturalism, which subjugates Indian dance to the performance of Indian ethnicity on theSingaporean national stage. I argue that this reflects either a vestigial or ongoing tendency toward social stratification anddelineates the evolving boundaries of ethnicity and its performance in Singapore’s public realm. The first part of the paperbriefly outlines the evolution of the Singaporean cultural field employing a Bourdieuvian analysis. I correlate the historyof the Indian dance in Singapore to colonial and postcolonial migratory movements between the Indian subcontinent andMalaya. I go on to examine the genre’s evolution under the support and subsidy structures set up as a result of the formationof Singapore’s National Arts Council in 1991. To substantiate the limitations of the current funding framework, I look at thework of two choreographers, firstly the choreography of ‘traditional’ Indian dance practitioner Santha Bhaskar, whose careerspans the six decade-long history of Singapore, and next, the work of young ‘contemporary’ Indian dance practitioner RakaMaitra. Using dance anthropologist Priya Srinivasan’s study of Indian dance in the United States as a key reference, I establishthat the definitions of the term ‘Indian’ in Singapore’s bureaucratic framework cause racialization of the performing arts inSingapore, create an undesirable tendency toward cultural nationalism among the minority ethnic Indian population, andfurther, adversely impact the assimilation of Singapore’s ethnic Indian identity into the larger Singaporean National identity.FIRT/IFTR World Congress, University of Warwick, 2014749

Terrible, Unplayed and Newly Written - A History of the New Swedish PlayNew Scholars’ ForumIn my PhD work I’m studying discourses about new Swedish playwriting in a historical and contemporary perspective.I’m tracing how the evaluation Swedish new drama is affecting and being affected by cultural policymaking. As a point ofdeparture for my research, I use the new dramatist’s grant for new Swedish drama, installed by the Swedish government, in1999. I regard this new, qualified, grant as a long, overdue, acknowledgment of the specificity the dramatic text, with its aimto subsidize the staging of new Swedish plays.As I started to research the history of the new grant, I discovered how a discourse about the crisis of new Swedish dramawas a recurring theme. It is possible to trace it as far back as to Gustav IIIs reign, when Swedish became the official languageof the Royal Theatres.Charlott NeuhauserPerformance Studied, Stockholm University, SwedenBA Liberal Studies, Lang College, The New School forSocial Research, NYC, 1987In my presentation I would like to discuss some of the different discourses about the new Swedish play and how thesediscourses have become politicized and part of an ongoing tension between the written and the staged text. I will addresshow this tension, or conflict, is visible in the Swedsih media debate during the 1970’s to 1990’s. In addition I will raise thequestion of how the tension between the written and the staged text is treated within the academic world. What myths aremaintained about the written and the played text, both in theatre practice and academe?MFA Dramaturgy, Yale School of Drama, Yale Univ. NewHaven, 1991After having worked as a dramaturg at different Swedishregional and city theatres I returned to the academicworld in 2008.I’ve been working as a dramaturg with playwrightsand have been teaching playwriting at Lund’sUniversity, Teaterhögskolan Malmö and Biskops Arnö’sFolkhögskola. I also teach at the Performance studiesdepartment at Stockholm University.charlott.neuhauser@teater.su.seFIRT/IFTR World Congress, University of Warwick, 2014750

Theatre where there are no Theatres: Stand-up comedy and the making of New Theatre in NigeriaNew Scholars’ ForumSince the early 1980s, theatre practice in Nigeria has suffered from neglect and inactivity, mainly due to adverse socioeconomicfactors occasioned by mismanagement of the nation’s economic boom of the 1970s. By contrast, during thisperiod stand-up comedy has emerged and has risen to become a major live entertainment genre in the country. This paperconcerns itself with interrogating stand-up comedy. The intention is to, first, designate stand-up comedy as a form oftheatre, and thereafter examine the traits that have made it successful in Nigeria, this while theatre remains unrecognised.The study adopts Victor Turner’s “liminal state,” Alfred Radcliff-Brown’s “joking relationships” and Max Gluckmann’s “ritual ofrebellion” to conceptualise the socio-cultural contexts of jokes and relies on Jerzy Grotowski’s “Poor Theatre” and EugenioBarba’s “Theatre Anthropology” to theorise stand-up comedy as theatre. My argument will be illustrated by examples ofstand-up acts by Ayo Makun (AY), Ahamefula Igwemba (Klint-da-Drunk), Francis Agoda (I Go Dye) and Bright Okpocha(Basket Mouth).Izuu NwankwoGombe State University, NigeriaIzuu Nwankwo teaches drama at Gombe StateUniversity, Gombe, Nigeria. He has three publishedstage plays, a couple of scholarly essays, an Igbolanguage translation of Chinua Achebe’s Things FallApart, and a book on marginal African performances(with Ifeyinwa Okolo) in the works. He has justconcluded his PhD research, an interrogation ofNigeria’s stand-up comedy as theatre, at the Universityof Ibadan, Nigeria.FIRT/IFTR World Congress, University of Warwick, 2014751

Shakespeare in Japan—SPAC’s A Midsummer Night’s DreamNew Scholars’ ForumKeiko OkuMeiji UniversityShe received a B.A. in English Literature at NihonUniversity, and an M.A. in Drama and Theatre Arts atMeiji University. Her main research interests lies intranslation and adaptation of Shakespeare, especially inJapan.okusamadam0930@hotmail.com“He was not of our age but for all time”— As in Jonson’s dedication, we can meet Shakespeare even today and moreimportantly in another countries, including Japan. But how could it be possible that he can be of Japan in spite of cultural andlingual differences? One of the most unique answer to this questions might well be the Shizuoka Performing Arts Center’sA Midsummer Night’s Dream (2011). It was staged by Satoshi Miyagi (1959- ), the artistic director of the theatre. His styleis somewhat intercultural, as he typically directs Western and Asian texts within a Japan-ish context. This time, utilizing ascript by Hideki Noda (1955- ), he represents the world of MND, not in Athens but at the foot of Mt. Fuji. The nobles and themechanicals are translated into the modern Japanese citizen. Though their names and occupations are different, their rolesare nearly the same. The fairies, however, are quite different. They are rendered into something spiritual in nature, and thuspeople are dreaming within a sea of trees. Miyagi highlights such nature by using a set which looks much like the woods andthe costumes as recycled old newspapers. All these elements construct a fictional area of Mt. Fuji in the actual surroundingsof Shizuoka. Here emerges the multi-layered topography of Mt. Fuji, the one emphasized in Noda’s script written in 1992, andthe one reemphasized under Miyagi’s direction. Coincidently, this also was staged after the 3.11 earthquake disaster, whichmade us all realize the cruelty of nature. The staging reminds us of it, as well as the beauty of nature. In this presentation, Iwill examine how “Japan” could be emerged through this Shakespearean adaptation, by focusing on nature under Miyagi’sdirection emphasizing upon both the destruction and regeneration.SPAChttp://www.spac.or.jp/Asian Shakespeare Intercultural Archivehttp://a-s-i-a-web.org/FIRT/IFTR World Congress, University of Warwick, 2014752

How Can Theatre Help Train Teachers?New Scholars’ ForumMonique Lima de OliveraFederal Rural University of Rio de JanieroThis presentation focuses on how theatre can help train educators (teachers). What if these educators are militants ofsocial movements for Agrarian Reform in Brazil, students in Field Education? This presentation focuses on the experiencesof and experiments with students during a teacher-training course in Field Education at the Rural University of Rio deJaneiro (2010-2013). Since 2010, this course has developed educational, political and artistic frameworks – tools thatarticulate didactic and pedagogical training through the Laboratory of Arts, Languages and Media. In the Laboratory, westudy political theatre and films. One particular strand of work culminated in three pieces formed by drawing on EpicTheatre, Aristotelian poetics and the Theatre of the Oppressed. An overarching concern was the relevance of Brecht inBrazil, how ideas of dialectical theatre were relevant in the 1970s and remain so today, as evidenced by performancesby the Companhia do Latão, of São Paulo. To understand the potential educational dimensions of theatre, we analysedaudience response material written by students who saw performances by the Companhia do Latão, and in turn came toreflect on the insights and applications this might have for training teachers. In short, the presentation will explore andreflect on how the experience of theatre can potentially ‘teach’ us how to educate.Monique Lima de Oliveira came from a poorneighborhood in the outskirts of Rio de Janeiro (BrazilAvenue). She attended film clubs, made three yearswith the theatre group Tá Na Rua (streets theatre). Sheis a journalist, Master of Education and students ofSocial Sciences at the Federal Rural University of Rio deJaneiro.m26dejulho@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014753

Can Urban Arts be Considered as a Form of Applied Theatre Practice?New Scholars’ ForumAdelina OngRoyal Central School of Speech and DramaThis research argues for the consideration of four practices of urban arts, in particular skateboarding, graffiti, ‘breaking’(breakdancing) and parkour, as a forms of applied theatre practice to counter the ‘pedagogy of commodification’, defined byHenry Giroux as “consumerism designed to influence, shape and produce future generations of young people who cannotseparate their identities, values and dreams form the world of commerce, brands and commodities” (Giroux 2009: 32). I willbe using Sally Mackey’s performance of ‘place’ to analyse how skateboarding, parkour, ‘breaking’ and graffiti, might offer ameans of creating acceptance for marginalised individuals and communities. The results that emerge both complement andcomplicate recent work around the ‘street’ as ‘thirdspace’ for young people (Matthew et al. in Holloway & Valentine 2000:61) and current regulations on urban arts. In light of 2011’s international Occupy movements and motivated by growingincome inequality in Singapore, this presentation recognises urban arts as an attempt by young people to articulate theirfuture in terms other than “the language of the market” (Giroux 1995) and is a timely follow-up examining how urban playreclaims public space, expresses freedom and challenges established aspirations defined for young people in a marketdrivensociety. James Thompson calls for a strategic “alliance” between applied theatre practitioners and artists who engagein “public spectaculars, site-specific interventions and transgressive perruque-like critical acts” (Thompson 2009: 41) tocomplement the intimate, personalised interventions of applied theatre. My research hopes to answer this call.Adelina Ong is a PhD student at The Royal Central Schoolof Speech and Drama. She has been active in the theatrescene from 1997, initially as a performer, director andproducer co-organising interdisciplinary festivals suchas Pulp (2003) which initiated collaborations betweenurban artists and classically-trained artists. She establishedone:lab in 2010 as a vehicle for producing and performingwork that sought to address vital social issues throughperformance and theatre-led interventions. She has workedextensively, creating fulfilling volunteer partnershipsbetween corporate funders and the social sector throughthe National Volunteer & Philanthropy Centre. From 2008to 2012 she managed an interdisciplinary arts school forchildren and youths from low-income families in Singaporeand personally taught the youth theatre programme. Shedevised HOME in 2011 with ten youths whilst mentoringthem in the art of fundraising. The youths successfullyraised $15,000GBP for an exchange programme to Sydneywhere they performed HOME in 2012. In 2010, she wasselected for Social Leadership Singapore, an 8-monthleadership course led by Professor Dean Williams from theHarvard Kennedy School’s Center for Public Leadership..adelina.ong@cssd.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014754

Combing the fringe of indefinite extent: spiritual layering in T.S Eliot’s Murder in the Cathedral.New Scholars’ ForumT.S. Eliot’s verse drama Murder in the Cathedral, produced in 1935 as a commission for the Canterbury Festival, can be seenas a form of cultural resistance to secularism in the arts, coming as it did a year after the Moscow Arts Theatre announced inits manifesto that prose and social realism were to be the preferred modes of expression for drama.Focusing on events leading up to the martyrdom of Archbishop Thomas Becket in Canterbury cathedral in 1170, the playmight be expected to be coloured and layered by Christian imagery and spirituality. But is it? Drawing on Julia Kristeva’stheory of poetic language, James Fowler’s developmental theory of faith, James Hillman’s archetypal theory of animality,and Hélène Cixous’s gender theory, as well as providing a systematic and original application of the methods of the ‘newcriticism’ to selected passages, I will argue that the imagery and spirituality in Murder in the Cathedral is essentially anythingbut Christian.Christopher O’ShaughnessyGoldsmiths, University of LondonChristopher O’Shaughnessy enjoyed a successful andrewarding career as an inner London secondary-schoolteacher for over forty years.Now he is retired and is a practice-as-research PhDcandidate (part-time) in Theatre and Performance atGoldsmiths, University of London, having previouslygained a MA in in Theatre (Playwriting pathway) fromRoyal Holloway, University of London. He upgraded successfullyearlier this year from MPhil to PhD level and isinvolved, at present, in preparing for the staging of hisnew verse drama ‘The Ruth Ellis Show’.His thesis is called ‘Spirituality in English-speakingdrama since 1935: a critical revaluation and a dramaticcontribution’. He has presented his findings at variousconferences, particularly at Goldsmiths and was onthe organising committee of the Goldsmiths GraduateFestival for the past three years.He is a Associate Member of Encompass Theatre companyfor which he has written, researched and acted,taking the lead in Encompass’s first short film ‘Stormin’Norman’. He reviews theatre for WhatsPeenSeen and,formerly, for Onestoparts and also reviews academicbooks for Platform magazine.On the contrary, a dominant layering of pre-Christian or natural spirituality suffuses the dramatic text which, once recognised,raises questions concerning its deeper meaning and furnishes implications for the way the text may be performed anddirected. The layering may be found strikingly in the Chorus of the Women of Canterbury which contrasts with the spirituallayering for Thomas and may be identified through a methodology of analysis and critiquing of relevant areas of textualpatterning and imagery. By concentrating on the language of the Chorus of the Women of Canterbury, the stratification atwork in the language of the play is foregrounded and a new sense of Eliot’s playful dramatic style is revealed.coshaughnessy@tiscali.co.ukFIRT/IFTR World Congress, University of Warwick, 2014755

“How Are You Doing” Movement: When Words be a Performance, ‘I’ become ‘We’New Scholars’ ForumJihyeon ParkUniversity of Warwick & University of Arts BelgradeMy research is concerned with all kinds of ‘borderlands’where different individuals, media, and culturesconverge or collide with one another. It ranges overtravel writing, performative drawing, walking, andeveryday ritual.On 10th December 2013, a handwritten poster was displayed on a bulletin board in Korea University, which commencedwith a simple question: “How are you doing these days?” The common greeting was followed by the portrayal of the currentpolitical situations: the privatization of Korail; laying-off 4000 strikers; the suspicion of electoral fraud; and the deprivedpolitical voices of the younger generation. The text concluded with the repeated question: “How are you doing (in thissituation)?” This two-A0-size-page poster was, unexpectedly, followed by a number of subsequent handwritten posters,replies from other students answering that they weren’t, or couldn’t, be well. The posters currently number over 700 andhave been developed into a new form of student activism, which calls for the consideration of a wide range of politicalissues such as democracy, education, feminism, homosexuality, environment, and disability. The language of asking connects‘MY’ individual unhappiness to ‘OUR’ social questions, approaching the nature of the political from different perspectives.The participants take further steps to organize collective movements in the manner of maintaining the multi-vocal anddialogical nature. This paper explores how and why this analogue media of handwritten poster—historically traced back tothe Cultural Movement in China (1960s) or the Democracy Movement in South Korea (1980s) —is newly discovered andbecomes a stimulant of activism in this era of the internet and social networking sites. Beyond their two-dimensional textualappearance, the performative aspect of the posters is compounded by their similarities shared with the manifesto, speech/act, and one-man protest. It will be further discussed how this ‘handwritten’ or ‘inscribed’ performance, by adopting thetechniques of everyday language and dialogue, shows the process of individuals’ transformation into political beings, andtheir regained voices’ occupying the public spaces.littlekate@naver.comFIRT/IFTR World Congress, University of Warwick, 2014756

The Issue of Musicality of Speech in the Staging of the Play GuatacaNew Scholars’ ForumCatalina de la ParraPontificia Universidad Católica de ChileHans Thies Lehmann recognizes, in his book Postdramatic Theatre, one of the post-dramatic theatre’s main qualities, this is,a clear orientation towards musicality, from which emerges what he calls an independent “auditory semiotics”. Facing thissemiotic emergency and based on Kandinsky’s already suggested idea of the music as a role model for the other arts, I havedeveloped, through my plays, an investigation around the issue of musicality. I understand this concept in a broad sense, thatis, as a perspective from which different criterions arise, that guides both the writing and the staging of a play. For the playGuataca, the subject of my Master in Arts thesis, I developed a writing style and a mise en scène focused specifically on theissue of musicality of speech. In this talk I present, through a selection of three audio-visual fragments, an analysis of themusicality of speech in the play. To do this I address three important aspects that can be observed: the notion of soundscape(Murray Shafer), the mechanism inside the “spoken singing” or Sprechgesang (Arnold Schoenberg), and the work with thechilean language sonority. These three issues give account of the musicality of speech operation, positioned to a sort ofaesthetic musicalized speech, which allows favouring the dialogues shapes over the information. The word then appears as aprotagonist who, from his sonorous materiality, extends the sense’s registration, opening and multiplying the comprehensivepossibilities.Catalina de la Parra is a playwright, theater directorand researcher. She graduated from the PontificiaUniversidad Católica de Chile as Actress and thenas Master of Arts from the same University. Shestudied playwright with various teachers in BuenosAires, Argentina. She is currently studying PhD in Arts(specialization in theatrical studies and practices) in thePontificia Universidad Católica de Chile, where she alsodoes research on the links between theater and therapy.She has taught theory of theater, acting and playwritingat various schools and universities in Santiago de Chile.On 2007 her play Vals, won the first award of theLatin American Festival of Mar del Plata. She directedalso Tango, the play of Ana Harcha, which touredtrough South America in 2009. In 2010 she wrote anddirected la Malamaladre the work which won the firstaward for Best Direction at the Directors Festival ofthe Universidad de Chile. In 2011 Catalina wrote anddirected the play Guataca, as part of her dissertation forMaster’s Degree of Arts. Alongside her academic andtheatrical work, Catalina serves as body therapist forchildren and adults. Now she lives in Berlin, where shewrites her thesis and also she studies drama therapy.catadelaparra@gmail.comwww.catadelaparra.jimdo.comElio FrugoneElio FrugoneFIRT/IFTR World Congress, University of Warwick, 2014757

Affective Dramaturgy and Embodied Spectatorship in Matthew Bourne’s Dance TheatreNew Scholars’ ForumSarah PassfieldUniversity of KentSarah Passfield is currently researching EmbodiedSpectatorship and Affective Dramaturgy inDance Theatre. She trained at The Laban Centrefor Movement and Dance in the mid 1980’s andsubsequently performed in and around Londonwith emerging contemporary dance groups andchoreographers including Matthew Bourne, NigelCharnock, Deb Newton and performance/visual artistDeb Thomas. Her M.A. in Dance Studies was partPractice as Research at the University of Surrey in the1990’s. She worked with Rosemary Butcher on her sitespecificpiece for Guildford Cathedral and with YolandeSnaith on Diction, commissioned by the Universityof Surrey Dance Department. She has worked as achoreographer, dancer, teacher and animateur, inSuffolk, as it became the first National Dance Agency,at the University of Surrey and for Guildford CouncilArts, also in West Sussex and South Wales. She has alsoworked in theatre and arts festival administration andcommunity outreach at the Polka Theatre, Wimbledonand the Canterbury Festival.This paper proposes that experiences of time and space, particularly shaped and altered by Matthew Bourne’s choreographicdramaturgy create opportunities for embodied engagement with performers and other spectators in live performancesof Dance Theatre. While my main case study focuses upon Bourne’s Sleeping Beauty for the purpose of clarity, there willbe contextual references to other choreographers working in the Dance Theatre genre, where this helps to illuminate theexamples discussed. This is part of my current research, which I place at the intersection of the “twin turns” in performancetheory: Affect and Cognition. On-going research in both these areas has informed the focus of my research question for thispaper. I investigate the shifting relationship between the individual spectator, the collective audience and the performanceto interrogate the nature and processes of this embodied, pre-linguistic engagement. In this paper I explore the notionof entrainment to consider how the individual spectator becomes part of a collective group and, is able to experiencea performance event so physically that the engagement appears to be more embodied than cognitive. While individualspectators feel these physical sensations and experience changes in perceptions or awareness of time and space, theseexperiences seem also to be shared to some extent with others in the audience. I will draw upon Affect theories, Kinesthesia,and Cognitive Neuro-sciences. My discussion of Space in chosen examples is shaped by concepts devised by Rudolf Laban,whose system of Choreutics can be usefully applied in this context.New Adventures official website information on Matthew Bourne’s Sleeping Beauty.http://www.new-adventures.net/productions/sleeping_beautyspassfield@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014758

Dalit and Working Class Theatre in Maharashtra: Mapping Spaces and Performing Practices of‘Political’ PerformanceNew Scholars’ ForumKiran PawarJawaharlal Nehru UniversityIn adopting the neo-liberal, post finance capitalism, a number of Indian industry particularly the textile industry of Mumbaiand neighboring locales have had to shut down with the worker’s made redundant. The ensuing years (since 2001) haveseen a large range of demonstrations, strikes and emergence of worker’s theatre in and around the factories. A number ofideas adopted from Marx and trade union movements from all over the world are often combined with local philosophicalnotions to create some of these cultural strategies. My intent through this paper is to see how mobilizing power and narrativeof performance are critical tools, which constantly mobilized in the cultural location transform itself as the ‘political’. Therecent protest –performances by Kabir Kala Manch and other similar groups who combine Marxist and Dalit thinking in termsof their performance throw open a number of issues and debates around such ideological positions and the objective ofthe participants and the audience which is tied to economic hardship, poverty, hunger and unemployment. The banningof the performances by the state and government has added a new momentum to its cultural movement but also revealsplits between what can be read as identity and transformative politics. An important lens through which I examine theperformances are use of iconography and symbolic signifiers which tend to forge the connections between the realm of theideological and weaves it within the narrative of the performance.Kiran Nandkumar Pawar is currently enrolled in Ph.D inTheatre and Performance Studies, School of Arts andAesthetics, Jawaharlal Nehru University, New Delhi. Heengages with theatre performances and films in theinstitutional and other performance spaces both as aperformer and researcher. He has a Masters degree inTheatre and Performing Arts from Lalit Kala Kendra,Gurukul (Center for Performing Arts) Pune University,Pune. Furthering his interests in Theatre and Performingarts he pursued Masters of Philosophy (M.Phill) on thetopic, SHIFTING NOTIONS OF CONTEMPORARYMARATHI THEATRE: A CRITICAL OVERVIEW OFTRANSFORMATION OF MARATHI THEATRE FROM‘MODERN’ TO ‘CONTEMPORARY’. With a sound academicbackground he equally qualifies as professional with anexperience of fourteen years in the field of dramatics andresearch. His research interest varies from culture, practiceand enthnographical studies.kiran00pawar170@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014759

Dancing in a Man’s World - Dasi Attam to Bharatanatyam, A Journey from Temple to ProsceniumArcNew Scholars’ ForumV Soumyasri PawarDept., of Performing Arts, Dr Babasaheb AmbedkarMarathawada University, Aurangabad, IndiaV Soumyasri Pawar, a teacher, practitioner andresearch scholar, is a postgraduate in Bharata Natyam &Chroeography from Nalanda Nritya Kala Mahavidyalaya,University of Bombay under the tutelage of Guru DrKanak Rele and presently pursuing Ph.D in Interdisciplinarysubjects Indian Dance & Drama under the guidance ofDr Shashikant Barhanpurkar, HOD, Dept of Performingarts, Dr Babasaheb Ambedkar Marathawada University,AurangabadShe has also learnt Kuchipudi(Indian classical dance form)from Guru Dr Rajyalakshmi Seth, Mumbai.She has performed in many major festivals in India and inSwitzerland. She is heading the artistic group Devmudraain India through which they present traditional dancedramas and also contemporary theme based dancetheatre ensembles. She has been endowed with manystate and national awards for her contribution in thefield of dance. She is presently adjunct faculty for Danceat Dept of Performing Arts, Dr Babasaheb AmbedkarMarathawada University, Aurangabad, India. She is memberof International Dance Council, UNESCO, Paris and IndiaWorld Cultural Forum, New Delhi.devmudra2007@gmail.comIndian classical dances are ritualistic in origin, the ritualistic practices journeyed from city states to feudal estates and furtherdown to landlords. Narthaki is a dancer, a performing artiste as described in most of the theoretical texts on performing artsin India. The subsequent puritan ideologies caged narthaki in the ramparts of the temple labeling her “Devadasi” (servant ofGod) The ritualistic tradition narrowed down further and limited to temples and the temple patrons became a new lord ofthe narthaki and the dance form turned more sensuous and titillating to invoke sensual pleasures in mortal gods. This powerequation demeaned the social status of the performer as well as of the art form. In the beginning of post colonial era by thevirtue of the Devadasi Abolishment Act, the practice was prohibited and gradually the art form regained its aesthetic genuinityand sublime flavour and came to regard as a cultural identity. My paper will stress upon the subtle changes introduced inthe presentation of Bharata Natyam repertoire to regain its purity and lost status. I will be bringing about following changesintroduced in the presentation of Bharata Natyam repertoire for eg: costumes, abhinaya (expression), removal of lip synch,choice of padams and javalis (nritya dance pieces). All above mentioned features of Bharatanatyam which were loaded withloud sringaric tones and textures were changed to subtle and restrain presentation. My paper will illustrate life and time ofthe last surviving devadasi T Balasaraswati of southern India and how the social stratification of this performing art form hasdehumanized existence of woman and also the reformation of Bharata Natyam from Sadir/Dasi Attam to Bharata Natyam.www.devmudraa.comLink to YouTube: http://youtu.be/ak_a1RJ2DZcFIRT/IFTR World Congress, University of Warwick, 2014760

Crossing the Line: Rites and Rituals in the Royal NavyNew Scholars’ ForumSpecifically concerned with the rite of passage ‘Crossing the Line’, this paper explores the origin, historical development andproduction of this unique naval ceremony. By completing tasks of varying discomfort demonstrating their ability to endurethe hardships of a life at sea, the newest crew members are initiated in to the ‘Ancient Order of the Deep’. Re-emerging asSons of Neptune, the sailors compose the cast of future ceremonies, inflicting the same initiation tasks that they themselvesendured. Contextualised within the wider repertoire of amateur naval theatricals, naval ceremonies and rituals of the 20 thcentury, this paper will examine the ways in which this ceremony has contributed towards the development of a distinct navalculture that has been celebrated and passed down from generation to generation. This paper also argues how the Crossingthe Line Ceremony not only seeks to affirm a sense of home and nation at sea but plays a significant role in creating cohesion,camaraderie and nationhood.Sarah PennyUniversity of WarwickSarah Penny is a PhD candidate at the Universityof Warwick and is writing her thesis on amateurperformances in the Royal Navy. The working titleof her thesis is ‘Entertainment at Sea: From ConcertParties to the SODS Opera’. This research is part of theAHRC funded project ‘Amateur Dramatics: CraftingCommunities in Time and Space’ which collaborateswith investigators from Royal Holloway, University ofLondon and the University of Exeter. Sarah receivedher B.A in Theatre and Performance Studies from theUniversity of Warwick. She also received an ErasmusMundus Scholarship for her Masters in InternationalPerformance Research which she completed withdistinction at the University of Amsterdam in 2012.http://amateurdramaresearch.com/s.penny@warwick.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014761

Pastoral Drama and the Querelle des Femmes: Andreini, Campiglia and TassoNew Scholars’ ForumNatália da Silva PerezFreie Universität Berlin and the University of KentNatália da Silva Perez is an academic researcher andmultidisciplinary artist working in theatre, music, anddigital art. She is especially interested in questionsof gender, social justice, ethics, culture, and history,and how they all relate to theatrical practice. She isan Erasmus Mundus PhD candidate at TEEME, a jointdoctorate program between the Freie Universität Berlinand the University of Kent. Her research tackles genderroles in early modern theatre, and their ramifications forcurrent performance practices around the world. Bornand raised in São Paulo, Ms. Perez has also lived andworked in Montreal, Brussels, Seville, and Canterbury.She is currently based in Berlin.In her introduction to the edited volume Three Tragedies by Renaissance Women, Diane Purkiss warns us against applyinganachronistic ideals of authorship to evaluate works written by early modern women. In order to understand in what contextsthe plays in that volume had their origins, Purkiss refrains from considering a text such as Lady Lumley’s translation ofIphigenia in Aulis within the paradigm of the commercial Elizabethan theatre. She prefers to locate plays like this in the contextof private drama, a genre whose defining characteristics often contradict the codes of the early modern commercial stage.Although the category of private drama can be useful for the literary scholar interested in studying women’s plays, it is ratherlimiting for artists producing these plays on the stage today. The strict focus on textual concerns forecloses interpretationsthat might arise in the rehearsal floor when bodies and language get entangled. Rose Company’s 2013 all-female productionof Lady Lumley’s translation Tragedie of Euripedes Called Iphigeneia is a case in point. With this example, I show that academicinquiry and artistic practice do not need to be mutually exclusive endeavors. On the contrary, artists and scholars canmutually benefit from each other’s insights when approaching contemporary stagings of the so-called closet dramas. Byconsidering theatrical performance as a vehicle for embodied philosophical inquiries, I argue for more attention to theartists who perform these texts, and to the audiences who attend such productions. A historicist project of understandinghow texts originated remains relevant, but the shift I will propose permits us to move beyond concerns of a purely academicnature to include performing artists and the public in the conversation.natalia.perez@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014762

Scandal and Satire in the Career of Dorothy JordanNew Scholars’ ForumFelicity Nussbaum, utilizing Joseph Roach’s concept of “public intimacy,” posits that 18 th -century actresses could exert ameasure of control over their relationship with audiences by establishing and maintaining a consistent public image. Suchpersonas, which might cast the actress as a genteel lady, a mother, or a wit, were vital to the move away from the actress/whore conflation dominant in the 17 th and early 18 th century, and towards the recognition of actresses as skilled professionalswho could also reach, and find acceptance in, the highest echelons of social life.In the fall of 1791, celebrity actress Dorothy Jordan—the comic darling of the stage, whose legs inspired rapture and whoseirrepressible mass of curls seemed imbued with the same boisterous joy she brought her audiences—was in serious trouble.Chelsea PhillipsThe Ohio State UniversityChelsea Phillips is a PhD candidate and PresidentialFellow at Ohio State University. She is currently writingher dissertation, “Carrying All Before Her:” Pregnancyand Performance on the British Stage in the LongEighteenth Century 1688-1807, which studies the livesand performances of seven actresses who performed inthe late stages of pregnancy. The dissertation considersthe impact of pregnancy on audience perception ofthese women and their performances, as well as howpregnancy impacted theatrical repertoire and companymanagement strategies. Her work has appeared inShakespeare Expressed: Stage, Page, and Classroom(2013) and the journal Testi e Linguaggi (University ofSalerno). Chelsea is also a professional dramaturg andholds an MFA in Shakespeare and Performance.Jordan had left her lover, Richard Ford, to become the mistress of the Duke of Clarence (later William IV). There were severalproblems with this course of action. First, Jordan had been presenting herself socially as Mrs. Ford, implying marriage.Next, she appeared to have accepted Clarence as a lover for pecuniary gain, for the Duke granted her a substantial annuity.Finally, rumors that Jordan was pregnant led to speculation that she had become Clarence’s lover while still living with Ford.Because of these revelations, and the disconnect they created between her perceived and actual private life, the previouslysocially acceptable, delightful Mrs. Jordan found herself swiftly, and literally, recast as an epitome of the actress-as-whorestereotype in a series of satirical cartoons.This paper focuses on two cartoons, by William Dent and James Gillray, depicting Jordan in intimate situations with her royallover. The cartoons include quotations from the onstage romp and hoyden roles Jordan was famous for to cast her as asocial-climbing whore. In doing so, they erased the separation between public and private Jordan had previously been able tomaintain. I argue that, as an antidote to the loss of agency and identity through the cartoonists’ appropriation of her privatebody, Jordan offered her physical presence in the theatres. From the stage, she directly confronted her audience, demandinga separation of her public and private lives, and forcing them to reconcile her unchanged physical body with accusationsabout her moral character.phillips.960@osu.eduFIRT/IFTR World Congress, University of Warwick, 2014763

Using Digital Technology in Applied Performance Work for Young People:New Scholars’ ForumHannah PhillipsThe University of Warwick (PHD) & Birmingham Schoolof Acting, Birmingham City UniversityHannah Phillips has been the Course Director forthe BA (Hons) Applied Performance Communityand Education programme at Birmingham School ofActing, Birmingham City University for the past fouryears. She has recently been promoted to DeputyDirector of Birmingham School of Acting (Outreachand Partnerships) due to her success in developingindustry partnerships for the Applied Performanceprogramme. Previous positions have included Directorof Young People’s Theatre at the Birmingham RepertoryTheatre, Artistic Director of Birmingham Library TheatreCompany, Associate Director of Y Touring TheatreCompany and she has taught in formal and informaleducation institutions at all levels across the UK. Hannahis currently in the process of a practice based PhD atThe University of Warwick.This presentation will discuss a recent project to collaboratively make a new piece of interdisciplinary applied performancework for young people with a large ensemble company, Outspoken made up of students and graduates from the BA (Hons)Applied Performance (Community and Education) programme and other programmes at Birmingham School of Acting /Birmingham City University. I will show a couple of brief 1-2 minute video edits of the interactive pre-show and the finalperformance of this new piece of work called Heterophobia, an urban musical specifically made for young people aged 13-18years, school key stages 3, 4 and 5 performed in The Patrick Centre at the Birmingham Hippodrome. Heterophobia presentedthe struggle of one young heterosexual male, Ryan, trying to ‘come out’ in a homosexual world, a binaristic sexuality switchof the privileged and the oppressed. This hybrid fusion of art forms and digital technology focuses on challenging youngpeople’s preconceived ideas and normative discourses around gender identity and sexuality and investigates the effectivenessof performance to change attitudes within this area. I will discuss my findings in terms of impact before discussing the use ofdigital technology and its impact on young people’s engagement. Contextualised by the past 50 years of Theatre Educationwork, I used this new model of applied performance for young people in a theatre to investigate how young people wantedto engage with this work by offering and analysing new strategies which included using digital technology such as QR codeson flyers linked to film trailers and Augmented Reality during the interactive pre-show and on programmes to enhanceengagement and to give young people choices to engage or participate with performance work in different ways.Outspoken Website:http://www.outspokenperformance.co.uk/Heterophobia Trailer:http://vimeo.com/83669142A short edit of Heterophobia Preview:http://vimeo.com/90100767Heterophobia on ITV News:Photography Credit: Courtney Wallis Richardsonhttp://www.itv.com/news/central/2014-04-03/youngsters-tackle-sexuality-preconceptions/A review of Heterophobia:http://reviewsgate.com/modules.php?name=News&file=article&sid=7359Hannah.Phillips@bcu.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014764

Towards a Poetics and Erotics of PerformanceNew Scholars’ ForumLaurelann PorterArizona State UniversityI am a PhD candidate in the Theatre and Performanceof the Americas program at Arizona State Universityin the School of Theatre and Film. I am currentlyconducting dissertation fieldwork in the small town ofItacaré, Bahia, Brazil. The fieldwork is an ethnographyof women in the region. As part of this fieldwork I havebeen participating in cultural events sponsored by thecommunity organizers in the neighbourhood of Portode Trás. This neighbourhood was recently certifiedas an urban Quilombo community. I have also beenparticipating in regular meetings of the Research group“Kàwé, Núcleo de Estudos Afro-Bainos Regionais” aspart of the Universidade Estadual de Santa Cruz inIlheus, Bahia, Brazil.This essay will propose a poetics and erotics of performance in my own research-based practice of socially engagedperformance. The particular performance piece I am utilizing as a text for this practice is the solo performance “How not toMake Love to a Woman,” a piece about leaving an abusive marriage. It was developed as part of an ongoing effort to addressissues of domestic violence in the world around me. My past work as a solo performer has been socially engaged only in abroadly defined or symbolic sense. This new phase of my work incorporates more of the core tenets of socially engagedpractice. Pablo Helguera acknowledges that the definitions surrounding socially engaged practice are particularly porous.He also acknowledges that socially engaged arts practices tend to reside between and across disciplines. For Helguera, themost important aspect to socially engaged arts practices is the actual social action (not merely imagined or hypothetical).This aspect of socially engaged art is where I hope to make my performance practice grow. In this essay I will define anddescribe poetics through an examination of the world “solidarity,” viewing the solid of solidarity as a metaphor for the wayquantum physics explains solid matter. In her essay “Against Interpretation,” Susan Sontag called for an erotics (rather than ahermeneutics) of performance. I will elaborate on my interpretation of erotics as a descriptive method for understanding therelational aesthetics of my socially engaged performance. Due to the nature of these kinds of approaches and collaborations,ethics becomes a critical component to all stages of the work.www.laurelannporter.comOpening scene of “How not to Make Love to a Woman”http://youtu.be/4dsXEItNYCYMy fieldwork has incorporated ethnographic interviewsof women in the region, participant observation ofcultural events in town, and a six month period ofimmersion in the community if Itacaré at large. Theresearch also incorporates the performance andreception of the solo performance piece “How not toMake Love to a Woman” an autoethnography of theexperience of leaving an abusive marriage.laurelannporter@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014765

Layering meaning: practicing and teaching site-specific performance in Chester city centre.New Scholars’ ForumKaren QuigleyUniversity of ChesterBuilding on Michel de Certeau’s assertion that ‘space is a practiced place’, this presentation ventures the notion that, throughfacilitating a site-specific performance module for undergraduate students, and through my own site-specific performancepractice in the same site, the space of Chester city centre arguably becomes a twice-practiced place for me. This analyticalapproach may seem to artificially still the flux of the multiple and complex occupations, narratives and identities of urbanspaces, but I do this in order to illuminate emerging comparisons and contrasts between pedagogical and solo approaches tomy site-specific practices in this particular context. My presentation will articulate some of these correspondences, and willargue that the intertwining of pedagogy and performance practice in a site-specific context results in a complex practicingof the site. Thus, mingling the personal and professional selves, and placing the learning outcomes of a module alongsidea performance practice that in many ways deviates from such a structure, I locate this multiplicity in a single, palimpsesticsite which arguably becomes a co-facilitator of these various practicings. Drawing on Cathy Turner, Mike Pearson and NickKaye’s writings in this area, the occupation of the space by me as a solo performer, and by me as a teacher with my students,results in a ‘rewriting of space’ by previous performances and performers in both contexts, as well as a more general senseof previous (and future) histories, geographies and narratives of the site.Karen Quigley is Lecturer in Drama and TheatreStudies at the University of Chester. Her doctoralresearch at King’s College London explored momentsof unstageability in modern European theatre. Hercurrent research into site-specific work continues to beinfluenced by her performance and teaching practicesin Chester.k.quigley@chester.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014766

The Body in/as Ritual or Performance or both?New Scholars’ ForumThis paper analyses the ritual practices of two popular hindu religious festivals named Thaipusam and Pangani Pongal ofTamil Nadu, India. The presence, engagement and practices of the individual body of the devotee in these rituals as wellas the formation of the community body through such practices become the focus here. The importance of the analysislies in the fact that the devotee’s body in these spaces becomes the site as well as the tool for generating connectionsbetween belief and rituals. The repeated performance of a number of movement systems, imbibed through socialisation andreferences drawn from body and muscle memory, by members of the community act as the principle tools for legitimisationand reaffirmation of the engagements of the pilgrims and the community in the total ritual process. This communityendorsement of the bodily performance generates a sense of empowerment of the individual, whose membership andinclusion within the community becomes the crux or the central theme of both the rituals. In this paper, I argue that theseacts or performances become as important as the rituals themselves for the specific communities, as well as the individualpilgrims as communicative as well as empowering signals which complete both the ideas of the ‘community’ and the ‘ritual’.A.P. RajaramJawaharlal Nehru UniversityA.P. Rajaram is a Ph.D. research scholar specialisingin Theatre and Performance Studies, at the School ofArts and Aesthetics, Jawaharlal Nehru University, NewDelhi. His specialisation includes dance studies andritual performances. His research interests are trance,performance of pain and rituals with specific focus onanalysis of dance and dance-like movements in rituals.He is a recipient of Senior Research Scholarship underthe Rajiv Gandhi National Fellowship since 2010 andhas cleared the Junior Research Scholarship of theUniversity Grants Commission, India, in December,2012. He had presented papers on national andinternational conferences. His paper “ KavadiattamGlobal and Local “ has recently been published in Mohd.Anis Md Nor edited international publication “DancingMosaics” , published by Cultural Centre, University ofMalaya, Kuala Lumpur, Malaysia. He recently presented apaper upon a living Devadasi in the IUAES-JASCO 2014,Chiba Japan.raj.knootfm@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014767

Recording Ram’s Romance: Archiving for LegitimizingNew Scholars’ ForumAmita RanaJawaharlal Nehru UniversityHegelian understanding of History has ensured the exclusion of the marginal cultures, not just in colonial times but inthe aftermath as well. A historical study that requires rigour and veracity vis-à-vis chronology has long been unable tocomprehend living traditions. Prathama Banerjee shows how the colonisers systematically co-opted the colonial subjectinto a hegemony of teleology. However, the tribal subjects of Santhal could not be framed, and so they were exiled fromtheir habitat. In this paper, I take the Central Himalayan Ritual performances of Ramman and Pandavlila as a case to provethis point. In the multifarious sequences that make up Ramman one cannot help alluding to an analogy of the sedimentaryrocks that make the great Himalayas. This tradition carries various layers which are added to the already existing layers. Unlikegeology, in the case of Ramman historically establishing the dates when a certain performance sequence was added is notsomething which can be so scientifically proven or ascertained. This brings us to an inherent methodological problem whengrappling with living traditions, traditions which mostly have orality at their kernel, and communities which have lived withopen-ended concepts of the past and depended on myths, legends and epics to define their cultural selves. Orality has beenseen in opposition to the literary traditions and thus this divide between the written and the spoken emerged. With traditionalunderstanding of History and in general the archive, one tends to understand the thrust laid on the written documents,maps, textual sources, letters, and archaeological remains. My presentation engages with this problem.Amita Rana is pursuing her PhD from the Departmentof Theatre and Performance Studies, School of Artsand Aesthetics, Jawaharlal Nehru University. Currentlyher research interest lies in the living performativetraditions of the central Himalayas, and the preservationpolicies of these folk forms. She has worked as aResearch Associate with the UNESCO IntangibleCultural Heritage project at the Indira Gandhi NationalCentre for the Arts, New Delhi. She is also keenlyassociated with theatre and has performed in severaltheatrical productions of which the recent one ‘LadyFrom the Sea’, was showcased at the Ibsen TheatreFestival, jointly organised by the Royal NorwegianEmbassy and Dramatic Arts and Design Academy.She has recently assisted Zuleikha Chaudhari andBoris Nikitin in directing the Theatre Installation called‘Also the Real Thing’ as part of the INSERT Exhibitiondesigned by Raqs Media Collective.wanderer.amita@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014768

Staging the British-born Sikh Woman in Gurpreet Kaur Bhatti’s Behzti (Dishonour) and Behud(Beyond Belief)New Scholars’ ForumAnusha RavishankarUniversity of WarwickAnusha Ravishankar is a trained Bharatanatyamdancer - a classical Indian dance form. She has curatedand organised international theatre festivals foradults and children as a part of the team at RangaShakara – a theatre in Bangalore, India while alsoworking as a sound designer for theatre productions.She is currently a postgraduate student of the MA inInternational Performance Research cohort at theUniversity of Warwick, University of Arts, Belgradeand Trinity College, Dublin. In addition, she has workedas a journalist and a humanitarian aid professional.Her research interests lie primarily in the stagingof gender and race and she is also interested instaging indigenous/traditional and folk art forms incontemporary contexts.The subject of analysis for this paper is described in the title in three rather simplified adjectives so as to be identified accuratelyby nationality, religion, and gender. But, the “unsettled” diasporic identity is never simple; it is “a subject permanently entredeux,in process rather than ‘becoming’” (Griffin, 77). The layered nature of the subject’s identity is the departure point for mypaper where I aim to study its stratified character and question it. This complex identity comprises of the various elementsthat construct it, I intend to unpack this identity and deconstruct its components. I will be looking at them (British-born, Sikh,and woman) individually and critically to reveal and explore the various dimensions and contradictions they contain when itcomes to being markers of identity. In analyzing the staging of this identity, I chose to do so by considering the work of aplaywright who shares the said identity along with her protagonists. I will examine playwright Gurpreet Kaur Bhatti and herprotagonists (one from each play) in Behzti (Dishonour) and Behud (Beyond Belief). Along with the two characters (Tarl andMin) that I plan to explore, I will also critically observe the playwright’s creative decisions in particular the meta-theatricalityof Behud (Beyond Belief) where Bhatti is her own protagonist set against the milieu of the controversy surrounding Behzti(Dishonour).Ref: Griffin, Gabriele. Contemporary Black and Asian Women Playwrights in Britain. Cambridge University Press, 2003. Print.anusha.ravishankar5@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014769

White Rabbit, Red Rabbit, the International Festival Circuit, and the Cultural Capital of HumanRightsNew Scholars’ ForumKimberly RichardsUniversity of California-BerkeleyKimberly Richards is a PhD student in the Departmentof Theater, Dance, and Performance Studies at theUniversity of California, Berkeley. Her research focuseson the globalization of human rights, the circulation ofwar stories, festivals, trauma studies, and urban studies.I examine the circulation and consumption of performances from places of conflict on the international festival circuit toassess the cultural capital of human rights. I am interested in how and why war stories are employed to foster the globalperforming arts market. This talk will explore these dimensions by detailing the marketing strategies that have led WhiteRabbit, Red Rabbit to become one of the hottest performances on the festival circuit. White Rabbit, Red Rabbit is a script byIranian playwright Nassim Soleimanpour that does not require a set or director, and is cold read by a different actor eachperformance. Promotional material typically reveals that Soleimanpour is forbidden to leave Iran because of his status as aconscientious objector; however, he was granted a passport in early 2013. Since debuting at the Edinburgh Festival in 2012,the play has been translated into fifteen languages and produced more than 200 times at illustrious festival venues at majorperformance centres around the world. Through an analysis of the dominant narratives of the play and its mechanismsof global circulation, I argue that the cultural capital of the play is intricately linked to the infringement of Article 13 ofthe Universal Declaration of Human Rights. The cultural capital attached to Soleimanpour’s lack of mobility informs myargument that infringements on mobility have become exemplar of crimes against human rights in this era of neoliberalrationality where global markets have exploded, and the free movement of goods and labour are fetishized. What remainsconcerning is the deteriorating relationship between truth and testimony in relation to the cultural capital of human rightsnarratives. Ultimately by engaging critical globalization theory I question the progressive political potential of festivals toengage international communities in human rights issues and consider what alternative social work is done.krichar@berkeley.eduFIRT/IFTR World Congress, University of Warwick, 2014770

Body as the Site of Performance: Exploring Contemporary Performance Practices in IndiaNew Scholars’ ForumShrinkhla SahaiJawaharlal Nehru UniversityShrinkhla Sahai is currently pursuing her PhD in Theatreand Performance Studies at the School of Arts andAesthetics, Jawaharlal Nehru University (JNU), NewDelhi. She is a radio professional and dancer. Herresearch interests include body and technology inperformance, radio studies and sonic art.In contemporary performance practices there is a collateral move towards ‘post-studio’ art and ‘post-dramatic’ theatre.Performance art is a form where the artist invents his/her conventions or grammar of performance, in the sense that it doesnot have to follow a textual history or ritualistic history as might be in the case of many performing art genres. In the contextof India, a crucial question arises—is the form and content of performance art in India anchored in Western canons or is theavant-garde in this case influenced/in dialogue with other genres or practices? How have the genealogy and aesthetics ofthe genre evolved in India? This can be juxtaposed with a similar radical explorative trajectory in contemporary performingarts that are anchored in body work, for instance dance and physical theatre. Within contemporary dance-theatre practices(in the Indian context), there has been a movement towards re-formulating the body in performance towards new ‘gestures’of articulation i.e. new vocabularies that move away from, question, challenge or critique codified classical structures ortext-based theatre. While on one hand there has been a shift towards the theatricality of the body in performance art, onthe other hand dance-theatre has been gravitating towards a ‘post-dramatic’ possibility. This search for a new languageprovides ground for a detailed exploration of the performance aesthetic of the body. This shift is fore-grounded in thecurrent debates on rape, sexuality and law in the country. This project would explore whether the overarching convergencein various genres of performance is leading to the emergence of a transformative aesthetic in the world of contemporaryperformance practices in India and the development of methodologies to understand, analyse and articulate this shift.sahai.shrinkhla@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014771

Prison Theatre in Chile: A Cross Between Individual and Institutional InitiativesNew Scholars’ ForumThe area of Applied Theatre until recently has not been considered as a field for research or legitimate work for professionalartistes in Chile. The movement of Prison Theatre that emerged in the late 90 s has been regarded as “invisible” by its owndiscipline. Subsequently this field is usually relegated only to those of us involved directly with the movement.Paulina SarkisPontificia Universidad Católica de ChilePaulina Sarkis is an actress from the School of Theatreat the Pontificia Universidad Católica de Chile (PUC).Since 2011 she has researched the area of PrisonTheatre in Chile. Currently, she is finishing her thesisfor her masters degree about an artistic penitentiaryprogram named Arte Educador, from a case study of aworkshop theatre in a national prison. Since January ofthis year, she became the director of this workshop. Atthe same time, she works as a researcher in EncargArteUC, a program of the Faculty of Arts of PUC applied tothe study of theatre in various social contexts.Nevertheless, the interesting point is that the history of prison theatre in Chile has two lines of development: on onehand, there are directors who work from their own initiatives and, on the other, there are people who work from inside ininstitutional programs about penitentiary arts. In the first case, stand out the work realised by the actress and playwrightJacqueline Roumeau in many prisons of the country (through her corporation named CoArtRe –Corporación de Artistas por laRehabilitación y Reinserción–). In the second, is distinguished the theatre work that begins in 2002 in the CCP Colina 1 prisondirected by Penélope Glass and Iván Iparraguirre through their own company named Teatro Pasmi (currently named ColectivoSustento). This work, like mine, is funded by Gendarmeria de Chile through Arte Educador program, the only institutionalprogram that a national level responds by the artistic work inside the penitentiary world. The theatre making process of theseproductions, though different from each other are crucial as they are organized through workshops and have evolved intoa new method which requires special attention in its study with the performances. In the following speech, I will analyze thisdifferent lines of develop through three specific plays: “Torre 5”, directed by Roumeau, “Modecate” directed by ColectivoSustento and the developing of my own creative process based in Commedia Dell’Arte in the CDP Santiago Sur prison.pasarkis@uc.clFIRT/IFTR World Congress, University of Warwick, 2014772

Strata of Dialogue in Collaboratively Devised Performance: The dramaturgy of Beyond Vice.New Scholars’ ForumBrink ScholtzUniversity of Cape TownThis paper is an analysis of a recent collaboration between artists based in Sweden, the UK and South Africa, which culminatedin a theatre performance entitled Beyond Vice (Uppsala Stadsteater, November 2013). I write from the perspective of myown involvement as dramaturge and director alongside Dr. Ola Johannson. The analysis considers the process of craftingrelationships between various verbal languages and language styles within the performance. It draws primarily on MikhailBakhtin’s concept of ‘internal dialogism’, which describes the sense of dialogue that arises within the utterance of a singlespeaker, through implied relations with other speakers and/or listeners. Bakhtin distinguishes this from the more conventionalunderstanding of dialogue (which he terms ‘external dialogue’). Where the significance of external dialogue emerges from thequalities of interlocuters and the content of their discussion, the significance of internal dialogism emerges from the processof listening to language from the perspective of other potential languages. I argue that my dramaturgical work in the makingof Beyond Vice largely concerned integrating and balancing these two ‘levels’ of dialogue: one external, concerned primarilywith the themes of gender inequality in Sweden and South Africa, and one internal, where the reverberation of linguistic,cultural and socio-economic power relations in the collaborative process itself became a central concern. I consider theimplications of this process for the dramaturgical structure of the performance, charting points at which the more reflexivequality of internal dialogism disrupts the coherence of a narrative driven by external dialogue.Brink Scholtz is a director, theatre-maker and writer andholds an Honours degree in Psychology and a Master’sDegree in Drama (both at Rhodes University; cum laude).Originally trained in performance, she has worked as atheatre-maker and director in a range of South Africancontexts. She chooses to move between educational/developmental contexts, and ‘artistic’ contexts, with aninterest in the interface between these spheres. Herwork explores language diversity as well as processes ofcollaboration, and projects have included Beyond Vice (a2013 collaboration with artists based in the UK, Sweden andSouth Africa; under the leadership of Dr. Ola Johansson),Wreckage (a 2011 collaboration with interdisciplinary artistAthina Vahla, Ubom! Drama Company and First PhysicalTheatre Company), and Spyt (a 2010 production thatreceived the South African Anglo-Gold Fyngoud Award).She has also received recognition as a short story writerand in 2010 was awarded writing residencies in Belgiumand the Netherlands by Deburen Dutch/Flemish CulturalHouse. She is currently working on a practice-based PhDat the University of Cape Town that deals with verballanguage in theatre-making processes with collaboratorsfrom diverse language and class backgrounds.brinkscholtz@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014773

Politics of Narration in the Play - Dramaturgy of Communication in Simon Stephens’ Pornography -New Scholars’ ForumTomoko SekiYoung Scientists of Japan Society for Promotion ofScience, Waseda UniversityContemporary plays have searched the advanced way of communication in theatre. The confidence in dialogue on the stagehas collapsed; playwrights are increasingly utilizing the internal soliloquy (i.e. talking directly to the audience); narration isone such form. This presentation will discuss how narration functions as theatrical discourse through the analysis of thedramaturgy of Simon Stephens’ Pornography (2007). This play concerns the suicide-bomb in London, 2005, taking the formof omnibus that consists of eight parts. Moreover, it “can be performed by any number of actors” and “in any order.” In fiveparts of them, each character narrates what he or she does and thinks on or about the day of the bombing without makingno direct mention of the bomb itself. Beside, in the part 4, even a man, who we are led to believe in the bomber, merelydescribes his (and accompanies’) journey to the train to Aldgate, the place of the blast. The explosion is never dramatizedon stage, but the author suggests its occurrence in the stage direction, such as “Images of hell” and “They are silent.”How does the characters’ narrating function to the theme and motif of the play? In other words, what kind of effects thenarration can have on the audience, especially when the play fictionalizes the catastrophic event? Furthermore, what kindof communication the narration in theatre could be? This paper aims to clarify the politics of narration as the theatricaldiscourse through the analysis of the dramaturgy of Pornography.Tomoko Seki is a Ph.D. student of Theatre and Film Artsin Waseda University. Her research field is English Dramaand Theatre (of the 20th and 21st centuries in particular)including Postdramatic Theatre and Text.She is a recipient of fellowship for Young Scientists of JapanSociety for Promotion of Science and an experiencedresearch assistant for the Program of Grants for ExcellentGraduate Schools (MEXT, Japan), in the TsubouchiMemorial Theatre Museum of Waseda University. HerMaster Dissertation is “Expressions of Boundary in SarahKane’s 4.48 Psychosis”. Her recent publications include “TheAbsent Character and the Mechanism of the Imagination-Creation - A study of Martin CRIMP’s Attempts on HerLife - ” (Theatre Studies, Japanese Society for TheatreResearch) and “Who Talks to Whom, and How?–A Studyabout Changes of Theatrical Language in Sarah Kane’sCrave” (Bulletin of the Graduate Division of Literature2013, Waseda University). She is a member of InternationalAssociation of Theatre Critics Japan. Her theatre reviewsinclude a review on Gesäubert / Gier / 4.48 Psychosedirected by Johan Simons, Münchner Kammerspiele, 2012;The Merchant of Venice, directed by Yael Ronen, Globe toGlobe in Shakespeare’s Globe Theatre, 2012.tomoko.seki@hotmail.co.jpFIRT/IFTR World Congress, University of Warwick, 2014774

Communication of the Senses!? The Role of Body and Movement in Therapy Forms ApplyingTheatrical ElementsNew Scholars’ ForumLilian Katharina SeuberlingFreie Universität of BerlinLilian Seuberling studied theatre, media and educationin Erlangen and Genua. From 2010 to 2012 she tookpart in the interdisciplinary project „The meaning ofwriting and painting for biography“. Since 2011 sheis part of the extra-occupational training of GestaltTherapy at the Symbolon Institut for Gestalt Therapy.Since December 2012, she is a doctoral candidate atthe ERC granted research project “The Aestheticsof Applied Theatre”, based at the Freie Universität ofBerlin.In therapy forms, which use theatre as a therapeutic tool, like Psychodrama, Dramatherapy and Gestalttherapy, the bodyplays a crucial role. The body in these therapy forms is not only used for listening, speaking, and seeing, but also the feelingsof the body and its movements are deeply involved. In my research project about “Theatre as Therapy”, which is part of theERC - Project “The Aesthetics of Applied Theatre”, I am observing and experiencing training therapy sessions in these threetherapy forms which work with theatrical elements such as role play and symbolization. In this presentation, I will focus onone example: the gestalt therapeutic family reconstruction. The gestalt therapeutic family reconstruction is used to clarifyfamily-rooted topics. It is a method were the family system of a person is embodied through representatives who are askedto be aware of their body-perceptions, thus following their felt impulses to move or react at some points during the set-upof the family reconstruction. By reference to this example, my paper will shed light on some of the central questions of myPhD project: What body concepts are present in this therapy form? What is or can be the function of the body in therapeuticprocesses? Could we hypothesize that with the use of the body another (body based) understanding is possible? Whichmeaning has symbolization through embodiment in these therapy forms, and - last but not least - how is the concept of roledefined in this context?www.applied-theatre.org /role-of-movementlilian.seuberling@fu-berlin.deFIRT/IFTR World Congress, University of Warwick, 2014775

Performing Their Own Histories: The Theatre of the Eighth Day and the Performance of Their ‘Files’New Scholars’ ForumAnn ShapiroUniversity of BirminghamHistory plays, especially those built from personal history and memory, provide the opportunity to peer in on momentstrapped in time. They offer the chance to witness the lives and perspectives of those on who the play is based, and forthose involved, the opportunity to look back on their own past. But how to reconcile when one is both a participant andspectator of that history? This question became one of many asked when Theatre of the Eighth Day (Theatr Osmego Dnia)began to conceptualise and perform their play, The Files. The play tells the story of the group itself, from the point when theybecame more than a student ‘alternative’ theatre in the wake of the Polish riots of 1968 to the days after martial law when aperformance abroad became a permanent (until the fall of communism) exile. The uniqueness of the play, however, derivesfrom the origin of the material. The text is not constructed from the words and stories of the group members themselvesbut from the ‘secret police’ files kept on them by the Ministry of Public Security. They tell tales of dissidence, surveillanceand subversion; they tell the story of a group of artists who refused to be bought, broken apart or submit to threats and actsof violence. The performance of The Files, done in the style of a staged reading, presents both, a history of Theatre of theEighth Day, and the absurdity of the situation under communist rule, providing a vision of Communist Poland that looks bothback and forward. This paper will discuss the unique historical reflectivity of this play and the noteworthy group of artiststhat created it.Ann Shapiro is a doctoral researcher in her second yearof study in the Department of Drama and Theatre Arts,at the University of Birmingham in the United Kingdom.The focus of her PhD research is the exploration ofplays, playwrights and performances that challengedthe policies and practices of communist governmentsin the former Eastern Bloc countries. Her work asksquestions of how theatre was used in a political contextin order to ask questions of and voice opinions aboutthe restrictive, censored nature of the communistcontrolled governments as well as discussing thetheatre artist’s experience in doing so.annkshapiro@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014776

Paratext in Contemporary Theatre PracticeNew Scholars’ ForumMoe ShojiPhD student in Theatre and Performance Studies, theUniversity of SheffieldAfter obtaining her BA in French Literature and MAin English Literature from Kyoto University in Japan,Moe Shoji completed her second MA in Theatre andPerformance Studies in the University of Sheffield.Her dissertation applied the notion of ‘paratext’ byGérard Genette to contemporary theatre practice,and she is currently expanding the theme of paratextin contemporary theatre towards her PhD. She isco-producing a one-to-one performance festival,WROUGHT, in Sheffield this October, aiming at creatinga new platform for artists, audience and academics toshare knowledge and experience. Her other researchinterests include self-translation and its influence on theact of writing, which she studied in her BA and first MA.“Paratext in Contemporary Theatre Practice” proposes a new approach to the analysis of contemporary theatre practiceusing the concept of paratext established by Gérard Genette. Paratext means the marginal aspects surrounding a text suchas preface and notes: elements that function as a threshold through which the reader must pass in order to reach the text.The reader’s interpretation of text is, therefore, inevitably influenced by paratext, whether they are aware of it or not. My PhDresearch examines contemporary theatre practice through the lens of four paratextual elements: preface; between the lines;reader and spectator; and notes. In this paper, I focus on one of the defining elements, notes, looking at The Drowned Man byPunchdrunk as a main example. I argue that intentionally fragmented information distributed throughout the performanceenvironment in The Drowned Man functions as “notes” to the performance, which in turn plays an important role in shapingthe audience experience. An understanding of the paratextual, I argue, enables a deeper appreciation of the intangible andelusive qualities of performance in relation to the wider discourse of textuality. Genette’s formulation has been applied toseveral different fields outside of literature, but theatre – especially contemporary theatre – has thus far been little examinedin this light. Contemporary theatre practice is increasingly diverse in its formal aesthetics and often resists categorisationwithin the conventional frameworks of mainstream theatre, where pieces are typically narrative-led and where there isa clear distinction between the role and behaviours of the performers on stage and the audience in the auditorium. Incontemporary theatre, aspects that might once have been considered marginal or peripheral are now regularly made central:focussing on these “paratextual” elements allows us to consider the performance pieces per se, beyond the markers imposedby specific genres.m.shoji@sheffield.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014777

Creative Process in Dance: A Brazilian PerspectiveNew Scholars’ ForumDora de Andrade SilvaUniversidade Estadual de CampinasMy research examines the creative process developed in Projeto Distância by focusing on collaborative practices in dance.This artist-in-residence project was developed through collaborative processes with professional artists and youth fromcommunities in Niterói, Rio de Janeiro (Brazil) to create a video dance. The experience has inspired reflections on collaborativecreation, its modes of management, procedures and specificities. Those issues culminated in this paper’s key questions. Myresearch is based on three themes that theoretically consider the aspects of the creative process in question: the conceptsand principles of collaborative processes; dance composition; and the language and practice of video dance. These themeshave led to discussions of the term collaborative process and its principles; the dance composition as a formal elaborationprocess and its experimental trait; and particular issues on the moulds of video dance and collaborative creation. In orderto analyse those processes, I present proposals developed by Salles (2011), who points out that the creative act should bestudied as a continuous process, intending to elucidate the particular mechanisms from each artist when creating a workof art. Finally, from the perspective of Projeto Distancia, I aim to debate the issues, progress and developments involved inthese collaborative proposals, pointing out where theoretical principles are verified in artistic practices.Dora de Andrade Silva is a dancer and teacher. Born inNiterói, Rio de Janeiro, she is an arts doctoral studentat UNICAMP, from which she has also received herbachelor degree in Dance. She has worked as substituteprofessor for the Arts department of UniversidadeFederal do Rio de Janeiro (2007-08) and UniversidadeFederal Fluminense (2003-05), where she receivedher Master of Arts and Science degree. As a dancerand collaborator, she has worked with British companyDudendance and several choreographers such as, NYUprofessor Leslie Satin, Erica Essner, Tina Louise Vasquez,Luiz Mendonça, Regina Miranda and theatre directorAntonio Quinet. Dora has directed award winning shortfilm “Palaventório”, produced in collaboration with kidsfrom Rio de Janeiro favelas and sponsored by Funarte.doradeandrade@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014778

The Organic Rhythm and Scenic Precision: a Study of Akropolis (Laboratory Theater, 1962)New Scholars’ ForumLidia Olinto do Valle SilvaState Universty of CampinasPHD student in Scenic Arts at the Universidade Estadualde Campinas (UNICAMP, Brazil), under the guidance ofProf. Matteo Bonfitto. Has a Master Degree in ScenicArts from UNICAMP and graduated in Scenic Arts atthe Universidade Federal do Rio de Janeiro (UNIRIO,Brazil). During her undergraduate and graduate studieshas been receiving scholarships from the Braziliangovernment (CNPq and CAPES). Since 2000, worksprofessionally as actress and producer. Studied withBriget Pannet (Royal Academy of Dramatic Arts inLondon), Hans-Thies Lehmann, Benes Markes (LivingTheater, New York) and Grotowski´s actors ThomasRichards, Mario Biagini and other Brazilian masters.The concept of “scenic precision” is usually related to notions as choreography or score in which the artistic focus seems tobe more concentrated in the aesthetic dimension than in the non-formal aspects of performance, such as the psychic andenergetic qualities. However, this aesthetic concept of “scenic precision” is not sufficient to the complete understandingof many acting experiences. Some directors require from the artist (actor-dancer) a psychophysical performance, anintegral mobilization of both physical and nonphysical resources. This is the case of most of Grotowski´s plays and researchpropositions. However, the way “scenic precision” is configured and articulated with acting spontaneity can vary radicallyeven in Grotowski’s trajectory. For example, Akropolis, one of the most famous Laboratory Theater´s plays, was created duringa transition period in which Grotowski´s group gradually changed from a formalist approach of acting into a psychophysicalconception. Based on this premise, this paper proposes to describe and discuss Akropolis´s peculiarities on “scenic precision”.To achieve this goal, the following research sources will be analyzed: the filmed play recorded by the American televisionchannel PBL (1968), others documentary videos and many texts and interviews produced by the members of the LaboratoryTheater (Grotowski, Molik, Cieslak, Flaszen and Barba). These sources refer directly or indirectly to the creative processinvolved in the above mentioned play, as well as to the physical and vocal training utilized during the period (1959-1962).Based on a genetic and fenomenological analysis of these primary sources, combined with some theoretical references(Kumiega, Schechner, Osinski, De Marinis, Taviani and others), it will be possible to demonstrate how Akropolis processed atransition from a formal scenic precision into a more psychophysical acting technique.lidiaolinto@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014779

Encountering Modernity: Establishing, Shaping and Interpreting Ethiopia and Ethiopian Theatrethrough Modernity.New Scholars’ ForumZerihun SiraLecturer, Addis Ababa University, EthiopiaBorn on August 28, 1984 in Ethiopia, I spent my childhoodpracticing school drama that became the base for mylater professional career. After joining Addis AbabaUniversity Department of Theatre art, I finished myundergraduate study with great distinction getting thefaculty’s Gold medal in 2006. After my graduation, Ihave thought as a part time lecturer in my departmentand worked as deputy chief editor of culture andentertainment programs in Ethiopian Radio and TelevisionAgency. Though I changed my career to full-time lecturerin Addis Ababa University, I came to Europe to continuemy graduate study in International Performance Researchat The University of Amsterdam, University of Warwickand University of Arts in Belgrade. At the end of February2014, I returned to Ethiopia to join my departmentand continue teaching, writing and directing theatre,producing academic articles and books and sharing myexperiences in theatre and performance art. As a youngscholar and practitioner, I am keen in discussing andsharing experiences with colleagues and fellow scholarsfrom all over the world. My graduate study gave me thechance to experience the wide range of the concept oftheatre and performance art.Yeawerewoch Comedia (The Comedy of Animals), written by Tekelehawaryat Tekelemaryam in 1913, is the first modern Ethiopiantheatre and considered to be the first African theatre written in indigenous language. It is a play written using animals ascharacters in order to show what “modern theatre” is and criticize the politics of the time, as indicated by the playwright. Theplay influenced the latter trend of Ethiopian theatre in playwriting techniques, theme and production of a play which is nowchallenged to be problematic. State imported idea of European modernity was started in Ethiopia at the beginning of 20thcentury after the battle of Adwa (march 1898) when Ethiopia gained victory over the colonizing Italy. Theatre was one of thewestern imported modern ideas in the country. As a new phenomenon, theatre played a major role in disseminating ideasthat are believed to be modern and used for the expansion and confirmation of the hegemonic state discourse in the processof nation formation in Ethiopia. Nowadays, Ethiopian theatre audiences are questioning the legitimacy of Ethiopian theatreon being ‘Ethiopian’. Ethiopian: in its theme, production and presentation. In order to scrutinize the problem and answer thequestion, in this paper, I will analyze the motive behind writing Yeawerewoch Comedia, how it was composed and its influenceon the trend of Ethiopian theatre. By giving a social, political and artistic account on history of the beginning of the 20thcentury Ethiopia, I will argue that the trend of Ethiopian theatre should be scrutinized and counter argued to reclaim thespace of Ethiopian theatre and make it ‘Ethiopian’. I explicated how the introduction Eurocentric modernity influenced thejourney of Ethiopian theatre by taking Yeawerewoch comedia as a case study.zere324@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014780

Black Bismarck: An Inquiry into Modes of Re(ad)dressing European Colonialism TodayNew Scholars’ ForumWith this paper I aim to offer a short insight into my PhD project, in which I discuss how contemporary theatre and performanceprojects re(ad)dress the history of colonialism and its repercussions in the present. I will demonstrate my research ideasthrough a brief analysis of the performance Black Bismarck (2013) by the German-Belgium collective andcompany&co. In theperformance, the figure of the first German chancellor and host of the so called “Berlin Conference” 1884 (also known asthe starting point of the “Scramble for Africa”) features as a means to re-examine the legacies of colonialism in Germanyand Belgium and to challenge its position as “the big blank of European history” (El-Tayeb 657). With its focus on mobility andmovement, the chronotrope Bismarck ties close relations in this performance between the roots and routes of the Europeancolonial project, the ongoing unification process of the EU and institutionalised racism today. These relations “debunk themyth of The Past as a fixed reality” (Trouillot 147) and allow instead a focus on what the performance tells us about thesignificance of re(ad)dressing colonialism today and on the specific conditions that the performing arts have to offer for thememorialisation of and the accounting for colonialism today.Lisa SkwirbliesUniversity of WarwickLisa Skwirblies is a PhD Candidate at the School ofTheatre, Performance and Cultural Policy Studies atthe University of Warwick since October 2013. Sheholds a degree in Comparative Literature and TheatreStudies from the University of Munich and a degreein International Performance Research from theUniversities of Amsterdam and Warwick. Lisa teachesperformance theory and dramaturgy at the School forNew Dance Development in Amsterdam, works as adramaturge and is a board member of SPRING FestivalUtrecht.El-Tayeb, Fatima. “The Birth of European Public. Migration, Postnationality, and Race in the Uniting of Europe.” AmericanQuarterly, 60(.3), September 2008, pp. 649-670.Trouillot, Michel-Rolph. Silencing the Past. Power and the Production of History. Beacon Press: Boston 1995.lisa.skwirblies@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014781

“Mad Fragmentations”: the Theatre Collection’s Transition from Private Home to Public ArchiveNew Scholars’ ForumEve SmithRoyal Holloway, University of London and V&AEve Smith is a PhD candidate holding a CollaborativeDoctoral Award with Royal Holloway, University ofLondon and the Victoria and Albert Museum under thesupervision of Professor Gilli Bush-Bailey and Dr KateDorney. Her research is focused on the private theatrecollection and collector, and the transition of thecollection from a private to a public space. The researchconcentrates on the Gabrielle Enthoven collectionat the V&A and the Roy Waters Theatre Collectionat RHUL, a collection that Eve is the first doctoralresearcher to gain access to. Eve has been awarded anAHRC fellowship to study the theatre collections at theHarry Ransom Centre, University of Texas at Austin forthree months commencing September 2014.The theatre collection accumulated by Gabrielle Enthoven forms the foundation of the Victoria and Albert Museum’s theatrecollections. Occupying a space within the V&A’s vast archives, Enthoven’s personal papers comprise forty-eight boxes.Her photographs, correspondence and theatrical souvenirs represent the private life of a remarkable and prolific femalecollector of the material remains of the London stage. This paper will consider the ‘mad fragmentations’, to employ CarolynSteedman’s phrase, that make up Enthoven’s personal papers. It will seek to disturb the commonly understood stability ofthe dichotomy of the private and public realm, demonstrating how the private theatre collection moves into the realm ofthe public theatre archive. Rather than occupying either the private or public sphere, the theatre collection blurs the linesbetween public/private in order to provoke new understandings of the theatre collection’s ability to straddle both realms.Complementing the seminal collection amassed by Enthoven will be an exploration of the ‘Roy Waters Theatre Collection’housed at Royal Holloway, University of London. As the first doctoral researcher to have access to this collection, I willexpand notions of the public/private space and seek to investigate how both Enthoven’s and Waters’ collections can be seento disrupt traditional understandings of spatial realms, and how they can be understood to promote an understanding of thepublic and private as a multi-faceted layering of space. The ‘mad fragmentations’ that comprise a theatre collection positthe collection as occupying a delicate and precarious position in the dichotomous understanding of public/private, which, inturn, has repercussions in the understanding of the layers and realms from which theatre history can be excavated.evemargitta@yahoo.co.ukFIRT/IFTR World Congress, University of Warwick, 2014782

Is it Theatre or Other? Looking at an Interactive Performance.New Scholars’ ForumAbheesh S. S.Hyderabad Central University. India.Periodical incorporation of new inputs in to curriculum is a regular feature of National School of Drama (NSD) in Delhi,India. In the case of NSD the additions are sometimes modern, contemporary, and cutting edge as well as traditional. Butthey often reflect different perspectives and diverse approaches. During my studies in Dramatic Arts with a specialisationin design at NSD very unusual (for the Indian context) components and freedom were afforded to me as a student directorto explore the possibilities of finding out new avenues of performances in interaction with the ideas, material and gadgetsavailable around and looking at theatre beyond the conventional binary relationship between actor and audience as well asthe mise en scène and audience. As part of this exercise I have devised an interactive performance titled ‘zero one’. In thisperformance, actors and viewers initiate different possibilities of a performing body and eventually locate its correlationwith interactive media in various layers of the performance .The performance had two shows--one in NSD and the other inChandigarh. This paper looks at the reception and behaviour of the audience to the interactive performance at Chandigarh.The paper explores how audience engaged with the form of the performance with their past theatrical experience in mindand how they responded to a non liminal space both for performance and audience.Abheesh S.S did Bachelor of Theatre Arts; 1st Rank(Direction) from School of Drama & Fine arts;University of Calicut Kerala. Post Graduation: (Design)from National School of Drama, New Delhi. He gotUniversity Grants Commission’s National Eligibilitytest for lectureship and Junior Research Fellowship.Currently he is pursuing PhD at Theatre Arts, S NSchool of Arts & Communication. Hyderabad CentralUniversity, India. For the last 10 years he has beenworking in different areas of creative expression such astraditional art forms, theatre, Interactive performance,new media technology and artistic collaboration. In2004 a cultural group called Theatre Hut was foundedat Kerala. And has been participated in varies Nationaland International Festivals and workshops.abheeshsasidharan@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014783

NT Live Othello (2013)New Scholars’ ForumAlison StonePhD candidate, University of Otago, New ZealandAlison Stone is a PhD candidate at theUniversity of Otago in New Zealand. Her topicis film adaptations of Shakespeare which beginon stage in an antecedent theatrical production.Her research interest is currently in variousforms of livecasting. She has presented on thecommonalities between the Royal NationalTheatre’s NT Live theatrical broadcasts and anearlier technology called the electrophone whichbegan broadcasting live theatre in London usingtelephone lines in 1895. Alison completed herMaster of Arts in English at the University ofOtago on the topic of clowning in Shakespeare,and has presented on the influence of the clownactor Richard Tarlton on Hamlet. She holds aPostgraduate Diploma in Print Journalism fromthe University of Leeds in the United Kingdom.Royal National Theatre’s NT Live broadcasts offers a teasing transparency as if it were possible to ‘look through’ the screenat the live event. Despite the RNT’s insistence that they are “not making a movie,” these broadcasts become intermedialhybrids between film and theatre. The NT Live broadcasts screen the stage, both in the sense of display and of filtration, sinceonly some of what happens on stage is visible on screen. Like fidelity criticism which assumes an adaptation is derivative of,and likely inferior to, the original, some of the rhetoric of liveness uses mystifications such as ‘the magic of live theatre’ toassume the primacy of the performance event. An adaptation is distinctive because it is two things at once, both a versionof something else and a work in its own right. The ‘filmed liveness’ of these broadcasts has the paradoxical ability to be bothnot quite the real thing and better than being there. NT Live is a distinct hybrid form. I explore these issues using the NTLive broadcast, directed by Robin Lough, of Nick Hytner’s award-winning production of Othello (2013). The screening usedaspects of film grammar such as cuts, close shots, reaction shots, and sequences of relatively fast cutting to both technicaland creative effect. The ‘opinionated’ camera work’s partial view of the action on stage made creative points about themis-hearing and mis-seeing so crucial to the story. The ‘betweenness’ or intermediality of NT Live opens up questions aboutthe ontological distinctiveness of live performance. Counterintuitively, the broadcasts may remake liveness in conditions ofreception which are both shared and ephemeral.stoal952@student.otago.ac.nzFIRT/IFTR World Congress, University of Warwick, 2014784

The Representation of the Body and the Skin in Caryl Churchill’s (INCOMPLETE TITLE?)New Scholars’ ForumThis paper discusses on the matter of the body in written by Caryl Churchill and David Lan. Elin Diamond argues that, in someChurchill’s plays, the body is “a special site of inquiry and struggle.” Starting from her viewpoint, I would like to explore whatis happening on the skin of characters, the boundary of the site. In written based on Euripides’ , the characters’ bodies areliterally and repeatedly damaged. While at the beginning of the play a man (Roy) attempts to skin a dead rabbit with hole inthe stomach, Pentheus is torn to pieces by his mother at the last. A number of examples of the wrecked bodies suggest thatthe notion of ‘normal’ body and the integrated body are questioned in the play. In the process of deconstruction of the body,the meaning of the skin should be reconsidered. Seen that the skin is normally regarded as the boundary between inner andouter of the body, the skin locates the center of the binary. However, as Derek’s line of the last scene “my skin used to wrapme up, now it lets the world in” clearly shows that the phase of the skin transforms in the play. Moreover, repeated images ofcover and uncover such as peeling fruits, wrapping a pig with clingfilm illustrate the movement to constantly destabilize thelocation of skin. This paper attempts to consider the representation of the body and the skin in .Miho SuzukiWaseda UniversityMiho Suzuki is a Ph.D student at Waseda Universitywhere she is completing dissertation on therepresentation of the body in Caryl Churchill’s plays.She also holds MA in Theatre Studies from WasedaUniversity and MA in Literature from University ofEssex, UK. Her research interest is British contemporarytheatre, especially Caryl Churchill. Publicationsinclude “Imploding the Boundary: On the Body inCaryl Churchill’s ( 13, 2014, written in Japanese withEnglish summary), and “On the Matter of the Body inCaryl Churchill’s from the Perspective of CharacterDoubling” (h 56, 2013, written in Japanese with Englishsummary). She worked as a research associate forThe Tsubouchi Memorial Theatre Museum at WasedaUniversity from 2003-6. She currently teaches at ToyoUniversity as a part-time lecturer.imskhomi4062@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014785

Layers of Theatre Management in 19th-Century TransylvaniaNew Scholars’ ForumEszter SzabóBolyai UniversityEszter Szabó, born on July 16, 1990 in Cluj-Napoca,Romania. Second-year MA student of the Hungarianliterary and linguistic studies program at the Babeș–Bolyai University in Cluj-Napoca. Member of the SocialHistory of Nineteenth Century Transylvanian TheatreWorking Group. My research focuses on Transylvaniantheatre and press in the last decades of the 19thcentury: theatre management; the self-image and selfpositioningof the theatre; the influence of the press;regional identity models proposed by the theatre andthe press; Transylvanian intellectual networks and theirrelations with the theatre.Theatre history often ties theatre management to renowned theatre managers and directors. However, conducting atheatre seems to be a more complex issue; many had a say in the internal affairs, the decisions were the result of a long-termconsensus among people following various principles. I propose to analyse the management of one of the most importanttheatres in Hungarian theatre history, the theatre of Kolozsvár (today: Cluj, Romania) in the 1870s, a period that broughtabout endless discussions on the stratification of theatre management. Archival materials and the press make obviousthat there is hardly any single person’s administrative dominance, such as the English actor-managers or the intendants ofstate theatres from Berlin or Vienna. The decisions are made by a committee with members coming from different socialclasses, outlining various historical periods and layers of local theatre history. The administrative and artistic roles are notyet differentiated, which often result in conflict among the committee, the director and the intendant. The different strataof theatre management can be linked to different visions of theatre programme. The multiple leaders have diverging visionson the future, the self-image, and, accordingly, on the repertoire of the theatre. For instance, while some of them madeattempts to diminish the role of light musical theatre and circuslike attractions, others disagreed, invoking the allegeddemands of the public. Choosing a micro-level analysis of lesser known archival and press sources, I will attempt to reveal theconflictual stratification of theatre management, and link this to the structural transformation of society and public sphere,the nationalization and professionalization of theatre. As Kolozsvár had only a single theatre, all these conflicts could be readalso as answers of theatre professionalization to the dilemma of the undifferentiated, syncretic theatre.szaboesztii@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014786

Shakespeare’s Elves in Britten’s Opera A Midsummer Night’s Dream: On the Negotiation of Bodyand Gender-ConceptsNew Scholars’ ForumSofie TaubertUniversity of CologneIn my presentation I want to focus on the elves in Benjamin Britten’s opera “A Midsummer Night’s Dream” (1960)(Librettoafter W. Shakespeare, staging A. Pilavachi, 2009). I would like to show how Britten uses the element of the marvellous,embodied in the fairies, to open up a space to reflect on possibilities and borders of social conventions and roles concerninggender-concepts and reception habits of voices. In this context I would like to look at the multi-layered net of referencesconcerning music and music aesthetics as well as on questions of voices and the connected connotations. This seems to bean appropriate approach as Oberon is the first role written for a male actor with female voice since the baroque area, andtherefore hints to questions of the castrato era. We also find a special emphasis on voices and their corporeality in the otherroles: The fairies are sung by children, whereas Puck is spoken by an actor. As these cast decisions are leaving the establishedconventions of opera in the 20 th century they surprise habits and can be employed on stage to negotiate, to stress, toquestion. The outlined example is part of my PhD-project in which I am looking at operas of Shakespeare’s “MidsummerNight’s Dream” as well as at “The Tempest”. Therein I argue that the elves as figures without empirical background functionas an empty space which contains an agency arising out of the interplay between sound and scene already established inShakespeare’s plays and offer therefore a moment of reflection over aesthetics, genres, conventions, and reception habits.Sofie Taubert studied Theatre Studies, Musicologyand Cultural Anthropology at Johannes Gutenberg-University Mainz. Between 2010 and 2013 she workedthere as assistant lecturer. In April 2013 she joined theInstitute for Media Culture and Theatre in Cologne.She is member of the International PhD Program (IPP)“Performance and Media Studies” at the JohannesGutenberg-University Mainz. At the moment she isworking on a PhD Project about the “The Scene of themarvellous. Shakespeare’s elves in music theatre fromReichardt to Tsao as moment of cultural negotiation.”(Working Title).tauberts@uni-koeln.deFIRT/IFTR World Congress, University of Warwick, 2014787

Gavrilo Princip: This Theater is Too Small For MeNew Scholars’ ForumMarija TepavacUniversity of ViennaMarija Tepavac was born in Niš, Serbia in 1988. Afterbachelor studies of Slavic literature and SerbianLanguage at the University of Niš she started with PhDstudies at University of Vienna, on Institut of SlavicStudies. Her PhD thesis The Structual Modernisation ofSerbian Drama in the work of Jovan Hristić focuses on anew theater tendencies, semiotics, philosophy, culturetheories and political influence in Serbian theater. Hergoal is to reconstruct dramas and plays through newnarrative, social, cultural and performance theories.Her work is focused on Serbian modern theaterand on new political theater. Beside that she writestheatrical performance reviews for Serbian and Austrianmagazines.The topic of this essay is Biljana Srbljanović’s play This Grave Is Too Small For Me, with the focal point being the play’s protagonist,Gavrilo Princip. The research will focus on the adaptations of the play, at the Schauschpielhaus theatre in Vienna (2013) andin Belgrade Bitef Theater (2014), and will mainly explore how the character of Princip was adapted for and received byaudience in specific political conditions. The assassination of Austrian archduke Franz Ferdinand by Princip in Sarajevo in 1914is considered to be the event which triggered World War I. There is a vast contradiction in the historic portrayal of Princip- while Austrians regard him as a terrorist, he is viewed as a national hero in Serbia. The adaptation focuses on characters,disregarding the political and economic aspects of the Balkans and the rest of Europe, or the relations between Serbia, Bosniaand Austria at the time. The director’s goal is to portray the humanistic side of a terrorist act from the Serbian perspective.The author will compare the directors’ instructions from both Viennese and Belgrade theatres, as well as the experienceof the actors, which will result in the study of the play’s adaptation in two rather different cultural contexts. Another aimis to show how performance connects the two sides of war participants. Intertextual relations between performance textand play-script will be analyzed through suggested theories of Eli Rozik, who observes relationship between them. Fischer-Lichte’s theories about political theater and performance in culture will be applied, together with Brecht’s theory, as theauthor regards the given play as an example of Dialectic Theater, with leftist political ideas. The essay will explore the public’sreaction to sensitive history subjects, and show how performance reconstructs crucial historical moments in problematicpolitical atmosphere, even a century later.http://www.youtube.com/watch?v=Ba29b2sLEushttp://www.youtube.com/watch?v=nrsymFzgvaIkamenspoticanja@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014788

An Ethnographic Approach to Understanding Dramatic Censorship in Nineteenth-Century BritainNew Scholars’ ForumKristan TetensUniversity of LeicesterThis paper explores the extent to which ethnographic methods developed by scholars to study the practice of book censorshipcan be usefully applied to the study of dramatic censorship in nineteenth-century Britain. My case study (and the subject ofmy thesis) is the suppression of Hall Caine’s Mahomet, a four-act historical drama based on the life of Muhammad, the prophetof Islam, written in 1890 for the actor-manager Henry Irving. The mere rumour that this play would be produced in Londoncaused unrest in Britain’s Muslim communities, threatened British rule in parts of India, and strained the nation’s relationswith the Ottoman Empire. Although Mahomet treats Muhammad sympathetically and Islam respectfully, it was immediatelybanned by the Lord Chamberlain in his capacity as licenser of stage plays. In recovering the causes and consequences of thisspecific act of censorship, I have attempted to reconstruct the worldviews of the participants, including the censors at thecentre of an institutional system of surveillance that wielded absolute power over a principal form of expression in Victorianculture. In seeking an appropriate methodology for this discussion in my thesis, I have been drawn to recent work in the fieldof book history that uses ethnographic approaches to identify the breadth of censorial practices as well as their contingentnature. Censorship, these scholars argue, cannot be reified; it is highly dependent on the nature of power within a specificsociety and the general character of that society. My paper asks whether these approaches can be used by theatre historiansto create a more nuanced picture of dramatic censorship in Britain during the nineteenth century.Kristan Tetens is a third-year doctoral student in theSchool of English at the University of Leicester whosecurrent work focuses on representations of Islam inVictorian literature and drama. Her thesis, “Hall Caine’sMahomet: Religion, Empire, and Dramatic Censorshipin Late-Victorian Britain,” explores the circumstancessurrounding the suppression of a play based on the lifeof Muhammad that was written in 1890 for the actormanagerHenry Irving. She has published in the Journalof Victorian Culture, Nineteenth-Century Theatre and Film,and First Knight: Journal of the Irving Society.kat18@le.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014789

“A Story That Wasn’t Being Told:” The Poetics and Reception of Traumatic Representation in LynnNottage’s RuinedNew Scholars’ ForumJennifer ThompsonCity University of New YorkJennifer Thompson is in her first year of doctoral studyin Theatre at the CUNY Graduate Center, where sheis a recipient of a Graduate Center Fellowship. Herresearch interests surround theatre’s interaction withthe topics of citizenship and social justice. Currently sheis assistant managing editor on the journal EuropeanStages. She is also an actor, having performed on andoff Broadway, regionally, and on television. She hasstudied at the Moscow Art Theatre and received anMFA from NYU’s Graduate Acting Program and a BA inHistory and Theatre Studies at Yale University.In the essay, “Antigone’s Bodies: Performing Torture,” Marla Carlson observes, “when put into practice, any theatricalaesthetics of atrocity runs up against audience expectations, which are shaped not only by mass culture, but also by variousethical and critical systems.” The success of a play representing traumatic experiences is determined, in some measure,by how it interacts with these expectations. The purpose of this paper is to explore this interaction in Lynn Nottage’sextraordinarily successful play, Ruined (2009). To do so I consider Nottage’s process in writing Ruined alongside a readingof its text and performance through the lens of trauma studies, asking how process and product both participate in thediscourse surrounding trauma. Then I consider the critical and popular reception of the play. I argue that much of the play’sauthority and success was achieved through its ability to traffic in many of the commonly held assumptions surroundingtrauma—the centrality of testimony in its communication, its enduring presence and mimetic recurrence, and the unresolvedstate in which it leaves its survivor. In addition, the play allows the spectator a kind of empathetic co-ownership of thetrauma—many of the reviewers and responders to the play indicate a strong emotional investment in the story, that theywere “gripped by” or “caught up” in the play, and that they left “haunted.” Finally, I argue that the critical debate surroundingthe redemptive and uplifting elements of the play reveals a fundamental paradox in conceptions of the traumatic narrative—one in which a desire for resilience and redemption comes into conflict with an awareness that traumatic events are rarely,if ever, fully resolved.jenniferjoanthompson@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014790

Electra’s Myth in Catalan Contemporary Theatre: An Innovative TraditionNew Scholars’ ForumAlba TomàsPompeu Fabra UniversityThe main elements of Electra’s myth were fixed in the 5th century BC by Aeschylus’, Sophocles’ and Euripides’ versions.Nowadays, this myth is retold by contemporary playwrights all around the world, and the Catalan scene is not an exception.However, many of these new plays not only update the ancient texts in order to render the myth acceptable to a contemporaryaudience, but also subvert it to enable the mythological plot to express additional meanings. The innovative elements haveto do with the conception of human beings, society or politics—for example, in feminist approaches—, as well as with newunderstandings of dramatic genre—this is the case of postmodernist readings of the myth. We cannot consider these newversions as attempts to deny or discredit ancient tradition, though. They just use the classic myth as a framework to betterexpress contemporary points of view. Having this in mind, my paper aims to be a very brief outlook of how Electra’s myth hasbeen rewritten in Catalan contemporary theatre. This outlook will follow the theoretical approach of postmodernist studiesof intertextuality. Both poetological and ideological constraints will be taken into account when describing some of the mostrelevant Catalan revisions of Electra’s myth. Among them, one of such rewritings will be dealt with in more detail in this paper- Temps real (2007), by Albert Mestres, the latest Catalan performed version of the myth.Alba Tomàs graduated in Classical Philology from theUniversity of Barcelona (2010) and got her Master inTranslation studies from the Pompeu Fabra University(2011), where she is now doing her PhD focused on thereception of the classical myth of Electra in Catalantheatre. She is a member of the TRILCAT group(Translation, Reception and Interpretation of CatalanLiterature).alba.tomas@upf.eduFIRT/IFTR World Congress, University of Warwick, 2014791

Layers of(f) - Orange is the New Black: Representing Female Identity and Power Structures in USPrisonsNew Scholars’ ForumClio UngerLudwig-Maximilians-University, MünchenClio Unger is currently studying to get her diploma(equivalent to an M.A.) in dramaturgy at the Ludwig-Maximilians-University in Munich, Germany, whereshe also works as a teaching and research assistant.From 2011 to 2012, she spent one year on an academicexchange at the University of Alberta in Edmonton,Canada. There she studied in the MFA-program atthe drama department and worked as a teacher in theGerman department. In August of 2012, she was part ofthe international festival campus of the Ruhrtriennalefestival in Bochum, Germany. Her academic interestsinclude intermediality, adaptation, gender and queertheory. Outside of the university context, Clio works asa dramaturg for student and independent productions.She has also interned and assisted in severalGerman municipal theatres, including the MünchnerKammerspiele.In 2013, Netflix’s original series Orange is the New Black received critical acclaim for showcasing one of the most diverse femalecasts on American television. Even though the series centres on Piper Chapman, a white, upper middle class New Yorker whohas been sentenced to fifteen months in a women’s federal prison, it features a wide range of female performances fromdifferent racial, ethnical and economic backgrounds, from all age groups and with various sexual orientations and genderidentities. Being set in a women’s correctional facility, the show doesn’t only draw attention to the ailing state of the USprison system (i.e. the defunding of health services and education opportunities, and the privatization of the punitive systemin general); it also portrays a space where society isolates experiences that it considers perverse or wrong. When Piper firstgoes to prison, she has to learn that her life will not simply be put on pause for the duration of her incarceration. In a similarway, society often fails to realize that relocating certain experiences to its margins does not make them cease to exist. Beingset in a prison, the show demands a realm of visibility for a space that usually remains unseen. Thus, it strives to portray asphere where identity, deviation and acceptance are up for re-negotiation.In my paper, I want to examine the series’ representations of women in terms of social stratification and power structures.Drawing on concept of ‘heterotopia’ and queer theory, I will argue that Orange is the New Black offers a subversivecontemplation of these marginalized experiences, which otherwise often remain muted by the constructed hierarchies ofneoliberalism.FIRT/IFTR World Congress, University of Warwick, 2014792

Holy or Rough? – Using theatre to Complement a Buddhist Story-Telling Performance in the NorthEast of ThailandNew Scholars’ ForumMaysa UtairatRoyal Holloway, University of LondonMy field of research is a storytelling performance by Buddhist monks called the Mahachat sung sermon. I have created atheatrical piece to be performed as part of this Buddhist ritual event organized during 2010-2014 in three communities: auniversity, a village and a temple, all situated in the North East of Thailand, where the local culture influences the form ofthe ritual performance. I have found that Peter Brook’s distinction between Holy Theatre and Rough Theatre directly relatesto my practice. It has helped me to articulate my main research question, ‘How to deal with the tension between spiritualteaching and entertainment?’ Rough theatre is used to support the condition and quality of Holy theatre when twentyfirst-centuryBuddhist monks tell the story by singing the sermon and improvising dialogue between sacred characters.Nevertheless, in Rough Theatre, entertainment creates a tension with Buddhist teachings as it is held to be an obstacle to thepath of getting rid of self-concern. I deal with this tension through my practice. I will discuss these issues in my presentationand will include some recorded extracts of the storytelling ritual as well as my own accompanying theatrical practice. Iwill briefly describe the event, and then explain why Brook has proved the most helpful theorist as I tried to articulate andreconcile the tension between the two polarities of religion (involving both meditation and the giving of material gifts) andentertainment (necessary to sustain concentration).I am a second year PhD. student at the Departmentof Drama and Theatre at Royal Holloway Universityof London. Since finishing my Masters degree inAdvanced Theatre Practice at Central School ofSpeech and Drama in 2006, I have been a lecturer atthe Department of Performing Arts at MahasarakhamUniversity, Thailand, for six years. I have continuouslyconducted experiments in theatre, community andBuddhist rituals with Ohpoh Theatre, a theatre companyI founded in 2008. I have been creating theatrewith young theatre practitioners inside and outsideeducational institutes, including deaf and autisticstudents.maysautairat@yahoo.comFIRT/IFTR World Congress, University of Warwick, 2014793

From Action in Theatre to Image in the SpaceNew Scholars’ ForumMaría Fernández VáquezUniversidad Complutense de MadridAs a part of my research on the limits between Art and Theatrical Space, I attempt to find the margins where “action”(Theatre) and “image” (Art) meet each other. In those boundaries, the “action” makes the artwork possible, it defines thepiece of art, it creates it. The image comes about by the chance of the gesture. So I take as some examples three works byAngélica Liddell: “Ping Pang Qiu”; “Perro muerto en tintorería” and “El matrimonio Palavrakis”. In these projects we see thetransformation of the space because of the action. And we can find three important points of encounter between theatreand visual art: a clear reference to visual artists; a relationship with many Installation Art Works; and, most importantly, atransformation of space during the action itself. The trails, the footprint, the route, the space, the time, the action generatedifferent strata of the image. I’m proposing a violent communion of a triangle formed by gesture-action-image. After it’sproduced, the image that remains is the memory of what has happened there. It is the artwork, the action has left aninstallation piece. The image created becomes a piece of art itself. To explain this relationship better I will use some imagesof Art pieces, and compare them with Liddell’s. In all cases the works are just the trace of an intention, what remains fromthe action. I explore the limit where action becomes image and image becomes action. The action, the theatre, is a way tokeep things in movement. The image is the way to stop them. At that troubled place of encounter, my presentation will alsobe illustrated with a combination of examples from both languages: Art and Theatre.María Fernández Vázquez is actually teaching in FineArts degree in the Universidad de Zaragoza and finishingher Doctoral Thesis “Encuentros en el límite entre elarte y el espacio escénico” to have her PhD in Fine Artsin the Universidad Complutense de Madrid, where shehas had her degree in 2002. She has built an Academicand artistic career. She has obtains different grants andprizes of arte and research as the grant from MAEC-AECID in the Academia de España en Roma in 2009-2010. She has done many Personal and collective ArtExhibition and Performances, participated on Nationaland International exhibition projects and Art Fairs.masquemari@hotmail.comFIRT/IFTR World Congress, University of Warwick, 2014794

Livescapes: Stratification and Space-Time Dynamics in Harmattan Theater’s EnvironmentalPerformancesNew Scholars’ ForumSofia VarinoStony Brook UniversitySofia Varino is a Ph.D. Fellow in Cultural Studies at theDepartment of Cultural Analysis & Theory at StonyBrook University in New York. Her research interestsinclude biopolitics, political ecology, aesthetics andcontemporary performance. She is Associate Directorat Harmattan Theater, a New York City environmentaltheater ensemble.My paper puts the concept of stratification to work in order to analyze how live sound and movement function in the spatialand temporal dynamics of Harmattan Theater’s environmental performances. Harmattan Theater, where I am associatedirector, is a New York based environmental theater collective developing site specific performances and public installationsconcerned with global water politics and climate change. Using a critical framework drawn from body theory and mobilitystudies, I look into how choreography in conjunction with live sound comes to form a multi-layered environment where thehistorical and the geographical are enacted in real time. I will refer to five performance pieces presented between 2010 and2013 in New York, Lisbon, Cochin and at the Cape of Good Hope in South Africa: Far Rockaway (2013); Mar Português (2012);Cabo de Tormentoso (2011); When the Sea Rises (2011); and Dreamscapes (2010). Each of the works was performed live at awater bound site in collaboration with local performers, with the scenic elements of music and choreography conceived togenerate a flow between the past and present time. For example, in Mar Português an improvised didgeridoo made of plastictubes, and played by a street performer, came to function as an excavation of Lisbon’s maritime histories by embodying thesound of the fog horn at the iconic port Cais das Colunas. In Far Rockaway, the extremely slow movements of the groupchoreography re-enacted the local New York community’s resilience and vulnerability in facing the consequences of risingsea levels in the aftermath of Hurricane Sandy. By positioning the specificity of the performances in relation to historical andgeographical stratification, I aim to contrast the concrete materiality of sound and movement with the archives these fiveperformances simultaneously interrupt and re-enact.varino.sofia@gmail.comFIRT/IFTR World Congress, University of Warwick, 2014795

A Poetics of Minutiae: Metaphorical Transformations in the Theatre of the Apartheid EraNew Scholars’ ForumNicholas WeeksUniversity of GenevaNicholas Weeks holds an MA in English Literature fromthe University of Geneva, as well as a CAS in dramaturgyand textual performance from the University ofLausanne. His master’s thesis focused on kinesics,i.e. the expressive dynamics of gesture, in the earlycritical work and fiction of Samuel Beckett. His currentPhD project, while pursuing a critical assessment ofthe Beckett canon, also engages the transmission ofembodied knowledge in the practice and performanceof contemporary plays by authors/directors from thepostcolonial world. Nicholas also directs the workshopsof the English Department Theatre Group at GenevaUniversity.Based on a dynamic contemporary understanding of the role of metaphors as complex entities triggering sophisticatedembodied and imaginative cognitive processes, this paper seeks to articulate a poetics of minutiae valid both for the pageand the stage focusing on the way stage actions (enacted stage directions) may operate radical contextual re-orientationof scenes. It is my contention that at the core of the multifaceted layers constituting a theatrical event (historical, sociopolitical,aesthetic) lie swift and subtle changes within interpersonal behaviour that might only be properly accountedfor and explained through a particular attention to significant minimal gestures. Methodologically, I will recourse to finegrainedtextual analyses based on close readings giving due respect to the mobility of the referent, expanding the bordersof literature to broach broader interdisciplinary aspects of human action through notions such as kinesic intelligenceand sensorimotricity. To limit the scope of this presentation however, my argument will focus on a set of five key scenesrepresentative of such metaphorical transformations effected through gestures in works by individual playwrights, directorsand small companies working as collectives in South Africa of the apartheid era (Athol Fugard, Matselma Manaka, ZakesMda, Barney Simon, William Kentridge and the Handspring Puppet Company). The historical survey of the material and thetextual analysis will expose the ways in which South African theatre has evolved a corporeal practice singularly predicatedon the bare means of traditional narration and metaphorical transformation, achieving international success while retainingpolitically subversive dimensions.nicholas.weeks@unige.chFIRT/IFTR World Congress, University of Warwick, 2014796

Inter-Corporal? Intercultural Influences on Productions of European Contemporary DanceChoreographersNew Scholars’ ForumAnna Laura WieczorekUniversity of SalzburgBorn 1985 in Wuppertal, Germany, Anna LauraWieczorek studied Dramaturgy, Art History, andGerman Literature at Ludwig-Maximilians-Universityand Theaterakademie-August-Everding in Munich, fromwhich she graduated in February 2012. Since October2012 she has been a PhD student at Paris-Lodron-University, Salzburg and part of the research project,Traversing the Contemporary (Dr. Sandra Chatterjee/Prof. Dr. Claudia Jeschke). Her research interestsconcern contemporary dance in the context of culturestudies, media theory and picture theory. Anna LauraWieczorek works as a freelance journalist and dramaturgin Germany and Austria and has co-founded the artisticgroup CADAM that has been realizing dance andtheatre projects since 2012.In my PhD-thesis I am searching for trends of a contemporary dance scene in Europe, whose representatives deal with thecomplex topic of “interculturality” in their choreographies. On the basis of popular protagonists (e.g. Sidi Larbi Cherkaoui,Akram Khan and Faustin Linyeklua) I investigate the narrative and theatrical strategies used to create the ‘alien’ picture ofan ‘other’ culture. An initial point of my question is that a lot of contemporary choreographers approach this topic with thedefined system of linguistic translation. Besides Pichet Klunchun (Pichet Klunchun and myself) and Xavier Le Roi (Productof Other Circumstances) mostly the collective Gintersdorfer/Klaaßen uses this model of translation of cultural differencesin a performative context. Although these examples show partly a corporal approach, the intermediation of ‘the other’stays on a linguistic level that provokes hierarchic conditions. In my presentation I therefore want to address the followingquestions: Does something like an ‘inter-corporality’ exists? Which conditions make a movement to a ‘foreign’ movement?Which visual or acoustic references are necessary to classify something as ‘foreign’, as arising from another culture? Howare stereotypes created on a corporal level? My theoretical interest arises from the observation that popular contemporarydance choreographers, who proclaim themselves as being or acting ‘interculturally’, mostly use linear-narrative structures intheir performances requesting a universal projection of the world. My interest is to search for narrative patterns within thesechoreographies and to claim out ‘scenarios’, as Diana Taylor proposes: “Instead of privileging text and narrative, we could alsolook to scenarios as meaning-making paradigms that structure social environments, behaviors, and potential outcomes.” (TheArchive and the Repertoire: Performing Cultural Memory in the Americas, 28).anna.wieczorek@sbg.ac.atFIRT/IFTR World Congress, University of Warwick, 2014797

Text, Context, Performance: Stratification and The ChangelingNew Scholars’ ForumNora WilliamsUniversity of ExeterThis paper will focus on critical reception of The Changeling, a Jacobean tragedy written in 1622 by Thomas Middleton andWilliam Rowley. Stratification, in the sense of hierarchical differentiation, has affected The Changeling throughout its life inthe twentieth and twenty-first centuries. After a three-hundred-year hiatus, it returned to the professional stage in 1961,and reviews immediately stratified the play (rather than the Royal Court’s production) in various ways. Some praised theplay and Middleton’s writing as second only to Shakespeare; others suggested that the stage revival only served to highlightegregious structural and poetic flaws within the text. In most of the contemporary critiques, the tendency is to addressthe literary text of the play as opposed to the performance or production elements, thereby implicitly coding the text asmore significant than the performance. Even within textual studies, however, there exists a sub-stratification within whichscholarly texts are more valuable than, for example, theatre promptbooks, which might be seen as closer to performancethan an edited and footnote-ed text. This continuum of scholarship and performance becomes particularly significant whenconsidering plays such as The Changeling, which are simultaneously taught as literature in university English departmentsand revived (and adapted) on major stages. Through the lens of the 1961 revival, this paper will ask: how do the intertwinedhistories of text and performance affect our understanding of The Changeling and its historical context? And what are theimplications for contemporary theatre?Originally from upstate New York, Nora Williamsis currently a PhD candidate at the University ofExeter and is extremely grateful to be funded byan International Studentship from the College ofHumanities. Previously, she completed a BA(Hon) fromthe University of Toronto in Theatre & Drama Studiesand English Literature and an MA in Theatre Practice:Staging Shakespeare from the University of Exeter. Sheis also the Events Coordinator for the recently foundedSTR New Researchers’ Network. Her primary researchinterests involve the afterlives of early modern plays.njw216@exeter.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014798

The Artist, The Food, its Eaters and Their PerformancesNew Scholars’ ForumThe everyday act of communal eating assumes an additional veneer of performativity when the act is staged as an eatingperformance or edible artistic in(ter)vention. The performance in eating works involving food-art are acts of socialparticipation of a most physically integrative sort – art and audience are contained within the same body when the workis literally consumed. This action of consumption could be seen as embodying Rancière’s ‘third thing’ that transcends thetable to the digesting mind-body, thus creating a new site of performance, communion and meaning-making within thesite-specificity of food. I attempt a categorization to see how the positions occupied by the eater and the food are staged(on the plate, where/how the food is eaten) and visit two case studies: works by Michael Rakowitz and Marije Vogelzang. Iposit the act of eating as a kind of mimetic communal intelligence, paying attention to how the audience is asked to know orreceive instructions on when to eat, or how to connect/confront culinary memories or biases while eating-performing so asto undergo what Feral calls a ‘collective verification’ within their self-created performance.Carmen WongUniversity of WarwickCarmen C. Wong is a postgraduate with the MA inInternational Performance Research at the Universityof Warwick, and founding Artistic Director and agentprovocateur of banished? productions (Washington, DC)where she creates avant-pop performance conceptsand collages. A 2012 Mayor’s Arts Awards finalist forOutstanding Emerging Artist, and recipient of an ArtistFellowship from the DC Commission of the Arts &Humanities, her first interdisciplinary performance workwas on Dorky Park’s Back to the Present at Kaufhaus Jandorfin Berlin. Her work in Scandinavia and Europe was enabledby a HIAP arts residency in Helsinki, Finland, and furtheredby a TCG Global Connections award in 2011, allowing herto continue with her sensory gastro-performance projects.This series has evolved since 2009 and propagated aFood-in-Performance workshop for performance artsstudents in Sweden. Into the Dollhouse (2012), Wong’sdevised performance collage on performing gender andmemories received a Creative Communities Fund grant viathe Flashpoint Mead Theatre Lab program, was selectedfor Arena Stage’s inaugural Kogod Cradle series, and iscurrently being adapted for performance in India.banishedproductions.orgcwong@alumni.nd.eduFIRT/IFTR World Congress, University of Warwick, 2014799

Meaning-making within Alternative Realities: Stylistics of the Multiverse in Einstein on the BeachNew Scholars’ ForumNaz YeniAnglia Ruskin UniversityNaz Yeni is a PhD candidate at Anglia Ruskin University.Her career in professional theatre as well as adult andmain-stream teaching allows her to explore differentaspects of performance. Her MA dissertation was ananalysis of “the role of language in presenting socialreality and the interpretation of discourse” (King’sCollege London). Her MEd thesis was a case study about“the experiences of year 10 drama students during theteaching of a set text from a multimodal perspective”(University of Cambridge). Her recent directing creditsinclude Blindman’s Son Comes Forth (Köroğlu›nunMeydana Çıkışı) for the Turkish State Theatres in 2011.Her stage adaptation of this classical folk tale was are-working of traditional storytelling. She is currentlyresearching into artistic style, the interaction among themultiple code systems of a performance and the layersof meaning created throughout the staging process.Alongside her academic work, she regularly developsartistic projects that inspire her research and contributeto her conceptual thinking.My research is concerned with analysing theatrical performances where meaning-making is presented through a distinctiveartistic style. My argument will be on Robert Wilson’s Einstein on the Beach and I am aiming to conduct a semiotic analysisof the “meaningful moments” in this piece in order to suggest a potential insight into the director’s physicalisation of hisvision. A performance is a multiverse, configured from a mosaic of codes and embodying a rich diversity of existentialpermutations. Here, meaning-making occurs through the activation of various networked units of communication; eachone realising its own parallel universe in the interim. This richness within the alternative realities of the performance isconceived by the multiplicity of the sign-systems contained in its being. Robert Wilson’s Einstein on the Beach distinctlyforegrounds the carefully coded interaction amongst particular sign-systems: words, music, light, images and movement.The dialogue emerging from the multiple layers within this interaction composes the mise-en-scene of this theatrical event,delivering a unique artistic style which is experienced with an existentialist twist. Each of the sign-systems mentioned aboveoperate in a parallel fashion, offering their individual realisations of “meaningful moments” contained within the mise-ensceneof this performance text. As a result, these theatrical moments of significance operate as multi-layered networkswhose interpretation requires a detailed analysis of the codes within the sign-systems forming each one. In the first instance,Einstein on the Beach simply consists of a few meaningful moments in its entirety. On the other hand, each of those momentsincorporate a rich multiplicity that is actualised by the layering of the codes interacting with each other across diverse signsystems.This multi-layered style and its role in meaning-making is the main focus of my argument.naz.yeni@student.anglia.ac.ukFIRT/IFTR World Congress, University of Warwick, 2014800

Spectator’s mutation within Intermedial Performance.New Scholars’ ForumThe aim of this paper is to explore the role of the spectator within those intermedial creations situated in the transit zonebetween performing arts, digital arts and visual arts. Intermediality understood as the interconnection between differentmedia (media as cultural domain) may lead to ‘mutate’ the art disciplines as well as the way of seeing, perceiving, acting orexperiencing the art event. From an intermedial perspective the mutation may appear when something apparently essentialdisappears. In other words: does performance exist without a performer? Can we found ourselves applauding in front of apainting? These mutations usually place the spectator in an unknown situation. From the perspective of the spectator theshift could be analyzed from two main perspectives; from the cultural and social point of view or from the theories aboutperception that focus on the subjective experience.Itziar Zorita AgirrePhD student in Performing Arts, at UniversitatAutònoma de BarcelonaItziar Zorita is a current PhD student in Performing Arts,at Universitat Autònoma de Barcelona (Spain). She wasgraduated Audiovisual Communication at the Universityof the Basque Country. Afterwards, She studied aMaster in “Digital Arts” at Pompeu Fabra University(Barcelona). Nowadays, She also works as an artist andteacher in different projects related to new media,performing arts and community arts within Mobiolak ArtGroup.In order to deal with these questions the project Harimakila is taken as a case study. This is an interactive installation createdby the artistic collective Mobiolak in 2013 that has been repeated in a museum space. It consists of a reproduction ofa textile factory (more than 500m2) built in wood and clothes. Each visitor has a mobile phone and headphones to walkinside the installation in order to hear the different narrations about the factory. This immersive experience makes the visitorperceive the presence of the workers (characters) through their physical absence. The notion of perception is the centralissue to be discussed in this paper. Contemporary discourses from Cultural studies, Communication or Live Arts Studiesprovide the theory. Likewise, international artists such as Blast Theory, Janet Cardiff and Georges Bures Miller, Rimini Protokollor Roger Bernat are mentioned in order to analyze the question about perception from an intermedial perspective.www.harimakila.orghttps://vimeo.com/mobiolak/harimakilaengitziar@mobiolak.orgFIRT/IFTR World Congress, University of Warwick, 2014801

FIRT/IFTR World CongressUniversity of Warwick28/07 – 01/08 2014FIRT/IFTR World Congress, University of Warwick, 2014802