WHAT PERFORMS? TABLE OF CONTENTS CONFERENCE COMMITTEE Welcome...... 3 COMMITTEE Program Chair Local Arrangements Program At-A-Glance...... 6 Margaret Werry Nancy Erickson, University of Minnesota ASTR Administrator Working Groups A ...... 8 (Thursday, November 20) Conference Committee Local Liaison Harmony Bench, The Ohio Faedra Chatard Carpenter,

WHAT PERFORMS? Career Sessions 1-8 ...... 12 State University University of Maryland (Friday, November 21) Robin Bernstein, Harvard University (Executive ASTR Officers Working Groups B...... 14 Committee Rep) Heather S. Nathans, (Friday, November 21) Tufts University Lucy San Pablo Burns, President Working Groups C...... 16 University of California, Los Angeles Patrick Anderson, (Friday, November 21) University of California, Debra Caplan, Baruch College San Diego Working Groups D ...... 21 Jonathan Chambers, Vice President for (Saturday, November 22) Bowling Green State Conferences University, ex officio Catherine Cole, Working Groups E...... 25 Dorita Hannah, University (Saturday, November 22) University of California, of Tasmania Berkeley Working Groups F...... 30 Kellen Hoxworth, Stanford Vice President for Publications (Sunday, November 23) University (Graduate Student Marla Carlson, Caucus Rep) University of Georgia Career Sessions 9-15 ...... 33 Mary Isbell, Yale University Secretary (Sunday, November 23) Ric Knowles, University Cindy Brizzell-Bates of Guelph Empire State College, State 2 Hotel Floor Plans...... 36 Scott Magelssen, University University of New York of Washington, ex officio Treasurer ASTR14 Exhibitors & Advertisers...... 39 Colleen Reilly, Slippery Rock TLA Officers University (Theatre Library Nancy Friedland Association Representative) Columbia University Karen Shimakawa,

November 20-23 2014 BaltimoreNovember 20-23 President New York University Angela Weaver Shannon Steen, University University of Washington of California, Berkeley Vice President Joanne Zerdy, Illinois State University Laurie Murphy SPONSOR THANKS New York University Career Sessions Executive Secretary The American Society for Theatre Research Coordinators Colleen Reilly and the Theatre Library Association thank Stefka Mihaylova, University of Washington Slippery Rock University the following sponsors: Treasurer Ann Folino White, Michigan State University PRESIDENT’S WELCOME At this year’s conference you will see a mix of the “old” and the “new” – a combination of familiar formats such as plenaries and Career Sessions, alongside “PerformASTR” events, with new initiatives supported by the American Theatre Archive Project, the ASTR Task Force on Working Conditions, and the ad hoc Committee on Mentorship. As we work to make ASTR an ever-more engaged, supportive, and powerful organization we should make sure we take full advantage of our best resource – our members and the thoughtful, challenging, innovative scholarship you bring to the conference each year. Thank you for all the hard work you’ve put into the work you will share here in Baltimore and have a wonderful time! 20-23November 2014 Baltimore A SPECIAL NOTE FROM Welcome to ASTR 2014 and thank you for joining us this year as we explore THE PRESIDENT ASTR14 If I were to interpret the question “What Performs?” the question, “What Performs?” in another way, my answer might be “Nancy 3 I find that I look at each ASTR conference booklet Erickson.” Over the decade that she has been with the same way I used to look at the course catalog ASTR she has performed the role of mentor and in college – as a document full of wonderful cheerleader, and if it is possible to perform the role opportunities to delve into the unknown. This of the eye in the center of the hurricane that is the year’s conference begins with that same open- annual conference, Nancy wins the part every time. ended, questioning spirit of curiosity. And isn’t that This conference marks our last event with Nancy, inquisitive spirit the great joy of our scholarship and who has been such a dedicated member of what brings us back to ASTR year after year? the ASTR team for so many years that planning This year I invite you to ask new questions, to visit conferences without her smiling presence seems a Working Group where you have absolutely no almost unthinkable. During my two years as idea what the topic means and no background in President, I’ve turned to Nancy countless times for that area of the discipline. Will those encounters her advice, and I have always been deeply grateful prompt you to ask old questions in new ways, or for the way in which she is able to offer guidance perhaps shed light on your own work? They may while still allowing the organization to develop or they may not, but what they will signal is that under the leadership of its members. PERFORMS? WHAT passion for constant learning that drives us all. Nancy, I hope you know what an astonishing difference you have made to ASTR and how deeply you will be missed. All our very best wishes go with you as you set off on your next adventure! Heather S. Nathans President

This year we convene around what year we convene around This NOTE THEFROM NOTE THEFROM

Welcome to Baltimore, and to to Welcome ASTR2014! A PROGRAM CHAIR CHAIR PROGRAM PROGRAM A appears to be a simple question: What Performs? It question: What appears to be a simple but less points us on the one hand to the familiar, and props, often studied, stuff of theatre—puppets also invites us costumes and stage machines. But it question to press against our discipline’s boundaries, sights on its philosophical armature, train our critical the vigorous new objects and actors, and engage with materialism” interdisciplinary debates surrounding “new and “post-humanism.” of any conference theme, of course, is as value The with it, and there much in how we rebel against it as run is much in these particular debates to resist. Can we at a moment claim to be post-human or newly material remind of the when current events, local and global, dehumanization, and material persistence of inhumanity, this conference takes place by a harbor want? (That traded as things through which scores of humans were This adds a layer of trenchancy to such questions). in testing a new optic, to conference is an opportunity, weigh the critique of humanism against its unfinished business, the limitations of old materialisms against If theatre is a machine of the uncertainties of the new. political imagination, can it help us imagine a truly just is a genuinely open question post-human politics? This on which the contents of this program constitute a referendum.

WHAT PERFORMS? 4 ASTR14 November 20-23 2014 Baltimore PROGRAM CHAIR PROGRAM CHAIR A A

FROM THE FROM THE NOTE FROM THE FROM THE NOTE

program. program. and othersite-specificordurationalworkspepperingthe scheduledforFriday exciting eveningofperformance tofind outmoreaboutthe insert Look fortheprogram development-focused formatoftheworkinggroup. members mightalsobenefitfromthediscussion-rich, practiceofASTR how thecreativeresearchandartistic curators Spatula&Barcode.This year, PerformASTR asks Herrera takesupthebatonofPerformASTR from2013 intotheconferencecontinuesasBrian performance live Elsewhere, theexperimentofintegrating us investedinproblemsofsocialandracialjustice? forthoseof discipline’s corecommitments,particularly attempt serveandwheredoesitchafeagainstour theatre’s non-humanactorsprompt?Where doesthat problems, oldornew, doestheattempttothinkabout discussionsandpapers.What questionsand group’s theme wasembraced,resisted,orreconfiguredintheir convenerstotalkabouthowtheconference group chaired byRobinBernsteinandUriMcMillan,invites sub-disciplinary fields. The StateoftheProfessionpanel, turned ittotheendsofanunusuallyvariedrange conveners havetakenuptheconferencethemeand where is aslateof35 excitingworkinggroups, concurrent paperpanels,thebackboneofthisprogram Together withthesixplenarysessions,andthree 2014 ConferenceProgramChair University ofMinnesota Margaret Werry, best assheconcludesheryearswiththisorganization. inplanningthisconference,andwishherallthe support and lucky tohavebenefitedfromNancy’sexpertise office, andespeciallytoNancyErickson.Icountmyself to ShaunFranklin-Sewell and Cynthia Ward intheASTR committee, process: tothelargeandbrilliantprogram to plan.Mythanksareduemanyfortheirhelpinthat provocative foryoutoexperienceasithasbeenme I hopethatthisgatheringisasproductiveand newly restored,landmarkHippodromeTheatre. conference, andcomplementsTLA’s tourofBaltimore’s administratorsandarchivistsduringthis theatre artists, Project, isholdingitsfirstworkshopwithBaltimorearea initiative,theAmericanTheatrenew ASTR/TLA Archive city policies,andnationaltrendsintersect?The relatively wherediversecommunities,localeconomies, geography urban how dotheatressurviveandthriveinachanging discussion thatengageswiththecityasanecology: sceneina from Baltimore’svibrantperformance Faedra Carpenterwillchairapanelofrepresentatives theatre-makerstogetherwithscholars, Also bringing 5 WHAT PERFORMS? ASTR14 November 20-23 2014 Baltimore 2014 PROGRAM AT-A-GLANCE

Ongoing throughout the PerformASTR DiversityFellows 10:15 AM - 10:45 AM Conference: PerformASTR Kent A-C, 4th Floor Coffee Break See detailed schedule for titles. 1:15-3:30pm Harborside AB, 4th Floor (Exhibit Hall) THURSDAY, NOVEMBER 20 Theatre Library Association Tour 10:45 AM - 12:15 PM 8:00 AM-2:30 PM of the Hippodrome Theatre Concurrent Paper Panel 2 - (Other) ASTR Executive Committee Meeting Meet at the ASTR Registration Desk Bodies that Perform Essex AB, 4th Floor 2:00 PM - 3:45 PM Laurel A-D, 4th Floor WHAT PERFORMS? 9:00 AM - 1:00 PM Plenary 4 - Material Strategies in Working Groups D ATAP Training Workshop Performance Titles, locations in detailed schedule. Harborside C-E, 4th Floor Essex C, 4th Floor 1:00 PM - 3:00 PM 2:00 PM - 7:00 PM 4:00 PM - 5:00 PM Awards Luncheon and Annual Registration Open Graduate Student Caucus Meeting Harborside Foyer, 4th Floor Networking Session 1 Harborside C-E, 4th Floor President’s Suite Exhibitor Move-in 3:15 PM - 5:15 PM Harborside AB, 4th Floor (Exhibit Hall) 4:00 PM - 6:00 PM Plenary 5 - Remains, Memorials, 2:30 PM - 3:00 PM Concurrent Paper Panel 1 - Museums, Architectures Coffee Break Environmental Actors and Liminal Harborside C-E, 4th Floor States Harborside Foyer, 4th Floor 5:15 PM - 5:30 PM Harborside C-E, 4th Floor 3:00 PM - 5:00 PM Refreshment Break Plenary 1- Non-humans and Working Groups B Harborside Foyer, 4th Floor Political Formations Titles, locations in detailed schedule. 5:30 PM - 7:30 PM Harborside C-E, 4th Floor 4:00 PM - 7:00 PM Concurrent Paper Panel 3 - 5:15 PM - 7:15 PM Working Groups C Archives of Objects Working Groups A Titles, locations in detailed schedule. Harborside C-E, 4th Floor Titles, locations in detailed schedule. 6:00 PM - 7:00 PM Working Groups E 6 5:45 PM - 7:15 PM Dinner Break Titles, locations in detailed schedule. Local Plenary 7:00 PM - 10:00 PM 8:00 PM - 9:30 PM ASTR14 Harborside C-E, 4th Floor PerformASTR Graduate Student Caucus 7:30 PM - 8:30 PM Titles, locations in detailed schedule. Annual Meeting Opening Reception Harborside C-E, 4th Floor Falkland, 4th Floor Harborside AB, 4th Floor (Exhibit Hall) 10:00 PM - 12:00 AM 9:30 PM - 10:30 PM

November 20-23 2014 BaltimoreNovember 20-23 PerformASTR AllNightCheck Emerging Scholars’ Reception FRIDAY, NOVEMBER 21 Kent A-C, 4th Floor Essex A-C, 4th Floor 7:30 AM - 8:30 AM Welcome Mentor Breakfast SATURDAY, NOVEMBER 22 SUNDAY, NOVEMBER 23 Essex A-C, 4th Floor 8:00 AM - 9:00 AM 7:30 AM - 9:30 AM 8:00 AM - 10:00 AM Graduate Student Caucus Coffee and Breakfast Breads Coffee and Breakfast Breads Networking Session 2 Harborside Foyer, 4th Floor Harborside AB, 4th Floor (Exhibit Hall) Harborside AB, 4th Floor (Exhibit Hall) 8:00 AM - 11:00 AM 8:00 AM - 5:00 PM 8:00 AM - 10:00 AM Working Groups F Registration Open Coffee and Breakfast Breads Titles, locations in detailed schedule. Harborside Foyer, 4th Floor Harborside AB, 4th Floor (Exhibit Hall) 9:00 AM - 10:45 AM 8:00 AM - 5:00 PM 8:00 AM - 5:00 PM Career Sessions 9-15 Exhibit Hall Open Registration Open Titles, locations in detailed schedule. Harborside Foyer, 4th Floor (closed 1:30 PM-2:30 PM for lunch) Curricular Performance Roundtable Harborside AB, 4th Floor (Exhibit Hall) 8:00 AM - 5:00 PM Harborside C, 4th Floor Exhibit Hall Open 8:30 AM - 10:15 AM PerformASTR Discussion Plenary 2 - Objects, Methods, (closed 1:00 PM-3:00 PM for lunch) Harborside D, 4th Floor Theatre Histories Harborside AB, 4th Floor (Exhibit Hall) 11:00 AM - 12:30 PM Harborside C-E, 4th Floor 8:30 AM - 10:15 AM State of the Profession Theatre Library Association 10:30 AM - 12:15 PM Materialisms and Humanisms: Plenary—The Paradox of the Post- Plenary 3 – Machines, Labor, New, Old, and Other? Performance Human: Archival Subjects, Systems, Harborside C, 4th Floor Harborside C-E, 4th Floor and Sites Harborside C-E, 4th Floor 12:30 PM 12:30 PM - 1:45 PM Conference Ends Career Sessions 1-8 Titles, locations in detailed schedule. university of michigan press

coloring the animal acts whiteness captive stage Performing Species Acts of Critique in Performance and Today Black Performance the Proslavery Edited by Imagination of the Faedra Chatard Una Chaudhuri Carpenter Antebellum North and Holly Hughes Douglas A. Jones, Jr. butch queens up in pumps murder the avant-garde Gender, Performance, most queer and the popular and Ballroom Culture in modern china in Detroit The Homicidal Marlon Bailey Homosexual in the Tian Han and the American Theater Intersection of Performance and dark matter Jordan Schildcrout Politics Invisibility in Liang Luo Drama, Theater, and Performance evita, simming Andrew Sofer inevitably Participatory Performing Performance and the passionate Argentina’s Female Making of Meaning amateurs 7 Icons Before and Scott Magelssen Theatre, Communism, After Eva Perón and Love Jean Graham-Jones Nicholas Ridout

preaching paula vogel acts to convert Joanna Mansbridge Theater, Philosophy, Evangelical Outreach and the Performing and Performance Self Activism in a Secular Tzachi Zamir Age John Fletcher

forthcoming now in paper

latin numbers spectacles lives in play Playing Latino in of reform Autobiography and Twentieth-Century Theater and Activism Biography on the U.S. Popular in Nineteenth-Century Feminist Stage To order: call 800.343.4499 or go to Performance America Ryan Claycomb www.press.umich.edu Brian E. Herrera Amy E. Hughes WHAT PERFORMS? SCHEDULE OF EVENTS

Ongoing throughout the Conference Thursday, November 20, 2014 PERFORMASTR 2014 8:00 AM - 2:30 PM convener ASTR Executive Committee Meeting Brian Herrera, Princeton University Essex AB, 4th Floor The following ambient performances will occur throughout the Conference. See the PerformASTR 9:00 AM - 1:00 PM Program for more information. ATAP Training Workshop Essex C, 4th Floor Zeeb Zob David Saltz, University of Georgia 2:00 PM - 7:00 PM Registration Open Forward Harborside Foyer, 4th Floor 8 Andrew Salyer and Katie Schaag, University of Exhibitor Move-in

ASTR14 Wisconsin, Madison Harborside AB, 4th Floor Tell Me - What’s Working Lindsay Cummings, University of Connecticut 2:30 PM - 3:00 PM Gad Guterman, Webster University Coffee Break November 20-23 2014 BaltimoreNovember 20-23 Susanne Shawyer, Elon University Harborside Foyer, 4th Floor Ask Me Anything 3:00 PM - 5:00 PM Brian Herrera, Princeton University Plenary 1- Non-humans and Political Formations Harborside C-E, 4th Floor chair Ric Knowles, University of Guelph panelists Laura Edmondson, Dartmouth College Consuming Rwanda and the Politics of the Beast Maral Yessayan, Dartmouth College The Politics of National Dance Dress in 21st Century Jordan Joshua Williams, University of California, Berkeley Remains of the Wild: Pre- and Non-Human Figures of the (Post)colonial in the Nairobi National Museum Diana Looser, Stanford University The Fiery Pacific: Volcanic Eruptions, Settler-State Theatricality, and the Cyclorama of Kilauea 5:15 PM - 7:15 PM Heather Rastovac, University of California, Berkeley Queering Diasporic Temporalities in the Performance WORKING GROUPS A Works of Amir Baradaran Avant-Gardes, Otherwise: Performance, Aesthetics, and Experimentation in the Cindy Rosenthal, Hofstra University Undercommons Living Theatre (Precariously) and Performing Avant- Iron, 4th Floor Gardes (Again): Judith Malina at 88 Conveners Katie Schaag, University of Wisconsin, Madison Leon J. Hilton, New York University Form and Transformation: Marita Bonner’s Iván A. Ramos, University of California, Berkeley Conceptual Plays Participants Beyond Soldiers and Generals: Performing Dan Abella, University of Washington Wartime Identities, Ideologies, and Material The Avant-Garde Antics of Gertrude Stein Culture and Baroness Elsa James, 4th Floor Katherine Brewer Ball, Wesleyan University Conveners Archival Tensions and Punk Performance: The Work Jenna L. Kubly, Independent Scholar of Cyclona, Mundo Meza, and Gronk Elizabeth Reitz Mullenix, Miami University Adrienne Edwards, New York University Participants I Am Not Here to Entertain You: Blackness in DeAnna M. Toten Beard, Baylor University the Conceptual State Verisimilitude Meets Jingoism on the American WWI Stage: Battle Spectacle and Active Patriotism

Christopher Goodson, University of Washington 20-23November 2014 Baltimore in America First and Seven Days’ Leave Intersectional Disabilities and the Performance of Homelessness: eSe Teatro’s Don Quixote: Homeless Amanda Boyle, University of Kansas in Seattle Vietnam Veterans: Performing the Wounds of War

Vivian Huang, New York University Sara Brady, Bronx Community College, City ASTR14 Inscrutability and the Parasitic Performance University of New York of Laurel Nakadate Drones, Super-Soldiers, and Civilian-Soldiers in War and Peace 9 Rita Kompelmakher, University of Minnesota Undercommons or Underground?: Subversive Karen M. Dabney, University of Colorado, Boulder Grammars of the “Real” in Contemporary The Eroticism of Weaponry in American War Play Belarussian Avant-Garde Theater Chrystyna Dail, Ithaca College Debra Levine, New York University, Abu Dhabi Performing the Ethical during the Atomic Age Trisomic Stages: Genetically Modified Theater Matt DiCintio, Tufts University Jasmine Mahmoud, Northwestern University “Us Poor Stumps of Fellows”: Disability, Race and Defying the Frontier: Geographies of the Post-collapse the Civil War Veteran in Postbellum Performance Minoritarian Avant-Garde Beth Holmgren, Duke University Carra Martinez, University of Minnesota Big City Dreaming: Entertaining the Polish Troops Brown and Radical: Latino Avant Garde Performance during World War II in East Austin, Texas David Jortner, Baylor University Yana Meerzon, University of Ottawa Abraham Lincoln as Kaihosha (The Liberator): The Staging Exilic Performative = Exercising the Aesthetics Zenshinza Theatre Company and the Early Occupation of Avant-Garde Theatre in Japan Reza Mirsajadi, Tufts University Yuko Kurahashi, Kent State University WHAT PERFORMS? WHAT How Do You Solve a Problem Like Afra?: Queer Moral, Ethical, and Post-traumatic Stress Disorder Counterpublics, Performative Utopia, and the (PTSD) Questions in George Brant’s Grounded Iranian Theater Eero Laine, Graduate Center, City University Rachel Ellis Neyra, Wesleyan University of New York Cuidao por Allí Vienen Los Anormales: Desirous and Tribute to the Troops: Performing Masculinity and Truncated Enunciations in Nuyorican Theater, Music, Militarism in Professional Wrestling and Narrative Elizabeth Osborne, Florida State University Yumi Pak, California State University, San Bernardino May Day in Mosinee: Pageants and Perception Emergence, Theft, Escape: Blackness in the Undercommons during the Cold War James Peck, Muhlenberg College Maaike Bleeker, Utrecht University, The Netherlands Music and Critical Memory in John O’Keeffe’s and Petra Gemeinboek, University of New South The Poor Soldier Wales, Australia George Potter, Valparaiso University A Posthuman Perspective on Corporeal Literacy A Tale of Two Jordans: Representing Syrian Peter Eckersall, Graduate Center, City University Refugees Before and After 2011 of New York Alan Sikes, Louisiana State University New Media Dramaturgy: Towards a Political Expressionism at the Front: Elitism, Homophilia, Ecology of Robots and Ideology in the First World War Gina Bloom, University of California, Davis WHAT PERFORMS? Kurt Taroff, Queen’s University, Belfast Prosthetic Avatars: Acting via Kinect Camera Loyal to a Fault: Commemorating the UVF Centenary Bill Hill, Jacksonville University Robin Witt, University of North Carolina, Charlotte Disembodied Performance The Trauma of War a Few Feet Away: A Storefront Andrew Kircher, Graduate Center, City University Motortown and the Metaphor of Torture of New York Inverting Turing: Performing Artificial Intelligence Dancing on the Edge: The Queer/Techno/Digital/ in the Assassin’s Creed Video Game Series Cyborg/Post/Present/Material/Effervescent Body Heron, 4th Floor Elizabeth Ann Jochum, Aalborg University, Denmark Conveners Robot Actors, Robot Dramaturgies Jessica Berson, Independent Scholar Katherine Mezur, Independent Scholar, Kirsten Pullen, Texas A&M University Berkeley, California Participants Suspended Animation: A Construction Manual and Jessica Berson, Independent Scholar How-to Guide to Driving a Monster Yellow Construction Crane and Playing God with Robotics Stripping on the Edge: New Technologies of Erotic Dance Ulf Otto, University of Hildesheim, Germany Seeta Chaganti, University of California, Davis Robot Challenges the Performance of Artificial Intelligence Translucent Tresche: Virtual Dance in the Late Middle Ages 10 Christopher Swift, New York City College Rebecca Chaleff, Stanford University

ASTR14 of Technology, City University of New York Movement in the Interstice: The Temporal Politics An Eidophusikon for King Richard III of Ocean’s Virtual Embodiment Lisbeth Wells-Pratt, University of Georgia Kimberly Dority, University of Western Ontario Cybernetic Serendipity: Musicians and Machines Re-Opening Time through the Body: An Exploration November 20-23 2014 BaltimoreNovember 20-23 in Performance of Embodied Memory in Katrina McPherson’s There is a Place Lisa Wymore, University of California, Berkeley Kirsten Pullen, Texas A&M University Number Zero: An Experiment in Computer Augmented Choreography (A solo excerpt from the 2014 Wilkommen: Cabaret and Dance in 1920s New York performance of Number Zero, a space opera) Zackary Ross, Parkland College and BJ Gailey, University of Illinois, Urbana-Champaign Childhood, Performance, and the Post-Human: Such Stuff as (Digital) Dreams are Made On: Simulation Youth as Human Conduit and Actuality in the Stagecraft of 4D Art Galena, 4th Floor Conveners “Our best machines are made of sunshine” Erika Hughes, Arizona State University (Haraway 1991 153): How Mediated, Robotic and “Virtual” Presences Perform Mary McAvoy, Arizona State University Falkland, 4th Floor Participants Conveners Lorenzo Garcia, University of North Texas Peter Eckersall, Graduate Center, City University Reclaiming Humanity in Theatre for and with of New York Children in North Texas Katherine Mezur, Independent Scholar, Erika Hughes, Arizona State University Berkeley, California “I Always Wanted to Join”: Performances of War Participants in Children’s Play James R. Ball, University of Maryland Kaarin Johnston, College of Saint Benedict, Darfsteller Politics: Performing Robots and Saint John’s University Presidential Elections Becoming Human: An Exegetical Space for the Development of Liminal Humans Susannah Crowder, John Jay College of Criminal Justice, City University of New York Playing Joan: Performance and Self in Late Medieval Metz Lofton L. Durham, Western Michigan University Play Production as Rewriting: Tale of a Missing Rondeau Erith Jaffe-Berg, University of California, Riverside Practice-Based Approaches to the Theatre Performances of Minorities in Commedia dell’Arte Jacqueline Jenkins, University of Calgary What is the Role of the (non)Human in Practice-based Research? Heather H. Jennings, University of California, Davis Mary McAvoy, Arizona State University Object Lessons: Materiality, Visuality, and Performance Not Not Anonymous: Balaclavas, Pussy Riot, as Instruction in Thomas Chaundler’s Liber Apologeticus and Performative Girl Resistance Debra Hilborn, Graduate Center, City University Teresa Minarsich, Independent Scholar of New York Girl-becomings: Girls Theorizing Girlhood through The Past as Puppet: How to Make History with Objects Visual Art, Theatre, and Digital Communications Mario Longtin, University of Western Ontario Joe Schoenfelder, Arizona State University Of Farces and Dogs: The Missing Stage Directions Speaking When Spoken: Children as National Potential

Brann Munro, University of Calgary 20-23November 2014 Baltimore in the Political Speeches of Post-Sandy Hook Tragedy “Rost hym ouer a glede”: Popular Performance and the Hia Sen, Presidency University of Kolkata Feast of Saint Lawrence in Late Medieval England Performing Childhoods, Performing Children: Jenna Soleo-Shanks, University of Minnesota, Duluth Childhoods and Indian Theatre Saints on Scaffolds: Material Objects and the Semiotics ASTR14 Johanna Smith, California State University, of Space in Siena’s Santi Cittadini Performance San Bernardino Traditions 11 Multiple Marginalities: The Placement of Puppetry Claire Sponsler, University of Iowa in the Realm of the Child Books as Props: Medieval Performance and the Tiffany Trent, Arizona State University Materiality of Writing Denying Dimension through Distancing: Counter- Narrative and Marginalized Youth in Performances 5:45 PM - 7:15 PM of [Anti-]Violence Local Plenary Harborside C-E, 4th Floor Manon van de Water, University of Wisconsin, Madison Chair Natalia Sats’s Theater for Children: Risking Children’s Faedra Chatard Carpenter, University of Maryland Humanity in the Stalin Era Panelists Philip Arnoult, Baltimore Theatre Project Ariel McClanahan Watson, Saint Mary’s University Animating Liveness: Puppet Elegy, Space Opera, and Kelli Mecleary, Single Carrot Theatre Transgressive Children’s Theatre Donald Owen, Arena Players Theorizing Around the Human: Medieval Lola B. Pierson, The Acme Corporation Performance Practice and Practice-based Gavin Witt, Center Stage Research, Part 1 Kalima Young, Baltimore Art+Justice Project,

Essex A-B, 4th Floor Maryland Institute College of Art PERFORMS? WHAT Conveners 7:30 PM - 8:30 PM Lofton L. Durham, Western Michigan University Opening Night Reception Jacqueline Jenkins, University of Calgary Harborside AB, 4th Floor (Exhibit Hall) Participants Sponsored by Canadian Theatre Review and Modern Mary Maxine Browne, Purdue University Drama When the Space Performs: Ratio and Intersubjectivity in Late Medieval Morality Drama Carolyn Coulson, Shenandoah University External Characterization: Michael Chekhov’s Technique and Medieval Performance Friday, November 21, 2014 12:30 PM - 1:45 PM 7:30 AM - 8:30 AM CAREER SESSIONS 1-8 Welcome Mentor Breakfast Coordinators Essex A-C, 4th Floor Stefka Mihaylova, University of Washington 8:00 AM - 10:00 AM Ann Folino White, Michigan State University Coffee and Breakfast Breads CS1. Work-Life Balance in Academia Harborside AB, 4th Floor (Exhibit Hall) Falkland, 4th Floor This session considers a range of perspectives on 8:00 AM - 5:00 PM WHAT PERFORMS? achieving work-life balance in academia. Topics include Registration Open parenting, dual academic careers, caring for other types Harborside Foyer, 4th Floor of dependents, and additional obligations and challenges. 8:00 AM - 5:00 PM Convener Exhibit Hall Open (closed 1:30 PM-2:30 PM Debra Caplan, Baruch College for lunch) Panelists Harborside AB, 4th Floor Elizabeth Jochum, Aalborg University 8:30 AM - 10:15 AM Derek Miller, Harvard University Plenary 2 - Objects, Methods, Theatre Histories Koritha Mitchell, Ohio State University Harborside C-E, 4th Floor CS2. Readers’ Reports on Book MSS: Chair Writing and Utilizing Advice Robin Bernstein, Harvard University Galena, 4th Floor Panelists This session focuses on criteria for writing effective Erika T. Lin, George Mason University reader’s reports and the multiple uses to which reports Sartorial Semiotics and the Commodification are put by commissioning editors, press boards, series of Roleplaying editors, and new and established scholars. Marlis E. Schweitzer, York University Convener 12 The Office Tracy C. Davis, Northwestern University Pannill Camp, Washington University ASTR14 Panelists Arts of Brotherhood: French Masonic Ritual and LeAnn Fields, University of Michigan Press Sentimental Dramaturgy in Eighteenth-Century France Paige McGinley, Washington University, St. Louis Danielle Bainbridge, Yale University Heather Nathans, Tufts University

November 20-23 2014 BaltimoreNovember 20-23 Staging the Performance Archive of Millie Marc Robinson, Yale University and Christine McKoy CS3. Reflections from a Virtual Book Club 10:30 AM - 12:15 PM on “Postacademic” Career Paths Plenary 3 – Machines and Humans Heron, 4th Floor Harborside C-E, 4th Floor The culmination of the GSC’s virtual book club on Chair “So What are You Going to Do with That?”, this session Brandi Wilkins Catanese, University of California, offers resources for faculty mentors and graduate Berkeley students to navigate the changing job market. Panelists Conveners Ioana Jucan, Brown University Allan Davis, University of Maryland Theatrical Work, Machine Play Rita Kompelmakher, University of Minnesota Donovan Sherman, Seton Hall University Panelists A Commonwealth of Drones: Swarming Ecologies John Fletcher, Louisiana State University in Theatres of War Leigh Wilson Smiley, University of Maryland, Naomi Bragin, University of California, Berkeley College Park Funky Robots on the Soul Train Line: Black Power Margaret Werry, University of Minnesota Technology and Anti-Human Movements Ana Elena Puga, Ohio State University The Train of Death as Villain in Contemporary Migrant Melodrama CS4. Preparing an Article for Publication CS8. Surviving and Thriving during the Iron, 4th Floor Dissertation In this session, editors from leading theatre and Essex C, 4th Floor performance studies journals address multiple aspects This roundtable addresses the diversity of dissertation of writing a quality article from submission to revision experiences, creating your own writing process, making to publication. the most of your time, and juggling life and the Convener dissertation. Scott Magelssen, past Editor of Journal of Dramatic Convener Theory and Criticism, University of Washington Lezlie Cross, University of Nevada, Las Vegas Panelists Panelists Dorothy Chansky, Editor of Theatre Annual, Samer Al-Saber, Davidson College Texas Tech University Meredith Conti, James Madison University R. Darren Gobert, Editor of Modern Drama, Martine Kei Green-Rogers, University of Utah York University D. J. Hopkins, Editor of Theatre Topics, PERFORMASTR San Diego State University DiversityFellows Ric Knowles, Editor of Theatre Journal, Kent A-C, 4th Floor University of Guelph An exploration of the state of diversity rhetoric, CS5. Best Practices at Small Liberal Arts Colleges education, and activism in which two performer/ James, 4th Floor collaborators play different sets of multicultural and This session offers best practices for managing work diversity counselors. 20-23November 2014 Baltimore load, tenure, and the theory/practice divide, which are Marc Boucai, Independent Artist-Scholar often the biggest opportunities and stressors for faculty Reya Sehgal, Brown University at small liberal arts colleges. 1:15-3:30PM ASTR14 Conveners Kate Bredeson, Reed College Theatre Library Association Tour of the Hippodrome Theatre Todd Coulter, Colby College 13 Meet at ASTR registration desk CS6. Dos and Don’ts before Tenure Essex A, 4th Floor 2:00 PM - 3:45 PM This session gives practical, candid advice about Plenary 4 - Material Strategies in Performance maximizing tenurability and minimizing professional Harborside C-E, 4th Floor missteps. Topics include balancing research, teaching, Chair and service; managing relationships with senior Debra Caplan, Baruch College, City University colleagues; seeking out opportunities; and tasks and of New York habits to avoid. Panelists Andrew Sofer, Boston College Conveners Wendy Arons, Carnegie Mellon University Performing Closets, Closet Performances: Hamlet’s Dark Matter Andrew Sofer, Boston College Sarah Campbell, Indiana University CS7. Teaching Theatre Studies Today “Rituals in Stone”: Negotiating the Meaning of Essex B, 4th Floor Monumental Constructions through Notions of This session considers teaching challenges at a mix Performance of public and private institutions. Panelists will discuss Christine Simonian Bean, Northwestern University PERFORMS? WHAT solutions for online/hybrid teaching, large survey Sticky Performances: the (Chocolate) Smearing of courses vs. smaller history seminars, and teaching Karen Finley diverse populations. David Savran, Graduate Center, City University Convener of New York Lofton L. Durham, Western Michigan University The Glass of Water Panelists Amy E. Hughes, Brooklyn College 4:00 PM - 5:00 PM Colleen Reilly, Slippery Rock University Graduate Student Caucus Networking Session 1 President’s Suite Rashida Z. Shaw, Wesleyan University Daniel Smith, Michigan State University 4:00 PM - 6:00 PM Virginie Magnat, University of British Columbia Concurrent Paper Panel 1 - Environmental Actors Beyond Anthropocentric Conceptions of Embodied and Liminal States Agency: Ecosystemic Organicity in Post-Theatrical Harborside C-E, 4th Floor Performance Chair Theresa May, University of Oregon Joanne Zerdy, Illinois State University Trans-species Kinship in Chantal Bilodeau’s Sila Panelists Trish McTighe, University of Reading Jon Rossini, University of California, Davis Loving Objects: Queer Ecologies in I Am My Own Wife Desert Geography: Rethinking Space and Theater Karen O’Brien, University of North Carolina, Chapel Hill WHAT PERFORMS? Nick Salvato, Cornell University Materialist Approaches to Gendered Animal Full Emptiness in Death Valley Performance Representation Carl Lavery, University of Glasgow Evelyn O’Malley, University of Exeter Practicing Location/Performing Ecologies on Skye? Outdoor Shakespeares: Ecodramaturgy, Theatre Skype? Audiences, and the More-than-Human in Performance Bryan Reynolds, University of California, Irvine Jacob Rorem, University of Minnesota Guy Zimmerman, University of California, Performance as an Experience of Place: PlaceBase Irvine/San Diego Productions and the Minnesota River Transversal Affectivity and the Lobster: Rodrigo García, Courtney Ryan, University of California, Los Angeles Jan Lauwers and Needcompany, Deleuze and Guattari Eco-Comedy in Going Green the Wong Way Dale E. Seeds, College of Wooster WORKING GROUPS B Dead, White and Green: The Performance Ecology Ecology and/of/in Performance of the Dead White Zombies Collective Kent A-C, 4th Floor Angenette Spalink, Bowling Green State University Conveners “Matter Matters” in Performance: Peat as “Vital Material” Theresa May, University of Oregon in Pina Bausch’s The Rite of Spring 14 Karen O’Brien, University of North Carolina, Chapel Hill Lisa Woynarski, Royal Central School of Speech Lisa Woynarski, Royal Central School of Speech and and Drama, University of London ASTR14 Drama, University of London Bioperformativity: Towards a Non-Anthropocentric Participants Performance Aesthetic Downing Cless, Tufts University Everyday Life: Histories of the Ordinary, Climate Change and Theatre: Guattari’s Three Persistent, and Repeated November 20-23 2014 BaltimoreNovember 20-23 Ecologies Performed Essex C, 4th Floor Russya Connor, Western Australian Academy Conveners of Performing Arts Ju Yon Kim, Harvard University Restoring Balance: Artistic Research in Natural Coleman Nye, Brown University Environments Participants Minty Donald, University of Glasgow Po-Hsien Chu, University of Illinois, Urbana- Performing (with) Water: Guddling about in Scotland Champaign and Canada Performing the Rhythm of the Everyday: Quiara Alegría Elinor Fuchs, Yale University Hudes’s Water by the Spoonful Landscape as Actor in the Drama of Ageing Elin Diamond, Rutgers University Marnie J. Glazier, Hartnell College Agentic Matter and Random Lists in Kaprow’s Everyday John C. Glazier, Independent Artist Chloe Rae Edmonson, Graduate Center, City “Theatre of Interbeing”: Sandy Spieler, In the Heart of University of New York, the Beast Puppet and Mask Theatre, and Community- Consuming Wildness: U.S. American Spring Break Based Collective Creation - Unbound Culture and the Mediation of Everyday Fantasies Susan Haedicke, University of Warwick Timothy N. Kopacz, Brown University and Trinity How Community Gardens Perform: Edible Stories, Repertory Company Conservatory Vital Matter The iPerforming Object Mimi Kammer, Simpson College Carol Martin, New York University Pericles as Ecodrama: Gender, Environment and Cities Perform Entanglement Seán McKeithan, University of California, Berkeley Donatella Galella, Graduate Center, City University of Mobilizing Heritage: The Backpack and the Tourist Gaze New York Christine Mok, University of Cincinnati De-facing Yellowface, Objectifying Yellowness in EverydayLife, Too: Micro/Macro-aggressions Anything Goes and Racial Mattering Beck Holden, Tufts University Coleman Nye, Brown University Transracial Ambassador or Heathen Chinee? The The Performance of DNA: Image(s) of Chung Lin Soo CopyCodeCapitalCopyCodeCapital Joanna Mansbridge, Bilkent University, Turkey Carmen C. Wong, University of Warwick Fantasies of Exposure: The Veil in Media and Popular Sentient Ingestion Culture Karen Jean Martinson, Chicago State University Facing the Other: Reconsidering Transracial My Body is Mexican, My Mind American, and I’m a F... Performance king Jukebox Exploded: The Transracial Performances of Essex B, 4th Floor El Vez, The Mexican Elvis Conveners Faedra Chatard Carpenter, University of Maryland, Laurie A. Frederik Meer, University of Maryland, College Park College Park Painting the Body Brown: Lessons on How to Dance Marvin McAllister, University of South Carolina, Latin Columbia Lisa Merrill, Hofstra University and Theresa Saxon, Participants University of Central Lancashire, United Kingdom Brandi Wilkins Catanese, University of California, November 20-23November 2014 Baltimore Berkeley Other Faces?: Don Boucicault’s The Octoroon and Transracial Replays Posthumanism and Digital Racial Masquerade ASTR14 ASTR14 15 RIGHTS PRESS I IT PLAYW N THE EX E VIS HIBIT OM HA C We publish really good books; our staff is friendly, and will not bite; and LL we’ll give you one of these three plays if you mention this ad!

We can also chat about baseball, cats, and patterned glassware, but only if you want to… WHAT PERFORMS? WHAT

PLAYWRIGHTS PRESS playwrightscanada.com @playcanpress Victoria Pettersen Lantz, Sam Houston State 4:00 PM - 7:00 PM University Bang the Drum, Bang the Gong: Racial Soundscapes in WORKING GROUPS C American Cartoons/Comics and Mimicking Mimicry How to Do Things with Food(s): Food as Research/Food in Performance Bryan Schmidt, University of Minnesota Heron, 4th Floor Altars, Teepees, and Dance Floors: The Importance of Convenors Things in the Construction of a Transracial Festival Ethos Joshua Abrams, University of Roehampton Brynn Shiovitz, University of California, Los Angeles Kristin Hunt, Northeastern Illinois University March of the “Coon” Soldier: George M. Cohan’s WHAT PERFORMS? Success with Sonic Minstrelsy in Little Johnny Jones Participants Dorothy Chansky, Texas Tech University Kristen Stoeckeler, University of Minnesota The Terror of Matzah/Texas Charoset: Food and “Post-Racial” Present, Colonial “Past”: Burlesque the Performance of Jewish Identity at Passover Performance and the Case of Tomahawk Tassels, “the Cherokee Seductress” Kerry Ann Considine, University of Tennessee, Knoxville Shilarna Stokes, The Ohio State University Eat Me Drink Me: Negotiating Hospitality and Brown Sounds in White Spaces: Indian American the Immersive Theatre Experience Musicians in the Neighborhood Playhouse’s The Little Clay Cart (1924) Krysta Dennis, University of Kent, Canterbury and Sorbonne Nouvelle Paris III Post-human Sex: Performing Technology, Performing Taste: Multi-sensory Performance-Making Desire and the Body in Through the Grapevine Essex A, 4th Floor Paul Geary, University of Birmingham Conveners The Food Event: Being-in-the-Restaurant Sophie Lally, King’s College London Richard Gough, Centre for Performance Kaitlyn Regehr, King’s College London Research and Falmouth University Participants Manna from Oven: Transmutation & Commensality - Jessica Lloyd Krenek, University of Maryland Kitchen as Laboratory as Theatre 16 “Thirsty Thursday?”: Wrestling with Female Sexual Desire Valleri Hohman, University of Illinois

ASTR14 Stephen Low, Cornell University Emotional Eating: Borsch, Eggs, Tea, and Dumplings Theatrical Masculinity: Gay Leather Culture, Erotic Art, at the Kolyada Theatre 3-D Pornography Jieun Lee, University of Georgia, Athens Rae Mansfield, Commonwealth Honors College, Korean Shaman Food for Souls November 20-23 2014 BaltimoreNovember 20-23 University of Massachusetts, Lowell Megan Marsh-McGlone, University of Wisconsin, Impotence, Performance, and Post-human Sexuality: Madison That Time DSI Productions Brought a Technologically- How Breastmilk Performs Enhanced Roboticist into Revenge of the Robot Battle Nuns JL Murdoch, Yongsan International School of Seoul Sea Slugs and Fighting Octopi: The Dining Table Paul Masters, Tufts University as Performance of Sincerity and Identity Dance in the Dark: Sex, Desire and Posthumanism in the Immersive Theatre Yael Raviv, New York University and Umami Food and Art Festival Bess Rowan, Graduate Center, City University Performing Identity(s) at the Intersection of Food of New York and Art in Israel and Palestine I Sing the Body Electric: A Character Study of the Vibrator in In the Next Room (or the vibrator play) Andrew Salyer, University of Wisconsin, Madison Projectile Peas, Bloody Beets, and a Colorless, Tasteless Hesam Sharifian, Tufts University Jell-O Mound: Food as Performing Object in SALYER + The Prima Donna as a Hysteric Woman: Sexuality SCHAAG’s Andy and Kate’s Dinner Party in Operatic Photographs (1860-1910) Kathryn Van Winkle and Joanna Horowitz, University Aaron C. Thomas, Dartmouth College of Texas, Austin Back to the Playground: the New Brutalists and Please Open Your Mouth: Developing an Immersive Violent Sexual Prosthetics Theatrical Eight-Course Dinner Pedagogical Objects: Materials, Media, and Puppetry and Material Performance Messages in the Theatre History Classroom Galena, 4th Floor Iron, 4th Floor Conveners Conveners Cariad Astles, University of Exeter Charlotte McIvor, National University of Ireland, Alissa Mello, University of London, Royal Holloway Galway Claudia Orenstein, Hunter College and Graduate Sam O’Connell, Worcester State University Center, City University of New York Eleanor Owicki, Texas A&M University Dassia N. Posner, Northwestern University Participants Colette Searls, University of Maryland, Virginia Anderson, Connecticut College Baltimore County Documenting an Epidemic: Teaching Performance Participants and Social History through Cultural Ephemera Dawn Brandes, University of King’s College Elizabeth Coen, University of Washington “You must Change your Life”: The Transformative Cultural Materialism as Pedagogical Tool: Rethinking Power of the Object’s Gaze Models of Instruction in 100-Level Theater Courses Jyana S. Browne, University of Washington Dongshin Chang, Hunter College, City University Iconic Ohatsu: The Feminine Ideal on the Puppet Stage of New York in 1703, 1955, and 2011 Digital Tools and Pedagogical Goals in the Introduction James Cherry, Wabash College to Theatre Class “Last Echoes”: Portraying the Shoah in Performing Robert Davis, Hunter College, City University Objects November 20-23November 2014 Baltimore of New York Brooke Christensen, Graduate Center, City University Space for Humanities: Satellites and the Theatre of New York History Classroom The Shoe-form Dances Alone: Confronting the Material Jane G. Duncan, Nova Southeastern University World through Object Performance ASTR14 ASTR14 Building a Foundation: One Digital Resource at a Time William F. Condee, Ohio University Lisa Kelly, University of Iowa Religion, Gender, and “Race” in Malaysian Creating Authentic, Evidence-Based Learning through Shadow Puppetry 17 Collaborative Initiatives Tim Cusack, Graduate Center, City University Jesse Njus, New York University of New York A Modest Proposal or The Future of Medieval Playing Dummy: Queering the Patriarchy in Theatre Studies The Ventriloquist’s Wife Jonathan Shandell, Arcadia University Heather Denyer, Graduate Center, City University Back to the Present: Contemporary Ephemera of New York in the Theatre History Classroom The Puppetry of Werewere Liking Daniel Smith, Michigan State University Joseph Donohue, University of Massachusetts, Object Study beyond the Classroom: Using Local Amherst (Emeritus) Museum Resources Late Victorian Theatrical Realism, Anti-theatrical Bias, J.A. Solaski, McMaster University and the Emergence of the Ideal Marionette Teaching Theatre History with 3D Modeling Software Kyounghye Kwon, University of North Georgia Shauna Vey, New York City College of Technology, Traditional Korean Puppetry Before and Now City University of New York Transmogrifying Archival Texts into Digital Images and Techies into Readers: An Experiment in Theatre History PERFORMS? WHAT Pedagogy Ann Folino White, Michigan State University “Unspoken Wisdom” of Odd Evidence: Teaching Theatre History with a Cookbook Katelyn Hale Wood, Miami University Archive Fever: Historiographical Objects and Performance Pedagogy Sarah Lucie, Graduate Center, City University Seth Soulstein, Cornell University of New York The Performing Arts in the Age of Holographic The Object that Tells: Robert Askins’s Hand to God Reproduction and Theodora Skipitares’s The Chairs Andrew Starner, New York University, Abu Dhabi Claudia Orenstein, Hunter College and Graduate Audience Mirrored Mirrored, or Theatre in the Center, City University of New York Expanded Field Poised between Art and Performing Object: Dilemmas Jenn Stephenson, Queen’s University in Indian Puppetry Verbatim Theatre and the Scenographic “Real” Dassia N. Posner, Northwestern University in Annabel Soutar’s Seeds WHAT PERFORMS? Response and Renewal: Cultural Dialogue in the Larry Switzky, University of Toronto Russian Puppet Nativity The Trolley Problem and the Body Problem: Sahar Sajadieh, University of California, New Media and Moral Choice Santa Barbara Claire Swyzen, Vrije Universiteit Brussel Liveness within the Performance of Virtual Bodies Information Culture Backstage: The Dramaturgical David Z. Saltz, University of Georgia “Database Imagination” of Lo-fi Theatre Productions Robots and Puppets by Tim Etchells (UK) and De Tijd (B) Mark Sussman, Concordia University, Montreal LaRonika Thomas, University of Maryland The Impulses of Animism: Magic in Performing From Town Hall to Facebook Wall: Media, Cultural Object History Planning, and the Performance of Chicago Amy Trompetter, Barnard College (Emerita) Peter Zazzali, University of Kansas Redefining Feminist Puppetry as Visual Performance Now Playing “New Media”: Examining the Tangled of the Other Relationship between Digital Technology and Stage Amber West, University of Connecticut, Storrs Actors through the Lens of the Spectacular Puppetry in/and Feminism Traumatic Structures Technology Performs: New Media James, 4th Floor 18 Onstage and Off Conveners Falkland, 4th Floor Mary Karen Dahl, Florida State University

ASTR14 Conveners Katherine Nigh, Florida State University Miriam Felton-Dansky, Bard College Jeff Paden, Florida State University Jacob Gallagher-Ross, University at Buffalo, Participants State University of New York Paul Adolphsen, University of Massachusetts, November 20-23 2014 BaltimoreNovember 20-23 Lindsay Brandon Hunter, University at Buffalo, Amherst State University of New York Woman in Waiting: Testimonial Solo Performance and Linzi Juliano, University of California, Los Angeles South African Archives of Trauma Participants Elizabeth Bonjean, Independent Scholar Lauren Beck, Northwestern University Watching Glory Die: Transforming Traumatic Loss and Listening to London: Online and Onsite Explorations the Ethics of Affirmation of the Sounds of the City Fatine Bahar Karlidag˘, University of Washington Kate Bredeson, Reed College A Film Set Activism: Conversations with a Silenced Past Our Techno Town: Teaching through New Technology Scott C. Knowles, University of Kansas Jennifer Buckley, University of Iowa Mormon Massacres: The Performance of a Traumatic Past Forced Entertainment’s #12AMLIVE and the Haddy Kreie, University of California, Santa Barbara Tweeting Spectator Interrogating Postcolonial Trauma: The Role of Vodun Lauren Graffin, University of Ulster in Conceptualizing and Healing Trauma of the Trans- The Happy Accident: The Digital “Mistake” as Atlantic Slave Trade in Benin Generative Moment on Site Jessica Chiyo Nakamura, University of Nevada, Reno Christopher Grobe, Amherst College Recreating Trauma: Performances at and of Okinawan Irony-Machines and Telephone Scenes, or, Why It’s Suicide Caves Easier to Act with a Telephone than a Man Rebecca Rovit, University of Kansas Elise Morrison, Yale University What Performs: Trauma, Theatre, and the Moral Love’s Labor’s Leaked: Surveillance and the Imagination as a Means for Ethical Witnessing New Digital Drama Laura Schlein, Independent Scholar 6:00 PM - 7:00 PM Media, Memory, and Architecture: How New Dinner Break Technology in the 9/11 Memorial Museum is Re- 7:00 PM - 10:00 PM Shaping the Structure and Narrative of Commemorative Performance PERFORMASTR Kathleen Spanos, University of Maryland, College Park Harborside C-E, 4th Floor Post-Traumatic Cultural Identity Formation in Kinesis as Mimesis Montserrat’s Masquerade Dance Tradition Adam Versenyi, University of North Carolina, Aniko Szucs, New York University Chapel Hill Uncanny Encounters: The Affect of Shame in Michael Chemers, University of California, Santa Cruz Recontextualized State Security Files Wayang Little Victoria Thoms, University of Wolverhampton Jennifer Goodlander, Indiana University Dance, Trauma and Affect: The “Human” and “Non- All the Bodies in the Room Human” in Frederick Ashton’s World War II British Ballet, Slade Billew and Angenette Marie Spalink, Bowling Dante Sonata Green State University John Warrick, University of Southern Mississippi For and In Behalf Of The Symptomatic Spectacle: The Body as Object in Allan Davis, Jessica Krenek, and Christina State Sanctioned Lethal Injection Banalopoulou, University of Maryland, College Park Andrew Wilford, University of Chichester 10:00 PM - 12:00 AM Lone Wolves, Werewolves and Radicalized Rolling Stone Covers: Traumatic Performance and Rogue PERFORMASTR 20-23November 2014 Baltimore Representation in Pantomime Terror Kent A-C, 4th Floor Edward Ziter, New York University AllNightCheck Remembering the City in Syrian Theatre and Angela Sweigart-Gallagher, Northeastern Performance Illinois University ASTR14 Victoria Pettersen Lantz, Sam Houston State University 19 Melissa C. Thompson, University of Arizona WHAT PERFORMS? WHAT 20 Saturday, November 22, 2014 Stefka Mihaylova, University of Washington Forced Entertainment’s Live Simulacrum: Automata, 8:00 AM - 9:00 AM Avatars, and the Human Actor’s Virtuosity Graduate Student Caucus Networking Session 2 Harborside AB, 4th Floor (Exhibit Hall) WORKING GROUPS D 8:00 AM - 10:00 AM Animals Perform: Encountering Animals in Coffee and Breakfast Breads Historical and Posthuman Performance Harborside AB, 4th Floor (Exhibit Hall) Kent A-C, 4th Floor 8:00 AM - 5:00 PM Convenors Kim Marra, University of Iowa Registration Open Harborside Foyer, 4th Floor Jen Parker-Starbuck, University of Roehampton, London Exhibit Hall Open (closed 1:00 PM - 3:00 PM) Participants Harborside AB, 4th Floor Marla Carlson, University of Georgia 8:30 AM - 10:15 AM Embodying the Interspecies Mind: Jennifer Monson Theatre Library Association Plenary -- The and the Bird Brain Navigational Dance Project Paradox of the Post-Human: Archival Subjects, Michael D’Alessandro, Harvard University Systems, and Sites Domestic Creatures, Animal Attractions: P.T. Barnum and Harborside C-E, 4th Floor Middle-Class Parlor Performance in Victorian America Co-Chairs Tyran Grillo, Cornell University

Colleen Reilly, Slippery Rock University The Puppet’s Work is to Die: Thoughts on War Horse 20-23November 2014 Baltimore Lisbeth Wells-Pratt, University of Georgia Justin Grize, University of Sussex, United Kingdom Panelists Insect Singers: In Search of Eunomic Opera Lisa Sloan, University of California, Los Angeles

Split Britches’s “Desperate Archives” Rhona Justice-Malloy, University of Mississippi ASTR14 Silencing the Lambs: Death and Dismemberment Norah Zuniga Shaw, The Ohio State University on the Contemporary Stage Archives, Algorithms, and Animations: Interdisciplinary 21 Re-Articulations of Choreographic Ideas Eve Katsouraki, University of East London, United Kingdom Doug Reside, Digital Curator for the Performing Arts, Creaturely Matters of the Abject in Interspecies New York Public Library Performance Preserving Digital Designs Jennifer A. Kokai, Weber State University Nancy Friedland, Librarian for Butler Media, Film Do Goats have a Right to Cigarettes? Studies, and Performing Arts, Columbia University Digging into Data Cassie Mayer, London Theatrical Agent David Mayer, University of Manchester, 10:15 AM - 10:45 AM United Kingdom Coffee Break Humans Change; Critters Don’t Harborside AB, 4th Floor (Exhibit Hall) Doyle Ott, Sonoma State University 10:45 AM - 12:45 PM Replacement of the Wild in the Ring: Animal Concurrent Paper Panel 2 - (Other) Bodies that Performance and Replacement in Contemporary Circus Perform Carrie Rohman, Lafayette College Laurel A-D, 4th Floor The Duncan Vibrato and Creature Consciousness: Chair Inhuman Engagements in Early Twentieth-Century Dance WHAT PERFORMS? WHAT Elin Diamond, Rutgers University Catherine Schuler, University of Maryland Panelists The Dog Wars: (Re)Branding the Purebred Show Dog/ Theresa May, University of Oregon Dog Show Will We Know Ourselves When They Are Gone?: Michael Schwartz, Indiana University of Pennsylvania Trans-species Kinship in Chantal Bilodeau’s Sila We Rechristen the Cat “Lazarus”: The Performance of Andrew White, Stratford University the Cat in John Van Druten’s I Remember Mama Man,or Icon? Actor, or Celebrant? Questions of Kimber Sider, University of Guelph Materiality and Performativity in Medieval Greek Culture Intelligent Bodies: Collaborating with Horses through Bruce Barton, University of Toronto Performance-Based Research Engineered Affect in Posthuman Performance: Vertical City’s YouTopia Stephanie Vella, Graduate Center, City University of I Object! These Things Have Been Performing New York Long before You Started Watching – Non-Human Getting under the Skin of the “Natural” in the Hall of Performances and (re)Considerations African Mammals at the Museum of Natural History of Indigenous Identities Scott Venters, University of Washington Falkland, 4th Floor The Matter of the Heart: Vesalius, Vivisection, and the Conveners Mediation of Print Adron Farris, University of Georgia Catherine Young, Graduate Center, City University of Heidi L. Nees, California Polytechnic State University, New York San Luis Obispo WHAT PERFORMS? Of Cockatoos and Crows: Animality and the Semiotics Participants of White and Black in Big Time Vaudeville Amy Brady, Kean University Redefining Progress; Performances of Tribal Autonomy Doing Something: Divergent Visions of What at America’s World’s Fairs Activism Performs Essex C, 4th Floor Shelby Brewster, The Ohio State University Conveners The Reclamation of Indigenous Female Subjectivity in John Fletcher, Louisiana State University Annie Mae’s Movement and Princess Pocahontas and the Blue Spots Sonja Arsham Kuftinec, University of Minnesota Jill Carter, University of Toronto Participants La Tante de ma Plume…Pimaatan/It is Alive: Samer Al-Saber, Davidson College Storytelling Inanimate Agency in an Indigenous Universe Weddings, Funerals, and Performed Pasts: Activist Typologies of Performance in Palestine Megan De Roover, Arizona State University Reciprocal Re-Inscriptions: Museums and Live Jordana Cox, Northwestern University Performance in the Phoenix Valley “I’m no actor”: the Little Man and the Loudspeaker in “…one-third of a nation…” Adron Farris, University of Georgia This Trail Isn’t Playing: Cherokee Removal and the Trail LaDonna Forsgren, University of Oregon Where They Cried Theatrical Activism: Ritualistic Revivals of the Black Arts 22 Movement Christian Molldrem Harkulich, University of Pittsburgh ASTR14 Rebecca Free and Mark Ingram, Goucher College Sustaining life: Corn as a Performing Object in the “Co-construction” and Public Space in Marseille: What Indigenous Identities of the Americas is Performed by the Theatre of the Sea’s Neighborhood Activism Mika Lior, University of California, Los Angeles

November 20-23 2014 BaltimoreNovember 20-23 Brokering Corporealities: Afro-Brazilian Orixá in Bahia’s Lindsay Goss, New York University, Abu Dhabi Postcolonial Marketplace Doing Something Else Scott Magelssen, University of Washington Catherine Graham, McMaster University Thor Heyerdahl’s Raft: The Kon-Tiki, Performative Activist Intelligence: Solving Problems or Creating Historiography, and the Racial Theory of Polynesian Origins Mutually Meaningful Worlds? Sharon Mazer, University of Canterbury Misha Hadar, University of Minnesota M¯aori Performance Objects Politics and Space: Mayday in Kreuzberg, Berlin Heidi L. Nees, California Polytechnic State University, Kelly Howe, North Central College San Luis Obispo “I’m Just a Bill, Yes I’m Only A Bill”: “Failed” or Filling Space: Critiquing Outdoor Performances of Withdrawn Bills and Amendments as Activist Performers “Accuracy” and “Authenticity” in Western Constructions in Reproductive Rights Movements of Native America Chloe Johnston, Lake Forest College Sheila Rabillard, University of Victoria Open Carry: Radical Stillness A Meditation on The Witness Blanket Elliot Leffler, Reed College Mark David Turner, Memorial University of God, Humankind, and the Performance of Social Change Newfoundland Lindsey Mantoan, Stanford University Renditions of Capital: The Function of Uncle Jim’s Instrumentalizing Activism: The Transformation of Activist Camera in Makkovik, Nunatsiavut into Object E. J. Westlake, University of Michigan Michael Peterson, University of Wisconsin, Madison La Conquistadora and Zozobra: Negotiating Cultural Daring Cruelty: Activist Staging of Authoritarian Responses Definitions of Northern New Mexico Seline Szkupinski Quiroga, Arizona State University Doing Something? Theatre as “Intervention” Latina/o Theatre in the 21st Century: Making the Christin Essin, Vanderbilt University Invisible Visible Union Machinery: Local 1 of the International Alliance of Iron, 4th Floor Theatrical Stage Employees Conveners Michelle Granshaw, University of Pittsburgh Jorge A. Huerta, University of California, San Diego Rethinking Work in the Nineteenth Century Theatre: Tiffany A. Lopez, University of California, Riverside Moving Panoramas, Dioramas, and International Participants Theatrical Touring Leticia Garcia, University of California, Irvine Aaron Kelly, University of Georgia Latin@ Projects: Urban Imaginaries and Urban Realities Charles Mee’s Open Source Vision Carla Della Gatta, Northwestern University Sheila Malone, University of California, Los Angeles The Business of Shakespeare, Sophocles, and Sor Juana The Disbelief of Noise: Moving Lights and Other in Latino Theatre: Funding Rewritings of Shakespeare Disruptive Objects Patricia Herrera, University of Richmond Scott Proudfit, Elon University Staging Sound and Language: Universes’ Slanguage A Streetcar Named Democracy: Mass Transit as Josh Inocéncio, Florida State University Metaphor in Hull House’s Halsted Street Ritual Objects Perform: The Male Latino Body as a Site Stacy Wolf, Princeton University of Remembrance The Anti-Mechanistic Machinery of the Junior (Musical) Teresa Marrero, University of North Texas Theater Festival TANTO, Teatro Alianza of North Texas Organizations: Christine Woodworth, Hobart and William Smith Neonatal Challenges 2013-14 Colleges November 20-23November 2014 Baltimore Michelle Martin-Baron, Hobart and William Smith Infinite Lenses: The Manufacture and Distribution of Carl Colleges Van Vechten’s Theatrical Photography Enacting Enjambment: Cherrie Moraga’s Utopic Turn Props and Vessels: Pregnancy, Maternity, and

Noe Montez, Tufts University Birth as Objectified Performance ASTR14 Resisting the Culture Industry in Kristoffer Diaz’s James, 4th Floor Welcome to Arroyo’s and The Elaborate Entrance of Conveners Chad Deity Judith Caballero, Millsaps College 23 Chantal Rodriguez, Loyola Marymount University Alicia Corts, University of Georgia El Movimiento 2.0 – Tracing the History of The Latina/o Chelsea Phillips, The Ohio State University Theatre Commons Participants Roxanne Schroeder-Arce, University of Texas, Austin Rachel Price Cooper, University of Illinois, Urbana- Zoot Suit: Latino/a Youth Inclusion and Exclusion on Champaign Texas Stages Textiles Perform Motherhood: Cloth Production and Patricia Ybarra, Brown University Maternal Grief in Riders to the Sea Transnational Latina/o Theatre and the Post-Liberal Alicia Corts, University of Georgia Subject Pixellated Pregnancy: Performance as Object Machine Labor + Mechanical Logic Lynn Deboeck, University of Kansas Essex A, 4th Floor Maternal Identities Formed in Absence: Erasure of the Conveners Birth Space Chase Bringardner, Auburn University Chandra Owenby Hopkins, Converse College Christin Essin, Vanderbilt University Beyond the Stage: Posthumous Mothering and Billy Elliot: The Musical

Participants PERFORMS? WHAT Jane Barnette, University of Kansas Evleen Nasir, Louisiana State University The Mechanics of Adapturgy The Baby Bump Prop: Making the Filled Vessel Invisible Chase Bringardner, Auburn University Jeca Rodríguez-Colón, Transart Institute and The Southern Schematics: Taxonomies of Musical Theatre Loisaida Center and Southern Identity Can You See Me Now???? The New Performances of Tarryn Li-Min Chun, Harvard University Motherhood Technologized Performance and the Theatrical Lena Simic, Liverpool Hope University Production of Chinese Modernity Friday Records: A Document of Maternity Leave Zachary Dorsey, James Madison University Theresa Smalec, Bronx Community College, City Subjunctive Dramaturgy as Time Machine University of New York Performing Bad Motherhood Angie Sweigart-Gallagher, Northeastern Illinois What Makes an Archive Perform? University Essex B, 4th Floor Mother Jane: The Framing of Motherhood within the Conveners Abortion Underground Ken Cerniglia, Disney Theatrical Group Katie B. Turner, University of California, Irvine Colleen Reilly, Slippery Rock University Regulating the Maternal Citizen: 19th Century Conduct Participants Manuals and the Theatricalization of American Foteini Aravani, Battersea Arts Centre Motherhood The Battersea Digital Archive Shannon Walsh, Louisiana State University Eric Colleary, University of Minnesota WHAT PERFORMS? “Savage” Surrogates: Producing and Reducing Archiving Out of the Closet: Challenges and Reproductive Subjects through Physical Culture Approaches to Collecting LGBTQ Performing Arts Rebecca Wright, Mary Baldwin College Materials “With things newborn”: an Exploration of Infants Onstage Sean Edgecomb, College of Staten Island, City Amanda Zoch, Indiana University, Bloomington University New York Maternal Performance and the Objectifying Male Gaze: Documenting Queer Performance: Plumbing The Non-Transgressive Lying-In in Middleton’s A Chaste the Depths of Memory and Memoir to Construct Maid in Cheapside Alternative/Reparative Archives Trusting Theatre, Experiencing Science: Matthew Franks, Harvard University Intersections between Performance and Science The Theatre Archive and Culture Networks Galena, 4th Floor Barrie Gelles, Graduate Center, City University of Convener New York Aileen Robinson, Northwestern University I Got Students, I Got Music, I Got YouTube, Who Could Participants Ask for Anything More: How Can We Make a Practically Jenn Cole, University of Toronto (Im)Perfect Archive Perform in the Musical Theatre Cries Onstage: The Force of Inarticulacy in the Hysteria Classroom? Performances of Nineteenth ­Century France Chelsea Rose Roberts, Central Washington 24 Beth Kattelman, The Ohio State University University Collective Theatre in Special Collections: The Living

ASTR14 From Tesla to Tempest: The ‘Infotainment’ of Victorian Lectures and Ted Talks Theatre Post-1971 Deborah Kochman, Florida State University What Performs in Postdramatic Theater? Multiple Sclerosis: Theatrical Representations and its Heron, 4th Floor

November 20-23 2014 BaltimoreNovember 20-23 Medical and Metaphysical Coupling with HIV/AIDS Conveners Sarah Marsh Krauter, University of Washington Shane Boyle, University of London, Queen Mary People almost Pointed: Microscopic Performance of the Matt Cornish, Ohio University Restoration Stage Brandon Woolf, University of California, Berkeley Rebecca Ormiston, Stanford University Participants A Theatre of Uncertainty: Dutch Anatomy Lessons, Sean Bartley, Florida State University 1607-1678 Marketing and Metonymy: Punchdrunk’s Product Annette Saddik, City University of New York Performances The (Un)Absurd Universe: Epistemological Dennis Beck, James Madison University Crosscurrents in Twentieth-Century Physics and Drama The Interdependence of Postdramatic Spatial Poetics Katherine Swimm, Tufts University and Institutional Spaces in Czech “New Theatre” Did Kill and Murder against the Peace of this Shane Boyle, University of London, Queen Mary Commonwealth: Dramaturgy and Sleepwalking in the The Technical Composition of Postdramatic Theater Tirrell Trial Peter Campbell, Ramapo College Mike Vanden Heuvel, University of Wisconsin, Madison Making the Postdramatic: The Rupture Strategy A Ceaseless Experiment with Uncollectible Data: Matt Cornish, Ohio University Performance, Science and Authority The Text in Postdramatic Theatre Joanne Zerdy, Illinois State University Jason Fitzgerald, Columbia University NVA’s Speed of Light: Blurring Lines between Science, On Humanism and the Postdramatic: Grotowski with Sartre Art, and Athletics Andrew Friedman, Graduate Center, City University of New York The “Real” of the Postdramatic Body Beth Hoffman, George Mason University 5:15 PM - 5:30 PM Performing Cohesion in the “Pre-Histories” of the Refreshment Break Postdramatic Harborside Foyer, 4th Floor Gabriel Levine, Concordia University 5:30 PM - 7:30 PM The Puppet is Present: The Strange Case of the Concurrent Paper Panel 3 - Archives of Objects Marina Abromovic Institute Department of Puppetry’s Harborside C-E, 4th Floor Counterfeiting Acts Chair Ljubisa Matic, Independent Scholar Patricia Ybarra, Brown University The Clock-Work around the Clock: Performances Panelists without Performers in the Looming 24/7 Society Timothy Youker, University of Toronto, Missauga Tony Perucci, University of North Carolina Dead Humanists and Theatrical Works of Reading: You are Being Watched: Surveillance and/as Post- Edward Said, Ant Hampton, and Me Dramatic Theatre Jacob Micah Juntunen, Southern Illinois University Alexandra Ripp, Yale University Object/Human: Performing Poland with Tadeusz Postdramatic Interventions in the Post-Dictatorship Era: Kantor’s Uncanny Onstage Objects Manuela Infante’s Reconfigurations of Contemporary Roberta Barker, Dalhousie Chilean Historiography The Secret Life of the Handkerchief: Toward an Llinca Todorut, Yale University Affective-Materialist History of Performing Properties and Please Love Realism: Extending the Irruption of the Real the Realist Subject Scott Wallin, University of California, Berkeley

Jennifer Goodlander, Indiana University 20-23November 2014 Baltimore Postdramatic Support: Psychosocial Disability and the Performing Objects/Performing Culture: Puppets, Relational Aesthetics of hArt Times Theater Museums, and Heritage in Indonesia Ellwood Wiggins, University of Washington

Performing Aporeia: Subject and Object of Catharsis in WORKING GROUPS E ASTR14 Postdramatic Theater Dis-Embodied Race and the Racial Elsewhere Brandon Woolf, University of California, Berkeley Essex A, 4th Floor Performing Policy Postdramatically Conveners 25 Anita Gonzalez, University of Michigan, Ann Arbor 1:00 PM - 3:00 PM Irma Mayorga, Dartmouth College ASTR Awards Luncheon and Business Meeting Harborside C-E, 4th Floor Participants Maria Enriquez, University of Pittsburgh 3:15 PM - 5:15 PM Wetbook Crossings and the Librotraficante Movement Plenary 5 - Remains, Memorials, Museums, Ben Fisler, Harford Community College Architectures The Residue of Blackface in the Work of Tony Sarg, Harborside C-E, 4th Floor Susan Hastings, and Frank Paris Chair Lisa Jackson-Schebetta, University of Pittsburgh Karen Shimakawa, New York University “Andar Sin Cuerpo”: Radical Politics of the Un-Bodied in Panelists Juárez Helen Gilbert, Royal Holloway University of London and Dani Phillipson, Royal Holloway University of Kimi Johnson, University of Minnesota, Twin Cities London Performing the Digital Other: The Virtual Consequences Out of the Architecture: Installation, Activation, Invigilation of Obfuscating Race in World of Warcraft Daphne Lei, University of California, Irvine Rebecca Schneider, Brown University PERFORMS? WHAT Lithic Liveness: New Materialism and A Post-Racial Blurry Vision: Rupture between the Stone Age “Actor” Authentication and Transcendence of Yellowness Laurie Beth Clark, University of Wisconsin, Yining Liu, Ohio State University Milwaukee (Dis)Embodying Stereotypes: The (De)Fetishization of Object Lessons: Nostalgia, Evidence, Metonymy, Race in Bondage Synechdoche Caitlin Marshall, University of California, Berkeley Kelli Coleman Moore, University of California, Santa Sonic Redface: Dis-Embodied Legacies of “Native” Barbara Americans Spatial Wounds and Spectacles: Sandy Hook Elementary Max Schulman, Tufts University School and the Architectures of Performance Race on the Radio: The American Negro Theatre and the Isolated Black Voice Kariamu Welsh, Temple University Sound Triggers in Perpetuity: African and African American Performance With (In) (Out) Context Documenting Interdisciplinary Performance Iron, 4th Floor Convener Karinne Keithley Syers, 53rd State Press Participants Jessica Del Vecchio, Graduate Center, City University WHAT PERFORMS? of New York “Feels Like It’s Creating Feeling”: Documenting Half Straddle’s Micro-Moments Tony Gunn, Florida State University Eric “C” Heaps, Indiana University Morbid, Weird, and Silly Amusements: The Interaction of “Shakesperience,” Production, and Distributed Cognition Performance and Public History in the Edward Gorey House Laura A. Lodewyck Mike Mikos, Brooklyn College, City University Theatrical Performance in the Function of Changing of New York Attitudes How Different is Different?: Measuring Semantic John Lutterbie, Stony Brook University Relatedness in Movement Notation Feeling Beauty and Time-Based Aesthetics Sara Smith, Amherst College Bruce McConachie, University of Pittsburgh Inviting Re-Creation: Interactive Artworks as Performance Towards A DST Model for Spectating: Enjoying Richard Documentation Pryor’s Heart Attack Routine Karinne Keithley Syers, 53rd State Press Teemu Paavolainen, University of Tampere The Fruitful Interval: Typographic Gestures toward Smart Homes and Living Machines: Cognitive Ecologies Theatrical Imagination of Architectural Performance 26 Dynamic Systems, Situatedness, and “What (or Sebastian Rimehaug, Case Western Reserve Who?) Performs?”: Cognitive Science in Theatre, University

ASTR14 Dance, and Performance Social Interaction and Audience Expectations in Galena, 4th Floor Performance Conveners Vanille Roche-Fogli, University of Sorbonne, Rhonda Blair, Southern Methodist University Nouvelle November 20-23 2014 BaltimoreNovember 20-23 Amy E. Cook, Stony Brook University An Android on Stage: What, Who Performs and How? Participants Situatedness and Direction of Stage Vivian Appler, University of Pittsburgh Nicole Shaughnessy, University of Kent Knowing Space: The Telescope as Cognitive Object The World Turned Upside Down: Atypical Cognition and Slade Billew, Bowling Green State University the Neuroscience of Creativity Calling Back and Forth: Enactive Interplay between Robert Smythe, Temple University, Eugene O’Neill Audience, Scene Caller, Actors, and Sound in an Theater Center, Mum Puppettheatre Improvisational Performance Can’t Look Away: Zombies, Puppets, and their David Bisaha, University of Pittsburgh Subversion of the Natural World Making, Using, and Reviving the Theatrical Design Artifact Sara Taylor, Indiana University Collin Bjork, Indiana University Acts of Radical Imagination: Re-Staging State Spaces in Testing the Mechanisms of Story Construction in the1980s Happenings of the Orange Alternative Theatrical Performance Evelyn Tribble, University of Otago Diana Calderazzo, Independent Scholar Distributed Cognition in Performance The Learner Performs: A Case Study of Performance Freya Vass-Rhee, University of Kent as an Attractor State in Tutoring Math Meaning in Motion: William Forsythe’s Mobile Bonnie J. Eckard, Arizona State University Choreography Yes We Can’t Theatre and Attitudes: Experiments in Personal Transformation Edward Warburton, University of California, Santa Cruz Scott Harman, University of Wisconsin, Madison ArtsCross Selves and Characters: The Multiple Self-Aspects Framework, Mimesis, and the Legacy of the Group Theatre Ephemera and Materiality Performance Philosophy James, 4th Floor Kent A-C, 4th Floor Conveners Conveners Joshua Chambers-Letson, Northwestern University Will Daddario, Illinois State University Shane Vogel, Indiana University Ioana Jucan, Brown University Participants Participants Christine Balance, University of California, Irvine Aurelia Baumgartner, Independent Scholar Living in an Ephemeral World: Afterlives of the 1980s in Dancing Horses and Reflecting Humans Here Lies Love Hilan Bensusan, University of Brasilia Michelle Liu Carriger, University of California, Denise Agustinho, Associação Cultural dos Povos Los Angeles Indígenas / What Does the Earth Think it Performs? A la Mode, A la Mort, A la Mode: Gothic Lolita and Will Daddario, Illinois State University Victorian Refashioning O Diogenes! An Apostrophe for an Object-oriented Kelly Chung, Northwestern University Cynicism Lingering Smells, Fleshy Touch: Sensing Laboring Bodies Yelena Gluzman, University of California, San Diego in Imelda Marcos’ Closet Fieldwork, Labwork, Artwork: From Performativity to J. M. DeLeon, New York University Theater in Science Studies, Performance Studies, and Archival Self-Indulgence: Honey, Candy and Wasting Science Time Wade Hollingshaus, Brigham Young University Joshua Javier Guzmán, New York University Objects Thinking Objects: Erkki Kurenniemi’s The Whisper of the Photograph and the Ontology of Performance Philosophy 20-23November 2014 Baltimore Performance Michal Kobialka, University of Minnesota Summer Lee, New York University What Performs: Encountering the Objects, or Let Me Be

Yellow Horror: The Curse of Asian Women in Touched by that Object ASTR14 Supernatural Horror Film Malin Palani, University of Minnesota Joshua Lubin-Levy, New York University Ongoing Relationality: Performing and Thinking with All This Stuff: Jack Smith’s Queer Materialism More-than-human Bodies 27 Yvette Martinez-Vu, University of California, Los Dan Ruppel, Brown University Angeles Childish Spectators, Bestial Actions: Responsible Intimate Acts of Healing: Surrogate Glass Candles in Reception through Negative Dialectics Rosi’s Botanica Performance Studies in/from the Global South Patrick McKelvey, Brown University Falkland, 4th Floor Policy Remains: U.S. Social Policy and/as Disability Conveners Performance Catherine Cole, University of California, Berkeley Penny Newell, King’s College, London Kellen Hoxworth, Stanford University Not Much More than a Puddle on the Floor: The Megan Lewis, University of Massachusetts, Amherst Ethico-Aesthetic of the Implicit Ephemera of Smilde’s Installation “Clouds” Jisha Menon, Stanford University Participants Tavia Nyong’o, New York University Debra Caplan, Baruch College Accelerating Queerness: New Media, Hypersensitivity, Theatrical Complicity: Pimps, Prostitutes, and the Making and the Future of Autopoiesis of Jewish Culture in the Global South Gwyneth Shanks, University of California, Los

Gibson Alessandro Cima, Tufts University PERFORMS? WHAT Angeles The South African Two-Hander as Transnational Theatre- Ephemera as a Politics of Displacement: Tehching for-Social-Change Agent Hsieh’s ‘ne Year Performance 1981-82 and Urban Homelessness Catherine Cole, University of California, Berkeley Between the Human and the Inhumane: Statements Hentyle Yapp, Pomona College Before and After Arrests in South Africa Being (Plural): Ai Weiwei’s Fairytale at Documenta 12 Ryan Hartigan, Brown University Notes on Falling Leaves: People of the Land, Lies, and Legality Kellen Hoxworth, Stanford University Transoceanic Blackface, 1848 Katherine Lieder, University of Wisconsin, Madison Ryan Donovan, Graduate Center, City University of Performing Trauma From Afar: Ruined in the U.S.A. and New York the Ethics of Spectatorship Strike a Pose: Louis XIV, Madonna, and the Spectacular Kelley McKay, University of Minnesota Economy of Image Newen, o Gritos en la Calle: Aurality, Space, and Protest Kate Elswit, University of Bristol Shayoni Mitra, Barnard College, Columbia University “… a Work not Technically Considered Dance” The (Im)Possibilities of Hindustani Theatre - Language Megan Geigner, Northwestern University and Place in Habib Tanvir’s Agra Bazaar The Feis: Irish Dancing and Irish-American Identity in Jimmy A. Noriega, The College of Wooster Early Twentieth-Century Chicago WHAT PERFORMS? The Living Memory of the Peruvian Dead: Rosa Cuchillo, Elisabeth Hostetter, Rowan University National Identity, and Peru’s Transition to Democracy Anthony Hostetter, Rowan University Sonali Pahwa, University of Minnesota So You Think You Can Preisplatteln? American “Nobody Wants Advice from a Clown”: Comedy and Performance of Cultural Persona in “Authentic” Bavarian Community-Building in Egyptian Theatre for Outreach Dance Analola Santana, Dartmouth College Kristin Leahey, Northlight Theatre A Latin American Freak Show: Identity Politics in Lucky Plush’s The Better Half: Diverse Vocabularies of Yuyachkani’s Hecho en Perú Dance and Theatre Vis-à-vis a Dramaturgical Lens Karin Shankar, University of California, Berkeley Kate Mattingly, University of California, Berkeley What’s the Matter with Gurgaon? Dance Criticism and Technologies of Representation: John Swain, Independent Scholar Exploring John Martin’s Impact on Disciplinary Expectations “Thingification” of Okinawanness: Performing as an “Undispersed-diaspora” in an American and Japanese Amy Meyer, Tufts University Vise Peril or Possibility? Aerial Acts and the Performance of Risk Performing the Boundaries between Theatre Studies and Dance Studies Karen Mozingo, The Ohio State University Essex C, 4th Floor Choreographing Absence: Memories of the Holocaust in 28 the Work of Pola Nirenska Conveners ASTR14 Nadine George-Graves, University of California, San Ira S. Murfin, Northwestern University Diego Yvonne Rainer’s Collage Performances and the Susan Manning, Northwestern University Disciplinary Logic of the Archive Ira S. Murfin, Northwestern University VK Preston, McGill University November 20-23 2014 BaltimoreNovember 20-23 Participants Contending with Historiography: Transartistic Archives Angela K. Ahlgren, Independent Scholar Rebecca Rossen, University of Texas, Austin Searching the City Curious: Nikolais, Imago, and Asian Now You See It, Now You Don’t: Jewishness and Aesthetics (Ethnic) Humor in the Dance and Theater Works of Gladys Ijeoma Akunna, Nnamdi Azikiwe University, David Gordon Awka, Nigeria Theorizing Around the Human: Medieval The Dance Theatre of Wole Soyinka Performance Practice and Practice-Based Missy Barnes, Rollins College Research, Part 2 Viewpoints as a Bridge between Dance and Theatre Heron, 4th Floor Sima Belmar, University of California, Berkeley Conveners The Song-and-Dance Man: Strategies of Disintegration Lofton L. Durham, Western Michigan University and Disidentification in Joe Goode’s29 Effeminate Jacqueline Jenkins, University of Calgary Gestures Participants Bonnie Brooks, Columbia College Chicago Mary Maxine Browne, Purdue University Keeping it Local: Towards American Dance Theater as a When the Space Performs: Ratio and Intersubjectivity in Form Late Medieval Morality Drama Peter Dickinson, Simon Fraser University Carolyn Coulson, Shenandoah University Between Dance and Theatre: Framing Contemporary External Characterization: Michael Chekhov’s Technique Vancouver Movement Aesthetics and Medieval Performance Susannah Crowder, John Jay College of Criminal Justice, City University of New York Playing Joan: Performance and Self in Late Medieval Metz Lofton L. Durham, Western Michigan University Ryan Claycomb, West Virginia University Play Production as Rewriting: Tale of a Missing Rondeau Recursivity, Repetition, and Anti-Neoliberal Critique in Erith Jaffe-Berg, University of California, Riverside dreamthinkspeak’s In the Beginning Was the End Practice-Based Approaches to the Theatre Performances Lindsay Cummings, University of Connecticut of Minorities in Commedia dell’Arte The Time of Estrangement: Disorientation, Lags, and Jacqueline Jenkins, University of Calgary Repetitions What is the Role of the (non)Human in Practice-Based Scott T. Cummings, Boston College Research? The Drowned Man: Punchdrunk and Decision Time Heather H. Jennings, University of California, Davis Shonni Enelow, Fordham University Object Lessons: Materiality, Visuality, and Performance The Time of Emotional Memory as Instruction in Thomas Chaundler’s Liber Apologeticus Bertie Ferdman, Borough Manhattan Community Debra Hilborn, Graduate Center, City University of College New York Moving Site, Moving Time: Geyser Land and RFK in EKY The Past as Puppet: How to Make History with Objects Lisa Freeman, University of Illinois, Chicago Mario Longtin, University of Western Ontario Palimpsestic Temporalities and the “Dignity of the Of Farces and Dogs: The Missing Stage Directions Siddonian Form” Brann Munro, University of Calgary Benjamin Gillespie, Graduate Center, City University “Rost hym ouer a glede”: Popular Performance and the of New York Feast of Saint Lawrence in Late Medieval England Performing Dissonance: Aging, Trauma, and Temporal Laps(e) in Peggy Shaw’s Ruff

Jenna Soleo-Shanks, University of Minnesota, Duluth 20-23November 2014 Baltimore Saints on Scaffolds: Material Objects and the Semiotics R. Darren Gobert, York University of Space in Siena’s Santi Cittadini Performance Time as Agent in Contemporary British Drama Traditions Amy Holzapfel, Williams College

Claire Sponsler, University of Iowa Staging the Long Take: Intimacy, Duration and ASTR14 Books as Props: Medieval Performance and the Absorption in Contemporary Naturalist Drama Materiality of Writing Kimberly Jannarone, University of California, Santa 29 Time as Actor: Temporal Turns in Theatre and Cruz Performance Seeing Time Essex B, 4th Floor Laura Levin, York University Conveners Time Specificity in High Performance Culture Amy Holzapfel, Williams College Valerie Lipscomb, University of South Florida, John Muse, University of Chicago Sarasota-Manatee Participants “The Happiest Moment”: Albee in Temporal Depth La Marr Jurelle Bruce, University of Maryland, Derek Miller, Harvard University College Park On Theatrical Seasons Interlude in Madtime: Madness, Black Music, and John Muse, University of Chicago Metaphysical Syncopation Time as Actors, or The Times of Performance David Calder, University of Manchester Jill Stevenson, Marymount Manhattan College Working Memories: Postindustrial Temporalities at Les Reenacting the Future: The Dramaturgy of Threat in End Machines de l’île Times Performance Maurya Wickstrom, Graduate Center and College of

Staten Island, City University of New York PERFORMS? WHAT We Do Not Fall into Time: Al Rowwad and the Pope at the Wall of Separation

8:00 PM - 9:30 PM Graduate Student Caucus Annual Meeting Falkland, 4th Floor 9:30 PM - 10:30 PM President’s Reception for Emerging Scholars Essex A-C, 4th Floor Sunday, November 23, 2014 Natasha Davis, University of Warwick, United Kingdom 7:30 AM - 9:30 AM Body, Memory and Identity Explored through Coffee and Breakfast Breads Performance as Research Project Internal Terrains Harborside Foyer, 4th Floor Ciane Fernandes, Federal University of Bahia, Brazil 8:00 AM - 11:00 AM Somatic-Performative Research or “How to Move Things WORKING GROUPS F and Words” Performance as Research Working Group Rick Kemp, Indiana University of Pennsylvania Essex A, 4th Floor Cognitive Strategies for Generating Affective States: A WHAT PERFORMS? Conveners Research Project Conducted during Rehearsals and Daniel Mroz, University of Ottawa Performances of The Tempest Kris Salata, Florida State University Kyle Gillette, Trinity University Liberal Arts as Theatre as Nexus as Performance as Participants Research Rachel Anderson-Rabern, Franklin and Marshall College Rachel Joseph, Trinity University Margaret F. Savilonis, University of New Haven We Have to Stop Now. Psychoanalysis, Performance as Directing and Dramaturgy: The Institutional Tensions of Research, and the Real Not-Knowing Daniel Mroz, University of Ottawa Julie Burelle and Sam Mitchell, University of Luo Shu Ji Xing - Theorizing a Research/Creation California, San Diego Laboratory in Theatre Creation Performing/Theorizing Violent Landscapes: Dance, Daniel Sack, University of Massachusetts, Amherst Dramaturgy, and Repatriation of Indigenous Memory Ten Ways of Looking at an “Imagined Theatre” Kris Salata, Florida State University, Tallahassee Martin Buber’s “I and Thou” in the Lab 30

ASTR14 IOWA m studies in theatre history and culture Heather Nathans, series editor, and Thomas Postlewait, founding editor

November 20-23 2014 BaltimoreNovember 20-23 Music for the Melodramatic Athenian Tragedy in Performance Theatre in Nineteenth-Century A Guide to Contemporary Studies London and New York and Historical Debates by Michael V. Pisani by Melinda Powers “An immensely brilliant scholarly “This is a salutary book that reminds work that should be compulsory us that nearly everything we think we reading for anyone interested in know about the practicalities of the nineteenth-century theatre.” ancient Greek theatre can crumble —David Mayer, author, under rigorous questioning. Even Stagestruck Filmmaker: D. W. Griffith then, Powers is brave enough to test and the American Theatre the exposed interrogations out on 384 pages . 50 illustrations the staging and interpretation of 2 tables . $40.00 paperback Euripides’s Bacchae. All those inter- ested in the staging of Greek tragedy will find their ideas sharpened by this wide-ranging critique.” —Oliver Taplin, University of Oxford 210 pages . 15 b&w photos $45.00 paperback IOWA where great writing begins University of Iowa Press . www.uiowapress.org . order toll-freeª 800.621.2736 Michael St. Clair, Stanford University Tell Me which Buttons to Press: The Emergence of Crowd Agency and Governance Strategies through Ludic Participation Ian Watson, Rutgers University Somatic Communication: Memories and The Embodied Archive in The Performer Training Cycle James Andrew Wilson, Unaffiliated, California Excavation and Re-animation: Uncovering Performance Process Shakespearean Performance Research Group Essex B, 4th Floor Conveners Cary Mazer, University of Pennsylvania Catherine Burriss, California State University, “Original Practices” and Modernism: The Case of Channel Islands Granville Barker Franklin J. Hildy, University of Maryland Josy Miller, University of California, Davis Rob Ormsby, Memorial University of Newfoundland Gesture, Gender, Genre: Original Practices and the Don Weingust, Center for Shakespeare Studies, Articulation of Femininity Southern Utah University and Utah Shakespeare Kathryn Moncrief, Washington College Festival Original Practices and the Performance of Pregnancy in November 20-23November 2014 Baltimore W. B. Worthen, Barnard College, Columbia University Shakespeare’s All’s Well that Ends Well Participants Nova Myhill, New College of Florida Kane Anderson, University of Puget Sound Positioning the Audience in the Original Practices Movement Comics and Tragedy: Locating Original Practices in ASTR14 Graphic Literature “Stagings” of Shakespearean Plays Dierdre O’Rourke, University of Pittsburgh Susan Bennett, University of Calgary Restoring Shakespeare: Original Practices and Sounding Original Restoration Shakespeare Performance 31 Sara Boland-Taylor, University of Illinois Dave Peterson, Colby College The Belly Performs: Pregnant Boys on the Stuart Stage Mark Rylance, Clowning Original Practice Scott Campbell, Mary Baldwin College and Blackfriars Kathryn Prince, University of Ottawa The Vanishing Experiment: Marketing Dearth in Twenty- Authenticity, Aura, and Audience at the Wanamaker First Century Original Practices Shakespeare Playhouse Valerie Clayman Pye, Manhattanville College Johanna Schmitz, Southern Illinois University, OP on Broadway: Inauthentic “Authenticity” and the Edwardsville Commercialization of Practice as Research “I have thee not and yet I see thee still”: The Rose Theatre Archaeological Discovery in 1989 as Tool for Joe Falocco, Texas State University Re/Creating Original Practice “How not-so-easily She may be Surprised”: An Original Practice Solution to the Puzzle of Antony and Cleopatra 5.2. Richard Schoch, Queen’s University Belfast Edmond Malone and the Historiography of Original Louise Geddes, Adelphi University Practices “Il Faut du Sang”: Shocking the Elizabethan Audience Adam Sheaffer, University of Maryland, College Park Peter Kanelos, Valparaiso University From Workshop to Festival: Original Practices and The

Refiguring Richard: Rhetoric and Character inRichard III PERFORMS? WHAT New York Shakespeare Festival Daniel Keegan, California State University, Fullerton Lauren Shepherd, University of Toronto and New York Film Academy, Los Angeles “And I did laugh sans intermission / An hour by his dial” Offspring of the Dallying Puppets: The Hidden Room and the “Original” in “Original Practices” Fran Teague, University of Georgia Conceptual Original Practices and Present Production Matt Kozusko, Ursinus College Inferred Implied Stage Directions Natalie Tenner, University of Mary Washington Memory and the Performing Object: A Case Study of Jemma Levy, Washington and Lee University the Blackfriars Playhouse Creating Citizens: Implicating the Audience through Direct Address W. B. Worthen, Barnard College, Columbia University Intermediating OP Emily Madison, Columbia University “Original Practices” and Performance Criticism “Vestida de ___”: Costumes as Dramatic Agents in LA ROPAVEJERA Plays from the Spanish Golden Age Deborah A. Dougherty, Alma College Essex C, 4th Floor Team leader Conveners Ben Gunter, Florida State University Susan Paun de García, Denison University 9:00 AM - 10:45 AM Melissa Figueroa, Binghamton University PerformASTR Discussion Ben Gunter, Theater with a Mission Harborside D, 4th Floor Participants Convener DON GIL DE LAS CALZAS VERDES Brian Herrera, Princeton University WHAT PERFORMS? Karen Berman, Georgia College Participants Jordan Cohen, The Graduate Center, City University Christina Banalopoulou, University of Maryland, of New York College Park Jason A. Eckard, University of Washington Slade Billew, Bowling Green State University Harley Erdman, University of Massachusetts, Marc Boucai, Independent Artist-Scholar Amherst Michael Chemers, University of California, Santa Pamela Kierejczyk Thielman, The Graduate Center, Cruz City University of New York Lindsay Cummings, University of Connecticut Team leader Allan Davis, University of Maryland, College Park Susan Paun de García, Denison University Jennifer Goodlander, Indiana University LA FUERZA DE LA COSTUMBRE Gad Guterman, Webster University Marissa Béjar, Pontificia Universidad Católica del Perú Brian Herrera, Princeton University Sharon D. Voros, United States Naval Academy Jessica Krenek, University of Maryland, College Park Team leader Victoria Pettersen Lantz, Sam Houston State Melissa Figueroa, Binghamton University University 32 ASTR14 November 20-23 2014 BaltimoreNovember 20-23 master of arts program in theater and performance studies

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Under the broad umbrella of performance, students are invited to explore the mutual engagement of aesthetic and cultural performance practices across history, around the globe, and between disciplines, drawing on a variety of theoretical approaches to illuminate the complex meanings generated by and through performance.

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Application deadline is January 15th David Saltz, University of Georgia CS10. Effective Interviewing Andrew Salyer, University of Wisconsin, Madison Falkland, 4th Floor Katie Schaag, University of Wisconsin, Madison This session consists of a mock interview for a faculty Reya Sehgal, Brown University position, a postmortem of the interview from the interviewers’ and the interviewee’s perspectives, and a Susanne Shawyer, Elon University discussion of how to prepare for different interviews. Angenette Marie Spalink, Bowling Green State University Convener Kirsten Pullen, Texas A&M University Angela Sweigart-Gallagher, Northeastern Illinois University Panelists Megan Sanborn Jones, Brigham Young University Melissa C. Thompson, University of Arizona Jim Peck, Muhlenberg College Adam Versenyi, University of North Carolina, Chapel Hill Scott Proudfit, Elon University Curricular Performance Roundtable CS11. Alt-Ac Career Paths In, Around, and Out of Harborside C, 4th Floor Academia Galena, 4th Floor Chairs Amy Cook, Stony Brook University This session addresses careers off of the tenure track that utilize Ph.D. training, where to find job postings, Valleri Robinson, University of Illinois how to market the Ph.D. for a variety of positions, and New Paradigms in Graduate Education Committee the application and interview process. Participants Convener Odai Johnson, University of Washington 20-23November 2014 Baltimore Ariel Nereson, Vassar College John Lutterbie, Stony Brook University Panelists Dassia Posner, Northwestern University Ken Cerniglia, Dramaturg and Literary Manager

Disney Theatrical Group ASTR14 CAREER SESSIONS 9-15 Jane Duncan, Director of Accreditation and Coordinators Assessment, Nova Southeastern University Stefka Mihaylova, University of Washington Tom Pacio, Producing Manager for New York Stage 33 Ann Folino White, Michigan State University and Film CS9. Writing Effective Book Proposals Aaron Shackelford, Mellon Postdoctoral Fellow, Harborside E, 4th Floor Carolina Performing Arts In this session, a panel of commissioning editors and CS12. Avoiding the ABD Cliff series editors discuss what they look for in a proposal, Heron, 4th Floor the dos and don’ts of proposal writing, and publishers’ perspectives on new projects. This session offers strategies for dissertation completion in instances when an ABD candidate must craft, Convener compose, and defend a dissertation while taking on Janelle Reinelt, Co-editor of Studies in International a first-time teaching position, becoming a parent, or Performance for Palgrave Macmillan, University of assuming other time- and energy-intensive tasks. Warwick Convener Panelists Keith Byron Kirk, University of Houston Paula Kennedy, Publisher, Literature & Theatre/ Performance Studies for Palgrave Macmillan Panelists La Donna Forsgren, University of Oregon Liz Levine, Commissioning Editor, Routledge Laura Lodewyck, Northwestern University

Research and the Routledge Advances in Theatre & PERFORMS? WHAT Performance Studies series Brian Singleton, Co-editor of Studies in International Performance for Palgrave Macmillan, Trinity College, Dublin CS13. Postdocs: Should You or Shouldn’t You? 11:00 AM - 12:30 PM Iron, 4th Floor State of the Profession This session addresses the variety of postdoc options Materialisms and Humanisms: that exist, as well as how to apply, the reasons to do so, New, Old, and Other? and how to get the most out of a postdoc experience. Harborside C, 4th Floor Conveners Chairs Gibson Cima, Tufts University Robin Bernstein, Harvard University Jesse Njus, New York University Uri McMillan, University of California, Los Angeles Panelist Panelists WHAT PERFORMS? Pannill Camp, Washington University, St. Louis Ju Yon Kim, Harvard University and Coleman Nye, Brown University CS14. First Year as a Faculty Member Everyday Life: Histories of the Ordinary, Persistent, and James, 4th Floor Repeated This session focuses on the experience of the first year Nadine George-Graves, University of California, San as a faculty member. Topics include what to expect, the Diego and Susan Manning, Northwestern University unexpected, and managing expectations; navigating Performing the Boundaries Between Theatre Studies institutional and departmental cultures; tips and advice. and Dance Studies Convener Jorge A. Huerta, University of California, San Diego Lisa Jackson-Schebetta, University of Pittsburgh and Tiffany A. Lopez, University of California, Panelists Riverside Jocelyn L. Buckner, Chapman University Latina/o Theatre in the 21st Century: Making the Gad Guterman, Webster University Invisible Visible Nicole Hodges Persley, University of Kansas Adron Farris, University of Georgia and Heidi L. Jimmy A. Noriega, The College of Wooster Nees, California Polytechnic State University, San CS15. Meet the Editors of Theatre Survey Luis Obispo Bristol, 3rd Floor I Object! These Things Have Been Performing Long before You Started Watching – Non-Human 34 In this session, the editors of Theatre Survey offer Performances and (re)Considerations of Indigenous information on the process of publishing in the journal ASTR14 Identities including how articles and book reviews are evaluated and selected. Faedra Chatard Carpenter, University of Maryland, College Park Conveners Facing the Other: Reconsidering Transracial Performance

November 20-23 2014 BaltimoreNovember 20-23 Harvey Young, Associate Editor, Northwestern University Catherine Cole, University of California, Berkeley; Megan Lewis, University of Massachusetts, Amherst; Esther Lee Kim, Editor, University of Maryland and Jisha Menon, Stanford University Performance Studies in/from the Global South subscribe to Theater today. Online access to over forty years of back content is included with a subscription.

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42 ASTR14 November 20-23 2014 BaltimoreNovember 20-23 Theatre Survey

Published for the American Society for Theatre Research

Editor: Esther Kim Lee Associate Editor: Harvey Young Published three times a year, Theatre Survey provides rigorous historical and theoretical studies of theatre and performance across all periods, cultures, and methodologies.

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Theatre Research New Theatre Dance Research International Quarterly Journal Published for the International Published for the Congress Federation for Theatre Research on Research in Dance

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