IFTR GALWAY 2021 THEATRE ECOLOGIES: ENVIRONMENTS, SUSTAINABILITY AND POLITICS #IFTR2021 CONTENTS

3 Welcome Message

6 About Drama and Theatre Studies at NUI Galway

11 Plenary Speakers

15 Programme

50 Book Launch

52 Social Programme

58 Publishers

61 Acknowledgements

B 1 Welcome to the 2021 conference of the International Federation for Theatre Research. We at National University of Ireland, Galway are delighted to welcome you to this first fully-virtual IFTR conference. As most of you will be probably be aware, we had originally intended to host this conference in July 2020 in Galway. We’d hoped that you might get to know our part of Ireland a little better: that you’d enjoy events in the Galway International Arts Festival, that you’d have opportunities to explore our city and region, and so on. Our move online means that we can’t gather together in person, but we hope that this event will still look and feel like a Galway conference – one that conveys our sense of place, which highlights the theatre and research that is being made here, and which encourages you to visit us in person when it’s safe to do so in the future. The west of Ireland was a site of inspiration for the artists who developed modern Irish theatre – people such as William Butler Yeats, Lady Augusta Gregory and John Millington Synge, who used the languages, folklore, and landscape of this region as the basis for the creation of a national Irish theatre. It’s also a region that is finely attuned to the impact of environmental catastrophe: our university was founded in 1845, the first year of what came to be known as the Great Irish Famine – a ‘natural’ disaster that halved the population of Ireland through starvation and mass emigration. Our sense of place therefore involves an understanding of environmental interconnection as a force for both creativity and destruction – and this is one of the reasons that we chose the theme of Theatre Ecologies: Environment, Sustainability and Politics. When we first released our call for papers in 2019, we had imagined that theme as capturing our sense that theatre operates as a kind of eco-system, as a network of interdependence that includes the relationship between performers and audience, between theatre-makers and the rest of the living world, and between all of us as an international community of scholars. The onset of the pandemic has encouraged many speakers to address these themes from new perspectives – to show how theatre has been affected by COVID-19, and to argue for its continuing importance as a source of healing, a site for analysis and inspiration, and a place in which interconnections can be renewed and reimagined. We hope that this week’s events will give momentum and substance to these and other conversations. We also hope that you will take the opportunity to enjoy some of the work included in our social programme, all of which has been made by professional artists from this part of Ireland. We thank you warmly and sincerely for the kindness and enthusiasm you have shown – both this year and last year. And we are especially grateful to Jean Graham-Jones, Elaine Aston, and the IFTR Executive Committee for their trust, encouragement and support. We hope you have a memorable and stimulating week!

Best wishes Miriam Haughton, Marianne Kennedy, Patrick Lonergan, Charlotte McIvor, Ian Walsh IFTR Galway Conference Organising Team

2 3 Fáilte chuig comhdháil na Cónaidhme Idirnáisiúnta do Thaighde na hAmharclannaíochta (International Federation for Theatre Research). Is deas linn in OÉ Gaillimh, fearadh na fáilte a chur romhaibh chuig an gcéad imeacht IFTR atá iomlán fíorúil. Faoi mar is eol dá bhformhór agaibh, bhí sé i gceist againn an chomhdháil seo a reáchtáil i mí Iúil 2020 i nGaillimh. Bhí súil againn go gcuirfeadh sibh aithne ní b’fhearr ar ár dtaobh seo d’Éirinn; go mbainfeadh sibh taitneamh as imeachtaí Fhéile Idirnáisiúnta Ealaíon na Gaillimhe, go mbeadh deiseanna agaibh ár gcathair agus réigiún a thaiscéaladh, agus mar sin de. Ciallaíonn an bogadh ar líne nach féidir linn teacht le chéile ar an láthair, ach tá súil againn go mbeidh cuma agus cosúlacht chomhdháil de chuid na Gaillimhe ar an ócáid seo – ceann ina léireofar ár ndáimh áite, ina gcaithfear léas ar an amharclannaíocht agus ar an taighde atá á ndéanamh anseo, agus ina dtabharfar ugach daoibh cuairt a thabhairt orainn ar an láthair nuair a bheidh a leithéid sábháilte amach anseo. B’údar inspreagtha é láthair iarthar na hÉireann do na healaíontóirí siúd a d’fhorbair amharclannaíocht nua-aimseartha na hÉireann – daoine amhail William Butler Yeats, an Bhantiarna Augusta Gregory agus John Millington Synge, a bhain gaisneas as teangacha, béaloideas agus tírdhreach an réigiúin seo mar bhonn le hamharclann náisiúnta Éireannach a chruthú. Is réigiún é atá go mór i dtiúin le tionchar na tubaiste timpeallachta chomh maith: bunaíodh ár n-ollscoil sa bhliain 1845, céad bhliain na tréimhse ar a dtabharfaí an Gorta Mór idir sin agus tráthas – tubaiste ‘nádúrtha’ a laghdaigh daonra na hÉireann faoina leatha trí bhíthin an ocrais agus na himirce ollmhóire. Mar sin de, tá i gceist lenár ndámh áite an tuiscint ar an dlúthnasc timpeallachta mar údar cruthaitheachta agus léirscriosta araon – agus tá an méid seo ar cheann de na cúiseanna ar roghnaíomar téama na nÉiceolaíochtaí Amharclannaíochta, mar atá: An Timpeallacht, an Inbhuanaitheacht agus an Pholaitíocht. Nuair a rinneamar ár ngairm ar pháipéir ar dtús sa bhliain 2019, shamhlaíomar gur cuimsíodh sa téama úd go bhfeidhmíonn an amharclannaíocht mar a bheadh córas ann, mar a bheadh líonra ann lena n-áirítear an caidreamh idir na taibheoirí agus an lucht féachana, idir cruthaitheoirí amharclannaíochta agus an saol beo, agus eadrainn féin uile mar phobal idirnáisiúnta scoláirí. Thug tús na paindéime ar chainteoirí go leor aghaidh agus dearcadh nua a thabhairt ar na téamaí seo – le tionchar COVID-19 ar an amharclannaíocht agus le háitiú ar son a tábhachta leanúnaí mar fhoinse leighis, mar láthair don anailís agus don inspioráid, agus mar áit ina bhféadfar dlúthnaisc a athnuachan agus a athshamhlú. Tá súil againn go gcuirfidh imeachtaí na seachtaine seo dlús agus téagar leis na comhráite seo agus le cinn eile nach iad. Tá súil againn freisin go dtapóidh sibh an deis taitneamh a bhaint as cuid de na saothair a áirítear inár gclár sóisialta, atá ar fad cruthaithe ag ealaíontóirí gairmiúla as an taobh seo d’Éirinn. Gabhaimid buíochas ó chroí as ucht an chineáltais agus an díocais a léirigh sibh – idir an bhliain seo agus an bhliain seo caite. Agus táimid an-bhuíoch go háirithe de Jean Graham-Jones, Elaine Aston, agus Coiste Feidhmiúcháin IFTR as ucht a gcuid trusta, ugaigh agus tacaíochta. Tá súil againn go mbeidh seachtain speisialta spreagúil agaibh! Le gach dea-ghuí, Miriam Haughton, Marianne Kennedy, Patrick Lonergan, Charlotte McIvor, Ian Walsh Foireann Eagraithe Chomhdháil IFTR Gaillimh.

4 5 Marie Mullen (Druid Theatre) with NUI Galway Drama students Kate Murray and Emer McHugh ABOUT DRAMA AND THEATRE STUDIES AT NUI GALWAY

Drama and Theatre Studies was established whom we run a Druid Academy programme is home to almost 4,000 international DRAMA AND as a department at NUI Galway in 2014, and is for training emerging theatre-makers. Other students, from 110 different countries. We part of the School of English and Creative Arts. recent alumni include the novelists Claire- have student exchange programmes with over Louise Bennett and Deirdre Sullivan. 200 international universities, and also have a The first Drama programme at NUI Galway global community of staff. was an MA in Drama and Theatre Studies, The university also has formal partnerships THEATRE STUDIES established by Adrian Frazier in 1999. In 2012, with many other theatre companies and arts Galway is home to several theatre the university launched its first formal degree organisations, including the Abbey Theatre companies and other arts organizations. in Drama: the BA in Drama, Theatre and (Ireland’s national theatre), the Gate Theatre, Chief among these is Druid Theatre, the Performance. The first Professor of Drama the Galway International Arts Festival, and internationally-acclaimed company headed AT NUI GALWAY and Theatre Studies, Patrick Lonergan, was others. by the Tony Award-winning director Garry appointed in 2013. Hynes. Every July, the city is taken over by We have particular research and teaching the Galway International Arts Festival, a In that same year, the university began work strengths in the area of Irish theatre. multidisciplinary event that features theatre, on what would become the O’Donoghue We locate the study of Irish theatre in a street performances, live music, comedy, Centre for Drama, Theatre and Performance, broad international context, using an Irish and much more. The city also has an annual named for Donagh O’Donoghue, a Galway perspective to explore issues of global international arts festival for children, is home businessman and the former chairman of importance. Interaction and partnership with to the national theatre for the Irish language, Druid Theatre. Donagh was instrumental in our national and international colleagues is an and is home to many smaller companies. the development of Druid and sadly passed essential feature of our teaching and research. You can find out more about this work in our away in May 2021 as we were completing entertainment programme. this programme. The O’Donoghue Centre Every year, we usually stage at least two was opened formally by President Michael D productions, as well as a series of lectures, To learn more about Drama at NUI Galway and Higgins in April 2017 public interviews with theatre practitioners, the programmes we offer, visit: https://www. international conferences, and other events. nuigalway.ie/drama/ As of July 2021, Drama at NUI Galway has approximately 145 undergraduates, 25 MA National University of Ireland, Galway students and 13 PhD students. The staff was founded in 1845, and was originally are Aoife Harrington, Emma Brinton, Miriam called Queen’s College (named after Queen Haughton, Patrick Lonergan, Charlotte McIvor, Victoria). After Irish independence in 1922, it Marianne Ni Chinneide, Máiréad Ní Chróinín, grew in both size and reputation, and took Mike O’Halloran and Ian Walsh. Garry Hynes, on a particular responsibility for teaching the director of Druid Theatre, is an adjunct and research in the Irish language, while professor. continuing to teach and publish in English too. It now has a student population of over The university has a long history of excellence 18,000, with undergraduate and postgraduate in the performing arts – a history that pre- courses in the Arts, Medicine, Science, dates the establishment of Drama as a degree Business, Law, and Engineering. The university subject. Notable graduates include the was ranked 259th in the world in the most co-founders of Druid Theatre, Garry Hynes recent QS rankings. and Marie Mullen, both of whom went on to become Tony Award winners for direction and Galway has a larger international community acting respectively. The university now enjoys than any other city in Ireland, according to the a close partnership with Druid Theatre, with most recent census of Ireland. Our university

Garry Hynes (Druid Theatre) with NUI Galway Drama students Dale Leadon-Bolger, Emily Noctor and Mollie Ball 6 7 Theatre Archives at NUI Galway’s work ‘Double Cross’ – and also for his time as The Siobhan McKenna Archive Literary Editor at the Abbey Theatre, Kilroy is James Hardiman Library The Siobhan McKenna Archive is the archive one of the giants of 20th Century Irish Theatre. NUI Galway has extensive theatre archive of one the great female performers of the Irish The Kilroy Archive catalogue can be viewed here: holdings. The University has recently completed stage. Remembered so specially for her portrayal http://archives.library.nuigalway.ie/cgi-bin/ the world’s largest theatre archive digitisation of Mommo in Tom Murphy’s seminal play project in creating the Abbey Theatre Digital FramedList.cgi?P103 Bailegangaire, McKenna was lauded throughout Archive, and recently added a new archive of the Pan Pan her life for her work in English and Irish. The Gate Theatre Dublin. It has published the early papers offer a view into the life and career of minute books of the Abbey Theatre, a database Pan Pan has created 43 new theatre and McKenna and document exactly why she is so of Shakespeare’s plays in Dublin, 1660-1904, and performance pieces and toured worldwide, fondly remembered in Irish Theatre. Belfast, 1820-1900, in addition to other digital receiving multiple national and international collections. awards. It approaches theatre as an open The Galway Arts Festival Archive form of expression and has developed an The Galway Arts Festival Archive documents Abbey Theatre Digital Archive individual aesthetic that has grown from making the growth of this festival, again from roots The Digital Archives Partnership between the performances in a host of different situations in University College Galway to a festival for James Hardiman Library, NUI Galway, and and conditions. the community and city of Galway through to The Abbey Theatre adds a new and hitherto its incredible growth in becoming one of the unprecedented level of digital study and The Taibhdhearc na Gaillimhe Archive largest annual multi-disciplinary Arts Festivals in understanding of the Abbey Theatre Archive. The Taibhdhearc na Gaillimhe Archive is the Europe. The Galway Arts Festival is synonymous The archive features hundreds of scripts, videos administrative and creative archive of the with exploring Irish culture, identity and of performances, set designs, costume designs, national Irish Language Theatre of Ireland. tradition through national and world leaders correspondence and much more. Based in Galway, the Taibhdhearc Archive is a in the Arts. The Galway Arts Festival Archive The Gate Theatre Digital Archive comprehensive record of the growth of this Irish catalogue can be viewed here: http://archives. library.nuigalway.ie/cgi-bin/FramedList.cgi?T5 The Gate Digital Archive provides hundreds of language movement within theatre and how videos, playscripts and programmes from this the Taibhdhearc has connected and influenced major Irish theatre. There are particularly strong playwrights writing in Irish and also those Recently acquired papers also include work holdings here for Beckett, Pinter, Friel and Oscar translating English language works by Irish related to Macnas Performing Arts, the Pike Wilde. and international playwrights into Irish. The Theatre (including material related to Brendan Taibhdhearc na Gaillimhe Archive is catalogued Behan and Samuel Beckett), as well as many Druid Theatre Company and available for consultation. smaller individual archives. In total, the NUI The archive includes a record of the multi-award John Arden and Margaretta D’Arcy Galway Theatre archives feature well over winning theatre company whose roots go back to The personal archives of Arden and D’Arcy 1,000 videos, tens of thousands of images, their time in the then University College Galway. include their work for theatres such as the Royal correspondence, prompt books, design, and Druid have been recognised as world leaders in Court, as well as an extensive record of their much more. touring and staging the best of Irish plays and shared political activism over several decades. For further information about these collections exploring the work of playwrights such as John or how to schedule a visit, please visit: https:// M. Synge, John B. Keane, Geraldine Aron, Martin The Lyric Theatre, Belfast Archive library.nuigalway.ie/collections/archives/ McDonagh and Tom Murphy. The Druid Theatre The Lyric Theatre is the premier cultural and archive catalogue can be viewed here: http:// theatrical venue in Northern Ireland archives.library.nuigalway.ie/cgi-bin/FramedList. cgi?T2 The Arthur Shields Archive The Arthur Shields Archive consists of the papers The Thomas Kilroy Archive of the actor and revolutionary Arthur Shields. The Thomas Kilroy Archive consists of the papers Steeped in the Abbey tradition, Shields was a of the celebrated playwright, Thomas Kilroy. regular and one of the much loved members of Famous especially for his epic history plays such the Abbey Company in the 1930s and was part as the ‘O’Neill’ and, for his relationship with the of their many touring productions to the United likes of Field Day Theatre Company – with his States at that time.

8 9 PLENARY SPEAKERS

MONDAY 12 JULY

Chantal Bilodeu, playwright Interconnectedness on Stage

The COVID-19 pandemic has made it abundantly clear that we are all interconnected. We are as individuals within the human species, but also as creatures within the vast web of life. Yet, this most fundamental truth had gotten buried in modern Western thought; our capitalist system and its insatiable need for growth would rather have us believe that we are alone and that everything can be solved with money. If we hope to address the many societal crises we are facing today, and keep the Earth inhabitable, we must not only recognize but deeply internalize that none of us exist in isolation.

Theatre can be a powerful tool in helping us recognize the extent of our interconnectedness to others, and embrace the values and responsibilities that nurture it. This session will look at the first three plays of The Arctic Cycle – a series of eight plays about the social and environmental impacts of the climate crisis in the eight Arctic states – and the strategies used to put interconnectedness front and center in those stories. While it may sound initially abstract, interconnectedness, whether in the environmental, political, cultural, or even spiritual realm, can be successfully theatricalized on stage.

Chantal Bilodeau is a Montreal-born, New York-based playwright whose work focuses on the intersection of science, policy, art, and climate change. She is the founder of The Arctic Cycle and in her capacity as artistic director, has spearheaded local and global artistic initiatives for over a decade. She has been instrumental in getting the theatre and educational communities, as well as diverse audiences in the US and abroad, to engage in climate action through programming that includes live events, talks, publications, workshops, national and international convenings, and a worldwide distributed theatre festival that coincides with the United Nations COP meetings. She presents on the power of live storytelling to engage people in climate action in conferences and universities in the US, Canada and Europe, and has contributed articles on the same topic to several academic volumes. As a playwright, Chantal is working on a series of eight plays that look at the social and environmental changes taking place in the eight Arctic states. The Galway International Arts Festival Big Top, on the grounds of NUI Galway

10 11 WEDNESDAY 14 JULY FRIDAY 16 JULY

Denise Varney, University of Melbourne Brian Singleton, Trinity College Dublin Caught in the Anthropocene: Theatre and Ecology in the Global South Standing by Small Acts of Citizenship: Contemporary Irish Theatre at the Faultlines of Social Change This presentation investigates live performance in the broad context of the Anthropocene, the epoch originating in the West in which the impact of In the past two decades citizens of Ireland experienced two contrapuntal narratives about their own existence. The first was a narrative of austerity human-centred activity on Earth tips over into dangerous levels of greenhouse gas emissions, rising sea levels, species extinction and catastrophic and neoliberal responsabilization of the individual from the panopticon of state politics. The second invited citizens to participate in collective weather events. The intensity of the Australian bushfires in the Spring-Summer of 2019-20 is a dramatic example of the future if inaction on political agency beyond party politics in two referenda to amend the 1937 Constitution: to redefine marriage to include those of the same sex in global warming continues. Despite the evident crisis, Australian climate politics has been stalled for over a decade. The state of play is further 2015, and to restore bodily autonomy to women in respect of the termination of pregnancy in 2018. Before, between and after those referenda compounded in Australia, as in other postcolonial countries, in which Indigenous peoples experience continuing grief as homelands that were were centenary commemorations of a troubled decade of industrial strikes, a failed rebellion, a war of independence and a civil war, against a never ceded to Europeans are subjected to inferno. backdrop of decolonization and, subsequently, a theocratic state ideology that incarcerated those who transgressed; the non-conforming poor and women were particular targets. Underpinning both narratives, however, were their emerging performers: newly politicised citizens who In the context of a nation caught in an environmental, political and colonial Anthropocene, the presentation re-engages with the complex problem had been directly affected by the boom and bust capitalism either side of the millennium. And yet that bust had also strengthened their resolve of impact, efficacy and performance in our field. It highlights dramatic and performative theatrical and activist works that illustrate or oppose a to contest the state’s neoliberal and destructive ideology (a replacement for the former repressive theocracy), that according to Wendy Brown history and culture of land clearance, confrontational politics, and counter-acts of guardianship. Setting the scene with a visit to a Curtain Tree, ‘transmogrifies every human domain and endeavor, along with humans themselves, according to a specific image of the economic’, (Undoing the the presentation offers an anti-Anthropocenic account of an Australian classic drama before moving on to political stunts such as ‘Coal Theatrics’, Demos: Neoliberalism’s Stealth Revolution, 2015: 10), and whereby the individual is held responsible for the fate of the state. and oppositional work that disavows the Anthropos including Hanna Cormick’s Mermaid (2020), Marrugeku’s Cut the Sky (2015), Tongan-Australian performer Latai Taumoepeau’s Last Resort (2020) and the internationally renowned Bangarra Dance Theatre’s SandSong (2021). Between these two narratives of the Irish state and its citizens, lies theatre, poster-child of Bailout Ireland’s economic identity, at the same time With this conference, our field enters its fourth decade of environmental awareness and critique. The presentation concludes with some thoughts as swingeing cuts in arts funding were enacted before and after the EU-IMF financial bailout. But emerging from the economic abyss was a whole on redoubling efforts in the cultural and intellectual spheres in the face of a politics caught in the Anthropocene in an epoch of accelerating new set of then unfunded theatre companies, among them the extant Brokentalkers and thisispopbaby (and the sadly departed Wilfredd and environmental change. TheatreClub) with new styles, forms and politics. One such company was ANU Productions, founded in 2009, that came to prominence in 2011 with its award-winning production of Laundry, set site-specifically in the last penal institution run by the religious orders for the control of so-called Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne where she has ‘deviant’ women, that had closed its doors in 1996. ANU Productions’ multi-art focus has always been on the real; real life, people, documents, been Deputy and Acting Dean of the Faculty of Arts. She is a proud long-term member of the IFTR Feminist Research Working Group and a testimonies, memories, traces of the ordinary citizens who had experienced Ireland from its margins at the same time as being marginalised, past co-coordinator with Elin Diamond. Her research is in the area of modern and contemporary theatre and performance with published unheard, unseen, self-silenced, or self-deported. And with this new company came new forms: a blend of professional and community actors in work in the areas of feminism, ecocriticism, and performance affect; theatre and politics; and historiography and the archive. Her essays live art installations in public spaces with the spectator at the very live centre of performance with little or no exposition, forced to make choices of are published in Theatre Research International, Modern Drama, Contemporary Theatre Review and Performance Research. Her books include what to say, to do, or to refuse. These performances imbued spectators with an awareness of their own agency because more often than not there Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (September 2021), Australian Theatre, Patrick White and Modernism: were unsuspecting onlookers who happened upon the performance unable to distinguish between performers and spectators, unaware of the Governing Culture with Sandra D’Urso (2018), Feminist Ecologies: Changing Environments in the Anthropocene with Lara Stevens and Peta Tait injustices being played out in the performances in which spectators took part and were implicated. Spectators, being watched, were called upon (2018), and Performance Feminism and Affect in Neoliberal Times (2017), co-edited with Elin Diamond and Candice Amich. Earlier books to not simply stand by, watch, and leave, but to stand by in solidarity, to stay with, walk with, talk with, help and, what is more, to take action, while include The Dolls’ Revolution: Australian Theatre and Cultural Imagination (with Rachel Fensham 2005), Radical Visions: The Impact of the the performers stood by them in a reciprocal co-production of small acts of resistance against the erasure of heretofore overlooked citizens in Sixties on Australian Drama (2011) and Theatre in the Asia Pacific: Regional Modernities in the Global Era (co-authored 2013). In 2020, she was public space and memory. awarded an Australian Research Council Grant to lead a collaborative project ‘Towards an Australian Ecological Theatre’. Brian Singleton is Samuel Beckett Professor of Drama & Theatre and Head of Drama at Trinity College Dublin. He is also Academic Director of The Lir - National Academy of Dramatic Art. He is former President of the International Federation for Theatre Research (2007-2011), and Artist in Conversation: Mojisola Adebayo, Queen Mary, University of London former Editor of Theatre Research International, published by Cambridge University Press (2001-2003). From 2005-2015 he co-edited (with Mojisola Adebayo (BA, MA, PhD, FRSL), is a playwright, performer, producer, facilitator and lecturer. She trained extensively with Augusto Janelle Reinelt) the 40-volume book series ‘Studies in International Performance’, published by Palgrave Macmillan for which they won Boal and is a specialist in Theatre of the Oppressed. Mojisola has worked in theatre, radio and television over the past 25 years, performing the Association for Theatre in Higher Education (USA) prize for Sustained Achievement in Editing. He is currently co-editing a new series in over 50 productions, writing, devising and directing over 30 plays, from Antarctica to Zimbabwe. Mojisola’s plays include Moj of the for Palgrave (with Elaine Aston) entitled ‘Contemporary Performance InterActions’ with twenty-four books published or under contract. Antarctic (Lyric Hammersmith), Muhammad Ali and Me (Ovalhouse), 48 Minutes for Palestine (Ashtar), Desert Boy (Albany), I Stand Corrected He has published widely on Irish, British and French theatre with a particular focus on orientalism, interculturalism and masculinities in (Artscape),The Interrogation of Sandra Bland (Bush Theatre), Wind / Rush Generation(s) (National Theatre), published in Mojisola Adebayo: performance. His publications on Irish theatre include ANU Productions: the Monto Cycle (Palgrave, 2016) and his monograph Masculinities Plays One and Plays Two (Oberon) and Connections 2020 (Bloomsbury Methuen). Co-edited publications include The Theatre for Development and the Contemporary Irish Theatre was revised and updated for its paperback edition (Palgrave Macmillan, 2015). More recently he has Handbook (Pan), Afriquia Theatre: Black British Queer Plays and Practitioners (Bloomsbury Methuen, out this year). Mojisola is also a Fellow published retrospective essays on the contribution and impact of director André Antoine and actress Lily Brayton. Currently in the process of the Royal Society of Literature, an Associate Artist with Pan Arts, Building the Anti-Racist Classroom Collective, AICRE and Black Lives, of publication is a new essay on the masculinities of Irish performance company thisispopbaby’s RIOT, and three new essays in different Black Words, Honorary Fellow of Rose Bruford College, a Lecturer at Queen Mary, University of London and a Research Fellow at University volumes on the changing sounds and images of interculturalism in performance. His current book project is entitled ‘Citizenship, Social Potsdam. Her latest play Family Tree (ATC, Young Vic) previews at Greenwich Docklands International Festival and Counterpoint Arts, Berlin, Change & Contemporary Irish Theatre’. Summer 2021. STARS premieres in 2022

12 13 PROGRAMME AT A GLANCE

Day 1 - Monday 12 July

09.00 – 10.15 WG1: 12 x Working Groups

11.00 – 12.30 WG2: 13 x Working Groups PROGRAMME AT 13.15 – 14.30 WG3: 12 x Working Groups 15.15 – 16.15 WG4: 10 x Working Groups

17.00 – 18.45 Welcome: Patrick Lonergan, Elaine Aston A GLANCE Presentation of New Scholars’ Prizes by Bishnupriya Dutt Plenary Lecture: Chantal Bilodeu: “Interconnectedness on Stage” Chair: Marianne Kennedy

19.00 Evening entertainment (videoed performance will go live and stay online for 24 hours)

Day 2 – Tuesday 13 July

12.00 – 13.00 Book launches (12.00-12.30, 12.30-13.00)

13.00 – 14.15 GP1: 13 x General Panels

15.00 – 16.15 GP2: 11 x General Panels

17.00 – 18.15 NSF1: 12 x New Scholars Forum

19.00 – 20.30 WG5: 12 x Working Groups

21.15 – 22.30 WG6: 9 x Working Groups

20.00 Evening entertainment (videoed performance will go live and stay live for 24 hours)

Day 3 – Wednesday 14 July

09.00 – 10.15 NSF2: 10 x New Scholars Forum

10.30 – 12.00 Plenary 2: Denise Varney, ‘Caught in the Anthropocene: Theatre and Ecology in the Global South’ Chair: Ian Walsh

12.45 – 14.00 WG7: 13 x Working Groups

14.45 – 16.15 WG8: 13 x Working Groups

16.30 – 17.00 Book launch

17.00 – 18.15 GP3: 12 x General Panels

18.30 Plenary: Mojisola Adebayo in conversation with Justine Nakase

19.30 Working Group convenors meeting

19.45 Evening entertainment (videoed performance will go live and stay live for 24 hours)

14 15 GENERAL NEW WORKING PANELS SCHOLARS GROUPS

GENERAL PANELS

GP1 – TUESDAY 13.00 - 14.15 GP2 – TUESDAY 15.00 - 16.15 GP3 – WEDNESDAY 17.00 - 18.15 GP4 – THURSDAY 19.00 - 20.15 GP5 – THURSDAY 21.00 - 22.15 GP6 – FRIDAY 13.15 -14.30

GP1 TUESDAY 13.00 - 14.15 REPRODUCTIVE RIGHTS IN (SEMI-)PUBLIC MISBEHAVIOR AND PASSION ON THE XIXTH SPACES: TWO CASE STUDIES CENTURY STAGE PROGRAMME AT A GLANCE Eva-Maria Kubin (University of Salzburg) Katalin Ágnes Bartha (Babes-Bolyai University, GP1-A Theatre and the Pandemic Romania) Chair: Sarah Hoover Day 4 - Thursday 15 July THE “MOTHER-LAND” IN THE WORKS OF ANA THEATRE LOYALS MENDIETA, THE BODY AND ITS DIALOGUE WITH Felipe Cervera (Lasalle College of the Arts, Singapore) GP1-F Staging Animals 12.00 - 12.30 Book launch THE ENVIRONMENT Chair: Elise Robinson Rezvan Zandieh (Sorbonne Nouvelle University 13.00 – 14.15 NSF3: 9 x New Scholars Forum ARTISTIC FREEDOM IN DIGITAL ECOLOGY: THEATRE IN THE PLACE OF ANIMALS IRANIAN THEATRE-MAKERS RECLAIMING THEIR Mihai Florea (University of Bristol) GP1-D Sustainability and Performance 15.00 – 16.15 WG9: 11 x Working Groups RIGHT OF SPEECH Azadeh Ganjeh (University of Tehran) Chair: Anna McMullan “STAGE ANIMALS”, ETHICAL-PHILOSOPHICAL 17.00 – 18.15 WG10: 12 x Working Groups REGAINING THE PERFORMATIVITY TO THE PROBLEMS AND SOCIAL REPRESENTATIONS OF ‘THIS IS MY LIFE’: KIRSTY YOUNG AND ECOLOGICAL VIEW THE HUMAN-ANIMAL / NON-HUMAN-ANIMAL IN 19.00 – 20.30 GP4: 11 x General Panels + NSF Professionalisation Workshop I CUMBERNAULD THEATRE’S LIPSYNC (2019) AND Youngjoo Choi (Korean National University of Arts) THE THEATRE THE COVID-19 PANDEMIC Carlos Dimeo (University of Bielsko-Biala) 21.15 – 22.30 GP5: 10 x General Panels + NSF Professionalisation Workshop II Maggie Inchley (QMUL) PERFORMING WATER GOVERNANCE IN PERU: EFFECTING NATURAL RESOURCE GOVERNANCE THEATRE AND ANIMALS IN TRANSCULTURAL 20.00 Evening entertainment (videoed performance will go live and stay live for 24 hours) GP1-B Curated Panel - Environments BY MEANS OF PERFORMANCE PERSPECTIVE. THREE CASE STUDIES: ANCIENT and Physicality of ‘Royal Bodies’ Michelle Nicholson-Sanz (Royal Central School of Speech GREEK THEATRE, PERFORMANCE ART, 21ST- Day 5 – Friday 16 July Chair: Hayato Kosuge and Drama) CENTURY STAGE WORKS 09.00 – 10.15 WG11: 11 x Working Groups CELEBRATED “HITTORĀ” - NAZI SALUTE Johanna Hörmann (University Salzburg) ONSTAGE IN THE POSTWAR JAPAN THEATRESPORTS ‘THODA’: DIMINISHING LEGACY OF RITES AND RITUALS IN WESTERN HIMALAYA 11.00 – 12.30 WG12: 11 x Working Groups Ken Hagiwara (Meiji University) GP1-G Ecologies of Collaboration Yogesh Chander (B.P.S. Mahila Vishwavidyalaya, India) Chair: Kasia Lech 13.15 – 14.30 GP6: 10 x General Panels + NSF Professionalisation Workshop III THE REPRESENTATION OF THE SYMBOL GP1-E Historical Contexts SOCIAL SUSTAINABILITY AND BACKA THEATRE’S OF JAPAN: AN ANALYSIS OF THE JAPANESE 15.15 – 16.45 NSF4 Caucus Chair: Tom Cornford STAGING OF RED CARD (2014) EMPEROR IN NODA HIDEKI’S “TO THE SOUTH” Sandra Grehn (University of Gothenburg) 17.00 – 18.30 Plenary & Closing (2011) FROM THE PERSPECTIVE OF THE WITCHES AND NATURE: ECOSYSTEMS AT POLITICAL AND SOCIAL ENVIRONMENT THE BERGTHEATER THALE AND ITS 1926 Plenary Lecture: Brian Singleton “Standing by Small Acts of Citizenship: Contemporary Irish Theatre at the Faultlines of Social Change” Rei Inayama (Senshu University) PRODUCTION OF GOETHE’S “FAUST I” THE COLLABORATION CONUNDRUM: THE CASE Chair: Miriam Haughton Sascha Forster (University of Cologne) OF “A NEW NORMAL CINDERELLA: A BEDTIME Presentation by IFTR 2022 hosts GP1-C Ecofeminisms STORY FOR ADULTS” AT THE APAF, TOKYO FESTIVAL 2018 Closing remarks: Charlotte McIvor, Elaine Aston Chair: Shonagh Hill SPITTING DISTANCE: ECOLOGIES OF CHANGE Olivia Kristine Nieto (University of the Philippines) NATURE IN MARINA CARR’S ON RAFTERY’S HILL: AND CLASSIC-ING 18.45 Evening entertainment (videoed performance will go live and stay live for 24 hours) HOLDING A MIRROR TO IRISH SOCIETY Susan McClements Wyss, (University of Cologne, Salomé Paul (Trinity College, Dublin) Germany and Flinders University, Australia)

16 17 DRAMA TRANSLATION AND THEATRICAL TAWIRAN: AN ECO-THEATRE PERFORMANCE NOTE *In the second portion of the panel you ECO-SCENES. STRATEGIES OF SCENOGRAPHIC GP2-F Power, Politics, Performance THERE WERE ANGRY YOUNG ECOSYSTEMS IN CHILE (1818-1910) ABOUT THE PASIG RIVER are welcome to participate in a short live zoom INTERVENTION Chair: Sylwia Dobkowsk CHOREOGRAPHERS. AND THEY ARRIVED EARLY performance. If you would like to participate, please Andrea Pelegri Kristic (Pontificia Universidad Católica Maria Shantelle Alexies Ambayec (University of the Birgit Wiens(LMU Munich) Cristina de Lucas (University of Valladolid) de Chile) Philippines) bring a ball of red wool or string (or other colour if red THE INTERVENTION OF NATURE AND not available) and some masking or other tape. It should LANDSCAPES IN ALBERT CAMUS’ THEATRE CLIMATE CRISIS SCENOGRAPHICS: SUPERFLEX’S GP2-I Acting, Presence, Embodiment GP1-K Contemporary Eco- be thick enough to be visible over zoom. If you prefer, Sophie Bastien (Royal Military College of Canada) GP1-H Digital and Multimedia ‘THIS IS NOT THE END OF THE WORLD’ (2019) Chair: Sophia Lycouris performances you may also just observe. Performances, in and through the Rachel Hann (Northumbria University) Chair: Benjamin Wihstutz DECODING GARLAND-GIVING: POWER, STEPS TO AN ECOLOGY OF THEATRE pandemic COGNITIVE ECOLOGIES FOR THE ACTOR- CONTEMPORARY ECO-PERFORMANCES AND ACCEPTANCE, AND SOCIAL RELATIONS IN THAI Anita Piemonti (University of Pisa) Chair: Joanne Scott CREATOR AND GORDON CRAIG’S SCHOOL FOR GP2-C Political Protest ALAIN BADIOU’S THEORY OF THE ‘EVENT’: POPULAR FOLK THEATRE THE ART OF THE THEATRE Chair: Maria Delgado INSISTENT THEATRE: ECOLOGIES OF EXPLORING ‘NEW POSSIBILITIES’ IN THE FACE Luxsnai Songsiengchai (Chulalongkorn University) EMBODIED I-SAN TONE: I-SAN IDENTITY IN THAI Maiya Murphy (National University of Singapore) SURVIVAL OF CLIMATE CHANGE THEATRICAL AND PERFORMATIVE STRATEGIES IN CONTEMPORARY THEATRE & PERFORMANCE CONTEMPORARY BRAZILIAN POLITICS IN SOME Jazmin Llana (De La Salle University, Philippines) Ellen Redling (University of Birmingham) REPEAT, PERFORM, ENGAGE: STAGING HISTORY TANATCHAPORN ZOOM PARTICIPATORY ACTION: TO YOU <-> TO ICONIC EXAMPLES (2015-2020) IN КIRILL SEREBRENNIKOV’S POLITICAL Tanatchaporn Kittikong (Khon Kaen University) ME Juliana Coelho de Souza Ladeira (São Paulo University/ WEATHER# A VIRTUAL THEATRICAL VENUE TO BOILING FROGS REVISITED: THE STATE OF PLAY THEATRE FAPESP – São Paulo Research Foundation) PROMOTE THE DIALOG ABOUT THE CLIMATE IN ACTING PRACTICE TO YOU <-> TO ME: A SCENOGRAPHY OF MUTUAL Yana Meerzon (University of Ottawa) GP2-J ‘Leftist Ecologies in Everyday Life CHANGE Ian McNish (University of South Wales) DEPENDENCE AND MULTIDIMENSIONAL and Theatre’ POLAND THEATER, AN UNSOLICITED CASUALTY Monica Cristini (University of Verona) SENSING GP2-G The Ecology of Theatrical Chair: Mallarika Sinha Roy OF THE POLITICAL CLIMATE CHANGE IN POLAND Christina Penna (University of Derby) HUMANS, NATURE AND DISGUST, OR, “WITHOUT Environments: Space And Fantasy REVOLUTIONARY INTIMACIES: FRIENDSHIP, TRANSMEDIA PERFORMANCE: A DRAMATURGY Magdalena Szuster (University of Łódź) MAN, THE FOX WILL RULE” In Nineteenth Century Performance LOVE, AND THEATRE OF GAZE THROUGH TECHNOLOGY Leila Michelle Vaziri (University of Augsburg ) GP2 – TUESDAY 15.00 - 16.15 (Curated Panel) Silvija Jestrovic (Warwick University) Ester Fuoco (University of Genoa) GP2-D Agency, Activism, Urgency Chair: Kate Newey GP2-A Colonial, Post-Colonial, and Chair: Marina Hadjilouca GP1-L Political Performance WG FANTASIES OF THE NATURAL WORLD IN DARK THINGS GP1-I Nature Stories and Mythologies Orientalist Ecologies “DOING SOMETHING”: CLIMATE BREAKDOWN Curated Panel - The Politics of the Chair: Karen Quigley POPULAR NINETEENTH-CENTURY THEATRE Chair: Stephanie Sandberg Anuradha Kapur industry AND A PERFORMATIVE OUTLINE OF [PART OF PANEL] OTHER LANDSCAPE – POST-COLONIAL THEATER ALTERNATIVES NATURE STORIES AND MYTHOLOGIES: Chair: Trish Reid Jim Davis (University of Warwick) QUESTIONS OF PERFORMANCE AND ECOLOGY IN PORTUGAL Teemu Paavolainen (Tampere University) WHY I AM STILL A SOCIALIST ‘LIVING AND LEARNING’: EVALUATING THE Margarida Adónis Torres (College of Education of IN INDIA Janelle Reinelt (Warwick University) PLAYHOUSE THEATRE AND PEACE-BUILDING Coimbra) MELODRAMA, IMMERSION AND AFFECT M. Rizwan Khan (Aligarh Muslim University) “THIS IS NOT A DRILL”: THE URGENCY OF ACADEMY (2018-2020) Kate Newey (University of Exeter) AFFIRMATIVE ETHICS IN THE ANTHROPOCENE GP2-K Theatre in the face of changing David Grant (Queen’s University Belfast) ENVIRONMENTAL ACTIVISM AND THE THE PLAYWORLD OF MOUNTAIN DRAMA: AND TOM STOPPARD’S DARKSIDE DECOLONIAL LABOUR OF CONTEMPORARY SAMI IS THIS THE REAL THING? IMMERSIVE urban environments (curated panel) ASSESSING THE CLIMATE OF THEATRE AND HIGH Candan Kızılgöl Özdemir (Ankara University) Chair: Katherine Low POLITICS, CULTURE, AND IDENTITY IN ACTOR CULTURAL PERFORMERS TECHNOLOGIES ON THE NINETEENTH-CENTURY LANDSCAPES TRAINING: AN ETHNOGRAPHIC INVESTIGATION Dirk Gindt (Stockholm University) STAGE SCIENCE, TECHNOLOGY, AND THEATRE: Jonathan Pitches (University of Leeds) THEATRE, THEATRICALITY AND THE (STILL) OF DRAMA SCHOOLS IN OCEANIA Patricia Smyth (University of Warwick) PERFORMING NEW ENVIRONMENTS BIRTH OF THE SECOND REPUBLIC IN MALTA Peter Zazzali (LASALLE College of the Arts) RACE, OCCIDENTALISM/ORIENTALISM AND Kornélia Deres (ELTE University) READING SPANISH PLAYWRIGHT JUAN CARLOS Marco Galea (University of Malta) SINO-CENTRISM IN CONTEMPORARY CHINESE THE FANTASY OF UNMECHANISED FLIGHT IN AN RUBIO’S ARIZONA WITH ECOLOGICAL POINTS ECOLOGY OF POLITICAL THEATRE IN PUNJAB THEATRE OTHER WORLD: JULES LÉOTARD AT CREMORNE OF VIEW, RATHER THAN RACIAL AND GENDER GP2-E Ways of Seeing, Ways of Re- MODERNIZATION AND A REPRESENTATION OF (PAKISTAN) UNDER THE NGOS PROJECTS: FROM Mary Mazzilli (University of Essex) PLEASURE GARDENS IN 1861 PROBLEMS Presenting BIBLICAL AND SHTETL HISTORY IN LUFTGLASS THE POLITICS OF RESISTANCE TO THE POLITICS Kate Holmes (University of Exeter) THEATRE DESIGN Junko Okamoto (Osaka University) OF RIGHTS Chair: Andrea Pelegri Kristic GP2-B Sceneographic Perspectives Olga Levitan (The Hebrew University of Jerusalem) Qaisar Abbas (University of Exeter) Chair: Nik Wakefield PERFORMING IN THE PASTORAL MODE AT THE GP2-H Choreographic Encounters GP1-J Natural worlds, Networks, and SUPERMARKET Chair: Aoife McGrath Underworlds 50 YEARS OF SET DESIGN IN FRANCE: HOW BÉLA BARTÓK’S »MIRACULOUS MANDARIN« AND GP1-M Cognitive Ecologies in Theatre Stephanie Vella (CUNY) URBAN RENEWAL FOR COMMUNITY-BUILDING: Chair: Jef Hall-Flavin REPRESENTATION OF NATURE ON STAGE THE SOUNDSCAPE OF URBANIZATION History, Training and Performance - VIRGILIO SIENI’S CHOREOGRAPHIC MODEL OF IS CONNECTED TO THE EVOLUTION OF AN Sofie Taubert (University of Cologne) GORKY’S THE LOWER DEPTHS IN JAPANESE REPRESENTATIONS OF THE STEPPES BY SOVIET ACTION Curated Panel ENVIRONMENTAL CONSCIOUSNESS THEATRE: THE MOTIF OF HOMELESS AND WASTE Chair: Alex Halligey PLAYWRIGHTS Rossella Mazzaglia (University of Bologna and Messina) Clarence Boulay (EHESS Paris) Iryna Kastylianchanka (Osaka University) Natalia Semenova (St Petersburg State University)

18 19 GP3 – WEDNESDAY 17.00 - 18.15 AT THE LIMITS OF SOCIAL SUSTAINABILITY, “LANDSCAPES OF DYSTOPIA: POST- GP3-I Water Flows: Performing Cultural GP3-L Globalization, Ecology and GP4-C Questioning Politics, Enabling BEFORE AND AFTER THE COVID-19 OUTBREAK – APOCALYPTIC IMAGERY IN KAREN MALPEDE’S and Political Ecologies (Curated Panel) Depletion: Cartographies of Solidarity, Activism, Embodying Absence GP3-A Political Histories, Political LABOUR FLEXIBILIZATION IN GERMAN THEATRE PANDEMIC PLAY TROY TOO” Advocacy and Resistance Chair: Douglas Eacho Legacies AND BEYOND Avra Sidiropoulou (Open University of Cyprus) Chair: Silvija Jestrovic Chair: Winter Phong Alexandra Manske (Hafen City University Hamburg) and BE WATER! ENVISIONING A NEW GLOBAL ORDER EMPTYING OUT: CONSTRUCTED ABSENCES IN A OF INTERCULTURAL JUSTICE THE EXPROPRIATION OF SUBALTERN WORLDS THEATRE WITHOUT PERFORMERS CHALLENGING SOCIAL ENVIRONMENT OF Sebastian Stauss (LMU München) “THE RIVERS CONNECT US”: THE Daphne Lei (University of California, Irvine) AND POSTCOLONIAL OPENINGS Ilana Khanin (University of Toronto) REVISIONISM: THEATRICAL REMINDER ENVIRONMENTAL CONSCIOUSNESS OF PING GP3-D Barriers, Borders, Landscapes Milija Gluhovic (University of Warwick) ON HOLOCAUST AS AN ACT OF CULTURAL CHONG + COMPANY’S WHEN THE SALMON Chair: Rikard Hoogland “ECOLOGY” SPOKE (2020) GODDESS SARASWATI’S DEFIANCE AND OTHER ‘POST-THEATRE’ AS A STRATEGY OF HUMAN JOURNEYS QUESTIONING NEW POLITICAL ORDERS IN Darko Lukic OUR CARCERAL LANDSCAPE: AESTHETIC Diana Benea (University of Bucharest) POSTCARDS TO THE FUTURE: HARMING PRECARITIES AND THE POLITICS OF Ketu Katrak (Universiy of California, Irvine) and Anita COMMUNITIES HUNGARY AND POLAND REPRESENTATION Ratnam (Arangham Dance Theatre) Ameet Parameswaran (Jawaharlal Nehru University) Niklas Füllner (Ruhr University Bochum) THEATRE IN A HOSTILE ENVIRONMENT – JERZY GP3-G Pandemic Perspectives JURANDOT’S LOVE IS LOOKING FOR A ROOM Keri Watson and Julia Listengarten (University of Central Chair: Patrick Lonergan ZOOESIS AND GLOBALITY: THEATRE ECOLOGIES, TIPPING POINTS. ON THE CONSEQUENCES OF WRITTEN IN THE WARSAW GHETTO AND ITS Florida) GP3-J Political Performances WG INTERVIEWING FREELANCE THEATRE-MAKERS ACTIVIST PERFORMANCE TREATMENT OF AN ENVIRONMENT BUILT TO sponsored general panel: Political GLOBALISATION AND SURIVIVAL DURING COVID-19: PRECARITY, LABOUR, AND Benjamin Wihstutz (Johannes Gutenberg-Universität DESTROY LIFE human & more-than-human Shirin M. Rai (University of Warwick) LOOK AT MY INTER:FACE. THE MEXICO-US HOPE Mainz) Verena Arndt (University of Mainz) BARRIER AS A DEMAGOGIC LIEU DE PAROLE performances James Rowson (University of Essex) Julia Stenzel (University of Mainz) Chair: Cristina Delgado-Garcia GP4 – THURSDAY 19.00 - 20.15 GP4-D Communities GP3-B Hostile Environments: REMEMBERING AIR WITH MEREDITH MONK AND GP4-A Circus and Carnival COVID-19 AND THEATRE ECOLOGY Chair: Rossella Mazzaglia Performance and Activism in an GP3-E Ecodramaturgical Re- PAMELA Z Chair: Bess Rowen SUSTAINABILITY: CONSIDERATIONS OF Unreceptive World Cara Berger (University of Manchester) ON THE ART OF THE VILLAGE, SOCIAL DISTANCE Examinations THE ECOLOGIES OF CARNIVAL: SURROGATING Chair: Pieter Verstraete FREELANCE ARTISTS AND THE CONCERN FOR CAREFREENESS Chair: Giuliano Campo DISASTER IN POST-EARTHQUAKE HAITI Ali FitzGibbon and Kurt Taroff (Queen’s University Berenika Szymanski-Düll (LMU Munich) REFUGEES PERFORMING IN HOSTILE PRIMITIVE ICESCAPES: PERFORMANCE THE DESTRUCTION OF PARADISE: AN Belfast) Sabine Kim (University of Mainz) ENVIRONMENTS EXAMINATION OF ENVIRONMENTAL TRAUMA ANALYSIS OF A UN SPECIAL REPORT ON CLIMATE LOVING THE STORM: SURVIVING NATURE Stephen Wilmer (Trinity College Dublin) EXPERIENCED BY MEENA AND ASH IN THE STAGE CHANGE FREELANCERS IN THE DARK: SURVEYING RE-IMAGINING ANIMALITY: THE FRENCH CIRCUS IN NORTH-AMERICAN-ICELANDIC SETTLER PLAY, PARADISE Clara Wilch (UCLA) THEATRE FREELANCERS DURING COVID-19 AVANTGARDE AND THE RETURN TO THE ANIMAL PERFORMANCES “HOSTILE ENVIRONMENTS: STAGING CONFLICT Yasmine Beverly Rana (Northeastern University) Laura Harris (Manchester Metropolitan University) IN ACTIVIST PERFORMANCE” GP3-K Theatre History and Ante Ursic (UC Davis) Magnus Thorbergsson (University of Iceland) Victoria Scrimer (University of Maryland) ECOLOGIES OF POLITICAL AND INTELLECTUAL Historiography Working Group (Curated GP3-H Feminist Working Group NATIONALISM REDUX: RACE AND GERMAN/U.S. THOUGHT IN LI JING’S COMEDIES FROM THE Panel) AUSTRIA SONGSTERS & SARDINES: SHIFTING (Curated Panel) INTERHISTORIES ARTISTIC EXPRESSION BENEATH A BLUE STATE OF QIN Chair: Claire Cochrane ENVIRONMENTS OF CULTURAL PERFORMANCE Chair: Lisa Fitzpatrick Jessica Adam (CUNY) SHADOW: PERFORMANCE, VIOLENCE AND THE Anke Charton (University of Vienna) Andreea Chirita (University of Bucharest) THE GRANDMOTHER AND THE GRANDDAUGHTER POLICED ENVIRONMENT CITIZEN SPECTATORS? IN THE YIDDISH POPULAR THEATRE (1880- GP4-F Ecosystems of Artistic Survival in James Harding (University of Maryland) COMMUNAL DISCOMFORT: DOCUMENTARY Elin Diamond (Rutgers University–New Brunswick) 1920): ON THE EVOLUTION AND DECLINE OF A GP4-B Realism and Remembrance THEATRE AND PROTEST IN THE COVID-19 THEATRICAL MODEL Chair: Irene Lehmann the Southern Cone THEATRES OF THE STREETS - A SOCIALIST Chair: Helen Gilbert GP3-C Buildings And Institutions PANDEMIC Ruthie Abeliovich (University of Halfa) TRANSPHOBIA AND PARDON: A PERFORMANCE Chair: David Grant MATERIALIST FEMINIST PRACTICE AND ANALYSIS Luke Lamont (University College Dublin) REMEMBERING LAUDE’S DEATH PIEL DE LAVA AND PETRÓLEO: COLLECTIVE Bishnupriya Dutt (Jawaharlal Nehru University) ECOLOGIES OF THEATRE-MAKING THEATRES MADE FOR PEOPLE? ARTISTIC EXCHANGES AT THE ROYAL DANISH Allen Baylosis (New York University) Maria Delgado (Royal Central School of Speech and John Andreasen (Aarhus University) GP3-F Ecocritical Readings And Re- THEATRE WOM(E)N DIRECTING SHAKESPEARE IN THE Ulla Kallenbach (University of Bergen) Drama, University of London) Readings PUERTO RICO, YOU LOVELY ISLAND: THEATRE, Chair: Giuliano Campo 21ST CENTURY THE WIESBADEN THEATRE IN 1920 – TRAUMA AND HEALING IN RESPONSE TO (UN) Kim Solga (Western University) CARTONERXS ECOLOGIES: BUENOS AIRES’S DIY CONTINUITY AND CHANGE OF THE GERMAN ENVIRONMENTS OF TERROR: AN ECOCRITICAL POLISH-NORWEGIAN THEATRICAL ENCOUNTERS NATURAL DISASTER THEATRE ECOLOGY AS A METHODOLOGICAL CHALLENGE INDEPENDENT THEATRE AND FILM READING OF SOJI COLE’S EMBERS Colleen Rua (University of Florida) Sabine Paesler (University of Colgone) Ewa Partyga (Institute of Art, Polish Academy of Jean Graham-Jones (CUNY Graduate Center) Ngozi Udengwu (University of Nigeria, Nsukka) Sciences)

20 21 LET’S PARTY: FUNDRAISING AND SOCIAL GP4-I Sensing the City: An Embodied GP4-L-NSF Professionalisation GP5-C Climate Migrations GP5-G Institutional Eco-Systems GP5-J Communities for Sustainability RESISTANCE IN TIMES OF CRISIS Documentation & Mapping of the Workshop I: Post-doctoral Chair: Ildikó Sirató Chair: Art Babayants and Alternative Futures Milena Grass (Pontificia Universidad Católica de Chile) Changing Uses and Tempers of Urban opportunities CLIMATE MIGRATION AND THE PROSPECTS FOR THE ECOLOGY OF COLLABORATION: CREATING Chair: Rebecca Free Chair: Aastha Gandhi Place PERFORMANCE IN AN INTERDISCIPLINARY AND INTERCULTURAL SUOMI PERFORMANCE, UTOPIA, AND GP4-G Performance and Solidarity: Chair: Josh Edelman Paul Rae (University of Melbourne) ECOSYSTEM ALTERNATIVE FUTURES Shifting sites, stories and scenes Mark Fleishman (University of Cape Town, South Africa) Natalie Garrett Brown, University of East London Eric Dela Cruz (DLS-College of Saint Benilde) Pilvi Porkola (University of Turku) (Curated Panel) THE DYNAMICS OF REFUSAL AND ECOLOGIES OF Milija Gluhovic (University of Warwick, UK) Chair: Selina Busby Carolyn Deby, sirenscrossing /independent EXCLUSION IN PARTICIPATORY AGRI-CULTURAL SUBSIDISING A NATIONAL THEATRE ECO- ARTISTS ACTIVATING SUSTAINABILITY: THE PROJECTS WITH IMMIGRANT POPULATIONS IN SYSTEM: AUSTRALIA’S ‘SHADOW CANON’ CROSS-TERRITORIAL BODIES AND MIGRANT OREGON STORY Emma Meehan, Coventry University GP5 – THURSDAY 21.00 - 22.15 THE PARIS BANLIEUE LABOUR: THE CASE OF PUBLIC COLLECTION Chris Hay (University of Queensland) Sarah Harper (Queen Mary University) Barbara Sellers-Young (York University) (PIRICI AND PELMUS 2016 Michael Pigott, University of Warwick GP5-A Applying Theatre, Adapting Diana Damian Martin (Central School of Speech and Theatre PERFORMING THE REFUGEE ARCHIVE: REFUGEE GP5-H Fragmented Ecologies, Framing TOMORROW WITHOUT TOMORROW BY DAHAM Nese Ceren Tosun, Uniqorn Academy /independent Chair: Luke Lamont Drama) THEATRE, SELF-REPRESENTATION AND Practices YO: A SITE-SPECIFIC PERFORMANCE IN URBAN THEATRICAL ADAPTATIONS, ADAPTING TO This panel will also launch the edited collection that EMPOWERMENT THROUGH STORYTELLING Chair: Susan Kattwinkel ENVIRONMENT IN THE 21ST CENTURY SEOUL CLIMATE CHANGE THROUGH APPLIED THEATRE STORIES, SCENES AND SITES OF RESISTANCE: resulted from the project: Urban Sensographies edited Paul Dudman (University of East London) SURVIVING AN ALIEN INVASION: CHILEAN Jirye Lee Lara Aysal (University of British Columbia) CREATING THEATRE AND SEARCHING FOR by Nicolas Whybrow (Routledge 2020). THEATER MANEUVERING THROUGH NEW SPATIAL JUSTICE IN THE STREETS AND LANES GP5-K-NSF Professionalisation CONFLICTED SPACES: WHO OWNS THE STORIES GP5-D Monstrosity CHILEAN POLITICAL ECOSYSTEM OF MUMBAI GP4-J Populism and Theatre History Chair: James Rowson Andres Kalawski (Pontificia Universidad Católic) Workshop II: Keynotes Roundtable- Selina Busby (Royal Central School of Speech and OF PERFORMANCE IN COMMUNITIES? (Curated Panel) General Panel Drama) Gemma Kerr (University of Surrey) FRANKENSTEIN IN (AND BEYOND?) THE Chair: Mechele Leon PLAYWRITING WITH PERSONAL TESTIMONY: Chair: Taiwo Afolab ANTHROPOCENE: PERFORMING ECOLOGICAL DEATH, DINNER AND PERFORMANCE: AGONISM IN ACTION MONSTROSITY CREATING PERFORMANCE ECOLOGIES THAT Jane Milling (University of Exeter) COMMENSALITY, AUTOBIOGRAPHY AND Marina Ni Dhubhain (NUI Galway) Chantal Bilodeau HOST SUSTAINED CAMPAIGNING: AMPLIFYING Fabiola Camuti (ArtEZ University of the Arts) CONVERSATIONS ON DEATH AND DYING Brian Singleton THE VOICES OF REFUGEE WOMEN IN THE Dorota Sosnowska (University of Warsaw) FRAGMENTED ECOLOGIES: TRANSLATING Sheila McCormick (University of Salford) IN YOUR TIME, AS IT WAS IN OURS: MEMORY AND ENUNCIATIVE SPACE THROUGH PERFORMANCE CRUELTY AND COMMODIFICATION IN THE DARK Meike Wagner (Stockholm) MATERIAL IN NUCLEAR SEMIOTICS Denise Varney POETRY THINGS (2009) THROUGH/AS DÉBRIS (2014) GP5-B Measuring, Modelling, and Jared Strange (University of Maryland) Rebecca Hayes Laughton (Royal Central School of David Wiles (Exeter) Aileen Ruane (Université Concordia) Archiving Theatre-Making GP5-L Ecodramaturgies Speech and Drama) “ALL OF SAVAGE NATURE”: DECONSTRUCTING Chair: Kristin Leahey Chair: Candan Kızılgöl Özdemir GP4-K Selfhood, Mental Health, VIOLENT VEGETATION ON AMERICAN STAGES GP5-I Tragic Wounds, Ruined CREATING AFFECTIVE ATMOSPHERES: SHIFTING ECODRAMATURGY OF THE FOREST: THE VIRTUAL THEATRE MODELS: LOCATING Bess Rowen (Villanova University) Landscapes Creativity STRANGE UNDOING OF DOT THEATRE IN THE FELT GEOPOLITICS OF URBAN VIOLENCE Chair: Ian McNish ENVIRONMENTS AND LANDSCAPES IN THE Chair: Sophie Bastien THROUGH PERFORMANCE IN HILLBROW, SOUTH DIGITAL ARCHIVE ISTANBUL PERFORMING ECOLOGIES: YOUTH, MENTAL GP5-F Creative Processes REDEFINING THEATRE’S SOCIAL FUNCTION: Ekin Bodur (Cambridge University) AFRICA Joanne Tompkins (University of Queensland) Katharine Low (Royal Central School of Speech and HEALTH, AND POLICY ENACTMENT DURING THE Chair: Marco Galea ERIKA FISCHER-LICHTE AND JOACHIM FIEBACH Drama) TIME OF COVID ECOLOGIES OF AMATEUR THEATRE IN ELUCIDATING ORCHESTRATION AS AN ON GERMAN THEATRE AFTER 1989 ‘A NEW ECODRAMATURGY: THE CHEVIOT, THE Ananda Breed (University of Lincoln) SWITZERLAND. QUANTITATIVE ASPECTS. AESTHETIC OF MUSIC THEATRE Radka Kunderova (Freie Universität Berlin) STAG AND THE BLACK, BLACK OIL (1973) BY GP4-H Pre-Modern Media Ecologies: Joel Mähne (University of Bern) Ryan Thomas Green (University of Plymouth) JOHN MCGRATH Challenges – Approaches – LYGIA CLARK’S “RESTRUCTURING OF THE SELF” A TRAGIC WOUND: SOME ASPECTS OF SCENE’S Isla Cowan (University of Glasgow) ECOLOGIES OF AMATEUR THEATRE IN HISTORY, MEMORY, FICTION: DOCUMENTING Perspectives. Roundtable Discussion AS AN ENVIRONMENTAL METHOD FOR ARTISTIC MATERIALITY SWITZERLAND. QUALITATIVE ASPECTS CREATIVE PROCESS Chair: Peter W. Marx CREATION Vinicius Torres Machado (São Paulo State University) BELONGING AS COLLECTIVE PLAYWRITING FOR A Beate Schappach (University of Bern) Juliana Moraes (State University of Campinas) Claire Borody (University of Winnipeg) GLOBAL CRISIS: AMELIA EARHART REIMAGINED Tracy C. Davis SITUATED KNOWING IN Helene Grøn (University of Glasgow) LIGNA: ON HOW TO NOT FORGET NATURALCULTURALTECHNOLOGICAL RUINS OF Pavel Drabek (University of Hull) Irene Lehmann (FAU Erlangen-Nuernberg) EASTERN EUROPE Erith Jaffe-Berg (University of California, Riverside) Mateusz Chaberski and Ewa Bal (Jagiellonian University in Kraków, Poland) Odai Johnson (University of Washington)

22 23 GP6 – Friday 13.15 to 14.30 GP6-D Staging Ibsen REVISITING THE ANTHROPO(S)CENE: GP6-I Theatre’s Local Ecosystems GP6-K NSF Professionalisation Chair: Wlllmar Sauter THEATRICAL PRACTICES BEYOND THE HUMAN Chair: Trish McTighe Workshop III – Careers Beyond GP6-A Intercultural Flows STAGE MEMBERS ONLY: ECHOS OF AN AVANT-GARDE AN IRISH THEATRE FOR THE ANTHROPOCENE: Academia Chair: Agata Łuksza Michael Wehren (Leipzig) THEATRE CULTURE IN THE IBSEN RECEPTION OF DRUID THEATRE, BECKETT AND WAITING FOR Chair: Taiwo Afolabi WHAT ARISES FROM DISTORTION: THE LATE NINETEENTH-CENTURY GERMANY” GODOT PERSPECTIVE OF ‘THE EAST VIEWED FROM THE GP6-G Shakespearean Ecologies THIS WORKSHOP WILL EXAMINE ALTERNATIVE Ruth Schor (Tel Aviv University) Patrick Lonergan (National University of Ireland CAREER OPPORTUNITIES OUTSIDE ACADEMIA WEST’ IN THE SEVEN STREAMS OF THE RIVER Chair: Kurt Taroff Galway) OTA FOR POST/DOCTORAL GRADUATES. INDIVIDUAL, PUBLIC, POLITICS, AND MEDIA IN CASTING DISABILITY IN A MODERN PANELLISTS WILL SHARE THEIR EXPERIENCE Mitsuko Sumida (National Institute of Technology, ECOLOGY AND EXTINCTION IN IRISH THEATRE: THEATRE AND ECOLOGY: ECOLOGICAL PLAYS ADAPTATION: MIKE LEW’S TEENAGE DICK AND OF FORGING CAREERS OUTSIDE ACADEMIA Tsuyama College) TOM MURPHY’S NATURALISM SHAKESPEARE’S RICHARD THE III AFTER GRADUATING FROM POST/GRADUATE INCLUDING IBSEN’S AN ENEMY OF THE PEOPLE Moonyoung Hong (Trinity College Dublin) Yuko Kurahashi (Kent State University) PROGRAMS. GP6-B Policy Winter Phong (Oklahoma State University) PERFORMING THE FAMILY: LAW AND THE STATE Dr. Tobias Biancone (Director General, International Chair: Milena Grass Kleiner GP6-E Ecologies of History and Ritual SUSTAINABILITY OF SHAKESPEARE AND ITS IN ‘MODERNISING IRELAND’, 1950 - 1979 Theatre Institute/UNESCO) THEATRE AS AN AGENT OF CHANGE: Barry Houlihan (National University of Ireland Galway) Chair: Ekua Ekumah TRANSLATION IN JAPAN Nike Jonah (Executive Director, Pan-African Creative CHALLENGES OF GREEN CONCEPTS IN SERBIA Keiko Oku (Meiji University) Exchange) Jovana Karaulic (Faculty of Dramatic Arts Belgrade) THEATRES IN THE ERA OF MASS EXTINCTION: FROM LEIBNIZ’S CONCEPT OF THÉÂTRE DE LA GP6-J Japanese Performance Ecologies Chair: Jazmin Llana Octavian Saiu, Adjunct Secretary-General of the NATURE ET DE L’ART TO THE MODERN DIGITAL THE APPEARANCE OF FEMALE HAMLET IN TOWARDS AN INCLUSIVE THEATRE PRACTICE: International Association of Theatre Critics (IATC) and ART MUSEUM MODERN JAPAN; THE REPRESENTATION, PREMONITIONS FROM THE PAST, HAUNTINGS SCOTTISH DISABILITY ARTS UTOPIA President of the Romanian Section (Theatre Studies) of Asuka Yamazaki (Nihon University, College of OBJECTIFICATION AND IDENTITY OF FROM THE FUTURE: PERFORMANCE Judith Drake (University of Edinburgh) IATC Commerce) ACTRESSES EXPERIMENTS IN KYOTO Makiko Kawano (Meiji University) Andrew Eglinton EXPANDING ART WORLDS: PANSORI THEATRE IN CONQUEST OF THE AIR – THEATRICALITY, KOREA’S CONTEMPORARY PERFORMING ARTS TECHNOLOGY AND ENVIRONMENT AT THE 1909 WHAT CAN THEATRE DO FOR LOCAL ECOSYSTEM GP6-H Asymmetries, Ecologies and INTERNATIONAL AERONAUTICAL EXHIBITION IN DEVELOPMENT? – THE CASE OF THE KINOSAKI Jan Creutzenberg (Ewha Womans University) Environments in the work of Clean FRANKFURT AM MAIN Break INTERNATIONAL ART CENTRE Christina Vollmert (University of Cologne) Chair: Sarah Bartley Barbara Geilhorn (German Institute for Japanese GP6-C Theatre-Making Futures Studies) NAVIGATING INSTITUTIONAL ECOLOGIES OF Chair: Anke Charton THE THEATRE STAGE AS SPACE OF PRISON AND PERFORMANCE IN THE WORK OF SUSTAINABILITY OF OGANO KABUK POTENTIALITY. NEIL COPPEN’S RE-WILDING BUTOH’S ECOSYSTEMS OF CRUEL CLEAN BREAK THEATRE COMPANY Chieko Hiranoi (Hosei University) NEWFOUNDLAND: AN ANCIENT RITE OF MEMORIES: DANCING LAND – SEA SCAPES, STORYTELLING INVESTED IN THE SOUTH Sarah Bartley (University of Reading) CREATURES, AND OBJECTS IN CONTEMPORARY AFRICAN LANDSCAPE PERFORMANCE DRAMATURGY BEYOND ENDINGS: NONHUMAN ART PRACTICE AND THE ASYMMETRIES OF Katherine Mezur (University of California Berkeley) SPECTRES AND LIVELY LANDSCAPES IN KRIS Jill Planche POWER AT WORK VERDONCK’S CONVERSATIONS (AT THE END OF GP6-F Theatre Beyond the Deborah Dean (University of Warwick) and Anne-marie THE WORLD) (2016) AND SOMETHING (OUT OF Greene (University of Leicester) NOTHING) (2019) Anthropocene: Spaces, Things and Joanna Gwen Mansbridge (City University of Hong Kong) Animals (Curated Panel) Chair: Juliana Coelho de Souza Ladeira ARCHITECTURE, SITE AND SPACE IN THE WORK OF CLEAN BREAK THE BRAZILIAN THEATRE RECENT OPENING TO BACK FROM THE FUTURE – THEATRE AND Caoimhe McAvinchey (QMUL) AMERINDIAN EPISTEMOLOGIES: AN ANALYSIS PERFORMANCE IN CENTRAL EASTERN EUROPE ON VAGAMUNDOS PROJECT (SÃO PAULO, 2020- BEYOND THE ANTHROPOCENE, 1920–TODAY 2021) Micha Braun (University of Leipzig) Ana Wegner (Université de Poitiers (France) and CAPES) OUT OF (THE ASSEMBLY) LINE: MO(VE)MENTS OF USELESSNESS BEYOND THE HUMAN SCALE Veronika Darian (University of Leipzig)

24 25 NSF1-F Ecologies of Voice, Sound and CAPTURING COMMUNITY: FROM SAFE TO RECKONING WITH NATIONAL TRAUMA: IDENTITY, NEW SCHOLARS FORUM Body BRAVE-A MODEL FOR INTERROGATING RACE, CATHOLICISM, AND THEATRE IN IRELAND Chair: Meike Wagner RACISM AND THE BLACK LIVES MATTER Erin Valentine (University of Texas, Austin) NSF1 – TUESDAY 17.00 – 18.15 NSF2 – WEDNESDAY 09.00 – 10.15 NSF3 – THURSDAY 13.00 – 14.15 0 MOVEMENT USING A DEVISED THEATER CREATION AND AFFECT: WHAT CAN A BODY DO? ECOLOGY NSF1-K Community Performance and David dos Santos (Universidade de Lisboa) NSF PROFESSIONALISATION WORKSHOPS TO BE HELD DURING GENERAL PANEL SESSIONS: Kimmika Williams-Witherspoon (Temple University) Puppetry Chair: Charlotte McIvor • NSF PROFESSIONALISATION WORKSHOP I: POST-DOCTORAL OPPORTUNITIES GENERAL PANEL SESSION 4-L THURSDAY 19.00 - 20.30 SINGING THE INBETWEEN: THE BEAN SÍDHE PERFORMING BLACKNESS IN CONTEMPORARY BODIES THAT SLIP: CLAY PUPPETRY, MATERIAL AND THE LIMINAL FEMININE VOICE IN IRISH • NSF PROFESSIONALISATION WORKSHOP II: KEYNOTE ROUNDTABLE GENERAL PANEL SESSION 5-K THURSDAY 21.15 - 22.30 AFRICAN AMERICAN METATHEATRE: GENRE VULNERABILITY, AND THE VIOLENCE OF FOLKLORE AND CATHOLIC TRADITION AND MEDIA INNOVATIONS ON THE AXIS OF REPRESENTATION • NSF PROFESSIONALISATION WORKSHOP III GENERAL PANEL SESSION 6-K FRIDAY 13.15 - 14.30 Susan Birmingham (Universitat Pompeu Fabra) POLITICAL COMMENT AND AMERICAN THEATRE Tobi Poster-Su (Queen Mary University of London) AESTHETICS NSF1 Tuesday 17.00 – 18.15 DIASPORIC CARE FOR AND THROUGH THEATRE LISTENING-WITH: FEMININE RELATIONALITIES CULTURAL PRODUCTION AND RAJASTHAN’S Jade Thomas (Vrije Universiteit Brussel) MASTERS OF ATTENTION: PUPPETEERS AS WITH COVID-19 LOOMING IN THE BACKGROUND AS A RESPONSE TO VIOLENCE ECOLOGY: A REFLECTION ON KOMAL KOTHARI’S GUIDES OF AUDIENCE ENGAGEMENT IN TOM LEE Felicia Cucuta (Harvard University) Sarah Hart (University of California, Davis) NSF1-I (Post)Anthropocentric and ECOLOGICAL FRAMEWORK & KORYU NISHIKAWA V’S SHANK’S MARE NSF1-A Dramaturgy and Dramaturgical Mukesh Kulriya (UCLA) Posthuman in Performance Ana Díaz Barriga Lopez (Northwestern University) processes IMAGINING THE FUTURE IN THE UK CITY OF THEATRE FOR DEVELOPMENT AND THE CRISIS Chair: Ian Walsh Chair: Jean Graham-Jone NSF1-G Digital Technology and CULTURE 2021 OF TRANSFORMATION IN NIGERIA POSTANTHROPOCENTRIC INTERMEDIA HOW TO PRACTICE CULTURAL SUSTAINABILITY Emily Dunford (University of Warwick) Chiamaka Igboayaka (University of Sussex) Performance and Archiving THE GREAT WHITE [MALE AUTHOR]: THE Chair: Patrick Lonergan PERFORMANCE: EMBODYING THE CHANGING – A QUESTION OF METHODOLOGY AND CHALLENGES AND ETHICS OF ADAPTING NSF1-C Food, Performance and PLANET DRAMATURGY THE ART OF EXPRESSIVE OBJECTS ENABLING PERFORMING UN-NOSTALGIC: REMIX AND FROM THE CLASSICAL CANON THROUGH DAVE Anthropocene Nina Vurdelja (Tampere University) Lise Sofie Houe (Aarhaus University) MALLOY’S MOBY-DICK ENVIRONMENTS FOR INTRA-ACTIVE THEATRICAL ARCHIVES OF REZA ABDOH Chair: Tim White Nazli Akhtari (University of Toronto) Rebecca Curran (Florida State University) EVENTS NEW MATERIALISM AS A PERSPECTIVE IN UNRAVELLING VERBATIM THEATRE EATING WITH THEATRICALITY, OR EVERYDAY Laakkonen (University of Tampere) PERFORMANCE RESEARCH METHODOLOGIES IN THE THEATRE OF ALIMENTARY TRANSMEDIAS DRAMATURGY OF CONNECTIONS AMBIGUOUS MODES OF FICTIONALITY IN Ida Ślęzak (University of Warsaw) SOCIAL JUSTICE – CREATING THE MEDAILLE Elizabeth Schiffler (UCLA) NSF1-E Ethics of Representation and Iva Brdar (Ludwig Maximilian University) CONTEMPORARY PERFORMANCE THEATRE IN Gender Discourse MONOLOGUES FOR BROADCAST SWITZERLAND Chair: Miriam Haughton NSF1-J Nation, Identity and Trauma* Alison Porter (University of Warwick) Nele Solf (Freie Universität Bern) RAW STRAWBERRIES AND CREAM: PERFORMING AN “AUTHENTIC SELF” ONLINE Chair: Milija Gluhovic TRANSCULTURATION IN EARLY MODERN RECOGNITION, REDISTRIBUTION AND THE AND OFFLINE NSF1-L Performance: Ways of Knowing Joshua Cannon (Lancaster University) “THIS WAS WHAT HAPPENED TO REAL PEOPLE”: TRANSFORMATIVE ENCOUNTERS AS A FOODWAYS, PERFORMANCE, AND DRAMATIC POLITICS OF SPECTATORSHIP IN MOUTHPIECE PLACE MAKING AND TIME BREAKING IN NEW Chair: Silvijia Jestrovic FOUNDATION FOR A QUEER AND ECOLOGICAL REPRESENTATIONS (2018), BY KIERAN HURLEY Jennie Youssef (Graduate Center CUNY) Albert Méndez Panadés (University of Barcelona) ORLEANS FLOODED HOUSE MUSEUM “GOD AND REVOLUTION: BERTOLT BRECHT’S DRAMATURGY IN BARBARA METAIS- LIVE!: THE RECORDED SHOW, A THEORETICAL Weston Twardowski (Northwestern University) ‘DEUS EX MACHINA’.” CHASTANIER’S PLAY ‘WHAT WILL YESTERDAY BE FRAMEWORK FOR USING VR TECHNOLOGIES Yizhou Zhang (University of Toronto) MADE OF’ GARLIC WORLDS: PERFORMING EARTHY THE DEATH OF THE PANTHER: METAMORA; TO CAPTURE PERFORMATIVE ART WHILE THE ROLE OF THE NATIONAL IDENTITY IN PLAYS: Camille Khoury (Université Toulouse 2 Jean Jaurès) RESPONSIBILITIES IN PANDEMIC TIMES OR, THE LAST OF THE WAMPANOAGS AS A MAINTAINING ASPECTS OF LIVENESS AND Emma Morgan-Thorp (York University) MELODRAMA OF EXTINCTION AUTONOMY THE CASE OF THE ARGENTINEAN-HUNGARIAN DISTANCE AND CONNECTION: USING THE Daniel Myers (University of Illinois at Urbana– Cristina Scobee (Independent Scholar) NATIONAL THEATER’S ADAPTATIONS FROM 1951 ALIENATION EFFECT AND THE DRAMA OF THE TRAVELER’S WOVEN PATH: LUDOLOGY, Champaign) TO 1952 COMMITMENT AS A LENS FOR COMPASSION- DRAMATURGY, AND AUDIENCE EXPERIENCE IN LOBSTER ECOLOGY - FOOD PERFORMATIVITY IN NSF1-H Decolonization, Racism and Bettina Sztruhár (Károli Gáspár University) (presenting ORIENTED THEATRE ERGODIC THEATRE AND OUTSIDE THE THEATRE Race Discourse in Theatre co-written paper) Jacob Buttry (Arizona State University) Gabrielle Lennox (University of Queensland) Jp McMahon (Eat Galway Restaurant GROUP/NUI SUBVERTING MASCULINITY IN MID-VICTORIAN Chair: Marianne Kennedy Galway CLASSICAL BURLESQUES: THE CROSS-DRESSED NSF1-B Theatre, COVID-19 and GOD IN BOYISH ATTIRE DECOLONIZING PERFORMANCE IN SETTLER- THE DISCURSIVE CONSTRUCTION AND DRAMA, ICONOLOGY AND AESTHETIC IN Ecologies of Survival NSF1-D Applied Theatre/Drama Alessandra Grossi (University of Warwick) COLONIAL CANADA DECONSTRUCTION OF EAST CENTRAL SOCÌETAS RAFFAELLO SANZIO CIA Chair: Elaine Aston Chair: Fintan Walsh Morgan Johnson (York University) EUROPEAN ACTRESSES’ IDENTITIES: THE CASE Rafael Percino (Universidade Estadual Paulista) STAGING AN ARCHIVE: THE RELATIONSHIP OF ZITA SZELECZKY AND KATALIN KARÁDY FROM TRAINING OF ACTORS AND ACTRESSES TO ACT IN APPLIED THEATRE APPROACHES TO BETWEEN DOCUMENTARY THEATRE-MAKERS 1936 TO 1945 IN HUNGARY DIFFICULT NEWS COMMUNICATION SCENARIOS RELATIONSHIPS AND SEX EDUCATION (RSE) Adrián Lips (Károli Gáspár University) IN MEDICINE TRAINING IN BRAZIL Natasha Richards (University of Essex) AND THE HIDDEN HISTORIES OF FEMALE Raquel Júlio Mastey (Universidade do Estado de Santa OPPRESSION IN IRELAND Catarina) Cara Brophy Browne (NKUA)

26 27 THINKING REPRESENTATIVENESS IN THE THEATRE LAB OR PERFORMING ARTS MARKET? MYTHOLOGICAL IMAGES AND NARRATIVES IN DRAMATURGIES OF DEPRECARIZATION: NSF-2J Embodying Identities, NSF3-B Ecotheatre and Ecofeminist BRAZILIAN CONTEMPORARY SCENE: A POLITICAL THE FRINGE FESTIVAL OFF D’AVIGNON THE SCULPTURES: A CASE STUDY OF KAKATIYA CREATIVE LABOUR AND STRUCTURAL Identifying Bodies Onstage Theatre EXPERIENCE IN THE FAVELAS OF RIO DE Hanna Huber (University of Vienna) TEMPLES PRECARITY IN THE INDEPENDENT PERFORMING Chair: Jim Davis Chair: Patrick Lonergan JANEIRO Chudamani D (Hyderabad Central University) ARTS SCENE IN SWEDEN ‘ARE YOU A SPY SENT BY THE CHINESE ECODRAMA: A SELECTED STUDY OF NIGERIAN Conrado Dess (University of São Paulo) PERFORMING FEMINIST ACTIVISM IN THE Julia Stina Skoglund (University of Stockholm) GOVERNMENT?’ RECREATING IDENTITIES PLAYS COVID-19 PANDEMIC: THE “ANTI-DOMESTIC SITUATED SOUND ECOLOGIES IN EASTERN NSF2-H Justice, Ethics and THROUGH STAND-UP COMEDY Iveren Sambe (Benue State University, Makurdi Nigeria) THE STUDY OF ACOUSTIC NARRATION IN VIOLENCE, LITTLE VACCINE” CAMPAIGN IN SLOVAKIA Sustainability Yingnan Chu (University of Exeter), BECKETT’S DRAMA CHINA Elia Moretti (Univerzita Karlova) Chair: Miriam Haughton Yanshi Li Yingjun Wei (Trinity College, Dublin) EXPLORING THE PROSPECT OF AN ECOFEMINIST NSF2-E Performing Diaspora, ECOCRITICAL APPROACH TO ENVIRONMENTAL LIVES OUT OF KILTER BUT STILL EARTH TYA Transnational and Postcolonial theatre BOUND”: (RE)CONSTRUCTING WORKING- Sage Tokach (University of Central Florida) NSF2 Wednesday 09.00 – 10.15 PERSONAS AND POPULAR FEMINISMS IN INDIAN JUSTICE IN TESS ONWUEME’S BAN EMPTY Chair: Mark Fleishman CLASS IDENTITIES AND SOCIAL SPACE IN MARK WOMEN’S COMEDY DURING THE PANDEMIC BARNS O’ROWE’S HOWIE THE ROOKIE NSF2-A Imagining Futures Through Nisha Tiwari (Jawaharlal Nehru University) ARCHIVES AND PERFORMATIVE IRISHNESS: Martina Omorodion (Federal University, Oye Ekiti) BETWEEN SOLIDARITY AND HESITATION: Clara Mallon (National University of Ireland, Galway), Performance USING THE PAST TO INFORM THE PRESENT IMPLICATIONS FOR SUSTAINABLE DRAMATURGY Chair: Charlotte McIvor NSF2-C Creativity and Practice as Elizabeth O’Sullivan (The American University of Iraq – ECOLOGY, PERFORMANCE AND THE DISABLED IN EAST ASIAN ECO-THEATRE Research “PERFORMING THE CORPSE: DEATH AS A QUEER Ting Zhang (University of Sydney) CREATING ‘UTOCALYPSE’: QUEERING COVID AND Sulaimani) BODY: THE CASE OF THE GREEK ENSEMBLE EN Chair: Marcus Tan ALTERNATIVE IN DANCE” CLIMATE CHANGE NARRATIVES THROUGH THE DYNAMEI Hamish McIntosh (University of Melbourne), NSF3-C Architectures, Spatial PERFORMANCE TWENTY FIFTY ARCHITEXT: EXPLORING THE DRAMATURGICAL NEO-IMPERIALISM, NATION-BUILDING, AND Kyriaki Demiri (Aristotle University of Thessaloniki) Relationships and Spectatorship Martin Kenny (National University of Ireland, Galway) POTENTIAL OF ARCHITECTURAL DRAWING CORPOREALITY IN RAHUL VARMA’S BHOPAL Chair: Vicki Ann Cremona TECHNIQUES THROUGH PLAYWRITING Abhimanyu Acharya (The University of Western Ontario) RAN’S DIARY: A SEXUALLY SUGGESTIVE PROTEST “ECOLOGIES OF NATIONALISM. SIKELIANOS AND THE DELPHIC FESTIVALS (1927-1930)” FORMS OF MIGRATION OF CONTEMPORARY UGLY FEELINGS IN HAPPY DAYS: ON THE Jenny Knotts (University of Glasgow) ON STAGE Zafiris Nikitas (Aristotle University of Thessaloniki), THEATRE NEGOTIATING SHIFTING ECOLOGIES – FROM Bomi Choi (Royal Holloway, University of London) ECOLOGICAL POSSIBILITY OF AFFECTIVE Susanna Clemente (Università degli studi di Roma La CHARACTER TO TELLER, FROM ABεASE TO SPECTATORSHIP “GOING WITH THE FLOW”: EXPLORING Sapienza) Yangzi Zhou (University of Warwick) IDEAS OF CONNECTION AND PRACTICE WITH TWITTER: ANANSE IN A POST-MODERN DIGITAL PERFORMING THE VILAYATI IN PUNJABI NRI NSF3 Thursday 13.00 – 14.15 INDEPENDENT THEATRE ARTISTS IN GALWAY, ECOLOGY FILMS NSF3-A Sensorial and Embodied BEYOND DESVALLÉES: THE USE OF THE GAZA AND MEXICO CITY Bernard Adjiracko (University of Ghana) Navkiran Natt (Independent Scholar) PERFORMING ECOLOGICAL CRISIS. RETHINKING Performance Aesthetic TERMS EXPOGRAPHY AND SCENOGRAPHY IN Maria Tivnan (National University of Ireland, Galway) PERFORMANCE AND THEATRE Chair: Anuradha Kapur EXHIBITION DESIGN STUDIES Karina Rocktaesche (Free University Berlin) NSF2-F Political Theatre and Protest NSF2-I Modes of Performance Alceu Silva Neto (Universidade Anhembi Morumbi) “DEAR PROFESSIONAL WRESTLING, IT’S NOT Chair: Hayato Kosuge – Documentation, Analysis, AN INTRODUCTION TO (SKIN)AESTHETICS: FOUR “FRAN[SKIN]STEINS” BEYOND IMAGINATION: ENACTING POTENTIAL ME… IT’S YOU”: THEATRICAL FRICTIONS Understanding APPLIED DRAMA IN THE POLITICAL-ECOLOGICAL Chair: Patrick Lonergan Freya Verlander (University of Warwick) KASHMIR: LANDSCAPE, PERFORMANCE AND CLIMATE FUTURES BETWEEN PERSONAL AND PROFESSIONAL LANDSCAPE OF LIBERAL DEMOCRACY “STRUGGLING” AND “APPEALING”: AN ANALYSIS CULTURAL RESISTANCE Lydia Borowicz (University of California, Santa Barbara) PERFORMATIVES IN A GLOBAL PANDEMIC Courtney Grile (Trinity College, Dublin) Saumya Mani Tripathi (Jawaharlal Nehru University) Lisa Butler (University of Chester) OF SARAH RUHL’S CREATIVE CONSCIOUSNESS IN LET IT BURN: SENSING, SOLIDARITY AND DEAD MAN’S CELL PHONE SUSTAINABILITY IN TRAVIS ALABANZA’S THE IN-BETWEEN TIME ON BRECHT’S DER NSF2-D Cultural Ecology and GATOS IN THE 15M MOVEMENT: UTOPIAN Bao Jia (Taiyuan University of Technology, China) BURGERZ THE POWER OF HELPLESSNESS: BRIONY MESSINGKAUF: AN EXILE THEATRICAL THEORY Traditional Theatrical Aesthetics COLLABORATIVE STRATEGIES IN MADRID Emma Welton (Stockholm University) KIMMING’S I’M A PHOENIX, BITCH THAT ORGANIZES THE PAST AND PREPARES FOR Daniel Gonzalez (Brunel University London) Chair: Marianne Kennedy UNDERSTANDING CULTURE: BHAND PATHER Ke Meng (SOAS, University of London) THE FUTURE AND THE POLITICS OF KASHMIR Mariana Bianchi (Universidade Estadual Paulista Julio THE FUTILE RESISTANCE TO CHINESE NSF2-G Publishing and Funding in GOING WITH YOUR GUT: DEVELOPING THE NSF3-D Aesthetics, Performance and Ayushi Koul (Jawaharlal Nehru University) de Mesquita Filho - UNESP) MODERNIST REEMBEDDING IN THREE SISTERS/ Theatre ACTOR’S INTUITION Media Studies Micia de Wet (Coventry University) WAITING FOR GODOT Chair: Ian Walsh Chair: Peter Marx Chaomei Chen (Trinity College, Dublin) CURSED DIVERTISSEMENT: THE REHEARSAL NSF2-B Festival, Feminist Performance THE EDITING PROCESS IN THE THEATRE and Pandemic DRAMATURGY OF QUEENSLAND BALLET’S THE CHEMICAL ENTANGLEMENTS: CO-PRESENCE THESIS CONCEPT: MUTATION AND PUBLISHING HOUSE VERLAG DER AUTOREN METAMORPHOSIS: AESTHETICS OF Chair: Joanne Tompkins ANIMAL REPRESENTATION IN THEATRE AND SLEEPING BEAUTY AND ODORLESSNESS ONLINE Lisa Frederike Seidler (Freie University Berlin) DESTRUCTIVE PLASTICITY BODY PRACTICE Madelyn Coupe (University of Queensland) Devon Baur (UCLA) FESTIVALS REDUX: EXPLORING THE IMPACTS OF Katharina Sturm (Universität Bayreuth) COVID-19 ON THE INSTITUTIONAL DRAMATURGY Anju Aravind (Hyderabad Central University) TRANSPORTS AND WORLDBUILDERS: HOW CAN TOWARDS AN EMANCIPATED BRITISH THEATRE IMPACT OF NATURE AND NATURAL BEHAVIOR OF FESTIVALS ARTISTIC APPROACHES AND DEVISES INFORM ECOLOGY PATTERNS ON THE AANGIKAABHINAYA/ STAGES OF PARTICIPATION IN THEATRE AND THE USE OF IMMERSIVE EXPERIENCES AS Hannah Mason (University of Queensland) Rory Trevethan (Rose Bruford College) MOVEMENT VOCABULARY OF CHAU DANCE VIDEOGAMES THERAPY AND REHABILITATION? Dorottya Mátravölgyi (Eötvös Loránd University) Hanna Slattne (Queen’s University Belfast) Shrikant Bhalerao (University of Hyderabad)

28 29 PERFORMATIVE FILM AESTHETICS ASPECTS NSF3-G erforming Identities RIPPED YARNS: WORKING WITH WASTE IN OF EMPHASIZED MATERIALITY, PRESENCE AND DRAMA EVENT IN CONTEXT OF MEDIAL PHENOMENA Chair: Ameet Parameswaran Hamish Muir (University College, London) Oliver Maaßberg (University of Bayreuth) SPONTANEITY IN NORWEGIAN STAGE LANGUAGE ‘A DAMN GOOD GAME’: HEGEMONIC NSF3-E Dramatic Literature and Ragnhild Gjefsen (University of Bergen) MASCULINITY IN HAROLD PINTER’S BETRAYAL Criticism Alix Burbridge (University of Reading) Chair: Milena Grass Kleiner ALTERNATIVE INTERPRETATIONS: ADISHAKTI’S ENGAGEMENT WITH THE RAMAYANA PROJECT POPULISM, NATIVISM AND POLITICAL Shrinjita Biswas (Independent Scholar) NSF4 Friday 15.15 – 16.45 PERFORMANCES: THE POPULIST STYLE AND ITS CHALLENGES FOR COMPARATIVE ANALYSIS AND INTERDISCIPLINARY METHODOLOGY THE LIMITS OF YOUR SKIN: NARRATIVES ON CAUCUS Theo Aiolfi (University of Warwick) PREGNANCY, BIRTH AND EARLY MOTHERHOOD Chairs: Taiwo Afolabi and Aastha Gandhi Katelyn Skelley (Hochschule für Musik und Darstellende This session will allow members of the New Scholars MODERNITY AT TILBURY, OR THE COMPLICATED Kunst) Forum to reflect on the conference together and explore CURRENTS OF LORD KITCHENER ways to remain involved In IFTR. Stephen Cedars (CUNY Graduate Centre) NSF3-H History and Historiography Chair: Tracy C. Davis

INTERMEDIALITY, WASTE AND SUSTAINABILITY COMMUNICATION AND COMPARISON: KNOWING IN SAMUEL BECKETT’S THEATER THE NATIONAL THEATRE IN THE DIASPORA Vanesa Cotroneo (University of Buenos Aires- Friedrich Shiraz Biggie (Graduate Center CUNY) Alexander Universität)

THE JOURNEY OF ENGLISH BALLAD-OPERAS PERFORMING HISTORIES AS A SOCIAL FROM THE BRITISH ISLES TO PRUSSIA AND THE CRITIQUE? HABSBURG EMPIRE Arijit Banerjee (Jawaharlal Nehru University) Klara Skrobankova (Masaryk University; Theatre Institute Prague) NSF3-F Performance Languages Chair: Marianne Kennedy THE GOVERMENTALITY OF THEATRE REPUBLICAN NANDAN, THE DISCOURSE OF Thomas Heskia (Leuphana University Lüneburg) CHINESE “AESTHETICISM,” AND THE FORMATION OF NANDAN’S “ARTISTIC” FEMININITY ECOLOGIES OF THE DANCING BODY: THE PARIS Guanda Wu (Hangzhou Normal University) SCHOOL OF MEDICINE AND THE PARIS OPÉRA IN EARLY 19TH CENTURY FRANCE INTERMEDIALITY IN THERAPY AND ARTS: Laura Smith (UCLA) MAPPING COORDINATIVE PRACTICES, MOVEMENT VENTILATION IN PARTICULAR NSF3-I Waste, Remains and Power Sneha Saskikumar (University of Hyderabad) Chair: Fintan Walsh THE CREATION IN “AIR, THE OTHER NAME OF THEATRE STYLISTICS: PERFORMANCE, THE MOUNTAIN”: CANDOMBLÉ AND BRAZILIAN AESTHETICS, STYLE AFRO-INDIGENOUS ANCESTRAL KNOWLEDGE AS Naz Yeni (Anglia Ruskin University) SUPPORT FOR THE CREATION IN DANCE Rafael Lemos Melo (Universidade de Campinas) “AZADI”: THE FREE WORD AND THE ANXIETIES OF A REGIME THROW OUT FROM WHERE? Reyazul Haque and Farhana Latief (Humboldt University Pamella Villanova (UNICAMP) of Berlin)

30 31 FIVE LITTLE PIECES - MILO RAU AND AMATEUR WG1-M Performance in Public Places- ZERO-WASTE BAUPROBE: FULL-SCALE WORKING GROUPS THEATRE Community Ecologies COLLABORATION IN VIRTUAL SPACE Rikard Hoogland (Stockholm University) Susanne Thurow (The University of New South Wales) “EPHEMERAL GARDENS: SUSTAINING CULTURE WG1 – MONDAY 09.00 – 10.15 WG2 – MONDAY 11.00 – 12.30 WG3 – MONDAY 13.15 – 14.30 WG4 – MONDAY 15.15 – 16.45 WG1-J Queer Futures AND PROBLEMS OF ENVISIONING IN PUBLIC- DIGITAL SCENOGRAPHY IN A NATURAL Chair: Joe Parslow SPACE PERFORMANCE” WG5 – TUESDAY 19.00 – 20.30 WG6 – TUESDAY 21.15 – 22.30 WG7 – WEDNESDAY 12.45 – 14.00 WG8 – WEDNESDAY 14.45 – 16.15 ENVIRONMENT Rebecca Free (Goucher College) Michael Simon (Zurich University of the Arts) WG9 – THURSDAY 15.00 – 16.15 WG10 – THURSDAY 17.00 – 18.15 WG11 – FRIDAY 09.00 – 10.15 WG12 – FRIDAY 11.00 – 12.30 SPREADING FERTILISER AND COOKING UP FERAL QUEER CAMPS “PERFORMING CIVIC SPHERES AT THE ‘BALFOUR WG2-C – Feminist Research WG Alyson Campbell (University of Melbourne) and Stephen PROTEST’” Chairs: Lisa Fitzpatrick and Indu Jain WG1 Monday 12 July 09.00 – 10.15 PERFORMING BODY AS A SITE FOR FEMINIST BETWEEN THE BODY AND THE ENVIRONMENT, Farrier (Royal Central School of Speech & Drama, Daphna Ben-Shaul (Tel Aviv University) THEATRICAL ECOLOGY: WORKS OF ANURADHA PERFORMATIVITY BEYOND THE SUBJECT University of London) WG1-A Asian Theatre Working Group ME AND THE SKY: CLIMATE CHANGE SMASHES KAPUR Philipa Rothfield (La Trobe University/Univeresity of WG2 Monday 11.00 – 12.30 Chairs: Mitsuya Mori and Yasushi Nagata Indu Jain (Delhi University) Southern Denmark) THE GLASS CEILING IN COME FROM AWAY ENTANGLED DRAG QUEENS: REFLECTIONS ON Evelyn O’Malley (University of Exeter) “THEATRE AND TRADE: A STUDY OF SHANXI THE LIVE-STREAMED PERFORMANCES OF/AND WG2-A Asian Theatre Working Group MERCHANTS’ SPONSORSHIP OF THEATRICAL THE TOXICALLY MASCULINE STRIKE BACK – CORPOREALITY: THE POLITICS OF AN AGEING THE METRO MANILA DRAG COMMUNITY Chairs: Mitsuya Mori and Yasushi Nagata UNEATING THE APPLE: ONTROEREND GOED AND PERFORMANCE AT TEMPLE FAIRS IN LATE JANUARY 6TH, 2021, A FEMINIST ANALYSIS BODY Ian Rafael Ramirez (Graduate School of Humanities and ECOLOGIES OF THE IMPOSSIBLE IMPERIAL CHINA” Carole Quigley (Mary Immaculate College, University of Sonia York-Pryce (Independent Researcher) Social Sciences, University of Melbourne ) STAGING ORDINARY PEOPLE IN HONG KONG Karen Quigley (University of York) Limerick) Yunjie Hu (University of Sydney) Wai Yam Chan (Hong Kong Institute of Vocational WG1-H Arabic Theatre Working Group: WG1-K Political Performance - Education) WG1-E African and Caribbean Theatre THE UN-REDEMPTIVE ECOLOGIES OF 4.48 “APPROACHING IMMERSIVE THEATRE IN CHINA” Egypt and the Gulf: Adapting in Dialogue and listening: ecologies of and Performance Changing Environments PSYCHOSIS Weilue Zhang (Queensland University of Technology collaboration THE NEW DEVELOPMENT OF MALAYSIAN ISLAMIC Chairs: Harclyde Walcott and Awo Mana Asiedu Chair: Marvin Carlson Chair: Trish Reid Leah Sidi (University College London) THEATRE WG1-B Scenography BUSINESS MEETING Fazilah Husin (Universiti Putra Malaysia) and Zulkifli Chairs: Nick Hunt and Sofia Pantouvaki FROM THE CAVE TO THE CITY: A ECOLOGIES OF TRANS-DISCIPLINARY Mohamad SHIFTING ECOLOGIES OF FEMINIST THEATRE- HISTORIOGRAPHIC INVESTIGATION OF TAWFIQ MAKING IN INDIA: FROM LOCALITY TO WG1-F Theatre History and COLLABORATION: PERFORMANCE AS DIALOGUE AL-HAKIM’S PEOPLE OF THE CAVE GLOBALITY THREE ECOLOGIES, OR WHAT THEATRE Historiography - Panel on asymmetric ABOUT ECOSYSTEM SERVICES IN CHIAPAS, “THEATRE ECOLOGY, NATURE, AND POLITICS IN Marina Bergenstock (Stanford University) Minakshi Kaushik (School of Arts and Aesthetics, JNU) CRAFTSMEN CAN TELL US ABOUT THE ignorance MEXICO SHAKESPEARE’S PLAYS AND HOLD ON, LOVE!” RELATIONS BETWEEN ENVIRONMENT, WORK Chair: Ruthie Abeliovich Aylwyn Walsh (University of Leeds) Iris H. Tuan (National Yang Ming Chiao Tung University) WG2-D Popular Entertainment ADAPTATION TO A HARSHER CLIME: RE-WRITING ETHICS AND ART Chairs: Mikael Strömberg and Jason Price WESTERN PLAYS ON THE ARABIAN PENINSULA Zofia Smolarska (The Aleksander Zelwerowicz National REBALANCING THE ENVIRONMENT: FURTHER ENACTING A POETICS AND POLITICS OF WG2-B Scenography Academy of Dramatic Art in Warsaw) Katherine Hennessey (American University of Kuwait) LISTENING THOUGHTS ON ASYMETRIC IGNORANCE Chair: Nick Hunt ACTING, SINGING, AND ATHLETICS: PHYSICAL Sarah Woodland (University of Melbourne) and Rand Claire Cochrane (University of Worcester) WG1-I The Theatrical Event CULTURE ACROSS POPULAR SPECTACLES IN THE Hazou (Massey University) ECOSCENOGRAPHY IN THREE ACTS: ‘CO- Chair: Naphtaly Shem-Tov ECOSCENOGRAPHY IS EXPANDED EARLY TWENTY-FIRST CENTURY CREATION – CELEBRATION – CIRCULATION’ AS POLISH COLONIAL HISTORIES: CULTURAL SCENOGRAPHY IS ECOSCENOGRAPHY IS Kelsey Blair (McGill University) MODES OF CONTINUOUS BECOMING PERFORMANCES AND THE GENEALOGY OF WG1-L Digital Humanities in Theatre PRESENTATION OF: ROBERT WILSON’S WORK EXPANDED SCENOGRAPHY Tanja Beer (Queensland College of Art) COLONIAL MIND IN EUROPE’S PERIPHERY Research Julie Hudson WITH AMATEURS. DEAFMAN GLANCE (1970) + CIRCUS AS A TRANS-TEMPORAL COMMUNITY: Agata Łuksza (University of Warsaw) DISCUSSION ENTRIB – IBERIAN “ENTREMEZES”, A DIGITAL NETWORKS, CIRCUITS AND MOBILE MATERIALS ALL THE WORLD’S A STAGE - PRESERVATION OF Keren Cohen (Hebrew University of Jerusalem) SCHOLARLY EDITION THE (IN)DISPOSABLE UTOPIA OF SCENOGRAPHY: Aastha Gandhi (Jawaharlal Nehru University, New Delhi) THE DISAPPEARING ENVIRONMENT THEATRE HISTORY - EPISTEMIC SYSTEM Ariadne Nunes (IELT, FCSH - Nova Univ. Lisbon) PRESERVING ENVIRONMENT THROUGH Sylwia Dobkowska (University of Gdańsk) Rashna Darius Nicholson (The University of Hong Kong) THEATRE ANALYSIS AND REFLECTION ON BODY DRAMA COVID-19 AS METHOD: RECOVERING THE Rana Esfandiary (University of Kansas) WG1-G Choreography and Corporeality AND ITS CROSS CULTURAL COMMUNICATION— TRACING TRANSCULTURAL COLLABORATIONS IN POPULAR IN HONG KONG BALLROOM DANCING WG1-C Feminist Research Working CONTEMPORARY THEATRE PRACTICE Chairs: Aoife McGrath and Prarthana Purkayastha TALKING ABOUT TWO BODY DRAMAS STAGED IN Maggie Leung (Hong Kong) Group “QINGMAI-WORKSHOP” OF YANGZHOU Alexandra Portmann (Unviersity of Bern) ECO-MATERIALITY AND ECO-MATERIALISM IN Chair: Lisa Fitzpatrick Jia Xuehong (Yangzhou University) COSTUME DESIGN FIRE DANCES: ‘WHAT REMAINS BURNING IS Sofia Pantouvaki Aalto University) THE SEA AS A STAGE AND ‘PROTAGONIST’ IN HENCE CORROSIVE’ TOMIYAMA TAEKO’S ART Rachel Fensham (University of Melbourne) Rebecca Jennison (Kyoto Seika University, Retired)

32 33 WG2-E Intermediality Working Group - PERFORMANCE AND ECOLOGY IN THE AN ECOLOGY OF SAFETY: THE 66 YEAR PARADE WG2-M Performance in Public Places: THE OBJECT DANCE PROJECT: THE ECOLOGIES WG3-F Musical Theatre New Mobilities: Sustainability Through PRACTICES OF CHRISTIAN MYSTICISM OF TENNESSEE WILLIAMS IN PROVINCETOWN Decolonising Space OF THINGNESS Chair: Tereza Havelkova Miniaturisation, Secret Theatres & Cormac Power (Northumbria University) Jef Hall-Flavin (Royal Central School of Speech and Josiah Pearsall (Louisiana State University) Mobile Experiences Drama) DESTABILIZING THE COLONIAL SPACE, A POLITICS OF MARGINALIZATION: THEATRE WG2-H Arabic Theatre Working Group - ETHICS AND AESTHETICS: THE DRAMATURGY MUSIC IN CONTEMPORARY THEATRE Chair: Liam Jarvis PERFORMANCE AND SOCIAL JUSTICE: Politics at Play In Egypt and Syria AND LABOUR OF CREATING THEATRE AS A David Roesner (LMU Munich) AWAY WITH THE FAERIES: SEARCHING FOR A EMBODYING THE PROCESS OF SUSTAINABILITY MINIATURISING AUSTRALIAN INTERMEDIAL Chair: Samer Al-Saber COUNTERPUBLIC SPHERE THEATRE: TOWARDS A SUSTAINABLE MODEL OF QUEER ECOLOGICAL PRAXIS AMONGST THE OF AFRO AND INDIGENOUS CULTURE AND THEIR Deniz Basar and Art Babayants (Concordia University) A CONSUMER ECOLOGY OF THE MUSICAL PERFORMANCE CREATION AND TOURING FOR WAR OF THE TROUPES RADICAL FAERIES ENVIRONMENTS IN BRAZIL Samy Selim (University of Bristol) THEATRE CAST RECORDING: ENERGY, MATTER, LARGE-SCALE, TECHNICALLY COMPLEX VISUAL Andrew Marks (University of Edinburgh) Alba P. Vieira (Federal University of Vicosa) BREAKING THE SILENCE: THE BRITISH SLAVE RESIDUE AND WASTE THEATRE WG2-K Political Performance WG: TRADE IN PERFORMANCE Ben Macpherson (University of Portsmouth) Tessa Rixon (Queensland University of Technology) THE MANIFEST ABSENCE OF RELIGION IN WG3-C Feminist Research WG Theatre and the ecologies of the Left Holly Maples (University of Essex) MODERN EGYPTIAN DRAMA Chairs: Lisa Fitzpatrick and Indu Jain Chair: Nesreen Hussein WG3-G Performance, Religion and Daniela Potenza (Università degli Studi di Napoli SECRET THEATRE: THE SMARTPHONE EFFECT IN Spirituality “L’Orientale”) COMMON SALT: COLONIALISM, CAPITALISM AND “AS IF NO ONE IS WATCHING” IN DIALOGUE WITH DEEVY: LITTLE THEATRE OF Chairs: Michael Dudeck and Giuliano Campo LEGACY OF THE REVOLUTION AND IMAGINATION ECOLOGY Abbie Trott (Graduate School of Humanities and Social THE 1950S OF THE GLOBAL COMMUNITY IN CHINESE ‘NEW Lisa Woynarski (University of Reading) Sciences, University of Melbourne) CENSORSHIP AND CREATIVITY IN SYRIAN Una Kealy and Kate McCarthy (Waterford Institute of LEFTIST’ BREAKOUT ROOM 1 THEATER: SAʾDALLAH WANNOUS’S A SOIRÉE FOR Technology) Zheyu Wei (Guangxi Arts University) WG3 Monday 13.15 – 14.30 SLOW DOWN (YOU MOVE TOO FAST): A CASE THE FIFTH OF JUNE, THE KING’S ELEPHANT, NOW THE RIVER KNOWS YOUR NAME: STUDY IN DEEP ECOLOGY, MECHANICS AND AND THE KING IS KING WG3-B Embodied Research - POLITICAL RESISTANCE IN FRANCE: NEW PERFORMING THE ECO-CENTRIC FOR THE Samar Zahrawi (Sam Houston State University) THE ECOLOGIES OF POLITICAL THEATRE: AN MOBILE EXPERIENCES Interdisciplinary Connections STRATEGIES OF REPRESENTATION INVISIBLE ANALYSIS OF WORK OF PRAJA NATYA MANDALI Chair: Nathalie Fari Christopher Danowski (University of Portsmouth) Mairéad Ni Chroinín (NUI Galway) WG2-I The Theatrical Event Stefania Lodi Rizzini (University of Paris III: Sorbonne IN TELANGANA Nouvelle) Chair: Vicki Ann Cremona The Embodied Research Working Group uses its Komita Dhanda (Jawaharlal Nehru University) HOW TO RAISE A GHOST: A MEMENTO MORI WG2-F Theatre History and scheduled sessions to explore methods of embodied Historiography - Special Panel on WEB-SPECIFIC THEATRE PRACTICE. TRANSMEDIA and multimedial exchange. Each session will feature DISABILITIES IN THEATER EDUCATION AND PRACTICE green historiography APPROACHES TO CONNECT THEATRE TO YOUNG “WHY YOU SO LIDDAT?”*: MEDIATISED the work of some WG members, but they do not usually PRACTICE (ON THE RELATIONSHIP BETWEEN Mia van Leeuwen (University of Lethbridge) Chair: Chris Hay PEOPLE THROUGH THEIR NATIVE DIGITAL PERFORMANCE OF RACE AND PROTEST IN involve the reading of papers. Sessions are closed by DISABILITY, ECOLOGY AND FEMINISM) SINGAPORE default, but IFTR attendees who wish to join please send Monika Kwaśniewska-Mikuła (Jagiellonian University) PERFORMANCE TEXTS AND HISTORIOGRAPHICAL LANGUAGE BREAKOUT ROOM 2 Natalie Lazaroo (University of Queensland) an email request to [email protected] to receive the RESEARCH: THE VIDEO ARCHIVE OF RINA Carmen Gonzalez Requiero (Strategies for Drama SL) link. WG3-D Performance and Disability THE HUMAN QUEST FOR MEANING YERUSHALMI RETHINKING THE DIGITAL SPACE AS THEATRICAL WG2-L Digital Humanities in Theatre Working Group Tyrone Grima (MCAST) Sharon Aronson-Lehavi (Tel Aviv University) EVENT FOR YOUNG AUDIENCES: PRACTICES, Research Chairs: Kate Maguire Rosier, Tony Macaffery, Jessica (RE)PERFORMING AN ECO-DOCUMENTARY PARTICIPATION AND INCLUSION Watkin INTERSECTIONALITY IN DIGITAL THEATRE AND PRACTICE WISDOM EXISTS IN THE STORIES OF WOUNDS ON FELT, MICE AND MOTHS: ‘NATURE’ AND ITS Caleb Lee (Rose Bruford College) PERFORMANCE STUDIES Nathalie Suck Silvia Battista (Liverpool Hope University) CONSERVATION IN A WORK BY JOSEPH BEUYS Introductions. Working Group business. Plan for the Nora Probst week. Tancredi Gusman (HSLU - Lucerne University of Applied TAUKO (2018) – MATERIALISM OF THE NEW DREAMING OF UNCANNY HOUSES: SEEING Sciences and Arts) CREATIVE BODIES: ENTANGLEMENTS OF SELF/ GENERATION REHEARSING TRANSHUMANISM: ETHNOGRAPHY SUBJECT AND OTHER/OBJECT IN EXPLORATIONS WG3-E Intermediality Working Group - KIRKWOOD’S THE CHILDREN WITH JOHN Janne Tapper OF MICHEL VAN DER AA’S MIXED-MEDIA OPERA OF WHAT CONSTITUTES HUMAN REMAINS Artificial Agents & Mixed Reality Spaces: MORIARTY STUDYING THEATRE IN TIMES OF PAPER UPLOAD Roisin O’Gorman (University College Cork) Intelligent Algorithms & Sustainable Charles Gillespie (Sacred Heart University) SHORTAGE A WORD IN YOUR EAR: REIMAGINING Lea Luka Sikau (Cambridge University, Faculty of Music) Scenographies in Performance Lotte Schüßler (Humboldt-Universität zu Berlin) COMMUNITY DRAMA AS SITE-SPECIFIC DIGITAL WG3-H Translation, Adaptation and LOCO.MOTION: CASE STUDIES ON EXPRESSIVE Chair: Karen Savage STORYTELLING Dramaturgy WG2-G Performance, Religion and EXPERIMENTAL THEATRE SCHOLARSHIP: A MOVEMENT AND SUSTAINABLE DEVELOPMENT Kate Valentine (University of York) Chair: Duska Radosavljevic and Kasia Lech Spirituality COMPUTATIONAL OVERVIEW Shrinkhla Sahai THEATRE, DRAMA AND ARTIFICIAL Chair: Silvia Battista Miguel Escobar Varela (Social Justice Education, Ontario INTELLIGENCE WG2-J Queer Futures REMOTE DRAMATURGY IN PRACTICE - Institute for Studies in Education, University of Toronto) EXPLAINING THEATRE TO A MALIGNANT ROOT: Antonio Pizzo (Università degli Studi di Torino) MAGICAL AND RELIGIOUS RITUAL Chair: Alyson Campbell DRAMATURGICAL SCHEMES IN TIMES OF PERFORMING OBJECTS, SHIFTING ONTOLOGIES PERFORMANCE PANDEMIC TEMPORALITIES OF REFUSAL: QUEER GHOSTS AND TOPSY-TURVY ECOLOGIES. A PERFORMANCE THE SONG OF MATTER: 3D PRINTING, VIDEO Filipe Pereira (Universidade Nova de Lisboa) Kristýna Ilek (University of Amsterdam) SEEKING REDRESS ON THE TURKISH STAGE WITH OBJECTS AND INTERMEDIALITY PERFORMANCE Erdem Rasim Avsar (University of Glasgow) Matt Smith (University of Portsmouth) SUSTAINABILITY Vincenzo del Gaudio (University of Salerno)

34 35 DEFINING POST-VERBATIM DRAMATURGY WG3-K Political Performance: BODIES AS SUFFERING ECOSYSTEMS IN THE WG4-C – Asian Theatre Working Group WG4-F Musical Theatre VERSE DRAMATURGIES AND NEW THEATRE Duška Radosavljević (Royal Central School of Speech Performance and the borders of THEATRE OF SAMUEL BECKETT FORMS Chairs: Mitsuya Mori and Yasushi Nagata Chair: Marcus Tan and Drama) democracy Constantina Georgiadi (Institute for Mediterranean Kasia Lech (Canterbury Christ Church University) Studies, Foundation for Research & Technology – Hellas) Chair: David Rodriguez-Solas SENTIENCE OF RHYTHM: PRECONDITION TO A (RE)STAGING THE PAST: CULTURAL MEMORY ECOCRITICAL DYSTOPIA IN PERFORMANCE: SUSTAINABLE SOCIETY AND NATIONAL IDENTITY IN CZECH OPERA WG4-I Theatre Architecture THE UNEMPATHETIC SUPERSPACE OF HOME IN EXILED LIVES ON THE STAGE: TURKEY’S ARTISTS WG4-B Embodied Research Rajdeep Konar (IIT Delhi) AFTER 1989 - Environment: Ecological AUTOMATA AT THE CROSSROADS OF NEW AESTHETIC Institutional Frameworks & Multimedia Tereza Havelkova (Charles University in Prague) Entanglements Chair: Andrew Filmer Graca Correa PRACTICES AND POLITICAL SUBJECTIVITIES Publications IRAQI THEATRE: A NICHE IN AN ECOLOGICALLY Chair: Elizabeth de Roza Pieter Verstraete (Free University of Berlin) POLITICAL SANE MILIEU THE CUNNING LITTLE VIXEN, NATIONALISM AND ERRATIC DRIFT: HUMAN-LITHIC PERFORMANCE WG3-I Theatre Architecture - Politics: The Embodied Research Working Group uses its Majeed Midhin (University of Anbar) ECOPOLITICS Performative Interventions in the PERFORMING DEMOCRACY IN THE GRAVEYARD: scheduled sessions to explore methods of embodied Daniel Somerville (University of Worcester) and Becka Minty Donald (University of Glasgow) Neoliberal City MILITARY DICTATORSHIP AND COMMEMORATIVE and multimedial exchange. Each session will feature WG4-D Performance and Disability McFadden Chair: Andrew Filmer ACTIVISM IN SOUTH KOREA the work of some WG members, but they do not usually Working Group PERFORMING ELEMENTS: AIR. TÓMAS involve the reading of papers. Sessions are closed by Hayana Kim (Northwestern University) Chair: Tony McCaffrey HAUNTING, HISTORY, AND THE POLITICS OF SARACENO’S IN ORBIT AS AESTHETIC ECOLOGY default, but IFTR attendees who wish to join please send THEATRICAL ACTIVISM IN THE NEOLIBERAL CITY: PERFORMANCE IN CLEMENT AND CURRENT’S an email request to [email protected] to receive the Nadine Civilotti (University of Mainz) THE LEGISLATIVE THEATER OF AUGUSTO BOAL CAUGHT IN THE ECHO CHAMBER, OR WG3-L Performance as Research link. MISSING AND THE STAGINGS OF OS SERTÕES BY JOSÉ REOPENING SPORTS STADIUMS AND LOCKING Colleen Renihan (Queen’s University, Ontario) MEETING FOR ALL MEMBERS OF THE GROUP LINEAGE AS ARTISTIC ECOSYSTEM CELSO AT TEATRO OFICINA THEATRE DOORS WG3-L and WG4-L will run as one 3 hour session from Sidsel Graffer (Norwegian Theatre Academy) Rogerio Machado A VIDEO ARTICLE ON HOW SILENCE IS AN Joseph Paul Hill (The Graduate Center, CUNY) 13.15 - 16.15 EMBODIED POLITICISED AND DECOLONISED WG4-G Performance, Religion and ACTION Spirituality ECOLOGICAL THINKING AS A CREATIVE A PANDEMIC PERSPECTIVE ON SCENOGRAPHIC DEAF DIPLOMACY: INTERNATIONAL TOURING WG3-M Performance in Public Places = Elizabeth de Roza EXPANSION - OPENING A DIALOGUE BETWEEN ECOLOGIES OF PERFORMING URBAN PLACE IN PRACTICES OF THE NATIONAL THEATRE OF THE Chair: David Mason Performative Protest: ARCHITECTURE THEATRES WITH THEIR MONTREAL DEAF WHIRLING IN THE MIDDLE OF A CHAOS ENVIRONMENT Shauna Janssen (Concordia, University) DISRUPTING PERFORMANCES OF POWER INTERCULTURAL ROOTS & EMBODIED CREATIVE Patrick McKelvey (University of Pittsburgh) Esra Çizmeci, (Çanakkale Onsekiz Mart University) Anna Zoulia THROUGH PERFORMATIVE OBJECTS PRACTICES: HOW THE MICRO AND MACRO WALK IN A RESONANT CONTINUUM THE ROLE OF THE PERFORMANCE DESIGNER IN Sian Rees (University for the Creative Arts) REALITY SHOWS AND DISABLED IDENTITY: Alexander Boyd (UC Davis Theatre & Dance) STAGING THE GIFT AND LOSS OF RELIGION: THE CONTESTED URBAN REALM DYNAMICS OF REPRESENTATION AND MASS WG4-J – Choreography and DEVELOPMENT OF A NEW PLAY ABOUT Marina Hadjilouca (Royal College of Art) PLAYFUL DISOBEDIENCE IN A CONTESTED MEDIA Corporeality CREATION OF POLAND SPACE: ACTIVIST METHODS IN THE MODEL: A EMBODIED RESEARCH LAB, BANGALORE: Akhila Vimal (Jawaharlal Nehru University) Anna Dulba-Barnett (University of Oregon) Chairs: Aoife McGrath and Prarthana Purkayastha WG3-J Choreography and Corporeality MODEL FOR A QUALITATIVE SOCIETY DESIRES, QUESTIONS AND CONSTRAINTS THAT SHAPE PRACTICE Chairs: Aoife McGrath and Prarthana Purkayastha Reka Polonyi (University of Manchester) WG4-E Queer Futures PATHWAYS: THE FUTURITY OF PEDESTRIAN Shabari Rao SYMBOLIC PROTEST, PERFORMING SILENCES MOVEMENT IN THE MALTESE ISLANDS Chair: Stephen Farrier AND TRADITION IN MORMON FEMINISM Paula Guzzanti (L-Università ta’ Malta) GENERATIONAL EXPERIENCES OF GENDER AND RE-FRAMING THE POWER: A NEW THEORETICAL ECOLOGIES AND THE CRISES OF Clara Molina Blanco (University of Extremadura) OF FEMINISMS IN NORTHERN IRELAND METHODOLOGICAL APPROACH TO THE STUDY SPLINTERS: CROSS-DRESSING EX-SERVICEMEN (DIS)EMBODIED PRACTICE Shonagh Hill (Queen’s University Belfast) OF THEATRICAL PROTEST TACTICS ON THE INTERWAR STAGE IMPROVISING AFFECTIVITY – THE CASE OF KITT Raimund Rosarius (LMU) Goran Duric (University of Melbourne) Jacob Bloomfield (University of Konstanz) WG4-H Translation, Adaptation and JOHNSON’S SITE-SPECIFIC WORK Susanne Ravn (University of Southern Denmark) SOLO DANCING AND ECOLOGIES OF PLURALITY Dramaturgy THEATRICAL ECOLOGY OF THE WORKING Daniela Perazzo Domm (Kingston University London) WG4 Monday 15.15 – 16.45 THE QUEER POTENTIAL OF SINGLE-SEX Chair: Duska Radosavljevic and Kasia Lech GROUP: ENCOUNTER AND ARCHIVAL THEATRE PERFORMANCE AT THE UNIVERSITY OF TURNING THE WORLD BACK TO EARTH: AN WG4-A Samuel Beckett CONTRIBUTION “WORDS DON’T COME EASILY“* - REFLECTIONS EXAMPLE FROM ALESSANDRO SCIARRONI’S MOVING WITH(IN) LANGUAGE: KINETIC CAMBRIDGE IN THE EARLY TWENTIETH CENTURY Chair: Trish McTighe Ben Spatz (University of Huddersfield) ON MONSTER TRUCK’S SORRY, THE ARTISTIC PRACTICE TEXTUALITY IN CONTEMPORARY PERFORMING Dominic Janes (Keele University) DISCOURSE ON RACE IN GERMAN THEATRE Gustavo Vicente (University of Lisbon) ARTS RECONSIDERED THROUGH MODERNIST AT ME TOO SOMEONE IS LOOKING, OF ME TOO CHILDABLE RESEARCH AND A COMMITMENT TO AN INTERSECTIONAL POETRY DRAG AND THE MAINTENANCE OF GENDER SOMEONE IS SAYING”: WAITING FOR GODOT IN Melissa da Silva Ferreira (Universidade Estadual de DRAMATURGICAL PRACTICE Rosa Lambert (University of Antwerp) NORMS: A CASE FROM EARLY TWENTIETH- SALA BECKETT Campinas) Ann-Christine Simke (University of Glasgow) WG4-L Performance as Research CENTURY BRITISH UNIVERSITIES Teresa Rosell Nicolás (University of Barcelona) SOMATIC ERGONOMICS: SUSTAINING EMBODIED Emily Rutherford (Merton College, Oxford) MEETING FOR ALL MEMBERS OF THE GROUP PERFORMANCE PRACTICES AS SOCIAL CRITIQUE “THE WILD GIRLS” WG3-L and WG4-L will run as one 3 hour session from TOWARDS AN ECOLOGY OF BECKETTIAN ACTING Kristin Leahey (Boston University) 13.15 - 16.15 Peilin Liang (National University of Singapore) Nicholas Johnson (Trinity College, Dublin)

36 37 WG5 Tuesday 19.00 – 20.30 THE U.A.P. EXPERIENCE: A TRANSDISCIPLINARY CHANGES IN SWEDISH OPERETTA DANCING AT WG5-I Theatre History and GREENWOOD SPACES: OUTLAW FIGURES AS COSTUME SHOP ECOLOGY ART PLATFORM IN THE PERIPHERIC CONTEXT THE STORAN THEATRE IN GOTHENBURG BY THE Historiography: Special Panel on LIMIT CONCEPTS Christin Essin (Vanderbilt University) WG5-A Groupe de travail Processus Renato Bolelli Rebouças (University of Sao Paulo) MID 1930S embodiment and historiographical Julia Boll (University of Hamburg) de création/ Working Group Creative Lotty Harryson (Stockholm University) research WG6-C Embodied Research WG - Core Processes Embodied Research WG5-C Choreography and Corporeality Chair: Dorota Sosnowska THE SOLACE OF PLANTING TREES Chair: Luk Van den Dries The Embodied Research Working Group uses its Chairs: Aoife McGrath and Prarthana Purkayastha DOES HAMILTON BRING WALLS DOWN? Sam Haddow (University of St Andrews) scheduled sessions to explore methods of embodied AMERICAN MUSICAL DRAMA AND THE RISE OF POSTIST CHALLENGES, FEMALE MIGRATION STRATÉGIES D’ÉCRITURES PLURIELLES DE LA and multimedial exchange. Each session will feature FASCISM AND PERFORMING MEMORIES AS A COMPLEXITÉ EN ARTS VIVANTS : OUVRIR LES EXTRACTING-WITH ALGAE WG5-L Performance as Research the work of some WG members, but they do not usually Francesco Saverio Sani (De Montfort University) HISTORIOGRAPHICAL METHOD POTENTIELS CRÉATIFS Sarah Blissett (University of Roehampton) MEETING FOR ALL MEMBERS OF THE GROUP involve the reading of papers. Sessions are closed by Laura Peja (Università Cattolica del Sacro Cuore, Milano) default, but IFTR attendees who wish to join please send Robert Faguy and Natalia Soldera (LANTISS-Universite WG5- G Popular Entertainment WG5-L and WG6-L will run as one 3 hour session from laval) an email request to [email protected] to receive the “NATURE MOVES”: CONNECTING BUTOH AND Chairs: Mikael Strömberg and Jason Price 19.00 - 22.00 link. ANNA HALPRIN MEYERHOLD’S CASTINGS OF ACTRESSES FOR MALE PARTS MOUVEMENTS DE LA MER INTÉRIEURE : LES Rosemary Candelario (Texas Woman’s University) IMMERSIVE PERFORMANCE AND SENSORY WG6 Tuesday, 21.15 – 22.30 Janne Risum (Aarhus University) ENJEUX D’UN PROCESSUS DE CRÉATION STIMULATION: THE INTIMACY OF PARTICIPATION CHALLENGING DRAMATURGICAL PRACTICES WG6-A Groupe de travail Processus CONTEMPORAIN BASÉ SUR LA PRATIQUE DU WG5-D Feminist Research AND THE ATTRACTIONS OF MADNESS IN THIRD THROUGH EMBODIED RESEARCH REWRITING HAIFA THEATER HISTORIES: de création/ Working Group Creative Melina Scialom (Federal University of Bahia, Brazil) MIME CORPOREL D’ÉTIENNE Chairs: Lisa Fitzpatrick and Indu Jain RAIL PROJECTS’ THEN SHE FELL Processes George Mascarenhas (Federal University of Bahia) Rick DesRochers (Lehman College) THEATER LOCATIONS AS EVENTS IN A Chair: Luk Van den Dries ‘WOUNDED CITY’ TWO TAMINGS: CROSS-GENDER SHAKESPEARE POSTDRAMATIC THEATRE: AUTHENTICITY AND/ Dorit Yersuhalmi (University of Haifa) ENTRE TRANSMISSION PRATIQUE ET AND THE SUBVERSION OR REINSCRIPTION OF INCUBATOR BABY SHOWS: PERFORMANCE TACTICS OF GUIDANCE: NEGOTIATING A OR DECONSTRUCTION? Silvia Dumitriu TRACES ÉCRITES : ÉTUDIER LES TRAVAUX DU POWER WITHOUT TEXTS, ACTORS, OR ARCHIVE DISSENSING AESTHETIC OF AUDIENCE WORKCENTER OF JERZY GROTOWSKI AND Amanda Finch (Ulster) Susan Kattwinkel (College of Charleston) WG5-J Arabic Theatre - Globalization’s PARTICIPATION | TACTIQUES DE GUIDAGE Aftermaths: Kuwait, Germany, and the THOMAS RICHARDS : NÉGOCIATION D’UNE ESTHÉTIQUE DE BUG: METAMORPHOSIS IN THE TIME OF Levant Erica Letailleur (Université Nice Côte d’Azur, CTEL) ALTAMIRA 2042: FEMINIST PERFORMANCE AND WG5-H Theatre Architecture - Place: DISSENSUS DE LA PARTICIPATION DU PUBLIC COVID-19 Chair: Samer Al-Saber Nazlıhan Eda Erçin (Louisiana State University) THE QUESTION CONCERNING TECHNOLOGY Performance Spaces in Context Elvira Crois (University of Antwerp) WG5-B Scenography Ana Bernstein and Rebecca Benzie (Universidade IL TEATRO DEL MONDO AND ITS ENVIRONMENT: GLOBALIZATION LIVE!: THEATRICAL TRADITION Chair: Sofia Pantouvaki Federal do Estado do Rio de Janeiro) A NEW THEATRE DIMENSION? REFLECTIONS ON BEING LOST AND BECOMING: EXPLORING THE THE DEFENCE OF COLLECTIVE MEMORY MEETS CORPORATE STRATEGY IN KUWAIT’S ZAIN THE DRAMATURGY OF ONLINE THEATRE DURING PERFORMANCE OF PAIN IN MAYA RAO’S KHOL THROUGH THEATRE MUSICALS A DISCOURSE ON THEATRE/STUDIO WG5-E Intermediality Working Group THE PANDEMIC DO Marc Fernández Cuyàs (Universitat de Barcelona) Yasmine Jahanmir (University of Nevada, Reno) Raman Kumar (Jawaharlal Nehru University) INSTALLATIONS AND CLIMACTIC FACTORS IN - Traversing Transient Spaces: Online Proshot Kalami (BHCC) PARTS OF NIGERIAN Virtual Foyers & Game Engines in MAPPING MAYNARD: EXPLORING POSSIBILITIES ARAB VOICES ON THE EUROPEAN STAGE: Alphonsus Orisaremi (University of Ibadan) Theatre Practice CONTINUOUS BECOMING. COLLECTING TRACES SOMATIC PRACTICES IN THE HISTORICAL FOR RURAL PERFORMANCE SPACE Chair: Liam Jarvis BETWEEN FACT AND FICTION, MEMORY AND OF A CREATIVE PROCESS WITHIN THE ARGOS RESEARCH. THE BODY AS ARCHIVE IN DIALOGUE Andrew Filmer (Aberystwyth University) IMAGINATION NEGOTIATING SOCIETAL ‘POLITICAL RESEARCH PROJECT WITH SINGULARITY Sarah Yousssef (University of Cologne, Germany) Fabiana Mercadante (Universidade de Lisboa) CORRECTNESS’ AND THE PLAYWRIGHT’S ONLINE ENTRANCES, VIRTUAL EXITS, AND THE Luk Van den Dries (University of Antwerp) RESILIENCE AND TRANSIENCE IN THE INTENT IN THE REPRESENTATION OF RACE FUNCTION OF THE FOYER Bernadette Sweeney HISTORIOGRAPHY OF MODERN AND NARRATIVES OF REGRET: SYRIAN CHILDREN CONCLUSION(S) : DISCUSSIONS ET AND IDENTITY THROUGH PRODUCTION Rosie Klich (University of Essex) CONTEMPORARY THEATRE ARCHITECTURE PERFORMING PSYCHOSOCIAL THEATRE TO PERSPECTIVES / CONCLUSION(S): DISCUSSION SCENOGRAPHY IN CHANGING CULTURAL EMBODYING ECO-REVELATIONS: THE “MORE- Evelyn Furquim Werneck Lima (The Federal University of PROMOTE A POLITICS OF RECONCILIATION IN AND PERSPECTIVES: OPEN DISCUSSION ENVIRONMENTS FROM ARGOS TO EROS THAN-HUMAN” AS COLLABORATORS the State of Rio de Janeiro ZA’ATARI REFUGEE CAMP Aisling Smith Tim White (University of Warwick) Florence Figols (Concordia University) Bart Pitchford (University of Montevallo) WG6-B Scenography HOLLOW (2016): RECONFIGURING LUNGS – LEARNING TO BREATH MORE FREELY WG5-F Musical Theatre Chair: Nick Hunt PARTICIPATION AS AN ECO-SPATIAL PRACTICE WG6-D Feminist Research WG Nick Wood (Royal Central School Of Speech and Drama) Chairs: Tereza Havelkova and Marcus Tan Chair: Lisa Fitzpatrick Jenny Hall (Crafted Space) WG5-K Political Performance: Session 4 COSTUME AS SITE FOR ECOSCENOGRAPHY: Staging Land and Environment THE MATERIAL INTERACTIONS WORKSHOPS IN NEGOTIATING THE SHIFTING IRISH IDENTITY THE COLOR PURPLE: CREATIVE FIGURES, RACIAL Chair: Cristina Delgado-García PRAGUE, LONDON AND GALWAY (2019-2020) “AN EXPLOSION OF FEMINISM:” DRAMATURGIES THROUGH PERFORMING LANDSCAPE: RE- POLITICS, AND DIVERGENT AESTHETICS IN Donatella Barbieri (LCF) OF EXCESS AND REVOLUTION IN CHILE’S NEW VIEWING THE THEATRICAL POETICS OF BRIAN MUSICAL THEATRE PROCESSES BLACK MEN WALKING: EXPLORING RACE, FEMINIST VANGUARD FRIEL Phoebe Rumsey (University of Portsmouth) REGION AND THE RURAL OCCUPYING THE PERIPHERY: BACKSTAGE Jennifer Thompson (University of Pennsylvania) Ajeet Singh (Bhagat Phool Singh Mahila Gemma Edwards (University of Nottingham) SPACES AND THE ECOLOGIES OF PRACTICE Vishwavidyalaya) Cath Badham and Kelli Zezulka (University of Derby)

38 39 GHOSTLY STUDIES OF THE HOUSE: THE WG6-I Theatre History and (RE)PERFORMING AN ECO-DOCUMENTARY THE WEIGHT OF THE SET DESIGNS AS A WAY TO WG7-F Musical Theatre SIMON STEPHENS’S COLLABORATIVE SPECTRAL FEMINIST ECOLOGIES OF KILLJOY’S Historiography: Panel on actors and PRACTICE IDENTIFY AUDIENCES IN THE POPULAR THEATRE Chair: Tereza Havelkova PRACTICES IN AN INTERCULTURAL CONTEXT: KASTLE acting Nathalie Suck OF BARCELONA AT THE BEGINNING OF THE XX THE UNIQUENESS OF THE PRODUCTION OF Kelly Richmond (Cornell University) Chair: Meike Wagner CENTURY FORTUNE IN TOKYO, 2020 WIENER MUSICALS AND THEIR DEVELOPMENTS: Eduard Molner (Escola Universitària ERAM - Universitat Nabi Ito (University of Birmingham) CREATIVE BODIES: ENTANGLEMENTS OF SELF/ GLOCALIZATION HISTORY OF MUSICALS de Girona) THE HUMAN SPECIES OUTSIDE THE CENTER: SYSTEMIC BODIES? WRITING A HISTORY OF SUBJECT AND OTHER/OBJECT IN EXPLORATIONS BETWEEN VIENNA AND JAPAN THEATRE, STRUGGLE FOR LAND AND ACTOR TRAINING IN GERMANY BETWEEN 1945 OF WHAT CONSTITUTES HUMAN REMAINS Rina Tanaka (Meiji University) WG7-I The Theatrical Event ECOFEMINISM IN THE BRAZILIAN ADAPTATION AND 1989 Roisin O’Gorman (University College Cork) WG7-D Performance and Disability Chair: Peter Eversmann OF “THE HORATIANS AND THE CURIATIANS” Anja Klöck (Hochschule für Musik und Theater Leipzig) Working Group INDETERMINATE ECOLOGIES: SONIFICATION, Lucia Romano (Paulista State University SP) Chair: Jessica Watkin LOCO.MOTION: CASE STUDIES ON EXPRESSIVE SONICITY AND VIBRATION IN DEAR JOHN PERFORMING IRAQI-JEWISH HISTORY IN THE AN EROTIC ENVIRONMENT: THE NINETEENTH- MOVEMENT AND SUSTAINABLE DEVELOPMENT Marcus Tan (Nanyang Technological University) ORNA PORT CHILDREN AND YOUTH THEATRE WG6-E Intermediality Working Group CENTURY ACTRESS’S DRESSING-ROOM Shrinkhla Sahai PLACE OF SAFETY: INTELLECTUAL DISABILITY Naphtaly Shem-Tov (The Open University of Israel) - Technological Tensions: Automation/ Laurence Senelick (Tufts University) AND THEATRE Environmentalism & Decentred WG7-G Performance, Religion and EXPLAINING THEATRE TO A MALIGNANT ROOT: Riika Papunen (Tampere University) Spirituality YIDDISH THEATRE - A SURVIVING AMATEUR Humans/Agentic Bodies of Personal PERFORMING OBJECTS, SHIFTING ONTOLOGIES Data ALIENS AND STARS: LABOR DISPUTES AND Chairs: Silvia Battista and David Mason CULTURE AND TOPSY-TURVY ECOLOGIES. A PERFORMANCE ZOOM-ZOOM: ONLINE CREATIVE Wlllmar Sauter (Stockholm University) Chair: Karen Savage ALIGNING ACTOR/CHARACTER IDENTITIES Ann White (Michigan State University) WITH OBJECTS COLLABORATIONS BREAKOUT ROOM 1 Matt Smith (University of Portsmouth) Suzanne Ingelbrecht and Dan Graham A WORD IN YOUR EAR: REIMAGINING PERSONAL DATA AS EXPANDED HUMAN WG6-J Arabic Theatre Siege, home, and WORSHIP AND THE PLAGUE: CRAFTING RITUAL COMMUNITY DRAMA AS SITE-SPECIFIC DIGITAL MATERIALITY: HERZOG, DE MEURON AND AI the Self in Iraq and Palestine THE OBJECT DANCE PROJECT: THE ECOLOGIES MAPPING PRE-SHOW INFORMATION AS AN EXPERIENCES IN COVID-19 BRITAIN STORYTELLING WEIWEI’S “HANSEL AND GRETEL” Chair: Sarah Youssef OF THINGNESS ACCESS TOOL Joshua Edelman (Manchester Metropolitan University) Kate Valentine (University of York) Sarah Lucie (The Graduate Center, CUNY) Josiah Pearsall (Louisiana State University) Kelsie Acton THE IRAQI HOME/LAND UNDER SIEGE: HOUSE RITUAL CELEBRATION OF ADVENT IN THE TIMES WG7-J Queer Futures THROWAWAY EXPANSION: AUTOMATION, AS METAPHOR IN ABDUL RAZAQ AL-RUBAI’S A PERFORMANCE AND SOCIAL JUSTICE: WG7-E Intermediality Working Group OF COVID-19: EXPERIENCE BETWEEN THE Chair: Fintan Walsh ENVIRONMENTAL PERFORMANCE, AND THE STRANGE BIRD ON OUR ROOF EMBODYING THE PROCESS OF SUSTAINABILITY - Reconfiguring Trust in Machines: ARCHIVE AND THE REPERTOIRE INFLATABLE DOME James Al Shamma (Belmont University) and Amir OF AFRO AND INDIGENOUS CULTURE AND THEIR Bodies-as-data, Malfunctioning Kim Skjoldager-Nielsen (Stockholm University) Douglas Eacho (University of Toronto) RESISTING RESILIENCE: LIVE ART APPROACHES Al-Azraki (Renison University College, University of Humanoids & Platforms for ENVIRONMENTS IN BRAZIL TO DEVELOPING QUEER PERFORMANCE Waterloo) Transgressive Participation Alba P. Vieira (Federal University of Vicosa) and Denise BREAKOUT ROOM 2 Stephen Greer (University of Glasgow) WG6-F Musical Theatre WG M. Zenicola (Federal University Fluminense) Chair: Liam Jarvis INVENT YOUR OWN RELIGION Chairs: Tereza Havelkova and Marcus Tan PALESTINIAN THEATRE: ALIENATION, MEDIATION Michael Dudeck (Edinburgh College of Art) LIKE TEARS IN THE OCEAN: THE WILD SEARCH AND ASSIMILATION IN CROSS CULTURAL THE BODY AS DATA: REIMAGINING A REALITY MEMBERS’ MEETING WG7-B Scenography Working Group FOR THE MIRACULOUS Chairs: Sofia Pantouvaki and Nick Hun RESEARCH AND PRACTICE FOR MIGRATING BODIES BEYOND THE LIMITS Annalaura Alifuoco (Liverpool Hope University) OF EUROPE’S DIGITAL BORDERS THROUGH POSTHUMAN SPIRITUALITIES: TRANCE, VIRTUAL Gary English (University of Connecticut) BUSINESS MEETING WG6-G Popular Entertainment PERFORMANCE REALITY, AND SUPERNATURAL DANCE IN CHOY IN-BETWEEN LOVE: PERFORMANCE OF INTIMATE Chairs: Mikael Strömberg and Jason Price Sidonie Carey Green (Royal Holloway University of KA FAI’S COSMICWONDER WG6-L Performance as Research WG7-C Popular Entertainment London) Kyueun Kim (CUNY Graduate Center) LOVE AS MAKING OF QUEER COUNTERPUBLICS IN MANDEEP RAIKHY’S QUEEN-SIZE THE COMEDY PROPAGANDA MACHINE: THE MEETING FOR ALL MEMBERS OF THE GROUP Chairs: Mikael Strömberg and Jason Price Sheetala Bhat (University of Western Ontario) SOLDIER SKETCH WRITING CONTEST OF WORLD I AM GOING TO TURN INTO PETER: GLITCHING WG7-H Translation, Adaptation and WAR II WG7 Wednesday 12.45 – 14.00 VARIETY THEATRE HISTORY AND FILM: FICTIONS HUMAN-ROBOT INTERACTIONS Dramaturgy Tara Demmy (University of Maryland College Park) AS SOURCES Yaron Shyldkrot (University of Sheffield) Chair: Duska Radosavljevic and Kasia Lech WG7-K Political Performance WG: WG7-A Embodied Research - Politics and identity Larraine Nicholas (University of Roehampton) RECOGNIZING UNEXPECTED ADAPTATIONS, Interdisciplinary Connections DESTABILIZING IDENTITIES Chair: Aylwyn Walsh I AM DON QUIXOTE THE TRIO LIKAY: A SOUL- BECOMING WOLF VIA WHATSAPP: THE Chair: Melina Scialom John Severn (Macquarie University) SEARCHING CONTENT WITHIN THAI POPULAR ‘A SIMULACRUM OF THE CULTURAL AND TRANSGRESSIVE POTENTIAL OF INSTANT The Embodied Research Working Group uses its THE TOXIC WHITENESS OF CONTEMPORARY PERFORMANCE scheduled sessions to explore methods of embodied and HISTORICAL PROCESS ITSELF’: POPULAR MESSAGING SERVICES IN PARTICIPATORY ABORIGINALIZING MOTHER COURAGE: BRECHT BRITISH THEATRE Sukanya Sompiboon (Chulalongkorn University) multimedial exchange. Each session will feature the work ENTERTAINMENTS AT NEWCASTLE’S HERITAGE- PERFORMANCE AND ACTIVISM IN AUSTRALIA Tom Cornford (The Royal Central School of Speech and of some WG members, but they do not usually involve the LISTED VICTORIA THEATRE Caroline Mueller Prateek (BITS Pilani) Drama) WG6-H Theatre architecture reading of papers. Sessions are closed by default, but Gillian Arrighi (University of Newcastle (Australia)) IFTR attendees who wish to join please send an email BUSINESS MEETING request to [email protected] to receive the link.

40 41 THE SLIPPERY NATURE OF IDENTITY: THE A VIDEO ARTICLE ON HOW SILENCE IS AN OUTDOOR THEATER IN PARK LOCATION PERFORMING RAGE: ‘THE RAPIST IS YOU’ HEI THEATRE PRACTICE: A UNIQUE “PERFORMING (DIS)RESPECTABLE FEMININITY PROBLEM OF QUEER AGENCY IN THE WORK OF EMBODIED POLITICISED AND DECOLONISED Jari Aaltonen (Aalto University) FEMINIST FLASH MOB BY LAS TESIS COLLECTIVE, PERFORMANCE METHOD IN A NEXUS OF DURING THE 2018 IRISH ABORTION RACHAEL YOUNG, LUCY HUTSON AND PROJECT ACTION 2019 AND ONGOING PRACTICES REFERENDUM CAMPAIGN.” O Elizabeth de Roza WG8-C Feminist Research WG Marcela Oteiza (Wesleyan University) David Hockham and Jillian Wallis (University of Ciara L Murphy (NUI Galway) Greenwich) Sarah Gorman (Roehampton University) Chairs: Lisa Fitzpatrick and Indu Jain INTERCULTURAL ROOTS & EMBODIED CREATIVE THREE CONVICTS: THE DAM, THE WAR, THE (PER)FORMING COMMUNITY AESTHETICS: WG7-L Performance in Public Places - PRACTICES: HOW THE MICRO AND MACRO WALK ARTISTS PANEL OIL: AN ECOLOGICAL STAGE OF DISASTER IN NEGOTIATING PRACTICE: WORKING WITH PROTEST AND DIALOGUE Landscape and power IN A RESONANT CONTINUUM Emma O’Grady (Galway) and Lara Hickey (Dublin) MESOPOTAMIAN MARSHES UNIVERSITY STUDENTS IN CHANGING COVID Linda Taylor Northumbria University Alexander Boyd (UC Davis Theatre & Dance) and Andrea Sepideh Karami (Edinburgh School of Architecture & CIRCUMSTANCES PERFORMING THE COVERT LANDSCAPE Maciel Garcia (University of Bristol) Landscape Architecture) Vicki Ann Cremona (Malta) Fraser Stevens (University of Maryland, College Park) PRE-WATCH: INTERVIEW WG8-M Choreography and Corporeality Margaretta D’Arcy and Lelia Doolan Chairs: Aoife McGrath and Prarthana Purkayastha EMBODIED RESEARCH LAB, BANGALORE: THE THEATRE BUILDING AS CULTURAL MACHINE: WG8-J Queer Futures PARADOXICAL PARTITION: EXPLORING DESIRES, QUESTIONS AND CONSTRAINTS THAT MATERIALITY AND CULTURAL DEMOCRACY AT Chair: Joe Parslow PERFORMATIVE PROTESTS AT THE US-MEXICO WG8-D Performance and Disability AUTHORITY AND NOTHING: SUBSCENDENCE IN SHAPE PRACTICE LIVERPOOL’S THE PURPLE DOOR BORDER WALL Working Group HARRELL, HASSABI AND SPANGBERG Shabari Rao Chair: Vibeke Glorstad Karl Falconer (Canterbury Christ Church University) Mary Caulfield FRIENDSHIP AS RITUAL IN THE UNDERGROUND Nik Wakefield (University of Portsmouth) SCENE OF 1980S BUENOS AIRES: THE DRAG- THEORETICAL ECOLOGIES AND THE CRISES OF EMBRACING THE DISTANCE: ACCESSING DANCES WG8-G Performance, Religion and PERFORMANCE-BASED ARTS, ACTIVISM AND QUEEN CLOWN, WALTER ‘BATATO’ BAREA BETWEEN FLESH AND STONE: REVISITING (DIS)EMBODIED PRACTICE OF CONNECTION Spirituality Rodrigo Canete (University of Warwick) ENVIRONMENTAL JUSTICE ARCHIVES IN DANCE Raimund Rosarius (LMU) Joser Miguel Esteban (OISE/University of Toronto) Chair: David Mason Helen Gilbert (Royal Holloway, University of London) Susanne Foellmer (Coventry University) BESIDES DRAG: QUEER NIGHTLIFE WG7-M Choreography and Corporeality THEATRICAL ECOLOGY OF THE WORKING RE-IMAGINING SUPPORT IN A DIGITAL WORLD ACTING THE ESSENCE THE PERFORMER’S WORK PERFORMANCES AND NETWORKS OF SUPPORT HOLDING DANCE GROUP: ENCOUNTER AND ARCHIVAL Becky Gold (York University) ON THE SELF Joe Parslow (Royal Central School of Speech and Drama) Chairs: Aoife McGrath and Prarthana Purkayastha Prarthana Purkayastha (Royal Holloway, University of CONTRIBUTION Giuliano Campo (Ulster University) London) Ben Spatz (University of Huddersfield) SENSORY THEATRE FOR NEURODIVERSE TURING’S GHOST AND THE GRIEF MACHINE PERFORMANCES OF DISOBEDIENCE IN AUDIENCES DURING THE PANDEMIC THE SPIRITUAL EXPERIENCE OF ACTING IN Fintan Walsh (Birkbeck) CATALONIA’S RACE FOR INDEPENDENCE WG9 Thursday 15.00 – 16.15 Alison Mahoney (University of Pittsburgh) CONNECTION TO CO-ACTORS Eva Aymami Rene (Anglia Ruskin University) CHILDABLE RESEARCH WG9-A Feminist Research WG Melissa da Silva Ferreira (Universidade Estadual de Elien Hanselaer (Queen’s University Belfast) WG8-K Political Performance: Fear and Chairs: Lisa Fitzpatrick and Indu Jain Campinas) WG8-E Intermediality Working Group anxiety in dystopian landscapes DANCE, ACTIVISM AND SURVEILLANCE IN THE - New Natural Histories, Ambivalent STAGING GURDJIEFF’S SACRED DANCES AND Chair: Julia Boll AGE OF BREXIT AND COVID-19 “PORNOGRAPHY OF THE SOUL:” THE BODY SOMATIC ERGONOMICS: SUSTAINING EMBODIED Futures & Technologically Altered THE PERFORMER/SPECTATOR RELATIONSHIP Stacey Prickett (University of Roehampton) Bodily Ecologies AS SITE OF CONTESTATION OF GENDER PERFORMANCE PRACTICES AS SOCIAL CRITIQUE Maria Litvan (The Graduate Center, CUNY) ALL WITHOUT THE FAMILY: THEATRES OF BOUNDARIES IN ANGÉLICA LIDDELL’S THEATRE Chair: Karen Savage ECO-ANXIETY AND POSSIBLE (APOCALYPTIC) DANCE AND BORDERS IN NORTHERN IRELAND Peilin Liang (National University of Singapore) Mara Valderrama (The Graduate Center, CUNY) WG8-H Translation, Adaptation and FUTURES Aoife McGrath (Queen’s University Belfast) POSTHUMANIST OPTIMISM IN VON KRAHL Dramaturgy Jon Venn (University of Birmingham) WG8-B Scenography THEATRE’S EPIC JAIK Chair: Duska Radosavljevic and Kasia Lech POLITICS OF PROCREATION AND PARENTHOOD WG8 Wednesday 14.45 – 16.15 Chair: Sofia Pantouvaki IN THE CONTEMPORARY TV SERIES Riina Oruaas (University of Tartu) ECOLOGIES OF FEAR: BREACH THEATRE’S THE DRAMATURGY. UTOPIAN AND DYSTOPIAN WG8-A Embodied Research: “A GHETTO STREET. A LAMPPOST. NIGHT”: DRILL (2018) STAGED ANIMALITY SCENARIOS OF POST-ANTHROPOCENE Institutional Frameworks & Multimedia ECO-DRAMATURGIES: ROBERT ZHAO AND THE ADAPTING BECKETT TO THE BLACK URBAN Andrew Lennon (University of Birmingham) Pipsa Keski-Hakuni (Aalto University) ECOLOGIES IN THE TECHNO-NATURE-CULTURAL Publications INSTITUTE OF CRITICAL ZOOLOGISTS EXPERIENCE ENTANGLEMENT Chair: Nathalie Fari Katia Arfara (New York University Abu Dhabi) Nelson Barre (Roanoke College) WG8-L Performance in Public Places - TERRAPOLIS: EROTIC NONSENSE AND MULTI- Ewa Bal (Jagiellonian University) Women and Care The Embodied Research Working Group uses its SPECIES ENTANGLEMENTS WG8-F Theatre Architecture scheduled sessions to explore methods of embodied Meg Rollandi (Massey University, College of Creative ‘…BOUCHE EN FEU…’: ANALYSING BECKETT’S Politics: Protest, Decolonisation and Democracy “AN ECOSYSTEM OF CARE: THE DALIT WOMEN’S PERFORMANCE AND INSTITUTIONALISATION: and multimedial exchange. Each session will feature SELF-TRANSLATION PROCESS Arts) SOCIETY AND THE EMBODIED POLITICS OF EMBODYING ‘HISTORICAL’ INJUSTICE the work of some WG members, but they do not usually Shane O’Neill (Mary Immaculate College, University of Chair: Shauna Janssen KINSHIP IN KERALA, SOUTH INDIA, 1992-2018” Miriam Haughton (NUI Galway) involve the reading of papers. Sessions are closed by Limerick) ECOLOGICAL MODES OF RESEARCHING AND Vivek V. Narayan (Ashoka University) default, but IFTR attendees who wish to join please send SPECTATING PROTEST ARCHITECTURE AND PERFORMANCE an email request to [email protected] to receive the WG8-I The Theatrical Event Rhian Morris Julian Maynard-Smith link. Chair: Smadar Mor

42 43 WG9-B Scenography NTERNET THEATRE: A POSTMEDIA ANALYSIS OF WG9-H Theatre Architecture THE DANCING HORSES: THE CRITIQUE OF WG10-C Performance and Disability ECOLOGIES OF LISTENING: RESPONDING TO Chair: Nick Hunt TO BE A MACHINE AND RICH KIDS: A HISTORY OF Place: The City, Music and Voice DRESSAGE Working Group JOHN BERGER THROUGH INTIMATE AUDIO SHOPPING MALLS IN TEHRAN Chair: Shauna Janssen Lisa Moravec (Royal Holloway, University of London Chair: Vibeke Glorstad Harry Wilson (University of Glasgow) TEACHING SCENOGRAPHY IN GREECE; THE Joseph Dunne Howrie (City, University of London) ECOLOGY OF STAGE DESIGN EDUCATION HAPTIC ANIMALITY. INTERCONNECTIONS CREATING AN «ECO-SYSTEM». EXPERIENCE PRIMITIVE ICESCAPES: PERFORMANCE ANALYSIS ‘DOVE CI TROVIAMO?’: SILENT CITY AND THE Dimitra Giovani, Evangelia Karakosta, Panayiota BETWEEN DANCE, TOUCHING AND THE ANIMAL OF THE INCLUSIVE THEATRICAL PROJECT THE OF A UN SPECIAL REPORT ON CLIMATE CHANGE INTERMEDIALITY, ECOLOGICAL HOMOLOGIES ARCHITECTURE OF INTERCONNECTION Konstantinakou, Ioulia Pipinia (Aristotle University of MEETING, ST. PETERSBURG RUSSIA Clara Wilch (UCLA) AND THEATRICAL AESTHETICS: THE ECOLOGIES Milo Harries (University of Cambridge) Sofia Munoz Carneiro (Ludwig Maximilian University of Thessaloniki) Aleksandra Dunaeva (SASH RANEPA) OF INTERMEDIAL THEATRE PRACTICES Munich) WG10-F Musical Theatre THE OLD-NEW SPACES FOR CULTURE AND LIFE Stella Keramida (University of Reading) CITY: PERFORMANCE’S MUSE AND MATRIX - OR, DIS-LOCATING AUTISM OR ‘I CAN’T BREATHE’ Věra Velemanová (Arts and Theatre Institute Prague) FROM LARGO DO PELOURINHO TO TERREIRO DE THE VISCOUS BODY: LEAKS AND FLOWS IN Chairs: Tereza Havelkova and Marcus Tan EITHER: A (DYS)FUNCTIONAL MANIFESTO PLACE-MIXING IN THE WILD CITY: CROSSING JESUS, ALTERNATING THEATRE AND CARNIVAL, MARISA CARNESKY AND KIRA O’REILLY’S Ciane Fernandes (Federal University of Bahia (UFBA) CHARACTER CONSTRUCTION AND SOCIAL THE PROCESSES OF COMPUTATION, ORGANIC PERPETUAL PRESENCE, PERMANENT THEATRE AND CARNIVAL, THEATRE AND PERFORMANCE ISOLATION IN THE SECOND VIOLINIST (2017) ABSENCE: SCENOGRAPHIC ECOLOGY GROWTH AND URBAN REDEVELOPMENT CARNIVAL Burong Zeng (Sussex) Eva Van Daele (Ghent University) AND REPRESENTATION OF TRAUMA IN Jo Scott (University of Salford) Edvard Passos (UFBA) BUILDING NEW FORMS OF ONLINE CONTEMPORARY RUSSIAN THEATRE WG10 Thursday 17.00 – 18.15 COLLABORATION BUSINESS MEETING Ildiko Sirato (Hungarian National Széchényi Library) Olga Nikolaeva (Musikverket) WG9-F Musical Theatre THE MEANING OF ARTISTIC INTERVENTIONS IN WG10-A Feminist Research WG Chair: Marcus Tan URBAN SPACE: THE CASE OF SPIRALS PROJECT WG10-G Translation, Adaptation and Chairs: Lisa Fitzpatrick and Indu Jain WG9-C Queer Futures AND THE IMPACT OF CURRENT CHALLENGES ON WG10-D Performance, Religion and Dramaturgy Spirituality Chair: Stephen Greer TO SING OR TO SPEAK? PAUSE AND FAST CITYSCAPES Chair: Duska Radosavljevic and Kasia Lech VANISHING FOR THE VOTE: PERFORMING Chairs: Silvia Battista and Elisabeth Fairchild FORWARD IN MADURESE LODDROK MUSICAL Hari Marini (Queen Mary University of London) ABSENCE IN THE BRITISH WOMEN’S SUFFRAGE “WE’LL MEET YOU UNDERGROUND” THEATRE INTO THE WOODS, INTO THE SEA— MOVEMENT Hélène Bouvier (THALIM-CNRS) WG9-I Theatre History and BREAKOUT ROOM 1 NEGOTIATIONS WITH THE LANDSCAPE TRANSCULTURAL PERFORMANCE PRACTICES IN Elise Robinson (University of Georgia) QUEER SPACE AND TIME Historiography: Panel on theatres and FINDING SILENCE Henriette Rietveld (Yale School of Drama) Jeremy Neideck (Queensland University of Technology) MEREDITH MONK AND THE ARCHAEOLOGICAL companies Argyro Tsampazi (Queen’s University Belfast) PRECARITY, ENVIRONMENTAL RISK AND IMAGINATION Chair: Tancredi Gusman THE ECOLOGY OF A THEATRE OF CARE IN FEMINIST POLITICS IN THE WORK OF KATIE CULTIVATING LGBTQ+ SOLIDARITY THROUGH David Gutkin (Peabody Institute of Johns Hopkins THE ECOLOGY OF A THEATRE OF CARE IN MITCHELL INVOCATION FOR RAIN: UNDERSTANDING THE University) OPEN DISCUSSION ON “THEATRE COMMUNITY BASED THEATRE: A CASE STUDY COMMUNITY-BASED THEATRE INTERVENTION IN Marissia Fragkou (Canterbury Christ Church University) PERFORMATIVE RITUALS OF PURULIA CHHAU IN INDIA HISTORIOGRAPHY AND CRISIS – POST PANDEMIC WEST BENGAL WITH L’ARCHE DAYBREAK Jeffrey Pufahl (Center for Arts in Medicine, University of WG9-G Translation, Adaptation and PERSPECTIVES” Maheshwar Kumar (National Institute of Science Stephanie Sandberg (Washington and Lee University) Florida) Dramaturgy All WG members are invited to offer five minute WG10-B Scenography Education and Research) reflections Chairs: Nick Hunt and Sofia Pantouvaki Chair: Duska Radosavljevic and Kasia Lech CAFÉ DELAY: SPACES OF TRANSLATION ON THE ECOLOGIES OF AFFECTIVE LEATHER BREAKOUT ROOM 2 ZOOM WITH OLDER AMATEUR PERFORMERS VIRTUAL FIELD TRIPS: TOWARDS A INTIMACIES TRANSLATING HENRIK IBSEN’S PLAYS FOR THE WG9-J Digital Humanities in Theatre Richard Talbot (University of Salford) THERAPEUTIC ECOLOGY OF CARE AND LIFE, THE UNIVERSE, AND EVERYTHING: Heath Pennington (University of California Santa ROMANIAN AUDIENCE Research RECONCILIATION THROUGH CONTRIBUTIVE PERFORMING SCIENTIFIC SPIRITUALITY AND Barbara) Gianina Druta (Centre for Ibsen Studies, University of PERFORMANCES DISTANT VIEWING: THE WG10-H Theatre Architecture: Oslo) VIRTUAL REALITY SCENOGRAPHIES SPIRITUAL SCIENCE Place and Environment: Spatial PROMISES OF LARGE IMAGE DATA SETS Néill O’Dwyer (Trinity College, Dublin) Elisabeth Fairchild (University of Oregon) WG9-D Performance as Research ANALYSIS FOR PERFORMING ARTS STUDIES configurations and relations WAYS THROUGH THE MAZE OF CAVES. Clarisse Bardiot (Université Polytechnique Hauts-de- Chair: Andrew Filmer SHAPESHIFTING: LIGHT AS AN ELEMENTAL YOGA TRANCE DANCE: A CONTEMPORARY MEETING FOR ALL MEMBERS OF THE GROUP AN ECOLOGICAL APPROACH TO THEATRE France) TRANSLATION PERFORMANCE MATERIAL TECHNIQUE OF THE SACRED HETEROTOPIC THEATRICAL EXPERIENCES Yvette Jankó Szép (Babeș-Bolyai University) Katherine Graham (University of York ) Alessandra Zanobi WG9-E Intermediality Working Group TEA WITH THE QUEEN: AUDIENCE IN A VIRTUAL OF HUMAN SPATIAL PRACTICE IN NATURAL – Postmedia: Internet Theatres, REALITY THEATRE EXPERIENCE ECOLOGY IN THE ENCOUNTER AND SWIMMING THE TRANSLATION OF PROTEST: FROM BELARUS ECOLOGY OF THE LUDIC SPACE: DESIGNING FOR WG10-E Intermediality Working Group: HOME Place-mixing in Urban Wildscapes & Anna Lawaetz & Jeppe Lawaetz (Royal Danish Library) Phantom Intermedialities: Sonic Homologies in Intermediality TO THE WORLD AGENTIVE PARTICIPATION IN ‘TWO TRUTHS’ Alexandra Halligey (Johannesburg Institute for Sarah Hoover (National University of Ireland, Galway) Worlds & Ecologies of Listening Advanced Study, University of Johannesburg) Chair: Liam Jarvis Bryan Brown (University of Exeter) WG9-L Choreography and Corporeality Chair: Karen Savage Chairs: Aoife McGrath and Prarthana Purkayastha PERFORMING THE SELF: THE CONSTRUCTION OF I UNMUTE: ‘YOU HAVE TO HEAR ME TALK, SO YOU KNOW THAT I’M HERE’ (DARKFIELD 2019) CASA MALAPARTE AS LIVING IMAGES Lynne Kendrick (RCSSD) Popi Iacovou (University of Cyprus)

44 45 A ROOM OF COMMONS’ OWN. PERCEPTION OF DRAMATURGIES OF HOPE BEING LOST AND BECOMING: EXPLORING THE MINNIE CUNNINGHAM: ARTIST’S MUSE AND WG11-I The Theatrical Event “THIS IS MY HOME, THIS THIN EDGE OF SPACE, RELATIONALITY, PARTICIPATION AND Siân Adiseshiah (Loughborough University) PERFORMANCE OF PAIN IN MAYA RAO’S KHOL FORGOTTEN MUSIC HALL STAR Chair: Rikard Hoogland BARBWIRE”-BORDERLANDS AND LIMINALITY IN SAFE SHELTER THROUGH MATERIAL-BUILT DO Jason Price (University of Sussex) THE PERFORMANCE FRONTERA BY ANIMALS OF STRUCTURES IN CONTEMPORARY THEATRE’S DECADENT EXPENDITURE: PRODUCTIVISM, Raman Kumar (Jawaharlal Nehru University) DISTINCTIONS WATCHING CHILDREN WATCH EXAMPLES AUSTERITY AND WHAT WE CAN LEARN FROM THE WG11-E Beckett Peter Eversmann (University of Amsterdam) Azadeh Sharifi (Ludwig Maximilian University of Munich) Adela Bravo Sauras (NoFourthWall / Institut fü BUTTPLUG GNOME SOMATIC PRACTICES IN THE HISTORICAL Chair: Nicholas Johnson Angewandte Theaterwissenschaft Giessen / Universitaet Adam Alston RESEARCH. THE BODY AS ARCHIVE IN DIALOGUE QUALITATIVE RESEARCH METHODS WG11-L Public Places der Künste, Berlin) WITH SINGULARITY ‘A TREE AND A STONE IN WAITING FOR GODOT: AMONG YOUNG AUDIENCES: RECEPTION IN Chair: Fabiana Mercadante (Universidade de Lisboa) WG10-L Choreography and Corporeality PRECARITY IN BECKETT’ KINDERGARTEN WG10-I Theatre History and Chairs: Aoife McGrath and Prarthana Purkayastha Bernadette Sweeney Mariko Tanaka (Aoyama Gakuin University) Historiography: Panel on theatres and Smadar Mor (Tel Aviv University) BUSINESS MEETING companies EMBODYING ECO-REVELATIONS: THE “MORE- WG11-M Performance as Research Chair: Kate Newy STAGING A ‘CHILDREN’S CLASSIC’, TEACHING ‘BECKETT’S THEATRICAL “INVIRONMENT”: DEEPENING THE THEATRE EXPERIENCE FOR THAN-HUMAN” AS COLLABORATORS RACISM: PIPPI LONGSTOCKING (2005/2019) CONDITIONED TO SURVIVAL IN THE YOUNG AUDIENCES: MAPPING THE AIMS Florence Figols (Concordia University) MEETING FOR ALL MEMBERS OF THE GROUP Hanna Järvinen (Theatre Academy of the University of ANTHROPOCENE’ AND IMPACT OF EXTENDED PERFORMANCE WG11-M and WG12-M will run as one 3 hour session from NEW DEFINITIONS OF INDIGENOUS ASOMIYA the Arts Helsinki) Céline Thobois (Trinity College Dublin) ENGAGEMENT THEATRE: MIXED THEATRICALS IN LATE WG11-B Performance and Disability 09.00 - 12.00 NINETEENTH CENTURY ASSAM Heidi Schoenenberger (National University of Ireland DANCE, KOREAN AND INTERCULTURAL: KOREAN Working Group Maitri Baruah (Hansraj College, University of Delhi) WG11-F Translation, Adaptation and Galway) CREATIVE DANCE AS EMBODIED PRACTICE OF Chairs: Kate Maguire Rosier, Tony McCaffrey, and Jessica Dramaturgy WG12 Friday 11.00 – 12.30 Watkin NEW INTERCULTURALISM Chair: THE JEW’S DAUGHTER AND HER MOTHER’S WG11-J Queer Futures WG12-A Embodied Research Dahye Lee (The Graduate Center, CUNY) Chair: Heath Pennington DISCONTENTS: LA BELLE JUIVE AS A SITE OF DISABILITY AND OBJECT ONTOLOGIES: COVID 19 Chair: Melina Scialom EMPLOYING THEATRE TO TRANSLATE THE ACCULTURATION IN YIDDISH DRAMA AND CORINA DUYN’S PRACTICE OF RE-ENABLING WG final meeting (closing session) WG11 Friday 09.00 – 10.15 INDESCRIBABLE AS AN INTERVENTION IN A Sarit Cofman-Simhon (Kibbutzim College, Tel-Aviv) Laura Purcell-Gates (Bath Spa University) FLAUNTING FATNESS: QUEERING ‘OBESITY’ HEALTHCARE SCENARIO: THE COVID EDITION WG11-A Embodied Research WG: Core DISCOURSE AND DIET CULTURE IN CAKE DADDY WG12-B Performance and Disability Embodied Research Shane Pike (Queensland University of Technology) Jonathan Graffam (University of Melbourne) PLAY WITH A MESSAGE: THEATRE AND PUBLIC BEYOND THE SELF: TOWARDS ECOLOGIES OF Working Group INFORMATION MESSAGING IN POST-WAR Chair: Elizabeth de Roza LEARNING DISABLED THEATRE? Chairs: Kate Maguire Rosier, Tony McCaffrey, Jessica INSTITUTIONAL ECOLOGIES: THE DRAMATURGY BRITAIN Tony McCaffrey (Ara Institute of Canterbury) THE CONSTANT NEOLOGISER: QUEERING Watkin The Embodied Research Working Group uses its Matthew Franks (University of Warwick) OF THE LIVE-TO-DIGITAL AND THE STAGING OF LANGUAGE AS PERFORMANCE FOR A PA(I) scheduled sessions to explore methods of embodied THE INSTITUTION NDEMIC and multimedial exchange. Each session will feature THE PERFORMANCE OF ANGER AND RADICAL HOW DO WE PERFORM IN, THROUGH, AND Bernadette Cochrane (Queensland) Peta Murray (RMIT University) WG10-J Digital Humanities in Theatre the work of some WG members, but they do not usually EGALITARIAN CITIZENSHIP BEYOND CRISIS? Research involve the reading of papers. Sessions are closed by Vibeke Glørstad (IFTR) and Inge-Marie Lid Bree Hadley Chair: Gustavo Sol default, but IFTR attendees who wish to join please send WG11-G Theatre History and WG11-K Political Performance: Testing an email request to [email protected] to receive the Historiography Panel on significant limits WG11-C Performance, Religion and productions LEADING TO GENERAL DISCUSSION: ON A FORENSIC THEATRE LAB link. Chair: Pieter Verstraete Spirituality Chair: Ewa Partyga FUTURE PROJECTS, PUBLICATIONS AND Imanuel Schipper (Uniarts Helsinki / HCU Hamburg) Chairs: Silvia Battista and David Mason COLLABORATIONS CHALLENGING DRAMATURGICAL PRACTICES TESTING AUDIENCE’S JUDGEMENT: PLEASE, All WG participants PLAYING WOYZECK THROUGH EMBODIED RESEARCH CONTINUE (HAMLET), BY ROGER BERNAT AND NEUROCOMPUTING OF PERFORMANCE AND THE BUSINESS MEETING Hanna Korsberg (Helsinki) Melina Scialom (Federal University of Bahia, Brazil) YAN DUYVENDAK WG12-C Performance, Religion and DIGITAL DRAMATURGY AGAINST THE DENIERS David Rodriguez-Solas (University of Massachusetts Gustavo Sol (Centro Universitário Belas Artes) WHY WAS FORTINBRAS’ ENTRANCE EXPUNGED Spirituality POSTDRAMATIC THEATRE: AUTHENTICITY AND/ WG11- D Popular Entertainment Amherst) BY TOMMASO SALVINI? Chair: Christopher Danowski OR DECONSTRUCTION? Chairs: Mikael Strömberg and Jason Price WG10-K Political Performances: New Anna Sica (University of Palermo) Silvia Dumitriu BEATING AROUND THE BUSH: POST-HUMAN Political Orders HERE NOW/YMA NAWR: FROM PERSONALITY THEATRE IN MANUELA INFANTE’S VEGETATIVE Chair: Paola Botham GHOST CLARI: INTERPRETING THE PAST HA-MATATEH – ERETZ-ISRAELI SATIRICAL TO PRESENCE THROUGH A PERFORMANCE BUG: METAMORPHOSIS IN THE TIME OF STATE THROUGH PRACTICE THEATRE IN 1939: HISTORY OF EMOTIONS AND ENCOUNTER WITH THE RIVER OGMORE COVID-19 Jane Woollard (University of Tasmania) Camila González Ortiz (University of Reading) NEWS FROM SOMEWHERE: POPULISM, PLACE, SOCIAL SUSTAINABILITY IN PERFORMANCE Tracy Breathnach (Swansea University) Nazlıhan Eda Erçin (Louisiana State University) AND PLAYWRITING Shelly Zer-Zion (The University of Haifa) Benjamin Poore (University of York) ENTERTAINMENT AS INFRASTRUCTURE RASA AND INTERSECTIONAL SELFHOOD Mikael Strömberg (University of Gothenburg) David Mason (Ecumenica Journal)

46 47 ZERO ZONE PRAXIS PERFORMING JORDANIAN NATIONALISM: MUSIC Tamur Tohver (Manchester Metropolitan University) AND SHIFTING IDENTITIES IN AMMAN George Potter (Valparaiso University) WG12- D Popular Entertainment Chair: Mikael Strömberg and Jason Price WG12-I The Theatrical Event Chair: Vicki Ann Cremona

BUSINESS MEETING THE KING, THE SHEEP, AND CENSORSHIP: “DAVID” AND THE BOUNDARIES OF BIBLICAL WG12-E Beckett CHILDREN THEATRE IN ISRAEL Yair Lipshitz (Tel Aviv University) Chair: Trish McTighe THE ECOLOGY OF THEATRE FOR YOUNG PEOPLE ‘THE ENVIRONMENTAL EFFECT OF SUBTITLES - WHEN ETHICS AND AESTHETICS DEBATE FOR FILM TRANSLATION IN BECKETT’S HAPPY TABOOS DAYS’ Shifra Schonmann (University of Haifa) Yoshiko Takebe (Shujitsu University) DOES IT FEEL LIKE HOME? A ROLE OF CULTURAL ‘BECKETT IN THE VAST WASTELAND’ CONTEXT IN THEATRE (IN) EDUCATION IN Jonathan Bignell (University of Reading) POLAND Daria Skjoldager-Nielsen (Stockholm University) ‘“WATER, WATER, EVERYWHERE, NOR ANY DROP TO DRINK”: MITCHELL, FRANKCOM AND WG12-K Political Performance HAPPY DAYS IN THE AGE OF EMERGENCY’ Rosaleen Maprayil (University of Reading) ROUND TABLE DISCUSSION & MEMBERS’ DISCUSSION ON PPWG MATTERS BOOK LAUNCH INFLUENCING BECKETT / BECKETT INFLUENCING, ED. BY ANITA RÁKÓCZY, MARIKO HORI TANAKA & NICOLAS E. JOHNSON WG12-L Public Places (L’HARMATTAN, 2020) Chair: Holly Maples

WG12-F Translation, Adaptation and BUSINESS MEETING Dramaturgy Chair: Duska Radosavljevic and Kasia Lech WG12-M Performance as Research BUSINESS MEETING MEETING FOR ALL MEMBERS OF THE GROUP WG12-G Theatre History and Historiography BUSINESS MEETING WG11-M and WG12-M will run as one 3 hour session from 09.00 - 12.00 WG12-H Arabic Theatre - Lasting Colonialisms and Present Nationalisms in Jordan and North Africa Chair: Samer Al-Saber

THE MAGHREB ON THE AMERICAN STAGE: THE ‘BARBARY WARS’ IN POST-INDEPENDENCE US THEATRE Jeff Casey (Norwich University)

48 49 BOOK LAUNCHES

Tuesday 12.00 - 12.30

Theatre Research International: Special issue launch Panel discussion to launch a special issue of Theatre Research International (46.2), on Sounding Corporeality, edited by Aoife McGrath, Marcus Cheng Chye BOOK Tan, Prarthana Purkayastha and Tereza Havelková. Chaired by Fintan Walsh, Senior Editor, Theatre Research International. Tuesday 12.30 - 13.00

Willmar Sauter, Aesthetics of Presence: Philosophical and Practical Reconsiderations. Cambridge Scholars Publishing, 2021. LAUNCHES Wednesday 16.30-17.00 Penny Farfan and Lesley Ferris, Critical Perspectives on Contemporary Plays by Women: The Early 21st Century. Michigan UP, 2021. This collection of critically innovative essays by leading scholars examines the work of contemporary women playwrights representing a wide range of countries and dramatic genres. Each of the twenty-eight essays is based on original research, focusing on a single play of critical significance. Penny Farfan is Professor of Drama at the University of Calgary. Lesley Ferris is Arts and Humanities Distinguished Professor of Theatre Emeritus at The Ohio State University.

Thursday 12.00-12.30

Themes in Theatre (Brill) Two books will be launched today: Volume 10: Theatre Scandals. Social Dynamics of Turbulent Theatrical Events. Edited by Vicki Ann Cremona, Peter Eversmann, Bess Rowen, Anneli Saro, and Henri Schoenmakers. Leiden ; Boston : Brill Rodopi, 2020. (see https://brill. com/view/title/57813)

Volume 11: World Political Theatre and Performance. Theories, Histories, Practices Edited by: Mireia Aragay, Paola Botham, and José Ramón Prado-Pérez. Leiden ; Boston : Brill Rodopi, 2020. (see https://brill.com/view/title/57109)

And a third one will get a preview: Volume 12: Beckett’s Voices / Voicing Beckett edited by Laurens De Vos, Mariko Hori Tanaka, and Nicholas Johnson. Publication Date: Sep 2021

Themes in Theatre is published in association with the International Federation for Theatre Research and is especially suited for publications by the working groups. Proposals for volumes in the series and all queries can be submitted to the Series Editor: Peter Eversmann

Thursday 12.30-13.00

Shirin Rai, Milija Gluhovic, Silvija Jestrovic, and Michael Saward. Eds. The Oxford Handbook of Politics and Performance. Oxford UP, 2021. The Oxford Handbook of Politics and Performance is a unique collection of articles introducing cutting-edge research and scholarship on politics and performance, which contributes to exciting interdisciplinary work and to shaping a subfield. Organized along five themes—performativity and theatricality; identities; sites and scripts; body, voice, and gesture; and affect—the volume brings together leading scholars in the fields of politics and performance who put forward critically informed interdisciplinary work on everyday social performances, from various embodiments of resistance to a less conscious and willed dimension of reproducing social and political categories, as well as performances of political institutions and processes, in order to understand the contemporary world.

Book Launches (as part of existing panels already scheduled)

General Panel 4: ‘Sensing the City’ Thursday 19.00-20.15 Nicolas Whybrow (ed), Urban Sensographies (Routledge 2021). ‘Sensing the City: An Embodied Documentation & Mapping of the Changing Uses and Tempers of Urban Place’, featuring Dr Natalie Garrett Brown, Dr Carolyn Deby, Dr Emma Meehan, Dr Michael Pigott, Dr Nese Ceren Tosun.

Music Theatre Working Group: Thursday 15 July 17.30-17.45 Tereza Havelkova, Opera as Hypermedium (Oxford University Press, 2021) The Hardiman Research Building, NUI Galway Beckett Working Group: Friday 16th July 12.30-13.00 Anita Rákóczy, Mariko Hori Tanaka & Nicolas E. Johnson (eds.), Influencing Beckett / Beckett Influencing (L’Harmattan, 2020), launched by Prof Anna McMullan.

50 51 MONDAY SOCIAL FILM: Samhlú 2020 TG4 and Meangadh Fíbíín Productions Duration: 90 minutes approx. Samhlú 2020 will open the Social and Entertainment Programme of IFTR 2021. The film is set in the PROGRAMME beautiful surrounds of Roundstone, Connemara, Co. Galway. Tommy Tiernan, taking on the role of The Wanderer, will host the spectacle, bringing the audience on a joyous and magical journey of music, dance, and theatre. A little street, on the edge of the world, will become the arena for Samhlú; a night of enchanting theatre to swell the hearts of viewers.

Déanfar ceiliúradh ar an obair iontach atá déanta ag ealaíontóirí i rith na bliana sa gclár seo Samhlú 2020. Seo linn ag fámaireacht le Tommy Tiernan agus is é Bill Whelan a bheidh i mbun ceoil i gCloch na Rón, Co. na Gaillimhe. Bainigí lán na súl agus na gcluas as saothar ealaíontóirí de gach cineál ar go leor cineálacha stáitsí.

TG4, the Department of Tourism, Culture, Arts, Gaeltacht, Sport, and Media’s Creative Ireland Programme welcomed the opportunity to offer solidarity and support to Irish artists through this new cultural platform. Samhlú has two elements, which include a 90-minute programme, Samhlú 2020, which we will bring to you this evening, and Samhlú Croí Cruthaitheach, a season of twelve commissioned short-form films, which can be accessed at any time on the TG4 Player.

TUESDAY THEATRE: Sacrificial Wind Written by Lorna Shaughnessy. Directed by Max Hafler. Duration: 48 minutes approx. Lorna Shaughnessy’s poetic examination of the sacrifice of Iphigenia by her father Agamemnon asks big questions about war, patriarchy and society. Originally performed in the O’Donoghue Theatre in NUI Galway, it was also performed in the Cúirt International Festival of Literature in 2018 and subsequently in the Seamus Heaney HomePlace. The piece has been re-imagined for online performance.

Reviving this piece online allowed both the epic nature of the Trojan War and the personal stories of those involved to resonate with the audience equally. With an evocative soundscape by Barra Convery, music by Max Bromberg and a skilful edit by John Margetts, this online piece was filmed in lockdown with the actors’ phones only, and achieves an extraordinarily broad sweep.

“The dynamics of conflict are universal and invariably involve the abuse of power; this was just as Over the course of this conference our social programme celebrates the best of the artists, the arts, the languages and the landscape of Galway and the West of Ireland. true in the North of Ireland where I grew up as it was for the ancient Greeks.” Lorna Shaughnessy We hope that our curated programme of theatre, film, dance, visual arts, new writing and music will bring you a little closer to us, no matter where in the world you are tuning in from.

52 53 Actors: Michael Irwin (Euripides), Orla Tubridy (Iphigenia), Catherine Denning (Clytemnestra/Oracle 2), Sam Fearraigh (Soldier), Kate Murray (Oracle I), John Rice (Achilles), Conor Geoghegan (Calchas), DANCE FILM: Echoes of Calling - Encounter Patrick O’Malley (Agamemnon), Sarah O’Toole (Chrysothemis), Eilish McCarthy (Electra) Director: Akiko Kitamura, Áras Éanna, Inis Oírr, Galway 2020 and EU Japan Fest Contact Max Hafler: [email protected] Duration: 19 minutes approx. A unique partnership between one of the largest cities in the world and the smallest of the Aran Islands comes to fruition with this exciting dance collaboration, which is part of the Galway 2020 FILM: Drowned Galway European Capital of Culture programme. Acclaimed Japanese dance choreographer Akiko Kitamura Director/ Curator Ríonach Ní Néil and photomontages by Joe Lee used online workshops and rehearsals to collaborate with three West of Ireland dancers on this featuring music by Róisín Tyrell and Daniel Bodwell. 19 minute film inspired by her visit to Inis Oirr, Connemara, and Galway in 2019. Echoes of Calling Duration: 9 minutes approx. – Encounter is the result of a partnership between Aras Eanna Inis Oirr, Galway 2020 and EU Japan This short film captures the DROWNED GALWAY project, which imagines life in a flooded city. Curated Fest, bringing the most westerly arts centre in Europe together with dancers from Galway Dance by Ríonach Ní Néill, with large scale photomontages by Joe Lee that were situated in flood risk Project, “sean nós” singers from Co Donegal, and one of the most acclaimed contemporary dance locations in Galway city, juxtaposing the present with a possible future. How close does the future choreographers in Japan. have to come before we act? A Hope it Rains | Soineann nó Doineann commission for Galway 2020 Kitamura was due to return to Galway and Inis Oirr to stage this performance before the culmination European Capital of Culture. of the European Capital of Culture programme, but the coronavirus restrictions prevented this, so Tugann an gearrscannán seo léargas ar Drowned Galway, saothar ealaíne a shamhlaíonn an chathair she worked via Zoom with Galway Dance Project dancers Magdalena Hylak, Stephanie Dufresne and faoi thoinn. Crochadh fotomontáisí le Joe Lee in áiteanna eagsúla timpeall na cathrach atá i mbaol Mintesot Wolde to create a site-specific piece for film, relating to the themes of the Tokyo show. tuillte. Feictear an chathair mar atá sí inniu agus mar a d’fhéadfadh sí a bheith. Cé chomh gar a Filming took place in South Connemara with film maker Laura Sheeran, who worked closely with chaithfidh an baol a bheith sula dtógann muid gníomh? Arna choimeadú ag Ríonach Ní Néill agus Kitamura’s film editor in Tokyo. The resulting short film includes Japanese and Irish contemporary arna choimisiúnú ag Hope it Rains | Soineann nó Doineann do Gaillimh 2020 Príomhchathair Chultúir dance, Irish sean-nós singing, and connects the performance in a Tokyo theatre in January with the na hEorpa. wild and barren landscape of Connemara and Inis Oírr. https://www.hopeitrains.ie/index.php/ga/clar/weatherproof-me/drowned-galway http://akihikokaneko.com/alb/works/echoes_of_calling_202101_en/

WEDNESDAY AUDIO THEATRE: Passages DANCE THEATRE: Embodying Glass Written and Directed by Aoife-Delaney Reade Galway Music Residency and Cuisle Productions Duration: 20 minutes approx. Duration: 14 minutes approx. Passages takes you on a walk into the heart of your surroundings, where you are invited to re- Produced by Galway Music Residency (GMR), Embodying Glass is a creative response to a investigate the spaces you once thought you knew. Part-adventure, part self-reflection- this thought- global existential crisis. World-renowned and GMR resident ensemble ConTempo Quartet and provoking audio-promenade work invites you to reflect and re-visit the fragments of life that so often choreographer-performer Jérémie Cyr-Cooke (Cuisle Productions) come together to offer a new pass by unnoticed. piece of dance-theatre, inspired by Philip Glass’ four-movement ‘Company’ (1983). A eulogy to lockdown. Passages is a participatory audio-promenade work, originally created as part of a project investigating the process of collaboratively and non-hierarchically devising performance with a The project, which sees the dancer quite literally embodying the musical score, is not only a group of community participants (non-self-identifying artists). Audience members are asked to bring celebration of our temporal beings, but a challenge of exhausting repetitions, as musicians and their mobile phone and a pair of headphones through which they listen to a series of pre-recorded dancers converse about the relationship between music and our bodies. We are creatures of time.... tracks (link provided 24 hours beforehand). Originally created as a live, interactive work, Passages has creatures of space. We cannot escape it. So... where do we go from here? Supported by: Arts Council been adapted for international performance for the IFTR conference. of Ireland, Galway City Council & NUI Galway. https://cuisleproductions.com/products/embodying-glass

54 THURSDAY FILM: Magnetic North, Voices from the Indigenous Arctic by Border Crossings Duration: 85 minutes approx. THEATRE: Journey of a Poet Border Crossings is run through two intercultural theatre companies, one in Ireland and the other Druid https://www.druid.ie/productions/boland-journey-of-a-poet Words by Eavan Boland in the UK. As part of their ORIGINS Festival programme of work with Indigenous people, they Edited by Colm Tóibín collaborated with the British Museum to present this special online programme in December 2020. Directed by Garry Hynes With the Museum’s Arctic exhibition closed, Indigenous artists from the polar region focus their Performed by Siobhán Cullen creativity on Covid, climate and colonialism. Duration: 60 minutes approx. “illustrated by a beautifully evocative score by Torgeir Vassvik, life seems almost unchanged, until the ‘If there was a narrative to my life in those years, then let this be the sound of it.’ camera hovers over huge cracks, fault lines in the ice.” (Reviews Hub 4.5 stars) Eavan Boland is one of Ireland’s great poets. Boland: Journey of a Poet is the story of her life as she “a profound filmic introspection addressing climate change” (Theatre Full Stop) told it, through her own poetry and autobiographical prose. “By turns haunting, thought provoking, and an eloquent cry for what we should value in our lives, This theatre production was first live streamed from The Mick Lally Theatre in Galway and performed MAGNETIC NORTH lingers in the memory even as it transforms.... a transfiguration” (Spy in the Stalls by Siobhán Cullen (Once Upon a Bridge, The Cherry Orchard, DruidShakespeare: Richard III). 4 stars) Inspired by Eavan Boland’s mother, the expressionist painter Frances Kelly, Boland: Journey of a Poet “a new generation has found in the climate breakdown a new confidence, a mission, something featured on stage the Irish artist Debbie Chapman who painted a portrait of Eavan Boland during to move on for, and they are here tonight and share their stories. Sometimes poetic, sometimes the live stream performances. The poster for this production also features one of Frances Kelly’s political, and often combined.” (London Theatre Reviews 4 stars) paintings, a portrait of her daughter Eavan Boland as a young girl. “a must watch for any environmental activist, scientist or dare I say it, ordinary person of the people, Boland: Journey of a Poet is the latest in the Druid at Home series of online theatre. Previously, Druid who needs to be reminded of who and what we’re fighting for.” (North West End 4 stars) presented the world premiere of Sonya Kelly’s Once Upon a Bridge and an encore screening of the Supported by Arts Council England and the High Commission of Canada, part of the public 2020 production of The Cherry Orchard. programme accompanying the Citi exhibition Arctic: culture and climate at the British Museum (22 October 2020–21 February 2021). https://www.bordercrossings.org.uk FRIDAY FILM: Portráidí Criathraigh: Portraits of the Bog. Directed by Joe Lee and Ríonach Ní Néill Duration: 40 minutes approx. The short film by Ríonach Ní Néill and Joe Lee follows the making of Portráidí Criathraigh by Seán Ó Flaithearta, a landscape installation comprising two portraits cut into the bog in Ros Muc. During 2019 and 2020, they worked with the local community, who chose the two people, Bridget Aylward, Queen of Alaska, and Cóilín SheáinDharach Seoige, to honour in the portraits. Portráidí Criathraig was commissioned by Ríonach Ní Néill for a series of site-specific installations tracing the interplay between Gaeltacht culture, weather and landscape for Turas Chonamara, a project for Galway 2020 European Capital of Culture, co-funded by FLAG (Fisheries Local Area Group).

Tugann an scannán seo le Joe Lee agus Ríonach Ní Néill léargas ar Portráidí Criathaigh, saothar ealaíne a chruthaigh Seán Ó Flaithearta i bportach i Ros Muc i nGaeltacht Chonamara. Is iad muintir Ros Muc a bhí páirteach agus a roghnaigh an bheirt phearsa atá á gcomóradh sa saothar, sin iad an rinceoir ar an sean-nós, Cóilín Sheáin Dharach Seoige agus Bridget Aylward, Banríon Alaska. Rinne Ríonach Ní Néill coimisiúnú ar Phortráidí Criathraigh mar chuid de shraith saothair ealaííne faoin spéir a dhéanann iúchadh ar an bplé idir tírdhreach, aimsir agus cultúúr na Gaeltachta, do Turas Chonama, togra do Gaillimh 2020 Príomhchathair Chultúir na hEorpa arna chomh-mhaoiniú ag FLAG. https://www.turaschonamara.ie/index.php/en/

56 PUBLISHERS

As part of Springer Nature, Palgrave Macmillan Cambridge University Press is a not-for-profit offers innovative formats, services, and tools to publisher that dates from 1534 and is part of the access and share our books. We welcome new University of Cambridge. Our mission is to unlock proposals for monographs, edited volumes, people’s potential with the best learning and Palgrave Pivots, textbooks, handbooks, reference research solutions by combining state-of-the-art works and open access titles. Our rich and diverse content with the highest standards of scholarship, Theatre and Performance offering includes series writing and production. Visit our virtual stand to such as ‘Adaptation in Theatre and Performance’, discuss publishing with us, or browse free articles ‘Transnational Theatre Histories’, ‘Palgrave Studies and chapters and our latest publications at www. in Performance and Technology’ and ‘Bernard cambridge.org/IFTR2021 and get a 30% discount. Shaw and His Contemporaries’, and titles ranging from major works such as such as The Palgrave Handbook of Theatre and Race, to playwright- focused works such as debbie tucker green, to pioneering monographs such as Performance and the Disney Theme Park Experience.

Methuen Drama, also home to Oberon Books and Receive 20% off books and ebooks for a limited the Arden Shakespeare, is the leading publisher time at palgrave.com. Use promo code: IFTR21. in drama and the performing arts. We publish thousands of plays, critical texts, coursebooks and reference works, as well as the award-winning digital library Drama Online, so whether you’re a theatre-goer, student, scholar, practitioner or actor, there’s lots to explore.

58 59 ACKNOWLEDGEMENTS

The Galway team would like to express our gratitude to the following people and agencies:

• Jean Graham-Jones, Elaine Aston, Tim White, Bishnupriya Dutt, Marcus Tan, Chris Collins, Taiwo Afolabi, Milija Gluhovic, Peter Marx, Vicki Ann Cremona, Aastha Gandhi, and all the other IFTR Executive Committee members, past and present, who have supported this conference.

• At NUI Galway, Patricia Walsh, Chaosheng Zhang, Mike O’Halloran, Pól Ó Dochartaigh, Emma Brinton, Aoife Harrington, Sarah Hoover, Mairéad Ní Chroinín, Ciara L. Murphy, Finian O’Gorman, and Emer McHugh.

• Failte Ireland.

• At Abbey Conference and Events, Marije Kraan, Emma Conlon, Greg Carew.

• Our theatre and broadcasting partners, especially those who made work available for delegates to view: TG4, Meangadh Fíbín, Lís Ní Dhálaigh, Peadar O flatharta, Druid Theatre, Niamh Dolan, Feargal Hynes, Síomha Nee, Macnas, Noeleen Kavanagh, Brídín Murphy Mitchell, Max Hafler, Lorna Shaughnessy, Maeve Bryan, Contempo Quartet, Jill Murray, Dara Magee, Marilyn Gaughan, Galway 2020, Border Crossings, Jérémie Cyr-Cooke, Emma O’Grady, Lara Hickey, Lelia Doolan, Margaretta D’Arcy, Tuam Home Alliance, Tuam Oral History Project, Bealtaine Festival, Make it Rain|Soineann & Doineann, Ríonach Ní Néill, Turas Chonamara, Fergal McGrath, The Town Hall Theatre Galway, The Abbey Theatre, Craig Flaherty, John Crumlish, Jacinta Dwyer, and Galway International Arts Festival.

• Colleagues who offered advice and support including Joshua Abrams, Mike Finneran, Melissa Sihra, Mark Phelan, Marie Kelly, Lisa Fitzpatrick, Paul Halferty, Yvon Bonnefant, Martin Middeke, Vicky Angelaki, Aoife McGrath, and Jim Moran.

• The beautiful images from photographers including Emilija Jefremova, Joe Lee, and Chaosheng Zhang .

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