FIRT/IFTR International Federation for Theatre Research

Annual Conference July 22nd - 26th, 2013 EXECUTIVE COMMITTEE IFTR-FIRT Christopher Balme, President COMITÉ EXÉCUTIF IFTR-FIRT Helen Gilbert, Vice-President Christina Nygren, Vice-President Brian Singleton, Past President Susan Haedicke, Treasurer Jan Clarke, Secretary General (Administration) Paul Murphy, Secretary General (Communication) Charlotte Canning, Editor Theatre Research International Winrich Meiszies (President of SIBMAS)

Elected Members Khalid Amine & Co-opted Members Balakrishnapillai Ananthakrishnan Contents / Sommaire Awo Mana Asiedu Elaine Aston Boris Daussà-Pastor (co-opted) Jean Graham-Jones Kene Igweonu Hanna Korsberg Gay Morris Yasushi Nagata Emer O’Toole Anneli Saro Steve Wilmer Farah Yeganeh 7 / 9 The Routes of Barcelona’s Conference / Les Routes du Congrès de Barcelone Incoming Members Awo Mana Asiedu Bishnupriya Dutt 11 Keynotes Hayato Kosuge Peter W. Marx Sigriður Lára Sigurjónsdóttir (Student Member) 18 General Conference Calendar

CONFERENCE ADVISORY Christopher Balme 21 Conference Sessions COMMITEE (FIRT 2013) Jean Graham-Jones COMITÉ CONSULTATIF (FIRT 2013) Christina Nygren (Working Groups) 91 Other Academic Activities Awo Mana Asiedu (New Scholars Forum)

BARCELONA Boris Daussà-Pastor (Conf. Organizer, New Scholars Forum, Working Groups, Additional Activities during the Conference CONFERENCE COMMITEE General Panels, Website) COMITÉ DU CONGRÈS Mercè Saumell (Conference Organizer, Keynotes, General Panels, 95 Publication launches DE BARCELONE Social Programme) 97 Working Group-Sponsored Activities Jaume Ponsa (Conference Assistant) Carme Saldó (Visa Coordinator & Liason to Publishers) 98 MAE Visits

Conference Image Enric Satué (Image and Graphic design) 99 Open MIC Conference Programme Mercè Saumell (Editor) Artefacto (Designer and Copyeditor) 103 Social Programme

INSTITUT DEL TEATRE Ramón Jovells, Institut del Teatre General Manager (Conference Executive Practical Information Staff collaborating Production) with the Conference Francesca Alaminos (Administrative Coordination) 107 Access & Health Care Personel qui a collaboré Artur García (Website Contents Manager) avec le Congrès Laura Conesa (Social Programme Coordinator) 109 Floor Plans Jordi Aubach (Press and Public Relations) Maria Guillén (Production Assistant) 116 City of Theatre Eulàlia Conangla (Liaison to Centenary’s Office) 118 Restaurant Guide Volunteer’s Coordinating Team Cristina Cordero (Volunteer’s General Coordinator) Marc Chornet (Open Mic Coordinator) 123 Who is Who? Laia Falp (Accomodation Liason) The Routes of Barcelona’s Conference

Creating this Programme has been an arduous and beautiful endeavor. It shows the dynamism of theatre scholarship and its protagonists, the scholars that contribute with their work, but it also shows our character and choices as organizers. The papers and panels you will see cover not only a wide range of themes taking center stage but also a rich array of perspectives for the study of performance. All 22 Working Groups of the International Federation for Theatre Research (FIRT/IFTR) are convening this year in Barcelona—and even new Working Groups seem to be in the making—showing a sustained ef- fort for developing theatre and performance scholarship in very diverse areas. Some of them are also presenting this year the results of their work in the form of publications. In addition, the theme of the conference generated an over- whelming response, with a number of scholars providing different takes on how we can rethink theatre and performance scholarship in the context of the routes that it has taken and the roots from where it may have originated. We hope that this theme will not only offer a possibility to view performance and performance scholarship as something fluid and intricate, but will also be the chance to review the ro(o)utes of our field and the possible paths that may lay ahead of us. On this note, the Programme also shows an impressive amount of New Scholars that contribute to the field challenging theatre scholarship with renewed interests and perspectives; they are the promise of a healthy future in our field, a promise that is in fact already here. This year’s marks a new structure for FIRT/IFTR Conference that inte- grates Working Groups within the general conference schedule rather than in a discrete section before the general conference starts. In line with this new direction taken by FIRT/IFTR Executive Committee, we decided to offer ad- ditional spaces of visibility for Working Groups within the general Conference with a number or Working Group-sponsored General Panels that will show- case their work and interests for the consideration of all colleagues. In addi- tion, we also wanted to capitalize on the alliances and shared interests already existing among some of us, allowing for the possibility of presenting full panels in the form of what we called Curated General Panels. We were happy to see the positive response that this initiative also had. In addition to the usual scholarly presentations typical of a FIRT/IFTR Conference, we decided to add a platform for the showcase of some practical work, with the intention of inviting not only conference participants but also artists and students from our own local community. We organized the Open MIC at the end of the day after conference sessions are over. This is a rather informal setting for the presentation of short fragments of practical work, with no rehearsal, and little technical equipment. We are thrilled to see that the

7 Open MIC programme has truly become a mixed program of local and inter- national proposals. The practical job of putting together, editing, and organizing the Confer- ence Programme you have right now in your hands has also been quite a labor of love, made possible by long nights and many people helping. The editorial choices trying to find the most comprehensible way to organize the informa- tion with such a vast event were not always easy. In spite of all the help and hard work, we are probably bound to have made some mistakes; we apologize in advance and ask for your understanding. Les Routes You are now the protagonist of this event. We are grateful for the opportu- nity we’ve been given to work together with you towards this event, a celebra- du Congrès de Barcelone tion of our field and an opportunity to learn from each other and grow. Thanks for your contribution.

La création de ce Programme a été un effort ardu mais agréable. Il montre le dynamisme des Études Théâtrales et ses protagonistes, les chercheurs qui Boris Daussà-Pastor Mercè Saumell contribuent par leur travail, mais il montre aussi notre caractère et nos choix en tant qu’organisateurs. Les communications et les panneaux que vous ver- rez couvrent non seulement un large éventail de thèmes, mais aussi un riche éventail de perspectives pour l’étude de la performance. Les 22 Groupes de Travail de la Fédération Internationale pour la Recherche Théâtrale (FIRT/ IFTR) ont convoqué cette année leurs rendez-vous à Barcelone—et même des nouveaux groupes de travail sont en train de se constituer—, un fait que montre l’effort soutenu pour développer les études sur théâtre et performance dans des domaines très divers. Certains d’entre eux présentent également cette année les résultats de leurs travaux sous forme de publications. En outre, le thème du congrès a suscité une réponse enthousiaste, avec un certain nombre de spécialistes qui fournissent des visions différentes sur la façon dont nous pouvons repenser les études sur le théâtre et la performance dans le contexte des routes qu’ils ont prises et les racines (roots) d’où ils peuvent provenir. Nous espérons que ce thème offrira la possibilité de considérer les performances et l’études de la performativité comme quelque chose de fluide et complexe, mais sera aussi l’occasion de revoir les ro(o)utes de notre domaine et les chemins possibles que nous pouvons y prévoir. Sur cette note, le programme montre également une quantité impressionnante de Nouveaux Chercheurs qui con- tribuent au domaine des études théâtrales avec questions difficiles et avec des nouveaux points de vue et des énergies renouvelés; ils sont la promesse d’un avenir pour notre domaine en bonne santé, une promesse qui est en fait déjà arrivée. Cette année marque une nouvelle structure pour les Congrès FIRT/IFTR qui intègre les groupes de travail dans le calendrier général du congrès, plutôt que dans une section distincte avant que le congrès générale commence. En ligne avec cette nouvelle orientation prise par le Comité Exécutif FIRT/IFTR, nous avons décidé d’offrir des espaces supplémentaires de visibilité au sein du congrès générale pour les groupes de travail avec plusieurs panneaux générales qui présentent et mettent en valeur le travail et les intérêts des Groups de Travails devant tous les collègues. En outre, nous avons également voulu capi- taliser sur les alliances et les intérêts communs qui existent déjà entre certains d’entre nous, en prévoyant la possibilité de présenter des panneaux entiers sous la forme de ce que nous appelons Curated General Panels. Nous étions heureux de voir la réponse positive que cette initiative a eu aussi. En plus des présentations scientifiques habituelles typiques d’un congrès FIRT/IFTR, nous avons décidé d’ajouter une plate-forme pour la vitrine de

8 9 certains travaux pratiques, avec l’intention d’inviter non seulement les par- ticipants au congrès, mais aussi des artistes et des étudiants de notre propre milieu locale. Nous avons organisé le micro ouvert (Open MIC) à la fin de la journée après les sessions du congrès finissent. Il s’agit d’un cadre plutôt informel pour la présentation de fragments de travaux pratiques, sans répéti- tion préliminaires, et peu d’équipement technique. Nous sommes ravis de voir que le programme de micro ouvert (Open MIC) est véritablement devenu un programme mixte de propositions locales et internationales. Le travail pratique de rassembler, éditer et organiser le Programme du Congrès que vous avez maintenant entre vos mains a aussi été tout un travail d’amour, rendue possible par des longues nuits et des nombreuses person- Keynotes nes aidant. Les choix éditoriaux en essayant de trouver la façon la plus com- préhensible pour organiser l’information avec un événement de cette magni- tude n’étaient pas toujours faciles. En dépit de toute l’aide et le travail acharné, nous sommes probablement tenu d’avoir commis quelques erreurs, nous nous excusons à l’avance et vous remercions de votre compréhension. Vous êtes maintenant le protagoniste de cet événement. Nous sommes re- connaissants de l’occasion que nous avons eu de collaborer avec vous à cet événement, une célébration de notre domaine et une occasion d’apprendre les uns des autres et de grandir. Merci pour votre contribution.

The Re-Routing of Theatrical/Performative and of Monday 22nd Theatre/Performance Studies (with Euro-American and Korean examples)

5:30 pm - 7:00 pm Patrice Pavis University of Kent. UK

Keynote 1 Where is theatre going? Where is our research on theatre and performance leading us? Of course, nobody could ever answer such a question! So let me Boris Daussà-Pastor Mercè Saumell Room: Teatre Lliure ask rather: how can we re-route our journey, leave the familiar track and look (Sala Fabià Puigserver) for unknown paths? It would be simpler to explain why theatre and why our own research can be déroutant, i.e. both re-routing and diverting (“diverting” in the sense of re-directing but also amusing), and why it is also disconcerting, desconcertante. I shall however keep hold of the metaphor and the Ariadne’s thread of routing/de-routing, rather than the aural image of concert/disconcert, to examine how contemporary performance of all kinds, how the most diverse cultural performances are now going their own way, and how we often have a hard time following and analyzing by adjusting, testing, inventing, diverting and re-routing our current research. I will use examples from contemporary Ko- rean performances in contrast with Euro-American experiences in performance practice as well as in terms of research methods. We might find out that it is no longer possible to separate completely practice and theory, or Western and East- ern approaches. We might discover, along the way, that globalization brings us together, but also sometimes estranges us. So let us look for a possible way—un camino—to find the Other as well as ourselves. I will use as compass only Anto- nio Machado’s warning: “Caminante, no hay camino, se hace camino al andar.”

Patrice Pavis was previously Professor of Theatre Studies at the University of Paris (1976-2007). He is currently a Professor in the School of Arts at the University of Kent in Canterbury. In 2011 and 2012 he has been Visiting Professor in the Department of Theatre Studies of the Korea National University of the Arts in Seoul.He published a Dictionary of Theatre (translated into 30 languages) and books on Performance Analysis, Contemporary French Dramatists and Contemporary theatre. His most recent book publication is: La Mise en Scène Contemporaine, Armand Colin, 2007 (English translation: Contemporary Mise en Scène: Staging Theatre Today, trans- lated by Joel Anderson, Routledge, 2012. Spanish Translation: Universidad Murcia, 2013). His current research areas include: performance theory; theory and practice of mise en scène; intercultural and globalized theatre; contemporary dramatic writ- ing; creative writing and staging; theory of contemporary theatre and performance.

10 11 Keynotes The Transformation of Opera Tuesday 23rd Joan Matabosch Liceu Opera House. Spain 8:30 am - 10:00 am There are significant differences in the way opera houses are managed and run all over the world. In general, they tend to be very large institutions, sometimes Keynote 2 excessively bureaucratic, and, most relevantly, resistant to change. In spite of such resistance, opera and opera houses have undergone radical changes since Room: Teatre Lliure the 1950s, brought on by new conceptions of opera as an art and also by new (Sala Fabià Puigserver) ideas on management methods. The style of performance has changed, as has the role played by the updating of the repertoire, the importance of drama- turgy and stage direction, the way operas are produced, cooperation between theatres, budget structure, input from public funding, the planning of seasons, the way artists are engaged and the timing of their engagement, the function of “ensembles” of soloists in repertory theatres, the “star system,” the role of intermediaries, the relationship between opera and the modern audiovisual media, the weight of tradition in theatres with a long history, and the accessibil- ity of opera to ever larger, more socially diverse audiences. Opera, beyond doubt, is an especially interesting example of the “re-rout- ing” of artistic practice, which, despite being associated in former times with the most diehard elements of the performing arts field, has succeeded, at least partially, in re-inventing itself. In the current situation, we stand at a key mo- ment to introduce changes that develop the potential of opera as an art while engaging with contemporary practice. For instance, theatres tended to be over- protective of their own production in individual terms, but practice has shown how increasing exchanges and collaboration is the way to go. Opera Europa has been a crucial organism to foster such exchanges, not only in terms of specific productions, but also in terms of practice and ideas. In its annual con- ferences, staff working in different areas such as technicians, marketing depart- ments, ticket and season ticket sales or human resources have come together to discuss, production experience, environmental concerns, dealing with chang- ing audiences or the uses of sponsorship.

Joan Matabosch is Artistic Director of Liceu Opera House in Barcelona since 2000. He holds a degree in Journalism from the Universitat Autònoma de Bar- celona, and he also studied Sociology and Music at Universidad Complutense de Madrid. He was president of Opera Europa until 2012, where he previously served as vice-president. Opera Europa is a leading organisation for Opera Festivals and Opera Houses from 35 European countries. As artistic director he has favored the incorporation of great directors of the opera scene such as Peter Konwitschny, Herbert Wernicke, La Fura dels Baus, Robert Carsen, Kalus Guth, David Pourtney, Stefan Herheim or Calixto Bieito and also expanded the repertoire with premieres of contemoporary operas and the revival of baroque titles.

12 13 Keynotes Garzón, Lorca, Almodóvar and the Performance Wednesday 24th of Memory in Spain Maria Delgado 8:30 am - 10:00 am Queen Mary, University of London. UK

On 24 January 2010 the Spanish magistrate Baltasar Garzón entered Madrid’s Keynote 3 Supreme Court to begin a second trial for supposedly “abusing” his position in opening an investigation into the deaths of over 100,000 people during the Room: Teatre Lliure Civil War and Franco regime. The trial, conducted as the right-wing Partido (Sala Fabià Puigserver) Popular (PP) begins a landslide four-year term of office in Spain, challenges the 2007 Law of History Memory introduced by Rodríguez Zapatero’s socialist government that put an end to the pact of silence that had marked Spanish de- mocracy since the transition years. Garzón’s unpicking of the Amnesty Laws of 1977—following his earlier strategy in securing Pinochet’s arrest in London in 1998 and the conviction of Argentine torturers in Madrid in 2005—has asked uncomfortable questions about the performance of democracy in Spain. “We don’t want to look to the past,” stated the PP’s ex-Prime Minister, José María Áznar at the commencement of Garzón’s trial. The grass roots civic move- ment initiating the exhumation of Spain’s mass graves, the ongoing fascination with the “disappeared” remains of Federico García Lorca and the visibility of historical memory as a prominent trope in the stage and screen work of Alfredo Sanzol, Pedro Almodóvar and J.A. Bayona, suggest otherwise. While Aznar pleads to leave the tombs undisturbed, Garzón argues for the alliance of memory and justice, embodied in the search for the corpse of a writer whose murder in the opening month of the Spanish Civil War positioned him as a prominent martyr of the left. This paper examines some of the ways in which activism, performance and historical memory interact in Spain, relating the mediatisation of politics to the cultural sphere.

Maria M Delgado is Professor of Theatre and Screen Arts at Queen Mary, Univer- sity of London and co-editor of Contemporary Theatre Review. She has published widely in the area of twentieth-century Spanish theatre and film with a particular interest in the work of performers and directors and the intersections between stage and screen cultures. She has further research interests in European theatre and contemporary Argentine theatre. Her books include Federico García Lorca (Routledge, 2008), ‘Other’ Spanish Theatres (Manchester University Press, 2003), and eight co-edited volumes including Contemporary European Thea- tre Directors (Routledge, 2010) and A History of Theatre in Spain (Cambridge University Press, 2012) and six further co-edited volumes. She is a contributing editor to Western European Stages and TheatreForum and co-edits the Theatre/ Theory, Practice/Performance series for Manchester University Press. Her film work includes 15 years as a programme adviser on Spanish and Spanish-Ameri- can cinema to the London Film Festival. She has curated work for Ciné Lumière, BFI Southbank and the London Spanish Film Festival and is a programmer for the London Argentine Film Festival. Maria writes on film and theatre for a range of publications including Sight & Sound and Plays International, and is a regular contributor to a range of BBC radio programmes. She has served on a range of juries and panels, including the Rolex 2001–02 Mentor and Protégé Nominating Panel. She is currently Chair of the award-winning British theatre company ATC (Actors’ Touring Company), an Assessor for Arts Council England and a member of the UK’s Arts and Humanities’ Research Council’s Strategic Reviewers’ Group and the Leverhulme Trust’s Advisory Panel. She is currently engaged in a project on historical memory and culture in twenty-first-century Spain.

14 15 Keynotes Moving Objects (on the Performance of the Dead) Thursday 25th Margaret Werry University of Minnesota. USA 8:30 am - 10:00 am Under what conditions can, should, and do we attribute performative agency to inanimate entities? What might we learn historiographically from the ways Keynote 4 that such actors traverse geo-political space? This presentation brings the con- ference theme’s concern with the “routes of performance” into dialogue with Room: Mercat de les Flors the study of the “entangled objects” (as anthropologist Nicholas Thomas has (Sala MAC) called them), indigenous artifacts whose complex colonial-era peregrinations ended in metropolitan museums. I focus on moko mokai, preserved Maori heads that have recently become pawns, or pivotal actors, in the confronta- tion between the formerly colonial museum establishment and its indigenous critics. Detailing the journeys of moko mokai from their colonial origins as works of mortuary art, war trophies, agents in intertribal diplomacy, items of gruesome trade with Europeans, and prized exhibits in metropolitan collec- tions, I also examine the ways in which they have shifted epistemological and ontological categories over their “life”-times. While museological and political consensus has it that the most recent phase of these journeys—repatriation— means the heads’ burial, and thus their retirement from these economies and closure to their traumatic histories, my analysis of the highly theatrical, state- dramaturged events attending their homecomings suggests the opposite: they continue to act, both playing and confounding the new role in which they have been cast, as protagonists of global cultural economy alliances. I argue that there are reasons (other than their status within matauranga Maori, or Maori knowledge systems) to regard moko mokai as actors, possessed of their own recalcitrance and vitality, and by extension, perhaps, rights. Ultimately, this presentation presses for a recalibration of our discipline’s commitment to both “liveness” and “humanism” by reconsidering the fundamental definition of animacy on which they are based.

Margaret Werry is an Associate Professor at the University of Minnesota, Twin Cities, in the Department of Theatre Arts and Dance. She is an interdisciplinary scholar trained in Performance Studies (PhD Northwestern University, 2001), who works across the fields of Theatre, Anthropology, Cultural Studies, and Cul- tural History. Her recent book, The Tourist State: Performing Leisure, Liberalism, and the Racial Imagination (University of Minnesota Press, 2011) examines the relationship between tourism, performance, ethnic politics, and liberal statehood, looking at cultural policy and tourism practice in the South Pacific at the turn of the twentieth century, and the turn of the twenty first. Her other scholarly inter- ests include critical and experimental pedagogy, museology, multimedia perform- ance and conceptual art, indigenous politics and intercultural theatre. She has published on these topics in a range of international journals, including Public Culture, Cultural Studies, Theatre Journal, Performance Research, TPQ, Review of Cultural Studies, Education and Pedagogy, TDR, and Essays in Theatre, and her research has been supported by grants from the Wenner Gren Anthropological Foundation, Woodrow Wilson National Fellowship Foundation, and American As- sociation of University Women, amongst others. She recently held a fellowship at the International Research Centre at Freie Universitat Berlin, with the Interweav- ing Performance Cultures project. Her current research pursues two projects, one on the history of Oceanic performance, indigenous historiography, and early intimations of global indigenous identity, and the other on the place (and perform- ance) of human remains in contemporary museums.

Aa - Aa 16 17 Keynotes

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Coffee Break/Book Launch Open MIC GP-3 GP-3 GP.CUR-26 GP.CUR-26 Coffe Break Friday, July 26 Friday, Conference day 5 July 26 Friday, Conference day 5 GP-2 GP-2 General Panel 10 General Panel General Panel 9 General Panel GP-26 Lunch Break GP-77 GP.WGS-37 GP.WGS-37 Closing Ceremony Mercat de les Flors (Sala MAC) Processus de Création S4.S4 Samuel Beckett Scanner Scenography S4.S9 Theatre Architecture Sceno. Workshop Theatrical Event S4.S3 adapt. & dramat S4.S8 Trans, Working Groups Meeting 4 Working African and Caribbean Puppetry Room Arabic Theatre P4.S1 Asian Theatre P4.S2 and Corporeality P2.S4 Chor. Music Theatre Auditorium Performances Political Entertainments Popular Queer Futures P2.S6 & Siesta Estudi Atrium/ Teatre Feminist Research P2.S5 Feminist Historiography S4.S2 Intermediality S4.S7 and Consciousness Perf. and Disability Perf. and Religion Perf. as Research Flamenco Room Perf. in Public Spaces Perf. GP-71 GP-71 GP-15 GP-15 GP-83 GP-83 GP-52 GP-52 GP-19 GP-19 GP-44 GP-44 GP-65 GP-65 GP-60 GP-60 GP-74 GP-74 GP-12 GP-12 GP-80 GP-80

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Keynote 4 Keynote Margaret Werry Mercat de les Flors (Sala MAC) Coffee Break/Book Launch Open MIC Coffee Break General Panel 8 General Panel GP.CUR-29 GP.CUR-29 Coffe Break Samuel Beckett Scenography Theatre Architecture Theatrical Event Thursday July 25 Conference day 4 Thursday July 25 Conference day 4 GP.WGS-31 GP.WGS-31 GP-34 General Panel 6 General Panel GP-61 GP-11 Auditorium GP-11 S4.S8 GP-14 P2.S4 GP-32 P2.S5 GP-38 Flamenco Room GP-46 General Panel 7 General Panel GP.WGS-33 S4.S4 GP.CUR-18 S4.S9 GP-6 P3.S1 GP-51 African and Caribbean Puppetry Room Arabic Theatre P4.S1 Asian Theatre and Corporeality P2.S4 Chor. Research P2.S5 Feminist Historiography S4.S2 Intermediality Music Theatre Auditorium and Disability Perf. and Religion Perf. as Research Perf. in Public Spaces Perf. Performances Political Processus de Création S4.S4 Queer Futures P2.S6 adapt. & dramat. S4.S8 Trans, Plató GP.CUR-28 GP.CUR-25 Plató GP.CUR-25 P2.S4 GP-66 Lunch Break Groups Meeting 3 Working GP-27 Estudi Atrium / Teatre GP-82 S4.S7 GP-82 & Siesta GP-39 GP-39 GP.CUR-15 GP.CUR-15 GP-85 GP-21 GP-21 GP-4 GP-4 GP-20 GP-1 GP-1 GP-78 GP-78 GP-47 GP-47 GP-75 GP-29 GP-29 GP-48 GP-57 GP-53 GP-53 GP.CUR-12 GP.CUR-12

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Flamenco Room P2.S5 Auditorium Plató P2.S4 S4.S6 Teatre Estudi Teatre S4.S5 S4.S9 S4.S7 S4.S4 P2.S6 P2.S4 Auditorium P2.S6 Flamenco Room Plató S4.S9 P2.S4 S4.S7 Flamenco Room S4.S4 S4.S6 P2.S5 P2.S5 P3.S2 P3.S1 P3.S2 S4.S9 Keynote 3 Keynote Maria Delgado Puigserver) Lliure (Sala Fabià Teatre Coffee Break/Book Launch 2 NS Forum Càpsula SCANNER Coffee Break GP.WGS-32 GP.WGS-32 GP.WGS-35 GP.WGS-35 General Panel 5 General Panel NSF-25 NSF-25 NSF-18 S NSF-18 NSF-16 NSF-16 NSF-20 NSF-19 NSF-19 NSF-21 NSF-23 NSF-17 NSF-17 GP-42 Coffe Break NSF-24 NSF-24 GP-63 GP-18 GP-18 NSF-22 Wednesday, July 24 Wednesday, Conference day 3 July 24 Wednesday, Conference day 3 Processus de Création Queer Futures Samuel Beckett Scenography Theatre Architecture Theatrical Event NSF-15 NSF-15 GP-23 GP-23 African and Caribbean Puppetry R. NSF-14 NSF-14 GP.CUR-14 GP-37 Meeting 2 WG Asian Theatre and Corporeality P2.S4 Chor. Research P2.S5 Feminist Historiography S4.S2 Intermediality Music Theatre Auditorium and Disability Perf. and Religion Perf. Estudi as Research Teatre Perf. in Public Spaces Perf. Performances Political adapt. & dramat. Sc. Work. Trans, Puigserver) Lliure (Sala Fabià Teatre GP-72 GP-72 GP-55 GP-43 GP-43 GP-86 & Siesta GP-49 GP-70 GP-10 GP-10 GP-59 GP-68 GP-81 GP-81 GP-76 GP-28 GP-28 GP-50 GP-50 General Panel 4 General Panel GP.CUR-20 GP.CUR-20 Lunch Break GP.WGS-36 GP.WGS-36 GP.CUR-16 GP.CUR-16

Registration Table opens from 8:00 am until 7:00 pm opens from 8:00 am until 7:00 Registration Table

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GP.CUR-19 GP.CUR-19 GP.CUR-24 NSF-13 P2.S6 NSF-13 NSF-6 S4.S9 NSF-6 S4.S6 NSF-3 S4.S4 NSF-1 S4.S7 NSF-4 T eatre Estudi NSF-8 Keynote 2 Keynote Joan Matabosch Puigserver) Lliure (Sala Fabià Teatre S4.S5 GP-67 S4.S7 GP-73 Auditorium GP-79 P3.S2 GP-84 Coffee Break/Book Launch 1 NS Forum Plató NSF-9 Auditorium NSF-10 Flamenco Room NSF-7 S4.S8 NSF-5 NSF-11 Open MIC Estudi Atrium / Teatre Coffee Break 1 General Panel GP.WGS-34 S4.S4 GP-7 Plató GP-30 Flamenco Room GP-35 S4.S8 GP-58 Groups Working Conveners Meeting S4.S3 / S4.S2 GP.CUR-13 P2.S4 GP.CUR-13 P3.S1 GP.CUR-38 P2.S5 GP-13 P2.S6 GP-25 S4.S5 NSF-2 GP.CUR-22 GP.CUR-22 GP.WGS-30 GP.WGS-30 General Panel 2 General Panel GP.CUR-17 GP.CUR-17 GP.CUR-21 GP-9 GP-16 GP-36 GP-40 GP-41 GP-54 GP-62 GP-69 Coffe Break GP-5 GP-8 GP-22 GP-24 GP-31 GP-33 Tuesday, July 23 Tuesday, Conference day 2 July 23 Tuesday, Conference day 2 GP-45 GP-64

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Plató P3.S1 Flamenco Room Scanner P2.S6 S4.S7 S4.S9

Lunch Break Teatre Lliure (Sala Fabià Puigserver) Lliure (Sala Fabià Teatre 1 Keynote Pavis Patrice Puigserver) Lliure (Sala Fabià Teatre Working Groups Meeting 1 Working Arabic Theatre P4.S1 Asian Theatre P4.S2 Opening Ceremony Reception and Terrase) Lliure (Main Foyer Teatre Open MIC (Music) - Atrium Chor. and Corporeality P2.S4 Chor. Research P2.S5 Feminist Historiography S4.S2 Intermediality Music Theatre Auditorium and Consciousness P3.S3 Perf. & Siesta

Processus de Création Queer Futures Samuel Beckett Scenography Theatre Architecture Adapt. & Dramat. Trans, Coffe Break Monday, July 22 Monday, Conference day 1 African and Caribbean as Research Perf. in Public Spaces Perf. Performances Political Entertainments Popular July 22 Monday, Conference day 1 Perf. and Disability Perf. and Religion Perf.

5.30 pm 08.00 am 08.30 am 3.30 pm 10.30 am 10.30 2.00 pm 2.00 pm 12.00 pm 12.00 pm 12.00 pm 12.30 pm 12.30 5.00 pm 5.00 pm 5.30 pm 08.30 am am 10.00 am 10.00 am 10.30 3.30 pm pm 7.00 pm 7.00 8.00 pm 8.00 pm 8.30 pm

Conference Schedule It includes shortcodd for each sessions and the room wherw the sessions takes places

18 19 Conference Sessions

Session Shortcode

Monday 22nd WG = Working Group GP = General Panel Working Groups Meeting 1 GP.WGS = Working Group-Spon- sored General Panel GP.CUR = Curated General Panel 9:00 am – 2:00 pm NSF = New Scholars’ Forum

African and Caribbean Theatre Petrus du Preez Stellenbosch University and Performance Tracing a New Path: Afrikaans Theatre in a Post-apartheid South Africa and the Search for Redemption Room: Puppetry Room Julius Heinicke Freie Universität Berlin 9:00 am – 2:00 pm Healing the Bad Memories: Theatre, Ritual and Reconciliation in Zimbabwe

Kene Igweonu Canterbury Christ Church University From Fringe to Mainstream: Talawa Theatre and the Projection of African Diaspora on the British Stage

Haddy Kreie University of California, Santa Barbara Aesthetics of Globalization: Jean Luc Raharimanana’s Les Cauchemars du Gecko

Carla Springer-Hunte The University of West Indies Renaissance of the Tongue

Arabic Theatre Introductory session Moderators: Marvin Carlson & Hazem Azmy Room: P4.S1 Welcome, Introduction of Participants & Opening Remarks 10:00 am – 10:45 am Administrative Matters & Review of ATWG’s Past Meetings and Activities

20 21 Monday 22nd 9:00 am - 2:00 pm Gisela Dória UNICAMP, State University of Campinas 10:45 am – 10:55 am Coffee Break Trisha Brown: A Performative Dramaturgy in Contemporary Dance

Joan Frosch University of Florida / Africa Contemporary Arts Consortium 11:00 am – 11:45 am Whither “The Arab Spring”?: Field Notes from Egypt Rerouting Women’s Work: Choreographing another Future Moderator: Caroline Herfert Holger Hartung Freie Universität Berlin, Interweaving Performance Cultures Hazem Azmy Ain Shams University Fissures: Moving along the Lines The Elite Strike Back? Staging the “Progressive” Intelligentsia in Post- Revolution Egypt Jeff Kaplan University of Maryland Siglo de Oro, Siglo de Ojo, Siglo de la Oreja (Century of Gold, Century of the Eye, Century of the Ear): Changing Embodiments in Spanish Golden Age 11:45 am – 12:00 pm Coffee Break Theatre Architecture

Wojciech Kowalczyk Adam Mickiewicz University in Poznań 12:00 pm – 1:30 pm Revisiting “Arabness” Dada von Bzdülöw and Mikołaj Mikołajczyk: About Polish Physical Theater Moderator: Khalid Amine Condition

May El Maraashly Alexandria University Rudi Laermans University of Leuven Arab-American Theatre before and after the Arab-Spring Gesturing Vulnerability: Remarks on, and Departing from, the Solo Work of Anne Teresa De Keersmaeker Christine Matzke University of Bayreuth “We will be like other people in other places”: Performing the Nation at the Denis Leifeld Universität Erlangen-Nuremberg, Germany London Globe notes on a South Sudanese Cymbeline Re-Writing Enigmatic Bodies: The Performance Artist Steven Cohen

Nidya Shanthini Manokara National University of Singapore 1:30 pm – 2:00 pm Discussion Cultivating Love in Bharata Natyam Pedagogy

Maggi Phillips Edith Cowan University, WAAPA Academy of Performing Asian Theatre Welcome. Papers & Discussion Arts Rhizome-like Trails: Skipping into Cognition Room: P4.S2 Wonjung Sohn Korean National University of Arts The National Theatre and the “Modernization” of Korean Theatre 1957-1962 Efrosini Protopapa University of Surrey 9:00 am – 2:00 am Diplomatic Bodies: Redirecting, Sidetracking, Deflecting, Bypassing Joscha Chung National Chung Hsing University Liang Qichao’s Theatre Experiment in Japan Natalia Ramirez Universidad de Chile La Recherche sur la Corporéité à Partir de la Pratique Créative et Sensible Mitsuya Mori Seijo University de la Danse The Third Stage in the Modernizing Process of Japanese Theatre Susanne Ravn University of Southern Denmark Yasushi Nagata Osaka University Dancing Aikido: Exploring how Embodied Competences are Transformed Adapting Asia: Three Trials by Kaoru Morimoto and Redefined in Interaction

Philipa Rothfield La Trobe University Choreography and The exact distribution of discussion of papers is still to be decided and will Reflecting Upon the Movement Between Theory and Practice Corporeality be announced on the first session of the Working Group. Sofia Varino Stony Brook University Room: P2.S4 Raimon Ávila Institut del Teatre Moving Dangers: Motion, Danger and the Queer Body in Performance The Motion Factors in Effort Actions of Rudolf Laban and his Legacy 9:00 am – 2:00 pm Gustavo Vicente University of Lisbon, Centre for Theatre Studies Bettina Brandl-Risi Universitaet Erlangen-Nuernberg Looking at Performing Arts through the Mnemonics of the Body: Re-Drawing the Lines: Thinking about Image and Movement with Tino The Case of Portugal Sehgal and Meg Stuart

Rosemary Candelario Texas Woman’s University Feminist Research Tiina Rosenberg Stockholm University Nowhere/Now Here: Oguri’s Height of Sky Don’t Be Quiet, Start a Riot! Anarchy, Affect and Activism in Pussy Riot’s Room: P2.S5 Performance Paulina Maria Caon University of São Paulo Embodiment in Performing Arts and in Artistic Learning Processes: 9:00 am – 9:30 am A Reflection about Two Cases

22 Monday 22nd 9:00 am - 2:00 pm 23 Monday 22nd 9:00 am - 2:00 pm The Force of Necessity, or the Accidental Evolution of the Moscow Art 9:30 am – 10:00 am Bishnupriya Paul (Dutt) Jawaharlal Nehru University Theatre Prague Group Transformative Routes: Trauma to “Feminist”-Performance Resistance Nurith Yaari Tel Aviv University From Myth to History: Habima’s immigration to Mandatory Palestine 10:00 am – 10:30 am Nobuko Anan Birkbeck College, University of London Women’s Performance and Neoliberalism in Japan 12:00 pm -12:30 pm Break

10:30 am – 11:00 am Short break 12:30 pm – 2:00 pm Culture of the USA Chair: David Wiles 11:00 am – 11:30 am Jung-Soon Shim Soongsil University “Producing the Affect” and “Play Performativity”: Miss Julie’s Diverging Ken Cerniglia Disney Theatrical Productions Realities on the Korean Stage Mining Myth Origins Across the Atlantic: The Case of Peter and the Starcatcher

Rosemarie Bank Kent State University 11:30 am – 12:00 pm Melissa Sihra Trinity College Dublin Wandering Tales of Others: Navigating Cultural Trade Routes in Earlier U.S. The “Symbolic Violence” of “Success” or “Failure” in the Plays of Marina Theatre History Carr Mechele Leon University of Kansas Authenticity: The Commodity of Theatrical Import/Export 12:00 pm – 12:15 pm Short break

Intermediality in Theatre and Introduction 12:15 pm – 12:45 pm: Marla Carlson University of Georgia Performance Affective Flow, Disrupted: The Curious Incidence of “Autism” in the Theatre Room: S4.S7

12:45 pm – 1:15 pm: Fawzia Affzal-Khan Montclair State University 9:00 am – 10:00 am Viewing of a video

10:00 am – 11:00 am Intermedial Experience and Engagement Vibha Sharma Aligarh Muslim University 1:15 pm – 1:45 pm: Female Actors in Swaang: Negotiations with Neoliberal Performance Katia Arfara Onassis Cultural Center Scenario in Post-1991 India Stifters Dinge: The Entropic Landscape of Heiner Geobbels

Matthias Peter Bremgartner University of Berne Historiography Opening session Playing with the Frame(s): Theater Meets Comics in Hapless Hooligan in Welcoming new members, introduction to the topic “Still Moving” Room: S4.S2 Uses of Myth 9:00 am – 10:30 am Chair: Magnus Thorbergsson Discussion

Claire Cochrane University of Worcerster The Purpose of Myth and the Pursuit of Truth: The Case of the Nia Centre 11:00 am – 11:30 am Coffee Break

Hanna Korsberg University of Helsinki Myth and Mobility in Internationalizing Theatre 11:30 am – 1:00 am Intermedial Experience and Engagement

Luis Campos Rose Bruford College 10:30 am – 11:00 am Break Intermedial Performance and the Generative Conditions for an Epistemic Performance Encounter

11:00 am -12:00 pm Russian questions Jo Scott Royal Central School of Speech and Drama, University of London Chair: Janne Risum Confrontation and Contradiction: The Site of Encounter in Live Intermedial Performance

Rosemary Klich University of Kent Laurence Senelick Tufts University InterMEdiation and the InterMEdial System

24 Monday 22nd 9:00 am - 2:00 pm 25 Monday 22nd 9:00 am - 2:00 pm Discussion Performance and Welcome and Introduction Consciousness

1:00 pm - 1:15 pm Coffee Break Room: P3.S3

9:00 am – 9:30 am 1:15 pm - 2:00 pm Reflection and (Re)Collection

9:30 am – 10:15 am Marie Kelly School of Music & Theatre, University College Cork Music Theatre Welcome Casting Consciousness: Frames of Mind in the Casting of Contemporary Theatre Room: Auditorium

9:00 am – 9:30 am 10:15 am – 11:00 am Gabriella Calchi-Novati Trinity College Dublin Joseph DeLappe’s Digit(al) Interventions as “Subversive Ritournelles”

9:30 am – 10:00 am Jordi Pérez Solé Institut del Teatre The Impact of Catalan Direction in the Opera Scene 11:00 am – 11:30 am Break

10:00 am – 10:30 am Viv Gardner University of Manchester 11:30 am – 12:15 pm Daniel Meyer-Dinkgräfe University of Lincoln Just What Did They Do in The Dairymaids?: An Exploration of Song and Consciousness, Spirituality and Composing for Opera Dance in the Performance of the Musical Comedy Chorus 1900-1907

12:15 pm – 1:00 pm Ana Luiza Castro Independent Scholar 10:30 am – 11:00 am meLê Yamomo LMU- Ludwig-Maximilians University About Presence and Unity: The Work on “Quality” in Peter Brook Tuning in to Modernity: Manila Musicos in Early Globalization

1:00 am – 1:45 pm William Pinchin Central School of Speech and Drama, University of London 11:00 am – 11:30 am Anitra Davel University of Pretoria Transparent to the Transcendent: Jacques Lecoq’s Mythopoeic Pedagogy of Multiculturalism and its Discriminations: Music Theatre in Post-Apartheid the Neutral Mask South Africa

2:00 pm Session Ends 11:30 am – 12:00 pm Caleb Goh Edith Cowan University, WAAPA Academy of Performing Arts The Asian Voice in Musical Theatre: Cultural Upbringing Complex Performance and Disability (Re)routing Disability Tragedy

12:00 pm – 12:30 pm Marcus Tan Queen’s University Belfast Room: Plató Susan Schweik University of California at Berkeley K-Contagion: Sound, Speed and Space in Psy’s “Gangnam Style” (Re)routing Disability Tragedy 9:00 am – 9:30 am

12:30 pm – 1:00 pm Rashida Shaw Wesleyan University Interdisciplinarity of “Black” Musical Theatre Reception Studies 9:30 am – 10:00 am Rigour & Respect

Susanna Uchatius Theatre Terrific 1:00 pm – 1:30 pm Gareth Llŷr Evans Aberystwyth University James Coomber Theatre Terrific New Directions: Performance Studies and the Postdramatic Dramaturgies of Rigour, Respect and Disability Theatre Musical Theatre

10:30 am – 12:00 pm New Routes to Performance 2:00 pm Session Ends Jennifer Goddard Queen’s University Belfast Which Way to the Top? Creating Pathways into the Professional Arts for Learning Disabled Actors

Nathalie Fratini Universität Wien / Pädagogische Hochschule Mannheim Experiments and Surprises: New Ways of Disability Theatre in Luxembourg and the Neighbour Countries

26 Monday 22nd 9:00 am - 2:00 pm 27 Monday 22nd 9:00 am - 2:00 pm Charlotte Waelde University of Exeter Alvin Eng Hui Lim National University of Singapore / King’s College Sarah Whatley Coventry University Deities as Actors, Routers and Networks: A Case Study on the Performance Shifting Boundaries, Shifting Aesthetics: Intersecting Dance, Disability of the Nine Emperor Gods in Singapore and Law outes to/from Identity

Performance as Research Group 1 12:00 pm – 12:30 pm Break Room: Flamenco Room 4 presenters

12:30 pm – 1:30 pm Routes to/from Identity 9:30 am – 11:30 am

Nina Muehlemann King’s College Crip Tease Unlimited: Disrupting Binaries through Disabled Burlesque 11:30 am – 11:45 am Tea Performance during the London 2012 Paralympics

Colette Conroy University of Hull 11:45 am – 1:45 pm Group 2 Paralympic Cultures and the Regulation of Disabled Bodies 4 presenters

1:30 pm – 2:00 pm Crip Time Performance in Public Spaces Welcome Petra Kuppers University of Michigan Crip Time: Sirens and Songs Room: S4.S5

8:30 am – 8:45 am Performance and Religion Introduction

Room: P3.S1 8:45 am – 9:45 am On Legacy

9:00 am – 9:30 am Tim White University of Warwick The E-Phemerality and Epidemiology of Performances in Public Spaces

9:30 am – 10:30 am Kim Skjoldager-Nielsen Stockholm University John Lee University of Winchester Performing Nonknowledge Whose Legacy is it anyway?

Silvia Battista Royal Holloway, University of London Mapping a Territory: Technologies of the Numinous in Performance Art Discussion

10:30 am – 11:00 am Coffee break 9:45 am – 10:00 am Restroom break

11:00 am – 12:30 pm Alessandra Zanobi Archive of Performance of Greek and Roman Drama 10:00 am – 11:00 am On Legacy (continued) Articulating the Inarticulate through Dance Ian Watson Rutgers, The State University of New Jersey Joshua Edelman The Royal Central School of Speech and Drama, Univer- Barter and the Borderland: Different Spaces, Dialogues, Dynamics; Different sity of London Legacies Mirror Neurons and the Performative Epistemology of Ritual Joanna Ostrowska Adam Mickiewicz University in Poznań Daniel Reis Plá UFSM, Federal University of Santa Maria I’m Still Alive or Performing in Public as a Way of Dealing with Legacy Transcendence Into the Flesh: Buddhism and Performing Arts

Discussion 12:30 pm – 1:00 pm Coffee break

11:00 am – 11:30 am Coffee break 1:00 pm – 2:00 pm Cia Sautter Graduate Theological Union Religion, Ethics, and Culture in The Christmas Prince: The Case of Philomela

28 Monday 22nd 9:00 am - 2:00 pm 29 Monday 22nd 9:00 am - 2:00 pm 11:30 am – 12:30 pm Designing Public Spaces Popular Entertainments Moderator: Victor Emeljanow Martina Lipton University of Warwick and University of Queensland Jadwiga Zimpel Adam Mickiewicz University in Pozna Room: P3.S2 Produced by the 85th Field Ambulance in Salonika 1915-18 Spaces for Performance: From Festival Marketplaces to Urban Voids 9:00 am – 11:00 am Dorothea Volz Johannes Gutenberg University Amira Joelson CUNY Much Ado about a Silent Play: Max Reinhardt’s Pantomime under Ban Designing Gateways for Chinatown: Following Routes and Roots to Crossroads of Multiple Legacies Moderator: Martina Lipton Victor Emeljanow University of Newcastle, New South Wales Palliative Pantomimes 2: Popular Entertainments, Humour and other Discussion Survival Strategies in Prisoner-of war camps during World War Two

12:30 pm – 1:00 pm Coffee break 11:30 am – 1:30 pm Moderator: Janys Hayes Susan Kattwinkel College of Charleston A Theatrical Journey: Reconceiving Tourist Performance on a World Tour 1:00 pm – 2:00 pm Street Life Moderator: Susan Kattwinkel Susan Haedicke University of Warwick Janys Hayes University of Wollongong Breaking a Legacy of Hatred: Friches Théâtre Urbain’s Lieu Commun Drumming The Future: Vietnamese Drumming as a Bridge Between Tradition and Popular Entertainment Ha Young Hwang Korea National University of Arts Performing Ushutobe: The Visible and the Invisible of the Korean Diaspora Moderator: Gillian Arrighi Kim Baston LaTrobe University Transatlantic Journeys: John Bill Ricketts and the Edinburgh Equestrian Discussion Circus

Moderator: Nic Leonhardt General Discussion Gillian Arrighi University of Newcastle, New South Wales Re-routing Traditional Circus Performance: Towards a Cultural History of Community Circus in Australia Political Performances Ahuva Belkin Tel Aviv University Itzik Manger’s Megillah Lieder: Meta-text as Subversive Affirmation Room: S4.S6 Processus de Création Luk Van den Dries University of Antwerp Suresh Kumar Chattothayil University of Calicut The Didascalic Imagination: Notes, Partitions et Transpositions Inter-médiales 9:00 am – 2:00 pm Theatre of Roots: The Politics of Performance Room: S4.S4 dans les Processus Créatifs “Post-dramatiques”

Madli Pesti University of Tartu 9:00 am – 2:00 pm Fanny Le Borgne Université Paris 3-Sorbonne Nouvelle The Possibility of Criteria: Methodological Problems in Researching Political William Kentridge, Créer entre l’Atelier et le Plateau: Dès Workshops aux Theatre Répétitions

David Grant Queen’s University Belfast Rémi Ronfard INRIA, France Unknown Knowns: Kinaesthetic Empathy in the Making and Understanding Video Recording and Genetic Analysis of Theatre Performances of Image Theatre Sophie Proust Lille 3, CEAC/APC Berenice Hamidi Kim Universite Lyon 2 Constitution d’une Grille d’Analyse des Répétitions (II) Le Théâtre à l’Assaut du Capitalisme Chloé Déchery Surrey University / Royal Central School of Speech and Zahava Caspi Ben-Gurion University Drama, University of London Memory and History in Post-Apocalyptic Theatre L’Auto-Archive ou l’Impossible Retour? Réflexions sur A Duet Without You

Rebecca Rovit University of Kansas Antonio-Simón Rodríguez Institut del Teatre de Barcelona Re-rooting Berlin’s Cultural Landscape: Theatre and Politics, 1945-1949 Routes Envers la Découverte d’un Ordre Caché dans le Travail avec les Acteurs Ilaria Pinna University of Exeter The Fortress and the community: An analysis of Compagnia della Fortezza’s theatre

30 Monday 22nd 9:00 am - 2:00 pm 31 Monday 22nd 9:00 am - 2:00 pm José Francisco Fernández University of Almeria Queer Futures Introduction A Profoundly Spanish Talent: Beckett and Arrabal

Room: P2.S6 Munetaka Kume Waseda University In Search of the Unachievable Image: Samuel Beckett’s Catastrophe 9:30 am – 10:15 am

Scenography Welcome and Introductions 10:30 am – 12:00 pm HIV/AIDS and Performance Chair: Alyson Campbell Room: S4.S9

Michael Anderson Northwestern University 9:00 am – 9:30 am Muscle Up: Hypermuscularity as a Performance of Seronegativity

Cormac O’Brien University College Dublin 9:30 am – 11:00 am The Object Charm in Performance and Cinema Positively Irish: Reconciling the HIV-Positive Body and National Identity in Irish Theatre Irene Eynat-Confino Tel-Aviv University Re-Routing Scenographic Components: Effect and Affect Marios Chatziprokopiou Aberystwyth University From the Mass Plague to Requiem for the End of Love: Voice, Lament, and Brandin Baron-Nusbaum UCSC, University of California Santa Cruz AIDS Politics in the First Half of the Greek ‘90s Enchanted Wardrobes, Magic Mirrors and Other Ominous Objects in Paul Shrader’s American Gigolo

12:30 pm – 2:00 pm Cross-dressing Practices Dominika Łarionow University of Łódź Chair: TBC How to Develop an Object in the Space of Scenography? What’s New Discovering Tadeusz Kantor? Mark Edward Edge Hill University Council House Movie Star: Ageing Drag Queens on the Borders of Society 11:00 am – 11:30 am Coffee Break Stephen Farrier Royal Central School of Speech and Drama, University of London That Lip-Syncing Feeling: Drag Performance as Digging the Past 11:30 am – 12:30 pm Inscribing Identities

Bryce Lease University of Exeter Valerie Kaneko-Lucas Regent’s College, London School of Film, Media Miss Gay Western Cape: Queer Identities as Markers of Difference in Cape and Performance Town Re-routing/Re-rooting: The Scenography or Yukio Ninagawa

Tal Itzhaki Academy of Performing Arts Samuel Beckett Jonathan Lahey Dronsfield University of Reading Issues of Identity and Context in Site Specific Works Wandering the Archives of Wandering (Performing the Samuel Beckett Room: Scanner Archive) 12:30 pm – 1:00 pm Coffee Break 8:30 am – 11:00 am Thirthankar Chakraborty University of Kent Translating Silence: An Indian Adaptation of Samuel Beckett’s Come and Go 1:00 pm – 2:00 pm Invention, Aesthetics, and Scenographic Convention Katharina Knüppel LMU- Ludwig-Maximilians University Intermedial Transpositions of Samuel Beckett’s Aesthetics in Contemporary Karolina Prykowska-Michalak University of Łódź Art and Dance Scenographic Conventions in Political Theater in Poland Today

Susie Mower Loughborough University / Lincoln University Nebojša Tabački University of the Arts Berlin Krapp’s Last Tape: Presence in the Theatre and the Dynamic of Temporality The House of Dancing Water: Reinvention of the Theatre in the Global Corporate Society

11:30 am – 2:00 pm Michael Y. Bennett University of Wisconsin-Whitewater Presenting Beckett to the 21st Century General Reader and Theatregoer Theatre Architecture Welcome

Michela Bariselli Independent scholar Room: Scenography Workshop Pure Laugh: Presence and Function of Humour in the Works of Samuel Beckett 9:00 am – 9:30 am

32 Monday 22nd 9:00 am - 2:00 pm 33 Monday 22nd 9:00 am - 2:00 pm 9:30 am – 11:00 am: Contemporary Spaces, Openness, Preservation Translation, Adaptation & Welcome and Potential Dramaturgy

Dorita Hannah NYU, Visiting Scholar & McHale Fellow, SUNY Buffalo Room: S4.S8 How Public is the Public?: A Question of Democratic Flow 9:00 am – 9:30 am Ryan Tacata Stanford University Preserve/Perform/Repeat: OMA, Marina Abramovic, and Building Remains 9:30 am – 11:00 am Jenny Wong University of Glasgow Alejandra Serey-Weldt Escuela de Teatro, Universidad Católica de Chile y Unfaithful to Original, Faithful to Audience – With References to the Trans- Consejo Nacional de la Cultura y las Artes lation of Religious Resonance in Two Traditional Operatic Versions of The La Pratique de Lieux: Une Exploration de l’Espace pour la Création Merchant of Venice on Chinese Stage Théâtrale Contemporaine Kristina Trajanovska Cyril and Methodius University Translating Drama 11:00 am – 11:30 am Coffee Break

11:00 am – 11:30 pm Coffee Break 11:30 am – 12:30 pm Adaptations, relocations and re-imaginings of historical structures and platforms for performance 11:30 am – 12:30 pm Jaqueline Bolton University of Lincoln Evelyn Furquim Werneck Lima UNIRIO, Federal University of the State of Practices of Reading: “Theoretical Method” and “Expressive Realism” as Rio de Janeiro Dramaturgical Strategy New Paths to Theatre Architecture: A Brazilian Contemporary Performance at The Globe Theatre Katja Krebs University of Bristol Creative Collusions or Constructive Chaos?: A Historical Perspective on Roger Owen Aberystwyth University Theatrical Exchange in Europe Mapping Milk Churn Stands in Ceredigion

12:30 pm – 2:00 pm Miglena Ivanova Flinders University 12:30 pm – 1:00 pm Coffee Break Theatre Workshop Sfumato: A Dramaturgy of Poetic Asceticism

Graça Corrêa University of Algarve 1:00 pm – 2:00 pm Historical English and French Theatre Architecture Re-Routing Gothic Emotionalism: Herculano’s Eurico from Novel to Performance Devon Cox University of Warwick Le Goût Français: Influences of French Theatre Architecture on Theatre Stuart Young University of Otago Royal Drury Lane and Others A Double Re-Routing: Complicité Stages The Master and Margarita

Dominique Lauvernier École Pratique des Hautes Études, Paris EA HIS- TARA Paths for Performancers and Audience inside and outside French Court Theatres: A Re-examination of Sources by Virtual Restitutions

Theatrical Event Luule Epner University of Tallinn / Estonian Literary Museum Poetics of Acting as Playing Room: S4.S3 Jurgita Staniskyte Vytautas Magnus University 9:00 am – 2:00 pm Play with Reality: Performing Autobiographies in Post-Soviet Baltic Theatre

Maria Berlova State Institute of Art Science Theater of Gustav III

Vicki Ann Cremona University of Malta Poetics and Post-revolutionary Theatre

34 Monday 22nd 9:00 am - 2:00 pm 35 Monday 22nd 9:00 am - 2:00 pm M Cody Poulton University of Victoria Tuesday 23rd Antigone in Japan: Life and Death in Fukushima

General Panel 1 GP.CUR-38: From La From La Drammatica to the Phonè: Tracing a Cultural Drammatica to the Phonè Trajectory of Italian Acting Styles on the World’s Stage

10:30 am – 12:00 pm Room: P3.S1 The four presenters are part of an-going research project whose original input came from the recent publication of Prof. Anna Sica’s book The Murray Edwards Duse Collection. Based on 18th century Italian diva Eleonora Duse’s acting methodology, the international group of scholars is researching the elements of continuity and change in various European acting traditions up to today, focusing on the role of the actor-director. What is the legacy between GP.WGS-34: Theatre Theatre, Performance and Architecture: classical end-of-the-century drama, and avant-garde theatre for the late Architecture Sites of Encounter and Exchange twentieth century? What are the links, and common discussions that can be traced among Italian actors, and theatre directors/scholars/researchers of the Room: Teatre Estudi This panel explores three sites of encounter and exchange between the fields likes Stanislavsky or Strasberg? of theatre, performance and architecture. Encompassing research on telematic performance’s potential to merge geographically discrete spaces and bodies, Chair: Raffaele Furno the performativity or architecture as pedagogical method and content, and the performative interruption of urban architecture, the papers in this panel ex- Raffaele Furno Arcadia University amine differing ways in which theatre, performance and architecture have, and Carmelo Bene’s Phonè: Radical Renovation or Reinvented Tradition of an continue to, redefine one another. Italian Outcast Actor

Chairs: Juliet Rufford and Andrew Filmer Anna Sica University of Palermo Italian Method of La Drammatica: What Stanislavsky Saw Watching Italian Actors Act Julian Maynard Royal Central School of Speech and Drama, University of London Dissolve: A Space for Telematic Performance Sergei Tcherkassi St. Petersburg Theater Arts Academy Italian Genius Actors Who Had Inspired Theatre World (Giuseppe Grasso and Eleanora Duse through the eyes of Konstantin Stanislavsky, Vsevolod Beth Weinstein University of Arizona Bringing Performativity into Architectural Pedagogy and Practice Meyerhold, Lee Strasberg and Isaac Babel)

Catherine Turner University of Exeter Irene Scaturro University of Rome La Sapienza The Convergence of City and Stage: Alexander Vesnin, Krzysztof Wodiczko Naturalism’s Legacy in the Mid-Twentieth-Century Italian Actor and Theatrical Architectures

GP-7: Cyborg and Second Life Chair: Jen Parker-Starbuck GP.CUR-13: Imagining Imagining “Fukushima”: Theatrical Responses Theatre Fukushima to the Triple Disaster Marcel·lí Antúnez Independent artist Room: S4.S4 Sistematurgy Room: P2.S4 Japan has a vibrant contemporary theatre scene extending from productions that mainly rely on Western plays to countless theatre troupes with their own Kristin Arnesen-Konopka CUNY, Brooklyn College / Hunter College repertory of Japanese plays. Some are known for their focus on social critique, BEYER P-ORRIDGE: Breaking Sex and the New Cyborgean Cut-Up others draw their plots from classical motifs. Besides, there exist an immeasur- able number of small theatres often referred to as a part of subculture. You will also find international and intercultural co-productions between Japanese, GP-13: Rooting for Religion in Chair: Carolyn Roark Western and recently Asian producers and performers. Our panel will examine Performance recent developments of this dynamic theatre scene re-routing Japanese per- Kevin Landis University of Colorado Colorado Springs forming arts after the triple disaster hit Fukushimaon March 11, 2011. Room: P2.S5 Routing Religion in America’s Heartland

Chair: Peter Eckersall David Mason Rhodes College Monastic Performance Shintaro Fujii Waseda University Catastrophe and Theatre: Rethinking Performing Arts in Japan after 11 Shinya Takahashi Chuo University March, 2011 Dialogue with the Dead in Japanese Theatre

Barbara Geilhom Freie Universität Berlin Negotiating ”Fukushima“ in Recent Plays by Okada Toshiki and Nakatsuru Akihito

36 Tuesday 23rd 10:30 am - 12:00 pm 37 Tuesday 23rd 10:30 am - 12:00 pm GP-25: New Writing in London Chair: Nicolas Wood GP-67: Tranlating Into a Global Chair: Ivy I-Chy Chang Arena Room: P2.S6 Elaine Aston Lancaster University Vik Bahl Green River Community College Room for Realism? International Re-Routings of New Writing at London’s Room: S4.S5 Inciting Desire in South Asian American Theater: Adaptation and Audience Royal Court Theatre in Yoni Ki Baat and The Ramayana

Mark O’Thomas University of Lincoln Daphne Lei University of California, Irvine Traversing The Cut. From The Soldier’s Tale to Feast: Translation, Fluency and Fluidity: Accessing Global Wealth through Mistranslated Globalisation and the Routes to Nationhood in London’s Waterloo Language in David Henry Hwang’s Chinglish

Taryn Storey University of Reading Pavlina Radia Nipissing University Risk, the Regions and New Writing: The Arts Council of Great Britain and Re-Routing the Global Litany of Bodily Goodness: The Good Body, or Eve State Patronage for the Theatre in the Age of Austerity Ensler’s Last Supper?

GP-30: Spanish and Catalan Chair: David Rodríguez Solás GP-73: Chilean Contemporary Chair: Francisco Albornoz Theatre Theatre: Reflection on the Helena Buffery University College Cork Real and the Poetic (EN/FR) Coca Duarte Pontificia Universidad Católica de Chile Room: Plató Remapping Hispanic and Iberian Theatre and Performance Cultures in Stratégies de Rapprochement du Réel de la Mise en Scène Documentaire Contact Room: S4.S7 Chilienne Galvarino

Inmaculada Lopez Silva Escola Superior de Arte Dramática de Galicia Andrés Grumann Sölter Pontificia Universidad Católica de Chile Towards a Postdramatic Theater in Spain Staging Strategies of a Masses Theater Tradition in the National Stadium: The “Clásicos Universitarios” and the Political Masses Celebration of the Chilean Duncan Wheeler University of Leeds “Juventudes Comunistas” The Role of Catalan Theatre in Spain’s Transition to Democracy Marcia Martínez Pontificia Universidad Católica de Valparaíso The Scenic Representations and Dramaturgical Strategies of Isidora Aguirre GP-35: From Craft to Chair: Ralph Remshardt and Guillermo Calderón Technology and Back Mercè Saumell Institut del Teatre Room: Flamenco Room Old Craftsmanship on the Stage as Resistance GP-79: Legacies of Early Chair: Marvin Carlson Twentieth Century Ulf Otto University of Hildesheim Felicia Londré University of Missouri-Kansas City Theatre as Factory: On the Industrialization of Performativity in 19th Room: Auditorium Copeau’s American Detour on His Road to High Art Century Europe Neli Monés Mestre UAB, Universitat Autònoma de Barcelona Katharina Wessely University of Berne A Legacy of Spanish Dance between Spanish and Russian Tradition: Performing Electricity: Knowledge Transfer between Theatre and Electrical Massine’s Notebook Engineering Lurana Donnels O’Malley University of Hawaii at Manoa Du Bois, the Witch of Endor, and the Crisis of the George Washington GP-58: Cultural Re-Readings Chair: Christina Nygren Bicentenary

Room: S4.S8 Bisi Adigun Trinity College Dublin Stefan Aquilina University of Malta In Praise of Cultural Misreading: Yvonne Brewster’s Jamaica pretation of Stanislavski in Malta: An Amateur Processing of the System Wole Soyinka’s Yoruba Tragedy

Anandhakrishnan Balakrishna Pillai University of Hyderabad Chair: Helen Gilbert Footsbarn’s Indian Tempest: New Politics of Theatre Practice GP-84: Re-Routing Pre- Colonial Identities Rosa Figueiredo University of Lisbon / Polytechnic Institute of Guarda Tamar Meskin University of KwaZulu-Natal Re-Routing African Traditional Modes of Performance (Re)Rooting the Canon: Patchworks, Pathways and Palimpsests Room: P3.S2 Sabine Kim Johannes Gutenberg University (Re)Mixing History: Lillian Allen and the Routes of Dub

38 Tuesday 23rd 10:30 am - 12:00 pm 39 Tuesday 23rd 10:30 am - 12:00 pm New Scholars’ Forum 1 NSF- 7: Globalization and Chair: Milija Gluhovic Cosmopolitanism Wei Feng Trinity College Dublin 12:30 pm – 2:00 pm Room: Flamenco Room Sichuan Opera Macbeth: Adaptation as Reinvigoration

Carolin Fleischer LMU Munich Globalization in the Epic, Dramatic, and Cinematic Œuvre of Terayama Shūji

Lonneke van Heugten ASCA, University of Amsterdam NSF-9 Adaptation: Changing Chair: Josh Edelman Curating “European Culture”: The EU as an Actor in the European Theatre Texts, Changing Processes World (EN/FR) Bianca Maurmayr University of Nice Sophia Antipolis L’Importation de La Finta Pazza à Paris: Étude sur le Travail d’Adaptation et Annika Wehrle Johannes Gutenberg University Room: Pató de Négotiation des Identités Vénitienne et Française Distance and Proximity in Rimini Protokoll’s Call Cutta: A Socio-Cultural and Theatrical Area of Tension María Sebastià Sáez Universitat de València Orestíada. Cenizas de Troya (Oresteia. Troy’s Ashes): A Modern Refiguration of The Oresteia NSF-5 Intercultural and Chair: Daphne Lei Transnational Theatres Julia Pajunen University of Helsinki Jeremy Bidgood Royal Holloway, University of London Director Kristian Smeds’ Tuntematon Sotilas (The Unknown Soldier) as a Room: S4.S8 Who Does the Interweaving? Finding the Weaver in the Work of Handspring Theatre and Media Event Puppet Company.

Masahiko Yokobori Tokyo University of the Arts / University of Music & Susan Fenty Western Australian Academy of Performing Arts (WAAPA), Theatre Leipzig Edith Cowan University Australia Dramaturgy of Collective Directorships in Twenty-First-Century Japanese A Stage Manager’s Journey into the Cultures of Time Theatre: A Case-Study of Sample Michelle Nicholson-Sanz Queen Mary, University of London We Come from Afar to this Port City: Transnational Routes and the Limits of NSF-10 Catalan Theatres Chair: David George Hospitality in Buenos Aires

Room: Auditorium Charlie Allwood Queen Mary, University of London Evdoxia (Evi) Stamatiou Birkbeck, University of London Girls Just Want to Have Fun: Carol López’s Cosi FUN Tutte at the Liceu Translation on Stage: The Performance Disconnected

Núria Llagüerri Pubill University of Valencia Re-routing Grece to Barcelona: Els Missatgers no Arriben Mai (The NSF-6: Living Bodies, Living Chair: Graça Corrêa Messengers Never Come) Stages: Environment, Space and Design Tanja Beer University of Melbourne Eco-scenography: A New Paradigm for the Performing Arts Oriol Puig UAB, Universitat Autònoma de Barcelona Ricard Salvat: The Dream of the Future National Theatre of Catalonia Room: S4.S9 Lisa Marie Bowler LMU Munich-Ludwig-Maximilians-University The Body in the Building: Potentials of Actor-Centred Theatre Architecture NSF-12 Experimental Creative Chair: Peter Eckersall Processes Russya Connor WAAPA Western Australia Academy of Performing Arts, Flavio Campos UNICAMP, State University of Campinas Edith Cowan University Room: P2.S5 An Enquiry into the Aesthetics of the Dancer-Researcher-Performer (BPI) Working Performative within Nature: Immersion and Suspension of Method Gravitational Demands

Paula Andrea Gonzalez Rodriguez University of São Paulo Lisa Woynarski Central School of Speech and Drama, University of Lon- Genetic Criticism and the Case of Teatro Imagen don Mediating Nature and the Urban in Performance Lidia Olinto do Valle Silva UNICAMP, State University of Campinas The Binomial Precision-Spontaneity: A Mutable Relationship NSF- 3 Performance Politics: Chair: Stuart Young Jordi Ribot Thunnissen Institut del Teatre / UAB, Universitat Autònoma Identity, Rights, Freedom de Barcelona Maria Enriquez Univers. Country Hans van Manen: Approaching His Poetics Room: S4.S6 USA Color-Blind Casting Politics: The Whitening of Mother****** With The Hat

40 Tuesday 23rd 12:30 pm - 2:00 pm 41 Tuesday 23rd 12:30 pm - 2:00 pm Irene Fernandez Ramos School of Oriental and African Studies, University NSF-8: Remembering Perfor- Chair: Milena Grass of London mance, Remembering History A Glance on Contemporary Palestinian Theatre: The Body and the Eva Aymamí Reñé University of Surrey Representation of Oppressed Identities Room: Teatre Estudi Room Dancing for Democracy in Spain

Azadeh Ganjeh University of Berne Fabián Escalona San Martín Universidad de Chile Speak the Speech: The Play-within-a-Play and Freedom of Speech in Staging Atahualpa’s Death: An Act of Performative Memory Hamlet in Iran Yuh.J, Hwang Trinity College Dublin) Susan McClements Wyss University of Cologne Counter-Memory, Riot and Performance Settling Shakespeare at Belvoir: A Comparison of Two Productions at Belvoir Street Theatre, Sydney Australia Francesca Spedalieri The Ohio State University Re-Membering Storytelling: Teatro di Narrazione and the Solo Performances of Ascanio Celestini NSF-1: Performing Identity Chair: Lisa Fitzpatrick

Room: S4.S4 Ekua Rachel Ekumah Goldsmith’s College, University of London NSF-11: Theatre, Education Chair: Tony McCaffrey Writing the Self: African Diasporic Identity on the British Stage and Development Faustina Brew University of Exeter Virginia Escobar Sardiña Universidad Complutense de Madrid Room: P2.S4 “Create to Learn”: An Exploration of Creative Abilities of Ghanaian Josefina Báez: A Dramaturgy of Movement Children through Drama Improvisation and Performances.

Natália Perez University of Kent / Freie Universitat Berlin Hannah Neumann University of Cologne Questions of Identity in the Work of Sor Juana Inés de la Cruz Cultural Development in Afghanistan

Jessica Rizzo Yale University, Yale School of Drama Adriana de Moura Somacal UFRGS, Federal University of Rio Grande do Sul America Played Out: Fictive Dominance in Richard Maxwell’s Neutral Hero Theatre Practice with the Deaf: Signatores Group’s Research Experience

NSF-13: Playwrights: Chair: Lesley Ferris NSF-2: Theatrical Journeys Chair: Deirdre Heddon Innovations, Experiments, (EN/FR) Poetics (EN/FR) Sarah Grochala Queen Mary, University of London Caroline Herfert University of Vienna Webs of Meaning: Brechtian Plot Structures in Contemporary Playwriting Room: S4.S5 Theatrical Journeys: Encounters with the Orient around 1900 Room: P2.S6 Sonia Jiménez Romero Universidad Complutense de Madrid Juliana Coelho Université Paris 3 – Sorbonne Nouvelle / ARIAS / CNRS Ciudadanía by Ulises Rodríguez Febles: A Realist Experimentation or an Brésil/France/Bali: Le Voyage en tant que Dessinateur d’une Nouvelle Experimental Realism Cartographie

Keiko Kikuchi Waseda University Michael Meeuwis Bilkent University Vie, Mort et Génération dans Actes Sans Paroles I et II de Beckett Re-Routing Victorian Drama: From Shipboard Performance to the Professional Stage in Nineteenth-Century Theater Marta Tirado-Mauri UB, Universitat de Barcelona Ethics, Poetics and Subjectivity in the Work of Sarah Kane Rob Sayer Bath Spa University Re-routing Performance: Touring as Creative Force in Technical Artistry

NSF-13: Playwrights: Chair: Silvija Jestrovic Innovations, Experiments, General Panel 2 Poetics (EN/FR) Lara Stevens University of Melbourne Gestic Intertextuality in Elfriede Jelinek’s Bambiland Room: P2.S6 3:30 pm – 5:00 pm Kristin Flade Freie Universität Berlin The Good Pain: Artistic Practice in Conflict Zones

Sahoko Tsuji Waseda University How On the Town Represents the Wartime Spirit as a Musical Comedy GP.WGS-30: Historiography The Historiography of Acting

Room: Teatre Estudi This panel offers a sample of the kind of work undertaken by members of the Theatre Historiography Working Group. Historiography is concerned with

42 Tuesday 23rd 12:30 pm - 2:00 pm 43 Tuesday 23rd 3:30 pm - 5:00 pm the roots of performance, and the qualities of the actor’s work are much harder Lesley Ferris Ohio State University to trace than play scripts and buildings which leave secure material traces. The Then the Curtain Rose: Performance and Gender in the Age of the Feminist panellists will be investigating some of these difficulties. Pageant

Chair: Yael Zarhy-Levo Katharine M. Cockin University of Hull Edith Craig and A Pageant of Great Women: Roots and Redirections David Wiles Royal Holloway, University of London The History of Classical Acting Anna Birch Royal Conservatoire of Scotland A Pageant of Great Women: Past and Present Jim Davis Warwick University The Touring Actor 1880-1960: Cultural Exchange, Networking and Adaptation GP.CUR-21: Visuals Poetics 1 Presence, Spectacle and Modernity

Diego Pellechia Ritsumeikan University, Kyoto Room: P2.S5 The Research Centre for Visual Poetics (University of Antwerp, Belgium) sets Dancing History: The Ethics of the Scholar-Practitioner in Japanese Noh up two panels with the intention to reconsider “presence,” as one of the foun- Theatre dational concepts for performance studies and practice, by examining it from different angles. While in the wake of poststructuralism the notion of “pres- ence” has been radically deconstructed as being as metaphysical fallacy leading GP.CUR-19: Ivo van Hove (I) Ivo van Hove (I): Trajectories et Traversées to misguided assumptions about human culture, in recent years several cultural theorists have been attempting to revalue “presence” as an antidote for the Room: S4.S9 Ce premier panel sur Ivo van Hove réunit trois propositions de notre groupe predominant tendency within humanities to privilege meaning and interpre- de recherche sur ce metteur en scène belge. Les deux panels suivre les traces tation at the expense of experience. The Visual Poetics panels will explore de la recherche sur van Hove jusqu’ici par notre group (symposium mono- the premises of this dichotomy and search for alternative methodologies that graphique en Juin 2012 à Paris) et prévoit une série d’essais sur le théâtre du might provide an answer to the question how both academic theory and artistic van Hove dans lequel nous travaillons actuellement. practice are able to negotiate “presence” within their activities.

Chair: Frédéric Maurin Chair: Frederik Le Roy

Christine Hamon-Siréjols Université Paris 3-Sorbonne Nouvelle Esther Tuypens University of Antwerp Réorienter le Regard Moving Bodies: Presence and Affect in Aby Warburg’s Mnemosyne Atlas

Edwige Perrot Université Paris 3-Sorbonne Nouvelle / Université du Kurt Vanhoutte University of Antwerp Québec à Montréal Toward the Stars: Re-Routing Presence and Experience in the Spectacle of Les Sens en Déroute. Impacts de la Vidéo en Direct dans la Fabrication de la Modernity Perception Nele Wynants University of Antwerp Romain Piana Université Paris 3-Sorbonne Nouvelle Ghostly Pathways: Spectral Presence in Phantasmagoria Shows Ivo van Hove au Détour de la Comédie

GP-9: Spanish Theatre Befora Chair: David George GP.CUR-17: A Pageant of Pageants of Great Women: Past and Present and After the Civil War Great Women Heinrich R. Falk California State University This panel explores the development, transmission and archiving of produc- Room: Plató Theatre to the People: Two Initiatives during Spain’s Second Republic Room: S4.S8 tions related to Edith Craig’s production of Cicely Hamilton’s A Pageant of Great Women (first produced 1909 in London). Craig’s development as a cos- Junko Okamoto Osaka University tumier and director of pageants, masques and historical plays will be considered Legacies of the Preceding Spanish Playwrights in the Works of Antonio in relation to the development of this work.In an innovative use of the pageants Buero Vallejo strategy. Christopher St John TheFirst Actress (1911), also directed by Craig, places the actress at the heart of the suffrage agenda, combining embodied per- David Rodríguez Solás Middlebury College formance with political action. Virginia Woolf centres her last novel, Between García Lorca in the Crossroads: La Barraca and Democratization in 1930s the Acts (1941) on a pageant directed by a woman apparently modelled on Edith Spain Craig. This ongoing circulation of the pageant, women and performance lead us to the recent revival of A Pageant of Great Women in 2011 by Anna Birch for Fragments & Monument (Hull, England). This performance confronts and GP-16: Re-Walking the Walk Chair: Deirdre Heddon embraces feminist history as an act of engendering a living archive. Room: P2.S4 Julia Boll Marie Curie Fellow, University of Konstanz Chair: Fiona Graham Between Homeland and Exile: Witnessing the Homo Sacer at the Heart of Hotel Medea

44 Tuesday 23rd 3:30 pm - 5:00 pm 45 Tuesday 23rd 3:30 pm - 5:00 pm Lib Taylor University of Reading Berenika Szymanski-Düll LMU- Ludwig-Maximilians University Munich The Transnational and the Particular: Experiences of Walking “A tour to the West could bring a lot of trouble…” – Mazowsze during the Cold War Piotr Woycicki Independent Pedipulating “Footage” in Duncan Speakman’s As if it Were the Last Time GP-62: Constructing the Chair: Maaike Bleeker Female Body GP-36: Re…Re…Referential Chair: Katherine Mezur Mnena Abuku Benue State University Reverberations Room: Flamenco Room Performing Fashion in Trans-nations: Tradition, Modernity and Environment Ella Finer Roehampton University Room: P3.S1 Echoes After Echo Sean Metzger UCLA, University of California Los Angeles Fashion-able Desires in the Plays of David Henry Hwang Susanne Foellmer Freie Universität Berlin Tracing Back and Forth: Citation as Paradoxical Vanguard Practice of Kara Reilly University of Exeter Remembrance in Dance Operating Theatres: Re-rooting Perceptions of the Body

Katja Schneider LMU- Ludwig-Maximilians University Quotation Marks: Thoughts on Performativity of Reference in Contemporary GP-69: London Stages Chair: John Bull Dance Room: S4.S7 Stuart Andrews University of Surrey Surge, Sway and Yaw: Performative Moorings in The Boat Project and A GP-40: Nature and Human Chair: Honor Ford-Smith Room for London Intervention Milena Grass Pontificia Universidad Católica de Chile Robert Shaughnessy University of Kent Room: S4.S4 Andrés Kalawski Pontificia Universidad Católica de Chile In Time with Shakespeare Pontificia Universidad Católica de Chile Reconstructive Theatre: A Theatrical Earthquake Experience Millie Taylor University of Winchester Reviewing the Situationv: Exploring the Roots/Routes of British Musical Róisín O’Gorman University College Cork Theatre Through the Work of Lionel Bart Abdicating Presence: Considering the Next Stage of Performance in the Work of Dorothy Cross

Ina Pukelyte Vytautas Magnus University General Panel 3 Ecological Theatre: Performing Nature

5:30 pm – 7:00 pm GP-41: Re-Routing Chair: Susan Bennett Shakesperian Characters Ivy I-chu Chang National Chiao Tung University Room: Auditorium Rerouting King Lear in a Jingju Actor’s Reminiscence

Peter W. Marx University of Cologne GP.WGS-11 : Samuel Becket Rerouting Samuel Beckett’s Drama in the Twenty-First Hamlet’s Odyssey Century Room: Teatre Estudi Paris Shun-Hsiang Shih National Chengchi University The panel papers focus on issues concerning performing Beckett’s drama now Feminizing The Merchant of Venice: Turning Male Homosociality into Female and in the future, considering new experimentation in theatre practice and Narcissism in Bond (Yue / Shu), the Taiwanese Bangzi Opera Adaptation of challenges to existing traditions. These papers are usefully representative of The Merchant of Venice the Samuel Beckett Working Group research and recent trajectory whilst also addressing the conference theme clearly from the perspective of the Working Group. GP-54: Cold War Chair: James Harding Chair: Juliet Rufford and Andrew Filmer Room: P3. S2 Charlotte Canning University of Texas at Austin Clowns and Balloon Animals: On the Road with the US Department of State Eric Prince Colorado State University in Southeast Asia 1961 All your Dead Dead: Re-Visioning Eh Joe

David Drozd Masaryk University Brenda O’Connell National University of Ireland, Maynooth (Re)Turning to the Roots: Journey of Jiří Veltruský and his Theory “‘…dreadfully un-…’ staged bodies”: Beckettian Echoes in Irish Performance Practice and International Experimental Theatre

46 Tuesday 23rd 3:30 pm - 5:00 pm 47 Tuesday 23rd 5:30 pm - 7:00 pm Everett Frost Independent scholar Colette Gordon University of the Witwatersrande Possibilities and Problematics in Staging Beckett’s Radio Plays Making up Africa: Models of Cultural Productions and Reception at the Globe to Globe Festival

GP.CUR-22: Visual Poetics 2 Presence, Re-enactment and Recurrence GP-5: Theatre and Secondary Chair: Dennis Elkins Room: P2.S5 The Research Centre for Visual Poetics (University of Antwerp, Belgium) sets Education up two panels with the intention to reconsider “presence,” as one of the foun- Cock Dieleman University of Amsterdam dational concepts for performance studies and practice, by examining it from Room: P2.S4 Education as Part of the Theatrical Event different angles. While in the wake of poststructuralism the notion of “pres- ence” has been radically deconstructed as being as metaphysical fallacy leading Tristan Damian Jäggi University of Berne to misguided assumptions about human culture, in recent years several cultural Future Labs. Theatre-related Activities in Swiss Upper Secondary Schools theorists have been attempting to revalue “presence” as an antidote for the predominant tendency within humanities to privilege meaning and interpre- Roger Wooster Independent scholar tation at the expense of experience. The Visual Poetics panels will explore The Lost Art of Theatre in Education: Can TIE Survive Utilitarian the premises of this dichotomy and search for alternative methodologies that Approaches to Education? might provide an answer to the question how both academic theory and artistic practice are able to negotiate “presence” within their activities. GP-8: Performing Jewishness Chair: Zahava Caspi Chair: Kurt Vanhoutte Room: S4.S4 Chioko Matsuda Hitotsubashi University Timmy De Laet University of Antwerp Re-thinking British Cultural Policy Today: The Boycott on HaBima’s The From Effects of Presence to the Effective Present: Negotiating Meaning and Merchant of Venice Presence in Artistic Re-enactment Edna Nahson Jewish Theological Seminary Edith Cassiers University of Antwerp / University of Brussels Restraining Shylock (Re)presenting Theatrical Notebooks: Re-routing Presence within the 2012 Re-enactments of This is Theatre as it Was to Be Expected and Foreseen (1982) Avraham Oz University of Haifa / Academy of Performing Arts and The Power of Theatrical Madness (1984) Imagined Communities and Inverted Heteropias: The Hebrew Theatre and Subversions of Locus Frederik Le Roy University of Antwerp Re-Routing the Paris Commune: Performative Anachronism in the Work of Peter Watkins GP-22: Issues in Chair: Rosella Ferrari Comtemporary Chinese Theatre Lin Chen Freie Universität Berlin GP.CUR-24: Transnational Transnational Affects? Audience, Emotion and Politics at The Dramatic Touch of Imagined Ownness: An Alternative Explanation of Affects? the Globe to Globe Festival 2012 Room: S4.S9 Chinese Theater’s Early Interweaving with the Western

Room: Plató This curated panel responds to the theme of the Conference in a threefold way: Laia Manonelles Moner Universitat de Barcelona / Universitat Autònoma firstly, our purpose is to consider the award-winning Globe to Globe Festival held de Barcelona at London’s reconstructed Shakespearean venue as a cross-cultural collaboration A Review of the Genealogy in Experimental Art in China between theatre-makers and audiences alike; secondly, we propose to reflect on these encounters specifically in relation to the affects and feelings they enabled Mirjam Tröster Johann Wolfgang Goethe University and produced, re-routing the debate on intercultural theatre through the emerg- Touring Theatrical Productions of Taiwan and Hong Kong in Mainland ing frameworks of Affect Studies and the field of history of Emotions. Finally, we China: Re-routing National Imaginings consider the politics of affect. A keystone of theatre is produced within a politi- cal index that requires critical reflection. This is particularly the case when the event is framed in the loaded agendas of “interculturalism” and “festival”. This GP-24: Self-Reflective Voices Chair: Eddie Paterson interrelated focus on audience, affect and politics offers a new and urgent way in Inner Roots to the critical evaluation of intercultural exchange in the theatre. Laura Michiels Free University of Brussels / Research Foundation Flanders Room: P2.S6 Transmuting Performance: Metatheatre Meets Esotericism in Tennessee Chair: Kim Solga Williams’s The Two-Character Play

Margherita Laera University of Kent Olga Muratova Fordham University We <3 Shakespeare: Globe to Globe Festival and the Production of Chekhovek: From a Monological Narrative to a Polyphonic Performance “Excitement” Kurt Taroff Queen’s University Belfast Penelope Woods University of Western Australia The Birth of Monodrama Out of the Spirit of Music: An International and Globe to Globe and its Audiences, London 2012 Generic Journey

48 Tuesday 23rd 5:30 pm - 7:00 pm 49 Tuesday 23rd 5:30 pm - 7:00 pm GP-31: Lusophone Musings Chair: Joana Soares Wednesday 24th Room: P3.S1 Cláudia Oliveira University of Lisbon, Centre for Theatre Studies To Act and to Write: Questioning the Written Memories of Portuguese General Panel 4 Actors Born in the Nineteenth Century

Marta Rosa University of Lisbon, Centre for Theatre Studies 10:30 am – 12:00 pm From Historical Legacies to Theatrical Themes: The Shipwreck of Sepulveda

Maria Helena Werneck UNIRIO, Federal University of the State of Rio de Janeiro The Transatlantic Theatre: Travelling Troupes from Portugal to Brazil GP.WGS-32: Choreograpy and Affective and Disputed Territories: Choreographies and Corporeality Corporealities GP-33: Re-Thinking Access Chair: Yvonne Schmidt and Integration Room: Teatre Estudi This panel explores passages of affect (McGrath), sexualities and time (De- Chris Collins Trinity College Dublin Frantz), and disputed territories (Larasati) to consider the place of embodied Room Auditorium Follow: Re-routing Irish Theatre Through the Phenomenology of Memory practice within the recognition of performance and humanity. The panel con- siders three discrete sites of dance, in a session that exemplifies the continuing Tony McCaffrey University of Canterbury collaborations of the Choreography and Corporeality Working Group. Where is Disability Disabled?: Aesthetic, Ethical and Political Implications of Involving People with Intellectual Disabilities in Contemporary Performance Chair: Philipa Rothfield

Mark Swetz Humboldt State University Aoife McGrath Queen’s University Belfast The Intersections of Access: Blind Spectatorship and Routes to Opening Discomforting Touch: Dance, Affect and Vulnerability Performance Rachmi Diyah Larasati University of Minnesota The Aesthetic and Aceh’s Female Combatant: Re-routing Subaltern Corpo/ GP-45: Theatres of the Exile Chair: Katherine Sieg reality

Room: S4.S7 Carolina E. Santo Unversity of Vienna Thomas F. DeFrantz Duke University Performing Resistance Against Development-forced Displacement afrofuturist remains: a speculative rendering of black social dance futures

Freddie Rokem Tel Aviv University Dramaturgies of Exile: Bertolt Brecht, Walter Benjamin and Gershon GP.WGS-36: Performance as Routes through the corpus: dramaturgy, corporality and Scholem Research materiality in the process of performance as research

Christel Stalpaert Ghent University Room: Plató Chair: Anna Birch Performing the Emigratory Experience: Encountering Relational Identities Mark Fleishman University of Cape Town “Routes of Inheritance” in Performance as Research GP-64: Engaging Spectator’s Chair: Emer O’Toole Complicity Pauliina Hulkko Theatre Academy, University of the Arts Helsinki Cristina Delgado-Garcia Aberystwyth University Vagrant Materials: Migratory Dramaturgies Room: Flamenco Room Conceptual Art, Theatre, and “The Return of the Repressed”: Rethinking Tim Crouch’s Dramaturgy and its Politics Emma Meehan Coventry University Moving Scenographies: Somatics and Space Duška Radosavljević University of Kent Theatre-Making: Bridging the Gap Between Text-Based and Devised Theatre in the English-Speaking World GP.CUR-16: Practice Rooted in Arts Council Influence on the Ecologies of British Theatre Policy Companies in the ‘70s, ‘80s and ‘90s Clare Wallace Charles University The Precarious Politics of Perception: Re-orientations in British and Irish Room: Auditorium We will examine how the policies and directives of the Arts Council of Great Theatre Britain (ACGB-later the Arts Councils of England, Scotland and Wales) have impacted on a particular aspect of the British theatre ecology across three sub- sequent decades. The panel as a whole is examining how such policies can influence the ecology of theatre practice, in sometimes unexpected ways which may even seem counterproductive to the original stated aims of the policy.

50 Tuesday 23rd 5:30 pm - 7:00 pm 51 Wednesday 24th 10:30 am - 12:00 pm Chair: Kaza Reilly Masahiro Kitano Gunma Prefectural Women’s University The Fabrication of the Essence in the Roots: First Japanese Performances of John Bull University of Reading / University of Lincoln Greek Tragedy Monstrous Regiments and Spare Tyres: Issues of Constituency and Funding in UK Feminist Theatre of the 1970s Helen Richardson CUNY, Brooklyn College Re-routing Performance: Ancient Mediterranean Cultures and their Influence Graham Saunders University of Reading on Classical Greek Drama Flagships & Rowing Boats: The (Un) Resistible Rise of Tara Arts & Talawa 1980-1987 GP-50: Performing Collective Chair: Milena Grass Liz Tomlin University of Birmingham Memory Arts Council Policy and Unintended Consequences: One Possible Route to Michael Bachmann Johannes Gutenberg University the Growth of Interactive Performance in the UK Room: Flamenco Room Routing/Rooting Memory: Hans Jürgen Syberberg and the Virtual Sites of Prussia

GP-10. Performing Cape Town Chair: John Coestler Lisa Fitzgerald National University of Ireland, Galway Re-Place: Ireland, Performance and Re-rooting the Culture Heritage of the Room: P3.S2 Yvette Hutchison University of Warwick West Cape New Year Carnival: Mapping Disavowed Memory in the Past and Present Brian Singleton Trinity College Dublin The Routes to Memory: Anu Productions’ Performative Journey through Gay Morris University of Cape Town Social History Remembering Home, or Carrying your House on your Head: Rural Traces in Urban Township Performances GP-59: A View of Australian Chair: Denise Varney Miranda Young-Jahangeer University of KwaZulu-Natal Theatre The Thin Pink Line: Performing Art in the City of Cape Town Julian James Meyrick Flinders University Room: S4.S9 The Logic of Culture: Australian Theatre and the Empty Signifier

GP-18: Re-Notation Chair: Irene Scaturro Renee Newman-Storen Edith Cowan University, WAAPA Academy of Performing Arts Room: P3.S1 Shannon Fillion Theater Director A Re-Routing of Public Space: Notes on the Development and Orchestration Danny Mitarotondo Playwright of a New Australian Performance Work The Score: The Process and Production of a New Kind of Playwriting Patricia Smyth University of Warwick Liesbeth Groot Nibbelink Utrecht University There and Back Again: Australian Landscape on the Nineteenth- and Early You are Here: Capturing Mobility in Contemporary Performance Twentieth-Century Stage

GP-28: Jocasta, Electra and Chair: Margherita Laera GP-68: East Asian Encounters Chair: M Cody Poulton Orestes Out of Place with the Popular Margaret Coldiron University of Essex Hye-Gyong Kwon Dongseo University Room: S4.S6 Dramatari Jokasta: Greek Tragedy Reconfigured as a Transnational, Room: S4.S4 Rerouting Performances: The Theme of the Joseon Tongsinsa in Koeran and Transcultural Kreasi Baru Japanese Festivals

Natasa Glisic University of Banja Luka Harue Tsutsumi Seijo University Electra’s Travels in the Balkans: Danilo Kiš’s Electra from 1968 and its The Production of Hyōryū kitan Seiyō kabuki (The Wanderer’s Strange Story: a Afterlives Western Kabuki) (1879) and the Journey of Iwakura Embassy (1871-1873)

Orestes Pérez Estanquero UAB, Universitat Autònoma de Barcelona / Shu-Mei Wei Chien Hsin University of Science and Technology Instituto Superior Arte, Cuba A Serial Killer Remediated: A Case Study of Zodiac Orestes [Ὀρέστης]: Migrations and Transformations in Performance

GP-72: Routes for the Chair: Julius Heinicke GP-43: Greek Legacy Chair: Paul Monaghan Performance of Justice and Reconciliation Dr Ananda Breed University of East London Room: S4.S7 Antonis Glytzouris University of Thessaloniki / Institute of Mediterranean Performing Legacies of Justice Studies, Crete Room: P2.S6 From Venice to Constantinople: Travelling Widows in the Context of Greek Helen Gilbert Royal Holloway, University of London Enlightenment Walking Together: Indigenous Performance and Routes towards Reconciliation

52 Wednesday 24th 10:30 pam - 12:00 pm 53 Wednesday 24th 10:30 am - 12:00 pm Judith Rudakoff York University Roots/Routes: Journeys to Home in South Africa, Cuba, and Canada’s Far NSF-18: Contemporary Chair: Bernardette Cochrane North Dramaturgy (EN/FR) Maude B Lafrance Université du Québec à Montréal Room: S4.S8 Dramaturgie Sans Nom: La Dimension Sonore dans le Théâtre Contemporain GP-81: Experimental Projects Chair: Willmar Sauter Fanne Boland University of Amsterdam Room: P2.S5 Johan Callens Free University of Brussels What does the Dramaturge Contribute to Contemporary Theatre-Making (Mythic) Events Proceed in Different Localities (Historical Ones, Too): Re- Processes? ‘”Let’s Take a Walk,” a Practice-Based Research Routing the Trojan War Ann-Christine Simke University of Glasgow Helmar Schramm Freie Universität Berlin Dramaturgy on the Move: Historicity, Applicability, Reciprocity “As Slow as Possible” (John Cage) Time and History in Theatrical Experiments Naz Yeni Anglia Ruskin University Story-Telling in Style: The Multiple Languages of Theatre and Meaning- Carol Marie Webster University of Leeds / Oxford University Making Performing Transportation Transformation: Migration, Teleportation, and Railways NSF-26: Cultures of Dance Chair: Maggi Phillips (EN/FR) GP-86: Re-Routing Nationa- Chair: Steve Wilmer Debanjali Biswas Independent researcher lism Room: P2.S6 Building Bridges: Dancing for the “Other” World in two Shaman Traditions Boris Daussà-Pastor Institut del Teatre of Asia Room: P2.S4 Negotiating Tradition and National Identity: Kathakali en Route to Indian Nation Building Caitlin Coker Ritsumeikan University Butoh’s Roots in Daily Life: Three Generations of “Human Revolution” Elyssa Livergant Queen Mary and Birkbeck, University of London Moving to Work: Border Crossing and the Belarus Free Theatre Serge Dambrine Universite d’Evry / UAB, Universitat Autònoma de Barce- lona Martynas Petrikas Vytautas Magnus University Alain Platel, de Because I Sing (2001) à C(H)ŒURS (2012): Une approche du Bittersweet Roots of Engaged Theatre: Between Similarities and Differences chœur of Theatre Concepts in Lithuania and Poland Lotta Harryson Stockholm University Changes in the Meaning of Dance in Musical Comedy at a Swedish Theatre, New Scholars’ Forum 2 1920-1969

12:30 pm – 2:00 pm NSF-22: Dynamic Tradition: Chair: Graham Saunders Creating Modernity and Postmodernity Matthew McFrederick University of Reading Double-Acts in Waiting for Godot: Music Hall and Movie Stars on the Room: Plató London Stage

NSF-19: Applying Theatre: Chair: Colette Conroy Helen Murphy Central School of Speech and Drama, University of London Testimony, Identity, Politics, The Fleeting Exchange: Tracing Ephemera’s Journey through Modernity Efficacy Andrew Brown Northwestern University Queerying Refuge: Sex and Gender on the Move in Refugee Performance Riina Oruaas University of Tartu Room: S4.S9 Contextualizing Theories of Postmodernism Lynne McCarthy Queen Mary, University of London Soil Depositions: Performing Property Values Mrityunjay Kumar Prabhakar Jawaharlal Nehru University A Movement Called “Theatre of Roots”: The Churning of Tradition to Paulina Sarkis Pontificia Universidad Católica de Chile Modernity Prison Theatricality: Convivial Theatre Tomoko Seki Waseda University Sarah Youssef University of Cologne Where is the Character? The Function of the “Speakers” in Martin Crimp’s The Art of Imprisonment: The Performance of Masculinity in Captivity Attempts on Her Life

54 Wednesday 24th 12:30 pm - 2:00 pm 55 Wednesday 24th 12:30 pm - 2:00 pm NSF-17: Economic Theatres Chair: Julian Meyrick NSF-20: Intersections: Form, Chair: Katie Gough Space, Time, Reality (EN/FR) Room: S4.S7 Daria Kubiak University of Łódź Karina Almeida UNICAMP, State University of Campinas Rerouting Audience Development: From Marketing to Emancipation Room: Flamenco Room The Intersection Between the Composition of Dance and Creative Practices from Other Arts Fabian Lempa Freie Universität Berlin Beyond the Promises of Salvation: Corporate Theatre as Area of Ethical, Anders Bäckström University of Stockholm Political and Aesthetical Negotiations The Street as Venue. Relationality and Spatiality in Urban Theatrical Context

Izuchukwu (Izuu) Ernest Nwankwo University Gombe María Fernández Vázquez Universidad Complutense de Madrid Performance of Humour at Less Expense: Stand-up Comedy As Nigeria’s Installing Theatre in Visual Art New Theatre Rasheed Ismaila University of Lagos Sarah Thomasson Queen Mary, University of London Re-Routing African Festivals through Drama: A Case Study from the Entrepreneurialism or the “Right to Fail”?: New Directions at the Edinburgh Department of Creative Arts, University of Lagos, Lagos, Nigeria Fringe Chloé Lavalette Université Paris 3-Sorbonne Nouvelle Entre la Vie et l’Art: Les Personnages d’Artistes dans les Mises en Scène de NSF-21: Feminist and Post- Chair: Janelle Reinelt Scénarios d’Ivo van Hove Feminist Theatres Mercè Ballespí Institut del Teatre / UAB, Universitat Autònoma de Barce- Room: Teatre Estudi lona NSF-25: Le Corp et L’Esprit: Chair: Mechele Leon Female Characters on the Catalan Stage: Marta Carrasco, Sol Picó and Les Acteurs et Les Artistes Angélica Liddell Reconsidéré (EN/FR) Andrew Bielski Cornell University Actes Manquants: Theatre and the Psychoanalytic Act Arnab Banerji University of Georgia Room: P2.S5 “Munni Badnam Hui”: The Consumable Female Body in Bollywood Item Maria Codinachs Institut del Teatre Numbers Masques de Théâtre en Catalogne à la Seconde Moitié du Siècle: Confluences entre Création et Formation Sandra D’Urso University of Melbourne Re-routing the Citizen: Feminist, Parrhésiastic Performance in the Era of Arianna Fernández Grossocordón Universidad Carlos III anti-Terror Laws Formes Scéniques du Théâtre Gestuelle du XXème Siècle: Proposition d’Analyse et Construction d’un Répertoire Caitriona Mary Reilly Queen’s University Belfast Performing Prostitution and the Postfeminist Problem in Contemporary Joy Kristin Kalu Freie Universität Berlin Ireland: The Boys of Foley Street and Taking Back Our Voices Stagings of Therapy in Psychological and Artistic Practice

Rashida Resario University of Ghana Against the Odds of a Chauvinistic Custom: Efo Kodjo Mawugbe’s In the NSF-23 :Performing London: Chair: John Bull Chest of a Woman Histories and Trends Catriona Fallow Queen Mary, University of London Room: Auditorium Writing, Rewriting and New Writing in British Theatre NSF-16: Humans and Non- Chair: Gillian Arrighi humans Phoebe Ferris-Rotman Birkbeck, University of London Krysta Dennis University of Kent / Université Paris 3, Sorbonne Nouvelle From the Multitude to the Singular: Two Forms of Contemporary Immersive Room: S4.S6 Bringing Out the Animal: The Cat in Martin McDonagh’s The Lieutenant of Theatre Inishmore Hannah McClure University of East London Charlott Neuhauser University of Stockholm The Whirling Dervishes of West London: Hybridity and Agency in Practice Institutional Activism? The Performance, Dying Animals and the Touring and Transmission National Theatre (Riksteatern) in Sweden Aileen Robinson Northwestern University Ilya Noé University of California, Davis Popularizing Science, Producing Theatre: The Performative Galleries of the Site-Particularity, Sporads and Mycorrhizal Relationships: Outwith the Royal Polytechnic Institution Nomad/Rhizome-Settler/Tree Divide

56 Wednesday 24th 12:30 pm - 2:00 pm 57 Wednesday 24th 12:30 pm - 2:00 pm Chair: Rosemary Klitch NSF-15: Spectatorship General Panel 5

Room: S4.S5 Greta Klimaviciute-Minkstimiene Vytautas Magnus University Three Levels of Connection Between Actor and Spectator: An 3:30 pm – 5:00 pm Anthropological Perspective

Emmanuelle Sirois Université du Québec à Montréal The Uses of Collaborative Softwares and Social Medias Within and Around Performances: Rethinking Spectatorship and Communities GP.WGS-35: African and Memory, Manifestations, and Imagined Futures Christine Hannah Twite Queen Mary, University of London Caribbean Theatre and The Paradox of Theatre Spectatorship: Examining the Audience in Actors Performance The panel attempts to look at that which informs the theatre and performance Touring Company’s productions of Crave and Illusions in Africa, in the Caribbean and in their respective Diasporas. Being cognizant Room: Teatre Estudi of the fact that there are others who have gone before, we are eager to explore Itziar Zorita Agirre UAB, Universitat Autònoma de Barcelona memory-in both the literal and imagined/metaphorical sense- in the construc- Dramaturgy of the Spectator and Intermediality tion of ritual, performance and or autonomous theatrical experience in African andCaribbeaninfluence environments.

NSF-14: Technology, New Chair: Joanne Tompkins Chair: Kene Igweonu Media, Virtuality Sanjin Muftic University of Cape Town Kimberly Ramirez CUNY, LaGuardia Comunity College Room: S4.S4 Process and Purpose for Sampling Live Performance: Technology, Space and Re-Visions of Afro-Cuban Santeria: from Sacred Sacrifice to Digital Deities Image

C.M. Harclyde Walcott University of the West Indies, Cave Hill Shreyosi Mukherjee National University of Singapore Memory, Lived Experience: The Manifestation/Articulation of a Caribbean Reconfiguring Temporality, Resorting to Liminality: New Media Archiving Performance Aesthetic and Archived Art Forms

Keithley Woolward College of The Bahamas Christina Papagiannouli University of East London Memory, Theater and National Consciousness: The Case of Edouard Glissant A Short Organum for Cyberformance: The Internet as an Apparatus of Communication GP.CUR-20: Ivo van Hove (II) Carrefours et Horizons Judit Pujol Llop Institut del Teatre / Theatre company Obskene) Anna Carreras Etc Inventions Room: S4.S9 Ce second panel sur Ivo van Hove réunit trois propositions de notre groupe de Presenciality / Virtuality: Relations Between the Theatre and the Digital recherche sur ce metteur en scène belge. Les deux panels suivre les traces de la World in Dea Loher’s Land Without Words recherche sur van Hove jusqu’ici par notre group (symposium monographique en Juin 2012 à Paris) et prévoit une série d’essais sur le théâtre du van Hove dans lequel nous travaillons actuellement. NSF-24: Theatre Histories Chair: David Wiles Chair: Josette Féral Room: P2.S4 Licínia Ferreira University of Lisbon, Centre for Theatre Studies The History of a Theatre: Teatro da Rua dos Condes, Lisbon Frédéric Maurin Université Paris 3-Sorbonne Nouvelle La Grand-Route et ses Embranchements Sascha Förster University of Cologne Projections of History: Zeitgeist and the Scenes of Imagination Anaïs Bonnier Université Paris 3-Sorbonne Nouvelle Pour une Cartographie des Espaces Sonores Mariana Hausdorf Andrade Pontificia Universidad Católica de Chile Between History and Theatre: Performing the Archive of the Chilean Simon Hagemann Université Franche-Comté Dictatorship La Société Médiatique sur la Scène Théâtrale

Javiera Larrain George Pontificia Universidad Católica de Chile The Emergence of the Theatre Director in Chile: Towards a GP.CUR-14: Resistant Acts Displacement and Coercion in Chile, Japan, Africa, and Contextualization of University Theatres in the 1940s the Unites States Room: S4.S4 In this panel we are dealing with the tension and resistance of bodies in widely and widely different contemporary performance cultures from Africa, Japan, Chile and United States. We would like the differences between our subjects, our forms and our arguments to be central to our panel’s purpose: To collec- tively probe these different and resistant bodies, actions, materials, texts and

58 Wednesday 24th 12:30 pm - 2:00 pm 59 Wednesday 24th 3:30 pm - 5:00 pm choreographies with our different theories and arguments. We suggest that Hilary Halba University of Otago “routes” and “roots” break down in terms of our differences, and that we have Double Origins, Double Routes: Hybridity in Bicultural Theatre to re-consider dis-connections and dis-orientations instead of passages of map- pings. Our papers suggest that we have more to risk and more to challenge in Cláudia Tatinge Nascimento Wesleyan University these disconnected spaces-off actions, which resist and compel imagination, Critical Devoration: Brazilian Performance and the “Cannibalist Manifesto” desire, and the politics of “culture” and “nation.”

Co-Chairs: Sruti Bala and Aoife McGraph GP-49: Feminity at the Turn of Chair: Katharine Cockin the 20 th Century Hayato Kosuge Keio University David Cregan Villanova University Butoh Beyond Theatres: Ohno Kazuo in the University Campus Room: Plató Re-Routing Sex: Reclaiming the Body and the Spirit in Oscar Wilde’s Salomé

Wallace McDowell University of Warwick Laura Monros-Gaspar Universitat de Valencia Dancing to a Different Tune: A Performance-Based initiative to Reimagine Victorian Routes to Madness: Cassandra and the Spanish Gipsy on the the Iconography of Ulster Loyalism Popular Stage

Katherine Mezur Independent Scholar Dancing Precarity: “Mali on my Mind, Japan-land in my Nightmares” GP-55: Ethnic Representations Chair: Clara Wallace in Europe Yael Zelda Feiler Södertörn University GP-23: Re-Routing Divism Chair: Tiina Rosenberg Room: P3.S2 Representation, Ethnicity and Power in Swedish Performing Arts

Room: Auditorium Maria Filomena Chiaradia National Arts Foundation, Information and Chante Mouton Kinyon National University of Ireland, Galway Documentation Center Staging Authenticity Bibi Ferreira on a Portuguese Route: The Collaboration with Eugénio Salvador Katrin Sieg Georgetown University Ethnic Drag Reloaded Christine Junqueira Leite de Medeiros UNIRIO, Federal University of the State of Rio de Janeiro / FAPERJ, Foundation for Research Support of the State of Rio de Janeiro GP-63: Following the Routes Chair: David Savran Beatriz Costa: The Tour of a Portuguese Actress in Brazil of Today’s Pop Culture Asma Ayob UNISA/Playwright and Lecturer Hélène Ohlsson Stockholm University Room: S4.S9 Bollywood Cinema: From Humble Beginnings in Parsi Theatre to a Cultural Subversive Heroines in the Late Nineteenth Century Phenomenon

Sara Elisabeth Granath Södertörn University GP-37: Babel’s Tower Chair: Ella Finer Queering the Bold and the Beautiful

Room: P2.S6 Dennis Elkins Fort Lewis College Gordana Maric Faculty of Dramatic Arts Anna Estrada Institut del Teatre The Anthropology of Ritual Performance Fitzmaurice Voicework®: Sensing Physical Impulses by Re-mapping Vocal Production GP-70: National and Chair: Thomas F. DeFrantz Friederike Felbeck Universitaet Hamburg Transnational Contemporary New Horizons-Blurry, with a Tempest Raging but Inches Away: Dance Cristina Rosa Florida State University / Interweaving Performance Cul- Transformation Processes in Contemporary Acting Training in Austria, tures Germany and Switzerland Room: P2.S4 Choreographing Ideas Otherwise: Re-routing Contemporary Dancing in Brazil María Goiricelaya UPV / EHU Basque Actors Union The Routes of my Roots: Towards the Vocal Training in the 21st Century Sabine Sorgel University of Surrey Re-Routing Dance: On Tilts, Bluffs and Moves

GP-42: Models for Hybridity Chair: Christopher Balme Ester Vendrell Institut del Teatre Re-routing Choreography: Dance an Cultural Policies. The Case of Catalonia Room: Flamenco Room André Luís Gardel Barbosa UNIRIO, Federal University of the State of Rio between 1975-2000 de Janeiro Perspective Anthropophagical History of Brazilian Theater: Anchieta and the Amerindian Perspectivism

60 Wednesday 24th 3:30 pm - 5:00 pm 61 Wednesday 24th 3:30 pm - 5:00 pm Stephen Wilmer Trinity College Dublin GP-76: Re-Routing the Chair: Brian Singleton Tracing a Route from Fluxus to Schlingensief “Orient” Fawzia Afzal-Khan Montclair State University Yael Zarhy-Levo Tel Aviv University Room: P2.S5 Travelling Performativities: Re-Orienting Orientalism in Shafik Gabr’s “What Looking Back: The Evolving Process of Historical Views Orientalist Painters Can Teach Us About the Art of East-West Dialogue,” Ayad Akhtar’s Disgrace and World Hijab Day in Pakistan Intermediality in Theatre and Pre and Pro Digital Cultures Yin-Ying Huang Chang Gung University Performance Literature as Roots/Routes of Performance: Cloud Gate’s Dance works Katie Gough University of Glasgow Inspired by Literature and Asian Traditions Room: S4.S7 Soul-Space: Digital Remediation of Medieval “Flatness”

Nancy Lee Ruyter University of California, Irvine Olha Danylyk Central School of Speech and Drama, University of London La Meri and Her Re-Routing of World Dance Traditions Illusion, Magic and Impossible Ideas Come to Life. 4-D Immersive Storytelling in Theater Performance

Aneta Mancewic Central School of Speech and Drama, University of Lon- don / Kazimierz Wielki University, Bydgoszcz Re-Routing Intermediality: Digital Intermediality without Digital Technology Working Groups Meeting 2 This session includes 5 min written statement by Henriette Kassay-Schuster, delivered by one of the conveners 5:30 pm – 7:00 pm

Discussion

Music Theatre David Savran CUNY, The Graduate Center African and Caribbean Bussiness Meeting Trafficking in National Brands: Notes on the Political Economy of Theatre Room: Auditorium Room: Puppetry Room Pamela Karantonis Bath Spa University Transcribing Vocality: Ways of Talking about Talking and Listening at the Border of Music Asian Theatre Anna Marjaana Thuring Theatre Academy-University of the Arts Helsinki Sheri Anderson Monmouth University Room: P4.S2 Dynamics of Appropriation: Fusions of Asian and Western Actor Training Make Sure You Never Say, “No”: The Laws of Attraction and Repulsion in The Fantasticks

Choreography and Paper distribution to be decided. See note on the Choreography and Corporeality Corporeality Working Group Meeting 1. Performance and Disability The Performing Body

Room: P2.S4 Room: Plató Megwyn Sanders-Andrews University of Wisconsin, Madison Political Performances: Disability Rights and Pro-Life Rhetoric

Feminist Research Lisa Fitzpatrick University of Ulster Gili Hammer Hebrew University of Jerusalem Memory, Affect, and Systemic Gender Violence Blindness as a Performative Act: Gender, Disability, and the Sensory Body Room: P2.S5 Elin Diamond Rutgers, The State University of New Jersey Kohei Kikuchi Waseda University New Habits of the Heart: Feminist Performance in Neoliberal Times Primitive Cyborg: Life-size Marionettes in Samuel Foote’s Plays

Discussion Performance and Religion Shimon Levy Tel Aviv University Biblical Theatricality: Exposed Room: P3.S1 Historiography Modernity Carolyn Roark Ecumenica Journal Death and the Puppet: Transcendence and the [In]Animate Object Room: S4.S2 Chair: Magnus Thorbergsson Anita Ratnam University of California, Irvine / University of Madras Janne Risum Aarhus University Ketu Katrak University of California, Irvine Kleist’s Fallen Man: A Myth on the Move Performing the Chakras: Embodiment and Representation

62 Wednesday 24th 5:30 pm - 7:00 pm 63 Wednesday 24th 5:30 pm - 7:00 pm Performance as Research Group 3 Scenography Veronique Lemaire Independent artist/Pofessor Anna Viebrock - Edward Hopper: L’Inquiétante Étrangeté comme Source Room: Teatre Estudi 3 presenters Room: S4.S9 d’un Nouveau Réalisme Scénique

Scott Palmer University of Leeds Performance in Public Spaces Legacy/Identity/Publicness Light and the Choreography of Space: The Scenographic Legacy of Adolphe Appia Room: S4.S5 Trish Reid Kingston University Ane Satyre of the Thrie Estaitis: Legacy and the Scottish Theatrical Tradition Katherine Syer University of Illinois at Urbana-Champaign A Living Ring: Choreographed Set Pieces in Three Productions of Wagner’s Nese Ceren Tosun University of Warwick Tetralogy Edible Roots: Culinary Legacy Performed by Turkish Restaurants in London

Ewa Jeleń-Kubalewska Adam Mickiewicz University in Poznań Joint Session: Theatre Spatial Narratives, Site-Specificity and Dramaturgy Second City: Or The District Of Poznan Saved By The Theatre Architecture + Translation, Adaptation & Dramaturgy Bertie Ferdman City University of New York, BMCC Moving Site, Moving Time: Geyser Land and RFK in EKY Political Performances Lloyd Peters University of Salford Room: Scenography Workshop The Roots of Alternative Comedy? The Alternative Story of 20th Century Klaus van den Berg University of Tennessee Room: S4.S6 Coyote and Eighties British Comedy Mendelsohn, Nouvel, and Koolhaas: Architectural Interventions in the Hyperreal City Paola Botham Birmingham City University Rough History? David Greig and Political Theatre Theatrical Event Henri Schoenmakers University College Roosevelt, Utrecht University / Alexi Marchel University of Warwick Friedrich Alexander Universität Erlangen-Nürnberg The Politics of the War of 1812 Commemorations in Canada Room: S4.S3 Theatre Scandals and the “Actors” Trying to Control the Playground of Theatre

Processus de Création Gilberto Icle Université Fédéral du Rio Grande do Sul Willmar Sauter Stockholm University Présence et Langage: Approches du Processus de Création Racism, Murder and Responsibilities: A Swedish Case from 1999 Room: S4.S4 Esther Gouarné Paris X Nanterre / VUB Bruxelles Anneli Saro University of Tartu Performance et Distanciation au Cœur de la Création Collective Scandalous Naturalism of Theatre

Clarisse Bardiot Université de Valenciennes Rekall: Un Logiciel pour Documenter les Digital Performances

Queer Futures Queer Dramaturgies

Room: P2.S6 Chair: TBA

Ben De Witte Rutgers, The State University of New Jersey Queerness in the Ruins of Representation: El público, or to the Modern Theater with Federico García Lorca

Niall Rea Queen’s University Belfast Towards an Obscenography: Queering Performance Design

Münip Melih Korukçu İstanbul Aydın University The Queer Elements In Ottoman Performance Arts

Samuel Beckett Fábio Andrade University of São Paulo Un Petit Beurre ni Lu ni Connu or What Murphy Tastes like in Brazilian Room: Scanner Portuguese?

Teresa Rossell Nicolás Universitat de Barcelona Forms at the Time of their Impossibility

64 Wednesday 24th 5:30 pm - 7:00 pm 65 Wednesday 24th 5:30 pm - 7:00 pm Thursday 25th GP.CUR-12: Re-Routing of Performative Acts and The Re-Routing of Identity: The Identity Secret Paths of Martyrs, Prisoners and Monstrous Individuals General Panel 6 Room: P2.S5 Our papers are linked by a common concern with the radical redefinition of identity that occurs in specific performance environments: asymmetrical war- 10:30 am – 12:00 pm fare (Suicide Bombers), maximum surveillance institutions (Guantanamo In- mates), and the courts (Legal Defense of Professed Werewolves). The panel’s concern with “radical identities” directly corresponds with conference theme because the literal definition of “radical” pertains to a return to the “roots” of something, in this case the roots of specific identities.

GP.WGS-31: Translation, Shakespearean Routes: Indigeneity, Culture, and Chair: Jean Graham-Jones Adaptation & Dramaturgy Aesthetics James Harding University of Warwick Room: Teatre Estudi This panel fulfills both of the possible reasons for the public panel, representing All the Island is a Stage: Maximum Surveillance Environments and the Legal quite strongly one aspect of the group’s work over the last few years, while at the Re-Routing of Prisoners at Guantanamo and Beyond same time fitting in perfectly with the conference’s themes of migration and “re- routing.” These essays all consider contemporary re-appropriations of Shake- Michael Chemers UCSC, University of California Santa Cruz speare which resituate and re-imagine the Bard’s continuing significance across On the Trail of the Beast: Criminal Performance and the Werewolf Identity geography and time. These essays are a perfect example of how the group’s work is at the heart of the very concerns that IFTR is exploring as an organisation. Maaike Bleeker Utrecht University Route Causes: The Path of the Martyr in Rabih Mroué’s Three Posters Chair: Bernadette Cochrane

Carla Della Gatta Northwestern University GP-4: Digital Archives as Chair: Mercè Saumell Shakespeare and Latinidad: Constructing Cultural Difference Through Research/Teaching Tools Translation/Adaptation Peter Eversmann University of Amsterdam Room: Auditorium Re-routing Performances through the Classroom: The Archive as a Travel Sara McCourt University of Exeter Agency Changing Languages of Performance: Adapting Shakespeare for the 21st Century Stage Sharon Lehner Brooklyn Academy of Music Toward the Development of a Performing Arts Ontology for Digital Emer O’Toole Royal Holloway, University of London Discovery Tools Indigeneity, Cultural Capital and the World Shakespeare Festival: Reading Ngakau Toa’s Toroihi raua ko Kahiri Joanne Tompkins University of Queensland Digital Humanities Tools on the Early Modern Stage: “Re-routing” Theatre History Rethinking Theatre and the Political GP.CUR-15: Theatre & Political Anna Valls Institut del Teatre This panel aims to re-examine the axiomatics of committed, critically engaged The ICT and the Promotion of Cultural Heritage: The Experience of MAE, Room: S4.S7 theatre in the light of Ranciere and Zizek’s proposition of the “post-political” Centre of Documentation and Performing Arts Museum present. The post-political discourse suggests the grounds for theatres’ engage- ment with politics has radically shifted. Three papers and discussion develop contrasting perspectives on this idea. GP-20: Performing the Global Chair: Lisa Fitzpatrick Financial Crisis Chair: Denise Varney Miriam Haughton National University of Ireland, Galway Room: P2.S6 Vacant Spaces or Haunted Spaces? Performance, Presence and Survival in Peter Eckersall University of Melbourne Post-Celtic Tiger Ireland Rerouting Theatre as New Media Dramaturgy: Kris Verdonck and the Structure of End Time Eve Katsouraki University of East London Gravitational Uprootedness: Praxes of Resistance, Transgression and James Oliver University of Melbourne Renewals of Sovereignty in Political Suicide Performing Space: Structures of Feeling, Radical Reflexivity, and Everyday Cultural Production Paul Murphy Queen’s University Belfast Neoliberal Practices Eddie Paterson University of Melbourne Hallam Stevens Nanyang Technological University Lab Spaces: Biotech as Performance

66 Thursday 25th 10:30 am - 12:00 pm 67 Thursday 25th 10:30 am - 12:00 pm GP-29: Theatre as a Chair: Margaret Werry GP-75: Flows, Networks and Chair: Cristel Stepaert Commercial Venture Rhizomes Susan Bennett University of Calgary Rossella Ferrari School of Oriental and African Studies, University of Room: P4.S8 Flows and Markets: The New International of Performance Culture Room: P2.S4 London Rhizomes of Exchange and Performances in Journey-Form in East Asia Peter Davis University of Illinois at Urbana-Champaign The Hallams Re-routed: The Economies of Commerce and the Origins of Paul Rae National University of Singapore America’s First Professional Theatre Company Performer-Network-Theory? On Following the Actors

Julius-Adeoye‘Rantimi Redeemer’s University Sir Anril Pineda Tiatco National University of Singapore / University of Theatre Performance and Commercialization in Nigeria the Philippines Theatre and Cosmopolitanism: Towards and Against the Ontology of Theatre

GP-47: East-Asian Chair: Hayato Kosuge Shakespeare GP-78: Expanding From the Chair: Khalid Amine Hsiao-Mei Hsieh National Taiwan University West: Mediterranean Roots in Room: S4.S4 Localizing Shakespeare: Strategies of Adapting Shakespeare in Traditional Africa and Asia Marvin Carlson CUNY, The Graduate Center Theatre in Taiwan Re-routing Western Theatre through the Arab World Room: Flamenco Room Carol Fisher Sorgenfrei UCLA, University of California Los Angeles Johan Coetser University of South Africa Supernatural Soliciting: Pathways from Betrayal to Retribution in “Macbeth” Dias and his Literary Successors and “Yotsuya Kaidan” Franklin J. Hildy University of Maryland Masae Suzuki Royal Holloway, University of London / Kyoto Sangyo The Routes of Theatre’s Architectural Forms: The Mediterranean to Asia and University Back Roots and Routs: The Transformation of Puck in Midsummer Night’s Dream in Mainland Japan and Okinawa GP-85: Re-Routing Laban Chair: Anita Piemonti (EN/FR) GP-53: Re-Routing European Chair: Milija Gluhovic Teresa Izzard Curtin University National Theatres Room: P3.S1 The Somatic Route: How Somatic Theatre Praxis can Support and Extend Michael Anderson University of Kent Directorial Practice in the Twenty-First Century Room: Plató Towards a New Form of National Theatre? Agustí Ros Institut del Teatre Ott Karulin University of Tartu Le Motif Writing un Outil pour la Composition Chorégraphique Touring in Estonia: State Policy or Resource of Survival for Theatres?

Pirkko Koski University of Helsinki General Panel 7 Roots, Travels and Tradition

Magnus Thor Thorbergsson Iceland Academy of the Arts 12:30 pm – 2:00 pm Becoming European: Staging the Nation in 1920s Icelandic Theatre

GP-61:Re-Thinking Space Chair: Michael Pearson

Room: S4. S9 Larissa Elias UFRJ, Universidade Federal do Rio de Janeiro GP.WGS-33: Performance and Re-Routing Roots Peter Brook – Anton Chekhov: Redefinitions of Empty Space Disability The themes of disability challenge the roots of performance tradition, as well Laura Grondahl Aalto University Room: Teatre Estudi as the routes into performance or performance studies. This is the first official Re-routing Scenographic Strategies year of the Performance and Disability Working Group, and by featuring a panel during the main part of the conference, we can introduce ourselves to the Flora Pitrolo Roehampton University larger IFTR membership. These panellists and their work represent the broad Blue Fugues: Interior / Exterior, Spatialisation and the Geometry of the geographical reach and thematic study of our working group, while the papers Fugue in La Gaia Scienza will appeal to generalists and those unfamiliar with our fields.

Chair: Petra Kuppers

68 Thursday 25th 10:30 am - 12:00 pm 69 Thursday 25th 12:30 pm - 2:00 pm Kirsty Johnston University of British Columbia Tapati Gupta Calcutta University Garden Path Plays: Recasting Modernism through Disability Theatre The Travelling Text: Ibsen’s The Wild Duck Re-routed and Re-rooted

Yvonne Schmidt Zurich University of the Arts / University of Berne Julie Holledge University of Oslo. Australia Re-routing Acting Discourse from a Disability Perspective Nora e.Scapes: Visualising the Global Routes of A Doll’s House

Akhila Vimal C Jawaharlal Nehru University Prosthetic Rasa: Dance on Wheels and Challenged Kinesthetics GP-14: Re-Routing Wagner Chair: Pamela Karantonis

Room: S4.S8 Daniela Schulz University Hildesheim GP.CUR-25: Re-Routing (sex) This panel is concerned with the performance of gender, victimhood and em- La Fura dels Baus’ reroo/uting Wagner Traffic in Performance powerment. It looks at the connection or “routes” between first world mar- kets and developing nations’ suppliers of trafficked bodies. The papers offer Gero Toegl LMU- Ludwig-Maximilians University Room: Plató contextualization of performances around trafficking, violence, social inter- Global/Local: Wagner/Bayreuth ventions, and “rescue” programs. These papers are part of a JNU/Warwick collaboration on comparative politics and performance. Jukka von Boehm University of Helsinki Revolutionary Utopianism vs. Socialist Realism: Richard Wagner’s Lohengrin Chair: Bishnuprya Paul (Dutt) and the Struggle on “Progressive” Socialist Heritage

Janelle Reinelt University of Warwick Sex Traffic, Citizenship, and Performance GP-32: Re-Reading Texts: Chair: Frédéric Maurin Reading in between the Lines Urmimala Sarkar Jawaharlal Nehru University (EN/FR) Lluís Masgrau Institut del Teatre Performing “Survival”: Re-routing the Trafficked Body Eugenio Barba’s Written Work: The Theatrical Vision Implied in Its Structure Room: P2.S4 Kelli Melson Edna Manley College of the Visual and Performing Arts GP.CUR-18: Natural Roots: This panel explores challenges offered to theatre and performance by the natu- The Translation of Practice Scholarly Roots ral. Focusing on three different moments of encounter, the three explore the intertwinement of the natural and the social within the performance space. Brigitte Natanson Université d’Orléans Room: S4.S4 Ranging across global and historical examples, from the French Revolution to Histoire et Fiction dans le Théâtre du Río de la Plata: Que Fait le Paratexte contemporary haute cuisine to the appearance of the animal onstage, each of Théâtral et qu’en Faire? three explores intersection of the natural and the cultural that pose provoca- tive questions about embodied practices GP-38: Cognitive Perspectives Chair: Marla Carlson Chair: Paul Rae Room: P2.S5 Jade Rosina McCutcheon University of Melbourne Joshua Abrams University of Roehampton The Performance Mirror: Consciousness, Mirror Neurons and Verbatim Culinary Roots: Dining and the Theatrical Theatre

Kimberly Jannarone UCSC, University of California Santa Cruz Teemu Paavolainen University of Tampere Revolutionary Bodies Cycles and Shortcuts: Theatricality, Performativity, and Cognitive Ecology

Jen Parker-Starbuck University of Roehampton Nicola Shaughnessy University of Kent Routing Animals into Performance: Spectatorial Subjectivities Different Directions: Exploring and Journeying with Autism through Contemporary Theatre Practice

GP-6: New Roles for Women in Chair: Elin Diamond the Theatre GP-46: Re-Routing Japanism Chair: Carol Fisher Sorgenfrei Anne Fliotsos Purdue University Room: S4.S9 Finding Routes: Comparing the Pathways of Women Directors Across Cultures Room: Flamenco Room Chieko Hiranoi Hosei University History of Local Amateur Kabuki, Ji-shibai Ursula Neuerburg-Denzer Concordia University Affecting Bodies on Karin Beier’s Stage Yuko Kurahashi Kent State University Three Movements and their Interactions in Contemporary Japanese Theatre: Shingeki, Theatre of the Absurd, and Experimental Theatre from the Chair: Joanne Tompkins 1950s-1970s GP-11: Re-Routing Ibsen Glenn D’Cruz Deakin University Pao Hsiang Wang National Taiwan University Room: Auditorium Re-routing Ibsen: Naturalism, Forum Theatre and “the World-to-Come” in The Butterfly Effect: Trans-national Routing of a Japanese Butterfly from Thomas Ostermeier’s An Enemy of the People Belasco, Puccini, to David Henry Hwang

70 Thursday 25th 12:30 pm - 2:00 pm 71 Thursday 25th 12:30 pm - 2:00 pm Oluwagbemiga Oluwasegun Windapo Adeniran Ogunsanya College of GP-51: Bidimensional Theatre Chair: Thea Brejzech Education Hafiz Adebimpe Oyetoro Adeniran Ogunsanya College of Education Room: P3.S1 Filipe Figueiredo University of Lisbon, Centre for Theatre Studies Originating the Origin: A Return to Alarinjo Theatre, the AOCOED Exam- The Fleeting Gaze: Re-Discovering Theatre and Performance through Image ple

Meg Mumford University of New South Wales A Journey through Mobile Academy’s “Blackmarket”: An Agora for Arabic Theatre Empowering Feminised Voices: Moroccan Perspectives Alternative Modes of Educational Exchange and Intercultural Encounter? Room: P4.S1 Moderator: Marvin Carlson Nicholas Wood Central School of Speech and Drama, University of London Flatness and Depth: Further Considerations Khalid Amine University Morocco The Remediation of “Arab Spring” in Performance

GP-66: New Directions Chair: Ester Vendrell Jaouad Radouani University of Fez in Dance Pedagogy and The Cultural/Spectacular Dimensions of the “Arab Spring” in Morocco Choreography (EN/FR) Jordi Fàbrega Institut del Teatre L’Interpretation dans la Danse Room: P2.S4 Discussion Elisa Martins Belém Vieira UNICAMP, University of Campinas Creative Process and Teaching: Approaches to the Body Asian Theatre Ursula Maya Tångeberg-Grischin Theatre Academy Helsinki-Art University Anita Piemonti Universitá di Pisa The Techniques of Gesture Language in kūṭiyāṭṭaṃ and the French Virgilio Sieni’s Contribution to Contemporary Dance or Dancing the Room: P4.S2 Pantomime of the 19th Century Mediterranean

Choreography and Paper distribution to be decided. See note on the Choreography and GP-82: Site. Specific Chair: Bertie Ferdman Corporeality Corporeality Working Group Meeting 1. Experiences Daphna Ben-Shaul Tel Aviv University Room: P2.S4 Room: S4.S7 Un-Placing Home: Performative Apartments as Crossroads of Un-rooted Identities Feminist Research Kim Solga Queen Mary University of London Ulrike Garde Macquarie University, Sydney Realism After Neoliberalism Following the Routes of X Homes (Berlin): Reality, Fiction and Fresh Room: P2.S5 Intercultural Encounters Candice Amich Carnegie Mellon University Feminist Performance and the Limits of Witness in Neoliberal Times Thomas Riccio University of Texas at Dallas Performance Installation: At Play with the Dead White Zombies Denise Varney University of Melbourne Feminism, Feminist Discourse and Performance in Neoliberal Spaces: Three Public Performers Working Groups Meeting 3

Historiography Chair: Janne Risum 3:30 pm – 5:00 pm Room: S4.S2 Archives and sources

Janice Norwood University of Hertfordshire Maps, Gaps and Snaps: Developing New Theatrical Biographies

African and Caribbean Theatre Awo Mana Asiedu University of Ghana Nora Katharina Probst University of Cologne and Performance Creating a Community: Roverman Productions and its Audiences Traces of Performance: The Ethnographical Roots of Theatre Studies in Carl Niessens Theatre Museum (founded in 1919) Room: Puppetry Room David Donkor Texas A&M University Dance of the Savior King: Statecraft, Stagecraft and the Grand Durbar of Jonathan Pitches University of Leeds Ghanaian Independence Storytelling and Mythmaking in the Archive: The Case of Chekhov’s Fishing Scene

72 Thursday 25th 3:30 pm - 5:00 pm 73 Thursday 25th 3:30 pm - 5:00 pm Intermediality in Theatre and Intermedial Interventions in Pedagogy and Practice Performance in Public Spaces Politics Performance Antje Budde University of Toronto Room: S4.S5 Sigridur Lara Sigurjonsdottir University of Iceland Room: S4.S7 The Digital Dramaturgy Lab: Re-routing in Progress The Pots and Pans Revolution in Iceland (Quote-Unquote…?)

Raquel Guerra UFSM, Federal University of Santa Maria / UDESC, Univer- Swati Arora University of Exeter sidade do Estado de Santa Catarina Jam, Jamun and Purple Haze: The Non-(Re)Performance as a Political Cabaret The Performer and his Body: Dialogue with Videographyc Pictures Katarzyna Beilinç University of Wisconsin, Madison Clio Unger LMU-Ludwig Maximilians University Animal Rights Movement Performance Activism and Media Retransmissions Domestic Tension: Wafaa Bilal, the Internet and the Paradigms of Intermedial Performance Art Discussion

Discussion Political Performances Enric Monforte University of Barcelona Racial Violence, Witnessing and Emancipated Spectatorship in Fallout and Music Theatre Michal Grover Friedlander Tel Aviv University Room: S4.S6 random Puppeteering the Singing Voice Room: Auditorium Mireia Aragay University of Barcelona Jeongwon Joe University of Cincinnati Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Re-Routing Opera to Movie Theatre: A Crossover Between Stage and Screen Justice

Susana Egea Ruiz Institut del Teatre / UAB, Universitat Autònoma de Deirdre Heddon University of Glasgow Barcelona Forest Politics Acting on Opera: Bases for the Development of an Acting Training for Opera Singers Processus de Création Patricio Rodriguez Plaza Pontificia Universidad Católica de Chile Colectivo Obras Públicas: Mémoires et Matérialités de la Rue Performance and Disability Routes to/from Dance Room: S4.S4 Aristita I. Albacan University of Hull Room: Plató Adam Benjamin Plymouth University Flashmobs as Performance: the Re-emergence of Creative Communities Highways and Lay-bys: A Consideration of Integrated Performance and the Tensions that Exist Between Virtuosic/Professional and Inclusive/Community Clare Finburgh University of Essex Dance Practices Rencontres avec le son: la Musique comme principe structurant dans le Théâtre du Radeau Erik Ferguson Independent artist / Wobbly Dance The Body Weathered By Life: When The Imperfect is Perfect Queer Futures Optimism, Utopia and Futurity Margaret Ames Aberystwyth University Re-Routing Choreography: From Disability to a Renewed Future for Dance Room: P2.S6 Chair: Fintan Walsh

Donnell Williams Columbia College Chicago Performance and Religion David O’Donnell Victoria University of Wellington Queerer Than We Can Suppose: Evolution and Futurity in the Work of House of Spirits: Performing Spirituality in Pacific Theatre DoubleDJ Room: P3.S1 Charles Nwadigwe Nnamdi Azikiwe University Stephen Greer University of Glasgow Visions and the Borderless: Performance, Healing and the Changing Routes Affects of Optimism of Health-Seeking Behaviour in Southeastern Nigeria Paul Bonin-Rodriguez University of Texas at Austin Esra Cizmeci Roehampton University Return (Enter): “How much of that is you?” Sufi Rituals: Performing Transcendence

Samuel Beckett Li Lin University of Cambridge Performance as Research Group 4 Forms of Prosopopeia in the Radio Works of Samuel Beckett and the Diego Room: Scanner Paintings of Alberto Giacometti Room: Flamenco Room 3 presenters Tzu-Ching Yeh Lancaster University Samuel Beckett’s Radio Drama: The Musical and the Minimal

74 Thursday 25th 3:30 pm - 5:00 pm 75 Thursday 25th 3:30 pm - 5:00 pm Chair: Lluís Masgrau Scenography Franck Ancel Independent Scholar Global Poétique Système Participants: Room: S4.S9 Mark Fleishman University of Cape Town Lawrence Wallen University of Technology, Sydney Miñija Gluhovic University of Warwick Material, Space, Performance by Thea Brejzek and Lawrence Wallen Lonneke van Heugten Amsterdam School for Cultural Analysis (ASCA) Hanna Korsberg University of Helsinki Janelle Reinelt University of Warwick Business Meeting Kati Röttger University of Amsterdam Lisa Skwirblies University of Warwick Ivana Vujic University of Arts, Belgrade Theatre Architecture Immersion, Environments and Site-specificity

Room: Scenography Workshop Andrew Filmer Aberystwyth University GP.CUR-28: Memory Memory and Ecologies of Hope Materiality and Reverberation: Sensory Immersion in Coriolan/us Room: Plató In the late twentieth century, public performances of testimonial memories be- Michael Pearson Aberystwyth University came associated with the voicing of suppressed identities, unrecognized claims On Sight; on Site: Thinking Architecturally, with National Theatre Wales and the atonement for horrific genocidal and political violence in fragment- ing nations. In contrast, these four presentations in contrasting ways explore Giselly Brasil University of São Paulo whether performances of memory in the present can act as instigation for pro- Helio Oiticica and Lygia Clark´s Theatrical Architectures test, recuperation and reinvention of communities a cross borders of space, time, nation, gender, and race.

Theatrical Event Andrew Lewis Smith Edith Cowan University, The Western Australian Chair: Freddie Rokem Academy of Performing Arts Room: S4.S3 Re-Routing Performance: Theatre and Scandalous Events; Clinchfield – Heather Hermant York University, Canada & Utrecht University Elephanticide in Tennessee in 1916 by Andrew Lewis and Robyn Torney Becoming Archive: Performance as Countercolonial Historiography in the Story of an 18th Century Multicrosser Rikard Hoogland Stockholm University SCUM – Scandal Nayani Thiyagarajah York University (Re)Claiming the Body and Voice as Sites of Refuge Following Forced Janne Tapper University of Helsinki Displacement Crime, Public Opinion, and Artistic Talent in Theatrical Scandals Honor Ford-Smith York University Commemoration, Neoliberal Violence and Ecologies of Hope in Jamaican Translation, Adaptation & Christophe Collard Free University of Brussels Communities Dramaturgy On the Transferability of Data Bodies: John Jesurun’s Mediaturgical Faust Camille Turner York University Room: S4.S8 Paul Monaghan University of Melbourne Hush Harbour: Black Geographies and the Sonic Cultures of Memory A Rediscovery of Forgotten Dramaturgies

GP-1 : Réinterprétations des Chair: Jordi Fàbrega General Panel 8 Créateurs Ana Maria de Bulhões-Carvalho UNIRIO, Université Federal de l’État de Room : P3.S1 Rio de Janeiro 5:30 pm – 7:00 pm Voyage au Bout de Soi Même

Roberto Fratini Serafide Institut del Teatre Céline et Genet: Danses et Déroutes du Langage

GP.CUR-29: MAIPR The roundtable discusses broader perspectives on the field of international GP-21: The Route of Theatre Chair: Berenika Szymanski-Duell Roundtable: Re-Routing performance research, as developed in the framework of the Erasmus Mundus under Totalitarian Regimes International Performance postgraduate Programme in International Performance Research (MAIPR), Evelyn Annuss Ruhr University Bochum Research and ongoing collaboration between the universities of Amsterdam (Nether- Room: S4.S8 From Sound to Ornament. On the Relation of Radio, Film and Chorical lands), Belgrade (Serbia), Helsinki (Findland) and Warwick (UK). The con- Stagings during Nationalsocialism Room: Teatre Estudi clusion of the first five years of the programme (2008-2013) provides an op- portunity to take stock of the achievements, insights and challenges of what Šárka Havlíčková Kysová Masaryk University international performance research is and ought to be about. Miroslav Kouřil’s Scenographic Theory: Establishing a New Scientific Discipline in the Totalitarian Regime

76 Thursday 25th 5:30 pm - 7:00 pm 77 Thursday 25th 5:30 pm - 7:00 pm Edgaras Klivis Vytautas Magnus University Re-visiting the Totalitarian Past: Tourism, Therapy and Politics in the Survival GP-57: Pichet Klunchun en Chair: Margaret Coldiron Drama of 1984 Route Tanja Klankert University of Berne Room: Auditorium Re-Routing Khon: Cultural Translations in the Works of Pichet Klunchun GP-27: Possible Futures Chair: Joshua Abrams Nic Leonhardt LMU Munich Room: S4.S4 Siân Adiseshiah University of Lincoln “From the Land of the White Elephant through the Gay Cities of Europe and Re-routing Utopian Drama America”: Re-routing the Boosra Mahin Siamese Theatrical Troupe’s World Tour (1900) Patrick Ebewo Tshwane University of Technology Sarafina in Black and White: The History of our Future Pawit Mahasarinand Chulalongkorn University Our Roots Right Now: Neo-Exotic Southeast Asia? Ulla Kallenbach University of Copenhagen The Transformation of Imagination

GP-34: Time to Play Chair: Anna Sica

Room: S4.S9 Ramune Baleviciute Lithuanian Academy of Music and Theatre Time for Comedy?

David George Swansea University / The University of Leeds Joan Brossa and the Commedia dell’Arte

Višnja Rogošić University of Zagreb Devising New Routes: Limits and Liminalities of the Creative Process in Devised Theatre

GP-39: Re-routing Grotowski Chair: Ben Spatz

Room: P2.S5 Giuliano Campo AHRI, Arts and Humanities Research Institute Acting and Possession: Altered States of Consciousness (ASC) and Correlations with Theatre

Dariusz Kosiński Jagiellonian University / The Grotowski Institute at Wrocław The Laboratory Theatre on the Road

Rūta Mažeikienė Vytautas Magnus University Acting as Reacting: Traces of Grotowskian Concept of Acting in Eimuntas Nekrošius’s Theatre

GP-48: Female Voices and Chair: Leslie Ferris Legacies Brenda Donohue Trinity College Dublin Room: Flamenco Room “Io odio il teatro” (“I hate the theatre”): Emma Dante’s Conflicted Route to Theatrical Creation

Carmina Salvatierra Capdevila Universy of Barcelona Monika Pagneux: Passing on the Legacy

Nigel Stewart Lancaster University The Erotic Reduction: Re-routing the Pornographic Imagination in Lea Anderson’s The Featherstonehaughs Draw on the Sketch Books of Egon Schiele

78 Thursday 25th 5:30 pm - 7:00 pm 79 Thursday 25th 5:30 pm - 7:00 pm Jennifer Goff Wayne State University “Am I an Almond?”: Comedy, Affect and the Unperformable in the Plays of Friday 26th Sarah Ruhl and Sheila Callaghan

Working Groups Meeting 4 10:30 am – 11:00 am Short break

9:00 am – 12:00 pm 11:00 am – 12:00 pm Sruti Bala University of Amsterdam Performance Anxieties in Elfriede Jelinek’s Online Private Novel Envy (Neid) Closing Discussion

African and Caribbean Theatre Alude Sinayo Mahali University of Cape Town Historiography Questions of Commerce and Performance After Images: Re-routing Contemporary Art-making in South Africa Room: S4.S2 Chair: David Wiles Room: Puppetry Room Gilson Motta UNIRIO, Federal University of the State of Rio de Janeiro Le Collective de Performance Héros du Quotidien du Rio de Janeiro: 9:00 am – 10:30 am Kate Newey University of Exeter 9:00 am – 11:00 am Recherches Artistiques sur la Diaspora d’Origine Africaine au Brèsil Pantomime Maps

Mbala Dieudonné Nkanga University of Michigan Hayley Jayne Bradley University of Manchester From Metal Smelting to the Performance of the Mvett The Roots and Routes of our Narratives: Where we Look, What we See, How we Map Ariane Nina Zaytzeff NYU, Tisch School of the Arts Performing a History of Independence in Rwanda: Theater, Memory, and Meike Wagner LMU- Ludwig Maximilians University Imagination “The stage shall be the telegraph of our time…” Theatre, Circulation and Mobility in the 19th Century

Arabic Theatre “Arab Spring” Awakenings 10:30 am – 11:00 Break Room: P4.S1 Chair: Hazem Azmy

9:30 am – 11:00 am Dalia El-Shayal Cairo University 11:00 am – 12:00 pm Business Meeting “I am the Story”: A Female Journey of the Self through Performance

George Potter CIEE Study Center in Amman, Jordan) Intermediality in Theatre and Reflection and (Re)collection Revolutionary Bodies?: Egyptian Performers on Jordanian Stages Performance

Room: S4.S7 11:00 am – 11:15 am: Coffee break 9:00 am – 9:30 am

11:15 am – 12:00 pm Conclusion of ATWG’s Seventh Annual Meeting: Preview of Future Plans 9:30 am – 11:00 am Routes and Trajectories through the Intermedial

Máiréad Ní Chróinín National University of Ireland, Galway Choreography and Paper distribution to be decided. See note on the Choreography and Nodes and Trajectories: Routes through Mixed Reality Theatre Corporeality Corporeality Working Group Meeting 1. Jocelyn Spence University of Surrey Room: P2.S4 Collect Yourselves! Research through Design in Digitally Augmented Autobiographical Performance 9:00 am – 12:00 pm Eirini Nedelkopoulou York St John University Re-routing Intermedial Participation: (Anti) Social Generosity in Six Acts Feminist Research Shonagh Hill St Patrick’s College Rupturing the Affects and Spaces of Participation Discussion Room: P2.S5 Sarah French University of Melbourne 9:00 am – 10:30 am Politics, Pleasure and Pain: Affect in the Burlesque Performances of Moira Finucane

80 Friday 26th 9:00 am - 12:00 pm 81 Friday 26th 9:00 am - 12:00 pm 11:00 am – 11:15 am Coffee Break Performance as Research Group 5

Room: Flamenco Room 4 presenters 11:15 am – 12:00 pm And Now What? 9:00 am – 11:00 am

Music Theatre Wrap-up Meeting. Planning Meeting for Future Projects. 11:00 am – 12:00 pm Final Summary Room: Auditorium

9:00 am – 12:00 pm: Performance in Public Spaces Routes/Roots

Room: S4.S5 Katalin Cseh University of Vienna Performance and José V. Pestana Universitat de Barcelona From Closed Spaces to Open Spaces: Performative Intermedia Art in Conciousness Theatrical Performance as Leisure Experience: Its Role in Enhancing the 8:30 am – 11:00 am Hungary after 1989 Consciousness of the Self Room: P3.S3 Kerrie Reading Aberystwyth University The Lasting Efficacy of Temporary Performance in Public Spaces, Chapter 9:00 am – 9:45 am Arts Centre, Cardiff

Tony Coult University of Reading 9:45 am – 10:30 am Peter Zazzali University of Kansas Two Occupations – Celebrants of Peace and Children: April 1971 in London, To Think or Not to Think: A Critical Genealogy of the Performer’s Conscious August 1971 in Leeds and Unconscious States

Discussion 10:30 am – 11:00 am Coffee Break

11:00 am – 11:15 am Coffee Break 11:00 am – 12:00 pm Discussion

11:15 am – 12:00 pm Wrap-up / Discussion / Planning Performance and Disability (Re)routing Languages of the Stage

Room: Plató Seema Bahl Green River Community College Political Performances Charlotte Bell Queen Mary University of London) Disability, Hybridity, and Flamenco Cante Performing Creative Destruction at the Aylesbury Estate in south London 10:30 am – 12:00 pm Room: S4.S6 Khairani Barokka Independent artist/researcher Edelcio Mostaço UDESC, Universidade do Estado de Santa Catarina) How to Feel a Screen: Telematics and Possibility in Poetic Performance and 9:00 am – 12:00 pm Anthropophagy and Tragediacomediaorgya Disability Kerrie Schaefer University of Exeter) Rafael Ugarte Chacón Freie Universität Berlin The Other Community: Theorising the Roots of and Routes for Community- Re-routing Vocal Music: Deaf Singers between Deaf and Hearing Culture Based Performance Practice and Research

Janina Möbius Freie Universität Berlin) Performance and Religion Louise Bagger Independent scholar “Too Naco to be Mexican?”: Negotiating “Lo Mexicano/The Mexican” in Realization of the Spiritual in Interactive Theatre Mexican Popular Theatre, Mexican Wrestling, and Social Theatre in Mexico Room: P3.S1 City

9:00 am – 9:30 am José Ramón Prado Universitat Jaume I) The Struggle for Representation: Depicting War in Gregory Burke’s Black Watch and David Hare’s Stuff Happens 9:30 am – 12:00 pm Discussion. Organisation, structure, ways forward with the book, and group possibilities Popular Entertainments Moderator: Bett Pacey Veronica Kelly University of Queensland Room: P3.S2 David N. Martin and Australian Variety

9:00 am – 11:00 am Moderator: Dorothea Volz

82 Friday 26th 9:00 am - 12:00 pm 83 Friday 26th 9:00 am - 12:00 pm Bett Pacey Tshwane University of Technology Anna McMullan University of Reading The Drive-in Theatre as a Popular Form of Entertainment in South Africa Staging Beckett: Samuel Beckett’s Impact on Theatre Practice in the UK and Ireland from 1955 to the Twenty-First Century Moderator: Jonathan Bollen Lisa Warrington University of Otago The Laughing Samoans: Comedy for the Lounge Scenography Michael Smalley University of Southern Queensland) The Stage Manager as the Scenographic Traffic Police: Re-routing Room: S4.S9 Performance 11:00 am – 11:30 am Coffee 9:00 am – 12:00 pm Anna Solanilla i Roselló Institut del Teatre Review of the Pedagogy Used for Training Scenographers in the 21st Century 11:30 am – 1:00 pm Business Meeting and Conclusion Néill O’Dwyer Trinity College Dublin Responsive Environments in Theatre: Playing off the System & Setscape Processus de Création Roberta Kumasaka Matsumoto University of Brasilia Architecture Au Croisement des Mises en Scène Filmique et Théâtrale Room: S4.S4 Elisabeth Lopes University of São Paulo Theatre Architecture Site-specificity, Found Spaces and Critical Practice 9:00 am – 12:00 am L’Espace de la Ville Comme un Champ d’Expérimentation Artistique Room: Scenography between Architecture and Performance

Discussion, bilan et perspectives Workshop Juliet Rufford Queen Mary, University of London Changing Tack: Contemporary Theatre and the Architectural Turn 9:00 am – 11:00 am Queer Futures Materiality and Affect Adam Park University of Sheffield Performing as Mapping: How Can Site-Specific Performances Act as Room: P2.S6 Chair: Steve Farrier Propositional Tools in Sites of Urban Regeneration?

9:00 am – 12:00 pm Sarah Mullan Queen Mary University of London Marline Lisette Wilders University of Amsterdam Queering Lesbian Perspective: Ursula Martinez’s My Stories, Your Emails Re-routing Industrial Heritage: La Fabbrica del Teatro (2009)

Alyson Campbell University of Melbourne Theatrical Event Eirini Kartsaki Anglia Ruskin University Directing The Trouble with Harry: Queer Practice as Research as The Promiscuous Spectator Erotohistoriography Room: S4.S3 Barbara Orel University of Ljubljana Fintan Walsh Birkbeck, University of London 9:00 am – 2:00 pm Playing Culture and Slovenian National Celebrations The Matter of Queer Politics and Ethics: Antony Hegarty and The Crying Light Bess Rowen CUNY, The Graduate Center Lazlo Ilya Pearlman Central School of Speech and Drama, University of Burning the Bridge While Bridging the Gap: Rioters as Pedagogues in The London Plough and the Stars riot of 1926 Kisses Cause Trouble, Le Vrai Spectacle: Queering the French/Frenching the Queer Translation, Adaptation & Andrea Pelegri Kristic Universidad de Valparaiso and Pontificia Universi- Dramaturgy dad Católica de Chile Samuel Beckett Irit Degani-Raz Tel Aviv University Drama Translation in Teatro UC and Teatro Nacional Chileno (1990-2010): A Giotto, Proust, Beckett: An InterArt Evolutionary Visual Thinking Room: S4.S8 Socio-Historical Analysis Room: Scanner Svetlana Antropova Centro Universitario Villanueva 9:00 am – 11:00 am Maria Mytilinaki CUNY, The Graduate Center 8:00 am – 10:00 am The Language of Trauma: Not I and A Piece of Monologue Translating from Greek into Neutral: Modern Greek Plays in English Translation Véronique Védrenne Osaka University From the Eto the Process of the Camera Obscura Youngjoo Choi Independent scholar Translation in Action within Two Cultures

10:00 am – 12:00 pm Nicholas Johnson Trinity College Dublin Heather Denyer CUNY, The Graduate Center New Pathways of Practice in the Samuel Beckett Laboratory Who Will Translate Werewere Liking?

Elizabeth Barry University of Warwick Beckett, Medicine and the Mind

84 Friday 26th 9:00 am - 12:00 pm 85 Friday 26th 9:00 am - 12:00 pm General Panel 9 GP-3: Paths for Universitiy Chair: Sílvia Ferrando Theatre Antoni Galmes University of Barcelona 12:30 pm – 2:00 pm Room: Auditorium Present and Future Prospects for the Catalan University Theatre in Catalonia and the Spanish State in Relation with their International Counterparts

Juan Arturo Rubio Universidad Antonio de Nebrija Spanish Experiences in Final Year Dissertation (FYD) of Degrees of Performing Arts: An Analysis in the Frame of the European Higher GP.WGS-37: Intermediality in What Now for Intermediality? Education Area Theatre and Performance Our panel explores the genealogy of “intermediality,” a term that came into Margarida Torres University of Coimbra Room: Teatre Estudi wider use in the last decade of the twentieth century and first decade of the The Paths of University Theatre: The Portuguese Case new millennium. It examines what is meant by an intermedial approach or perspective with regard to theatre and performance, and considers the signal features of intermediality both as a model of artistic production and a critical GP-12: Lisbon Popular Theatre Chair: Claudia Oliveira intervention. It considers the next steps for performance practice and scholar- Through the Ages (EN/FR) ship, as we move further into a cultural scene in which intermedial becomes Rita Delgado Martins University of Lisbon, Centre for Theatre Studies commonplace. The panel reflects not only on its own work over the years at Room: P3.S2 Le Théâtre du Bairro Alto au XVIIIe siècle: Une Affaire Politique, Un Projet a moment of redefinition) but on what this work means or could mean in a Commercial changing landscape of cultural production and critical discourse. Paula Magalhães University of Lisbon, Centre for Theatre Studies Chair: Robin Nelson Tracking Down and Rewriting the Portuguese Fairground Theatre History

Andy Lavender University of Surrey Joana Soares Vieira University of Lisbon, Centre for Theatre Studies Feeling Engaged: Intermedial Mise en Sensibilité From Capital to Province: Nobels and Critics in 1950s Portugal

Sigrid Merx Utrecht University From “In-Between” to “Node”: Shifting Conceptions of Intermediality GP-19: From Political Chair: Paola Botham Performance to Politics as Ralf Remshardt Performance (EN/FR) Francisco Albornoz Pontificia Universidad Católica de Chile University of Florida Aesthetics of the Performative. Politics and Social Movements: Chile and the Reading the Fevered Dreams of Acid Monks: Empirical Explorations in Room: S4.S7 People on the Streets Intermediality Alexandra Kolb Middlesex University Current Paths in Contemporary Dance: Rethinking the Political GP.CUR-26: Re-routing Re-Routing Religion in Performance Religion in Performance Inés Stranger Pontificia Universidad Católica de Chile This panel looks at the “routes” of religion in relation to state performances Le Parcours du Teatro del Silencio: La Conquête de l’Espace Publique Post- Room: Plató and to staging a politics of resistance, interrogating how religion has been in- dictatorial strumentalised in several contexts inIndiaand the Balkans. These papers are part of a JNU/Warwick collaboration on comparative politics and perform- ance. GP-52: Approaches to Chair: Rosemary Klich Participatory Performance Chair: Janelle Reinelt Esther Belvis Artea Room: P2.S5 Accounting Embodied and Transnational Experiences Silvija Jestrovic University of Warwick Re-routing Religion: Multicultural Subconscious of Sarajevo Paul Clarke University of Bristol Practices of Profanation: Uninvited Guests’ Make Better Please Milija Gluhovic University of Warwick Sexual Democracy, Queer Publics and the Limits of Religious Tolerance in Joonas Lahtinen University of Helsinki (Eastern) Europe Re-routing Participative Performance: On the Parameters of Community, Democracy and Politics in the Complaints Choir Project Ameet Parameswaran Jawaharlal Nehru University / Ambedkar Univer- sity Ritualized Acts, Discipline and Citizenship: The Performative Link of Secular GP-60: Re-Presenting Chair: Jan Clarke and Sacred in Post-Nehruvian Period Historical Aproaches (EN/FR) Clare Foster Cambridge University Adaptation and the History of the Authentic Dramatic Text

86 Friday 26th 12:30 pm - 2:00 pm 87 Friday 26th 12:30 pm - 2:00 pm Room: S4.S9 Antonio Alberto Gómez Pérez Institut del Teatre Remarcher le Passé: Reconstitution Historique et Innovation Scénique GP-15: Re-Maping Cities Chair: Maria Delgado

Proshot Kalami Independent scholar Room: Flamenco Room Gigi (L A) Argyropoulou Roehampton University Persians on the Stage: The Roots and the Background of Performance City Maps: Performing the Immaterial, Remaking the Public. Performance Cultures within the Larger Persianate World; A Historical Approach Practices in between Actuality and Utopia

Rebecca Free Goucher College Chair: Boris Daussà-Pastor The Streets Have No Names: Routing and Durationality in Contemporary GP-74: Regional Theatres of Marseille Theatre India Ravi Chaturvedi Central University of Rajasthan Re-Mapping the New Routes: The Case of Mobile Theatre of Assam Bianca Michaels LMU- Ludwig-Maximilians University Room: S4.S4 Remapping the City: Re-Routing the Institution. Theatres in Search of New Sharmila Chhotaray Tripura University Relevance Jatra Theatre as a Culture Industry: The Cultural Economy of Folk Popular Theatre of Eastern India GP-26: Analyzing Play Texts Chair: Michael Bennett Najundappa Mamatha University of Mysore Drama schools in Karnataka: A Comparative Analysis of Skill and Ideology Room: P2.S5 Silvia Ferrando Luquin Institut del Teatre Theatre and Revolution in the Work of Albert Camus, Heiner Müller and Venkatappa Nagesha Bangalore University Caryl Churchill An Anthropology of the Traveling Theatre Troupes in Karnataka Maho Hidaka Kyoto Women’s University Tracing the Roots and Routes of the Performative Reception of Oscar GP-80: Re-Routing Chair: Victor Emeljanow Wilde Children’sTheatre and the Playful Nagla al-Hadidy Cairo University Time Travelling with the Egyptian Child: A Study of Two Plays for Children GP-44: Migrants Identities Chair: Julia Boll Room: Flamenco Room Felicia Owusu-Ansah University of Ghana Room: Plató Cynthia Ashperger Ryerson University Indigenous Approach to Invisible Theatre: The Case Of Traditional Asante Exiles, Outsiders, Immigrants and Foreign Accents: Who Can Sound Games Differently on Toronto Stages and Why?

Isabel Pinto University of Lisbon, Centre for Theatre Studies A. Gabriela Ramis Indiana University South Bend Children’s Theatre: A Performance of its Own One Journey, Many Pathways: César Brie and the Gaze of an Emigrant

Pieter Verstraete Sabanci University / University of Exeter Turkish Post-Migrant Theatre in Europe: Routes vs. Roots in a Growing General Panel 10 Transnational Network

12:30 pm – 2:00 pm GP-65: Laughter, Tedium and Chair: Nicola Shaughnessy Healing Margaret Gill University of West Indies Room: P3.S2 Laughter and the Barbadian Theater Audience

Loren Kruger University of Chicago GP-2: Méthodes pour la Chair: Agustí Ros Re-routing Tedium: Translation, Theory and Performance Formation d’Acteurs (EN/FR) Pau Cirer Ferra Universitat Autònoma de Barcelona Liana Vella Cultural Association “Multiker. Le molte creativitá” / R.I.A.S.: Room: P2.S4 The Mask in Actor Pedagogy: Types of Mask and Pedagogical Transversality International network of Applied Arts and Healthcare R.I.A.S: The “Creative Care Performer” in a New International Network of Neus Fernández Institut del Teatre Applied Arts, Healthcare and Resilience Méthode en Évolution, La Rythmique Dalcroze: Histoire et Actualité de la Formation Musicale pour les Arts Scéniques à l’Institut del Teatre GP-71: Views on Indian Chair: Ravi Chaturvedi Traditions Andrea Ubal Pontificia Universidad Católica de Chile David Hammerbeck Nazarbayev University La Formation d’Acteurs à Travers les Routes de la Mémoire: Une Expérience Room: Teatre Estudi The Burning Widow: The French Theatrical Imagination and India d’Apprentissage en Jeu (la Vie) et la Création

88 Friday 26th 12:30 pm - 2:00 pm 89 Friday 26th 12:30 pm - 2:00 pm Manpreet Kaur Delhi University, St. Stephen’s College “O brother, Jugni speaks”: Listening the text and context of Jugni

Sathya Bhama Madathil National School of Drama Space, Body, and Design in the Ritual Practice of Theyyam

GP-77: Theatre or Not? Chair: Stuart Andrews Dramaturgies of the Real Other Academic Activities Sílvia Fernandes Telesi University of São Paulo Room: S4.S7 Les Théâtres du Réel: Les Expériences du Teatro da Vertigem sur la Scène Receptions and Meetings Brésilienne Contemporaine

Christina Schmutz UAB, Universitat Autònoma de Barcelona Stand-up-and-speak vol.1 – 20 Minutes of Fame: The Politics of Post- Spectaculary Theatre

Frithwin Wagner-Lippok Institut del Teatre Stand-up-and-speak vol.2 – The Political Turn in Performing Arts

GP-83: Social And Digital Chair: Hellen Richardson Platforms as Performative Monday 22nd Tools Alexander Jackob University of Amsterdam Kati Röttger University of Amsterdam Room: S4.S4 Performing Trans/ATLA/antic Knowledge S/treams 2:00 pm - 3:30 pm

Patrick Lonergan National University of Ireland, Galway Social Media in Contemporary Theatre / Social Media as Contemporary New Scholars Workshop 1 Workshop on Journal Publishing Theatre This workshop is for New Scholars who would like to learn about publishing Room: P2.S4 journal articles. An introduction to getting published in international theatre Rachel Kinsman Steck Willamette University Jean Graham-Jones journals will be presented by Elaine Aston and Jean Graham-Jones, including Performance Unplugged advice on choosing a journal, writing abstracts & articles, and understanding Room: P2.S5 the processes of article submission, peer reviewing and editing. The second Elaine Aston half of the session will consist of an interactive forum providing an opportunity for participants to raise questions and discuss ideas for publication. Workshop participants will be provided with free sandiwiches and bever- ages.

3:30 pm - 5:00 pm

Opening Ceremony This Opening Ceremony will provide a an introduction to the Conference theme as well as some insight into the context of Catalan Theatre. It is also Room: Teatre Lliure (Sala Fabià the chance for IFTR to welcome all delegates and make some announcements, Puigserver) including prize winners for this year. The Ceremony is open to all IFTR mem- bers, and will also count with the presence of Institut del Teatre’s Director as well as local and regional political authorities.

7:00 pm - 8.30 pm

Opening Reception Free and Open to all FIRT/IFTR participants Room: Teatre Lliure (Main Foyer and Terrace)

90 Friday 26th 12:30 pm - 2:00 pm 91 Other Academic Activities Tuesday 23rd Friday 26th

2:00 pm - 3:30 pm 5:30 pm - 7:00 pm

Working Groups Bussiness Meeting for Conveners of all Working Groups Closing Ceremony Conference Summary and Wrap-up Session, and Conveners Meeting Sandwiches and drinks will be served Presentation of next year’s Conference. Room: Mercat de les Flors (Sala Room: S4.S3 MAC)

2:00 pm - 3:30 pm

New Scholars Reception Open to New Scholars and Student Members of FIRT/ IFTR Room: Scenography Workshop Food and drinks will be served

Wednesday 24th

5:30 pm - 7:00 pm

New Scholars Workshop 2 The Practices and Politics of Editing For many editing is simply spell-checking, the correction of grammar and the Room: Flamenco Room odd bit of tweaking but the art of editing is one that shapes writing in large- Maria Delgado ly unrecognized ways. While looking at the role of editors in both book and journal publishing, this workshop will discuss the practices and the politics of editing. What does an editor do? What role do editors play in our discipline? How does an editor guide and shape work? Why is so much editorial work ‘in- visible’? How does editorial consciousness develop? In what ways do we edit our own writing? Led by Professor Maria Delgado (Queen Mary University of London), winner of this year’s ATHE Excellence in Editing Award, this work- shop will look at how editing can be a process of revision and refinement and a creative (and highly proactive) engagement with our ideas and our discipline. Preparatory Reading: Susan Bell, The Artful Edit (New York: WW Norton & Company, 2008) pp. 182-217.

Thursday 25th

5:30 pm - 7:00 pm

New Scholars Meeting open to New Scholars and Student Members of Caucus Meeting FIRT/IFTR

Room: P2.S4

92 Other Academic Activities 93 Other Academic Activities Additional Activities During Conference

Book Launch

12:00 pm - 12:30 pm (during Coffee Break)

Room : Foyer of Ovidi Montllor Theatre (above Cafeteria)

Monday 22nd Publications Display

Institut del Teatre Publications Invitation to view a sample of publications issued by the Institute of Theatre exhibited in the foyer of the theatre Ovidi Montllor Since its inception in 1920, Edicions de l’Institut del Teatre publishing activity wanted to cover significant gaps in the publishing Catalan landscape regarding the performing arts. Our publications cover the needs of Institut del Teatre’s students and faculty, as well as those of Universities, secondary schools, professionals in the field and aficionados. We deal rigorously with all theoretical and historical aspects, in addition to providing publications for general audiences. We have issued over 500 titles in almost a hundred years, many of them unavailble in Spanish before. This broad portfolio meets a wide range of theo- retical, historical and informative works. Our wide range of products includes creative edited works, such as a book-object in piano’s shape about the avant- gard music artist Carles Santos. The current collections include Theoretical Essays, Classical Theatre Texts, Pedagogical Materials and special books. We also publish an academic journal, Estudis Escènics (Performing Arts Studies), which in its new phase will be published online and in hard copy on request.

Tuesday 23rd Theatre Research International “Meet the Editors” Session Cambridge Journals TRI Editors Charlotte Canning and Paul Rae will be available to discuss possible submissions and any other journal related issues, and to answer more general questions on preparing and submitting journal articles in English.

94 95 Additional Activities icated musicians dedicated to playing live music wherever needed. Thus, one Wednesday 24th Book launch and drinks reception of the main qualities of these musicians must be versatility and adaptability. Mediating Practice(s): Performance as Research and/in/ For this work, we decided to engage in a collective effort seeking the co- Winchester University Press through Mediation operation of a number of musicians from our institution, with advice from several of our dance teachers. We structured the project along the lines of the Winchester University Press and the Royal Conservatoire of Scotland invite you three dance specialitites taught at IT, and I designed profesional musicians to join us for a celebration of the launch of the third collection in an innovative, with long careers both inside and outside IT for each of them: Robert Iniesta open access, free-to-user publication series, Experiments and Intensities. for Classical Dance, Xavi Algans for Contemporary Dance, and Rafa Plana for Mediating Practice(s): Performance as Research and/in/through Mediation Spanish Dance. We installed a piano at IT’s Teatre Estudi and, for a week, my curated-edited by Bruce Barton (University of Toronto), Melanie Dreyer-Lude colleagues came down to play on a regular basis. (Cornell University) and Anna Birch (Royal Conservatoire of Scotland) ISBN We worked on our own compositions as well as on those of great maestros, al- 978-1-906113-12-4 available at www.experimentsansdintensities.com ways bearing in mind that dance music has to be an organic part of the movement The collection emerged from the 2012 encounter of the Performance as rather than focus solely on musical matters. Musical editing is currently at a tech- Research Working Group of the IFTR in Santiago da Chile. This is a nested nical level that allows erasing any trace of errors or wrong notes. We preferred exploration of selected theories and practices of the ways mediation - includ- keeping the lively energy of music, and so that’s what we have done: live music. ing easy-to-access handheld technologies—intertwines itself with, around and against compositional process in performance. From finding cows in small town Germany, to discovering historical British women’s emancipation on the lawn with Wollstonecraft, through to performing alongside a persistent juniper near Helsinki, the volume also explores important conversations that prob- WG-Sponsored lematise key challenges in writing (about) Performance as Research (PaR). Please come and celebrate with us this new publication format, whose po- Activities tential the working group will further develop in future years. Sunday 21st Wednesday 24 The Legacy of Opera: Reading Music Theatre as Experi- ence and Performance Performance and Disability in Spain Music Theatre Working Group WG-Performance and Rodopi Disability Roundtable with Spanish artists including: Nadia Adame (dance and theatre), Themes in Theatre: Collective Approaches to Theatre and Jordi Cortés (dance), Marta Frauca (theatre), Eva García (theatre), Gloria Ro- gnoni (theatre). Moderated by Yvonne Schmidt. Performance 03:00 pm – 06:00 pm For questions, please contact Mark Swetz: [email protected] Artists’ biog- please arrive early, space is The series Themes in Theatre is published in association with the Inter- raphies and more information can be found on http://performancedisability. limited national Federation for Theatre Research/Fédération Internationale pour tumblr.com/ la Recherche Théâtrale and provides a publishing environment for collec- Sponsored by the Performance and Disability Working Group of IFTR and Outside location: tive work by its members. Monographs are not considered for this series; hosted in collaboration with ONCE Catalunya. The venue is fully accessible; ONCE Catalunya it aims at volumes that are characterised by a high level of interconnected- please notify Mark Swetz if you have any specific access needs. c/ Sepúlveda nº 1 ness—each author clearly contributing to a central subject within the field The event will be in English, Spanish and Catalan; with English transla- Barcelona 08015 of theatre and performance. The fact that the multiple authors will have tion. discussed the subject and their contributions among each other not only ensures a high level of consistency within each volume but also results in a gamut of approaches and perspectives that nevertheless are centrally focused. As such the series reflects contemporary issues and current scholarship within international theatre studies. Its main contributors are the working groups Monday 22nd of the FIRT/IFTR consisting of specialists working on diverse subjects at the forefront of theatre research. Therefore Themes in Theatre is not limited to Sistematurgy any specific ‘”ism,” theatre genre, approach or methodology. As long as aca- WG-Intermediality demic standards are met and the collectivity of the work is ensured we wel- Demonstration of the renowned Catalan performer Marcel·lí Antúnez with his come historical, critical, theoretical, analytical or other subjects that are related exoskeleton and ventriloquist head. Marcel·lí Antúnez Roca (Moià, 1959) is 12:30 pm - 1:00 pm to the theatrical arts. However, the set-up of the series is such that it explic- well-known in the international art scene for his mechanotronic performances itly furthers interdisciplinary work and reflection on concepts and methods. and robotic installations. http://marceliantunez.com For information on the FIRT/IFTR, its working groups and yearly conferences, Room: Teatre Estudi please see the website: http://www.firt-iftr.org/firt/site/index.jsp Free Admission

Thursday 25th Music For Dance Classes CD Launch 12:00 pm – 12:30 pm Institut del Teatre is a century-old institution with several schools dedicated to Institut del Teatre Publications the performing arts. Its staff includes almost thirty professional musicians ded-

96 Additional Activities 97 Additional Activities WG-Music Theatre Book Launch. Presentation of the book

The Legacy of Opera:Reading Music Theatre as Experience and Performance, 12:00 pm – 12:30 pm by Pamela Karantonis (See more information in the section BOOK LAUNCH)

Room: Lateral Foyer Theatre Ovidi Montllor Open Mic Wedenesday 24th

WG-Performance as Research Book launch, Presentation publications and drinks reception

12:00 pm – 12:30 pm Anna Birch, from the Royal Conservatoire of Scotland, and Winchester Uni- versity Press invite you to join us for a celebration of the launch of the third collection in an innovative, open access, free-to-user publication series, Experi- Room: Lateral Foyer Theatre ments and Intensities. Ovidi Montllor (See more information in the section BOOK LAUNCH) We are happy to announce that we are opening an informal space for short pieces and presentations during the FIRT/IFTR Conference in Barcelona. This space, called OPEN MIC, offers the possibility of showing additional aspects Tuesday 23rd & Wednesday Barca: el otro lado of your work. Conference participants, as well as local artists and students are 24th welcome to present proposals. Using the historic events of 1492 as a reference point, Barca: el otro lado is part There are two parallel stages for OPEN MIC presentations. One is at Tea- of an international performance project choreographed and directed by Henry tre Estudi, an indoor stage, and the other is an outdoor stage located at the 9:30 pm Daniel involving dancers, musicians, and media artists in Canada and Catalo- Atrium. nia. The title deliberately uses the city of Barcelona as a vehicle, a barca, for new cross-Atlantic voyages of discovery and understanding, connecting to Outside location: Vancouver, Canada, at the edge of the Pacific. Ticket price: 10 for FIRT participants and associates to Nau Ivanow, with Nau Ivanow (Espai 30) € Open Mic Music Programme c/ Honduras nº 28-30 accreditation (regular prize: 12€). Reservations: [email protected] (please in- Monday 22nd Sagrera dicate number of tickets, performance day and discount type). Institut del Teatre musicians demonstration 8:00 pm – 8:30 pm Friday 26th Screening of the film Sado Tempest, a radical reworking of The Tempest by John Williams, shot on Sado Island (an island renowned for its tradition of Room: Atrium exile of dissidents). Film in Japanese with English subtitles. Featuring several WG-Asian Theatre famous Japanese actors. The film has played at the Raindance Film Festival and has been selected for other festivals in the US, Europe, Latin America and Asian. Tuesday 23rd José Vicente Pestana 10:00 am – 12:00 pm Poor wilting women. The last meeting between the Mother and the Bride in Lorca’s Blood Wedding (1933) states, among other things, a struggle among 7:00 pm – 8:00 pm passion, guilt, repentance and redemption. Drawing from these themes, a Room: Teatre Estudi sample of the creative process for an approach to this excerpt (for a lone per- Free Admission former) is shared. Room: Atrium James Wilson You Know How I Feel. Teaser of a piece where James Wilson tries to perform MAE Visits We provide restricte visits—ten people maximum per session—to discover the father he never knew. our performing archive and museum during the Conference. The visits will be done during the times of the Lunch Break. For interested, please contact Eirini Kartsaki our mail: [email protected] Words to say. Performative presentation that questions the processes of making and unmaking (sense, meaning, text) as inherent in the process of reading.

Natália da Silva Pérez First Dream. Mini-workshop of Sor Juana Inés de la Cruz’s poem Primero Sueño. Little pieces of paper with random short passages of the poem will be

98 Additional Activities 99 Open Mic distributed to people in the audience, and then invite them to come on the Orestes Pérez Estanquero stage and record their voices. Orestes [Ὀρέστης]. Transfers of positions and scenic transfer map of contempo- rany forms of Cuban and Catalan radical plays to Orestes by A&PE. André Gardel Three songs of his new album. Esther Gouarné Step-Crisis. The struggle of a well-trained body pushing its limits back during Sophie Proust an intensive step-choreography, while reading at loud in a microphone key- Génétique du Théâtre: les Processus de Création sentences of James Hansen’s speech “Why I must talk about Climate change” Le projet APC (Analyse des processus de création) est financé en France par and of Peter Sloterdijk’s essay You Must Change your Life translated in differ- le Conseil régional du Nord-Pas de Calais et l’université Lille 3 (Conseil sci- ent languages. entifique, CEAC et Action Culture). Avec une approche pluridisciplinaire (ar- tistique, historique, sociologique, économique, culturelle et juridique), APC Cristina Cordero développe quatre axes de recherche : métier et formation du metteur en scène ; Presentation of Dido&Aeneas Reloaded: A contemporary opera. notation du processus de création ; mise en scène et droits d’auteur ; archivage et patrimoine de la création théâtrale. Sophie Proust en est la responsable sci- entifique. Thursday 25th Juanjo Cuesta Bye Bye Iran: A Collective Creation. This is a performance as research, devel- oped in the context of the doctoral thesis of Juanjo Cuesta. A work of theat- Tuesday 23rd Marcel·lí Antúnez 7:00 pm – 8:00 pm rical creation based on the graphic novel by Iranian artist Marjane Satrapi, Sistematurgy presentation. Persepolis.

7:00 pm – 8:00 pm Mark Edward Room: Teatre Estudi Olga Santín Documentary of the making of the movie Council House Movie Star. This foot- Twombly y el Canto de las Ballenas. Dance performance based on sensation and age filmed by Homotopia TV gives insight into the behind the scenes of the its levels; forces, relations between rhythm and sense. Room: Teatre Estudi film providing interviews with the producer, drag queen performers, film di- rector and film set designers. Yulia Arakelyan Underneath is the latest producion of Wobbly Dance. Filmed footage from live Proshot Kalami performances will be shown. Is the documenting camera lucida?. Documenting the other: cultural performance as practice of everday life. Short film based on street performances of the Baul Ola Johnson —a particular South Asian Sufi sect—enthusiast communities in rural parts Presentation of the ArtsCross Festival Leaving Home: Being Elsewhere in Lon- of Bangladesh. Thereby, I question the authority of the documenting camera, don. versus the subjectivity of the performer. Andreu Raich Sofia Varino Epiphanies of the Body. Dynamics of body training based on dance Afro-Brazil- Chronocurpus. Presentation of an ongoig performance based digital installa- ian, specifically Brazilian Candomblé. Through this training, performers try to tion by Harmattan Theater, an NYC based environmental theater company perceive, capture and generate certain qualities of stage presence. interested in the artistic implications of diasporic histories and global climate change on urban spaces

Clarisse Bardiot Friday 26th Cristina Arenas & Andrea Martínez Rekall Software presentation. An open-source environment for documenting, WK. Two girls. They don’t know who they are, or what are they doing here. analyzing the creative process and simplify the recovery works. Questions without answers and answers without questions of a non defined, 7:00 pm – 8:00 pm but familiar, woman.

Marijo Alonso & Glòria San Miguel Thursday 25th Isabel Pinto Room: Atrium Work in progress dance piece that explores the essence of the dancer’s desire As time goes mine. Different theatrical discourses, plays from the 18th century to express with the body. and memories written by actors in the 19th century, are crossed to unfold the 7:00 pm – 8:00 pm contrast and dialogue produced by the alternate reading of these texts, a cal- Göze Saner ligraphic choreography will punctuate statements, understatements, doubts, Taking a Step, Crossing a Line: A Work Demonstration. A (psycho)physical open questions, etc. exploration of what it means to lift one foot and send it away, to place it else- Room: Atrium where, somewhere else, somewhere in front or perhaps to the side, but defi- María Fernández Vázquez nitely (far, far) away from where it had been. Gesto 0.0. Short performance art piece where the paper, the body, the draw, the action are in the same level. Draw, action, and installation are confused in Donnell Williams their own limits. Movement piece that is a solo adaptation of a dance trio number. The perform- ance explores the business of sexualities trapped in a singular body.

100 Open Mic 101 Open Mic Kristin Arnesen-Konopka Lolita at Yoshiwara, a short cabaret act. “Her name is Lolita … and uh… She’s not supposed to…play… with boys!” A short, hot, charmingly ridicu- lous anti-cabaret by Brooklyn-based interdisciplinary company Theatre Re- verb.

Shimon Levy Friday 26th How to deal with Old Testament Chapters as Theatre. The piece chosen for the exercise/show is The Initiation of the Prophet Samuel, (first book of Samuel, Social Programme Ch. 3, verses 1-10) which will first be read, then theatrically explained and then 7:00 pm – 8:00 pm performed.

Fawzia Afzal-Khan Room: Teatre Estudi Melody Queen to the Muslim Madonnas: Pakistani Female Singers 1947-Present. Preview of a documentary feature about Pakistani Female Singers.

Juliana Coelho Crossing Stories around Balinese Experience. A short video where some artists tell their meeting with balinese performance forms. This encounter is marked by an intercultural astonishment Càpsula Scanner Conversation with Àlex Ollé and Carlus Padrissa Spanish with simulataneous English translation Virginie Magnat Presentation of the international research project Meetings with Remarkable Women explores the artistic journeys and current creative practices of women Wednesday 24th SCANNER is Institut del Teatre’s forum for discussion of innovation and re- from different cultures and generations who worked with Grotowski during search in performing arts, started by the late professor Jaume Melendres in the theatrical and post-theatrical periods of his cross-cultural investigation of 2008. Coinciding with the IFTR Conference, we will offer a sample of its spirit performance. 7:00pm in the form of CÀPSULA SCANNER. CÀPSULA SCANNER presents an in- sight into the oeuvre and working methods of Àlex Ollé and Carlus Padrissa, founders of the theatre Group La Fura dels Baus, the most International com- Frithwin Wagner-Lippok & Christina Schmutz How to Be Political When the Battery is Flat?. Two short performances inspired Room: Teatre Lliure pany in Catalonia and Spain. This event will be structured as an open conversa- by the question of content/form of political theatre on the actual backdrop of (Sala Fabià Puigserver) tion moderated by Mercè Saumell. real social change. Since 1979, early productions by La Fura integrated neo-primitivism and Free of charge ritual with the most sophisticated technology. After their success in directing registration required) the Opening Ceremony of Barcelona’s Olympic Games in 1992, Àlex Ollé and Carlus Padrissa began a career in opera stage direction with an innova- tive vision. Their opera career has developped as a team and independently, premiering productions at Salzburg Festival, La Monnaie of Brussels, Garnier et Bastille in Paris, La Scala in Milano, Sydney Opera House, Teatro Colón in Buenos Aires, London’s ENO, Bavarian State Opera in Munich, the renovated Bolshoi in Moscow and, of course, Barcelona’s Liceu and Madrid’s Teatro Real. They are among the top-ten international opera directors and have received numerous awards for their work in this regard.

Farewell Party The Farewell Party will be held at the National Museum of Art of Catalonia (MNAC), which is housed in a large italian-style building. This buffet dinner will take place in the magnificent Oval Hall, built in 1929 and remodeled in Thursday 25th 2004 by Italian architect Gae Aulenti. Located in Montjuïc, close to Institut del Teatre, this building was the main seat of Barcelona’s International Exhibition of 1929. MNAC is particularly notable for its outstanding collection of Romanesque 8:15 pm : 12:30 am church paintings, unique in Europe, and also for its Gothic, Renaissance and Ba- roque Art Collection.We will start the reception in MNAC’s terrace, with a priv- iledged view of the Magic Fountain and Barcelona in the background. We will Venue: Sala Oval, MNAC have a welcome drink while enjoying the Magic Fountain audiovisual watershow created by Carles Buïgas, who originally devised in 1929 this engineered form of entertainment that plays with the shapes and colors of water. The now renovated fountain is a popular summer attraction that illuminates and refreshes viewers.

102 Open Mic 103 Social Programme A few of the most valuable exhibition rooms of MNAC will be exception- ally open for us, and we will be able to visit them leisurely before dinner. The Tuesday 23rd 28 i mig transition into the Oval Room will unveil a buffet dinner made of a variety of tapas (small bites), highlighting traditional and innovative Catalan delicades, The sea reaches the Library, and it brings a collections of unusual characters. and a range of options meant for all needs and tastes. 8:30 pm Inside a kitchen, a man and a woman talk about how we are all prisoners of the facts that surround us and how we are reality comes to happen. They speak as if they were inside an italian neorealist film, they speak loudly and gesticulate Venue: Biblioteca de Catalunya but they look into each other with passion. On top of that, a chinese story, Outings Huellas XL a tale of yore that tells us that it is possible to escape time and travel with dreams and imagination, with enthusiasm, towards these places that appear Two genres, jazz and flamenco, are fused on stage to demonstrate that talent can to us as paradise. The seamen who give their lives every morning they go out Monday 22nd overcome musical frontiers. A score of musicians join forces for a live perform- to the sea. A film director in the middle of a creative crisis who abandons his ance of an absolute masterpiece. Not by chance did such a prestigious body as almost-finished movie. Everything is still only half way done, always dreaming the French Jazz Academy award Jorge Pardo the prize for best European Jazz of going further to achieve what we want. A show based on texts by Fellini, 10:00 pm Musician. This accolade testifies to the musical ability and wisdom of an artist De Filippo, Vicent Andrés Estellés, Papasseit, Espriu, and other writers still to who has taken his blend of jazz, flamenco and other sounds to venues around be discovered. the world. The orchestral arrangements on one of Pardo’s recent albums, Huel- Venue: Teatre Grec las, and the presence on stage of a large ensemble including the Original Jazz Orquestra del Taller de Músics, conducted by David Pastor, turn this concert Wednesday 24th El rei de la soledat into a great musical spectacle featuring a range of instruments: guitar, palmas and cajón, as well as a brass section, marimba and double bass. He found himself surrounded by pieces. Nothing really made sense. Whole- 10:00 pm ness did not exist by itself, since there was always one important piece miss- ing. A small portrait of a person in a realm that brings questions and gives no Tuesday 23rd Madama Butterfly answers. A realme a tad too mechanic to be real. A realm a bit too sordid to Wednesday 24th Venue: La Seca be imagined. A conflict between these two worlds, and finally, redemption. Madama Butterfly (Milan, 1904) tells the harrowing tale of Butterfly (Cio-Cio- Deconstruct and then reconstruct the objects that are to be manipulated. Im- San), a geisha in Nagasaki, who trusts blindly in the love of a cynical American povising and playing with chance, writing images and theatricalizing words, 8:00 pm naval officer, Pinkerton. But after marrying her under a Japanese law that al- creating tiny landscapes of forgotten corners, projecting our memories, paint- lows the wife to be repudiated, Pinkerton goes home to America. When But- ing our surroundings. El rei de la soledat is a show without words. terfly discovers that the man she loves has come back with his American wife Venue: Gran Teatre del Liceu and wants to take charge of the son she bore him after his departure, she puts an end to her western dream and commits hara-kiri. The focus is on Butterfly — her admirable capacity for love and her delicacy – while the music , with its Excursions These tours are organized by Viatges Abreu touches of refined exoticism, suits her fragile and sensitive character to a tee. Opera in three acts. Libretto by Giuseppe Giacosa and Luigi Illica based on Sun July 21st Gothic Quarter, the heart of Barcelona the play of the same title by David Belasco. Music by Gioacomo Puccini. First Sun July 21st Sitges, Modernist dream performed at the Teatro alla Scala in Milan on 17 February 1904. New version Sun July 21st Montserrat, the Holy Mountain premiered at the Teatro Grande in Brescia on 28 May 1904. First performance Sat July 27th Figueres and Cadaqués, Dalí and Lorca Memories at the Gran Teatre del Liceu on 10 December 1909. Sat July 27th Roman Tarragona Sat July 27th Catalonia, land of cava and wine Sat July 27th Modernist Barcelona Tuesday 23rd La Flauta Màgica – Variacions Dei Furbi Sun July 28th Girona, Jewish heritage + Empúries Sun July 28th Sitges, Modernist dream Companyia Dei Furbi, an acclaimed catalan theatre company with a particular Sun July 28th Gothic Quarter, the heart of Barcelona 9:00 pm playful aesthetic based in its commedia dell’arte roots, takes the challenge of versioning an opera for a troup of six actors singing a capella. Mozart’s The www.firt2013barcelona.org/coference-programme/social-programme/excusions Magic Flute is a great symbolic fiction that culminates with a hymn of universal Venue: La Seca fraternity. “Mozart tells us in a very neat and precise manner that it is through the power of music (and art) that the characters will be able to overcome with joy the darkness of their fear.” Companyia Dei Furbi takes up this idea and syn- thesizes Mozart’s opera, using this concept as the thread that weaves a story. In this rendering, the essential nature of the Good and Evil can only be seen in a symbolic way and also as the background that helps us understand the choices that the characters make. These creatures in “search of light” become uncanny reflections of ourselves and our contemporary desires. Nevertheless, this inter- pretation comes spiced with Dei Furbi’s usual dose of humour and playfulness. Boris Daussà-Pastor is the Assistant Director and Assistant Movement Direc- tor of this show, integrating some of his expertise in movement and Kathakali into the visual world of this production.

104 Social Programme 105 Social Programme Practical Info

Accessibility and Health Care

Our building is fully accessible to disabled people through elevators or ramps. Also Teatre Lliure and Mercat de les Flors have facilities prepared for access to people with wheelchairs. Throughout the Congress, in the immediate vicinity of the Institute del Teatre, will be located an ambulance for a medical emergency. For minor in- cidents, the Theatre Institute has a small clinic room on the 5th floor where there are beds, medical supplies and a first aid kit. This device is also serving congressmen throughout the week.

Location Map

Address Institut del Teatre. Plaça Margarida Xirgu, s/n. 08004 Barcelona Access from Carrer de la França Xica, 26 Also acsessible from Carrer de Lleida, 59

Phone (34) 932 273 900

Metro L3 Poble Sec Station (exit by Av. del Paral·lel). 5 minutes walking L3 & L2 Paral·lel Station. 15 minutes in motorized wheelchair L1 Espanya Station (exit by Av. Reina Maria Cristina). 15 minutes walking L1 Rocafort Station. 10 minutes in motorized wheelchair

Bus (all buses adapted for people with reduced mobility) Line 55. Bus stop França Xica – Grasses. 2 minutes walking Line 121. Bus stop França Xica – Grasses. 2 minutes walking

106 107 Practical Info 108 Practical Info

Acces from C/ de Lleida Acces from C/ de la França Xica

Way from Rocafort station L1 Way from Poble Sec station L3 Accessibility

S4.S7 S4.S8 S4.S9 109 Practical Info

S4.S2 S4.S3 S4.S4 S4.S5 S4.S6

Floor -4 Floor 0 Floor -2 Room Flamenco Plató Atrium Scanner Scenography Workshop

Teatre Estudi Teatre

Cafeteria

Puppetry Room Puppetry Coffee Break Coffee

110 Practical Info 111 Practical Info Floor 1 Floor 2 Nap Room Room P2.S4 Computer Room P2.S5 Computer P2.S6 Auditorium Auditorium

112 Practical Info 113 Practical Info Floor 4 Floor 3 P3.S1 P4.S1 P4.S5 P3.S2 P4.S2 P4.S3 P3.S3 P4.S4

114 Practical Info 115 Practical Info City of Theatre (Teatre Lliure and Mercat de les Flors)

We are located in LA CIUTAT DEL TEATRE (City of Theatre), which con- sists of three theatre venues in the surroundings of the Plaça Margarita Xirgu: Mercat de les Flors, Teatre Lliure and Institut del Teatre. This square is dedi- cated to the great Catalan actress Margarida Xirgu. She was the muse of Fed- erico Gracía Lorca who wrote most female characters for her. In this Conference FIRT/IFTR Barcelona 2013, Institut del Teatre shares spaces with its neighbors Teatre Lliure and Mercat de les Flors. Teatre Lliure and Mercat de les Flors are located in two Italian-style buildings that were built on the occasion of the Universal Exposition of 1929 in Barcelona.

Teatre Lliure

Founded in 1976, Teatre Lliure is one of the most representative theatres in Catalonia. Lluis Pasqual, one of its founding members, is the current director. The Lliure has two locations in Barcelona, this one in Montjuïc with a large room and a second one smaller, and one in Gràcia, a living medium format. In these areas there is entertainment from classical and contemporary texts, ideas and proposals from several areas and different scenic languages.

Mercat de les Flors

The history of the Mercat de les Flors as a municipal theatre goes back to 1983, when the mayor of Barcelona at that time, Pasqual Maragall, instigated the creation of this city performance space with the renovation of the Palace of Agriculture, built in 1929. After the premiere of the play The Tragedy of Carmen, by Peter Brook, the Mercat launched an irresistible programme of international shows and artists and, naturally, Catalan ones too. The current director is Francesc Casadesús The great dome, twelve metres in diameter, which covers the Mercat en- trance hall, is the work of the Majorcan artist Miquel Barceló.

116 Practical Info 117 Practical Info Restaurants Guide 10. Il Golfo di Napoli €€ Lleida, 38 The restaurants are grouped from lowest to highest walk distance from Institut Italian cuisine del Teatre. Our recommended are those with more information. No daily menu. Also there is an indication about target price. Cash/Credit Cards (VISA, Mastercard, Amex) € less than 15 euros From 13:00 to 16:00 and 20:00 to 0:00. Sunday closed €€ of 15 – 30 euros €€€ of 30 – 50 euros 5 min. €€€€ of 50 – 100 euros 11. Can Contry €€€ Olivera, 4 0 min. Closed for holidays 1. Cafè Restaurant Institut del Teatre € Plaça Margarida Xirgu s/n 12. Can Margarit €€ Market food (daily menu 7/8 €) Concòrdia 21 Cash / Credit Cards Typical and wellknown centennial warehouse with fine wines and traditional Open from 12:00 to 15:00 and cafeteria from 17:30 to 19:00 catalan dishes. Prepared for disabled people Only open in the evenings.

1 min. 13. Cèntric 35 € 2. Cafè Sifó Teatre Lliure € Olivera, 35 Plaça Margarida Xirgu s/n (Teatre Lliure) Catalan food (daily menu 10€) Homemade Mediterranean food (daily menu served as buffet 10€) Cash/ Credit Cards (VISA, Maestro, Mastercard) Cash / Credit Cards Open from 12:30 to 16:00 and 20:00 to 23:30. Monday closed Open from 10:00 to 17:00 No prepared for disabled people Advice in advance for disabled people www.restaurantcentric35.com www.sifo.es 14. El manjar de las Brasas €€ 3. La Soleà (Mercat de les Flors Terrace) € Lleida, 19 Plaça Margarida Xirgu, s/n Traditional cuisine and grilled meats Homemade food (daily menu 9€) Cash 15.Tickets €€€ Open from 12:00 to 16:00 and bar to 19:00 to 1:00 Avinguda Paral.lel, 164 Prepared for disabled people www.tickets.es www.barlasolea.com Tapas (Albert Adrià) Only open in the evenings. With required reserves 2 min. 4. Parada € 6 min. Grases, 29 16. Ikibana Paral.lel €€€ Galician Cuisine Paral.lel, 148 Cooking Japanese-Brazilian fusion 5. Restaurant Cerveseria del Teatre € Grases 29 17. Restaurant Basilico € Tapas and quick dishes Avinguda Paral.lel, 142 Market kitchen (lunch menu 11€) 3 min. 6. El Chicle € 18. Rías de Galicia €€€€ França Xica, 20 Lleida, 7 Homemade mediterranean food (daily menu 10€) Seafood restaurant Cash / Credit Cards (VISA, Mastercard, American Express) Open to 13:30 to 16:30 and 20:00 to 0:00 19. La Cañota €€ No prepared for disabled people Lleida, 7 93 3259175 8. La Perla €€€ Tapas and Spanish dishes Passeig Exposició 62 Catalan cuisine, specializing in rice dishes and fish 20. Patkia €€€€€ Lleida, 7 9. Xemei €€€ www.patkia.es Passeig Exposició 85 Nikkei Cuisine (Albert Adrià). Whit required reserves Venetian cuisine

118 Practical Info 119 Practical Info 21. El Camarote de Tomàs €€€ 34. Spicca € Lleida, 3 Parlament, 9 Traditional mediterranean cuisine and seafood Grill

22. La Soleà € 10 min. Plaça del Sortidor, 14 35. La Bella Napoli €€ Homemade food (daily menu 9€) Margarit, 14 Cash Italian food Open from 12:00 to 16:00 and bar to 19:00 to 1:00 No menu Prepared for disabled people Cash / credit Cards www.barlasolea.com Open daily from 13:00 to 16:00 and 20:30 to 0:00 Prepared for disabled people 7 min. www.labellabnapolo.es 23. Luki € Plaça del Sortidor, 3 36. Bairoletto €€ Catalan-Aragonese cuisine Roser, 82 Cash Argentinian food Open from 12:00 to 16:00 Cash Indoor and terrace Open from Wednesday to Saturday from 20:00 to 1:30 Prepared for disabled people No prepared for disabled people www.luki.com.es www.bairoletto.es

24. El Sortidor € 37. Quimet Quimet € Plaça del Sortidor, 5 Poeta Cabanyes, 25 Italian cuisine. Indoor and terrace Tiny centennial warehouse. Specializing in tapas.

25.Café Teatro Picasso €€€€ 38. Paralelo 91 €€ Elkano, 67 Avinguda Paral.lel, 91 Temporarily closed Italian food

26. La Tomaquera €€ 39. El Duende de Poble Sec €€ Margarit, 58 Poeta Cabanyes, 11 Catalan Cuisine Marked kitchen Open only in the evening 27. Don Peregil €€ Paral.lel, 169 40. La Tata €€ Grill Calàbria, 69 Mediterranean food 28. Peccato di Gola € Avinguda Paral.lel, 163 11 min. Italian cuisine 41. Mall Les Arenas Plaça Espanya, s/n 29. L’Àmfora €€€ In this mall, you can find several restaurants. Are open to 10:00 to 00:00. Avinguda Paral.lel, 184 Cash / Credit Cards Traditional cuisine. Specializing in cod fish. Gustos BCN (Tapas & Salads) Open only in the evening Cinco Jotas (Iberian Ham) Mussol Arenas (grilled meat and vegetables) 9 min. Pura Brasa (Grill) 31. Ébano Lounge € Urban Grill (grill) Avinguda Paral.lel, 124 Abrassame (Market cuisine) Indian kitchen La Botiga (Catalan food. Speciality in rices) Watatsumi (Japanese cuisine) 32. Fàbula Barcelona € Parlament, 1 Medietrranean food

33. Braseria A Mariña €€€ Parlament, 2 Grill and seafood

120 Practical Info 121 Practical Info Restaurants

Who is who? 39 38

37 Conference Organizers 35 31 34 Boris Daussà-Pastor Theatre Phd Candidate at the Graduate Center – CUNY, specialized in South 33 32 Asian theatre and performance (writing dissertation on the effects of Indian 40

35 nationalism on Kathakali), and additional interest in Hispanophone Caribbean 30 performance. He is a professor at Institut del Teatre, Theory and History De- 17 25 23 partment, teaching classes at undergraduate and graduate (MA) level. Boris 22 25 24 16 Daussà-Pastor has published a pratical introduction to Kathakali training and 11 12 several academic articles in international research journals. 15 28 6 9 27

13 Mercè Saumell

7 Phd in Art History, specialist in contemporary theatre, and more specifically

8 Catalan devised theatre. She is Director of Cultural Services at Institut del 21 20 4

19 Teatre, Barcelona (centre for documentation and museum of performing arts, 18 29 5 publications, and research programs). She is a professor of theatre at graduate 14 1 (MA and PhD) and undergraduate level. Merce Saumell is the author of two 2 3 10 books about contemporary theatre and has published several articles in inter-

41 national research journals.

Conference Staff

Jaume Ponsa, Conference Assistant Bio: MA in Digital Content Curator and BA in Library Sciences. Carme Saldó Gasull, Visa Coordinator & Liaison to Publishers Bio: Freelance Cultural Management (events, press, production) Artur García, Website Manager Institut del Teatre, Documentalist Laura Conesa, Social Programme Coordinator Institut del Teatre, International Relations Jordi Aubach, Image and Communication Institut del Teatre, Image and Communication Eulàlia Conangla, General Coordinator of Centenary’s Office Institut del Teatre, Centenary’s Office Coordinator

122 Practical Info 123 Who is who? Maria Guillén, Executive Production Governors Board / Conseil Recteur Institut del Teatre, Production President / Président Savador Esteve i Figueres Volunteer Staff President of the regional government of Barcelona, Diputació de Barcelona / Président du gouvernement régional de Barcelone, Diputació de Barcelona Cristina Cordero, Volunteer’s Coordinator Institut del Teatre graduate: Dramaturgy and Direction Board Members / Membres du Conseil Ferran Civil Arnabat Marc Chornet, Open Mic Coordinator Carles García Cañizares Institut del Teatre graduate: Dramaturgy and Direction Núria Llorach Molons Laia Falp, Accommodation liaison Josep Salom Ges Institut del Teatre student: Dramaturgy and Direction Jesús Ángel García Bragado Maria Albadalejo, Stage manager Opening and Closing Ceremonies Carles Ruíz Novella Institut del Teatre graduate: Scenography Jordi Font i Cardona Verónica Rodríguez. Keynote assistant Managing Director of Institut del Teatre / Directeur général de L’Institut del PhD Candidate, University of Barcelona Teatre Ramon Jovells i Argelich Manager of l’Institut del Teatre / Gérant de l’Institut del Teatre

Management Board / Conseil de Direction

Managing Director / Directeur général Jordi Font

Manager / Gérant Ramon Jovells

Academic Coordinator / Coordinateur Académique Antonio-Simón Rodríguez

Director of Cultural Services / Directeur des Services Culturels Mercè Saumell

Direction of School of Drama / Direction de l’École de Théâtre Magda Puyo Pedagogical Director / Directeur Pédagogique Agustí Humet Academic Director / Directeur Académique

Director of Dance Conservatory / Directeur du Conservatoire Supérieure de danse Avelina Argüelles

Director of Secondary School for the Ats and Vocational Dance Academy / Directeur de L’École d’Enseignement de secondaire et Artistique et Conservatoire Professionnel de Danse Keith Seiji Morino

Director of the School of Performing Arts Technology / Directeur de L’École Supérieure des Techniques des Arts du Spectacle Jordi Planas

Director of Vallès Center / Directeur du Centre Territoriale du Vallès Jordi Planas

Director of Osona Center / Directeur du Centre Territoriale d’Osona Carles Salas

124 Who is who? 125