Concurrent Sessions
Friday, August 4, 2006
8:00 AM – 8:45 AM Advocacy Committee Meeting I Focus Group: 36 (ADV) Advocacy Committee Room: Salon 9 - 3rd Floor Chair: Deborah Martin, Berea College Advocacy Committee Business Meeting I This meeting is designed for those current, previous or interested members in the work of the Advocacy Committee.
Professional Development Committee Open Forum Focus Group: 26 (PDC) Professional Development Committee Room: Salon 8 - 3rd Floor Chair: Jeannie M. Woods, Winthrop University Participants: Barbara O. Korner, University of Florida Co-Director of the ATHE Leadership Institute Valerie B. Morris, College of Charleston Co-Chair of the Chairs & Dean’s Subcommittee: Andrew Ryder, Seattle Pacific University Co-Chair of the Pedagogy Subcommittee Jenny Spencer, University of Massachusetts Co-Director of the ATHE Writing Mentorship Program James Symons, University of Colorado-Boulder Co-Chair of the Mentorship Subcommittee Christin Yannacci, University of Texas This session will provide an overview of ATHE’s Professional Development Committee, its subcommittees and programs, followed by a discussion of how the committee can serve the needs of ATHE members.
Raffle Focus Group: 38 (CC) Conference Committee Room: Upper Exhibit Hall – 4th Floor
8:15 AM – 8:45 AM ATME - Daily Warm Up Session Focus Group: 4 (ATME) Association for Theatre Movement Educators Room: Red Lacquer Foyer – 4th Floor Co-Coodinator/Co-Chair: Golde, Freelance Co-Coordinator/Co-Chair: Ted Morin, Actors Movement Studio Participants: Karin Abromaitis, George Washington University Golde, Freelance Ted Morin, Actors Movement Studio Start the day in a positive way. The Association for Theatre Movement Educators provides movement and vocal warm-ups for general participation each morning. Please join us. Movement attire suggested. 9:00 AM – 10:30 AM 20 Years of Developments in Musical Theatre: Part I Focus Group: 11 (MTD) Music Theatre/Dance Room: Salon 5 – 3rd Floor Chair: Mary Jo Lodge, Lafayette College Participants: William Everett, Conservatory of Music - University of Missouri-- Flying Cars and Umbrella-Carrying Nannies: From Screen to Stage with Chitty Chitty Bang Bang and Mary Poppins Bruce Kirle, Central School of Speech and Drama, London Landmarks and Legacies: Les Mis, British Mega-Musicals, and the Margaret Thatcher Years Adam Roberts, The University of Texas at Austin Significant Musics, Narrative Dramatics: The Case of Parade This panel examines trends and developments in musical theatre that have occurred since ATHE’s inception twenty years ago.
A Space Shaped by Absence: Performative Drift, Women, Girls and Feminist Embodiment Focus Group: 23 (WTP) Women and Theatre Program Room: PDR 9 – 3rd Floor Chair: Haiping Yan, University of California at Los Angeles Session Coordinator: Gwendolyn Hale, Fisk University The Ghost Girl in Naomi Wallace’s THE TRESTLE AT POPE LICK CREEK
58 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 10:30 AM (continued from previous page) A Space Shaped by Absence: Performative Drift, Women, Girls and Feminist Embodiment Participants: Johanna Frank, University of Windsor Absence and Embodiment in Adrienne Kennedy’s A LESSON IN A DEAD LANGUAGE and Suzan-Lori Parks’ VENUS Sally Shedd, Virginia Weleyan College, THE CHILDREN’S HOUR: Generational Drift and Feminist Performance Three panelists explore ways in which haunting, absence, dislocation and “drift” have shaped embodiment in feminist practice. Making reference to a range of works from 1934 to the present, they look at ways in which silent, unseen, absent or evacuated female figures are used in representations to evoke power as well as limitation; promise as well as erasure.
Come Together: Constructing Collaborative Partnerships between Directors and Dramaturgs to Enact Social Change Focus Group: 7 (DR) Dramaturgy Room: PDR 7 – 3rd Floor Session Coordinator: Karen Jean Martinson, University of Minnesota Race Riots and Sex Objects: Staging TWILIGHT and VENUS for the Now Participants: Kamesha Jackson, Chicago State University, The Collaborative Imperative Megan Sanborn Jones, Brigham Young University, Class, Race, Gender and Sex on the Conservative Stage Considering the landscape of institutionalized racism, sexism, classism, and homophobia, this panel will demonstrate how the critical collaborative partnership of socially engaged directors and dramaturgs creates new methodologies for enacting social change.
Constructing the “Authentic” on the American Stage Focus Group: 2 (ATDS) American Theatre and Drama Society Room: PDR 16 – 5th Floor Chair: Daniel Gerould, CUNY Graduate Center Session Coordinator: James Cherry, The City University of New York Making History: The Federal Theatre Project and the Production of an American Past Participants: Kevin Byrne, CUNY Graduate Center, Falsifictionority: Appropriation Myths and Nineteenth Century Minstrel Performance Susan Kattwinkel, The College of Charleston, Assimilation and War: The presentation of the Civil War in Vaudeville Edmund Lingan, New York University, Constructed Histories of the Esoteric Theatre Tradition This panel focuses on American theatre spaces that allow for the creation of mythologies of genesis and the positing of “authentic” theatrical roots.
Contemporary Black Political Theatre Focus Group: 5 (BTA) Black Theatre Association Room: Salon 11 - 3rd Floor Chair: Harvey Young, Northwestern University Must Black Always Come First?: The Responsibilities of Being a Black Playwright Participants: Faedra Chatard Carpenter, University of Maryland Life by Incarceration: The Captivating Plays of Kia Corthon Sarah Mahurin, Yale University The Topology of a Yng Woman: Ntozake Shange’s Rewriting of the Black Female Body Melinda Wilson, California State University - Sacramento, Race Matters in “The Toilet” This panel looks at black theatre and performance at three different moments in American history: the late 1930s, the 1960s, and the 2000s. Each paper examines the expression of politics in performance.
Creative Inspiration Through Impulse Movement and Free Writing Focus Group: 40 (MD) Multidisciplinary Focus, 4 (ATME) Association for Theatre Movement Educators Room: Adams - 6th Floor Session Coordinator: Jonel Langenfeld-Rial, State University of New York at Oswego Creative Inspiration and Release Through Impulse Movement and Free Writing Participants: Brian Heyman, State University of New York at Oswego Megan Meyerov, State University of New York at Oswego Ryan Sprague, State University of New York at Oswego Everyone, at one time or another, feels frustrated by a lack of inspiration. Come have fun, move your body, and learn strategies to free your imagination and creativity through the use of Impulse Movement and Free Writing.
59 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 10:30 AM Critical Milestones: Cultural Theory/Performance Praxis Focus Group: 40 (MD) Multidisciplinary Focus: 17 (TC) Theory and Criticism, 18 (TH) Theatre History, 7 (DR) Dramaturgy Room: Salon 9 - 3rd Floor Session Coordinator: Christin Yannacci, University of Texas at Austin Participants: Wendy Armington, Lousiana State University The Epistle as a Female (Per)form(ance): A correspondance between You and Me Roger Bechtel, Miami University, Remembering Marx: Historicizing History in Contemporary American Theatre Katherine Mezur, Mills College, A Different Eros: Ambiguity and Transformativity in the Performance of the Kabuki “Femme Fatale” Oli Mohammadi, Louisiana State University, Performing Diasporic History Part of a five session series examining the place of cultural theory in theatre studies, this panel explores the appropriation and integration of cultural theory in contemporary World performance.
Crossroads of Religion, Myth and Theatre Focus Group: 14 (RT) Religion and Theatre Room: Salon 10 - 3rd Floor Co-Coordinator: Jennie S Lake, University of Hawaii Mythological Impetus: A Comparison of The Role of Religion in Theatre Across Cultures Participants: Moira Day, University of Saskatchewan, Plato on the Canadian Prairies Sonja Novak, University of J. J. Strossmayer in Osijek, Croatia, Modern mirrors of ancient history or Mythological elements in modern American drama Ben Saypol, The University of Colorado, Revolting against the Revolutionary Religion has created a basis and encouragement for theatrical expression in many cultures. We will examine the communication between these elements from ancient to modern and across cultural lines.
Debut Panel, Lesbian, Gay, Bisexual, and Transgender Theatre Focus Group: 10 (LGBT) Lesbian, Gay, Bisexual, Transgender Room: PDR 18 – 5th Floor Chair: Mark Zelinsky, Saint Joseph College Session Coordinator: Wendell Stone, University of West Georgia Presenters: Michelle Dvoskin, University of Texas, Austin Singing Our Queer Hearts Out’: Performing Receptions at the Buffy Sing-a-Long Grant Tyler Peterson, Royal Holloway, University of London The Gay Gender Groove: Masculinity and the (Re)Formation of Community on the Dance Floor Respondent: Kim Marra, University of Iowa
Emerging Scholars in Performance Studies Focus Group: 13 (PS) Performance Studies Room: Salon 2 - 3rd Floor Chair: Paige McGinley, Brown University Panelists: Nina Mankin, City University of New York, New York City Public Clocks and the Disappearance of Civic Time Elise Morrison, Brown University, BANDAGED SPACES: Remembering the absent body in nuclear warfare Jaclyn Pryor, The University of Texas-Austin Structures of Race, Reception, and Analogic Thinking in Showtime’s “The L Word: A Ghost Story” This panel features the works of three emerging scholars in the field of performance studies.
José can that be? Interrogating the Politics of Inclusion for Latino Performers in Hollywood, the Smithsonian and on Broadway Focus Group: 24 (LFG) Latina/o Focus Group Room: Salon 1 - 3rd Floor Chair: Lawrence La Fountain-Stokes, University of Michigan Session Coordinator: Ramon Rivera-Servera, Arizona State University Participants: Brian Herrera, Yale University Considering “Stealth Latinos” – or, When Did Raquel Welch Become Hispanic? Ramon Rivera-Servera, Arizona State University Exhibiting Voice: Latina/o Soundscapes, National Imaginaries and the Performances of Celia Cruz David Roman, Department of English, University of Southern California, “A Streetcar Named Deseo” This panel explores the politics of inclusion for Latino performers in mainstream US entertainment and educational institutions. While Latinos have often been excluded from these spaces, each of the papers explores how Latino performers have been included within them.
60 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 10:30 AM PlayWorks 2006 Full-Length Winner: Staged Reading and Talkback for “Two Body Problems” by Donald LaPlant Focus Group: 12 (PP) Playwright’s Program Room: Red Lacquer Room – 4th Floor Session Chair and Production Stage Manager: Robert Knight, Freelance Program Coordinator: Pamela Turner, Ben Franklin Academy-Emory /MultiShades Atlanta Playwright: Donald La Plant, Emory and Henry College Director: Kenneth Elliott, California State University, Bakersfield Dramaturg: Kyle Bostian, University of Wisconsin, Stevens Point Actors: David Boettcher, Freelance Matthew Hamner, University of Central Florida Laura Lodewyck, Freelance Judylee Vivier, Brooklyn College Laura Wayth, University of Miami First Alternate Script: Temp, by Thomas Pierce Finalist Runners Up: The last of the Daytons, by Diane Grant About A Baby, by Kristen DeWulf Jewish By Injection Only, byMichael Stockman Staged reading of winning script in international new play competition for PlayWorks 2006, followed by interactive audience response session and guided discussion. The featured play is Two Body Problem by Dr. Donald LaPlant.
Reacting to the Past: Reliving Historical Milestones through Role-Play Focus Group: 40 (MD) Multidisciplinary Focus, 26 (PDC) Professional Development Committee, 18 (TH) Theatre History, 19 (TLA) Theatre as a Liberal Art Room: Salon 7 - 3rd Floor Co-Coordinators: Amy E. Hughes, CUNY Graduate Center Barbara Waldinger, Queens College Participants: Margaret Araneo, CUNY Graduate Center Amy E. Hughes, CUNY Graduate Center Jill Stevenson, CUNY Graduate Center Barbara Waldinger, Queens College Transport your students to Athens in 403 B.C.E., where they will challenge democratic ideals! Welcome to “Reacting to the Past,” a new pedagogy guaranteed to energize your classroom.
Redefining the Dream: Why Every Theatre Student Should Start Their Own Company, and How You Can Help Them (paid workshop) Focus Group: 38 (CC) Conference Committee Room: Parlor A - 6th Floor Chair: Sara Romersberger, 2006 Conference Planning Committee Guest Workshop Presenter: Nathan Allan, The House Theatre of Chicago, Redefining the Dream This workshop will explore ways that America’s rich and resourceful theatre education community can support more rich and resourceful theatre by providing their graduates with tools to improve and expand the industry.
Religious Roots and Asian Performance Practice Focus Group: 3 (AAP) Association for Asian Performance Room: Salon 12 – 3rd Floor Chair: Lynn Kremer, College of the Holy Cross Panelists: Margaret Coldiron, Central School of Speech and Drama Tantric Iconography in Asian Masked Performance Gargi Shinde, Indiana University Bloomington The Wandering Bard and the Evolution of Kathak Kevin J. Wetmore, Jr., Loyola Marymount University The Gospel of Ibsen: Christianity and the Origins of Modern Japanese Theatre Many Asian performances have philosophical and historical relations to particular religious practices. This panel will discuss the relation of spiritual roots and contemporary manifestations in a pan-Asian perspective.
61 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 10:30 AM Showing What We Know: The Scholarship of Teaching and Learning Acting Focus Group: 26 (PDC) Professional Development Committee Room: Salon 4 - 3rd Floor Chair: Richard Gale, Carnegie Foundation for the Advancement of Teaching Session Coordinator: Andrew Ryder, Seattle Pacific University Participants: Kristi Bramlett, Columbia College Chicago Playing Objectives: How do Student Actors ‘Show’ What They Want? Doreen Feitelberg, Columbia College Chicago An Investigation of Problems in Student Diction and Resonation Caroline Latta, Columbia College Chicago Playing Objectives: How do Student Actors ‘Show’ What They Want? Cecilie O’Reilly, Columbia College Chicago An Investigation of Problems in Student Diction and Resonation Susan Padveen, Columbia College Chicago Motivating Independent Student Rehearsals The Scholarship of Teaching and Learning can help Acting teachers document their students’ learning. Acting teacher/scholars share the results of three recent projects. Talking with Moises Kaufman Focus Group: 38 (CC) Conference Committee Room: Grand Ballroom – 4th Floor Chair: Michael Wright, University of Tulsa The Language of Praxis: Creating Performance through Lenses of Critical Theory Focus Group: 40 (MD) Multidisciplinary Focus: 13 (PS) Performance Studies, 17 (TC) Theory and Criticism, 1 (AP) Acting Program Room: Salon 8 - 3rd Floor Chair: John Milosich, Naropa University Coordinator/Participant: Bethany Jean Urban, Naropa University, Backward Flying Seagull Participants: Cary-Jo Hoffman, Naropa Universtiy, Angry Ella Remi Lahaussois, Naropa University, Silence Liz Stanton, Naropa University, The Life and Times of My D.P. This performative panel investigates praxis and the role of critical theory in performance-making. It explores the creation of a language that speaks through critical lenses to avoid reification on stage.
The Sixties and Theatrical Change in Dublin, London, and New York Focus Group: 18 (TH) Theatre History Room: PDR 8 - 3rd Floor Chair: Stanley Coleman, Nicholls Session Coordinator: Wendell Stone, University of West Georgia Participants: Stephen Berwind, Queen Margaret’s University College, Edinburgh, Scotland Complicating Form and Content: The Royal Court Theatre and the Come Together Festival Rick Jones, Stephen F. Austin State University Form and Content: Friel, the New Abbey, and the Troubles Wendell Stone, University of West Georgia Trivializing Form and Content: Caffe Cino and the Aesthetics of Camp Panelists examine theatrical revolutions occurring during the 1960s in Dublin (the Abbey Theatre), London (the Royal Court theatre), and New York (Caffe Cino).
Theater as a Liberating Art: Ideals in Action Focus Group: 19 (TLA) Theatre as a Liberal Art Room: Salon 6 - 3rd Floor Session Coordinator: Tim Good, DePauw University Participants: Robin Reese, Penn State Altoona The Teaching Hospital as a model for directing university and college theatre: diagnosis, prognosis and Rx Nancy Saklad, SUNY New Paltz The Practical Application of Actor Breathwork and Relaxation Techniques in the Non-Performance Classroom Cynthia Turnbull, Denison University Dewey’s Liberating Institutions: Student Leadership in Liberal Arts Theater Programs By utilizing Playwriting, Directing, and Design, this session uses formal papers and workshop formats to illustrate the powerful liberating force of Theater across the arts, across disciplines, and across institutions.
62 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 12:15 PM Adjudicated Workshop of Debut and Adapted Acting Exercises (Double Session) Focus Group: 1 (AP) Acting Program Room: Salon 3 - 3rd Floor Session Coordinator: Pamela Chabora, North Dakota State University Presenters: Kathleen Cleary, Sinclair Community College, Using Laban Energies To Physicalize Transitions in First Folio Texts Jeanne Leep, Edgewood College, Bag of Stuff Carol Maples, Missouri State University, “Line” Workshop Tammie Mckenzie, Malone College Discovering/Exploring the Actor’s Trinity: Objective, Obstacle, and Motivation Diana Moller-Marino, University of Hartford Status: As Explored Silently and With Text Rob Roznowski, Michigan State University INNER MONOLOGUE: Increasing Connection and Commitment Respondents: Stephanie French, East Stroudsburg University David Hlavsa, St. Martin’s A participatory workshop introducing a variety of new acting exercises (and adapted old exercises) developed by presenters to deal with specific acting problems.
Alba Emoting: Techniques You Can Use Now (paid workshop) Focus Group: 38 (CC) Conference Committee Room: Monroe - 6th Floor Session Coordinator: Roxane Rix, Kutztown University of Pennsylvania Workshop Leader: Susana Bloch, Alba Emoting, Santiago, Chile Participants: Rocco Dal Vera, University of Cincinnati Conservatory of Music Laura Facciponti, University of North Carolina-Asheville Nancy Loitz, Illinois Wesleyan University Participants will explore scientifically identified muscle patterns of basic emotions, and the complete pattern for emotional neutrality, which can be effectively shared with students without further training.
Can’t We All Just Get Along? Strategies for Team Building and Conflict Resolution in the Theatre Program (Double Session – paid workshop) Focus Group: 26 (PDC) Professional Development Committee Room: PDR 17 – 5th Floor Facilitator: Louise Stone, University of Kentucky Session Coordinator: Jeannie M. Woods, Winthrop University This workshop for past participants of ATHE’s Leadership Institute utilizes the Myers Briggs Type Instrument to help attendees identify preferences for making decisions, processing information, handling time, deadlines and conflict.
Digital Pedagogy for Design and Stagecraft (Double Session) Focus Group: 6 (DT) Design and Technology Room: PDR 5 - 3rd Floor Session Coordinator: John Ore, Southwestern University Teaching Electrics Stagecraft with a CD-Rom text Participants: Julie Duvall, College of Charleston, Digital Applications to Wigs and Hair Design Cate Moran, University of Indianapolis, Digital Applications to Makeup Design Trish Ralph, SUNY Brockport, Digital Applications to Scenic Design/Construction Cliff Simon, Digital Applications to Scenic Design Cynthia Turnbull, Denison University, Digital Applications to Costume Design/Construction A demonstration of digital solutions to design/technology pedagogy in the early 21st Century
Grant Writing Workshop (Double Session) Focus Group: 20 (TM) Theatre Management Room: PDR 6 - 3rd Floor Session Coordinator: Kristin Sosnowsky, Louisiana State University Participants: Mark Cryer, Hamilton College Anne Fletcher, Southern Illinois University Carbondale Kelly Pepper, Louisiana State University Workshop providing technical assistance for artists, academics and administrators new to fundraising. Participants will work individually with experienced fundraisers and are encouraged to bring drafts of grant proposals for review.
63 Concurrent Sessions
Friday, August 4, 2006 (contd.)
9:00 AM – 12:15 PM Transforming Lifewriting and Oral History into Dynamic Performances (Double Session) Focus Group: 15 (STRP) Senior Theatre Research and Performance Room: PDR 4 - 3rd Floor Chair: Steven Pennell, University of Rhode Island Participants: Sr. Germaine Corbin, University of The Incarnate Word Harriet Lynn, Heritage Theatre Joy Reilly, Ohio State University Whether stores are spoken or written, they can be the basis for powerful productions. In this workshop, you will learn how to collect, analyze and dramatize recollections into memorable theatre.
10:45 AM – 2:15 PM “Institutionalizing an Interactive Theatre Program (or, Build it and They Will Come)” Focus Group: 40 (MD) Multidisciplinary Focus; 27 (SPC) Strategic Planning Committee, 26 (PDC) Professional Development Committee, 1 (AP) Acting Program Room: Adams - 6th Floor Chair: Kurt Daw, Dean of Fine and Performing Arts, SUNY - New Paltz Session Coordinator: Suzanne Burgoyne, University of Missouri-Columbia Participants: Suzanne Burgoyne, University of Missouri-Columbia Constance Cook, Director, Center for Research on Learning and Teaching Matt Kaplan, Associate Director, Center for Research on Learning and Teaching Jeffrey Steiger, Director, CRLT Theatre Program, University of Michigan Learn how to gain campus support and funding for a program like CRLT’s, the first university teaching center to apply interactive theatre to a full range of faculty development activities.
“Past Strategies and Future Possibilities: Men and Performance” Focus Group: 2 (ATDS) American Theatre and Drama Society Room: Salon 4 - 3rd Floor Chair: James Penner, University of Southern California Participants: William Demastes, Louisiana State University Spalding Man-to-Man: Spalding Gray’s Struggle with the Masculine American Ethos Shane Vogel, Indiana University Langston Hughes and the Mise-en-Scene of the Cabaret Robert Vorlicky, New York University Where the Boys Are: Mamet’s ROMANCE Writing in 3 different genre, Langston Hughes (jazz poetry), Spalding Gray (autoperformance), and David Mamet (male cast plays) have expanded theatrical venues and spaces (from cabaret to Broadway) and diversified male representations.
2007 Conference Planners’ Meeting Focus Group: 38 (CC) Conference Committee Room: PDR 7 - 3rd Floor Chair: Michael Wright, University of Tulsa
Acting, Creativity and Addictions: What is the Relationship? Focus Group: 1 (AP) Acting Program Room: PDR 16 - 5TH Floor Session Coordinator: Robert Barton, University of Oregon Participants: Bekka Eaton, Miami University of Ohio Ronald Hill, Actors and Addictions: An Exploration of the Culture of New York City Actors in Recovery from Addictions. Is there a relationship between acting and addictive behaviors? Dr. Hill’s research reveals how New York City stage actors in recovery from addictions describe their experiences in relationship to their acting careers. New York City clinicians, acting teachers and stage directors were also interviewed for this study.
African American Faculty: Issues of and Strategies for Promotion and Tenure Focus Group: 5 (BTA) Black Theatre Association Room: Salon 11 - 3rd Floor Co-Coordinators: Kathryn Ervin, California State University at San Bernardino C. Patrick Tyndall, University of Arkansas Fayetteville Session Coordinator: Paul Jackson, Miami University This session, sponsored by BTA, is the second of an ongoing series of workshops designed to assist African American Faculty through the academy.
64 Concurrent Sessions
Friday, August 4, 2006 (contd.)
10:45 AM – 2:15 PM Embodying Revolution, Performing Pain, Theatricalizing Politics: Performance, Pedagogy and Social Change in Latino America Focus Group: 40 (MD) Multidisciplinary Focus 24 (LFG) Latina/o Focus Group, 13 (PS) Performance Studies, 16 (TASC) Theatre and Social Change Room: Salon 6 - 3rd Floor Chair: Tamara Underiner, Arizona State University Session Coordinator: Patricia Ybarra, Brown University Participants: Courtney Elkin, UCLA Performing Pain: Transmitting Trauma as a Means of Social Change Marcela Fuentes, New York University Drawing from the mask. Theatricality as political action in Colectivo Etcetera’s urban interventions Raul Rubio, Wellesley College Latina Performance Aesthetics in Carmen Peláez’s Rum and Coke: Embodying Cuba and the Revolution This multi-disciplinary panel explores the relationships between social change, pedagogy and performance based in or created from Argentina, Cuba, and sites within the US, with particular emphasis on the dramaturgical and theatrical methods they employ, considering them as embodied practices.
Employing Guest Artists/Knowing the Process/Overcoming the Obstacles Focus Group: 29 (U/RTA) University/Resident Theatre Association Room: Salon 2 - 3rd Floor Workshop Consultant: Scott Steele, Executive Director, U/RTA Participants: Kristine Holtvedt, Purdue University Richard Sullivan Lee, Purdue University Cecil O’Neal, Southern Methodist University Phil Thompson, University of California, Irvine A short, very practical workshop introduction to the U/RTA Contract Management Program (CMP). Here is the simplest method for any institution to employ a guest actor, director, designer or other professional artist for a production or a season. This unique service, along with the special contracts available for use by schools, circumnavigate institutional policy and administrative headaches that can prevent the employment of a guest artist. Exploring Milestones, Legacies, and Possibilities in the Sixties Theatre of Ludlum, Williams and Dashiki Focus Group: 10 (LGBT) Lesbian, Gay, Bisexual, Transgender Room: PDR 18 – 5th Floor Chair: Wendell Stone, University of West Georgia Session Coordinator: Stephen Berwind, Queen Margaret’s University College Edinburgh Scotland Creating a Ridiculous Vision Participants: Stanley Coleman, Nicolls State University Dashiki Project and the First Black Streetcar Mark Zelinsky, Saint Joseph College “Tennessee Williams’ “Stoned Age’” During the 1960s, Charles Ludlam, Tennessee Williams and the Dashiki Project illustrate three distinct struggles to create future strategies that combine past milestones and legacies with present possibilities.
First-Time Authors Panel Focus Group: 28 (RPC) Research & Publications Committee Room: Parlor A - 6th Floor Session Coordinator: Jean Graham-Jones, CUNY Graduate Center / Theatre Journal Participants: Jonathan Chambers, Theatre Topics Jody Enders, Theatre Survey Mandy Rees, Voice and Speech Review Mariellen Sandford, TDR The session introduces potential first time authors to the Association for Theatre in Higher Education’s journals, Theatre Journal and Theatre Topics, as well as to other key journals in the field. It features the editors of several important journals who will offer insight into the publication process and will later offer the opportunity for individual consultation.
Interdisciplinary Encounters I: Boys Keep Singing: Performance Analysis of the Male Voice Focus Group: 13 (PS) Performance Studies Room: Salon 1 - 3rd Floor Chair: Elizabeth Patterson, University of Colorado—Boulder Session Coordinator: Philip Auslander, Georgia Institute of Technology, Mood Music: Roy Wood Rocks the Subjunctive Participants: Marko Aho, University of Tampere, Experiencing the Voice of Olavi Virta John L. Jackson, Jr., Dept. of Cultural Anthropology, Duke University, Singsongy Gangsters: Why Hip-Hop Emcees Can’t Croon Drawing on work in ethnomusicology, performance studies, and cultural anthropology, this panel undertakes an interdisciplinary inquiry into the performance of popular music, with an emphasis on the male voice.
65 Concurrent Sessions
Friday, August 4, 2006 (contd.)
10:45 AM – 2:15 PM Models of Inquiry: The Scholarship of Teaching and Learning in the Theatre Studio and Classroom Focus Group: 19 (TLA) Theatre as a Liberal Art Room: Salon 8 - 3rd Floor Chair: Richard Gale, Carnegie Foundation for the Advancement of Teaching and Learning Session Coordinator: Andrew Ryder, Seattle Pacific University, Finding Integrative Learning in the Production Response Participants: Tim Good, Depauw University, Assessing Quantitative Reasoning in the Stagecraft Course Brian Shaw, Columbia College Chicago, Students’ Perception of a Rationale for Theater The potential of Scholarship of Teaching and Learning for theatre educators and students is just beginning to be realized. Teacher / Scholar / Artists share the results of three recent projects.
Moving Memory: The Body and Remembering Place Focus Group: 4 (ATME) Association for Theatre Movement Educators Room: PDR 9 – 3rd Floor Chair: Sarah Barker, University of South Carolina Session Coordinator: John Lutterbie, Stony Brook University Embodied Memory: Remembering Place through Movement Participants: Melanie Kloetzel, Idaho State University, Provoking the Ghost: Strategies for Site-Specific Performance Sara Romersberger, Southern Methodist University, Lecoq’s replay: Remembering Place and the Experience of Youth Shawn Womack, Grinnell College, (Corpo)Real Stories: Remembering Sites through Embodied Performance Cultural developments too often obscure the history of place. Panelists examine how performance practices can unearth the unsettled histories of place lodged in our memories and our bodies.
New Play Development Workshop: Rehearsal Focus Group: 12 (PP) Playwright’s Program Room: Red Lacquer Room - 4th Floor Co-Chairs: Heather Carver University of Missouri-Columbia Judith Royer, Loyola Marymount University Jeffrey Ullom, Vanderbilt University Rehearsal for playwrights, directors, dramaturgs, and actors for the New Play Development Program.
Once and Future Publication: A Roundtable on the Current State, and Future Trajectory, of Publishing in our Fields Focus Group: 28 (RPC) Research & Publications Committee Room: Salon 7 - 3rd Floor Co-Chair: LeAnn Fields, University of Michigan Press Session Coordinator: Jenny Spencer, UMASS / Amherst Participants: Kurt Daw, State University of NY at New Paltz Harley Erdman, University of Massachusetts/ Amherst Patrick Johnson, Northwestern University David Krasner, Yale University Lisa Merrill, Hofstra University Rebecca Schneider, Brown University What kinds of projects ARE being published (and why), what kinds are NOT, and what we would like to see more of, for our class- rooms and ourselves.
Staging Classics for Our Contemporaries: How Audience Response Shapes Artistic Decisions Focus Group: 7 (DR) Dramaturgy Room: PDR 8 - 3rd Floor Chair: Shelley Orr, University of Arizona Participants: Julie Jordan, Washington University in St. Louis, Let the Sun Shine 2005: Hair, Hippies, and Offending the Audience Danielle Mages Amato, Studio Theatre, Washington D.C., From the Russians to Neil LaBute: Risks and Benefits of a Themed Season Shelley Orr, University of Arizona, Educating? Serving? Pandering?: Balancing Educational and Box Office Objectives This panel examines the impact on educational theatre of strong audience responses to productions. How does/can the intersection of past text and present audience impact future productions?
State of the Profession with ATHE’s Award Winners Focus Group: 38 (CC) Conference Committee Room: Grand Ballroom – 4th Floor Chair: Lionel Walsh, University of Windsor
66 Concurrent Sessions
Friday, August 4, 2006 (contd.)
10:45 AM – 2:15 PM The Professional Training of Latino Actors Focus Group: 22 (VASTA) Voice and Speech Trainers Association Room: Salon 10 - 3rd Floor Chair: Micha Espinosa, Western Michigan University, The Professional Training of Latino Actors Co-Chair: Antonio Ocampo Guzman, Arizona State University, The Professional Training of Latino Actors Participants: Sandra Marquez, Teatro Luna Tanya Saracho, Teatro Luna This session will address how professional training programs in the United States are training actors of Latino heritage, with special attention to voice training.
Trans-Religious Experiences in Theatre Focus Group: 14 (RT) Religion and Theatre Room: Salon 9 - 3rd Floor Chair: Lance Gharavi, Arizona State University Session Coordinator: Felicia Londré, University of Missouri-Kansas City Judeo-Christian Community through Spectacle: Max Reinhardt’s 1926 Midwest Miracle Participants: Karen Berman, Georgetown University, “Dr. Korczak and the Children”: Staging the Holocaust on a Jesuit Campus Barbara Mujica, Georgetown University, Staging Calderón’s “Autos Sacramentales” for a Modern American Audience Sara Rofofsky Marcus, Touro University International, A Jew in the Theatre Department? Coping and Adapting Panelists draw on historical research and personal experience to investigate performance as a locus for the confrontation of the religious other. Twenty Years of Developments in Musical Theatre: Part II Focus Group: 11 (MTD) Music Theatre/Dance Room: Salon 5 – 3rd Floor Chair: Bruce Kirle, Central School of Speech and Drama, London Session Coordinator: Korey Rothman, University of Maryland, College Park Participants: Mary Jo Lodge, Lafayette College “Footsteps on the Sands of Time”: Fosse, Bennett and Beyond - The Evolution of the Director/ Choreographer Ray Miller, Appalachian State University, The Death and Resurrection of the American Musical: 1986 to the Present Korey Rothman, University of Maryland, College Park, From Iconoclast to Icon: Stephen Sondheim turns 75 This panel examines trends and developments in musical theatre that have occurred since ATHE’s inception twenty years ago.
Unspeakable Acts and Other Outrages: Terayama Shûji and Postwar Japanese Theatre Focus Group: 3 (AAP) Association for Asian Performance Room: Salon 12 – 3rd Floor Chair: Richard Davis, University of San Francisco Session Coordinator: John B. Weinstein, Simon’s Rock College of Bard Lecturer: Carol Fisher Sorgenfrei, University of California at Los Angeles Unspeakable Acts: The Avant-Garde Theatre of Terayama Shuji and Postwar Japan The Association for Asian Performance is honored to present playwright, director, and theater historian Carol Fisher Sorgenfrei, who will discuss her latest research and newest book on Japanese performance.
12:30 PM – 2:00 PM Association for Asian Performance Business Meeting Focus Group: 3 (AAP) Association for Asian Performance Room: Salon 12 – 3rd Floor Chair: Richard Davis, University of San Francisco Session Coordinator: John B. Weinstein, Simon’s Rock College of Bard Come learn about the Association for Asian Performance--for longtime members and newcomers alike!
Association for Theatre Movement Educators - Business Meeting #1 Focus Group: 4 (ATME) Association for Theatre Movement Educators Room: Salon 11 - 3rd Floor Co-Chairs: Sarah Barker, University of South Carolina Sara Romersberger, Southern Methodist University Co-Coordinators: Golde, Freelance Christopher Niess, University of Central Florida Orlando Participants: Joann Browning, University of Delaware Ken Elston, George Mason University Ted Morin, Actors Movement Studio The Association for Theatre Movement Educators invites ATME members (new and old) and ALL interested individuals to attend our first of two business meetings. Please join us. 67
Concurrent Sessions
Friday, August 4, 2006 (contd.)
12:30 PM – 2:00 PM ATDS Board Meeting Focus Group: 2 (ATDS) American Theatre and Drama Society Room: PDR 9 - 3rd Floor Chair: Jonathan Chambers, Bowling Green State University Meeting of the ATDS Executive Board
Author Signing Focus Group: 38 (CC) Conference Committee Room: Upper Exhibit Hall – 4th Floor
Design and Technology Focus Group Business Meeting Focus Group: 6 (DT) Design and Technology Room: Salon 10 - 3rd Floor Co-Coordinators: John Ore P Gibson Ralph The Design and Technology Focus Group invites all who are interested to focus group business meeting. Let us review where we have been and discuss where we should be going.
Directing Program Business Meeting #1 Focus Group: 8 (DP) Directing Program Room: Salon 7 - 3rd Floor Chair: Nina LeNoir, University of Minnesota, Mankato Session Coordinator: Anne Fliotsos, Purdue University, W. Lafayette Business Meeting 1: Old and New Business
Electronic Technology Committee Meeting Focus Group: 25 (ETC) Electronic Technology Committee Room: PDR 5 - 3rd Floor Session Coordinator: Melanie Blood, SUNY Geneseo The Electronic Technology Committee annual meeting. New members welcome.
Jane Chambers Rehearsal (Closed) Focus Group: 23 (WTP) Women and Theatre Program Room: Red Lacquer Room - 4th Floor
Latina/o Focus Group Business Meeting Focus Group: 24 (LFG) Latina/o Focus Group Room: Salon 4 - 3rd Floor Session Coordinator: Ramon Rivera-Servera, Arizona State University Focus Group meeting and planning session
Playwrights Program Business Meeting #1 Focus Group: 12 (PP) Playwright’s Program Room: Salon 8 - 3rd Floor Focus Group Representative: D. Layne Ehlers, Bacone College Participant: Fred Rubeck, Elon Univeresity First business meeting of the Playwrights Program focus group.
Theatre History Focus Group Business Meeting Focus Group: 18 (TH) Theatre History Room: Salon 6 - 3rd Floor Session Coordinator: Bruce Kirle, Central School of Speech and Drama, London
Theory and Criticism Business Meeting Focus Group: 17 (TC) Theory and Criticism Room: Salon 9 - 3rd Floor Co-Coordinator: John Fletcher, Louisiana State University Session Coordinator: Christin Yannacci, University of Texas at Austin The Theory and Criticism Focus Group welcomes members and prospective members to its annual business meeting.
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12:30 PM – 2:00 PM TLA Business Meeting #1 Focus Group: 19 (TLA) Theatre as a Liberal Art Room: Salon 5 – 3rd Floor Chair: Kaarin S. Johnston, College of St. Benedict and St. John’s University TLA welcomes new and returning members to its annual business meeting (1 of 2). The focus of this session is elections, annual reports, a discussion of Collegium ‘06 and initial ATHE ‘07 Conference planning. Everyone is welcome!
Two-Year College Program Business Meeting Focus Group: 21 (TYCP) Two-Year College Program Room: PDR 4 - 3rd Floor Session Coordinator: Sherry Engle, Two-Year College Program TYCP welcomes members and prospective members of two-year college programs and small four-year colleges.
Women and Theatre Program General Business Meeting Focus Group: 23 (WTP) Women and Theatre Program Room: PDR 16 – 5th Floor Co-Coordinator: Erica Stevens Abbitt, University of Windsor The meeting of the general membership of the Woman and Theatre Program (WTP) to discuss issues pertaining to the 2006 WTP pre- conference and 2006 ATHE conference, and to begin the process of planning events and panels for 2007
2 :15 PM – 3:45 PM “A Day in the Life of a City” - A Living Theatre Workshop (paid workshop) Focus Group: 38 (CC) Conference Committee Room: Monroe - 6th Floor Session Coordinator: Michael Ellison, Bowling Green State University Participants: Jerry Goralnick, The Living Theatre Lois Kagan Mingus, The Living Theatre Experience the creative techniques used by this legendary theatre company culled from our fifty year exploration of Piscator, Meyerhold and Artaud. Participants will create and perform a short play.
“Bit by Bit, Putting it Together”: Processes of Adaptation in Contemporary Musical Theater Focus Group: 11 (MTD) Music Theatre/Dance Room: PDR 5 - 3rd Floor Chair: Helen Myers, State University of New York – Fredonia Session Coordinator: Chase Bringardner, University of Texas at Austin “Nothin’ Dirty Going On”: Translating Southern Identities in “ The Best Little Whorehouse in Texas” Participants: Jim Brown, University of Central Florida, A Triumph of Adaptations: The Many Faces of “Triumph of Love” David Callaghan, University of Montevallo, Hollywood on Broadway in the 21st Century: “Hairspray” and “Spamalot” This panel will examine various methods of adaptation and translation employed by creators of musical theatre since the Golden Age of Musical Theatre in the 1940s and 50s.
Ascending the Racial Mountain: Representing the Black Body in American Theatre Focus Group: 5 (BTA) Black Theatre Association Room: Salon 7 - 3rd Floor Chair: Harvey Young, Northwestern University Participants: Kimberly Ellis, Independent Scholar, Staging the Goddess II: The Female Divine in Black Theatre” Adrienne Macki, Tufts University, Performing Gender: Black Women Call from the Mountain. Jonathan Shandell, New York University/Yale School of Drama, Many Paths Up the Mountain: In Search of a Negro Poetics for the Harlem stage Through analysis of the intersections of gender and race, panelists will consider how black drama has defined itself, and how theatre artists have represented racial identity from the Harlem Renaissance to present.
Dancing Around Identity: The Theatrical Landscape of Daniel MacIvor Focus Group: 40 (MD) Multidisciplinary Focus; 10 (LGBT) Lesbian, Gay, Bisexual, Transgender, 11 (MTD) Music Theatre/Dance, 6 (DT) Design and Technology Room: Salon 2 - 3rd Floor Co-Coordinators: Ray Miller, Appalachian State University, “If I Had My Way, We’d All Be Dancing”: The Choreographic Landscape of Daniel MacIvor’s Plays Frank Miller, Georgia State University, Who’s/Whose Gay Theatre: Queering a Gay Playwright’s Non-Gay Plays Participants: Wes D. Pearce, University of Regina, The Scenographic Mind of Daniel MacIvor: The Imaginative Space(s) of Play The panelists address thematic and scenographic elements of Canadian playwright Daniel MacIvor’s work as they relate to Canadian and global theatrical traditions and new trends developing out of those traditions.
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2 :15 PM – 3:45 PM Challenging the Culture: Writing and Dramaturgy in a Modern World Focus Group: 7 (DR) Dramaturgy Room: PDR 4 - 3rd Floor Session Coordinator: Michele Volansky, Washington College/LMDA, Capturing my Imagination Participants: Jan Lewis, University of Southern California The Death of the Author and the Life of the Play: The Question of Intentionality in Dramaturgical Writing Tanya Palmer, Goodman Theatre Past as Present: Re-Discovering Lessing, Brecht and the Contemporary Dramaturg Richard Pettengill, Lake Forest College, A Dramaturg Reenters the Academy Designed to engage dramaturgs in a lively discussion about writing -- from process to program notes, including the significant role dramaturgs can play in shaping the cultural dialogue.
STILL ACTING UP Frieda Bernstein Bob Heinzen Lew Bernstein Sally Jablo Chuck Block Lee Jaffe Rosalie Blonder Sylvia Joseph Patti Burton Bernie Nudelman Sheldon Cooper John Schliessmann Marlene Devroy Marilyn Silver Jeanne Elvart Carol Wechter Julian Gestrin Barbara Brown Ray Gilbert Georgia Cohen Lorelei Goldman Jill Shellabarger Marilyn Grey Brenda Segal
Directing New Work: Developing Helpful Strategies for Creating and Collaborating on New Scripts Focus Group: 8 (DP) Directing Program Room: Salon 6 - 3rd Floor Chair: John Thornberry, Freelance Director, Boulder, CO Session Coordinator: Cathy Hartenstein, University of Colorado at Boulder Participants: Gina Kaufmann, California State University Sacramento Andrea Moon, University of Colorado This roundtable discussion will focus on the director, playwright, and dramaturge relationship. It will be geared towards examining how script development intersects with production.
Diversity and the Musical (Seminar) Focus Group: 41 (SEM) Seminar 2006 Room: Salon 12 - 3rd Floor Convenor: Judith Sebesta, University of Arizona Participants: Becky Becker, Truman State College, Cross-Cultural Practice: Musical Theatre Builds Bridges Bud Coleman, University of Colorado at Boulder, Diversity Away from ‘The Great White Way’ Stephen Farrow, University of Toronto, Don’t You Hate the Word ‘Musical’?: Diversity for Rent Jessica Hillman, University of Colorado – Boulder “Goyim on the Roof:” Embodiment of Identity Politics is David Leveaux’s FIDDLER ON THE ROOF Bruce Kirle, Central School of Speech and Drama - London Interrogating the Form: Creating Bridges Between Musical Theatre and Performance Art to Promote Diversity Mary Jo Lodge, Lafayette College “How Many Women Does It Take to Fix a Ladder?” Female Directors/Choreographers in American Musical Theatre Nathan Matthews, SUNY Buffalo Rosetta LaNoire’s dream fulfilled: Amas Musical Theatre’s 37 years of Diversity in the Musical Theatre Adam Roberts, University of Texas at Austin Staging the Divide: Visual Portrayals of Otherness in Broadway Musical Members Rebecca Stone Thornberry, University of Colorado, Boulder You’re Lyin’, You’re Lyin’ I Never Been So Thin: The Intersection of Body Size Diversity, Race and the American Musical
Im-porting the Future: Performance Ethnography of Asia 1: (EaST) is (wEST) Focus Group: 40 (MD) Multidisciplinary Focus Room: PDR 18 – 5th Floor Session Coordinator: Kevin Brown, University of Colorado at Boulder, Dancing into the Heart of Darkness (continued on following page)
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2 :15 PM – 3:45 PM Im-porting the Future: Performance Ethnography of Asia 1: (EaST) is (wEST) (continued from prev. page) Participants: Katherine Mezur, Mills College A Different Eros: Ambiguity and Transformativity in the Performance of the Kabuki “Femme Fatale” Kirstin Pauka, University of Hawaii Adat, Islam, and Modernization in Minangkabau Randai Theatre Zane Trow, Queensland University of Technology, Live Art Asia Part 1 (EaST is wEST): This two-part panel presents various approaches to the study of Asian performance, documenting the collisions between traditional forms, contemporary practices, and implications for the future.
Jane Chambers Playwriting Event 2006 Focus Group: 23 (WTP) Women and Theatre Program Room: Red Lacquer Room - 4th Floor STILL ACTING UP Co-Coordinator: Erica Stevens Abbitt, University of Windsor Frieda Bernstein The Women and Theater Program, the proud sponsor of the Jane Chambers Playwriting Competition, is pleased to host a special Lew Bernstein staged reading of Chambers’ celebrated Last Summer at Bluefish Cove in celebration of its 25th anniversary. The play will be directed Chuck Block by Heather Schmucker of About Face Theatre. Rosalie Blonder Patti Burton Latina/o Debut Panel Sheldon Cooper Focus Group: 24 (LFG) Latina/o Focus Group Marlene Devroy Room: Salon 1 - 3rd Floor Jeanne Elvart Julian Gestrin Membership and Marketing Committee Meeting Ray Gilbert Focus Group: 38 (CC) Conference Committee Lorelei Goldman Room: PDR 7 - 3rd Floor Marilyn Grey Chair: Steve Peters, Wichita State University
Mature Performers Take to the Stage: Performances by Still Acting Up and the 21st Century Sceniors Focus Group: 15 (STRP) Senior Theatre Research and Performance Room: Adams - 6th Floor Chair: Harriet Lynn, Heritage Theatre Session Coordinator: Steven Pennell, University of Rhode Island Participants: Lee Jaffe, Still Acting Up! Brenda Segal, Still Acting Up!, Business Manager Jill Shellabarger, Still Acting Up! Barney Straus, 21st Century Sceniors
21st CENTURY SCENIORS STILL ACTING UP Fred Aron Rosita Lightbourn Frieda Bernstein Bob Heinzen Marilyn Ball Susan Mann Lew Bernstein Sally Jablo Patty Borowczyk Joe Mendez Chuck Block Lee Jaffe Ellen Brewster Charlotte Mendez Rosalie Blonder Sylvia Joseph Dolores Cryer Jan Nickerson Patti Burton Bernie Nudelman Amy Daigler Gary Powe Sheldon Cooper John Schliessmann Mary Dore Pauline Richter Marlene Devroy Marilyn Silver Josh Haberberger Earle Steinmetz Jeanne Elvart Carol Wechter Ellie Jolcover Tom Vuillemot Julian Gestrin Barbara Brown Henry Young Ray Gilbert Georgia Cohen Lorelei Goldman Jill Shellabarger Marilyn Grey Brenda Segal Experience the joy of older performers on stage! Enjoy Still Acting Up, which has brought their positive aging message to hundreds of audiences for over 29 years. The session concludes with a presentation of “Waiting for Dr. Hamlett” by the 21st Century Sceniors.
Pay to Play: Practices and Policies in Funding College Theatre Production Focus Group: 20 (TM) Theatre Management Room: PDR 6 – 3rd Floor Session Coordinator: Debra Otte, Long Island University, C. W. Post Campus Co-Coordinator: Frank Trezza, SUNY New Paltz Participants: Michael Allen, Montclair State University of New Jersey Presentation of funding models with analysis of the relative effectiveness of each paradigm. Presenters will discuss implications that each has on mission, culture and learning outcomes of academic theatre departments.
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2 :15 PM – 3:45 PM Plasticene Physical Theater Actor Training: Six Spaces and Twelve Tools Focus Group: 1 (AP) Acting Program Room: Salon 3 - 3rd Floor Chair: Dexter Bullard, Plasticene Physical Theater/The Theatre School at DePaul University Participants: Sharon Gopfert, Plasticene Physical Theater/University of Illinois Chicago Eric Leonardson, Plasticene Physical Theater/School of the Art Institute Brian Shaw, Plasticene Physical Theater/Columbia College Theater Plasticene, a pioneer ensemble-based physical theater company in Chicago, demonstrates the Six Spaces and Twelve Tools developed over the past ten years to release actors into full physical life.
Playing with (Indian) Mascots: Developing and Staging “The Mascot Opera” Focus Group: 16 (TASC) Theatre and Social Change Room: Salon 9 - 3rd Floor Chair: Jeffrey Kellogg, Culver-Stockton College, Negotiating the Chief: The Mascot Opera Session Coordinator: Ann Haugo, Illinois State University Noble Intentions, Savage Legacies: A Performance Genealogy from Metamora to Mascot Participants: LeAnne Howe, University of Illinois Urbana-Champaign A Savage, A Baseball Film, and the Living Sports Mascot (As inspiration for theatre) This panel examines the research, writing, and production process of LeAnne Howe’s The Mascot Opera, a piece that explores Ameri- ca’s cultural obsession with Indian mascots.
Playwrights Teaching Playwriting Focus Group: 12 (PP) Playwright’s Program Room: Salon 4 - 3rd Floor Session Coordinator: David Rush, Southern Illinois University Participants: Claudia Allen, Victory Gardens Theatre Sean Graney, The Hypocrites - Artistic Director Joel Johnson, Steppenwolf Theatre Company Mia McCullough, Chicago Dramatists - Resident Playwright and Stage Carlos Murillo, The Theatre School, DePaul University Douglas Post, Victory Gardens Theatre James Sherman, Victory Gardens Theatre Chicago playwrights who teach playwriting discuss how their writing impacts their teaching and their teaching impacts their writing.
Producing Shakespeare in the Contemporary Academy (Seminar) Focus Group: 41 (SEM) Seminar 2006 Room: Salon 11 - 3rd Floor Convenor: Kurt Daw, SUNY New Paltz Participants: Kathleen Campbell, Austin College, Beyond Brook: Original Practices in the Academy Kevin Landis, Tufts University, Mingling with the Word: What Academic Shakespeare Teachers the Professional Gary Maciag, Siena College, High Concept, Low Expectations? Directing Shakespeare of, by and for the College Community Stephen Weeks, Lewis and Clark College, Producing “The Winter’s Tale” in the Academy
Research and Practice: The Transformational Power of Theatre Education Focus Group: 36 (ADV) Advocacy Committee Room: Parlor A - 6th Floor Session Coordinator: Gale Sheaffer, Norfolk Academy Mapping the Professional artist to the curriculum: Partnership with the Virginia Symphony Orchestra Co-Coordinator: Raina Ames, University of New Hampshire Participants: Dr. Gail Humphries-Mardirosian, American University Recent Publications: The Third Space and more - its impact on Practise Jacqueline Murphy, Chicago Arts Education, Filling the Empty Stage Tim Sauers, Director, Program Department, Urban Gateways Chicago Arts Education Theatre Education practitioners from the Chicago area (CAPE) and others will present recent publications and discussion on Theatre Education, its impact on Higher Education and share workshop exercises which demonstrate their work.
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2 :15 PM – 3:45 PM The “Bain” of Our Existence: Strategies and Obstacles for the “Best” Theatre Teachers Focus Group: 19 (TLA) Theatre as a Liberal Art Room: PDR 17 – 5th Floor Chair: Richard Runkel, Alverno College Fostering Deep Learning in General Education Classes: Reaching Beyond the Requirement Session Coordinator: Cynthia Allan, Pittsburg State University No Professor Left Behind?: Teaching Obstacles for Theatre Faculty in the Liberal Arts Respondent: Julia Bennett, Augustana College Participants: Kaarin Johnston, College of St. Benedict & St. John’s University Rehearsing Learning: Knowing Through Doing Mark Lococo, University of Wisconsin - Waukesha Utilizing Co-curricular Elements in Season Planning: Use of the Campus Read as Motivation for Theatre Production Sarah Rudolph, University of Wisconsin Colleges What The Best Seasons Teach: Juggling Liberal Arts, Outreach, and Fostering Talent in College Production Panelists share their research and hold an open discussion of Ken Bain’s “What the Best College Teachers Do” as it pertains to theatre educators/practitioners within a liberal arts setting.
The Theater and Its God: Performance and Authenticity Focus Group: 40 (MD) Multidisciplinary Focus; 13 (PS) Performance Studies, 1 4 (RT) Religion and Theatre, 17 (TC) Theory and Criticism Room: PDR 8 – 3rd Floor Chair: Paige McGinley, Brown University Session Coordinator: Megan Shea, Cornell University, Plato’s Alethia: Revising Mimesis through Memory Participants: Peter Civetta, Suffolk University, Truth in Action? - The Performativity of Homiletics Barry Kendall, Stanford University Riding the “Anxious Bench”: Conversion and Performativity in the Revivals of Charles Grandison Finney Concentrating on the connection between religion and representation, these panelists explore teleologies of truth and their strategic uses in performing/theorizing performance.
Theatre History Pedagogy and Scholarship, Past, Present and Future Focus Group: 18 (TH) Theatre History Room: Salon 5 - 3rd Floor Chair: D. Terry Williams, Western Michigan University Participants: Jane Barnette, Bowling Green State University James Fisher, Wabash College Joan Herrington, Western Michigan University An exploration of the past, present and future issues surrounding the scholarship and pedagogy of theatre history since the publication of Oscar Brockett’s HISTORY OF THEATRE in 1968.
Theatre Movement Educators’ Legacy Project: Part One Focus Group: 4 (ATME) Association for Theatre Movement Educators Room: PDR 9 – 3rd Floor Session Coordinator: Annette Thornton, Lawrence University Pushing the Boundaries: Gennadi Bogdanov and Meyerhold’s Theatrical Biomechanics Participants: Joann Browning, University of Delaware Jewel Walker: Movement as Craft -- Transforming the Conceptual into the Real Tim Good, Depauw University, Body Wisdom: Introduction to Arthur Lessac’s Body NRGs Yoav Kaddar, State University of NY at New Paltz Anna Sokolow and the Theatre Artist: The Physical and Soul as One Jennifer Martin, University of Missouri - Kansas City Andre Droznin and Mid-Career Mentoring: New Questions -- New Answers Richard Rand, Purdue University, Jim R. Hancock: Celebrating the Human Being – Body, Mind and Spirit Panelists share the stories/legacies/exercises of prominent movement teachers and mentors: Jim Hancock, Anna Sokolow, Arthur Lessac, Jewel Walker, Gennadi Bogdanov and Andre Droznin.
73 Concurrent Sessions
Friday, August 4, 2006 (contd.)
2 :15 PM – 3:45 PM Theatre, Pedagogy and Student Learning in the Performing Arts (Seminar) Focus Group: 41 (SEM) Seminar 2006 Room: Salon 10 - 3rd Floor Co-Convenors: Richard Gale, Carnegie Institute Kathleen Perkins, Columbia College at Chicago Participants: Crystal Brian, Quinnipiac University, The Pedagogy of Embodiment: Performing Community Anne Fletcher, Southern Illinois University - Carbondale, Margaret Larkin and the Theatre Union Scott R. Irelan, Southern Illinois University – Carbondale, Finding a Voice, Voicing a Find: Using the Theatre History Symposium as Thoughtful, Innovative Pedagogy Valerie Clayman Pye, University of Exeter, Acting Shakespeare: Secrets from the Globe Theatre Andrew Ryder, Seattle Pacific University, Creative Confidence in the Theatre Classroom Kate Sinnett, Saint Cloud State University, Alternatives to Lecture: Using a Learning Communities Approach to the Large Theatre Class Appreciation Class
Think Tank 5: Irrationality and Global Capital--A Collaborative Dialogue on Performance and Waste Focus Group: 40 (MD) Multidisciplinary Focus; 13 (PS) Performance Studies, 23 (WTP) Women and Theatre Program, 17 (TC) Theory and Criticism Room: PDR 16 – 5th Floor Session Coordinator: Jennifer Parker-Starbuck, Roehampton University, London Participants: Josh Abrams, Roehampton University, London Will Love Find a Way? Irrationality Beyond Affect Jennifer Parker-Starbuck, Roehampton University, London The Body in the Void, the Void in the Body: Terri Schiavo, Paul McCarthy, and Plumbing the Depths of Waste Ramon Rivera-Servera, Arizona State University (Ir)rational Race: Violence, Activism and the Black Imagination Maurya Wickstrom, City University of New York/College of Staten Island Interchangeable Bones: the Performance of Human Waste in Mexico The panelists, in their 5th year of collaborative research, present position papers initiating dialogue and exploring notions of the irrational, value, and waste produced within histories and practices of capital.
VASTA/Acting/ATME/Directing/M/TD Reception Focus Group: 22 (VASTA) Voice and Speech Trainers Association Room: Salon 8 - 3rd Floor Conference Planner: Pamela Christian, The University of Texas at Austin Reception for all Performance Groups and to celebrate VASTA’s 20th Anniversary.
4:00 PM – 5:30 PM Annual Membership Meeting and 20th Anniversary Celebration Focus Group: 38 (CC) Conference Committee Room: Empire Room - Lobby Level Chair: Karen Berman, Georgetown University Session Coordinator: Michael Ellison, Bowling Green State University The Membership Meeting includes short reports from the ATHE officers, “thank you’s” to outgoing Governing Council members, and a welcome to the incoming elected volunteers. Focus Group representatives will also be in attendance. The Anniversary celebration highlights feature a video, champagne and cake. Gather round to sing “Happy 20th” to ATHE!
5:45 PM – 7:15 PM “Feminist Performance and Dramaturgy: (In)visibility and Recontextualization from the United States to Israel” Focus Group: 12 (PP) Playwright’s Program Room: Salon 8 - 3rd Floor Chair: Liz Engelman, Literary Managers and Dramaturgs of the Americas Session Coordinator: Constance K. Zaytoun, CUNY Graduate Center Recontextualization of Feminist Performance and the Make-Believe Real Participants: Sharon Aronson-Lehavi, Tel Aviv University Trespassing Boundaries: Feminism, the Internet, and Performance Deborah Margolin, Yale University, Language Fails; That’s Why Dramatists Love Language Examining the failure of language, the deconstruction of gender, and the problematic deconstruction of religious/ethnic identities (specifically Jewish/Israeli), this panel re-imagines a new feminist performance/dramaturgy in our current global socio-political climate.
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5:45 PM – 7:15 PM Acting and Mental Health Focus Group: 1 (AP) Acting Program Room: PDR 5 – 3rd Floor Session Coordinator: Angela Konrad, Trinity Western University Participants: Kristine Holtvedt, Purdue University How do we teach acting while safeguarding mental health? When there is a mental health problem, what should be done? What are the ethical issues? The liability issues? The discussion will address significant questions surrounding the acting/mental health dynamic.
Active Engagement and Aesthetics in the Lobby: Researching, Designing & Creating Installation Dramaturgy Focus Group: 7 (DR) Dramaturgy Room: PDR 8 – 3rd Floor Session Coordinator: Cynthia M. SoRelle, McLennan College Participants: Lisa Arnold, University of Minnesota, Installation Dramaturgy: A Theatre and Social Change Perspective Maria Beach, Ohio University, Walking Through the World of the Play: Challenging the Audience with Visual Dramaturgy Panel will consider goals of pre- and post-theatre audience experience; how installation dramaturgy can localize, personalize, politicize, and globalize issues addressed in production; raising the aesthetic bar for lobby displays.
Audience-Interactive Theatre Events, Playful Community-Building, and the Challenge to Critical Theory Focus Group: 40 (MD) Multidisciplinary Focus; 1 (AP) Acting Program. 13 (PS) Performance Studies, 23 (WTP) Women and Theatre Program Room: PDR 7 – 3rd Floor Chair: Susan Kattwinkel, College of Charleston Session Coordinator: Mark Gowers, Royal Holloway, University of London Role-Playing Audiences: Interactive Murder Mystery Weekends and the women who “Folked” popular theatre Participant: Joel Castellaw, Grossmont College, Reflects on Journeys, and Says Farewell to a Friend, Our Journey with Wendy: A Unitarian/Universalist Congregation Celebrates Community, Jennifer Parker, Florida State University, Con Games?: Women and Community in Sci-Fi Convention Performances Panelists will discuss Audience-Interactive theatre events - ordered by notions of game-playing and folk theatre practices – as alternatives to Critical Theory’s rather combative, politicized, and weaponized use of theatre.
Beginnings Focus Group: 22 (VASTA) Voice and Speech Trainers Association Room: Parlor A - 6th Floor Co-Coordinator: Claudia Anderson, DePaul University Session Coordinator: Debra Hale, Florida State University Linklater Teachers Claudia Anderson and Debra Hale explore and demonstrate the idea of “Beginnings...” What are some inspirational ways to begin a class? We encourage acting and movement teachers to participate.
Cartesian Futures Focus Group: 13 (PS) Performance Studies Room: PDR 18 – 5th Floor Chair: Philip Auslander, Georgia Institute of Technology Session Coordinator: Mary Oliver, University of Salford, Cyborgs have no souls Participants: Nancy Reilly-McVittie, Manchester Metropolitan University, Robots on the Acting Continuum Kathrine Sandys, Liverpool Institute of Performing Arts, The Responsibility of our Phenomenal Perception Total Immersion Performance, the Cyborg versus the Soul and the Post-human Actor, present three attempts to examine what the future holds for performance.
Connecting with Professional Artists: Actors’ Equity’s Outreach Seminar for Universities and U/RTA’s Contract Management Program Focus Group: 36 (ADV) Advocacy Committee Room: Salon 5 - 3rd Floor Participants: Amy Dolan, Actors’ Equity Association Scott Steele, University/Resident Theatre Association Session Coordinator: David McGraw, University of Iowa Amy Dolan, Education and Outreach Coordinator for AEA, and Scott Steele, Executive Director of U/RTA, discuss methods for introducing students to Equity and using professional artists in academic productions.
75 Concurrent Sessions
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5:45 PM – 7:15 PM Constructing and Reclaiming American Cultural Identities Focus Group: 2 (ATDS) American Theatre and Drama Society Room: Salon 12 - 3rd Floor Session Coordinator: Heather Nathans, University of Maryland Participants: Dorothy Chansky ,Texas Tech, Dialectic of Domesticity: Homemaking and Its Discontents in 1920s American Drama Caroline De Wagter, Universite Libre de Bruxelles Re-Inventing the Nation’s Cultural Imaginary in David Henry Hwang’s “Bondage” and Hanay Geiogamah’s “Foghorn” Micaela Diaz-Sanchez, University of California “Impossible Patriots”: The Exiled Queer Citizen in Cherrie Moraga’s ‘The Hungry Woman -- A Mexican Medea’ Thomas Leuchtenmuller, University of Munich A Theatrical Milestone: Paul Laurence Dunbar’s Overlooked Play, “Herrick” Christopher Martin, University of Maryland Fade from Black: The Networks that Shaped Vernon and Irene Castle’s Ragtime Dances Participants on this panel trace the struggle of communities within the United States to reclaim their cultural identities and to contribute to the development of America’s theatrical culture.
Corporeal Refractions of Latina-ness Focus Group: 23 (WTP) Women and Theatre Program Room: PDR 17 – 5th Floor Session Coordinator: Cindy García, University of California - Los Angeles, “Don’t Leave Me, Celia!”: The Traffic in Salseras Participants: Melissa Blanco Borelli, University of California, The “Venerated” One: A (Hi)Story of Cuban Mulatas and their Holy Hips Priscilla Ovalle, University of Southern California Cosmetic Borders: The “Torrid” Dance of Rita Hayworth This panel examines the ways in which Latina corporealities are set into motion as they intersect with frameworks of class, race, nation, and political economy.
Critical Milestones: A Roundtable Discussion About Critical Theory and Theatre Studies Focus Group: 17 (TC) Theory and Criticism Room: Salon 9 - 3rd Floor Session Coordinator: John Fletcher, Louisiana State University Participants: Rosemarie K. Bank, Kent State University Jean Graham-Jones, City University of New York Michal Kobialka, University of Minnesota A complement to the Theory/Criticism’s “Critical Milestones” panel series, this roundtable features several senior theatre theorists dis- cussing the past, present, and future relationship between critical theory and theatre studies.
Dress Rehearsal (closed) for the David Mark Cohen Award-Winning Play Focus Group: 38 (CC) Conference Committee Room: Red Lacquer Room - 4th Floor Session Coordinator: Fredrick J. Rubeck, Elon University Participants: Dennis Black University of North Carolina - Charlotte Judith Royer, Loyola Marymount University This closed rehearsal is in preparation for the staged reading of the David Mark Cohen Award-Winning play
Fighting the good fight. Separate is not equal. Focus Group: 4 (ATME) Association for Theatre Movement Educators Room: Salon 4 - 3rd Floor Chair: Richard Raether, Society of American Fight Directors/ professional Session Coordinator: Sara Romersberger, Southern Methodist University Participants: Richard Stockton Rand, Purdue University/ professional actor/director Nicolas Sandys, The Theatre School at DePaul/ professional Fight Master/Director/Actors present talking points and discuss the crucial need for closer integration of movement and acting classes.
76 Concurrent Sessions
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5:45 PM – 7:15 PM From Religious Legacies to Performative Possibilities: Staging the Sacred (Three Diverse Performances) Focus Group: 14 (RT) Religion and Theatre Room: Salon 10 - 3rd Floor Chair: Jonathan Bender, Naropa University, “How Do You Jew?:” Contemporary Jewish Identity in America Participants: Min Kim Park, University of New Mexico, Kut 4: A Korean Shamanistic Ritual Kirsten Wilson, Naropa University, Is the Buddha Laughing?: The Sutra on Water as an Example Comprised of three diverse solo performances – a Korean shamanic ritual, a Buddhist sutra, and a meditation on Jewish identity – this panel addresses the intersection of religious tradition with contemporary experience.
Milestones in Theatre and Social Change: Reflections on the Global and the Local Focus Group: 16 (TASC) Theatre and Social Change Room: Salon 7 - 3rd Floor Chair: Teresa Kasperick-Postellon, Independent scholar A Brief History of the Theatre and Social Change Focus Group at ATHE Session Coordinator: Susanne Shawyer, University of Texas at Austin Participants: Lesley Delmenico, Grinnell College Negotiating Culture, Responding to Change: Western and Non-Western Performances in East Timor William McCandless, CUNY Graduate Center Theory Meets Practice: A Bridging of Academic and Activist Communities during the 2005 ATHE Conference in San Francisco Valerie Rae Smith, Messiah College, Theatre and Social Change in the General Education Curriculum This roundtable addresses contemporary commitment to politically and socially active performance, and investigates tools and strategies for negotiating community boundaries and cultural traditions in a globalized world.
Nora in America: An Exploration Through Performance of Susan Glaspell’s “Chains of Dew” Focus Group: 2 (ATDS) American Theatre and Drama Society Room: PDR 16 – 5th Floor Session Coordinator: Cheryl Black, University of Missouri- Columbia Participants: Karen Mahoney, Provincetown Fringe Festival Barbara Ozieblo, University of Malaga Amy Pinney, Southern Illinois University Michael Solomonson, Northland Pleasant College This panel presents a staged reading of Susan Glaspell’s “Chains of Dew” followed by a discussion of the historical circumstances of its first production in 1922 and its themes of female liberation and containment.
Reflective Teaching and Assessment Focus Group: 26 (PDC) Professional Development Committee Room: PDR 6 – 3rd Floor Session Coordinator: Kelly Carolyn Gordon, University of North Carolina-Greensboro Participants: Anne Fletcher, Southern Illinois University Assessment 101: Collaborative Evaluation of a Multi-section Course Christine Frezza, Southern Utah University, Articulation and Self-Assessment of the Undergraduate Theatre Project David Wintersteen, Concordia College, Learning History by Doing History Theatre artists collaboratively assess artistic practice throughout the process. Scholarly, reflective teaching focuses collaborative assessment on student learning. Three teacher / scholar / artists share their classroom assessment methods. Rewriting American GLBT Legacies: Challenges, Results, and Future Directions Focus Group: 40 (MD) Multidisciplinary Focus; 10 (LGBT) Lesbian, Gay, Bisexual, Transgender, 2 (ATDS) American Theatre and Drama Society, 18 (TH) Theatre History Room: Salon 2 - 3rd Floor Session Coordinator: Kim Marra, University of Iowa Participants: Noreen Barnes, Virginia Commonwealth University Sarah Bay-Cheng, Colgate University, Printer as Poet Meghan Brodie, Cornell University Bud Coleman, University of Colorado at Boulder J. K. Curry, Wake Forest University Jennifer Danby, Parsons The New School For Design Lisa Merrill, Hofstra University Robert Schanke, Central College, Emeritus Domenick Scudera, Ursinus College Wendell Stone, University of West Georgia Established and emerging scholars discuss the methodological and personal challenges of doing queer American theater history, its impact on the wider field of American theater history, and possible future directions.
77 Concurrent Sessions
Friday, August 4, 2006 (contd.)
5:45 PM – 7:15 PM Stealing Candy from Children---Musical Theatre’s Adoption of Theatre for Young Audiences’ Techniques Focus Group: 11 (MTD) Music Theatre/Dance Room: Salon 6 - 3rd Floor Co-Coordinators: Christine Tanner, Eastern Michigan University Stealing Candy from Children---Musical Theatre’s Adoption of Theatre for Young Audiences Techniques Tim Threlfall, Brigham Young University Stealing Candy from Children---Musical Theatre’s Adoption of Theatre for Young Audiences Techniques From the extensive use of miniatures in LION KING to the puppet stars of AVENUE Q, mainstream Broadway musicals have increas- ingly adopted the frankly theatrical stage conventions and techniques long championed by Theatre for Young Audiences.
Swedish Dialect, Chinese Manner and Black/Jew Faces: Milestones of Raced and Voiced Mutabilities in Early Twentieth-Century American Popular Entertainment Focus Group: 18 (TH) Theatre History Room: PDR 9 – 3rd Floor Session Coordinator: Jan Lewis, University of Southern California/University of Judaism Participants: Dongshin Chang, New York University/Fairleigh Dickenson University Victoria Lichterman, New York City College of Technology Landis Magnuson, Saint Anselm College This roundtable identifies cross-currents among theatrical (re)constructions of race, ethnicity and nationality in the United States from 1900 through 1930, and the implications of such legacies for later performative modes. Teaching African American Drama, Part II: Strategies and Syllabi Focus Group: 5 (BTA) Black Theatre Association Room: Salon 3 - 3rd Floor Co-Coordinators: Ladrica Menson-Furr, University of Memphis C. Patrick Tyndall, University of Arkansas Melinda Wilson, California State University, Sacramento How do you teach A Raisin in the Sun in two days or less? Should you teach August Wilson’s plays in chronological or production order? These are some of the topics for this roundtable discussion about how to incorporate discussions about African American drama into general theatre classes and develop African American theatre seminars. Feel free to bring sample lesson plans and syllabi to share.
The Rehearsal Process: Using Non-Traditional Methods to Achieve Non-Traditional Performances Focus Group: 8 (DP) Directing Program Room: Salon 11 - 3rd Floor Session Coordinator: Liza Williams, University of Colorado, Boulder Participants: Stuart J. Hecht, Boston College Re/discovering Good Person: Brecht, drugs & rock and roll Mira Kingsley, California Institute of the Arts (CalArts), Designing Fields of Play: an exploration of collision in Dance/Theater Michael Landman, University of Arkansas Venturing into the Abyss: Working with designers and actors together in rehearsal to unravel impossibly challenging scenes Andrea Moon, University of Colorado, Boulder, Directing in Weight: Contact in the Actor’s Present In this session several directors discuss the relationship between the alternative rehearsal techniques they have created or adopted, and the resulting performances, generating a group discussion of rehearsal techniques. 5:45 PM – 9:00 PM Alba Emoting in Practice: Demonstration and Discussion (Double Session) Focus Group: Room: Salon 1 - 3rd Floor Participants: Susana Bloch, Master Teacher (CL6) Evelyn Case (CL1) Pamela Chabora (CL3P) Laura Facciponti (CL3) Nancy Loitz (CL4) Roxane Rix (CL5) Principles and performance applications of Alba Emoting, a technique for actors introduced through ATHE in 1991, will be demonstrated and discussed by actor/teachers representing all ranges of training and experience. The Play’s the Thing to Catch the Dean: Preparing Actors and Creating Interactive Scripts for Faculty Development” (paid workshop) Focus Group: 40 (MD) Multidisciplinary Focus, (27) Strategic Planning Committee, (8) Directing Program, 19 (TLA) Theatre as a Liberal Art Room: Adams - 6th Floor Chair: Kevin Babbitt, University of Missouri-Columbia (continued on following page) 78 Concurrent Sessions
Friday, August 4, 2006 (contd.)
5:45 PM – 9:00 PM The Play’s the Thing to Catch the Dean: Preparing Actors and Creating Interactive Scripts for Faculty Development” (paid workshop) (continued from previous page) Session Coordinator: Suzanne Burgoyne, University of Missouri-Columbia Participant: Jeffrey Steiger Director, CRLT Theatre Program, University of Michigan Interactive theatre for Faculty Development presents unique challenges. In this workshop, the director of Michigan’s CRLT Players shares exercises and techniques for creating scripts and training actors for interactive performance.
THE RENAISSANCE OF MICHAEL CHEKHOV: Tools for the 21st Century Actor (Double Session) Focus Group: 40 (MD) Multidisciplinary Focus; 1 (AP) Acting Program; 4 (ATME) Association for Theatre Movement Educators; 8 (DP) Directing Program Room: Monroe - 6th Floor Chair: Catherine Albers, Case Western Reserve University Participants: Dawn Arnold, The Studio of the Moving Dock Acting Company/ Bethany Caputo, MICHA and The Studio of the Moving Dock Theater Jessica Cerullo, Naropa University Wil Kilroy, University of Southern Maine Joanna Merlin, MICHA (International Michael Chekhov Association) Mala Powers, Michael Chekhov Studio/West Lionel Walsh, University of Windsor, School of Dramatic Art The Michael Chekhov Technique - Demonstration and workshop featuring a presentation of the new Teaching Chekhov DVD Series and new biography with former Chekhov students, Joanna Merlin and Mala Powers.
Translation and the Teaching of Asian Performance (Double Session) Focus Group: 3 (AAP) Association for Asian Performance Room: PDR 4 – 3rd Floor Chair: Claire Conceison, Tufts University Session Coordinator: John B. Weinstein, Simon’s Rock College of Bard Panelists: Yoshiko Fukushima, University of Oaklahoma Robert S. Peterson, Eastern Illinois University John B. Weinstein, Simon’s Rock College of Bard Translations are essential to the teaching of Asian performance in North American contexts. This roundtable explores issues surrounding translation itself and offers updates on exciting new and forthcoming translations.
Two-Year College Program dinner Focus Group: 21 (TYCP) Two-Year College Program Room: Off-Site Session Coordinator: Zoie Eva Lutz, University of Wisconsin-Richland ATHE members who work in Two-Year College Programs or who face similar issues are welcome to join the TYCP focus group members for a social dinner at a local restaurant. Please meet at the ATHE registration desk at the scheduled time.
7:30 PM – 9:00 PM Abra Cadaver: the Dead Body in Performance and Spectacle Focus Group: 13 (PS) Performance Studies Room: PDR 16 – 5th Floor Chair: E.J. Westlake, University of Michigan The Last Ride of Billy the Kid: DNA and the politics of exhumation Participants: Meiling Cheng, University of Southern California Spectacular Impasse: Cadaver Display in Chinese Live Art D. Ohlandt-Ross, University of Sydney Science or Art? : von Hagan’s Bodyworlds, and the (Postmodern) Matter of Life and Death Von Hagens’ Body Worlds exhibit elicited a variety of responses, from approval for the educational benefit to disgust at the idea of put- ting real dead bodies on display. Death and the spectacle of the dead body is often met with ambivalence by a society that celebrates the “truth” found through scientific inquiry along with fear and loathing at the idea of disturbing or displaying the dead. This panel will address situations that reveal and interrogate this ambivalence.
Acting the Political Action: Diffusing Homophobia Through Solo & Group Performance Focus Group: 40 (MD) Multidisciplinary Focus; (10) LGBT Lesbian, Gay, Bisexual, Transgender; 12 (PP) Playwrights Program; 16 (TASC) Theatre and Social Change Room: PDR 18 – 5th Floor Participants: Laramie Dean, Southern Illinois University Carbondale, Out Under the Blue Sky Gordon Hensley, Appalachian State University, Closets are for Clothes Robin Reese, Penn State Altoona, Mama Was An Andalusian Jet Skier: or, How To Breed Heterosexuals Panelists perform excerpts and discuss performing original anti-homophobic theatre. What is our collective role as theatre artists dealing with political actions? How do we strengthen these actions? 79 Concurrent Sessions
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7:30 PM – 9:00 PM Buying the Future: Performance, Capitalism and the Inevitable Focus Group: 13 (PS) Performance Studies Room: PDR 8 - 3rd Floor Chair: Robert Vorlicky, Tisch School of the Arts, New York University Session Coordinator: Chris Mills, New York University, A Capital Performance: Pig Iron Theater Company’s PAY UP Participants: Kerry Moore, Vassar College, Alphabet Soup: M is for Martha (Stewart, Rosler & Karen Finley’s George and Martha) Michael Thomas, Lucky Pierre Performance Group, Chicago, Lucky Pierre’s Final Meals Project This panel investigates the ways in which institutions—both domestic and public—perform (or attempt to undermine) the coercive power of capitalism.
Empire vs. Nation in American Theatre History Focus Group: 2 (ATDS) American Theatre and Drama Society Room: Salon 8 - 3rd Floor Chair: Mark Cosdon, Allegheny College Participants: Theresa Lang, Tufts University, A Defining Moment: Shakespeare Burlesqued in 19th Century America Richard Tharp, University of Maryland “It wasn’t just a man’s world:” Theresa Helburn and Armina Marshall and the beginnings of Theatre on Television Jeanmarie Williams, University of Washington Waiting for the Playhouse: Performance in the Itinerarium of Dr. Alexander Hamilton This panel questions how the “instinct” for empire that dominated America has fought against the democratizing influence of cultural forms that seek to expand the idea of nation.
Milestones in French Theatre History: 1637, 1789, 1968 Focus Group: 18 (TH) Theatre History Room: PDR 9 – 3rd Floor Chair: Emily Sahakian, Northwestern University Session Coordinator: Daniel Smith, Northwestern University Libertinage and the Querelle du Cid: Corneille as a Libertine Ancestor Participants: Kate Bredeson, Yale University, The End of the Absurd: The Swan Song Before May ’68 Mechele Leon, University of Kansas, Theatre, Theatricality, and Politics: Questions for Historians of the French Revolution This panel explores three milestones in French theatre history: the 1637 “Querelle du Cid,” the French Revolution in 1789, and the protests of May 1968.
Militancy in Black and White (with a streak of Red): Race and Political Activism on the American Stage Focus Group: 5 (BTA) Black Theatre Association Room: Salon 10 - 3rd Floor Chair: C. Patrick Tyndall, University of Arkansas – Fayetteville Participants: Cheryl Black, University of Missouri, Stevedore: an Agitprop Experiment in Racial and Sexual Solidarity Ann Folino White, “Shifting Meanings, Staging Bodies: The 1939 Bootheel Roadside Demonstration” Jonathan Shandell, NYU/Yale School of Drama “People’s Theater” for Which People?: Propaganda on the Harlem Stage 1935-40 This session examines the intersection of political activism and racial identity on the American stage. How have African-American theater artists employed race within past and present agitations for social justice?
Music Theatre in Three Major Performing Arts Centers Focus Group: 11 (MTD) Music Theatre/Dance Room: PDR 5 – 3rd Floor Chair: Barbara Parisi, Long Island University - Brooklyn Campus, Music Theatre at the Brooklyn Academy of Music-NYC Participants: Stephen Farrow, University of Toronto, The Royal Exchange’s Musicals in the U.K. Travis Stockley, The University of North Carolina, The Broadway Musical Roadstop at The Auditorium Theatre in Chicago This panel plans to look at three major performing arts institutions in the U.S. and the U.K. to explore the music theatre/musical histories of the centers. The panel will also present the architectural and theatrical designs of the facilities and their missions as performing arts centers.
Queer the Actor’s “It” Focus Group: 40 (MD) Multidisciplinary Focus; 10 (LGBT) Lesbian, Gay, Bisexual, Transgender, 13 (PS) Performance Studies, 17 (TC) Theory and Criticism Room: Salon 5 - 3rd Floor Chair: Gwendolyn Alker, New York University (continued on following page)
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7:30 PM – 9:00 PM Queer the Actor’s “It” (continued from previous page) Participants: Bud Coleman, University of Colorado at Boulder, “No Sex, Please. We’re British” -- Pantomime Dames and Best Boys Jennifer Renee Danby, Parsons The New School for Design, Rolling and Queering It: The Book of Daniel Zachary A. Dorsey, University of Texas at Austin, Reconsidering “Za!” - Fighting Queerly on Stage and Screen This panel considers queerness and the actor on stage, set, and screen, and is informed by Joseph Roach’s recent work on the actor’s “It,” published in Theatre Journal.
Redrawing Boundaries: Feminist Pedagogies of Theatre in the Liberal Arts Focus Group: 40 (MD) Multidisciplinary Focus; 23 (WTP) Women and Theatre Program, 19 (TLA) Theatre as a Liberal Art, 26 (PDC) Professional Development Committee Room: Salon 2 - 3rd Floor Leah Lowe, University of Connecticut The Cross-listed Course: Serving Two Women’s Studies and Performance Students at Once Co-Coordinators: Ann Elizabeth Armstrong, Miami University of Ohio In Search of the Beloved Community: Freedom Summer 1964 Reshapes University, Students and Community Kathleen Juhl, Southwestern University Playful Improvisational Processes in a Feminist Theory Driven Acting Classroom Participants: Norma Bowles, Artistic Director of Fringe Benefits Theatre Company Facilitating the Theatre for Social Justice Institute Paul Jackson, Miami University of Ohio, Spelman College: Warrior Women and a Dramaturgy of Liberation Joni/Omi Jones/Osun Olomo, University of Texas at Austin, The Hard Stuff: The Pedagogy of Laurie Carlos Leah Lowe, University of Connecticut, The Cross-listed Course: Serving Two Women’s Studies and Performance Students at Once Joan McCarty, Savannah State University, Spelman College: Warrior Women and a Dramaturgy of Liberation Domnica Radulescu, Washington and Lee University The Transdisciplinary Application of Comedy for Feminist Consciousness-Raising This roundtable discussion will feature feminist performance methodologies in interdisciplinary settings, comedy and play theory for feminist consciousness-raising and theatre and performance as a means of institutional change.
Refocus on the Family: Educational Legacies of Theatre Invoking Religion Focus Group: 14 (RT) Religion and Theatre Room: Salon 7 - 3rd Floor Chair: Carolyn Roark, Baylor University Session Coordinator: Heather Beasley, University of Colorado-Boulder, Homosexuality Equals Pedophilia, and other ‘Doubt’ful Assumptions: Contemporary Drama Set in Catholic Boarding Schools Participants: Gad Guterman, Graduate Center, City University of New York Bakathir in Translation: Three Religious Plays Find New Life Edward Lingan, Baruch College, Katherine Tingley’s Theatrical Promotion of Universal Brotherhood and Theosophy Theatre, education, and religion traverse the contested grounds of “family” and “values.” Contemporary plays and philosophies that remap this uneven terrain alter our perceptions and challenge our preconceptions.
Stage Violence for Playwrights & Dramaturgs: What Writers Need to Know About Fighters Focus Group: 12 (PP) Playwright’s Program Room: Parlor A - 6th Floor Session Coordinator: Meron Langsner, Tufts University, What Writers Need to Know About Fighters: Stage Violence for Playwrights & Dramaturgs A workshop on pragmatic and dramaturgical issues surrounding the writing of fight scenes. Issues addressed will range from character conflict and power dynamics to budget and staging of different forms of physical conflict.
The Sacred, the Profane, and the Performative Focus Group: 40 (MD) Multidisciplinary Focus; 23 (WTP) Women and Theatre Program, 13 (PS) Performance Studies, 17 (TC) Theory and Criticism Room: PDR 17 – 5th Floor Chair: Arden Thomas, Stanford University, Performing the Profane Body: Rachel Rosenthal’s Ecologies of Performance Participants: Brandi Catanese, UC Berkeley, Carnal Art or Capitulation?: The Evolution of Li’l Kim Magda Romanska, Cornell University, The Anatomy of Blasphemy: ‘The Passion’ and the Trial of Dorota Nieznalska Following this year’s theme, our sacred/profane/performative paradigm attempts to sunder established barriers as we question historical, racialized, and environmentalist preconditions for understanding feminist performance’s ethical potential, especially regarding bodily praxis.
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Friday, August 4, 2006 (contd.)
7:30 PM – 9:00 PM Theoretical Evidence: Intersections of Science and Art in David Auburn’s Proof Focus Group: 2 (ATDS) American Theatre and Drama Society Room: PDR 4 – 3rd Floor Chair: George Potter, University of Cincinnati Love Isn’t an Equation: Chaos, Psychotherapy, and Interpersonal Relationships in “Proof” and “Good Will Hunting” Session Coordinator: Kimberly Miller, Fort Hays State University Family Legacy of Blood and Matter (Then and Now) Participants: Amelia Kritzer, University of St. Thomas, Girls and Math: Perspectives on Gender in “Proof” and Five Arvid Sponberg, Valparaiso University, Principles of Uncertainty in “Proof” and “Copenhagen” The intersections of science and art are dissected in Proof by applications of Chaos and Uncertainty theories. Characterization is analyzed through lenses of principles found in mathematics and heredity.
Using Adapted Authentic Movement Practice in the Acting Classroom Focus Group: 1 (AP) Acting Program Room: Salon 3 - 3rd Floor Chair: Hilary Chandler, Southern Illinois University Carbondale Session Coordinator: Rebecca Fishel Bright, Independent Acting Teacher and Consultant This participatory workshop will examine adapted authentic movement practice as a tool for the acting/scene-study class. Skills addressed include impulse, presence, emotional availability, listening, stillness, working from Self.
7:30 PM – 10:30 PM Staged Reading of the David Mark Cohen Award-Winning Play GOING AFTER CACCIATO, by Romulus Linney Focus Group: 38 (CC) Conference Committee Room: Red Lacquer Room - 4th Floor Chair and Session Coordinator: Fredrick J. Rubeck, Elon University New Plays Production Coordinator: Judith Royer, Loyola Marymount University Director: Dennis Black, University of North Carolina, Charlotte Assistant Director: Sharon Mills Andrews, Wake Forest University Actors: Drew Bratton, Freelance Paul DuPratt, Freelance Joe Farina, Freelance Sean Michael Kelley, Texas Tech University Matt Roberson, Freelance Robin Stone, Roger Williams University Peter Wray, Towson University David Mark Cohen Award Alternate Winners: Second Place: Souvenirs of Home, by Elyne Quan, New York University Third Place: Canyon Suite, by Chuck Erven, Fresno City College Public performance of the 2006 winner of the David Mark Cohen Award-Winning play, to be followed by an open discussion with the playwright, director, and cast.
1:00 PM – 12:00 AM Journal Editors’ Reception Focus Group: 28 (RPC) Research & Publications Committee Room: Parlor A - 6th Floor Chair: Jenny Spencer, University of Massachusetts, Amherst
Saturday, August 5, 2006
8:00 AM – 9:00 AM Awards Committee Meeting Focus Group: Awards Committee Room: PDR 8 – 3rd Floor Chair: Lionel Walsh, University of Windsor
Focus Group Representatives’ Breakfast with the President Focus Group: 38 (CC) Conference Committee Room: President’s Suite
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