IFTR 2018 Belgrade 1 CONFERENCE SCHEDULE AT A GLANCE OPENING CEREMONY
Day -2 Day -1 Day 1 Day 2 Day 3 Day 4 Day 5 Day +1 Day +2 Saturday Sunday Monday Tuesday Wednesday Thursday FRIDAY Saturday Sunday Monday, July 9 July 7 July 8 July 9 July 10 July 11 July 12 July 13 July 14 July 15 16:00 – 16:30 9:00 Working General General Working General 9:30 Groups 1 Panels 2 Panels 3 Groups 5 Panels 6 National Theatre 9 – 10:30 9 – 10:30 9 – 10:30 9 – 10:30 9 – 10:30 10:00 Speakers: 10:30 Coffee Break 10:30 – 11 Ana Brnabić, Prime Minister of the Republic of Serbia 11:00 Working New General New Working Jean Graham Jones, President of the IFTR 11:30 Groups 2 Scholars’ 1 Panels 4 Scholars’ 2 Groups 7 11 – 12:30 11 – 12:30 11 – 12:30 11 – 12:30 11 – 12:30 Miloš Pavlović, Dean of the Faculty of Dramatic Arts in Belgrade 12:00 Ivana Vujić, President of the Organizing Committee IFTR 2018 Belgrade 12:30 New New New Lunch Scholars’ Lunch Book Lunch Scholars’ Lunch Scholars’ Lunch with 13:00 12:30 – 14 Workshop 12:30 – 14 Launches 12:30 – 14 Workshop 12:30 – 14 Caucus 12:30 – 14 13:30 14:00 Dejan Kolarov, dancer General Working Working General General 14:30 Panels 1 Groups 3 Groups 4 Panels 5 Panels 7 Konstantin Bunuševac, performer 14 – 15:30 14 – 15:30 14 – 15:30 14 – 15:30 14 – 15:30 15:00 15:30 Coffee Break 15:30 – 16 16:00 Opening Ceremony General Working Keynote 2 Keynote 4 16:30 Assembly Groups 6 16 – 17:30 16 – 17:30 Keynote 1 16 – 17:30 17:00 16:30 – 18 17:30 Keynote 3 17 – 18:30 Closing Ceremony 18:00 Program & Cultural S ocial Program & Cultural S ocial Program & Cultural S ocial Program & Cultural S ocial 18:30 SHOWCASE 19:00 SIDE PROGRAM 19:30 Welcome SIDE 20:00 Reception PROGRAM WELCOME RECEPTION 20:30 SIDE 21:00 PROGRAM 21:30 SHOWCASE SHOWCASE 22:00 Farewell Dinner 22:30 23:00 Monday, July 9 23:30 19:00 – 20:30 Belgrade City Hall Working Groups General Panels New Scholars Keynote
WG GP NS KN
All panel sessions are held at the Faculty of Philosophy KN1 - National Theatre KN2, KN3, KN4 - Faculty of Philology (The Hall of Heroes) IFTR 2018 Belgrade IFTR 2018 Belgrade 2 3 KN KN KEYNOTE SPEAKERS KEYNOTE SPEAKERS
Monday, July 9 Tuesday, July 10 16:30 – 18:00 16:00 – 17:30 National Theatre Faculty of Philology, The Hall of Heroes
GORAN STEFANOVSKI - THE SPARK WHICH ESCAPES SILVIJA JESTROVIĆ - The Eternal Immigrant and Aesthetics (Narratives Between Hammer and Anvil) of Solidarity
The presentation analyzes the binary opposites of Migration and Stasis, Journey and Home. Ilya and Emilia Kabakov’s model for the sculpture called the Eternal Immigrant depicts a body The powers that be usually manipulate these opposites and turn them into irreconcilable lumped over a wall’s edge, upper-half on one side, lower-half on the other—neither able to ideological narratives to wield control over family and society. cross over nor to fall back. Kabokov’s image is a point of departure to examine the reoccurring This ‘Hammer and Anvil’ operation often leads to identity crises and trauma. tropes and experiences of exile, as well as the emerging difference in configurations, responses However, sometimes, this violent process forges a magic spark which escapes as theatre. and representations of the exilic figure marked by the recent refugee crisis. How to speak about The presentation gives examples of the author’s own creative articulation of these issues. ourselves and the Other with the rift between the Eternal Immigrant and the relative safety of being on the other (presumably) better side of the wall?
Goran Stefanovski is a Macedonian playwright and screenwriter. He was one of the leading playwrights of ex-Yugoslavia. Stefanovski is also a teacher of scriptwriting. In 1986 he founded Silvija Jestrović is Reader of Theatre and Performance Studies at the University of Warwick the playwriting course at the Faculty of Dramatic Arts in Skopje, Macedonia, where he was a (UK) and a playwright. She is the author of Theatre of Estrangement: Theory, Practice, Ideology full professor until 1998. Between 1998 and 2000 he was a visiting professor at the Dramatiska (U of Toronto Press, 2006) and Performance, Space, Utopia: Cities of Wars, Cities of Exile Institutet in Stockholm. He is now a freelance writer, living in Canterbury, UK, where he teaches (Palgrave, 2012). With Yana Meerzon, she has co-edited the collection Performance, Exile, at the Canterbury Christ Church University. ‘America’ (Palgrave, 2009). She has published widely on a range of topics, most recent include: ‘Murderous Maids: Reading Contemporary Migrant Domestic Labour Through Genet’s ‘Maid’’ (in Gender Citizenship Manifestations and Performances, Palgrave 2017), ‘The Maid Vanishes’ (for Lateral: Special issue on Levering Justice, 2016), ‘Reading into Soundscapes: Between Ma and Concretization’ (in Recherches Sémiotique/ Semiotic Inquiry, 2017), ‘Theatricality vs. Bare Life’ (in Grammar of Politics and Performance, Routledge, 2015), ‘University as Public and Autonomous Sphere: Between Enlightenment Ideas and Market Demands’ with Milena Dragićević Šešić (in International Performance Research Pedagogies: Towards and Unconditional Discipline, Palgrave 2017) and others. Her plays include Noah’s Ark 747 and Not My Story.
She is currently leading the British Academy funded project Cultures of the Left: Manifestations and Performances, co-editing (with Milija Gluhović, Shirin Rai, and Make Saward) The Handbook of Politics and Performance for Oxford University press and working on her next monograph The Author Dies Hard. IFTR 2018 Belgrade IFTR 2018 Belgrade 4 5 KN KN KEYNOTE SPEAKERS KEYNOTE SPEAKERS
Wednesday, July 11 Friday, July 13 17:00 – 18:30 16:00 – 17:30 Faculty of Philology, The Hall of Heroes Faculty of Philology, The Hall of Heroes
JAMES THOMPSON - AESTHETICS OF CARE ANA VUJANOVIĆ - Stage as a transnational re(s)publica
This paper will set out the case for care aesthetics as a counter to the focus on an aesthetics From the perspective of my own life journey through Europe – from Belgrade to Amsterdam of suffering, trauma, loss and crisis. It represents a move away from James’ last 15 years to Berlin – where I’ve been (seen) both as an insider and outsider, I identify some of the key work in war and humanitarian disaster settings to propose an artistic practice that prioritizes tendencies at contemporary European scenes around the issues of migration, identity and relationality and interdependency. Based in an adaption of feminist care ethics, the aesthetics nationality. While referring to the performances such as Eszter Salamon’s Monument 0, Ligia of care seeks to locate a community-based performance practice in the connections made Lewis’s minor matter, Janez Janša’s Republic of Slovenia, Doris Uhlich’s Boom Bodies and Ivana between participants and within art making processes. It is an aesthetics focusing on mutuality Müller’s Edges, I discuss the stage as a democratic re(s)publica, through the notions such as and attentiveness - not on individual capacity or skill. In seeking an art making practice that theatre as heterotopia, identity in a minor key, politics of the opaque and shared gaze. That responds to the cruelties and violence of contemporary life, it proposes an aesthetics that suggests that the international looks like but is not a real alternative to the national; while a far- attends to care as a source of politics that aims to make lives more equitable and fulfilled. While reaching proposal offered by the aforementioned work – among others – lies in the somewhat originating in Thompson’s work in situation of violent conflict, he will outline the aesthetics opaque, non-capitalist transnational, which leaves the nation, while we are still not sure where of care with examples taken from contemporary performance practice. His will argue for an it lands… overflow of acts of affective solidarity rather than a frequently individualized attention to suffering and loss. Ana Vujanović, Ph.D. (Berlin/Belgrade) is a cultural worker: researcher, writer, dramaturge and lecturer, focused on bringing together critical theory and contemporary art. JAMES THOMPSON is Professor of Applied and Social Theatre and Vice President for Social She is a team member and mentor at SNDO in Amsterdam. She published numerous articles Responsibility at the University of Manchester. He leads the University’s social responsibility and authored four books, most recently Public Sphere by Performance, with B. Cvejić. She was goal which includes how the university orientates its research, teaching/learning, community a member of TkH [Walking Theory] and editor of TkH Journal for Performing Arts Theory (2001- engagement, and processes to making a positive social, environmental and cultural impact on 2017). Currently, she is doing a research on trans-individuality and landscape dramaturgy, society. He is the Founding Director of In Place of War -_ a project researching and developing edits the collection Live Gathering: Performance and Politics with L.A. Piazza, and works on the arts programs in war and disaster zones. He has developed and run theatre projects in Africa documentary Freedom Landscapes by M. Popivoda. and South Asia (principally DR Congo and Sri Lanka). He has written widely on theatre applied to www.anavujanovic.net conflict, peacebuilding, and reconciliation and his most recent books are Performance Affects: Applied Theatre and the End of Effect (2009) and Humanitarian Performance: from Disaster Tragedies to Spectacles of War (2014). IFTR 2018 Belgrade IFTR 2018 Belgrade 6 7 Day 1 Monday July 9 Schedule IFTR 2018 Belgrade IFTR 2018 Belgrade 8 9 WG WG
WG1 Monday, July 9 Theatrical Event Working Group Elizabeth de Roza, LASALLE College of the Arts Processus de Création Working Group Room 409 “The Body Remembers: an excavation of embodied Room 313 9:00-10:30 memories” Chair: Beate Schappach, Institute for Theatre Studies, Nathalie Fari, Nordic Summer University Introduction: Luk Van den Dries, University of Antwerp Faculty of Philosophy University of Bern “The Body as Translator” Melissa Ferreira, Universidade Federal de Ouro Preto La place du spectateur dans le processus de création/ Naphthaly Shem-Tov, The Open University of Israel “Embodied research and childhood in contemporary The place of the spectator in the creative process “Mizrahi autobiographical performance” theatre” Rikard Hoogland, Stockholm University Samuel Beckett Working Group Leslie Gray, University of Maryland College Park Sophie Lucet, Université Rennes 2 France “The call against low quality and immorality at Albert “The Resistant Slow Drag: Black Depression, the Erotic ”Quand regarder c’est créer” Room 512 Ranft’s theatres in Stockholm 1921.” and the Threat of Hope” Note: all sessions are open to all audiences Sofia Vilasboas Slomp, University of São Paulo-USP/ Bridie Moore, University of Huddersfield ECA “Significance and Accomplishment: Migrating towards “Object-bicho / Object-body: aesthetic procedures Migration of Beckett in Different Media an Aged Female Embodiment” between performance, visual arts and audience” Chair: Nicholas Johnson, Trinity College Dublin Embodied Research Working Group Daniel Mroz, University of Ottawa and Marije Nie Room CO3 “Spontaneous Generation: The Alchemy of Emergent Jonathan Bignell, University of Reading Insight in Artist Exchanges” “When ‘Beckett on Film’ Migrated to Television” Choreography and Corporeality Sandra Parra, Universidade Estadual de Londrina Predrag Todorović, The Institute of Literature and Arts, The Embodied Research Working Group (ERWG) sup- Working Group ports individual and collaborative research projects in “The notion of rigor in Embodied Research” Belgrade Room 510 which embodied practice is an explicit and essential part Shrinkhla Sahai, Jawaharlal Nehru University “Performing Beckett in Different Media in Serbia” of the methodology. While embodiment has been a ma- “Sit, Stay, Move: Negotiating Gender in Public Spaces Members of the working group circulate their papers jor interest for theatre and other scholars across several in Urban India” in the weeks leading up to the conference. Members decades at least, the claim that embodied practice can Brian Schultis read all of the papers in advance and come along ready Translation, Adaptation and constitute a mode or method of academic research is “Sojourn: An Experiment in Emplacement within to discuss each other’s work. A provisional timetable is relatively new and in some contexts still controversial. Dramaturgy Working Group Transience” circulated to members once the papers are submitted The ERWG aims to establish an international platform Room 410 Melina Scialom, University of Campinas, UNICAMP, and read, and then the discussion agenda is finalized at through which to share innovative and traditionally in- Brazil the first meeting. Papers are linked together on the basis formed approaches to the methodological, epistemolog- Adaptation and Migration “Embodying dramaturgical consciousness: Choreology of shared problems, concerns or treatment. ical, and ontological questions provoked by embodied re- Chair: Katja Krebs, University of Bristol in action” New members are always welcome. If you propose to search. Georgia Snowball, Federation University Ballarat join us this year and would like to read the papers, please Annika Rink, Department of Theatre Studies, Johannes At IFTR 2018 in Belgrade, the ERWG will explore a range “The Body as Permeable Border” come along to our first meeting and we will arrange for Gutenberg University Mainz of practice structures designed to facilitate knowledge Ben Spatz, University of Huddersfield you to receive the papers. Also, if you would like to join “Adaptation as Migration. Migrating Structures” exchange. These include established formats such as “Making a Laboratory: Embodied Research and the our group, you may wish to email us beforehand: Christophe Collard, Vrije Universiteit Brussel lightning presentations, curated workshops, curated Audiovisual Body“ Aoife McGrath: [email protected] “Ecological Homologies: Between Metaphorical paper/video feedback sessions, and moderated discus- Alba Vieira, Federal University of Vicosa Prarthana Purkayastha: Prarthana.purkayastha@rhul. Migration and Technological Extension” sions; as well as new exchange structures like “Dynam- “Migration of movements and thought during the ac.uk Kasia Lech, Canterbury Christ Church University ic Configurations with Transversal Video” (a research creative process:’Kuhim’” “No-longer the Ibsen’s Language of the Gods: Verse method developed by Ben Spatz), “No Table” (an adap- Carmen Wong, University of Warwick Participants: and Under-represented Communities in Polish and tation of Lois Weaver’s “Long Table”), and “practice in “Embodying Place and Food Memories in ‘Breakfast Juan Ignacio Vallejos British Theatres” response to practice” (inspired by Peter Sciscioli’s IIAC Elsewhere’” “Dance and National identity in Argentina: ‘Adentro!’ exchanges). For more information, please contact the by Diana Szeiblum” ERWG conveners: Raxá de Castilla Ben Spatz
Jeffrey Kaplan, Manhattanville College Music Theatre Working Group VR & Shakespeare Marco Galea, University of Malta ”Refugees in Motion: The Non-Hero’s Journey” Room 309 Chair: Lynne Kendrick, Royal Central School of Speech “What is the price of passport? Antoine Cassars theat- Susanne Foellmer, Coventry University, Centre for and Drama rical intervention on the issue of welcoming the other Dance Research All sessions are open to conference participants but in Malta” ”Media Migrations in Dance” they are to note that papers would not be read. Papers Aneta Mancewicz, University of Birmingham Seok Jin Han, Korea National University of Arts will be pre-circulated amongst WG participants (these “Shakespeare in Cybertheatre” WG 1b 9:45-10:30 “Curating Dance in the Museum in South Korea“ will not be provided for walk-in participants) and the Chiel Kattenbelt, Utrecht University and Listening and retelling: Practice-as-Research Adeline Maxwell, Université Paul Valéry Montpellier III sessions will be used for conversation and debate. Joris Weijdom, HKU University of the Arts Utrecht Chair: Tom Cornford, Royal Central School of Speech “Chilean Scenic Dance : A practice made of migrations“ Presenters will, however, give a short 10-minute over- “Exploring the Affordances and Intentionalities of -Vir and Drama Katja Schneider, Ludwig Maximilians University view of their paper and abstracts will be available to tual Reality and Motion Capture in the Hamlet Project Munich everyone. The remaining 20-minutes will be used for a with CREW’” Luis C. Sotelo Castro, Concordia University “Transmigrational dance: the self-logic of cities and discussion of the paper. Robin Nelson, Royal Central School of Seech and “Being Heard Might Prove Fatal: Performing Memo- sites“ Drama ry-Listening in a Host Country” Sofia Muñoz, Ludwig Maximilians University Munich SESSION 1 “PaR and CREW’s Hamlet Encounters” Parichat Jungwiwattanaporn, Thammasat University “Figures of the in-vention. Kurt Jooss in Santiago de Chair: George Rodosthenous, University of Leeds “’The Voyage’: A Transgressive Documentary Theatre Chile. “ of Migration to Siam” Rosemary Candelario, Texas Womans University Phoebe Rumsey, The Graduate Center, City University “Serve the People: Social Movements, Cultural of New York Theatre Architecture Working Group Production and the case of Asian American Dance Room 310 “Social Dance in the Musical Allegiance: How the Danc- Feminist Research Working Group Theater and the Asian New Dance Coalition“ ing Body Permeates Boundaries of Nationhood and Note: The sessions of the Theatre Architecture Working Room 401 Miriam Althammer, University Bayreuth National Identity in Musical Theatre” Group are open to all conference delegates. The Work- “Body of histories – Movement repertoires in David Savran, The Graduate Center, City University of ing Group circulates written papers in advance of the Note: This working group doesn’t offer a schedule of post-socialist Europes contemporary dance and New York conference, and members are invited to give short pre- papers. performance scenes“ “The Cosmopolitanism of Korean Musical Theatre” Rachel Fensham, University of Melbourne sentations about their papers, followed by discussion. “Red slashes and an evening cape: fabricating List of participants: costumes as post-migration choreography“ Chair: Andrew Filmer, Aberystwyth University Kirstin Smith, University of East Anglia Aoife McGrath, Queens University Belfast Scenography Working Group “The inscription of gender in theatrical casting” “Dance and the Maternal“ Room 104 Magdalena Golaczynska, University of Wroclaw Birgitta Johansson Lindh, University of Gothenburg Stacey Prickett, University of Roehampton “Post-war forced migrations in Central Europe: “Theorizing experience anew” “Post-war identities: Britain, migration and ballet“ Conveners: Sofia Pantouvaki, Aalto University and Site-specific performances” Sarah Gorman, Roehampton University Leonie Persyn, Ghent University Nick Hunt, Rose Bruford College Sidsel Graffer, Norwegian Theatre Academy “Questions of diversity in the work of Selina Thompson, “Installing an aesthetic moment sound as a bound- “The National Theatre, Oslo, Norway - Rehabilitation Jamila Johnson-Small and Season Butler” ary-crossing iteration for itinerancy“ Scenographic strategies: spatial narratives and and Discourse” Lisa Fitzpatrick, University of Ulster Stormy Budwig interpretation Cathy Turner, Exeter University “Freedom From or Freedom To: Conflicting Feminisms” “The Dancing Body as a Site of (Overthrow and) “Performance, environmental activism and the struggle Elin Diamond, Rutgers University Freedom“ Chair: Nick Hunt, Rose Bruford College for Chennai’s beaches” “Fornes and Split Britches: two interventions by the Nigel Stewart, Lancaster University common world” “Kinaesthetic cognition in Wayne McGregor’s Woolf Nevena Mrđenović, University of Technology Irene Lehmann, Friedrich-Alexander-University Erlan- Works“ “Scenographic strategies in tracing post-war domestic Political Performances Working gen-Nuernberg Aneta Stojnić, Faculty of Media and Communication in mise-en-scene in the former SFR Yugoslavia” (Seminar/ Group “Gender Relations on the Stage of Contemporary Belgrade Provocation) Room 101 Music. Two performances by Jennifer Walshe and Eva “Trapped in Motion“ Monika Ponjavić, University of Novi Sad Reiter” Hetty Blades, Coventry University “Scenographic body in shifting scenography: Who Mika Eglinton, Kobe City University of Foreign Studies Whats it Worth? Dance, Value, Money and Politics. Convenors: “ “ would be God in Bosnia?” (Seminar/ Provocation) “On migration and consciousness of in Naoko Tanakas Roisín O’Gorman Cristina Delgado-García,University of Birmingham Uninternalized light” “Moving the monuments of motherhood: a somatic Trish Reid, Kingston University Maja Šorli, Academy of Theatre, Radio, Film and Televi- approach to the politics of the maternal.” Julia Boll, University of Konstanz sion, University of Ljubljana Andrew Eglinton, Konan Women’s University Kobe, Intermediality in Theatre and Perfor- “Performing gender structure in Slovenian devised Japan mance Working Group WG 1a Mon July 9, 9:00-9:45 “Dwelling” on the Documentary Body in Takuya Room 105 European responses to the European migrant crisis: theatre” Murakawa’s ‘Independent Living’” empathy, sanctuary and hospitality I Trish McTighe, University of Birmingham Alexandra Kolb, University of Roehampton Note: All WG panel sessions are open to whoever wishes Chair: Julia Boll, University of Konstanz “Beyond Cleaning: Maintaining the Stage” “Multiculturalism in Contemporary British to attend with the exception of the second half of WG Stefania Lodi Rizzini, Paris 3 Nouvelle Sorbonne Choreography: Akram Khan and Lloyd Newson“ Panel 6 and WG Panel 7, which are designated for WG Alison Jeffers, University of Manchester “The non-conforming body – politic of representation “The politics of the empty gesture: frameworks of Tomasz Ciesielski, University of Lodz discussions to co-ordinate prospective collaborative re- of difference” sanctuary, theatre and the city” “Modelling the dance situations“ search projects. 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Rebecca Fraser, University of Exeter Popular Entertainments Working Allan Taylor, independent scholar Co-conveners: Yvonne Schmidt and Arseli Dokumaci “The RSC, Tara Arts, and representations of the Group “Drag publique: the public spectacle of queerness and Victorian Empire: institutional power on and off stage.” Room 301 the emancipated spectator” Participants: Promona Sengupta, International Research Center: Sarah Mullan, University of Northampton Tony McCaffrey, National Academy of Singing and Dra- Interweaving Performance Cultures, Freie University Note: All delegates attending the 2018 IFTR Conference “And there’s no way to know what might happen: Mi- matic Arts, Ara Institute. Different Light Theatre Berlin are invited to attend sessions of the Popular Entertain- grating power in Split Britches’ Unexploded Ordnances “Welcome to our world: the promise of hospitality and “Good Youth Gone Bad: Exploring Juvenility, Criminality ments Working Group, with the exception of the Business UXO” the threat of hostility in contemporary theatre with and New Feminisms in a Post-Nirbhaya Moment” and Planning Meeting, Thursday 16.00-17.30. The Busi- actors with intellectual disabilities.” Nivedita Gokhale, University of Lincoln, United King- ness and Planning session is open only to current mem- Jessica Stokes, University of California, Davis “WALK ZONE: Un/Intentional Transgression Beside dom bers of the Working Group. The Popular Entertainments Performance Religion and Spirituality Disabled Embodied Performance” “‘Kanyadaan’: A Study on the Controversial Production Working Group operates by circulating members’ draft Working Group Benjamin Wihstutz, University of Mainz of a Indian - Marathi Modern Political Play by Vijay papers in advance of the conference, enabling a more Room 308 “Migrating Forms of Dis/ability Performance: Tendulkar.” focused discussion at our meetings. Challenging the ‘performance principle’” Mara Valderrama, The Graduate Center, CUNY Note: This working group pre-circulates its papers to Yvonne Schmidt, Zurich University of the Arts “Measuring the female body as contestation in Spanish maximise discussion time. While these discussions Welcome and housekeeping for members of the “Belonging together – The role of the ensemble in contemporary performance from Esther Ferrer to La are open to non-group members, it may be difficult Working Group ‘Freie Republik HORA’” Ribot” for guests to follow them without having read these Variety Entertainments of the Mid-twentieth Century Andres Aparicio, Pontificia Universidad Católica de Sarah Balkin, University of Melbourne papers in advance. Guests who would like to attend our Chile “The Killjoy Comedian: Hannah Gadsby’s Nanette” sessions are encouraged to contact the convenors in Jonathan Bollen, University of New South Wales, “Stasis and disability: challenging mobility assumptions Minakshi Kaushik, PhD Scholar, Theatre and Sydney advance to see if it is possible to receive copies of the in theatre practice” Performance Studies, School of Arts and Aesthetics, “Visualising the entrepreneurial networks of interna- papers. Also, please note that the working group will be Maria Koltsida, Aristotle University of Thessaloniki and JNU tional entertainment: The Dalrays – Touring beyond the sponsoring a session in the general panels at 11.00, on Antonis Lenakakis, Aristotle University of Thessaloniki “Politics of Relocation: Collaboration and Potential Tivoli, 1956-66“ July 11, Wednesday at the Faculty of Philosophy. “White dystopias and fish in the fish bowl: Issues of Conflict in Cold War Alignment” Larraine Nicholas, University of Roehampton stage representation of disability” Aastha Gandhi, Jawaharlal Nehru University “‘Unskilled Theatre Workers’?: Showgirls at the Conveners: Ildiko Sirato, Hungarian National Széchényi Library Windmill Theatre“ “Displaced and exploited: performing bodies of Indian Josh Edelman and Kim Skjoldager-Nielsen “Therapy, Integration, Art. Theatre Companies of Peo- circus under the changing laws” ple with Down Syndrome in Hungary” Rebecca Hayes Laughton, Royal Central School of Introductions: Margaret Ames, Aberystwyth University Speech and Drama University of London Asian Theatre Working Group Julija Pešić, University of Toronto, Centre for Drama, “The centre of the world” “Women and children first: Do drama projects with Room 508 Theatre, and performance Studies Kate Maguire-Rosier, Macquarie University refugee women reinforce traditional notions of “The Balkans Cultural Identity and Personal Narrative “Politicising performances of care: Dance theatre by paternalism or enable a feminist aesthetic of body and Theatre in Exile in the Biographical Opera ‘The Life and Death of and with Australian artists with disability” voice which effectively campaigns for social change?” Chair: Mitsuya Mori, Seijo University Marina Abramović’ (2011), Directed by Robert Wilson” Christiane Czymoch Sharanya Murali Marija Krnić, University of Warwick “Freaks of Culture. Bodily Negotiations of Solidarity in “An Eye for an Eye: Transnational Photo-Performance Tsu-Chung Su, National Taiwan Normal University “Saints plays and the Performance of the Croatian Rehearsal and Performance” and the Hapticality of Collaboration in Native Women “Qibla—A Neverending Story of Migration” National Identity” Jessica Watkin, University of Toronto of South India” Meewon Lee, Korean National University of Arts “Convention and Precarity in Theatres and Spaces for Miriam Haughton, National University of Ireland, Artists with Disability in Canada” Galway “The representative Korean-American Diaspora play- wrights” Performance and Disability Working Akhila Vimal C, Jawharlal Nehru University “On Producing: Theatre, Industry and Change” “Where the Hand goes…? Imagining Practice Based Hyunshik Ju, the Institute of Media Arts Culture, Kyo- Group Aishika Chakraborty, School of Womens Studies, Dance Pedagogy for Blind and Low Vision Performers” nggi University Room 211 Jadavpur University, India Vibeke Glørstad, VID SpecializedUniversity “North Korean Defectors and a Theatre of hospitality” “Partition, Migration, Independence: Refugee Dancers “Performing citizenship” The Performance & Disability WG, which was founded in of Bengal” Dave Calvert, University of Huddersfield 2012, aims to provide a venue for the sharing and dis- Marla Carlson, University of Georgia “There are storms we cannot weather: dialectics of semination of scholarly and artistic work, and best prac- “Pig, Pussy, and Public Sphere: Ann Liv Young’s Queer Futures Working Group stasis and dynamism in the case of Susan Boyle.” tices from around the world, which explore how diverse ELEKTRA” Room 208 Riikka Papunen, The University of Tampere Kim Solga, Western University physical, sensorial, developmental and psychological All sessions are open to all delegates. abilities manifest themselves in all areas of performance. “Acting with the other - politics of inclusion in theatri- Practicing Non-binary Gender in Performance at the cal performance” Stratford Shakespeare Festival, 2018 The aims of our Work Group are to create international Queer Futures Panel 1 Michael Stokes, University of California, Davis Shonagh Hill, University College Dublin dialogues, partnerships and networks at the crossovers Chair: Lazlo Pearlman, Northumbria University of disability and performance, and to provide a venue for “Performing Science Futures: The Migration of Disabili- “‘Not at Home’: Migration and Abortion Journeys from ty Performance in Science Fiction” Ireland” the sharing and dissemination of scholarly and artistic Joe Parslow, Royal Central School of Speech & Drama Claire Keogh, Trinity College Dublin work, and best practices from around the world –re- “Stop Relying on [Those Bodies]: Local Drag “Between the centenaries: Shush at the Abbey Theat” search and practices that explore how diverse physical, Performance & Migrating Drag Practices” sensorial, developmental and psychological abilities manifest themselves in all areas of performance. 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WG2 Monday, July 9 Hanna Korsberg, University of Helsinki Performance as Research Working Music Theatre Working Group “Survivals from the Past: a film as a source for a the- Group Room 309 11:00-12:30 atre historian?” Room 408 Note: all sessions are closed to Group Members. All sessions are open to conference participants but Faculty of Philosophy they are to note that papers would not be read. Papers Theatrical Event Working Group General working and planning session for all will be pre-circulated amongst WG participants (these will not be provided for walk-in participants) and the Room: 409 members. sessions will be used for conversation and debate. Presenters will, however, give a short 10-minute over- Chair: Vicki Ann Cremona, University of Malta Samuel Beckett Working Group view of their paper and abstracts will be available to Room 512 everyone. The remaining 20-minutes will be used for a Willmar Sauter, Stockholm University Processus de Création Working Group discussion of the paper. Displacement in Beckett The Explanatory Value of Contexts Room: 313 Peter Eversmann, University of Amsterdam Chair: Nicholas Johnson, Trinity College Dublin SESSION 2 “Contexts for understanding theatrical events. The role Stratégies de documentation du processus de Chair: George Rodosthenous, University of Leeds Anita Rakoczy, Karoli Gaspar University of the of real world knowledge and experience with fictive création / Strategies of documenting the creative worlds for engaging with theatre.” Reformed Church process Millie Taylor, University of Winchester “Restlessness, Wanderlust and Migration in “’Macbeth’ to ‘Matilda’: the Royal Shakespeare Com- ‘Endgame’” Eleni Papalexiou, University of the Peloponnese pany’s Musicals” Teresa Rosell Nicolas, University of Barcelona Embodied Research Working Group “Visualizer le processus de création: considérations et Marcus Tan, National Institute of Education, Nanyang “Extraterritorial Beckett” Room CO3 perspectives” Technological University Singapore Marcilene De Moura, The Federal University of the “‘A plague o’ both your houses’: Affective Frequencies The Embodied Research Working Group (ERWG) sup- State of Rio de Janeiro in Two Romeos and Juliets” ”Le système de création d’Enrique Diaz: Translation, Adaptation and ports individual and collaborative research projects in which embodied practice is an explicit and essential part le spectacle ‘OTRO’ et ses frontières floues” Dramaturgy Working Group of the methodology. While embodiment has been a ma- Room 410 jor interest for theatre and other scholars across several Scenography Working Group decades at least, the claim that embodied practice can Room 104 Translatability: Travel and Resistance Choreography and Corporeality constitute a mode or method of academic research is Working Group Chair: Dorothy Chansky, Texas Tech University relatively new and in some contexts still controversial. Convenors: Sofia Pantouvaki, Aalto University and Room 510 The ERWG aims to establish an international platform Nick Hunt, Rose Bruford College Silvia Dumitriu through which to share innovative and traditionally in- Members of the working group circulate their papers in “Theatricality and/or Translation” formed approaches to the methodological, epistemolog- Activating the audience: the weeks leading up to the conference. Members read Bernadette Cochrane, University of Queensland ical, and ontological questions provoked by embodied re- scenography, participation and inclusion “Ethics, Agency and the Other: Plays Resisting search. all of the papers in advance and come along ready to Translation” discuss each other’s work. A provisional timetable is cir- Chair: Adam Alston, University of Surrey Margherita Laera, University of Kent At IFTR 2018 in Belgrade, the ERWG will explore a range culated to members once the papers are submitted and “Emma Dante and Fausto Paravidino in Translation: of practice structures designed to facilitate knowledge read, and then the discussion agenda is finalized at the Maiju Loukola, Aalto University Dealing with Foreign Audiences” exchange. These include established formats such as first meeting. Papers are linked together on the basis of “Scenographic Practices for Reclaiming Subjectivity lightning presentations, curated workshops, curated shared problems, concerns or treatment. through Performing Space – case ‘People’s Architec- paper/video feedback sessions, and moderated discus- ture’”(Academic Paper) New members are always welcome. If you propose Historiography Working Group sions; as well as new exchange structures like “Dynam- Gabriella Kiss, Hungarian University of Fine Arts ic Configurations with Transversal Video” (a research to join us this year and would like to read the papers, Room 103 “Out of the Comfort zone - facing with the Other” method developed by Ben Spatz), “No Table” (an adap- please come along to our first meeting and we will (Seminar/Provocation) tation of Lois Weaver’s “Long Table”), and “practice in arrange for you to receive the papers. Also, if you Nick Wood, Royal Central School of Speech and Drama Historiography WG II response to practice” (inspired by Peter Sciscioli’s IIAC would like to join our group, you may wish to email us Chair: Rashna Nicholson, Ludwig Maximilian Universi- “Draft C Flatness and Depth - the Play” (Seminar/ exchanges). For more information, please contact the beforehand: Provocation) ty of Munich ERWG conveners. Aoife McGrath: [email protected] Tancredi Gusman, Freie Universität Berlin Conveners: Prarthana Purkayastha: Prarthana.purkayastha@rhul. “Performance art in the 1970s – approaching the for- Ben Spatz
Intermediality in Theatre and Clara de Andrade, Federal University of the State of Arabic Theatre Working Group Queer Futures Working Group Performance Working Group Rio de Janeiro UNIRIO Room 213 Room 208 Room 105 “Theatre of the Oppressed in France: a multicultural experience as a parameter for the transnational Hazem Azmy, Ain Shams University & Marvin Carlson, All sessions are open to all delegates Note: All WG panel sessions are open to whoever wishes expansion” City University of New York: to attend with the exception of the second half of WG David Rodríguez-Solás, University of Massachusetts Welcome, Introduction of Participants & Opening Queer Futures Panel 2 Panel 6 and WG Panel 7, which are designated for WG Amherst Remarks Chair: Fintan Walsh, Birkbeck, University of London discussions to co-ordinate prospective collaborative “‘Where would you be better than here’: ‘Castañuela Review of ATWG’s Past Meetings and Activities Stephen Farrier, Royal Central School of Speech And research projects. 70’ and European tours for Spanish Emigrants” Drama, University of London Dwaipayan Chowdhury, Jawaharlal Nehru University, “Speaking across borders. Connecting international Intercultural experimentation New Delhi African and Caribbean Theatre and queer performance” “Embodying anonymity: Aesthetics of ‘migration’ in Fawzia Afzal-Khan and Fatima Maan, Montclair State Chair: Chiel Kattenbelt, Utrecht University Performance Working Group IPTA 1948-51” University and NYU Abu Dhabi Room 513 Aikaterini Arfara, Onassis Cultural Centre, Athens “The Queer side of Pakistan” “The Migration of Stories: On Wael Shawky’s Bodies In Motion: Identity, Migration, Intercultural Narratives” Feminist Research Working Group Representation, Alienation Anna Maria Monteverdi, University of Milan Room 401 Chair: David Donkor, Texas A&M University Performance Religion and Spirituality “Memory as Wunderkammer: ‘The Seven Streams of Working Group the River Ota’ and ‘The Dragons Trilogy’ by Robert Note: This working group doesn’t offer a schedule of Sabine Kim, University of Mainz Room 308 Lepage” papers. “Vodou, Social Media, and the Global Performance of Vincenzo del Gaudio, University of Salerno Community” Maysa Utairat, Royal Holloway University of London “Zombie Performance in Italian Intermedial Theatre” For the participants list, please go to page XXX Awo Mana Asiedu and Rashida Resario, University of “The ‘reinvention’ of the Mahachat Sung Sermon as Ghana a theatre play for new generations of Thai Buddhist “Representation, Identity and Alienation: The Dancer’s audience in the context of urban migration” Theatre Architecture Working Group Popular Entertainments Working Body as a multi-cultural Site” Kim Skjoldager-Nielsen, Stockholm University Room 310 Group “Foundling-Bird. The Prophetic Voice of a Hartmanian Room 301 Churchplay Concerning the Rights of Refugee Children” Note: The sessions of the Theatre Architecture Working Asian Theatre Working Group Hannah McClure, The University of Surrey Group are open to all conference delegates. The Work- Note: All delegates attending the 2018 IFTR Confer- Room 508 “Tasawuuf as Embodied Thought and Philosophy” ing Group circulates written papers in advance of the ence are invited to attend sessions of the Popular En- conference, and members are invited to give short pre- tertainments Working Group, with the exception of the Theatre in Asian Politics sentations about their papers, followed by discussion. Business and Planning Meeting, Thursday 16.00-17.30. Chair: Yasushi Nagata, Osaka University Performance in Public Spaces The Business and Planning session is open only to current Chair: Dorita Hannah, University of Auckland Working Group members of the Working Group. Sir Anril Pineda Tiatco, University of the Philippines Room 214 The Popular Entertainments Working Group operates Diliman Visnja Žugić, University of Novi Sad and Attila Antal, by circulating members’ draft papers in advance of the “Revolution, Documentation, Condemnation: Toward a Spaces of the Personal/Political University of Theatre and Film, Budapest conference, enabling a more focused discussion at our Genealogy of Political Theatre on the Manila Stage” “Grasping the Moment: The Ephemeral Nature of Chair: Holly Maples, Brunel University meetings. Jessica Yeung, Hong Kong Baptist University Non-Theatre Performance Spaces” “A Pan-Asian Peoples Theatre about the Pan-Asian Rebecca Savory Fuller, University of Exeter Stephen Bain, University of Tasmania Staging the Popular in Brazil and Ireland Histories: The Works of Augustine Chiu-yu Mok, Hong “Performing fiction and unsettling reality” “Together, alone? Performing digital proximities in Kongs most Famous Anarchist Dramatist” Efrat Shalom, Technion IIT India’s Blank Noise & Why Loiter feminist campaigns” Maria Emília Tortorella, UNICAMP/SP Jung-joo Choi ”Patterns of Experience: Theatre and Urban Life” Lesley Delmenico, Grinnell College “Dialogues between popular entertainment and “The Encounter of Japanese experimental theatre with “Contesting Traditions in Public Performance: Embody- modern theater in the staging of the play ‘Vem Bus- Korean Contemporary Theatre as in Kim Sujin, ing Experience, Speaking Aloud” car-me que Ainda Sou Teu’, from Carlos Alberto Oh Taesok, and Goh Sunwung” Political Performances Working Ciara Murphy, National University of Ireland, Galway, Soffredini, by the Mambembe Theater Group Brazil” Ireland Group Ian Walsh, National University of Ireland “Contested Sites and Troubled Bodies: Interrogating Room 101 “Irish Language Pantomimes at the Abbey: how Everyday Experience Through Participatory popular entertainments led to a renaissance in Irish Performance in Public Space in the North of Ireland” Migrating theatre practices and the aesthetics of Theatre” migration
Chair: Paola Botham, Birmingham City University IFTR 2018 Belgrade IFTR 2018 Belgrade 18 19 WG GP
Performance and Disability Working GP1 Monday, July 9 Pilvi Porkola, University of the Arts Helsinki Group “Questions of Translating in Library Essays” Room 211 14:00 – 15:30 Hanna Järvinen, University of the Arts Helsinki Restaging, remaking, reconstructing, reimagining“ The Performance & Disability WG, which was founded Faculty of Philosophy Annette Arlander, Stockholm University of the Arts in 2012, aims to provide a venue for the sharing and “Authorship, agency and performing in ‘Year of the dissemination of scholarly and artistic work, and best Dog-Sitting in a Tree’“ practices from around the world, which explore how Tero Nauha, University of The Arts Helsinki diverse physical, sensorial, developmental and psy- “Performance as thinking or performance philosophy?” chological abilities manifest themselves in all areas 1. Invisible Faces of Immigration of performance. The aims of our Work Group are to create international dialogues, partnerships and net- ROOM 208 works at the crossovers of disability and performance, Different Spaces and Acts of and to provide a venue for the sharing and dissemina- Chair: Milija Gluhović, University of Warwick Migrating (PPWG Curated Panel) tion of scholarly and artistic work, and best practices Shira Wolfe and Lidija Andonov from around the world – research and practices that ROOM 510 “In/Visible Faces - Dramatherapy as a tool for creating explore how diverse physical, sensorial, developmen- a space of possibilities with refugees” tal and psychological abilities manifest themselves in Chair: David Pattie, University of Birmingham Hemis, Kadir Has University all areas of performance. “Aestheticization of Suffering” Gustavo Guenzburger, Universidade Federal do Estado Jovana Karaulić and Neda Radulović, Faculty of Co-conveners: Yvonne Schmidt and Arseli Dokumaci do Rio de Janeiro Dramatic Arts, Belgrade “Melodrama in Brazil and the politics of traveling “Performing Trauma at the Turn of the 21st century: For the participants list, please go to page XXX affective forms” Theatrical responses to the (European) migrant crisis” Zofia Smolarska, Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw “Blind Alleys of Participatory Theatre. Migrations and Migrants in Rimini Protokoll’s ‘Situation Rooms’” 2. Migrating the Practices and Princi- Marta Ostajewska, University of Warsaw ples of Eastern Theatre Tradition “Migration video performance – an artistic explora- tion of impermanent, transient and porous spaces of ROOM 211 abandoned factory”
Chair: Michael Bachmann, University of Glasgow
Harue Tsutsumi, Meiji University “Three Kabuki plays which deal with migration: ‘The Migrating Through the Archive – Battles of Kokusenya’ (Kokusenyakassen, 1716), ‘Real New Methodologies Life Image of Kokusenya’ (Kokusenya Sugatanoutsu- shie, 1872) and ‘Wanderers’ Strange Story: Western ROOM 308 Kabuki’ (Hyoryu Kitan Seiyo Kabuki, 1879)” Chieko Hiranoi, Hosei University Chair: Julia Stenzel, University of Mainz “Shakespeare in Bunraku Puppet Theatre” Maiya Murphy, National University of Singapore Janina Piech, University of Vienna and Sara “Edward Gordon Craig, Movement, and Orientalism: Tiefenbacher , University of Vienna Attempts at Migrating Embodied Cognitive “Historiography – Ideology – Collections. Provenance Possibilities” issues of Historical Theatre Material from the Zen- tralinstitut für Theatrewissenschaft in Vienna (1943- 1945)” Varvara Sklez, Russian Presidential Academy of Nation- 3. Curated Panel – Migrating al Economy and Public Administration Concepts in Performance “Past is Another Country? Performing Documents in Contemporary Russian Theatre” ROOM 104 Pía Gutiérrez, Universidad Católica de Chile “Archives of the Other: Violence and Racism in Repre- Chair: Pieter Verstraete, Bilkent University Ankara sentations of the Mapuche People in Chilean Theatre” IFTR 2018 Belgrade IFTR 2018 Belgrade 20 21 GP GP
Politics, Performativity and Crosscultural Encounters Theatre Architecture Working Liminality of Public Sphere Group sponsored panel ROOM 310 Architecture, Mobility and Spatial ROOM 105 Knowledge Chair: Birgit Wiens, Ludwig-Maximilians-Universität Chair: Kevin Landis, University of Colorado Colorado München ROOM 101 Springs Tomoko Akai, Kobe Pharmaceutical University Chair: Andrew Filmer, Aberystwyth University Maria Estrada-Fuentes, University of Warwick “Cultural Transfer between London and Takarazuka: “Border crossing in the Colombo-Venezuelan border: a Translation and Adaptation of Western Comedy in Late Dorita Hannah, UTAS Australia Aaalto Finland Porous Left” 1910s-1920s Japan” Aristita I. Albacan, independent scholar and artist “PHONEHOME: An Installation Staging Architecture Henry Bial, University of Kansas “To Be or Not to Be Political: The Ritual of Affective A/Part” “The Gatekeepers: New York Theatre Critics and the Citizenship” Helen Stratford, University of Sheffield Reception of European Theatre on the American Stage, Chris Collins, University of Nottingham “Performative Architectures - between theory and “Slavery, Trafficking and Performance” 1920-1940” practice” A. Bernard Adjirackor, Mendel University in Brno Hari Marini, Queen Mary University of London “Migration & cultural adaptation theories in Kobina “Urban Ruins in Athens: An Impermanent Shelter for Sekyi’s The Blinkards” Graffiti” Performing the Other
ROOM 401 Disciplinary Migrations Chair: Mia Amir, Playwrights Theatre Centre ROOM 408 Clara-Franziska Plum, Institut Theaterwissenschaft Johannes Gutenberg Universität Mainz Chair: Maja Milatović Ovadia, Royal Central School of “Staging the Other. Santa Catarina the German Part of Speech and Drama Brazil” Valerie Kaneko-Lucas, Regents University London Jovana Stokić, City University of New York “The Migrants Tale: Voices of the Dispossessed” “Disciplinary Migrations: Issues in Contemporary Signy Lynch, York University Performance Art Research” Signy Lynch, York University Joonas Lahtinen, Academy of Fine Arts Vienna “Direct Audience Address in Cliff Cardinal’s ‘Huff’: Com- “On the dynamic of perception, power and exclusion – plicity, powerlessness and sovereignty” ‘sensory fields’, ‘experience fields’ and ‘body tech- Anja Keranen, University of Tampere and Yvette Janko niques’ as performance analytical and epistemological Szep, Babes-Bolyai University tools” “The Colours of Burnt Orange - Language and Culture Felisberto Da Costa, University of São Paulo USP and through Drama and Theatre” Maria Helena Bastos, University of São Paulo USP “The mask as a dramaturgical device in contemporaneity” Shifting concepts
ROOM 410
Chair: Ajeet Singh, BPS Women University Khanpur Kalan
Radka Kunderová, Charles University Prague & Theatre Institute in Prague ”Postmodernism Migrating into a Systemic Crisis” Alessandra Cianetti, performingborders.live & Something Human Ltd UK ”Performing borders. Live art, Crossings, Europe” Dieneke Bittermann, independent scholar ”The Disabled Body in Perspective” IFTR 2018 Belgrade IFTR 2018 Belgrade 22 23 Get 20% off select THEATRE TITLES for a limited time only
Visit www.cambridge.org/iftr18 Day 2 *Discount code valid until 31st October 2018
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volume xxxiv . part 2 . may 2018 Volume 42 Number 3 October 2017 volume xxxiv Volume 42 Number 3 October 2017 Theatre Research International . Theatre Research International part 2 . may 2018 ARTICLES Discover the latest in 245 Editorial: Time Travel N PAUL RAE 134 NEW THEATRE QUARTERLY 249 ‘This is a Historical Israeli Play’: Spectatorship, Ownership and the Israeli Localizations of
Theatre new Salomé YAIR LIPSHITZ theatre quarterly 134 265 ‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of TUESDAY Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s SIYUAN LIU Research The new home of 286 Body and Communication: The ‘Ordinary’ Art of Tang Da Wu C. J. W.-L. WEE Cambridge Journals 307 Audience Experience in an Anti-expert Age: A Survey of Theatre Audience Research KIRSTY SEDGMAN cambridge.org/core Essays: Pedagogies of Citizenship: Performance, Institutions and Gendering International 323 Introduction BISHNUPRIYA DUTT in association with the 327 From Classroom to Public Space: Creating a New Theatrical Public Sphere in Early
Independent India International Federation cover design: angela ashton 01497677_50-1_01497677_50-1 04/05/18 3:39 PM Page 1 MANJARI MUKHERJEE Cambridge Journals Online 333 Feminist Processes and Performance: Interventions in Anamika Haksar’s Antar Yatra for Theatre Research For further information about this journal please go to the journal website at: AGONISTIC TRAGEDY AND ‘THE SUPPLIANT WOMEN’ REVIVED
INDU JAIN journals.cambridge.org/ntq MORALITY OF ANIMAL PERFORMANCE ‘ROMEO Research Dance AND JULIET’ RESTORED TO ITALY MAKING ‘A TEMPEST’ IN POSTCOLONIAL INDIA ARLECCHINO AT THE PICCOLO TEATRO OF MILAN Dance Studies Association 342 Sisterly Disaffection: Women’s Colleges, Theatre and the Limits of Dissent Cover: from the production of The Suppliant Women as staged at the Lyceum, Edinburgh (2016). AUTOBIOGRAPHICAL PERFORMANCE IN ISRAEL QUARANTINE THEATRE’S ‘WALLFLOWER’ Photo: Stephen Cummiskey. Dance Research journal THEATRE PROMONA SENGUPTA
Volume 42 Number 3 October 2017 Dance Research 352 BOOK REVIEWS journal Forthcoming Articles in DRJ 50/2 367 BOOKS RECEIVED (August 2018) journal Articles How to Re-View Things with Words: Dance Criticism as Translation—Pina Bausch Cover illustration: Tang Da Wu, Tiger’s Whip (1992 version, Keong Saik Road, Singapore). Photo by Christina Thurner Koh Nguang How. Image courtesy of Archive of Koh Nguang How. Doing the Contemporary: Pina Bausch as a Conceptual Artist Gerald Siegmund Jay Pather Re-Imagining Site-Specific Cartographies of Belonging Ketu Katrak Displacing Vision: Contact Improvisation, Anarchy, and Empathy Hannah Yohalem Review Essay Sarah Wilbur on The Oxford Handbook of Dance and Politics, edited by Rebekah Kowal, Randy Martin, and Gerald Siegmund STUDIES July 10 50 / 1
April April 2018 50 / 1 2018 Cambridge Core For further information about this journal please go to the journal website at: Cambridge Core cambridge.org/drj For further information about this journal please go to the journal website at: from Cambridge Journals cambridge.org/tri
Proud publishers of THEATRE RESEARCH Learn more about our INTERNATIONAL Performance Studies Books and Journals at Schedule www.cambridge.org/core-performancestudies IFTR 2018 Belgrade IFTR 2018 Belgrade 24 25
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GP2 Tuesday, July 10 The Performativity of Gender New Forms: Site Specific, T. Sofie Taubert, University of Cologne Politics Interactive and Documentary “Around the Empire in 80 minutes. Imaginations of the 9:00 – 10:30 Theatre foreign in 19th century set design” ROOM 401 Faculty of Philosophy ROOM 510 Chair: Anke Charton, University of Vienna Chair: Gustavo Fijalkow, Coventry University Modern Classics Crossing the Laura-Elina Aho, University of Helsinki Borders “Transnational aspects of the Feminine Representation Diana Benea, University of Bucharest, Romania Hikesia, Migratory Identities of a Nation in the repertoire of the Finnish Theatre “’No more living in the shadows’: Performing Undocu- ROOM 213 Company” mentedness in Recent U.S. Documentary Theatre” ROOM 101 J. Andrew Salyer, University of Wisconsin-Madison Lily Kelting, FLAME University Pune, India Chair: Magnus Thorbergsson, University of Iceland “Cultivated Failure: White Men and the Performative “Eating racism, eating history: UNBORDERED at Ber- Chair: Annette Arlander, Stockholm University of the Politics of Falling” lin’s Neue Nationalgalerie” Ruth Schor, University of Oslo Arts Sigridur Lara Sigurjonsdottir, University of Iceland Thomas Riccio, University of Texas at Dallas “A new intimacy? Ibsen and the evolving theatre-going “The immigrant women of #metoo in Iceland #höfum- “Dead White Zombies: Open Ended Encounters” culture of late nineteenth century Berlin” Christopher Balme, Ludwig-Maximilians-Universität hátt and anonymity” Nilu Kamaluddin, University of Oslo München “’’An Enemy of the People’: A Narrative Discourse of “Suppliant Guests: Hikesia and the Politics of Asylum” Time and Space-The Emergence of Codominant Drama- Brian Singleton, Trinity College Dublin Curated Panel – Migrating/ turgy” “Migrating Histories & The Others in the Archive: Cois- Curated panel – Dance of Others Migrated Bodies in Japanese Bagryana Popov, La Trobe University Céim & ANU Productions’ ‘These Rooms’” Context “The Uncle Vanya project: Performing Chekhov in the Ulf Otto, Ludwig-Maximilians-Universität München ROOM 410 Australian landscape” “The theatre of responsibility. Refugee constructions ROOM 308 and the institutional desires of the German stage” Chair: Emilie Pine, University College Dublin Ivan Medenica, University of Arts in Belgrade Chair: Hayato Kosuge, Keio University “How to Conceive the History of the World Theatre in Mariko Okada, Oberlin University, Tokyo Curated Panel – Migration and an Era of Migration and Globalization” “The Power of Outsiders: A Dance Movement in Japan Ken Hagiwara, Meiji University Stasis in Oberammergau Driven by Marginal Women” “Hara Sachiko’s Body in Her Recent Works in Germany Naomi Inata, Oberlin University, Tokyo Regarding Migration” ROOM 408 “A reversal of cultural recognition: The ballet choreog- Rina Tanaka, Meiji University raphy of Ishida Taneo and Japanese dance culture in “The Emigrant Marie Antoinette: The Recontextualiza- Theatre as Utopian Engagement Chair: Jovana Karaulić, Faculty of Dramatic Arts, the 1960s” tion by Japanese Bodies in Musicals” (PPWG curated panel) University of Arts in Belgrade Satomi Abe, Theatre Museum, Waseda University Mariko Miyagawa, Chiba University “Villains Become Heroes: Reversed Narratives in the “Ohno Kazuo and his experience of gymnastics and ROOM 104 Dance of Conquest” German culture in the early 20th century” Julia Stenzel, University of Mainz “On the doorstep. The Judas of/in Oberammergau Chair: Charlotte McIvor, National University of Ireland, between migration and stasis” Galway Jan Mohr, Ludwig-Maximilians-Universität München “The sacred within. Travelling, shifting mind sets and The Immigrant Identity and the Curated Panel – Images of Migra- Trish Reid, Kingston University Notion of Home testifying bodies in Oberammergau tourism” “Uncovering the Contradictions of Scottish Political tion and Migration of Images Dominic Zerhoch, Johannes Gutenberg University Theatre” Mainz ROOM 310 ROOM 208 Pieter Verstraete, Bilkent University Ankara “How Jesus migrated to Oberammergau. Processes of “Standing after Gezi: Theatre as Civic Engagement spatial construction in its Chair: Anja Klöck, Hochschule für Musik und Theatre Chair: Bryce Lease, Royal Holloway, University of and Passageway for ‘Artists in Exile’ from Turkey in political context” Leipzig London Germany” Céline Molter, Ludwig-Maximilians-Universität Tessa Buddle, University of Glasgow Gabriel Wankar, Jesuit School of Theology of Santa Michael Bachmann, University of Glasgow “Utopia on Tour: The Suitcase Ensemble’s Travelling Clara University, California “Return of the Diorama: Scenes of Migration in Vox München “Oberammergau’s Da Vinci table - Performing stasis in Show” “The Notion of Home between Migration and Identity Motus’s ‘Flight’ (2017)” a post-modern Bavarian village” in Iyorwuese Hagher’s Global Home” Peter W. Marx, University of Cologne Nese Ceren Tosun, University of Warwick “Peeping through the key-hole: Hagemann directs “Performing Home: à la Turca Foodscapes in London” Vasantasena, 1915” Rakel Marin Ezpeleta, Autonomous University of Sharon Aronson-Lehavi, Tel Aviv University Barcelona “A Theatrical Tour: The Migration of Images in The “Erbeste: exile, precariousness and estrangement” Ohel Theatre’s 1928 ‘Jacob and Rachel’” IFTR 2018 Belgrade IFTR 2018 Belgrade 26 27 GP GP
Curated Panel – How Migrations Ethnonostalgia and Arabic Theatre Working Group Shaped Iranian Theatre Ethnofuturism sponsored panel Arab Theatrical Identities Between ROOM 211 ROOM 214 Migration And Stasis
Chair: Andres Kalawski, Pontificia Universidad Católica Chair: Sarit Cofman-Simhon, Tel Aviv University ROOM 105 de Chile Julia Pajunen, University of Helsinki Moderator: Hazem Azmy, Ain Shams University Zahra Khosravi, Tarbiat Moddars University “Translations of ethnofuturism - Andrus Kivirähk in Discussant: Marvin Carlson, City University of New “Representation of Migration in Iranian Post-revolution Finland” York Theatre” Ewa Bal, Uniwersytet Jagiellonski Krakow Maryam Dadkhah, University of Tehran “Does Theatre really reflect the contemporary migra- Roaa Ali, University of Manchester “The Self and The Other: How Immigrant Dramatists tory policy? Nostalgia for locality in contemporary the- “Negotiating the Politics of Representation in Arab Shaped National Identity in Modern Iran” atre in Upper Silesia in Poland in the face of migration American Theatre” Azadeh Ganjeh, University of Tehran policy and nationalism” Katherine Hennessey, American University “Migration: A Cultural Birth; Effects of Migration on Teemu Paavolainen, University of Tampere “Theatre, Migartion and Identity on the Arabian Pen- Iranian Modern Theatre” “Performing the Anthropo(s)cene: Migratory Histories insula” and Cartographic Inversions” Hazem Azmy, Ain Shams University “Migrating (Theatre) Histories between Bible-Belt America and Post-Islamist Egypt: Tarek El-Dwiri’s ‘The Perception and Identity: Audience Trial’” Migration Ancient Greece and Questions of Identity ROOM 508
Chair: Chris Collins, University of Nottingham ROOM 301
Brigitte Bogar, York University Chair: Ioana Szeman, University of Roehampton Sponsored panel jointly organized “Theatrical Migration in Modern Japanese Musical by Scenography and Intermediality Comedy: New Ideology and Democracy under the Rasmus Cromme, Ludwig-Maximilians-Universität Working Groups Monogamous Marriage System” München Digital Spaces and Migrating Forms Ayumi Fujioka, Sugiyama Jogakuen University “Medea – unfamiliar theatrical concepts and projec- “Theatrical Migration in Modern Japanese Musical tions of a refugee” - new strategies for Comedy: New Ideology and Democracy under the Marina Kotzamani, University of the Peloponnese performance Monogamous Marriage System” “The citizen as the other: staging the Acharnians in Junko Okamoto, Osaka University Greece, in times of crisis” ROOM 103 “Migrating Audience as Strategies to Clear Censorship Will Shüler, Royal Holloway, University of London in Franco’s Spain – In the Case of Buero Vallejo and “A Promise to Artemis: Hippolytus, Male Virginity, and Scott Palmer, University of Leeds Sastre” Queer Spectatorship in the 5th Century BCE“ “Designing Audience Experience for Mobile Perfor- mance: Atmospheres, Environment and Technological Agency” Maria Kapsali, University of Leeds “Attention in the Cellular Age: Mobile phones and theatre practice” Stephen Di Benedetto, University of Miami “Who Owns the Land? Experiments with digital technologies in the development and preservation of immersive performance at a Cultural Heritage Site” IFTR 2018 Belgrade IFTR 2018 Belgrade 28 29 NS NS
3. Dramaturgy and Performance Monika Meilutyte, Vilnius University Paola de Vasconcelos Silveira, Doctoral Student of NS1 Tuesday, July 10 “Interactivity in theatre: what do spectators truly UNIRIO - RJ/BR experience?” “A Queer brazilian ballroom - a dance experience of 11:00-12:30 ROOM 308 Abhimanyu Vinayakumar, University Of Hyderabad encounter changing realities” Faculty of Philosophy Chair: Cathy Turner, University of Exeter “Deconstructing the text and theatrical space – Analyz- ing the politics in aesthetics” Deborah Pollard, University of Wollongong Alessandra Montagner, State University of Campinas “Entanglements with time: staging time in the theatre” “Touch and spectatorship: On What Escapes the Body 8. Digital and Virtual Realities Henna Vainio, University of Jyväskylä to Return as Threat” of Performance 1. Economies of Theatre and “The Unsolved Conflict – About The Possibility of Trag- Sarah Hoover, National University of Ireland, Galway edy based on Friedrich Hölderlin’s Theory” ROOM 104 Performance “Gaming the Taboo: Affect, encounter and agency in Amanda Fromell, University of Birmingham Mentioning the Unmentionables participatory perfor- Chair: Andy Lavender, University of Warwick “Theatre and Algorithms - towards a digital political mances” ROOM 214 dramaturgy” Cory Tamler, The Graduate Center, City University of Abbie Trott, University of Melbourne Chair: Jane Milling, University of Exeter New York “Distributed Meaning: Hungry Ghosts and Meaning in “Writing About Silence: The Grant Questionnaire as Transition” 6. Transnational Performance Eszter Szabó-Reznek, Hungarian Academy of Sciences, Dramaturg” Ester Fuoco, University of Genoa/ Université Paris Practices Research Centre for the Humanities Diderot “How Much for a Theatre Ticket and a Seven-Course ROOM 105 “Corporeal intersections and hybridations in digital Meal? The Economics of a Nineteenth-Century Theatri- performances” cal Centenary in Transylvania” 4. Performance and Religion Chair: Christopher Balme, Ludwig-Maximilians- Jochen Lamb, Johannes Gutenberg-Universität Mainz Rebecca Sturm, Ludwig-Maximilians-Universität Universität München “Violent mass surveillance in performance art” München Shuntaro Yoshida, Tokyo University of the Arts ROOM 408 “The ITI and the globalization of theatre in the Cold Fabián Escalona, The Graduate Center, CUNY “Flash Mob Dance, the anonymity of contemporary War” Chair: Josh Edelman, Manchester Metropolitan Uni- “Luis Antonio Morante in Chile: early post-colonial the- dance” Benjamin Hoesch, Justus-Liebig-Universität Giessen versity atre in a transnational/transatlantic perspective” “Forever Upcoming? Young artisits and festival institiu- Nazli Akhtari, University of Toronto tions” Mukesh Kulriya, Royal Holloway University of London “Performing Madness in Radiochehrazi: an inquiry Annelies Van Assche, Ghent University “Efficacy of a Mela – A Study of Pilgrimage in Western into overlapping politics of transnational and mad 9. Theatre and Migration I “Chasing Your Own Tail: on Artists and Projects” India” identities” Miriam Cummins, Trinity College Dublin Ruba Totah, Johannes Gutenberg University Mainz- ROOM 208 “Post-secularism, Gender Performativity, and Perfor- Germany “From Subjective to Hybrid: Syrian Performance in the mance in the Postcolonial World” Chair: Meike Wagner, Stockholm University 2. Embodied Research Methods Reyazul Haque, Jawaharlal Nehru University Diaspora” Alba Saura Clares, University of Murcia “Conversion as a Social Gestus: Distantiation, Identity Pushpita Mitra, Jawaharlal Nehru University and Belonging in a Caste Society” “Crossing scenes: from Timbre 4 Argentina to Teatro ROOM 510 “Nazrul-Sangeet : Listening to musical-migration and Neslihan Arol, Berlin University of the Arts Kamikaze Spain” the politics of reception” Chair: Lib Taylor, University of Reading “Meddahlık: A Small Universe” Friederike Oberkrome, Freie Universität Berlin Vishnuprasad Reghunathan, Jawaharlal Nehru Univer- “Migratory messengers – The mediatedness of docu- Alan Parker, University of Cape Town & Rhodes Uni- sity mentary post-migrant theatre” “Permeable edges of a ritual ecosystem: Thinking 7. Queer Performance and versity NageshwarRao Lavuri, Potti Sri Ramulu Telugu Univer- through boundaries of Kottangal padayani” Performativity “Conceptualising the role of archival detritus as a ‘line sity of flight’ for embodied research practices” ROOM 508 “Fall and fabrication of Chenchu theatre in effect of Claudia Ortega Rodríguez, Universidad Pedagógica migration in Telugu region” Nacional de Colombia Chair: Stephen Greer, University of Glasgow Kaustubh Naik, School of Arts and Aesthetics, JNU 5. Spectatorship: Space, Politics, “Purtugez Passport: Performing the anxieties of migra- “Methodologies Developed in The Project: ‘Voices and Participation and Bodies of The Community And Its Researcher’: A Marlon Jiménez Oviedo, Brown University tion among the Goan Catholic communities” Nina Helene Skogli, University of Agder, Faculty of Fine Process Of ‘Research-Creation / Education’” ROOM 101 “Queer Discourse Across Borders: Imperialism and Sara Ismail, Goldsmiths College, University of London Citationality” Arts “Corporeal Mapping: Home and Away” Chair: Janelle Reinelt, University of Warwick Luxsnai Songsiengchai, University of Hyderabad “Soft Eyes and Migratory Routes: Discussing dramatur- Stephanie Vella, The Graduate Center, CUNY “The Changing Space: Thai popular folk theatre and gical strategies in a performance concerning politics of “Jane Harrison’s Primitive Greek Body: Anachronic Nika Leskovšek, University of Ljubljana the spaces for Kathoey self-expression” immigration” Performance Studies and Modernist Time” “Performative Strategies for Spectators’ Management Vlad Butucea, University of Glasgow Before and After Slovenian Independence: Introductory “The Cyborg Spectator: blurring corporeal boundaries Rituals” in intermedial theatre and performance” IFTR 2018 Belgrade IFTR 2018 Belgrade 30 31 NS NS
10. Acting and Directing Connor Meeker, University of Alberta 15. Pedagogical Perspectives “Reckoning as a Theatrical Response to Canada’s Truth and Reconciliation Commission” ROOM 211 Debajit Bora, Jawaharlal Nehru University ROOM 310 Chair: Mark Fleishman, University of Cape Town “Migration, Ethnicity and Identity Conflicts: Looking at Chair: Karen Vedel, Copenhagen University Rabha community theatre of Assam” Julia Nawrot, University of Granada Oluwafemi Jacob, Olabisi Onabanjo University Karen Morash, Rose Bruford College “The influence of Tadeusz Kantor on Miquel Mateu’s “TFD and Peace Building: A Study of the Conflict be- “The Forgotten History of Playwriting Manuals (1888- ‘Thursday Today’” tween Fulani Herdsmen and Farmers in Nigeria” 1936)” Lars Harald Maagerø, PhD Student, Drama by Priscilla Carbone, School for Arts and Communication Research, University of Ken – University of São Paulo ECA-USP “Exploring Concepts of Nationality through a National “The actor’s body genealogy within pedagogical Canonical Play” practices” 13. Theatre and National Identities Ana Zanandréa, UFRGS - Federal University of Rio Benjamin Silva Farias, Pontifical Catholic University of Grande do Sul Chile “Actors’ direction: bodies in process” ROOM 103 “The Outdated School in the Chilean Scene of the 21st Century: Education, Biopower and Marginality” Chair: Jean Graham-Jones, City University of New York Nathaniel Ridley, University of Otago “Why Undergraduates Don’t Read and How They Get 11. Women in Theatre: Christina Vollmert, University of Cologne Away With It: A Tale of Fatigue, Triage and Grades” Performance and Ideology “Location & Nation - Theatrical Representations of the Past in fin-de-siècle Frankfurt/Main” Jennifer Decolongon, The University of Melbourne ROOM 410 “The Filipino family and cosmopolitan national identity in post-World War Two Philippine English-language Chair: Ivana Vujić, Faculty of Dramatic Arts, Belgrade drama” Eva-Liisa Linder, Estonian Academy of Music and Martina Guerinoni, Università Cattolica del Sacro Theatre Cuore “Globalisation vs nationalism: discussing national iden- “Social and Community Theatre as best practice for the tity in contemporary Estonian theatre” inclusion of migrant women in Italy” Ana Luiza Fortes Carvalho, Universidad de Castilla-La Mancha “OTHER - Research on ways of seeing ourself” LyaNisha Gonzalez, Texas Tech University 14. Exilic Perspectives “Othering Others: The Black Female Body in Perfor- mance” Sung Un Gang, University of Cologne ROOM 401 “The Infectious Love. The Public Discourse Surround- ing Female Students’ Theatergoing and their Role in Chair: Yana Meerzon, University of Ottawa Eugenic Marriage in Colonial Korea” Yannice de Bruyn, Ghent University “The return of an exile – Guilliam van Nieulandt’s Antwerp success” 12. Conflict, Truth, and Claire Hampton, University of Wolverhampton Reconciliation “Selfies at the Border: Framing Migration” Samik Dasgupta, Jawaharlal Nehru University “Performing guilt during a refugee crisis: Deconstruct- ROOM 301 ing regional identity post-1971 in Calcutta” Helene Grøn, University of Glasgow Chair: Janne Risum, School of Communication and “Compromised Belongings: Performing self and home Culture, Aarhus University in a globalised world” Yana Prinsloo, Johannes Gutenberg University Mainz “Performances of Truth – Truthfulness in Performances” IFTR 2018 Belgrade IFTR 2018 Belgrade 32 33 WG WG
WG3 Tuesday, July 10 Mechele Leon, University of Kansas At IFTR 2018 in Belgrade, the ERWG will explore a range Choreography and Corporeality “Theatre Historiography and Cultural Diplomacy“ of practice structures designed to facilitate knowledge Working Group 14:00-15:30 exchange. These include established formats such as ROOM 510 lightning presentations, curated workshops, curated paper/video feedback sessions, and moderated discus- Faculty of Philosophy Theatrical Event Working Group Members of the working group circulate their papers in sions; as well as new exchange structures like “Dynam- ROOM 409 the weeks leading up to the conference. Members read ic Configurations with Transversal Video” (a research all of the papers in advance and come along ready to method developed by Ben Spatz), “No Table” (an adap- discuss each other’s work. A provisional timetable is cir- Chair: Willmar Sauter, Stockholm University tation of Lois Weaver’s “Long Table”), and “practice in culated to members once the papers are submitted and response to practice” (inspired by Peter Sciscioli’s IIAC Samuel Beckett Working Group read, and then the discussion agenda is finalized at the Daria Skjoldager-Nielsen, Stockholm University exchanges). For more information, please contact the ROOM 512 first meeting. Papers are linked together on the basis of “How can audience development projects influence the ERWG conveners. contexts of theatrical event?” shared problems, concerns or treatment. Intercultural and Interdisciplinary Beckett Susan Bennett, University of Calgary Conveners: New members are always welcome. If you propose to Chair: Mariko Hori Tanaka, Aoyama Gakuin University “Performance in the National Context: Canada 150” Ben Spatz
Scenography Working Group Theatre Architecture Working Group Popular Entertainments Working Asian Theatre Working Group ROOM 104 ROOM 310 Group ROOM 508 ROOM 301 Convenors: Sofia Pantouvaki, Aalto University and Note: The sessions of the Theatre Architecture Working Japanese Regional theatre Nick Hunt, Rose Bruford College Group are open to all conference delegates. The Working Note: All delegates attending the 2018 IFTR Conference Chair: Mitsuya Mori, Seijo University Group circulates written papers in advance of the con- are invited to attend sessions of the Popular Entertain- Landscape, location and scenography: migrating in ference, and members are invited to give short presenta- ments Working Group, with the exception of the Business Kei Hibino, Seikei University new environments tions about their papers, followed by discussion. and Planning Meeting, Thursday 16.00-17.30. The Busi- “Theatre That Holds the Self-Reflective Mirror up to ness and Planning session is open only to current mem- Nature: Japanese Local Amateur Theatre Reconsid- Chair: Lucy Thornett, University of the Arts London Chair: Cathy Turner, Exeter University bers of the Working Group. ered” The Popular Entertainments Working Group operates Tomoko Goto, Tottori University Adela Bravo Sauras, Universitaet der Kuenste, Berlin by circulating members’ draft papers in advance of the “Potentials of Amateur Theater Production in Super Nick Hunt, Rose Bruford College “The ‘Architectonic Turn’ in theatre or the ‘ conference, enabling a more focused discussion at our Aging Society: A Case Study on Theater Activities by the “Cuddington: An ongoing photography project” Architectonic Theatre’” meetings. Elderly” (Seminar/ Provocation) Rafael Magrou, École nationale supérieure Geneva Foster Gluck, Arizona State University d’Architecture Paris-Malaquais Historic and Contemporary Circus: in search of Where the future takes place: Vibrant matter, power “Boundaries between actor and spectator: the space at understanding circassian processes Queer Futures Working Group geometry and artist event making stake / Pommerat & Soyer’s ‘Ca ira. Fin de Louis 1 : the ROOM 208 (Seminar/Provocation) fourth wall questioned” Kim Baston, La Trobe University, Melbourne Sofia Pantouvaki, Aalto University Katalin Bagosi, Technical University of Cluj Napoca “Don Juan in Montreal: recuperating the ephemeral“ All sessions are open to all delegates Through Figaro’s Dream: Scenography as a Means “Theatrical space as extension of the scenography of a Jonas Eklund, Stockholm University to Migrate into Children’s Creative Minds and Social performance” “Towards a Body of Knowledge: a study of the inter- Queer Futures Panel 3 Worlds (Seminar/Provocation) subjective relation between bodies on stage and bodies Chair: Sarah Mullan, University of Northampton in the audience” Political Performances Working Stephen Greer, University of Glasgow Intermediality in Theatre and Group “‘From Egypt to Scotland, across borders and genders’ Performance Working Group ROOM 101 Arabic Theatre Working Group – National Theatre Scotland’s Adam and the figure of ROOM 105 ROOM 213 the trans migrant” European responses to the European migrant crisis: Maggie Inchley, Queen Mary University of London Note: All WG panel sessions are open to whoever wishes empathy, sanctuary and hospitality II Mapping the Terrain “Transvocalism in Jo Cliffords Swan Song, Eve 2017” to attend with the exception of the second half of WG Chair: Alison Jeffers, University of Manchester Moderator: Roaa Ali Lazlo Pearlman, Northumbria University Panel 6 and WG Panel 7, which are designated for WG Discussant: Marvin Carlson “What You See is What You Get: Visuality, Erotics and discussions to co-ordinate prospective collaborative re- Avra Sidirpoulou, Open University of Cyprus the Disruptive Trans-Body” search projects. “Modern Tragedies: European Theatre and the Samer Al-Saber, Florida State University, USA Contemporary Refugee Crisis” “Against The Example Of Middle Eastern Heritage” Clare Wallace, Charles University, Prague Online Performance Performance Religion and Spirituality Chair: Maria Kapsali, University of Leeds “Performing the threshold: community, hospitality and Working Group the future” African and Caribbean Theatre and Lena Šimić, Edge Hill University, and Zoë Svendsen, ROOM 308 Christina Papagiannouli, University of South Wales Performance Working Group “Internet, Theatre and National Identity: The Dis-Unit- University of Cambridge ROOM 513 Enzo Vasquez Toral, Princeton University ed Kingdom and its National Theatres” “Performing the Unforeseeable: A Conversation” “Post-Folkloric Transvestism: Transvestite Interventions Antonio Pizzo, Universita Degli Studi Di Torino “Sharing” Practices: Performance in/of Social and the Performance of Identity in the Peruvian Andes” “Devising a Space with Dramaturgical Intelligence” Mediation Alessandra Zanobi Ralf Remshardt, University of Florida Feminist Research Working Group Chair: David Donkor, Texas A&M University “Tarantism: a Ritual Form Migrating Through the “Intermedial Borderlines: Performance Capture and Its ROOM 401 Centuries” PreHistory” Izuu Nwankwo, Chukwuemeka Odumegwu Ojukwu Josh Edelman, Manchester Metropolitan University Liam Jarvis, University of Essex Note: This working group doesn’t offer a schedule of University, Igbariam “Global rap, hip-hop and the performance of minority “Appification & Technologies of the ‘Other’: Perform- papers. “Migratory Drums of Africa, Ambivalent Rhythms of religious identity” ing Neurological Disorders and ‘Obscene Immortality’ the West: Bolanle Austen-Peters’ Saro and Wakaa, the in VR Charity Apps” For the participants list, please go to page XXX Musical and Nigeria’s Theatre Renaissance David Donkor, Texas A&M University “’Who Said Tweaah!’: Social Media Memes and Co-Per- formative Critique in Ghanaian Digital Culture” IFTR 2018 Belgrade IFTR 2018 Belgrade 36 37 WG
Performance in Public Spaces Working Group ROOM 214
Spaces of Migration/Transgression Chair: Lesley Delmenico, Grinnell College
Elena Gordienko, The School for Advanced Studies in the Humanities, RANEPA, Moscow “Teatr.doc Implicit impacts: passers-by reactions as an image of social environment and frontiers” Jia-iuan Chin, National Cheng-Kung University “Being Together in the Night-time: A Study of Time in Public Spaces” Tara Fatehi Irani, University of Roehampton “Mishandled Archive: transposing histories, imager- ies and movements across geographic and temporal borders”
Performance and Disability Working Group ROOM 211
The Performance & Disability WG, which was founded in 2012, aims to provide a venue for the sharing and dis- semination of scholarly and artistic work, and best prac- Day 3 tices from around the world, which explore how diverse physical, sensorial, developmental and psychological abilities manifest themselves in all areas of performance. The aims of our Work Group are to create international dialogues, partnerships and networks at the crossovers of disability and performance, and to provide a venue for the sharing and dissemination of scholarly and artistic work, and best practices from around the world –re- WEDNESDAY search and practices that explore how diverse physical, sensorial, developmental and psychological abilities manifest themselves in all areas of performance.
Co-conveners: Yvonne Schmidt and Arseli Dokumaci For the participants list, please go to page XXX July 11 Schedule IFTR 2018 Belgrade IFTR 2018 Belgrade 38 39 GP GP
GP3 Wednesday, July 11 Transnational Theatrescapes, Curated Panel – Performing Migra- Barbara Gronau, Berlin University of the Arts Mobility and Stasis tion Disability and Displacement in “Aesthetics of Standstill as Countertemporalities” 9:00 – 10:30 Israel – Palestine Dijana Mitrović, University of Wisconsin-Madison ROOM 408 “Performing Passivity: Marina Abramović’s ‘The Artist Faculty of Philosophy ROOM 104 Is Present’” Chair: Theresa Eisele, University of Vienna Ulrike Garde, Macquarie University, Sydney Chair: Milena Dragićević Šešić, University of Arts in “International Festival Co-Productions as ‘Migrating’ Belgrade Theatre: Exploring the Interplay of the National and Transnational in the Production and Critical Reception Migratory Geographies in Visual and Dror Harari, Tel Aviv University Performing Arts of Falk Richter and Anouk van Dijk’s Complexity of ”Migration, Transplantation and Utopia in the Early Cultures of the Left - Migration, Belonging” Belonging, Dissent and Radical Action Works of Israeli-Moroccan Artist Pinchas Cohen ROOM 308 Gustavo Fijalkow, Coventry University Gan” Performances “National dance platforms in a globalised dance world” Avital Barak, Tel Aviv University Chair: Andy Lavender, University of Warwick Nic Leonhardt, Ludwig-Maximilians-Universität ”Moving Sounds at a Migrated space: The Audio-Walk ROOM 101 München ‘Echoing Yafa’ as a Performative Act of Memory” “’The show business has gone all to pieces’ – Theatres- Keri Watson, University of Central Florida and Julia Daphna Ben-Shaul, Tel Aviv University Chair: Brian Singleton, Trinity College Dublin capes, Mobility and Stasis during World War I” Listengarten, University of Central Florida ”Harnessed to Performance: Will-Powering Movement ”Found in Translation: Performing Displacement and Elaine Aston, Lancaster University and Migrated Memory in ‘The Walk’” Migratory Geographies in a Visual and Performing Arts “Socialist-feminist Be/longing and the Theatre of Caryl Dorit Yerushalmi, University of Haifa Collaboration” Churchill” Strategies of Participatory “Khashabi Theatre: Performing the Right to a Raivo Kelomees, Estonian Academy of Arts Ameet Parameswaran, Jawaharlal Nehru University Approaches Palestinian City in Downtown Haifa” ”Performing and Contemplating Identity on the Border “Between Movement and Stasis: Theatricality and the of EU” Problem of Scale in Left Aesthetics” ROOM 410 Ruta Mazeikiene, Vytautas Magnus University Bishnupriya Paul, Jawaharlal Nehru University “Placelessness: Representations of Emigration in “Re-inscribing histories into lost geographies: Migrant Chair: Tove Bjoerk, Saitama University Construction of the Other Contemporary Lithuanian Drama” Labour and socialist imaginations” Performing Landscape Emilie Pine, University College Dublin “Freedom of Movement?: Site-specific performance ROOM 508 and the role of the empathetic spectator in Irish Spaces, Non-places and Mobility Curated panel – Amateur Theatre theatre now” Chair: Ulf Otto, Ludwig-Maximilians-Universität and Community Building Emer O’Toole, Concordia University, Montreal München “The Ambiguous Aesthetics of THEATREclub’s ‘The ROOM 214 Game’” ROOM 310 Nanako Nakajima, Shobi-gakuen University Imanuel Schipper, Rimini Protokoll; Arts & Social Chair: Heike Gehring, Rhodes University “Disassembling the dancing subject for the good of Change - MSH Hamburg Chair: Susan Haedicke, University of Warwick cleaning” “From global research to walking audiences. Migration Laurens De Vos, University of Amsterdam in Rimini Protokoll’s ‘State 1-4’” Angela Campbell, Federation University “The homely and national identity in contemporary Meike Wagner, Stockholm University “Big Walk to Golden Mountain” “Performing Citizenship. Liebhabertheater around theatre” Mia David, University of Novi Sad 1800” Rebecca Free, Goucher College “Migrations into quasi identity - or how to survive а Magnus Thorbergsson, University of Iceland “Sited Theatre and Representations of Migration in “Connecting communities: Touring networks and Curated Panel – Theatre, Refugees, life” Contemporary Marseille” competitions of Icelandic-Canadian amateur theatres” Home Osita Ezenwanebe, University of Lagos, Nigeria Sarah Penny, University of Warwick “Identity Beyond Boarders: Contesting Gendered Space “Making a Song and Dance at Sea: The Rise of SODS ROOM 401 in Modern African Drama” Opera in the Royal Navy” Borders of the Body: Mobility or Chair: Stephen Wilmer, Trinity College Dublin Stasis of Personal Self
Pirkko Koski, University of Helsinki ROOM 211 “The theatre as a refuge: Other Home from the audi- ence perspective” Chair: Nina Živančević, Université Paris 8, la Sorbonne 1 Outi Lahtinen, University of Helsinki “Refugees watching refugees” Kevin Landis, University of Colorado, Colorado Springs Jussi Lehtonen, The Finnish National Theatre “Public Body: The Movement Performance of Eiko “Other Home: A hybrid community of artistic Otake” expression” IFTR 2018 Belgrade IFTR 2018 Belgrade 40 41 GP GP
Posthumanist Performativity Staging Migration: Towards and GP4 Wednesday, July 11 Chair: Matthias Warstat, Freie Universität Berlin Beyond Identity ROOM 213 11:00 – 12:30 Sarita Malik, BPS Women University Khanpur Kalan, ROOM 208 Sonipat Chair: Mark Pizzato, University of North Carolina Faculty of Philosophy “Re articulation of Identity/Identity Negotiation: Di- Chair: Hanna Järvinen, Theatre Academy of the alectic Interplay Between Transnational Theatre and Sarah O’Brien, Teesside University University of the Arts Helsinki, Finland Intercultural Dialogue“ “The Alienated Self? Addressing the Border Between the Houman Zandi-Zadeh, Flinders University Graduate Digital Self and Participation in Immersive Experiences” Milton Loayza, State University of New York at Oswego “’Orghast’: Othering the Other in Their Homeland” Isabella Draghici, University of Bucharest “Migrating Into the Scientific Bunker and the Future Gabriela Ramis, Olympic College Beyond: Three Latin American Plays” Curated Panel – Cultures of the “Migration, Theatre and New Technologies. A Case Study: Left - Negotiating histories: “From Cuba to Colombia: Mérida Urquía’s Inward Tele-Encounters” Jen-Hao Hsu, Theatre Arts Department, National Sun Strategies of solidarity in a Journey Leading to the Encounter with her Audience” Raman Kumar, Jawaharlal Nehru University Yat-Sen University “Staging Migration, Performing Alterity: On Zhao Chuan’s post-migrant world “What Happens when a Process Migrates: Performing Grassroot Stage” Offshore Business in India, a case study” Darko Lukić, University of Zagreb ROOM 101 “Static Migrations/Inner Exiles: Challenging Collective Dancing Across the Borders – Memories and Deconstructing National Mythologies in Chair: Silvija Jestrović, University of Warwick Breaking Boundaries Drama and Theatre” Interculturality: Memory and Janelle Reinelt, University of Warwick ROOM 410 Violence “Problems of and for the Left in Our Times” Trina Nileena Banerjee, Centre for Studies in Social Chair: Jurgita Staniskyte, Vytautas Magnus University Sciences, Calcutta ROOM 301 Curated Panel – Mobility Within “The Migrating Aesthetics of Revolution: Kallol and Nicole Haitzinger, Paris-Lodron University of Salzburg Artistic Media the Design of History” Chair: Paul Rae, University of Melbourne and Amanda Pina Milija Gluhović, University of Warwick ”DANZA Y FRONTERA: choreography of resistance at ROOM 105 “Europe in Crisis, Refugees, and the Challenge of the border between Mexico and the US” Carlos Vargas-Salgado, Whitman College, USA Migration” “Theatricality as a Memory Place in Peruvian Civil War” Chair: Peter W. Marx, University of Cologne Luke Forbes, Monash University Hugo Salcedo Larios, Universidad Iberoamericana - Ciu- ”Expansive choreography: (de)coloniality and dad de México Plessiet Cedric, Université Paris 8 spatiality in Australian and Indigenous Australian “Experiencing avatar direction in theatrical mixed reality “Insecurity and violence. Representations of immigration concert dance” setup” Curated Panel – The Theatre of in the theatre of Mexico” Karen Vedel, Copenhagen University Georges Gagneré, Université Paris 8 Ghosts and the Other ”Migratory Choreography and Possibility of Dissent” Raffaele Furno, Arcadia University “Puppet, golem, autonomous avatar: a journey towards “From Savonarola to ISIS and Trump: When Cultural mixed reality stage” ROOM 103 Becomes the Enemy” Tim White, University of Warwick “The Argos Catalogue: Motion Capture and Performance” Chair: Hayato Kosuge, Keio University Performance as a Space for Migrating Representation of Migration in Mariko Hori Tanaka, Aoyama Gakuin University “The Theatre of Ghosts and the Other under the Contemporary British Theatre Performance as Research Working ROOM 104 (PPWG Curated Panel) Threat of Mass Deaths: Some Ethical Thoughts on Group sponsored panel Plays of Genocide” Migration Chair: Aleksandar Dunđerović, Royal Birmingham ROOM 510 Tomoko Kusuhara, Keio University Conservatoire, Birmingham City University -in-Practice / Practice-in-Migration “The Theatre of Ghosts and the Other under the Threat of Mass Deaths: Two Works of Memories and Chair: Benjamin Poore, University of York ROOM 103 Tania Neofytou, Open University of Cyprus Ghosts Set in Decades after Nazi’s Holocaust” “Queens of Syria: An Adaptation of Euripides’ ‘The Louise Owen, Birkbeck, University of London Chair: Johnmichael Rossi, University of Northampton Yukari Ito, Yamanashi Prefectural University Trojan Women’ or Documentary Theatre?” “In circulation: discourses of austerity and nation in “The Theatre of Ghosts and the Other under the Asha Kuthari Chaudhuri, Gauhati University, Guwa- Kaleider’s ‘The Money’” Diana Damian Martin & Generative Constraints, Royal Threat of Mass Deaths: The Theatre of Mobility and hati Marilena Zaroulia, University of Winchester Central School of Speech and Drama Stasis of Toshiki ” “Migrating Macbeths: Tracking Travelling Texts” “Why does theatre about migration make me feel so “Break Up Variations” Olga Muratova, City University of New York bad?’: Ugly Feelings and Paranoid Nationalisms in Con- Manola Gayatri, Univeristy of Pretoria/ Scribe Rites “European Tango, Korean-Style: A Staging of ‘The temporary British Theatre” “Migrating intimacies: deconstructing the Global South Seagull’ in Seoul” Rachel Clements, University of Manchester through relational aesthetics” Transnational Theatre and Mitsuko Sumida, National Institute of Technology, “’Not bogged down in old-fashioned agit-prop’: Rapid Laurelann Porter, Benedictine University Mesa Intercultural Dialogue Tsuyama College “Jack Colby, Cowboy Anthropologist as Trickster-Artist- “The Narrative in 887: Construction of Identity as responses and austerity politics in the case of Theatre Scholar: Narrating Intercultural Encounters” Québécois and the Collective Memory” Uncut and Take Back Theatre” ROOM 310 IFTR 2018 Belgrade IFTR 2018 Belgrade 42 43 GP GP
Theatre of Cultural Belonging Leah Sidi, Birkbeck, University of London Jon Venn, University of Exeter Yosef Yzraely, Tel Aviv University “A post-asylum dramaturgy? Displacement and Commu- “A New Flame: Suicide-as-Protest and the Migration of “Habima National Theatre - the unique case of exile-mi- ROOM 510 nity Care as a context for Sarah Kane’s ‘Crave’ (1998)” Self-Immolation in David Grieg’s ‘Fragile’” gration-homecoming” Susana Egea, Institut del teatre - Escola Superior de Olga Levitan, Hebrew University in Jerusalem, Tel-Aviv Chair: Catriona Fallow, University of Birmingham Música de Catalunya University “Fedor Chaliapin: the Development of Acting in the “What did Mikhail Chekhov write to the Hebrew theatre Ioana Szeman, University of Roehampton Performativity of the Public Operatic Scene in the framework of the Russian Habima?” “Roma Performances of Belonging and Citizenship: from Revolution” Bollywood Dance to Gypsy Music” ROOM 105 Yuko Saito-Nobe, Tokyo University of the Arts “Seeking the identity of Vietnamese modern theatre – a Chair: Tero Nauha, Theatre Academy of The University Performance, Religion and challenge of Le Khanh, actress that does not migrate” of The Arts Helsinki Heritage, Identity and Care Spirituality Working Group Anja Klöck, Hochschule für Musik und Theatre Leipzig sponsored panel Performing “Negotiating Public Space: European Democracy, Mi- Andy Lavender, University of Warwick ROOM 213 Community Identity Crisis gration and Public Theatres in Germany“ “The plebiscitary problem or, re-othering others: plural public spheres and the performance of power” Chair: Caoimhe Mader McGuiness, Kingston University ROOM 401 Caroline Herfert, University of Hamburg London “Performing the Bulwark of Europe: Notions of Nation Chair: Kim Skjoldager Nielsen, Stockholm University Censorship and Subversion in The- and Identity in 19th-century Vienna” Diana Looser, Stanford University David Mason, Rhodes College Wells Hansen, National Taiwan University “Destination Urbanesia: Cityscapes, Militarization, and atre Making “Performing Community Identity Crisis” “Defining Imperial Rome through Public Performance: the Global Pacific” The Trial of Piso” Sanjay Kumar, Central European University CEU, Buda- ROOM 208 Andrés Kalawski, Pontificia Universidad Católica de pest, Hungary Nesreen Hussein, Middlesex University Chile “Enacting Crisis in Communities: A study of theatrical “Performing Utopia / Reclaiming the Public Sphere” Chair: Candan Kizilgol, Ankara University “Heritage, identity and care: theatrical performance of interventions in the discourses of Migration and Identity domestic work in recent Chilean theatre” in Central Eastern Europe” Fatine Bahar Karlidag, Yeditepe University Manpreet Kaur, Columbia University “From East End to the West End: Theatre Workshops “A Sangat of Tanks in the Dargah” immigrant productions” Theatre in Exile Hanna Voss, Johannes Gutenberg-Universität Mainz Festivity Towards Belonging “Prefabricated Biographies? Young Actors of Color in ROOM 308 Institutionalized German Theatre” ROOM 211 Migrating Towards Immersive Kristina Trajanovska, Ss. Cyril and Methodius University Chair: Goran Petrović Lotina, Ghent University Artificial Spaces Skopje Chair: Sruti Bala, University of Amsterdam “’Lord Chamberlain’s Blue Pencil’: Post-War British Ewa Uniejewska, SWPS University of Social Sciences ROOM 309 Drama Before and After Censorship” and Humanities in Warsaw Hasibe Kalkan, Istanbul University “Transmission of the Russian acting system into the “Beyond Belonging” Chair: Sarah O’Brien, Teesside University ground of American movie industry” Debanjali Biswas, Kings College London Mikko-Olavi Seppala, University of Helsinki “In the name of the dancing deer: Performing the State Sarah Youssef, University of Cologne The Motifs of Migration “Actress in exile - Liina Reiman in Finland, 1944-61” in Manipur” “Shakespeare and Digital Art: RSC meets Intel in The in Drama Plays Rosa Peralta, GEXEL, Autonomous University of Milton de Andrade Leal Jr., Federal University of the Tempest (2017)” Barcelona State of Rio de Janeiro Mia Amir, Playwrights Theatre Centre ROOM 408 “Spanish Republican Theatre in Exile: A Social Question” ”Zoomorphism and corporeal hybridism in Brazilian “Geologic Formations: A performance-based case study performativity” of the politics and limits of perception and empathy in Chair: Ameet Parameswaran, Jawaharlal Nehru the fight against the global rise of fascism” University Sanja Vodovnik, University of Toronto Breaking Boundaries “Artificial intelligence performed: the dramaturgy of the Rantimi Julius-Adeoye, Redeemer’s University Between Migration and Memory reset button” “Exile and Resistance Narrative in Nigerian Historical ROOM 508 Drama: A study of Ahmed Yerima’s ‘The Trials of Oba ROOM 301 Ovonramwen’ and ‘Attahiru’” Chair: Nataliya Atanasova Gordana Marić, Faculty of Drama Arts Chair: Hanna Korsberg, University of Helsinki “Person without ID Card - Person with False Identity: Carol Fisher Sorgenfrei, University of California, Los Angeles The Future of Theatre as a Method of Social Sarit Cofman-Simhon, Tel Aviv University “IIntercultural Conundrums - Boundaries, Barriers and Intervention” “The Suitcase in the Israeli Theatre: Between Migration Borders” and Memory” IFTR 2018 Belgrade IFTR 2018 Belgrade 44 45 WG WG
WG4 Wednesday, July 11 Digital Humanities in Theatre Performance as Research Working Choreography and Corporeality Research Working Group Group Working Group 14:00-15:30 ROOM 312 ROOM 408 ROOM 510 Note: all sessions are closed to Group Members. Faculty of Philosophy Note: We welcome conference participants interested in Members of the working group circulate their papers in the work of our group to attend the sessions. Performance Conversation Group #1 the weeks leading up to the conference. Members read all of the papers in advance and come along ready to Doug Reside, New York Public Library Ildiko Rippel, University of Worcester discuss each other’s work. A provisional timetable is cir- “The Illicit History of the Broadway Bootleg” “’NO WOMAN’S LAND’ performance or documentary culated to members once the papers are submitted and Antje Budde, University of Toronto film” read, and then the discussion agenda is finalized at the Translation, Adaptation and “Performing ‘ACT247’ - Intersectional Processes and Flavia Domingues D’Avila, Royal Conservatoire of Scot- first meeting. Papers are linked together on the basis of Dramaturgy Working Group Challenges of Making Statistics as Performance” land/University of St Andrews shared problems, concerns or treatment. ROOM 410 “Performance Research Tests on syncretic theatre and New members are always welcome. If you propose to devising” join us this year and would like to read the papers, please Working Group Annual Meeting Myer Taub come along to our first meeting and we will arrange for “Shifting contours: Mapping, memory and the met- you to receive the papers. Also, if you would like to join aphor of the counter-performance practice: to arrive our group, you may wish to email us beforehand: at questions around cartographic modes in making Embodied Research Working Group de-colonial performance” ROOM CO3 Aoife McGrath: [email protected]; Christina Kapadocha, East 15 Acting School-University Historiography Working Group Prarthana Purkayastha: Prarthana.purkayastha@rhul. of Essex ac.uk ROOM 103 The Embodied Research Working Group (ERWG) sup- “Waiting for: Somata in-between migration and stasis” ports individual and collaborative research projects in Orestes Perez Estanquero, Universidad Autónoma de Historiography WG III which embodied practice is an explicit and essential part For the participants list, please go to page XXX Barcelona Chair: Janne Risum, Aarhus University of the methodology. While embodiment has been a ma- “Mapping the routes and Migratory Processes within jor interest for theatre and other scholars across several an investigation about performing of real people” Sabine Päsler, University of Cologne, Department of decades at least, the claim that embodied practice can Media Culture and Theatre constitute a mode or method of academic research is “Naming a new theatrical practice: A question of muta- relatively new and in some contexts still controversial. Music Theatre Working Group tion and its methodological challenges” The ERWG aims to establish an international platform ROOM 309 Dassia Posner, Northwestern University through which to share innovative and traditionally in- “Bulgakov’s ‘The Crimson Island’ at the Moscow formed approaches to the methodological, epistemolog- Processus de Création Working Group All sessions are open to conference participants but they Kamerny Theatre” ical, and ontological questions provoked by embodied re- ROOM 313 are to note that papers would not be read. Papers will be Jane Milling, University of Exeter search. pre-circulated amongst WG participants (these will not “Performing Services: historiographies of performing Traces of gender in dealing with the creative process be provided for walk-in participants) and the sessions servants on the eighteenth-century British stage.” At IFTR 2018 in Belgrade, the ERWG will explore a range will be used for conversation and debate. Presenters will, of practice structures designed to facilitate knowledge Natalija Jakubova, University of Music and Performing however, give a short 10-minute overview of their paper exchange. These include established formats such as Arts, Vienna and abstracts will be available to everyone. The remain- lightning presentations, curated workshops, curated ”Electra in the Lower Depths? Looking for Hofmanns- ing 20-minutes will be used for a discussion of the paper. paper/video feedback sessions, and moderated discus- thals Inspirations in the Theatre of his Time” sions; as well as new exchange structures like “Dynam- Proshot Kalami, Bunker Hill Community College SESSION 4 Theatrical Event Working Group ic Configurations with Transversal Video” (a research ”Collective Creation of ‘The Impossible’, The Site Of Chair: Marcus Tan, National Institute of Education, ROOM 409 method developed by Ben Spatz), “No Table” (an adap- Telling, Healing and Transformation in Performing Tthe Nanyang Technological University tation of Lois Weaver’s “Long Table”), and “practice in Voices of the Community Chair: Rikard Hoogland, Stockholm University response to practice” (inspired by Peter Sciscioli’s IIAC Demetris Zavros, University of Wolverhampton exchanges). For more information, please contact the “‘Musical Dramaturgy’ and Migratory Practices in Janne Tapper, University of Helsinki ERWG conveners. Development” “Set Theory in Theatre: Philosophy as an Event” Tereza Havelkova, Charles University, Prague Frithwyn Lippok, University of Hildesheim Conveners: “Documentary Gesamtkunstwerk, or, Can Lenin “Affective framing of the theatrical event – a phenome- Ben Spatz
Scenography Working Group Theatre Architecture Working Group Popular Entertainments Working Asian Theatre Working Group ROOM 104 ROOM 310 Group ROOM 508 ROOM 301 Convenors: Sofia Pantouvaki, Aalto University and Note: The sessions of the Theatre Architecture Working Tradition and Contemporary Nick Hunt, Rose Bruford College Group are open to all conference delegates. The Working Note: All delegates attending the 2018 IFTR Conference Chair: Hayato Kosuge, Keio University Group circulates written papers in advance of the con- are invited to attend sessions of the Popular Entertain- Migration as a shift in scenographic practice ference, and members are invited to give short presenta- ments Working Group, with the exception of the Business Michael Ingham, Lingnan University tions about their papers, followed by discussion. and Planning Meeting, Thursday 16.00-17.30. The Busi- “’Off, off, you lendings! Come. Unbutton here’: The Chair: Nevena Mrđenović, University of Technology, ness and Planning session is open only to current mem- divestment of authority and the cultivation of hope in Chair: Hari Marini, Queen Mary University of London bers of the Working Group. Sydney Makoto Sato’s reincarnation of Lear with Mügen Nōh The Popular Entertainments Working Group operates Andrew Filmer, Aberystwyth University by circulating members’ draft papers in advance of the elements” Lucy Thornett, University of the Arts London “A Clear Cut: Dance, Architecture and Ecological Aes- conference, enabling a more focused discussion at our Wei Feng, Shandong University “Aesthetic Shifts: Online image tools, filter bubbles and thetics” meetings. “‘Nothing’ Reshaped: Eugène Ionesco’s ‘The Chairs’ in contemporary performance design” (Seminar/Provo- David DeGrow, University of Toronto Classical Chinese Theatre” cation) “Section 37 and Theatre Architecture in Toronto” Popular Entertainments and Popular Culture Balakrishna Pillai Anandha Krishnan, University of Dominika Łarionow, University of Lodz Kristiina Reidoly, Tartu University Hyderabad “The image of a Hassid in the works of Tadeusz Kantor “Theatre in border areas” Jason Price, University of Sussex “Classics in Post-colonial Indian theatre” as an example of the migration of the sign from the Romana Bošković Živanović, University of Novi Sad “Popular Performance and the Ominvore: the shifting drawing, through the theater to the living monu- “Home of Culture in Ravno Selo: architecture, cultural terrain” ment.”(Seminar/ Provocation technology and management” Mikael Strömberg, University of Gothenburg “Rural popular culture or popular rural culture?” Scenography Working Group Business meeting Working Group business meeting Performance Religion and Spirituality Working Group ROOM 308 Arabic Theatre Working Group Political Performances Working Intermediality in Theatre and ROOM 213 Katharina Pewny, Ghent University Performance Working Group Group “Modes of Subjectivity, Spirituality, and Performance” ROOM 101 ROOM 105 Theatre, Nation, and Identity in the Contemporary Rebecca Kastleman, Harvard University Arab Region “Ritual Migrations on the Modernist Stage” Real words and real people: migration, verbatim and Note: All WG panel sessions are open to whoever wishes Moderator: Katherine Hennessey, American Silvia Battista, Liverpool Hope University delegation to attend with the exception of the second half of WG University, Kuwait “When the Spirits are Socially Engaged: ‘Journey to the Chair: Cristina Delgado-García, University of Birmingham Panel 6 and WG Panel 7, which are designated for WG Lower World’ by Marcus Coates” discussions to co-ordinate prospective collaborative re- Eiman Tunsi, King Abdul Aziz University, KSA Zheyu Wei, Guangxi Arts University search projects. “The Migration of Land Seagulls: A Saudi Playtext in “How to Play Ourselves: Devising Cosmopolitanism in Iraq” ‘The Good House of Happiness’” Non-human performers & technologized asynchro- Tiran Manucharyan, University of St Andrews, Cyrielle Garson, University of Avignon nicities Scotland “Fleeing Homophobia: Activism and LGBT Asylum in Queer Futures Working Group Chair: Christina Papagiannouli, University of South “The East-West Conflict in Two Egyptian Plays British Verbatim Theatre” ROOM 208 Wales (1991-2002)” Sarah Bartley, Queen Mary University of London
“‘Stealing Our Jobs’: Immigration, Representational Wrap up & Conclusion of the Day Yaron Shyldkrot, University of Surrey All sessions are open to all delegates Labour, and Moving Performance” “When Robots Breathe: Dislocation and Non-human Amanda Stuart Fisher, Royal Central School of Speech Performers” Queer Futures Panel 4 and Drama Lynne Kendrick, Royal Central School of Speech and Chair: Steve Farrier, Royal Central School of Speech “Care, Resistance and Solidarity in Phosphorous The- Drama African and Caribbean Theatre and and Drama atre’s ‘Dear Home Office’” “Migratory Sounds: Theatre Aurality and Resonance in Performance Working Group Performance” ROOM 513 Ferdinando Martins, University of Sao Paulo Marleena Huuhka, University of Tampere “Performing queer bodies in Persian culture: Censor- “I Into the Void – Examination on Non-Human Perfor- Critical Reflections ship and dissimulation” Feminist Research Working Group mativity, Errors and Immersion” Ankush Gupta, Jawaharlal Nehru University ROOM 401 Eirini Nedelkopoulou, York St John University Awo Mana Asiedu, University of Ghana, “Migrant Sexuality: The Curious Affair of Performing “Performing in Solitude: When The Lonely Machine David Donkor, Texas A&M University, Identities In Urban Paces In India” Meets Its Participant(s)” Note: This working group doesn’t offer a schedule of Sabine Kim, University of Mainz, Rosemary Klich, University of Essex papers. Izuu Nwanko, Chukwuemeka Odumegwu Ojukwu “Untangling the Visiophonic Knot: Audio-Visual Immer- For the participants list, please go to page XXX University, Igbariam, sion in Intermedial Performance” Rashida Resario, University of Ghana IFTR 2018 Belgrade IFTR 2018 Belgrade 48 49 WG
Performance in Public Spaces Working Group ROOM 214
Spaces of History/Heritage Chair: Becca Savory-Fuller, University of Exeter
Holly Maples, Brunel University “A Public Sense: Immersive performance and sensorial experience in site specific heritage performance” Fraser Stevens, University of Maryland, College Park “The Libraries and Babel: Site-Specific Theatre for Institutions of Knowledge”
Performance and Disability Working Group ROOM 211
The Performance & Disability WG, which was founded in 2012, aims to provide a venue for the sharing and dis- semination of scholarly and artistic work, and best prac- tices from around the world, which explore how diverse physical, sensorial, developmental and psychological Day 4 abilities manifest themselves in all areas of performance. The aims of our Work Group are to create international dialogues, partnerships and networks at the crossovers of disability and performance, and to provide a venue for the sharing and dissemination of scholarly and artistic work, and best practices from around the world –re- search and practices that explore how diverse physical, sensorial, developmental and psychological abilities manifest themselves in all areas of performance. THURSDAY Co-conveners: Yvonne Schmidt and Arseli Dokumaci For the participants list, please go to page XXX July 12 Schedule IFTR 2018 Belgrade IFTR 2018 Belgrade 50 51 WG WG
WG 5 Thursday, July 12 Theatrical Event Working Group tation of Lois Weaver’s “Long Table”), and “practice in shared problems, concerns or treatment. ROOM 409 response to practice” (inspired by Peter Sciscioli’s IIAC New members are always welcome. If you propose to 9:00 – 10:30 exchanges). For more information, please contact the join us this year and would like to read the papers, please Chair: Peter Eversmann, University of Amsterdam ERWG conveners. come along to our first meeting and we will arrange for Faculty of Philosophy Conveners: you to receive the papers. Also, if you would like to join Beate Schappach, Institute for Theatre Studies, Univer- Ben Spatz
Intermediality in Theatre and Political Performances Working African and Caribbean Theatre Performance Religion and Spirituality Performance Working Group Group and Performance Working Group Working Group ROOM 105 ROOM 101 ROOM 513 ROOM 308
Note: All WG panel sessions are open to whoever wishes Migration and Utopia Business Meeting Iliana Muñoz to attend with the exception of the second half of WG Chair: Clare Wallace, Charles University, Prague “Spiritual journeying through performance” Panel 6 and WG Panel 7, which are designated for WG Awo Mana Asiedu, University of Ghana, Dagmar Schwitzgebel discussions to co-ordinate prospective collaborative re- Veronica Rodriguez, Royal Holloway, University of David Donkor, Texas A&M University, “Church of Performance fucks the Patriarchy” search projects. London and Canterbury Christ Church University Sabine Kim, University of Mainz, “This is Our Song: Aeschylus’s ‘The Suppliant Women’ Izuu Nwanko, Chukwuemeka Odumegwu Ojukwu Discussions of other panels Migrating Identities, Haptics & Data Bodies in a Version by David Greig” University, Igbariam, Chair: Eirini Nedelkopoulou, York St John University Paola Botham, Birmingham City University UK Rashida Resario, University of Ghana, “Beyond the ‘Affective Turn’? Post Avant-Garde Political and more Lib Taylor, University of Reading Theatre” Performance in Public Spaces Working “Death and the Migration of Identity: Social Media David Pattie, University of Birmingham Traces as Performance” “Everyone’s Welcome Here: Migration and Utopia in Group ROOM 214 William Lewis, University of Colorado Boulder David Greig” Asian Theatre Working Group “Between Potential and Actualization in Corporatized ROOM 508 Business Meeting/Workshop Theatres of Virtual Reality“ Clio Unger, Royal Central School of Speech and Drama, Feminist Research Working Group Asian Diversity co-authored with Nell Beecham, London School of ROOM 401 Chair: Anna Thuring Economics “Extra/Ordinary Orgasms: OMGYES and the Virtual Note: This working group doesn’t offer a schedule of Sebnem Sozer Ozdemir Performance and Disability Working Disciplining of Sexual Pleasure“ papers. “The Aesthetics of Meşk: An Analysis of the Mode of Group Transmission in Traditional Performing Arts of Turkey” ROOM 211 For the participants list, please go to page XXX Ursala Maya Tangeberg Theatre Architecture Working Group “The World and the Word in two Hands“ The Performance & Disability WG, which was founded in ROOM 310 2012, aims to provide a venue for the sharing and dis- semination of scholarly and artistic work, and best prac- Popular Entertainments Working tices from around the world, which explore how diverse Note: The sessions of the Theatre Architecture Working Group Group are open to all conference delegates. The Working Queer Futures Working Group physical, sensorial, developmental and psychological ROOM 301 Group circulates written papers in advance of the con- ROOM 208 abilities manifest themselves in all areas of performance. ference, and members are invited to give short presenta- All sessions are open to all delegates The aims of our Work Group are to create international Note: All delegates attending the 2018 IFTR Conference tions about their papers, followed by discussion. dialogues, partnerships and networks at the crossovers are invited to attend sessions of the Popular Entertain- Queer Futures Panel 5 of disability and performance, and to provide a venue for ments Working Group, with the exception of the Business Chair: Helen Stratford, University of Sheffield Chair: Steve Greer, University of Glasgow the sharing and dissemination of scholarly and artistic and Planning Meeting, Thursday 16.00-17.30. The Busi- work, and best practices from around the world –re- ness and Planning session is open only to current mem- Alyson Campbell, Faculty of Fine Arts and Music, The search and practices that explore how diverse physical, Sarah Blissett, University of Roehampton bers of the Working Group. “Performative Architecture: Fluid Structures & Migrant University of Melbourne sensorial, developmental and psychological abilities The Popular Entertainments Working Group operates Ecologies” “Going Feral: queerly de-domesticating the institution manifest themselves in all areas of performance. by circulating members’ draft papers in advance of the and running wild.” Nadine Civilotti, University of Mainz conference, enabling a more focused discussion at our “Migrating space-related performative practices of Fintan Walsh, Birkbeck, University of London Co-conveners: Yvonne Schmidt and Arseli Dokumaci meetings. perception and subjectivation: Louvre Abu Dhabi” “Ghostly migrations, memory and kinship in Dickie Sven Mehzoud, Massey University Beau’s Re-Member Me” For the participants list, please go to page XXX American Popular Entertainments, 1880-1920 “Presencing Collections: a migration exhibition project for a regional Australian museum” Maria De Simone, Northwestern University “Embodying Race, Defining Culture: racial/ethnic impersonation and immigrant identity in American Vaudeville“ Gillian Arrighi, University of Newcastle “Bijou Fernandez: child-actor and celebrity in the age of mass production“ IFTR 2018 Belgrade IFTR 2018 Belgrade 54 55 NS NS
NS2 Thursday, July 12 3. Performing Nostalgia: Franziska Burger, University of Bern 8. Performance, Politics, and the Memory, Body, and Migration “Beside Oneself. Configurations of Players and Puppets Public Sphere 11:00 -12:30 in Contemporary Puppetry” ROOM 301 Gemma Edwards, University of Nottingham ROOM 308 Faculty of Philosophy “Muck, Pigs and Cattle: Iconographies of the Farm Chair: Susan Bennett, University of Calgary Chair: Trish Reid, Kingston University Animal on the UK Stage” Ana Letunić, Academy of Dramatic Art, Zagreb Camila Damasceno Silva, State University of Campinas “Migrating histories: Yugonostalgia and post-memory” UNICAMP “Performances at borders: The creation of poetic i Rubkwan Thammaboosadee, University of Warwick mages in the gestures of Francis Alÿs” 1. Translation and Adaptation “Cold Neon Lights and Nostalgia for Home: Urban 6. Memories, Archives, Isabel Thaler, State University of Campinas – Brazil Alienation of Thai Immigrants in Neoliberal Bangkok and Oralities ROOM 508 “The Theatre of the Oppressed and participation in Performed in Thai Country Music” public space” ROOM 510 Chair: Ralf Remshardt, University of Florida Saumya Mani Tripathi, Jawaharlal Nehru University Surendra Wankhede, Jawaharlal Nehru University, “Nostalgia, Memory and Performance in Delhi’s Urban Chair: Marisa Keuris, University of South Africa New Delhi Tim Vergeer, Universiteit Leiden Slum of Kathputli Colony” “Protest Expressions of the Oppressed: Ambedkarite Ariadni Lignou Tsamantani, Freie Universität Berlin Jalsa” “Playing with Passions: Twice Two Parallel Adaptations Leila Tayeb, Northwestern University “Between proximity and distance, pasts and presents: Ante Ursić, UC Davis of Spanish Comedias in Flanders and the Netherlands “Bousaadia’s House: Memories of Alterity in Libyan Golfo at the ancient theatre of Epidaurus (2013)” “On Clown Politics” between 1660 and 1670” Performance History” Suchetana Chanda, Centre for Studies in Social Scienc- Thomas Kuchlbauer, University of Cologne Anuran Dasgupta, Jawaharlal Nehru University es, Calcutta “The ‘Widow of Ephesus’ in the Theatre and Music “A Quest for Merit: a closer look at formation of Siddi “Birds migrate. Do waves too?” Theatre of the 18th Century” identity in/through theatre” 9. City Spaces and Performance Dan Poston, University of Tübingen and CUNY Grad Verena Arndt, University Mainz Sites Center “Coming ‘here’ and going ‘back’ – two examples of “English, Iroquois, German: Historically Staging Conrad staging migration in 21st-Century German Theater” ROOM 101 Weiser’s Interpretative Work in the 1744 Lancaster 4. Dance and Choreography Ashley Marinaccio, CUNY Graduate Center Chair: Susan Haedicke, University of Warwick Treaty” “Victim or Victor: The Production of Identity in New ROOM 211 York City Social Justice Youth Theatre” Priyanka Pathak, Jawaharlal Nehru University Chair: Aoife McGrath, Queens University Belfast “Migrated, Displaced or Relocated Audience of the Street: Memories of Sites of Resistance and its Absence 2. Intercultural Performance Samson Akapo, University of Ibadan in urban Landscape” Practices “Nigerian Contemporary Dance and its Deference to 7. Theatre and Migration II Alina Orav, MA Graduate from the Estonian Academy Indigenous Dance Forms” of Arts member of the Estonian Artist Association ROOM 103 Deepshikha Ghosh, Jawaharlal Nehru University ROOM 208 “Potential of the Polyview Moving Image in the Future Stage Design” Chair: Brian Singleton, Trinity College Dublin “Migration of Manipuri Dance Tradition: Asthetics, Politics, Pedagogy” Chair: Asha Kuthari Chaudhuri, Gauhati University, Christopher Dowling, University of Warwick Guwahati, Assam, India “The Corner - a Practice as Research project” Chun Liu, Southeast University, P.R.China Argyro Tsampazi, Queens University Belfast “The Chinese Traditional Opera in Singapore –the role “Embodied Transitions: A Journey Through Ascetic Ritual and Dance Movement” Daniela Potenza, INALCO and Università degli Studi di of Intercultural Communication in the transformation Napoli LOrientale Nadya D’Almeida, University of São Paulo of immigrant culture” “Showing humanism through performative arts. A “Moving in territories -The Space in the performance of 10. Playwriting and Performance Rowena Hawkins, Kings College London comparative study of My Papers Weren’t Done? and Shoichi Fukushi” “‘It’s in Polish. Would you like a refund?’: Performing Zapi Rouge” ROOM 408 and marketing the Other after Brexit and the strange Sailu Pattepu, University of Hyderabad Chair: Carol Fisher Sorgenfrei, UCLA case of Waiting for Othello at the York Theatre Royal “Migration and identity politics: A curious case of (2017)” formation of Telangana a newly born state of India” Lalitha Sindhuri Yarasuri, University of Hyderabad 5. Contemporary Performance Matthew Bent, Northwestern University Practices Grit Köppen, Berlin, University of the Arts “Plants and Politics: Nassim Soleimanpour and the “Universality vs. specificity: Impact of Cross-Cultural “Migration in the works of the playwrights Julien Mabi- Influences on Indian Dance” Work of the Actor” ROOM 104 ala Bissila Congo and Aristide Tarnagda Burkina Faso” Laura Hayes, Nanyang Academy of Fine Arts Manjari Mukherjee, Jawaharlal Nehru University, New “The playbox: Play-writing through play, objects, and Chair: Paul Rae, University of Melbourne Delhi the body” “Migration and Marginality—Rethinking postcolonial Marija Milovanović, Faculty of Dramatic Arts, Maude B. Lafrance, University of Quebec Indian theatre history through micro-minority Belgrade, Serbia “The Affective Rhetoric of Pop Culture in Contemporary communities” “The Other and deconstruction of Balkanism in Basara`s Experimental Theatre: the cases of the Wooster Group, play ‘The Government Inspector for Southeast’” Big Art Group, and Olivier Choinière” IFTR 2018 Belgrade IFTR 2018 Belgrade 56 57 NS GP
11. Performance Analysis GP 5 Thursday, July 12 Curated Panel – Mobility and Periphery in Pre-modern Japan: The- ROOM 105 14:00 – 15:30 atre as Social Media Chair: Hanna Korsberg, University of Helsinki Faculty of Philosophy ROOM 105 Jovana Pavićević, University of Kragujevac, Serbia “Jan Fabre’s ‘Mount Olympus’: Drama and Theatre as Chair: Ivan Medenica, Faculty of Dramatic Arts Alternatives to Spiritual Bypassing” Karolina Kucia, Theatre Academy/UNIARTS Helsinki Akihiro Odanaka, Osaka City University and Masami “Monstrous Agencies” Curated Panel – From Avant-Gard- Iwai, Meijo University Suzanne Knip-Mooij ism to Activism: Migrations and “Revenge through ages: politics of ‘Yoshitune and the Thousand Cherry Trees’” “Embodying the Dark Night: Towards an Apophatic Theatre in Former Yugoslavia Analysis of Performance” Tove Bjoerk, Saitama University “When the Gods come to Town – Enacting Rural Deities ROOM 101 on the Early Modern Kabuki Stage” Takayuki Hioki, Shirayuri University 12. Performance Art Chair: Janelle Reinelt, University of Warwick “The losers in the late 19th-century kabuki plays”
ROOM 310 Milena Dragićević Šešić, University of Arts, Belgrade “Transitioning Yugoslavia: migrants and migrations in Chair: Annette Arlander, Stockholm University of the Arts performing art practices and activism“ Cosmpolitanism and borders Aldo Milohnić, University of Ljubljana, Academy of Moacir Romanini Junior, State University of Campinas – Theatre, Radio, Film and Television ROOM 208 Unicamp “Migrations of Slovenian Avant-garde Directors across “Landscape, empty, latency: the Earth-body-art and the Yugoslav Theatres” absence as a performative potency” Chair: Avra Sidiropoulou, Open University of Cyprus Ana Stojanoska, Faculty of Dramatic Arts , Skopje Wenjie Li, University of Sussex “Macedonian – Slovenian Theatre Relations” “Crossing the bodily boundary: The concept of the Rachel Hann, University of Surrey nomadic and the posthuman aesthetics in Live Art” “Scenographics and Microstates: Arguments for a Tatjana Kijaniza, Queen Mary University of London renewed politics of border” “Waste and Stupidity: The Comradeship New Stupid and Hye-Gyong Kwon, Dongseo University absurd life-creation in Post-Soviet St. Petersburg” “Division and Migration: North Korean Defectors in the Gizem Gürer, Ankara University Turkey Curated Panel – Translation and Contemporary South Korean Theatre” “Performer Experience in Performance Art Depot’s Be- Performance in an Era of Global Wolf-Dieter Ernst, University of Bayreuth Have Performance: In Search for Symptoms of the Body” Asymmetries “Cosmopolitanism and mobile scenography. How to sense difference in Isaac Julien’s ‘WESTERN UNION: ROOM 103 small boats’ (2007)”
13. Race, Gender, and Performance Chair: Christopher Balme, Ludwig-Maximilians-Univer- sität München ROOM 410 Mobility on Networks Chair: Maria Delgado, Royal Central School of Speech Kati Röttger, University of Amsterdam and Drama, University of London “Translating the tragic” ROOM 510 Mark Fleishman, University of Cape Town Kathleen Schaag, University of Wisconsin-Madison “Migrating Mia: Strategies of translation across the Chair: Valerie Kaneko-Lucas, Regents University “’Will blackness please step out and take a curtain call?’ borders of genre and nation” London Ed Bullins’ Conceptual Theatre” Jacki Job, University of Cape Town Leticia Contreras Candia, Pontical Catholic University of “Daai za Butoh Lady: A description of a series of dance Iacob Viviana, University of Bucharest Chile performance that translate hybrid South African “Theatre in Romanian-Indian Relations during the Cold “Emergence and tensions between bourgeois morality identity” War: Post-Colonial Circulations as Second Network” and worker morality” Sruti Bala, University of Amsterdam, Anika Marschall, University of Glasgow Dixon Li, University of Pennsylvania “Can the European translate?” “Building New Worlds: How artists navigate “Minoritarian Identity and Interpretive Conventions of institutional life and envision political organisation” Performative Form” Rosa Sanchez, Konic lab Barcelona and Alain Baumann Srabasti Ghosh, Ambedkar University Delhi “Networked performance. Performing across boundar- “Pandavani: Casting Female Body in The Performance” ies. Sample of works by Konic Thtr” IFTR 2018 Belgrade IFTR 2018 Belgrade 58 59 GP GP
Construction of Identity in the Anita Hallewas, Griffith University Simone Niehoff, Ludwig Maximilian University of Gad Kaynar, Tel Aviv University Clutches of Globalization “Theatre in refugee camps: a survey of current practice Munich “Entvremdung instead of Verfremdung: Epic Practices as a tool for social change” “Transcending the Boundaries between ‘own’ and of Changing Attitudes towards Migrants on the New ROOM 308 Giulia Emma Innocenti Malini, Università Cattolica del ‘other’ Migration Experiences” German Stage” Sacro Cuore Mary Caulfield, State University of New York Lizzie Stewart, Kings College London Chair: Rachel Clements, University of Manchester “Social Community Theatre with Refugees in Italy” “Devising a Hyphenated Heritage on the Nine- “Interculturalism – Serving the Market or the PostMi- teenth-Century Stages of New York” grant Presence in Theatre?” Natalya Atanasova, Insoo Lee, Korea National University of Arts “The construction of the Other through mediatic “
WG 6 Thursday, July 12 Digital Humanities in Theatre Research Processus de Création Working Group Intermediality in Theatre and Working Group ROOM 313 Performance Working Group 16:00 – 17:30 ROOM 312 ROOM 105 Note: We welcome conference participants interested in Conclusion(s): Discussions et perspectives / Conclu- Faculty of Philosophy the work of our group to attend the sessions. sion(s): discussion and perspectives: open discussion Note: All WG panel sessions are open to whoever wishes to attend with the exception of the second half of WG Business Meeting (internal) Panel 6 and WG Panel 7, which are designated for WG discussions to co-ordinate prospective collaborative Choreography and Corporeality research projects. Translation, Adaptation and Drama- Embodied Research Working Group Working Group Digital, Drawing & Dramaturgy turgy Working Group ROOM CO3 ROOM 510 ROOM 410 Chair: William Lewis, University of Colorado Boulder The Embodied Research Working Group (ERWG) sup- Members of the working group circulate their papers in Migrating the Classics ports individual and collaborative research projects in the weeks leading up to the conference. Members read Piotr Woycicki, Aberystwyth University “Manufacturing ‘dissent’ in Thoughts that can be Chair: Mark O’Thomas, University of Greenwich which embodied practice is an explicit and essential part all of the papers in advance and come along ready to Danced, an intermedial Tango performance” of the methodology. While embodiment has been a ma- discuss each other’s work. A provisional timetable is cir- Graça Corrêa, Center for the Philosophy of Science, jor interest for theatre and other scholars across several culated to members once the papers are submitted and Vincenzo Sansone, Cultures and societies department Universidade de Lisboa, Portugal decades at least, the claim that embodied practice can read, and then the discussion agenda is finalized at the of University of Palermo “Drawing and Animation in Marcel•lí Antúnez Roca’s “Longing and Belonging through Migration: Dramatur- constitute a mode or method of academic research is first meeting. Papers are linked together on the basis of Technological Theatre” gical Concepts of Alterity in Philosophy and Theatre” relatively new and in some contexts still controversial. shared problems, concerns or treatment. Katja Krebs, University of Bristol The ERWG aims to establish an international platform New members are always welcome. If you propose to ”Enforcing Mutation: The Violence of Adaptation” through which to share innovative and traditionally in- join us this year and would like to read the papers, please formed approaches to the methodological, epistemolog- come along to our first meeting and we will arrange for ical, and ontological questions provoked by embodied re- you to receive the papers. Also, if you would like to join Theatre Architecture Working Group Historiography Working Group search. our group, you may wish to email us beforehand: ROOM 310 ROOM 103 At IFTR 2018 in Belgrade, the ERWG will explore a range Aoife McGrath: [email protected] Note: The sessions of the Theatre Architecture Working Historiography IV of practice structures designed to facilitate knowledge Prarthana Purkayastha: Prarthana.purkayastha@rhul. Group are open to all conference delegates. The Working Chair: Professor Kate Newey, University of Exeter exchange. These include established formats such as ac.uk Group circulates written papers in advance of the con- lightning presentations, curated workshops, curated ference, and members are invited to give short presenta- Janne Risum, Section for Dramaturgy, School of Com- paper/video feedback sessions, and moderated discus- For the participants list, please go to page XXX tions about their papers, followed by discussion. munication and Culture, Aarhus University sions; as well as new exchange structures like “Dynam- “The Myths and the Facts: Who said what at the ic Configurations with Transversal Video” (a research Chair: Sidsel Graffer, Norwegian Theatre Academy concluding Russian debate on 14 April 1935 to sum up method developed by Ben Spatz), “No Table” (an adap- tation of Lois Weaver’s “Long Table”), and “practice in the experiences from the Chinese performer of female Scenography Working Group Magdalena Kozień-Woźniak, Cracow University of response to practice” (inspired by Peter Sciscioli’s IIAC Technology roles Mei Lanfang’s guest appearance in Moscow?” ROOM 104 exchanges). For more information, please contact the “Theatre architecture for non-exclusive community” Ewa Partyga, Institute of Art, Polish Academy of Convenors: Sofia Pantouvaki, Aalto University and ERWG conveners. Evelyn Lima, The Federal University of the State of Rio Sciences Nick Hunt, Rose Bruford College Conveners: de Janeiro “Some real and many imagined boarders in the history th Ben Spatz
Theatrical Event Working Group Fausto Viana, University of São Paulo Feminist Research Working Group ROOM 409 Performance as Research Working “Antonio Jose, the poet and the inquisition: a costume ROOM 401 Group design project” (Seminar/Provocation) Chair: Willmar Sauter, Stockholm University ROOM 408 Maria Celina Gil, University of São Paulo Note: This working group doesn’t offer a schedule of Note: all sessions are closed to Group Members. “Textile poetry and experimental costumes” (Seminar/ papers. General discussion about working group’s plans Provocation) Performance-as-Research Longtable (all members) Charlotte Østergaard, Danish National School of Per- For the participants list, please go to page XXX forming Arts “Disconnect – Reconnect” (Seminar/Provocation) IFTR 2018 Belgrade IFTR 2018 Belgrade 62 63 WG THEATRE & PERFORMANCE STUDIES TITLES FROM ROUTLEDGE
Political Performances Working WG 5b 14:45 – 15.30 Group Marvin Carlson and Hazem Azmy WIN £150 ROOM 101 Conclusion of ATWG’s Twelfth Annual Meeting: Preview of Future Plans and Possibilities for OF ROUTLEDGE BOOKS OF YOUR CHOICE! Confronting national histories and policies Collaborative Work Routledge are pleased to offer delegates at the IFTR Conference 2018 Chair: Trish Reid, Kingston University the chance of winning up to £150 of Theatre and Performance books. Bryce Lease, Royal Holloway, University of London “History Migrates: The Demands of Postnationalism” Titles on offer include: Niklas Füllner, Ruhr University Bochum Asian Theatre Working Group “Oliver Frljić’s ‘Klątwa’ [eng. The Curse] questions ROOM 508 the Polish right-wing government’s plans for national theatre and culture” Asian Theatre in Memories Caroline Wake, University of New South Wales Chair: Meewon Lee, Korean National University of Arts “Performance, Protest and the Second Pacific Solution, Australia 2012— ” Anna Thuring Komita Dhanda, Jawaharlal Nehru University “Between East and West? Changing Reception of Asian “Disputed Memories of Displacement, Migration and Performances in Finland” Closed Borders: Performing Collaborative Resistance” Yasushi Nagata, Osaka University “Representation of Manchuria in Japanese Post War Plays” Popular Entertainments Working General Discussion: Future of Asian Theatre WG INTERESTED IN ENTERING? Group ROOM 301 Simply visit the link below to access the prize draw offer and complete our online form before 31st July 2018. Terms and conditions apply. Note: All delegates attending the 2018 IFTR Conference Performance Religion and Spirituality are invited to attend sessions of the Popular Entertain- Working Group http://bit.ly/Routledge_IFTR ments Working Group, with the exception of the Business ROOM 401 and Planning Meeting, Thursday 16.00-17.30. The Busi- ness and Planning session is open only to current mem- bers of the Working Group. Business meeting and convenor elections (Closed The Popular Entertainments Working Group operates session) Survey the spectrum of our Theatre & Performance Studies by circulating members’ draft papers in advance of the conference, enabling a more focused discussion at our journals with FREE ACCESS to 30 articles!* meetings. Performance and Disability Working Business and Planning Meeting of the Popular Group Entertainments Working Group. ROOM 211
Note: this session is only open to current members of The Performance & Disability WG, which was founded in the Working Group. 2012, aims to provide a venue for the sharing and dis- semination of scholarly and artistic work, and best prac- tices from around the world, which explore how diverse physical, sensorial, developmental and psychological Arabic Theatre Working Group abilities manifest themselves in all areas of performance. ROOM 213 The aims of our Work Group are to create international dialogues, partnerships and networks at the crossovers WG 5a Thu July 12th, 14:00-14:45 of disability and performance, and to provide a venue for Sign in or register at: New Directions in (Arabic) Theatre Research the sharing and dissemination of scholarly and artistic Moderator: Samer Al-Saber, Florida State University, work, and best practices from around the world –re- USA search and practices that explore how diverse physical, http://bit.ly/TPS-Access sensorial, developmental and psychological abilities Samir R. Mamdoh manifest themselves in all areas of performance. New user? No problem. Just complete our short registration process “The Theatre Lab for Migrants: from therapy to Co-conveners: Yvonne Schmidt and Arseli Dokumaci creation” (To be presented in French, with consecutive and you’ll be taken directly to our Theatre & Performance Studies portfolio. translation) For the participants list, please go to page XXX
*Once activated via the URL above, the offer will be linked to your account and will remain valid any time you log back into your account until 31 December 2018. The offer includes 30 allowances, and you can claim your allowances at any time until 31 December 2018.; Each allowance is valid for 30 days of access. IFTR 2018 Belgrade IFTR 2018 Belgrade 64 65 Day 5 FRIDAY July 13 Schedule IFTR 2018 Belgrade IFTR 2018 Belgrade 66 67 GP GP
GP6 Friday, July 13 Theatrical Migrations: from the Case Studies Transgressing Borders Self to Being With Others 9:00 – 10:30 ROOM 410 ROOM 308 ROOM 105 Faculty of Philosophy Chair: Debanjali Biswas, Kings College London Chair: Nanako Nakajima, Shobi-gakuen University Chair: Jen-Hao Hsu, Theatre Arts Department, National Sun Yat-Sen University Andreea Chirita, University of Bucharest Christina Novakov-Ritchey, University of California, Los “Constructing and destroying boundaries in a Chinese Angeles Patricia Fagundes, Universidade Federal do Rio Grande transcultural performance of Kafka’s ‘The Great Wall’” “Crossing the River: Transgressing the Folk/Contempo- Curated Panel – Dramaturgy of do Sul Una Bauer, Academy of Drama Art, University of rary Border” “In transit between worlds: experiences of an Migration: Staging Multilingual Zagreb Ajeet Singh, BPS Women University Khanpur Kalan anthropophagic theatre director in South Brazil” “Transparency in BADco.’s production The Stranger” “Negotiating the Choice Between Migration and Stasis: Encounters in Contemporary Vinia Dakari, Aristotle University of Thessaloniki Anita Orfini, Roma Tre University (Re)viewing Multi-locational Positioning of Self in Bilja- Performance “Emigrating to the kingdom of the ill: Territories of the “Between stasis and movement: Dismorphomania by na Srbljanovic’s ‘Belgrade Trilogy’ and ‘Family Stories: unpresentable in cancer-themed performance” Vladimir Sorokin and the migration of Shakespearian Belgrade’” ROOM 101 Radmila Nastić, University of Kragujevac, Serbia texts” Sonja Zdravkova Djeparoska, University “Ss. Cyril and “Where is Home?” Methodius”, Faculty of Music Chair: Yana Meerzon, University of Ottawa “Short historical review - Intercultural relations and migration. Examples of the dance scene in Macedonia” Izumi Ashizawa, State University of New York at Stony The Migrating Role of Theatre in Brook In Searching of Identity “A case study of the intercultural production of ‘Väike Contemporary Society jumalanna The Little Goddess’ at Eesti Draamateater, ROOM 104 Dramaturgy and Theatre Tallinn, Estonia” ROOM 208 Indu Jain, Jawaharlal Nehru University Chair: Henry Bial, University of Kansas of Mobility “Representing the Migrant Body and Performing Chair: John Andreasen,Aarhus University Displacement: Contemporary Indian Feminist Interven- Wai Yam Chan, International Association of Theatre ROOM 408 tionist Ecology” Critics Hong Kong Erik Mattsson, Stockholm University Azadeh Sharifi, Ludwig-Maximilian-University Munich “Reviewing the process of ‘Archive and Oral History “Scene Changes: The Second Wave of Independent Chair: Rebecca Caines, University of Regina, Canada “’Frutomania’ - Dramaturgies of queer-postmigrant Project on Hong Kong Drama’ Phase 1 and its prospect Theatre in Sweden” performances in Germany” for Phase 2” Daniela Pillgrab, University of Vienna Fiona Wilkie, University of Roehampton Yana Meerzon, University of Ottawa Priyanka Chatterjee, Budge Budge Institute of Tech- “From Being Alien To Alienation. Revisiting Brechts “Pioneers, vagabonds, and ‘genuine visitors’: intersect- “On Mythopoetics of Migration: Staging Self in Canadi- nology Revolutionary Conception of Theatre” ing narratives of theatre touring and migration” an Immigrant Solo-Performances” “Transcending form of Jatra: an Evolution” Ksenija Marković-Božović, Faculty of Dramatic Arts in Berenika Szymanski-Dull, LMU Munich Szabolcs Musca, University of Lisbon Jurgita Staniskyte, Vytautas Magnus University Belgrade “Migrants in Theatre - A look into the 19th century” “‘White people all over’: Refugee Performance, Fiction- “Moving Targets: Tactics of Relocation in Contempo- “Social Role of Theatres: Case study of Belgrade’s Catriona Fallow, University of Birmingham rary Baltic Theatre” al Aesthetics and Dramaturgies of Representation” public city theatres system” “What Goes Around Comes Around: Theatregoround and the Dramaturgy of Mobility”
Activism, Resistance and Political Performing/Crossing Borders Supporting the Refugees Performativity Mass-theatrical Aesthetics (PPWG curated panel) ROOM 510 ROOM 310 ROOM 508 ROOM 301 Chair: Ruth Schor, Centre for Ibsen Studies, University Chair: Marina Kotzamani, Theatre Studies Department of Oslo Chair: Tzu-Ching Yeh, Chang Jung Christian University Chair: Cyrielle Garson, University of Avignon University of the Peloponnese Kurt Taroff, Queens University Belfast Evelyn Annuß, Free University of Berlin Madli Pesti, Estonian Academy of Music and Theatre, Pujya Ghosh, School of Arts and Aesthetics, Jawaharlal “Blood and Soil and Sweat: Lynn Nottage’s Depiction of “On the Move. Outperforming Trench Warfare” Tartu University Nehru University Migrancy and Stagnation” Caoimhe Mader McGuinness, Kingston University “Performing borders: questions of national identity “Know Your Activist!!” Maja Milatović Ovadia, Royal Central School of Speech London on the example of two productions that discuss the Serap Erincin, Louisiana State University and Drama “Ambivalent theatre: the difficulty of community in ATC relationship of Estonians and Russians” “Politicized Body as Site of Resistance: Stillness as “Smiling while waiting for decision on asylum” and David Greig’s ‘The Events’” Raz Weiner, Royal Holloway University of London Peaceful Protest” Nina Živančević, Université Paris 8, la Sorbonne 1 “Dress-Crossing the Lines: Tilda Death and the Ques- Edina Husanović, University of Reading “Memory of the recent ‘avagarda’, does it spell tion of Confusion as Strategy in Political Performance” “Dis-Orient Express: Moving Places, Hybrid Identities” migrations or ‘resistance’?” IFTR 2018 Belgrade IFTR 2018 Belgrade 68 69 GP WG
Researching the Borders of Drama: WG7 Friday, July 13 Text and Translation 11:00 – 12:30 ROOM 211 Faculty of Philosophy Chair: Mary P. Caulfield, State University of New York, Farmingdale State College
Rina Otani, Paris-Sorbonne University “Jean Anouilh’s British and American Audiences : Limits Translation, Adaptation and Drama- Embodied Research Working Group and Conflicts that Intercultural Adaptation Faces” turgy Working Group ROOM CO3 Maria Mytilinaki Kennedy ROOM 410 “Translation as Historiographical Method: The Ot- The Embodied Research Working Group (ERWG) sup- toman ‘Alexandrovodas the Unscrupulous’ (1785) in Migration in Space and Time ports individual and collaborative research projects in English” Chair: Ann Christine-Simke, University of Glasgow which embodied practice is an explicit and essential part Roberta Carpani, Università Cattolica del Sacro Cuore, of the methodology. While embodiment has been a ma- Milan Ken Cerniglia, Disney Theatrical Productions jor interest for theatre and other scholars across several “Italian Migration during XX century on stage: Italian Migrations of ‘The Lion King’: The First 20 Years on decades at least, the claim that embodied practice can constitute a mode or method of academic research is narrative theatre as an instrument for shaping con- Stage relatively new and in some contexts still controversial. Stephanie Sandberg, Washington and Lee University sciences” The ERWG aims to establish an international platform “Teenage Borderlines: Tina Fey’s ‘Mean Girls’ and Joce- through which to share innovative and traditionally in- lyn Bioh’s ‘The African Mean Girls Play’” formed approaches to the methodological, epistemolog- Dorothy Chansky, Texas Tech University ical, and ontological questions provoked by embodied re- Adapting to the Times: Marvin’s ‘Room and Medicine’ search. Then and Now Historiography Working Group At IFTR 2018 in Belgrade, the ERWG will explore a range sponsored panel of practice structures designed to facilitate knowledge exchange. These include established formats such as lightning presentations, curated workshops, curated ROOM 401 Historiography Working Group paper/video feedback sessions, and moderated discus- ROOM 103 sions; as well as new exchange structures like “Dynam- Chair: Jane Milling, University of Exeter ic Configurations with Transversal Video” (a research Chair: Rashna Nicholson, Nora Probst, Jo Robinson method developed by Ben Spatz), “No Table” (an adap- Susan Tenneriello, Baruch College, The City University tation of Lois Weaver’s “Long Table”), and “practice in of New York Anita Gonzalez, University of Michigan at Ann Arbor response to practice” (inspired by Peter Sciscioli’s IIAC “Sport and Spectacle in Olympic History: Moving the “Maritime Migrations and Transatlantic Performance” exchanges). For more information, please contact the Body Politic at the 1912 Stockholm Games” ERWG conveners. Jim Davis, University of Warwick Working Group Business Meeting “A Long Farewell: Touring and Migrating Actors in Conveners: mid-nineteenth century Australia” Ben Spatz
Closing Reflection Session led by Co-convenors: Bruce Barton, University of Calgary, Manola Gayatri, Univeristy of Pretoria/ Scribe Rites & Johnmichael Rossi, University of Northampton IFTR 2018 Belgrade IFTR 2018 Belgrade 70 71 WG WG
Choreography and Corporeality Intermediality in Theatre and Political Performances Working Performance Religion and Spirituality Working Group Performance Working Group Group Working Group ROOM 510 ROOM 105 ROOM 101 ROOM 308
Members of the working group circulate their papers in Note: All WG panel sessions are open to whoever wishes Dramaturgies of Migration and Interculturalism Future plans of the group the weeks leading up to the conference. Members read to attend with the exception of the second half of WG Chair: Marco Galea, University of Malta (led by new convenors) (closed session) all of the papers in advance and come along ready to Panel 6 and WG Panel 7, which are designated for WG discuss each other’s work. A provisional timetable is cir- discussions to co-ordinate prospective collaborative re- Emine Fişek, Boğaziçi University culated to members once the papers are submitted and search projects. “Representing Migration in Contemporary Turkey: read, and then the discussion agenda is finalized at the Genco Erkal’s ‘Göçmenleeeer’” Performance and Disability Working first meeting. Papers are linked together on the basis of WG meeting: closed session Tom Cornford, The Royal Central School of Speech and Group shared problems, concerns or treatment. Drama ROOM 211 New members are always welcome. If you propose to “Migrant Dramaturgies” join us this year and would like to read the papers, please Charlotte McIvor, National University of Ireland, The Performance & Disability WG, which was founded in come along to our first meeting and we will arrange for Galway Theatre Architecture Working Group 2012, aims to provide a venue for the sharing and dis- you to receive the papers. Also, if you would like to join “Migration, Performance and Intercultural Dialogue in ROOM 310 semination of scholarly and artistic work, and best prac- our group, you may wish to email us beforehand: the European Union: When Social Policy Meets tices from around the world, which explore how diverse Aoife McGrath: [email protected] Performance Practice” Note: The sessions of the Theatre Architecture Working physical, sensorial, developmental and psychological Prarthana Purkayastha: Prarthana.purkayastha@rhul. Group are open to all conference delegates. The Working abilities manifest themselves in all areas of performance. ac.uk Group circulates written papers in advance of the con- The aims of our Work Group are to create international ference, and members are invited to give short presenta- dialogues, partnerships and networks at the crossovers For the participants list, please go to page XXX tions about their papers, followed by discussion. Feminist Research Working Group of disability and performance, and to provide a venue for ROOM 401 the sharing and dissemination of scholarly and artistic Chair: Dorita Hannah, University of Auckland work, and best practices from around the world –re-
Note: This working group doesn’t offer a schedule of search and practices that explore how diverse physical, Scenography Working Group Panayiota Konstantinakou, Aristotle University of papers. sensorial, developmental and psychological abilities ROOM 104 Thessaloniki manifest themselves in all areas of performance. “The square and the Other: «UrbanDig_Omonoia » by For the participants list, please go to page XXX Co-conveners: Yvonne Schmidt and Arseli Dokumaci Convenors: Sofia Pantouvaki, Aalto University and Ohi Pezoume (Athens, Greece, 2016-2017)” Nick Hunt, Rose Bruford College Alexandra Halligey, University of Cape Town For the participants list, please go to page XXX “Playing in space: working with patterns of mobility Scenography as socio-cultural force and stasis through architectural design and theatrical Queer Futures Working Group improvisation” ROOM 208 Chair: Dominika Łarionow, University of Lodz Sampreeti Malladi, University of Hyderabad All sessions are open to all delegates “Indian Dance and theatrical spaces: A Complex migra- Věra Velemanova, Arts and Theatre Institute tory dialogue.” Prague Queer Futures Panel 6 “Russian Stage Design in Inter-war Czechoslovakia: A Chair: Alyson Campbell, Faculty of Fine Arts and beautiful Invasion of the East” Music, The University of Melbourne Ewa Kara, Columbia University “The scenography of refugee migration in Ariane Annalaura Alifuoco, Liverpool Hope University Mnouchkine’s ‘Le dernier Caravansérail’ (2005) and “Becoming Grounds: Ana Mendietas Queer Geogra- Rimini Protokoll’s ‘Evros Walk Water 1&2’ (2017)” phies of Cosmic Love” (Academic Paper) Ben Buratta, Royal Central School of Speech and Dalmir Rogerio Pereira, University of São Paulo Drama, University of London “Exhaustion and creation: the object as a power device “Disrupting the scene: Re-imagining the theatrical in the image- uprising” transition for a queer dramaturgy” Daniel Valtuena, The Graduate Center, CUNY “Queer Memories for Better Futures: Alternative Approaches to Remembering in ‘La piedra oscura’ by Alberto Conejero” IFTR 2018 Belgrade IFTR 2018 Belgrade 72 73 GP
John Andreasen, Aarhus University GP7, Friday, July 13 “Eutopia Stage – a counterpoint to a ghetto?” 14:00-15:30 Ana Pais, CET - Universidade de Lisboa INET-MD - CLOSING CEREMONY Faculdade Motricidade Humana Faculty of Philosophy “’Beautiful ladies, beautiful gentlemen the borders are open’: game, power and affect in Rimini Protokoll’s ‘Home visit Europe’” Goran Petrović-Lotina, Ghent University “Immigration, Populism and Identifications” Dimensions in the Post-migrant Theatre Friday, July 13 17:30 ROOM 103 Interdisciplinary Performing Space Faculty of Philology (The Hall of Heroes) Chair: Kurt Taroff, Queens University Belfast ROOM 211
Matthias Warstat, Freie Universität Berlin Chair: Alessandra Cianetti, performingborders.live & “Affective Dimensions of Contemporary Forms of Something Human Ltd UK Post-Migrant Theatre” Mark Pizzato, University of North Carolina at Charlotte María José Martínez Sánchez, Birmingham City Uni- “The ‘Other’ of the Inner Theatre” versity and Aleksandar Dundjerovic, Birmingham City Taiwo Afolabi, Department of Theatre, University of University Victoria, Canada “4:48 Macbeth” “Performing border within ethos of displacement: Yuko Kurahashi, Kent State University theatre in the forgotten corridor of internally displaced “Voices of the Insiders and Outsiders: Ping Chong + people in Africa” Company’s Two Projects” Candan Kizilgol, Ankara University “’As A Stranger Give It Welcome’: A Derridean Encoun- ter with the Other in Philip Ridley’s’ Moonfleece’” Experiment as Movement Beyond Stasis The Transformative Power ROOM 105 of Theatre Chair: Jovana Stokić, City University of New York ROOM 101 Ravi Chaturvedi, Indian Society for Theatre Research “Indian Theatre and Migration: A Panoramic View – Chair: David Mason, Rhodes University case of King Lear in migration” Sara Brady, the City University of New York, The Drama Birgit Wiens, LMU Munich, Theatre Studies Review “Theatrical Reflections on Europe’s colonialist, impe- “March On: Movement and Stasis in the Performance rialist Past: On Frank Castorf’s Adaptation of Goethe’s of Politics” ‘Faust’ (Volksbühne Berlin, 2017)” Rebecca Caines, University of Regina, Canada Javiera Larraín George, Pontificia Universidad Católica “Fragile Devices: Migrating Across and Between de Chile Through Improvisation” “Melodramatic imagination in current Chilean theatre. The case of ‘Los contadores Auditores’ (The Auditors Accountants)” Marisa Keuris, University of South Africa Identity of the European Space “Migration theatre in South Africa with reference to Mike van Graan’s ‘When swallows cry’” ROOM 104
Chair: Laurens de Vos, University of Amsterdam IFTR 2018 Belgrade IFTR 2018 Belgrade 74 75 NS NS
NEW SCHOLARS’ FORUM ACTIVITIES NEW SCHOLARS’ Workshop 2
Thursday, July 12 12:30-13:30 Amphitheatre, Faculty of Philosophy (mezzanine) NEW SCHOLARS’ Workshop 1
Tuesday, July 10 The Place of ‘I’: From Autoethnography to international collaborations 12:30-13:30
Amphitheatre, Faculty of Philosophy (mezzanine) Lately, debates about cultural appropriation and whether someone is entitled to write about certain top- ics have taken central stage again. Yet, in a number of academic research cultures first person narrative is still unusual and at times, even considered inappropriate. This workshop will focus on the position of the researcher within the research material and discourse—how to negotiate the seemingly impartial aca- So You Want to Get Published? demic voice with the distinct place we, as individuals, are sspeaking/coming from? The place of ‘I’ in both individual research and in international collaborations will be addressed through the following questions: What kind of research necessitates the presence of the writer’s distinct personal voice? Securing a book contract or wanting to get the first journal article published can sometimes feel like a Why is it important to position oneself within the discourse and how to do it? daunting prospect. This roundtable is designed to offer new scholars advice on how to navigate the pub- How does autoethnography enable us to balance and negotiate our various positions within international lishing maze. The session will address the process of monograph publication and include guidance on the collaborations? procedure for articles, especially submissions for the Federation’s journal, Theatre Research International Is there a difference between researcher’s personal voice and autoethnography? (TRI). How does autoethnography work as a research method? When does placing of our personal narrative within academic research become a strategy and what can Fintan Walsh (University of London, Birkbeck, UK); incoming senior editor of (TRI) this strategy do? Elaine Aston (Lancaster University, UK) former editor of TRI; co-series editor of ‘Contemporary Perfor- mance InterActions’, Palgrave Macmillan Silvjia Jestrović (School of Theatre, Performance and Cultural Policy Studies, University of Warwick): key Brian Singleton (Trinity College Dublin, Ireland) former editor of TRI; co-series editor of ‘InterActions’, note speaker Palgrave Macmillan
New Scholars’ Caucus
Friday, July 13 12:30 - 14:00 Amphitheatre, Faculty of Philosophy (mezzanine)
The New Scholars’ Caucus is a chance to reflect on the conference and offer thoughts and ideas on the development of the New Scholars’ Forum. The session is open to all New Scholars and Student Members of IFTR.
IFTR 2018 Belgrade IFTR 2018 Belgrade 76 77 WG WG
WORKING GROUPS INFORMATION WG Conveners meeting 1 Monday, July 9 12:30 – 14:00 Amphitheatre, Faculty of Philosophy (mezzanine) WORKING GROUPS AND BELGRADE 2018 LEAD CONVENERS LIST
WG Conveners meeting 2
Working group Lead Convener e-mail Wednesday, July 11 Samuel Beckett Mariko Hori Tanaka [email protected] 12:30 – 14:00 Translation, adaptation and dramaturgy Katja Krebs [email protected] Amphitheatre, Faculty of Philosophy (mezzanine) Historiography Nora Probst [email protected] Theatrical Event Beate Schappach [email protected] Digital Humanities in Theatre Research Nic Leonhardt [email protected] Embodied Research Ben Spatz [email protected] Performance as Research Working Group Performance as Research Johnmichael Rossi [email protected] Pre-conference Event Processus de Création Luk Van den Dries [email protected] “Interview with the Artist” by Kristian Al-Droubi Choreography and Corporeality Aoife McGrath [email protected] Music Theatre Marcus Tan [email protected] Sunday, July 8 Scenography Sofia Pantouvaki [email protected] 17:00 – 20:00 Intermediality in Theatre and Performance Karen Savage [email protected] KC Grad (Braće Krsmanović 4) Theatre Architecture Andrew Filmer [email protected] The PaR Working Group presents this special pre-conference event by Serbian-Syrian performance Political Performances Cristina Delgado Garcia [email protected] artist Kristian Al-Droubi of Novi Sad. This interactive performance sharing will be followed by an Feminist Research Charlotte Canning [email protected] open discussion of the work. Popular Entertainments Gillian Arrighi [email protected] Arabic Theatre Hazem Azmy [email protected] African and Caribbean Theatre & Performance David Donkor [email protected] Asian Theatre Yasushi Nagata [email protected] Theatre Architecture Working Group Queer Futures Sarah Mullan [email protected] Pre-conference Meeting Performance, Religion and Spirituality Kim Skjoldager-Nielsen [email protected] Performances in Public Spaces Lesley Delmenico [email protected] Sunday, July 8 Performance and Disability Arseli Dokumaci [email protected] The Theatre Architecture Working Group will be holding a Pre-conference meeting in New Belgrade during the afternoon of July 8. The Working Group would like to thank Višnja Žugić and Miljana Zeković for organizing this meeting. IFTR 2018 Belgrade IFTR 2018 Belgrade 78 79 SIDE PROGRAM SCHEDULE SIDE PROGRAM
July 8 July 9 July 10 July 11 July 12 July 13 July 14 Dis_sylphide I tell you a story... Sunday Monday Tuesday Wednesday Thursday Friday Saturday performance with needle and thread exhibition 19:00 9:00 – 16:00 9:00 – 16:00 9:00 – 16:00 9:00 – 16:00 9:00 – 16:00 15:00 Sunday, July 8, 19:00 Dis_Sylphide I tell you I tell you I tell you I tell you I tell you I Even Met Venue: UK Vuk Stefanović Karadžić Mon-Fri, July 9-13, 9:00 – 16:00 performance a story... a story... a story... a story... a story... Happy Gypsies Venue: Faculty of Philosophy, II floor with needle with needle with needle with needle with needle film screening *free entrance and thread and thread and thread and thread and thread * free entrance exhibition exhibition exhibition exhibition exhibition In the performance Dis_Sylphide we focused on the histo- The works on display in the exhibition I tell you a story... 21:00 10:00 – 16:00 10:00 – 16:00 10:00 – 16:00 11:00 – 14:00 11:00 – 16:00 ry of German dance scene and works created in Germany with needle and thread are the result of a creative work- Wongar Hamlet Hamlet Hamlet (Un)touched Marathon in the 20th century that have had a significant effect on shop designed and implemented by the CIMO - Center documentary Encounters Encounters Encounters performance (tribute to ‘They the world of dance. We considered choreographies that for Research of Fashion and Clothing in Zagreb, within the film screening immersive VR immersive VR immersive VR Shoot Horses, have changed the understanding of the dance itself, of project Rehabilitation Center for stress and trauma (RCT) performance performance performance don’t they?’) the choreography and the body: Hexentanz by Mary Wig- entitled “Creation, Affirmation, Integration”, which last- performance man from 1926, Kontakthof by Pina Bausch from 1978, ed for 12 months (from January 2016 to January 2017). and SelfUnfinished by Xavier Le Roy from 1998. They The creative embroidery workshop with thread on textile 21:00 19:00 13:00 - 14:00, 19:00 18:30 have digressed from the dance norms of their times in a lasted for 24 weeks (from November 24th, 2016 to May In the name Immersive 17:30 - 18:30 We Women Tranzit Zoon revolutionary way. In this work we were most interested 4th, 2017) at the shelters for asylum seekers in Kutina and of the Lord Virtual Reality (Un)touched //: Trigger performance in considering the process of normativization in dance, the Porin Primary Care Center in Zagreb. The workshop performance Applied To performance Warning as well as in the society we live in. What we saw as great gathered large number of participants, both female and potential for reexamining the position of people with dis- male, aged 7 - 61 years. The Theatre performance abilities in dance is the way all three choreographies deal Lecture with the question of Other and foreign, the relationship The goals of the workshop, set in the very title (Creation, Affirmation, Integration), proved to be justified and moti- 21:00 19:30 of the individual and society, and the question of identi- ty. As a group of artists with and without disabilities, we vating because embroidery workshop on textile uses the Macbeth Performing wanted to reactualize these questions and thus intervene existing traditional skills of the participants, introducing performance Statelessness in in contemporary dance scene today, offering a possibility gradual and new contents. The method of work is indi- Europe to artists with disabilities to appear as subjects and actors vidual: checking existing skills by gradually introducing book promotion of contemporary dance. creatively more demanding tasks.
22:00 20:00 Concept and artistic leadership: Saša Asentić In addition to the (obvious) therapeutic effect, multilater- Wongar Macbeth 4:48 Artistic cooperation and choreography: Alexandre al communication and strong socialization are achieved, and the results indicate a high level of embroidery skills Achour and Olivera Kovačević Crnjanski documentary performance of decorative and functional products that potentially Performers: Natalija Vladisavljević, Jelena Stefanovska, film screening have a commercial value. The most valuable is certainly Snežana Bulatović, Dalibor Šandor, Marko Bašica, Frosina the context of communion in which they exchange but 21:30 Dimovska, Dunja Crnjanski, Alexandre Achour, Olivera Santiago (A)live also connect different cultural practices in the atmo- Kovačević Crnjanski and Saša Asentić sphere of permanent dialogue. Poems: Natalija Vladisavljević Dramaturgy consultant: Marcel Bugiel At the end of the workshop works as a result of a dialogue film screening Artistic assistant: Frosina Dimovska and merging of different cultural values which in creation 21:30 Advice on costume design: Marina Sremac speak the language of community are being publicly pre- #14 Skyline Executive producer in Novi Sad:Nataša Murge Savić sented. The language of creation is also shown in this performance Coproduction: Kampnagel (Hamburg), Künstlerhaus case as a universal and efficient way of affirmation and D Mousonturm (Frankfurt), MIKUB e.V. (Berlin) and Per.Art integration. (Novi Sad) Mentor of the project: Tonči Vladislavić Support: Aktion Mensch and NPN Coproduction - Fund Associates: Lea Vene, Ivana Čuljak for Dance www.cimo.hr https://www.facebook.com/PerArt-132080216888687/ IFTR 2018 Belgrade IFTR 2018 Belgrade 80 81 Hamlet Encounters Immersive Virtual Reality Wongar (Un)touched immersive VR performance Applied to The Theatre documentary film performance lecture Mon – Wed, July 9 – 11, 10:00-16:00 Sunday, July 8, 21:00 Wednesday, July 11, Venue: Faculty of Philosophy, room 509 Tuesday, July 10, 19:00 Venue: Yugoslav Film Archive 13:00 – 14:00 & 17:30 – 18:30 Venue: Belgrade Cultural Center – Artget Tuesday, July 10, 22:00 Thursday, July 12, 11:00 – 14:00 Venue: Belgrade Cultural Center – Movie *free entrance, book your place on the spot Gallery (I floor) Venue: National Museum in Belgrade Theatre *free entrance *free entrance * free entrance
Hamlet Encounters is a long-term CREW project in which The Virtual Reality technologies, which are the core of In the autumn of his life Australian author Wongar lives a (Un)touched is a unique and ambitious installation that an exploration of Hamlet engages the experiential poten- the research of the Perceptive Robotics Laboratory of secluded life in the suburbs of Melbourne. He’s spent his encompasses two performance sculptures. Each explores tial of immersive media. First results of this research are the Scuola Superiore Sant’Anna of Pisa, can be applied life with Aboriginal tribes in the Northern Territory and simultaneous experiences (and contradictions) of intima- prototypes from our Live-VR-production methodology. in many areas not only to teaching but also to theatrical witnessed the destruction of Aboriginal way of life by cy and distance. Both implicate the audience in differing They show the progress CREW made in avoiding anything performance. By now we must go beyond what is simply uranium mining and nuclear tests conducted by the gov- ways. In National Museum in Belgrade, the audience reminiscent of a computer game and at the same time the scenographic dimension of these technologies. We ernment. He raised his voice against this by writing news- will have an opportunity to see horizontal performance making the visual medium more spacious and less cin- conduct a series of experiments in progress, being able paper articles and novels. But authorities persecuted sculpture. ematic. to go and exploit the transformational values of virtu- him, deported him and tried to silence him up. Although European by origin, Wongar had equal rights with people This work presents a glass platform onto which the view- What would it be like to enter the world of Shakespeare’s al environments and Augmented Reality to change the subjective experience of the performer, the actor or the in the Aboriginal tribe: he took an Aboriginal name and ers are invited to walk. Submerged beneath are the two Hamlet? What would it be like for Hamlet to be confront- performers, whose presence is revealed depending on ed by the twenty-first century? In the mixed realities actors involved. Apparently, this has a very high value in married an Aboriginal woman with whom he had two terms of teaching but also for the performance, for exam- children. Now he’s living with his 6 dingoes for which he the shifting light, and can be viewed by the audience environment of CREW’s Hamlet Encounters, you get to from above. This displacement re-articulates the rela- walk amongst actors developing a production of Ham- ple in real time during the performance itself. However, believes embody the spirits of his Aboriginal family that tionship between the performers and the audience. The let in Elsinore castle. By exploring new media, you can we have verified that there may also be other lines of fu- he tragically lost. work takes inspiration from South Korean artist Do-Ho simultaneously glimpse today’s world through Hamlet’s ture research; in particular the use of techniques, by now Suh’s piece ‘Floor’ (1997) where the visitor is invited to sensibility. Hamlet Encounters involves a journey through in the state of the art for two to three years, of Artificial time and space inviting you to confront and reflect on the Intelligence as regards the realization of the virtual coun- Director: Andrijana Stojković walk on a glass surface under which there are many small ethics of action. As Hamlet discovers in Shakespeare’s terpart of the actor – in particular we talk about virtual Cinematographer: João Riberio figures. This act highlights a dialectic between abused dramaturgy, to do nothing is to take a position. Shake- humans that can be compared to virtual actors. More- Editing: Andrijana Stojković, M. Cem Öztüfekçi power and the power of human collective action. We speare’s Hamlet presents a dynamic sensibility confront- over, being always at the educational level, the possibility Composer: Vladimir Kolarić re-imagine this dialogue as a live event where the vulner- ing a moment of intellectual and ethical ferment. Can we of using these technologies is to create and control re- Sound design: Aleksandar Protić ability of the skin’s surface elevates the body, and where believe anyone? What should we do in a world of fake mote actions, which therefore do not take place physi- Sound recording: Ben Travers a sense of precariousness is derived from the situation news where bearings on ‘reality’ are slipping fast? Do you cally in the same space, which is why I think the future Executive producer: Jelena Stanković in which all those present find themselves. The reality of take arms against the sea of troubles and blow them to may involve sharing more physical spaces geographically Producer: Miroslav Mogorović separation suggests a touch that has no consequences, the moon? Do you take the suicide exit? To do or not to distributed in a naturally virtual environment. and yet the act of touching or walking over the surface of do: it’s your call. Duration: 60 min a body triggers affecting notions of power, control, and moral (un)certainty. After Hands-On Hamlet I& II, Hamlet Encounters (pro- Lecture by: © 2018 Art & Popcorn & All-Inclusive Films totype of Hamlet’s Lunacy) is the last step towards the Emeritus Professor Ing. Massimo Bergamasco final Hamlet’s Lunacy in 2019. This is a long-term pursuit wherein art takes the lead again pushing the experien- Full Professor of Applied Mechanics Head of the Percep- Choreographer: Angela Woodhouse tial potential of immersive media with an artistic project tual Robotics Laboratory, Institute of Information Tech- Sculptor: Nathaniel Rackowe which addresses key Hamlet-questions on how to be a nologies, Scuola Superiore Sant’Anna, University of Pisa Dancers: Martina Conti and Alice Labant moral subject and how one is determined by his/her cul- tural mind-sets. (Un)touched was commissioned by Canary Wharf PLC and funded by Arts Council England and Middlesex Team: Eric Joris, founder of CREW, Chiel Kattenbelt, Aneta Mancewicz, Robin Nelson, Joris Weijdom, University, UK. Urland Collective www.angelawoodhouse.co.uk http://www.crewonline.org/art/home www.rackowe.com Each individual experience will last around 10 minutes and if you wish to participate it is necessary to book before- hand in front of the room 509, V floor, Faculty of Philos- ophy. IFTR 2018 Belgrade IFTR 2018 Belgrade 82 83 Performing Statelessness in Macbeth at 4:48 Santiago (A)live #14 Skyline Europe performance documentary film performance S. E. Wilmer, Palgrave Macmillan, 2018 Wednesday, July 11, 21:30 book launch and discussion Wednesday, July 11, 20:00 Venue: UK Vuk Stefanović Karadžić Venue: Belgrade Youth Center Wednesday, July 11, 19:30 Wednesday, July 11, 21:30 Venue: Yugoslav Film Archive *free entrance for IFTR delegates Venue: Yugoslav Film Archive *limited seats, get your free tickets at the Registration Desk *free entrance *free entrance
Participants: professor Marvin Carlson, professor Silvija Macbeth at 4:48 is an original 50-minutes solo perfor- Skyline is a live arts project, in which performance, Jestrović, and professor Stephen Wilmer (author). Mod- mance that presents an adaptation of Shakespeare’s dance, music, audio-visual’s, sculpture and technological erated by professor Ivana Vujić. Macbeth and Sarah Kane’s 4:48 Psychosis. The perfor- devices designed by Kònic converge in live body – sound mance starts as a party with the audience that evolves Santiago (en) Vivo or Santiago (a) Live, is a documen- - graphics interactions. Marvin Carlson and Silvija Jestrović will discuss how their into Macbeth and Lady Macbeth’s confessions about tary that explores the scenographic permeability of work and experience relates to the theme of this book, events that led them into their own destruction. Mac- Santiago, Chile, during the street performances of the In Skyline, Kònic Thtr is taking a critical stance at the new and Steve Wilmer will talk about the strategy behind it. beth at 4:48 explores migration of dramatic texts into Festival Internacional de Teatro Santiago a Mil (FITAM) techniques of power, that open doors to the sphere of installation / live art events, in which the narrative is Performing Statelessness in Europe examines perfor- between 2012 and 2015. Santiago (a) Live elucidates the psyche and by so achieve that men and women sur- fragmented and presented as a multi sensorial aesthetic mative strategies that contest nationalist prejudices in how site and spectators ultimately inform the construc- render by their own will to the structure of domination. journey. representing the conditions of refugees, the stateless tion of meaning of theatrical events, by incorporating In this system, just like a digital Big Brother, a kind of in- and the dispossessed. In the light of the European Union the contextual urban space in which the performances verted panopticon is deployed, in which individuals lend The piece is devised by Aleksandar Dunđerović and Ste- failing to find a political solution to the current migra- are situated. The documentary covers five years of inter- themselves to be observed and confined within their phen Simms (who is performing) and designed by Maria tion crisis, it considers a variety of artistic works that views with practitioners from multiple countries, such own personal self-descriptions. A system where the sub- Sanchez. Previous versions of the project premiering in have challenged the deficiencies in governmental and as Chile, Peru, Spain, France, and Poland, and footage jects freely participate in the imposition of limitations to Belgrade, have been seen in Madrid (Museum of Con- transnational practices, as well as innovative efforts by of over twenty street performances, including walk- their lives, usually unconscious of their own submission. temporary Art Reina Sofia), Spain and Birmingham (Cen- migrants and their hosts to imagine and build a new fu- abouts, processions, and sound journeys from differ- Skyline explores this concept of psychopolitics with the trala Arts Centre), UK. ture. It discusses a diverse range of performative strate- ent companies, such as Clowns the Shakespeare, (Bra- strength and fragility of poetry, and by means of music, gies, moving from a consideration of recent adaptations zil), La Patriótico Interesante, (Chile), Compagnie Off, live visuals, performance and sculpture. of Greek tragedy, to performances employing fictive (France), and Antigua I Barbuda, (Spain), among others. identification, documentary dramas, immersive theatre, A sculptural element for the projection of light and im- over-identification and subversive identification, nomad- ages is raised in the performing space. It conforms the ism and political activism. This appropriate study will Director: Marcela Oteiza architecture of the piece, a translucent wall defining two appeal to those interested in questions of statelessness, Duration: 40 minutes separated areas for the action, a space ready to explore migration, and the problematic role of the nation-state. Language: Spanish, English subtitles available. the binomials natural/artificial, individual/society, - psy chological/physiological that will put a meaning to the performance, the poetry, the dance and music.
Skyline is a danced encounter of people who will not be able to touch each other but will communicate from the distance with the mediation of communication technol- ogies. There is a networked and crossed narrative that evolves through the body and various technological de- vices that Kòniclab has developed for the piece.
Artists: Rosa Sanchez and Alain Baumann
www.koniclab.info IFTR 2018 Belgrade IFTR 2018 Belgrade 84 85 We Women //: Trigger Warning Marathon (tribute to They I Even Met Happy Gypsies performance Shoot Horses, don’t they?) film performance by adam pantić Thursday, July 12, 19:00 Saturday, July 14, 15:00 Venue: Belgrade Youth Center Friday, July 13, 11:00 - 16:00 Venue: Yugoslav Film Archive *limited seats, get your free tickets at the Registration Venue: Belgrade Youth Center *free entrance Desk *free entrance
The body is an archive of memory and spills it around The circle is an ontological form made of meaning and I Even Met Happy Gypsies is a Yugoslav, 1967 film, consciously/subconsciously. Every gesture, every silence, meaninglessness. Whole life man is walking this path directed by Aleksandar Saša Petrović. The film focuses every image has its own life. This work is an interroga- seeking an answer to the essential question. The answer on the lives of Roma people in a village in the Northern tion between subjectivity and movement. The memo- is written at the bottom of the ones’ soul. There are a part of Vojvodina, but deals with far more complex issues ries are personal but the histories are shared. These few who read it. Every day every century we look at peo- like love, inter-ethnic and social relationships. In leading histories break into images but live in movements. In ple who go beyond vast distances in search of meaning roles are Bekim Fehmiu, Olivera Vučo and Velimir Bata fact, they are both interwoven so densely that we don’t and fleeing from meaninglessness. Živojinović, famous Yugoslavian actors. I Even Met Happy know if the movement is to pull the personal and the Gypsies is considered as one of the most significant shared apart or to tie them further. What we do know This work is dedicated to them. film of the Yugoslav Black Wave and Yugoslav Cinema in is that the body desires. Is this desire a social construct? general. Work Marathon is conceptually vague and open. His po- Does the body respond to the slightest provocation, or etic line is only pure and determined. It combines three does the body provoke? We question the concept of the historical periods and three social contexts. The period Winner of the Grand Jury Prize at the Cannes Film Festi- body itself, introducing digital landscapes and virtual im- of the Ancient concept of sacrifice of the individual, the val in 1967, the film in the remastered digitized format ages which converse, struggle and negotiate with each period of the mature capitalistic sacrifice of the individ- had the honour to be screened for the second time in other, creating a complex experience. Trigger warning is ual and the present time that we determine now and an the frames of the famous Cannes Classic Programme not about what you see, for the images don’t require individual who is not a victim, because he is completely of the 70th Cannes Film Festival marking 50 years of its discretion- they don’t disturb you, they are not graphic; disseminated and thus does not meet all the criteria of premiere in Cannes. but amidst the proliferation of mo(ve)ments in this per- this psychological and social category. formance, we don’t know which one will unsettle you, offend you, or trigger you. Formally art, work is a quote from a cult film from the The performance has five episodes- they are not pieces late sixties They Shoot Horses, Don’t They? of a puzzle, they are visions of an ever-changing land- scape- dreams of a never-ending slumber, sweat of a This film is the first artwork that has posed to me this never stopping Sisyphus. important life issue: What is the meaning of life? With my Marathon in the radius of the room in which I started Choreographer, Performer: Aastha Gandhi my life1, I want to turn this binary speculation into a state Dramaturg, Sound Artist:Ankush Gupta of mind, without a very positive or extremely negative Video Installation, Production Managers:Shivani Mon- reception. “There is no state that cannot be enriched ei- ga, Najmus Saqib ther by acting or suffering” Goethe. Light Designer: Deepa Dharamadhikari Yugoslav Film Archive presents: Publicity, Graphics and Set Design: Nimit Gandhi In the production sense, I also made a cut and abolished Camera and Graphics: Nitendra Singh, Neal Karthik all formal requirements for the work to be performed. Thursday, July 12, 18:00 The only condition is to be alive on the day of my perfor- Poetry and Voice Artist:Abbas Shamael Rizvi All About Eve (Joseph Menkiewicz) mance. Body-Space-Time are elements of work.
If this work looks meaningless to someone, they should Thursday, July 12, 20:30 ask themselves how meaningless all we do is, after all. All That Jazz (Bob Fosse)
Friday, July 13, 20:30 Fanny and Alexander (Ingmar Bergman) 1 My previous work Mira and Mile (tragedy) was performed inside a cage 3x3m and with height 2,2m, which are original *Free entrance for IFTR delegates. dimensions of the house (room) where my parents started they married life. IFTR 2018 Belgrade IFTR 2018 Belgrade 86 87 PUBLISHERS BOOK LAUNCHES
Beopolis bookstore was founded at the end of MIT Press - known for bold design and creative 1999 in collaboration between the Beopolis pub- technology, the MIT Press advances knowledge lishing house and Belgrade Youth Center. Beopo- by publishing significant works from leading edu- Wednesday, July 11 lis soon became a prominent Belgrade bookstore, cators and researchers around the globe for the 12:30 – 14:00 (lunch break) mostly because of selection of relevant titles in broadest possible access, impact, and audience. Publishers’ hall the field of humanities, art theory, comics, as well Committed to the edges and frontiers of the world as quality works of Serbian/ex Yugoslavian and and to exploring new disciplines and modes of in- foreign authors. Beopolis built its status by sup- quiry, the press publishes over 220 new books a porting small and independent publishers. At the year and over 30 journals in fields including art, Staging Trauma: Bodies in Shadow same time the bookstore is actively involved in architecture, economics, cognitive science, game the organization of art festivals, promotions, book studies, and computer science. discussions and readings. Beopolis has recently * Palgrave MacMillan - Contemporary Performance InterActions series introduction expanded and confirmed its social engagement by collaboration with “Radioaparat” web radio. In Palgrave Macmillan’s cutting-edge Theatre * Presentation of the book Staging Trauma: Bodies in Shadow by dr Miriam Haughton the Beopolis radio show we discuss a variety of and Performance list presents the latest critical social and literary subjects. thinking in the discipline for scholars, students and This vital study investigates contemporary British and Irish performances that stage traumatic practitioners. From immersive theatre and con- narratives, histories, acts and encounters, focusing on figures who have previously been marginalised by temporary playwrights to devising performance dominant patriarchal theatrical and historical canons. It is a new publication in the series Contemporary Cambridge University Press dates from and theatre history, we publish works by a diverse Performance InterActions. 1534 and is part of the University of Cambridge. range of renowned authors and emerging scholars. Our mission is to unlock people’s potential with Editor Tomas René is available throughout the the best learning and research solutions. Our vi- conference to discuss new book proposals, as well sion is a world of learning and research inspired by as provide information about our existing titles Event-Space: Theatre Architecture and the Historical Avant-Garde Cambridge, where: We enable people to achieve and the publishing process. Dr Dorita Hannah, Routledge, 2018 success by providing the best learning and re- At this year’s conference, we will be celebrating search solutions. the publication of S. E. Wilmer’sPerforming State- Join Routledge in welcoming Dr Dorita Hannah on Wednesday 11th July 2018, at 1:00pm on the We support our customers through continually lessness in Europe, and the series ‘Contemporary Routledge stand for a book signing of her new book. Event-Space: Theatre Architecture and the Historical improved content, experiences and care. Performance Interactions’, edited by Elaine Aston Avant-Garde radically re-evaluates the avant garde’s championing of nonrepresentational spaces, We use our profit for purpose, contributing to so- and Brian Singleton, including its most recent drawing on the specific fields of performance studies and architectural studies to establish a theory of ciety by furthering the mission of our University book Staging Trauma by Miriam Haughton. ‘performative architecture’. Playing a leading role in today’s global market place, we have over 50 offices around the globe, ‘Event’ was of immense significance to modernism’s revolutionary agenda, resisting realism and is the world’s leading research pub- and we distribute our products to nearly every Routledge naturalism - and, simultaneously, the monumentality of architecture itself. Event-Space analyzes a lisher in the field of Humanities and Social Scienc- country in the world. number of spatiotemporal models central to that revolution, both illuminating the history of avant-garde es. We publish thousands of scholarly journals, performance and inspiring contemporary approaches to performance space. books, eBooks, text books and reference works
each year, partnering with scholars, instructors, Methuen Drama - publisher of the finest Find out more about the book at: www.routledge.com/9780415832175 canonical works of dramatic literature for over a and professional communities worldwide. Rout- century, beginning in 1889 with the publication of ledge is part of the Taylor & Francis Group, an in- Oscar Wilde’s The Importance of Being Earnest. formal business. Today, Methuen Drama provides a thriving front list of leading contemporary playwrights, theatre scholarship, performance and backstage guides along with Drama Online – the leading online sub- ject hub for play texts, audio and video resources. IFTR 2018 Belgrade IFTR 2018 Belgrade 88 89 URBAN BELGRADE, walking tour 20th century and issues on Yugoslav heritage and SOCIAL & CULTURAL PROGRAM Yugoslav past. The museum covers the develop- Experience the nightlife and the urban culture of ment of the Yugoslav idea, since the creation of the the city that never sleeps. Walking tour through Yugoslav state as a kingdom, until its breakup in some of the oldest parts of the town, from Dorcol the early 1990s. Today, the Museum of Yugoslavia has over 75,000 items. In the museum complex is There are a lot of things to do and see in the of Singidunum and that it was full of fountains to another hipster neighbourhood- Cetinjska Street and Savamala. a sculpture garden and the mausoleum “House of Belgrade region! We have put together an and mosques during the Ottoman Empire, later flowers” which is the resting place of president of exciting Social & Cultural Program including replaced by new buildings during the Austrian rule Located in Dorcol, old part of the city with rich his- Yugoslavia Josip Broz Tito (1892–1980). excursions, performances and parties available which are now inhabited by various cultural tory filled with stories and legends, Dorcol Platz is Built as the palace of the Federal Executive council to the conference participants. All events are centers, galleries and cultural institutions. a meeting place for everyone committed to cultural of Yugoslavia, today Palace of Serbia it is home to linked to theatre, performance and history, but Short walk through Belgrade Fortress - place and social changes. The space is of urban, industrial several ministries and offices of the Serbian govern- in very different ways – explore and get a taste of where Belgrade started to develop. Throughout appearance and is excellent for organizing events ment. The construction of the building was started Belgrade city center and some of the attractions the centuries, the city saw many armies, was the such as exhibitions, performances, workshops, as in 1947, just after the end of WWII, symbolizing the in surrounding areas, Novi Sad, Sremski Karlovci field of many battles, it witnessed the brutality well as numerous concerts. It tends to become the birth of a new socialist futurist nation with its own and Oplenac and enjoy in local performances and of the conquerors and the courage of the tireless center of sustainable development through culture, symbols and landmarks. The Palace of Serbia is the exclusive Farewell dinner in a marvelous venue of defenders of the city. It. The Fortress was built ecology, technology, sports and science. largest and most spectacular masterpiece of mod- ernist architecture in Belgrade, and one of the first the Museum of Contemporary Arts in Belgrade. in stages, during the lengthy period between Cetinjska street, another “young” urban neighbor- buildings to be constructed in the New Belgrade the 1st and 18th century, from a Roman castrum, hood of Belgrade full of colorful graffiti and bars district. Tickets for events are limited and can be through a Byzantine castle and the remains of the has become the newest “it” place in Belgrade, located in one of the oldest parts of the town, next The Friendship Park was established in the name purchased online or at the Registration Desk. medieval capital of the Serbian Despotate, all the of holding the first Conference of Non-Aligned way to an Austrian-Ottoman artillery fortification. to the bohemian quarter of Skadarlija. The area is packed with bars, clubs and restaurants situated in Movement in Belgrade in 1961, as a symbol of the Best preserved and biggest medieval tower of the old buildings of a former beer brewery. struggle for peace and equality for all peoples in Belgrade Fortress Kula Nebojša is located at the Once a neglected industrial area behind Belgrade’s the world. President Тito’s planting plane trees on 7 end of the north-eastern rampart of the Lower central station, over the past few years Savamala September 1961 was considered the grand opening Town. The Tower now also has an exhibition venue has become one of the most popular places for of the Park. Until 1989, 26 plane trees that were BELGRADE DOWNTOWN, walking tour with a multimedia exhibition about the history of the nightlife and great part of clubbing culture in planted by statesmen, in the “Peace Avenue” that the Tower, which was once a prison. The tour ends Belgrade. Not only trendy for its bars and clubs but is 180 m long, which also represents the number Visit the landmarks and take a walk through the in Kosancicev venac Street, located in the heart of also for numerous stories written on the cracked of countries which had a commitment to peace as rich history of Belgrade. the city. Paved with Turkish cobblestones, it has facades, Savamala began its transformation into the their political priority, through the so-called policy kept the atmosphere of the 19th century, with new creative hub of Belgrade in the early 2010s. of peaceful, active coexistence. The monument Monumental in proportions and still unfinished lovely cafés, galleries and wineries. Just across “Eternal Flame” is located in the park and was built to commemorate the victims of the NATO bombing this monument, the largest Orthodox church in the street, the oldest kafana built in the authentic Date: July 8, July 14 of the Federal Republic of Yugoslavia. the Balkans, Saint Sava Church is already one of Balkan style with a curious name of “?” attracts Time: 19:00 visitors from all over the world. Alternately known as the Genex Tower, the West- the most symbolic buildings in the city. It was Departs: from Student Square ern City Gate was built in 1977 as both a commer- raised on the spot where it is thought that in Duration: 2 hours 30 minutes cial and residential space, divided between the two 1595 Sinan-Pasha burned the relics of Saint Sava, Date: July 8, July 14 Price: 14 € skyscrapers. The building is designed to resemble founder of the Serbian Orthodox Church. The Time: 10:00 a high-rise gate greeting people arriving in the city foundation stones were consecrated in 1930 and Departs: from Student Square from the West (the road from Belgrade Nikola Tesla the construction of the church started 5 years Duration: 4 hours Airport to the city center leads this way). The tower later. The building site was bombed heavily on 6th Price: 29 € is an example of the brutalist style, and on the of April, 1941 and, after the World War II, the new GEOPOLITICAL TOUR way through New Belgrade, you will also see other socialist government did not permit rebuilding. examples of this type of architecture, which was The works started again in 1985 and are still in Experience Belgrade as the city in which the Non- dominant in the 1960s and 1970s. progress. Aligned Movement was founded Knez Mihailova is the main pedestrian zone in Date: July 8, July 14 Belgrade and also the street with rich history. It Museum of Yugoslavia is an open institution that Time: 11:00 is protected by the law as one of the oldest and encourages different actors to actively perceive Departs: from Student Square most valuable landmarks of the city. It is thought the present by modern interpretation of the past. Duration: 4 hours that the street was the center of the Roman city It deals with social and cultural phenomena of the Price: 29 € IFTR 2018 Belgrade IFTR 2018 Belgrade 90 91 NOVI SAD AND SREMSKI KARLOVCI OPLENAC WALK DOWN BELGRADE THEATRES, Bitef theatre was founded in 1989 in the walking tour reconstructed German Evangelical Church and it is Spend a day in the European Capital of Culture Visit the mausoleum of the Royal house of open to all kinds of new expressions. It thrives to 2021 and taste amazing wines in one of the most Karadjordjevic and enjoy the delicious wines of the Learn about the most important Yugoslavian and overcome the established limits and to support romantic towns in Serbia. Central Serbia region. Serbian theatres which have formed the regional the artists who are ready for brave steps. Bitef theatre is organizing BITEF (Belgrade International scene. Theater Festival) one of the the most significant The city of Novi Sad will be a European Capital of The National Theatre was founded in 1868. The international theatre festivals, which is held every Culture in 2021 and Petrovaradin Fortress Oplenac is a historic place which is consisted building was declared a Monument of Culture of year in September. (Petrovaradinska tvrdjava) is the city’s most of mausoleum of the Serbian Royal Family. Great Importance in 1983 and is protected by the *visit planned on July 14th popular and attractive cultural and historic site. The Church of St. Djordje on the hill of Oplenac Republic of Serbia. The National Theatre went The Austrians originally built it as a military fort was built as a temple and mausoleum of the through many different phases of the architectural to reinforce their defenses against the Ottomans. Royal family Karadjordjevic. This monumental and artistic development, and in 2018 it celebrates Date: July 8, July 14 Beautifully perched on a high cliff, the fortress church represents the pearl of architecture and a jubilee – 150 years. Today, under its roof, there overlooks the Danube. The four story- structure, are two stages and three artistic ensembles – Time: 10:30 decoration of the time and is built in the Serbian Departs: from Student Square which is called the Gibraltar on the Danube, - Byzantine style as a five - cupola building. Copies Opera, Drama and Ballet. The theatre is on the European Route of Historic Theatres. Within the features 16.5 km of underground galleries, 12,000 of frescoes from 60 Serbian monasteries are Duration: 2 hours 30 minutes building, there is also the Museum of the National gun holes and 13 gates. gathered in the Oplenac church. Price: 20 € theatre. Just 11 km from Novi Sad, the quaint city of Today Winery “Vrbica” has ten acres of vineyard, Atelje 212 was officially founded in 1956 in the Sremski Karlovci has been the spiritual, cultural where the high-bred varieties of white and red and educational center of Serbia for over 200 building of Borba newspapers with the capacity grapes originating from France and produces years. Serbia’s oldest gymnasium is located of 212 seats. The first performed play was Faust, about thirty thousand liters of wine annually. From here. The baroque style buildings surrounding directed by Mira Trailović, who was also one of red grape varieties are grown Merlo, Cabernet the fountain in the town center are of immense the founders of the famous BITEF festival. Right Sauvignon and game, and the white Sauvignon importance to Serbian history and culture. With from its start, Atelje 212 became well known for Blanc, Riesling and Chardonnay. In the heart of the its two tall bell towers, the 1762 Gathering Church its avant-garde repertoire. Already in 1956, they of St. Nicholas (Saborna crkva Sv. Nikole) is a vineyards there is a restaurant where you can taste performed Beckett’s Waiting for Godot, a play that masterpiece of Serbian baroque. The Patriarchy various specialties and wines Wineries VRBICA are had been banned in all communist countries, and Palace, the residence of the Srem District Episcope, served. their later famous productions include the musical is considered to be Vojvodina’s most remarkable “Hair”, plays by Eugene Ionesco, Alfred Jarry and other 20th century writers. Today, it is a theatre 19th century building. According to legend, Date: July 8, July 14 dedicated to contemporary drama, both national whoever drinks water from the 1799 Four Lions Time: 9:00 and international. Well will return to Karlovci to marry. Visitors can Terazije Theatre was founded in 1949 by the also enjoy in traditional national dishes followed Departs: from Student Square Duration: 5 hours 30 minutes Belgrade City Assembly, as “Humorous Theatre” by wine degustation in the area’s vineyards. and dedicated to music and comedy genre Price: 49 € repertoire. It changed models of functioning and Date: July 7, July 8, July 15 names many times, and today it is dedicated Time: 9:00 to the genre of musical theatre with a large Departs: from Student Square ensemble including ballet, music and acting performers. Duration: 8 hours The Yugoslav Drama Theatre (YDT) was founded Price: 60 € in 1947 with the aim of attracting the best talents from all over the country, and of being the Yugoslav counterpart to the Moscow Art Theatre in terms of style and aesthetic qualities. Supported by politicians and leading cultural figures, director Bojan Stupica selected the most notable artists from all the theatrical centers of Yugoslavia. Yugoslav Drama Theatre has remained one of the most important theatres in the whole sive location, in a marvelous venue of the region. Museum of Contemporary Arts in Belgrade *visit planned on July 8th IFTR 2018 Belgrade IFTR 2018 Belgrade 92 93 FAREWELL DINNER SHOWCASE
giving the delegates an opportunity to relax, mingle and enjoy local food and art. The delegates In the name of the Lord will have the opportunity to see the museum’s eclectic collection - guided tours in English will be organized. Tasty national dishes will be served at the plateau in front of the museum, near the Sava River. We are looking forward to meeting you in a relaxed atmosphere with live music. Monday, July 9, 21:00 After dinner you can continue to one of the boats on the Sava or Danube River and experience Venue: National Theatre Belgrade’s famous nightlife. *tickets can be purchased online and at the Registration Desk
Date: July 12 Time: 20:30 The performance is one brutally politically incorrect scene action. It uses a new political paradigm - we Venue: plateau in front of the Museum of Contemporary Arts in Belgrade are allowed to be bad guys. Does this mean that the theatre “Kosztolányi” suddenly turned to the right? Duration: 3 hours Check it out. Price: 30 € (student and Band B) / 45 € (Band A) Left-liberal concept does not exist. They are invented by the lazy and the right, which cry out for the enemy. The performance is the defense of the Judeo-Christian ... that is, Christian Europe. At the cost of self- destruction. At the cost of destroying democracy, as the only form of social and human freedom. The goal is to push toward the edge ... Nobody is right except us. Our way of life is unacceptable for the upcoming religious culture. There is no escape. Except conflict with the other one. And with yourself. Refugees are good, until we look closely at them. We love them as long as they are locked in old bricks such as illegal reception centers. While they do not cost us. Islam is pleasant as long as we travel on a holiday to Egypt. No more tolerance. It’s time to accept ourselves as we are. The performance, at the border of Europe, just in place where the famous Hungarian fence is located, confronts two great religious cultures ... They pretend that they do not know each other ... And they do not, until they see each other through the sniper’s gun point. We do not recognize them either. Until they enter our bedrooms.
Director: András Urbán Performers: Márta Béres, Borisz Kucsov, Gábor Mészáros, Imre Elek Mikes Dramaturg: Kata Gyarmati Visualization: András Urbán Composer: Irena Popović Choreographer: Vedrana Božinović Production: Theatre Kosztolányi Dezsȍ, Subotica
Ticket price: 20 € IFTR 2018 Belgrade IFTR 2018 Belgrade 94 95 Macbeth Tranzit Zoon performance by Katalin Ladik
Tuesday, July 10, 21:00 Friday, July 13, 18:30 Venue: Belgrade Youth Center Venue: Yugoslav Film Archive
*tickets can be purchased online and at the Registration Desk *free entrance
Dance performance Macbeth follows the already established Bitef Dance Company policy which adheres Event on “no-man’s land” is among wires, fences and high walls, but mostly in ourselves. If someone to the intention of presenting new streams of dance theatre development to its audience, through dwells too long in the no-man’s-land, she/he gradually becomes an animal. choreographed staging of great literary works. The works staged so far are Shakespeare’s Othello, Dante’s Cast: Divine Comedy, Moliere’s Don Juan, Aristophanes’ Birds… Women The choreographer of Macbeth is young Miloš Isailović, who has created many memorable dance roles Man with Bitef Dance Company and has won “Dimitrije Parlić” award for his first choreography, Dunjaluk, People in uniform produced by Bitef Theatre. Walls This dance performance, based on a classic drama concept, takes Shakespeare’s Macbeth only as a starting point for the development of the author’s image of the contemporary world, filled with the Look the walls keep growing and bring cold. atmosphere which rules the play itself – the dark world of conspiracy, crime, psychological deviations, Do you think there are still trees behind the walls? desire for power, passion… Trees? I do not remember them. Contemporary choreographic interpretation of Macbeth offers various stage possibilities. The character What does a tree mean? I’ve never seen a tree. of Lady Macbeth has always drawn a lot of attention, as well as the appearance of the three witches. Is it breathing? Does it sing? What does it eat? Together with all the other characters, they will be visually adjusted within a timeless frame, conveying a I wonder did I the right thing when I set out on the long journey. sense of modernity, of a contemporary spirit and, above all, the feeling of universal value inherent to all Just listen! You hear it, too? Shakespeare’s ideas. As if someone would lament scream into the night the melody of Mozart’s Little Night Music. How do you know it’s the middle of the night? Choreography: Miloš Isailović Let’s draw a window, then we will find out. Composer: Draško Adžić Yes, let’s draw a window on the walls! Dramaturgy: Jelena Kajgo Stage Design: Jasmina Holbus Language lesson for strangers. Costume Design: Slavna Martinović What language do you dream in? Executive Producers:Jovana Janjić and Vojislav Kaluđerović What is the language in which you kill people. Photo and Design: Slavica Dolašević First I will wipe out your mother tongue. Dancers: Miloš Isailović, Dejan Kolarov, Ana Ignjatović-Zagorac, Nataša Gvozdenović, Tamara Pjević, Jelena But how much easier is the genocide! Bulatović, Miona Petrović, and Branko Mitrović I am the Great Wall! Production:Bitef theatre, Belgrade I cannot be breached, knocked down, overthrown, or disassembled. I am everywhere. I am part of you. I am in your deepest dreams, in your most innocent games, in your anthems, in your love-makings, in your Ticket price: 20 € desires and in your prayers too. My advice to you is: never, but never wake up because otherwise you will know not only me, but your- selves too in your real, inhuman and fearsome angelic nature.
(Translated by József Aradi) IFTR 2018 Belgrade IFTR 2018 Belgrade 96 97 PRACTICAL INFORMATION Tourist Information Centers Trg Republike 5 Monday to Friday 10:00 – 21:00 Saturday and Sunday 10:00 – 18:00 Knez Mihailova 56 (TC Rajićeva) Registration Venues Monday – Sunday 9:00 – 20:00 Location: Faculty of Philosophy Faculty of Philosophy (Čika Ljubina 18-20) Airport Nikola Tesla (Čika Ljubina street 18-20), I floor The Hall of Heroes – Faculty of Philology Monday – Sunday 9:00 – 21:30 (Knez Mihailova 40) Registration opens on Sunday, July 8 at 12:00 and The Yugoslav Film Archive (Uzun Mirkova 1) lasts till 18:00. The Rectorate of the University of Belgrade Local travel From Monday to Friday, the Registration Desk will (Studentski trg 1) be open from 8:00 till 16:00. National Theatre(Francuska 3) Belgrade is a relatively safe city, just exercise the Belgrade Youth Center (Makedonska 22) usual caution – take care of your things in the At the Registration Desk you can also get tickets for Belgrade Cultural Center (Trg republike 5) crowded areas. the Social and Cultural program of the Congress. UK Vuk Karadžić (Bulevar kralja Aleksandra 77a) It is safe to use public transportation, which con- KC GRAD (Braće Krsmanović 4) sists of buses, trams and trolleybuses. Trams and To contact the organizers: Museum of Contemporary Art (Ušće 10) trolleybuses have limited routes and buses circulate [email protected] National Museum in Belgrade (Trg republike 1a) all over the city. [email protected] Rechargeable BusPlus cards can be bought and topped up (RSD 89 per ticket) at kiosks across the city (tickets bought from the driver in the vehicle Cafés and Restaurants are RSD 150). Ticket lasts for 90 minutes from the (partners of the IFTR 2018) moment it is validated on the machine inside the Certificates vehicle. In that period, it is valid for all public trans- port. There are also BusPlus tickets that last for 1, 3 Certificates will be issued from Wednesday, AHH...RIBA - Oyster&Sushi bar Fish restaurant (Obilicev venac street 27) - 20% discount or 5 days. One day ticket is RSD 250, 3-day ticket is July 11 at 15:00 till the end of the Conference RSD 700 and 5-day ticket is RSD 1000. at the Registration Desk. Crossroads (Skadarska street 40c) - 20% discount Firma (Makedonska street 25) - 20% discount GURMANISTAN (Makedonska street 30, TC Euro- centar) - 20% discount Taxi Lunch Klub književnika (Francuska street 7) - 20% dis- count We recommend the following taxi companies: Lux Taxi (+381) 19944 Lunch is included in the conference fee. Le Molier (Zmaj Jovina street 11) - 10% discount Miamiam (Kursulina Street 6) - 20% discount Beogradski Taxi (+381) 19801 Buffet Lunch will be served at the Atrium of The Na ćošku (Beogradska street 37) - 10% discount Naxis Taxi (+381) 64 2229804 (available on Twitter) Rectorate of the University of Belgrade (Studentski New York New York (Krunska street 86) - 20% Take a distinctly labelled cruising cab or ask a local trg 1) every day from 12:30 until 14:00. There will discount to call one for you. The initial fixed fee is RSD 170 be variety of options, including vegetarian, vegan, PLATO (Faculty of Philosophy) - 20% discount on and reputable cabs should charge about RSD 70 per gluten free etc. food kilometre. Make sure the meter is turned on. Last Principe di Sicilia (Svetozara Markovića street 27) - two signs on legal taxis registration plate is TX. 20% discount Pub Eleven (Studentski trg street 11) - 20% dis- Internet – Wi-Fi count Emergency Red bar (Skadarska street 17) - 20% discount Network: IFTR2018 Zaokret bar (Cetinjska street 15) - 20% discount Emergency Room 194 Password: BelgradeCongress Zlatni bokal, Skadarlija - 20% discount Police 192 Fire Department 193 IFTR 2018 Belgrade IFTR 2018 Belgrade 98 99 CONFERENCE VENUES
1 Faculty of Philosophy (Čika Ljubina 18-20)
2 Faculty of Philology (Kneza Mihailova 40) 3 The Yugoslav Film Archive (Uzun Mirkova 1) 4 The Rectorate of the University of Belgrade (Studentski trg 1) 5 National Theatre(Francuska 3)
6 National Museum in Belgrade (Trg republike 1a)
Studentski trg Braće Jugovića
Studentski park 5 Plato dr Studentski trg Studentski
Studentski trg Studentski Zorana
Kneginje Ljubice Kneginje Dobračina Dositejeva Francuska Đinđića Uzun Mirkova Studentski trg Vase Čarapića
3 2 4 1 6 Trg Republike
Čika Ljubina
1300 Kaplara 1300
Vuka Karadžića Vuka Kralja Petra Kralja Kneza Mihaila Kneza Mihaila IFTR 2018 Belgrade IFTR 2018 Belgrade 100 101 Faculty of Philosophy – Floor Map TOILETS 2nd FLOOR Rooms 208–214, Refreshments, Exhibition, Elevators, Toilets
TOILETS 1st FLOOR Registration, Tickets, Info Desk, Publishers, IFTR Office (Lost/Found, Medical help), 211 Rooms 101–105, Refreshments, Entrance, 208 Toilets, Elevators
105 104 213 214 TOILETS
Office TOILETS 108
101 103
TOILETS
3rd FLOOR Rooms 301–313, Refreshments, Elevators, Toilets
AMPhIThEATRE 310 309 308 MEZZANINE
Amphitheatre, Elevators TOILETS
4th FLOOR 312 313 Rooms 401–412, Refreshments, Elevators, Toilets 301
410 409 408
412 TOILETS C02 C03 TOILETS C01 401
TOILETS BASEMENT 5th FLOOR Rooms C01–C03, Toilets Rooms 508–513, Refreshments, Elevators, Toilets
Performance hAMLET Legend: ENCOuNTERS 510 509 508 Registration Info Desk Entrance Refreshments Amphitheatre
IFTR Office Publishers Elevators First Aid Exhibition Office 512 513 TOILETS
ROOMS 208–214 IFTR Rooms Event Tickets Toilets Lost and Found IFTR 2018 Belgrade IFTR 2018 Belgrade 102 103 Partners
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