Theatre & Stratification
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Theatre & Stratification School of Theatre, Performance and Cultural Policy Studies The University of Warwick FIRT/IFTR World Congress University of Warwick 28/07 – 01/08 2014 MONDAY LUNDI 28JULY JUILLET Contents / Sommaire 2014 005 Theatre and Stratification - Introduction and Welcome 011 Opening Ceremony 013 Keynotes TUESDAY MARDI 018 Conference Schedule at a Glance Conference Sessions 021 29JULY Monday JUILLET 021 2014 038 Tuesday 053 Wednesday 074 Thursday 088 Friday 101 New Scholars’ Forum Activities 102 Book Launches WEDNESDAY 104 Publishers’ Exhibition and Book Sale MERCREDI 30JULY 106 Social and Cultural Programme at a Glance JUILLET 107 Performing Arts Book and Ephemera Fair 2014 108 On Screen 109 Cultural Programme 114 Social Programme 119 Open Mic Schedule 125 Awakenings and Other Events THURSDAY JEUDI 126 Practical Information 128 Campus Map 31JULY JUILLET 129 Map of Warwick Arts Centre 2014 130 Map of Millburn House 131 Map of Scarman House 132 Exploring the Area 135 Restaurants and Bars 142 Warwick Organising Committee 145 Credits FRIDAY VENDREDI 01AUGUST AOÛT 2014 002 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 003 MONDAY LUNDI 28JULY JUILLET Theatre & Stratification 2014 Introduction and Welcome The International Federation for Theatre Research, this year’s Conference Organisers, and the School of Theatre, Performance and Cultural Policy Studies at the University of Warwick welcome you to the 2014 FIRT-IFTR World Congress. We are absolutely delighted to be hosting this year’s conference and are pleased to count you among the more than 950 delegates who have travelled from some 65 different nations in order to participate in this TUESDAY historic event. In the months leading up to the conference, we have had an MARDI overwhelming response to the topic of “Theatre and Stratification”, and the end result is that we are able to offer you a programme that is as rich in scope as 29JULY it is in nuance. The papers presented at this year’s conference challenge us to JUILLET explore theatre’s diverse forms of stratification even as they also ask us to be 2014 suspicious of stratification as a concept and as a socio-political phenomenon. In no uncertain terms, the conference topic has provided the conceptual frame for what promises to be a rigorous exchange of ideas not only about theatre history but also about theatre’s place within larger historical trends as well as about its significance within specific historical locations around the globe. The site of this year’s conference is itself positioned adjacent to one of the most historically significant sites in the history of Western theatre. Located in the English Midlands, the University of Warwick is situated within WEDNESDAY a region that literally identifies itself as “Shakespeare’s country”. It is a short MERCREDI distance from Coventry to Stratford-upon-Avon, the birthplace of Shakespeare and home of the Royal Shakespeare Company. In the short trip from here 30JULY to there, one encounters the full spectrum of possibilities raised by the JUILLET conference’s thematic focus on stratification. For the Shakespeare that one 2014 encounters at Stratford is both bard and brand: the source of a rich theatrical tradition and, for some, the symbol of cultural hegemony. As home to the Royal Shakespeare Company, Stratford offers internationally acknowledged theatrical productions at the same time that it has built a kitsch-filled tourist industry of global proportions that capitalises on Shakespeare’s fame. In ways that are thus equally profound and problematic, Shakespeare is both local and global, layered within multiple cultural, national, economic, aesthetic and political registers. It is, in short, a small step from Stratford to stratification. In the larger context of theatre research, the question of how we as theatre THURSDAY historians, theorists and practitioners negotiate the historical and political levels JEUDI of theatrical culture and commodity at a site like Stratford is but one example of the kinds of questions that scholars will explore at the 2014 FIRT-IFTR World 31JULY Congress here at Warwick. Those explorations range from new considerations JUILLET of Byzantine theatre to a radical rethinking of terror and performance in a 2014 deeply divided contemporary world. They ask us to excavate the multiple layers of history and politics in Senegal’s National Theatre, to question the European Union’s priorities in financing theatre, and to conceptualise the “lowest rank” of reality in experimental works like those of Tadeusz Kantor. They explore the hierarchies of language in Argentinean theatre, examine the aesthetic layers of Kabuki theatre, consider the archaeological stratifications of playhouses, and posit theatre itself as “an impulse of the stratified mind”, They approach issues of stratification through the paradigms of body, space and sound, through the politics of gender, race and class as well as through examples of dramaturgy, FRIDAY choreography, actor training, stage design and full theatrical production. VENDREDI Reaching across centuries, across cultures and across theatrical forms, the research presented at this year’s conference represents some of the finest 01AUGUST work in the profession, and we here at Warwick are honored to be host to the AOÛT lively exchange that will unfold during this historic 2014 FIRT-IFTR Congress. 2014 004 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 005 Much of that exchange will occur in scholarly panels and working groups. But so too will it occur in the rich assortment of theatrical performances that Theatre & Stratification accompany this year’s conference. Indeed, the conference itself will open Introduction du programme with performances deeply embedded in images of stratification. Coventry- based Imagineer Productions, for example, will open the conference with a procession led by their 10 metre high puppet Lady Godiva, who, according to La Fédération Internationale pour la Recherche théâtrale, organisatrice du legend, rode horseback into Coventry in a symbolic challenge to the economic colloque de cette année, et l’Ecole d’études du théâtre, du spectacle et de la hardship that her husband imposed upon the townspeople by way of heavy politique culturelle de l’Université de Warwick ont le plaisir de vous recevoir taxation. If that legend speaks to issues of social stratification, so too does pour l’édition 2014 du Congrès international de la FIRT. Nous sommes the work of Imagineer Productions speak from the streets to the hierarchies enchantés d’accueillir ce colloque et heureux de vous compter parmi les that historically have defined the traditional spaces of theatre. This spectacular quelque 1000 délégués venus de 68 pays différents afin de prendre part à opening will be followed later that same evening by Motionhouse’s production cet événement historique. Au cours des mois qui ont précédé sa tenue, nous of Broken, which is literally embedded in archaeological images that move from avons reçu une infinité de propositions en réponse au thème « Théâtre et the caves of “ancient ancestors” to “modern apartments of glass and steel”, and Stratification », qui nous ont permis d’élaborer un programme aussi riche que play a dark “mythical underworld” against a “visceral overworld of light”. Other nuancé. Les communications de cette année nous inciteront à explorer diverses performances later during the week – works like Natasha Davis’ Internal Terrains formes théâtrales de stratification tout en nous invitant à considérer avec – ask us to see stratification as a profoundly rich metaphor for a performative méfiance la stratification en tant que concept et phénomène socio-politique. exploration of body, memory and identity. Such performances are provocative C’est sans équivoque que le sujet du colloque a fourni le cadre conceptuel de on their own, but placed against the backdrop of the larger scholarly debates cette rencontre qui promet de susciter des échanges pointus, non seulement about theatre and stratification that will emerge from the conference panels, sur l’histoire du théâtre, mais aussi sur la place de ce dernier au sein de plus works like Imagineer’s Godiva Awakes, Motionhouse’s Broken or Natasha Davis’ larges courants historiques, comme sur la signification qu’il revêt dans des lieux Internal Terrains gain an additional layer of resonance. Complementing each spécifiques à travers la planète. L’endroit où se tient le colloque de cette année other, the scholarly papers and theatrical productions will make for what we est mitoyen d’un des sites historiquement les plus évocateurs dans l’histoire du believe will be a memorable and meaningful conference. théâtre occidental. As is the case with any conference, this year’s FIRT-IFTR Congress would Située en Angleterre dans les Midlands, l’Université de Warwick est implantée not be possible without the efforts of the many people who have lent us dans une région qui se revendique comme le « pays de Shakespeare ». Elle est à their support and who have been working quietly behind the scenes. Part of une encablure de Coventry et de Stratford-on-Avon, ville natale de Shakespeare resisting stratification involves making the invisible visible, and so we want to et résidence de la Royal Shakespeare Company. Au court du bref trajet qui mène acknowledge those whose work and support have been vital but may not be d’ici à là, on peut voir se déployer tout l’éventail des possibilités soulevées par easily seen. We want to thank the FIRT-IFTR Executive Committee for their l’orientation thématique qui nous occupera cette année. En effet, le Shakespeare support, and we especially want to thank Boris Daussà-Pastor for the advice que l’on découvre à Stratford est à la fois un barde et une marque : la source he gave us, based upon his experience as the organiser of last year’s FIRT-IFTR d’une riche tradition théâtrale et, pour certains, un symbole d’hégémonie conference in Barcelona.