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. Closer to home, we are grateful to those at all levels culturelle. En tant que berceau de la Royal Shakespeare Company, Stratford of the administration here at the University of Warwick for the assistance that offre des productions théâtrales reconnues à l’échelle internationale mais, en they have given us and that has been crucial to making this conference possible. même temps, a bâti une industrie touristique kitsch de dimension mondiale Here in Warwick’s School of Theatre, Performance and Cultural Policy Studies, qui capitalise sur la célébrité du dramaturge. De manière aussi profonde que we are deeply grateful to all of our colleagues for the generous time and energy problématique, Shakespeare est à la fois local et global, niché dans l’entrelacs that they have put into the planning and preparation of this conference, and de multiples registres, culturel, national, économique, esthétique et politique. we particularly want to thank our Head of School, Prof. Nadine Holdsworth, for En bref, il n’y a qu’un pas entre Stratford et la stratification! the enthusiastic support that she has given us from beginning to end. We also want to thank the undergraduate and graduate volunteers who have joined us Dans le contexte plus large de la recherche théâtrale, la question portant sur during the conference itself. But our deepest gratitude goes to David Coates, la façon dont nous, historiens du théâtre, négocions les niveaux historique et Sarah Penny and Fiona Joseph, the conference administrators who have politique de la culture théâtrale et son aspect marchand dans un lieu tel que managed the day-to-day affairs of the conference organising and have done Stratford est un exemple parmi d’autres des sujets qui seront explorés par les so with a seemingly inexhaustible level of energy, excitement and enthusiasm. chercheurs durant ces journées, ici à Warwick. Ces explorations couvriront The conference that we will enjoy is in large part the consequence of their hard un vaste champ, revisitant le théâtre byzantin ou repensant de façon radicale work. la terreur et la représentation scénique dans un monde contemporain profondément divisé. Elles nous amèneront à sonder les multiples couches It is our sincere hope that you will find the 2014 FIRT-IFTR Congress to be historiques et politiques du Théâtre national du Sénégal, à interroger les priorités a profoundly rewarding and enjoyable experience. Again, we offer you our de l’Union européenne en matière de financement du théâtre et à conceptualiser warmest welcome, la « réalité du rang le plus bas » dans les entreprises artistiques expérimentales comme celles de Tadeusz Kantor. On explorera aussi les hiérarchies linguistiques The Conference Organisers, dans le théâtre argentin, on analysera les couches esthétiques du Kabuki, on se penchera sur les stratifications archéologiques des salles de spectacle et on Jim Davis, James Harding, and Tim White postulera que le théâtre lui-même est « une pulsion de l’esprit stratifié ». Seront soulevées les questions de stratification à travers les paradigmes du corps, de l’espace et du son, mais aussi à travers les politiques du genre, de la race et de la classe, ainsi qu’à la lumière d’exemples tirés de la dramaturgie, de la chorégraphie, de la formation de l’acteur, de la scénographie et de la mise en scène. Embrassant les siècles, les cultures et les formes théâtrales, les travaux de recherches présentés à l’occasion du colloque de cette année sont parmi

006 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 007 les meilleurs menés dans notre discipline et nous sommes honorés manifestation scientifique et l’ont fait avec une dose d’énergie, d’ardeur et d’accueillir, ici à Warwick, les échanges animés auxquels ils donneront d’enthousiasme apparemment inépuisable. Le colloque auquel nous aurons le lieu durant ce Congrès historique de la FIRT. plaisir d’assister est largement redevable à leur travail et à leurs efforts.

La plupart de ces débats se dérouleront sous la forme de tables Nous espérons sincèrement que le congrès 2014 de la FIRT-IFTR sera pour vous rondes et d’ateliers. Mais ils trouveront aussi leur place au sein des une expérience profondément enrichissante et agréable. Nous vous souhaitons diverses performances théâtrales qui ponctueront le colloque. Celui- à nouveau la bienvenue. ci s’ouvrira d’ailleurs avec des spectacles profondément ancrés dans des images de stratification. La troupe « Imagineer Productions » Les organisateurs du colloque basée à Coventry marquera le coup d’envoi de notre manifestation avec une procession menée par leur marionnette géante de 10 Jim Davis, James Harding et Tim White mètres de haut à l’effigie de Lady Godiva qui, selon la légende, traversa Coventry sur son cheval, afin d’exprimer symboliquement son désaccord avec les conditions économiques difficiles que son mari faisait peser sur la population locale en la taxant lourdement. Si cette légende touche à des questions de stratification sociale, le travail mené par la compagnie « Imagineer Productions » s’adresse, depuis la rue, aux hiérarchies qui ont historiquement défini les espaces traditionnels du théâtre. Cette ouverture spectaculaire sera suivie, le même soir, par une production de « Motionhouse », Broken, qui prend littéralement sa source dans les images archéologiques allant des cavernes de nos « lointains ancêtres » aux « appartements modernes de verre et d’acier » dans une confrontation entre un « monde souterrain mythique » dominé par les ténèbres et un « monde extérieur instinctif et lumineux ». Tout au long de la semaine, d’autres représentations – telles que Internal Terrains de Natasha Davis – nous inviteront à considérer la stratification comme une métaphore d’une immense richesse pour l’exploration performative du corps, de la mémoire et de l’identité. Des spectacles de ce genre donnent en soi matière à réfléchir mais, avec pour toile de fond les nombreux débats intellectuels sur le théâtre et la stratification que susciteront les tables rondes, des œuvres comme Godiva Awakes d’Imagineer, Broken par Motionhouse ou Internal Terrains de Natasha Davis, gagneront une – couche de – résonnance supplémentaire. Se répondant les unes les autres, les communications savantes et les productions théâtrales contribueront, nous en sommes sûrs, à rendre ce colloque mémorable et constructif.

Comme c’est le cas pour n’importe quel colloque, celui-ci n’aurait pu être possible sans l’engagement des nombreuses personnes qui nous apporté leur aide et qui ont œuvré discrètement en coulisses. Une manière de résister à la stratification consiste à rendre visible l’invisible. Aussi tenons-nous à reconnaître notre dette envers ceux et celles dont le travail et le soutien ont été vitaux, bien que difficilement perceptibles de l’extérieur. Nos remerciements vont au comité exécutif de la FIRT-IFTR pour son concours et nous remercions tout particulièrement Boris Daussà-Pastor pour ses conseils avisés, nourris de son expérience en tant qu’organisateur du colloque de la FIRT l’année dernière à Barcelone. Plus près de nous, nous sommes reconnaissants à ceux qui, à tous les niveaux administratifs de l’Université de Warwick, nous ont apporté une aide cruciale pour l’organisation du colloque. Ici, à l’Ecole d’études du théâtre, du spectacle et de la politique culturelle de Warwick, nous remercions très sincèrement tous nos collègues pour le temps et l’énergie qu’ils ont dépensés sans compter pour la planification et le préparation de cette rencontre, et nous souhaiterions adresser une mention spéciale à la professeure Nadine Holdsworth pour son soutien enthousiaste du début à la fin. Nous tenons aussi à remercier les étudiants bénévoles qui nous ont assistés pendant la tenue du colloque lui-même. Mais notre plus profonde gratitude va à David Coates, Sara Penny et Fiona Joseph, les administrateurs du colloque, qui ont géré les affaires quotidiennes liées à l’organisation de cette

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28JULY JUILLET MONDAY LUNDI Opening Ceremony 2014

28JULY JUILLET 2014 To welcome all IFTR Delegates to the University of Warwick, the School of Theatre, Performance and Cultural Policy Studies have arranged a series of unmissable activities and events on Monday 28th July.

13:15 Piazza - Captive TUESDAY Motionhouse kick off the proceedings with Captive, a story of imprisonment MARDI brought to life in thrilling fashion by four dancers in a large cage. This breath- taking and highly energetic performance will be delivered at break neck speed 29JULY during the lunch break. JUILLET 2014

16:00 University Road – Godiva’s Odyssey Imagineer’s spectacular, towering Lady Godiva puppet will awake from her slumber on campus and will lead a procession of delegates and members of the local community along the main University Road to Warwick Arts Centre, where she will celebrate the opening of the IFTR World Congress.

17:00 Butterworth Hall – Opening Ceremony followed by Mike Pearson’s

Keynote Address WEDNESDAY During the formal Opening Ceremony in the Butterworth Hall the conference MERCREDI organisers will welcome delegates to the UK and to the University of Warwick. Delegates will hear the first keynote address delivered by Mike Pearson. After 30JULY the formal ceremony, Lady Godiva will say farewell to delegates and will hand JUILLET the proceedings back to Motionhouse. 2014

19:15 Main Theatre & Big Screen, Piazza - Broken Motionhouse will perform their internationally-acclaimed Broken on the main stage at Warwick Arts Centre. The performance will be beamed live into Coventry City Centre, Woolwich in London and into the outdoor Piazza on the University of Warwick campus, where University students, staff and the local community will again be invited to join the festivities.

Owing to the maximum capacity of the Main Theatre being 550, (free) tickets THURSDAY JEUDI will be distributed on a first-come, first-served basis from the Registration Desk in the Mead Gallery from 8am on Monday 28th July. As this event is being streamed live, we ask that ticket holders are seated by 7.10pm. Delegates who 31JULY JUILLET don’t get a ticket will be able to watch the live stream in the Piazza. 2014 20:30 Warwick Arts Centre – Welcome Reception Once the performance has finished, come back to the heart of the conference in the Warwick Arts Centre for our Welcome Reception, where there will be a choice of wines and a buffet for all to enjoy, rounding off what we hope to be a fantastic kickstart to the IFTR Conference week.

FRIDAY VENDREDI

The Opening Ceremony is sponsored by the Warwick Commission on the Future 01AUGUST AOÛT of Cultural Value. 2014

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28JULY JUILLET MONDAY LUNDI Keynotes 2014

28JULY JUILLET 2014 Faults, Folds and Unconformities: Dramaturgy as Stratigraphy, 17:00 - 18:45 and other such Metaphors Mike Pearson Aberystwyth University TUESDAY MARDI

Stratification is a foundational and fundamental tenet of geology. It was the 29JULY ability of pioneers such as James Hutton (1726-97) and Charles Lyell (1797-1875) JUILLET to distinguish and sequence strata, and their discernment of repeated cycles 2014 of deposition, uplift, erosion and deposition, that led to an appreciation of ‘deep time’. Their work advanced emergent notions of evolution and informed the nascent, cognate discipline of archaeology. And it provided metaphors of position and order subsequently applied in the social and political sciences.

This presentation proposes a return to the basic principles of stratigraphy in order to enhance an understanding and appreciation of structures of contemporary theatre, particularly devised forms not predicated on the progressive development of character and plot. It suggests ways in which WEDNESDAY geological processes – of horizontal sedimentation and superposition, of MERCREDI metamorphosis, intrusion and physical deformation through tilt and fracture – and their influence on surface morphology and ‘the lie of the land’ might provide 30JULY further metaphors in the conceptualisation, composition and description of JUILLET Butterworth Hall theatre. It discusses how the disciplinary perceptions and practices of geology 2014 Warwick Arts Centre and archaeology – of outcrop and fieldwork, of excavation and assemblage – might inform the scrutiny and analysis of such performance.

And it reflects on an insight of contemporary archaeology: that if our present actually constitutes a single, multi-temporal stratum within which fragments of the material and intangible past – from architectures to cultural traditions – are co-present, though differentially apparent, what are the implications for the nature, placement and interpretation of site-specific performance?

THURSDAY JEUDI

31JULY JUILLET 2014 Biography Mike Pearson studied archaeology at University College, Cardiff (1968–71). He was a member of R.A.T. Theatre (1972– 3) and an artistic director of Cardiff Laboratory Theatre (1973–80) and Brith Gof (1981–97). He continues to make performance as a solo artist and in collaboration with artist/designer Mike Brookes as Pearson/Brookes (1997– Present). In 2010, he directed a site-specific production of Aeschylus’s The Persians for National Theatre Wales (NTW) on the military training ranges in mid-Wales; and Coriolan/us with Brookes in 2012 for NTW, in collaboration with the Royal Shakespeare Company for the World Shakespeare Festival/London 2012. He is co-author with Michael Shanks of Theatre/Archaeology (2001) and author of In Comes I: Performance, Memory and Landscape (2006), Site-Specific Performance (2010), The FRIDAY Mickery Theater: An Imperfect Archaeology (2011) and Marking Time: Performance, Archaeology and the City (2013. He is VENDREDI Professor of Performance Studies and Leverhulme Research Fellow in the Department of Theatre, Film and Television Studies, Aberystwyth University. 01AUGUST AOÛT 2014

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28JULY JUILLET TUESDAY TUESDAY MARDI A Little Intra-Planetary Gazing from Somewhere Underneath: MARDI ‘What I Came to Say’: Raymond Williams and the Sociology of 2014 Theatre – Spivak – Stratification in the Age of the Postcolony Culture

29JULY 29JULY JUILLET Mark Fleishman JUILLET Janelle Reinelt 2014 University of Cape Town 2014 University of Warwick 08:30 - 10:30 08:30 - 10:30 Gayatri Spivak has described herself as an ‘eclectic person’, a bricoleur In his obituary for Raymond Williams in 1988, Stuart Hall wrote: ‘I never had the using ‘what comes to hand’. In her translator’s preference to Derrida’s Of privilege of being taught by him, but he was the most formative intellectual Grammatology, referring to the origins of bricolage in the work of Claude Levi- influence on my life. I often had the uncanny feeling that we had stumbled TUESDAY Strauss, she suggests that ‘the bricoleur makes do with things that were meant unawares on to the same line of thinking — only he had given it, already, so lucid MARDI perhaps for other ends’. In this spirit of bricolage I propose, loosely, to use three and compelling a formulation. However, it is through his work and writing that terms that at various times have been associated with Spivak and her critical- he influenced several generations across the world, and it is by this that future 29JULY reading practice: the post-colonial, the subaltern, and the planetary, in order to generations will measure him’. When Stuart Hall died in February 2014, I began JUILLET speak to the discipline of theatre studies now from two (questionably) subaltern to think of the loss of ‘several generations’ as time passes, and the inevitable 2014 positions: Africa and Practice, that might ultimately not be able to speak at all. way we lose important parts of the past in the unyielding flow into the future. (‘Time keeps on slippin’, slippin’, slippin’, into the future’). Prompted by the conference theme, Theatre and Stratification – of course an act of translation, of bricolage; the use of geological metaphors to explain While stratification has many meanings, elegantly teased out in the call for other kinds of structures – I will discuss the relationship between strata and papers for the Warwick World Congress, I want to speak about historical ‘self-consistent aggregates’ (Deleuze and Guattari) or ‘meshworks’ (De Landa) and social stratification through remembering the extraordinary oeuvre of as concept metaphors for the spatio-temporal structures of our disciplinary Raymond Williams and recalling some of the values Williams embodied for practice in the age of the postcolony. To suggest that theatre is stratified begs theatre and performance studies. Williams spent his career in Cambridge’s the question as to how the various strata articulate (or don’t); the possibilities English Department as Professor of Drama, but of course he is best known for for translation (for being carried across) from one level to another. At the same WEDNESDAY his massive contributions to the sociology of culture and as a founding figure MERCREDI time I wish to keep in mind the difficulty of such translations, what slips through of Cultural Studies. His work spanned politics, media, drama, sociology, and of the cracks, what is left behind, what refuses to be included. course, literature. He wrote poetry and fiction alongside his theory; one of his Butterworth Hall 30JULY most important books, The Country and the City (1973), layers literary criticism JUILLET Butterworth Hall To invoke the age of the postcolony is not to suggest an after that has broken Warwick Arts Centre with social history to create a rich exploration of the lived experiences of 2014 Warwick Arts Centre from a before but to identify the persistence of empire today in a world and a ‘knowable communities’, charting their ‘structures of feeling’. He was also one discipline that is not so much global as it is planetary; not marked by a lessening of the first scholars to take television seriously as worthy of study, and to write of distance and difference for a few but by an increase in distance and difference seriously about it. for most. From the many possible topics to be drawn from his work with relevance for our I will ground the discussion by reflecting on two (‘marginal’) works created conference theme, I wish to focus on three in relation to our field: identity and by my company, Magnet Theatre: my own production of Rain in a Dead Man’s its stratifications; the false but abiding divide between elite, popular, and mass Footprints (2004) and more recently, Mandla Mbothwe’s Inxeba Lompilisi cultures, and the methodological entailments of his thinking for the sociology -Wound of a Healer (2010). In particular I will focus on the layered and entangled of theatre and performance. What I Came to Say (1988) was the title of his last temporalities and displacements inherent in their location (Africa) and their book, and is also applicable to my keynote in that I intend it to reflect my own THURSDAY JEUDI poetics (oral) that, in the words of Achille Mbembe, ‘overlay one another, wish in this keynote to ‘have my say’. interpenetrate one another, and envelop one another’. Also the challenge of/ Biography to translation that the works encourage in the face of the absolute other or of 31JULY radical difference; translation not as the erasure or appropriation of otherness Janelle Reinelt completed her doctorate in drama at Stanford University in 1974. Before moving to England in 2006, she JUILLET but as a radical engagement with otherness, its refusals, and its impossibilities was Associate Dean for Graduate Studies, the Arts, and Professor of Drama at the University of California, Irvine. Reinelt 2014 and the consequences thereof for a discipline defined by the encounter. The was President of the International Federation for Theatre Research (2004-2007), and Vice President and Executive need to make an effort! Committee member since 1990. She has also been Vice President for Publications for the Association of Theatre and Biography Higher Education, and a former editor of Theatre Journal.

Mark Fleishman is Professor in the Department of Drama at the University of Cape Town and artistic director of Magnet Her recent books include Politics and Performance: Collected Essays (Politika Iizvođačke Umetnosti: Zbirka eseja, in Theatre, an independent theatre company established in 1987 in Johannesburg and based in Cape Town since 1994. He has Serbian 2012), The Political Theatre of David Edgar: Negotiation and Retrieval with Gerald Hewitt (2011); Critical Theory created and directed many performance works for the company that have been performed nationally and internationally and Performance, 2nd ed. with Joseph Roach (2007), Public Performances: Essays on the Theatre of Our Time (Javno over the past 26 years and is involved in development projects in urban townships and rural communities using theatre as Uprizarjanje Eseji o gledališču našega časa, in Slovenian, 2006). Over her career, she has published ten books and over a tool for social justice and transformation. 100 articles and chapters. Her latest collection, The Grammar of Politics and Performance, ed. with Shirin Rai, will be published later this year. FRIDAY VENDREDI His articles have appeared in the South African Theatre Journal, Contemporary Theatre Review and Theatre Research International as well as in numerous edited collections, most recently in Anthony Jackson and Jenny Kidd (eds.) Performing In addition, she has been Series Editor with Brian Singleton of Studies in International Performance for Palgrave Macmillan, Heritage (Manchester University Press – 2011) and Nicolas Whybrow (ed.) Performing Cities (Palgrave Macmillan – which in 2012 was given the ‘Excellence in Editing Award’ by the Association for Theatre in Higher Education. In November 01AUGUST AOÛT forthcoming). He is editor of Performing Migrancy and Mobility in Africa: Cape of Flows in the Studies in International 2010, she was given the ‘Distinguished Scholar Award’ for lifetime achievement from the American Society for Theatre Performance series at Palgrave (forthcoming). He was a visiting scholar on the MAIPR programme at Warwick between Research. In May 2014 she was be awarded an honorary doctorate from the University of Helsinki. 2014 2009 and 2012, and is an active member of the Performance as Research Working Group of the IFTR and was co- convenor from 2009-2013. On 31 July 2014, Professor Reinelt will retire from her professorship at the University of Warwick.

014 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 015 MONDAY LUNDI

28JULY JUILLET THURSDAY THURSDAY JEUDI Performing Protests: Spaces of Stratified Resistance JEUDI Inside the Humanities / The Humanities Inside 2014 Bishnupriya Dutt David Schalkwyk 31JULY 31JULY JUILLET School of Arts and Aesthetics, Jawaharlal Nehru University JUILLET Academic Director of Global Shakespeares 2014 2014 The first anniversary of the traumatic rape incident, which shook the nation This paper addresses the current “crisis” in the humanities via the assumed place 08:30 - 10:30 (India) and had international reverberations, was commemorated (16 Dec 2013) 08:30 - 10:30 of Shakespeare at the centre of the humanities—indeed, in the eyes of some, as with wide-scale performances. It seemed that through performances around the incarnation of humanity itself—and the role of Shakespeare within current the city, following the trail of the bus which had contoured the city while the university English departments in the English-speaking world. In a world brutal crime was committed, the memory of it could be replaced by a positive in which the humanities is increasingly under pressure for being redundant, TUESDAY wave of change and interventions. Performances and performance art created marginal, optional or simply unaffordable (that is to say, at the bottom of the MARDI as an aftermath of the rape and the public outrage premiered throughout the stratification effected by criteria of economic instrumentality), Shakespeare year, and now joined the three-day commemoration, some in new versions occupies a paradoxical place: at once celebrated as the greatest of human 29JULY (Maya Rao’s walk), and some altogether new performances as well. achievements, but also effecting a debilitating stratification by which all other JUILLET forms of dramatic art are considered inferior. I explore the curious position of 2014 Amongst the new performances was Nirbhaya created out of a workshop and Shakespeare as being pre-eminently “inside the humanities” by looking at the directed by a South African director, which premiered at Edinburgh, winning “humanities inside”—that is to say, at the status of what we call the humanities awards and accolades, and travelled to India around the same time. inside the prisons of Apartheid South Africa. It is evident from the memoirs of South African political prisoners placed under conditions of extreme deprivation The performances varied widely in their response to a number of key issues that what we classify as the humanities—music, art, theatre, and literature in the such as violence, protection and surveillance, the neo-liberal state and its need broadest sense—were discovered to be absolutely crucial: “more important”, to exhibit ‘free’ choice in terms of sexuality and around the sudden decision by as one prisoner put it, “than our food”. Shakespeare played a part in this the Indian supreme court to strike down the de-criminalisation of same sex preservation of humanities through art and creativity, but he had no dominant relationships (on the eve of the anniversary). role. From an argument which puts the denigration of the humanities in its place WEDNESDAY by revealing how absolutely critical the humanities are to people in conditions MERCREDI Although seen in a positive light, the stratifications within the performances like the prison, I move to a critical consideration of Shakespeare’s position in were evident, raising the question as to whether we see them as an inclusive the academy by arguing that part of the marginalisation of the humanities may civil space, where activism and the political, even in a limited capacity, carves 30JULY be attributed to the ways in which Shakespeare has come to be taught in the JUILLET Butterworth Hall a space for itself (Reinelt) or creating a growing division between the civil and Butterworth Hall English-speaking academy. Using Alain Badiou’s distinction between the “little” 2014 Warwick Arts Centre political space (Chatterjee). Warwick Arts Centre style and the “grand” style in the relation between philosophy and mathematics I argue for the adoption of a “grand” style with regard to Shakespeare. This would I see this as an important moment which combines historical and contemporary involve breaking the hegemonic hold of historicism on literary scholarship anomalies initiating debates around the colonial and nationalist discourses, the and an opening out to the performative boundlessness of what is now, so representation of women, civil codes and laws granting privileged immunity to problematically, called “global Shakespeare”. the male citizen as well as the contradictions of a post globalised world and neo-liberal policies of the Indian state. The rising political power of the Hindu fundamentalists in the name of nurturing industrial growth gets interwoven with these issues. The anomaly reflects the condition of a number of post colonial

nations, going through a period of transition, and a dramaturgy of potential THURSDAY activism. JEUDI

Biography 31JULY Biography JUILLET Bishnupriya Dutt is Professor of Theatre and Performance studies, in the School of Arts and Aesthetics, Jawaharlal Nehru 2014 University, Delhi, India. She played an important role in setting up the first department of its kind in India to study the arts. David Schalkwyk is currently Academic Director of Global Shakespeares, a joint venture between Queen Mary, University Her area of research includes colonial and post colonial histories of theatre, feminist readings of Indian Theatre and of London and the University of Warwick. He was formerly Director of Research at the Folger Shakespeare Library in contemporary performative practices and popular culture. She has also been an actress and director in the theatre in Washington D.C. and editor of Shakespeare Quarterly. Before that he was Professor of English at the University of Cape India. Town, where he held the positions of Head of Department and Deputy Dean in the faculty of the Humanities. His books include Speech and Performance in Shakespeare’s Sonnets and Plays (Cambridge, 2002), Literature and the Touch of the Real Her publications include Engendering Performance, Indian Woman Performers in Search of an Identity, (Sage, Delhi, 2010), (Delaware, 2004), and Shakespeare, Love and Service (Cambridge, 2008). His most recent book is Hamlet’s Dreams: The Actress Stories : Binodini and Amal Allana, (in Aston and Case, eds., Palgrave Macmillan, 2007), Historicizing Actress Robben Island Shakespeare, published in 2013 by the Arden Shakespeare. He is currently working on a monograph on love Stories : English Actresses in India (1839-42), (Singh, Oxford University Press, 2009), Jatra and the Marginalization of the in Shakespeare. Mythological theme, (in Chaturvedi, ed. Rawat, 2008), In Dialogue with Histories : The Dancer and the Actress, (in Sarkar FRIDAY VENDREDI and Burridge, eds., Routledge 2011), Theatre and Subaltern Histories, Chekhov Adaptations in Post Colonial India (in Clayton and Meerson, eds., Routledge, London, 2012), ‘Unsafe spaces of Theatre and Feminism in India; Identity Politics Forum’, Theatre Research International, (Issue 37.1, March, 2012). 01AUGUST AOÛT She along with her colleagues from Jawaharlal Nehru University have an ongoing research collaboration (UGC and 2014 UKIERI sponsored) with the School of Theatre and Performance Studies, University of Warwick on ‘gendered citizenship; manifestations and performance’.

016 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 017 REFER TO [VARIOUS, [VARIOUS, OPEN MIC 11 PROGRAMME] OPEN MIC 12 PROGRAMME] OPEN MIC 10 PROGRAMME] [VARIOUS, REFER TO [VARIOUS, [VARIOUS, REFER TO [VARIOUS, BREAK Friday 1st August CONFERENCE DAY 5 CONFERENCE [MR10, SCARMAN] [MR10, Conference Farewell CONFERENCE DAY 5 CONFERENCE Friday 1st August [MEAD GALLERY, WAC] [MEAD GALLERY, [BUTTERWORTH HALL] [BUTTERWORTH CLOSING CEREMONY CLOSING Presentation for IFTR 2015 Presentation GENERAL ASSEMBLY GENERAL NEW SCHOLARS' CAUCUS [BUTTERWORTH HALL, WAC] [BUTTERWORTH HALL, TEA/COFFEE TEA/COFFEE REGISTRATION OPENS at 0800 and closes 1800 LUNCH GP8.5 [MR5, SCARMAN] [MR5, GP8.5 GP8.6 [MR7, SCARMAN] [MR7, GP8.6 GP8.7 [MR8, SCARMAN] [MR8, GP8.7 GP8.8 [MR6, SCARMAN] [MR6, GP8.8 GP8.1 [LECTURE THEATRE, SCARMAN] [LECTURE THEATRE, GP8.1 GP8.9 [MR9, SCARMAN] [MR9, GP8.9 GP8.10 [MR10, SCARMAN] [MR10, GP8.10 Working Groups Session 6 Session Groups Working [MR1, SCARMAN] & Performance African & Caribbean Theatre MEETING] Arabic [NO Theatre ROOM, SCARMAN] DINING Asian Theatre [PRIVATE MILLBURN] Choreography [G53, & Corporeality MEETING] Digital Humanities [NO SCARMAN] Feminist [MR4, Research SCARMAN] [COURTYARD RESTAURANT, Historiography Intermediality SCARMAN] [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, & Consciousness Performance MILLBURN] & Disability [G55, Performance MILLBURN] [G52, & Religion Performance [HUMANITIES STUDIO] as Research Performance SCARMAN] Performance in [MR11, Public Spaces SCARMAN] [MR8, Performances Political SCARMAN] Popular [MR9, Entertainments SCARMAN] du [MR12, Processus Création MEETING] [NO Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' SCARMAN] Scenography [LECTURE THEATRE, MEETING] Theatre Architecture [NO SCARMAN] [MR5, Theatrical Event SCARMAN] [MR2, Translation, Adaptation & Dramaturgy 8 Panel General GP8.2 [MR2, SCARMAN] [MR2, GP8.2 GP8.4 [MR4, SCARMAN] [MR4, GP8.4 GP7.1 [MR2, SCARMAN] [MR2, GP7.1 GP7.8 [MR7, SCARMAN] [MR7, GP7.8 GP7.2 [MR5, SCARMAN] [MR5, GP7.2 GP7.9 [MR8, SCARMAN] [MR8, GP7.9 SCARMAN] [MR10, GP7.11 SCARMAN] ROOM, DINING [PRIVATE GP7.12 GP7.3 [MR1, SCARMAN] [MR1, GP7.3 General Panel 7 Panel General GP7.10 [WOODS SCAWEN ROOM, WAC] [WOODS SCAWEN GP7.10 GP7.4 [MR6, SCARMAN] [MR6, GP7.4 GP7.5 [MR3, SCARMAN] [MR3, GP7.5 GP7.6 [MR4, SCARMAN] [MR4, GP7.6 SCARMAN] [MR11, GP7.13 GP7.7 [LECTURE THEATRE, SCARMAN] [LECTURE THEATRE, GP7.7 [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & OPEN MIC 7 OPEN MIC 8 OPEN MIC 9 PROGRAMME] PROGRAMME] PROGRAMME] [VARIOUS, REFER TO [VARIOUS, REFER TO [VARIOUS, [VARIOUS, REFER TO [VARIOUS, [in brief] [in followed by Thursday 31st July CONFERENCE DAY 4 CONFERENCE CONFERENCE DAY 4 CONFERENCE Thursday 31st July [MEAD GALLERY, WAC] [MEAD GALLERY, [BUTTERWORTH WAC] HALL, 2000 -­‐ Coaches leave for Farewell Party KEYNOTE 5 -­‐ DAVID SCHALKWYK 5 -­‐ DAVID KEYNOTE KEYNOTE 4 -­‐ BISHNUPRIYA DUTT -­‐ 4 KEYNOTE LUNCH 1830 -­‐ Coaches leave for Farewell Dinner TEA/COFFEE TEA/COFFEE REGISTRATION OPENS at 0800 and closes 1800 OPENS REGISTRATION See SOCIAL PROGRAMME FOR EVENING TIMETABLE See SOCIAL PROGRAMME FOR EVENING GP5.1 [WOODS SCAWEN ROOM, WAC] GP5.1 [WOODS SCAWEN SCARMAN] GP5.2 [MR5, SCARMAN] GP5.16 [MR4, GP5.3 [MR9, SCARMAN] GP5.3 [MR9, GP5.4 [MR2, SCARMAN] GP5.4 [MR2, ROOM, SCARMAN] DINING GP5.12 [PRIVATE General Panel 5 Panel General GP5.5 [MR10, SCARMAN] GP5.5 [MR10, SCARMAN] GP5.6 [MR7, MILLBURN] GP5.11 [G55, GP5.7 [MR6, SCARMAN] GP5.7 [MR6, MILLBURN] GP5.10 [G53, GP5.8 [MR11, SCARMAN] GP5.8 [MR11, MILLBURN] GP5.9 [G56, GP5.13 [MR1, SCARMAN] GP5.13 [MR1, SCARMAN] GP5.14 [MR8, SCARMAN] GP5.15 [LECTURE THEATRE, GP6.4 [G56, MILLBURN] GP6.4 [G56, SCARMAN] GP6.7 [MR2, GP6.8 [MR3, SCARMAN] GP6.8 [MR3, GP6.9 [MR7, SCARMAN] GP6.9 [MR7, ROOM, WAC] GP6.15 [WOODS SCAWEN MILLBURN] GP6.16 [G55, GP6.10 [MR4, SCARMAN] GP6.10 [MR4, SCARMAN] GP6.11 [MR8, SCARMAN] GP6.12 [MR9, SCARMAN] GP6.13 [MR10, MILLBURN] GP6.14 [G53, GP6.1 [LECTURE THEATRE, SCARMAN] GP6.1 [LECTURE THEATRE, General Panel 6 Panel General 5 Session Working Groups [MR1, SCARMAN] African & Caribbean Performance Theatre SCARMAN] Arabic [MR3, Theatre ROOM, SCARMAN] DINING Asian Theatre [PRIVATE Choreography MILLBURN] & [G53, Corporeality MILLBURN] Digital Humanities [G50, SCARMAN] Feminist [MR4, Research SCARMAN] Historiography [COURTYARD RESTAURANT, SCARMAN] Intermediality [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, & Consciousness Performance MILLBURN] & Disability [G55, Performance MILLBURN] [G52, & Religion Performance [HUMANITIES STUDIO] as Research Performance SCARMAN] [MR11, in Public Spaces Performance SCARMAN] [MR8, Political Performances SCARMAN] Popular [MR9, Entertainments SCARMAN] [MR12, du Création Processus MILLBURN] [G57, Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' Scenography SCARMAN] [LECTURE THEATRE, MEETING] [NO Theatre Architecture SCARMAN] [MR5, Theatrical Event SCARMAN] Adaptation [MR2, Translation, & Dramaturgy GP6.5 [MR1, SCARMAN] GP6.5 [MR1, GP6.2 [MR11, SCARMAN] GP6.2 [MR11, SCARMAN] GP6.3 [MR5, SCARMAN] GP6.6 [MR6, [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & FOYER, WAC] and OPEN MIC 4 OPEN MIC 5 LIVE EVENTS OPEN MIC 6 PROGRAMME] PROGRAMME] PROGRAMME] [VARIOUS, REFER TO [VARIOUS, [VARIOUS, REFER TO [VARIOUS, [VARIOUS, REFER TO [VARIOUS, CONFERENCE DAY 3 CONFERENCE and RSC excusrsion CONFERENCE DAY 3 CONFERENCE [MEAD GALLERY, WAC] [MEAD GALLERY, Wednesday 30th July Wednesday 30th July LUNCH including live events at Warwick Arts Centre TEA/COFFEE TEA/COFFEE REGISTRATION OPENS at 0800 and closes at 1800 at 0800 OPENS REGISTRATION See SOCIAL PROGRAMME FOR EVENING TIMETABLE EVENING See SOCIAL PROGRAMME FOR GP3.7 [MR7, SCARMAN] GP3.7 [MR7, GP3.8 [MR6, SCARMAN] GP3.8 [MR6, GP3.9 [PRIVATE DINING ROOM, SCARMAN] ROOM, DINING GP3.9 [PRIVATE GP3.1 [MR2, SCARMAN] GP3.1 [MR2, GP3.2 [MR5, SCARMAN] GP3.2 [MR5, GP3.3 [WOODS SCAWEN ROOM, WAC] GP3.3 [WOODS SCAWEN SCARMAN] GP3.4 [MR11, SCARMAN] GP3.5 [MR9, Working Groups Session 4 Session Working Groups [MR1, SCARMAN] African & Caribbean Performance Theatre SCARMAN] Arabic [MR3, Theatre SCARMAN] ROOM, DINING Asian Theatre [PRIVATE Choreography MILLBURN] & [G53, Corporeality MILLBURN] Digital Humanities [G50, SCARMAN] Feminist [MR4, Research SCARMAN] Historiography [COURTYARD RESTAURANT, SCARMAN] Intermediality [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, & Consciousness Performance MILLBURN] & Disability [G55, Performance MILLBURN] [G52, & Religion Performance [HUMANITIES STUDIO] as Research Performance SCARMAN] [MR11, in Public Spaces Performance SCARMAN] [MR8, Political Performances SCARMAN] Popular [MR9, Entertainments SCARMAN] [MR12, du Création Processus MILLBURN] [G57, Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' Scenography SCARMAN] [LECTURE THEATRE, SCARMAN] Theatre Architecture [MR10, SCARMAN] [MR5, Theatrical Event SCARMAN] Adaptation [MR2, Translation, & Dramaturgy 3 Panel General GP3.6 [LECTURE THEATRE, SCARMAN] GP3.6 [LECTURE THEATRE, GP3.10 [MR3, SCARMAN] GP3.10 [MR3, SCARMAN] GP3.11 [MR4, SCARMAN] GP3.12 [MR8, SCARMAN] GP3.13 [MR10, SCARMAN] GP3.14 [MR12, SCARMAN] GP3.15 [MR1, GP4.6 [MR5, SCARMAN] GP4.6 [MR5, GP4.7 [MR1, SCARMAN] GP4.7 [MR1, NS2.15 [G57, MILLBURN] [G57, NS2.15 NS2.10 [MR8, SCARMAN] [MR8, NS2.10 GP4.8 [MR10, SCARMAN] GP4.8 [MR10, SCARMAN] GP4.9 [MR7, NS2.4 [MR2, SCARMAN] [MR2, NS2.4 GP4.10 [MR6, SCARMAN] GP4.10 [MR6, SCARMAN] GP4.11 [MR8, SCARMAN] GP4.12 [MR12, SCARMAN] GP4.13 [MR4, SCARMAN] ROOM, DINING GP4.14 [PRIVATE GP4.1 [LECTURE THEATRE, SCARMAN] GP4.1 [LECTURE THEATRE, NS2.11 [MR6, SCARMAN] [MR6, NS2.11 New Scholars' Forum 2 New Scholars' 4 Panel General NS2.5 [MR5, SCARMAN] [MR5, NS2.5 GP4.15 [MR11, SCARMAN] GP4.15 [MR11, ROOM, WAC] [NAT. GRID GP4.16 NS2.12 [MR10, SCARMAN] [MR10, NS2.12 NS2.1 [G55, MILLBURN] [G55, NS2.1 SCARMAN] [MR4, NS2.6 SCARMAN] [MR9, NS2.8 NS2.13 [G53, MILLBURN] [G53, NS2.13 NS2.2 [G56, MILLBURN] [G56, NS2.2 GP4.2 [WOODS SCAWEN ROOM, WAC] GP4.2 [WOODS SCAWEN SCARMAN] GP4.3 [MR3, NS2.14 [MR7, SCARMAN] [MR7, NS2.14 NS2.7 [LECTURE THEATRE, SCARMAN] [LECTURE THEATRE, NS2.7 SCARMAN] [MR3, NS2.9 GP4.4 [MR9, SCARMAN] GP4.4 [MR9, NS2.3 [MR1, SCARMAN] [MR1, NS2.3 GP4.5 [MR2, SCARMAN] GP4.5 [MR2, [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & FOYER, WAC] and REFER TO [VARIOUS, [VARIOUS, OPEN MIC 2 LIVE EVENTS PROGRAMME] OPEN MIC 1 PROGRAMME] OPEN MIC 3 PROGRAMME] [VARIOUS, REFER TO [VARIOUS, NEW [VARIOUS, REFER TO [VARIOUS, WELCOME SCHOLARS' SUITE, ROOTES] SUITE, [CHANCELLOR'S [CHANCELLOR'S followed by CONFERENCE DAY 2 CONFERENCE Tuesday 29th July Tuesday 29th July [G55, [MEAD GALLERY, WAC] [MEAD GALLERY, and RSC excusrsion CONFERENCE DAY 2 CONFERENCE GROUP MEETING WORKING MILLBURN] [BUTTERWORTH HALL, WAC] [BUTTERWORTH HALL, CONVENORS' KEYNOTE 3 -­‐ JANELLE REINELT 3 -­‐ JANELLE KEYNOTE KEYNOTE 2 -­‐ MARK FLEISHMAN KEYNOTE TEA/COFFEE including live events at Warwick Arts Centre REGISTRATION OPENS at 0800 and closes at 1800 REGISTRATION OPENS at 0800 TEA/COFFEE See SOCIAL PROGRAMME FOR EVENING TIMETABLE EVENING See SOCIAL PROGRAMME FOR LUNCH NS1.14 [G57, MILLBURN] [G57, NS1.14 NS1.7 [MR1, SCARMAN] [MR1, NS1.7 NS1.15 [MR4, SCARMAN] [MR4, NS1.15 NS1.3 [MR3, SCARMAN] [MR3, NS1.3 NS1.8 [G53, MILLBURN] [G53, NS1.8 NS1.11 [MR8, SCARMAN] [MR8, NS1.11 NS1.4 [MR6, SCARMAN] [MR6, NS1.4 New Scholars' Forum 1 NS1.9 [G56, MILLBURN] [G56, NS1.9 NS1.10 [LECTURE THEATRE, SCARMAN] [LECTURE THEATRE, NS1.10 SCARMAN] [MR9, NS1.12 NS1.5 [MR11, SCARMAN] [MR11, NS1.5 NS1.1 [MR10, SCARMAN] [MR10, NS1.1 NS1.13 [MR2, SCARMAN] [MR2, NS1.13 NS1.6 [MR5, SCARMAN] [MR5, NS1.6 NS1.2 [MR7, SCARMAN] [MR7, NS1.2 GP2.6 [MR10, SCARMAN] GP2.6 [MR10, SCARMAN] GP2.7 [MR5, GP2.8 [MR6, SCARMAN] GP2.8 [MR6, GP2.9 [MR1, SCARMAN] GP2.9 [MR1, GP2.10 [MR2, SCARMAN] GP2.10 [MR2, SCARMAN] GP2.11 [MR8, SCARMAN] GP2.12 [MR12, SCARMAN] GP2.13 [MR11, SCARMAN] GP2.14 [MR4, GP2.1 [LECTURE THEATRE, SCARMAN] GP2.1 [LECTURE THEATRE, General Panel 2 Panel General Working Groups Session 3 [MR1, SCARMAN] African & Caribbean Theatre Performance SCARMAN] [MR3, Arabic Theatre SCARMAN] ROOM, DINING Asian Theatre [PRIVATE MILLBURN] [G53, Choreography & Corporeality MILLBURN] [G50, Digital Humanities SCARMAN] [MR4, Feminist Research SCARMAN] Historiography [COURTYARD RESTAURANT, SCARMAN] Intermediality [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, Performance & Consciousness MILLBURN] [G55, Performance & Disability MILLBURN] [G52, Performance & Religion [HUMANITIES STUDIO] Performance as Research SCARMAN] [MR11, Performance in Public Spaces SCARMAN] [MR8, Political Performances SCARMAN] [MR9, Popular Entertainments SCARMAN] [MR12, Processus du Création MILLBURN] [G57, Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' SCARMAN] Scenography [LECTURE THEATRE, SCARMAN] Theatre Architecture [MR10, SCARMAN] [MR5, Theatrical Event SCARMAN] Adaptation [MR2, Translation, & Dramaturgy [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & GP2.2 [WOODS SCAWEN ROOM, WAC] GP2.2 [WOODS SCAWEN SCARMAN] GP2.3 [MR9, GP2.4 [MR7, SCARMAN] GP2.4 [MR7, GP2.5 [MR3, SCARMAN] GP2.5 [MR3, [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & [PIAZZA] CAPTIVE MOTIONHOUSE GODIVA'S ODYSSEY NEW [starting from Point G on the Conference Map] [MAIN THEATRE, WAC & PIAZZA] THEATRE, [MAIN SCHOLARS' WORKSHOP TEA/COFFEE [in brief] [in followed by CONFERENCE DAY 1 CONFERENCE [MEAD GALLERY, WAC] [MEAD GALLERY, MONDAY 28th July MONDAY MONDAY 28th July MONDAY 1830-­‐1915 -­‐ BREAK CONFERENCE DAY 1 CONFERENCE WELCOME RECEPTION/ BUFFET [WAC] WELCOME RECEPTION/ [WOODS SCAWEN ROOM, WAC] [WOODS SCAWEN [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & OPENING CEREMONY [BUTTERWORTH HALL, WAC] [BUTTERWORTH HALL, KEYNOTE 1 -­‐ MIKE PEARSON KEYNOTE REGISTRATION OPENS at 0800 and closes 1800 2045-­‐2300 -­‐ LUNCH See SOCIAL PROGRAMME FOR EVENING TIMETABLE EVENING See SOCIAL PROGRAMME FOR Working Groups Session 1 [MR1, SCARMAN] African & Caribbean Theatre Performance SCARMAN] [MR3, Arabic Theatre SCARMAN] ROOM, DINING Asian Theatre [PRIVATE MILLBURN] [G53, Choreography & Corporeality MEETING] [NO Digital Humanities SCARMAN] [MR4, Feminist Research SCARMAN] Historiography [COURTYARD RESTAURANT, SCARMAN] Intermediality [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, Performance & Consciousness MILLBURN] [G55, Performance & Disability MILLBURN] [G52, Performance & Religion [HUMANITIES STUDIO] Performance as Research SCARMAN] [MR11, Performance in Public Spaces SCARMAN] [MR8, Political Performances SCARMAN] [MR9, Popular Entertainments SCARMAN] [MR12, Processus du Création MILLBURN] [G57, Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' SCARMAN] Scenography [LECTURE THEATRE, SCARMAN] Theatre Architecture [MR10, SCARMAN] [MR5, Theatrical Event SCARMAN] [MR2, Adaptation & Dramaturgy Translation, Working Groups Session 2 [MR1, SCARMAN] African & Caribbean Theatre Performance SCARMAN] [MR3, Arabic Theatre SCARMAN] ROOM, DINING Asian Theatre [PRIVATE MILLBURN] [G53, Choreography & Corporeality MILLBURN] [G50, Digital Humanities SCARMAN] [MR4, Feminist Research SCARMAN] Historiography [COURTYARD RESTAURANT, SCARMAN] Intermediality [MR7, SCARMAN] [MR6, Music Theatre MILLBURN] [G56, Performance & Consciousness MILLBURN] [G55, Performance & Disability MILLBURN] [G52, Performance & Religion [HUMANITIES STUDIO] Performance as Research SCARMAN] [MR11, Performance in Public Spaces SCARMAN] [MR8, Political Performances SCARMAN] [MR9, Popular Entertainments SCARMAN] [MR12, Processus du Création MILLBURN] [G57, Queer Futures MILLBURN] RM, Samuel Beckett [WRITERS' SCARMAN] Scenography [LECTURE THEATRE, SCARMAN] Theatre Architecture [MR10, SCARMAN] [MR5, Theatrical Event SCARMAN] [MR2, Adaptation & Dramaturgy Translation, GP1.14 [LECTURE THEATRE, SCARMAN] GP1.14 [LECTURE THEATRE, GP1.1 [WOODS SCAWEN ROOM, WAC] GP1.1 [WOODS SCAWEN SCARMAN] GP1.2 [MR9, GP1.3 [MR1, SCARMAN] GP1.3 [MR1, GP1.4 [STUDIO THEATRE, WAC] GP1.4 [STUDIO THEATRE, General Panel 1 Panel General GP1.15 [MR7, SCARMAN] GP1.15 [MR7, GP1.5 [MR3, SCARMAN] GP1.5 [MR3, GP1.6 [MR5, SCARMAN] GP1.6 [MR5, GP1.7 [MR10, SCARMAN] GP1.7 [MR10, SCARMAN] GP1.8 [MR12, SCARMAN] GP1.9 [MR11, SCARMAN] GP1.10 [MR8, SCARMAN] GP1.11 [MR4, SCARMAN] GP1.12 [MR2, SCARMAN] GP1.13 [[MR6, BROKEN BROKEN 1915-­‐ MOTIONHOUSE TEA/COFFEE [MEAD GALLERY & FOYER, WAC] [MEAD GALLERY & 0800 0815 0830 0845 0900 0915 0930 0945 1000 1015 1030 1045 1100 1115 1130 1145 1200 1215 1230 1245 1300 1315 1330 1345 1400 1415 1430 1445 1500 1515 1530 1545 1600 1615 1630 1645 1700 1715 1730 1745 1800 1815 1830 1845 Conference Schedule at a at Glance Schedule Conference

018 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 019 MONDAY Working Groups LUNDI 28JULY JUILLET 2014 Session 1

MONDAY LUNDI African and Caribbean Theatre and Performance Meeting Room 1, Scarman House 08:30 - 10:30 28JULY JUILLET 2014 Christine Matzke University of Bayreuth TUESDAY 08:30 - 10:30 When the Hail Stops Falling on Zamfara: Arrested Justice in Sefi Atta’s The MARDI Sentence at the Theater Krefeld/Mönchengladbach

29JULY Christina McMahon University of California-Santa Barbara JUILLET The African Dilemma Tale in Performance: Cultural Conundrums, Feminist 2014 Staging, and Ama Ata Aidoo’s Anowa

Arabic Theatre Marvin Carlson and Hazem Azmy Meeting Room 3, Scarman House Welcome, Introduction of Participants and Opening Remarks 08:30 - 09:00 Administrative Matters and Review of the Arabic Theatre Working Group’s Past Meetings and Activities WEDNESDAY Emerging Voices in Arabo - Islamic MERCREDI Moderator Marvin Carlson Theatre Research: Afghanistan, Iraq, Morocco and Beyond 30JULY Hannah Neumann University of Cologne JUILLET 09:00 - 10:30 An Overview of Contemporary Afghan Theatre 2014 Farah Ali University of Hull “We Do Not Need Copied Solutions”: The Iraqi Political Landscape in Summer Showers

Jaouad Radouani Sidi Mohamed Ben Abdellah University Women and the Public Sphere in “Arab Spring” Morocco

THURSDAY Asian Theatre Wei Feng Trinity College Dublin JEUDI Private Dining Room, Scarman Stratifying The Good Person of Szechwan in Classical Chinese Theatre House 31JULY JUILLET 08:30 - 10:30 Renfang Tang University of Hull Sinicizing Shakespeare: Macbeth in Traditional Chinese Operas 2014

Choreography and Members of the Choreography and Corporeality working group circulate their Corporeality papers in the weeks leading up to the conference. Members then read the G53, Millburn House papers beforehand and come along ready to discuss each other’s work. The 08:30 - 10:30 discussion agenda is finalised at the first meeting of the working group: papers are linked together on the basis of shared problems, concerns or treatment. FRIDAY New members are always welcome and are free to come along to any of these VENDREDI discussions. We will endeavour to share the papers if you would like to join us.

01AUGUST Rosemary Candelario Texas Woman’s University AOÛT Choreography and Stratification: Cycling through Eiko & Koma’s Body of Work 2014

Eva Aymami-Rene University of Surrey Dancing: Empowering and Gendering in Contemporary Spain

020 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 021 MONDAY LUNDI

28JULY JUILLET 2014 Katja Schneider Ludwig Maximilian University of Munich Paulina Maria Caon Federal University of Uberlândia How to Stand Still? Choreographies of the Immobile Spatial Metaphors in the Analysis of Children’s Bodily Experiences in Early Childhood Rachel Sweeney Liverpool Hope University SandSkin | BloodWater: Tracing Topographies through Floodlands Rebecca Free Goucher College Embodying the Social: Examining Stratification and Audience in Participatory Ramsay Burt De Montfort University Works History, Memory and the Impossibility of Reconstructing Audiences

Aoife McGrath Queen’s University Belfast TUESDAY Aneta Stojnic Ghent University Bursting Bubbles: Dance, Space and Affect MARDI Cyborgs and Other Others 29JULY JUILLET Philipa Rothfield La Trobe University Digital Humanities in Theatre The Digital Humanities in Theatre Research Working Group will not meet during 2014 Stratification, Bodies, Forces Research Working Group Session 1

Gustavo Vicente University of Lisbon Bringing Ethics to the Surface: the AND_Lab project from RE.AL Feminist Research Bettina Brandl-Risi University of Erlangen Nuremberg Meeting Room 4, Scarman House Still Still Living (Olga Desmond) 08:30 - 09:00 Welcome

09:00 - 09:30 Kristof van Baarle Ghent University Elin Diamond Rutgers University WEDNESDAY The Neoliberal Body in Kris Verdonck’s UNTITLED: Performing the Mascot Preparing for Action: Affect, Activism and Feminist Performance in Neoliberal MERCREDI Times Prarthana Purkayastha Plymouth University 30JULY 09:30 - 10:00 JUILLET The Skin of Performance Candice Amich Carnegie Mellon University 2014 Regina José Galindo and the Re-Performance of Gendered Violence Annalisa Piccirillo University of Naples The Dancing Body-Installations of Nelisiwe Xaba 10:00 - 10:30 Marla Carlson University of Georgia Mapping Abramović, From Affect to Emotion Laura Karreman Ghent University Suspended/Attacked: Breathing Strategies as Performative Knowledge in the Dance Performance Rosas danst Rosas Historiography Courtyard Restaurant, Scarman House Amy Voris University of Chichester Chair Janne Risum THURSDAY Winding & Skirting Canonizing the Individual JEUDI 08:30 - 09:00 Laurence Senelick Tufts University Cláudia Tatinge Nascimento Wesleyan University Marble Bust and Feet of Clay: Stanislavsky’s Reputation 31JULY Dewey Dell: Dance, Dramaturgy, Sound and the Visual Arts JUILLET 09:00 - 09:30 Dassia Posner Northwestern University 2014 Lotta Harryson University of Stockholm American Expressionism in Moscow: Alexander Tairov’s Productions of The Melodramatic Dancing in Musical Theatre Hairy Ape and Machinal

Susanne Ravn University of Southern Denmark 09:30 - 10:00 Yael Zarhy-Levo Tel-Aviv University Imitation, Improvisation and Embodied Memory Rewriting Theatre Histories: Viewing 1950s’ British Theatre Six Decades Later

Vida Midgelow Middlesex University 10:00 - 10:30 Pirkko Koski University of Helsinki Expanding the Improvisatory Field Reaffirming the Canon: Chekhov Productions and a New Generation FRIDAY VENDREDI Vahri McKenzie Edith Cowan University Moving Knowledge: Using Memory and Music to Investigate Choreographic Intermediality in Theatre and 01AUGUST Processes Performance AOÛT Meeting Room 7, Scarman House 2014 Melina Scialom University of Roehampton 09:00 - 9:30 Introduction Genealogical Legacy in Dance through Memory and Forgetting

022 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 023 MONDAY LUNDI

28JULY Intermediality and Politics Chair Aneta Mancewicz JUILLET Bodies, Performance, and Disability Chair Mark Swetz 2014 09:30 - 10:10 Henriette Kassay-Schuster University of Melbourne in History Reclaiming the Neoliberal City: Ban-Optical Power and its Subversion in René 09:40 - 10:30 Laura Purcell Gates Bath Spa University Pollesch’s Valley of the Flying Knives (2008) ‘The History of this Monster’: Puppetry as an Intervention in Disability Stratification 10:10-10:30 Katia Arfara Onassis Cultural Center The Politics of Perception: Rethinking Intermediality in Lebanon’s Post-War Art Suzanne Cowan University of Auckland Scene Pharmakos and the Performance of Vulnerability

Discussion TUESDAY MARDI Performance and Religion Opening Words by the Conveners G52, Millburn House 08:30 - 10:30 29JULY Music Theatre Chair Pamela Karantonis Joshua Edelman The Royal Central School of Speech and Drama JUILLET Meeting Room 6, Scarman House Clerical Betrayal and Christian Affirmation 2014 08:30 - 10:30 Adrian Curtin University of Exeter “Rock the Ground”: Music and Sound in Filter Theatre’s A Midsummer Night’s Kim Skjoldager-Nielsen Stockholm University Trends in Music Theatre Scholarship Dream Redemption through Secular Reinvention: Staging a Community of Dissent in Contemporary Liturgical Drama Closed Session - Pre-circulated Marcus Tan Queen’s University Belfast Papers for Intense Discussion Performative Silence: Race, Riot and the End of Multiculturalism Performance as Research Co-convenors Annette Arlander, Jonathan Heron and Emma Meehan Humanities Studio, Humanities Brianna Wells University of Alberta Introductory Session Building Cherubino, Perverted: Revising, Re-Staging, and Adapting Le nozze di Figaro for the Contemporary Operatic Stage 08:30 - 10:30 WEDNESDAY MERCREDI

Performances in Public Welcome and Introduction 30JULY JUILLET Performance and Co - Chairs Daniel Meyer-Dinkgräfe and Peter Zazzali Spaces 2014 Consciousness Meeting Room 11, Scarman House Amira Joelson The City University of New York G56, Millburn House Deirdre McLaughlin Royal Central School of Speech & Drama 08:30 - 10:30 Burano and Manhattan: Cross Cultural Analysis of Public Spheres and Public 08:30 - 10:30 Déjà vu and the Looping Pedal: Constructing the Experience of Altered States Spaces, What can be Learned for the New Millennium? of Consciousness within Live Intermedial Performance Esther Belvis Pons Independent Scholar Caroline Heim Queensland University of Technology The Emerging Urban Fatigue Audience as Performers: Inverting Sight-Lines

Deborah Newton Leeds Metropolitan University Collapsing Binaries and Shifting Perspectives in Performance Theory and Praxis: Political Performances Welcome and Introduction THURSDAY A Stratigraphic Analysis and Metatheoretical Examination of the Performer- Meeting Room 8, Scarman House JEUDI Audience Relationship 08:30 - 10:30 Chair Paola Botham 31JULY JUILLET Maria Cristina Garcia City University of New York Theatre and Social Exclusion Jenny Hughes University of Manchester Backstage Laborers: The Invisible Cosmological Constant of the Theatre’s A Selected History of Theatre and its Poor 2014 Universe Lib Taylor University of Reading Buttershaw Revisited: Archaeologies of Class, Histories and Performances

Performance and Disability Mark Swetz and Yvonne Schmidt Julia Boll Zukunftskolleg G55, Millburn House Welcome & Introduction Regarding the Bare Life

Social Stratification: Performance, Chair Yvonne Schmidt Politics, Aesthetics Contemporary Political Theatre: Old FRIDAY 08:50 - 09:40 Colette Conroy University of Hull Chair Lloyd Peters VENDREDI Logics of Exclusion: Disability, Recognition and Applied Theatre and New Forms Rebecca Hillman University of Reading 01AUGUST Leon Hilton New York University Not Fossils, but Felicitous Forms: Challenging Stratifications of Political Theatre AOÛT Autistic Perception, Neurodiversity and Contemporary Performance: Towards 2014 an Unhuman Aesthetics Paola Botham Birmingham City University History as Resistance in Contemporary British Political Theatre

024 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 025 MONDAY LUNDI

28JULY Trish Reid Kingston University, London JUILLET Contemporary Theatre and Citizenship in Scotland: Referendum 2014 Scenography 2014 Lecture Theatre, Scarman House Chair David Vivian Clara Escoda-Agusti University of Barcelona 08:30 - 10:30 Ethics, Precariousness and the ‘Inclination’ Towards the Other in debbie tucker Siobhan O’Gorman Trinity College Dublin green’s Dirty Butterfly (2003), Laura Wade’s Posh (2010) and Martin Crimp’s In Digging The Past – Reappraising Scenographic Interactions: Dublin’s Pike Theatre and 1950s’ Ireland The Republic Of Happiness (2012) Scenographic Histories Liam Doona Independent Scholar Open and Empty - “The New Materialists” at the Royal Shakespeare Company Popular Entertainments 1962-1968 Meeting Room 9, Scarman House TUESDAY Věra Velemanová Department of Czech Theatre Studies, Arts and Theatre MARDI 08:30 -09:00 Victor Emeljanow Welcome and Introductions Institute Blending of Layers: Czech Scenography in Late “Normalization” (the 1980s) 29JULY 09:00 - 09:30 Veronica Kelly University of Queensland JUILLET Rocking the Town: Black Women Entertainers in Australia 1950s-1960s Amy Skinner University of Hull 2014 The Philosophy of Shadows; or How Meyerhold’s Theatrical Space Met the 09:30 - 10:00 Martina Lipton University of Warwick Challenges of Four Dimensions “Evergreen Jessie”: Jessie Matthews’ Tours to Australia 1952 and 1957 Lyndsey Bakewell Loughborough University Jonathan Bollen Flinders University Changing Scenes and Flying Machines: Stratification in Restoration Theatre 10:00 - 10:30 Australian Entertainers in Singapore in the 1950s and 1960s Theatre Architecture Meeting Room 10, Scarman House

Processus De Création. 08:30 - 10:30 Andrew Filmer and Juliet Rufford WEDNESDAY Chair MERCREDI La Génétique De La Josette Féral et Sophie Proust Introduction Représentation On Cross-Currents Between Theatre Klaus van den Berg University of Tennessee Meeting Room 12 , Scarman House Université Fédéral du Rio Grande do Sul and Architecture Walter Benjamin’s Parisian Arcades and Strindberg’s Architectonics of 30JULY Gilberto Icle JUILLET 08:30 - 10:30 L’anthropophagie comme poétique transculturelle, l’exemple de Mundéu, o Performance segredo da noite 2014 Processus de création et Sascha Roesler Future Cities Laboratory, Singapore and ETH, Centre John Golder University of New South Wales Department of Architecture, ETH, Zurich transculturalité Le chemin périlleux vers la scène au dix-huitième siècle: le cas du premier The Theatre of the Resettled. Hamlet français Maya Nanitchkova Öztürk Bilkent University, FADA Performative Paradigms in Design Education: Theatre as a Model for Thinking through Architectural Space Queer Futures Chair Fintan Walsh G57, Millburn House THURSDAY 08:30 - 10:30 Sarah Mullan Queen Mary University of London Theatrical Event JEUDI Queering Lesbian History: Duckie Goes To The Gateways (2013) Meeting Room 5, Scarman House Chair Anneli Saro Temporality and Historiography 08:30 - 10:30 31JULY Queen Mary, University of London Tel Aviv University and The Open University of Israel JUILLET Caoimhe Mader McGuinness Scandals as Theatrical Events 1 Naphtaly Shem-Tov Rehearsals for Un/Happiness: Time, Community and Hope in Rajni Shah’s Scandals on the Israeli Stage Dealing with the Israeli-Palestinian Conflict 2014 Glorious and Julia Bardsley’s Meta-Family Julie Hudson Warwick University History and Futurity Chair Cormac O’Brien Exploring Environmental Scandals as Staged Events: Do They Make the Case for an Environmental Diamond Model? Sascha Förster University of Cologne Queering the Scene: Imagination, Memory, and Future Translation, Adaptation and Welcome - Bernadette Cochrane and Stuart Young Stephen Farrier Royal Central School of Speech and Drama Dramaturgy Heritable Pasts or Passing Through Performance Meeting Room 2, Scarman House Chair Jozefina Komporaly FRIDAY 08:30 - 10:30 VENDREDI Alison Christy University of Kansas Transnational Dramaturgy: Nina Vance, Galina Volchek, and the Remounting Samuel Beckett 01AUGUST Writers’ Room, Millburn House of a Soviet Play in the United States AOÛT 08:30 - 09:30 Introduction 2014 Sarah Thomasson Queen Mary, University of London 09:45 - 10:30 Nicholas Johnson Trinity College Dublin Offstage Drama in the Festival City: Contested Space in Edinburgh 2013 Object and Event: The Performance of Samuel Beckett’s Prose

026 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 027 MONDAY Working Groups LUNDI 28JULY JUILLET Feminist Research 2014 Meeting Room 4, Scarman House Session 2 11:15 - 11:45 Ana Bernstein Federal University of the State of Rio de Janeiro Berna Reale: Performance and Affect MONDAY LUNDI African and Caribbean Theatre and Performance 11:45 - 12:15 Meeting Room 1, Scarman House Jung-Soon Shim Soongsil University 11:15 - 12:45 Voices of the ‘880 Thousand Won Generation’ 28JULY JUILLET 12:15 - 12:45 2014 Sola Adeyemi University of Greenwich Discussion Memory of War and Riddles for the Future of the Postcolonial State in Femi TUESDAY 11:15 - 12:45 Osofisan’s The Chattering and the Song. MARDI Historiography Courtyard Restaurant, Scarman Chair Magnus Thor Thorbergsson 29JULY JUILLET House Canonization and Repertoire 2014 11:15-11:45 Clare Foster Cambridge University Arabic Theatre Moderator Katherine Hennessey The Poetry of the List Meeting Room 3, Scarman House 11:45-12:15 11:15 - 12:45 Amal Mazhar Cairo University Jane Milling University of Exeter A Feminist Quest for Breaking the Taboo: The Case of Dalia Bassiouny’s The Arcadian Amateurs and Rural Workers: The Competing Theatrical Repertoires Negotiating Fluid Realities On Magic of Borlos of Rural Culture Contemporary (“Post- Uprisings”)

Arab Stages Anwaar Abdalla Helwan University 12:15-12:45 Jan Clarke Durham University WEDNESDAY A President of his Own Republic (2013): Revisiting Mikhail Ruman’s Smoke The Creation of a Canon: The Comédie-Française, 1680 to 1687 MERCREDI

Sebaie al Sayyed Arab Association for Theatre Critics 30JULY JUILLET Theatre Festivals in Arab Gulf States: Shifting Realities Intermediality in Theatre and Chair Ramona Mosse Performance 2014 Meeting Room 7, Scarman House Raquel Guerra Federal University of Santa Maria Asian Theatre Meewon Lee Korean National University of Arts 11:15 - 12:45 Body Meeting with Digital Media Private Dining Room, Scarman The Contribution of Translated English Western Drama to the Modernization of House Korean Theatre Intermedial Space and Body Christophe Collard Vreije University, Brussels 11:15 - 12:45 Intermediality / Firefall / Telepresence / Randomness: Stratification or Mitsuya Mori Seijo University Apophenia? Ibsen Reception in the 1910s and Early 1920s in Japan: The Complexity of the

Early History of Shingeki, the Modern Japanese Drama Pauline Brooks Liverpool John Moores University THURSDAY Visceral and Virtual: Multiple Layering of Perspectives and Connections in JEUDI Intermedial Telematic Dance Performances Choreography and 31JULY JUILLET Corporeality Paper distribution to be decided in the first Working Group meeting. For a list of 2014 G53, Millburn House speakers please see Working Group Session 1 Music Theatre Nick Till University of Sussex 11:15 - 12:45 Meeting Room 6, Scarman House Issues in the Historical Materialist Study of Opera 11:15 - 12:45 Dominic Symonds University of Lincoln Trends in Music Theatre Scholarship Boxing Clever: The Threat of the Triple Threat

Mayuko Fujiwara Waseda University Digital Humanities in Theatre Preliminary Presentation of Digital Humanities in Theatre Research Working Closed Session - Pre-circulated Papers for Intense Discussion The Dramatic Meaning of Musical Numbers of the Musical The Mystery of Edwin Research Group​ Sponsored Panel (for the list of speakers please see the entry for General Drood G50, Millburn House Panel 1.2 in Meeting Room 9, Scarman House). This panel has the additional FRIDAY 11:15 - 12:45 contribution of: VENDREDI

Patrick Lonergan National University of Ireland, Galway Performance and 01AUGUST Exploring the Impact of Digital Humanities on Theatre Historiography: The Consciousness Jorge Crecis Goldsmiths, University of London AOÛT Abbey Theatre Digital Archive G56, Millburn House Workshop: When Performance Goes Right 2014 11:15 - 12:45

028 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 029 MONDAY LUNDI

28JULY JUILLET Performance and Disability Chair Yvonne Schmidt 2014 G55, Millburn House Julia Goldstein City University of New York 11:15 - 12:45 Caroline Hodges Bournemouth University Transnational Process in Aftaab Theatre’s La Ronde de nuit Seldom Heard Voices: Using Performance Poetry as a Participatory Methodology Practice as Research – Chances and to Explore Young People’s Lived Experiences of Disability Popular Entertainments Challenges Meeting Room 9, Scarman House Mark Swetz Humboldt State University 11:15 - 11:45 Lucy Amsden University of Glasgow Differing Abilities, Inspiration, Ethics and Practice Based Research Playing with the Flop: Failure in Gaulier’s Clown Classroom Margaret Ames Aberystwyth University Victoria and Albert Museum Speaking the Unspeakable 11:45 - 12:15 Simon Sladen TUESDAY From Mother Goose to Master: Training Networks and Knowledge Transfers in MARDI Performance and Religion Contemporary British Pantomime G52, Millburn House 12:15 - 12:45 29JULY Eero Laine City University of New York JUILLET 11:15 - 11:45 Jenny Wong University of Glasgow Belief and Prejudice: Interrogating the Christian Dimension in The Merchant of Professional Wrestling and/as Theatre: Form and Finance 2014 Venice through the Lens of Chinese Directors 11:45 - 12:15 Processus De Création. Silvia Battista Royal Holloway, University of London La Génétique De La The Catholic Community and the Destruction of an Icon on Stage: On the Représentation Edith Cassiers University of Antwerp and University of Brussels Concept of the Face, Regarding the Son of God by Romeo Castellucci. Meeting Room 12, Scarman House The Intermedial Transposition of Director’s Notes into Performance Traian Penciuc University of Arts, Targu Mures 11:15 - 12:45 12:15 - 12:45 The Thin Line Between Ritual and Performance: Theatre, Eating and Bathing at Maude B. Lafrance Université du Québec à Montréal

Kumbh Mela Processus de création et Reading as a Form of Composition : l’interartialité comme processus de création WEDNESDAY intermédialité chez Heiner Goebbels MERCREDI

Performance as Research Joanna Bucknall University of Portsmouth 30JULY JUILLET Humanities Studio, Humanities The Daisy Chain Model: Epistemic Mapping as a Mode of Performative Queer Futures Chair Sarah Mullan 2014 Building Documentation and Dissemination of Practice as Research G57, Millburn House 11:15 - 12:45 11:15 - 12:45 Fintan Walsh Birkbeck University of London Emma Meehan Coventry University Curating Intimacy Dublin Contemporary Dance Theatre: Layers of Performance as Research in Intimacy and Authenticity Revisiting Dance Archives Lazlo Pearlman Royal Central School of Speech and Drama “Truth Traps” and “Dissemblage”: Queer/Trans Practice as Research and the Myer Taub University of Pretoria Creation of Strings Attached v1.0 Mapping the Remapping of the Catastrophe: Dramatic Encounters with the Map

and the Self in Order to Recover Meaning from Making Performance THURSDAY Samuel Beckett JEUDI Writers’ Room, Millburn House Anna Sigg McGill University Performances in Public Tom Maguire University of Ulster 11:15 - 12:45 The Sound of Embers as Object Voice 31JULY JUILLET Spaces Real Scars and Imaginary Healings: Staging Derry-Londonderry in the Year of Meeting Room 11, Scarman House Culture 2014 11:15 - 12:45 Scenography Chair Amy Skinner Susan Haedicke University of Warwick Lecture Theatre, Scarman House Aroma-Home: A Community Garden’s Palimpsest of Social Space 11:15 - 12:45 Nick Hunt Rose Bruford College Digging the Present: A (Partial) Archaeology of Contemporary Scenography Jadwiga Zimpel Adam Mickiewicz University in Poznan Digging the Present - Stratification Beyond the Written Word: Haptic Layer of Publicness and the Creative Process Harry Feiner City University of New York Analog and Digital: Reconciling New Presentation Methods with Traditional Chair Avraham Oz Techniques in Drawing Political Performances FRIDAY Meeting Room 8, Scarman House VENDREDI 11:15 - 12:45 Marco Galea University of Malta Neil O’Dwyer Trinity College Dublin Interactive Scenography: Stratification and the Dialectic of the Mathematisation Who Gets to Represent the Past and Why Should they Bother? Maltese Political 01AUGUST *Discussion from previous panel Theatre in the 1980s of Art AOÛT Theatre and Contested Histories 2014 Ming Chen Kennesaw State University Clare Finburgh University of Essex The Roles of Scenography in the Emerging Creative Process “Archeological Strata” and the Occupation of Palestinian Land: Stage Adaptations of Jean Genet’s Four Hours in Chatila

030 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 031 MONDAY General Panels LUNDI 28JULY JUILLET Theatre Architecture Co-Chairs Andrew Filmer and Juliet Rufford 2014 Meeting Room 10, Scarman House 11:15 - 12:45 Catherine Turner University of Exeter General Panel 1 ‘200 Warning Notices to Fix Up on this Common before Tea-Time’: Theatre, Mediation And Regulation in Letchworth Garden City MONDAY Staging the Garden City and the LUNDI Curated Panel - On The Global Stage. Kevin Finnan Shares his Private House Experience as Choreographer and Director of Movement for Stuart Andrews University of Surrey the London 2012 Paralympic Games 28JULY Come On In: Mediating the Lives of Others in Open House London. JUILLET GP 1.1 2014 Woods Scawen Room, Warwick Arts Centre Chair Nicolas Whybrow TUESDAY 14:15 – 15:45 MARDI Theatrical Event Kevin Finnan Artistic Director, Motionhouse Meeting Room 5, Scarman House Chair Willmar Sauter 29JULY JUILLET 11:15 - 12:45 Motionhouse’s Artistic Director Kevin Finnan talks about his once in a lifetime Janne Tapper University of Jyväskylä experience as Choreographer and Director of Movement for the Opening 2014 Scandal as a Socially Critical Strategy and Moral Act in Theatre? Ceremony of the London 2012 Paralympic Games. Kevin’s humorous insight Scandals as Theatrical Events 2 spans from a surprising telephone call on a dark December evening through the breakneck experience of 2012 during which he was already creating the large outdoor spectacle The Voyage. The resulting show brought 3,000 volunteers of all levels of ability together with Professor Stephen Hawking and Sir Ian McKellan Translation, Adaptation and and entertained a worldwide TV audience of more than 1 billion people. Dramaturgy Chair Stuart Young Meeting Room 2 , Scarman House Motionhouse is one of the UK’s foremost dance theatre companies known for its Jozefina Komporaly De Montfort University 11:15 - 12:45 startling and passionate dance theatre. In 2013 Motionhouse celebrated its 25th Layers of Translation: Text, Context, Performance WEDNESDAY anniversary with the creation of two new shows, a theatre production Broken MERCREDI and Captive for the outdoor festival market. Both of these shows will feature Adnan Çevik Canakkale Onsekiz Mart University as part of the IFTR Warwick World Congress. During this year Kevin Finnan was Retransferring The Cherry Orchard into its Own Cultural Area: Ferhan 30JULY also awarded an MBE for his services to dance and the work he created for the JUILLET Sensoy’s Fisne Pahçesu Paralympic Games Opening Ceremony. He also holds an Honourary Doctorate 2014 from the University of Warwick and a PhD from the School of Theatre and Harai Golomb Tel-Aviv University Performance Studies. Textual-Linguistic, Visual, Spatial (Vertical-Horizontal), and Cultural Strata in a ‘Fringe’ Adaptation-Production of Chekhov’s The Seagull Digital Humanities Working Chair Franklin J. Hildy Group Sponsored Panel GP 1.2 Jennifer Fewster AusStage, Flinders University, Adelaide, South Australia Meeting Room 9, Scarman House Who’s Who? Resolving Identities and Matching Records Across Data Sets in Theatre Research

THURSDAY Hugh Denard Trinity College Dublin JEUDI Locating and Performing Irish Theatre History 31JULY JUILLET Sarah Bay-Cheng The University at Buffalo Command Performances: Digital Historiography and Theatre 2014

Curated Panel: History, The panel aims to gather contributions which, at historical, thematic and Culture and Language. The linguistic levels, explore the facets of one of the most appreciated dialectal Multi-layered Theatre of playwrights of the twentieth century. Eduardo De Filippo (1900-1984) Eduardo De Filippo portrayed humanity through dialect. Based in the theatrical Italian tradition, since commedia dell’arte, Eduardo’s theatre evolved into existentialist theatre GP 1.3 with elements of the theatre of the absurd, and established itself as one of the Meeting Room 1, Scarman House most prominent examples of modern Italian theatre. The panel also aims to FRIDAY VENDREDI mark the 30th anniversary of Eduardo’s death.

Chair Frank Camilleri 01AUGUST AOÛT Armando Rotondi Nicolaus Copernicus University in Torun 2014 Before Eduardo: Theatre Stratification in Late 19th and Early 20th Century Naples

032 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 033 MONDAY LUNDI

28JULY practice, Gareth White elaborating on facilitation as an aesthetic practice, and JUILLET Donatella Fischer University of Glasgow Selina Busby on power relationships in facilitating creative work in the criminal 2014 The Theatre of Eduardo De Filippo: Probing into Human Nature justice system

Alessandra De Martino-Cappuccio, University of Warwick Language Stratification in Eduardo De Filippo: The Missed Revolution of Dialect We will begin by considering whether these roles are fixed. Is facilitation a matter Theatre in Great Britain of enabling roles and/or moving people between levels of engagement? By using the language of levels and strata, do we imply fixedness? Can individuals (both Curated Panel : Performing The Drottningholm Theatre from 1766 is certainly the best preserved Baroque participant and facilitator) inhabit multiple levels, and if so, what stresses does in Historical Theatre: The theatre in Europe. With its original stage machinery and the many complete this create? We will examine the different perceptions a facilitator may hold Drottningholm Court Theatre sets, this theatre invites today’s artists to experiment with historical aesthetics. about their practice and ways of working. Namely, the layers of intention and how they view their practice, which can in some instances hint at martyrdom TUESDAY GP 1.4 This panel discusses the use of this historical theatrical space, in its own time as MARDI well as in modern times. What were (and are) the attitudes towards historical and on other occasions are driven by a ‘quiet desperation’ to make a meaningful Studio Theatre, Warwick Arts Centre knowledge and how can it be applied in today’s performances? We think that change for participants. 29JULY the experiences of Drottningholm during the last 90 years also have an impact JUILLET on other historical theatre venues which are used for performances. Selina Busby Royal Central School of Speech and Drama 2014

Chair Thomas Postlewait Katharine Emma Low Royal Central School of Speech and Drama

Willmar Sauter Stockholm University Theatre and Dance Studies Sam Haddow Royal Central School of Speech and Drama Rediscovering a Baroque Stage: Drottningholm 1922-2012 Gareth White Royal Central School of Speech and Drama Maria Berlova State Institute of Art Studies, Moscow Gustavian Court Playing Culture Exploring the Contours of Chair Boris Daussà-Pastor Indian Theatre David Wiles University of Exeter WEDNESDAY GP 1.7 MERCREDI Acting in Baroque Theatres: Lessons from Drottningholm Ravi Chaturvedi Indian Society for Theatre Research Meeting Room 10, Scarman House Natyashastra: A Reflection of Social Stratification 30JULY JUILLET Curated Panel: Napoleonic Chair Jan Clarke Shuchi Sharma GGS Indraprastha University Theatre Religion and Indian Theatre 2014 GP 1.5 Meeting Room 3, Scarman House Katherine Astbury University of Warwick Avanthi Meduri University of Roehampton Napoleonic Neglect: The Case for Excavating French Theatre of the First Indian Theatre Arts, Global Institutionalization and ‘Stratification’ Empire. Case Study: Melodrama

Katherine Hambridge University of Warwick The Status of the Score in First Empire Melodrama Theatre in School Curriculums Chair Monica Prendergast GP 1.8 Meeting Room 12, Scarman House Clare Siviter University of Warwick Tristan Damian Jäggi University of Berne THURSDAY Napoleonic Neglect: The Case for Excavating French Theatre of the First Key Players. Schools and their Role within the Swiss Theatre System JEUDI Empire. Case Study: Tragedy Sergi Font Universitat Internacional de Catalunya 31JULY Devon Cox University of Warwick Implementation of Drama Courses in Primary Schools in Catalonia. A Case of a JUILLET Horribe Histories: History, Nationalism and the Napoleonic Stage in Britain and Semi-Private School 2014 France

On the Material Realities of Chair Nicholas Till Theatre GP 1.9 Curated Panel: Strata of Chair Rebecca Free Sigríður Lára Sigurjónsdóttir University of Iceland Facilitation Meeting Room 11, Scarman House In hindsight: Theatrical Confrontation with Criticism on Mistakes of the Past GP 1.6 This panel will explore the diverse roles and strata found in participatory Meeting Room 5, Scarman House performance, with a specific focus on the facilitator in socially engaged theatre Louise Owen Birkbeck College, University of London Time and money: British theatre and the financial crisis practice. Within the working approaches found in socially engaged theatre FRIDAY practices, the diverse roles of the participants and the facilitator, particularly VENDREDI relationships of agency and emotional labour, have been explored (Preston Miriam Drewes Ludwig-Maximilians-Universität München 2013; White 2013). Dealings: Economic action and aesthetic practice in contemporary performance 01AUGUST production AOÛT Bringing into question whether there are levels of participation, across which 2014 the roles of facilitators and different kinds of participants are distributed, the three panel members will approach these themes from different perspectives, Kat Low reflecting on her investigation of the teaching of socially engaged

034 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 035 MONDAY LUNDI

28JULY JUILLET Theatre’s Physical and Chair James Harding Curated Panel: Excavating Chair Penny Farfan 2014 Conceptual Boundaries Early-Twentieth-Century GP 1.10 Meike Wagner Ludwig-Maximilians-Universität München Women’s Theatre History The four papers for this panel contribute to the general conference theme Meeting Room 8, Scarman House Amateurs, Dilettanti, Art Lovers – Trespassing the Boundaries of Theatre GP 1.14 of “Theatre and Stratification” by bringing together work at the intersections Lecture Theatre, Scarman House of the sub-themes “Performative Acts and the Hierarchies of Gender and Avraham Oz University of Haifa Sexuality” and “Excavating Theatre History.” More specifically, the panel The Tragedy of Unwilling National Containment proposes to excavate women’s contributions to modern theatre history through research presentations on early-twentieth-century legal cases involving female Modernism’s Theatres / performers; lesbian theatre history and the work of producer/director Edith Chair Silvija Jestrovic Craig; plays about World War One by British modernist women playwrights; Theatre’s Modernisms TUESDAY GP 1.11 and the deferred impact of Djuna Barnes’s infrequently staged metatheatrical MARDI Meeting Room 4, Scarman House Margaret Araneo City University of New York modernist parodies. The four papers are closely related in terms of both period Disabling Salome: Representing and Embodying Neuropathology and the De- and subject matter, and the curated panel will foster productive dialogue and 29JULY stratification of Modernity new insights. Fifteen-minute paper presentations will leave ample time for JUILLET questions and discussion. 2014 Milija Gluhovic University of Warwick Young Bosnia and the First World War: Fanaticism, Revolt and the Spiritualisation Viv Gardner University of Manchester of Politics Defending the Body, Defending the Self: Women Performers and the Law in the Edwardian Period Helen Murphy Royal Central School of Speech and Drama Vagueness and the Description of an Old Post Card Lesley Ferris The Ohio State University ‘Live Wire’ Lesbians: Edith Craig’s Pioneering Visions

Rebecca D’Monte University of the West of England, Bristol The Actor: Memory, Chair Pil Hansen Experiments in Modernist Drama: Women and the First World War WEDNESDAY Consciousness, Collaboration MERCREDI GP 1.12 Helen E. Richardson Brooklyn College Penny Farfan University of Calgary Meeting Room 2, Scarman House Towards Non-stratification in Creating Performance: PIMA (Performance and “What are You Trying to Do to Me? – I’m Doing It”: Djuna Barnes’s Metatheatrical 30JULY JUILLET Interactive Media Arts), a Utopian Pedagogy Parodies and Queer Modernist Performance in and Across Time 2014 Marie Kelly University College Cork The Mirror Cracked: illusions of consciousness in Mark O’Rowe’s Terminus Intercultural Shakespeare GP 1.15 Chair Jim Davis Michael Bachmann Johannes Gutenberg Universität Mainz Meeting Room 7, Scarman House Fritz Kortner’s Postwar “Monologues” and the Fractures of German-Jewish Naghmeh Samini University of Tehran Memory Against Domination: Macbeth in Iran

Azadeh Ganjeh University of Bern ...What Dreams May Come: Interaction of Hamlet’s Political layers with Iranian THURSDAY On Aesthetics and Style Chair Janne Risum Political Order JEUDI GP 1.13 Meeting Room 6, Scarman House Peter W. Marx University of Koeln Harue Tsutsumi Seijo University 31JULY Excavating Theatre History: The Re-Appearance Of German Baroque Drama Charles Calvert’s Henry V at Prince’s Theatre in Manchester on October 7th JUILLET 1872 and the transformation of Kabuki 2014 Jan Lazardzig University of Amsterdam Performing Tranquillitas: Police, Precaution and the Archive (c.1800)

Richard Schoch Queen’s University, Belfast Genealogies of Shakespearean Acting

FRIDAY VENDREDI

01AUGUST AOÛT 2014

036 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 037 MONDAY New Scholars’ Forum LUNDI 28JULY Fabian Lempa Freie Universität Berlin JUILLET The Red Firefighter and the Blue Fairy: Commonalities between Communist 2014 Forum 1 Agitprop Theatre and Organisational Theatre for Capitalist Companies

TUESDAY MARDI Documentation and Archiving Dance: Creative Process, Chair Nadine Holdsworth NS 1.1 Narration and Spectatorship Meeting Room 10, Scarman House NS 1.4 Karina Almeida State University of Campinas 29JULY JUILLET Meeting Room 6, Scarman House Dance as a Performative Event: Reflections on What the Body Does Not 2014 Chair Jim Davis Remember by Belgian Choreographer Wim Vandekeybus TUESDAY Matthew Bent Queen Mary, University of London Anna Laura Wieczorek University of Salzburg MARDI 11:15 - 12:45 Adrián Villar Rojas: An Archival Project of ‘Disappearance’ Inter-corporal? Intercultural Influences on Productions of European Contemporary Dance Choreographers 29JULY Pia Gutiérrez Pontificia Universidad católica de Chile JUILLET De-Classifying the Archive: Theater in the Chilean Bicentennial Cristina de Lucas University of Roehampton 2014 Plot, Story and Narration in Kenneth MacMillan’s The Invitation (1960) Ann Shapiro University of Birmingham Performing Their Own Histories: The Theatre of the Eighth Day and the Dora de Andrade Silva Universidade Estadual de Campinas Performance of Their ‘Files’ Creative Process in Dance: A Brazilian Perspective

Eve Smith Royal Holloway, University of London and V&A Sarah Passfield University of Kent ‘Mad Fragmentations’: The Theatre Collection’s Transition from Private Home Affective Dramaturgy and Embodied Spectatorship in Matthew Bourne’s Dance to Public Archive Theatre

Amita Rana Jawaharlal Nehru University WEDNESDAY MERCREDI Recording Ram’s Romance: Archiving for Legitimizing Bodies, Disability and Acting Chair Petra Kuppers NS 1.5 30JULY JUILLET Meeting Room 11, Scarman House Amelia Cavallo Royal Central School of Speech and Drama 2014 Theatre Analysis I Chair Maria Delgado Cripping Acting: Troubling Ocularcentric Performance NS 1.2 Meeting Room 7, Scarman House Saheed Bello University of Lagos, Akoka Natalie Lazaroo Griffith University “Communalysis Concept”: Wole Soyinka’s Death and the King’s Horseman and Cutting through the Noise: Examining Issues of Authorship and Representation Lekan Balogun’s Olofin Ajaye in Stronghold, a Community Theatre Project with People with Disabilities

Laura Fólica Pompeu Fabra University Cohen Ambrose University of Montana Parodies d’Ubu en espagnol : les adaptations de Teatro de los Andes et Els Intersubjective Acting: A Phenomenological Approach After Brecht Joglars THURSDAY Maysa Utairat Royal Holloway, University of London JEUDI Holy or Rough? – Using theatre to Complement a Buddhist Story-Telling Applied Theatre in Education, Chair Helen Nicholson Performance in the North East of Thailand Therapy and Urban Arts 31JULY NS 1.6 Constanza Alvarado Universidad Católica de Chile JUILLET Lidia Olinto do Valle Silva State Universty of Campinas Meeting Room 5, Scarman House Applied Theater and Clinical Education: Rehearsing the Doctor’s Role 2014 The Organic Rhythm and Scenic Precision: A Study of Akropolis (Laboratory Theater, 1962) Adelina Ong Royal Central School of Speech and Drama Can Urban Arts be Considered as a Form of Applied Theatre Practice? Moe Shoji University of Sheffield Paratext in Contemporary Theatre Practice Lilian Katharina Seuberling Freie Universität of Berlin Communication of the Senses!? The Role of Body and Movement in Therapy Forms Applying Theatrical Elements

Chair Christopher Balme Phoebe Ferris-Rotman Birkbeck, University of London Theatre, Capitalism and FRIDAY Corporate Identity In Name Only? Transforming Education Programmes in UK Theatres VENDREDI NS 1.3 Florian Evers Freie Universität Berlin Assessment Centres as a Theatrical Device Monique Lima de Olivera Federal Rural University of Rio de Janiero Meeting Room 3, Scarman House 01AUGUST How Can Theatre Help Train Teachers? AOÛT Priyanka Basu School of Oriental and African Studies, University of London 2014 A Singer Who Sells, an Onlooker That Buys: Popular Performances of Kobigaan in Fairs and Festivals of West Bengal and Bangladesh

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28JULY JUILLET Changing the Contemporary Chair Paul Murphy Feminism and Post-Feminist Chair Elaine Aston 2014 - Politics in the Post-Neo Performance Liberal Era Alba Tomàs Pompeu Fabra University NS 1.10 Manola Gayatri Kumarswamy Jawaharlal Nehru University NS 1.7 Electra’s Myth in Catalan Contemporary Theatre: An Innovative Tradition Lecture Theatre, Scarman House Roots Gone Wild: Feminist Poetic Utterance and Female Genealogies of Breath Meeting Room 1, Scarman House in Performance Jihyeon Park University of Warwick & University of Arts Belgrade “How Are You Doing” Movement: When Words be a Performance, ‘I’ become Megan Minogue Queen’s University Belfast ‘We’ The Need to Escape? Staging Northern Irish Women

Laurelann Porter Arizona State University Nithya Nagarajan Monash University TUESDAY Towards a Poetics and Erotics of Performance (Re)presenting an Indian Feminized Perspective: A Case Study of Geeta MARDI Chandran’s Gandhi: Warp and Weft Kiran Pawar Jawaharlal Nehru University 29JULY Dalit and Working Class Theatre in Maharashtra: Mapping Spaces and Performing Clio Unger Ludwig-Maximilians-University, München JUILLET Practices of ‘Political’ Performance Layers of(f) - Orange is the New Black: Representing Female Identity and Power 2014 Structures in US Prisons Kimberly Richards University of California-Berkeley White Rabbit, Red Rabbit, the International Festival Circuit, and the Cultural Capital of Human Rights Performance in Times Chair Jean Graham-Jones of Transition Into/out of Dictatorship and Unrest I Awelani Moyo University of Warwick Theatre and the Stratification NS 1.11 ‘Knowing One’s Place’: Mapping Identities in Cape Town’s Infecting the City of Society Chair Urmimala Sarkar Meeting Room 8, Scarman House Festival (2009-2011) NS 1.8 Madhuri Dixit Tata Institute of Social Sciences Jimmy Gavilán Pontificia Universidad Católica de Chile WEDNESDAY G53, Millburn House MERCREDI Satyashodhak: Hegemonic Depositions through Theatre Víctor Jara, an emblematic director of pre-dictatorship (1955-1973) Chilean (and Latin American) theater University of Oregon 30JULY Les Gray JUILLET The Stratified Black Body in the American Musical Lauren Graffin University of Ulster `Where Did We Come From? Where Are We Going?` Situated Performance 2014 Ester Jagica University of Toronto Practices in Northern Ireland The Case of Honest Cynicism: Obscene Tactics of Subversion Monika Meilutytė The Art and Culture Magazine, Kulturos Barai Aparna Nambiar Independent Scholar Power and Freedom: Representing the Past and the Present in Lithuanian Indian Dance in Singapore: Cultural Policy, Funding and Choreography Theatre

Anusha Ravishankar University of Warwick Nicholas Weeks University of Geneva Staging the British-Born Sikh Woman in Gurpreet Kaur Bhatti’s Behzti A Poetics of Minutiae: Metaphorical Transformations in the Theatre of the (Dishonour) and Behud (Beyond Belief) Apartheid Era THURSDAY JEUDI

Aspects of Figurations in Chair Peter W. Marx 31JULY the Middle Ages and Early Queer and Gender Studies Chair Charlotte Canning JUILLET Modernity Peter Löffelbein Freie Universität Berlin NS 1.12 2014 NS 1.9 The Late Medieval Dance Macabre as a Theatrical Figuration of the Uncertain Meeting Room 9, Scarman House Bryan Hogan Queen’s University Belfast G56, Millburn House ‘Gender Discombobulation’: Articulating the Phobia in Homophobia Anna Laqua Freie Universität Berlin Man as “Amphitheater”: Theatrical Negotiations of Human Mutability Simon Dodi Royal Central School of Speech and Drama Camp: ‘Difference’ as ‘Defiance’? Michael Allman Conrad Freie Universität Berlin Challenging the Uncertain: Medieval Board Games as Strategies for Coping Sofie Taubert University of Cologne with Contingency Shakespeare’s Elves in Britten’s Opera A Midsummer Night’s Dream: On the Negotiation of Body and Gender-Concepts FRIDAY Miranda Welby University of Warwick VENDREDI The Photographic Fictions of Johnston Forbes-Robertson as Macbeth in 1898 Selogadi Ngwanangwato Mampane University of Pretoria The Gender Identification Game: Mokgadi Caster Semenya’s Masculine 01AUGUST Maria Moreno Performance of Sex AOÛT Meditations on the Grotesque through the Play The Story of Esther, by Salvador 2014 Espriu (1948)

040 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 041 MONDAY General Panels LUNDI 28JULY JUILLET Cultural Heritage and Ritual Chair Kene Igweonu 2014 Revisited and Adapted NS 1.13 Ying Cheng School of Oriental and African Studies, University of London General Panel 2 Meeting Room 2, Scarman House Re-Imagining the “African” Chronotope: The Exploration of Public Space by TUESDAY Contemporary Theatre Troupes in Nigeria and South Africa MARDI Historiography Working Group Sponsored Panel - Refocusing Theatre Historiography A.P. Rajaram Jawaharlal Nehru University GP 2.1 29JULY The Body in/as Ritual or Performance or Both? JUILLET Lecture Theatre, Scarman House 2014 Rakel Marin Universitat Autònoma de Barcelona Chair Steve Wilmer TUESDAY The Stratification of Identity in Contemporary Basque Experimental Theatre 14:15 - 15:45 MARDI Claire Cochrane Worcester University Catherine McComb University of Regina Hierarchies of Value and Cultural Stratification in Regional English Theatre 29JULY Costume as Historiography in the Dance Performance Film Silk Cyclone History JUILLET 2014 Janne Risum Aarhus University The Ups and Downs of Mei and Meyer Post Drama and Images on Chair Karen Juers-Munby Stage Nora Probst University of Cologne NS 1.14 Catalina de la Parra Pontificia Universidad Católica de Chile Objects that Mean the World: Carl Niessen and the Stratified Traces of G57, Scarman House The Issue of Musicality of Speech in Staging the Play Guataca Performance

Niklas Füllner Ruhr University Bochum “Theatre is a Public Sauna”: New Political Drama from Finland in the Tradition Performance as Research of Bertolt Brecht Annette Arlander WEDNESDAY Working Group Sponsored Chair MERCREDI María Fernández Váquez Universidad Complutense de Madrid Panel - Approaches to Performance-as-Research Baz Kershaw University of Warwick From Action in Theatre to Image in the Space Beyond Think Global/Act Local! Messing About in a Field for Creative De- 30JULY GP 2.2 JUILLET Stratification of Performance Ecology Research in Action Woods Scawen Room, Warwick Arts 2014 Carmen Wong University of Warwick Centre The Artist, The Food, its Eaters and Their Performances Yvon Bonenfant University of Winchester They Make Noise: Plethora, Plenitude, Power, and PaR

Spectatorship – Reception Jonathan Heron University of Warwick Chair Willmar Sauter NS 1.15 ‘Where the Place?’ Performance-as-Research and the Archive Meeting Room 4, Scarman House Natalia Esling University of Toronto The (En)activated Spectator: How Sensory Modification Effects Reception The Global Contexts of Chair Jean Graham Jones Theatre in the 1960s THURSDAY GP 2.3 JEUDI Taís Ferreira Universidade Federal de Pelotas and Universidade Federal da Bahia Avishek Ganguly Rhode Island School of Design Meeting Room 9, Scarman House Teacher-Artist-Spectator: An Empirical Reception Study The Political Theatre of Utpal Dutt in a Global Frame 31JULY JUILLET Nora Williams University of Exeter James Harding University of Warwick Text, Context, Performance: Stratification and The Changeling The High Road, the Low Road and the “Many Roads to Truth”: Richard Schechner, 2014 Peter Brook and the Royal Shakespeare Company’s 1966 Production of US Marta Tirado Mauri University of Barcelona Ethical Responsibility and Emancipated Spectatorship in Sarah Kane’s Plays Curated Panel - Actors and Margarethe Maierhofer-Lischka University of Performing Arts, Graz Chair Raffaele Furno Staging Auditory Perception in Contemporary Music Theatre Acting Techniques in Italian Theatre Raffaele Furno Arcadia University GP 2.4 Constructing the Experimental Aesthetics in a Time of Crisis: The Phenomenon Meeting Room 7, Scarman House of Cantine Romane in the ‘60s and ‘70s FRIDAY VENDREDI Irene Scaturro The Sapienza University of Rome The Inheritance of Capocomico in the Fascist Era 01AUGUST AOÛT Anna Sica University of Palermo 2014 Deciphering la drammatica

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28JULY David Bennett Coventry University JUILLET Curated Panel - Locating Chair Lonneke van Heugten Historic Bodies: How Visible in Current Dance Practice is the Past? 2014 Cultural Policy Within the Strata of Performance Lonneke van Heugten University of Amsterdam Hetty Blades Coventry University Practice Curating (in) Crisis: Europe and the Theatre Making, Scoring, Watching, Reading: The Digital Unveiling of Choreographic GP 2.5 Process and its Implications for Dance Scholarship Meeting Room 3, Scarman House Gargi Bharadwaj University of Hyderabad Mapping Terrains of National Cultural Policy in India Curated Panel - The Eleanor Owicki Texas A&M University Performance Culture of the Chair Takeshi Kawashima Staging a True ‘Shared Future’: Belfast Theatre and the Stratification of Ethnic Khawaja Sara in South Asia TUESDAY Identity GP 2.8 Claire Pamment Beaconhouse National University MARDI Meeting Room 6, Scarman House Queering Pakistani Politics: The Khawaja Saras’ Performance Modes

29JULY Curated Panel - Stratification: Chair Jennifer Parker-Starbuck Shahnaz Khan Wilfred Laurier University JUILLET Staging the In/Human Sexuality and Political Theatre: Khawaja Sara in the Pakistani Election 2013 2014 GP 2.6 Considering the conference theme of stratification, it would be appropriate Meeting Room 10, Scarman House to continue IFTR’s tradition of investigating the epistemological borders Nick Abbott University of Wisconsin-Madison that separate the “human” from the non, sub, and super-human, and how performance is both complicit in and provides resistance to such hierarchies. Courtly Eunuchs and Elite Masculinity in Nawabi Lucknow, 1776-1856 Defining ourselves as a species is critically important to an individual human’s understanding of the universe and his or her own place within it, but the mythologies we employ to justify these understandings often work by negation: Curated Panel - Strategies Chair: Hayato Kosuge not knowing the content of my humanity, I look to the environment and say “well, of Corporeal Stratification: I know I am not THAT.” How does performance assist or resist our separation Seismic Dramaturgies of from and stratification against the animal, the artificial, the supernatural? What What are the strategies of corporeal stratification? Who or what do they WEDNESDAY Race, Age, and Gender MERCREDI dramaturgical and spatial narratives do we construct as normative frameworks serve? The three scholars here present and analyze case studies of dance- GP 2.9 and how can we interrogate them? We would like to propose that the following based performances, which radically challenge the physical norms of daily and Meeting Room 1, Scarman House four papers be considered for grouping into a single general panel. choreographic performance. All three papers focus on the material body of 30JULY the performers and how the choreography’s control over bodies through time, JUILLET space, and objects, stratify performers into coded forms, which are usually Lee Miller Plymouth University 2014 Playing (un)Dead Or: Searching For Redemption in The Withered Flesh of My consistent with a nation state’s naturalized appearances and associated best Future Self behaviors. These appearances and behaviors are graded and stratified, given different values and powers. However in these works, corporeal strategies have been deployed to not only disrupt and rupture these set corporeal stratifications, Kara Reilly University of Exeter Take Up the Bodies: Corpses in the Anatomy Theatre through the radical manipulation of gender, age, and race, but also to expose and ironize these nation/state/cultural “standards” for performing bodies. At the heart of these processes is an emerging radical dramaturgy of dance acts aimed Michael Chemers University of California, Santa Cruz Unfinished Business: Voltaire, Lessing, and the Ghosts of Shakespeare at destabilizing the easy sedimentation of physical gestures into patterns and then aesthetic codes, which govern, restrict, and punish outsider behavior. We THURSDAY focus on the corporeal crafting of uncomfortable meanings created through the JEUDI Adam Versényi The University of North Carolina Nature vs. Society: Ramon Griffero and the Dramaturgy of Space manipulation of gender, age, and racial strata, which are unexpectedly forced onto the spectators. Perhaps it is the fluidity, even liquidity, of the performers’ 31JULY corporeal skills, which complicates the questions concerning the validity of JUILLET “stratification” in the analysis of these body works. Do these performers re- 2014 Curated Panel - Bodies in inscribe these corporeal hierarchies as they bare (bear) them? the Archive: Reflections on Chair Philipa Rothfield Dance, Documentation and Stacey Prickett University of Roehampton Ontology The Centre for Dance Research situated in the School of Art & Design at Coventry University offers a panel entitled Bodies in the Archive; reflections on Constrained Bodies: Dance, Social Justice and Racial Stratification GP 2.7 dance, documentation and ontology. Indicative of C-DaRE’s central research Meeting Room 5, Scarman House activities nationally and internationally, this panel explores three alternative Katherine Mezur Independent Scholar perspectives on dance and the archive. The three papers share central themes Absolute Cute: “New Dimensions” of Stratification in KATHY’s Animated Bodies and offer critical reflections upon dance in digital forms while examining layers of embodied, virtual and abstract experiences within contemporary dance Nanako Nakajima Freie Universität Berlin Performative Acts of Age in Genders: An Evening with Judy by Raimund Hoghe FRIDAY practice. Demonstrative of dance research within the region and beyond, the VENDREDI panel seeks to contribute to the discourse of dance at this year’s IFTR World Congress. 01AUGUST AOÛT On the Functioning of Chair Hans van Maanen Natalie Garrett Brown Coventry University Theatre in Comparable Cities 2014 Archive as Artistic Collaborator: Reconciling the Embodied and Digital Within of Different Countries Collaborative Dance pPractice Maja Šorli Academy of Theatre, Radio, Film and Television, Ljubljana GP 2.10 The Value of Amateur, Subsidised and Commercial Theatre for Tyneside’s Meeting Room 2, Scarman House Audiences

044 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 045 MONDAY LUNDI

28JULY JUILLET Antine Zijlstra University of Groningen Scenography Working Chair David Vivian 2014 The Functioning of Theatre in the City of Groningen (Netherlands) Group Sponsored Panel - Stratification, Materiality and Irene Eynat-Confino Tel Aviv University Hedi-Liis Toome, University of Tartu, Estonia Scenographic Agency Fusion and Con-Fusion: Stratification and Performance Space The Functioning of Theatre in the City of Tartu, Estonia GP 2.14 Meeting Room 4, Scarman House Joslin McKinney University of Leeds Objects, Things and an Excess of Stuff: The Agency of Scenographic Materials Dramaturgy as Conceptual Chair Stuart Young Frame Thea Brejzek University of Technology, Sydney Stages of Disaster: On Stratification and Collapse GP 2.11 Johan Callens, Vrije Universiteit Brussel TUESDAY Meeting Room 8, Scarman House Dramaturgical Stratification: An Experiment MARDI

Gigi Argyropoulou, University of Roehampton 29JULY Sedimented Theatre Practices, Metamorphic Institutions and Destituent Acts JUILLET 2014 Kerstin Stutterheim, Hochschule für Film und Fernsehen Konrad Wolf Postmodern Cinema thanks Shakespeare

Playwriting and Performance Chair Noah Birksted-Breen GP 2.12 Meeting Room 12, Scarman House Lia Wen-Ching Liang National Tsing Hua University

The Dissolution of the Subject in Martin Crimp’s Fewer Emergencies (2005) WEDNESDAY MERCREDI Gareth Evans Aberystwyth University ‘And I Shall be Able to See the Stars’: Aled Jones Williams’s Stratified Performative 30JULY Vision JUILLET 2014 Melissa Trimingham University of Kent ‘Now I See the World’: An Excavation by Nicola Shaughnessy and Melissa Trimingham

Curated Panel - Layers of Chair Yana Meerzon Prague School Theatre Theory THURSDAY GP 2.13 JEUDI The panel aims to introduce some findings of the research project Czech Meeting Room 11, Scarman House Structuralist Thought on Theatre: Context and Potency, which has been 31JULY underway by the Department of Theatre Studies at Masaryk University in Brno JUILLET since 2011. The research deals with the writings of Jiří Veltruský, Jan Mukařovský, 2014 Jindřich Honzl and other members of Prague Linguistic Circle. The aims of the project are a systematic analysis of a corpus of theoretical texts (and its new critical edition), an interpretation in the historical context as sample of cultural history, but namely a rereading of the work in the perspective of contemporary theatre issues – and a search for possible recontextualisations. The papers presented at the conference should show a variety of these ‘revisitings’ of Prague Semiotic Stage – as the school was once titled by Michael Quinn.

Šárka Havlíčková Kysová Masaryk University FRIDAY VENDREDI Searching for the Perfect Sign: Structuralist Theory and Asian Acting Techniques

Pavel Drábek University of Hull 01AUGUST AOÛT Revisiting the Gesamtkunstwerk 2014 David Drozd Masaryk University Materiality of Sound and Text (Jiří Veltruský meets Bob Wilson)

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Working Groups 28JULY JUILLET Feminist Research 2014 Meeting Room 4, Scarman House Session 3 16:30 - 17:00 Sandra D’Urso The University of Melbourne Theatres of Striated Speech: Or, What Happens when Indigenous Women TUESDAY MARDI African and Caribbean Theatre and Performance Address the Public in the Form of a Rebuke? Meeting Room 1, Scarman House 16:30 - 18:00 17:00 - 17:30 Rebecca Jennison Kyoto Seika University 29JULY JUILLET Precarity and Performance in Recent Works by Ito Tari and Yamashiro Chikako 2014 Julius Heinicke Freie Universität Berlin Dealing with Bad Memories: Xenophobia and Trauma in South African Theatre 17:30 - 18:00 Christina Svens Umeå Universitet TUESDAY 16:30 - 18:00 Unsettled by Empathy and Affection: An Audience Meeting with Nisti Stêrk MARDI Ariane Nina Zaytzeff New York University Writing the Dead in Future Tense: Transmitting Memories Through Letters and 29JULY Songs in Post-Genocide Rwanda JUILLET Historiography 2014 Courtyard Restaurant, Scarman House

Arabic Theatre Chair Janne Risum Meeting Room 3, Scarman House Core/Periphery 16:30 - 17:30 Moderator Hazem Azmy 16:30 - 17:00 Jo Robinson University of Nottingham Digging Through ‘Pleasant Pastures’: The Rural in Theatre History Revisiting the Mandate of the Arab Sameh Hanna University of Leeds A Socio-Historical Reading of Muhammad Taymur’s The Trial Of The Playwrights Theatre Artist 17:00 - 17:30 Steve Wilmer Trinity College Dublin The Stratification of National and Little Theatres at the Turn of the 20th Century WEDNESDAY Majeed Mohammed Midhin University of Essex MERCREDI Arab Spring and Tawfiq Al-Hakim’s Idea of the Social Responsibility of the Artist 17:30 - 18:00 Katharina Wessely University of Berne The Stratification of Power: Theatre Directors’ Wives in the 19th Century 17:30 - 18:00 30JULY Open Discussion JUILLET 2014 Intermediality in Theatre and Chair Katia Arfara Asian Theatre Yasushi Nagata Osaka University Performance Private Dining Room, Scarman On Some Aspects of Modernization of Japanese and Asian Theatres Meeting Room 7, Scarman House James Buglewicz East Los Angeles College House 16:30 -1 7:30 Stratifying Levels of Audience Experience in Multi-Platform Performance Jeremy Bidgood Royal Holloway, University of London 16:30 - 18:00 Watch and Learn: Training in Contemporary Ningyo Joruri (in Japan) Riina Oruaas University of Tartu Intermedial Performance of Classic Utopia and/or Dystopia: Staging Classics in Von Krahl Theatre

Texts THURSDAY Choreography and Paper distribution to be decided in the first Working Group meeting. For a list of Benjamin Fowler University of Warwick JEUDI Corporeality speakers please see Working Group Session 1 Movie Montage in Theatrical Spaces: Katie Mitchell’s Intermedial Practice as G53, Millburn House Theatre’s Modernism 31JULY JUILLET 16:30 - 18:00 17:30 - 18:00 Discussion 2014

Digital Humanities in Theatre 19:00 Group Dinner Research Co-Chairs Nic Leonhardt and Franklin J. Hildy G50, Millburn House Miguel Escobar Varela National University of Singapore 16:30 - 18:00 Designing Scholarly Interfaces: Intermedial Writing for Theatre Research Music Theatre Duncan Jamieson and Adela Karsznia Meeting Room 6, Scarman House Chair Dominic Symonds TAPAC: Theatre and Performance Across Cultures, Culture Hub: Multilingual 16:30 - 18:00 Monash University FRIDAY Networking Tools for the International Theatre and Performance Community Matthew Lockitt VENDREDI “Say It Any Way You Can”: Challenging the Stratification of Speech, Song, and Performing Music Theatre 1 Fernanda Oliveira Federal University of Maranhão Dance in the Musical Theatre 01AUGUST Theater as Transmedia Storytelling: An Experiment in the Composition of the AOÛT Play Siameses by NPT Rascunho, Brazil Mario Frendo University of Malta 2014 Musicality in the Work of Konstantin Stanislavsky: Towards Physicalisation

Zachary Dunbar Royal Central School of Speech and Drama The Musical Actor: Beyond Stanislavski

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28JULY JUILLET Performance and Tanatchaporn Kittikong Khon Kaen University Political Performances Chair Paola Botham 2014 Consciousness Moving with a Free-Mind: Layers of Self-Consciousness in Performing with Meeting Room 8, Scarman House G56, Millburn House Buddhist Vipassana Meditation 16:30 - 18:00 Chante Mouton Kinyon National University of Ireland, Galway 16:30 - 18:00 The Politics of Staging Race: Unapologetic Realism in Synge’s and Hurston’s Sarasa Krishnan Murdoch University Theatre and Contested Ideologies Theatre Rasa and Beyond the Architecture of Sensing David Rodriguez-Solas Middlebury College Daniel Meyer-Dinkgräfe University of Lincoln Severing Ties: The Performance of Divorce in the Spanish Transition to Consciousness and the Opera Master Class Democracy

TUESDAY Zheyu Wei Trinity College Dublin MARDI Performance and Disability Chair Mark Swetz The Staging of Capitalisation and the Capitalised Stage: Meng Jinghui’s G55, Millburn House Accidental Death of an Anarchist 16:30 - 18:00 29JULY Kirsty Johnston University of British Columbia JUILLET From Blueprints to Experimental Theatre: A Case Study for Exploring Inclusion’s Chara Baklava Independent Scholar 2014 Authorship, Agency And Access: The Layers in Theatre Architecture Die Ermittlung in Athens, Tannhäuser in Düsseldorf: Retrieving the Anxiety of Disabled Performer’s Role Inside The Always Failed Stratification Theatre Sarah Whatley Coventry University Re-Embodying the Image: Structures for the Disabled Dancer in Performance *During this session Paola Botham will feedback from the Working Group Convenors’ Meeting Riikka Papunen The University of Tampere Accessibility in Theater: An Actor’s Point of View Popular Entertainments

Meeting Room 9, Scarman House Yvonne Schmidt Zurich University of the Arts 16:30 - 17:00 Stratified Authorship in Disability Theatre Gillian Arrighi University of Newcastle, Australia WEDNESDAY “A Fine Mental Training… a Splendid Physical Exercise”: Unearthing the Influence MERCREDI Performance and Religion of the Professional Stage Trainer at the Turn of the 20th Century G52, Millburn House 17:00 - 17:30 30JULY JUILLET 16:30 - 17:00 Susan Studham West Australian Academy of the Arts, Edith Cowan University Dyan Colclough Manchester Metropolitan University Theatre Hierarchy and Deities in Bali Reading Between the Lines: Touring Vera Beringer 2014 17:30 - 18:00 Catherine Hindson University of Bristol 17:00 - 17:30 Amit Ranjan Janki Devi Memorial College Comb On! This Common Commune Ain’t So Common: Gambhira, the Ritual Shoulder Rubbing with Celebrities: The Actors’ Orphanage Fund Theatrical Performance of Bengal Garden Parties 1904-1925 17:30 - 18:00 Alvin Eng Hui Lim National University of Singapore and King’s College, London Processus De Création. The Christmas Shows of Protestant Communities in Singapore La Génétique De La Représentation

Meeting Room 12, Scarman THURSDAY Performance as Research Juan Manuel Aldape Munoz Independent Researcher and Artist House JEUDI Humanities Studio, The Humanities Taking Up Space: Performance as Research Aims to Occupy Building Processus de création et jeu 31JULY JUILLET 16:30 - 18:00 Annette Arlander University of the Arts, Helsinki Performing with Plants – Challenges to Traditional Hierarchies? 2014 16:30 - 17:00 Milena Grass Pontificia Universidad Católica de Chile La poétique du comédien Stefanie Bauerochse Independent Researcher Earthworks or Plutarch’s E 17:00 - 17:30 Elizabeth Lopes Universidade de São Paulo À propos de la grammaire et la pragmatique dans les processus créatifs de l’acteur proposés par des artistes affiliés de Grotowski et Barba: Thomas Richards e Mario Biagini Performances in Public Frauke Surmann Freie Universtität Berln Spaces Our Broken Voice – Aesthetic In(ter)ventions as Stagings of Collective Meeting Room 11, Scarman House Foundational Scenarios in the Cracks, Gaps and Fissures traversing Public 17:30 - 18:00 José Batista (Zebba) Dal Farra Martins Universidade de São Paulo FRIDAY 16:30 - 18:00 Space(s) VENDREDI À propos de la grammaire et la pragmatique dans les processus créatifs de l’acteur proposés par des artistes affiliés de Grotowski et Barba: François Kahn Lesley Delmenico Grinnell College et Jan Ferslev 01AUGUST Penetrating Habitual Stratifications: Traversing Urban Spaces en Route AOÛT 2014 Swati Arora University of Exeter Working Group Discussion of Assigned Reading Temporal Spaces, Mobile Identities: Street as Stage in Post Colonial Delhi Queer Futures G57, Millburn House

050 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 051 MONDAY Working Groups LUNDI 28JULY Eva Peskin Brooklyn College JUILLET FAR OUT: Sun Ra’s Meeting Place for A Queer Future 2014 Session 4 Samuel Beckett WEDNESDAY Writers’ Room, Millburn House MERCREDI African and Caribbean Theatre and Performance 16:30 - 17:15 Matthias Korn Independent Scholar Meeting Room 1, Scarman House Beckett and Trauma 08:30 - 10:30 30JULY JUILLET 17:15 - 18:00 Mariko Tanaka Hori Aoyama Gakuin University 2014 Jeleel Ojuade University of Ilorin Filmic Images of the Narrative of Beckett with Particular Emphasis on A Piece Memories of Yoruba Bata Music and Dance and its Evolution in Global Dance TUESDAY of Monologue 08:30 - 10:30 Performance Tradition MARDI

C. M. Harclyde Walcott University of the West Indies Scenography 29JULY Chair Scott Palmer Memory, Lived experience: The Manifestation/Articulation of a Caribbean JUILLET Lecture Theatre, Scarman House Performance Aesthetic, Further Developing the Discourse 2014 16:30 - 18:00 Tanja Beer University of Melbourne What is Eco-Scenography? Environment, Immersion and Imaginative Exchange David Shearing University of Leeds Arabic Theatre The Weather of Scenography Meeting Room 3, Scarman House 08:30 - 10:00 Maral Yessayan Dartmouth College Inês de Carvalho Independent Scholar Modernity, Dance, and Female Entrepreneurship in Turn-of-the-Century Jordan Scenography Through the Looking Glass: How the Audio Walk Operates Arab Cultural Identities in Times of Protocols of Immersion and Strategies for Recognition Mohammed Mos’ad Academy of Arts, Egypt Conflicting Certitudes WEDNESDAY Coptic Christian Theatre in Egypt: Development, Challenges, and Future MERCREDI Illka Louw Rhodes University Directions uR: A Case Study in Tracking the Seam of Imaginative Exchange from Designer through Space and Materials to Audience 30JULY Marvin Carlson and Hazem Azmy JUILLET 10:00-10:30 Open Discussion 2014 Theatre Architecture Meeting Room 10, Scarman House Co-Chairs Andrew Filmer and Juliet Rufford 16:30 - 18:00 Evelyn Furquim Wernick de Lima Federal University of the State of Rio de Asian Theatre Megan Evans Victoria University of Wellington Janeiro Critiquing the Design and Private Dining Room, Scarman Staging Sexual Diversity with Chinese Characteristics: A 350-Year Old “Lesbian- Between the ‘Representation of Space’ and ‘the Space of Representation’: Two Restoration of Theatre Architecture Themed” Romantic Comedy in 21st Century Beijing Critical Case Studies of Theatre Architecture in Brazil House 08:30 - 10:30 Yizhou Huang Tufts University Julie Matheson York University Ibsen in One Take: Wang Chong’s Double Coded New Wave Theatre (in China) Restoring Historiography: The Writing and Renovating of History in Toronto’s THURSDAY Royal Alexandra and Elgin and Winter Garden Theatres JEUDI Choreography and Theatrical Event Corporeality 31JULY JUILLET Meeting Room 5, Scarman House Chair Anneli Saro G53, Millburn House Paper distribution to be decided in the first Working Group meeting. For a list of 16:30 - 18:00 08:30 - 10:30 speakers please see Working Group Session 1 2014 Michael Schwartz Indiana University of Pennsylvania We Had to Take Out the “God”: Scandal and Blasphemy in Clyde Fitch’s The City Theatre and Morality Vicki Ann Cremona University of Malta Scandal and the High Moral Ground: Two Case Studies from Malta Digital Humanities in Theatre Research Nic Leonhardt and Franklin J. Hildy G50, Millburn House Digital Humanities in Theatre Research Working Group Business Meeting 09:30 - 10:30 Session led by University of Queensland and Translation, Adaptation and Bernadette Cochrane Katalin Business meeting will start at 9:30. All members of IFTR are invited to attend. Independent Researcher FRIDAY Dramaturgy Trencsényi New Purpose Statement and plans for publications will be on the agenda. VENDREDI Meeting Room 2, Scarman House 16:30 - 18:00 A Round Table Discussion: New Dramaturgy 01AUGUST Feminist Research AOÛT Meeting Room 4, Scarman House Urmimala Sarkar Jawaharlal Nehru University 2014 Buy One, Get One Free: The Dance-Body Package for the Indian Film / Television 19:30 Working Group Dinner 08:30 - 09:00 Industry

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28JULY 09:00 - 09:30 Geraldine Harris Lancaster University Sahoko Tsuji Waseda University JUILLET Eve Ensler and One Billion Rising Struggle and Conflict for Clarifying Differences between Theatre and Film in 2014 the Stage Version of Singin’ in the Rain Aoife Monks Birkbeck University of London 09:30 - 10:00 The Virtuoso as Nostalgia Machine Performance and Jose V. Pestana University of Barcelona Sarah French The University of Melbourne Consciousness I-Positions in the Dialogical Process of Approaching a Character 10:00 - 10:30 Post-Feminism, Neoliberalism and Neo-Burlesque: Moira Finucane and The G56, Millburn House Burlesque Hour 08:30 - 10:30 Laura Grondahl University of Tampere Layers of Thinking in Scenographic Design

TUESDAY Ana Luzia Castro Independent Scholar MARDI Historiography ‘In_Transit Urban Odysseys’ Poetic Dialogues and Parallel Realities in Urban Courtyard Restaurant, Scarman Chair Magnus Thor Thorbergsson Environments House 29JULY JUILLET 2014 Staging Communities Performance and Disability Chair Yvonne Schmidt 08:30 - 09:00 Cia Sautter Graduate Theological Union G55, Millburn House Layers of Shakespeare: Religion in Western Theatre 08:30 - 09:45 Akhila Vimal C Jawaharlal Nehru University Embodying Disfigurment: Performing Body in Pottan Teyyam 09:00 - 09:30 Rashna Nicholson Ludwig Maximilian University of Munich Disability, Ritual, and Embodiment Theatre, Community and Nationhood: A Critique of a Secular Historiography of Petra Kuppers University of Michigan the Parsi Theatre Land-Based Performance Pedagogies: Embodiment/Enmindment

09:30 - 10:00 Tel Aviv University Federal University of Bahia WEDNESDAY Nurit Yaari Ciane Fernandes MERCREDI From Disparate Fragments to Stratified History: The Israeli Theatre in Search Autistic or Artistic? The Somatic-Performative Approach to Trauma and of Tradition Resilience 30JULY JUILLET 10:00 - 10:30 Maitri Baruah University of Delhi 2014 Print, Drama and Entertainment: Theatre and the Making of Modern Assam In the Rehearsal Room: Rehearsal Chair Mark Swetz (1880-1930) Processes with Disabled Performers 09:45 - 10:35 Ashley McAskill Concordia University Tender Rehearsals of Theatre Terrific: Canada’s Oldest Mixed-Ability Group Intermediality in Theatre and Chair Christophe Collard Performance Jennifer Jimenez and Stephen Sillett Aiding Dramatic Change in Development Exploring Relationships and Imagining Possibilities Meeting Room 7, Scarman House Luis Manuel Campos Rose Bruford College 09:00 - 10:00 Intermedial Performance and the Generation of Differential Narrative

Environments THURSDAY Intermedial Methodologies and JEUDI Pedagogies Sanjin Muftić University of Cape Town Performance and Religion Louise Bagger Independent Scholar The Theory and Application of Theatrical Images in Live Performance Sampling G52, Millburn House Realization of the Spiritual in Interactive Theatre 31JULY JUILLET 08:30 - 10:30 10:00-10:30 Discussion Daniel Reis Plá Universidade Federal de Santa Maria 2014 The Path of Cultivation: Dharma Art and Art as Vehicle

Roberta Mock Plymouth University Music Theatre “The Tyranny of the Middle-Class Jewish Family”: Hip Mid 20th Century American Meeting Room 6, Scarman House Chair Pamela Karantonis Comedy Environments as Religious Communities 08:30 - 10:30 Konstantinos Thomaidis University of Portsmouth The Moving Voice: Reflections on (Movement) Directing and Opera Performing Music Theatre 2 Bruce Barton University of Toronto Performance as Research FRIDAY Susana Egea Ruiz Escola Superior de Música de Catalunya Humanities Studio, The Humanities Micro Performance: Intimacy at the Intersection of Intermediality, VENDREDI The Role of Acting in Opera Before the 20th Century: Looking for Traces for Building Interdisciplinarity, and Immersivity the Acting with Music 08:30 - 10:30 01AUGUST Tero Nauha University of Helsinki AOÛT Schizoanalytic Performance Practice: Affect Relations and Biopolitics Corrina Connor Oxford Brookes University 2014 No Large Bills or Small Change? Four Twentieth-Century Johann Strauss Anniversaries Ben Spatz University of Huddersfield Stratum, Sediment, Self: Embodiment as the Site of Critical Realism

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28JULY JUILLET Marcilene De Moura Prouvost Ministry of Education of Brazil 2014 Performances in Public Helen Gilbert and Dani Phillipson La stratification et la destruction de la mouette- processus de création Spaces Scarring the Metropolis: Indigenous Manifestations and Body Memory Meeting Room 11, Scarman House 08:30 - 10:30 Nese Ceren Tosun University of Warwick Mapping as Imagining Publics Queer Futures Chair Stephen Farrier G57, Millburn House Tim White University of Warwick 08:30 - 10:30 Cormac O’Brien University College Dublin Little Reckonings in Great Rooms Queering the ‘Punishment Paradox’ of AIDS in Irish Realist Theatre HIV/AIDS and Performance TUESDAY Steve Greer University of Glasgow MARDI Political Performances Chair Avraham Oz Temporal Attachments: Queer Time and the (Re)Staging of Monogamy Meeting Room 8, Scarman House 08:30 - 10:30 29JULY Patrick Duggan University of Exeter JUILLET ‘Dirty protest’ and the Politics of Disgusting Participation: Performing Radical Samuel Beckett 2014 Performance as Resistance Resistance in Northern Ireland Writers’ Room, Millburn House 08:45 - 09:30 Anita Piemonti Università di Pisa Ameet Parameswaran Jawaharlal Nehru University Godot in Tuscany, October 2005 Memory and the Present: The Problem of Heterogeneous Time and Voicing in State of Exception 09:45 - 10:30 Robson Camargo Universidade Federal de Goias Memories and Images: A Leading Actress Died Performing Estragon on a Jyothi Jayaprakash Jawaharlal Nehru University Brazilian Stage in 1969 Performing Kodavatva: The Role of Performance in Staging the Political

Applied and Self-Reflexive Chair Lloyd Peters Scenography Chair Jane Collins WEDNESDAY Performances Lecture Theatre, Millburn House MERCREDI Andrew Houston University of Waterloo, Canada 08:30 - 10:30 The Strata of Empathy and the Lessons of Self-Reflexive Dramaturgy in DIFFER/ Nebojša Tabački University of the Arts Berlin 30JULY JUILLET END: The Caledonia Project Scenographic Processes: Layers, Layering of Technology in Contemporary Extravaganza Boundaries & exposing what lies 2014 Aysenur Karabulut University of Sussex beneath Julia Listengarten University of Central Florida with Vandy Wood, Sarah Yates Istanbul Calling: One Week Challenge! and Tori Oaks Kites, Puppets, and Swirling Waters: Convergent Boundaries in a Site-Specific Sheila McCormick Edge Hill University Performance Resisting Stratification, ‘Memories Matter’: Arts Practice as Political Activism in the Health Care of the Elderly Nicholas Arnold Adam Mickiewicz University “What lies Beneath” The Dance Between Performer and Scenography in Theatre Popular Entertainments and Life Meeting Room 9, Scarman House THURSDAY 09:00 - 09:30 Elizabeth Osborne Florida State University Octavi Rofes Centre Universitari de Disseny i Art de Barcelona JEUDI Memory Remade: The Legacies of The Clansman and Birth of a Nation in Popular Stripping Back the Layers of Theatrical Set Design Culture 31JULY Michael Smalley University of Southern Queensland JUILLET 09:30 - 10:00 Bett Pacey Tshwane University of Technology Scenography: The Final Layer of Meaning Making in the Stage Management 2014 Battles of War as Amusement Enterprise: Fillis’s Spectacles in London and St. Practice Louis Theatre Architecture 10:00 - 10:30 Lisa Warrington University of Otago Chair Andrew Filmer and Juliet Rufford Jekyll v. Hyde Meeting Room 10, Scarman House 08:30 - 10:30 Mike Pearson Aberystwyth University Vestigial Architecture, Revenant Performance: Reading the Ruins, Assembling Processus De Création. the Traces La Génétique De La Performance, Architecture & the FRIDAY Représentation Archive Sophie Read University College London VENDREDI Meeting Room 12, Scarman Petit déjeuner du WG Processus de création au colloque In, Out, Again - Architectural History as Performative Practice: Reading and Writing John Soane’s Lectures at the Royal Institution (1817 & 1820) House 01AUGUST 08:30 - 10:30 Mariana Simoni Pontifícia Universidade do Rio de Janeiro AOÛT La dynamique des strates dans le processus de création de René Pollesch David Roberts University College London 2014 Processus de création et Housing Acts: Performing the Pursuit of Public Housing stratification Adam Ledger University of Birmingham Digging the Director: Rehearsal Process and Stratification

056 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 057 MONDAY General Panels LUNDI 28JULY JUILLET Theatrical Event Chair Willmar Sauter 2014 Meeting Room 5, Scarman House 08:30 - 10:30 Bess Rowen City University of New York Panel 3 Burning the Bridge While Bridging the Gap: Riotious Pedagogy in The Plough WEDNESDAY Scandals and Society and the Stars Riot of 1926 MERCREDI Performance and Religion Working Group Sponsored Panel - The Performative Strata of Religion and the Religious Strata of Barbara Orel University of Ljubljana Performance 30JULY State Celebrations and the Modifications of the National Canon JUILLET GP 3.1 2014 Meeting Room 2, Scarman House Inma Garin Independent Scholar TUESDAY “Desdemona Never Again”: A Street Community Project to Celebrate the Co–Chairs Kim Skjoldager-Nielsen and Joshua Edelman MARDI International Day Against Gender Violence 11:15 - 12:45 Shimon Levy Tel Aviv University 29JULY Sacrifice and Theater JUILLET Translation, Adaptation and Chair Bernadette Cochrane 2014 Dramaturgy David Mason Rhodes College Meeting Room 2, Scarman House Geraldine Brodie University College London The Limits of Mimesis in Religious Performance 08:30 - 09:30 Interlinear Translation: The Dramaturgy of Surtitles Ruthie Abeliovich The Hebrew University, Jerusalem Ann-Christine Simke University of Glasgow The Jewish Liturgical Soundscape in Hanna Rovina’s Performance of the Flicking Through the Programme... Dramaturgical Practice at the Deutsches Messiah’s Mother Monologue in The Eternal Jew Theater Berlin Under the Directorship of Max Reinhardt: An Analysis of the Historical Theatre Journal Die Blätter des Deutschen Theaters

Curated Panel - Challenging Chair Lena Hammergren WEDNESDAY MERCREDI 09:30 - 10:30 Chair Katja Krebs Strindberg: Modernism, Femininity, and Divas Although August Strindberg is Sweden’s most well-known playwright, he was far Texas Tech University GP 3.2 from being the only one. This panel presents some of the women challenging 30JULY Dorothy Chansky JUILLET Archive to Art/Body to Blog to Book/Paper to Performance: Three Eleanors as Meeting Room 5, Scarman House Strindberg in his own time, both as dramatists and as actresses. The avant-garde Theatrical Translation Across Media is not a male story when the archives are opened and local theatre histories 2014 are explored. The broad perspectives include the popular and socially engaged Catriona Fallow Queen Mary, University of London stage rather than the exclusive male avant-garde elites. At the turn of the ‘All the World’s an Xbox’ (Candide, RSC, 2013): Layering Past and Present in New twentieth century, women were seen on stage representing femininities that Work at the Royal Shakespeare Company had never been seen before.

Birgitta Johansson Gothenburg University Women Playwrights in the Transition and Change of the Modern Breakthrough: The Case of the Swedish Playwright Alfhild Agrell THURSDAY JEUDI Hélène Ohlsson Stockholm University To Turn Your Back to the Audience: Re-definition of gender in nineteenth century Sweden 31JULY JUILLET 2014

Curated Panel - Authoritarian Chair Janelle Reinelt Performance: Coercion, Consensus, Consent Conventional ideological models of cause and effect and repressive social control GP 3.3 tend to rely on over-simplified assumptions about stratification. Nevertheless, Woods Scawen Room, Warwick Arts the allure of charisma, the thrill of participation and the intrigue of spectatorial Centre involvement remain staples of the contemporary political and cultural scenes alike, and continue to present a compelling challenge for performance scholars. FRIDAY These three papers therefore present linked inquiries into how performance VENDREDI may function to stabilise thought and action across different material and signifying strata, and to reveal the diverse personal investments involved in such 01AUGUST processes. Each paper addresses a different mode of performance within the AOÛT context of political systems that have privileged the needs of the state, executive or collective at the expense of individual freedoms. At the same, the variety of 2014 concerns addressed by the papers, and the range of coercive, consensual and consenting engagements that they entail (often in combination) highlights the many ways in which authoritarianism can be configured through performance.

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28JULY We therefore expect the relevance of the panel to extend beyond the case Friederike Felbeck Universität Hamburg JUILLET studies considered, and to say something about broader debates over power, The Non-Making of Sadallah Wannous´ Ritual and Signs of Transformations: A 2014 control, creativity and participation presently underway in many parts of the Syrian Play Enters the Syrian Stage – and gets Expelled world.

Brandin Barón-Nusbaum The University of California, Santa Cruz Aspects of Dramaturgy Chair Michael Chemers The Guise of The Guide GP 3.7 Meeting Room 7, Scarman House Vecihe Ozge Zeren Canakkale Onsekiz Mart University Kimberly Jannarone The University of California, Santa Cruz Stage Directions as the Founder Element of Dramaturgical Anaysis in Realistic Unified Movement, Unified Minds Theatre

TUESDAY Paul Rae University of Melbourne Nathaniel Ridley Victoria University of Wellington MARDI Guilty Creatures: On Theatrical Capture How (Not?) to Adapt Chekhov: Adventures in Dramaturgy

29JULY Olga Muratova City University of New York JUILLET Curated Panel - Towards a Chair Susan Haedicke Externalizing an Interior Monologue: “Staging” of Alexandra Chichkanova’s I am 2014 Porous Strata: Me in New York City Jacques Rancière’s This panel brings together three different approaches to questions of Distribution and Dissensus distribution and dissensus in Rancière’s philosophy. Via perspectives from GP3.4 performance, criticism, architecture and classics, it will discuss and situate the Curated Panel - Chair Katherine Mezur Meeting Room 11, Scarman House ways in which Rancière’s critical tools might complicate the notion of strata. By The Stratification of triangulating the question of strata in these specific case studies with theories Okinawan Theatre “Asian” or “Asian-influenced” theatre is now gaining worldwide of political aesthetics and modes of configuration and appearance, the panel GP 3.8 recognition for its role in the emergence of new artistic and cultural seeks to identify the ways in which a philosophy of dissensus might interrogate Meeting Room 6, Scarman House forms in the global age. The interest of theatre scholars in general, the usefulness of stratification as a paradigm for practice in performance, however, seems to be more on experimental productions displayed in the criticism or scholarship. international market rather than on the local Asian theatres, and there WEDNESDAY MERCREDI are misunderstandings around the historical background of those theatres Diana Damian Martin Royal Holloway, University of London, and Royal Central even among the Asian scholars. This is especially true of Okinawan School of Speech and Drama theatre, which kept absorbing “foreign” themes into its indigenous 30JULY JUILLET Configuration and Criticism: Rancière and the Poetics of Resistance culture based on its own mythology, legend and folklore while still affirming its ethnic identity in multiple layers at the 2014 Ella Parry-Davies King’s College London and the National University of boundary of “Japanese” theatre. Singapore ‘Ancient City of the Future’: Reconstruction and Dissensus in Beirut Therefore, we would like to introduce a panel of three members on the issue of the stratification of Okinawan theatre in the general panel Will Shüler Royal Holloway, University of London this year. Kayo Omine, who is disciplined in the study of classical Spectatorship, Universal Learning, and Classical Receptions of Antigone Okinawan language and theatre, first examine the origin of Okinawan theatre and presents her analysis of the four layers of Okinawan theatre. Shoko Yonaha, a theatre critic in Okinawa, will talk on the Shakespearean Layers: Chair John Golder stratification of female performers, with a special focus on Ikuko THURSDAY Architecture and Uema, founder of the first official all-female troupe, Otohime Gekidan. Lastly, JEUDI Archaeology. Michael Holden University of Warwick Masae Suzuki will examine the Okinawan versions of A Midsummer Night’s GP 3.5 Not so Great a Globe - But True Unto Itself Dream produced by Otohime Gekidan and others, using Omine’s theoretical 31JULY Meeting Room 9, Scarman House four layers of stratification to see the politics of gender and regionalism behind JUILLET Franklin J. Hildy University of Maryland them. We hope our panel can be one step to place Okinawan Theatre on the 2014 ‘The Theatre’, Archeological Stratification, and Shakespeare’s Playhouses map of World Theatre.

Nicholas Helm Independent Scholar and Kathy Dacre Rose Bruford College Kayo Omine Research Institute of Okinawa Prefectual University of Arts Shakespeare North: Theatre Architecture as a Key to Urban Regeneration The Stratification of Okinawan Theatre – from “Marebito” to Internet

Shoko Yonaha The University of Ryukyus Gender Stratification in Okinawan Theatre with Focus on Ikuko Uema’s Specific Identity Chair Hazem Azmy Global Stages / Global FRIDAY Hierarchies Masae Suzuki Kyoto Sangyo University and Royal Holloway, University of London VENDREDI GP 3.6 Ngozi Udengwu University of Nigeria The Stratification of the “Okinawan” Versions of A Midsummer Night’s Dream – Lecture Theatre, Scarman House Intercultural Adaptations in the Yoruba Popular Travelling Theatre: A Focus on From Rituals to Theatre and Film 01AUGUST Ayox Arishekola Theatre AOÛT 2014 Shashikant N. Barhanpurkar University of Aurangabad Change of Priorities and Practices in Pre and Post Colonial Dalit Theatre in India

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28JULY JUILLET Auditory Stratifications Chair Pamela Karantonis Highbrow, Lowbrow and Chair Mathew Cohen 2014 GP 3.9 Issues of Class Private Dining Room, Scarman Ernst Wolf-Dieter University of Bayreuth Frode Helland University of Oslo House Im/mobile audiences. Wagner and Distributed Aesthetics 2.0 GP 3.12 Ibsen in Practice: Politics and Class in Thomas Ostermeier’s Hedda Gabler Meeting Room 8, Scarman House Aldo Roma Sapienza University of Rome Boris Daussà-Pastor Institut del Teatre, Barcelona Ancestors and Stratification in Roman Baroque Opera: The Dramaturgy of Placing Performance in the Right Space, or The Highbrow-Lowbrow Continuum Giulio Rospigliosi of Kathakali Performance Sabine Kim Mainz University Stratified Sound in Ayumee-aawach Oomama-mowan: Speaking to Their Mother Maria Barrett University of Warwick and Liverpool Institute for Performing Arts TUESDAY Exploring Class in the Field of Theatregoing MARDI

Activist Interventions Chair Matthias Warstat GP 3.10 29JULY JUILLET Rose Whyman Meeting Room 3, Scarman House Christel Stalpaert Ghent University The Actor in System, Ritual Chair 2014 Performing Historical and Ecological Stratification in a Posthuman Era: Thinking and Form Maria Ignatieva The Ohio State University and Drinking Tea with eco-artist Benjamin Verdonck GP 3.13 With or Without the System? The Stanislavski System in Stanislavski’s Work with Meeting Room 10, Scarman House the Moscow Arts Theatre’s Female Actors Nick Wood Royal Central School of Speech and Drama Walking with Manet: A Palimpsestic Approach Maria Kapsali University of Leeds Towards a Training of Immanence: An Exploration of Psychophysical Training Ola Johansson Middlesex University Interdisciplinary Strata in Applied Performance and Activism through Plato’s Theory of Forms

Vicenta Pesutic Universidad de Chile WEDNESDAY Curated Panel - The Actor Enters the Theatre: Towards a Reinscription of the Ritualistic MERCREDI Carole-Ann Upton Why Stratify?: Chair Dimension in Theatrical Creation. Inter/Intra-Disciplinary 30JULY Paradigm shifts and interdisciplinary research will always trouble the confidence JUILLET Methodologies for Studying with which one otherwise might attempt methodological decisions, but it is hard 2014 Cognitive Processes Through to imagine a more challenging set of disciplinary and paradigmatic strata to Excavations of Theatre Chair David Wiles Performance bridge than those presented by art and science. Scholars, scientists, and artists History GP 3.11 engaged in empirical (i.e., experimental and/or practice-based) research in the GP 3.14 Andrew Walker White Stratford University, Virginia Meeting Room 4, Scarman House field of Cognitive Performance Studies are facing issues of methodological Meeting Room 12, Scarman House The Theatre In Byzantium: Notes For Excavations Of Our Most Critical compatibility, differently constituted knowledge claims, competing criteria Millennium of utility, and unequal access to resources as they navigate new terrain. As a result, they are identifying challenges, proposing solutions, and trying them Chieko Hiranoi Hosei University out in practice. In doing so they are not only discovering innovative ways to The Three Layers of Kabuki Activating Tradition integrate approaches across these strata, they are also encountering a need to revisit the value structures and hierarchies associated with knowledge and Tiziana Morosetti University of Oxford THURSDAY JEUDI utility, questioning cultural priorities and aesthetic categories through work The ‘Exotic’ on Stage: Drama as Catalogue which is contributing to topographic shifts across disciplines. 31JULY JUILLET The presenters on this panel will discuss methodological challenges and solutions 2014 from within three current or recent projects that incorporate interdisciplinary City Spaces and Performance methodology and/or involve collaborations between performance scholars/ Sites Chair Thea Brejzek practitioners and scientists. GP 3.15 Meeting Room 1, Scarman House Cristiano Cezarino Rodrigues Federal University of Manas Gerais Scenographic Narratives: Masking Space as a Procedure of Layering Reality Freya Vass-Rhee University of Kent In the Meta-, Somewhat Eluviated: Critiquing Interdisciplinary Metaphors through Arts-Sciences Research Marcela Oteiza Wesleyan University City as Site: How Street Performance Transforms Urban Architecture into Stage During Santiago a Mil Theater Festival, Chile Nicola Shaughnessy University of Kent Performance Impacts: Value, Aesthetics and Non Aesthetics in Encounters with FRIDAY Science Danuta Kuźnicka Institute of Art of the Polish Academy of Sciences VENDREDI New Theatre Venues In Warsaw as Foucault’s Heterotopies

Pil Hansen University of Toronto 01AUGUST Acts of Memory: Methodological Variables AOÛT 2014

062 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 063 MONDAY New Scholars’ Forum LUNDI 28JULY JUILLET Kristan Tetens University of Leicester 2014 An Ethnographic Approach to Understanding Dramatic Censorship in Forum 2 Nineteenth-Century Britain

WEDNESDAY MERCREDI Aspects of Memory; Storytelling and the Body NS 2.1 Shakespeare Around the Chair Margaret Shewring G55, Millburn House World 30JULY University of Manchester JUILLET NS 2.4 Edmund Chow 2014 Chair Yvette Hutchison Meeting Room 2, Scarman House Afghanistan, Shakespeare, and an Ethical Tragedy Of Errors? TUESDAY Lisa Skwirblies University Of Warwick Hiroaki Kato MARDI 14:15 - 15:45 Black Bismarck: An Inquiry into Modes of Re(ad)dressing European Colonialism A Case Study of a Performance of The K-Version of Romeo and Juliet at The Today Sapporo Kiyota High School, Japan 29JULY JUILLET Samantha Manzur Central School of Speech and Drama Isabel Guerrero University of Murcia 2014 Documentation as Performative Event Through the Co-Existence of a Shakespeare and the Carnivalesque: Shakesperean Parodies at the Edinburgh Supplemented Body and an Alive Body Fringe

Leonel Martins Carneiro University of São Paulo Rei Inayama Meiji University Theatricality and Experience: A Study of Attention and Memory at the The Impact of Peter Brook’s A Midsummer Night’s Dream on Japanese Contemporary Scene’s Fruition Shakespeare Production

Anja Katharina Arend University of Salzburg Keiko Oku Meiji University The European Court Ballet in the 19th Century and the ‘Entertainment Dance’ Shakespeare in Japan: SPAC’s A Midsummer Night’s Dream WEDNESDAY Around 1900: A Transatlantic Relationship MERCREDI

Molly Flynn Kings College, University of Cambridge Dance, Body and Figuration Chair Kene Igweonu NS 2.5 30JULY Commemoration and Enactment in Twenty-First Century Russian Documentary JUILLET Theatre Meeting Room 5, Scarman House Jonas Eklund Stockholm University The Sensational Body: A Study of the Audience´s Emotions, the Body on Stage 2014 Performance, Ecology and and a Bearded Man the Consumer Society Chair Susan Haedicke NS 2.2 V. Soumyasri Pawar University of Aurangabad Dancing in a Man’s World: Dasi Attam to Bharatanatyam, a Journey from Temple G56, Millburn House Mohebat Ahmadi University of Melbourne Far Away: Churchill’s ‘Ecological Thought’ to Proscenium Arch

Sofia Varino Stony Brook University Katie Elliott Wimbledon College of Art, University of the Arts London Livescapes: Stratification and Space-Time Dynamics in Harmattan Theater’s Reflection on the Workshop Hemmed Bodies: Testing the Significance of Environmental Performances Costumed-Bodies Through a Study of the Tanztheater Wuppertal THURSDAY JEUDI Silvija Cizaite-Rudokiene Miho Suzuki Waseda University Theatre and Consumers’ Society in Lithuania: From Rebellion to Adaptation The Representation of the Body and the Skin in Caryl Churchill’s A Mouthful of 31JULY Birds JUILLET Cássia Maria Monteiro Federal University of Rio de Janeiro 2014 Spaces that Transform Behaviour: The Scenography of Hélio Oiticica’s Shrinkhla Sahai Jawaharlal Nehru University Environmental Programme Body as the Site of Performance: Exploring Contemporary Performance Practices in India

Chair Christina Nygren Theatre Management, Political Theatre in a Post Funding and Stratification Chair James Harding Colonial World NS 2.3 NS 2.6 Tomoko Seki Waseda University Politics of Narration in the Play: A Dramaturgy of Communication in Simon Meeting Room 1, Scarman House Eleanor Massie Queen Mary University Meeting Room 4, Scarman House Stephens’ Pornography FRIDAY “Nice Town, Y’Know What I Mean?”: Racial Mimicry, Professional Play and VENDREDI Amateur Dramatics in Hitchin Abin Chakraborty Budge Budge Institute of Technology All the World’s a Stage: Utpal Dutt’s International Imaginings in the Evolution of 01AUGUST Eszter Szabó Bolyai University AOÛT Revolutionary Theatre Layers of Theatre Management in 19th-Century Transylvania 2014 Nora Haakh Freie Universität Berlin Venkata Naresh Burla Central University of Jharkhand Contemporary Arabic Theatre: Orientalist Discourse and the German Stage, Transforming Stratification in Contemporary Telugu Theatre Theatre Practice as Research

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28JULY JUILLET Elisa Martins Belém Universidade Federal de Minas Gerais Aspects of Terror and Trauma Chair Helen Gilbert 2014 Body Training in Latin American Theatre Groups: Undoing Colonialism NS 2.10 Meeting Room 8, Scarman House Pedzisai Maedza University of Cape Town Monica Insinga University College Dublin Exhibit B: Interrogating European Colonial Atrocities in Africa An Irish Liolà? Pirandello Revised and Revisited by the National Theatre, London Manjari Mukherjee Jawaharlal Nehru University Distributing the Insensible: Assessing Lightning Testimonies Women on Stage; Aspects of Chair Jan Clarke Performance and Ideology Esmaeil Najar Daronkolae The Ohio State University Natália da Silva Perez Freie Universität Berlin and the University of Kent Ta’zieh: The Persian Condolence Theatre NS 2.7 TUESDAY Lecture Theatre, Scarman House Pastoral Drama and the Querelle des Femmes: Andreini, Campiglia and Tasso MARDI Jennifer Thompson City University of New York Rebecca Flynn University of Calgary “A Story That Wasn’t Being Told:” The Poetics and Reception of Traumatic 29JULY Suffragettes Under Cover: The Role of the Comic Female in Evelyn Glover’s Representation in Lynn Nottage’s Ruined JUILLET Suffrage Comedy A Chat with Mrs Chicky 2014 Elisabeth Massana University of Barcelona Jirye Lee The Ohio State University Bodies On/Off Stage: Towards an Analysis of the Performance of Terror in Post- Staging Herself: Autobiographical Solo Performance by Lenelle Moïse and 9/11 British Theatre Vanessa Hidary

Maria Gullstam Stockholm University Intermediality - New Media Virtue and Folly: A Woman’s World of Ideas During the Late Eighteenth Century NS 2.11 Chair Milena Grass Meeting Room 6, Scarman House Hannah Phillips University of Warwick Using Digital Technology in Applied Performance Work for Young People WEDNESDAY MERCREDI Immersive Theatre, the Chair Joshua Edelman Prison, the Navy and the Julio Provencio Université Libre de Bruxelles Devil Nandita Dinesh Mahindra United World College and University of Cape Town Intermediality as a Weapon: New Formal Strategies in Performance for a New 30JULY NS 2.8 JUILLET In the Shoes of an(Other): Toward a Definition of Immersive Theatre Media Society 2014 Meeting Room 9, Scarman House Sarah Penny University of Warwick Kornélia Deres Eötvös Loránd University Crossing the Line: Rites and Rituals in the Royal Navy Performing Time in Moving House Company

Paulina Sarkis Pontificia Universidad Católica de Chile Itziar Zorita Agirre Universitat Autònoma de Barcelona Prison Theatre in Chile: A Cross Between Individual and Institutional Initiatives The Spectator’s Mutation within Intermedial Performance

Lekan Balogun Victoria University of Wellington Alison Stone University of Otago Laalu Gbode! : Adaptations and the African/Caribbean Theatre of the ‘Devil’ Screening the Stage: False Gaze in the NT Live: Othello (2013) THURSDAY JEUDI

Performance in Times of Contemporary Playwriting 31JULY Transition Into/Out of Chair Hanna Korsberg and Theatre Making Chair Silvija Jestrovic JUILLET Dictatorship and Unrest II NS 2.12 2014 NS 2.9 Deimante Dementaviciute-Stankuviene Vytautas Magnus University Meeting Room 10, Scarman House Charlott Neuhauser University of Stockholm Change and Deconstruction of Stage Hero in Post-Soviet Lithuanian Theatre Terrible, Unplayed and Newly Written - The History of the New Swedish Play Meeting Room 3, Scarman House Soji Cole University of Ibadan Cath Badham University of Sheffield Post-Apartheid Stratification: The Trauma of Shattered Assumption in John Asking Questions: An Analysis of Interviews Undertaken for a Study of the Plays Kani’s Nothing but the Truth of Philip Ridley

Robert Croton Keele University Noah Birksted-Breen Queen Mary University of London Post-Apartheid Contradictions: Strategies In Post-Millenial South African The Ideology in the Art: Russian Playwriting in Putin’s Russia FRIDAY Theatre And Culture VENDREDI Brink Scholtz University of Cape Town Samer Al-Saber Davidson College Strata of Dialogue in Collaboratively Devised Performance: The Dramaturgy of 01AUGUST All Roads Lead to Jerusalem: Palestine, Theatre, Law, and Resistance Beyond Vice AOÛT 2014 Noémi Herczog University of Theatre and Film, Budapest Zerihun Sira Addis Ababa University Ban it if You Must Encountering Modernity: Establishing, Shaping and Interpreting Ethiopia and Ethiopian Theatre Through Modernity

066 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 067 MONDAY General Panels LUNDI 28JULY JUILLET Performance in the Public Chair Tim White 2014 Sphere NS 2.13 Karen Quigley University of Chester Panel 4 G53, Millburn House Layering Meaning: Practicing and Teaching Site-Specific Performance in WEDNESDAY Chester City Centre MERCREDI Theatre Architecture Working Group Sponsored Panel: Authoring Environments: Performance, Pageantry and Protest Pujya Ghosh Jawaharlal Nehru University GP 4.1 30JULY Bringing Back “Political Theatre” through TEPANTOR (Unbound Space) JUILLET Lecture Theatre, Scarman House 2014 Natalie Lee University of Hull Co-Chairs Andrew Filmer and Juliet Rufford TUESDAY Process and Product: Participatory Arts Practice and Social Housing MARDI 16:30 - 18:00 Shilarna Stokes The Ohio State University Abheesh S. Sasidharan Hyderabad Central University Crowd Compositions: Landscapes, Ruins and Wagnerian Spectatorship in the 29JULY Is it Theatre or Other? Looking at an Interactive Performance Sherborne and Warwick Pageants JUILLET 2014 Hari Marini Queen Mary, University of London Theatre Analysis II Chair Peter W. Marx Walking in the Streets of Athens: A Reflection on Graffiti and Architecture NS 2.14 Meeting Room 7, Scarman House Christopher O’Shaughnessy Goldsmiths, University of London Roger Owen Prifysgol Aberystwyth University Combing the Fringe of Indefinite Extent: Spiritual Layering in T.S. Eliot’sMurder ‘Cofiwch Dryweryn’ as an Enactment of Iconicity and Decay in the Cathedral

Mrunal Chavda University of Exeter Performance Analysis of Where Did I Leave My Purdah? The Dangerous Liaisons Moderator James Harding of Terror and Performance: A WEDNESDAY MERCREDI Marija Tepavac Univeristy of Vienna Roundtable Discussion Rustom Bharucha Jawaharlal Nehru University GP 4.2 Gavrilo Princip: This Theater is Too Small For Me Woods Scawen Room, Warwick Arts Respondants: 30JULY Centre JUILLET Kayla Meredith University of Newcastle, New South Wales A Case Study of the ‘Small-Scale Puppets’ of Australian Performer Bronwyn Marvin Carlson City University of New York 2014 Vaughn Sruti Bala University of Amsterdam Paul Rae University of Melbourne Naz Yeni Anglia Ruskin University Meaning-Making Within Alternative Realities: Stylistics of the Multiverse in Einstein on the Beach Actor Training: Methods, Chair Konstantinos Thomaidis Layers and Stages GP 4.3 Comedy, Parody and Satire Chair Jim Davis Stefan Aquilina University of Malta Meeting Room 3, Scarman House NS 2.15 Training the Amateur Actor: the Manoel Theatre Academy of Dramatic Art THURSDAY G57, Millburn House Izuu Nwankwo Gombe State University (1977-80) JEUDI Theatre Where There are No Theatres: Stand-Up Comedy and the Making of New Theatre in Nigeria Anna Makrzanowska Rose Bruford College 31JULY Actor Training as The Missing Performance Event: How is Performer Training JUILLET Kaori Miyagawa Meiji University Stratified? 2014 Japanizing modern British Comedy: Kaoru Morimoto and his Contemporaries W. Somerset Maugham and Noël Coward Fabiola Camuti Sapienza, University of Rome and University of Amsterdam Training as a Complex System: How Meditation Practices Nourish the Layered Kristina Trajanovska Sts Cyril and Methodius University Actor System of Knowledge Parody and Logocentricism in Tom Stoppard’s Dogg’s Hamlet and Cahoot’s Macbeth

Chelsea Phillips The Ohio State University Curated Panel - Political Chair Josh Abrams Scandal and Satire in the Career of Dorothy Jordan Others: Excavating Animality FRIDAY in Performance The aim of this panel is to revisit central questions that surround animality in VENDREDI GP 4.4 contemporary performance with a specific focus on the relation between Meeting Room 9, Scarman House political structures or hierarchies in the human-animal conjunction and 01AUGUST the radically ‘other’ subjectivity of the non-human animal in cross-species AOÛT performance. The consistent and considerably sceptical position among radical 2014 political and cultural theorists has been to view ‘the question of the animal’ as another complication that derives from a kind of bourgeois activism and thus further problematises the already troubled terrain of a fragmented political left

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28JULY by raising yet another mode of identity politics. But it has also brought attention Samantha Mitschke University of Birmingham JUILLET to the identifiably political construction of the ‘sub-ject’ (as literally a vessel to be Holocaust Theatre in the Approach of the Post-Survivor Age: Where Do We Go 2014 filled instead of an autonomous sovereign) whose multiple layers are positioned From Here? in relation to functioning political, cultural and economic hierarchical structures within the anthropocene. In confronting the animal in performance, therefore, this panel wishes to consider the stratification of a radically ‘other’ subjectivity Practice / Research I Chair Joslin McKinney with the aim of rethinking its significance not only in terms of its relation being the historical byproduct of modernist anthropocentric culture but in terms of GP 4.8 Walmeri Ribeiro Federal University of Ceará whether it can function as a potent catalyst that ‘heats up’ and exposes the Meeting Room 10, Scarman House LAB Other Places, Formats and Practices in Performance: Experiences and surface of social realities and politics, and thus, aids the process of challenging Discussions About Performance as Research and moving beyond them. TUESDAY Francisco González Castro and Andrea Pelegrí Kristić Pontificia Universidad MARDI Jennifer Parker-Starbuck Roehampton University Católica de Chile Cracking the Surfaces: The Political Staging of Animal Dissensus Playing the Game: A PaR Prototype Project at a Chilean University 29JULY JUILLET Eve Katsouraki University of East London Frank Camilleri University of Malta 2014 Neoliberalising Stratification: Creaturely Matters of the Abject Layering ‘Habitational Action’: Stratification Processes in Icarus Performance Project Mariel Jana Supka Roehampton University Site-Based Performance as Platform for a Political Ecology: Exploring Cohabitation with Non-Native Animals Performing Medieval Hierarchies Chair Andrew Walker White Activist Visions and GP 4.9 Performance Politics Chair Tim White Meeting Room 7, Scarman House John Andreasen Aarhus University in Denmark The Aarhus Play - A Modern-Medieval Cycle GP 4.5 Nesreen Hussein Middlesex University WEDNESDAY Meeting Room 2, Scarman House MERCREDI Performance as a Gesture of Resistance in No Time for Art Christopher Swift City University of New York Peeling the Cosmic Onion: Medieval Performance of Universal Divinity in Small University of Vienna Places 30JULY Daniela Pillgrab JUILLET Unmaking Theatre: Globalization as Method Holly Maples University of East Anglia 2014 Radka Kunderová Janáček Academy of Music and Performing Arts Performing a Myth of Multicultural Origin: The George Washington Bicentenary’s Resisting Stratification in the Cold War: Western and Eastern Theatres in the Wakefield Pageant Joint Production Together (1983)

Recontextualising Dance Pedagogical Perspectives Chair Raffaele Furno Traditions Chair Sarah Whatley Panel GP 4.6 GP 4.10 Ian Watson Rutgers University Meeting Room 5, Scarman House Meeting Room 6, Scarman House Debanjali Biswas King’s College, London. The Stratification of Performance in Knowledge Acquisition: Progressive THURSDAY Text. Dance. Legacy: The Many Representations of Naachni Pedagogy and the Foreign Language Classroom JEUDI

Tanja Klankert Institute of Advanced Study in the Humanities, Bern Annouchka Bayley University of Warwick 31JULY Japonism in European Stage Dance from 1890 to 1930 (De)territorializing Disciplines: Reframing Concepts of ‘Global Knowledge JUILLET Markets’ in Business Studies through Practice-as-Research based Pedagogic 2014 Isabel Valverde Fundação para a Ciência e a Tecnologia Interventions. A Case in-Progress How Do You Dance With Your Avatar? Dance-Technology Interfaces within the Second Life® Platform Pia Elisabeth Strickler Zurich University of the Arts Director or Pedagogue? – The Function of the Teacher in the Classroom of a Drama School

Victims, Survivors and Chair Victor Emeljanow Martyrs in a Performance Chair Esther Kim Lee Perspectives on the Strata of FRIDAY Context María Estrada-Fuentes University of Warwick U.S. Theatre History VENDREDI GP 4.7 Becoming Citizens: Ex-Combatants’ Perspectives on the Reintegration in GP 4.11 Seunghyun Hwang The Ohio State University Meeting Room 1, Scarman House Colombia Meeting Room 8, Scarman House Stratification of Asians in Cold War America: Foreigner to Family in Leonard 01AUGUST Spigelgass’ A Majority of One AOÛT David Hammerbeck Nazarbayev University 2014 Self-Immolation in Tibet as Political Protest: Performance as a Terminal Act Roaa Ali University of Birmingham The Politics of In/visibility and Gendered Privileging in Arab American Theatre

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28JULY Mary Caulfield State University of New York and Christopher Collins Trinity JUILLET College Dublin Astrid von Rosen University of Gothenburg 2014 Performing Irish-American Heritage Scenographing the Archive: Staging Multilayered Complexities in Local Dance Culture

Rikard Hoogland Stockholm University Francophone Encounters A Burning Theatre Archive GP 4.12 Chair Kate Astbury Meeting Room 12, Scarman House Rehearsals, Prompters and Yana Meerzon University of Ottawa Spectators Chair Margaret Shewring Between I, Je and : Staging the heteroglossia of exilic autobiography GP 4.16 TUESDAY National Grid Room, Warwick Arts Jurgita Staniškytė Vytautas Magnus University MARDI Martha Walker Mary Baldwin College Centre Creating Audience: Spectatorship, Politics and the Rules of Aesthetic Excavating Layers of Theater History and Politics at Senegal’s National Theater Communication in Lithuanian Theatre 29JULY JUILLET Thamer Arana Viktoria Volkova Freie Universität Berlin 2014 Sur les mal nommée, adaptations Rehearsals as a Method of Stratification in Director’s Theatre

The Voice in Performance GP 4.13 Chair Mario Frendo Meeting Room 4, Scarman House Takeshi Kawashima, Doshisha University Floating England: Voices in the Air in the BBC Third Programme

, Freie Universität Berlin WEDNESDAY Jan Creutzenberg MERCREDI Traditional Performance for Today’s Audiences: Korean Singing-Storytelling Pansor 30JULY JUILLET Subhra Goswami, Ranjanee Inc. Music in Theatre, Music as a Resistance to ‘Theatre’ 2014

Audience, Space and Context GP 4.14 Chair Heike Roms Private Dining Room, Scarman House Hyun Shik Ju Sungkyul University Two Topographies of North Korea’s Theater : Smooth or Striated?

Adam Alston University of Surrey THURSDAY Frustrating Participation: Shunt’s The Architects as Postimmersive Theatre JEUDI

Monica Prendergast University of Victoria, Victoria, BC Canada 31JULY Sharing the Wealth: Performance Studies in the Educational Lives of Young JUILLET People 2014

Curated Panel - Dancing Chair Willmar Sauter with ‘Burning’ Archives: Investigating Local The papers in the panel Dancing with ‘Burning’ Archives: Investigating Local Performance Cultures and Performance Cultures and their Historical Traces discuss various modes Their Historical Traces. of re-evaluating the years that internationally have been characterized as GP 4.15 the period of the modern breakthrough in performing arts. It is argued that Meeting Room 11, Scarman House FRIDAY performance history benefits from investigating local source material from a VENDREDI country (Sweden) existing in the margins of the Western geography in which modernism has traditionally been located. In addition, the activation of archival 01AUGUST sources through different innovative frameworks deconstructs common held AOÛT historiographical assumptions and sets powerful counter narratives in motion. 2014

Lena Hammergren Stockholm University Madness or Religion? Revisiting a Danced Modernism through Local Archives

072 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 073 MONDAY General Panels LUNDI 28JULY JUILLET Political Performances Chair Paola Botham 2014 Working Group Sponsored Panel 5 Panel - Resisting Social José R. Prado Universitat Jaume I de Castelló Stratification in a Resisting Stratification and Opposing Neoliberalism: The Case of the Theatre THURSDAY Neoliberal(ising) Europe JEUDI Artists’ Round Table Uncut Project GP 5.1 GP 5.3 Woods Scawen Room, Warwick Arts Centre Meeting Room 9, Scarman House Ilaria Pinna University of Exeter 31JULY JUILLET Theatre and the #occupy Movement in Italy: The Case of Teatro Valle 2014 Chair Yvon Bonenfant Pieter Verstraete Bilgi University Istanbul TUESDAY The Artists’ Round Table will provide an opportunity to hear, directly from ResIstanbul: Turkey’s Gezi Spirit and its Ghosts in Performance MARDI 11:15 - 12:45 the artists, more about their experimental practices, curated as part of the conference’s cultural programme. The specially curated programme for the 29JULY IFTR conference includes works on stage, on site and off site in the form of Practice / Research II Chair Annette Arlander JUILLET theatre, dance, live art, film, installation and site-specific work. The delegates, as GP 5.4 2014 the panel audience, will also have a chance to engage in conversation with the Meeting Room 2, Scarman House Don Weingust Southern Utah University artists through a question and answer session. This is a unique occasion to find Performance as Research: The Problem of Original Practices out more about the ways artists in the official programme are using practice as research and performance as research to explore issues and themes of interest Paul Clarke University of Bristol in their work. The diversity of their approaches is reflected through different Practitioner-Researchers as “Maroons” Within the University methodological and epistemological approaches, a variety of art forms they engage with, and the fact that they are coming to present work from as close as Coventry, Birmingham and London, and as far as Vitoria Gasteiz and San Francisco. Women and Stratification Chair Lesley Ferris GP 5.5 WEDNESDAY MERCREDI Participating artists and companies include: Meeting Room 10, Scarman House Katharine Cockin University of Hull Ellen Terry (1847-1928) and the Masque at the Scala: Women’s Suffrage Drama Curious and Stratification 30JULY JUILLET Earthrise Repair Shop Motionhouse Anna Birch Royal Conservatoire of Scotland 2014 Natasha Davis Fragments, Monuments: Stratification in A Pageant of Great Women (2011) Sheila Ghelani Sleepwalk Collective Kathryn Moncrief Washington College Stan’s Cafe ‘Then Let Them Anatomize Regan’: Performance, Space, and the Reproductive straybird Body in King Lear Talking Birds

Resisting Stratification Chair Meike Wagner GP 5.6 THURSDAY Curated Panel - Making Chair Margaret Shewring Meeting Room 7, Scarman House Tony McCaffrey University of Canterbury JEUDI Space for Performance: From ‘Institutional Theatricals’ to Theatrical Institutions: The Untold Histories of The Role of the Theatre This panel arises from the Warwick MA in Theatre Consultancy and includes five Performers with Intellectual Disabilities Inhabiting and Resisting Being on Stage 31JULY Consultant short papers, each by a professional theatre consultant. Together the papers will JUILLET GP 5.2 offer an overview of the place of theatre consultancy in the design, building and Dariusz Kosiński Jagiellonian University 2014 Meeting Room 5, Scarman House engineering of spaces for a wide range of performance genres and on a variety The Theatre of Restratification and Destratification: The Case of Polish of scales from studios to multi-venue arts centres. They will invite consideration Historical Policy of the place of theatres in their communities and of the future sustainability of theatres in the built environment. Ramakrishnan Muthiah Central University of Jharkhand Resisting the Stratified World: Understading the Role of Performing Arts of Peter Ruthven Hall Charcoalblue Marginalized Indigenous and Tribal Communities in the Globalization Context

Anne Minors Anne Minors Performance Consultants

FRIDAY John Riddell Theatre Projects Consultants Stratification in Black and Chair Marcus Tan VENDREDI White Tom Lamming Theatre Projects Consultants Megan Lewis University of Massachusetts GP 5.7 01AUGUST Meeting Room 6, Scarman House Objecting to/Abjecting Whiteness: Excavating Whiteness in the Global AOÛT Gavin Owen Charcoalblue Postcolony 2014

Yvette Hutchison University of Warwick Black Box/White Space: Art, Exhibition and the Performative Layering of History

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28JULY JUILLET Rantimi Jays Julius-Adeoye Redeemer’s University Theatre and the Documents Chair Joanna Bucknall 2014 Theatre Performances and Audience Segregation in Nigeria of History GP 5.12 Mercè Saumell Institut del Teatre, Barcelona Private Dining Room, Millburn Layered Documentation: On the Process of Documentating Contemporary Sites of Memory Chair Milija Gluhovic House Dance and Physical Theatre GP 5.8 Meeting Room 11, Scarman House Nelson Barre National University of Ireland, Galway Nataša Glišić University of Banja Luka in Republik of Srpska Human Palimpsests and Layered Storytelling: Ritual, Memory, and Oral Staging History: 1914 - Theatrical Performing Documents and Searching for Stratification in Enda Walsh’s The Small Things Answers

TUESDAY Sally Jane Norman University of Sussex Laura Higgins Oxford Brookes University MARDI “Reality of the Lowest Rank”: Strategies of Stratification in Works by Tadeusz ‘The Abstract and Brief Chronicles of the Time’: Redefining the ‘History Play’ Kantor through Twenty-First Century Drama 29JULY JUILLET Edgaras Klivis Vytautas Magnus University 2014 Reflecting Upon Theatre as a Public Sphere in the Baltic States Restrictive Representations Chair Gillian Arrighi GP 5.13 Meeting Room 1, Scarman House Sarah Youssef University of Cologne Chilean Theatre Chair Maria Delgado Staging Captivity: Stratifying Monstrous Identities GP 5.9 G56, Millburn House Javiera Larrain Pontificia Universidad Católica de Chile - CONICYT Gay Morris University of Cape Town Theatre Directing in Chile, 1940-1979: An Approach Towards the Ideological Undermining Stratification: Transgressing the Determinants of Theatrical Status Constructs of the Stage Ursula Neuerburg-Denzer Concordia University Pontificia Universidad Católica de Valparaíso The Making of Attawapiskat is no Exception WEDNESDAY Marcia Martínez Carvajal MERCREDI Isidora Aguirre’s Theatre: Scene, History and Body Beyond Chile

Universidad Andres Bello, Chile Rethinking Theatre History Chair Claire Cochrane 30JULY María Gabriela Huidobro JUILLET Nationalism and Stereotypes: Towards the Popularization of the Chilean Theatre GP 5.14 Meeting Room 8, Scarman House Dan Rebellato Royal Holloway, University of London 2014 Naturalist Theatre and Necrophilia Scenography and Set Design: Chair Rachel Hann Historical Perspectives Claire Borody University of Winnipeg Stratification and Evolving Performance Form GP 5.10 Emmanouela Vogiatzaki University of Peloponnisos G53, Millburn House Set Design: Contemporary Reflections and Social Statements Maria Heinzer University of Berne Katarzyna Zawistowska The Academy of Fine Arts, Gdansk Rethinking Theatre History: The Concept of Theatricality by Rudolf Münz INTER|Auditorium. The Architecture of the Auditorium and the City. THURSDAY JEUDI Eric Alexander and Catherine Leeney University College Dublin Curated Panel - Breaking Chair Elaine Aston Yeats’ The Only Jealousy of Emer: Staging Strangeness the Chains of Command: This panel explores work by contemporary women playwrights and performance Contemporary Women 31JULY Playwrights of Color artists of color in the USA who illuminate, engage, and resist forms of social, JUILLET Theatre and its Political Chair Bianca Michaels GP 5.15 economic, and aesthetic stratification. These papers ask: what are the different 2014 Contexts Lecture Theatre, Scarman House layers - and patterns of layering - that create hierarchies of race, class, gender, and sexuality in the American theater. How are cultural values transmitted GP 5.11 Brian Singleton Trinity College Dublin through artistic practices, both among audiences and across time through G55, Millburn House Layering the Lockout: ANU Productions’ Re-membering of Ireland’s Socialist Revolution historical and theatrical lineages? Is there a perceptible stratification between female artists of color who employ experimental techniques and those who Bryce Lease Royal Holloway, University of London work in a realist or melodramatic vein? Which modes of performance tend to Matka Polska, do widzenia! Feminism as the New Left stratify audiences and critics, and when might this be a beneficial or sought after effect?

Paul Murphy Queen’s University Belfast FRIDAY Contemporary Theatre, Social Democracy and the Pathology of Neoliberal Esther Lee University of Maryland VENDREDI Practices Asian Avant-Garde and Asian American Theatre: A Comparative Study of Yoko Ono and Young Jean Lee 01AUGUST AOÛT Sara Warner Cornell University 2014 Object Lessons: How History Matters in the Plays of Adrienne Kennedy and Suzan-Lori Parks

076 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 077 MONDAY General Panels LUNDI 28JULY JUILLET Translation, Adaptation and Chair Bernadette Cochrane 2014 Dramaturgy Working Group Sponsored Panel Katja Krebs University of Bristol Panel 6 GP 5.16 Quasi-Translation: Adapting the Foreign THURSDAY Meeting Room 4, Scarman House JEUDI Arabic Theatre Working Group Sponsored Panel - After the Maria Mytilinaki City University of New York, The Graduate Center Spring: Layers of Conflicting Meanings on the Present-Day Dramaturgy of Foreignization? Arab Stage 31JULY JUILLET GP 6.1 Jane Turner Manchester Metropolitan University 2014 Lecture Theatre, Scarman House Document of an Outsider TUESDAY 14:15 - 15:45 Chair Marvin Carlson MARDI Katherine Hennessey American Institute for Yemeni Studies & Sana’a University 29JULY Satire, Strikes, and Storming the Stage: How Yemen Celebrates World Theatre JUILLET Day 2014

George Potter Valparaiso University, USA Neoliberal Authoritarianism and Digital Media: Performing Comedy Online in Amman

Hazem Azmy Ain Shams University, Egypt Competing Gazes And Multi-Voiced Monologues: The Double Case History Of The Post-30 June Egyptian Stage

WEDNESDAY The Society of Theatre MERCREDI Consultants’ Sponsored Panel This panel has been curated by Michael Holden of the Society for Theatre GP 6.2 Consultants. The Society for Theatre Consultants has kindly sponsored the IFTR 30JULY Meeting Room 11, Scarman House Warwick World Congress. JUILLET 2014 Chair Michael Holden

Julian Bowsher Museum of London Archaeology The Archaeological Contribution to Shakespearean Playhouses: Form and Function

Elizabeth Hirst Independent Scholar Architectural Paint Research and its Use to Inform Treatment Specifications

THURSDAY David Wilmore Independent Scholar JEUDI Unpicking the Alterations

31JULY JUILLET 2014 Intermediality Working Co-Chairs Ralf Remshardt and Aneta Mancewicz Group Sponsored Panel- Surveillance, Liveness, Eirini Nedelkopoulou York St John University Journeys: Stratifications of Participate or Else…: A Story or Two About Ubiquitous Intermedial Practice Intermedial Performance GP 6.3 Joanne Scott Royal Central School of Speech and Drama Meeting Room 5, Scarman House Formation and Cut: The Distinct Stratification of Live Media Performance

Karen Savage University of Lincoln FRIDAY I Want to See the World: Stratifying Wanders VENDREDI

High Notes, Low Notes, Chair Dominic Symonds 01AUGUST and the Politics of Music in AOÛT 2014 Theatre Austin Emielu University of Ilorin GP 6.4 From Highlife to ‘Low Life’: Social Stratification and Contemporary African G56, Millburn House Music Performaces in Nigeria

078 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 079 MONDAY LUNDI

28JULY Virginie Magnat University of British Columbia JUILLET When Traditional Songs Resist Nationalist Constructions of Culture and Tradition Audience Encounters Chair Peter Eversmann 2014 GP 6.9 Meeting Room 7, Scarman House Sara Granath Sodertorns hogskola, Stockholm Contemporary Irish Theatre Chair Wallace McDowell The Place and Role of the Audience in Some Swedish Theatres GP 6.5 Meeting Room 1, Scarman House Bisi Adigun Kwara State University Rachel King University of Warwick and Natalie Hart University of Warwick “Where Are You From?” The Questions of Home, Immigration and Identity in “Opening Doors” to New Audiences: Exploring the Theory and Practice of Contemporary Irish Theatre ‘Hospitality’ in Two UK-based Regional Arts Organisations

Lisa Fitzgerald National University of Ireland, Galway TUESDAY Ballybeg: The Construction of Memory and the Performance of Place in Irish MARDI Theatre National Theatres, Global Chair Nadine Holdsworth Hierarchies GP 6.10 29JULY Thomas Saunders Queen’s University Belfast Inmaculada Lopez Silva Escola Superior de Arte Dramática de Galicia JUILLET Meeting Room 4, Scarman House Sent to Coventry: Exile and the Royal Ulster Constabulary in the Work of Ron Elements for the Study of the Ethnoaesthetic Construction of Western National 2014 Hutchinson Theatres

Chihoko Matsuda Senshu University Strata of Bengali Theatre National Theatres in The Global Age: A Perspective GP 6.6 Chair Yvette Hutchison Meeting Room 6, Scarman House Jen Harvie Queen Mary, University of London Trina Nileena Banerjee Centre for Studies in Social Sciences, Calcutta The National Theatre as Patron Utpal Dutt: Labour, Revolutionary Organisation and the Question of ‘Love’

Budge Budge Institute Of Technology, Kolkata Theatre and the Hierarchies Denise Varney WEDNESDAY Tithi Chakraborty Chair MERCREDI Draupadi’s Mahabharat: Bengali Theatre and its Representation on Stage of Gender GP 6.11 Elaine Aston Lancaster University , Budge Budge Institute of Technology Meeting Room 8, Scarman House Between India and Britain, Forming the Feminist Layers of Anupama 30JULY Priyanka Chatterjee JUILLET The Role of Theatre in the Transition of Bengal’s Political Order Chandrasekhar’s New Playwriting 2014 Fathoming Dance Janice Norwood University of Hertfordshire GP 6.7 Chair Urmimala Sarkar Nineteenth-Century Lines of Business and the Heavy Woman Meeting Room 2, Scarman House Stefanie Sachsenmaier Middlesex University and Susan Melrose Middlesex Kevin Landis University of Colorado University I Just Like Pearls: Julian Eltinge’s Gender Stratification Time’s Markings/Marking Times: Rosemary Butcher’s Secrets of the Open Sea

Jane Alexandre Independent Scholar Curated Panel - Chair Frederik Le Roy Moving On: Toward a New View of Dance The Director’s Laboratory: THURSDAY Probing the Genesis of Research tracing the genesis of the creation processes in contemporary JEUDI Nigel Stewart Lancaster University Theatre director’s theatre, make visible a great variety of working methods - “each Moving in Medias Res: Towards a Phenomenological Hermeneutics of GP 6.12 work creates its own method” the Belgian theatre and dance dramaturge 31JULY Contemporary Dance Meeting Room 9, Scarman House Marianne Van Kerkhoven once noted – that hardly ever follow a predetermined, JUILLET linear path from inception to result. Collaboration between the director and 2014 different collaborators (performers, sound and image designers, dramaturges Performance and Palimpsests or technicians), as well as the interdisciplinary and intermedial nature of many Chair Irene Scaturro of these works make for far more diffuse and complex creation processes GP 6.8 than preset models of production make lead us to believe. Even the staging Meeting Room 3, Scarman House Victoria Alesenkova Theatre Institute of Saratov State Conservatoire of a classical playtext becomes far more than its transposition ‘from page to Symbolic Image In Theatre Practice stage’; the working methods of contemporary Regietheater likewise suggest an interweaving of strata and strategies. For this panel, three presenters, Stephen Purcell University of Warwick each using different methods of access, will focus on the creation process Performance/Writing/Performance/Writing: The Sedimentary Texts of Doctor of a different contemporary theatre director to probe and unravel the strata FRIDAY Faustus of theatrical creation. Luk Van den Dries will investigate Romeo Castellucci’s VENDREDI ‘director’s notebooks’, Peter Boenisch will undertake a dialectical analysis of Alexandra Portmann University of Berne the rehearsal process of a play by Thomas Ostermeier and Clarisse Bardiot will 01AUGUST Hamlet as a Playground for Negotiation of Conflicting Memory Discourses discuss a digital conservation platform used to document the technological AOÛT theatre of Jean-François Peyret. 2014

Luk Van den Dries Universiteit Antwerpen The Director’s Notebook: Romeo Castellucci

080 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 081 MONDAY Working Groups LUNDI 28JULY Peter Boenisch University of Kent JUILLET The Dialectical Layering of Contemporary Regie: A Case Study on the Theatre 2014 Work of Thomas Ostermeier Session 5 Clarisse Bardiot Université de Valenciennes THURSDAY Theater Research and Big Data: Using Rekall to Document Re-Walden, a Digital JEUDI African and Caribbean Theatre and Performance Performance by Jean-François Peyret Meeting Room 1, Scarman House 16:30 - 18:00 31JULY Curated Panel: Development JUILLET of Theatre Organizational Chair Kim Skjoldager-Nielsen 2014 Keithley Woolward College of the Bahamas Systems in the EU Countries Theater, Memory and National Consciousness in the Work of Edouard Glissant TUESDAY GP 6.13 Daria Kubiak University of Lodz 16:30 - 18:00 MARDI Meeting Room 10, Scarman House Stratificated Theatre: How National and EU Financing Systems Influence David Donkor Texas A&M University Theatres’ Activities in Poland What’s in a Handshake: Embodied Politics and the Performance of American 29JULY Soft Power at Ghana’s Independence Celebrations JUILLET Bianca Michaels Ludwig-Maximilians-Universität München 2014 “It’s the Institution, Stupid” Notes on the Institutional Change of German Public Ekua Ekumah Goldsmith’s, University of Ghana Theatres in the Last Century Roverman Productions: A New Ghanaian Popular Theatre? Ina Pukelytė Kaunas Vytautas Magnus University Theatre as a Service: Development of Communicative Strategies in Lithuanian National Theatres Arabic Theatre Marvin Carlson & Hazem Azmy Meeting Room 3, Scarman House Conclusion of Arabic Theatre Working Group’s Annual Meeting Karolina Prykowska Michalak University of Lodz 16:30 - 18:00 Development of the Theatre Organizational Systems in the EU countries Overview of Emerging Thematic Convergences and Connections WEDNESDAY MERCREDI Preview of Future Plans On the Space of Performance Chair Irene Eynat-Confino and the Performance of 30JULY JUILLET Space University of Warwick Silvija Jestrovic Asian Theatre Matthew Isaac Cohen Royal Holloway, University of London GP 6.14 2014 Stratification and the City: Belgrade Itineraries Private Dining Room, Scarman The Heyday of Popular Theatre (in Indonesia) G53, Millburn House House The Bartlett School of Architecture, University College London Popi Iacovou Shih-Lung Lo Paris Diderot University Building as Tableau Vivant: The Case of the Casa Malaparte 16:30 - 18:00 Translating Modernity: Labiche Comedy in Modern China

Rūta Mažeikienė Vytautas Magnus University, Kaunas, Lithuania On the Multi-Layered Nature of Site-Specific Performance Choreography and Paper distribution to be decided in the first Working Group meeting. For a list of

Performative Hierarchies Chair James Harding Corporeality speakers please see Working Group Session 1 THURSDAY in Cuba and Catalonia, and G53, Millburn House JEUDI Argentina Orestes Pérez Estanquero Universidad de las Artes de Cuba (ISA) / Universitat 16:30 - 18:00 GP 6.15 Autònoma 31JULY Woods Scawen Room, Warwick Arts Hierarchical Changes Between Characters and Actors / Actors and Spectators: JUILLET Centre Cuban and Catalan examples 2014 Digital Humanities in Theatre Derek Miller Harvard University Research Visualizing Broadway: A Project in the Digital Humanities Maria Delgado Queen Mary, University of London G50, Millburn House Politics, Nationhood and Recession: Staging la Crisis in Catalonia 16:30 - 18:00 Dominique Lauvernier Ecole Pratique des Hautes Etudes, Paris EA HISTARA 3D Virtualisation of Sources for Baroque and Romantic Scenic Spaces Jean Graham-Jones The City University of New York’s Graduate Center “Google Translator!” Global English and the Hierarchies of Language in Rafael Joana Soares Vieira University of Lisbon Spregelburd’s SPAM Digital Resources in Theatre Research: A Look into the Databases of the Centre for Theatre Studies of Lisbon FRIDAY Perspectives on Playwrights Chair Dan Rebellato VENDREDI GP 6.16 Feminist Research Finian O’ Gorman National University of Ireland, Galway G55, Millburn House Meeting Room 4, Scarman House 01AUGUST The Amateur Strikes Back: John B. Keane’s 1959 Production of Sive AOÛT 16:30 - 17:00 Melissa Sihra Trinity College Dublin “I Know the Topography of Your Mind”: Stratifications of Memory, Language and 2014 Osaka University Junko Okamoto Place in the Theatre of Marina Carr The Hapsburg Dynasty and the Franco Dictatorship: Double Layers of History in the Theatre of Antonio Buero Vallejo, Las Meninas

082 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 083 MONDAY LUNDI

28JULY JUILLET 17:00 - 17:30 Brenda Donohue Trinity College Dublin Performance and Disability Chair Yvonne Schmidt 2014 Neoliberalism and the Family in Emma Dante and Marina Carr’s Plays: A G55, Millburn House (Heterosexual) Marriage Made in Heaven? 16:30 - 18:00 Nina Muehlemann King’s College, London Performing the Spectacle, Reconsidering “Inspiration” 17:30 - 18:00 Discussion/Planning Disability, Performance, and the Public Sphere Susanna Uchatius Independent Scholar Defining Reverence: Why Inclusive Disability Theatre? Historiography Courtyard Restaurant, Scarman Khairani Barokka Independent Scholar House How To Feel A Screen: Telematics, Stratification, and Possibility in Poetic Performance and Disability TUESDAY Canonization and the Popular MARDI Chair Janne Risum

16:30 - 17:00 29JULY Rosemarie Bank Kent State University Performance and Religion JUILLET G52, Millburn House “Not Metamora Again!” Can the Merely Popular be Canonical? Themed Discussion on Religious Community and its Performativity - based on a 2014 16:30 - 17:15 text read by all Working Group members prior to the meeting 17:00 - 17:30 Laura Monrós-Gaspar Universitat de Valencia Editing Texts, Understanding Contexts: Semiotic Layers in an Anthology of 17:15 - 18:00 Discussion on the Group’s Work, Part 1: Perspectives on Performing Religious Classical Burlesques Community 17:30 - 18:00 Magnus Thor Thorbergsson Iceland Academy of the Arts Stupid, Laughing People? Introducing Bedroom Farce in Icelandic Theatre Performance as Research Melanie Dreyer-Lude Cornell University Intermediality in Theatre and Ralf Remshardt Humanities Studio, Humanities WEDNESDAY Chair Parasites, Satellites and Spin-Offs: Examining Possibility in Audience MERCREDI Performance Building Engagement Meeting Room 7, Scarman House Ramona Mosse Freie Universität Berlin 16:30 - 18:00 Intermedial Practice and Popular When the Lights Went Out: Acts of Remediation on a Darkened Stage 30JULY John Michael Rossi University of Reading and the University of Bedfordshire JUILLET Culture The “Hyper(play)text:” A Poetics of Moving and Staying on a Continuously 2014 16:30 - 17:30 Mathias P. Bremgartner University of Berne Present Feedback Loop Comic Book Theatre – The Intermedial Dramaturgy of TeZukA Christina Schmutz University Autonoma Barcelona Julie Gaillard Emory University Face-to-Face//Artistic and Scientific Strategies of New Theatre Formats Plugging-in Ziggy Stardust : Intermedial Stratification between Static and Dynamic Models in the Works of Renaud Cojo

Berenika Szymanski-Düll Ludwig-Maximilians-Universität München 17:30 - 18:00 Discussion Performances in Public Spaces From a Local to National to Transnational Public Sphere: The Emergence of Solidarity from a Theatrical Perspective THURSDAY Meeting Room 11, Scarman House JEUDI Music Theatre Chair Dominic Symonds 16:30 - 18:00 Elena Marchevska London South Bank University Meeting Room 6, Scarman House The One Who Sings, Means Well: The Politics of Self-Organised Choirs and 31JULY JUILLET 16:30 - 18:00 George Rodosthenous University of Leeds Performative Street Actions in Macedonia Mamma Mia! and the Jukebox Musical 2014 British Musical Theatre Katalin Cseh Ludwig-Maximilians-Universität München Millie Taylor University of Winchester Theorizing the Second Public Sphere: The Historical Layers of Alternative Macbeth to Matilda: Musical Collaborations at the Royal Shakespeare Company Publicness in Central-East-European Performance

Julian Woolford University of Surrey Excavating and Rebuilding Twang!!

Political Performances Chair Paola Botham Meeting Room 8, Scarman House FRIDAY Performance and Aurelia Baumgartner Independent Scholar 16:30 - 18:00 Elizabeth Tomlin University of Birmingham VENDREDI Consciousness Performance: Human Without Cortex-Attempts Mis-Recognising the Audience

G56, Millburn House Spectatorship in Contemporary 01AUGUST 16:30 - 18:00 Peter Zazzali University of Kansas Performance I Frithwin Wagner-Lippok University of Bayreuth AOÛT StarStruck: The Phenomenological Affect of Celebrity on Broadway Authenticity and Affective Space in Political Performances 2014

Eduardo Augusto Rosa Santana Federal University of Bahia Between Corporeality’s Transitions on Performer and M.C. Escher’s Figures

084 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 085 MONDAY LUNDI

28JULY JUILLET Spectatorship in Contemporary Chair Lloyd Peters Dominika Łarionow University of Lodz 2014 Performance II The Door. The Short Story of the Space of Art Stratification by a Single Element. Thomas Rosendal Nielson University of Aarhus The Interactive Production of Space and The Politics of Imagination Theatre Architecture Andrew Filmer Aberystwyth University Evi Stamatiou Royal Central School of Speech and Drama Meeting Room 10, Scarman House Audio Obscura: Experiencing the Architecture of Audio Performance. The Political Responsibility of the Performance Maker in Contemporary Political 16:30 - 18:00 Comedy: Krakow on the Book Shelf and Taboo Juliet Rufford Queen Mary, University of London Towards a Tectonics of Site-based Performance.

Popular Entertainments Sonic Architectures and TUESDAY Meeting Room 9, Scarman House Performance Tectonics MARDI 16:30 - 17:00 Catherine Young City University of New York 29JULY Audiences and Animality: Taste, Laughter and the Animal Vaudevillian JUILLET 17:00 - 17:30 2014 Kim Baston La Trobe University Theatrical Event The Theatrical Event Working Group will not meet during Working Group The ‘New’ Hippodrama: Contemporary Equestrian Spectacle Meeting Room 5, Scarman House Session 5 17:30 - 18:00 Ellen Gjervan Norwegian University of Science and Technology Equestrian Drama and Circus Feats under the Aurora Borealis: The Winter Translation, Adaptation and Season of Gautier & Co. in Trondheim, Norway 1839-40 Dramaturgy Chair Bernadette Cochrane and Stuart Young Meeting Room 2, Scarman House 16:30 - 18:00 Processus De Création. Frederik Le Roy Antwerp University and Ghent University Planning for 2015-2018 La Génétique De La Heteronomy and Collectivity in Contemporary Creation Processes WEDNESDAY Représentation Closed session MERCREDI Meeting Room 12, Scarman House Verônica Veloso Universidade de São Paulo 16:30 - 18:00 30JULY Mise en scène comme dispositif de jeu - un rapport avec le spectateur JUILLET

Processus de création et corps 2014 Andrea Ubal Universidad Catolica Le processus de création à partir de mémoire du corps : observation, analyse et traduction

Queer Futures Chair Steve Greer G57, Millburn House Alberto Ferreira da Rocha Junior Universidade Federal de Sao Joao del Rei 16:30 - 18:00 THURSDAY Theatre, Queer Theory, Education and Contemporaneity JEUDI Outreach and Archive Alan Butler Plymouth University 31JULY Archiving the Ephemeral Queer Pride in Plymouth through the use of the Oral JUILLET History Interview 2014

Samuel Beckett Nicola Schimdt Freie Universität Berlin Writers’ Room, Millburn House Beginning to End: Exhaustion in Word and Image 16:30 - 18:00

Scenography Chair Kathleen Irwin FRIDAY Lecture Theatre, Scarman House VENDREDI 16:30 - 18:00 Scott Palmer University of Leeds 01AUGUST Dark Matters: Layering of Light and Shadow in Contemporary ‘Immersive’ AOÛT Dark Matters: Layering of Light Performance and Shadow in contemporary 2014 ‘immersive’ performance. Natalie Rewa Queen’s University, Canada and Jerrard Smith University of Guelph ASTERION: A Journey Through the Labyrinth

086 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 087 MONDAY General Panels LUNDI 28JULY JUILLET Theatre Amid Layers of Chair: Kara Reilly 2014 Colonial History Panel 7 GP 7.5 Jill Lane New York University Meeting Room 3, Scarman House The Dance of Primitive Accumulation FRIDAY VENDREDI Theatrical Event Working Group Sponsored Panel - The Ontologies of Scandals Katrin Sieg Georgetown University GP 7.1 Colonial Remains in European Museums 01AUGUST AOÛT Meeting Room 2, Scarman House 2014 Carol Marie Webster University of Leeds and the University of Oxford Chair Anneli Saro Constructing and Performing Identity/Rituals of Death TUESDAY 11:15 - 12:45 MARDI Peter Eversmann Spreading like Wildfire: The Genesis and Evolution of Theatre Scandals Foliated Feminisims Chair Fawzia Afzal Khan GP 7.6 29JULY JUILLET Meeting Room 4, Scarman House Henri Schoenmakers Cara Berger University of Glasgow 2014 Theatre Scandals: Emotions During and Around the Theatrical Event Feminine Thingness: Exploring a Feminist Politics in the Postdramatic

Beate Schappach Lauren Barri Holstein Queen Mary, University of London Rainer Werner Fassbinder’s Garbage, the City, and Death: A Four Act Scandal in Historical Mourning and the Threat of the Whore: Lynn Hershman Leeson is Post-war Germany Here, There, and Everywhere

Japanese Performance in an Sarah Gorman Roehampton University, London International Context Chair Yasushi Nagata Feminism and Irony in Untitled Feminist Show (Young Jean Lee) and Big Hits (GETINTHEBACKOFTHEVAN) GP 7.2 Hayato Kosuge Keio University WEDNESDAY Meeting Room 5, Scarman House MERCREDI Shakespeare through Butoh: Hijikata Tatsumi’s Choreography of Macbeth Of Puppets, Masks and Chair Sara Granath Bodies 30JULY Nahoko Tsuneyama Keio University JUILLET Stratum of Empires: Japanese Theaters in Hawaii, 1899-1908 GP 7.7 Yuko Kurahashi Kent State University Lecture Theatre, Scarman House Locality, Community, and Sociocultural Layers of Ningyo Jōruri: How the 2014 Ayumi Fujioka Sugiyama University Tradition of Japanese Puppet Theatre (Ningyo Jōruri) is Maintained by Three An Intercultural Contact of the Actress in the Stratification of Japanese Modern Companies with Different Traditions, Resources, and Commitments Theatre: Ritsuko Mori’s stay in London (1913) Carlos Junior Gontijo Rosa University of São Paulo Tragicomedy in Portugal: Stratification Inside and Outside the Stage

Spectatorship and Class Chair Gillian Arrighi Kasia Lech Canterbury Christ Church University GP 7.3 ‘Our Breasts Are Also Dripping’: Pigs, Motherhood, and Humanity in Anna Meeting Room 1, Scarman House Outi Lahtinen University of Helsinki Augustynowicz’s Production of Migrena by Antonina Grzegorzewska THURSDAY What Demands Does a Stratified Theatre Performance Lay on its Spectators? JEUDI

Gerbrand Borgdorff University of Warwick 31JULY A Theatre is the Heart of the City, but is it? Direct Action, Avant-Gardes JUILLET and Experimental Theatre Chair Paul Clarke 2014 Rasha Dawood University of Exeter GP 7.8 The Audience’s Social Class and Theatre Crisis: A Comparative Reading of the Meeting Room 7, Scarman House Matthias Warstat Freie Universität Berlin Critique of Spectators by the Metadrama of European avant-garde and the Direct Action: Aesthetic Politics beyond Stratification? Egyptian Fringe. Nora Niethammer University of Bayreuth “The Artist No Longer Creates, He Makes ...” On the Relation Between Theatre Choreography and Co-Chairs Philipa Rothfield and Aoife McGrath Economy, Unions and Collective Creation in the 1960s Corporeality Working Group Sponsored Panel Hasibe Kalkan Istanbul University Rosemary Cadelario FRIDAY GP 7.4 Choreography and Stratification: Cycling Through Eiko & Koma’s Body of Work Traces of Others in Istanbul’s Performances VENDREDI Meeting Room 6, Scarman House

Katja Schneider 01AUGUST How to Stand Still? Choreographies of the Immobile Performance in the City AOÛT GP 7.9 Chair: Nicolas Whybrow 2014 Prathana Purkayastha Meeting Room 8, Scarman House The Skin of Performance Teemu Paavolainen University of Tampere Protest in Colour and Concrete: Theatrical Textures in the Urban Fabric

088 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 089 MONDAY LUNDI

28JULY JUILLET Pawit Mahasarinand Chulalongkorn University Food and Performance Chair: Valerie Kaneko-Lucas 2014 Contemporary Theatre in a City of Contrasts: Muangthai Rachadalai Theatre GP 7.12 and Democrazy Theatre Studio Private Dining Room, Scarman This panel is centred on the preparing, staging, and sharing of a meal. As part House of an ongoing international collaboration between a group of scenographers Nicolas Whybrow University of Warwick and directors entitled ‘The Food Project’, we invite the members of IFTR The Plinth and the People: Anthony Gormley’s One and Other to be our guests at a meal prepared just for you. In the hierarchy of staged production, scenography (frequently women’s work) has often been considered Curated Panel - Performing merely decorative and “in service”. The meal redresses this attenuation by [re] Race and Shakespeare in Chair: Jonathan Heron considering the intersection of scenography and food as a primary, radical, gendered, and embodied performance practice. Here we consider the table Modern Britain TUESDAY GP 7.10 In Britain, ‘Shakespeare’ is symbolic of a sense of cultural identity; for audiences as a space of expanded scenography and how the putting of meals on it is, MARDI Woods Scawen Room, Warwick Arts and artists from minority communities, the plays in production represent spaces simultaneously, a sensory and aesthetic performance, as well as a political and of ownership or exclusion. These three papers focus on different aspects of social act. Centre 29JULY the evolving relationship between Shakespearean performance and the shifting JUILLET community ecologies of the UK, from the 1960s to today. They are linked to the Kathleen Irwin University of Regina 2014 work of the AHRC-funded Multicultural Shakespeare research project based at Amuse Bouche: Recipes for Performance the University of Warwick, and to its public outreach programme British Black and Asian Shakespeare, which works with communities in Leicester, Bristol and Rachel Hann Edge Hill University London (Southwark, Lambeth and Barking) in theatres, schools and libraries ‘Can I Get a Signal in Here?’: Mobile Technologies, Food and Performance (2013-14). The three papers will focus on the early achievements of non-white Shakespearean performers in the 1960s and the legacy of Paul Robeson; on very recent work by UK artists of South Asian origin who are seeking creative Layered Space of fusions of western and ‘Indian’ performance traditions; and the often negative Performance Chair: Nick Hunt relationship between casting policies in mainstream British theatre and the GP 7.13 politicised representation of ethnic communities in the mass media. Collectively Jane Collins University of the Arts, London and Balakrishnan Ananthakrishnan WEDNESDAY Meeting Room 11, Scarman House MERCREDI and individually, these three contributions will foreground problems of social University of Hyderabad and cultural inclusion; issues of professional-creative authority; and issues of Layering the Material: A Comparative Study of the Impact of New Technologies aspiration, stereotyping and achievement. on Performance in India and the UK 30JULY JUILLET

Tony Howard University of Warwick Tal Itzhaki Academy of Performing Arts, Tel Aviv 2014 Winds of Change? Race and Shakespeare in 1960s Britain Space and the Sacred: The Scenography of Attending the Holy

Sita Thomas University of Warwick Eamon D’Arcy, University of Technology, Sydney Challenges of South Asian Shakespeare in Britain Burying the Narrative: An Alternative Perspective on Scenography

Jami Rogers University of Warwick Shakespearean Stratfication: The Media’s Part in Casting

THURSDAY Bodies in Stasis JEUDI GP 7.11 Chair James Harding Meeting Room 10, Scarman House 31JULY Christopher-Rasheem McMillan King’s College, London JUILLET When the Crazies Are Not So Crazy After All: Performing Scripture in Absence 2014 of a Queer Body

Jungmin Song University of Roehampton Writing of a Glass of Sweetened Water: Layers of Time in a Performance of Sugar, Water and a Glass

Kyveli Anastasiadi The Bartlett School of Architecture Occupying Momentum Design Through Performance

FRIDAY VENDREDI

01AUGUST AOÛT 2014

090 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 091 MONDAY Working Groups LUNDI 28JULY JUILLET Historiography 2014 Courtyard Restaurant, Scarman Session 6 House

FRIDAY VENDREDI African and Caribbean Theatre and Performance Heritage, Memory, History Chair Magnus Thor Thorbergsson Meeting Room 1, Scarman House 14:15 - 15:45 14:15 - 14:45 Hanna Korsberg University of Helsinki 01AUGUST AOÛT Layers of History in Theatre Production: The Unknown Soldier by Kristian Smeds 2014 Emancipation Day Susan Tenneriello City University of New York 14:45 - 15:15 TUESDAY Business Meeting Razzle Dazzle Progress Trails: The Global Spectacles of Twenty-First-Century MARDI 14:15 - 15:45 Olympic Ceremonies

29JULY 15:15 - 15:45 Angela Campbell Federation University, Ballarat JUILLET Performing Cultural Heritage: Authenticity and the Spirit of Rebellion 2014

Arabic Theatre Meeting Room 3, Scarman House The Arabic Theatre Research Working Group will not meet during Working Intermediality in Theatre and 14:15 - 15:45 Group Session 6 Performance Aneta Mancewicz and Ralf Remshardt Meeting Room 7, Scarman House Business Meeting 14:15 - 15:45 Asian Theatre Ming Yang University of Hawaii at Manoa Private Dining Room, Scarman A Tradition in Modernization: The Contemporary Development of Kunqu WEDNESDAY House MERCREDI in Mainland China, 2001—2012 Dominic Symonds and Pamela Karantonis 14:15 - 15:45 Music Theatre Music Theatre Working Group General Meeting Meeting Room 6, Scarman House 30JULY JUILLET 14:15 - 15:45 2014 Choreography and Paper distribution to be decided in the first Working Group meeting. For a list of Corporeality speakers please see Working Group Session 1 Performance and G53, Millburn House Consciousness Planning meeting for the future of the IFTR Performance and Consciousness Working Group 14:15 - 15:45 G56, Millburn House 14:15 - 15:45

Digital Humanities in Theatre Research The Digital Humanities in Theatre Research Working Group will not meet during Working Group Session 6 Performance and Disability Mark Swetz and Yvonne Schmidt THURSDAY G50, Millburn House G55, Millburn House Closing Session JEUDI 14:15 - 15:45 14:15 - 15:45 31JULY JUILLET Feminist Research 2014 Meeting Room 4, Scarman House Performance and Religion G52, Millburn House 14:15 - 15:15 Discussion on The Group’s Work, Part 2: Where do we want to go from here? 14:15 - 14:45 Stefka Mihaylova University of Washington Between “Radical Particularity” and “Essential Humanity”: Mabou Mines’ Doll 15:15 - 15:45 Summation and concluding words House and Disability Theory’s Challenge to Feminism

14:45 - 15:15 Sruti Bala University of Amsterdam Performance as Research The Task of Translation: Elfriede Jelinek’s Response to Fukushima in Kein Licht FRIDAY Humanities Studio, Humanities Co-convenors Annette Arlander, Jonathan Heron and Emma Meehan VENDREDI [No Light] Building Closing session

14:15 - 15:45 01AUGUST AOÛT 15:15 - 15:45 Katia Hala Univerzita Pardubice Deux expressions du féminisme sur la scène tchèque contemporaine 2014

092 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 093 MONDAY LUNDI

28JULY JUILLET Queer Futures The Queer Futures Working Group will not be meeting in Session 6. 2014 Performances in Public G57, Millburn House Spaces Beatrice Jarvis University of Ulster and University of Kingston 14:15 - 15:45 Meeting Room 11, Scarman House The Socio-Choreographic Apparatus: Developing a Practice of Social 14:15 - 15:45 Choreography through Practice of Individual and Collective Embodiment Samuel Beckett Maggie Inchley Queen Mary, University of London Writers’ Room, Millburn House Theatre of Advocacy: “Asking for It” and the Audibility of Women in Nirbhaya, 14:15 - 14:45 “the Fearless” and of Malala, the “Heroine” Teresa Rosell Nicolás University of Barcelona Rock Her Off Election TUESDAY 14:45 - 15:30 MARDI Yoshiko Takebe Shujitsu University Levels of Interpretation and Japanese Audience Response to Images 29JULY Political Performances JUILLET Meeting Room 8, Scarman House Chair Avraham Oz 2014 14:15 - 15:45 Scenography Chair Joslin McKinney Katerina Paramana University of Roehampton and Birkbeck, University of Lecture Theatre, Scarman House The Body in Contemporary London 14:15 - 15:45 Fernando Calzadilla New York University Performance The Jérôme Bel Economy: Theatre, Stratification & Resistance Relating Chekhov to Young Audiences Stratification and Contemporary Natasha Davis University of Warwick Scenography Anna Solanilla Rosello Institut del Teatre, Barcelona Identity, Body and Memory in Natasha Davis’ Performance Works 2009-2014 The Conceptual Layers of Contemporary Scenography

Valerie Kaneko-Lucas Regent’s University, London Performance and Ecology Lloyd Peters Staging Contemporary China: Chimerica and the World of Extreme Happiness WEDNESDAY Chair MERCREDI

Simon Parry University of Manchester Denise Avivit De Alcantara Hochbaum Independent Scholar Mental and ExtInked: Para-human Assemblies and Gesture Politics in The Brazilian Scene by Lina Bo Bardi 30JULY JUILLET Performance 2014 Lisa Woynarski Royal Central School of Speech & Drama The Bricolage Aesthetic in Ecological Performance Theatre and Architecture Meeting Room 10, Scarman House Further discussion of papers and topics, Working Group elections, future publication plans, plans for the Prague Quadrenial 2015 14:15 - 15:45 Review of the Working Group and Discussion Around Future Plans

Popular Entertainments Richard Cuming University of Winchester Theatrical Event Chair Anneli Saro Meeting Room 5, Scarman House Meeting Room 9, Scarman House Awkward Clowns and Several Government Inspectors: From Meyerhold to The General discussion and future prospects THURSDAY 14:15 - 15:45 Mighty Boosh 14:15 - 15:45 JEUDI

Victor Emeljanow University of Newcastle, Australia 31JULY Pierrots and Pierrettes: An Excursion into Concert Parties and their Female Translation, Adaptation and Chair Adnan Çevik JUILLET Impersonators during World War 1 Dramaturgy 2014 Meeting Room 2, Scarman House Graça Corrêa University of Algarve and University of Lisboa Business Meeting Dramaturgical Excavations: Affective and Historical Strata in Maeterlinck´s and 14:15 - 15:45 Rachilde´s Symbolist Theatre

Stuart Young University of Otago Processus De Création. Verbatim or Not? Combining Fabrication with Testimony in the Dramaturgy of La Génétique De La Closing Discussions Fact-Based Theatre Représentation Meeting Room 12, Scarman FRIDAY House VENDREDI 14:15 - 15:45 01AUGUST AOÛT 2014

094 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 095 MONDAY General Panels LUNDI 28JULY JUILLET Piotr Woycicki Aberystwyth University 2014 Synaesthetic Resonances and De-Stratification in the Intermedial Soundtrack Panel 8 of Imitating The Dog’s Tales from the Bar of Lost Souls

FRIDAY VENDREDI Feminist Research Working Group Sponsored Panel - Julia Stenzel University Mainz Performance - Feminism - Affect - Activism in Neoliberal Constellations of Stratification: Perceiving Media Convergence in Matthew Times Barney’s Cremaster Cycle 01AUGUST AOÛT GP 8.1 2014 Lecture Theatre, Scarman House Performing Family Relations Chair Jim Davis GP 8.6 TUESDAY 16:30 - 18:00 Chair Elin Diamond Meeting Room 7, Scarman House MARDI Andres Kalawski Pontificia Universidad Católica de Chile “De qué sirve ser bueno” (what’s the use of being good), stratification in family Sue-Ellen Case University College Los Angeles 29JULY and kinship in Chilean theatre throughout the first half of the 20th Century The Affective Performance of State Love JUILLET 2014 Ylva Sommerland Independent Scholar Shonagh Hill St Patrick’s College, Drumcondra Weavers and Mothers: Layers of Political Theatre in the Art of Käthe Kollwitz Feeling Out of Place: Affect and the Postfeminist Spectator in The Boys of (1867-1945) Foley Street

Tiina Rosenberg University of Stockholm Revisiting Social Democracy Memory, Performance, and Neoliberalism Women in Theatre GP 8.7 Chair Anna Sica Meeting Room 8, Scarman House Denise Varney University of Melbourne Francesca Spedalieri The Ohio State University Neoliberalism: A Feminist Performance Perspective Seeing the Unseen: Contemporary Italian theatre, Women Directors and WEDNESDAY MERCREDI Emma Dante in the Berlusconi Era (1994-2011)

Excavating Theatre History Melissa Lee Ohio State 30JULY Hanna Korsberg JUILLET GP 8.2 Chair Staging the Actress: A Genealogy of Female Performance 2014 Meeting Room 2, Scarman House Beth Palmer University of Surrey Susan Russell Gettysburg College Collaboration and Stratification: Writing Together for the Stage and the Page The Murder of Hope or the Hope of Murder? A Feminist Reconsideration of in the Nineteenth Century Kokoschka’s Murderer Women’s Hope

Nilüfer Ovalıoğlu Mardin Artuklu University Theatre: An Impulse of the Stratified Mind Comparative Aesthetics and Chair Katherine Hennessey Theatre History GP 8.8 Lawrence Green University of Warwick Yuki Itoh, Waseda University “What Ceremony Else?”: Performing Power from Divine Right to the Age of Meeting Room 6, Scarman House Debate Over the Outside Narrator: How Japanese Understood the Difference THURSDAY Irony. between Opera and Kabuki at the Turn of the 20th Century JEUDI

Layered Spaces Jerry Wasserman University of British Columbia 31JULY GP 8.4 Chair Trish Reid Zouave Politics, History, Performance JUILLET Meeting Room 4, Scarman House 2014 Catherine Trenchfield Royal Holloway, University of London ‘Brand Kneehigh’ and Cultural Identity – Kneehigh Theatre Company’s Global Ambitions and Cornish National Identity Imagining Textuality and Intertextuality Chair Janice Norwood GP 8.9 Philip Watkinson Queen Mary, University of London Heike Gehring Rhodes University Meeting Room 9, Scarman House Space, Affect and the Performance of Stratification: The Affective Institution Lady Anne: A Case Study in Collaboration as a Way to Excavate and of the Battersea Arts Centre Renegotiate History

Andy Lavender University of Surrey Martin Hanoušek Charles University, Prague FRIDAY Distributed Theatre: Real-time Remote Performance for Mediated Spectator Szenarien Buch of Václav Thám (Pszstyna 1805 - 1806): Critical Edition of the VENDREDI Engagement Manuscript

01AUGUST Ulla Kallenbach University of Copenhagen AOÛT Intersections of Theatre and Chair Helen Nicholson Film Layers of Imagination: Imagination in Mind, History, Text and on the Stage 2014 GP 8.5 Dominik Müller Ludwig-Maximilians-Universität Meeting Room 5, Scarman House Ensemble: Documentary as Performance Concept Theatrical Aspects of Eva Könnemann’s film

096 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 097 Fashion, History and Social Chair Tim White Strata GP 8.10 Suzanne Osmond University of Technology, Sydney Meeting Room 10, Scarman House Layers of Meaning: Costume and the Performance of the “Real” subscribe to Theater today. Online access to over forty years of back content is included with a subscription. Constantina Georgiadi Institute for Mediterranean Studies, FORTH “The Emperor’s Clothes”: Dress Elitism and Interclass Eclecticism of the Audience at the Royal Theatre of Athens in the Early Twentieth Century (1901- 1908) For more than forty years Theater has been

Michelle Liu Carriger Queen Mary University of London the most informative, serious, and imaginative Fashionation: Class, Consumerism, and Nationalism in the “Girl of the Period” American journal available to readers interested Controversy in contemporary theater.

Closing Ceremony Don’t miss this recent special issue: Butterworth Hall Conference Farewell and Presentation of Next Year’s Conference Warwick Arts Centre Performance curators 18:15 - 19:00 Tom Sellar, editor volume 44, number 2

As the performance world has intersected with the visual arts and its institutions, embracing interdisciplinarity and new contexts, the role of curator has become increasingly central to the conception and creation of new performance work. This edition features interviews with a range of prominent performance curators as well as essays discussing the significance of this development for the field. Is curation an extension of dramaturgy? What can it do for the theater world? The interviews consider these and other questions, Read the table of contents at with a focus on actual performance projects theater.dukejournals.org. made possible by some form of curation.

Subscription Information Three issues annually

Individuals: US $30 published by Students: US $20 duke university press on behalf of (photocopy of valid student ID required) yale school of drama Single issues: $12 and yale repertory theatre Additional postage fees apply for international orders.

To place your order, e-mail [email protected] or visit dukeupress.edu/theater.

098 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 099 New Scholars’ Forum Activities

New Scholars’ Forum Informal »» On Sunday 27th July there will be an informal gathering for all new scholars Welcome Event in The Dirty Duck pub on the University of Warwick’s campus from 8.30pm Dirty Duck onwards. If you’re new to IFTR, or if you’re a returning member, this will be the Sunday 27th July perfect opportunity to meet other new scholars from around the world. The 20:30 – 23:00 pub will be hosting one of its regular quiz nights from 9.30pm and delegates will be encouraged to join the fun.

An Introduction to IFTR and a Workshop on Conference »» This workshop is for New Scholars who would like to learn more about Presentations preparing and presenting conference papers. An introduction to the process Woods Scawen Room, Warwick Arts will be presented by Elaine Aston and Jean Graham-Jones, including advice Centre on choosing a conference, writing and submitting the paper abstract, and Monday 28th July performing your paper. The second half of the session will consist of an 12:45 - 14:15 interactive forum providing an opportunity for participants to raise questions and share insights and observations. Workshop participants will be provided with a brown bag lunch on arrival at the venue.

New Scholars’ Welcome Reception »» The New Scholars’ Reception provides a chance to meet members of the IFTR Chancellor’s Suite, Rootes Building Executive Committee and to learn more about the organisation. It is open Tuesday 29th July to New Scholars and Student Members of FIRT/IFTR. Food and drinks will be 12:45 - 14:15 served at the reception.

» Janelle Reinelt and Bishnupriya Dutt will present some observations and Workshop with Keynote Speakers » Bishnupriya Dutt and Janelle Reinelt reflections on the challenges and value of attempting cross-cultural Woods Scawen Room, Warwick Arts collaborative scholarship, based on their experiences of multi-year research Centre collaborations between their two departments at Warwick and Jawaharlal Thursday 31st July Nehru University. They will use the assigned readings as examples of how 16:30 - 18:00 this exchange inflects their scholarly production. In the second half of the workshop, Janelle and Bishnupriya will guide participants through an imaginative exercise in building such collaborations, and discuss new scholars’ ideas as developed in groups.

New Scholars’ Caucus Meeting »» The New Scholars’ Caucus Meeting is a chance to reflect on the conference Woods Scawen Room, Warwick Arts and offer thoughts and ideas on the development of the New Scholars’ Forum. Centre Friday 1st August This session is open to all New Scholars and Student Members of FIRT/IFTR. A 12:45 - 14:15 buffet lunch will be provided for all delegates attending this session.

100 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 101 Book Launches

Bharata’s Karanas The power of the image, whether static as in a painting, or animated as in The Theatre of Drottningholm – Then by Sarasa Krishnan dance, invokes often unusual or unasked questions as to its visual semiotics and This book tells the story of the Drottningholm Court Theatre, from 1766, the and Now. Performance between the philosophical underpinnings. Images speak a distinct, often subliminal, language, year it was built, to today’s performances presented during annual summer 18th and 21st Centuries www.sarasakrishnan.com be it in performance or not. It is this language that underlies the images in this by Willmar Sauter and David Wiles. festivals. book, Bharata’s Karanas, a compendium of 108 original drawings of phrases of Thursday 31st July movement found in the NatyaShastra, an ancient Indian treatise on theatre. The court theatre was rarely used after Gustav III’s violent death in 1792 until it Tuesday 29th July 10:40 – 11:00 was rediscovered in 1921. The auditorium, and also the stage machinery, painted As in all thought processes, we subconsciously arrange our ideas in sequences, Woods Scawen Room, Warwick Arts flats and backdrops have been almost perfectly preserved. National Grid Room, Warwick Arts Centre Centre linear or otherwise, and act on the choices that are an outcome of this process. The creative morphing of this link from ‘thought to action’, and between ‘being 10:40 - 11:00 This book provides a vivid picture of the Drottningholm Court Theatre: the and becoming’, is the essence of this compendium. architecture, the many different activities which took place here during the Gustavian era, and the use made of the theatre since its rediscovery to explore Augmenting theoretical observations through direct experience, by being the the nature of Baroque performance. dancer in the dance and, at the same time, being the artist of the artwork, constitutes a journey beyond a phenomenal aspect of tacit knowing; this will be a significant and lived knowing. Following this thread, these drawings explore Gestures of Music Theatre: the Gestures of Music Theatre: The Performativity of Song and Dance focuses on song the aesthetic ‘moment’ through experience; the moving notation of dance Performativity of Song and Dance and dance as performative gestures that not only entertain but also act on sculptures is studied and created as illustrations of ‘ink on paper’ from the point edited by Dominic Symonds and Mil- audiences and performers. The chapters range across musical theatre, opera, of view of ‘intentionality’. It also examines kinaesthetic impact on the neuro- lie Taylor (Oxford University Press). theatre and other artistic practices, from Glee to Gardzienice, Beckett to Disney, physiology of the dancer as a corporeal entity and provides a rare insight in the Broadway to sound installation. The essays draw together diverse examples of area of consciousness studies.” vocality and physicality by exploring their affect rather than through considering Wednesday 30th July them as texts. The book considers performativity in relation to Dramaturgy, ‘…her artworks so powerful and fragile at the same time. After all, that is what National Grid Room, Warwick Arts Transition, Identity, Context, Practice, Community and Writing. However, most artists can only dream to achieve, to unlock the intimate within the universal’. Centre dialogue between the chapters also allows other stories to emerge about how - Akram Khan. Dancer, United Kingdom. 10:45 – 11:00 song and dance announce and consolidate identity, how they position us within social contexts, and how they construct dynamic and evolving narratives, all ‘Deeply rooted in spirituality and philosophy, Krishnan’s research adds a profound processes that help to reveal the complexity of our place within the world. and enduring component to her existing legacy as a great artist’. – Director The texture of music theatre, containing as it does the gestures of song and General of Arts and Culture Western Australia dance therefore reveals itself to be particularly performative, partly caused by the intertextual and interdisciplinary energies of its make up, partly by its active dynamism in performance. The book’s contributors draw from many disciplines, sharing methodologies and performance repertoires with scholarship from A New Poetics of Chekhov’s Plays: theatre studies, musicology and cultural studies, but also embracing many By presenting his new book on Chekhov’s major plays, Prof. Harai Golomb Presence through Absence aims at acquainting the international community of theatre researchers with other approaches and case studies. Together, we view these interdisciplinary by Harai Golomb (Sussex, 2014) approaches as neighbouring voices whose dialogue can only enrich the study of its major theses, ideas, and structure. A scholarly–academic study charactering contemporary music theatre. Chekhov’s unique poetics as a playwright, the book is replete with textual analyses Thursday 31st July and theoretical discussions demonstrating Chekhov’s evasive complexities; in Woods Scawen Room, Warwick Arts addition, it provides down-to-earth, practical tools for theatre practitioners, Centre stimulating their curiosity about ways to present these complexities on the real stage and on the potential–virtual stage, as imagined in reading. The distinctive 13:00 - 13:45 features of Chekhov’s art and world are thus viewed ‘from within’ his texts, and Chair Stuart Young ‘from without’, i.e., from perspectives of other masters (e.g., Shakespeare, Ibsen, Beckett) and of traditions of genres (tragedy, comedy etc.) and trends/schools (realism, symbolism, etc.). Conceived with English-language-conditioned readerships in mind, the book addresses subtleties of translation, names- Palgrave Macmillan: A Celebration Please join us at the Palgrave Macmillan stand to celebrate the publication of a pronunciation, etc. It confronts head-on challenges of Chekhov’s elusive of our Recent Titles selection of our recent titles, including: paradoxes (e.g., boredom vs. intensity, restraint vs. emotional force, compassion Wednesday 30th July vs. detachment, etc.). The terms/concepts Presence Through Absence and 15:45 – 16:30 »» Contemporary Women Playwrights edited by Lesley Ferris and Penelope Farfan Unrealised Potentials are among the book’s major keys to unlock some of Publishers’ Exhibition, Mead Gallery »» Performing Proximity by Leslie Hill and Helen Paris Chekhov’s integrated contrasts, which this oral presentation will highlight. »» Fair Play: Art, Performance and Neoliberalism by Jen Harvie ‘A key to Chekhov” where there is no “The key to Chekhov’. - The late Prof. Ronald Performance and the Global City edited by D.J. Hopkins and Kim Solga »» Hingley, The Oxford Chekhov. »» Editing, Performance, Texts edited by Jacqueline Jenkins and Julie Sanders »» Performing Environments edited by Susan Bennett and Mary Polito ‘No one reads Chekhov’s drama better’ - Prof. Cathy Popkin, Columbia.

Do pop by the stand to enjoy a complimentary drink and browse the books during the afternoon break (from 15:45) on Wednesday 30 July. We look forward to seeing you there.

102 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 103 Publishers’ Exhibition and

Live Art Development Agency Book Sale The Live Art Development Agency (LADA) is one of the world’s leading Live Art publishers, specialising in critical titles on influential ideas and practitioners; artist-led publications and Editions; Box Set artworks, resources and tools; The Publishers’ Exhibition and Book Sale will be held at the heart of the IFTR World Congress in Warwick Arts Centre’s Mead free online publications; and on-demand DVDs. LADA works in partnership Gallery throughout the conference, from 28th July to 1st August 2014. This is a chance for delegates to talk to publishers, with major publishing houses, independent organisations, and artists. In 2013 browse the latest publications and purchase books. Details of the publishers who have confirmed their attendance at this launched Intellect Live in collaboration with intellect Books, a major new series on year’s exhibition are listed below: influential artists working at the edges of performance. LADA publications are considered by many course leaders, tutors and lecturers as essential for modules and their programmes of study. All titles can be purchased through LADA’s online shop Unbound. For more information visit http://www.thisisliveart.co.uk or email Bloomsbury Bloomsbury is a leading publisher of drama and performance books under the Aaron Wright on [email protected] Methuen Drama and The Arden Shakespeare imprints. We have over 2,000 titles available, offering a wide range of play editions, critical texts and theatre Manchester University Press Founded in 1904, Manchester University Press is the third largest University Press reference, as well as the award-winning digital library Drama Online. We publish in England and publishes monographs and textbooks by authors from all over the books for theatre-goers, students, scholars, practitioners, actors and those world. Currently publishing 145 new books a year and managing a portfolio of 14 wishing to pursue a career in the theatre industry. journals as well as an extensive backlist of over 1000 titles, the Press sells more than 150,000 books each year to a global audience. The Press exports some 50 Cambridge University Press Cambridge University Press dates from 1534 and is part of the University of percent of output to more than 60 countries using representatives in Britain, Cambridge. We further the University’s mission by disseminating knowledge Ireland and Europe and agents elsewhere including North America, Canada and in the pursuit of education, learning and research at the highest international Australia. levels of excellence. We publish research monographs, academic reference, textbooks, books for professionals, and large numbers of paperbacks aimed at undergraduate students. Nearly all of our new books are available in electronic Palgrave Macmillan formats. Our e-publishing team develops ways to increase the circulation of Palgrave Macmillan is a global academic publisher for scholarship, research content through various electronic outlets. Access to our titles is enabled and professional learning. We publish monographs, journals, reference works and professional titles, online and in print. With a focus on humanities and through institutional library services, as downloads to PCs and hand-held devices, social sciences, Palgrave Macmillan offers authors and readers the very best and through specially selected aggregators. in academic content whilst also supporting the community with innovative new formats and tools. Centre for Performance Research Performance Books is the Centre for Performance Research’s specialist theatre Rodopi and performance bookshop. We stock essential course books and specialise in Rodopi is an independent academic publishing house with a world-wide sourcing performance related books, journals and DVDs that are not easily orientation. Rodopi seeks to continue playing a vital role in promoting projects available in other bookshops: imports; illustrated books; texts in other languages; of high quality and innovation. This is clearly reflected in our ground-breaking monographs on individual artists or performance companies and experiments in series. They are specialized, yet cover wide areas. performance documentation, writing and publishing. Since June 2014 Brill Publishing has officially taken over Rodopi. Once the Performance Books is an online shop (http://thecpr.org.uk/shop/) with over merger will be completed by the end of the year Rodopi will be dropped and twenty years experience in running performance bookstalls at theatre and all series including the Themes in Theatre series – will continue under the flag performance events. of Brill.

General Enquiries – [email protected] Since its beginnings in 1683, Brill has had a rich publishing history. In the last fifty Helen Gethin, Bookshop Manager – [email protected] years, strong working contacts have been established with the world’s most Siu-lin Rawlinson, Bookshop Manager [email protected] important centers of academic research. In order to best service its clients, Brill attempts to be a forerunner in new academic developments. Intellect Intellect is an independent academic publisher in the fields of creative practice and popular culture, publishing scholarly books and journals that exemplify our Routledge Routledge is part of the Taylor & Francis Group – a leading global academic mission as publishers of original thinking. We aim to provide a vital space for widening critical debate in new and emerging subjects, and in this way we differ publisher, with substantial operations in Oxford, New York, Philadelphia, Melbourne, Singapore and South Africa. Routledge publishes several leading from other publishers by campaigning for the author rather than producing a international journals related to Theatre and Performance which are available in book or journal to fill a gap in the market. both print and online versions. Our strong book publishing programme consists We publish in four distinct subject areas: visual arts, film studies, cultural and media of new annually published titles and an extensive backlist that complements our studies, and performing arts. These categories host Intellect’s ever-expanding range of journals. topics of enquiry, which include photography, drawing, curation, community music, gaming and scenography. Intellect titles are often multidisciplinary, presenting scholarly work at the cross section of arts, media and creative practice.

104 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 105 Performing Arts Book and 08:00 08:15 08:30 08:45 09:00 09:15 09:30 09:45 10:00 10:15 10:30 10:45 11:00 11:15 11:30 11:45 12:00 12:15 12:30 12:45 13:00 13:15 13:30 13:45 14:00 14:15 16:00 16:15 16:30 16:45 17:00 17:15 17:30 17:45 18:00 18:15 18:30 18:45 19:00 19:15 19:30 19:45 20:00 20:15 20:30 20:45 21:00 21:15 21:30 21:45 22:00 22:15 22:30 22:45 23:00 23:15 23:30 23:45 00:00 00:15 00:30 00:45 Ephemera Fair

On Thursday 31st July the IFTR Warwick World Congress will host a Performing Arts Book and Ephemera Fair. The Fair will VERONA RSC THE TWO GENTLEMEN OF GENTLEMEN 0930-­‐1800 Avon trip and EXCURSION / RSC Stratford-­‐Upon be open to all delegates and to the general public from 10:00 - 18:00. Details of the stallholders who have confirmed their attendance at the Performing Arts and Ephemera Fair are listed below: Saturday 2nd August CONFERENCE DAY +1 CONFERENCE EXCURSION House Chatsworth 0900-­‐1800 Anthony Spranger Secondhand and »» Anthony Spranger’s stock includes performing arts books specialising in Collectable Books Theatre from 1879, Opera, Ballet and Dance, also Theatre and Royal Opera

HENRY IV PART 1 HENRY Anthony Spranger House programmes and Glyndebourne programmes from 1953 -1988. Friday 1st August CONFERENCE DAY 5 CONFERENCE 1115-­‐1245 AWAKENINGS RSC Landscape Trail [Campus] 1815-­‐2300 [email protected]

John Barrett Bicyclette: Bicyclette: Cycling with Molière Alceste à Alceste 1830-­‐2015 STAGE ON [CINEMA, WAC] [CINEMA, SCREEN »» John Barrett is a regular attendee of the Performing Arts Book and Ephemera Fairs at Sadler’s Wells and will have an array of products on sale including prints, playbills and programmes. 1000-­‐1800 2000-­‐0100 PARTY [HELEN MARTIN MARTIN [HELEN EPHEMERA FAIR FAREWELL PARTY STUDIO, WAC] STUDIO, Phaistos Ephemera Sarah Wyatt »» Phaistos Ephemera have specialised in performing arts ephemera of all kinds Thursday 31st July CONFERENCE DAY 4 CONFERENCE 1030-­‐1615 DINNER & DINNER EXCURSION FAREWELL PARTY 1830-­‐0100 PARTY City of Oxford [email protected] for over 25 years and are a regular exhibitor at Ephemera Society fairs and

THE Performing Arts fairs. The stock includes programmes, playbills, prints, THE FALSETTOS FALSETTOS THE MAKING OF AND WAC] [STUDIO 2000-­‐2200 STACEY STACEY THEATRE, THEATRE, MAKISHI MAKISHI autographs, photographs, illustrated music, etc covering Theatre (c1760- 1910), Variety (Victorian/Edwardian), music & ballet (to 1945), magic & circus, etc. Bicyclette: Bicyclette: Cycling with Molière Dangerous Dangerous à Alceste Acts 2030-­‐2215 STAGE ON STAGE ON [CINEMA, [CINEMA, WAC] 1830-­‐2000 [CINEMA, [CINEMA, WAC] SCREEN SCREEN

Stage Memories »» Stage Memories specialise in programmes, posters, flyers, letters, autographs, COVET ME CARE FOR ME [HELEN [HELEN Karaoke STUDIO, WAC] STUDIO, SHEILA SHEILA DUCK DIRTY 2100-­‐0000 MARTIN MARTIN GHELANI 1800-­‐2100 Simon Moss photographs, sheet music, scores, costumes and props from British theatre

BEST BEFORE END BEST [email protected] productions, during the period of 1860-1990. Simon’s main personal interest

The White The White 07775704052 Devil 1815-­‐2330 CURIOUS RSC [STUDIO THEATRE, WAC] [STUDIO THEATRE, 1300-­‐1400 is in Gilbert & Sullivan and their wider circle, but he delights in working with collectors and researchers to help them find exactly what they are searching for, in all areas of entertainment. Find out more about Stage Memories here: THE WHITE DEVIL Wednesday 30th July 1330-­‐2330 CONFERENCE DAY 3 CONFERENCE [Campus] AWAKENINGS EXCURSION / Avon Tours & Tours Avon Colour Trail Stratford-­‐Upon-­‐ RSC 1115-­‐1245 www.stagememories.com 2100-­‐0000 “Unplucked”: “Unplucked”: DIRTY DUCK DIRTY Acoustic Music The Society for Theatre Research »» The Society for Theatre Research will be selling a variety of new and old titles at the IFTR Warwick Book and Ephemera Fair. Horror Picture Horror Picture The Rocky The Show [CINEMA, WAC] [CINEMA, STAGE ON 2100-­‐2245 SCREEN »» The Black Cat Bookshop’s collection includes vintage and collectable books The Black Cat Bookshop AS THE FLAMES ROSE... about Theatre and Cinema history and performance related books dealing Phil Woolley INTERNAL WITH RADIO Z TERRAINS TUNING OUT TUNING Studio, WAC] 1830-­‐1930 THEATRE, WAC] THEATRE, NATASHA DAVIS NATASHA DAVIS STAN'S CAFÉ [Helen Martin [STUDIO 1930-­‐2330 with dance, ballet etc. They also have many books relating to actors, dancers [email protected] 07718 536357 or 07850 795207 & performers of most genres, as well as a selection of original vintage theatre playbills, programmes , posters and other related ephemera. [STUDIO THEATRE, WAC] [STUDIO THEATRE, 1245-­‐1345 SLEEPWALK COLLECTIVE EXCURSION Brewery Tour Hook Norton Hook 1815-­‐2230

»» Black Cat Bookshop encourage you to get in touch if you would like them to THE TWO GENTLEMEN OF VERONA 1815-­‐2330 RSC bring anything specific. Find out more about The Black Cat Bookshop here: www.blackcatbookshop.com Tuesday 29th July CONFERENCE DAY 2 CONFERENCE [1330-­‐1830] EXCURSION & Estate Charlecote Park Theatreshire Books Ltd. David Wilmore »» Theatreshire Books specialise in theatre books and ephemera and also issue a monthly e-mail catalogue which is available on request. Their book stock 0945-­‐1300 EXCURSION Kenilworth Castle Kenilworth

CAPTIVE BROKEN predominantly includes material about theatre history, technical theatre and theatre architecture. They also have books that cover a broad range of theatre

MONDAY 28th July MONDAY related topics. Find out more about Theatreshire Books here: ukbookworld. CONFERENCE DAY 1 CONFERENCE 0800-­‐1030 [Campus] [POINT G, CONFERENCE MAP] CONFERENCE G, [POINT 2030-­‐2300 AWAKENINGS MOTIONHOUSE GODIVA'S ODYSSEY MOTIONHOUSE WELCOME RECEPTION Sculpture Trail 1600-­‐1700 [WARWICK ARTS CENTRE] ARTS [WARWICK [PIAZZA & MAIN THEATRE] [PIAZZA & [Piazza] 1315-­‐1345 1915-­‐2030 com/members/theatreshire 0900-­‐1800 EXCURSION Blenheim Palace & Gardens Treasures Rich & Rare »» David specialises in theatrical memorabilia chiefly from the late Victorian David B. Lovell period and especially the works of Gilbert and Sullivan. Stock consists of http://www.arcadee.co.uk/list.htm posters, programmes, autograph material, photographs, sheet music and SUNDAY 27th July SUNDAY CONFERENCE DAY -­‐1 CONFERENCE Afternoon High Pub Quiz Pub 0900-­‐1800 EXCURSION DUCK DIRTY Tea Avon 2100-­‐2300 Stratford-­‐Upon-­‐ Tours & Tours 08:00 00:45 08:15 08:30 08:45 09:00 09:15 09:30 09:45 10:00 10:15 10:30 10:45 11:00 11:15 11:30 11:45 12:00 12:15 12:30 12:45 13:00 13:15 13:30 13:45 14:00 14:15 16:00 16:15 16:30 16:45 17:00 17:15 17:30 17:45 18:00 18:15 18:30 18:45 19:00 19:15 19:30 19:45 20:00 20:15 20:30 20:45 21:00 21:15 21:30 21:45 22:00 22:15 22:30 22:45 23:00 23:15 23:30 23:45 00:00 00:15 00:30 [email protected] many other items. Social and Cultural Programme at a Glance a Glance at Programme Cultural and Social

106 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 107 On Screen Cultural Programme The IFTR Cultural Programme, curated by Natasha Davis, takes place across various spaces on the University of Warwick’s The Big Screen Campus, but focuses on the Studio Theatre and the Helen Martin Studio, inside Warwick Arts Centre. To purchase tickets for any of the events listed below, please visit the IFTR Warwick Registration Desk in the Mead Gallery between 08:00 and The University of Warwick’s Big Screen will be used throughout the conference to showcase the work of delegates from 18:00 each day. The Cultural Programme has been sponsored by the IATL Playwrighting at Warwick Project. around the world. The Big Screen is directly outside Warwick Arts Centre and is at the heart of the campus. Just a short walk from the accommodation blocks and situated amongst the main campus eateries, this will be a focal point for the conference’s lunch and coffee breaks. BE FESTIVAL presents As the Flames Rose We Danced to the Sirens, the Sirens is Sleepwalk Collective’s As the Flames Rose We third full-length work, an intimate, minimal one-woman tragicomedy that blends The Big Screen forms a backdrop to the outdoor theatre space, known as the Piazza, and will function alongside some of Danced to the Sirens, the dense poetic text with a richly composed soundscape, subtle and surreal imagery, the outdoor aspects of the Open Mic and Cultural Programmes. Sirens and an intricately negotiated and ever-shifting spectator/performer relationship. The Big Screen will be used during the Welcome Reception for a live screening of Motionhouse’s performance of Broken, Sleepwalk Collective Teasing and hypnotic, the piece chops up and replays the iconography of B-movies taking place in the Warwick Arts Centre Theatre, as part of the IFTR World Congress. and early cinema in a joyous and desperate attempt to re-work cinematic and Tuesday 29th July cultural clichés into something heartfelt and profound. To find out what will be shown on the Big Screen, please refer to the Big Screen Guide, which can be found on the website 13:00 – 14:00 and in your conference bag. Studio Theatre, Warwick Arts Centre Sleepwalk Collective is an award-winning live art and experimental theatre group Band A: £12. Band B and Student: £10 creating intimate performance experiences between the UK and Spain. They Stage on Screen Festival make fragile, nocturnal work for theatres and other spaces, emerging from a fascination with pop culture junk, intoxication, and the mysteries and complexities We have been working with Warwick Arts Centre to create a Stage on Screen festival of our relationship with each other. Balancing delicately between joy and tragedy, to run for part of the IFTR conference in the Warwick Arts Centre cinema. The Stage their performances are playful and sensual, defined by a minimalist aesthetic and on Screen festival will provide another opportunity for the general public to engage a seductive sense of danger. with the conference and its activities. To book tickets for the films listed below, please visit the Warwick Arts Centre Box Office, opposite the Arts Centre’s cafe bar. As the Flames Rose We Danced to the Sirens, the Sirens won the First Prize at BE FESTIVAL 2011, Best Actress at BE FESTIVAL 2011, Best Actress at SKENA UP Kosovo 2011 and Best Direction at ACT Festival Bilbao 2010. The Rocky Horror Picture Show »» Everyone’s favourite cross-dressing musical is back with this special one-off Tuesday 29th July screening, where you are invited to come dressed up! Image by Futura Tittaferrante ‘An unsettlingly languid but hauntingly touching display of live-art tragi-comic Warwick Arts Centre Cinema stand-up.’ The Herald 21:00 »» Adapted from Richard O’Brien’s stage production, the film features a fearless www.sleepwalkcollective.com Duration: 98 minutes Tim Curry as the singing transvestite alien Frank N. Furter and Susan Sarandon Price: £8.50 (£7) and Barry Bostwick as the innocent lovebirds Brad and Janet. http://befestival.org/

Dangerous Acts »» In Belarus, any art that is performed or displayed without first passing through Starring the Unstable Elements of the hands of the government censors is considered a criminal activity. The Internal Terrains What cracks, what dents appear in the density of everyday pressures and ageing? Belarus Belarus Free Theatre is a group of eight actors and technicians who have gained Natasha Davis Why is the body sometimes sensitive to every sound? Internal Terrains explores an international reputation for their fearless pursuit of truth, performing anti- life as a choreography of decades, in search of what’s at stake as we move from Wednesday 30th July government work all over the world. Some of their members are currently in Tuesday 29th July one decade to another. Poetic and sensual, the performance plays chords with Warwick Arts Centre Cinema exile, unable to return home for fear of arrest. 18:30 – 19:20 films and installations, crows, cages and electric shocks. Stories from Natasha’s 18:30 Helen Martin Studio, Warwick Arts and other people’s lives are translated into visual metaphors around body, Duration: 76 minutes »» This documentary contains footage filmed in the country, starting on the day Centre memory and identity. Tickets: £8.50 (£7) of the supposedly rigged general election in 2010 and following the company Band A: £12. Band B and Student: £10 on their artistic mission to raise awareness of the situation in their home Natasha Davis, an interdisciplinary artist based in London, has presented country and in democratic cities around the world. performances, films and installations in numerous venues and festivals in the UK and internationally, most recently in Ireland, Cyprus and California. A visiting Alceste à bicyclette - Cycling with »» Director Philippe Le Guay (The Women on the 6th Floor) returns with his regular lecturer at Birkbeck and Brunel, Natasha has delivered talks and workshops Molière collaborator Fabrice Luchini (In the House) in this playful film about two actors across the world and is a practice-as-research PhD student at the University of Wednesday 30th July taking on Molière. Warwick. 20:30 & »» TV star Gauthier Valence (Wilson) travels to Ile de Ré to convince his Created, written and performed by Natasha Davis. Developed in collaboration Thursday 31st July reclusive friend Serge to star in his stage production of Molière’s comedy of with: Bob Karper (sound), Branislava Kuburović (written documentation), Elisa 18:30 manners, The Misanthrope. After much persuading, Serge agrees to a week- Gallo Rosso (objects), Lucy Cash (movement) and Marty Langthorne (lights). Warwick Arts Centre Cinema long rehearsal session where the two actors’ egos comes to the fore as they Duration: 105 minutes alternate between the lead role of Alceste and the supporting part of Philinte. Commissioned by Chelsea Theatre London, Colchester Arts Centre and Live Tickets: £8 (£7.50) Collision Dublin. Funded by Arts Council England, Hosking Houses Trust, Tower »» The clear love of the text, the scene stealing performance by Luchini and Image by Lucy Cash Hamlets and Theatre Studies at the University of Warwick. Supported by Littoral. the sun-drenched landscapes breath life into this 17th century play, making it relevant and accessible to modern audiences. www.natashaproductions.com

108 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 109 Tuning Out with Radio Z ‘Simply extraordinary – unique, surprising, captivating and intensely moving.’ Covet Me Care for Me Covet Me Care for Me is a durational performance piece by live artist Sheila Stan’s Cafe Tony Racklin, Head of Theatre at the Barbican, London Sheila Ghelani Ghelani originally commissioned in 2007 by SPILL Festival of Performance, which encourages the viewer to consider the mixed up mess that resides in us all. Tuesday 29th July This extraordinary theatrical experience is created afresh each night collaborating Wednesday 30th July 19:45 – 21:45 with audiences both present and following the show online. Audiences are invited 18:00 – 21:00 Fifty covetable glass hearts are laid out on the floor each containing a ‘mongrel’ Studio Theatre, Warwick Arts Centre to keep mobile phones on and bring laptops into the auditorium in order to submit Helen Martin Studio, Warwick Arts object. These objects are then claimed one at a time by 50 members of the Band A: £12. Band B and Student: £10 material: requests, images and writing to the show via text, email or www.radioz. Centre public, who participate in the performance, over the duration of several hours. co.uk. The Stan’s Cafe team then seamlessly weave the pick of this material into Durational performance The rest of the public form an audience. You can come in any time between 6pm the emerging drama. (You can enter and leave any time and 9pm and you can remain in the space as long as you wish, however due to a during the three-hour performance) limited capacity of approximately 60 at any one time, you may have to wait a little It is late in the studios of Radio Z and two presenters are attempting to navigate Band A: £12. Band B and Student: £10 to enter the room. the perils of the night, intent on bringing their listeners safely to dawn. Where the fictional presenters are relying on their listeners for help, the real actors are You see what Sheila was hoping (in the dark of the night), was that one of them relying on the audience, to guide them through the show. Previous versions have (just one of them), might find its way from a pair of caring hands, into a heart, into found the presenters dealing with a flood, a shooting and hunting for a missing a legacy… And that one day (just one of them) might be pored over by historians, person. No one knows what tonight will bring but the show can be expected to scientists, academics all noting down with eager interest its composite nature, its blend evocative imagery with wonderful music and a text written, in part, by its sleek shiny beauty, its symbolic properties, its uncanny ability to reflect their own audience. analytic eyes right back at them.

James Yarker, Artistic Director of Stan’s Cafe says: ‘Improvisation is a technique Covet Me Care for Me is a quiet, brutal, celebratory performance about heartbreak we use in private to test out ideas and generate material for new shows. These and heritage, objects and history, anatomy and difference. http://www.stanscafe.co.uk/ improvisations are always experiments but they are usually seductive and occasionally you witness a transcendental moment when something sparks and Sheila Ghelani is an artist whose work spans performance, installation and moving a breathtaking, illuminating theatrical event happens. I have often wished I could www.sheilaghelani.co.uk image. She enjoys the weight of words when spoken or held and finds multiples share this rehearsal room excitement with an audience, so now we have made the of objects and actions arranged in repetitious patterns very reassuring. She likes improvisation the show.’ to cut things up, break things apart and mix things together. She is also very interested in the practice of medicine and care and the relationship between art and science with particular focus on hybridity.

Best Before End Curious theatre company have been thinking about language and love. Now, Curious in this darkly comic solo performance, Helen Paris navigates a minefield of the The Falsettos and The Making Hilarious and moving in equal measure, The Falsettos sees five-foot Stacy Makishi unspoken with only some cryptic crossword clues, the Hokey Cokey, and the of The Falsettos from Honolulu find a deep connection with the depressed mafia mobster Tony Wednesday 30th July BBC football scores to guide her. Charting a path by the night stars (or are they Stacy Makishi Soprano – taking in therapy, a love affair with a fish, a longing for home and a 13:00 – 14:00 sugar cubes?) and carrying a loved one uphill in a large upholstered armchair poignant conviction to ‘never stop believing’ along the way. Splicing together Studio Theatre, Warwick Arts Centre whilst wearing high heels doesn’t make things any easier. Wednesday 30th July popular culture influences from The Sopranos, E.T. and Barbra Streisand, mobs, Band A: £12. Band B and Student: £10 Performance 20:00 – 21:00 midlife, lowlife and taboo get the Makishi treatment – uncompromising, Can you ever say allthethingsthatneedtobesaid before it’s too late and everything Film 21:15 – 21:50 compassionate and joyously absurd. is past its sell by date? Studio Theatre, Warwick Arts Centre Band A: £12. Band B and Student: £10 Geographically distant from her beloved and increasingly ancient mum in Hawaii, Curious’ Helen Paris and Leslie Hill are artists known for their edgy, humorous Makishi speaks the unthinkable yet undeniable desire to kill her – to spare her any interrogations of contemporary culture and politics, work that has been called as further pain. Perhaps love and violence are not such strangers after all. smart as it is seductive. Their work as Curious over the past seventeen years has embraced performance, installation, publication and film. Curious projects are The Falsettos forms a loose sequel to Stacy’s earlier work inspired by popular global and domestic, sometimes large, sometimes small in scale. Intimacy and a culture, The Making of Bull: The True Story, which has toured across the UK and to shared sense of encounter with an audience are always an important element. Amsterdam, New York, Turkey, Slovenia and Vienna. Paris and Hill are currently based in San Francisco, where they are Professors of Performance Making at Stanford University’s Theatre and Performance Written and performed by Stacy Makishi. Technical design by Jo Palmer. Video Studies Department. Their new book, Performing Proximity: Curious Intimacies is artwork and animation by Claire Nolan. Produced by Artsadmin. Co-commissioned forthcoming from Palgrave Macmillan, Summer 2014. by Chelsea Theatre London, The Basement Brighton and Colchester Arts Centre, Image by Hugo Glendinning The Falsettos premiered to acclaim at Chelsea Theatre in May 2013 and is touring throughout 2014. Image by Nikki Tomlinson Curious is produced by Artsadmin This performance of The Falsettos will be followed by a special screening of a www.artsadmin.co.uk documentary film,The Making of The Falsettos. Accompanying Stacy throughout www.placelessness.com the development of the piece, filmmaker Claire Nolan invites you to experience

110 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 111 www.stacymakishi.com a world of performance-making at first hand. Featuring interviews with straybird are Associate Artists with Their curations include What if…(2010), and What Matters (2012), both at Siobhan collaborators Peggy Shaw, Joshua Sofaer, Lois Weaver and Vick Ryder, The Roehampton Dance Network at Davies Studios; Small Matters at Dance Umbrella 2012, and a mobile exhibition Making of The Falsettos offers a personal portrait of the artist and an insight into Roehampton University and with Stray Gifts (To Be Claimed By Whoever Shall Find) at Dance Umbrella 2013. As the impact art-making can have on relationships. Artsadmin 2013 – 2014. co-directors they have made two films for Siobhan Davies Dance – Seven Ways South and Walker, as well as What Matters – a short documentary for Arts Stacy Makishi is a transplant from Hawaii who found paradise in Dalston, East Both artists continue to make work Council England that was shown as the opening film at the State of the Arts 2012 London in 1994. After graduating from the University of Hawaii she worked individually: conference. as a stand-up comic at the Comedy Store but when her punchlines punched back, Stacy found herself happiest when making what New Yorkers called www.beckyedmunds.com ‘Performance’. Her present body of work is interdisciplinary in scope and includes live art, film, installation and visual art. The work is as complex as it is accessible; www.lucycash.com humourous as it is challenging; visual as it is literate. Stacy is an associate artist with Artsadmin, Chelsea Theatre and New Unity.

Three Meadow Meanders – Puzzle paths, mystery mazes, bits of labyrinths with creaturely quizzes … invite you Trails of the Unexpected – Talking Birds’ Trails of the Unexpected invites you to explore this city of hidden Of All the Creatures Across toward a touch of eco-sanity. Vol 1 (1500m) rivers and untimely watches on foot. Treading a fine line between fact and the Globe Talking Birds fiction, the trail wanders playfully across Coventry city centre’s time and space, From Earthrise Repair Shop, Stan’s Pass under blissful bones of ancient trees. Step onto weavy pathways going encouraging you to unearth hidden treasures along the way. You can follow Cafe & Warwick Arts Centre nowhere maybe turning out at everywhere. Passing boxy signposts of mixed Monday 28th July – Friday 1st August the self-guided 1500m route on your smartphone or paper map, alone or with news for the future. Shifting between roller coaster endurance lists and contrail (Durational) friends. There will be clues to find and evidence to gather – and the opportunity Monday 28th July – Friday 1st August pointers beyond an infinite sky. Not seeking anything, discover how next Band A, B and Student: £5 to take the weight off your feet in a friendly pub at your journey’s end. Talking FREE forevers might unfold open secrets through such level switchback meanderings, Birds’ projects invite people to explore a particular place of interest in a mediated The meanders will be open on all calmbound routes for disexpectation, dreameries supplying hints of still way; weaving together its stories – real and imagined – to encourage people to Congress days. Meander 1 requires arriving new born worlds as every exit might become an entry to more hopeful examine it in a new light. 1500m is the latest in a series of works made over a advanced booking. Meanders 2 and 3 somewhere elses today. number of years which seek to map the changing city via different creative filters. are open all daylight hours This gently immersive interactive installation exhibition cum concentrated performing ecology survivalist challenge will be open for use by delegates for all days of the IFTR Congress at three locations on University of Warwick campus (Baz Kershaw).

“I have been walking these grasses for four years. I saw nothing new today but everything I saw was in a new light.”

http://www.talkingbirds.co.uk/ Meander traveller, PSi Leeds 2012.

FOUND Lying somewhere between a choreographed exhibition and an exhibition of straybird choreography, straybird have curated FOUND – a special edition of works for IFTR 2014. Tuesday 29th July – Wednesday 30th July FOUND explores the nature of found material in a small selection of moving 12:00 – 22:00 image works. The found element might be from a public archive or a personal Warwick Arts Centre Foyer one; an out-of-print book picked up in a charity shop; or a now-obsolete form of FREE analogue technology. Whether what’s found is the uncovered sediment of what’s been left behind or the re-discovery of something that’s been overlooked, the works in FOUND offer us different ways of seeing what we think we know and unconventional ways of connecting choreography to the world around us.

straybird are led by Lucy Cash and Becky Edmunds, two independent artists whose practices have spanned dance, live art and moving image disciplines. Since initiating straybird in 2010, Becky and Lucy have developed a number of projects together including co-directed moving image works and innovative curations, as well as co-teaching of workshops and educational projects. Between January and March 2014 Rambles With Nature 1 – a collaboration with artist Sheila Ghelani – is exhibiting at Siobhan Davies Studios, London.

112 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 113 Social Programme The Two Gentlemen This is the first time in 45 years that The Two Gentlemen of Verona has been The IFTR Warwick Organising Committee have arranged numerous trips, excursions and events throughout the week of of Verona-The Royal performed in full production on the Royal Shakespeare Theatre stage. Simon the conference. Tickets for all of these activities can be purchased online in advance of the event, or at the Registration Shakespeare Company Godwin makes his RSC début to direct Shakespeare’s exuberant romantic Desk in the Mead Gallery during the conference itself. Tuesday 29th July comedy. Tickets £43 .00

Blenheim Palace and Gardens Blenheim Palace is home to the 11th Duke and Duchess of Marlborough and Coach Departs from Point ‘E’ on your Excursion the birthplace of Sir Winston Churchill. Surrounded by over 2,000 acres of Conference Map at 18:15 Sunday 27th July ‘Capability’ Brown landscaped parkland and the Great Lake, the Palace was Performance Starts at 19:15 Band A and B: £25.50 designated a World Heritage Site in 1987. Student: £23.50 Charlecote Park and Estate One of England’s finest National Trust sites, Charlecote Park consists of breath- Wheelchair User: £23.50 A permanent interactive visitor experience Blenheim Palace: The Untold Story is Excursion taking gardens and a very grand Tudor House of the Lucy Family. In the gardens open inside the Palace, bringing to life enticing tales of the last 300 years seen Tuesday 29th July you will find a formal parterre, colourful planting, a woodland walk and the wider Coach Departs from Point ‘E’ on your through the eyes of the household staff. Themed tours run on selected dates Tickets: £14.50 parkland, and spectacular views across the River Avon. Conference Map at 09:00 across the year that look at some of the personalities, periods and significant Coach Returns to Campus at 18.00 developments in more detail. There are also exhibitions, with recent works from Coach Departs from Point ‘E’ on your Inside the house itself, have a chance to venture through the noble rooms such John Piper, ‘Lights, Camera, Action!’ and Gladys Deacon. Conference Map at 13:30 as the Grand Hall, adorned with artwork and décor from over 400 years of Coach Returns to Campus at 18:30 family history, as well as the kitchen and servant working area which are both The Palace is surrounded by award winning Formal Gardens, including the tranquil reminiscent of Victorian England. Secret Garden, the majestic Water Terraces and fragrant Rose Garden. This trip is accessible for wheelchair users. Hook Norton Brewery Tour Hook Norton Brewery is one of very few family owned breweries in England and and English Pub Grub is in a classic Victorian Tower. The brewery was founded in 1849, and part of the Tuesday 29th July tour takes you through the history of the brewery since this era. You will also be Stratford-upon-Avon Tours Enjoy a guided tour around Stratford-upon-Avon, the birthplace of William Tickets: £28 able to sample one of the Brewery’s finest English Beers such as Old Hooky. and Afternoon High Tea Shakespeare and take the chance to visit Shakespeare’s Birthplace. Then you Sunday 27th July will be taken on a ‘Behind the Scenes’ tour of the Royal Shakespeare Theatre, Coach Departs from Point ‘E’ on your After the tour you will have the chance to taste a traditional English pub dinner in Band A and B: £44.00 which includes a trip to the top of the RSC Tower, where you’ll find stunning views Conference Map at 18:15 a pub just down the road from the Brewery itself. Student: £42.00 across the town and the River Avon. Coach Returns to Campus at 22:30 Wheelchair User: £42.00 After the tours you will be traeted to a traditional English Afternoon Tea, which Coach Departs from Point ‘E’ on your includes a selection of teas, scones, pastries and sandwiches served on traditional Stratford-upon-Avon Tours These tours explore the Front of House areas of the Royal Shakespeare Theatre Conference Map at 09:00 tier stands in the Riverside and Round Room of the Royal Shakespeare Theatre. and the RSC White Devil and the history of the company. It covers the humble beginnings of the theatre in Coach Returns to Campus at 18:00 Wednesday 30th July 1879, through the 20th Century with the rebuilding of the theatre, the formation of the current Royal Shakespeare Company and into the 21st Century through Tour and Show the recent Transformation. Band A and B: £45.00 Student: £43.00 It also takes you along the banks of the River Avon to discover more about Kenilworth Castle and Kenilworth Castle is one of the finest and is the largest ruined castles to be Wheelchair User: £43.00 the history of the theatres and the story behind the founding of the Royal Gardens Tour seen in England today, with a beautiful backdrop of the vast green Warwickshire Show Only Shakespeare Company and the Flower family. The tour takes in the theatre Monday 28th July countryside. Some of the marvellous features of the grounds include: the Band A, B and Student: £26.00 buildings and surrounding theatre gardens. Band A and B: £15.50 inner court buildings, which date back to the 12th century yet still remain in an Wheelchair users: £26.00 Student: £14.50 impressive condition, the Tudor gardens that were reconstructed from a 17th After some free time in the city, you then return to the Royal Shakespeare Wheelchair User: £14.50 century plan, an impressive Norman ‘keep’ and John of Gaunt’s Great Hall. Coach Departs from Point ‘E’ on your Theatre in time for the 7.30pm show of The White Devil. Conference Map at 13:30 for the Coach Departs from Point ‘E’ on your Kenilworth Castle itself has been visited and inhabited by some very famous Tour and Show and at 18:15 for the Conference Map at 09:45 names in English history: Henry II, Edward II, John of Gaunt the First Duke of show only Coach Returns to Campus at 13:00 Lancaster, and Elizabeth I to name a few.

Also on the grounds is the magnificent Elizabethan Garden, originally created as City of Oxford Excursion Take the chance to visit one of England’s most historic cities for a few hours dedication to Queen Elizabeth I by Robert Dudley, Earl of Leicester, re-created in Thursday 31st July during the conference. Top city centre attractions in Oxford include: 2009 based on the survival of 1575 description of the original garden. Tickets: £10.00 This trip is accessible for wheelchair users. Christ Church College of Oxford University: Founded in 1546 by Henry VIII, this Coach Departs from Point ‘E’ on your is the largest of all of the Oxford colleges. Christ Church College is also the only Conference Map at 10:40 college in the world to house a cathedral within its walls. Coach Returns to Campus at 16:15 The Sheldonian Theatre: Erected in 1664-8 and designed by Sir Christopher

114 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 115 Wren, the Sheldonian was built as a secular venue for the principal meetings Henry IV Part I – Royal With Jasper Britton as Henry IV, his crown under threat from enemies both and public ceremonies of the University of Oxford. The Sheldonian now holds Shakespeare Company foreign and domestic the king prepares for war. Having deposed the previous regular performances and music recitals. Friday 1st August king, he is only too aware how tenuous his position is, and the price to be paid if Tickets: £43.00 he falters... Christ Church Picture Gallery: The Christ Church Picture Gallery contains a collection of Old Master paintings and drawings totalling approximately 300 Coach Departs from Point ‘E’ on your paintings and almost 2000 drawings. The collection includes artworks of Italian Conference Map at 18:15 art, from the 14th to the 18th century. Coach Returns to Campus at 19:15

Wroxall Abbey - Farewell The Farewell Party and Dinner will take place at Wroxall Abbey, a spectacular Chatsworth House Excursion Dubbed ‘the Palace of the Peaks’, Chatsworth House is one of England’s finest Party and Dinner Package historic house which is only a short distance away from the University of Warwick Saturday 2nd August country houses. Nestled in the Peak District National Park, at Chatsworth you’ll Thursday 31st July campus. Band A and B: £30.00 see room after room of the ancestral home of the Dukes and Duchesses of Band A: £65.00 Students: £28.50 Devonshire. The house is surrounded by acres of beautifully mantained gardens Band B and Students: £55.00 Coaches will depart from the University and will wind through the quaint villages Wheelchair User: £28.50 and a vast deer park which extend as far as the eye can see, and the on-site of Warwickshire to Wroxall Abbey. On arrival, delegates will enjoy a drinks farmyard is perfect fun for all of the family. This is a trip not to be missed. Coach Departs from Point ‘E’ on your reception on the terrace, accompanied by live jazz music. Delegates will be free Coach Departs from Point ‘E’ on your Conference Map at 18:30 to relax in the ground floor suites of the house and to explore the estate, which Conference Map at 09:00 Coaches Return to Campus between includes a Grade 1 listed cathedral with almost a millennium of history. Coach Returns to Campus at 18:00 23:00 and 01:00 Delegates will then have an exquisite three-course meal in the grounds and will be treated to live music throughout dinner. Afterwards there will be an eight piece Stratford-upon-Avon Enjoy a whole day to explore the sites and scenery of Stratford-upon-Avon at your party band, followed by a disco. Delegates will have the opportunity to dance the Excursion and RSC Two own leisure. The options are endless, you could visit Shakespeare’s Birthplace, night away or retire to the splendid public rooms of the house. Gentlemen of Verona steer a boat down the river, visit the local shops, pubs and restaurants, or visit Saturday 2nd August Holy Trinity Church to visit Shakespeare’s final resting place. The prices include travel to and from the venue, a drinks reception on arrival, a Tickets: £57.00 three-course dinner, wine on the table, tea and coffee after dinner, exclusive use After enjoying a wonderful morning in the town, you will return to the Royal of the ground floor of the venue and the hotel grounds and the evening’s musical Coach Departs from Point ‘E’ on your Shakespeare Theatre to watch The Two Gentlemen of Verona at 13:15. entertainment. Conference Map at 09:30 Show Starts at 13:15 The venue can cater for all dietary requirements, but would need substantial Coach Returns to Campus at 18:00 notice in order to source the relevant fresh produce. Please let us know as soon as possible if you have purchased a ticket for the dinner and have special dietary requirements by emailing [email protected]. If you do not drink wine, there will be appropriate alternatives available for the reception and a fully staffed cash bar will be open throughout the evening.

Farewell Party – Party The Farewell Party will take place at Wroxall Abbey, Warwickshire. Coaches will Package depart from the University at 20:00 and will wind through the quaint villages of Tickets: £30.00 Warwickshire to Wroxall Abbey. On arrival, delegates will enjoy a drinks reception on the terrace, accompanied by live jazz music. Delegates will be free to relax in the ground floor suites of the house and to explore the estate, which includes a Grade I listed cathedral with almost a millennium of history.

Delegates will also be able to enjoy a selection of canapés on arrival, before joining the other delegates after their dinner with the eight piece party band, followed by a disco. Delegates will have the opportunity to dance the night away or retire to the splendid public rooms of the house.

116 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 117 Postgraduate Research Degrees Open Mic Schedule Theatre and Performance Studies Open Mic 1: Tuesday 29th July, 10:30 - 11:15 University of Warwick »» Amy Voris, Christian Kipp & Natalie Garrett Brown, Skirting, Piazza, 10:45 [Durational] Skirting is an improvised and durational practice for the peripheral spaces and transitional times of a building. Movement material and photography are resourced from the felt-sense of the body, drawing on sensorial and imaginary input of the The Department of Theatre and Performance Studies at Warwick has a lively and site as it is experienced. With this practice, we seek to offer a presence that both belongs to and stands separate from diverse international postgraduate research student community, offering excit- the space it inhabits. ing postgraduate research opportunities at MA by Research, MPhil and PhD level. Degrees are supervised individual research projects, culminating in the »» Trevor Rawlins, Studying Acting, Big Screen, 10:45 production of a substantial thesis. A suitably qualified candidate may submit Actor training is a layered process, with early work being about peeling back layers of assumption before discovering how their MA, MPhil or PhD as practice-as-research, incorporating a written thesis to build a performance from action and intention. Cultural shifts over the last twenty or so years have seen the working and a body of creative practice (which may consist of performances, installa- world of the actor becoming more and more dominated by camera based media, adding layers of nuance to a theatre tions, plays, translations or digital products). based training approach.

»» Ciane Fernandes, Body Environment Merger, Woods Scawen Room, 10:45 Theatre and Performance Studies at Warwick places its research focus on the complex ways performances interact in the public sphere, producing as well as Video-choreography project that includes the author/performer Ciane Fernandes and her autistic/artistic son Lucio Di Franco in ecoperformances at Brazilian national park of Chapada Diamantina, Lençóis BA. The video associates somatic representing myriad modes of social practice, aesthetic expression, and political methods such as Authentic Movement and Laban/Bartenieff Movement Analysis, overlapping body rhythms and editing intervention. Our research is transnational, collaborative, interdisciplinary and processes, as well as the roles of dancer and video-maker, mover and witness–both taken as performance. practice-based, and follows new directions in historical studies as well as con- »» Cia Sautter, Golmah, Humanities Studio, 10:45 temporary performance trajectories. As a department, we are committed to theoretically informed research that looks outward beyond the academy into a Golmah is a variation of the story of The Golem. The monologue shares how the first Golem of Prague was actually a female, made by Jewish women, who created her to protect themselves against domestic violence. The Golmah is brought larger arena to see how performances influence, or intervene in, public percep- to life in this piece through blessings and flamenco dance, sparking energy of the elements. tions or public policy. The four main areas of current research interest amongst supervisory staff are:

P r a c t i e - s Open Mic 2: Tuesday 29th July, 12:45 - 14:15

• Cities, Spaces and National Identities »» Susanna Uchatius, Egni’s Eye, Humanities Studio, 13:00 • Memory, History and Historiography Egni’s Eye, by Susanna Uchatius, is inspired by the true story of Inge Morath, the Austrian photojournalist and last wife of

• Interrogating the Popular e s a r playwright Arthur Miller. Egni is a palindrome of the name Inge, which she used to help sell her photography in a post-war • Cultural Policy and Cultural Value world biased against all things Germanic. Inge and Miller were married for 40 years, had a daughter, Rebecca, and three c h P D : years later, in 1962, a son, Daniel, born with Down Syndrome. Daniel was institutionalized after birth, never lived with his family and his existence was never acknowledged until revealed in 2007 by Suzanna Andrews’ in the Vanity Fair article Arthur Miller’s Missing Act. N a t s h D

»» Christina Schmutz, Frithwin Wagner-Lippok, Mariana Simoni, Stand up and run // For One Hour I’ll Wholly Be Yours, Humanities Studio, 13:45 v i s n I t e r a l Using the frame of a lecture on quantified selfas a new participation style in “permissive societies” (Zizek) the performances thematize theatre politics of the data-collecting, rapidly moving and self-optimizing modern individual prototype. A discoursive choreography about authentical strategies between irony and poetic fiction, starting off with a gesture... T

e r »» Katherine Hennessey, ‘The Funny Thing about Terrorists Is…’ Comedic Actors in Yemen Tackle a Serious Issue, Big Screen,

a i n s , 13:00

2 0 1 3 . An introduction to and screening of select video footage from rehearsals and performance of the play Marzouq in the Role of the Terrorist. This play opened the 2014 World Theater Day Festival in Sana’a, Yemen, and features three actors beloved P h o t b by Yemeni audiences for their talent at improvisational comedy.

»» Nicki Shaughnessy and Melissa Trimingham, ‘Now I see the World’: An Excavation, Woods Scawen Room, 13:00 y L u c C a s h .

This performance involves the screening of extracts from an experimental documentary arising from an AHRC funded

118Details: http://www2.warwick.ac.uk/fac/arts/theatre_s/postgTheatreraduate/st u&d eStratificationnts/ FIRT/IFTR World Congress, University of Warwick, 2014 119 Enquiries: Director of Graduate Studies, Dr Nicolas Whybrow [email protected] practice based research project using contemporary performance methods to engage with autism (www.imaginingautism. Collymore Literary Endowment Award competition. org). The project involved a series of immersive, multi-sensory installations, puppetry and interactive digital media to facilitate communication and social interaction with 7-11 year olds across the spectrum. The film explores new insights into the imagination and perception in autism. »» Dr Kate Dorney, Played in Britain: Modern Theatre in 100 Plays, Woods Scawen Room, 13:45

Presented by the Curator of Modern and Contemporary Performance from the V&A Museum. New mobile technology »» Ciane Fernandes, 137 Perforgraphs, Woods Scawen Room, 13:40 not only encourages interaction and wider participation, but also heralds an exciting new era for historical collections in the way they engage with an ever changing audience. Ipad app Played in Britain: Modern Theatre in 100 Plays presents Perforgraphs investigates how the interaction between dance and photography with/in a natural environment re-inscribes archival materials (photographs, playtext excerpts, reviews) alongside short essays and commentaries. Curator and author and perpetuates a sense of dynamic grounding or “portable place” (Suzanne Lacy, 1995, p.128), in spite of contemporary Kate Dorney will discuss the process of curating and creating the app. displacements, virtual spaces and time constraints. 137 Perforgraphies (Lençóis, BA, Brazil, September 2012) was performed by Ciane Fernandes and photographed by Márcio Ramos, who had their respective identities as “mover” and “witness” »» Nic Leonhart, Global Theatre Histories: Modernization, Public Spheres and Transnational Theatrical Networks (1860-1960), exchanged during the creative process. Big Screen, 13:30

Shakespeare in Taiwan. Circus in India. Richard Wagner societies in Indonesia. Theatrical brokers as global players. Opera Open Mic 3: Tuesday 29th July, 15:45 - 16:30 in South-East Asia: theatre can be considered a global artistic practice and a central part of transnational networks of artistic exchange. The historiographical investigation of the emergence of theatre as a global phenomenon since 1860 and its many layers, directed at different translocal publics, is the ambitious goal of the research project Global Theatre »» Daniel Ploeger, Ascending Performance, Woods Scawen Room, 16:00 Histories. Ascending Performance is a performance in the form of a smartphone app, which is available from MiKandi, an online store for adult content for Android phones. The work features a digitized Super 8 film of the naked artist. By slowly making the »» Nilüfer Ovalıoğlu, Typologies, Humanities Studio, 13:15 typical ‘swipe’ gesture over the image on the smartphone screen, the user plays through the frames of the film one by one. Through repetitious performance of this gesture, an erection gradually emerges. Typologies weaves gestural and vocal expressions that manifest the common historical strata and emotional outbursts of people living near Mardin, a city in the Mesopotamian plateau of Turkey, home to a variety of cultures and languages. »» Natalie Lee, Estate, Humanities Studio, 16:00 The creatures created are composed of performativities caught through stories told, sung, grouched or shout by people encountered in the area. Estate is a work-in-progress performance that explores notions of home, place, neighbourhood and our attachment to the lived structures which surround us. An alternative storytelling, you are invited through the streets of The Hillock »» Joanna Bucknall, Wish Box, Humanities Studio, 13:45 Estate in Manchester by way of the 11 bus stops that exist within it. A forlorn Bride and Groom work within a task-based dramaturgy over a durational period to deliver their own and the »» Bruce Barton, Inhabiting youTopia, Big Screen, 16:00 wishes of others in an endless cycle of hopes and regrets. Stood in their flagging finery as Postfeminist cyphers they work to expose, collect and testify of the neurosis and aspirations of our times through the lens of live art performance. Performed within a five metre high maze of construction scaffolding, wooden ladders, pulleys and cables, Vertical City’s YouTopia (2013) features interactive media, an intricate, headphone-based soundscape, and complex mechanical engineering. Two performers climb, leap, and crawl about the structure in a mouse-and-mouse relationship, struggling to Open Mic 6: Wednesday 30th July, 15:45 - 16:30 survive by adapting to their antagonistic environment. The video presentation will feature the full-length interdisciplinary production. »» Loulou Sjerps and Carmen Wong, Textcapism, Woods Scawen Room, 16:00

Open Mic 4: Wednesday 30th July, 10:30 - 11:15 Inspired by post-dramatic performance theories, and Worthen’s Disciplines of the Text/Sites of Performance, Textcapism asks: How might a dramatic text that is not intended (by the author) to be performed, be staged? »» Caroline Wilkins, Beyond the Language of Zaum, Piazza, 10:45 A short lecture-performance explaining the concept followed by a curated discussion will feed back into Sjerps/Wong’s research on performance methods resisting text and textualities. [zaum=beyonsense].Stemming from the popular traditions of Russian folk and cabaret, these songs originate from the 1st performance art work of the 20th century, Victory over the Sun (1913). Their content touches on aspects of stratification »» Amy Voris, Christian Kipp & Natalie Garrett Brown, Skirting, Arts Centre Foyer, 15:45 [Durational] in theatre such as the relationship between audience, spectator and social class. skirting is an improvised and durational practice for the peripheral spaces and transitional times of a building. Movement »» Monica Prendergast, Prison Poems: Running around with Inmates, Maps and Swords, Woods Scawen Room, 10:45 material and photography are resourced from the felt-sense of the body, drawing on sensorial and imaginary input of the site as it is experienced. With this practice, we seek to offer a presence that both belongs to and stands separate from These autoethnographic poetic narratives reflect on my experience of performing in a prison theatre production of The the space it inhabits. Hobbit at William Head Institution (outside of Victoria, British Columbia, Canada) in the fall of 2012. I was one of three female “street actors” working alongside 17 federal inmates. Rehearsing and staging this production was equal parts »» Hari Marini, The Falling Shift, Arts Centre Foyer, 16:00 challenging and rewarding, as these poems reveal. The Falling Shift has emerged as a theme for a perfomative exploration of the concept of time as we experiencing it Open Mic 5: Wednesday 30th July, 12:45 - 14:15 in urban spaces. Whilst everything moves constantly and rapidly around us, how do we experience time? How time is stratified? The Falling Shift explores how time is marked and mapped by the experience of falling. »» Margaret Gill, Machinations of a Feminist, Woods Scawen Room, 13:00

I will be reading poems from my book manuscript, Machinations of a Feminist. This book won second prize in the Frank

120 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 121 »» Selogadi Mampane, Kromotherapy, Humanities Studio, 16:00 »» Ana Luz Ormazabal, Agnetha Kurtz Roca Method, Warwick Arts Centre Studio 13:45

Kromotherapy follows my experiences as a Queer, Black, African, woman, navigating my way through my often stigmatised What do we experience when we encounter with a language we can’t understand? identity, within the context of Hate Crimes in South Africa. Through art-activism, I work to cure myself of the disease of A conference lead by the famous philosopher and performer Agnetha Kurtz Roca about Linguistic Space is the fiction in being the inconceivable ‘other’ and proudly occupy my identity, within the strict confines of what it means to be human. which this piece explores language as a space of power, knowledge and identity. By obstructing meaning musicality of language appears as a sonic mis-en-scène »» Dora de Andrade, Palaventorio and Monolito Carnaval: Video dances from collaborative process between community and artists in Brazil, Big Screen, 16:00 »» Eduardo Augusto Rosa Santana, Bodily Paths, Big Screen, 13:00

The first video dance from 2010, calledPalaventório , was performed, shot and edited by teenagers and young adults from For this presentation, I will show a short piece of a documentary called Dance of the Morning Child, from an artistic different favelas at Rio de Janeiro. There was an intention to research the movements in relation to local geography. The residence called Alpendre [Porch] for graduating students in the School of Dance of the Cultural Foundation of Bahia second video dance, Monolito Carnaval, was produced in 2013, at another community also in Rio de Janeiro. It shows a State - Brazil. group of teenagers performing a traditional carnival character from Rio and discovering different forms of moving. »» Rebecca Jennison, Ito Tari - ‘Perhaps it’s better that radiation has no color…’ sigh, Big Screen, 13.30 Open Mic 7: Thursday 31st July, 10:30 - 11:15 Ito Tari has continued to produce powerful, innovative performance and video works that address ongoing “precarious »» Ashleigh Griffith, We Were Never Here, Warwick Arts Centre, 10.45 [Durational] states” in the Japanese and East Asian context. This film documents Ito’s live performance of ‘Perhaps it’s better that radiation has no color…’ sigh (2011) performed at the Asian Art Museum in Fukuoka in 2012. We Were Never Here is a one-to-one encounter that explores the potential of performative experience through paper. It employs a process developed from an archeological technique, known as a Paper Squeeze, to mould our encounter into »» Sarasa Krishnan, Seeing Music, Hearing Images, Painting Dance, Humanities Studio, 13:00 the material. This evolving piece is being developed through Ashleigh Griffith’s ongoing PhD research. Our consciousness is informed by, all that we see, all that we have experienced and have learnt. This forms our perception. »» Aurelia Baumgartner, Human Without Cortex – Attempts, Warwick Arts Centre Studio, 10:45 To invoke the sacred and spiritual, through colour, movement, spontaneity, simplicity and total presence of mind, technique is transcended. Integrating the eponymous poem by Grünbein, a dialogue of fractals arises from movement, language, video, trombone. Silencing the thinking mind, from the rational to the intuitive mode, 3 Arkana, 3 attempts, atmospheres, theory, imagination and reason in free interplay. Is that art or philosophy? Or is it the Equilibrium through breath… the sound of a single syllable. very bewilderment of thinking, of the self-image of the individual that releases creativity and thus opens up the possibility of philosophy as art? This performance has received financial support from the Kulturreferat München. Open Mic 9: Thursday 31st July, 15:45 - 16:30 »» Khairani Barokka, Eve and Mary are Having Coffee, Humanities Studio, 10.45 »» Urmimala Sarkar, Gendered Citizenship: Manifestations and Performance, Woods Scawen Room, 16:00 Jolt yourself awake with an excerpt from Eve and Mary Are Having Coffee, solo spoken word and performance art magic, world-premiering at this year’s Edinburgh Fringe. Get ready to hear and see word-slings of womanism, irreverence, lack A presentation on an on-going collaborative project (sanctioned by University Grants Commission, India, and UK-India of penitence, and java. By Khairani Barokka, 2013 Emerging Writers’ Festival’s International Writer-in-Residence. Hearing- Education and Research Initiative) between Theatre and Performance Studies, Jawaharlal Nehru University and School of impaired accessible. Theatre, Performance and Cultural Policies, University of Warwick.

»» Amy Voris, Christian Kipp & Natalie Garrett Brown, skirting, near Humanities Studio. 10:30 [durational] »» Pema Clark, No(h) Father, Warwick Arts Centre Studio, 16:00 skirting is an improvised and durational practice for the peripheral spaces and transitional times of a building. Movement In Japanese Noh theatre, restless ghosts are compelled to return to earth to re-tell painful life stories. No(h) Father is a material and photography are resourced from the felt-sense of the body, drawing on sensorial and imaginary input of the short durational performance and sound installation using original audio material of myself as a child and my estranged site as it is experienced. With this practice, we seek to offer a presence that both belongs to and stands separate from father (the voice of BBC radio’s Just William during the 1940’s).The performance interrogates the tension that exists the space it inhabits. between memory and identity.

»» Roberta Mock, Heaven is a Place, Big Screen, 10:45 Open Mic 10: Friday 1st August, 10:30 - 11:15

A port is a landscape suspended, janus-faced, vertiginous, neither land nor sea. Inspired by the writing of Jean Genet, this »» V Soumyasri Pawar, Ramyana Shabdam/ “Three Earths” Dance Theatre Presentation, Helen Martin Studio, 10:45 dance film explores becoming, melancholy, and the erotics of place through the human geography of a specific port. Integrating a range of movement-based practices, Heaven is a Place arises from collaboration with emergent professional Ramayana Shabdam – Story of Lord Rama’s birth till his coronation as the King from the Indian epic Ramayana. This will performers and members of Plymouth’s LGBTQ community. be performed in solo format in Kuchipudi classical dance form (from southern part of India – Andhra Pradesh). “Three Earths” Dance Theatre Presentation in Kuchipudi form based on three givers, Mother Earth, Farmer and a Woman. Open Mic 8: Thursday 31st July, 12:45 - 14:15 »» James Cross and Joel Brogan, Black Box Theory, Warwick Arts Centre Studio, 10:45 »» Tracey Evans, Listening to the Space Between Us, Warwick Arts Centre Studio, 13:00 What does connection mean to you? Two performers, each seated in a chair, invest their personal realm into the This performance encounter invites an audience to witness two people who sit at either edge of what might be a void. performance through a process of self-discovery using speech and movement inspired by their own experiences. An empty space. A caesura. Nothing appears to be happening. The space between them is amplified. An audible pause. The performance has a structure and context that allows for an exchange with the audience and performers through improvisation and investment.

122 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 123 Awakenings and Other Events »» Helen Gilbert, EcoCentrix: Indigenous Arts, Sustainable Acts, Big Screen, 10:50 The Awakenings programme is full of cultural activities on campus, so that delegates can kick start their morning before How can we exhibit performance-based arts in a mode that retains something of their elusive provenance? What should their conference day. Some activities have a limited capacity, and booking is required. we archive in this curatorial process? EcoCentrix is an interactive, multi-platform exhibition of indigenous performance from various parts of the world, developed in both live and digital versions. This video presents excerpts from the live event, staged last year in London. Working in an artistic register, it presents art as ‘a state of encounter’ between contemporary Sculpture Trail indigenous communities and a city inclined to forget its imperial past. Monday 28 July, 08:30 - 10:30, based around Warwick Arts Centre. This tour will depart from the Registration Desk. FREE

Open Mic 11: Friday 1st August, 12:45 - 14:15 Most of the sculptures on campus were made during the last 50 years and have abstract forms. This tour examines ideas about site, making, emotion and how our experience of the world is represented in stone, wood and metal. Please book your place at the Registration Desk in the Mead Gallery, Warwick Arts Centre. »» Liz Tomlin, The Cassandra Commission, Humanities Studio, 13:00 Colour Trail In Greek Mythology Cassandra was blessed by Apollo with the gift of prophecy, only to be cursed with the fact that no-one would ever believe her. In this work-in-progress extract of spoken word performance, the audience are given a glimpse Wednesday 30 July, 11:15 - 12:45, University House and Maths Building. This tour will depart from the Registration Desk. of the apocalyptic future that is waiting for them, in the wake of what seems to be inevitable economic, democratic and FREE environment collapse. When the University of Warwick was founded in 1965, it received a gift of nine major abstract paintings which founded the University Art Collection. This tour looks at three of these early works and then visits later commissions which draw on the Self Assemble Theatre, The Use of Self, Humanities Studio, 13:45 »» experience of colour. Please book your place at the Registration Desk in the Mead Gallery, Warwick Arts Centre. Self Assemble Theatre welcomes you to the world of work where oddball Nina is given the opportunity to shine. The Use of Self offers a frantic, fast paced, highly charged, physical and entertaining account on the quest for personal effectiveness Land(scape) Trail and office survival. Friday 1 August, 11:15 - 12:45, Business School. This tour will depart from the Registration Desk. FREE

»» Katherine Mezur, Jihad Against Violence: The Minefields of Languages, Gestures, and Violence, Warwick Arts Centre From the 1960s, landscapes have been overtaken by art that examines the nature of land, territory and people’s experience Studio, 13:00 and understanding of it. This tour of a group of paintings, photographs and prints and about land from the 1970s to the present will culminate, weather permitting, in a short walk through the University landscape to see Paul Mount’s wind A Bi-Lingual, (Arabic and English) Processual Performance of a short scene from Jihad Against Violence. This collaborative, sculpture. Please book your place at the Registration Desk in the Mead Gallery, Warwick Arts Centre. future-feminist performance reveals the cracks, the leaks and the accidents of re-performance and translation within our contemporary revolutionary times. Shifting, viscerally and vicariously, the dramaturgy of languages partners with Other Social Activities gestures, which may divert text into ‘other’ contexts. The University of Warwick’s Pub - The Dirty Duck - will be hosting a series of events throughout the week of the IFTR »» Simon Sladen, National Video Archive of Performance, Woods Scawen Room, 13:30 Warwick World Congress. Open every evening during the conference, they’re hosting the following:

Presented by the Assistant Curator of Modern and Contemporary Performance from the V&A Museum. Established in Dirty Duck Pub Quiz 1992, the National Video Archive of Performance currently contains over 300 high-quality recordings of outstanding Sunday 27th July productions. This session will provide an introduction to the resource and explore the many ways researchers engage with 21:30 - 11:00 this fascinating record of contemporary British theatre. Why not take part in the Dirty Duck’s pub quiz on the evening before the conference begins? Team up and answer the »» Lauren Barri Holstein, Splat!, Woods Scawen Room, 14:00 toughest General Knowledge questions this side of Coventry, for a chance to win a coveted prize.

Open Mic 12: Friday 1st August, 15:45 - 16:30 Dirty Duck UnPlucked Tuesday 29th July »» Rakel Ezpeleta, Erbeste, Helen Martin Studio, 16:00 21:00 - 00:00

Erbeste, means “exile”, “unknown land” and “alien” in Basque language. In Erbeste, a female Basque artist displays the UnPlucked is an acoustic night held regularly at the Dirty Duck. Come and chill out to the live music whilst enjoying a drink intricacies of her complex construction of identity through movement, voice and text. Erbeste is part of a PhD project from a wide range of ales, wines and special cocktails on offer. that studies the reception of layers of identity by audience in different cultural environments. Work-in-progress. Dirty Duck Karaoke »» Carmen Wong, Tactile Eating, Warwick Arts Centre Studio, 16:00 Wednesday 30th July 21:00 - 00:00 The gastro-performances by Carmen Wong are rooted in materiality, tactility and social play. Following an overview of previous endeavors playing with food, Wong will present her current creative practice project Sentient/Ingestion and Come and show off your vocal talents at the Dirty Duck’s regular karaoke night. With a vast catalogue of tunes to choose demonstrate the segment Sentient/Spitting which invites participants to re-perceive/re-perform the act of eating- from, you’ll be guaranteed to find your all-time favourites. spitting as a symbolic, playful gesture.

124 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 125 Practical Information »» A.1 Taxis- 01926 335300 »» Execucabs -01926 771771 Buses »» Rai Taxis - 01926 888862 »» A B C Taxis - 01926 316666 Travelling by bus is the most convenient and cost-effective way to travel from campus to the nearby towns of Kenilworth »» A Star Taxis - 01926 888854 and Leamington Spa, and to Coventry City Centre. Buses run every ten to twenty minutes from all campus bus stops during weekdays and weekends. The most frequent buses are: Emergency Contacts

In case of an emergency on campus, please contact the University of Warwick’s Security Services Team on their 24 hour »» Bus Number 11 or 12: These buses do a return journey from Coventry to Kenilworth and Leamington Spa, via the University Emergency number: 024765 22222. of Warwick. If you want a one way ticket you should ask for ‘a single ticket’ to your location. If you’d like a return ticket you should aks for ‘a return’ to your location. PLease be aware that this bus company does not issue change. You will need the The national emergency contact number to dial is: 999. Through this number you can reach the police, ambulance and fire exact change of £1.90 for a single ticket or £3.80 for a Daysaver reurn. services.

»» U1 - This bus runs return journeys from Leamington Spa to the University of Warwick. As above, if you want a one way ticket you should ask for ‘a single ticket’ to your location. If you’d like a return ticket you should aks for ‘a return’ to your Bookable Syndicate Rooms Scarman House location. This bus company does offer change. Scarman House will have over 30 Syndicate rooms available to book during the conference. Each room can fit between 10- 15 people, and you can book one on arrival at the Information Point in Scarman House, or before you arrive by contacting For the main bus stops in Leamington, Kenilworth and Coventry City Centre please ask for: [email protected]

»» Pool Meadow Bus Station, for Coventry City Centre »» The Parade, for Leamington Spa Childcare »» The Almanack and the Clock Tower, for Kenilworth The Summer Holiday Scheme at the University of Warwick’s Nursery has been created with the help of primary Please be aware that there are various road improvements taking place during IFTR 2014, but bus services will run as normal. educationalists to answer a real need in the University community. They offer an inspiring range of educational, cultural Though the roadworks should not impede on the conference itself, there may be traffic to get on and off of campus during and sporting activities to challenge, entertain and enthuse 5-11 year olds using the fantastic resources available on campus; peak times. To read more about the road improvements and how they may impact on your journey, please visit the IFTR developing the children’s knowledge and skills while enabling them to make friends and have plenty of fun. Warwick website. The usual childcare day is from 09:00am to 17:00, and the nursery can provide full wrap-around care from 08:00am to Trains 18:00 and can offer breakfast for the early birds! To contact the University of Warwick’s Nursery, please call 024765 23389.

There are three train stations which have easy transport links to the University of Warwick: Laundry

»» Coventry Station is only a 20 minute journey away from campus on Bus Number 12. Alternatively it’s a 10 minute taxi ride Coin-operated laundry facilities are available at various locations on campus. Please ask at the Registration Desk or which will cost approximately £10.00. Information Point for more details. Washing powder and liquitabs can be bought from Costcutter, in the Student’s Union »» Canley Station is a 5 minute taxi journey away from campus, or is a 30 minute walk. building. »» Leamington Spa station is a 25 minute bus journey away. A taxi to Leamington train station will cost approximately £22.00. Sports Facilities Coventry and Canley Stations have regular train services to Birmingham New Street Station. This station is in Birmingham’s City Centre and is at the heart of the city’s social and cultural quarters. Coventry Station has easy access to London Euston The Sports Centre will be accessible for all residential delegates for the duration of their stay at the University of Warwick. and to Birmingham International Airport. Residents simply can show their key on arrival at the Sports Centre and will be asked to fill out a short form. They will then have free access to the gym, the swimming pool and the Sports Hall. Small fees may apply to use additional facilities, When travelling between 09:00 and 16:00 and after 17:30, you will need to buy Off-Peak tickets. Peak tickets are more including racket sports. expensive and are to be bought outside of these time brackets. All tickets can either be purchased online or in person at the Ticket Offices ot Ticket Machines. Tipping Etiquette

Taxis In restaurants where you place your order with your waiter/waitress and receive food, and your bill, at your table, it is usual to tip around 10%. It is not a requirement to tip bus or taxi drivers. Trinity Taxis is the preferred taxi firm for the University of Warwick for the Coventry area. They are happy to offer a fixed rate for all IFTR delegates when you book a journey. To do this, please call and book as an IFTR Delegate on:

024 7699 9999

On the following page is a list of reputable taxi firms from Leamington Spa or Kenilworth, which may be useful when returning back to campus from an afternoon or evening out:

126 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 127 Main Campus Warwick Arts Centre

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130 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 131 Exploring the Area

Bullring and the City Centre Coventry City The Bullring is an enormous shopping mall in the city centre with over 160 shops and eating outlets to enjoy. It is easy to Coventry City Centre is only 25 minute bus journey away from the University of Warwick’s campus, and is home to many locate, right next to Birmingham New Street Railway Station. cultural attractions Ikon Gallery Coventry Transport Museum FREE FREE Ikon is an internationally acclaimed art museum situated in central Birmingham. Housed in a magnificent neo-gothic school Coventry is the birthplace of the British cycle and motor industry. At the Coventry Transport Museum you can journey building, it is an educational charity and works to encourage public engagement with contemporary art through exhibiting through 150 years of innovation and discover the fascinating story behind the development of road transport from the new work in a context of debate and participation. earliest cycles to the fastest cars on earth. The National Trust’s Birmingham Back to Backs Coventry Cathedral Adult: £7.25, Child: £3.90, Family: £15.90 For the New Cathedral – Standard Adult: £8.00, Concessions: £5.75 An atmospheric glimpse into the lives of the working people of 19th century England. The people who helped make Cathedral Ruins- FREE Birmingham the extraordinary city that it is today. On a fascinating guided tour, step back in time at Birmingham’s last Blitz Museum Experience: £2.75 surviving court of back to backs; houses built literally back-to-back around a communal courtyard. The original cathedral was largely constructed between the late 14th century and early 15th century. This now stands ruined, bombed almost to destruction during the Coventry Blitz on 14 November 1940. Only the tower, spire, the outer wall and Royal Leamington Spa the bronze effigy and tomb survived this attack on the city. The current St Michael’s Cathedral is built next to the remains Royal Leamington Spa is only a 20 minute bus journey away from the University of Warwick’s campus. With an abunadnce of of the old cathedral. Here you can have the chance to visit the Blitz Museum Experience to find out more about Coventry shops, cafes and restaurants, this regency town is great for a relaxing afternoon. While you’re in Leamington Spa, why not during World War Two. visit the following attractions:

Herbert Art Gallery and Museum The Royal Pump Rooms FREE FREE The Herbert, Coventry’s award winning museum and art gallery, celebrates the city’s culture, history and arts. A registered The Royal Pump Rooms is located at the heart of the town, consisting of an art gallery & museum, a library and a cafe. The educational charity, situated at the heart of the city centre, the Herbert is also Coventry’s creative media centre and history Art Gallery & Museum is very attractive with its permanent collection of over 11,000 objects in the fields of art, crafts, centre. It brings under one roof the unique heritage and creative aspiration of one of Britain’s most historic cities. Located in sculpture, local and social history, archaeology and ethnography. the heart of Coventry city centre, next to the historic Cathedral, the Herbert is the perfect place to learn more about the history of Coventry and immerse yourself in some art and culture. Jephson Gardens FREE Birmingham Situated in the centre of Leamington Spa, Jephson Gardens is a Victorian park with plenty of things to enjoy during a sunny Birmingham is only a 30 minute train journey from the nearby Canley and Coventry Rail Stations, and has plenty of cultural summer’s afternoon. The restaurant in the park serves both lunch and dinner and the Leamington Boat Centre is open and social activities to enjoy at your leisure: during the summer months for the hire of rowing boats and motor boats.

Birmingham Hippodrome Kenilworth £25-£60 Kenilworth is less than 20 minutes journey by bus from Warwick campus. Why not take a visit to any of the following: Birmingham Hippodrome is a lively independent theatre in the heart of the city centre. All through the summer they will showcase the award winning musical Wicked, which has been casting its magical spell over audiences of all ages across Abbey Fields the world for a decade, and flies into Birmingham Hippodrome in July 2014! To book tickets please visit the Birmingham FREE Hippodrome’s webiste, or call the Box Office on 08443385000. The Abbey Fields are an extensive 68 acres of open public space which forms the green heart of Kenilworth. It is used for recreation from kite flying to playing tennis, includes a swimming pool, a lake, children’s play area and heritage trails. The Birmingham Museum and Art Gallery Abbey Fields are also rich in history with the remains of an historic Abbey. All that remains now of the Abbey of St Mary are FREE small parts of the Nave and Chapter House, the ruined gatehouse and another building of unknown origin known today as Opened in 1885, the collections cover fine art and applied arts, archaeology and ethnography, natural history, social history. the ‘Barn’. The Museum has the largest collection of Pre-Raphaelite works in the world, as well as Old Masters and Impressionists. Recently the modern and contemporary collections have had a new home created in the Waterhall Gallery of Modern Art, Kenilworth Castle and Elizabethan Gardens positioned just at the rear of the Museum. Kenilworth Castle has been intimately linked with some of the most important names in English history. Today, with its Tudor gardens, its impressive Norman ‘keep’ and John of Gaunt’s Great Hall, it is the largest castle ruin in England. You can book Library of Birmingham an excursion to Kenilworth Castle, which includes a guided tour, as part of the IFTR Warwick Social Programme. FREE The Library of Birmingham is the largest public cultural space and largest regional library in Europe. The library provides Stoneleigh Abbey a showcase for the city’s internationally important collections of archives, photography and rare books. New facilities Grounds, Repton Walk & Orangery Cafe: £3.50 including state-of-the-art gallery space open up public access to the collections for the first time. It is also home to a BFI Guided Tours of the interior rooms of the West Wing: Adult – £8.00, Children – £3.50 Mediatheque, providing free access to the National Film Archive. Other facilities include a new flexible studio theatre, an Stoneleigh Abbey stands beside the River Avon, and buildings have been inhabited on this site for 830 years. The Abbey outdoor amphitheatre and other informal performance spaces, a recording studio, and dedicated spaces for children and was converted at the Dissolution into a comfortable family home. Stoneleigh has played host to several people of note, teenagers. including King Charles I, Queen Victoria, and novelist Jane Austen. Visitors can also enjoy the first phase of Repton’s idyllic walks over the river and take in the spectacular view.

132 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 133 Restaurants and Bars Warwick Venture out to Warwick and visit the following attractions: On Campus

Warwick Castle Warwick Arts Centre Cafe Bar Open 10:00 -18:00 Monday to Saturday: 09:30 - 21.00 Adult: £24.00, Child: £19.80, Age 60+: £16.80 (Additional fees apply for the Castle Dungeon and the Dragon Tower Sunday: 15.00 - 19:30 Warwick Castle is steeped in eleven hundred years of history. It has magnifiscent state rooms, a great hall, beautiful landscapes, dark dungeons and high towers. Warwick Castle is a thrilling adventure for all the family with shows and activities Right inside the venue which is the heart of the IFTR Warwick Conference, the Warwick Arts Centre Cafe is a relaxed and running throughout the day. If you plan to visit the castle, be sure to set aside the whole day! If you’re thinking of visiting this informal cafe bar that is open all day for continental coffees and snacks with a licensed bar. attraction, please ask at the Registration Desk about 2-4-1 entry vouchers. Xananas Restaurant Warwick Folk Festival Monday 28th July to Friday 1st August: 09:00 - 21:00 Thursday 24th to Sunday 27th July 2014 This year will be the 35th annual Warwick Folk Festival with live folk performances, camping, a crafts and music fair, real ale Xananas is a bistro style restaurant on Warwick Campus, serving freshly prepared main meals, light bites and desserts. They and cider and plenty of food and drink available on site. A festive and jovial way to kick start your stay in the Midlands before also have a selection of fine wines, premium beers and fresh coffees. the Conference week. Curiositea Mill Garden Monday 28th July to Friday 1st August: 09:00 - 17:00 Open 09:00 - 18:00, Adults: £1.50, Child: FREE Mill Garden is famed for the quality of its planting in an unbelievable setting. You can view the river and the ruin of the Curiositea is a vintage style tea shop on campus. They serve cakes, crumpets, milkshakes and freshly made coffee. medieval bridge, the swans that nest in the garden and also Caesar’s Tower that looms. Le Gusta Oven & Bar Warwickshire Museum Monday to Friday: 12:00 – 22:00 Tues – Sat: 10.00 – 17:00 (Closed Mondays), FREE Saturday to Sunday: 17:00 – 21:00 The small 17th Century Market Hall Museum in Warwick’s Market Place houses displays and exhibitions relating to archaeology, social history, geology and natural history. If you’re in Warwick town centre, it’s worth a short visit to find out Le Gusta Oven & Bar is a new restaurant located inside Warwick Arts Centre. Le Gusta offers a great selection of food more about Warwick and the surrouding area. including wood-fired pizza, a selection of tapas as well as classic dishes such as Steak and Ale Pie and Sausage and Mash.

The Bread Oven Monday 28th July to Friday 1st August : 12:00 - 14:30

The Bread Oven is a baguette bar serving freshly baked bread with your choice of hot and cold fillings from their wide selection of deli. You could also make your own salad box, toasted sandwich and even have a jacket potato.

The Dirty Duck Opening Hours: Sunday 27th July: 12:00 - 23:00 Monday 28th July to Friday 1st: 12:00 – Late Food Serving Hours: Sunday 27th July to Friday 1st: 12:00 -21:00

The Dirty Duck is the University of Warwick’s on-site pub, selling a wide selection of alcoholic and soft beverages. They also provide a basic food menu.

The Terrace Bar Monday 28th July to Friday 1st August: 16:00 - Late

The Terrace Bar is a perfect place on campus to relax and unwind, with a first floor view over the entire piazza. Serving a wide choice of cocktails, wines and beers it is the ideal place to spend your evenings.

Bar Fusion Monday to Saturday: 12:00 - 15:00 Located on the first floor in the Rootes Building, Bar Fusion is a casual dining restaurant offering customers an exciting menu of Asian inspired dishes.

134 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 135 Off Campus The Glasshouse Opening Hours Leamington Spa Daily: 10:00 -00:00 Food Serving Hours Le Bistrot Pierre Tuesday to Saturday: 12:00 - 21:30 Monday to Thursday: 12:00 - 15:00, 17:)0 - 22:00 38 Warwick Street, Leamington Spa Friday: 12:00 - 15:00, 17:30 - 23:00 Tel: 01926 432836 Saturday: 09:00 - 15:30, 17:30 - 23:00 Sunday: 09:30 - 16:00, 18:00 - 22:00 The Glasshouse is an a modern, urban gastro pub in the heart of Royal Leamington Spa, designed with the style and feel of 28 Park St, Royal Leamington Spa, the British countryside, European farm-house’s and New England interiors. The Glasshouse has an excellent range of teas, Tel: 01926 426261 coffees, light meals and confectioneries on offer.

Le Bistrot Pierre is situated in the heart of Leamington Spa, surrounded by the many shops and boutiques that the town has IFTR Delegate Discount: 10% off your total food bill when you book a table in advance! to offer. The restaurant has an elegant and relaxed atmosphere inside, with high quality provincial French food on which to dine. La Coppola Ristorante Open Daily: 12:00 - 22:00 IFTR Delegate Offer: A bottle of St Jean rosé wine if you dine from à la carte menu or a 500ml carafe if dining from lunch 86 Regent St, Leamington Spa or pre theatre menu or 15% off your meal up to 4 people. Valid 28th July to 1st August 2014 and for anyone with conference Tel: 01926 888873 accreditation when showing this programme discount. La Coppola serves the finest Italian food with ingredients sourced directly from Italy. Their menu also includes choices of fresh fish and seafood. The restaurant’s décor is reminiscent of the Italian countryside with echoes of best loved artistic Oscar’s French Bistro masterpieces. For warmer summer evenings dine al fresco on the terrace. Tuesday to Saturday: 12:00 - 15:00, 18:30 - 23:00 39 Chandos St, Royal Leamington Spa Wilde’s Tel: 01926 452807 Opening Hours Tuesday to Saturday: 12:00 to 00:00 Oscar’s is a corner of France in the heart of Leamington Spa; a restaurant that prides itself on its relaxed atmosphere. The Food Serving Hours menu is an authentic reflection of simple French dishes from the saucisson and olive nibbles, to the award winning steak Tuesday to Saturday: 12:00 - 14:30, 18:30 - 21:30 frites, and a French cheese board. 7 Parade, Leamington Spa CV32 4DG Phone:01926 336732 IFTR Delegate Offer: 10% discount on total bill on Wednesday 30th July to Friday 1st August 2014, 18:00 to 21:00. Booking required. Wilde’s is a chic and humble bar and restaurant at the top of the Parade in Leamington Spa. They source fine ingredients for their food, from free range and organic suppliers with a wide selection of wines to choose from as well.

Turtle Bay The White Horse Opening Hours Opening Hours Monday to Sunday: 11:30 – 23:00 Monday to Wednesday: 12:00 - 23:00, Thursday: 12:00 - 00:00 Happy Hours Friday: 12:00 - 01:00 Daily: 12:00 – 18:30 and 21:30 – Close Saturday: 10.30 - 01.00 11 Regents Court Sunday: 10.00- 23.00 Tel: 01926 424 282 Food Serving Hours Daily: 12:00 - 22:00 Turtle Bay creates a Caribbean island vibe by serving up exceptional, authentic dishes in an environment inspired by the love 4 Clarendon Ave, Leamington Spa of laid-back living. To transport you to the Caribbean without a plane ticket, they source the very best ingredients, and then Tel: 01926 426892 bring everything together in true Caribbean style, bringing the best flavour. Turtle Bay is a great place for hanging out with friends and family, while enjoying good food and a few drinks. The White Horse is one of the oldest English pub restaurants in Leamington Spa. Adorned with comfy interiors, drinks and seasonal pub food. They provide a wide range of real ales, ciders & world beers, in a family friendly environment.

Kayal Restaurant 23 Monday to Friday: 12:00 - 15:00, 18:00 – 23:00 34 Hamilton Terrace, Leamington Spa, 42, Regent Street Tel: 01926 422 422 Tel: 01926 314 800 Closed Monday, Tues-Thurs: 12noon-11.00pm, Fri-Sat: 12noon-12midnight, Sun: 12noon-5.00pm This family run Indian restaurant has become a local favourite. The family have a passion for good food and have won numerous awards. Kayal is all about tradition, quality, discoveries, fresh ingredients and amazing aromas. Restaurant 23 offers a unique, highly satisfying and relaxed fine dining experience. With a cocktail bar too, its an ideal environment for our guests to relax and unwind.

136 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 137 Sabai Sabai Sunday: 08:00 –23:00 Open Daily: 12:00 - 15:00, 18:00 - 23:00 Abbey End, Kenilworth 41-43 Regent St, Leamington Spa CV32 5EE Tel: 01926 353637 Tel: 01926 428088 The Almanack is a modern British gastro pub in the heart of Kenilworth. They serve fresh seasonal food, a great quality In Thai, Sabai means to relax. So it makes sense that Sabai Sabai restaurant has a relaxed environment that will make you feel English pint, great wine, well-made coffee, all with a genuine welcome for old guests and new. as though you have been taken across the other side of the world for dinner. The Queen & Castle Corleone Caffe Opening Hours Opening Hours Monday to Saturday: 09:00 - 18:00 Monday to Thursday: 11:00 – 23:00 Sunday: 10:00 - 16:00 Friday to Saturday: 11:00 – 00:00 108 Regent St, Leamington Spa CV32 4NR Sunday: 10:30 – 22:30 Tel: 01926 336444 Food Serving Hours Monday to Thursday: 12:00 – 22:00 Perfect for an authentic Italian coffee and panini, this cute caffé also has a hidden gem of a courtyard for those lazy summer Fridayto Saturday: 12:00 – 22:30 afternoons. Sunday: 12:00 – 21:00 Castle Green, Kenilworth Carluccio’s Tel: 01926 852 661 Opening Hours Monday to Saturday: 08:00 - 23:00 The Queen & Castle Pub has been stylishly refurbished making it the ideal place to find a cosy corner and take time out Sunday: 09:00 - 22:30 whilst enjoying some seasonal dishes and a great selection of wines, ales and lagers. Satchwell Ct, Satchwell Walk, Leamington Spa, Warwickshire CV32 4QE Tel: 01926 889587 Harringtons On The Hill Monday to Saturday: 12:00 – 15:00, 18:00 – 23:00 Great quality, authentic Italian food at sensible prices. Relaxing atmosphere with informal but excellent service to customers. Sunday: 12:00 – 16:00 42 Castle Hill Havana Casa de Cafe Kenilworth Opening Hours Tel: 01926 852074 Monday to Tuesday: 08:30 – 18:00 Wednesday to Thursday: 08:30 – 22:00 Harringtons on the Hill is situated in a picturesque bow fronted cottage opposite Kenilworth Castle, the restaurant is the Friday to Saturday: 08:00 – 23:00 ideal place for a memorable dining experience. And it won’t break the bank either. This small, almost rustic, restaurant has a Sunday: 10:00 – 18:00 reputation of being a warm and friendly atmosphere for all to enjoy. 48 Warwick St, Leamington Spa CV32 5JS Tel: 01926 258363 Warwick

Cafe that has an array of delicious Cuban coffee, a quality selection of wines. If you would like a quick bite to eat they have Saxon Mill delicatessen starters, light lunches, daily specials and desserts and cakes to offer. Opening Hours Monday to Sunday: 08:00 - 23:00 Food Serving Hours Kenilworth Monday to Wednesday: 08:00 - 22:00 Thursday to Sunday: 08:00 - 22:30 Loch Fyne Seafood & Grill Coventry Road, Warwick Opening Hours Tel: 01926 492 255 Monday to Saturday: 07:00 – 22:00 Sunday: 08:00 - 22:00 The Saxon Mill is a gastro pub not to be missed! The Saxon Mill has has views over a tranquil mill pond and the ruinous Guys High St, Kenilworth Cliffe House. Surrounded by beautiful Warwickshire countryside and with numerous unique features - including a working Tel: 01926 515450 waterwheel - this is the perfect setting for an evening meal al fresco. Inside or outside this traditional stone building you can enjoy fresh, seasonal dishes and a great selection of wines, ales and lagers. Though this gastro pub is off the beaten track Loch Fyne restaurant is characterful and inviting with a wonderful friendly pub to enjoy fine wines and our cask beers. They and would require a taxi to get there and back, it’s definitely worth a visit. have an incredible à la carte menu filled with fantastic fresh and seasonal seafood dishes, serving unbeatable food for all tastes. Coventry The Almanack Opening Hours Drapers Bar Monday to Wednesday: 08:00 – 23:00 Opening Times Thursday to Saturday: 08:00- 00:00 Monday to Friday: 20:00 – 11:00

138 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 139 Saturday: 08:00 – 00:00 Tel: 02476 226603 Sunday: 10:00 – 18:00 Earl Street, Coventry City Centre, CV1 5RU A highly recommended Indian restaurant in the heart of Coventry boasting a cosy dining room, painted brickwork and a Tel: 024 7622 1100 majestic tent-style area. Turmeric Gold uses fresh ingredients, cuts and vegetables from locally sourced farms and suppliers. They also have a wide selection of wines, spirits and champagne, as well as beer from around the world. Part of the Higgs Trust, Drapers Bar (previously known as Brown’s) has been operating for over 16 years. Serving great food, a good selection of continental lagers and bottled beers and situated only a few yards from several popular tourist Inspire Café Bar attractions, Drapers offers a roof terrace, sliding doors fronting the street which are opened in fine weather, and free Wifi. Opening Times Tuesday to Thursday: 12:00 – 23:00 The Artisan Bar & Grill Friday to Saturday: 12:00 – 02:00 Opening Times Christchurch Spire, New Union Street, Coventry CV1 2PS Monday to Thursday: 09:00 – 00:00 Tel: 024 7655 3355 Friday to Saturday: 09:00 – 02:00 Sunday: 10:00 – 02:00 Situated in the remaining spire of Coventry’s thirteenth century church, which was mostly destroyed during World War 1-3 Ryley Street, Coventry CV1 4AJ, England II, Inspire infuses rustic European charm with a contemporary ambience. This tiny gem of a venue serves an international Tel: 02476010266 selection of bottled brews, as well as baguette and salad snacks throughout the day. Inspire Cafe Bar was featured in The Independent’s Top 50 Bars. Set in the surroundings of a Grade 2 listed building, on the doorstep of the Belgrade Plaza, the Artisan Bar & Grill is a great place to eat, drink and relax with friends and family complimented by wooden beams, contemporary decor and open fires. Bella Italia The bar offers an extensive range of drinks, from continental beers and a detailed wine list, to classic cocktails. Occupying Opening Times the top floor of the building, the restaurant has been entirely refurbished reflecting the informal but quality ethos that The Monday to Saturday: 08:00 – 23:00 Artisan stands for. Making the most of the finest locally produced ingredients, the restaurant offers a menu of fusion cuisine Sunday: 08:00 – 22:30 bringing customers great quality dining at a reasonable price. 4 Belgrade Plaza, Upper Well St, Coventry CV1 4BF Tel: 024 7622 6811 Blue Bistro Opening Times Bella Italia is a bubbly chain venue with a delicious menu of Italian cuisine, all served up in a bustling atmosphere with a good Monday to Tuesday: 17:00 – 22:30 selection of wines and cocktails. The restaurant offers a wide selection of pasta, pizza and grill dishes amongst other classics, Wednesday to Thursday: 12:00 – 15:00, 17:00 – 22:30 with an additional children’s menu. Friday to Saturday: 12:00 – 22:30 Sunday: 12:00 – 17:00 Habibi 21 Spon Street, Coventry CV1 3BA, England Opening Times Tel: 024 7622 9274 Monday to Thursday: 16:00 - 22:00 E-mail: [email protected] Friday to Saturday: 16:00 - 23:00 142 Far Gosford Street, Coventry, CV1 5DY With a creative menu based upon great, local, seasonal ingredients, ethically sourced and cooked with passion, the Blue 02476 220669 Restaurant & Bistro offers delectable modern British cuisine, with a Mediterranean twist. The dining area at Blue covers two floors of a beautiful medieval building dating back to 1450, the exposed beams of which are complemented by striking Every dish on our menu is freshly prepared using a diverse range of herbs and spices. Our meat is ‘Halal’ and there is a large wooden furniture to create an elegant ambiance and a unique dining experience. selection of vegan and vegetarian dishes.

Stresa Kitchen Coventry Opening Times Monday to Friday: 06:30 - 10:30, 12:00 – 22:00 Saturday to Sunday: 12noon – 10:00pm Located at Ramada Hotel & Suites Coventry, The Butts, Coventry CV1 3GG Tel: 02476 238 127 / 02476 238 110

Stresa restaurant and bar at Ramada Hotel & Suites Coventry offers a contemporary Italian inspired restaurant and is the place in Coventry to experience an authentic and modern Mediterranean experience. Awarded a Gold 2 Star Sustainability award in 2013, Stresa Restaurant is the perfect stop for a quick lunch or leisurely meal. Sunday Lunches are also available each week, offering a more traditional British menu along side authentic Italian cuisines. The stylish space offers a daily selection of fresh boat fish and seafood, locally supplied meats and seasonal produce, as well as handmade, traditionally stone-baked pizzas. Turmeric Gold Opening Times Sunday to Thursday: 17:30 – 23:00 Friday to Saturday: 17:30 – 23:30 166 Medieval Spon Street, Coventry CV1 3BB

140 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 141 Warwick Organising Committee an avant-garde as such, and much of my work over the past decade has focused David Coates David Coates is a part-time PhD student in the School of Theatre, Performance on variations of this central question. Conference Administrator and Cultural Policy Studies at the University of Warwick, England. He is also the part-time Conference Administrator for the IFTR Warwick 2014 World Congress. Working as a theatre historian and theorist, I have taught a wide range of courses David’s research focuses on private and amateur theatricals in Britain, 1820-1914, on modernism, 20th and 21st century experimental theatre and performance, and their social, cultural, political, economic and theatrical value. David’s MA by performance art, theories of the avant-garde, theatre in the 1960s, post-9/11 Research investigated the significance of the fully-functioning Edwardian private performance, espionage and surveillance cultures, and performance studies. theatre at Chatsworth House in Derbyshire, England. Along with a number In my current research, I have begun to consider how, as a social political of other scholars, David is trying to raise the profile of research into amateur phenomenon, the “blurring of art and life” is by no means unique to the avant- theatre. David is the co-founder and Chair of the Society for Theatre Research’s gardes. I am interested in how the broad notion of performance that avant-garde New Researchers’ Network and also sits on the TaPRA Executive Committee as artists helped to cultivate might help us to gain a more critical understanding of a Postgraduate Representative. the politics of espionage and surveillance cultures.

Fiona Joseph Fiona Joseph is a graduate in Theatre and Performance Studies at the University of Assistant Administrator Warwick. During her undergraduate degree, Fiona focused on the performance Prof. Jim Davis Jim Davis is a Professor of Theatre Studies and a former Head of the School of of black masculinities on the British stage. She is currently studying International Conference Organiser Theatre, Performance and Cultural Policy Studies at the University of Warwick. Cultural Policy and Management in the School of Theatre, Performance and He specialises in nineteenth-century British theatre history, on which he has Cultural Policy Studies at the University of Warwick. published widely, and was formerly a co-convenor of the IFTR Historiography Working Group. He previously taught at the University of New South Wales, where he co-organised the 2001 IFTR Conference in Sydney.

Sarah Penny Sarah Penny is a PhD candidate at the University of Warwick and is writing her Assistant Administrator thesis on amateur performances in the Royal Navy. The working title of her Natasha Davis Natasha Davis is a performance and visual artist who creates work around body, thesis is ‘Entertainment at Sea: From Concert Parties to the SODS Opera’. This Cultural Programme Curator and memory, identity and migration. Her solo performances, films and installations research is part of the AHRC funded project ‘Amateur Dramatics: Crafting Producer have been shown at theatres, galleries and festivals in the UK (National Theatre Communities in Time and Space’ which collaborates with investigators from Royal Studio, Chelsea Theatre London, Birmingham Rep Door, Barbican Plymouth, Holloway, University of London and the University of Exeter. Sarah received her Playhouse Derry, Capstone Liverpool and many others) and internationally (most B.A in Theatre and Performance Studies from the University of Warwick. She recently at Project Arts Centre Dublin, Point Centre for Contemporary Art also received an Erasmus Mundus Scholarship for her Masters in International Nicosia/Cyprus, Cummings Gallery Palo Alto/California etc). Her work has been Performance Research which she completed with distinction at the University funded by Arts Council England, Hosking Houses Trust, Platforma, Humanities of Amsterdam in 2012. Research Fund, Tower Hamlets and numerous commissions and residencies. As producer Natasha has collaborated with artists such as Akram Khan Company, Bobby Baker, Gretchen Schiller, Guy Dartnell, Marisa Carnesky and others. She has managed programmes at organisations such as the British Council and Dr. Tim White Chisenhale Dance Space. Natasha is the final year PhD student at the University Conference Organiser Tim White is a Principal Teaching Fellow in Theatre and Performance Studies of Warwick, where she also co-ordinates MAIPR student placements. A visiting at Warwick, having previously held a full-time post at Central Saint Martins in lecturer at Birkbeck and Brunel, she has delivered talks and workshops across the London. After completing an undergraduate degree in English Literature in world. www.natashaproductions.com Birmingham he undertook an MA in Theatre at Lancaster University gaining a distinction.

Prof. James Harding I completed my Ph.D. at the University of Maryland, College Park (USA). Prior After several years working as a stage technician at Birmingham repertory Conference Organiser to joining the faculty at Warwick’s School of Theatre, Performance and Cultural Theatre he was awarded British Academy funding to complete a PhD at Warwick Policy Studies, I was Professor of English at the University of Mary Washington, concerning the use of the performative to disrupt form in the work of artists and have twice been a Guest Professor in the Institut für Theaterwissenschaft at since 1960, which he completed in 1994. He currently teaches modules on the Freie Universität, Berlin. Moving literally between academic disciplines and practical video, experimental music, food and performance and performing cultures has had a profound effect on the work I do as a teacher and scholar. My online. Publications include Diaghilev to the Pet Shop Boys (Lund Humphries teaching focuses on the intersection of performance and cultural politics, and it Publishers, 1996) as well as articles for Contemporary Theatre Review and Dance draws heavily on my long-standing interest in the theory and history of the avant- Theatre Journal, Performance Research and contributed to the recent volume gardes. I am particularly interested in how the “blurring of art and life” in the Theatre Noise. He is Co-Convenor of the IFTR working group Performance in avant-gardes opens the door for rethinking the very notion of what constitutes Public Spaces.

142 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 143 M A I P R Acknowledgments IFTR EXECUTIVE COMMITTEE

Prof. Dr. Christopher Balme (President) - Prof. Helen Gilbert (Vice-President) - Prof. Christina Nygren (Vice-President) - Prof. Brian Singleton (Past President) - Dr Susan Haedicke (Treasurer) - Prof Dr Peter W Marx (Treasurer) - Prof. Jan Clarke (Secretary General - Administration) - Dr Paul Murphy (Secretary General - Communications) - Prof. Charlotte Canning (Editor Theatre Research International) - Prof. Khalid Amine - Dr Awo Mana Asiedu - Prof. Elaine Aston - Boris Daussà-Pastor - Prof. Bishnupriya Dutt - Prof. Jean Graham-Jones - Dr Milena Grass Kleiner - Dr Kene Igweonu - Hanna Korsberg - Prof Hayato Kosuge - Assoc. Professor Gay Morris - Assoc. Prof. Anneli Saro - Sigríður Lára Sigurjónsdóttir

Organisers Prof. Jim Davis – Prof. James Harding - Dr Tim White

Administrator MA in International Performance Research David Coates “The integration of theory and practice in the course is exceptionally thought through” “The institutions played to their strengths permitting a much wider set of Administrative Assistants Fiona Joseph - Sarah Penny expertise than would be possible in a single institution.” (External Examiner’s Report, 2014) Warwick Organising Committee Kate Brennan - Dr Milija Gluhovic - Dr Susan Haedicke – Jonathan Heron - Prof Nadine Holdsworth - Dr Yvette Hutchison - Dr Silvija Jestrovic - Dr Wallace McDowell - Dr Michael Pigott - Prof. Janelle Reinelt - Dr MAIPR is a collaborative Masters programme, that offers a double MA degree and a fantastic Margaret Shewring – Sarah Shute - Dr Nicolas Whybrow opportunity to explore various key issues in international performance research with renowned scholars and practitioners in the field of theatre, performance studies, and curation. This twelve Conference Support month MA programme is a partnership between three European Universities: the University of Natasha Davies (Cultural Programme) - Anthony Avery (Audio Visual) - Ian O’Donoghue (Audio Visual) Warwick (UK), Trinity College Dublin (Ireland), and the University of Arts in Belgrade (Serbia). – Rob Batterbee (Audio Visual) - Parmjit Dosanjh (Warwick Conferences) – Wendy Curtis (Warwick Con- ferences) - Dr Kate Astbury (Translation Liaison) – Graham Crump (Catering) – Mark Udall (Warwick Print) – Gary Dawson (Warwick Print) – Kim Hemming (Wroxall Abbey) – Sarah Wall (Big Screen) – Ian Mason (Big As a student of MAIPR: Screen) - Andrew Madison (Big Screen) – Alan Rivett (Arts Centre) - Paul Roberts (Arts Centre) – Alex Gray • You will work in three modalities: scholarship, practice-as-research, and performance curation (Arts Centre) – Emily Peverelle (Arts Centre) – Tom Langford (Arts Centre) - Ken Sloan (Registrar) – Prof. • You will be living in the UK, Ireland, and Serbia experiencing different cultures and approaches Ann Caesar (Pro-vice-chancellor) – Prof. Simon Swain (Pro-vice-chancellor) – Boris Daussà-Pastor (Plan- ning) - Mercè Saumell Vergés (Planning) - Sally Hoffman (Cambridge University Press) – Holly Buttimore to theatre and performance research and practice (Cambridge University Press) – Jill Beeton (Cambridge University Press) – Suzanne England (Logistics) – • You will have internship opportunities with leading international artists and cultural institutions Caroline Pearce (Finance) – Sue Ellison (Finance) Emilia Meakin (Book of Abstracts) (partners have included The Royal Shakespeare Company, Akram Khan Company, Live Art Development Agency, Soho Theatre, Dah Teatar and others) Volunteer Team • You will spend an unforgettable week in the MAIPR Summer School — our unique and much Aida Bahrami - Amanda Fawcett - Amy Morgan - Awe Moyo - Beth Fiducia-Brookes - Beth Lankester - loved intellectual hub, fully dedicated to facilitating your dissertation project Bisma Sheikh - Christopher Sanders-Jolliffe - Clare Siviter - David Bennett - Ella Hawkins - Elysha Brewin - Elyshia Eng - Emilia Meakin – Nicholas Penny - Jennifer Kou - Jing Zhang - Jodie Marsden - Josh Gould- • You will be part of a truly international group of students, staff members, and artists. (Previously, ing - Julie Hudson - Kathryn Graff - Laura Mason - Lisa Skwirblies - Maria Estrada Fuentes - Maria Punina - our visiting scholars have included Marvin Carlson, Sue-Ellen Case, Susan Leigh Foster, Joanne Marianne Matusz - Matt Bent - Michael Holden - Nese Tosun - Nupur Kumar - Ophelia Huang - Oscar Owen Tompkins, Guillermo Gómez-Peña, Sonja Kuftinec, Mark Fleishman and others.) - Paige Davies - Paul Sharratt - Rachel Bewley - Robyn Leigh - Ru Zhao - Sophie Upcraft - Tracy Cattell - Xiaoxi Zhou - Zerihun Birehanu - Hannah McNally - Olly Ashforth Smith - Laura Molloy - Robbie Foulston - • You will invest in your professional future – our alumni hold exciting jobs in cultural industries, Max Wood academia, cultural policy, creative practice, curation, film, theatre, education, and cultural diplomacy • If your goal is to continue towards a PhD, you will build research skills in a variety of modes and methods and secure an academic portfolio. Our alumni have gone on to hold PhD studentships at the University of California (Berkeley and Davis), CUNY, Queen Mary and Royal Holloway (University of London), the University of Amsterdam, the University of Warwick, Utrecht University, the University of Hyderabad, amongst others. www.warwick.ac.uk/maipr [email protected] www.facebook.com/MAIPRprogramme 144 Theatre & Stratification FIRT/IFTR World Congress, University of Warwick, 2014 145 Notes FIRT/IFTR World Congress University of Warwick 28/07 – 01/08 2014

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