FRIDAY, NOVEMBER 8, 2013 12:00 PM – 1:15 PM Career Sessions 7:15 AM – 8:15 AM organizer Graduate Mentor Meeting: Meet Your Mentor Koritha Mitchell, Ohio State University Executive Room, Banquet Level #CS 1 | Publish, Don’t Perish: Articles 8:00 AM – 10:00 AM Oak Room, Banquet Level Coffee and Breakfast Breads in the Exhibit Hall moderators Gold Room, Banquet Level Alan Ackerman, editor of Modern Drama; David Savran, co-editor of Journal of American Drama and 8:00 AM – 5:00 PM Theatre (JADT); E. J. Westlake, an author who has Registration Open published in a range of journals and edited volumes Regency Foyer, Banquet Level description This session will address every aspect of writing and 8:00 AM – 6:00 PM; CLOSED 1:30 PM – 2:30 PM publishing articles in journals devoted to Theatre and Exhibit Hall Open Performance Studies as well as those less focused Gold Room, Banquet Level on the field. Speakers are also prepared to discuss publishing work in essay collections. Please come with 8:30 AM – 10:00 AM questions; there will be plenty of time for conversation. Plenary #3 #CS 2 | Publish, Don’t Perish: Books Regency Ballroom, Banquet Level Far East Room, Banquet Level chair moderators Shannon Rose Riley, San Jose State University Robin Bernstein, author of New York University panelists Press monograph and edited books; LeAnn Fields, Gibson Alessandro Cima, Tshwane University acquisitions editor, University of Michigan Press; of Technology, South Africa Mike Levine, acquisitions editor, Northwestern Future Nostalgias: Theatre, Memory, and Post-apartheid University Press 12 South Africa description Ellen MacKay, Indiana University This session will offer advice for those preparing to write William Henry Ireland and Theatre History’s Oaken Chest and publish their first monograph. Those assembled Kee-Yoon Nahm, Yale University have experience with a range of presses and have seen Rethinking Post-Racism in the Plays of Young Jean Lee the book-publishing process from a number of angles. Please come with questions; there will be plenty of time 10:15 AM – 11:45 AM for conversation. Plenary #4 #CS 3 | Under Pressure: Claiming Success and Regency Ballroom, Banquet Level Sanity in Your Pre-Tenure Years chair Continental Room, Banquet Level Aparna Dharwadker, University of Wisconsin moderators panelists Brian Herrera, tenure-eligible at University of New Marla Carlson, University of Georgia Mexico and now at Princeton University; Kirsten Autism and Affect in Post-Realist Theatre Pullen, recently tenured at Texas A&M University; David Mayer, University of Manchester Ann Folino White, tenure-eligible at Michigan State Trouble at t’Millpond: An Early Film and a Late-Victorian Stage University description Kim Solga, Queen Mary University of London This session brings together scholars who are either on Realism after Neoliberalism the tenure track or recently tenured and willing to share the decisions that have shaped their experiences. They will discuss what has worked well and what has not, offering both advice and caveats—all to help attendees remember that success and sanity go together (or it’s not success). Please come with questions; there will be plenty of time for conversation. #CS 4 | Surviving and Thriving #CS 7 | Meet the Editors of Theatre Survey During the Dissertation French Room, Banquet Level Royal Room, Banquet Level moderators moderators Esther Kim Lee, Editor; Kim Solga, Book Review Catherine Cole, University of California, Berkeley; Editor; Harvey Young, Associate Editor Laura Dougherty, Winthrop University; Ramón description Rivera-Servera, Northwestern University This session is presented by the editors of Theatre description Survey to offer detailed information on the process This session explores strategies for successful of publishing articles and book reviews in the journal. dissertation writing, including choosing committee The editor, the associate editor, and the book review members, nurturing those relationships, and getting editor will address how articles and book reviews are the writing done well. Emphasis will be placed on evaluated and selected for publication. The editors will developing life-long writing and research habits that lay also discuss specific case studies of both successful and the foundation for being a productive writer and scholar. unsuccessful submissions and answer questions from Please come with questions; there will be plenty of time session participants. for conversation. 12:00 PM #CS 5 | Pedagogical Predicaments: Meeting Perform ASTR #4 the Challenge of 21st-Century Teaching Executive Room, Banquet Level See Perform ASTR Menu for location Nicola Shaughnessy, University of Kent; moderators Melissa Trimingham, University of Kent Patrick Anderson, University of California, San Diego; Lofton Durham, Western Michigan University; Imagining Autism Patricia Herrera, University of Richmond Perform ASTR #5 description See Perform ASTR Menu for location Speakers will offer their best advice about teaching Katherine Mezur, Freelance Performance Scholar today. The session will address graduate and Dance like No One is Looking undergraduate teaching and service learning opportunities as well as the teaching of performance 1:30 PM – 3:30 PM 13 theory, theatre history, and historiography. Please Concurrent Paper Panel #2 come with questions; there will be plenty of time for Oak Room, Banquet Level conversation. chair #CS 6 | Navigating the Changing Job Market: Penny Farfan, University of Calgary Industry Applications panelists Florentine Room, Banquet Level Paul Bonin-Rodriguez, University of Texas, Austin moderators Crowd-Sourcing a Theater Infrastructure in the Post-Ford Ken Cerniglia, Dramaturg and Literary Manager, Era: The Mellon-Funded Austin New Works Theatre Disney Theatrical Group; Rebecca Hewett, Associate Community (ANTWC) Arts Program Specialist, New York City Department Chase Bringardner, Auburn University of Cultural Affairs; Judith Sebesta, Texas Higher Talking Texan in Atlanta: The Best Little Whorehouse Education Coordinating Board, Distance Learning in Texas at Atlanta’s Fabulous Fox Theatre Program Director Charlotte McIvor, National University of Ireland, description Galway This session features accomplished professionals who Mircohistories as Macrotheatre: Dismantling the Irish earned doctoral degrees in Theatre or Performance State (of Performance) Studies and chose a path other than college teaching. Julia A. Walker, Washington University, St. Louis The discussion will help attendees think dynamically Touts, Shills, Puffs and Plants: Modernist Performance about their many career options. Please come with and the Sociological Unconscious questions; there will be plenty of time for conversation. Tours of the Wyly Theatre Offsite – Wyly Theatre WORKING SESSIONS B #B2 | Theatres of War: Performing Big Ideas #B1 | Performance Studies in/from on Big Stages the Global South Royal Room, Banquet Level Continental Room, Banquet Level conveners conveners Jenna L. Kubly, Independent Scholar; Elizabeth Reitz Catherine Cole, University of California, Berkeley; Mullenix, Miami University of Ohio Megan Lewis, University of Massachusetts, Amherst; participants Jisha Menon, Stanford University DeAnna Toten Beard, Baylor University participants “Inspiration and Atmosphere”: Theatrical Authenticity and the Nandi Bhatia, University of Western Ontario WWI Soldier in Popular Music for the Broadway Stage Globalizing Local Themes through Indian Drama in Karen Dabney, University of Colorado English “For the Solider, By the Soldier”: Self-generated, Live David Afriyie Donkor, Texas A&M University Entertainment in the U.S. Army from 1990-2013 “Let Me Play My Play”: Popular Performance, Corporate Laura Ferdinand Feldmeyer, Miami University Sponsorship and Artistic Labor in Neoliberal Ghana “To Die Would Be an Awfully Big Adventure”: Or, Laura Edmondson, Dartmouth College Preparing Boys for War: J.M. Barrie’s Peter Pan, WWI, “Pay Us So We Can Forget”: The Neoliberalization of and the Myth of Manhood Memory in Northern Uganda Megan Geigner, Northwestern University Julius B. Fleming Jr., University of Pennsylvania Performing the Polish American Patriot: Polish Theatre in “Of Time, Space, and Revolution”: Performance and the WWI Chicago Making of Modern Blackness in the Global South Amy Huang, University of Illinois Avishek Ganguly, Rhode Island School of Design Entertaining Performances of Gender: Bronson Figuring Translation in Wole Soyinka’s The Road Howard’s Shenandoah, the Civil War, and Late 19th- century American Gender Roles Ryan Hartigan, Brown University Spinning the Compass: The Legal Construction of the Lisa Jackson-Schebetta, University of Pittsburgh Indigenous Global South Performance, War, and Transnational Refugee Efforts in 14 the Americas Paige Johnson, University of California, Berkeley Buying Islam: Performing New Economies, New Macy Jones, Louisiana State University Economies of Performance Fighting Fascism at Home: The Federal Theatre Project and the Rise of Totalitarianism Before WWII Omi Osun Joni L. Jones, University of Texas, Austin “On’ lati bami dele ba’mi (You must follow me to my David Jortner, Baylor University father’s house)”: Performance, Patriarchy, and Evolving “Dangerous Thoughts” and “Incitement to Violence”: African Gender Constructions Kamishibai, Reformation and Control during the U.S. Occupation of Japan Mwenya Kabwe, Independent Scholar Mobility, Migration and “Migritude” in Afrocartography: Yining Lui, Ohio State University Traces of Places and All Points In Between Staging War and Gender in Ohio University School of Theater’s Production of Lysistrata Katherine Lieder, University of Wisconsin, Madison Performing “Not-Feminism” in Modern Indian Theater Irma Maygora, Dartmouth College Dramaturgies of War: Discourses of the U.S. Military in Diana Looser, University of Queensland, Australia Elliot, a Soldier’s Fuge by Quiara Algria Hudes and blu Cultures of Climate Change: MAU Dance Theatre’s Birds by Virginia Grise with Skymirrors and the Ecopoetics of an Island World Laura Mielke, University of Kansas Kelly McKay, University of Minnesota Staging the Imp of National Discord in the Late-1850s Sin Fines de Lucro: Space, Occupation, and U.S. Theatre Performance in the Chilean Student Protests Hesam Sharifian, Tuffs University Nicholas Ridout, Queen Mary, University of London Hans Henny Jahnn’s Medea: Medea’s Revenge against “Denorthification” in Addison, Steel and Austen Europe April Sizemore-Barber, University of California, Berkeley Mina Sohai, University of Illinois Displacement, Chronopolitics, and Sexual Violence War Sells: A Case Study of the Only National War- in Mamela Nyamza and Mojisola Adebayo’s I Stand Themed Production in Belgrade during the Croatian and Corrected Bosnian Wars, 1991-1995 Seth Wilson, University of Georgia Soviet Images of the Second World War #B3 | State of the (inter)discipline: Cognitive Jenn Stephenson, Queens University Science in Theatre, Dance, and Performance Not Safe, Not-Playing in “Winners and Losers”: How Far East Room, Banquet Level Counterfactual Blending Illuminates our Sense of Actual- conveners World Risk in Reality-Based Performance Rhonda Blair, Southern Methodist University; Natalie Tenner, University of Mary Washington Amy Cook, Indiana University Memory-Guided Attention and Audience Reception in participants Shakespeare’s Theatre Natalie Bainter, Indiana University Evelyn Tribble, University of Otago Skincraft: Gallim Dance’s Blush Mindful Bodies Diana Calderazzo, Independent Scholar Neal Utterback, Juniata College Music and Affect: Cognitive Mechanisms at Work in the The Olympic Actor: Improving Actor Confidence through Sondheim Experience the Cognitive Sciences and Sports Psychology Pamela Decker, Ohio State University #B4 | Digital Methodologies in Theatre and Split Empathies and Soviet Spectatorship in Performance Studies Mayakovsky’s The Bedbug Regency Ballroom, Banquet Level Jeanine A. DeFalco, Teachers College, Columbia conveners University Sarah Bay-Cheng, University at Buffalo; Debra Reframing the Director as Educator: Incorporating Caplan, Baruch College, City University of New York Cognitive Science Principles in the Theatre Director’s participants Education and Training Wendy Arons, Carnegie Mellon University; Natalya Stephen Di Benedetto, Miami University Baldyga, Tufts University; and Michael Chemers, Change Blindness and the “Miser’s Dream”: Magical University of California, Santa Cruz Neuro-Play and Other Theatrical Potentials The Hamburg Dramaturgy–An Experiment in Online James R. Hamilton, Kansas State University Digital Peer Review Spectating: A Bayesian Perspective Jane Barnette, Kennesaw State University Pil Hansen, University of Toronto Wiki This Way: Dramaturgical Research and Wiki 15 Acts of Memory in Performance Generating Systems Collaboration Christopher Jackman, Brock University Marissa Béjar, Pontificia Catholica Universidad Insight Cascade: Exercising Sensorimotor Master in Constructing the Sociological Field of Theater through its Creative Flow Digital Voices in Social Media and the Web John Lutterbie, Stony Brook University Scott D. Dexter and Amy Hughes, Brooklyn College Time-Based Aesthetics and Cognitive Science Form Follows Function: Drupal’s Role in Editing The Sarah McCarroll, Georgia Southern University Diary of Harry Watkins (1825-1894) The Historical Body Map: Cultural Pressures on Serap Erincin, New York University Embodied Cognition Theorizing the Use of Digital Archives Maiya Murphy, University of Southern California Anita Gonzales, University of Michigan Actor-Creator as Actor-Perceiver: How Enactive Visualizing Performance Biography: Mix D - A Work in Perception Underpins Physically-Based Actor Training Progress Vanille Roche-Fogli, Université Paris 3 Kyna Hamill, Boston University Coordination and Brain’s Synchronization During Actors’ Assessing the Iconographical Record of Jacques Kinesthetic Training in l’Ecole du Jeu (Paris, France) Callot Naomi Rokotnitz, Tel-Aviv University Elizabeth Jochum, University of Colorado, Boulder “Screaming with Despair”: Passion Play and Affective Truth GRACE: Generating Reliable and Affective Samuel T. Shanks, Briarcliff University Choreography through Engineering Involuntary Imagination: How Plays Highjack our Patrick Mike Konesko, Bowling Green State Counterfactual Imagination University Nicola Shaughnessy, University of Kent “Make Boot of his Distraction, Never Anger”: Academic Inside/Out: Exploring the Extraordinary Aesthetics of Process, Digital Possibility, and the ADHD Mind Autism through Contemporary Performance and Film Jessica Krenek, University of Maryland Gabriele Sofia, Independent Scholar Once a Fan, Always a Fan?: Female Sports Fandom Reflections about the Spectator’s Performative Deb Levine, New York University, Abu Dhabi Experience Demonstrating ACT UP Adam Wayne Nixon, University of Maryland #B6 | Postpartum: Motherhood, Maternity, Performance in Ones and Zeros. Cinema in a Digital and Pregnancy as Performance Space, an Analysis of Metadata to Better Understand an Florentine Room, Banquet Level Otherwise Invisible Audience-Performer Interaction conveners Sara Rofofsky, Queens College Judith Griselda Caballero, Millsaps College; Alicia Digital Repositories: Using the Non-traditional to Beth Corts, University of Georgia; Chelsea Phillips, Support Research Ohio State University Naomi Stubbs, LaGuardia Community College participants Form Follows Function: Drupal’s Role in Editing The Sara Boland-Taylor, University of Illinois, Diary of Harry Watkins (1825-1894) Urbana-Champaign (m)Otherhood: Constructing the Maternal Moor #B5 | All Kinds of Music is Pouring Out of Me: in Titus Andronicus Living Large and Feeling Big in Musical Theatre Judith Griselda Caballero, Millsaps College Performance and Reception The Righteousness of Child Neglect and Infanticide Executive Room, Banquet Level conveners Mina Choi, Ohio State University Kathryn Edney, Regis College; Laura MacDonald, Only Bad Mothers Survive: Women Playwrights’ University of Portsmouth Revisions of Medea participants Rachel Price Cooper, University of Illinois, Amanda Boyle, University of Kansas Urbana-Champaign The Large and In-Charge Liliom: Billy BIGelow is Bustin’ Deadly Vessels: Performing Maternity and Mourning Out All Over on the Early Abbey Stage Maya Cantu, Yale University Alicia Beth Corts, University of Georgia Fantastic Oversized Figures: Broadway’s March of the I Am Ciera Spyker: Transgressive Motherhood in Second Life Amazons Lynn M. Deboeck, University of Kansas Mark Cosdon, Allegheny College Breech Presentation: Unproductive Labor in Brecht’s 16 The Twentieth Century’s First Big Flop: Little Nemo in Mother Courage and her Children Wonderland Andrea Dudziak, Naropa University Dan Dinero, New York University “A Bit of Earth to Make It Live”: An Exploration of Boys and Girls Like You and Me: Gender Dynamics of Nurturing in Marsha Norman’s The Secret Garden Musical Theatre’s Adolescent Affect during the 1990s Feminist Backlash Garrett Eisler, Ithaca College Eric Heaps, Indiana University Bursting into Song: The Grotesque Body in Broadway Refusing the Self/Other: Pregnancy and Motherhood in Musical Comedy Refusing the Flower Kurt Edwards, East Central University Deidre Onishi, Cameron University Anne Bogart and the Destabilization of the Rodgers and Any Mother’s Journey: the Noh play Sumidagawa Hammerstein Embedded Idea Chelsea Phillips, Ohio State University Stuart Hecht, Boston College Domestic Celebrity: Sarah Siddons and the Performance From Blacklist to Free: The Musical Liberation of Zero Mostel of Maternity Valerie Joyce, Villanova University Emily Roxworthy, University of California, San Diego My Fair Ladies: Musical Biographies in Post-War Mother Courage Time: The Spectacle of Working American Musical Theatre Motherhood and War’s Temporality Julie Noonan, Ottawa University Theresa Smalec, Bronx Community College History, Celebrity, and the Rock Star Image in the Musical Single Motherhood: Social Malady, Symbol of Women’s Empowerment, or Something Else? Brian Valencia, Yale University “What a Crescendo—Not to be Missed”: Loudness in the Francesca Spedalieri, Ohio State University American Musical Allegorical Monstrosity: Motherhood as Representation of The Sicilian Struggle in the Works of Emma Dante Kellee van Aken, Seton Hill University One: Audience Identification with the Musical Theatre Aoise Stratford, Cornell University Chorus Contemporary Gothic Drama, Monstrous Motherhood, and Suzan-Lori Parks Stacy Wolf, Princeton University “If You do South Pacific, You Should Have Real Planes Angela Sweigart-Gallagher, Northeastern Illinois University Flying Overhead”: Big Outdoor Summer Musical Theatre Too Much of a Good Thing: Motherhood in the Plays of Elizabeth Sanger’s The Birth Control Review Cheryl L. Kaplan Zachariah, University #B8 | The Applied Ph.D. of Illinois, Chicago Panorama Room, Terrace Level Fertility Goddess vs. Infertile Monster: Reclaiming conveners inFertility through Disability and Performance Valleri Hohman, University of Illinois; #B7 | Beyond the Turn: Performance Jen Schlueter, Ohio State University Philosophy Now participants French Room, Banquet Level Carolyn Bain, Bain Pugh and Associates, Inc. conveners President, Strategic Communication/Creative Media Gabriella Calchi-Novati, Trinity College, Dublin; Heather Barfield, Austin Creative Alliance Will Daddario, Illinois State University CFO/Business Director participants Rebecca Hewett, New York City Department Claire Maria Chambers, Sogang University of Cultural Affairs “The Oblivion of Difference” and James Baldwin’s Associate Arts Program Specialist Performative Afropessimism Wendy Meier, Independent Scholar Jon Cogburn and Neal Hebert, Louisiana State Judith Sebesta, Texas Higher Education University Coordinating Board “It’s Still Real to Me, Dammit!” Suspension of Disbelief Director of Distance Learning and Performed Ontologies in Professional Wrestling Richard Tharp, Kaiser Foundation Health Plan David Fancy, Brock University Director, Educational Theatre Programs and Workforce “Immanent Performativity”: Gilles Deleuze’s Difference Development and Repetition and the Performative Ontology of Perpetual Affirmation 1:30 PM R. Darren Gobert, York University Perform ASTR #6 Late Descartes and the Theatre/Philosophy Divide See Perform ASTR Menu for location Ozum Hatipolglu, Cornell University Laurelann Porter, Arizona State University Logodramas How Not to Make Love to a Woman 17 Wade Hollingshaus, Brigham Young University Peter Gabriel’s Growing Up Live: Theatricality and Aging 2:30 PM Perform ASTR #7 Ioana Jucan, Brown University See Perform ASTR Menu for location Un-picturing the Disenchanted World Nicole Stewart Tasoula Kallenou, Charles Sturt University Oral Fixation Plato’s Drama: the Transformative Power of Performance Philosophy 3:45 PM – 5:15 PM Kate Katafiasz, Newman University Plenary #5 – Special Plenary Session: Drama and Dasein Dallas Theatre David Kornhaber, The University of Texas, Austin Regency Ballroom, Banquet Level Performing Philosophy: The Case of Socrates chair Jon Foley Sherman, Franklin & Marshall College Rhonda Blair, Southern Methodist University The Strange: Thinking About a Phenomenology of Stage panelists Presence Robyn Flatt, Artistic Director, Dallas Children’s Theatre Nathaniel Stern, University of Wisconsin, Milwaukee Teresa Moreno, North Texas Alliance of Latino Theatres The Implicit Body as Performance Kevin Moriarty, Artistic Director, Dallas Theatre Center Stephanie Vella, City University of New York, Katherine Owens, Founder and Artistic Director, Graduate Center Undermain Theatre Signaling through the Flames: Gestic Afterlives in Tina Parker, Co-Artistic Director and Administrative Aby Warburg and Antonin Artaud Director, Kitchen Dog Theatre Aline Wiame, University of Brussels Will Power, Playwright in Residence, Dallas Mapping, Thinking, Performing: Deligny’s and Deleuze’s Theatre Center Theatres of Subjectivity Stan Wojewodski, Southern Methodist University Maurya Wickstrom, City University of New York, Graduate Center The Infinitude of Thought in Precarious Form: Thomas Hirschhorn’s Gramsci Monument 5:15 PM – 6:15 PM Lisa Hall Hagen, Utah Valley University Celebrating Performance Encounters: A Reception Performing the Ordinary Body in the Large Labia Project Sponsored by Northwestern University Press and Kelly Howe, North Central College the Mellon Foundation Staging Absurd Commonsense of the (Legislated?) Pavilion Room, Terrace Level Everyday: Zygote Personhood, Corporate Personhood, and The Least Person-ish Thing One Could Be DINNER BREAK Kristin Hunt, Northern Illinois University Dining as Acting: Mimesis and Authenticity in 6:15 PM – 9:15 PM Contemporary Cuisine WORKING SESSIONS C Katie N. Johnson, Miami University #C1 | Everyday Life: Histories of the Ordinary, Queering Everyday Life in the Archive: The Case of Jules Persistent, and Repeated Bledsoe Oak Room, Banquet Level Magdalena Kazubowski-Houston, York University conveners “Thoughts Sit Like Stone in Me”: Dramatic Storytelling in Robin Bernstein, Harvard University; the Ethnographic Study of Everyday Interiority Kyla Wazana Tompkins, Pomona College Tabitha Kenlon, Northeastern University participants “Such Perverse Obedience!”: Performing Transgression Kemi Adeyemi, Northwestern University and Conformity in the Plays of Hannah Cowley “No, I am Not Carmen”: (Mis)recognition Ju Yon Kim, Harvard University and the Black Hipster Everyday Life Standardized Performance: The Model Minority Arnab Banerji, University of Georgia, at Work and at Play The Extra Ordinary: The Story of Bengali Theatre, Lindsay Adamson Livingston, Brigham Young University as Told by the People who “Build” It Extra/Ordinary Crime: The Place and Performance of Nelson Barre, National University of Ireland, Galway Gun Violence in the United States Revising History: Performance and Ritual in Carol Martin, New York University 18 The Walworth Farce Staging the Self Shamell Bell, University of California, San Diego Carra Martinez, University of Minnesota Corporeal Pedagogy: Haunting and Resisting Public The Radical Everyday: Performance Traditions in East Imagination Austin, Texas Nicole Berkin, City University of New York, Graduate Center George McConnell, Florida State University Celebrated and Ordinary Players in the Ludlow and “Don’t Stop Believing”: An Ethnographic Journey Smith Company along the Porous Boundary between Performances of Sara Brady, Bronx Community College, City Everyday Life and Popstar Fantasy Karaoke Performance University of New York Patrick McKelvey, Brown University Somewhere in between Stephen Colbert and the Koch Performing Disaffectation, Disabling Mimesis Brothers: How Money Performs in the Everyday Lisa Merrill, Hofstra University Jyana S. Browne, University of Washington Antebellum Everyday Life Performances and Civil War Stained by Tears: Circulation of Affect in Professional Sympathies and Amateur Performance in Early Modern Osaka Christina Mok, University of Cincinnati Michelle Liu Carriger, Queen Mary, University of London Race and Persistence Getting in the Habit: Clothing and Everyday Theatricality Lara D. Nielsen, Macalester College Danny Devlin, University of Kansas Performing the Everyday in the War on Drugs: The Crash Bars and You: Revitalizing the Dead and Forgotten Rhetorics of Sexuality, Photographs, and the Citizen in Everyday Life Coleman Nye, Brown University Angela Farr-Schiller, Stanford University Biological Properties: Gene Patenting and the Theatrical The Choreographies of Touch: Performance, Race and Laws of Nature the Politics of Tactility Eleanor Owicki, Texas A&M University Benjamin Gillespie, City University of New York, “This is Our Wee State”: Unionism and the Graduate Center Normalization of Sectarian Power Struggles in “Post- Encountering Everyday Acts of Transfer: Embodiment, Conflict” Northern Ireland Creative Economy, and Administrative Violence Ryan Platt, Colorado College The Ambulatory Aesthetics of Yvonne Rainer’s Trio A Matthew Shiflett, University of Maryland, College Park Lezlie Cross, University of Nevada, Las Vegas Cities of Grace: Dance and Comportment in the Sweating the Small Stuff: Shared Lines in Eighteenth Century British Empire Shakespeare Eleanor Skimin, Brown University Sarah Daugherty, Western Washington University Sitting at Home/Sitting at the Theatre “Dans Sa Douce Et Tendre Folie”: Madness, Anti-genre, Rhaisa Williams, Northwestern University and Spectatorship in Hector Berlioz’s La Mort d’ Ophelie When a House is More than a Home: Pleasure, Joe Donohue, University of Massachusetts, Amherst Infrastructural Memory, and Constructing a New Archive Shakespeare’s Blatant but Problematic Presence in Oscar Wilde’s The Duchess of Padua (1883) #C2 | Entertaining Children: The Participation of Children in Theatre and the Entertainment Rose Elfman, University of California, Santa Barbara Industry Fighting Shakespeare with Shakespeare: Artistic Protests French Room, Banquet Level at an Israeli Merchant of Venice convener Tom Fish, McGill University Victor Emeljanow, University of Newcastle The Whirligig of Time: Queer Temporalities in All-Male participants Twelfth Night Gillian Arrighi, University of Newcastle Nicholas Helms, University of Alabama, Tuscaloosa Towards a Cultural History of Global Mental Illness and Reading Shakespeare’s “Youth” and “Social” Circus Characters Dyan Colclough, Manchester Metropolitan University Nicola Imbracsio, Saginaw Valley State University The All-Child Victorian Audience: Marketing Childhood in “Oh, Straziante, Meravigliosa Bellezza del Creato”: the British Theatre Object and Bodily Performances in Pasolini’s Othello Marah Gubar, University of Pittsburgh Robert Lublin, University of Massachusetts, Boston The Dirty History of American Children’s Theatre “Apparel Oft Proclaims the Man”: Hamlet and Costumes Erika Hughes, Arizona State University on the Early Modern Stage Sentimentality and the Rules of American Theatre for Cary Mazer, University of Pennsylvania Young Audiences Our Frames, Our Selves 19 James Skidmore, Memorial University of Maureen McDonnell, Eastern Connecticut State Newfoundland University Defying Death: Children in the Indian Circus Signing Shakespeare: Staging American Sign Language Shauna Vey, New York City College of in Cymbeline (2013) Technology Deirdre O’Rourke, University of Pittsburgh The Baby Peggy Project John Lacy’s “Sauny” Shakespeare #C3 | Shakespearean Performance Research Group Rob Ormsby, Memorial University of Newfoundland Far East Room, Banquet Level Leon Rubin at the Stratford Festival conveners Dave Peterson, University of Pittsburgh Catherine Burriss, California State University, The Flop and Failure in 500 Clown Macbeth Channel Islands; Franklin J. Hildy, University of Andrew Ross, University of North Texas Maryland; Robert Ormsby, Memorial University “All the World’s a Stage”: Shakespeare’s Metatheatre in of Newfoundland; Don Weingust, Center for Performance Shakespeare Studies, Southern Utah University/ Danielle Rosvally, Tufts University Utah Shakespeare Festival; W.B. Worthen, Columbia Once More into the Breech University Jessica Schiermeister, Mary Baldwin College, Blackfriars participants Erin Ashworth-King, Angelo State University Women Were Not Legally Barred from the Early Modern Stage “And Fare Thou Well”: Staging Shakespeare’s Tempest V.1 Johanna Schmitz, Southern Illinois University, Todd Landon Barnes, Ramapo College of New Jersey Edwardsville Barack Obama’s “Hamlet-like Indecision” Elizabethan Playhouse Reconstruction In Four Films Andrew Blasenak, Emory and Henry College since 1996 Creating Character with/for a Visible Audience in Early Richard Schoch, Queen’s University, Belfast Modern Plays in Reimagined Early Modern Playhouses Genealogies of Shakespearean Acting Andrew Carlson, University of Texas, Austin Robert Shaugnessy, University of Kent Racializing the Shakespearean: Authorizing Robeson’s In Time with Shakespeare Othello Lauren Shepherd, University of Toronto Team Translation: Defining and Performing Madness Ben Gunter, Florida State University (Team Leader) in Shakespeare’s Women Ian Borden, University of Nebraska, Lincoln Andrew Sofer, Boston College Kathleen Costales, University of Dayton “An Undergoing Stomach”: Performing Catharsis Rick Davis, George Mason University in Shakespearean Tragedy Christiana Molldrem Harkulich, University Fran Teague, University of Georgia of Pittsburgh Performing Theatrical Memory and Its Lapses Alyssa Rumple, Independent Scholar Pamela Thielman, City University of New York, Amy Williamsen, University of North Carolina, Graduate Center Greensboro Musick, Curious Dancing, Splendid Scenes and Machines Encina Encounter Group: Sara Thompson, University of Maryland Kerry Wilks, Wichita State University (Team Leader) Mark Rylance Newly at the Helm Susan Paun de García, Denison University of Shakespeare’s Globe Ben Gunter, Florida State University Dan Venning, City University of New York, Benjamin J. Nelson, University Graduate Center of South Carolina, Beaufort Ludwig Tieck’s Shakespeare Chronology: Romantic Yuri Porras, Texas State University Criticism versus Historical Scholarship Senior Scholar: Martin White, University of Bristol “A New Chamber of Demonstrations”: Grover Wilkins III, Orchestra of New Spain The Sam Wanamaker Playhouse *Please see this site for position papers, discussion topics, translation drafts, research questions, and new #C4 | Rediscoveries in One Act: New Approaches approaches to teaching, staging, and researching: to Teatro Breve from the Spanish Golden Age* http://spanish-golden-age-plays.wikispaces.com/ Continental Room, Banquet Level Teatro+Breve+administration 20 conveners Ben Gunter, Florida State University; #C5 | DH and Theatre Research: An ASTR Kerry Wilks, Wichita State University Unconference* Regency Ballroom, Banquet Level participants Team Entremés: conveners Nancy E. Friedland, Columbia University; Melissa Figueroa, Cornell University (Team Leader) Mary Isbell, Yale University Karen Berman, Georgia College participants Nena Couch, Ohio State University Robert Davis, City University of New York, Graduate Sarah Esmi, Brooklyn Law School Center Ronna Feit, State University of New York Chris Eaket, University of Georgia Antonio Guijarro, University of Connecticut Bethany D. Holmstrom, City University of New York, María Paz Pintané, Vanderbilt University Graduate Center Peter Thompson, Queens University Linzi Juliano, University of California, Los Jared White, University of California, Irvine Angeles Jason Yancey, Grand Valley State University Kimon Keramidas, Bard Graduate Center Katherine Mezur, Independent Scholar Team Auto/Loa: Emmanuelle Sirois, Université du Québec à Susan Paun de García, Denison University Montréal (Team Leader) J.A. Sokalski, McMaster University Rick Davis, George Mason University Lisbeth Wells-Pratt, University of Georgia Deborah A. Dougherty, Alma College *Please see this site for proposed topics at Ronna Feit, State University of New York www.dhandtheatreresearch.wordpress.com Alejandra Juno Rodríguez Villar, Duke University Colleen Rua, Bridgewater State University Alyssa Rumple, Independent Scholar #C6 | Post-thematic Returns to the Fundamentals: #C7 | Expanding Scholarship Through the Performance as Research and Practice Based American Theatre Archive Project Research Panorama Room, Terrace Level Executive Room, Banquet Level conveners conveners Susan Brady, Yale University; Daniel Mroz, University of Ottawa; Ken Cerniglia, Disney Theatrical Group Kris Salata, Florida State University participants participants April Anderson and Ann Haugo, Illinois State Mary Elizabeth Anderson, Wayne State University University After and Away From: The Vicissitudes of Writing (up) Identifying, Processing, and Preserving the Papers of the Performance Research Illinois Shakespeare Festival at the Dr. JoAnn Rayfield Bruce Barton, University of Toronto Archives at Illinois State University “Hang On”: Disrupting and Disruptive Intimacy in All Claudia Case, City University of New York, Lehman Good Things College Dorothy Chansky, Texas Tech University Teaching the Archive: A Graduate Seminar on Assessing Three Eleanors: Arts as Historiography Reconstructing Performance Patrick Finn, The University of Calgary Patrick Finelli, University of South Florida Performing Citizenship: The Report of the Philosopher Broadway Visions: Digital Exhibit of American Kings Scenographers—Boris Aronson Kyle Gillette, Trinity University, San Antonio Shannon Fitzsimons, Northwestern University Becoming the Engine: Rehearsal, Encounter, and Work in Progress: Editorial Communities and New Play Machine Development in Chicago Regional Theatre Lynette Hunter, University of California, Davis Kristin Leahey, Northlight Theatre Company Keeping in Touch The Erased Legacy of Charlotte Chorpenning Virginie Magnat, University of British Columbia Michael Kaufman, Temple University Towards an Ecological Understanding of Post-Theatrical Teaching Drama Through Collaborations 21 Performance Research Lillian Manzor, University of Miami Alissa Mello, Royal Holloway University of London Integrating Archival and New Media Work in the Blurry Roles of Participant Observation in Praxis as Undergraduate Classroom Research Michelle Salerno, University of Illinois at Urbana Lucia Rainer, University of Hamburg Champaign On Nothing–For Nothing Archiving Inner Voices: Making Space for What Students Have to Say Daniel Sack, Florida State University The Lecture as Performance: Theatricality in the Cynthia SoRelle, McClennan Community College Academy ATAP and LMDA: Surveying the Landscape Ben Spatz, Urban Research Theater, New York #C8 | Traumatic Structures Massimiliano Balduzzi: Physical Training for the Florentine Room, Banquet Level Actor conveners Kris Salata, Florida State University Mary Karen Dahl, Florida State University; Daily Research at the Workcenter of Jerzy Grotowski and Jeff Paden, Florida State University Thomas Richards: Analytical Notes from the Field participants Michael St. Clair Paul Adolphsen, University of Massachusetts, Games of Blood and Treasure: Representation and Amherst Power in Cold War Simulation Games “Fiery Possibility”: The Ambivalence of (Post)Trauma in Yael Farber’s Molora and Mies Julie Robert C. Thompson, Odd Act Theatre Group Into the Fountain: Participatory Performance at the Rachel E. Bennett, University of Illinois, Nexus of Ritual and Theatre Urbana-Champaign Repeating/Resisting Fascism: Dresden on February 13th Barbara Wallace Grossman, Tufts University Courage, Hope, and Defiance in Terezín: The Power of “Transcendence Art” Rebecca Johannsen, Mercy College Unwatchable: Testimony in Erik Ehn’s Soulographie Haddy Kreie, University of California, Santa Barbara Yana Meerzon, University of Ottawa Un/Binding: Processing National Colonial Trauma On the Dramaturgy of Affect: Staging the Spectator in through Ritual Practices of Madagascar Michael Chekhov’s Acting Theory Chiara Montanari, University of Chicago Barbora Píhodová, Masaryk University Yet Another Failed Revolution: The Unification of Italy on “Hullabaloo” in Boston: Intolleranza 1960 Performed Stage on the Stage of the Cold War Lisa Peschel, University of York Martin Pšenir ka, Charles University Trauma, Humor and National Identity in Scripts from the Aesthetics of Unintentional and Group Quidam Terezín Ghetto Ann Shapiro, University of Birmingham Rebecca Rovit, University of Kansas Between Perceptionc and Practice: The Challenges In Memoriam, 1945: German Resistance, Post-trauma, of Studying Eastern Bloc Theatre Through an Anglo- and Günther Weisenborn’s The Illegals American Context Laura Schlein, University of Washington Adam Siegel, University of California, Davis On Un-Hallowed Ground at the New England Holocaust Theorizing the Nation: Sandro Axmeteli and the Memorial Georgian Stage Andrew Wilford, University of Chichester Aniko Sz cs, New York University Finding a Wounded Future on Dealey Plaza Uncanny Homecomings 2: Theatre Director Peter Edward Ziter, New York University Halasz’ Return to Eastern Europe in the Early 1990s Torture on the Syrian Stage Natalie Rewa,u Queen’s University Looking back to Malevich... #C9 | Influence, Transposition, Revision: Eastern European Theatre and its International Vessela Warner, University of Alabama at Metamorphoses Birmingham Royal Room, Banquet Level Experimental Laboratory @lma @lter and Jerzy Grotowski’s Legacy in Bulgaria convener Yana Meerzon, University of Ottawa Stephen Wilmer, Trinity College Dublin 22 participants Maciunas: Nutty Artist or Seminal Influence? Veronika Ambros, University of Toronto Seth Wolitz, Schusterman Center for Jewish Studies, Petr Bogatyrev’s Studies and E. F. Burian’s Theatre as a University of Texas, Austin Model of Past and Present Synergy Between Theory and Staging a Jewish Post Shoah European Theatre: Sloves, Practice Grumberg and Tabori Sharon Marie Carnicke, University of Southern Jie Zheng, Central China Normal University California Brecht in China: The Good Person of Szechwan Contesting Realism in Chekhov and Stanislavsky: The Seagull as Case in Point 6:30 PM Brian E.G. Cook, University of Alaska, Fairbanks Perform ASTR #8 Between Brook and McBurney: An Alternate Genealogy See Perform ASTR Menu for location of Physical Theatre in the UK Beliza Torres Narváezm, University of Texas at Austin Jane G. Duncan, Independent Scholar A sexy picnic with Y...pervertida Saviana Stanescu: Haunted by Dueling Influences 8:00 PM Maria Ignatieva, Ohio State University, Lima Perform ASTR #9 Stanislavsky Revisited See Perform ASTR Menu for location Margarita Kompelmakher, University of Minnesota Andrea ‘Andi’ Dudziak, Naropa University Staging Solidarity Across Borders: The Belarus Free Bedlament Theater’s Being Harold Pinter in the US Dominika Laster, Yale University 9:30 PM Tadeusz Kantor’s Eternal Return: Reality of the Lowest Perform ASTR #10 Rank Returned See Perform ASTR Menu for location Julia Listengarten, University of Central Florida Brian Herrera, Princeton University Stanislavsky and the Avant-Garde Touch Tones: The Party Line Experiment Andrei Malaev-Babel, Florida State University, Asolo Conservatory for Actor Training Vakhtangov Acting Theories in USA Theatre Schools 11:00 PM, 11:20 PM, 11:40 PM, 12:00 AM, 12:20 AM, #CS10 | Under Pressure: Claiming Success and 12:40 AM, 1:00 AM, 1:20 AM, 1:40 AM Sanity in Your Pre-Tenure Years, Part II Continental Room, Banquet Level (FRIDAY NIGHT/SATURDAY MORNING) moderators Perform ASTR #11 Chase Bringardner, recently tenured at Auburn See Perform ASTR Menu for location University; Soyica Diggs Colbert, recently tenured Melissa C. Thompson, University of Arizona; at Dartmouth University; Lisa Jackson-Schebetta, Alison Dobbins, Michigan State University tenure-eligible at University of Pittsburgh Ask the Unsleeping Cassandra description The second part of this session will continue to bring together scholars who are either on the tenure track NOVEMBER 9, 2013 or recently tenured and willing to share the decisions 7:30 AM – 8:45 AM that have shaped their experiences. They will discuss Career Sessions what has worked well and what has not, offering both organizer advice and caveats—all to help attendees remember Koritha Mitchell, Ohio State University that success and sanity go together (or it’s not success). Please come with questions; there will be plenty of time #CS8 | Publish, Don’t Perish: Articles, Part II for conversation. Panorama Room, Terrace Level #CS11 | New Paradigms: Avoiding the ABD Cliff moderators Royal Room, Banquet Level Henry Bial, Journal of Dramatic Theory and Criticism (JDTC) editorial collective member; Penny Farfan, moderators editor of Theatre Journal and an author who Valleri Hohman, University of Illinois, Urbana- has published in a range of journals and edited Champaign; Michael Leonard Kersey Morris, Tufts volumes; DJ Hopkins, editor of Theatre Topics University; Elizabeth Reitz Mullenix, Miami University of Ohio description The second part of this session will continue to address description every aspect of writing and publishing articles in journals The time to degree for graduate students in the 23 devoted to Theatre and Performance Studies as well Humanities currently stands at a stunning 9.5 years as those less focused on the field. Speakers are also with the majority of these years spent A.B.D. Attrition prepared to discuss publishing work in essay collections. without completion is a growing concern for many Please come with questions; there will be plenty of time doctoral programs in Theatre and Performance Studies. for conversation. As an outreach of the Committee on New Paradigms in Graduate Education, this session provides resources #CS9 | Publish, Don’t Perish: Books, Part II and strategies for completing the dissertation in a timely Far East Room, Banquet Level manner to help graduate students avoid the “A.B.D. Cliff.” moderators Catherine Cocks, acquisitions editor, University of Iowa Press; Mark Cosdon, author of a recent book from Southern Illinois University Press; Robyn Curtis, acquisitions editor, Palgrave description The second part of this session will continue to offer advice for those preparing to write and publish their first monograph. Those assembled have experience with a range of presses and have seen the book-publishing process from a number of angles. Please come with questions; there will be plenty of time for conversation.