FIRT/IFTR-SIBMAS Bulletin 2007 Volume 1

Transcription

FIRT/IFTR-SIBMAS Bulletin
2007 Volume 1
FIRT/IFTR:
SIBMAS:
Membership Secretariat,
Email [email protected]
Cordula Treml,
1. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES
Ancient Drama in Modern Opera, 1600-1800
United Kingdom - Oxford
July 12, 2007
APGRD Conference
Archive of Performances of Greek and Roman Drama
University of Oxford
The importance of Greek drama for the evolution of European opera is well known but tends not to be distinguished
from the influence of Greek mythology more generally. In keeping the focus of this conference on the influence of
ancient drama in the first 200 years of operas development we hope to shed new light both on that development and
on the reception of Greek drama. The speakers are drawn from the worlds of Classics, Modern Languages, and
Music, and they include people involved in the performance of operatic works as well as some of the leading
academics in this field.
The provisional speakers and paper titles for this conference are as follows:
- Dr Michael Burden (Director of Productions, New Chamber Opera), Myth in Metastasios works
- Bruno Forment (composer and performer; PhD student at University of Ghent), The gods out of the machine ... and
their come-back
- Professor Wendy Heller (Department of Music, Princeton University), Playing with fortune: the fate of Pyrrhus in
seicento Venice
- Professor Robert Ketterer (Department of Classics, University of Iowa), The influence of Agostino Piovenes
translations of Greek tragedy on his opera libretti in the first quarter of the 18th century
- Dr Suzana Ograjenek (Research Fellow, Clare Hall, Cambridge), Andromache in late 17th and early 18th century
operas
- Professor Ellen Rosand (Department of Music, Yale University), Classical themes in Monteverdi
- Professor Reinhard Strohm (Faculty of Music, Oxford University), Addio Tebani! Oedipus Tyrannus as opera seria
(1729)
- Jennifer Thorp (Archivist, New College, Oxford), Dance in Lullys Alceste
- Dr Amy Wygant (School of Modern Languages and Cultures, Glasgow University), The Ghost of Alcestis
After the papers there will be a wine reception and then a short recital of arias from eighteenth-century tragic operas
by Ensemble La Falsirena (Suzana Ograjenek, soprano; Luke Green, harpsichord; Henrik Persson, baroque cello).
We currently expect the papers to run from 9.30 to 6.15, and the recital to be over by 8.00.
Enquiries about the conference are welcome at [email protected] form. We can provide advice on
accommodation in the local area if required, but we regret that we cannot undertake to make bookings on behalf of
conference delegates.
Student Bursaries
The Craven Committee and the Faculty of Music at the University of Oxford have each generously offered five
bursaries to cover the registration fee for students from the Faculties of Classics and Music.
In addition, thanks to the generosity of the Classical Association and the Society for the Promotion of Hellenic Studies,
a further twenty bursaries are available to students from any university. Although the ten SPHS bursaries are
earmarked for postgraduate students whose work falls under the area of Hellenic Studies, students from other
departments whose work would benefit from attendance at the conference are encouraged to apply. Each of these
bursaries will cover the registration fee and offer at least £20 towards travel expenses.
To be considered for a bursary please send the following items to
'Opera Conference: Busaries' by Friday 11 May 2007
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APGRD
Classics Centre
66 St Giles'
Oxford OX1 3LU
- a letter of application, including details of your programme of study and, if applicable, an outline of your research;
- a completed registration form for this conference;
- an academic recommendation under separate cover;
- if applicable, an estimate of your travel expenses.
Registration
The £20 registration fee includes lunch and all refreshments on the day. To register for this conference, please either
- go to http://www.apgrd.ox.ac.uk/events/confopera.htm, and follow the link to the electronic booking facility for
registration and payment online (n.b. there is a surcharge of 50p for credit/debit card bookings)
- or complete the registration form which is available at http://www.apgrd.ox.ac.uk/events/confopera.htm and send
together with a cheque to
Opera Conference: Registrations
APGRD
Classics Centre
66 St Giles'
Oxford OX1 3LU
Please contact the APGRD if you would like a paper version of the registration form.
Funding Bodies
We are very grateful to the British Academy, the Classical Association, the Society for the Promotion of Hellenic
Studies, and (within the University of Oxford) the Craven Committee and the Faculty of Music for their generous
support of this conference.
Appel à communications: Les Entreprises françaises sous
lOccupation
France - Caen
April 30, 2007
VIIIe Colloque du groupement de recherche (GDR) 2539 du CNRS organisé avec l'Institut Mémoires de lédition
contemporaine (IMEC), le Centre de recherche d'histoire quantitative (CRHQ) de Caen et l'unité de recherche
Institutions et dynamiques historiques de lÉconomie (IDHE) de Paris
Culture, Presse et Entreprises sous lOccupation : vecteurs didées, médiateurs d'information ?
Caen, IMEC, Abbaye d'Ardenne
Jeudi 13 et vendredi 14 mars 2008
Ce colloque entend examiner les notions de « Culture » impropre car postérieure associée aux secteurs qui lui sont
intellectuellement rattachés, et d '« Information » au travers, en particulier, des entreprises et agences de presse,
versus l'économie sous l'Occupation. Il souhaite, par l'approche sectorielle et thématique (examen des
industries du spectacle, du disque, du cinéma, de la radio et de l'édition ; curseur posé sur des populations
spécifiques : les ouvriers du livre ou les techniciens ouvrant dans les coulisses du théâtre ou du cinéma ; entrées
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panoramiques sur la presse régionale, féminine ou destinée aux jeunes ; analyses monographiques de structures
et/ou
biographiques de patrons d'organisations), non seulement examiner les fonctionnalités internes des branches
questionnées, mais, avec la vue large, mesurer la densité des contrôles exercés par les tutelles française et
allemande, comprendre la gestion par l'encadrement de professions et de corps de métier, pointer les moyens
économiques développés.
Cette démarche conduit à interpréter les modes opératoires de structures de production, de circulation et
d'appropriation d'idées sur lesquelles trois focales préférentielles seront posées : les aspects organisationnels en
étudiant, notamment, le positionnement stratégique, le champ daction, les espaces de liberté/contrôle des comités
d'organisation ad hoc ; les phénomènes sociaux autour du concept corporatiste, liant fédérateur chez des professions
free lance travaillant dans l'intermittence ; la singularité de l'entreprise agissant dans le champ culturel et médiatique,
en analysant l'équilibre entre programmation/diffusion de contenus et gestion dun budget, d'une
masse salariale, de matières premières, etc.
De cette façon, ce colloque espère apprécier la réalité du concept «entreprise » dans les domaines de la Culture et de
l'Information et envisager ses enjeux, en amont comme sur l'aval, dans la configuration politique, intellectuelle et
socio-économique singulière mise en oeuvre par le gouvernement de Vichy et les autorités d'Occupation.
Conformément aux priorités du GDR, l'accent sera mis sur le cas français, en s'intéressant à ses différentes
dimensions géographiques (zones annexée, occupée, non occupée, etc. ; métropole et colonies). À titre
complémentaire, des approches comparatives internationales seront toutefois bienvenues. Une comparaison
diachronique avec la première guerre mondiale serait également pertinente.
Sélection des interventions
Les propositions d'intervention, d'une page au maximum, comprenant les titres et qualités des auteurs et le rappel de
leurs récentes publications, seront reçues jusqu'au 30 avril 2007 à ladresse électronique suivante :
[email protected]
Le comité scientifique fera connaître son avis aux auteurs des propositions au plus tard le 30 juin 2007.
Les interventions orales seront limitées à 20 minutes. Elles pourront être présentées en français ou anglais.
La coordination scientifique de ce colloque est assurée par Agnès Callu ([email protected] ;01 40 27 61 74)
et Patrick Eveno ([email protected] ; 01 42 08 52 17)
Organisation
Les frais engagés par les intervenants au colloque pour assurer leur déplacement et leur hébergement seront pris en
charge par les organisateurs.
Publication
Les actes du colloque feront l'objet dune publication en volume. Les textes définitifs des interventions devront être
remis avant le 30 juin 2008.
Call for Papers - The new space of authenticity
Czech Republic - Prague
March 21, 2007
June 17-19, 2007
In this period of new realities for theatre and performance practice and study in the Central and Eastern European
Communities, and in order to capitalize upon the presence of a record number of participating countries at the PQ in
2007, the Conveners of the Scenography Working Group are inviting proposals of interest addressing the topic of:
THE NEW SPACE OF AUTHENTICITY
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The Scenography Working Group of the International Federation of Theatre Research in special collaboration with the
Theatre Institute in Prague will meet on the occasion of the Prague Quadrennial in Prague in June of 2007. The
Prague Quadrennial will be held June 14-24, 2007.
The Prague Quadrennial is the pre-eminent international meeting of practitioners, architects, and students of
scenography. Held every four years under the auspices of the Ministry of Culture of the Czech Republic and the
Theatre Institute in Prague, this event provides for the rich exchange of ideas and creative discourse on many levels.
The Commissioner of the Prague Quadrennial in 2007, the noted scholar and author of many volumes on
scenographic history and practice, Professor Arnold Aronson is encouraging the meetings of international theatre
organizations during the Prague
Quadrennial. Following the successful conference held during the PQ in 2003, the
Scenography Working Group is delighted to collaborate with other organizations such as
the Theatre Architecture Working Group of the IFTR and the Theatre Institute in 2007.
It is our intention to participate in a collaborative series of events among these groups
(including public presentations) with the purpose of providing a forum for exchange
among researchers and practitioners gathered for the PQ. In this period of new realities for theatre and performance
practice and study in the Central and Eastern European Communities, and in order to capitalize upon the presence of
a record number of participating countries at the PQ in 2007, the Conveners of Scenography Working Group are
inviting proposals of interest addressing the topic of:
THE NEW SPACE OF AUTHENTICITY
The Scenography Working Group proposes to organize the meeting around the following questions, all of which
address the central question: what is at stake in constructing the authentic?
- In the post-communist world, how do we re-assemble our identities in the reorganization of the European continent
and its relationship to the East and West.
How de we determine a new authenticity? How is it manufactured in scenographic practice?
- How and why is authenticity used as a fiction to underwrite particular agendas (e.g. nation states, period style,
conventions of theater performance)?
- How do we make our traditions comprehensible in a world of 'globalizing forces', and how is this manifest in
scenographic practice?
- How does the scenographic event respond to the concepts of authenticity?
- How and why does the search for the authentic inform local scenographic practice and how can it be distinct from
cosmopolitan model? Or does it need to be?
- What is the significance of authenticity for a discipline rooted in material artifacts (e.g. set, lighting, sound, costume,
etc).
- How does the visual text tell a story (or influence particular responses to the theoretical event)?
- How might theatre and its infrastructure as a heritage site, touristic performance and site, community event, or even
dystopic vision establish new signification in the theatre practice of the eastern European and other regions?
Proposals should relate to one or more of the above questions. Interested researchers and practitioners should
forward their proposal of 200-250 words and an accompanying 150 word biography (with their institutional affiliations).
Proposals will be accepted in both English and French.
Nous sommes très heureux à accueillir les propositions en français.
Presentations will be time-limited and would normally be accompanied be the desired audio-visual media. All
presenters will be given an opportunity to participate in collegial discussion following their presentations.
Proposals should be sent to Dr Dominika Larionow (University of Lodz Poland) at
[email protected] and Professor David Vivian (Brock University Canada) at [email protected]
We encourage you to contact us as early as possible and no later than March 21, 2007.
Selected papers may be considered for publication.
Please note that the scheduled dates of the meeting will be confirmed.
Researchers and practitioners are encouraged to join IFTR/FIRT. For more information
about the benefits of membership in this pre-eminent international and bilingual organization please see the website
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http://www.firt-iftr.org/firt/site/newmember.jsp
For more information about this meeting, the call for papers, and the Scenography
Working Group, please see http://www.firt-iftr.org/firt/site/workinggroupinfo.jsp?pGroupID=9
and the SWGs information website at http://www.swg-iftr.org
Call for Papers: Capturing Scenography - International Symposium
March 24, 2007
An International Symposium hosted by OISTAT History and Theory Commission
June, 2007, Prague Quadrennial. Date and venue to be announced.
Capturing Scenography aims to recognise and give space to the diversity of professional interests and experiences
reflected in the membership of OISTAT. All members of OISTAT are in a sense members of the History and Theory
Commission and this conjunction of professional scenographers, architects, technicians, teachers, historians and
theoreticians, (often combining more than one of these roles), will hopefully carry the Commission forward with a
number of quests.
The History and Theory Commission of OISTAT would like to invite all of its above members to join under the
auspices of PQ2007 in this open symposium to consider the variety of scenographic, technical and architectural
invention in past and present, small and large scale projects in countries across the world and how they may be
recorded and represented.
There is no single theory to apply to Scenography, which itself is a combination of multiple perspectives and
approaches. As a temporal art form it can be problematic to capture outside the moments of performance. The rich
and strange qualities that Scenography captures in performance do not lend themselves easily to interpretation.
What then do we have to work with? Intentions, contexts, frames, experiment, process, materials, maquettes? Or the
outcomes of the scenographic imagination, - artefacts, constructed or treated spaces, photographic images, video or
audio recordings of performance, - all perceived and interpreted through the aesthetics, politics, passions of our hectic
times.
Please send a proposal (approximately 250 words) for your 30 minutes long presentation to the organisers at the
following e-mail addresses by the 24th March 2007. If you would like to discuss your proposal please contact Lilja,
Kate or In Jun.
Lilja Blumenfeld
[email protected]
Kate Burnett
[email protected]
In-Jun Kim
[email protected]
Call for Papers: EVA London 2007 - Electronic Visualisation and the
Arts
United Kingdom - London
February 28, 2007
9- 13 July 2007
The EVA London conference is a forum for communicating the uses and implications of electronic visualisation in the
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arts and culture. Held annually, it is for groups and organisations from a wide range of disciplines to share and
promulgate results. The scope includes an inspirational range of perspectives, from policy and strategy to technology
and visual and other creative arts. It is a venue for practitioners, researchers, managers, policy makers and suppliers.
We invite offers of papers, which should be submitted electronically to [email protected] by 28th February
2007. We require a summary of the paper on not more than one page. The title, authors' name, affiliation and contact
details should be shown at the top of the page.
Papers may be on any aspect of EVA London's focus on visualisation for the arts and culture, broadly interpreted,
including technology, use and users, creative, visual and performing arts and music, strategy, organisational
implications and policy.
Authors will be notified by the end of March whether their paper is accepted. Papers will be fully refereed and are
published as conference preprints and will also be online. Full papers are up to ten A4 pages in length including
images and references. The deadline for submitting a full paper will be 14th May.
http://www.eva-conferences.com/eva_london
Call for Papers: Fourth Annual Shaw Symposium at the Shaw
Festival
United States - Ontario
April 15, 2007
28 - 30 July 2007
Deadline for abstracts, CV, and grant applications is April 15, 2007.
Send to Dr. Leonard Conolly, preferably as an attachment to an email ([email protected]), or by mail to
Professor Leonard Conolly
Department of English
Trent University
Peterborough
Ontario
Canada K9J 7B8.
Shaw plays at the Shaw Festival will be Saint Joan and The Philanderer, and papers on
those plays will be given priority, although other subjects may be acceptable. Travel grants are available for young
scholars (see link from http://www.shawsociety.org).
Details, registration info, and application forms are available online at http://www.shawsociety.org/Shaw-Symposium2007.htm
For Shaw Festival offerings, see http://www.shawfest.com
Call for Papers: Performing arts: non-exhibition medium, nonmuseum object?
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Slovakia - Bratislava
March 1, 2007
The conference will be held on May 9 - 10th 2007 in Bratislava during the festival Nová Dráma /New Drama 2007
organized by the Slovak Theatre Institute.
Slovak Theatre Institute initiates the upcoming period founding of the Slovak Theatre Museum. On this occasion, we
want to initiate debate and encourage exchange of best practices in organizing theatre exhibitions, alternative ways of
attracting visitors, specifics of exhibiting performing arts as a living art medium.
The Conference wants to put together institutions such as theatre museums, theatre institutes but also individual
curators especially from Central but also from other countries of Europe.
On the first conference day the subjects of discussions will concern:
Modern museum practices and modern technologies as an inspiration for performing arts exhibitions possibilities
and limitations
Purpose of theatre museum and theatre exhibitions in today's society concept of permanent and specialized
installation that matches the expectations of today's exhibition visitor
Concept of adequate and thought-provoking presentation of national theatre heritage
The second conference day of will have a form of informal idea exchange about the possibilities of creating crossborder, international partnerships among different theatre institutions for future exhibition activities.
Deadline of registration: 1 March 2007
Please order registration form by:
Diana Selecká contact [email protected]
Divadelný ústav / Theatre Institute
Jakubovo nám. 12
Bratislava 813 57
Slovakia
Tel: +421/2/59304705
http://www.theatre.sk
Call for Papers: Prague Quadrennial 2007
April 1, 2007
18-19-20 JUNE 2007
Deadline: April 1st, 2007 for submitting a 250 word (max) abstract and 150 word bio to [email protected]
Notifications of acceptance will be sent out by April 9.
Earlier notification is possible for those seeking institutional support.
Those accepted must register for the Prague Quadrennial no later than May 31at http://www.pq.cz/en/registration.html
Call for Papers: Ruskinian Theatre - Contemporary Issues in Theatre
Historiography
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United Kingdom - Birmingham
April 30, 2007
University of Birmingham, 6-7 July, 2007
Proposals are invited for papers and respondents for a two day colloquium sponsored by the History Department at
Lancaster University, the Department of Drama and Theatre Arts, University of Birmingham, and the AHRC.
This colloquium is part of the AHRC funded project: Ruskinian Theatre: the Aesthetics of the Nineteenth-Century
London Popular Stage, 1870-1900, which seeks to investigate the interrelationships and influences of John Ruskin's
aesthetic and social theories on the popular London stage in the late nineteenth-century. Our meeting in 2005
focussed on "Ruskin, Shakespeare, and the Victorian Theatre" and was part of the "Victorian Life Writing" conference
at Lancaster University.
In 2006, we met at Lancaster University for a colloquium on the Victorian Theatre and Visual Culture, and a collection
of essays has been developed from this meeting. In 2007, in our final meeting at the University of Birmingham, we'll
be exploring the historiographical issues to arise from this and other innovative work in theatre history
and historiography.
In 2007, our focus is on the re-visionings and rethinkings of theatre history and historiography. In the last 20 years,
there has been a significant movement in developing new approaches to theatre history and historiography which has
been labelled "The New Theatre History." Much of this work has focused on the theatre of Britain in the nineteenth
century, in particular in the first three decades of the century, and its final years, as significant moments of the
transition into modernity. The Ruskinian Theatre project takes as its rationale a revision of the standard narratives of
theatre and cultural history in this period which ignore the popular theatre: we challenge the focus of standard theatre
histories on the 'literary drama' and an emergent Modernist aesthetic.
In this call for papers we seek offers of original work in theatre history and historiography which seek to examine new
standard narratives of theatre history. While the focus of the project is on the period 1870-1901, in this call for papers,
we do not preclude work dealing with other national theatre culture or time periods. We are particularly interested in
new theatre history and historiographical research which
attempts to marry detailed archival work within new theoretical formulations, particularly those emerging after the
"linguistic turn" of poststructuralism. We also interested in the insights derived from cross- and interdisciplinary work,
particularly from scholars whose work is concerned with the relationships between theatre history and cultural history.
Papers of 30 minutes length are invited which address these themes:
* debates over the 'literary' and/or 'legitimate' drama vs. the popular and the spectacular
* relationships of practice between literary theatre, Modernist theatre, and popular and spectacular theatre
* the concept of a 'National Theatre' and/or a 'National Drama'
* studies of the interactions of theatre managements and contemporary artists
* regional theatre histories
* the self-representation of women theatre practitioners
* the relationship between theatre history and cultural history and cultural studies
* the use of theatre and performance history by historians of society and culture
Proposals should reach the convenors by 30 April 2007. We particularly encourage offers of papers from
postgraduate students, and expect that there will be two postgraduate bursaries subsidising attendance.
Further enquiries, applications for postgraduate bursaries and proposals should be directed to:
Peter Yeandle, Ruskinian Theatre Research Associate
Department of History
Lancaster University
Lancaster, LA1 4YG,
[email protected]
Website:
http://www.lancs.ac.uk/fass/centres/ruskin/research/ruskiniantheatre.htm
Convenors:
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Peter Yeandle
Kate Newey
Jeffrey Richards
Call for Papers: Storytelling in Contemporary Theatre
Poland - Kraków
May 31, 2007
International Conference
15-17 November 2007
Starting in 2007 Drama Department of Jagiellonian University, Kraków is planning to organize a cycle of three biennial
conferences under the common heading Aspects of Performativity in Contemporary Writing for the Stage.
Performativity, which has become an umbrella term for the paradigmatic changes taking place currently in all cultural
domains, has also left its mark on the most recent phenomena in theatre and writing for the stage. What today goes
under the name of performativity requires a rethinking of the notion of crisis which traditionally dates back to the late
19th century and is often said to instigate or at least accompany the key developments in the 20th-century theatre
practice.
The planned series of conferences will be devoted to reevaluating the nature and scope of this changes, but also to
looking for their historical roots in the early avant-garde movements. Such a transhistorical and interdisciplinary
approach should also allow to bridge the gap between the old and new art, and look for methodologies which would
embrace both the traditional and the new paradigms.
The first of the conferences to be held on 15th-17th November, 2007, will be devoted to the most recent
developments in theatre practice and writing for the stage which have resulted from a continuous search for such
forms of expression which would assure the audiences active and collective participation in a theatre event, which is
crucial for re-establishing communal links and assuring identification with the group.
Among the multiplicity of non-canonical means of expression that the theatre has recently developed, different forms
of storytelling, rooted in the long-standing oral tradition of theatre, have become particularly prominent as effective
means of redefining the stage-audience relationship. Those stories, half told, half enacted, recounted with recourse to
metatheatrical effects of various kinds are addressed directly to the audience and require an active co-operation of the
spectators/listeners to gain validation and credibility. As a result they become everybodys stories, created for and by
the audience in a collective and creative act of reception.
These new performative modes of theatre practice in the recent decades have exerted a strong impact on the
mainstream staging techniques as well as on the form and use of texts written for the theatre today. It seems that
these fundamental changes, taking place nowadays, testify to the major shifts in the understanding of the very
concept of theatre and the basic relationship between the text, the stage and the audience.
Participants in the conference are invited to give 30-minute papers in the form of case studies, addressing the main
thematic concerns of the conference by discussing particular texts or performances. A short abstract of the paper
(200-300 words) must be submitted to the organizers of the conference no later than 31st May, 2007:
[email protected]
[email protected]
[email protected]
Conference fee for all participants:
65 Euro until 31st July, 2007
80 Euro after 31st July, 2007
The fee covers two lunches, coffee during breaks, and conference materials.
Should you have any further questions, please contact Malgorzata Sugiera ([email protected] or
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[email protected]) or Mateusz Borowski
([email protected]).
Colloque international sur la recherche en danse - Repenser
pratique et théorie *
France - Pantin
June 21, 2007 - June 24, 2007
Centre national de la danse (CND)
Communications individuelles -- Conférences dansées Ateliers -- Formes alternatives
En partenariat avec CORD (Congress on Research in Dance) et SDHS (Society of Dance History Scholars)
Une manifestation
ouverte à tout type de recherche sur la danse, ses différentes formes et ses multiples pratiques
ouverte à toutes les perspectives méthodologiques, théoriques, disciplinaires et interdisciplinaires
ouverte aux expérimentations réalisées dans les domaines de la performance et des nouvelles technologies,
véritables plateformes pour la recherche en danse
engagée dans la valorisation des savoirs en danse et dans les innovations en cours dans ce domaine
soucieuse de promouvoir une conception de la recherche en danse comme discipline à part entière au sein des arts,
des lettres et des sciences humaines
Les concepts de « pratique » et de « théorie » seront interrogés de façon inventive.
- Comment, en ce début du xxie siècle, retracer lévolution de la pratique et de la théorie au cours de lhistoire ? Quels
types dactivités désigne-t-on aujourdhui par « théorie » ou « pratique » ?
- Quelles ont été et quelles sont les différentes significations de ces termes au cours de lhistoire et selon les cultures
?
- Que font les danseurs quand ils pratiquent et quand ils théorisent ?
- Les danses véhiculent-elles une théorie du corps ou de lidentité ? Encouragent-elles ou inspirent-elles des pratiques
corporelles particulières ?
- La théorisation est-elle une forme de travail ? La pratique est-elle une activité physique, intellectuelle ou bien les
deux à la fois ?
Plus de deux cent cinquante dinterventions se succéderont : certaines se dérouleront selon une configuration
académique, dautres expérimenteront de nouveaux modes de présentation des recherches contemporaines.
Comité de Sélection
Présidente du comité: Susan Leigh Foster (Université de Californie, Los Angeles)
Membres :
· Mark Franko (Université de Californie, Santa Cruz)
· Michael Huxley (Université de Montfort)
· John Perpener (Université dÉtat de Floride, Tallahassee)
· Yunyu Wang (Université nationale des arts de Taipei et Colorado College)
· Barbara Sparti (chercheur indépendante, Rome)
· Gerald Siegmund (Institut détudes théâtrales, Berne)
· Jacqueline Shea Murphy (Université de Californie, Riverside)
· Isabelle Ginot (Université Paris-VIII)
CND http://www.cnd.fr
Le CND, établissement public sous tutelle du ministère de la Culture et de la Communication, intervient dans les
domaines de la pédagogie, de la création et de la diffusion de la danse. Au sein du CND, le département du
développement de la culture chorégraphique (DDCC, dirigé par Claire Rousier) soutient la recherche et la réactivation
du patrimoine, par le biais de publications, dexpositions, de colloques et autres manifestations publiques.
SDHS (Society of Dance History Scholars) http://www.sdhs.org
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La SDHS fait progresser le champ des études en danse par le biais de travaux de recherche, de publications, de
spectacles et dun travail de sensibilisation sadressant à un large public au-delà des domaines des arts, des lettres et
des sciences humaines. Elle organise divers congrès annuels, publie des recherches récentes, collabore avec des
organismes aux vocations similaires et récompense chaque année des travaux exemplaires (notamment par le
prestigieux prix Torre Bueno Prize®).
CORD (Congress on Research in Dance) http://www.cordance.org
Le CORD encourage la recherche en danse sous tous ses aspects ; stimule les échanges didées, de ressources et
de méthodologies par le biais de publications, de conférences locales ou internationales et de stages ; promeut
laccessibilité des travaux de recherche. Il décerne chaque année des prix à des travaux pionniers, des contributions
remarquables et des publications de grand intérêt sur la danse, et récompense une thèse de troisième cycle.
Tarifs
Plein tarif 130,00
Plein tarif - pré-inscription 120,00
Tarif réduit (adhérents SDHS ou CORD, abonnés CND) 110,00
Tarif réduit - pré-inscription 100,00
Tarif étudiant 100,00
Tarif étudiant - pré-inscription 90,00
Pré-inscription : du 1er octobre 2006 au 1er mai 2007
Renseignement et inscription
- par téléphone :00 33/ (0)1 41 83 98 98
- par mail : [email protected]
- par courrier : DDCC, Centre national de la danse, 1 rue Victor-Hugo, 93507
Danse et résistance
France - Pantin
Centre National de la Danse
Radicalité du corps, postures subversives, injonctions idéologiques, la danse sexprime tout au long du XXe siècle
comme une forme de protestation. Comment les chorégraphes ont-ils, par leurs postures et leurs travaux, tenté de
résister ? À quoi sopposent-ils ?
La thématique « Danse et résistance » constitue un des fils rouges de la saison 2007-2008. Elle est marquée par
plusieurs temps forts. En novembre 2007, en janvier et en avril 2008, des spectacles, des conférences dansées, des
projections mais aussi lexposition « Dance Is a Weapon. NDG 1932/1955 » sont loccasion de découvrir le New Dance
Group, un collectif dartistes américains militants créé en 1932.
Parallèlement, en janvier 2008, ont lieu le colloque « Danse et résistance » et le spectacle de la chorégraphe
féministe et engagée Cécile Proust. Enfin, en avril, une journée est consacrée à la figure de José Limón, chorégraphe
et danseur américain fortement marqué par ses origines mexicaines.
Danse et résistance I (novembre)
New Dance Group I : Jane Dudley, Eve Gentry, Valerie Bettis, Charles Weidman, Daniel Nagrin
Danse et résistance II (janvier)
Colloque « Danse et Résistance »
femmeusesaction #19, final/ment/seule de Cécile Proust
New Dance Group II : lexposition « Dance Is a Weapon. NDG 1932/1955 »
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Danse et résistance III (avril)
New Dance Group III : Anna Sokolow, Donald McKayle, Helen Tamiris
Danse et résistance IV (avril)
À propos de José Limón
Pour plus dinformations : http://www.cnd.fr
ICOM General Conference 2007
Austria - Vienna
August 19, 2007 - August 25, 2007
From 19th to 25th August 2007 the 21st ICOM General Conference on the topic "Museums and Universal Heritage"
will be held in Vienna.
As organizer of the event, ICOM Austria is pleased to invite its international colleagues to the Common General
Conference 2007.
For the meetings and gatherings of conference participants of the international expert committees the premises of the
University of Vienna will be provided, which - thanks to its central location and good infrastructure - not only will
facilitate the course of the whole conference but can also be expected to evoke a creative exchange through its
atmosphere as a location of knowledge and progressive way of thinking. Participants can also get some ideas during
the first international Museum Expert Fair in Vienna, which will last from Monday (August, 20th) to Wednesday
(August, 22nd) in the Arcade Yard of the University. Exhibitors from different countries will be invited to present
innovative and proven offers for exhibitions and museum management.
Participants will have quick access from the University to the other Conference venues, such as the Wiener
Konzerthaus (Vienna Concert Hall opening and introductory speeches on August, 19th, and General Assembly and
election on August, 24th), as well as to the receptions held in the different museums of Vienna.
All venues of the Conference can be found in the heart of Vienna and show, among others, the art-historical value of
this city. The city of Vienna not only has to offer a lot in terms of art history, but is also livened up by a variety of
activities of contemporary artists not to forget the artistic riches of the Federal Provinces the Conference participants
are to be made aquainted in joint excursions.
Thanks to its historical development, its economic and political environment and geographical location in the heart of
Europe, Vienna both offers historical and artistic values of high quality of different arts and cultures and can take effect
as a point of reference on the topic of the Conference, which is "Museums and Universal Heritage".
The ICOM General Conference 2007 is to stand for the necessary balance between what is considered long-standing
and the necessary steps towards a progressive future of the museum landscape with a general openness towards an
open discussion.
Further information:
http://www.icom2007.com/
Modernism and Theatre: New Perspectives
United Kingdom - Birmingham
April 26, 2007
Department of Drama and Theatre Arts
University of Birmingham
10-5.30 pm
The boundaries of Modernism have been fixed in ways which exclude as much as they include. For perhaps too long,
literary Modernism has been seen as poetry and the novel. The theatre, and the theatrical, have a tenuous, and at
times problematic relationship with the canons of Modernism. Looking back over the "great divide" now, it is time to
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reassess its generic and aesthetic boundaries. This colloquium seeks to ask questions about the narratives and
ideologies of Modernism and its historiography.
We're particularly interested in an interrogation the boundaries of Modernism by exploring the interdisciplinary themes
of science, philosophy and theatrical Modernism within the context of an examination of the work of the canonical
theatre writers Ibsen, Chekhov and Strindberg.
Speakers at the seminar include Toril Moi, James B. Duke Professor of Literature and Romance Studies, Duke
University, (Henrik Ibsen and the Birth of Modernism),
Professor Astradur Eysteinsson, Professor of Comparative Literature, University of Reykyavik. (Umbrot. Bókmenntir
og nútími (0n Literature and Modernity) )
Professor Edward Braun, University of Bristol, ( The Director and the Stage).
Dr Liisa Byckling, University of Helsinki, Mikhail Chekhov v Zapadnom Teatre I Kino (Michael Chekhov in Western
Theatre and Film). Professor Nick Worrall (The Moscow Art Theatre)
Registration: £15 (£10 for students), includes lunch and morning and afternoon tea/coffee.
Supported by University of Birmingham, Dean's Special Initiative Fund, and the Barry Jackson Fund, Department of
Drama and Theatre Arts
http://www.drama.bham.ac.uk/modernismtheatre
Rencontre avec Lucien Attoun
France - Paris
June 8, 2007
Bibliothèque Nationale de France
Site François-Mitterrand
Quai François-Mauriac
75706 Paris Cedex 13
Entrée libre
Lucien Attoun, directeur de Théâtre ouvert, éditeur, grand découvreur de textes dramatiques contemporains.
http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm?ancre=cultpubl.htm
Sacred, Liminal and Secular Space(s)
United Kingdom - Bucks
April 21, 2007
School of Arts and Media
9th Annual Conference
BCUC- Faculty of Creativity and Culture
Queen Alexandra Road
High Wycombe
Bucks
HP11 2JZ
This conference aims to explore how meanings have proliferated in the experience and in the production of space
through academic papers, workshops, exhibitions and performances, and includes contributions from scholars and
practitioners of theatre, literature, culture, media and film, performing arts, fine arts and design, as well as history and
criticism, and digital technologies.
The key note speakers are:
Jean-Guy Lecat, winner of The Linbury Biennial Prize for Stage Design Jean-Guy has created sets in collaboration
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with Peter Brook over the last 30 years and has participated in more than 100 theatre productions since 1967. He
started his career as assistant set designer at the Vieux Colombier Theatre and at the Avignon festival. He has been
stage manager, designer, lighting director and set designer for Jean Vilar, Jorge Lavelli, The Living Theatre, La
MaMa, Jean-Marie Serreau, Luca Ronconi, Jean-Louis Barrault, Dario Fo, Roger Blin, Samuel Beckett and Copi.
Alison Oddey, Professor of Contemporary Performance and Visual Culture at the
University of Northampton. Her publications include The Potentials of Spaces(2006) and Performing Women (2005).
In her latest book Re-Framing the Theatrical, (2007), she takes us on a spectators journey engaging with art forms
that cross boundaries of categorisation. She makes some radical claims about performance, discussing spirituality
and how the work becomes meditative, the relationship of silence in performance and how the spectator emerges into
the solo performer-protagonist within secular and non-secular sacred spaces. As a broadcaster, she wrote and
presented the BBC Radio 4 series Stand-ups and Strumpets, and is currently developing a new series for Radio 4.
She chairs Platform Events for the Royal National Theatre and is currently completing her first novel.
Conference papers will include: Roma Patel, Shakespeare in the City ; Geoffrey Colman, The Sacred Act; Arlene
Martínez Vázquez, Space in Relation to Ritual: The Relationship between Physical and Fictional Space in Topeng
Pajegan in Bali; Pip Nash, Space for Performance-changing identities; Damon Taylor, Straightening My White Tie The
Politics of Showing Off; Dr. Amy Simpson, Being Two Places at Once: Collage and Liminality in the Theatre of Vs. E.
Meyerhold; Doug Spencer, Flythrough: image, architecture and the space of flows.
In addition there will be a workshop conducted by Jean-Gut Lecat. If you would like a place on the workshop please
indicate this in your email. Places are limited and will be allocated on a first come first served basis.
For further details or a registration form please email [email protected] or telephone 00 44 1494-605243.
Saving the Theatre Museum!
The Theatre Museum something worth saving!
The Guardians of the Theatre Museum now need your pledges (though were not asking for actual cash) to regain the
Covent Garden site for the Theatre Museum. If we can promise £600,000 for the next two years, the V&A will be able
to re-open it, and theatre-oriented folk can be drafted in to help manage it. With the right direction, it could go a long
way towards becoming self-sufficient.
If you or your colleagues have benefited from the Museum and its remarkable resources, now is the time to say thank
you, by making a pledge, large or small, to help save it.
Please visit the revised website
http://www.theatremuseumguardians.org.uk
to make your pledge and encourage as many other theatre workers as possible to go
there too. We have to raise the money very quickly.
Ian Herbert
Chair, Society for Theatre Research
Co-Convenor, Guardians of the Theatre Museum
Théâtre et engagement politique : mettre en scène Les Justes de
Camus
France - Paris
May 9, 2007
Quai François-Mauriac
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Auditorium 70
Entrée libre
18h30 - 20h
En partenariat avec : Athénée - théâtre Louis Jouvet
Rencontre avec Guy-Pierre Couleau, metteur en scène des Justes et Denis Salas, magistrat, auteur de 'Albert
Camus, la juste révolte', Michalon, 2002 et de 'La Volonté de punir. Essai sur le populisme', Hachette Littérature,
2005.
* : Modified only
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2. EXHIBITIONS
Dance is.. (working title)
Netherlands - Amsterdam
July 5, 2007
Theatre Museum Amsterdam
Expected as of July 5th
An exhibition to celebrate the Year of the Dance. Visitors experience the meaning of dance in various ways. It is not
only a universal language, it is also a creative and often painful process. It is creative, extremely liberating and in any
case entertaining. Various videos, objects and artefacts create a perfect ambiance on what dance can do.
Theater Instituut Nederland
Herengracht 168
1016 BP Amsterdam
Phone: 31 (0)20 551 33 00
Fax: 31 (0)20 551 33 03
[email protected]
http://www.tin.n
Opening
Mon - Fri 11am - 5pm
Sa and Sun 1pm - 5pm
Admission
Adults: 4,50
Groups (min. 15 p.): 3,50
Dancing through the War: The Royal Ballet 1939-1946
February 20, 2007 - May 20, 2007
Churchill Museum and Cabinet War Rooms
The Churchill Museum and Cabinet War Rooms, in association with the Royal Opera House, present an exhibition
showcasing the unique contribution made by The Royal Ballet (then Sadlers Wells Ballet) towards the war effort
during the Second World War.
The exhibition includes excerpts from the dancers personal letters, including those of Margot Fonteyn, a costume from
the 1946 production of The Sleeping Beauty, and a film by documentary filmmaker Lynne Wake. The film features
former Royal Ballet dancers Jean Bedells and Dame Beryl Grey being interviewed and original recordings by Alan
Greens Band from the Royal Opera House.
The exhibition chronicles the Companys touring activity, the impact of the conscription of male dancers, the harsh
realities of running a ballet company during the War, and the role played by the Royal Opera House in wartime
entertainment when the theatre was leased to Mecca as a Dance Hall. During this time it became home to bands such
as Blanche Coleman and her All-Ladies Band. These themes come together in 1946 with Sadlers Wells Ballet making
its home at the Royal Opera House, which reopened as a lyric theatre with a lavish production of The Sleeping
Beauty.
Churchill Museum and Cabinet War Rooms
Clive Steps
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King Charles Street
London SW1A 2AQ
Opening
9:30am - 6.00pm (last admission 5.00 pm)
Admission
Adult: £11.00
Students and Senior citizens: £9.00
Children (under 16): free
http://cwr.iwm.org.uk/server/show/conEvent.1381
La modernité à l'Opéra : Jacques Rouché (1914-1945)
France - Paris
June 4, 2007 - September 9, 2007
Bibliothèque-musée de l'Opéra (BNF)
Jacques Rouché (1862-1957) reste très largement méconnu en dépit du rôle décisif quil joua dans la modernisation
de lOpéra. Comparée à la direction du Théâtre des Arts (1910-1913), grâce à laquelle Jacques Rouché prit rang
parmi les acteurs majeurs de la rénovation scénique initiée par André Antoine et Lugné-Poe, celle de lOpéra (19141945), fut longtemps considérée comme moins expérimentale. La direction de Jacques Rouché est pourtant pour
lOpéra de Paris une période de profond renouvellement : le répertoire musical, le ballet, la décoration et la mise en
scène connaissent un nouveau souffle tandis que linstitution, exploitée depuis le début du XIXe siècle sous forme
dune régie intéressée, gagne son statut détablissement public.
Palais Garnier
Place de l'Opéra
75009 Paris
Tél : 33 (0)1 53 79 37 47
Fax : 33 (0)1 53 79 39 59
[email protected]
Light as guiding principle, Life and work of Frits Lensvelt (1886
1945)
Theatremuseum Amsterdam
Until 28 May 2007
Frits Lensvelt was the first in the Netherlands to follow Adolphe Appias views on giving light a prominent role on the
stage. His stylised sceneries stand out as plain and functional. Furthermore, he was an acclaimed interior designer
and designer of lamps and books. This exhibition is the first overview of the work of this multitalent.
Herengracht 168
1016 BP Amsterdam
Phone: 31 (0)20 551 33 00
Fax: 31 (0)20 551 33 03
[email protected]
http://www.tin.n
Opening
Mon - Fri 11am - 5pm
Sa and Sun 1pm - 5pm
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Admission
Adults: 4,50
Live Programs of the Prague Quadrennial 2007
June 14, 2007 - June 24, 2007
Prague Quadrennial 2007 will strive to provide the theatre professionals and audiences with the spaces to meet and
exchange ideas. For this reason, the live program of the PQ will become an important part of the whole event. PQ 07
will offer exhibitions from 60 countries as well as ten full days of programming, so we encourage you to attend for as
long as you can.
What one can find over the course of the 10 days:
National Days, organized by individual countries will celebrate the exposition with lectures, presentations and
performances.
PQ Forum will be a celebration of the 40th Anniversary of the PQ, curated by General Commissioner Arnold Aronson,
in the form of three presentations and discussions about the past, present and future of the Prague Quadrennial.
SCENOFEST will take place for the 2nd time during the PQ - this time in the Central Hall of the Industrial Palace.
Many presentations of workshops and performances will be open for public.
Performances in the Centre of Prague The centre of Prague will become a stage design for performances and
installations of different performance genres with a non-conventional approach to costume/body and stage
design/space.
Discussions with the General Commissioner - Five sessions with the general commissioner Arnold Aronson and his
featured guests will attempt to find a way of mapping todays theatre and the world through analyses of the exhibited
work.
Design Excellence will feature daily presentations and lectures of many of todays major stage design personalities will
take place in the framework of the SCENOFEST project. Curated by Pamela Howard.
Lectures, presentations and discussions focusing on major Czech and international theatre issues will take place in
the Lecture Hall and the Architecture Hall every day.
Book launches will take place every day with a Book Brunch presentation, introducing new publications in the field of
theatre design and theatre.
Second Hand Fashion Shows will take place every day at 5 p.m. A different each day will show his or her work in the
PQ Bar using recycled clothes to create interesting costume design and objects.
Presentations of International Theatre Organizations will traditionally host their conferences during the Prague
Quadrennial, through public presentations offer the general public with more information about their activities.
Symposium How to write about theatre will address the question about writing about theatre design from the
perspective of theatre critic and cultural journalists.
Praga Theatralis is a special project supported by the Prague City Council providing visitors of the Prague
Quadrennial with an opportunity to attend a number of Czech performances every evening.
City as a Stage is a two-day conference focusing on the use of public spaces for theatre and art. Representatives of
major European cities will present their projects that have a specific connection to the city and its spaces.
More information can be found at: http://www.pq.cz
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Or you can receive the monthly news bulletin by subscribing to: http://www.pq.cz/07/mailing.html
Museum für Zuschaukunst Theater: an art to go
Germany - Düsseldorf
June 1, 2007
Theatre Museum Düsseldorf
Next to the art of acting Bertolt Brecht declared the art of watching theatre to be one of the most important art forms in
theatre that like the understanding of and the taste for other genres of art can be developed and trained. With its new
exhibition Museum für Zuschaukunst Theater: an art to go (Museum for the Art of Viewing. Theatre: an art to go), the
Theatre Museum of the City of Düsseldorf takes the side of the theatre audience.
The exhibition follows the idea that theatre happens in the head of each spectator and that as a member of the
audience we carry it along with us in our memory. It leads the visitor through the theatre to the fundamental character
of it, but it can do this only in co-operation with the visitor. The collective memory of the theatre - the Theatre Museum
offers the possibility to compare and contrast ones own theatre experiences and memories with the objects on
display.
Under the headword KostümRausch (CostumeRustle) original costumes and -designs from several periods will
demonstrate the multiple effects of stage costumes as an instrument of disguise and transformation. SpielRaum
(ActingSpace) exhibits stage settings, technical drawings, set models and stage pictures and explains the use of the
stage in various periods and by various set designers. Actors, singers and dancers of the last hundred years and their
presentation in audio documents and photos can be heard and seen under the headword StimmBilder (SightSound).
By showing scene- and rehearsal photos, prompt books and directors notes SzenenWechsel (SceneChange) will
reflect the process of rehearsal and will introduce directing concepts from essential productions of the 20th century. In
the TheaterGalerie (TheatreGallery) finally, paintings, graphic designs and sculptures represent the image of theatre
in the fine arts since the 18th century.
In addition to the exhibition, the SiT the museums own studio stage offers the chance to experience live different
genres of theatre from paper theatre to puppet theatre to modern day theatre productions.
Workshops, lectures and special guided tours accompany the exhibition.
Open Day with free entrance and all-day- programme: June 2nd 2007 from 1:00 8:30pm
Opening hours: Tuesday - Sunday: 1:00 - 8:30 pm
Entrance Fee: 3,00 Euro,
Concession: 1,50 Euro, under 18s are free
Guided Tours: every third Sunday at 3:30pm or can be booked by email: [email protected]
The extensive monthly programme can be found on the Museums webpage:
http://www.duesseldorf.de/theatermuseum/tm_aktuelles/tm_kalender
Theatre Museum Düsseldorf,
Jägerhofstaße 1 (in the Hofgarten)
40479 Düsseldorf
Tel.: 00 49 211/ 8994660
Fax: 00 49 211/8920045
Rodéo vidéo « Jeux de drôles »
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France - Avignon
February 24, 2007 - April 14, 2007
Maison Jean Vilar
8, rue de Mons
Montée Paul Puaux
84000 Avignon
La Maison Jean Vilar propose à loccasion des Hivernales une installation dune quarantaine dextraits vidéo autour de
la danse, du geste et de lhumour, bouquet dimages à rire et à délirer, de Charlie Chaplin à Gad Elmaleh, de Maguy
Marin à Philippe Decouflé et Dominique Boivin, du mime Marceau au Théâtre du Mouvement
Du mardi au vendredi de 9h à 12 h et de 13h30 à 17h30. Le samedi de 10h à 17h.
Entrée libre
Tél : 04 90 86 59 64
Fax : 04 90 86 00 07
E-mail : [email protected]
http://www.maisonjeanvilar.org/public/03_activites/expositions/anterieures/expos_2007/jeux_droles/index.html
Samuel Beckett
France - Paris
March 14, 2007 - June 25, 2007
Centre Pompidou
L'exposition est coproduite avec l'Institut Mémoires de l'édition contemporaine
En réunissant des documents exceptionnels, tels que manuscrits et archives audiovisuelles montrés pour la première
fois en France, cette exposition permet au public de découvrir les multiples facettes de l'uvre de Beckett, notamment
son travail de metteur en scène et son uvre audiovisuelle.
L'exposition témoigne d'ailleurs du bilinguisme de Beckett à travers la présentation conjointe de ses écrits en anglais
et en français. L'enjeu majeur de l'exposition est de sortir l'uvre de Samuel Beckett de la seule notoriété d'En
attendant Godot (1948) publié aux Editions de Minuit après que l'écrivain eut choisi la France comme lieu et langue
d'écriture, dès 1938.
En chacune de ses étapes, la présentation propose la rencontre entre l'uvre de Beckett et celles des plus grands
artistes contemporains. Ainsi, le premier espace présente l'uvre de fiction de Beckett à travers des manuscrits et leur
mise en relation avec des uvres d'artistes tels que Mona Hatoum, Bruce Nauman, ou Andrew Kötting qui entrent en
résonance avec le monde et les personnages beckettiens. Une installation d'Alain Fleischer, uvre créée à l'occasion
de l'exposition, propose une interprétation de l'univers romanesque de Beckett à travers la matière même d'un grand
livre ouvert.
Un espace important est consacré au théâtre, présentant des archives audiovisuelles de grandes mises en scène
rarement diffusées, ainsi qu'un ensemble de documents inédits et de photographies des pièces et des répétitions.
Une installation musicale imaginée pour l'exposition par le jeune compositeur Jérôme Combier associe la lecture de
L'Impromptu d'Ohio à une création pour trio à cordes.
L'accent est ensuite mis sur Film, seule oeuvre cinématographique de Beckett tournée en 1964 avec Buster Keaton,
et grande référence pour le cinéma d'avant-garde, mise en relation avec Vidéo de Stan Douglas, variation autour de
celle-ci.
Autour de la projection de Quad, pièce majeure de la série des « oeuvres pour la télévision » réalisées dans les
années 80, l'espace suivant explore les recherches formelles de Beckett et y associe la démarche des grands
minimalistes que sont Sol LeWitt, Richard Serra ou Robert Ryman. La section biographique présente un riche
ensemble de documents, lettres, manuscrits, photographies inédites accompagnées d'archives audiovisuelles
évoquant son parcours, de l'enfance irlandaise à la consécration du Nobel en passant par la rencontre avec Joyce,
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l'engagement dans la Résistance, le rôle des éditions de Minuit Un film How far is the sky ? commandé par le Centre
Pompidou et l'IMEC à la réalisatrice Pascale Bouhénic conclut la section en proposant une série d'entretiens sur
Beckett avec des écrivains, des lecteurs ou des amis parmi lesquels: Jean Echenoz, Jean-Philippe Toussaint, Jude
Stefan, Geneviève Asse, Werner Spies, Raymond Federman, etc.
La dernière partie de l'exposition est plongée dans une pénombre où sont projetées quatre uvres audiovisuelles
réalisées par Beckett pour des chaînes de télévisions anglaises et allemandes, réunies pour cette occasion: Nacht
und traüme, but the clouds, ghost trio, what were. Le public peut y écouter les courtes proses de Beckett lues par
Michael Lonsdale qui, telles que les oeuvres de Robert Ryman ou Geneviève Asse exposées dans le même espace,
évoquent rigueur, pureté, économie de la forme.
Le parcours s'achève sur l'oeuvre au crayon de Claudio Parmiggiani, Silenzio, et sur une archive sonore inédite: la
voix de Beckett lisant Lessness.
Tous les jours 11h00 - 21h00
Galerie 2
10, 8
Nocturne le jeudi jusqu'à 23h
Centre Pompidou
Place Georges Pompidou
75004 Paris
Standard : 00 33 (0)1 44 78 12 33
« J'aime les militaires ! »
France - Moulins
January 20, 2007 - May 13, 2007
Centre National du Costume de Scène
"Princesse Pauline", opéra de Herni Tomasi
Costumes de François Ganeau créé à l'Opéra Comique en 1962
Cet événement, qui se veut un clin d'il à la première destination de la caserne Villars, le quartier de cavalerie construit
à la fin du règne de Louis XIV, devenu le prestigieux lieu d'accueil du CNCS, permet au public de découvrir la variété
et l'originalité des costumes d'inspiration militaire, souvent très surprenants, issus des fonds de la Bibliothèque
nationale de France, de la Comédie-Française, de l'Opéra national de Paris et d'autres grands lieux scéniques
français.
Les uniformes sont aujourd'hui à la mode, comme l'attestent les épaulettes, les brandebourgs et les revers chargés de
boutons dorés qui ont envahi les portants des boutiques de prêt-à-porter comme les show-rooms des créateurs. Mais
sait-on que ces strictes et éclatantes tenues ont également traversé l'histoire des arts de la scène et que les multiples
perceptions du personnage du soldat, depuis son apparition relativement tardive sur les planches jusqu'à nos jours,
nous disent beaucoup sur l'évolution de l'art dramatique et sur ses implications politiques, sociales ou philosophiques.
Le « genre militaire » a irrigué toutes les formes de spectacle ; du cirque, directement issu des carrousels équestres
des régiments de cavalerie, au café-concert, où se sont particulièrement illustrés le comique troupier et la
chansonnette bouffonne et patriotique, en passant par lopéra et le ballet où parades, marches et grandes entrées
s'inspirent des rythmes martiaux.
Pendant tout le XIXe siècle, le personnage du beau militaire, malgré une apparente futilité devenue proverbiale (ne
parle-t-on pas de « soldat d'opérette ») a bénéficié d'une faveur sans égale : l'éclat de son uniforme, le bruit de son
héroïsme ou la séduction de sa jeunesse tapageuse en ont fait le héros de maintes uvres théâtrales, lyriques et
chorégraphiques.
Les grandes guerres de la fin du XIXe siècle et de la première moitié du siècle suivant ont jeté sur cette figure frivole
l'ombre d'une gravité et le répertoire scénique de notre époque en a fait l'incarnation des oppressions et des violences
modernes.
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Dans tous les cas cependant, l'élégance, l'intensité graphique et l'extrême diversité des modes guerrières ont permis
aux costumiers de créer des tenues allant de la fantaisie la plus débridée à la plus austère rigueur, dans un subtil
dialogue avec les règlements qui régissent les véritables vêtements militaires.
De la pimpante représentation cocardière au guerrier en treillis de notre répertoire contemporain, cette exposition
propose un parcours parmi les codes du costume militaire et les interprétations réalistes, caricaturales, voire
dramatiques que les créateurs scéniques ont pu en donner.
Le parti scénographique de l'exposition
S'interroger sur la place du militaire dans le répertoire scénique, c'est également poser la question du rapport à
l'Histoire qu'entretiennent ces créations ou les mises en scène qui les renouvellent et les réactualisent. La chronique
des arts du spectacle ne s'écrit pas seulement par des uvres, elle s'incarne également dans des lieux, dans des
théâtres où se sont déroulés des moments clefs de cette histoire artistique, voire de l'Histoire majuscule.
Chacune des vitrines de l'exposition est dédiée à un théâtre ayant marqué une étape de l'histoire scénique : On
évoque ainsi le Châtelet à l'époque des grands « drames militaires » pour l'accueil desquels il fut construit, l'Odéon,
lieu de création des Paravents de Jean Genet et quartier général de la contestation de l'autorité en 1968, l'OpéraComique et Carmen
Sont ainsi présentés : une centaine de costumes, des maquettes, accessoires illustrant des métiers liés à la
fabrication des costumes militaires, des affiches, photos, sculptures.
Les thèmes de l'exposition
1 - Paletots, souquenilles et livrées
2 - A la française, à la hongroise, à la polonaise, les modèles de la mode militaire
3 - Le cas Carmen, des carabiniers de toutes les couleurs
4 - Le travestissement militaire, des femmes en uniforme
5 - Les militaires au parterre
6 - Un soir à lEldorado, « Pioupious et Tourlourous au CafConc' »
7 - La critique de l'autorité
8 Le répertoire contemporain, la perte de l'insouciance
9 - Gala à l'Etat-Major, la parade des beaux militaires
10 - Le petit soldat de plomb
11 - Chez le maître tailleur
12 - Abécédaire
Horaires
Tous les jours sauf le lundi de 10h à 18h
Tarifs
Plein tarif : 5
Demi tarif : 2,5 (12-25 ans, demandeurs demploi, groupes - 10 personnes minimum)
Gratuit : moins de 12 ans
Visites guidées, ateliers
Centre National du Costume de Scène
Quartier Villars
Route de Montilly
03000 Moulins
Tél : 00 33 4 70 20 76 20
Fax : 00 33 4 70 34 23 04
[email protected]
http://www.cncs.fr
Page 23
* : Modified only
Page 24
3. PUBLICATIONS
3.1. GENERAL
3.2. THEATRE
Le théâtre : texte ou spectacle vivant ?
France - Paris
February 16, 2007
André Helbo
Editions Klincksieck
192 pages
135 x 210
978-2-252-03600-6
15,00
Dans le passé ou sous d'autres latitudes, théâtre, cirque, danse et opéra n'ont cessé de (mé)tisser leurs relations.
L'auteur fait ici le point sur les perspectives ouvertes par ces rencontres et à l'aide de quelques notions clés
s'interroge sur les processus par lesquels scène et salle se démarquent du quotidien, s'inventent ensemble,
s'énoncent, dans le moment de la représentation. Chemin faisant, il aborde le jeu du comédien, la mise en scène, le
plaisir du spectateur, la place, les formes et les stratégies du spectacle vivant dans une société en mutation.
Grâce à différentes approches (analyses d'exemples, construction de systèmes
d'explication, survol historique et relecture des positions dramaturgiques, examen des démarches critique et
pédagogique, questionnaires du spectateur), ce livre permet de saisir les enjeux actuels du spectacle vivant.
André Helbo est professeur à l'université libre de Bruxelles et directeur de la revue Degrés. Il est l'auteur de plusieurs
ouvrages sur le théâtre, l'adaptation, les arts du spectacle, la sémiotique générale et appliquée.
Editions Klincksieck
6, rue de la Sorbonne
75005 Paris
http://www.klincksieck.com/accueil.html
Le Théâtre en France de 1968 à 2000
France - Paris
May 30, 2007
David Bradby
Editions Honoré Champion
768 pages
16 x 23,5
ISBN: 2745315234
135
Cette étude prend sa place dans la série d'ouvrages initiée par les Éditions Honoré Champion qui trace l'histoire du
théâtre français depuis ses débuts jusqu'à la fin du XXe siècle. Elle commence par une analyse approfondie de la
grande déflagration de 1968. Elle montre l'importance des "événements" pour la vie théâtrale en France tant sur le
Page 25
plan politique et administratif que sur le plan artistique et esthétique. Ensuite elle suit l'évolution des mouvements
successifs : la création collective ; la mise en scène ; le théâtre d'expression physique ; le théâtre du quotidien ; la
nouvelle dramaturgie.
Les carrières des grands créateurs sont étudiées : les metteurs en scène tels Antoine Vitez, Ariane Mnouchkine,
Patrice Chéreau ou Peter Brook ainsi que les dramaturges comme Michel Vinaver, Bernard Marie Koltès, Jean Luc
Lagarce ou Philippe Minayana. Dans les annexes on trouvera des tables chronologiques ; une table historique des
CDN, CDR, CDNEJ, TN ; une table historique des mises en scène significatives.
http://www.honorechampion.com/cgi/run?wwfrset+3+534004038+1+2+cccdegtl1+N+1+04304112
Maxim Gorky : Russian dramatist
May 30, 2006
Peter Lang GmbH
Cynthia Marsh
ISBN: 3-03910-305-8
382 pages
64.20
£ 42
Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an
internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics
found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as
well as the role played by women, and the personal and political implications of moth erhood. All sixteen of Gorky's
published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While
conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and
grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of
earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Partyinspired socialist realism in fact less about socialist realist issues of conformity, and more about
Gorky's own painful life experience? And what is equally under the microscope is a search for the monumental style
frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky's plays come
as a surprise.
Contents
Putting on the style: Gorky as playwright - Debut: 1882-1905 - The theatrical context - On the attack: Philistines (1902)
- Truth, lies and theatre: The Lower Depths (1902) - Gorky and the intelligentsia: Summerfolk, Children of the Sun and
Barbarians - Off-stage: 1906-1917 - Abroad - Claiming spaces: Enemies - A tragic sideshow: The Last Ones,
Eccentrics, The Reception and Vassa Zheleznova - Polemic and melodrama: Counterfeit Coin, The Zykovs, The Old
Man and Iakov Bogomolov - Peripeteia: 1917-1936 - Soviet dramatist - Back to the future: Egor Bulychev and the
Others and Dostigaev and the Others - Representing the present: Somov and the Others and Vassa Zheleznova.
The Author
Cynthia Marsh teaches Russian and drama at the University of Nottingham, UK. She has published widely on Russian
literature and drama, is a play translator and theatre director (she has directed Gorky in Russian and English). She is
currently working on a study of translated Russian theatre in the post-war British repertoire.
http://www.peterlang.de/index.cfm?vID=10305&vLang=E&vHR=1&vUR=2&vUUR=1
Mediaclash In Political Theatre : Building on and Continuing Brecht
Germany - Marburg
January 1, 2007
Götz Dapp
Tectum
Page 26
Volume 9, Series: Kleine Mainzer Schriften zur Theaterwissenschaft
Edited by: Kati Röttger, Peter Marx, Friedemann KreuderISBN: 3-8288-9176-4
156 pages
24.90
For a number of years, a theory on contemporary political theatre based on a politics of aesthetics has been called for.
This book takes on this task by building on Hannah Arendt's political philosophy and combines it with Jacques
Rancire's Politics of Aesthetics and Bruno Latour's Iconoclash to develop the concept of Mediaclash. By looking back
at the polis from Rancire's point of view, the author explains how theatre can be political without any explicit political
statements. Mediaclash makes it possible to analyze and describe the complex politicity of contemporary multi- and
intermedial theatre productions. Analyses of Christoph Schlingensief's Bambiland and Stefan Kaegi's Torero Portero
link theory and practice and provide a first application of
Mediaclash to contemporary theatre productions.
Copyright by http://www.theaterforschung.de
http://www.theaterforschung.de/annotation.php4?ID=605
Revue dHistoire du Théâtre
France - Paris
Revue d'Histoire du Théâtre
N° 233 (2007-1)
LA TRILOGIE DE BEAUMARCHAIS
·
·
·
·
La notion de connivence dans les comédies de Beaumarchais par Gabriel Conesa
La figure du courtisan et les modes de la réflexion politique dans Le Mariage de Figaro par Jean-Paul Sermain
Trois mariages et une trilogie par Jean-Pierre de Beaumarchais
Densité expressive et intensité dialogale dans Le Mariage de Figaro par Anne-Marie Paillet
· Les scènes parallèles dans la trilogie par Marie-Emmanuelle Plagnol-Diéval
· Lironie dans la trilogie de Beaumarchais par Gérard Lahouati
Les textes réunis ici ont été rédigés à loccasion dune journée organisée par Béatrice Didier le 29 janvier 2005 à
lEcole Normale Supérieure de la rue dUlm.
Publication trimestielle par la Société d'Histoire du Théâtre
Abonnement France : 57
Abonnement Europe : 60
Abonnement étranger : 63
Vente au numéro : 15 + frais de port
Société d'Histoire du Théâtre
BnF- 58 rue de Richelieu
Tél : 00 33 1.42.60.27.05
Fax : 00 33 1.42.60.27.65
http://www.sht.asso.fr
[email protected]
Souscription: Molière, Marivaux, Ionesco60 ans de critique
France - Paris
May 15, 2007
Jacques Scherer
16x24cm
432 pages
Page 27
Articles réunis par Colette Scherer
Etudes de Ronald W. Tobin, Martine de Rougemont, Jean-Pierre Ryngaert,
Préface de Colette Scherer
Est proposé dans ce recueil un large choix darticles publiés par Jacques Scherer essentiellement sur le théâtre
français des 17e 18e et 20e siècles, mais aussi sur Mallarmé et dautres auteurs, dans des revues surtout françaises,
mais aussi américaines, dans une revue italienne, et dans des ouvrages collectifs, de 1939 à 1999, si l'on tient
compte des deux textes posthumes extraits de l'Espace théâtral, ouvrage qu'il préparait au moment de sa mort en juin
1997.
SOUSCRIPTION
Date limite 15/5/07
NOM, Prénom ou Institution..
Qualité, fonction
Adresse
.
.
.
.
Souscrit à . exemplaire (s) de louvrage :
Jacques Scherer, Molière, Marivaux, Ionesco..., 60 ans de critique
Au prix de 40 franco de port
(Après souscription : 50)
Bulletin à retourner à LIBRAIRIE NIZET
41 rue de lAuberdière
37510 SAINT GENOUPH
FAX 02 47 45 50 15
Courriel : [email protected]
Chèque joint de
Chèque postal ou virement (à lordre de la Librairie Nizet CCP 473-88 P Paris)
Demande de facture
Date et signature
Vers un théâtre politique - Belgique francophone 1960-2000
Belgium - Brussels
Editions Le Cri-ULB-ULG
Parution 2007
Nancy Delhalle
Maître de Conférence, Université de Liège
« Lhistoire du théâtre belge de langue française peut se prévaloir de quelques grands noms, tels ceux de Maurice
Maeterlinck, de Fernand Crommelynck ou de Michel de Ghelderode. Mais, joués en Belgique selon les normes dune
dramaturgie toute classique, ces auteurs nont pas en leur temps généré une mobilisation et une remise en cause de
linstitution théâtrale comparable à celle qui a agité dans le même pays les trente dernières années du XXe siècle
lorsque sont apparus les tenants de ce que lon a appelé les jeunes compagnies. Louvrage de Nancy Delhalle, que lon
va ici lire, rapporte et analyse lhistoire de ces années, histoire, à son échelle, dun champ en effervescence.
Certes, Nancy Delhalle fixe avant tout son attention sur les textes qui furent écrits et
joués durant la période. Mais elle nen parle quen reliant ces mêmes textes et leurs auteurs à un contexte politique, à
des groupes et projets de création, à des débats sur les conceptions de la mise en scène et du spectacle vivant. [ ]
Page 28
Elle a aussi pris appui sur des « agents » repères, ceux dont les noms reviennent tout au long du travail, de Louvet à
Piemme et de Liebens à Delcuvellerie. [ ]
Sil est un fil rouge qui traverse tout louvrage, cest la question commune à ceux qui donnèrent vie au nouveau théâtre
: comment « sortir de Brecht », sans pour autant perdre le bénéfice de ses leçons ? Certes, on voulait rompre avec un
passé lourd mais les solutions de rechange nexistaient pas. Cest que, au théâtre plus quailleurs, sévissait une crise
de la représentation, entretenue par diverses expériences dramaturgiques, depuis le théâtre de labsurde et jusquau
théâtre du corps. Et la question de la représentation était dautant plus cruciale quelle savérait double : 1° le théâtre
peut-il encore « figurer » ? 2° comment représenter un politique devenu opaque, au temps de la péremption des
grandes doctrines et des rationalités rassurantes ?
Restait alors à mettre en oeuvre des moyens de fortune pour conjoindre malgré tout théâtralité et sens politique.
Seront convoqués tour à tour le recours à des expériences immédiates, la relance des subjectivités, lappel à laspect
le plus mémoriel de lhistoricité. Cela peut sembler mince. Ce nen est pas moins à lorigine de ce que Nancy Delhalle
nomme un nouveau paradigme, où seront interrogés les signes incertains auxquels le réel donne accès, indices ici,
symptômes là.
De toute sa démarche, Vers un théâtre politique nous donne à voir quune nouvelle manière de concevoir lhistoire
culturelle est possible et quelle est en marche. »
Extrait de la préface de Jacques DUBOIS Professeur émérite Université de Liège.
Louvrage est disponible en librairie au prix de 20 , ainsi que sur http://www.lecri.be
3.3. FILM
Cupboards of Curiosity: Women, Recollection, and Film History
United States - Durham
December 15, 2006
Amelie Hastie
Duke University Press
256 pages
12 b&w photos
Cloth
ISBN 0-8223-3676-6
$74.95
Paperback
ISBN 0-8223-3687-1
$21.95
In Cupboards of Curiosity Amelie Hastie rethinks female authorship within film history by expanding the historical
archive to include dollhouses, scrapbooks, memoirs, cookbooks, and ephemera. Focusing on women who worked
during the silent-film era, Hastie reveals how female stars, directors, and others appropriated personal or domestic
cultural forms not only to publicize their own achievements but also to reflect on specific films and the broader film
industry. Whether considering Colleen Moores thirty-six scrapbooks or Dietrichs eccentric book Marlene Dietrichs
ABC, Hastie emphasizes how these women spoke for themselvesas collectors, historians, critics, and expertsoften
explicitly contemplating the role their writings and material objects would play in subsequent constructions of history.
Hastie pays particular attention to the actresses Colleen Moore and Louise Brooks and Hollywoods first female
director, Alice Guy-Blaché. From the beginning of her career, Moore worked intently to preserve a lasting place for
herself as a Hollywood star, amassing collections of photos, souvenirs, and clippings as well as a dollhouse so
elaborate that it drew extensive public attention. Brookss short essays reveal how she participated in the creation of
her image as Lulu and later emerged as a critic of film stardom. The recovery of Blachés role in film history by feminist
Page 29
critics in the 1970s and 1980s was made possible by the existence of the directors own autobiographical history.
Broadening her analytical framework to include contemporary celebrities, Hastie turns to how-to manuals authored by
female stars, from Zasu Pittss cookbook Candy Hits to Christy Turlingtons Living Yoga. She discusses how these
assertions of celebrity expertise in realms seemingly unrelated to film and visual culture allow fans to prolong their
experience of stardom.
Amelie Hastie is Associate Professor of Film and Digital Media at the University of California, Santa Cruz, and a
member of the Camera Obscura editorial collective.
Introduction
THE COLLABORATOR
At the Cupboards of Film History 1
1 THE COLLECTOR
Material Histories, Colleen Moores Dollhouse, and Ephemeral Recollection
2 THE HISTORIAN
Autobiography, Memory, and Film Form 72
3 THE CRITIC
Louise Brooks, Star Witness 104
4 THE EXPERT
Celebrity Knowledge and the How-tos of Film Studies 155
Notes 195
Bibliography 225
Index 239
http://www.dukeupress.edu/books.php3?isbn=978-0-8223-3687-7
Dudley Murphy, Hollywood wild card
United States - Minneapolis
September 28, 2006
Susan Delson
University of Minnesota Press
272 pages
ISBN 0-8166-4654-6
Hardcover
$27.95
The first biography of this pioneering Hollywood maverick and bon vivant.
Dudley Murphy (1897-1968) was one of early Hollywood's most intriguing figures. Active from the 1920s through the
1940s, Murphy was one of the industry's first independents and a guiding intelligence behind some of the key films in
early twentieth-century cinema. In the first full-length biography of Murphy, author Susan Delson gives full rein to an
American original whose life was as audacious as his films. As expertly chronicled here, Murphy caromed between
film and the other arts, between Hollywood and other cultural capitalsGreenwich Village, Harlem, London, and
Parishobnobbing with some of the eras leading cultural figures, including Man Ray, Ezra Pound, Duke Ellington, and
Charlie Chaplin, and leaving many a scandal in his wake.
With artist Fernand Léger, Murphy made Ballet mécanique, one of the seminal works of avant-garde film. He directed
Bessie Smith in her only film appearance, St. Louis Blues, and Paul Robeson in The Emperor Jones. He had a hand
in shaping Tod Brownings Dracula, gave Bing Crosby one of his first film appearances, and collaborated with William
Faulkner in attempting to bring one of the authors most challenging novels to the screen. Murphy also turned out
forgettable Hollywood fodder like Confessions of a Co-Ed and Stocks and Blondes, and ended his career making
melodramas in Mexico.
Delson pays close attention to Murphys cinematic style, which favored visual play over narrative and character, and
she offers provocative new insights into his two most important works, Ballet mécanique and The Emperor Jones. A
lively portrait, Dudley Murphy, Hollywood Wild Card provides a fascinating perspective on the evolution of the classical
Hollywood aesthetic, the development of the film industry, and the centurys broader cultural currents.
Page 30
TABLE OF CONTENTS
Introduction: At the Edge of the Frame
1. Rooted in Art
2. Greek Goddesses for the Moviegoing Public
3. Vexed and Disputed: The Multiple Histories of Ballet mécanique
4. Into the Mainstream
5. The Beginning of the Audible Period
6. Not Murder but Mayhem: Hollywood Again
7. Between Pictures: Art and Politics
8. Stepping out of the System: The Making of The Emperor Jones
9. An Equivocal Independence
10. Changing Direction
Acknowledgments
Notes
Filmography of Dudley Murphy
Selected Bibliography
Index
http://www.upress.umn.edu/Books/D/delson_dudley.html
Here's Looking at You: Hollywood, Film & Politics
United States - New York
Published by Peter Lang New York
Giglio, Ernest
Third Printing of the Second Edition
20077
327 pages
Politics, Media, and Popular Culture Vol. 11
Edited by Schultz David A.
ISBN 978-0-8204-7099-3 pb.
24.10
US-$ 28.95
Here's Looking at You: Hollywood, Film & Politics examines the tangled relationship between politics and Hollywood,
which manifests itself in celebrity involvement in political campaigns and elections, and in the overt and covert political
messages conveyed by Hollywood films. The book's findings contradict the film industry's assertion that it is simply in
the entertainment business, and examines how, while the majority of Hollywood films are strictly commercial ventures,
hundreds of movies - ranging from Birth of a Nation to Fahrenheit 9/11 - do indeed contain political messages. Here's
Looking at You serves as a basic text for political film courses and as a supplement in American government and film
studies courses, and will also appeal to film buffs and people in the film industry.
Ernest Giglio is Professor Emeritus of Politics and American Studies and a Fulbright Scholar. He has a B.A. from
Queens College (CUNY), a M.A. from SUNY-Albany, and a Ph.D. in social sciences from Syracuse.
http://www.peterlang.com/index.cfm?vID=69098&vLang=E&vHR=1&vUR=2&vUUR=1
3.4. MUSICAL THEATRE
Page 31
3.5. DANCE
Ecstacy and the Demon: The Dances of Mary Wigman
United States - Minnesota
November 8, 2006
Susan Manning
376 pages
ISBN 0-8166-3802-0
Paperback
$25.00
Winner of the de la Torre Bueno prizewith a new introduction by the author.
Mary Wigman, Germanys premier dancer between the two world wars, envisioned the performer in the thrall of
ecstatic and demonic forces. Widely hailed as an innovator of dance modernism, she never acknowledged her
complex relationship with National Socialism. In Ecstasy and the Demon, Susan Manning advances a sociological
explanation for the collaboration between German modern dancers and National Socialism. She models methods for
dance studies that contextualize choreography in relation to changing sociopolitical conditions, bringing dance
scholarship into conversation with intellectual trends across the humanities.
The introduction to this second edition brings Mannings groundbreaking work to bear on dance studies today and
reconsiders Wigmans career from the perspective of queer theory and globalization, further illuminating the interplay
of dance and politics in the twentieth century.
Susan Manning is professor of English, theater, and performance studies at Northwestern University and author of
Modern Dance, Negro Dance.
TABLE OF CONTENTS
List of Illustrations
Introduction to the New Edition
Preface
Acknowledgements
Introduction
1. Ideology and Absolute Dance
The Master-Narrative of Absolute Dance
Rewriting the History of Modern Dance
2. Gestalt im Raum
Wigmans Early Life, 1886-1910
Hellerau and Monte Verita, 1910-1919
Solos, 1914-1919
Group Dances, 1914-1919
3. Mask and Gemeinschaft
The Wigman School, 1920-1932
Witch Dance
4. From Modernism to Fascism
Crisis
Response
Page 32
5. Body Politic
The Wigman School, 1934-1942
Solos, 1937-1942
6. From Ausdrunkstanz to Tanztheater
Wigmans Life and Career, 1942-1973
Dance in Divided German, 1973-1989
7. Mary Wigman and American Dance
The Reception of Wigmans American Tours
Leftists, Humanists, and Hanya Holm
The Postwar Historiography of Modern Dance
Epilogue
Notes
Selected Bibliography
Index
http://www.upress.umn.edu/Books/M/manning_ecstasy.html
Françoise Adret, soixante années de danse
France - Pantin
January 31, 2007
Francis de Coninck
Edition du Centre national de la danse
210 x 270 mm
128 pages
ISBN : 978-2-914124-31-7
ISSN : 1631-414X
28
De son rôle détoile dans Le Pas dacier de Serge Lifar (1948) à celui de « Madame SOS Ballet » dans les années
1990, Françoise Adret na cessé de servir la danse sous de multiples formes. Elle fut tour à tour danseuse,
chorégraphe, maître de ballet, directrice de compagnie, pédagogue, inspectrice de la danse au ministère de la Culture
Au fil de cet entretien richement illustré, celle que ses anciens élèves surnomment affectueusement la « mère Adret »
se remémore avec passion ses soixante années de danse, de rencontres et de voyages. Elle y évoque ses
collaborations avec Serge Lifar, Roland Petit, Jean-Albert Cartier Elle fait revivre des lieux mythiques, comme le
studio Wacker et le Ballet Théâtre Contemporain, et revient sur des événements marquants de la vie chorégraphique
du xxe siècle : les années 1980 et la nouvelle danse française, les débuts de la décentralisation... De nombreuses
personnalités ayant travaillé à ses côtés chorégraphes, danseurs, etc. parachèvent le portrait de cette artiste hors du
commun.
Francis de Coninck est journaliste et critique de danse. Il est lauteur de documentaires dont Françoise Adret, 40
années de danse en France et Candoco. Passionné par le Sénégal et la culture peule, il a publié Sénégal mon ami,
les 11 étapes du Kaïdara, aux Nouvelles éditions sénégalaises.
Renseignements et commandes auprès de :
Centre National de la Danse (CND)
Aurélie Morel, chargée de diffusion des ouvrages
00 33 1 41 83 98 02
[email protected]
http://www.cnd.fr/publications/francoiseadret
Page 33
Modern Dance, Negro Dance: Race in Motion
United States - Minnesota
October 4, 2006
Susan Manning
320 pages
ISBN 0-8166-3737-7
Paperback
$25.00
Integrates the histories of black and white dance in modern Americanow in paperback.
At the New School for Social Research in 1931, the dance critic for the New York Times announced the arrival of
modern dance, touting the serious art of such dancers as Mary Wigman, Martha Graham, and Doris Humphrey.
Across town, Hemsley Winfield and Edna Guy were staging what they called The First Negro Dance Recital in
America, which Dance Magazine proclaimed the beginnings of great and important choreographic creations. Yet
never have the two parallel traditions converged in the annals of American dance in the twentieth century.
Modern Dance, Negro Dance is the first book to bring together these two vibrant strains of American dance in the
modern era. Susan Manning traces the paths of modern dance and Negro dance from their beginnings in the
Depression to their ultimate transformations in the postwar years, from Helen Tamiriss and Ted Shawns suites of
Negro Spirituals to concerts sponsored by the Workers Dance League, from Grahams American Document to the
debuts of Katherine Dunham and Pearl Primus, from José Limóns 1954 work The Traitor to Merce Cunninghams 1958
dances Summerspace and Antic Meet, to Aileys 1960 masterpiece Revelations.
Through photographs and reviews, documentary film and oral history, Manning intricately and inextricably links the
two historically divided traditions. The result is a unique view of American dance history across the divisions of black
and white, radical and liberal, gay and straight, performer and spectator, and into the multiple, interdependent
meanings of bodies in motion.
Susan Manning is associate professor of English, theater and performance studies at Northwestern University. She is
the author of "Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman", winner of the 1994
de la Torre Bueno Prize for the years most important contribution to dance studies.
TABLE OF CONTENTS
Acknowledgments
Introduction: American Bodies in Motion
1. Danced Spirituals
2. Dancing Left
3. In the Shadow of War
4. Blood Memories
Notes
Index
http://www.upress.umn.edu/Books/M/manning_modern.html
Projet de la matière-Odile Duboc: Mémoire(s) dune uvre
chorégraphique
Page 34
France - Pantin
April 23, 2007
Julie Perrin
Edition du Centre national de la danse
190 x 235
ISBN : 978-2-84066-201-3
30 euros (livre + DVD)
Conçu en 1993, Projet de la matière représente pour Odile Duboc « une aventure forte qui marque une vie ». La
chorégraphe a développé un processus de création original qui laisse une large place à lexpérimentation des
interprètes : « Ils étaient tout à coup en mouvement, dans des mouvements organiques et justes, dans la mémoire
dynamique des éléments que je cherchais à leur transmettre depuis toujours. »
La reprise de cette pièce, en 2003, est loccasion dinterroger ses différents acteurs : ceux de la création (chorégraphe,
interprètes, éclairagiste, plasticienne, scénographe, compositeur, costumière) et les danseurs qui lont rejointe dix ans
plus tard. Ce livre se fait lécho de leurs réflexions, de leurs recherches, de leurs interrogations. Il dévoile les
différentes identités dune pièce emblématique dans le parcours dOdile Duboc, comme dans lhistoire de la danse en
France.
Ce livre est accompagné dun DVD de la captation de Projet de la matière, réalisée par Laszlo Horvath en 2003.
Julie Perrin est chercheur au département Danse de luniversité Paris-VIII-Saint-Denis et auteur dun doctorat
desthétique et détudes chorégraphique.
Laszlo Horvath est réalisateur de documentaires et notamment de Le Vieux-Colombier de Jacques Copeau (1993).
Renseignements et commandes auprès de :
Aurélie Morel, chargée de diffusion des ouvrages
00 33 1 41 83 98 02
[email protected]
http://www.cnd.fr/publications/memoire-sensorielle
3.6. OTHER SUBJECTS
Doepak: Newsletter and Scribblings from the Puppetry Museum
Netherlands - Vorchten
Puppet Pamphlet: a short note from the Puppetry Museum, number 106d
Doepak is our Dutch-language Puppetry Museum Newsletter, a fun, cheery, multicoloured and educational leaflet full
of interesting facts, things to do, questions, and illustrations of puppet theatre. And we throw in the Puppetry Museum
Scribblings as
an added extra.
Under the motto Try it yourself, we offer you ideas and options to give the various
forms of puppetry a try. Doepak presents some unusual theatre forms that go beyond the confines of our own fantasy!
The aim of Doepak is to encourage the creativity and
development of children (and others, of course) and to introduce them to different art forms within the puppetry theatre
domain, so that they learn to understand and appreciate them better. Doepak offers stimulating information about the
various types of puppetry, about the Puppetry Museum and its theme exhibitions, artefacts, activities and the service
items in the Museum Shop.
The name Doepak - the Dutch spelling corresponds with the phonetic version of the
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Czech word dupák - is a mixture of the Dutch verbs to do and to grasp. These two
words are aimed to stimulate the reader to take up the ideas offered by the Newsletter
and the Scribblings. A dupák puppet moves just like a rod puppet, jumping and stamping
across a tiny puppet stage. Both the Doepak Newsletter and the Doepak Scribblings skim
and skip through the wondrous world of folk puppet theatre.Just as a dupák becomes bigger and smaller during his
performance, Doepak reviews unusual puppetry theatre subjects large and small. Where the dupák flings his arms
wide, Doepak embraces the international puppet and object theatre with its hints and tips, questions and answers,
illustrations and DIY activities.
Websites
Doepak refers its readers to the informative website of the Puppetry Museum at
http://www.poppenspelmuseum.nl, which can be read in Dutch, French, German or English. On this website you can
also find a Dutch-language Puppetry Theatre ABC, explaining nearly four hundred terms related to puppet theatre and
allied arts.
Doepak also refers to the Puppetry Museums Information & Knowledge Centre, which
includes an international library with more than five thousand titles, and to the magazine
and cuttings archive. Finally, Doepak refers readers to an interactive Puppetry Quiz &
Game and around four thousand puppetry theatre illustrations (including posters, prints
and photos), all of which can be viewed on a bilingual website (Dutch and English):
http://www.geheugenvannederland.nl/poppenspel2
Gift and postal subscription
Each young visitor who takes part in the Treasure Hunt through the Puppetry Museum
will receive a Doepak. A subscription to Doepak (Newsletter and Scribblings) covers
three numbers. They are published in spring, summer and winter.
A subscription costs 17.50 p.a. Individual issues are available at 3 (Newsletter)
and 1 (Scribblings).
Poppenspe(e)lmuseum/ Puppetry Museum
Kerkweg 38 8193 KL
Vorchten
Netherlands
Phone: +31(0)578 - 63 13 29
Fax: +31(0)578 - 56 06 21
[email protected]
Opening hours Puppetry Museum
The Puppetry Museum is open on Wednesday, Saturday and Sunday, from 12 noon to 5 p.m. Reservation is
recommended.
Otto van der Mieden
Director-Curator of the Puppetry Museum
Phone: +31(0)578 - 56 02 39
In Comes I - Performance, Memory and Landscape
United Kingdom - Exeter
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January 12, 2007
Mike Pearson
Paperback
£17.99
978 0 85989 788 4
Hardback
£50.00
978 0 85989 787 7
In Comes I proposes a wholly original approach to the study of performance. Drawing from archaeology,
geomorphology, folklore, local and family history, it challenges disciplinary boundaries and scholarly conventions.
The author returns to the landscape of his childhood and uses it as mnemonic for his wide-ranging reflections on
performance theory and practice. A series of excursions in eastern England weave together themes of performance
and land, biography and locality, memory and place.
Evoking moments from different periods over the last 200 years, forming them into an asynchronous juxtaposition,
attempting to create a deep map . . . this book serves as a guide through landscapes real or imagined, the texts
catalysing memories and reminiscences in acts of biographical wandering.
Mike Pearson, Professor of Performance Studies at University of Wales, Aberystwyth, is a leading theatre artist and
solo-performer.
3.7. EXHIBITION CATALOGUES
3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS
Czech Dance in Action DVD 2006 Now Available
Although few dance premieres have taken place during this years first three months, there is still a special offer for
those interested in contemporary Czech dance.
The Theatre Institute has just released the new Czech Dance in Action DVD, containing sixteen excerpts of the work
of choreographers who form the strong and inspirational generation of contemporary dance here in the Czech
Republic. The aim of the creators of Czech Dance in Action is to draw awareness to the dance works from the
independent dance scene as well as those innovative creations that can be found on the stages of the traditional
dance theatres.
The Czech Dance in Action contains brief and concise information focusing on the broad spectrum of creative
approaches and forms that contemporary Czech dance offers. Czech Dance in Action also contains a CD that
provides additional dramaturgical and technical information, as well as web links and contacts to the individual
producers.
Artists include:
NANOHACH and IOANA MONA POPOVICI: Portrait
IOANA MONA POPOVICI: Remote Edens
TOW and PETRA HAUEROVÁ: Night Moth
JARO VIŇÁRSKÝ: The Last Step Before...
MICHAL ZÁHORA and NANOHACH: Synchronicity
DORA HOTOVÁ: On the Perch
FARM IN THE CAVE: SCLAVI / The Song of an Emigrant
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FARM IN THE CAVE: The Waiting Room
KRISTÝNA LHOTÁKOVÁ and LADISLAV SOUKUP: Featured
DOT 504 and LENKA OTTOVÁ: Homo Sentimentalis
WINGS: ProjectWings
JAN KODET: Duel
PETR ZUSKA: Les Bras de Mer
PETR ZUSKA: Marias Dream
TOMÁ RYCHETSKÝ: Faint Fragility
LIBOR VASULÍIK: The Rite of Spring
To obtain your free copy, contact:
Jana Návratová
Theatre Institute Prague
Celetná 17
110 00 Prague 1
[email protected]
* : Modified only
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4. LINKS TO OTHER ORGANISATIONS
* : Modified only
Page 39
5. THEATRE BUILDINGS, RESTORATIONS & NEW
DEVELOPMENTS
Ancient Greek Theater Discovered
Greece - Athens
February 16, 2007
Nicholas Paphitis, Associated Press
Feb. 16, 2007 Sections of an ancient Greek theater were discovered on Thursday during construction work in an
Athens suburb, archaeologists said.
Until now, only two such buildings were known in the ancient city where western theater originated more than 2,500
years ago.
Fifteen rows of concentric stone seats have been located so far in the northwestern suburb of Menidi, according to
Vivi Vassilopoulou, Greece's general director of antiquities.
advertisement
"Another section appears to lie under a nearby road," she told The Associated Press.
"(The remains) were discovered during excavation work, supervised by archaeologists, for a new building,"
Vassilopoulou said. "But it is still very early to offer any conclusions."
The structure has not yet been dated, and further details are expected to emerge following a full excavation.
Menidi is thought to be built over the ancient village of Acharnae, the largest of a string of rural settlements outside
ancient Athens. Ancient writers mention a theater at Acharnae, but no traces of it had been found until now.
The village was linked with Dionysos, the ancient god of theater and wine, as the Athenians believed that ivy his
sacred plant first grew there.
Built in semicircular tiers on hillsides, ancient theaters were monumental, open-air structures that could seat
thousands of spectators.
Theater first emerged as an art form in late 6th century B.C. Athens, where ancient playwrights competed for a prize
during the annual festival of Dionysos in whose cult the art originated.
The works of Sophocles, Aeschylus, Euripides and Aristophanes were performed in the theater of Dionysos under the
Acropolis.
Originally a terrace where spectators sat on the bare earth above a circular stage, it was rebuilt in stone during the 4th
century B.C. and could sit up to 14,000 people.
Another smaller theater has been discovered in southern Athens.
http://dsc.discovery.com/news/2007/02/16/greektheater_arc.html?category=archaeology&guid=20070216100000
<http://dsc.discovery.com/news/2007/02/16/greektheater_arc.html?category=archaeology&guid=20070216100000>
Theatre and Architecture - Stage Design - Costume / Théâtre et
architecture - Scénographie - Costume
Page 40
Belgium - Bruxelles
December 1, 2006
Published by PIE - Peter Lang Bruxelles
Lemaire, Véronique
With the help of/avec la collaboration de René Hainaux and the team of/et de l'équipe de Théâtre & Publics Theatre
and Architecture - Stage Design - Costume
A Bibliographic Guide in Five languages (1970-2000)
Guide bibliographique en cinq langues (1970-2000)
Dramaturgies, Textes, Cultures et Représentations, Texts, Cultures and Performances Vol. 15, 295 pages
Edited by Maufort Marc
ISBN 978-90-5201-281-0
US-ISBN 978-0-8204-6658-3 pb
39.90
US-$ 47.95
This long-awaited bibliography of recent books about theatre architecture, scenography and costume, published with
the support of Belgian Ministry of Culture and the «Théâtre & Publics» Association, has been prepared in
collaboration with experts in five languages: English, French, German, Italian and Russian. This extensive
bibliography, which meets the demands of the International Theatre Institute organizations and the International
Organization of Scenographers, Theatre Architects and Technicians, will prove useful to theatre practitioners as well
as to confirmed or young theatre scholars.
Cette bibliographie rassemble un choix d'ouvrages sur le théâtre et l'architecture, la scénographie, le costume. Elle a
bénéficié de la collaboration d'experts internationaux (anglais, français, allemands, italiens et russes). Répondant à la
demande de l'IIT (Institut international du théâtre) et de l'OISTAT (Organisation internationale des scénographes,
techniciens et architectes de théâtre), cette bibliographie en cinq langues est un précieux outil pour tout praticien et
théoricien du théâtre.
An actress with an academic background in theatre studies, Véronique Lemaire currently teaches the history of
theatre Architecture and Stage Design to apprendice stage managers in Mons, Belgium. She has recently become
affiliated with the «Centre d'études théâtrales» of the Catholic University of Louvain, Belgium. An internationnally
renowned actor and researcher, René Hainaux has taught at several universities most notably Cornell and Berkley. In
collaboration with scholars from various countries, he has published several books about scenography.
Comédienne, licenciée en Études théâtrales, Véronique Lemaire enseigne l'Histoire du lieu théâtral et de la
scénographie à la Fabrique de théâtre (Mons) et est depuis peu attachée au Centre d'études théâtrales (Université
catholique de Louvain).
Chercheur et acteur de renommée internationale, René Hainaux a notamment enseigné à Cornell et à Berkeley. Avec
l'aide d'éminents experts de tous pays, il a réalisé plusieurs publications sur la scénographie dans le monde.
* : Modified only
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6. RESEARCH
6.1. RESEARCH PROJECTS
3 doctoral fellowships: The Internationalization of Irish Drama, 19752005
Ireland - Dublin
March 1, 2007
Positions available for Doctoral Researchers at Trinity College Dublin and the National University of Ireland, Galway
(2007-2010)
This project will establish an inter-institutional Research Team to explore the internationalization of Irish drama since
1975. The Research Team will locate the development of Irish theatrical culture during this period in a comparative
international context, with a major focus on Irelands changing relationships with the wider world. Three doctoral
fellowships will be available:
Doctoral Researcher 1: The interaction of national and international theatre in the Dublin Theatre Festival, 1975-2005.
(Moore Institute, NUI Galway).
Doctoral Researcher 2 . Druid Theatre, Regionalization, and Internationalization in Irish Culture, 1975-2005. (Moore
Institute, NUI Galway)
Doctoral Researcher 3 : The Abbey Theatre on International Stages, 1975-2005. ( School of English, Trinity College
Dublin).
Each doctoral researcher will be provided with a stipend of 12,700 annually for three years, subject to terms and
conditions. PhD tuition fees for three years will be paid by the project.
Application by 1 March 2007.
http://www.irishtheatricaldiaspora.org/
Contact - organisers:
Professor Nicholas Grene
[email protected]
Dr Patrick Lonergan
[email protected]
AHDS-Performing Arts Research Project
United Kingdom - Glasgow
April 21, 2007 - May 21, 2007
Dr. Francesca Marini has been invited for a month-long (April 21-May 21 2007) fellowship at the University of
Glasgow, as Honorary Research Fellow and Arts and Humanities Data Service-Performing Arts Visiting Fellow.
Her work will be linked to the activities of the Arts and Humanities Data Service (AHDS)-Performing Arts, of the
Page 42
Humanities Advanced Technology and Information Institute (HATII), and of the Digital Curation Centre (DCC). During
her stay at the University she will engage in collaborative work with the team of Professor Seamus Ross, in order to
develop a research idea leading to a publication and begin work towards a collaborative research proposal for
funding. She will also run a seminar on her research as part of the Digital Curation Centre Seminar Programme, on
the topics of documenting the performing arts and managing performing arts archives.
Appel à chercheurs 2007-2008 (BNF) - Histoire de l'art, architecture
France - Paris
April 25, 2007
1. Plans et gravures de théâtres français et étrangers
- La bibliothèque-musée de lOpéra conserve une collection de plans, vues (gravures et dessins) de théâtres de Paris,
de France et du monde entier dont certains sont uniques et qui ont jusquà présent été signalés sommairement dans
les fichiers.
- Volumétrie : à préciser suivant lapproche définie par le chercheur.
- Pistes de recherche : Sur ce fonds considérable, on peut s'intéresser à une capitale, un pays, une région (en
comparant cette collection aux gravures connues appartenant à d'autres collections) ou même un thème (les dessins
originaux) puisque ce fonds comprend, par exemple, des dessins préparatoires à un ouvrage illustré par Clément
Contant (Joseph de Filippi, Parallèle des principaux théâtres modernes de l'Europe et des machines théâtrales
françaises, allemandes et anglaises... Machines théâtrales..., Paris, A. Lévy fils, 1860). Un inventaire précis, une
description et une comparaison de ces pièces avec des pièces comparables d'autres collections seraient à réaliser.
2. Le décor dopéra au XIXe siècle : fonds de décors allemands de la bibliothèque-musée de lOpéra
- La bibliothèque-musée de lOpéra conserve une collection de décors et projets de décoration allemands de la
deuxième moitié du XIXe siècle, issue en grande partie de latelier du décorateur berlinois Friedrich Pape.
- Volumétrie : environ 500 décors et projets de décoration.
- Pistes de recherche : Très partiellement identifiés et non inventoriés, ces documents pourraient donner lieu à un
inventaire par un chercheur qui trouverait là matière à un travail de synthèse sur le décor dopéra dans les pays
germaniques pendant la deuxième moitié du XIXe siècle.
Contact : Pierre Vidal, directeur du département de la bibliothèque-musée de lOpéra.
Tél. : 01 40 01 23 39
[email protected]
Date limite de dépôt de dossier de candidature: 25 avril 2007
Pour toutes informations complémentaires et sujets proposés :
http://www.bnf.fr
ou [email protected]
Appel à chercheurs 2007-2008 (BNF) - Musique et spectacle
France - Paris
February 22, 2007
Un grand théâtre de quartier à Paris et la défense du répertoire contemporain
- Versé au département des Arts du spectacle de la Bibliothèque nationale de France par son directeur fondateur, le
metteur en scène Guy Rétoré, le fonds du Théâtre de lEst parisien (TEP) recouvre cinquante ans dactivités
théâtrales. De ses principes largement hérités de Jacques Copeau et de Jean Vilar, il a su maintenir un rapport
privilégié de continuité avec le public. Le Théâtre de lEst parisien affirme sa démarche en montant Shakespeare et
Brecht mais aussi des contemporains, John Arden, Peter Hacks, et plus récemment Besnehard, Denise Bonal ou
Armand Gatti.
- Volumétrie : Une centaine de cartons. Le fonds commence avec la création de la Guilde en 1950, devenue en 1963
le TEP, qui reçoit le statut de théâtre national en 1972.
- Pistes de recherche : Le classement et linventaire de ce fonds dune grande richesse, dans le cadre dun projet de
Page 43
recherche, permettraient de le mettre à disposition des lecteurs.
Contact : Noëlle Guibert, directrice du département des Arts du spectacle.
Tél. : 01 53 79 37 31
[email protected]
http://www.bnf.fr
Call for contributions: Special issue of Law and Literature
June 15, 2007
We mourn the passing of Barrie Stavis, at the age of 100, in New York (June 16, 1906 - February 2, 2007). Stavis'
plays have been performed and published around the world in at least 26 languages. His best-known works include
LAMP AT MIDNIGHT, THE MAN WHO NEVER DIED, HARPER'S FERRY, THE COAT OF MANY COLORS, THE
RAW EDGE OF VICTORY, and THE HOUSE OF SHADOWS. He was a long-time member of ITI, and a member of
the College of Fellows of the American Theatre. He was a startlingly vibrant presence and wonderful friend. He will be
dearly missed.
Following the death of Barrie Stavis the special issue of LAW AND LITERATURE (formerly CARDOZO STUDIES IN
LAW AND LITERATURE) dedicated to his work, and featuring the complete text of his play on George Washington,
The raw edge of victory, will now be a memorial issue.
The Guest Editor of the special issue invites reminiscences, and will also entertain new proposals for articles.
Please send reminiscences by June 15, 2007, and contact the editor by e-mail regarding proposals for articles.
Daniel Larner, Guest Editor
Professor of Theatre
Fairhaven College of Interdisciplinary Studies
Western Washington University
Bellingham, WA 98225-9118
Phone: 360 650-4908
Fax: 360 650-3677
[email protected]
Call for papers: new electronic journal MOFA
March 31, 2007
This is a call for papers for a new, peer-refereed electronic journal, MOFA, to be launched in autumn 2007 by IATR,
the Israeli Association of Theatre Research.
MOFA ("performance" in Hebrew) will be devoted to the publication of refereed articles in English, covering all areas
of the Performing Arts. It will be issued by IATR, the association of researchers of theatre and performance from all
Higher Education Institutes in Israel which grant academic degrees in theatre.
In accordance with IATR's agenda, MOFA , as its written organ, will aspire to artistic and academic excellence. It will
be a vehicle of expression for all artists, creators and academics, representing the range of affiliations and concerns
embodied in the performing arts and their research.
As an international publication, it will give platform to articles from around the world, with a special interest in articles
that build bridges between artists and researchers of art and culture in the troubled area where it is published. We will
regard as one of our major tasks the enhancement of dialogue, joint projects, and discussions that further the
prospects for peace and mutual understanding between individuals, communities and peoples; while respecting
Page 44
alterity and multi-vocal approaches to performing arts and culture, and what they represent in and for humanity.
The advisory board already committed to accompany the new publication (please see above), will help assure that this
new publication maintains high standards. We welcome all local and international theatre and performance scholars
and practitioners and urge you to contribute the fruits of your work to our new magazine.
Submission deadline for the first issue (due September 2007) is: May 15th, 2007. Please address all queries, and
submit papers, in electronic version, edited according to MLA style sheet, 2003 version, to [email protected]
Call for papers: Palestinian Theatre
June 20, 2007
For an anthology to be published by Seagull Press (New York, London, and Calcutta) co-Editors Masud Hamden and
Hala Nassar invite articles, or proposals for articles, on Palestinian theatre and theatre on Palestinians.
This broad-ranging anthology will feature work about Palestines theatrical world in all its historical, social, and political
contexts. Since al-Nakba in 1948, the Palestinian experience and political reality has been very different in different
geographical locations: the West Bank and the Gaza Strip, Israel, the Diaspora in Arab states, the Middle East, and
North Africa, and Diaspora around the world. With the continuing occupation and annihilation of the land of Palestine
and the continuing Diaspora, it is crucial to document and analyze the circumstances under which Palestinians shape
their cultural activities and identity.
In the absence of Palestinian national sovereignty, it may seem that presenting theatre on Palestinian stages or
discussing theatre in a book as a merely aesthetic phenomenon and in one geo-political territory is futile or, at best,
naïve. Yet, the Palestinian cause is a key topic at the global level. People everywhere want to know more about
Palestine and Palestinians their culture and art. Showing the theatre in/beyond Palestine is vital. This book will help
people everywhere understand the special tension between the political oppression of the Palestinians and the
symbolic triumph of their agony.
We welcome articles dealing with, but not restricted to, the following themes:
- Palestinian theatre before 1948 and 1967
- Palestinian theater in the occupied territories, Gaza Strip, and in Israel
- Israeli Palestinian theatre collaborations
- In the Diaspora
- Contemporary performances
- Theatre in refugee camps
- Theatre in Israeli prisons
- Childrens theatre
- Women on Stage
- Memory and narration
- The Arab Hebrew Theatre in Jaffa
Please send inquiries to either Masud Hamdan [email protected]
or Hala Nassar [email protected]
Articles should run between 4000-5000 words in length and can be sent electronically as a Microsoft Word attachment
no later than 20 June 2007.
Call for papers: The Journal of Religion and Theatre
May 1, 2007
The Association for Theatre in Higher Education's Religion and Theatre Focus Group invites submissions to its online
peer-reviewed journal, The Journal of Religion and Theatre.
We welcome descriptive and analytical articles examining the spirituality of world cultures in all disciplines of the
theatre, performance studies in sacred rituals of all cultures, themes of transcendence in text, on stage, in theatre
history, the analysis of dramatic literature, and other topics relating to the relationship between religion and theatre.
Page 45
The journal aims to facilitate the exchange of knowledge throughout the theatrical community concerning the
relationship between theatre and religion and as an academic research resource for the benefit of all interested
scholars and artists. The journal is indexed in MLA International Bibliography.
The address of the journal is:
http://www.rtjournal.org
Submission Guidelines:
- Submit your article in Microsoft Word format via the internet
- Include a separate title page with the title of the article, your name, address, e-mail address, and phone number, with
a 70 to 100 word abstract and a 25 to 50 word biography
- Do not type your name on any page of the article
- MLA style endnotes - Appendix A.1. (Do not use parenthetical references in the body of the paper/ list of works
cited.)
- E-Mail the article and title page via an attachment in Microsoft Word to Debra Bruch: [email protected]
Master européen en spectacle vivant
Belgium - Bruxelles
Programme des cours du Master en arts du spectacle à finalité spectacle vivant
Programme des cours du Master en arts du spectacle à finalité européenne spectacle vivant
Objectifs
Comprendre la représentation spectaculaire, lire l'événement théâtral, mais aussi pratiquer les arts du spectacle
vivant ou en accompagner la création, tels sont les objectifs du master en arts du spectacle vivant.
Offre de formation
La première année situe le spectacle vivant comme événement dans la société, aide à comprendre son
fonctionnement, sa place dans la culture mondiale (« Dramaturgie et scénographie européenne »), ouvre des
perspectives sur les phénomènes de représentation dans leurs rapports avec la littérature, le cinéma et les médias, la
photographie, la musique, l'architecture et les beaux-arts (« Le spectacle vivant et les autres arts »).
La deuxième année est centrée sur la pratique créative (« Ecriture et mise en scène du spectacle vivant») :
séminaires d'écriture théâtrale, dramaturgie, mise en scène, scénographie, stages en milieu théâtral. Des ateliers sont
organisés conjointement avec le Conservatoire Royal de Bruxelles dans le domaine de la mise en scène et de la
scénographie. Parallèlement, plusieurs options sont proposées en finalité spécialisée : critique théâtrale, gestion et
production. La finalité approfondie propose en outre l'ouverture à des disciplines de recherche : psychologie,
sémiologie, sociologie, anthropologie, philosophie, esthétique, étude quantitative.
Débouchés
Offrant une formation originale, interdisciplinaire et polyvalente qui développe des compétences pratiques et
théoriques, la filière Spectacle vivant s'adresse aux cadres culturels (internationaux), aux praticiens et créateurs de la
scène, aux gestionnaires, aux critiques, chercheurs et enseignants en théâtre, danse, opéra, cirque. Ses débouchés
sont donc les métiers de la scène (écriture, jeu, mise en scène, dramaturgie, scénographie, nouveaux métiers de la
scène), la création, la critique, la communication et le journalisme, la gestion des institutions spectaculaires,
l'encadrement des festivals, le service de presse, l'enseignement et la recherche.
Conditions d'accès
Le master est accessible aux bacheliers de toutes les filières de la Faculté de Philosophie et Lettres, et aux porteurs
d'autres diplômes (sur dossier). Aménagements possibles de la durée du parcours en fonction des acquis antérieurs.
Un master européen
Le master européen conjoint en étude du spectacle vivant est un programme international organisé par un réseau
d'une dizaine d'universités, fort d'une expérience de concertation de plus de quinze ans, et qui offre au prorat des
bourses disponibles :
- un atelier international de création de deux semaines permettant aux étudiants de dix universités européennes de
confronter leurs conceptions et de mener des projets interculturels liés à l'événement spectaculaire
Page 46
- la possibilité de suivre, dans le cadre de ses études, 30 ECTS de cours au moins dans une ou deux des universités
du réseau (en France, Italie, Espagne, Grèce, Suède, Finlande, Allemagne ou au Danemark) et de se spécialiser
ainsi dans le domaine d'excellence proposé par le partenaire
Le séjour à l'étranger est pris en charge par l'Union européenne. A l'ULB, les autres cours du programme (60 ECTS et
le mémoire) sont ceux de la filière Spectacle vivant. Cette formation bénéficie de la collaboration de grands
professionnels de la scène dans le cadre d'invitations ponctuelles ou d'interventions régulières et est reconnue par les
dix universités partenaires du réseau. La sélection des candidats pour un séjour à l'étranger se fait sur présentation
d'un dossier (en fonction du nombre de bourses disponibles par université).
Renseignements
[email protected]
Tél.: 00 32 (0)2 650 39 43
http://philo-sessions.ulb.ac.be/spectacle-vivant.html
6.2. SCHOLARSHIPS
Application for Research Awards
March 30, 2007
Royal Holloway, University of London
We are currently offering three new awards of £5000 per annum for overseas students to pursue PhD studies in the
Department of Drama and Theatre. The Department, an acknowledged leader in teaching and research, has 18
academic staff with expertise covering all major areas in the discipline, and boasts a lively postgraduate community of
over 80 students from around the world. While the field of study is open, we particularly welcome applicants pursuing
research in following broad areas:
* New Theatre Histories
* Theatre in Communities
* Practice as Research
* Contemporary European Theatre
* Intercultural & Post-Colonial Performance
These studentships may be held concurrently with funding from external schemes where available. It is expected that
candidates will also apply for the U.K.-based Overseas Research Students Award Scheme (ORSAS) 2007.
The Department continues to offer the following awards for British and EU doctoral candidates undertaking research
projects in drama, theatre and performance studies:
2 College Research Fellowships (fees only)
1 Thomas Holloway Studentship (fees + £6,000 maintenance p.a.)
The application deadline for all awards, including ORSAS, is 30 March 2007.
Enquiries about awards, individual applications and supervision should be made to the Director of Graduate Studies,
Dr Gilli Bush-Bailey:
[email protected]
A brochure with detailed information about the Department of Drama and Theatre can be download from our website:
http://www.rhul.ac.uk/Drama/
Application forms for the PhD programme can be found at:
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http://www.rhul.ac.uk/registry/admissions/
See http://www.rhul.ac.uk/graduate-school/pages/funding.html#ORSAS for ORSAS applications (overseas applicants
only).
Bourse de recherche sur la photographie 2007-2008 (BNF en
partenariat avec Champagne Louis Roederer)
France - Paris
April 25, 2007
1. Photographier la scène et les spectacles
- Dans ce domaine, on peut sintéresser aux photographes spécialisés représentés dans les collections du
département des Arts du spectacle, comme Roger Pic (également à la bibliothèque-musée de lOpéra), Claude
Bricage, Fernand Michaud, George Henry, Daniel Cande, Michèle Laurent ; à la photographie de spectacle en agence
(Fonds Lipnitski, Bernand, Enguerand) ; aux revues spécialisées de théâtre entre 1880 et 1914 ; à la photographie de
scène : pose ou instantané ? ; à la photographie de tournage dans les fonds René Clair, Jean Grémillon ; aux
spectacles de rue restitués par la photographie ; aux applications de la photographie industrielle dans le fonds
Georges Clémançon.
Tél. : 01 53 79 37 31
[email protected]
2. Photographier la danse aux temps des avant-gardes
- Les mouvements davant-garde qui marquèrent la première moitié du XXe siècle touchèrent la danse comme la
photographie : Ballets russes et Ballets suédois à Paris, danse expressionniste en Allemagne apportèrent un
renouveau chorégraphique tandis que les photographes de lÉcole de Paris, ou les photographes futuristes en Italie,
révolutionnaient la photographie. Fondée sur lart du mouvement et de lexpression, la danse se plie avec difficulté à la
représentation plastique et photographique : Comment ne pas figer par la représentation un art dont lessence est le
mouvement ? Comment rendre justice, au-delà de la perfection technique gestuelle du danseur, à sa capacité
dexpression, à son charisme en scène ? Comment capter et traduire latmosphère dun spectacle en scène ? Ces défis
techniques et artistiques ne pouvaient manquer de susciter lintérêt des photographes davantgarde: aux prises avec
de nombreuses difficultés techniques inhérentes au matériel photographique et à léclairage des salles de spectacle,
leurs prédécesseurs avaient eu recours à la photographie posée, si proche du portrait en situation, si figée et donc si
peu satisfaisante
- Volumétrie : La Bibliothèque-musée de lOpéra conserve une collection importante de photographies de danse de la
première moitié du XXe siècle provenant principalement de lOpéra de Paris, des Ballets russes, des Ballets suédois
et des Archives internationales de la danse. Les tentatives de photographies de spectacle sur le vif à partir des
années vingt y sont très perceptibles et un grand nombre de photographes de danse y apparaissent. Certains
seulement sont recensés dans les dictionnaires de photographes. Lavant-garde de la photographie, enfin, y est très
présente, stimulée notamment par lexposition organisée par les Archives internationales de la danse en 1933 sur La
danse et le mouvement : Man Ray, Dora Marr, Arturo Bragaglia, Josef Sudek ont été invités à y présenter des uvres
aujourdhui dans les collections de la Bibliothèque-musée de lOpéra.
- Pistes de recherche : La recherche menée sur ce sujet permettrait de proposer une synthèse sur la photographie de
danse dans la première moitié du XXe siècle au moment où lun et lautre de ces deux arts connaissent de profondes
mutations. Elle prendrait appui sur les collections de la Bibliothèque-musée de lOpéra et pourrait accompagner le
travail effectué dans les cadre des projets « Ballets russes » et « Archives internationales de la danse » et dans la
Page 48
perspective des expositions La représentation de la danse (2008) et Les Ballets russes à lOpéra de Paris (2009).
3. Photographier les danses du monde
- Les collections de la Bibliothèque-musée de lOpéra portant sur lOpéra de Paris, le théâtre lyrique et le ballet
classique sont assez bien connues et identifiées par les chercheurs. En revanche, dautres parties du fonds sont
méconnues, notamment les collections touchant à lethnologie. Le présent projet de recherche porte sur le fonds de
photographies ethnologiques des Archives internationales de la danse conservé à la Bibliothèque-musée de lOpéra.
Fondées en 1931 par Rolf de Maré, lancien directeur de la fameuse et éphémère compagnie de danse les Ballets
Suédois (1920-1925), les Archives internationales de la danse (AID) se voulaient une sorte de centre culturel dédié à
la danse. Outre leur activité de musée, de bibliothèque, de producteur de spectacles et dexpositions, elles
organisèrent la collecte de photographies de danses nationales à travers le monde. Cette collection spécifique est
entrée en 1952 à la Bibliothèque-musée de lOpéra, avec la majorité des autres collections des Archives
internationales de la danse.
- Volumétrie : Le noyau de ce fonds est constitué par les photographies prises par Rolf de Maré, Claire Holt
(historienne de la danse dont les archives sont par ailleurs conservées à la Cornell University Library) et par Hans
Evert, au cours dune expédition en 1938 dans les « Indes néerlandaises », afin détudier la danse et le théâtre de
Java, Bali, Sumatra, Nias et des Célèbes. Les conclusions scientifiques de ce voyage ont été publiées par Claire Holt
dans Théâtre et danses aux Indes néerlandaises, Paris, Maisonneuve, 1939 (publications des Archives
Internationales de la Danse), mais les photographies sont restées largement inédites.
- Pistes de recherche : Lobjectif de ce projet serait détablir un inventaire sommaire de lensemble de ces
photographies ethnologiques provenant des Archives internationales de la danse. Létude de ces fonds, avec des
recherches complémentaires dans dautres collections publiques comparables, devrait déboucher sur une synthèse
sur la photographie à caractère ethnologique dans les années trente.
4. Opéra et ballet photographiés par Roger Pic
- Roger Pic (1920-2001) fut le photographe des opprimés, des marginaux, des parias mais aussi celui des
personnalités et du théâtre à partir de 1945. Il fut notamment le premier à faire du reportage sur scène et les très
nombreuses photographies signées de son nom conservées aujourdhui à la Bibliothèque-musée de lOpéra couvrent
150 spectacles de lOpéra, de lOpéra-Comique et du Théâtre des Nations entre 1959 et 1968.
- Volumétrie : Environ 40 000 photographies, dont une partie sous forme de négatifs.
- Pistes de recherche : Lensemble de ce fonds mérite dêtre documenté, inventorié précisément, en lien avec
lidentification et la chronologie des spectacles couverts par une personnalité à lil sensible. Les résultats de la
recherche permettraient de mettre en valeur un aspect important de la carrière du grand photographe : Roger Pic et
lOpéra.
Contact : Pierre Vidal, directeur de la Bibliothèque-musée de lOpéra.
Tél. : 01 53 79 37 41
[email protected]
http://www.bnf.fr
Page 49
Bourse de recherche sur lart dêtre et de paraître 2007-2008 (BNF en
partenariat avec l'Oréal)
France - Paris
April 25, 2007
1. Liconographie de la danseuse
- Liconographie de la danseuse dans les collections de la Bibliothèque-musée de lOpéra est présente sur de
nombreux supports : photographies, estampes, dessins, peintures, sculptures. Par ailleurs, à côté des danseuses
célèbres, comme la Pavlova par exemple, le matériel conservé permet aussi détudier lévolution du corps de ballet,
ses catégories (premier sujet, danseuse étoile,), etc. Une prochaine exposition explore parallèlement ce domaine :
liée à la représentation de la danse, elle mènera à une réflexion sur la signification d'une telle iconographie : documentaire, fournissant des indications précises sur le costume, la chorégraphie, la technique de la danse, sociale, en lien avec le statut de la femme, - artistique, révélant davantage les rêves et fantasmes de l'artiste ou du
spectateur...
- Pistes de recherche : La recherche menée sur liconographie de la danseuse à lOpéra permettra détablir un
inventaire iconographique complet. Celui-ci pourrait être valorisé par un ouvrage abondamment illustré lié à
lexposition sur la danse prévue pour la mi-2008.
2. Le fonds de bijoux de lOpéra de Paris
- La mémoire des spectacles de lOpéra national de Paris reste vivante par de nombreux documents darchives, des
maquettes de costumes et de décors, des photographies de scène mais également un prestigieux ensemble de
bijoux, à la fois somptueux et extravagants : coiffes, parures, colliers, ornements divers.
- Volumétrie : environ 3000 pièces, dont seulement quelques éléments ont été étudiés (200 pièces).
- Pistes de recherche : Établissement dun inventaire illustré de ce fonds. La recherche pourrait être axée soit sur la
description « technique » des pièces, soit porter davantage sur une réflexion sur leur conservation et leur
conditionnement, lidéal étant un projet conjuguant ces deux aspects.
Contact : Pierre Vidal, directeur de la bibliothèque-musée de lOpéra.
Tél. : 01 53 79 37 41
[email protected]
3. Lévolution du jeu théâtral
- Les collections du département des Arts du spectacle permettent détudier lévolution du jeu théâtral : gestes,
archétypes, postures, déclamation etc. à travers un matériel documentaire et une iconographie très riches et
diversifiées : relevés de mises en scène, conduites, manuscrits, maquettes, photographies, masques, estampes,
dessins, marionnettes, etc.
- Pistes de recherche : Létude peut être précisée par époque ou par type de spectacle, y compris les spectacles de
rues.
Tél. : 01 53 79 37 31
[email protected]
http://www.bnf.fr
Page 50
Call for applications: PHD-Programme in Performance and Media
Studies
Germany - Mainz
May 1, 2007
Johannes Gutenberg-Universität Mainz
Winter Semester 2007
The Johannes Gutenberg-University of Mainz and the German Academic Exchange Service (DAAD) are offering a 3year programme in Performance and Media Studies (Theatre, Film and Television) leading to a Dr.phil./PhD degree.
The programme offers potential doctoral candidates a unique combination of intensive individual supervision by the
local programme-faculty, an internationally oriented and interdisciplinary course-programme within a network of
fourteen international partner-institutions, and easy access to a wealth of theatre-, film-, and television-companies as
well as research-resources in the Rhein-Main area.
Qualifications:
Considered will be applicants with interdisciplinary dissertation-proposals in the fields of theatre, drama, performance,
film, television or the new media. The research should be hermeneutical in its orientation and focus on aspects of
intermediality and/or interculturality.
Applicants must provide official documentation that they qualify for academic work on the doctoral level in their
respective home-countries.
International students are advised to apply for a DAAD Fellowship in their country of citizenship.
Applications:
To apply send a cover-letter, curriculum vitae, certified copy of highest academic degree and/or official transcript,
proof of English language skills [TOEFL (minimum of 570 points paper-based or 230 points computer-based),
Cambridge Certificate (CAE or CPE), IELTS (scores of 6.5 or above), level C1 of Common Framework] two letters of
recommendation and a ten-page dissertation-proposal to:
IPP Performance and Media Studies
Institut für Theaterwissenschaft
Johannes Gutenberg-Universität
Jakob-Welder-Weg 18
55099 Mainz, Germany
To enter the programme in October 2007, applications should be sent no later than
1 May, 2007.
http://www.performedia.uni-mainz.de
[email protected]
Research Studentship 2007: European Theatre Research Network
(ETRN)
United Kingdom - Kent
June 30, 2007
University of Kent
Drama & Theatre Studies
Applications are open for a fully funded Research Studentship, beginning 2007/8. This is available for three years,
covering fees at the home level and a stipend amounting to the RCUK level of support (£ 12,600).
Applications are welcome across the remit of the School of Drama, Film & Visual Arts, but are especially keen to
receive proposals related to contemporary European theatre and performance, its dramaturgies, practices and
Page 51
analysis. This is in relation to several staff's interests and the new European Theatre Research Network (ETRN)
(subject to approval), a research centre which will be launched in June.
We are hoping especially to attract applications in areas of interest that might be supervised by Professor Patrice
Pavis with Dr Peter Boenisch.
For further information on the centre and research possibillities contact Paul Allain [email protected] or Peter Boenisch
on [email protected]
For other postgraduate opportunities at the School within Film contact
Peter Stanfield [email protected]
and for History & Philosophy of Art Jonathan Friday [email protected]
Deadline for receipt of applications is 1st June 2007.
Contact:
Dr Peter M Boenisch
Director of Graduate Studies in Drama & Theatre
School of Drama, Film & Visual Arts
University of Kent at Canterbury
Eliot College
Canterbury, Kent CT2 7NS
http://www.kent.ac.uk/sdfva/
http://www.theaterforschung.de/date.php4?ID=1473
Copyright by <http://www.theaterforschung.de>http://www.theaterforschung.de</a>
6.3. RESEARCH TOOLS
A General Glossary to Shakespeare's Works - Perseus Digital
Library
http://www.perseus.tufts.edu/
http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus:text:1999.03.0067
Alexander Dyce, an important Nineteenth Century scholar, collector, bibliophile, and editor of classical and
Renaissance literature, compiled this comprehensive dictionary of words used in Shakespeare's drama and poetry.
Entries include definitions of words, as well as examples of usage from Shakespeare and other Renaissance writers.
A General Glossary to Shakespeare's Works. Alexander Dyce. Boston. Dana Estes and Company. First published in
1904
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http://www.theaterforschung.de/resource.php4?ID=335
Guide to Internet Resources in Theatre and Performance Studies
http://www.stetson.edu/departments/csata/thr_guid.html
By Ken McCoy, Associate Professor und Chair für Communication Studies and Theatre Arts, Stetson University
(Florida).
Resarch focusses on information from angloamerican countries. The published resources display a link including a
short commentary to the following subjects:
- Actors and Acting
- Stagecraft and Technical Theatre
- Plays and Playwrights
- Shakespeare
- Arts Management and Non-Profit Arts Organizations
- Of Regional Interest
- Others: The Best of the Rest
- general catalogues for Online Indexes and Databases, Electronic Texts, Electronic Journals and Magazines
- Other guides
Max Reinhardt Archives and Library
United States - Binghampton
http://library.lib.binghamton.edu/special/reinhardtintro.html
The Reinhardt archives and the connected library are part of the Bartle Library related to the Binghamton Libraries of
the State University of New York at Binghamton. The 150 manuscripts on different productions, annotated by
Reinhardt, build the core of the collection, together with the 17.000 volumes of Reinhardt's private library, completed
by correspondence, stage models, costumes, drawings, stage photographs, theatre reviews etc.
Binghamton University Libraries
P.O. Box 6012
Binghamton
New York 13902-6012
Met Archives: The Metropolitan Opera
http://www.metoperafamily.org/metopera/history/
It is regrettably decades too late to hear Ezio Pinza sing Deh, vieni alla finestra live from the Metropolitan Opera or
Caruso offer his splendid version of Questa o quello from Verdis Rigoletto, but these lovely recordings are alive again
on the Mets very enchanting Met Archives website.
Page 53
First-time visitors may wish to read over the introductory essay on the history of the Met, and then proceed to the
interactive timeline, Sights & Sounds of Met History. As mentioned, there are many wonderful audio excerpts available
within the Sounds of the Met section, and the Met Opera Database allows visitors to search for information on various
productions throughout the Mets past. Here you can learn a great deal, including that La Boheme has been performed
a total of 1178 times at the Met, while Die Lustigen Weiber Von Windsor by Nicolai-Mosenthal has been performed
only once there.
Additionally, users can peruse the Stories of the Operas area to read brief summaries of such works as Cosi fan tutte,
Lulu, and Gotterdammerung.
Stagework - Making of Theatre Performances at the National Theatre
http://www.stagework.org
The National Theatre has a rather stellar pedigree, especially when one considers that its first production featured
Peter OToole as Hamlet, who was under the direction of Sir Laurence Olivier. Distinguished for their commitment to
crafting new and innovative productions of various plays, they have recently created the Stagework website, which
works to unpack the complex process of making theatre performances.
It does this admirably, and visitors will enjoy looking through the interactive features on the site. In the Productions
area, users can learn about the process and steps that went into creating recent stagings of Henry V, The Crucible,
and UN Inspector. The People section really gets down to the nitty-gritty of the theater world, as visitors can read
detailed descriptions of positions including artistic director, composer, and production manager. Visitors to this section
will also find an interactive model of the National Theatre.
The site is rounded out by the very nice Issues section which includes interviews and discussions with the individuals
involved in making these productions come alive, including various directors, playwrights, and novelists.
Televised Opera and Musical Comedy Database
http://webapp1.dlib.indiana.edu/operatv/index.html
Database created by the Indiana University Digital Library Program focussing on "opera, operetta, and musical
comedy telecasts produced in the United States", based on the database "Opera on Screen" of the International
Music and Media Center (Vienna).
Currently the database contains about 1.000 US broadcasts of operas, operettas, musicals and musical films from
including video and DVD publications.
* : Modified only
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7. MISCELLANEOUS ITEMS
Festival Nová drama / New Drama - Festival of Contemporary Slovak
and World Drama
Slovakia - Bratislava
May 9, 2007 - May 15, 2007
Festival was established in 2005. It is the only festival of its kind in Slovakia focusing on productions of contemporary
Slovak and world drama in Slovak theatres.
In 2000 the Theatre Institute Bratislava launched the competition for playwrights in Slovakia called Drama. In 2002 the
New Drama project followed as a presentation and continual supporting of the contemporary drama, writing and
playwrights. The project already hosted international guests, who presented contemporary playwriting from Hungary,
Spain, Poland, Serbia, Montenegro, United States, Scotland and Great Britain, Czech Republic, Argentina, Brasilia
and Mexiko. The home stage of the project Theatre STUDIO 12 offered space for production of contemporary texts
introducing plays of authors such as Peter Pavlac, Sarah Kane, Olya Mukhina or Ivan Vyrypayev in Slovak,
sometimes even world premieres.
While realizing both projects we were very much aware of the absence and need for a festival of original Slovak and
contemporary world plays on our stages. As it turned out, the number of plays was not small at all and the new texts
were becoming a timely part of many repertoires. Almost all of Bratislava theatres enable the intense festival week by
adjusting their repertoire to the New Drama festival. We also manage to invite number of different types of stages from
entire Slovakia.
The festival of contemporary Slovak and world drama New Drama is organized by the Theatre Institute in cooperation
with the Slovak National Theatre, the Astorka KorzoŽ90 Theatre and the Contemporary Theatre Association.
This year festival will also host the meeting of theatre institutes and theatre museums, workshop on Post-dramatic
theatre led by Prof. Lehmann, presentation of contemporary Romanian playwright Gianina Carbonariu and publication
of Slovak translation of her new play, stage readings of finalist authors of the playwriting competition Drama 2006
calledTheatre Triathlon.
More information about festival at http://www.theatre.sk
Contact person: Romana Maliti [email protected]
* : Modified only
Page 55
2007 Volume 2
FIRT/IFTR:
SIBMAS:
Cordula Treml,
51st Annual Meeting of the American Society for Theatre Research
United States - Phoenix
November 15, 2007 - November 18, 2007
The 51st Annual Meeting of the American Society for Theatre Research will take place in Phoenix, Arizona, at the
Hyatt Regency Hotel.
The theme of the conference is "Intervening 'America.'" Programming includes plenary sessions, seminars, and
research groups. For more information, visit the ASTR Web site at http://www.astr.org
APGRD Conference: Theorising Performance Reception
September 14, 2007 - September 15, 2007
Archive of Performances of Greek and Roman Drama
Issues that the conference will address include theories of authenticity, the body, semiotics, Shakespearean
reception, post-structuralism, anthropology of performance, phenomenology of theatre, and the relationship between
theory and practice. Speakers will include:
Dr Felix Budelmann (Open University)
Professor Freddy Decreus (University of Ghent, Belgium)
Professor Erika Fischer-Lichte (Freie Universität, Berlin) Keynote Speaker
Professor Helene Foley (BarnardCollege, ColumbiaUniversity)
Professor Mary-Kay Gamel (University of California, Santa Cruz)
Professor Simon Goldhill (University of Cambridge)
Professor Lorna Hardwick (Open University)
Professor Charles Martindale (University of Bristol)
Professor David Wiles (Royal Holloway, University of London)
Registration
The £25 registration fee includes lunch on Friday 14 September, and all refreshments during the conference. To
register, please follow the link to the electronic booking facility for registration and payment online at
http://www.apgrd.ox.ac.uk/events/conftheory.htm Alternatively, you can request a registration form using the contact
details below.
Student Bursaries
Owing to the generosity of the Classical Association and the Society for the Promotion of Hellenic Studies up to 16
bursaries of at least £70 are available to students working at any University except Oxford. Although four bursaries
(from the SHPS) are earmarked for postgraduate students whose work falls under the area of Hellenic Studies,
students from other departments whose work would benefit from attendance at the conference are encouraged to
apply. Deadline: Friday 13 July 2007. Details: http://www.apgrd.ox.ac.uk/events/conftheory.htm
Call for Papers:
International Conference: "Performative Dramaturgy Theory and
Practice: Text/Context/Text"
Page 2
Israel - Tel Aviv
September 30, 2007
Department of Theatre Studies
Tel Aviv University
May 27-30, 2008
The conference will be dedicated to the exploration of the various concepts, functions and boundaries of dramaturgy
in performative practice and academic education in different aesthetic, social, cultural and intercultural contexts. The
discussions will be divided into five major categories:
1.Dramaturgy, Society, Culture and Interculturalism
2.The Dramaturg and the Performative Context
3.Dramaturgy, Text and Production
4.Dramaturgy and Audience
5.Teaching Dramaturgy / Dramaturgy in Education
The language of the conference is English. Proceedings will be conducted in several patterns: 1. Invited keynote
lectures; 2. Sessions of up to 30 minutes long lectures;
3. Seminar-like workshops dedicated to specific issues such as: different dramaturgical approaches to a major
classical text; analyzing and developing a new play; repertory structuring; devising pedagogical projects; strategies of
teaching dramaturgy (preferably in the form of "model classes"), etc.; 4. A mixed panel of dramaturgy scholars,
practicing dramaturgs and directors, beginning with up to 10 minutes long presentations.
We welcome suggestions of potential workshop organizers. Suggestions of this kind (including the title of the
workshop and a layout of its aims and structure), as well as maximum 250 words long abstracts of proposed lectures
and presentations, are advised to address one of the following themes (organized according o the above categories):
1. Dramaturgy, Society, Culture and Interculturalism
·Current socio-cultural and aesthetic definitions of theatre dramaturgy
·The boundaries of dramaturgy
·The dramaturg as cultural policy maker
·Dramaturgy and cultural identity
·The dramaturg as ideological and political agent
·National dramaturgies
·Dramaturgy, globalization and glocalization
2. The Dramaturg and the Performative Context
·Institutional status, functions and images of the dramaturg
·The dramaturg artist, artisan or disengaged intellectual?
·Principles of repertoire construction
·The dramaturg as internal ombudsman
·Dramaturgy of festivals, performative events and art foundations
·Historiography of dramaturgy
3. Dramaturgy, Text and Production
·Mise en scène and mise en text the director and the dramaturg
·Reading and assessing a new play
·Methods, models and paradigms of new play development
·Dramaturgy and development of theatrical and peformative language
·The ethics of the dramaturg's work with the dramatist, the director, the actors and
·The dramaturg and the classics
·Dramaturgy of dramatic and performative genres
·Hybridity, adaptations and transpositions
·Dramaturgy of non-dramatic texts
·Dramaturgy of Communal Theatre
·Translation as dramaturgy
·Intercultural dramaturgy
·Dramaturgy and post-dramaturgy
·Inter-medial dramaturgy
·Theatre and new media dramaturgy
Page 3
the designers
·The dramaturg as casting manager
4. Dramaturgy and Audience
·Reception cybernetics
·Dramaturgy of the theatre program
·Dramaturgy and audience education
·Devising a pedagogical project in the theatre
·Public relations and dramaturgy
·
The dramaturg as theatre critic
5. Teaching Dramaturgy / Dramaturgy in Education
·Theoretical and practical dramaturgy interrelations of dramaturgy in theatre, performance and academy
·Modules of dramaturgy teaching
·The role of contextual dramaturgical considerations in interpretive play analysis
The proposals should be sent by e-mail to the convener and chairman of the organizing committee, Prof. Gad Kaynar,
at: [email protected]
The deadline for sending proposals is 30.9.2007.
Call for Papers: 43th International Medieval Congress - Medieval
Theories of Theatre
United States - Michigan
September 5, 2007
Kalamazoo
May 8-11, 2008 at Western Michigan University
Theatrical theory from the Middle Ages is often defined and anthologized as clerical texts that reflect anti-theatrical
prejudices. In reality, texts from the medieval period articulate a broad range of opinions about theatre's role in
society. In addition, we can also identify theatrical theory in medieval performance practices. Staging choices,
dramatic imagery, character interactions, performance conditions, actor/audience relationships, and records of
reception and regulation all provide us with further evidence of the ways in which medieval communities and
individuals conceptualized theatre. These practices reveal the same attention to issues of genre, function, intention,
value, and decorum commonly associated with pre- and post-medieval
theatrical theory. This panel seeks papers that employ a flexible definition of 'theatrical theory' in order to demonstrate
the variety of ways in which theatre and performance were theorized during the Middle Ages. Work from all medieval
periods and geographies are welcome.
Pleae send one-page abstract with contact information to Jill Stevenson at
[email protected] by September 5, 2007
Further information at the congress website:
http://www.wmich.edu/medieval/congress/index.html
Call for Papers: 60th Anniversary International Conference - The
Georgian Playhouse and its Continental Counterparts 1750-1850
United Kingdom - Richmond
October 31, 2007
12-15 September 2008
At the Georgian Theatre Royal
Richmond, Yorkshire
Conference Convenors: Iain Mackintosh, Professor David Mayer, Dr David Wilmore
Page 4
2008 is the 60th anniversary of the founding of The Society for Theatre Research of which one of the prime movers
was Dr. Richard Southern. The connection between the Society and the Georgian Theatre Royal, Richmond, began
with Dr. Southerns initial research and investigations in 1939 which continued until the first restoration was completed
in 1963. 2008 is also the 220th anniversary of the opening of The Georgian Theatre Royal on Tuesday 2nd
September 1788.
In commemoration of these important dates The Society for Theatre Research will host an International Conference,
The Georgian Playhouse 1750-1850 and its Continental Counterparts, between Friday 12th September and Monday
15th September 2008. The conference will convene on the Friday evening. There will be five sessions: a.m. and p.m.
on Saturday and Sunday and a.m. on Monday. There will also be three gala performances at the theatre and
commemorative publications to celebrate the occasion. Further details of the celebrations can be found in the
accompanying information.
This Call for Papers encourages theatre historians, academics and practitioners to submit proposals for papers to be
given at the conference. Topics on many different aspects of Georgian Theatrical life and practice are most welcome
and may include such topics as:
Performance style, theatre architecture, provincial circuits, metropolitan playhouses, colonial theatre, the work of
James Winston, continental counterparts, scenography and stage technology, musical theatre and the Georgian
repertoire.
Selected papers will be published after the conference in a commemorative volume which will also present current
research on James Winston and The Theatric Tourist.
In order to submit a paper for consideration prospective participants should e-mail their abstract of no more than 250
words for consideration to e-mail address: [email protected] no later than 31st October 2007.
Call for Papers: Performance and Asylum: Ethics, Embodiment,
Community
July 31, 2007
An International Conference supported by the Arts and Humanities Research Council of Britain, Diaspora and
Migration Programme
3-5 November 2007
First Call for Papers
Within the current context of globalisation and its attendant anxieties about immigration and national security,
performance by and about refugees and asylum seekers presents an exemplary medium through which to explore
questions of identity, belonging, refuge, corporeality, surveillance and ethics. This international conference will
examine the ways in which performance projects in various parts of the world engage with refugee communities and,
more broadly, the complex and multifaceted topic of asylum.
Specifically, papers are invited that engage with the following issues:
1) Asylum and Human Rights: How do performance practices and perspectives engage with human rights issues in
asylum contexts? Can performance help to address effects of human rights abuses? How do human rights articulate
with arts praxis?
2) Asylum and the Ethics of Representation: What ethical issues arise in/through work with and about refugees and
asylum seekers? How can researchers/practitioners work sensitively to explore dialogic performance practices? What
are the responsibilities of researchers and practitioners working in such contexts?
3) Refugees and Embodiment: How do refugees and asylum seekers use embodied performance to fashion diasporic
Page 5
selves and negotiate cultural identities? How are bodies inscribed corporeally in performances by and about asylum
seekers and refugees? How do audiences respond in affective and interactive terms when witnessing narratives of
bodily trauma?
4) The Spatialities of Asylum Management: How do performance practices and perspectives intervene in the spatial
logics of enforced movement and detainment? In what ways do site-specific projects shape representations of asylum
and of particular environments? How do border protection policies restrict international exchange in the performing
arts?
Deadline for abstracts of no more than 250 words: 31 July 2007
Convenor: Professor Helen Gilbert
Email: [email protected]
Phone +44 (0)1784 443931
Conference: At the Sharp End
United Kingdom - Portsmouth
September 15, 2007
A one-day symposium considering critical issues facing contemporary British theatre and playwriting
School of Creative Arts, Film and Media, University of Portsmouth
Saturday 15th September 2007
Edward Bond
David Edgar
Mark Ravenhill
Professor John Bull (University of Reading)
Cost (including VAT & lunch): £85: full price
£70: full time students
Price includes attendance at The Big Brum production of The Tune (Edward Bond)
For more information or to book a place please e-mail [email protected] or
telephone 023 9284 5138
Containment and Subversion: The Work and Person of Heinrich von
Kleist
October 4, 2007 - October 5, 2007
Institut of Germanic and Romance Studies (IGRS)
Stewart House/Senate House
Malet Street
London WC1E 7HU
Co-Ordinators: Matthew Bell and Martin Swales (London)
Organised by the English Goethe Society in conjunction with the IGRS
We are now some two hundred years away from Heinrich von Kleists major works. Yet the passing of time has not
had a mellowing effect. What he wrote has, it seems to us, lost none of its ability to engage, to shock and trouble us.
In thematic and stylistic terms Kleist takes risks. Generically he challenges us at every turn: he writes ferocious
tragedies and conciliatory tragedies, he writes both robustly good-humoured and anguished comedies, he writes
bureaucratic, brutal, and philosophical prose.
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The purpose of the conference is to take another look at this profoundly scandalous and scandalously profound
oeuvre. Contributions, both laudatory and sceptical, are invited on any aspect of Kleists work.
Dr Matthew Bell and
Professor Martin Swales
c/o Jane Lewin
[email protected]
Phone: 00 44 20 7862 8966
http://igrs.sas.ac.uk/events/conf_KleistCFP.htm
FIRT Annual Conference: Theatre in Africa Africa in the Theatre
South Africa - Stellenbosch
July 10, 2007 - July 14, 2007
The Topic:
The main focus of the 2007 IFTR/FIRT conference is the relationship of Africa to the rest of the world and the way this
is driven by and reflected in theatre and performance across the globe.
The vast continent of Africa has always excited strong and widely contradictory responses in the rest of the world.
Often referred to as the cradle of mankind, it has long been regarded as one of the oldest and most mysterious
regions of the world, the seat of mystery, romance, danger and adventure, the source material for artists and writers.
At the same time there is a strong sense that the intellectual and cultural potential of the people of Africa is virtually
untapped, its true history long ignored or only seen from the colonialist perspective, its countries and peoples ravaged
by natural disasters, violent political struggles, witchcraft, illiteracy, intolerance, poverty, illness and war with the
colonial experience being a decisive factor over the years.
Against this background it is suggested that the conference consider the many ways in which, over the centuries, the
idea of Africa has pervaded and influenced the art, literature and performing arts of the Africa itself, as well as the
artistic output of artists, writers and performers in the non-African world. Conversely it also refers to the way in which
ideas from other continents and cultures have become an integral part of the arts, belief structures, history and writing
of much of the continent a presence felt in everything from artistic themes to forms, processes and evaluative
systems.
It is this symbiotic relationship between the African continent and the rest of the world that is the broad theme to be
addressed, a theme which offers a number of very intriguing points for debate.
Among the key issues are:
1. The notions "Africa" and "African theatre and performance": This is in fact highly contestable, particularly in the light
of the fact that Africa is not a country but a continent, made up of thousands of linguistic, ethnic, religious, political and
other entities over millennia each with its own cultural uses. And how do we look at imported "European" or "colonial"
forms and uses?
2. Dance and performance: A core aspect of African performance is dance, and the integration of dance into society,
ritual and theatre. Dance theory and practice is thus a vital part of this exploration.
3. Orality, narrative and performance: A vast part of Africa has been an oral society in which the spoken word has
been the key component till very recently. The narrative traditions of the continent are thus closely allied to the rest of
the performing arts and the construction of social and national identities, for example.
4. Masks and performance: The mask and the role of masking and the masquerade is one of the exciting areas of
exploration that has fascinated theatre scholars for centuries, and the vast array of examples available in Africa offers
enormous possibilities for continuing this debate.
5. Ritual and theatre: The ongoing debate about the link between ritual, performance and the origins of theatre are a
rich field of study in the practice of theatre, a cross-disciplinary field of exploration shared by theologians, ethnologists,
Page 7
and theatre theorists and practitioners.
6. Venues: The influence of performance spaces on the nature, form and meaning of performance.
7. The ephemerality of live performance: The unique theoretical and methodological problems offered by the basic
ephemerality of performance, especially in oral and kinetic societies such as Africa. Challenges include the
documentation, discussion and evaluation of performance, the nature of the theatrical event, alternative narrative
techniques, performance spaces and aesthetic principles, the role of audiences and audience responses, etc.
8. Uncovering and recovering a forgotten past: The principles and procedures of theatre anthropology, archaeology
and historiography. The processes of uncovering and recovering a past which has been largely ignored for centuries
and even lost in some cases.
9. Applied Theatre and the impact of theatre: The practical impact of theatre and theatrical techniques on society, and
the principles and techniques of applied practices such as Sociodrama, Theatre for Development, Theatre in
Education, Community theatre and the like are of the utmost importance today. They are absolutely fundamental to
theatrical practice and research Africa as well as in other developing countries across the globe.
10. The artists, practitioners and practices of Africa: Many African artists, forms and performances are internationally
renowned (e.g. Wole Soyinka, Athol Fugard, J.P. Clarke, Ama Ata Aidoo, Ngugi wa Thiongo, the Nigerian Traveling
Theatres, the puppeteers of Mali, The Market Theatre, the Handspring Puppet Company), there are also numerous
local writers, performers, directors, dancers and singers, working in vastly interesting regional theatrical systems
across the vast continent. Only a small part of this rich tapestry has truly been described and documented to date.
Many challenges therefore exist there for the researcher and historian.
11. The African Diaspora: Over the centuries there has been a constant flow of expatriate writers, performers and
performance companies doing "African performance" or performances influenced by an African heritage across the
globe. For example the impact of Caribbean and African American theatre on international theatre has been
enormous. Even beyond their "African" contribution, the influence of individual artists from the African Diaspora has
been significant in extending the range of international theatre some of them, like Shakespearean actor Ira Aldridge
on occasion even returning to his "roots". Their story too needs to be told.
12. The influence of African forms and themes: Since the dawn of time the exotic cultural artifacts and forms of Africa
has been exported, reinterpreted and appropriated in countries spread across the world, as have the people
themselves, notably by colonial explorers, humanitarians, slave traffickers, exploiters and administrators. Tracing the
impact of such exportation and exploitation in the key works of world theatre can be fascinating, as many researchers
have shown. One may, in this respect, consider an enormous range of work, including works by Shakespeare
(Othello, Anthony and Cleopatra), Shaw (Caesar and Cleopatra, The Black Girl in Search of God), O'Neill (The
Emperor Jones), Genet (The Blacks), Wole Soyinka (Death and the Kings Horseman), Stoppard (Night and Day),
August Wilson (Joe Turners Come and Gone), Athol Fugard (Boesman and Lena, Sizwe Bansi is Dead). Also the
world of opera, melodrama and musicals offer rich treasures (Aïda, Uncle Toms Cabin, Joseph and his Amazing
Technicolor Dreamcoat, The Lion King, Tarzan).
13. Contemporary theories of theatre and performance: There are many ways in which contemporary ideas and
theories of theatre, literature and the fine arts may also be discussed, tested and (where appropriate) applied to the
African canon or in comparative studies looking at parallel discourses. For example post modernist theory,
contemporary gender theory, performance theory and the postcolonial theory are all relevant to the work produced
over the past few decades. The postcolonial idea of "writing back" for instance offers interesting perspectives on
works such as Wole Soyinkas The Bacchae, Athol Fugard's The Island and William Kentridge and the Handspring
Puppet Companys Woyzeck in the Highveld, Faustus in Africa and Ubu and the Truth Commission.
14. The image (or idea) of Africa: Africa, as a geopolitical place, a demographic entity, a mental construct, a spiritual
concept, and so on, and the very notion of "African" theatre and performance, have had many manifestations in the
theatre of the world, depending on the time, place and origin of the particular work. How it has been seen, is seen,
and could be seen could thus be a matter of great interest, as would be the effect of such perceptions on the
processes and products of theatre-making.
Hosted by:
The Centre for Theatre and Performance Studies at the University of Stellenbosch in association with the US
Page 8
Department of Drama, the South African Theatre Journal and Consultus.
Conference Organiser:
Prof. Temple Hauptfleisch ([email protected])
http://www.iftr2007.co.za/
IPP Performance and Media Studies: Sommer School - Traditions of
Modernity
Germany - Mainz
July 20, 2007 - July 27, 2007
Johannes Gutenberg-Universität Mainz
This years Summer School examines modernitys ambivalent tension between tradition and innovation as presumably
prevalent discourse in theatre, art- and media discourse of the 20th century. Starting from a retrospective gaze at the
early Avantgardes seminal paradigm-shifts, seminars and lectures will critically interrogate the stabilizing notion and
significance of continuity and change as analytic paradigms to address the flux and evolution of cultural processes.
May we still regard tradition and modernity as relevant to contemporary discussions of inter/cultural theatre as well as
media discourse? To what extent have invented traditions (Eric Hobsbawm) been strategically manipulated in the
arts, theatre and media as to fit modern capitalist challenges of societal change? Multiple paradigm-shifts have thus
been attested to the 20th century in terms of its political orientation as well as its cultural aesthetics, yet are these still
considerably comprehensive? While academic discourse tends to focus on modernitys radical ruptures, the summer
school sets out to question whether these should not be contested in terms of a rather more complex interdependency
of tradition and innovation as modernity proceeds towards globalization in the new millennium.
In seminars, workshops and evening lectures, developments in cultural history and the history of ideas will be
analysed together with the pervasive shifts in media, to open up new perspectives on the development of the arts
(literature, theatre, graphic arts, film,and new media) from the Avantgarde to today.
For further informations and registration:
a href=http://www.performedia.uni-mainz.de/174_ENG_HTML.php
Second Call for Papers: Performance and Asylum: Ethics,
Embodiment, Community
July 31, 2007
An International Conference supported by the Arts and Humanities Research Council of Britain, Diaspora and
Migration Programme
35 November 2007
Keynote Speakers
Julie Salverson (Queens University Canada
Suvendrini Perera (Curtin University, Australia)
Sophie Nield (Central School of Speech and Drama, UK)
Within the current context of globalisation and its attendant anxieties about immigration and national security,
performance by and about refugees and asylum seekers presents an exemplary medium through which to explore
questions of identity, belonging, refuge, corporeality, surveillance and ethics. This international conference will
examine the ways in which performance projects in various parts of the world engage with refugee communities and,
more broadly, the complex and multifaceted topic of asylum.
Page 9
Specifically, papers are invited that engage with the following issues:
1) Asylum and Human Rights: How do performance practices and perspectives engage with human rights issues in
asylum contexts? Can performance help to address effects of human rights abuses? How do human rights articulate
with arts praxis?
2) Asylum and the Ethics of Representation: What ethical issues arise in/through work with and about refugees and
asylum seekers? How can researchers/practitioners work sensitively to explore dialogic performance practices? What
are the responsibilities of researchers and practitioners working in such contexts?
3) Refugees and Embodiment: How do refugees and asylum seekers use embodied performance to fashion diasporic
selves and negotiate cultural identities? How are bodies inscribed corporeally in performances by and about asylum
seekers and refugees? How do audiences respond in affective and interactive terms when witnessing narratives of
bodily trauma?
4) The Spatialities of Asylum Management: How do performance practices and perspectives intervene in the spatial
logics of enforced movement and detainment? In what ways do site-specific projects shape representations of asylum
and of particular environments? How do border protection policies restrict international exchange in the performing
arts?
Deadline for abstracts of no more than 250 words: 31 July 2007
Convenor: Professor Helen Gilbert
Phone +44 (0)1784 443931
Theatre Methods 2007 - Between Tradition and Contemporaneity
Slovenia - Bovec
July 30, 2007 - August 2, 2007
International Conference-Festival
Programme: workshop demonstrations, master classes, works in progress, readings and lectures.
Participants: actors, directors, dancers, choreographers, teachers, playwrights, stage designers, script writers, theatre
critics, journalists, cultural managers.
To register, please send your detailed CV and a brief letter of motivation to [email protected] or [email protected]
Places are limited. The registration will be closed once the group is full.
Registration Fee:
580 EUR by payment before June 1st, 2007.
730 EUR by payment before July 1st, 2007.
For IUGTE Members - 20% discount.
The registration fee covers:
- attendance of all events of the programme
- hotel accommodation
- meals
- free access to swimming pool and fitness club.
"Theatre Methods 07" will take place in the mountain resort and the small ancient alpine town which is over 800 years
old. Bovec is located in northwestern Slovenia in the Trenta valley of the Julian Alps within the Triglav National Park.
Places are limited.
Page 10
http://www.iugte.com/projects/accommodation.php
http://www.iugte.com/projects/TheatreMethods07.php
* : Modified only
Page 11
2. EXHIBITIONS
Invention: Merce Cunningham & Collaborators
June 19, 2007 - October 13, 2007
New York Public Library
Donald and Mary Oenslager Gallery
A collaborative project of The New York Public Library for the Performing Arts, the Cunningham Dance Foundation,
and the John Cage Trust.
The New York Public Library for the Performing Arts is the repository of the John Cage Music Manuscript Collection
and the Merce Cunningham Dance Foundation Collection. Additional artifacts will be pulled from the Merce
Cunningham Archives, the John Cage Trust, and the Librarys Jerome Robbins Dance Division, Music Division, and
Rodgers & Hammerstein Archives of Recorded Sound.
The exhibit will illustrate the four key discoveries that Cunningham pursued through decades of creativity, often in
collaboration with John Cage: the separation of music and dance; the use of chance operations and indeterminacy in
composition and choreography; the possibilities of film and video; and experimentation with computer technology.
Visitors can re-trace the artists investigations through such primary sources as Cages manuscript scores, and more
unusual equipment, such as charts, instructions, and tools of chance operations. Cunninghams choreographic
documents range from drawings, charts, and diverse materials generated by the computer software DanceForms®.
Cunningham's collaborative efforts for the stage feature sets, costumes, media, sound scores, and other elements by
many of the most innovative artists of his time. Invention: Cunningham & Collaborators features photographs, multimedia materials, and interactives that document performances from the 1940s to the present.
The New York Public Library for the Performing Arts
40 Lincoln Center Plaza
New York
NY 10023-7498
Exhibition Hours:
Tues, Wed, Fri & Sat: 12 to 6
Thurs: 12 to 8
http://www.nypl.org/research/calendar/exhib/lpa/lpaexhibdesc.cfm?id=439
Molly Picon: Yiddish Star, American Star
June 26, 2007 - September 22, 2007
New York Public Library
Vincent Astor Gallery
For years she was the "sweetheart" of New Yorks Lower East Side Yiddish-speaking community. Her shows, her
sheet music, her records, her films, her radio programs, won her a special place in their hearts. Then, as she
increasingly began appearing in more English language shows, television programs, and films, an even larger
audience fell in love with her: the American public. Picon's changing career reflects the contributions immigrant
cultures have made to our entertainment industry, our city, and our nation.
This exhibition, in cooperation with the Museum of the City of New York, includes more than two hundred photos,
programs, posters, sheet music, records, radio scripts, set renderings, costumes and more. Just a sampling of some
of the items on view: photos from Molly Picons 1923 New York Yiddish Theatre debut in the Jacob Kalich/Joseph
Rumshinsky production Yankele; Picons costume from Yankele; photos and selected sheet music by Abraham
Page 12
Ellstein for the Joseph Green 1936 Yiddish film Yidl mitn fidl (Yidl with a Fiddle)and the 1938 Yiddish film Mamele;
radio scripts from her 1941 series Nancy from Delancey; memorabilia from the Jerry Herman/Don Appell 1961
production of Milk and Honey, her 1960s appearances on the television show Car 54, Where are You? and the
Norman Jewison film Fiddler on the Roof.
The exhibition is curated by Dr. Diane Cypkin, Professor of Media and Communication Arts at Pace University and
herself a performer who has appeared in many Yiddish and English language productions. The institutions' look at
Yiddish culture in New York continues at the Museum of the City of New York with The Jewish Daily Forward:
Embracing an Immigrant Community, April 22, 2007 - September 17, 2007
New York
NY 10023-7498
Exhibition Hours:
Tues, Wed, Fri & Sat: 12 to 6
Thurs: 12 to 8
Rehearsing the American Dream: Arthur Miller's Theater
United States - Texas
September 4, 2007 - January 1, 2008
HarryRansomCenter
The University of Texas at Austin
Image used in promotional materials for Death of a Salesman. Arthur Miller collection, Harry Ransom Center.
The American playwright Arthur Miller (1915-2005) articulated an unparalleled engagement with his historical moment
through such plays as Death of a Salesman and The Crucible. He remained committed throughout his life to a politics
of freedom. This engagement was never simplistic or topical, one of the reasons that his work has remained such a
significant part of the staged canon. He compellingly married the emotional and psychological elements of character
with concerns about public and political responsibility. The idea of theater providing the conscience for a nationMiller's
intellect and artistry were forged by his US citizenshippulls his disparate works together into a whole. The exhibition
uses Miller's plays to explore conscience in its theatrical expression: as an intertwined and interdependent political
and emotional life.
http://www.hrc.utexas.edu
Vogue en beauté, 1920-2007
France - Paris
June 12, 2007 - September 2, 2007
Allée Julien Cain
En feuilletant cent ans du magazine Vogue, Georges Vigarello - spécialiste de l'histoire du corps - a mis en relief les
multiples manières de voir et de montrer les femmes. En une centaine de clichés, sélectionnés parmi les quelque
mille deux cents numéros du magazine, défile tout le film de l'évolution des "canons", d'une époque à l'autre : de la
"garçonne" des années vingt - date origine de la publication en France - jusqu'au porno chic de l'aube du XXIe
siècle... Cette mise en scène de la beauté des femmes souvent assurée par les plus grands photographes mondiaux comme Helmut Newton, Hans Feurer, Guy Bourdin ou encore Daniel Jouanneau - constitue l'archive spectaculaire
d'une histoire de la beauté selon un magazine qui s'en est fait le héraut.
Page 13
Horaires:
Mardi-Samedi 10h-20h
Dimanche 13h-19h
Fermé lundi et jours fériés
Entrée libre
* : Modified only
Page 14
3. PUBLICATIONS
3.1. GENERAL
26th SIBMAS Congress publication: Performing Arts Collections on
the Offensive / Les collections darts du spectacle passent à
loffensive
Austria - Vienna
Editors
Ulrike Dembski, Christiane Mühlegger-Henhapel
Autumn 2007
The 26th SIBMAS Congress was held in Vienna from August 28 to September 1, 2006. It was hosted and organized
by the Austrian Theatre Museum. The theme of the congress was Performing Arts Collections on the Offensive and
focused on the need for institutions with theatre collections to engage actively with their audiences and to promote
their activities in order to make their collections more accessible to the public.
The lectures and reports were dealing with the following topics:
·Interactive communication forms, like theatre exhibitions on the Internet
·Modern trends and traditional exhibition architecture
·Options for digital acquisition of objects (data bases)
·Collection policies and strategies
·Forms of prevention and conservation for different kinds of objects and audiovisual
documents
Le 26ème Congrès SIBMAS avait lieu à Vienne du 28 août jusquau 1er septembre 2006. Le Musée autrichien du
Théâtre était lhôte et lorganisateur de ce congrès qui était consacré à la nécessité pour les institutions possédant des
collections théâtrales daller au-devant de leur public et de faire connaître leurs activités dans le but douvrir laccès à
leurs collections.
Les sessions darticles et de communications soccupaient avec les thèmes suivants :
·Formes de communication interactive, expositions de théâtre sur linternet
·Formes modernes et traditionelles dans larchitecture dexposition
·Possibilités dacquisition digitale des objets (data bases)
·Politique et stratégies de collecte
·Mesures préventives et conservation des objets différents et des documents
audio-visuels
3.2. THEATRE
Brecht & Co. - German speaking Playwrights on the Australian Stage
Switzerland - Bern
December 1, 2006
Garde, Ulrike
Peter Lang Publishing
Page 15
German-Australian Studies, Vol. 18
Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien
426 pages
ISBN 978-3-03910-832-9
US-ISBN 978-0-8204-8034-3
Paperback
64.00
£ 44.80
US-$ 76.95
German-speaking playwrights have exercised a considerable if subtle influence on Australian theatre history.
Presenting a range of paradigmatic case studies, this book offers a detailed account of Australian productions of
German-language drama between 1945 and 1996. The reception of Bertolt Brecht is used as a touchstone for
analysing stagings of plays by writers such as Max Frisch, Rolf Hochhuth, Peter Handke and Franz Xaver Kroetz. In
addition, more recent developments in the reception of German drama on the Australian stage are discussed.
Contents: The context of the Australian Brecht reception - Receiving Brecht in the late 1950s up to the 1990s - Plays
by other German-speaking playwrights and the Australian-German cross-cultural relationship - Early productions in
English and German - Plays by Max Frisch and Friedrich Dürrenmatt - Rolf Hochhuth, The Representative - Plays by
Peter Handke - Play-readings and other cultural initiatives at the Goethe Institute in Sydney - Translations and
adaptations of German plays in the 1980s - Theater Heute reports on Australian theatre in 1986 - Discussions about
Australian theatre criticism in the 1980 - Productions of Franz Xaver Kroetz' Farmyard - Barrie Kosky's production of
Faust - Michael Kantor's production of Excavation. The Last Days of Mankind - «We must find our own voice». Noel
Tovey directs The Aboriginal Protesters - Recent developments, outlook and conclusion.
Ulrike Garde is Lecturer in German Studies at Macquarie University, Sydney. Her research focuses on German
literature and the performing arts. Her recent publications analyse the creation of cultural identities and AustralianGerman cross-cultural relationships with a focus on the Australian reception of German-language drama. Some of her
contributions appeared in the Brecht Yearbook and the Jahrbuch Deutsch als Fremdsprache. Intercultural German
Studies.
http://www.peterlang.com/index.cfm?vID=10832&vLang=F&vHR=1&vUR=2&vUUR=1
La direction d'acteurs dans la mise en scène théâtrale
contemporaine
France - Vic-la-Gardiole
October 1, 2006
Sophie Proust
Éditeur : Lentretemps
ISBN : 2-912877-44-X
Collection Les voies de lacteur (ISSN : 1296-0969)
Domaine : Théâtre / Genre : Essai
15 x 21 cm
544 pages
30
Cet ouvrage, préfacé par Patrice Pavis, porte sur un sujet jusque-là peu exploré pour lui-même : la direction dacteurs.
Sappuyant essentiellement sur des expériences de stagiaire et dassistante à la mise en scène auprès de Yves
Beaunesne, Matthias Langhoff, Denis Marleau et Robert Wilson, ces pages sont consacrées au travail du metteur en
scène avec les acteurs pour créer un spectacle lors de la période des répétitions. Des entretiens avec Stéphane
Braunschweig, François Chat et Matthias Langhoff, présentés dans leur intégralité, enrichissent également cette large
définition dun art en perpétuel mouvement.
« Avec une honnêteté scrupuleuse et une modestie exemplaire, mais aussi une détermination et un aplomb non
moins admirables, Sophie Proust entreprend la tâche sisyphéenne de rassembler le fruit de ses patientes récoltes. Ce
Page 16
nest pas la matière qui lui manque et elle semploie courageusement à la répartir dans dinnombrables cases,
catégories et cas despèce. Sophie Proust a le goût de la synthèse systématique tout en excellant dans les analyses
ponctuelles, elle est précise sans dogmatisme et dogmatique dans lexigence de rester ouverte aux nouvelles
inventions des artistes ». Patrice Pavis
Après une formation de comédienne au Conservatoire national dart dramatique de région de Grenoble et une maîtrise
de Lettres modernes sur Le Roman dun acteur de Philippe Caubère, à la suite de laquelle Michel Corvin lui demande
décrire un article sur cet acteur pour son Dictionnaire encyclopédique du théâtre, Sophie Proust suit un parcours
international de stagiaire puis dassistante à la mise en scène auprès dYves Beaunesne, de Denis Marleau et de
Matthias Langhoff pour des productions au Théâtre national de la Colline, au Festival dAvignon, à Montréal, au
Théâtre Stabile de Gênes, etc. Un stage dobservation auprès de Robert Wilson participe aussi de son bagage
intellectuel et artistique. Après sa thèse de doctorat dirigée par Patrice Pavis sur la direction dacteurs, elle enseigne à
luniversité de Nice avant de devenir maître de conférences en Arts du spectacle (Théâtre) à luniversité de Lille III et
chargée de cours en Études théâtrales à luniversité de Paris VIII. Membre de la Fédération internationale de
recherche théâtrale (FIRT), elle sinvestit dans le pôle « génétique du théâtre » quelle a mis en place au Centre détude
des arts contemporains (CEAC) de luniversité de Lille III ainsi que dans le groupe de recherche créé par Josette Féral
sur les processus de création au sein de la FIRT. Outre sa collaboration à un certain nombre de revues, en Europe et
aux États-Unis, notamment Alternatives théâtrales et Western European Stages, elle a également contribué à une
étude sur la formation de linterprète en Italie, où elle a vécu plusieurs années, pour Les nouvelles formations de
linterprète : théâtre, danse, cirque, marionnettes, ouvrage dirigé par Anne-Marie Gourdon et publié par CNRS Éditions
en 2005. Cette même année, Sophie Proust fonde sa propre compagnie théâtrale : Le Cri du temps.
Sommaire
Préface de Patrice Pavis
Avant-propos
Introduction
Première partie : prémisses a toute direction dacteurs dans un processus de création
1/Portrait type du directeur et de la direction dacteurs ?
2/Commencement et fin dune direction dacteurs
3/Autant de directions dacteurs que de mises en scène
Deuxième partie : au-delà dune relation binaire metteur en scène/acteurs
1/Pouvoir et esthétique du metteur en scène
2/La spécificité des répétitions : une aventure humaine
3/Le rapport au texte scénique : une relation triangulaire
4/Le fortuit et lintentionnel
Troisième partie : manifestations dun langage spécifique
1/Modes langagiers du directeur dacteurs
2/Objectifs de la parole
3/Analyse du discours du directeur dacteurs
Quatrième partie : fonctionnements de la direction dacteurs
1/Conditions artistiques et techniques
2/Evolution et progression de la direction dacteurs
3/Modes dinterventions de la direction dacteurs
Conclusion
Index des noms propres
Bibliographie
Table des matières
Annexes : entretiens
http://www.lekti-ecriture.com/editeurs/La-direction-d-acteurs.html
No beauty for me there where human life is rare. On Jan Lauwers
theatre work with Needcompany
Page 17
Netherlands
Stalpaert, Christel
Le Roy, Frederik
Bousset, Sigrid
Ghent and Amsterdam: Academia Press and International Theatre and Film Book
2007
ISBN 978 90 382 1057 5
389 pages
22.00
Since its first performances now 20 years ago Jan Lauwers theatre work with Needcompany has challenged the
contemporary performing arts and provoked some of the best pieces of theatre criticism.
'No beauty for me there where human life is rare. On Jan Lauwers theatre work with Needcompany' is the first
collection of critical essays to appear about this prominent, Brussels-based but international company. It gathers texts
by a variety of eminent writers working in different disciplines (theatre and performance studies, comparative literature,
philosophy, cultural sociology) who take up the artistic, aesthetic and philosophical questions raised by
Needcompany s post-dramatic theatre.
With contributions by such authorities as Hans-Thies Lehmann, Marvin Carlson, Martin Harries, Jürgen Pieters, Rudi
Laermans, George Banu and many others this attractively illustrated collection should prove invaluable to everyone
interested in Needcompany, its artistic context and the performing arts in general.
http://www.academiapress.be/homeAP2.asp
Revolutionary Theater and the Classical Heritage - Inheritance and
Appropriation from Weimar to the GDR
February 28, 2007
Richardson, Michael D.
Studies in Modern German Literature Vol. 108
Edited by Brown Peter D. G. SUNY New Paltz
Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien
257 pages
ISBN 978-3-03910-724-7
US-ISBN 978-0-8204-7987-3
Paperback
£ 30.00
46.20
US-$ 59.95
This study analyzes the work of three prominent proletarian-revolutionary dramatists at the end of the Weimar
Republic. The work of Bertolt Brecht, Friedrich Wolf, and Gustav von Wangenheim is looked at against the backdrop
of debates among Marxist intellectuals and artists. Through a discussion of theatrical theory and close readings of
individual plays, this work examines the authors' unique aesthetics and their enactment of a critical appropriation of
the German literary heritage. It also investigates their attempts to transform the audience's relationship to the
theatrical production from a passive-receptive to an active-critical one. This volume offers insights into larger
questions of political and cultural continuity that characterized the Weimar and the postwar periods.
Contents: The Aesthetic and Political Situation in the Weimar Republic - Bertolt Brecht: «Contradictions are our
Hope!» - Friedrich Wolf: Empathy through Estrangement - Gustav von Wangenheim: «An Important, but Unknown
Dramatist» - The Legacy of Proletarian-revolutionary Theater in the GDR.
The Author: Michael D. Richardson was born on March 15, 1970 in Hackensack, New Jersey. He graduated from
Page 18
Stanford University with a B. A. in German Studies in 1992 and received his PhD. in German Studies from Cornell
University in 2001. Since 1998, he has been an Assistant Professor of German in the Department of Modern
Languages at Ithaca College. He has written and presented on contemporary German film and literature, as well as
the theater of Heiner Müller. He is currently working on a book length study of American representations of Hitler and
the Nazis.
http://www.peterlang.com/index.cfm?vID=10724&vLang=E&vHR=1&vUR=2&vUUR=1>http://www.peterlang.com/inde
x.cfm?vID=10724&vLang=E&vHR=1&vUR=2&vUUR=1<a/>
Roger Blin - Collaborations and Methodologies
February 28, 2007
Taylor-Batty, Mark
Stage and Screen Studies Vol. 6
Edited by Richards Kenneth
274 pages
ISBN 978-3-03910-502-1
US-ISBN 978-0-8204-7508-0
Paperback
£ 29.00
44.60
US-$ 57.95
Roger Blin's career in the Arts was woven inextricably into the fabric of the Twentieth-Century French Avant-Garde.
First appearing in the films of Abel Gance, Marcel Carné and Jean Cocteau, his acting career led him to a close
friendship and association with Antonin Artaud, for whom he performed the function of assistant
director. He championed Samuel Beckett's En attendant Godot, otherwise rejected unanimously by the French
theatrical establishment, was Jean Genet's director of choice and was long associated with artists and practitioners as
diverse as Arthur Adamov, Jean-Louis Barrault and Jacques Prévert. Marxist in outlook, Blin also sought to
apply rigorous humanist principles to his art and delighted in the opportunities he enjoyed to disrupt and upturn the
attitudes and complacencies of certain of his audiences. This book surveys all aspects of Blin's artistic output to
consider and clarify his motivations, his ambitions and his aesthetic preferences. In doing so, the author hopes to offer
perspectives on the methodologies that Blin employed and define the influence his work and his legacy has exerted
on the French and World stage.
Contents: Biographical background and social and political contextualisation - The artistic influences of Jacques
Prévert, Sylvain Itkine and Jean-Louis Barrault - Associate director of the Gaïté-Montparnasse - Arthur Adamov's early
plays - Directing Samuel Beckett's early plays - The theatre of provocation: Jean Genet's drama - 'Active humility' and
a director's methodology.
Mark Taylor-Batty is Senior Lecturer in Theatre Studies at the University of Leeds, UK. He has published on the
writings of Harold Pinter and Samuel Beckett, and has interests in issues of translation for the stage, author/director
relationships and the status of the text in performance.
Screening Shakespeare in the Twenty-First Century
United Kingdom - Edinburgh
September 27, 2006
Mark Thornton Burnett and Ramona Wray
Edinburgh University Press
Page 19
Hardback
224 pages
234 x 156 mm
ISBN: 978 0 7486 2350 1
£ 50.00
Paperback
224 pages
ISBN: 978 0 7486 2351 8
£ 17.99
This bold new collection offers an innovative discussion of Shakespeare on screen after the millennium. Cutting-edge,
and fully up-to-date, it surveys the rich field of Bardic film representations, from Michael Almereydas Hamlet to the
BBC Shakespea(Re)-Told season, from Michael Radfords The Merchant of Venice to Peter Babakitis Henry V. In
addition to offering in-depth analyses of all the major productions, Screening Shakespeare in the Twenty-First Century
includes reflections upon the less well-known filmic Shakespeares, which encompass cinema advertisements,
appropriations, post-colonial reinventions and mass media citations, and which move across and between genres and
mediums.
Arguing that Shakespeare is a magnet for negotiations about style, value and literary authority, the essays contend
that screen reinterpretations of Englands most famous dramatist simultaneously address concerns centred upon
nationality and ethnicity, gender and romance, and McDonaldisation and the political process, thereby constituting an
important intervention in the debates of the new century. As a result, through consideration of such offerings as the
Derry Film Initiative Hamlet, the New Zealand The Maori Merchant of Venice and the television documentary In
Search of Shakespeare, this collection is able to assess as never before the continuing relevance of Shakespeare in
his local and global screen incarnations.
Table of Contents
Introduction
Mark Thornton Burnett and Ramona Wray
1. If Im right: Michael Woods In Search of Shakespeare
Richard Dutton
2. I see my father in my minds eye: Surveillance and the Filmic Hamlet
Mark Thornton Burnett
3. Backstage Pass(ing): Stage Beauty, Othello and the Make-up of Race
Richard Burt
4. The Postnostalgic Renaissance: The Place of Liverpool in Don Boyds My Kingdom
Courtney Lehmann
5. Our Shakespeares: British Television and the Strains of Multiculturalism
Susanne Greenhalgh and Robert Shaughnessy
6. Looking for Shylock: Stephen Greenblatt, Michael Radford and Al Pacino
Samuel Crowl
7. Speaking Maori Shakespeare: The Maori Merchant of Venice and the Legacy of Colonisation
Catherine Silverstone
8. Into a thousand parts divide one man: Dehumanised Metafiction and Fragmented Documentary in Peter Babakitis
Henry V
Sarah Hatchuel
9. Screening the McShakespeare in Post-Millennial Shakespeare Cinema
Carolyn Jess-Cooke
10. Shakespeare and the Singletons, or, Beatrice Meets Bridget Jones: Post-Feminism, Popular Culture and
Shakespea(Re)-Told
Ramona Wray
Notes on Contributors
Index
Mark Thornton Burnett is professor of Renaissance studies at Queen's University, Belfast. Ramona Wray is lecturer in
Page 20
English at Queen's University, Belfast.
http://www.eup.ed.ac.uk/edition_details.aspx?id=12692
Slovene Theatre and Drama Post Independence: Four Plays by
Slovene Playwrights
June 1, 2007
Wade, Lesley Anne (ed.)
Introduction and Translation by Lesley Anne Wade
277 pages
ISBN 978-3-03910-555-7
US-ISBN 978-0-8204-7582-0
Paperback
£ 32.00
49.20
US-$ 63.95
Slovenia gained its independence in 1991, and joined the European Union in 2004. This book, with its substantial
introduction and four Slovene plays in translation, makes a unique contribution to an understanding of both the
dramatic and theatrical history of this period of enormous political change in Slovenia.
The Great Brilliant Waltz (1985) by Drago Jancar was written and produced when Slovenia was still part of the former
Yugoslavia. This black comedy is set in the mental hospital 'Freedom Sets Free', a metaphor for the totalitarian
society of the communist era. Draga Potocnjak is foremost among the few female playwrights in Slovenia. Based on
real events, The Noise Animals Make is Unbearable (2003) shows a mentally retarded and severely autistic Bosnian
boy after soldiers kill his whole family in front of his eyes, leaving only his grandmother. Critics have seen the play as
the best tribute that Slovene drama has offered to the victims of the Bosnian war. The fabric of Dusan Jovanovic's
comedy The Boozski Clinic (1999) is the transition into capitalism. Losers on the edge of society, examples of the
collateral damage of a newly capitalist society whose rules of operating they do not wish to obey, congregate in a
small bar in a small town which used to be the pride of the communist government. Matjaz Zupancic's play The
Corridor (2004) is set in the corridor outside a television studio where the 'reality' programme 'Big Brother' is being
filmed. The ever-present television camera in the studio represents current invisible but nonetheless totalitarian power,
with its technical interference and controlling of individuals' lives.
Contents: Collateral Damage: Slovene Theatre and Drama Post Independence - The Great Brilliant Waltz by Drago
Jancar - The Boozski Clinic by Dusan Jovanovic - The Noise Animals Make is Unbearable by Draga Potocnjak - The
Corridor by Matjaz Zupancic.
Lesley Anne Wade is a senior lecturer in the Department of Drama at the University of
Exeter, England, where she teaches acting and directing, and is the author of several books and articles on theatre.
She has had a long relationship with Slovenia, which she first visited after Slovenia's borders were opened to Western
Europe in 1966.
http://www.peterlang.com/index.cfm?vSiteName=SearchBooksResult.cfm&vLang=E&iValue=Stichwort&iQuickSearch
=Slovene%20Theatre&iStichwort=Slovene%20Theatre&vSearchBooks=Yes&vRecordPhrase=True&CFID=35183707
&CFTOKEN=13105208
Page 21
Voix de femmes
Canada - Montréal
January 24, 2007
Josette Féral
Collection : « Essai »
ISBN : 2-7644-0397
576 pages
29,95$
Les femmes metteures en scène nont cessé de saffirmer dans le monde depuis trente ans. Ces femmes, reconnues
parmi les plus intéressantes de leur pays, abordent des répertoires originaux, développent de nouvelles esthétiques,
créent des compagnies, dirigent des théâtres, quand elles noccupent pas tout simplement lavant-scène. Grâce aux
témoignages, aux entrevues, mais aussi aux photographies, cet essai donne la parole aux metteures en scène
daujourdhui.
Ainsi, la critique et théoricienne Josette Féral a interrogé 29 dentre elles sur leur démarche et leurs choix. Pourquoi
ces femmes ont-elles choisi de devenir metteure en scène ? Quelle est leur vision du théâtre ? Comment travaillentelles avec les acteurs ? Quel répertoire privilégient-elles ? Mais aussi : comment cette fonction a-t-elle été affectée
par le fait quelles soient femmes ? Une belle occasion de réfléchir sur la pratique théâtrale au féminin.
« [] Jai choisi de travailler avec des femmes, car je crois pouvoir aller plus loin avec elles; elles
contiennent dénormes réserves inexploitées, remplies dun contenu qui demande à sexprimer. Les
Critique et théoricienne, Josette Féral enseigne à lUniversité du Québec à Montréal. Elle se consacre à létude du
théâtre et a publié plusieurs livres sur le sujet, notamment Teatro, teoría y práctica : más allá de las fronteras (Buenos
Aires, Galerna, 2004), Mise en scène et jeu de lacteur. Entretiens. Tomes I et II (Jeu et Lansman, 1997 et 1998),
Trajectoires du Soleil (Théâtrales, 1998) et Dresser un monument à léphémère. Rencontres avec Ariane Mnouchkine
(XYZ et Théâtrales, 1995). Elle a également fait paraître plusieurs ouvrages collectifs dont les plus récents sont
LÉcole du jeu, former
ou transmettre (LEntretemps, 2003), Theatricality (Univ. of Wisconsin Press, 2002) et Les Chemins de lacteur. Former
pour jouer (Québec Amérique, 2001). Les réponses obtenues ne prétendent en rien être le reflet dune vérité unique.
Elles tracent
en pointillé un certain état de la situation en ce début du XXI e siècle. La variété des réponses, des âges et des
trajectoires révèle non seulement l'originalité des formes et des visions que Josette Féral a rencontrées, mais aussi
une véritable rage de créer.
communiqué pour diffusion immédiate.
http://www.quebec-amerique.com/00_TITRE/HTML_800D/877.html
3.3. FILM
Dietrich Icon
United States - Durham
March 15, 2007
Gerd Gemünden
Mary R. Desjardins
Hardback
ISBN 0-8223-3806-8
[ISBN13 978-0-8223-3806-2]
432 pages
Page 22
54 b&w illustrations
$89.95
Paperback
ISBN 0-8223-3819-X
[ISBN13 978-0-8223-3819-2]
$24.95
Few movie stars have meant as many things to as many different audiences as the iconic Marlene Dietrich. The
actress-chanteuse had a career of some seventy years: one that included not only classical Hollywood cinema and
the concert hall but also silent film in Weimar Germany, theater, musical comedy, vaudeville, army camp shows, radio,
recordings, television, and even the circus. Having renounced and left Nazi Germany, assumed American citizenship,
and entertained American troops, Dietrich has long been a flashpoint in Germanys struggles over its cultural heritage.
She has also figured prominently in European and American film scholarship, in studies ranging from analyses of the
directors with whom she worked to theories about the ideological and psychic functions of film. Dietrich Icon, which
includes essays by established and emerging film scholars, is a unique examination of the many meanings of Dietrich.
Some of the essays in this collection revisit such familiar topics as Germanys complex relationship with Dietrich, her
ambiguous sexuality, her place in the lesbian archive, her star status, and her legendary legs, but with fresh critical
perspective and an emphasis on historical background. Other essays establish new avenues for understanding
Dietrichs persona. Among these are a reading of Marlene Dietrichs ABCan eclectic autobiographical compendium
containing Dietrichs thoughts on such diverse subjects as steak, Sternberg (Joseph von), Stravinsky, and stupidityand
an argument that Dietrich manipulated her voicethrough her accent, sexual innuendo, and singingas much as her
visual image in order to convey a cosmopolitan world-weariness. Still other essays consider the specter of aging that
loomed over Dietrichs career, as well as the many imitations of the Dietrich persona that have emerged since the stars
death in 1992.
Contributors. Nora M. Alter, Steven Bach, Elisabeth Bronfen, Erica Carter, Mary R. Desjardins, Joseph Garncarz,
Gerd Gemünden, Mary Beth Haralovich, Amelie Hastie, Lutz Koepnick, Alice A. Kuzniar, Amy Lawrence, Judith
Mayne, Patrice Petro, Eric Rentschler, Gaylyn Studlar, Werner Sudendorf, Mark Williams
Gerd Gemünden is the Ted and Helen Geisel Third Century Professor in the Humanities at Dartmouth College. He is
the author of Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian
Imagination and coeditor of The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition. Mary R.
Desjardins is Associate Professor of Film and Television Studies at Dartmouth College.
http://www.dukeupress.edu/cgibin/forwardsql/search.cgi?template0=nomatch.htm&template2=books/book_detail_pag
e.htm&user_id=28362&Bmain.item_option=1&Bmain.item=13870
Hip Hop in American Cinema
January 22, 2007
Donalson, Melvin
New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, XII
191 pages
ISBN 978-0-8204-6345-2
Paperback
US-$ 29.95
23.00
£ 15.00
Hip Hop in American Cinema examines the manner in which American feature films have served as the primary
medium for mainstreaming hip hop culture into American society. With their glamorizing portrayals of graffiti writing,
break dancing, rap music, clothing, and language, Hollywood movies have established hip hop as a desirable youth
movement. This book demonstrates how Hollywood studios and producers have exploited the profitable connection
Page 23
among rappers, soundtracks, and mass audiences. Hip Hop in American Cinema offers valuable information for
courses in film studies, popular culture, and American studies.
«'Hip Hop in American Cinema' is a pioneering study of the marriage of hip hop and gangsta rap with Hollywood,
carefully considering the cultural, political, and business aspects of this important and often controversial musical
phenomenon from the 1980s to the present. Today, rap outstrips both rock and country music in sales and pulses
through the soundtracks of many Hollywood films, sometimes also furnishing the
subject matter and the stars. Melvin Donalson, the well-known scholar of American film, surveys dozens of films,
casting an understanding but critical eye on the music and its messages.» (Andrew Gordon, University of Florida; coauthor,'Screen Saviors: Hollywood Fictions of Whiteness')
With a Ph.D. in American Civilization from Brown University, Melvin Donalson is a published poet, fiction writer, and
essayist. In addition, he is a screenwriter and director, having completed an award-winning short film, which was
shown on Showtime's Black Filmmakers Showcase. The author of Black Directors in Hollywood (2003) and
Masculinity in the Interracial Buddy Film (2006), he is currently Associate
Professor in the English Department at California State University in Los Angeles.
Polish Postcommunist Cinema - From Pavement Level
February 7, 2007
Mazierska, Ewa
New Studies in European Cinema Vol. 4
Edited by Everett W./Goodbody A.
299 pages
ISBN 978-3-03910-529-8
US-ISBN 978-0-8204-7533-2
Paperback
£ 35.00
53.80
US-$ 69.95
This book covers the history of Polish cinema from 1989 up to the present in a broad political and cultural context,
looking at both the film industry and film artistry. It considers the main ideas behind the institutional changes in the
Polish film industry after the collapse of communism and assesses how these ideas were implemented. In discussing
artistry, the focus is on the genres which dominated the Polish cinematic landscape after 1989 and the most important
directors.
Contents: Polish film industry after 1989 - Police/gangster film - Heritage cinema - Comedy - Biographical film and
discourse on art on screen - New Cinema of Moral Concern - Women's cinema - Marek Koterski - Jan Jakub Kolski Jerzy Stuhr.
Ewa Mazierska studied philosophy at Warsaw University and did her Ph.D. in Lódz University and is Reader in
Contemporary Cinema, Department of Humanities, University of Central Lancashire. Her publications include Women
in Polish Cinema (2006), Dreams and Diaries: The Cinema of Nanni Moretti (2004) and From Moscow to Madrid:
Postmodern Cities, European Cinema (2003) (the last two co-authored with Laura
Rascaroli). She also co-edited Relocating Britishness (2004).
http://www.peterlang.com/index.cfm?vSiteName=SearchBooksResult.cfm&vLang=E&iValue=Stichwort&iQuickSearch
=Polish%20Postcommunist%20Cinema&iStichwort=Polish%20Postcommunist%20Cinema&vSearchBooks=Yes&vRe
cordPhrase=True&CFID=35183707&CFTOKEN=13105208>http://www.peterlang.com/index.cfm?vSiteName=Search
BooksResult.cfm&vLang=E&iValue=Stichwort&iQuickSearch=Polish%20Postcommunist%20Cinema&iStichwort=Polis
h%20Postcommunist%20Cinema&vSearchBooks=Yes&vRecordPhrase=True&CFID=35183707&CFTOKEN=131052
Page 24
08>http://www.peterlang.com/index.cfm?vSiteName=SearchBooksResult.cfm&vLang=E&iValue=Stichwort&iQuickSea
rch=Polish%20Postcommunist%20Cinema&iStichwort=Polish%20Postcommunist%20Cinema&vSearchBooks=Yes&v
RecordPhrase=True&CFID=35183707&CFTOKEN=13105208
Mallarmé and Wagner: Music and Poetic Language
United Kingdom
June 21, 2007
Heath Lees with extracts translated from the French by Rosemary Lloyd
Ashgate Publishing
272 pages
Hardback
234 x 156 mm
ISBN: 0 7546 5809 0
$99.95
£55.00
This book challenges and replaces the existing view of Mallarmé's mission to 're-possess' music on behalf of poetic
language. Traditionally, this view focused on only the last fifteen years of the poet's life, and sprang from a belief in
Mallarmé's 'sudden awakening' to music during an all-Wagner concert in Paris, in 1885.
Professor Heath Lees shows that Mallarmé's early knowledge and experience of music was much greater than
commentators have realized, and that the French poet actually began his writing career with the explicit aim of making
music's performance-language of 'effect' the ground of his poetic expression. Integral to the argument is Mallarmé's
reaction to the work and ideas of Richard Wagner, whose impact on France came in two waves: the first broke during
the tempestuous 1860s days of the Paris Tannhäuser, while the second arrived in the mid-1880s, and gave birth to
the Revue Wagnérienne.
In refuting the critical literature that focuses on only the second of these waves, Lees shows that Mallarmé exhibited a
highly informed Wagnerian background during the first wave, and that his grasp of the composer's gestural motives
and flexible musical prose led him towards a new kind of self-expressive, gestural rhythm that aimed musically to
reinvent poetic language. In support of this, the book examines closely what Wagner 'really' said in the prose works
that were becoming known in Paris by the 1860s, in particular, Wagner's important French text, the Lettre sur la
musique. It also re-examines Baudelaire's classic Wagner-brochure, and reveals its author's surprisingly firm grasp of
Wagner's musico-poetic fusion.
In musically informed commentary, Professor Lees surveys the four decades of success and failure that resulted from
Mallarmé's repeated attempts to draw out the musical gestures and resonances of words alone. In the process, he
throws new light on many of Mallarmé's best-known texts, hitherto judged 'difficult' by those who have failed to
appreciate the extent of the poet's heroic descent through the surface of words in search of 'la Musique'.
Contents
Introduction; Divergences and convergences; Music and Mallarmé's generation; Wagner and France; Mallarmé's
Wagnériste influences: Baudelaire, Catulle Mendès, Villiers de l'Isle-Adam; The attempt to repossess music:
18601865; The attempt to repossess music: 18651869; Other musicalized poems of the Hérodiade years; Homage to
Wagner and the way ahead; Bibliography; Index.
About the Author/Editor
Heath Lees, originally from Scotland, is Professor of Music at the University of Auckland, New Zealand. Academic,
writer, composer and broadcaster, Heath has published widely on the interface between music and words, especially
in the works of Beckett and Joyce.
His love of all things French is complemented by a passion for the work of Richard Wagner. He is President of the
Wagner Society of New Zealand, which he and his wife founded in 1994, now one of the worlds larger Wagner
Page 25
Societies. His fascination for the Symbolists came when he read his first Mallarmé poems and felt, he says, as though
he were listening to music.
https://www.ashgate.com/shopping/title.asp?isbn=0%207546%205809%200
3.5. DANCE
3.6. OTHER SUBJECTS
Performance and Cosmopolitics - Cross-cultural Transactions in
Australasia
April 12, 2007
By Helen Gilbert and Jacqueline Lo
Palgrave Macmillan
256 pages
Hardcover
ISBN-10: 0230003400
ISBN-13: 978-0230003408
21.8 x 14.2 x 1.8 cm
₤ 45
This brisk and succinct narrative inflects and counters the valorization of cosmopolitanism in global cultural discourse.
Its major achievement is to locate diverse cosmopolitan practices within the embattled national imaginary of
Australasian theatre. In countering official nationalism and legitimized xenophobia at intensely local and regional
levels, it offers substantial evidence of how cosmopolitics can be put into practice at ground levels. This book is
immediate and relevant. Rustom Bharucha, author of The Politics of Cultural Practice and Theatre and the World.
Performance and Cosmopolitics is a ground-breaking study of cross-cultural theatre in the Australasian region.
Focusing on a range of theatrical events and practices in avant-garde, mainstream and community contexts, this book
explores the cultural, political and ethical dimensions of Australia's engagement with Asia. Aboriginal theatre is also
featured as an important aspect of regional arts traffic. A complex and fascinating analysis that sheds light on
international arts marketing, broader trends in cross-cultural performance training, and current debates in performance
studies.
CONTENTS: Acknowledgements - Introduction: Performing Cosmopolitics - (Anti)Cosmopolitan Encounters Indigenizing Australian Theatre - Asianizing Australian Theatre - Marketing and Consuming Difference at the Adelaide
Festival - Crossing Cultures: Case Studies - Asian-Australian Hybrid Praxis - Performance and Asylum: Ethics,
Embodiment, Efficacy - Conclusion: Cosmopolitics in the New Millennium - Bibliography - Index
HELEN GILBERT is Professor of Theatre at Royal Holloway, University of London, UK, and co-convenor of the
College's interdisciplinary Postcolonial Research Group. Her books include Sightlines: Race, Gender and Nation in
Contemporary Australian Theatre (1998), Post-colonial Drama: Theory, Practice, Politics (with Joanne Tompkins,
1997) and Postcolonial Plays: An Anthology (2001).
JACQUELINE LO is Senior Lecturer in the School of Humanities and Convenor of the Literature, Screen and Theatre
Studies Graduate Program at the Australian National University, Australia. She is the author of Staging Nation:
English Language Theatre in Malaysia and Singapore (2004) and Chair of the Asian Australian Studies Network.
http://www.palgrave.com/products/Catalogue.aspx?is=0230003400
Page 26
Unstable Ground - Performance and the Politics of Place
Belgium - Bruxelles
December 15, 2006
Dramaturgies, Textes, Cultures et Représentations, Texts, Cultures and Performances Vol. 20
Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien
306 pages
46 illustrations
ISBN 978-90-5201-036-6
US-ISBN 978-0-8204-6681-1
Paperback
38.50
£ 27.00
US-$ 45.95
Theorists in the humanities and social sciences are increasingly aware of the need to account for the dynamic role
played by spatial factors in nearly every domain of human experience. Theatre, as an art form that is utterly
dependent on its own spatiality, has a major contribution to make to contemporary debates about space and place.
In this book, academics from Australian departments of theatre and performance studies are joined by others from
anthropology, cultural and environmental studies as well as site-based performance makers, in order to explore the
nexus between place and performance in practices ranging from mainstream theatre and site-specific
performance to political demonstrations, rituals of commemoration and social display.
While the places and performances they describe are necessarily local, the issues raised are not peculiar to Australia
and will resonate with people in many countries where incoming settlers have displaced indigenous populations,
where large-scale migration has unsettled resident populations, where atrocities have been committed (in peacetime
as well as war) and people have somehow to find ways to live in places marked by the
memory of trauma. The book ends with a theoretical afterword by anthropologist Lowell Lewis, proposing some
important refinements to ongoing critical discourse about space and place.
Contents: Gay McAuley: Introduction - Tom Burvill: «On The Waterfront». Three Live Events on the Sydney
Harbourside - Ian Maxwell: «Runnin' Amok». An Acoustemology of Place Resounding in Penrith, Western Sydney Michael Cohen: Place and Dream-state. Spectacular Representations of Nationhood at Stadium Australia - Joanne
Tompkins: Counter-monumentalising and Janis Balodis's The Ghosts Trilogy - Julie Holledge/Mary Moore: The
Memory Museum. A 2001 'Sacred Site' for a Secular Society - Jane Goodall:
Haunted Places - Kerrie Schaefer/David Watt: Nobbys, Newcastle. Place, History, Heritage, Identity and Performance
- Gay McAuley: Remembering and Forgetting. Place and Performance in the Memory Process - Katrina Schlunke:
More than Memory. Performing Place and Postcoloniality at the Myall Creek Massacre Memorial - Paul Dwyer: Reembodying the Public Sphere. The Arts of Protest - Paul Brown: Maralinga: Theatre
from a Place of War - Peter Snow: Performing All Over the Place - Stuart Grant/Tess de Quincey: How to Stand in
Australia? - J. Lowell Lewis: Afterword: Theoretical Reflections.
Gay McAuley taught in the French Department at the University of Sydney before establishing the interdisciplinary
Centre for Performance Studies. Her book Space in Performance: Making Meaning in the Theatre (University of
Michigan Press, 1999) has made an important contribution to performance theory and, in convening the Place and
Performance Seminar, she has sought to extend this exploration of spatial semiotics into
the broader social and political domains opened by an engagement with place.
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DEVELOPMENTS
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6. RESEARCH
Call for contributions - Puppetry International Magazine
July 5, 2007
Puppetry International magazine seeks articles for the peer-reviewed section of our upcoming issue #22, whose
theme is Mega-Puppets.
We are looking for brief essays (2,000 words, including notes and bibliography) about larger-than-life puppets and
performing objects: parade figures, gigantes, and related traditions such as Burning Man; giant performing machines
as created by such groups as Survival Research Laboratories; and giant puppet spectacles such as those presented
by Royale de Luxe.
We are interested in articles that address such topics as the following: What are the performance effects of mixing
giant figures and humans? What special issues are germane to the design and manipulation of larger-than-life
puppets? How do such puppets affect change in a community through parades, pageantry, and other ritual events?
What are new movements and innovations in the world of giant puppets -- including technology? We also seek
interviews with (or profiles of) contemporary artists outside the traditional scope of puppetry using puppetry techniques
in large-scale creations. Articles for the peer-reviewed section of Puppetry International should demonstrate scholarly
research and analysis, but also appeal to PI's wide audience.
Puppetry International is the bi-annual publication of UNIMA-USA, the United States chapter of the Union
Internationale de la Marionette, the world's oldest theater organization. Each issue explores a theme, and recent
issues have addressed puppetry's relationships to text, dance, opera, spirituality, sexuality, and propaganda. We
have initiated a peer-reviewed section of the magazine in order to encourage more scholarly writing about puppets
and related performance forms.
Contributors will receive a copy of the magazine and may retain the copyright to their work; minor publication
expenses can be covered as well. Use of images is encouraged. Submissions should be in MLA format.
Submission deadline: July 5, 2007.
Please send essays as Microsoft Word attachments in RTF format to John Bell ([email protected]) and
to Andrew Periale ([email protected]) and include contact information and a brief biography with your
submission.
Please contact John Bell if you may have questions.
For further information on Puppetry International see http://www.unima-usa.org/publications/index.html
6.2. SCHOLARSHIPS
6.3. RESEARCH TOOLS
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Launch of Mander and Mitchenson website and new online
catalogue
The AHRC Mander and Mitchenson Theatre Collection Access for Research Project is delighted to announce the
launch of the redesigned Mander and Mitchenson website, and the new online catalogue to the Collection at
http://www.mander-and-mitchenson.co.uk
The catalogue, accessible through the new website, covers the holdings of the entire research archive at collection
level. It then focuses particularly on the collection's pre-1890 London theatre records at item level, and also contains a
digital media archive of 2,000 images from the archive collection. The images are attached to the catalogue records,
and are also searchable separately. The website also presents for the first time a searchable Picture Gallery of the
Painting and Artworks collection.
The three-year project of cataloguing and digitisation was enabled by a generous Resource Enhancement grant from
the AHRC awarded to Dr Sophie Nield of the Central School of Speech and Drama, and the project was staffed by
Paul Davidson, Kristy Davis and Emily Mitchell, with expert guidance from Rosemary Firman, Richard Mangan and
the Project's distinguished international advisory panel.
The Raymond Mander & Joe Mitchenson Theatre Collection (MMTC) is one of the largest collections of theatre and
performance related materials in the UK.
It owes its existence to the extraordinary lifetimes work of Raymond Mander and Joe Mitchenson, and has at its heart
two thousand or more archive boxes containing playbills, posters, programmes, engravings, cuttings and production
photographs of London and regional theatres.
There are files on every actor and actress of note in the British theatre, and sections on circus, dance, opera, musichall, variety, dramatists, singers and composers, together with many engravings and pictures. The Collection includes
many theatre paintings, as well as set and costume designs and 500 pottery figures. The Collection also operates as
a picture library.
A charitable trust, the Collection is part of the Jerwood Library of the Performing Arts, based in Trinity College of
Music, Greenwich, London UK and is staffed by Richard Mangan as Administrator, and Kristy Davis as Archive
Officer/Cataloguer.
This project only represents the first steps in cataloguing the Mander and Mitchenson Theatre Collection. We estimate
that the collection contains over a million items of ephemera.
We encourage you to visit our website and online catalogue and welcome all feedback. If you have any enquiries,
please contact Kristy Davis at the MMTC:
[email protected]
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Information about Azad Theater Group
Iran
The Azad Theater Group started its activity in 1998 and has since then regularly participated in international festivals:
1. Participation in the International Festival of Theatre Ruhr-Germany 1999 (with the play : A mirror up in the ceiling)
2. Participation in the International Festival of Theatre Berlin-Germany 2000 (play: recitation)
3. Participation in the International Festival of Theatre Koln-Germany 2001 (play : Moses and the Pastor)
4. Participation in the International Festival of Theatre Cordoba-Argantina- 2001 (play : Moses and the Pastor)
5. Participation in the International Festival of Theatre Valleyfield-Montreal Canada 2002 (play : Moses and the
Pastor)
6. Participation in the International Festival of Theatre Incheon-Dong-South Korea-2003 (play : The last game)
7. Participation in the International Festival of Theatre Rafi Peer Pakistan-2003 (play : The Dumb Waiter)
8. Participation in the International Festival of Theatre of Method-Global Theatre Experience (IUGTE)-Malpils , LatviaRussia 2004 (Moses and the Pastor)
http://www.kazemnazari.com .here
News from the University of Windsor's School of Dramatic Art
Canada - Windsor
June 30, 2007
The University of Windsors University Players will present its 49th Season of six plays, three of which are Canadian:
David Frenchs Jitters; Brian Draders The Norbals; and Linda Griffiths Age of Arousal (U of W will be the first university
to produce this play). Also part of the season are Neil Simons Rumors; Ravenscroft by Don Nigro; and Oscar Wildes
An Ideal Husband.
Guest directors in the University Players season include Michael Dobbin, a leading Canadian actor, director, manager,
and arts consultant; and Deborah Cottreau, a U of W Alumna who has taught at Concordia and Saskatchewan
Universities, directed professionally and is a respected scholar.
Ellen Lauren and J.Ed Araiza of New Yorks Saratoga International Theater Institute (SITI) taught a 2-week workshop
in the Suzuki Actor Training Method and Viewpoints Improvisation Technique at the School of Dramatic Art in May,
2007. Students had the chance to create their own original works using these methods.
Jackie Maxwell, Artistic Director of the Shaw Festival, received an Honorary Doctorate Degree from the University of
Windsor, in recognition of her contribution to theatre in Canada. In September, Ms. Maxwell will be a guest in the
Humanities Research Group Distinguished Speakers Series. She will speak at a public lecture and conduct
workshops in Directing and Audition Technique for students at the School.
Lionel Walsh, Director of the School of Dramatic Art, is this year's recipient of the Alumni Award for Distinguished
Contributions to University Teaching. Nominated by Dean of Arts and Social Sciences, Dr. Cecil Houston, the
committee gathered a record number of supporting letters from alumni, deans, colleagues from Dramatic Art, and
other universities, as well as from the president of the Michael Chekhov Association.
Playback Theatre founder Jonathan Fox was in attendance at an exciting and important conference on Playback
Theatre in schools, colleges, and universities, in June, 2007 at the University of Windsor. Participants shared their
practices, discussed research possibilities, and developed guidelines for the teaching of playback in the academy.
Toronto Playback Theatre performed during the conference.
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Play
United States - Claremont
Claremont, California
Spring 2008
Alma Martinez, M.F.A., Ph.D., Assistant Professor in the Department of Theatre and Dance at Pomona College in
Claremont, California will be directing a production of "Zoot Suit" written by Luis Valdez, in Spring 2008. This will be
the first Los Angeles production of the play since its boxoffice breaking premiere in 1978. The play, now a classic of
the American and Chicano Theatre canon, conflates two of the most infamous events in Los
Angeles history, the Zoot Suit Riots and the Sleepy Lagoon Case to create a play that decontsructs and reenvisions
these dark periods of hisotry as moments of great unity, empowerment and ultimately victory for the Chicano
community in Los Angeles.
The play was commissioned by the Mark Taper Forum and was the largest box-office success of any Los Angeles
based play at that time. Zoot Suit went on to Broadway where it became the first Chicano play ever produced on the
Great White Way and ultimately the first Chicano feature film produced by Universal Studios. Zoot Suit has become an
underground classic.
Dr. Martinez performed in the original stage production and film, is a 30 year member of El Teatro Campesino, (the
theater company founded by Luis Valdez) and serves on the board.
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2007 Volume 3
FIRT/IFTR:
SIBMAS:
Cordula Treml,
Call for Papers: British Asian Theatre - From Past to Present
United Kingdom - Exeter
September 1, 2007
Papers and presentations are invited for a 4-day conference to be held at the Department of Drama, University of
Exeter, 10-13 April 2008, a key event in the final year of the AHRC-funded project British Asian Theatre: critical history
and documentation.
The conference will bring together practitioners and academic scholars to discuss and review the history and
achievements of the practitioners and performers who have made British South Asian theatre. The debate will bring
new critical perspectives to the fields of British theatre history and performance, popular culture, and the history and
cultural presence of South Asian diasporas.
Live performances and workshops by leading British Asian artists will be scheduled as part of the conference
programme, and the keynote address will be given by Naseem Khan, author of the seminal report The Arts Britain
Ignores. Those participating will include:
Kuljit Bhamra, composer
Sudha Bhuchar, Tamasha Theatre
Poulomi Desai, performance and visual artist
Harmage Singh Kalirai, Zeroculture
Anuradha Kapur, National School of Drama, Delhi
Girish Karnad, playwright, India
Faroque Khan, Insaan
Naseem Khan, author of The Arts Britain Ignores
Shelley King, actor
Kristine Landon-Smith, Tamasha Theatre
Champak Kumar Limbachia, Oriental Arts
Jamila Massey, actor
Reginald Massey, classical Indian music and dance specialist
Claudia Mayer, designer
Rani Moorthy, Rasa Theatre
Vayu Naidu, Vayu Naidu Theatre
Dominic Rai, Mán Melá Theatre
Hardial Rai, Zeroculture
Janet Steel, Kali Theatre
Jatinder Verma, Tara Arts
Harbhajan Virdi, director
Aziz Zeria, Culturelinks
The conference organisers are now inviting proposals for papers and presentations from practitioners and academics
that address the many issues affecting the development of this performance history and theatre practice.
Presentations can also be done through practice. Suggested themes for individual contributions or panels are:
-
The location of performance from domestic to public spaces
Critical analyses of Asian-led theatre companies and specific productions
Language theatres and bilingual theatre
The role of dance, music and film in British Asian theatre
Profiles of the work of specific performers
Script and adaptation in British Asian theatre production
The role of design and designers
Histories of community-based and amateur Asian-led theatre initiatives
New Writing and other training initiatives for British Asian practitioners
The role of host theatres and venues in the development of British Asian theatre
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- Asian aesthetics, techniques and traditions in non-Asian-led work
- Preserving histories resources, archives and the documentation of British Asian theatre
- Live art and new media
- Assessments of the impact of funding policies and specific funding schemes
- Histories of audiences of Asian-led theatre and assessments of the impact of specific audience diversity initiatives
- The interconnectedness of Asian-led theatre practice between the UK, the Indian subcontinent and South Asian
diasporic communities
Deadline for proposals: 1 September 2007
Please send abstracts of around 250 words to the Drama Department secretary, Gayatri Simons,
[email protected]
Selected papers and presentations from this conference will be published in a special edition of the journal South
Asian Popular Culture in 2009, to be guest-edited by Sarah Dadswell and Graham Ley.
For more information about the AHRC-funded project, please see the project website at
http://www.spa.ex.ac.uk/drama/research/batp/welcome.shtml
Call for papers: Engaging Objects
October 31, 2007
ASCA International Workshop
26-28 March 2008
Organizers: Paulina Aroch Fugellie, Tereza Havelkova, Jules Sturm, Astrid Van Weyenberg
Things in the world, objects of art and of everyday use, have functioned as core referents in contemporary cultural
theory. Since the linguistic turn, technological devices and philosophical texts, dirty windows, typewriter-erasers, and
cyber-space, have been proposed and contested as possible sites for re-encountering material reality. The 2008
ASCA International Workshop is a space open to reflect on the methodological nuances, theoretical consequences
and political implications of engaging objects within the humanities.
Engaging Objects refers to the objects possibilities of seduction and resistance, of compromise and failure. Objects
engage researchers: they attract our interest, involve us and position us as scholars in relation to their cultural
emergence. Similarly, while engaging with objects we, as theorists, also produce them as objects of study. We further
engage with culture at large through artistic or mundane, actual or virtual objectsthey work as mediators of social
relationships and as translators between imaginary and lived culture. This sense of engagement can be found in the
root of the verb to engage. According to the Oxford English Dictionary, a gage is a valued object deposited as a
guarantee of good faith, as well as a pledge, especially a glove, thrown down as a symbol of a challenge to fight.
Thus, engagement can be understood as an objects promise, its act of commitment or provocation. The concept of
engagement gains its sense metaphorically, developing from a concrete action in which the object stands in for a
socially charged gesture. The mediatory role of objects may also be abused, although objects are always already
engaged with the world in ways that exceed our scholarly framing of them.
The relationship between object and researcher is not only limited to a metaphorical promise; it is also an actual
intervention. Engaging Objects is thus concerned with the act of engagement. This engagement is not with the
respective parties of a relation, but with the relationship itself. Engaging Objects aims to investigate the politics of
relating within scholarly practices. Thinking of this relationship as a site where the known and the knower are partly
produced, we may focus on the fractures, irregularities and inconsistencies that are constitutive of our own production
of knowledge today within fields such as visual culture, literature, history, art, music, performance, anthropology,
theory, and politics.
These issues will be discussed in four panels:
Engaging theory
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This panel seeks to position theory as an object of study. In considering theory as an object, its material aspects are
brought to the fore. Yet the material aspects of theory are not the same for scholars across different disciplines or
schools of thought. Post-structuralist scholars, for example, might locate theorys materiality in the actual language
used to construct abstract concepts. Their more Marxist-oriented critics, however, might use the term material to name
the wider socio-cultural and political networks within which the theoretical text is inserted. Creatively re-articulating
these different traditions may make our own engagements with theory more politically and intellectually productive.
This panel invites participants to think through the metaphor of the engaging object in order to explore theory as a
literary text, as a cultural object, as a social promise and as a political act.
Sensory disruptions
Sensory perception is the primary way in which we encounter objects. The senses are culturally conditioned, and each
society tends to privilege certain types of sensory engagement. Modernity has often been characterized by the
dominance of visuality, which posits a distant, distinct and disembodied viewer, and as such is presumed to underlie
Western epistemology and theories of subjectivity. This panel seeks to explore alternatives to this, arguably still
prominent, mode of sensory engagement. How can it be disrupted through the intervention of other senses (as in
haptic visuality)? What kinds of engagement do the other senses, and their different interrelations, bring about? What
alternative relationships between the object and the researcher do they generate (e.g. affective, ethical, erotic)?
These questions imply a change of sensibility that is both perceptual and conceptual. What are the theoretical
consequences of this shift from the visual to the aural, the tactile, to kinesis and proprioception? What can be gained
from thinking synaesthetically? And, more generally, what art of knowing is produced in this new, sensuous
engagement?
Bodily interventions
The living body has, as Crary and Kwinter (1992) state, a menacing and delirious concreteness and serves as a
complex and fascinating object of study in cultural theory. Especially within academic research around minority
subjectivities (including queer and feminist theory, disability and race studies), the body acquired an important role: it
became a site for alternative modes of knowledge production. This focus on extraordinary forms of embodiment
politicized certain traditions of thought. But to the extent that specifically marked bodies might feature as seductive
and spectacular objects of study, it is essential to reflect on the relationship between the shape of our theories and our
conceptions of embodiment. This panel further aims to explore how a critical analysis of the unmarked (white, male,
standard) body helps to investigate the failures of cultural theory. Where are the limitations of treating the body in
theory as meaningful object? How do particular cultural engagements with the body expose and/or expand the
boundaries of theory?
Comparison engagée
No matter what discipline we work in, when we engage with our objects of study, we are always involved in some form
of comparison. With parity at its etymological root, comparison is usually understood as a methodology based on
similarity and equality. But comparison is a dangerous activity, one that often conceals universalist and essentialist
suppositions and whose terms are never neutral. To deal with comparison in an engaged (engagé) way, it is important
to reflect on our terms of comparison. How do we decide on these terms and how do we incorporate this decision
process within the practice of comparison itself? This draws attention to the necessity for scholars to acknowledge
their own role in positioning objects in relation to each other and themselves. Is it possible to stand back and let
objects engage with each other, or is this engagement only possible through us? If so, how does such a mediating
role affect our research position? In this panel, we would like to discuss ways of dealing with the politics of comparison
and to explore how and to what extent the objects we study can affect both our terms and methodologies of
comparative engagement.
This workshop is the latest in a series of ASCA International Workshops and is inspired by the 2006-2007 ASCA
theory seminar Ways of Writing: The Object Speaks Back.
We welcome participants from any discipline. Please e-mail or send your one-page proposal (300 words maximum)
and a short biographical note by October 31, 2007 to the ASCA office: [email protected]
Dr. Eloe Kingma (Managing Director)
Oude Turfmarkt 147
1012 GC Amsterdam
00 31 20 525 3874
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Please indicate which panel theme (out of the four mentioned above) you believe your proposal would best fit in.
Selected participants will be asked to send their 3000 words papers by January 31, so that papers can be distributed
among participants in advance. To allow enough time for discussion, papers will not be read during the workshop.
Instead, participants are expected to give a 10 minute summary, relating their argument to that of their fellow
panelists.
We are also looking for performances to be presented during the workshop that are relevant to the workshop theme of
engaging objects. Please send a proposal (500 words maximum) indicating duration, number of participants and
technical requirements.
We also require a sample of your work (hard copy or electronic reference). Please send your proposals by October
31, 2007 to the ASCA office (contact see above).
Call for papers: Inaugural International Theatre for Young Audience
Research Forum
October 15, 2007
*ITYARN*, the International Theatre for Young Audiences Research Network, is calling for proposals for the Inaugural
International Theatre for Young Audiences Research Forum at the XVIth ASSITEJ World Congress in Adelaide,
Australia May 9-18 2008.
This network aims to advance critical inquiry in the field of Theatre for Young Audiences (TYA) through the exchange
and discussion of papers from scholars in and outside of the field of TYA. We will attempt to bridge the gap between
theatre for young people and theatre for adults by discussing the field of TYA from historiographical and theoretical
perspectives that have not been applied to the field before, offering multiple, intersecting narratives on the slippery
relationship between theatre, young people, and the shifting material circumstances (social, cultural, economic,
ideological and political) under which this theatre is generated and perceived.
The ITYARN forum will take place over the course of one day, and consist of a plenary session and 2-4 working
groups.
Topics of the Working groups will include but are not limited to
1. Aesthetics of contemporary theatre in the field of TYA
2. Theories and histories of TYA
3. Reception processes in TYA
4. Child culture and cultural environment of TYA
Researchers who want to participate in a Working Group should submit a 750 word proposals and sample
bibliography by email in /WORD /or /RTF/.
Proposals should include name, affiliation, and email address in the upper left corner. Proposals will be peer reviewed
by the ITYARN founding board in October 2007. Notifications will go out early November 2007. Final papers may be
submitted to the 2009 issue of /Youth Theatre Journal/, edited by Manon van de Water.
For more information on ITYARN and to join the network go to
http://hia-lists.hia.no/mailman/listinfo/ityarn-nc
For information on the 16th ASSITEJ World Congress and Festival see
http://www.assitej2008.com.au/home.html>http://www.assitej2008.com.au/home.html
Please email Proposals in /WORD/ or /RTF/ by *October 15, 2008* to Prof. Geesche Warteman [email protected] and Prof. Young Ai Choi
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[email protected] and Prof. Manon van de Water [email protected]
Call for Papers: International Conference on Ancient Theatre and
Masks
Japan - Tokyo
August 31, 2007
Conference Organizer: The Tsubouchi Memorial Theatre Museum, Waseda University, Tokyo and the International
Institute for Education and Research in Theatre and Film Arts (Global COE Project)
7 - 9 December 2007
Waseda University, Tokyo, Japan
The Tsubouchi Memorial Theatre Museum at Waseda University and the International Institute for Education and
Research in Theatre and Film Arts (Global COE Project), with the support of the Japan Society for the Promotion of
Science and Waseda University, are organizing an international Conference on Ancient Theatre and Masks.
It is widely acknowledged that the origins of Japanese Noh theatre can be found in an ancient performing art called
Sangaku. But still it is not obvious how masks turned into a main element of Noh. During the conference we will
analyze the process of how the mask theatre Noh developed from Sangaku. The aim is to study the relation of masks
and theatre from a comparative perspective. Therefore, we will consider papers that deal with performing arts and the
use of mask in any performing tradition of the Western world, from ancient times up to the 18th century. We specially
encourage papers by young scholars that deal with the use of masks in ancient Greek theater and other European
traditions.
If you wish to propose a paper please send an abstract of no more than 300 words. The talk itself should not exceed
30 minutes and can be given in English, Japanese or Chinese (simultaneous interpreting provided).
Submission:
1) Deadline for abstracts: 31 August 2007
2) Information about the selection results by 15 September 2007
3) Deadline for the final paper: 10 November 2007
Transportation costs (arrival 6 December, departure 10 December 2007) and lodging fee will be covered. We will also
pay 50 000 Yen to every speaker from abroad.
Contact:
Miss Yoko TAMURA ([email protected]
and Mister Kazumichi SATO ([email protected]
Further information (download of application form):
http://www.waseda.jp/prj-gcoe-enpaku/e_index01.html
Call for Papers: IV Annual Conference of the Indian Society of
Theatre Research (ISTR) - Indian Theatre and the West
India - Bangalore
November 15, 2008
24-26 January 2008
Hosted by the Department of Performing Arts at Bangalore University
Having inspiration from the last three International Conferences held at the University of Hyderabad (2004), Cochin
university of Science and Technology, Kochi (2005), and University of Rajasthan, Jaipur (2007) respectively, the
society is highly confident that the fourth annual conference with the theme Indian Theatre and the West will bring out
meaningful insights and explore the diverse terrains of the theme in different magnitudes. More over ISTR believe that
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the fourth conference will further cement the sustainability of the platform of theatre researchers and foster the vast
potentiality of theatre research in India.
It is a fact that the modern Indian Drama and Theatre is an offshoot of English education and later it appropriated the
Indian texts and contexts in different magnitudes practiced in different local cultural expressions. At the same time it is
impossible to mark the exact beginning of an influence in the area of cultural expression especially in Indian Theatre.
Beginning of borrowings from the west in the area of performance practices and forms may not be possible to trace
out. The new dramas in different Indian languages, as a new form of expression in literature may not be subsequently
representing a performance practice of the same. But the hybrid form of Parsi theatre and its offshoots in different
languages set up a form and continued and transformed in to new forms and transgressed in to other artistic medias
too like films and other performance forms. The theme Indian Theatre and the West is a vast area having different
kinds of operations and manifestations in Indian cultures. The conference will be enquiring in to the diverse dynamics
of Indian and Western relationships in Indian drama and theatre in different angles and perspectives touching the
following aspects as sub-themes:
Colonial legacy
Textual and performative conditions
Marginality
Pluralities
Socio-political experience
Translation,
Adaptation,
Politico-aesthetic motivations
Rural and Urban folk
National v/s regional
Specific proposals are invited under the broad theme of Indian Theatre and the West to present in the conference.
Time duration for each presentation would be twenty minutes and there will be ten minutes for discussion.
Research Scholars forum
Apart from the Plenary Sessions on the theme there will be a forum for Research Scholars to present their papers. It is
not necessary that it should fall under the general theme of the conference. Research scholars are invited to send
proposals on the topic of their interest in theatre. They will be given TEN minutes for their presentation and FIVE
minutes for discussion.
All the abstracts should be within 250 words along with brief details of the presenter.
Last date for sending abstracts: November15, 2007
Announcement of acceptance of abstract: November 30, 2007
Last date for registration: January 05, 2008
We regret to inform you that due to financial constraints we are unable to provide you any travel assistance.
The abstract may be sent to [email protected] and
[email protected]/ [email protected]
Abstracts by surface mail may be sent to:
Dr. Nagesh Bettakote, Reader in Theatre Arts
Conference Coordinator
Department of Performing Arts
University of Bangalore
Jnana Bharathi,
Bangalore- 560056
Karnataka, India
Telephones: 080+ 22961708/1703
For any assistance or further information, you may contact:
Page 7
Ravi Chaturvedi at [email protected]
Ananthkrishana at [email protected]
ISTR website:
http://www.istr-sirt.net/
Bangalore is a world famous tourist destination known as science and technology capital of India. There are several
websites to give you all the information of the town. However, to make the task easy, the suggested site is
http://www.discoverbangalore.com
Call for Papers: Popular Culture Association Meeting 2008
United States - San Francisco
November 1, 2007
LIBRARIES, ARCHIVES, AND MUSEUMS AREA
The Popular Culture Association will be holding its annual joint meeting with the American Culture Association March
19 - 22, 2008, at the San Francisco Marriott in San Francisco, California. Scholars from numerous disciplines will meet
to share their Popular Culture research and interests.
The Libraries, Archives, and Museums Area is soliciting papers dealing with any aspect of Popular Culture as it
pertains to libraries, archives, museums, or research. In the past this has included descriptions of research collections,
studies of popular images of libraries or librarians, analyses of web resources such as Wikipedia and YouTube, and
reports on developments in technical services for collecting popular culture materials.
Papers from graduate students are welcome.
Prospective presenters should send a one-page abstract (with full contact information) by November 1 2007, to:
Allen Ellis
Professor of Library Services
W. Frank Steely Library
Northern Kentucky University
Highland Heights, KY 41099-6101
USA
859-572-5527
FAX: 859-572-5390
E-Mail: [email protected]
For more information, see the conference website at http://www.pcaaca.org
Conférences - Danse et Résistance I
France - Pantin
November 17, 2007
14h00 Grand Studio
Conférence dansée Lynchtown (Charles Weidman, CNSMDP, Jean-Marc Piquemal). Le spectacle de la pièce
remontée aura lui lieu le 4 et 5 avril 2008
Entrée libre sur réservation.
15h30 Studio 8
Conférence "Redécouvrir Charles Weidman" (Deborah Carr).
Tarifs (Fees): 6 ; offert pour les abonnés.
RENSEIGNEMENTS ET RESERVATIONS/ Information and reservations
- par téléphone : 00 33/ (0)1 41 83 98 98 by telephone
Page 8
- par mail : [email protected] via an e-mail
- site internet : http://www.cnd.fr via the web site
Danse et Résistance I: "Les travailleurs dans la danse : lenjeu des
masses"
France - Pantin
November 15, 2007
18h00 - Studio 8
Conférencier Ellen Graff
Tarifs (Fees) : 6 , offert pour les abonnés
Radicalité du corps, postures subversives, injonctions idéologiques, la danse sexprime tout au long du XXe siècle
comme une forme de protestation. Comment les chorégraphes ont-ils, par leurs postures et leurs travaux, tenté de
résister ? À quoi sopposent-ils ?
La thématique « Danse et résistance » constitue un des fils rouges de la saison 2007-2008. Elle est marquée par
plusieurs temps forts. En novembre 2007, en janvier et en avril 2008, des spectacles, des conférences dansées, des
projections mais aussi lexposition « Dance Is a Weapon. NDG 1932/1955 » sont loccasion de découvrir le New Dance
Group, un collectif dartistes américains militants créé en 1932. Parallèlement, en janvier 2008, ont lieu le colloque «
Danse et résistance » et le spectacle de la chorégraphe féministe et engagée Cécile Proust. Enfin, en avril, une
journée est consacrée à la figure de José Limón, chorégraphe et danseur américain fortement marqué par ses
origines mexicaines.
There are 3 important times with this event : in november 2007, in january and in april 2008. There will be shows,
danced conferences and an exhibition « Dance Is a Weapon. NDG 1932/1955 » whose will permit to discover the
New Dance group, band of American artists created in 1932.
Claire Rousier
Directrice du département du développement de la culture chorégraphique
Jazz et pédagogie, une journée professionnelle
France - Pantin
October 23, 2007
10h30 à 12h30 et de 14h30 à 17h30
Au Centre national de la danse (CND) dans le Grand Studio
Avec la participation dOdile Cougoule, Daniel Housset et Patricia Karagozian
À loccasion de la parution de louvrage « Enseigner la danse Jazz », le CND organise une journée professionnelle.
Elle fait appel à la parole, à lenvie de danser et à la passion de tous pour le jazz dans un moment de partage vivant et
rythmé.
La journée souvre avec sur une représentation de la nouvelle publication par ses auteurs, suivie dun débat avec le
public et dun solo de Patrice Valero, Solo 01/ Et Changes !
Dans un atelier, Patricia Karagozian invite les amateurs et les professionnels à découvrir le swing, notion essentielle
de la danse jazz. Daniel Housset présente des images duvres de chorégraphes américains, tels que Bob Fosse ou
Jack Cole, à qui beaucoup attribuent la paternité du modern jazz. Patricia Alzetta clôt cette journée avec un duo
extrait de sa création Résisterpourquoi ?
Page 9
For the launch of the book « Enseigner la danse Jazz », the CND organizes a professional day. It appeals the word,
the envy to dance and the passion of all for the jazz in a moment of alive and rhythmical sharing.
The day opens with a representation of the new book by its authors, following by a debate with the public and a solo
of Patrice Valero, Solo 01/ Et Changes !
In a workshop, Patricia Karagozian invites amateurs or professionals to discover the swing, essential notion of the jazz
dance. Daniel Housset presents images of American choreographic works, like the ones of Bob Fosse or Jack Cole,
that a represented as the fathers of the modern jazz.
Patricia Alzetta finishes this day with a duo extract from her creation Résisterpourquoi ?
ENTRÉE LIBRE SUR RÉSERVATION/ Free access on reservation
- par téléphone :-T. 00 33/ (0)1 41 83 98 98 by telephone
- par mail : [email protected] via the internet
Centre national de la danse
1, rue Victor Hugo
93507 Pantin Cedex
Le cubisme et les arts du spectacle
France - Paris
October 23, 2007
Institut national dhistoire de lart
Salle Vasari
2 rue Vivienne
75002 Paris
Accès : 6 rue des Petits Champs
18h
Conférence donnée par Erik Näslund, Docteur de lettres de lÚniversité de Stockholm et Directeur du Dansmuseet
Très peu de temps après son apparition (1907-1909), le cubisme commença à marquer son influence dans les arts du
spectacle. Traditionnellement Parade, créé pour les Ballets Russes de Diaghilev en 1917 par Picasso, Cocteau,
Massine et Satie, est considéré comme le premier « ballet cubiste », dans la mesure où il met en uvre des décors et,
plus encore, des costumes (les Managers) conçus comme autant de sculptures cubistes et insère des éléments
mécaniques dans la musique (les fameuses machines à écrire), le porte voix de Cocteau, tandis que la chorégraphie
de Massine tente de renouveler les pas et gestes de la danse dite classique.
En réalité on relève plusieurs reflets du cubisme dans les arts du spectacle avant 1917, en Europe et surtout en
Russie. Ce projet de recherche est le premier à essayer de dégager les relations entre un nouveau mouvement
artistique davant-garde comme le cubisme et le domaine des arts du spectacle, longtemps régi par la tradition ; il
tentera de définir comment le cubisme offrit des nouvelles possibilités de création dun langage des mouvements
plastiques et ouvrit les portes pour un traitement plus contemporain des expressions scéniques.
Docteur de lettres de lÚniversité de Stockholm et Directeur du Dansmuseet (Musée de la Danse) à Stockholm depuis
1989, Erik Näslund a également écrit un grand nombre de livres et biographies sur les artistes de la danse : Carina Ari
et Birgit Cullberg, le peintre Nils Dardel et le sculpteur Carl Milles.
Pendant plus de vingt ans il a rédigé des critiques sur les arts du spectacle dans les revue et quotidiens suédois et
internationaux. En tant que conservateur, il a organisé un très grand nombre dexpositions, notamment sur les Ballets
Suédois, les Ballets Russes et les arts russes : notamment une exposition sur les Ballets Suédois en 1994 au Musée
de lÓpéra à Paris et une exposition sur Nijinsky en collaboration avec Martine Kahane, presentée en 2000 à
Stockholm, Hambourg et à Paris au Musée dÓrsay.
Contact : [email protected]
Page 10
Les 50 ans du spectacle Ionesco
France - Paris
October 2, 2007
18h30-20h30
Bibliothèque nationale de France
Site François- Mitterrand
Soirée organisée autour du Théâtre de la Huchette et des pièces La Cantatrice chauve et La Leçon d'Ionesco
données chaque soir depuis plus de 50 ans dans ce théâtre. Il est prévu une table ronde, une présentation d'extraits
de films de Jean Ravel de 1966, une courte représentation théâtrale et la signature de l'ouvrage Le Fabuleux roman
du théâtre de la Huchette.
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http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm>http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm<a/>
Les Européens dans le cinéma américain : émigration et exil
France - Paris
October 26, 2007
Fondation de la maison des sciences de lhomme (FMSH)
54 boulevard Raspail
75006 Paris
10h-17h
Ce programme se terminera à la fin de lannée 2007, après huit ans dexistence.
Seront présents les principaux partenaires du programme venant de différents pays européens et des États-Unis, et
appartenant à diverses institutions. Chaque participant présentera son rôle, sa participation et ses activités de
recherche au sein du programme. Lobjectif essentiel de cet atelier sera détablir le bilan en termes denjeux
scientifiques, de réalisations et de résultats de recherche, mais également analyser ce que le programme a apporté
(ou non) au thème choisi et aux recherche cinématographiques.
À la fin de cette réunion, sera projeté le documentaire réalisé par notre partenaire Guiliana Muscio sur les acteurs
italiens à Hollywood, sujet très important pour notre programme et encore peu traité par les chercheurs.
Un bilan du programme sera présenté par Irène Bessière devant les Conseil international dévaluation de la FMSH et
au conseil scientifique de lINHA fin 2007.
Créé à liniative dIrène Bessière (FMSH, INHA) et de Roger Odin (université de Paris III-Sorbonne Nouvelle), par la
Fondation de la maison des sciences de lhomme et la co-organisation de lInstitut national dhistoire de lart.
Contact : [email protected]
Les représentations du Noir au théâtre
France - Paris
October 16, 2007
18h30-20h30
Rencontre organisée en avant-première de l'exposition sur le théâtre de l'Athénée.
Avec
Philip Boulay, metteur enscène
Christel Alves Meira, metteur en scène
Sylvie Chalaye, Université de Paris 3
Page 11
Plus d'infos : http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm
Protestantisme et cinéma français
France - Paris
November 17, 2007
9h30-18h
Journée d'étude organisée par André Encrevé.
Programme et davantage d'informations : http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm
Richard Peduzzi
France - Paris
November 8, 2007
18h30-20h30
Conférence organisée dans le cadre du cycle Mon théâtre.
En collaboration avec le département des Arts du spectacle, La BnF propose un rendez-vous régulier avec une figure
marquante du théâtre. Après Jacques Lassalle, Roger Planchon, Lucien Attoun et Micheline Attoun, c'est au tour de
Richard Peduzzi d'évoquer sa carrière.
Depuis 1969, Richard Peduzzi réalise toutes les scénographies, souvent mystérieuses et labyrinthiques, des
spectacles du metteur en scène Patrice Chéreau. Il retrace pour nous son parcours.
Plus d'informations: http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm
Theorising Performance Reception - APGRD Conference
September 14, 2007 - September 15, 2007
Classics Centre
Topics to be addressed include semiotics, the body, Shakespearean performance history as comparand, audiences,
authenticity, post-modernism and performance, paganism in the light of contemporary metaphysics, and the historical
(re)constitution of the text.
The confirmed speakers and invited Chairs include
Keynote Speaker: Professor Erika Fischer-Lichte (Freie Universitaet, Berlin)
Dr Felix Budelmann (Open University)
Professor Freddy Decreus (University of Ghent, Belgium)
Professor Helene Foley (Barnard College, Columbia University)
Professor Mary-Kay Gamel (University of California, Santa Cruz)
Professor Simon Goldhill (University of Cambridge)
Professor Lorna Hardwick (Open University)
Professor Charles Martindale (University of Bristol)
Professor David Wiles (Royal Holloway, University of London)
Page 12
Student Bursaries
Owing to the generosity of the Classical Association and the Society for the Promotion of Hellenic Studies up to 16
bursaries of at least £70 are available to students working at any University except Oxford. Although the SHPS
bursaries are earmarked for postgraduate students whose work falls under the area of Hellenic Studies, students from
other departments whose work would benefit from attendance at the conference are encouraged to apply. Each
bursary will cover the £25 registration fee and one nights standard accommodation at Worcester College. Subject to
demand, it may also be possible to offer something towards travel expenses.
To be considered for a bursary please send the following items to Theory Conference: Bursaries (at the address
above) by 31 July 2007:
a) a letter of application, including details of your programme of study and, if applicable, an outline of your research;
b) an academic recommendation under separate cover;
c) an estimate of your travel expenses.
Registration
The £25 registration fee includes lunch on Friday 14 September and all refreshments for the duration of the
conference. In addition, it is possible to book in for the buffet supper with wine on the evening of Friday 14 September.
Standard and ensuite rooms are available on a bed and breakfast basis at Worcester College, located within a tenminute walk of the conference venue (standard single room £45; ensuite single £76). To register for this conference,
please either:
a) go to http://www.apgrd.ox.ac.uk/events/conftheory.htm, and follow the link to the electronic booking facility for
registration and payment online (n.b.there is a surcharge of 50p for credit/debit card bookings)
or b) use the registration form, which you may print from http://www.apgrd.ox.ac.uk/events/conftheory.htm;
alternatively, request a paper version by contacting us on [email protected] or 01865 288 210.
Funding Bodies
We are very grateful to the British Academy, the Classical Association, the Society for the Promotion of Hellenic
Studies, and the Classics Faculty at the University of Oxford for their generous support of this conference.
* : Modified only
Page 13
2. EXHIBITIONS
A.T. Linhart, European Man of Excellence
Slovenia - Radovljica
December 11, 2007
The National Theatre Museum of Slovenia is preparing a permanent exhibition in collaboration with Radovljica
Municipality Museums, dedicated to the 250th anniversary of A.T. Linhart's birth.
Radovljica, a small town not far away from the Lake of Bled, is the birthplace of the first Slovenian dramatist Anton
Toma Linhart. Born in 1756, he studied in Vienna and spent most of his life in Ljubljana, where he died in 1795. He
was one of the most important representatives of the Enlightement in Slovenia, well read and influential on several
fields of culture: Linhart contributed a great deal to organize the first public library, has written books on Slovene
history, a book of poetry and drama ("Miss Jenny Love") in German language.
He is celebrated as the first Slovene dramatist as he published two comedies in Slovene language: upanova Micka
(based upon the work of Vienesse writer Richter : Die Feldmühle) and Ta Veseli dan ali Matiček se eni (based
upon French author Beaumarchais: La folle journee ou le mariage de Figaro). Both works were printed in Ljubljana in
1789. The author staged upanova Micka at the end of the same year in the Ljubljana Estate Theatre where by then
only Italian and German wandering troups have performed. The roles were played by the author's friends, amateurs,
and the performance is a milestone in the history of Slovene theatre. Linhart is as important to the Slovenes as Mozart
or Schiller is to the Austrians or Germans. All three of them play an important role in shaping the bygone and the
present-day spirit of the uniting Europe.
The exhibition will be based upon research work led by the National Theatre Museum of Slovenia. A 600 pages
volume of proceedings of several authors was published in 2005 (in Slovene with English summaries). At the opening
a catalogue published on the occasion of this exhibition will be presented in Slovene and English language.
Drawn to the Stage: Australian stage design from the Arts Centres
Performing Arts Collection
Australia - Melbourne
July 21, 2007 - October 28, 2007
Drawn to the Stage showcases the Arts Centres magnificent collection of stage design, spanning the late nineteenth
century to the present day. This free exhibition charts the history of Australian stage design as told through the
Performing Arts Collection.
The exhibition includes over 300 works by 50 designers, following their creative journey from early concepts to their
finished designs. Youll see how the designer's work evolves through costume, set designs, set models, sketches and
working drawings.
Drawn to the Stage is composed around seven themes that explore the way the Arts Centres Performing Arts
Collection intersects with the history of Australian stage design.
An eclectic Uniquely Australian display explores the way designers have depicted Australian imagery for the stage
and Contemporary Collecting highlights recent donations, by three leading contemporary designers Roger Kirk, Brian
Thomson and the late Trina Parker.
Contemporary Collecting includes Roger Kirk's costume design bible for Dusty: The Original Pop Diva, a swathe of
material donated by Brian Thomson relating to The King and I, and the bequest of the late Trina Parker. This section
illustrates the scope of design work acquired for the Performing Arts Collection and preserved for future generations.
Work by mid 20th century stage designers such as Tivoli Theatre stalwart Angus Winneke and ground-breaking
professional designers John Truscott and Anne Fraser will also be on display.
Page 14
The Australian Ballet is represented through a roll-call of visionary designers including Hugh Colman, Kristian
Fredrikson, Kenneth Rowell, Anna French, Jennifer Irwin and Michael Pearce.
The Lady Viola Tait Collection illustrates the way productions were imported for the Australian stage at the turn of the
20th century.
The Performing Arts Collection is Australias largest and most important collection of performing arts history and
traditions. It is comprised of more than 300,000 items documenting nearly 200 years of performance in Australia
across theatre, music, dance, circus and opera.
The Arts Centre
George Adams Gallery
St Kilda Road Gallery & Smorgon Family Plaza
100 St Kilda Rd
Melbourne
VIC 3004
Media enquiries: Publicist Christy Bicknell (03) 9281 8198 or 0403 539 235 or [email protected]
http://www.theartscentre.net.au/about-us_media-centre_news_detail.aspx?view=329
Graziella Vigo Captures Verdi on Stage
November 20, 2007 - February 22, 2008
New York
NY 10023-7498
Hours: Tues, Wed & Fri: 11 to 6
Mon, Thurs: 12 to 8
Sat: 10 to 6
Free entrance
This exhibition features 130 images by the famed Italian fashion, portrait, and performance photographer, Graziella
Vigo. At the suggestion of maestro Riccardo Muti, Vigo photographed productions of Verdi operas at the Teatro alla
Scala, in Milan, and the Teatro Regio, in Parma. Ms. Vigo also photographed productions at Bunka Kaikan in Tokyo.
The over-sized photographs, hand-printed on canvas, comprise strikingly dramatic images of Verdi's most popular
operas: Aida, La traviata, Il trovatore, Rigoletto, Un ballo in maschera, Macbeth, and two productions each of Falstaff
and Othello.
Les Ecritures du mouvement
France - Lyon - Chartres
October 9, 2007 - January 3, 2008
Exposée au CND lannée dernière, elle va désormais tourner et sera présente à :
Exposed last year at the CND, it will now turn on different places:
- La Maison de la danse de Lyon du 9 octobre au 25 novembre 2007
- Au théâtre de Chartres du 3 décembre 2007 au 3 janvier 2008
Cette exposition, conçue par Claire Rousier, invite à découvrir les « écritures du mouvement » et retrace leur histoire.
Page 15
Depuis le 15ème siècle, plus dune centaine de systèmes de notation du mouvement ont vu le jour. Des partitions de
Feuillet au 18ème siècle jusquaux transcriptions chorégraphiques dartistes daujourdhui, en passant par les figures
dessinées de Carlo Blasis au 19ème siècle ou encore les partitions de Laban et de Benesh au 20ème siècle,
lexposition permet de situer les temps forts de lhistoire de la notation et ses figures marquantes.
Elle met aussi en lumière la grande diversité de ses formes. La notation saffirme comme un outil remarquable pour
analyser les composantes du mouvement et les styles générés par leur combinaison. À ce titre, lutilisation des
systèmes de notation dépasse largement le champ de la danse : lanthropologie y fait notamment appel pour
comprendre la spécificité culturelle des comportements moteurs.
La diffusion de cette exposition pédagogique et gratuite permet ainsi de poursuivre la volonté du CND de faire
découvrir à un public toujours plus large, la diversité des écritures du mouvement, leurs fonctions, et leurs utilisations
dans le monde de la danse comme dans dautres domaines.
This exhibition conceived by Claire Rousier, invites to discover the writings of the movements and their story. For the
15th century, more than hundred of systems of notation of the movement were born. Scores of Feuillet in the 18th
century until the choreographic transcriptions of current artists, by the way of faces drawn by Carlos Blasis in the 19th
century or also scores of Laban and Benesh in the 20th century, the exhibition allows to place the important times of
the story of the notation.
It also underlines the great diversity of its forms. The notation asserts itself as a remarkable tool to analyze the
constituents of the movement and the styles generated by their combination. The use of systems of notation exceeds
widely the fields of the dance: the anthropology notably appeals to it to understand the cultural specificity of the
behaviours.
This exhibition will show the diversity of systems of notation, theirs applications and theirs uses in dance and in
general life. Moreover, the diffusion of this free exhibition permits to follow our aim to target a largest audience.
Entrée libre / Free access
Maison de la danse de Lyon
8 avenue Jean Mermoz
69008 Lyon
Téléphone: 00 33 4 72 78 18 00
http://www.maisondeladanse.com/index.php?id=2&L=0
Théâtre de Chartres
Boulevard Chasles
28000 Chartres
Téléphone : 00 33 2 37 23 42 79
http://theatredechartres.fr/
Lincoln Kirstein: Alchemist
Vincent Astor Gallery
New York
NY 10023-7498
Hours: Tues, Wed & Fri: 11 to 6
Mon, Thurs: 12 to 8
Sat: 10 to 6
Free entrance
Page 16
At his centennial, institutions around New York City are celebrating writer, poet, and arts patron Lincoln Kirstein and
his impact on American culture. Lincoln Kirstein: Alchemist focuses on the five dance companies he founded the
American Ballet, Ballet Caravan, American Ballet Caravan, Ballet Society, and the New York City Ballet. Each was, in
its own way, experimental and pushed the edges of American culture and society. He brought choreographers
together with young artists and composers, leading to masterpieces as different as Billy the Kid, Concerto Barocco,
The Seasons, and Orpheus. Among the designers whose art is featured are Cecil Beaton, Aline Bernstein, Isamu
Noguchi, Tchelichew, and Ben Shawn, whose designs for the unproduced Uncle Tom's Cabin are on display. The
exhibition also recognizes Kirstein's role in the founding of the Library's Dance Collection, now the Jerome Robbins
Dance Division.
Matthias Kralj - stage designs and costumes (
Austria - Vienna
The National Theatre Museum of Slovenia will present an exhibition showing the work of stage and costume designer
Matthias Kralj in the Austrian Theatre Museum, Lobkowitz Palais.
The exhibition with the catalogue was first presented in Ljubljana 2003 and was also seen in Klagenfurt. The artist
was born in 1933 in Ljubljana, Slovenia, lived in Klagenfurt since 1942, studied in Vienna between 1952-1958 at the
Akademie fur bildende Künste (Acadely of Arts) and at Vienna University (Theatre studies).
He was employed in several Austrian and German theatres: Lübeck (1958-63), Mannheim (1963-64), Braunschweig
(1964-68), Klagenfurt (1968-1976), the Burgtehater in Vienna (1976-1993) and collaborated as a guest in several
European theatres: Munich, Thessaloniki, Athens, Hamburg, Berlin, Salzburg, Lisabon, Ljubljana, Zurich, Stuttgart,
Essen, in Vienna in the Staatsoper, Volksoper and Volkstheater, to mention the most important places.
He was teaching at Vienna University for several years and also invited to the USA. He gave lessons at Stanford
University, California and designed for Stanford University Theatre productions. For his work he won several prizes:
Goldene Fuger-Medaille der Akademie der bildenden Künste, twice Kainzmedaille and also Bundesverdienstkreuz für
Wissenschaft und Kunst. The artist is retired, lives in Klagenfurt and will be present at the opening of the exhibition.
http://www.theatermuseum.at/flash/page/veran/index.htm
Österreichisches Theatermuseum
Lobkowitzplatz 2
A-1010 Wien
00 43 1 525 24- 3460
[email protected]
Opening
Tuesday - Sunday: 10 - 18 h
Admission
4,50 (concession 3,50 )
Sacha Guitry : une vie d'artiste
France - Paris
October 17, 2007 - February 18, 2008
Cinématèque française
51, rue de Bercy
Page 17
75012 PARIS
Coproduction : Cinémathèque française et Bibliothèque nationale de France
Sacha Guitry aura été, de son vivant, adulé et admiré, puis jalousé et décrié, calomnié. Il connut une traversée du
désert, avant d'être réhabilité au milieu des années 50 par un jeune critique, François Truffaut. Avec la Bibliothèque
nationale de France, la Cinémathèque organise une grande exposition consacrée à Guitry, dont Noëlle Giret et Noël
Herpe sont les commissaires. Ecrivain, auteur de pièces et d'opérettes, comédien, photographe et dessinateur,
publicitaire de talent, cinéaste bien sûr, collectionneur, admirateur, Guitry sera revisité, de part en part, sous les
facettes multiples de son personnage. Cette exposition - « Sacha Guitry, Une vie d'artiste » - fera revivre une des
figures artistiques parmi les plus singulières du XXe siècle.
Plus d'informations :
http://www.cinematheque.fr/fr/nosactivites/expositions-cinema.html
Horaires
Du lundi au samedi de 12h à 19h, nocturne le jeudi jusquà 22h
Le dimanche de 10h à 20h.
Fermeture le mardi.
01 71 19 33 33
Tarifs
5 (réduction 4 )
Catalogue coédité par Gallimard, Bibliothèque nationale de France et Cinémathèque
Voir rubrique catalogues d'exposition.
Théâtre de l'Athénée Louis Jouvet 1982-2007 : 25 ans de théâtre
public
France - Paris
November 13, 2007 - December 30, 2007
Site Richelieu, Crypte
Plus d'informations :
http://www.bnf.fr/pages/cultpubl/pdf/saison0708expos07.pdf
Publication d'un livre en parallèle de l'exposition:
Si on voulait écrire l'histoire du théâtre : Athénée Théâtre Louis Jouvet, 1982-2007
chez Adam Biro
Theatre Museum Amsterdam - various exhibitions
DANCE!
People dance for various reasons. For some it is art and artistic expression, for others it is relaxation and enjoyment.
But how one experiences dance - on the dance floor, the stage or in the ballroom - it is always an experience. Dance!
presents a wide range of dance forms and styles, ranging from classical ballet to modern dance and from world dance
to show dance and club dance. Dance is brought to life by costumes, special objects, unique photos and video
fragments.
One of the highlights is the monumental canvas depicting cancan dancers by the painter Jan Sluyters, probably dating
Page 18
from 1915. A touching item is the little shoe left behind by Anna Pavlova after her sudden death in the Hotel Des Indes
in 1931. There are sensuous photos of nightclub dancers dating from the 1960s, while the barbed-wire tutu from the
Grand Cru dance companys 2004 production Double U appeals to the senses in a rather different way.
The Dance! exhibition is accompanied by an extensive supplementary programme. From September onwards there
will be dance workshops, guided tours and performances in the museum.
BACKSTAGE (permanent exhibition)
Visitors to 'Backstage' - an exhibition about making theatre - discover that a performance is a combination of several
disciplines. The six most important parts of theatre making are introduced: text, directing, play, costumes, scenery,
light and sound. Theatre makers of all kind comment and give their view on their passion for the profession.
MOVIMENTO, Dance photography by Joris-Jan Bos (until december 2nd)
A special exhibition with 30 photos shot bij Joris-Jan Bos, the free-lance house photographer of the Nederlands Dans
Theater. Joris-Jan Bos is specialised in dance photography since he started his professional career in 1984. He also
photographed for the Ballett Frankfurt and Het Nationale Ballet, to mention some groups. The exhibition does not only
show the development in the work of Joris-Jan Bos, but also gives a good overview on dance as it is performed by
contemporary dance companies.
Herengracht 168
1016 BP Amsterdam
T: +31 (0)20 551 33 00
T: +31 (0)20 551 33 03
http://www.tin.nl
Opening hours
Monday to Friday 11am - 5pm
Saturday and Sunday 1pm - 5pm
Admission
Adults 4,50
Groups (min. 15 people) 3,50
* : Modified only
Page 19
3. PUBLICATIONS
3.1. GENERAL
3.2. THEATRE
Bleu et or : La scène et la salle en France au temps des Lumières
France - Paris
May 25, 2007
Michèle Sajou d'Oria
CNRS Editions
Collection Sciences de la musique
Série Etudes
Broché: 277 pages
ISBN-10: 2271065046
ISBN-13: 978-2271065049
39
Au cours de la seconde moitié du XVIIIe siècle, la France réinvente le Théâtre. La scène devient alors un espace
autonome : il n'y a plus de spectateurs sur la scène, plus de places debout au parterre ! La scène s'ouvre au regard.
L'éclairage, la place des acteurs : tout va changer.
Tous les hommes de lettres, architectes, journalistes, de Voltaire à Ledoux, de Marmontel à Boullée, discutent et
accompagnent ces transformations qui font les salles de théâtre telles que nous les connaissons aujourd'hui. Ce sont
tous ces débats où se mêlent idéal des Lumières, comportement mondain, misogynie que fait revivre Michèle Sajous
D'Oria.
Le bleu et l'or, longtemps réservés à la monarchie et à l'Église, deviennent les signes d'une dignité nouvelle des salles
de spectacle. Une centaine de théâtres ont été construits entre 1748 et 1807, date à laquelle Napoléon reprend en
main les spectacles. Michèle Sajous sait faire revivre pour nous par l'anecdote et l'image cette période d'intense
activité et de profonds renouvellements.
Biographie de l'auteur
Michèle Sajous D'Oria est professeur à l'Université de Bari (Italie). Elle a édité Nicodème dans la lune, ou la
Révolution pacifique de Beffroy de Reigny (1982), et est devenue l'une des spécialistes de l'histoire des salles de
spectacles en France.
http://www.cnrseditions.fr/Sources/Liste_Fiche.asp?CV=5880&type1=Ouvrage
Marian Moments in Early Modern British Drama
May 7, 2007
Regina Buccola and Lisa Hopkins
Series: Studies in Performance and Early Modern Drama
198 pages
Hardback
Page 20
219 x 153 mm
ISBN: 0 7546 5637 3
$99.95/£50.00
Concerning itself with the complex interplay between iconoclasm against images of the Virgin Mary in postReformation England and stage representations that evoke various 'Marian moments' from the medieval, Catholic
past, this collection answers the call for further investigation of the complex relationship between the fraught religiopolitical culture of the early modern period and the theater that it spawned.
Joining historians in rejecting the received belief that Catholicism could be turned on and off like a water spigot in
response to sixteenth-century religious reform, the early modern British theater scholars in this collection turn their
attention to the vestiges of Catholic tradition and culture that leak out in stage imagery, plot devices, and
characterization in ways that are not always clearly engaged in the business of Protestant panegyric or polemic.
Among the questions they address are: What is the cultural function of dramatic Marian moments? Are Marian
moments nostalgic for, or critical of, the 'Old Faith'? How do Marian moments negotiate the cultural trauma of
iconoclasm and/or the Reformation in early modern England? Did these stage pictures of Mary provide subversive
touchstones for the Old Faith of particular import to crypto-Catholic or recusant members of the audience?
Contents
Preface; Foreword, Arthur F. Marotti; Introduction, Regina Buccola and Lisa Hopkins; 'Here in this garden': the
iconography of the Virgin Queen in Shakespeare's Richard II', Helen Ostovich; 'One that's dead is quick': Virgin rebirth in All's Well That Ends Well, Alison Findlay; Inverting the Pietà in Shakespeare's King Lear, Katharine Goodland;
'Black but beautiful': Othello and the cult of the Black Madonna, Lisa Hopkins; Desdemona and the Mariological
theology of the will in Othello, Greg Maillet; The wonder of women: virginity, sexuality and religio-politics in Marston's
The Tragedy of Sophonisba, Thomas Rist; Easter scenes from an unholy tomb: Christian parody in The Widow's
Tears, Alice Dailey; Virgin fairies and imperial whores: the unstable ground of religious iconography in Thomas
Dekker's The Whore of Babylon, Regina Buccola; Not kissing the (He)rod: The Tragedy of Mariam, Stephanie
Hodgson-Wright; Index.
Regina Buccola is Associate Professor of Literature and Language at Roosevelt University, USA. Lisa Hopkins is
Professor of English at Sheffield Hallam University, UK.
Revue dHistoire du Théâtre
France - Paris
N° 234 (2007-2)
Dossier Jouvet Giraudoux
Louis Jouvet et Jean Giraudoux : Un « attelage dramatique si bien noué » par Guy Teissier
Lettre inédite de Louis Jouvet à Jean Giraudoux
Théorie et problèmes de la mise en scène chez Jouvet et Giraudoux par Elizabeth Scheele
Giraudoux et la notion de tragédie par Marie-Claude Hubert
Les revues de Gordon Craig par Marc Duvillier
Jouer les pleurs : représentation des larmes et statut de linterprète au dix-huitième siècle par Sophie Marchand
Livres et revues (comptes rendus)
- Jean CHOLLET, « André Acquart, architecte de léphémère » (Paul-Louis Mignon)
- Odette ASLAN, LActeur au XXe siècle, éthique et technique (Marie-Françoise Christout)
- Tadeusz KOWZAN, Théâtre miroir, métathéâtre de lantiquité au XXIe siècle (Yannick Butel)
- Georges FORESTIER, Jean Racine (André Blanc)
- Anne VERDIER, Histoire et poétique de lhabit de théâtre en France au XVIIe siècle (1606-1680) (Colette Scherer)
- Antoine ANDRIEU-GUITRANCOURT et Serge BOUILLON, Jacques Hébertot le magnifique (1886-1970) (MarieFrançoise Christout)
- La Duchesse du Maine (1673-1753). Une mécène à la croisée des arts et des siècles (Marie-Françoise Christout)
- Louise FUSIL, Souvenirs dune actrice (Marie-Françoise Christout)
Page 21
N° 235 (2007-3)
Le chur matriciel. Etude expérimentale de pratiques scéniques par Jean-Pierre Triffaux
Un drame est-il possible après 1945 ? par JeanYves Guérin
La fête juive de Pourim dans le théâtre comtadin par Roger Klotz
Le théâtre, un art de la double vue : une lecture de lUt Pictura poesis par Emmanuelle Hénin
Fou de soi. Equivoque et théâtre dans le théâtre : Les Visionnaires de Desmarets par Normand Doiron
Publication trimestielle par la Société d'Histoire du Théâtre
Abonnement France : 57
Abonnement Europe : 60
Abonnement étranger : 63
Vente au numéro : 15 + frais de port
Société d'Histoire du Théâtre
BnF- 58 rue de Richelieu
Tél : 00 33 1.42.60.27.05
Fax : 00 33 1.42.60.27.65
http://www.sht.asso.fr
[email protected]
Roger Blin - Collaborations and Methodologies *
February 28, 2007
Taylor-Batty, Mark
274 pages
ISBN 978-3-03910-502-1
US-ISBN 978-0-8204-7508-0
Paperback
£ 29.00
44.60
US-$ 57.95
Roger Blin's career in the Arts was woven inextricably into the fabric of the Twentieth-Century French Avant-Garde.
First appearing in the films of Abel Gance, Marcel Carné and Jean Cocteau, his acting career led him to a close
friendship and association with Antonin Artaud, for whom he performed the function of assistant
director. He championed Samuel Beckett's En attendant Godot, otherwise rejected unanimously by the French
theatrical establishment, was Jean Genet's director of choice and was long associated with artists and practitioners as
diverse as Arthur Adamov, Jean-Louis Barrault and Jacques Prévert. Marxist in outlook, Blin also sought to
apply rigorous humanist principles to his art and delighted in the opportunities he enjoyed to disrupt and upturn the
attitudes and complacencies of certain of his audiences. This book surveys all aspects of Blin's artistic output to
consider and clarify his motivations, his ambitions and his aesthetic preferences. In doing so, the author hopes to offer
perspectives on the methodologies that Blin employed and define the influence his work and his legacy has exerted
on the French and World stage.
Contents: Biographical background and social and political contextualisation - The artistic influences of Jacques
Prévert, Sylvain Itkine and Jean-Louis Barrault - Associate director of the Gaïté-Montparnasse - Arthur Adamov's early
plays - Directing Samuel Beckett's early plays - The theatre of provocation: Jean Genet's drama - 'Active humility' and
Page 22
a director's methodology.
Mark Taylor-Batty is Senior Lecturer in Theatre Studies at the University of Leeds, UK. He has published on the
writings of Harold Pinter and Samuel Beckett, and has interests in issues of translation for the stage, author/director
relationships and the status of the text in performance.
Samuel Beckett's Abstract Drama - Works for Stage and Screen
1962-1985
September 28, 2007
Tonning, Erik
ISBN 978-3-03911-022-3 paperback
291 pages
54.60
£ 35.50
US-$ 70.95
Samuel Beckett's Play, written 1962-63, was an aesthetic watershed inaugurating his late, 'abstract' dramatic style.
This book gets close to Beckett's creative process by examining the possible influence of Arnold Schoenberg's twelvetone music and Vassily Kandinsky's abstract painting upon this formal shift; by tracing Beckett's developing attitude to
abstraction and its relation to his long-standing preoccupation with the 'breakdown' of the subject-object relation and
the ultimate failure of all expression; and by following his formal choices through manuscript drafts. The author goes
on to analyse Beckett's attempt to adapt his new methods to the media of film and television, and to demonstrate how
Beckett's late works for stage and screen develop alongside one another right up to his 1985 adaptation of the plaWy
hat Where for television. Throughout the book, unpublished manuscript materials such as Beckett's letters, drafts,
notes on philosophy, psychology and art, and his 'German diaries' augment a detailed account of the submerged
sources that Beckett appropriated to the evolving needs of
his abstract dramatic art.
Contents: Beckett and abstraction: documented attitudes - Beckett's aesthetics: from Schopenhauer's irrational Will to
the inexpressible 'incoherent continuum' - Weakness, failure, distress and the original sin of having been born Formal disintegration in The Unnamable and the pre-Play drama - Abstract form in Play: foregrounding the inhuman
system - Beckett's analogy with Schoenberg and Kandinsky - The search for form: drafts of Play and Come and Go
Come and Go - Instructive failures at abstraction in Film and Eh Joe - Not I, That Time and Footfalls: staging
insubstantial states of self - Beckett's reshaping of Expressionist images - Depth psychology as structural template Presenting ghostly images: Ghost Trio and ...but the clouds... - Vermeer as formal model - Beethoven, Yeats and
Romantic 'Sehnsucht' - Ritualised desire and the unattainable Lady - Leibnizian monadology as formal model in A
Piece of Monologue, Ohio Impromptu, Rockaby, Quad (I & II), Nacht und Träume and What Where - 'Like something
out of Beckett': staging the creative self as monad.
The Author: Erik Tonning, D. Phil. (Oxon), is Research Fellow of the Centre for Christianity and Culture, Regent's Park
College, University of Oxford, and Norwegian Research Council Postdoctoral Fellow at the Department of Literature,
Area Studies and European Languages, University of Oslo. His current project is on Beckett's livelong agony with
Christianism.
http://www.peterlang.com/index.cfm?vID=11022&vLang=F&vHR=1&vUR=2&vUUR=1>http://www.peterlang.com/inde
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Theater and Nation in Eighteenth-Century Germany
May 16, 2007
Michael J. Sosulski
Series: Studies in European Cultural Transition
252 pages
Hardback
ISBN: 0 7546 3719 0
$99.95/£50.00
In 1767, more than a century before Germany was incorporated as a modern nation-state, the city of Hamburg
chartered the first Deutsches Nationaltheater. What can it have meant for a German playhouse to have been a
national theater, and what did that imply about the way these theaters operated? Michael Sosulski contends that the
idea of German nationhood not only existed prior to the Napoleonic Wars but was decisive in shaping cultural
production in the last third of the eighteenth century, operating not on the level of popular consciousness but instead
within representational practices and institutions. Grounding his study in a Foucauldian understanding of emergent
technologies of the self, Sosulski connects the increasing performance of body discipline by professional actors,
soldiers, and schoolchildren to the growing interest in German national identity.
The idea of a German cultural nation gradually emerged as a conceptual force through the work of an influential series
of literary intellectuals and advocates of a national theater, including G. E. Lessing and Friedrich Schiller. Sosulski
combines fresh readings of canonical and lesser-known dramas, with analysis of eighteenth-century theories of
nationhood and evolving acting theories, to show that the very lack of a strong national consciousness in the late
eighteenth century actually spurred the emergence of the German Nationaltheater, which were conceived in the spirit
of the Enlightenment as educational institutions. Since for Germans, nationality was a performed identity, theater
emerged as an ideal space in which to imagine that nation.
Contents
General editor's preface; Preface; Introduction; Sitten und Sittlichkeit: Theater and nationhood in 18th-century
Germany; Actors and acting in 18th-century Germany; Trained minds, disciplined bodies: Konrad Ekhof and the
reform of the German actor; 'Mit täuschender wahrheit': acting, drama, and subjectivity in late 18th-century German
theater; The shattered mirror; Epilogue: identity and the German national theater; Bibliography; Index.
Michael J. Sosulski is Assistant Professor of German in the Department of German, Kalamazoo College, USA.
3.3. FILM
Opera, Liberalism, and Antisemitism in Nineteenth-Century France The Politics of Halévy's La Juive
United Kingdom - Cambridge
August 16, 2007
Series: Cambridge Studies in Opera
Cambridge University Press
Diana R. Hallman
Page 24
University of Kentucky
408 pages
228 x 152 mm
ISBN-13: 9780521038812
£35.00
This comprehensive critical study of the nineteenth-century French grand opéra La Juive (Paris Opéra, 1835) is a
powerful and successful work by the leading dramatist and librettist Eugène Scribe, and Conservatoire-trained
composer, Fromental Halévy. Hallman explores the politically charged messages of the opera within the context of
French social and cultural history. The book addresses the operas portrayal of religious intolerance and JewishChristian conflict in subject, setting and characterization, viewing the anticlerical thrust of its critique as a reminder of
the historical abuses of an autocratic Church and State and as reflection of the eras liberal ideology. It also considers
the portrayal of the central Jewish characters in light of literary stereotypes and contradictory, antisemitic attitudes
toward Jews in French society.
Contents
List of illustrations; Preface; Acknowledgements; List of abbreviations; Introduction; 1. The collaboration and
rapprochement of the authors of La Juive; 2. The Halévys: citoyens and israélites of France; 3. The Council of
Constance and the Voltairean critique; 4. Jewish-Christian opposition in music and drama; 5. Eléazar and Rachel as
literary stereotypes; 6. The milieu of La Juive: Jewish imagery and identity in the July Monarchy; Epilogue;
Appendices; Bibliography; Index.
http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521038812
Publication of article about Letty Lind in Gaiety Magazine
August 30, 2007
Graeme Cruickshanjk's 12000 word article, "The Life & Loves of Letty Lind. 1861-1923, Skirt Dancer, Soubrette and
Gaiety Girl," based on researches for lectures to the British Music Hall Society Study Group and the Society for
Theatre Research, has been published in The Gaiety magazine, Issue no. 22, Summer 2007.
http://www.geocities.com/the_gaiety
email: [email protected]
The author is currently working on Letty Lind's sister, Millie Hylton (1870-1920), male impersonator, pantomime
principal boy & actress for a lecture and publication elsewhere in 2008.
Any information would be gratefully received at [email protected]
See also Members' Research Interests on the Society for Theatre Research website, http://www.str.org.uk
Reading Opera between the Lines - Orchestral Interludes and
Cultural Meaning from Wagner to Berg
United Kingdom - Cambridge
July 30, 2007
Cambridge University Press
Series: New Perspectives in Music History and Criticism (No. 8)
Christopher Morris
University College, Cork
Paperback
Page 25
43 music examples
231 pages
228 x 152 mm
ISBN-13: 9780521001977
£22.99
A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and
often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted
or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream
sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera.
Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining
close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris
shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also
on the supposed absolute realm of instrumental music, a concept to which many critics appealed when they
associated the interludes with purely musical and symphonic qualities.
Contents
Acknowledgements; Introduction; 1. A walk on the wild side; 2. What the conductor saw; 3. Lost in the forest; 4.
Sympathy with death; 5. A torrent of unsettling sounds; 6. Wagner and invisible theatre; Conclusion: 'innocence
among opposites'; Bibliography; Index.
http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521001978
3.5. DANCE
Enseigner la danse Jazz
France - Paris
October 23, 2007
Ouvrage collectif sous la direction dOdile Cougoule
Édition : Le Centre national de la danse
Collection : Cahiers de la pédagogie
Auteurs : Daniel Housset, Patricia Karagozian, Eliane Seguin
Prix : 15
Enseigner la danse Jazz est le fruit dun travail de réflexion, mené pendant deux ans par des professionnels de la
danse jazz (professeurs et artistes créateurs) en collaboration avec le Département du développement de la culture
chorégraphique du CND. Cet ouvrage est conçu comme un outil pratique pour les professeurs et les praticiens de la
danse. Loin de proposer une pédagogie « clé en main », il offre les éléments nécessaires à la compréhension de cet
art. Il aborde avec simplicité et précision les problématiques inhérentes à sa pratique : les spécificités techniques, le
travail datelier, le vocabulaire. Il ouvre également la réflexion sur la question de la culture à laquelle sidentifient les
artistes « jazz ».
Enseigner la danse Jazz results from a work of reflection, led during two years by professionals of the jazz dance
(professors and creative artists), in association with the Department of the development of the choreographic culture
of the CND. This book is conceived as a tool for the professors and practionners of the dance. Far from proposing a «
turnkey » pedagogy, it offers elements necessary for the comprehension of this art. It deals with the simplicity and the
precision of the problems of its practice: technical specificities, workshop, vocabulary. It also opens the reflection on
the question of the culture with which become identified the jazz artists.
Renseignements et commandes au :
00 33 1 41 83 98 02
Elodie Boulanger, Chargée dédition
[email protected]
Page 26
LAgenda de la danse
France - Pantin
Afin de bien préparer la rentrée, cet agenda est offert à partir de deux livres achetés.
Ludique, illustré (48 pages couleurs), cet agenda est idéal pour noter ses rendez-vous tout en découvrant, au fil des
jours, certaines des grandes figures ou oeuvres de la danse, cernées par le regard bienveillant et malicieux de
Christine Erbé.
Il vient prolonger la démarche de Dominique Boivin (avec son solo La danse, une histoire à ma façon...), ainsi que
celle de Christine Erbé et de son « A-musée ». Dans ce musée dédié à la danse, des objets du quotidien sont
récupérés et détournés pour composer des tableaux, croquant situations et personnages avec humour et poésie.
Entre « tableaux » et recettes de cuisine, cet agenda est avant tout un hommage aux protagonistes de la danse
danseurs, chorégraphes, programmateurs mais aussi théoriciens et pédagogues, quils en aient écrit lhistoire ou quils
en fassent lactualité.
To prepare well the new term, this diary is offered for 2 others books bought.
Playful, illustrated (48 colours pages), this diary is ideal to note its meetings while discovering every day, some of the
major figures or works of the dance, encircled by the friendly and roguish glance of Christine Erbé. It prolongs the
steps of Dominique Boivin (with its solo La danse, une histoire à ma façon) and the one of Christine Erbé with her Amuseum.
In this museum dedicated to dance, objects of the everyday life are got back to compose paintings, crunching
situations and characters with poetry. Between paintings and recipes, its above all a tribute to the protagonists of the
dance- dancers, choreographers, but also theorists and teachers-, that they have wrote the history or that they make
the current events.
Éditions : Centre national de la danse / Compagnie Beau geste
Collection : Parcours d'artistes
Artistes : Dominique Boivin, Cie Beau geste , Christine Erbé
Prix : 16 , offert à partir de deux livres achetés
01 41 83 98 02
Elodie Boulanger, Chargée dédition
[email protected]
3.6. OTHER SUBJECTS
About Performance No. 7 - Local Acts: Site-Based Performance
Practice
Australia - Sydney
Department of Performance Studies
University of Sydney
Editor: Gay McAuley
Contents include:
Mike Pearson, It came apart in my hands: reflections on Polis by Pearson/Brookes
Fiona Wilkie, Performance, site and remembering
Mark Minchinton & Domenico de Clario, Kellerberrin on our minds
Maryrose Casey, Containing Indigenous protest within the white Australian nation
Elizabeth Dempster, Welcome to Country: performing rights and the pedagogy of place
Paul Brown & X-R. Crittenden, Eco-centrism in community theatre (about the Murray River Story)
Kerrie Schaefer & David Watt, Place, history, memory and community-based performance
Lisa Warrington, Staging Lines of Fire (at Dunedin Railway Station)
Page 27
Mary Elizabeth Anderson, Engrounded: a developing theory of site-based performance in the context of cognitive
linguistics
Kate Lawrence, St Catherines Chapel Pilgrimage: a guide
Michael Cohen, Tracing new absence: events for place-making and place-faking
Copies can be ordered from the Department ([email protected])
Price (GST and postage included) $22 per copy, $11 (students and unwaged)
Copies of No. 6 "Rehearsal and Performance Making Processes" are still on sale and No.s 1-5 are available online at
http://www.arts.usyd.edu.au/departs/perform/research/publications.html
Order forms, information about back issues, etc. can be found on this website.
Performing Arts Collections on the Offensive - Les collections d'arts
du spectacle passent à l'offensive
Germany - Frankfurt
August 31, 2007
Dembski, Ulrike / Mühlegger-Henhapel, Christiane (eds./éds.)
26th SIBMAS Congress, Vienna 2006
26ème Congrès SIBMAS, Vienne 2006
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien
283 pp., num. fig. and tab.
1 DVD
Schriftenreihe des Österreichischen Theatermuseums Vol. 2
Edited by Trabitsch Thomas
ISBN 978-3-631-56635-0 paperback
48.10
£ 31.30
US-$ 62.95
by the Austrian Theatre Museum. The theme of the congress was «Performing Arts Collections on the Offensive» and
Le 26ème Congrès de la SIBMAS s'est tenu à Vienne du 28 août au 1er septembre 2006. Il était accueilli et organisé
par le Musée autrichien du théâtre. Le thème du congrès « Les collections d'arts du spectacle passent à l'offensive »
entendait souligner la nécessité, pour les institutions possédant des collections en arts du spectacle, d'aller à la
rencontre de leur public et de promouvoir leurs activités afin de rendre leurs collections plus accessibles.
Contents/Contenu
Martha S. LoMonaco: Theatre Library Association - SIBMAS Parnter for the Future - Carsten Jung: PERSPECTIV Association of Historic Theatres in Europe - Julia Prestenskaja: Collecting of the Rare Materials at St. Petersburg
Library: History and
Present - Dietrich Schüller: Long-term Preservation of Audiovisual Documents - Alfred Schmidt: The Austrian National
Library - Innovation and Strategic Objectives - Kristy Davis: Slipping Thru the Cracks: Issues With Performing Arts
Ephemera and A Discussion of the Mander and Mitchenson Theatre Collection - Caroline Raynaud : La centrale
documentaire du Départment des arts du spectacle Bibliothèque nationale de France - Sylvie François/Louise Guy :
Cirque, collection et pérennité - Francesca Marini: The Identity of the Profession: Representing Ourselves to Funding
Agencies and the Public - Michael Werner: Introducing the Barry Kay Archive, London - Dalia Sverdioliene: The
Archive of Lithuanian National Opera and Ballet Theatre on the Eve of Changes - Michelle Potter: Audacious Acts:
Page 28
Cross Institutional Collaboration in Australia and the Model of the Ballets Russes Project - Zdena Benesová: The
Repertoire Register of the National Theatre in Prague Now in Digital Form - Ken Hagiwara/Masako Yagi: An
Introduction to the Tsubouchi Memorial Theatre Museum at Waseda University, Tokyo/Japan - Winrich Meiszies:
Theatre Collections on the Offensive - But Where Does the Enemy Stand? - Helen Adair: Predicting the Impact of
Public Programs: A Case Study of the Stella Adler Celebration at the Harry Ransom Center - Dorota Buchwald/Agata
Adamiecka-Sitek: From Highly Specialized Archive to Multi-functional Center: Theatre Institute in Warsaw Mathias Auclair : L'association des amis de la Bibliothèque-musée de la danse et de la Bibliothèque-musée de l'Opéra
(ABMD) - Magdalena Stulcová: Rarities From the Theatre Collection of the Municipal Library of Prague and the Floods
of 2002 - Guy Baxter:
Sharing Performance Data - The Theatre Information Group MLA SSN Partnership Project - Hans van der Veen: Work
in Virtual Progress - Camila Savu/Anisoara Burlacu : Projet «AGORA-STAR» - archives éléctroniques destinées aux
arts interprétatifs (théâtre, musique, danse) - Margret Schild: Theatre Information - Searched and Recorded Once,
Manifold Extended and Used - Ann Barbara Kersting-Meuleman: The Friedrich Nicolas Manskopf Portrait Collection.
Digitization and Catalogue Project at Frankfurt University
Library - Elvyra Markeviciute: The Basic Principles of Performance Art Collections at Lithuanian Libraries. The History
of Collecting at the Kaunas District Public Library - Paul S. Ulrich: Yes, We're on the Internet, But Are Our Websites
Effective? A Critical Examination of SIBMAS Members' Websites - Swen Hartmut Tromm: Software Development for
an Archival Relational Database - What Criteria Need to Be Observed? - Matthieu Bonicel : Vers un répertoire en ligne
des sources pour l'étude du théâtre médiéval - Mathilde Le Gal : Exposition permanente, expositions temporaires : les
pratiques expographiques du théâtre en France - Laurent Rossion : Lettres, scène, musée... Le nécessaire dialogue
de la culture - Winrich Meiszies: To Be Or Not To Be - A Proposition For a Multinational Exhibition Project - Martin
Dreier : Théâtre d'aujourd'hui et théâtre d'hier. L'exposition permanente de la Collection Suisse du Théâtre - Gerhard
Vana/Karin Müller-Reineke: Museum and Theatre - Cordula Treml: The Online Bulletin - A Valuable Instrument of
Information Display and International Forum of Exchange.
The Editors
Ulrike Dembski studied Theatre History and History of Art at the University of Vienna. Since 1981 custodian in the
Austrian Theatre Museum, responsible for the collection of costumes and stage models; numerous exhibitions and
publications on theatre history.
Christiane Mühlegger-Henhapel studied Comparative Literature and French language and literature at the University
of Innsbruck; dissertation on the French poet Jules Laforgue. Since 1999 custodian in the Austrian Theatre Museum,
responsible for the collection of
autographs.
Les responsables de la publication : Ulrike Dembski a étudié l'histoire du théâtre et l'histoire de l'art à l'Université de
Vienne. Depuis 1981, conservatrice au Musée autrichien du théâtre, responsable des collections de costumes et de
maquettes; nombreuses expositions et publications sur l'histoire du théâtre.
Christiane Mühlegger-Henhapel a étudié le Français et la littérature comparée à l'Université de Innsbruck; doctorat sur
le poète français Jules Laforgue. Depuis 1999 conservatrice au Musée autrichien du théâtre, responsable de la
collection d'autographes.
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Musica in scena - Artisti nei 70 anni del Maggio Musicale Fiorentino
Italy - Florence
Publication of the festival MAGGIO MUSICALE FIORENTINO
Edited by Sillabe 2007
Catalogue accompanying the exhibition in the Galleria d'Arte Moderna di Palazzo Pitti in Florence (24 April till 4
November 2007) curated by Moreno Bucci and Isabella Lapi Ballerini.
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http://www.exhibitions.it/eventi/174/musica-in-scena-70anni-maggio-musicale-fiorentino.html
Prague Quadrennial 07 Exhibition Catalogue
Over 350 pages including a description of each of the themes from the 53 National Exhibits. The full colour publication
contains information about all sections of the PQ, including the National, Student Section - Scenofest, as well as the
Section of Theatre Architecture and Technology, and the description of the live programme of events.
Publishes in 2007, in Czech and English.
15.75 (+ Postage and Handling, Theatre Institute Prague)
Further information (download of order form):
http://www.theatre.cz/art/clanek.asp?id=14318
Sacha Guitry : une vie d'artiste
France - Paris
October 11, 2007
Editeur(s)
Gallimard
Cinémathèque française
Dirigé par Noëlle Giret et Noël Herpe
Collection : Livres d'art
A l'occasion du cinquantième anniversaire de la mort de Sacha Guitry, une exposition réalisée à partir d'un fonds
historique et iconographique inédit permet de célébrer la mémoire d'un artiste, homme de spectacle et dandy,
cinéaste, compositeur, peintre, dessinateur.
ISBN / EAN
978-2-07-011898-4 / 9782070118984
Relié
240 pages
illustrations en noir et en couleur
29 x 23 cm
39
http://editions.bnf.fr/fiche.aspx?id=2007240348
Czech Theatre Design in the 20th Century
United States - Iowa
April 1, 2007
Joe Brandesky
University of Iowa Press
118 pages
ISBN-10: 1587295253
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ISBN-13: 978-1587295256
9.5 x 5.6 x 0.6 inches
24 (+ Postage and Handling) (Retail Price Theatre Institute Prague)
This stimulating compilation of essays and images reveals an essential and valuable component of Czech
contributions to the world of modern theatre heretofore largely unseen outside the country itself. Featuring the craft of
twenty-seven of the best stage and costume designers of the twentieth century, Joe Brandesky supplies ample
evidence of their consistently high quality and dynamic creativity, survival skills for a people whose national identity
had been dismantled during many years of occupation and repression.
Essays by Vera Ptacková, Dennis Christilles, Delbert Unruh, and, Marie Zdenková their full texts restored and
reedited for this volume since their initial publication in exhibit catalogs, provide historical and linguistic insights into
contemporary Czech scenography as well as comparisons to the major art movements affecting the designers.
Brandeskys informative introductory essay contextualizes the shifting tenets of Czech theatre design. Also included
are biographies of the designers, a bibliography, and thirty black-and-white photographs.
The accompanying CD provides access to the vibrant and sophisticated images of the Czech theatrical world: 138
richly colorful paintings and drawings of costumes, models, and set designs and in situ photos of exhibited designs
plus 27 color and black-and-white photos of the designers. The CD also includes the full text of the book with links to
all the art and to the designers biographies. Book and CD together showcase the Czech Republic as a center of
international stage design.
http://www.theatre.cz/art/clanek.asp?id=14318>http://www.theatre.cz/art/clanek.asp?id=14318
Prague Quadrennial DVD 67-03
From the archives of the PQ comes the most comprehensive and illustrative collection of scenography, exploring the
trends of world theatre over the last 40 years. The region free (PAL 4:3) DVD contains:
·
·
·
·
commentary outlining the history of the PQ, and videos from each of the PQ editions
more than 800 photographs
statistics about each PQ including participating countries, award winners, etc.
SPECIAL BONUS: an interview with Josef Svoboda during the PQ 95
Only in English.
17.50 + Postage and Handling (Theatre Institute Prague)
http://www.theatre.cz/art/clanek.asp?id=14318
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DEVELOPMENTS
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6. RESEARCH
Call for Papers: Articles-in-Progress Workshop
October 15, 2007
Mid-America Theatre Conference
February 28-March 2, 2008
Hyatt Regency Crown Center
Kansas City, MO
MATC is pleased to offer a workshop at the 2008 conference in Kansas City for scholars and practitioners working on
articles in progress in the areas of Theatre History, Performance, Pedagogy, Theory, and/or Practice. The workshop
will offer the opportunity to meet in a closed session with journal editors who have read your work in advance and who
will offer suggestions for improvement or on strategies for submitting to academic journals.
Articles-in-Progress Workshop facilitators in the past two years have included editors from:
Theatre Journal
Theatre Topics
Theatre History Studies
Journal of Dramatic Theory and Criticism
Baylor Journal of Theatre and Performance
If you have an article you are preparing to submit for publication and would like critical feedback and advice from
theatre scholars and professionals in the publishing field, please prepare an abstract of the work in progress and
email it as a Word attachment by OCTOBER 15, 2007 to:
Scott Magelssen
Bowling Green State University
[email protected]
Please include your name, academic affiliation, and title (identifying whether you are faculty, a student, or an
independent scholar), with your abstract.
Essays for this workshop will be selected on the basis of overall clarity of the project and time limitations for the
conference itself. Please look to the submission guidelines for the journals listed above as you prepare your proposal.
Selected authors will be expected to submit full versions of the essays by January 31, 2007.
For more information about MATC and for calls for papers for other symposia, please visit http://www.matc.us
Call for Papers: Baylor Journal of Theatre and Performance
November 30, 2007
Volume 5.1, Spring 2008 - General Issue
Baylor Journal of Theatre and Performance seeks essays book and performance reviews, interviews, and other
materials for our Spring 2008 issue. We welcome submissions relating broadly to the intersections of faith/spirituality
and theatre/live performance.
Page 34
Materials may be submitted in electronic format only to the editor Carolyn Roark at [email protected] . Inquiries
regarding submission and subscription may be directed to the editor, and additional information, including submission
guidelines and a style sheet, may be found at http://www.baylor.edu/bjtp
This publication is peer-reviewed and adheres to a blind submission policy. Baylor Journal of Theatre and
Performance is indexed by the MLA International Bibliography and EBSCO.
Deadline for Submission is November 30, 2007.
Call for Papers: Theatre History Studies - Volume 28
January 15, 2008
Theatre History Studies is the official journal of the Mid-America Theatre Conference and is published by the
University of Alabama Press.
Since its premiere issue in 1981, Theatre History Studies has provided critical, analytical, and descriptive articles on
all aspects of theatre history. The journal is devoted to disseminating the highest quality scholarly endeavors in order
to promote understanding and discovery of world theatre history.
Please send manuscripts prepared in conformity with the guidelines in the Chicago Manual of Style. Illustrations are
encouraged. Consulting editors review the manuscripts, a process which takes approximately four months. The
journal does not normally accept studies in dramatic literature unless there is a focus on actual production and
performance.
Hard copies should be submitted in duplicate. Electronic submissions are accepted in WordPerfect.
Submission Deadline: January 15, 2008
Please direct manuscripts and inquiries to:
Rhona Justice-Malloy
Editor, Theatre History Studies
Department of Theatre Arts
University of Mississippi
110 Isom Hall, Box 1848
University, MS 38677
E-mail: [email protected]
Call for submissions: Special issue of Modern Drama
October 1, 2007
The Fall 2008 Special Issue of /Modern Drama/ will be devoted to the topic "Theatre and Medicine." From the medical
underpinnings of Aristotle's theory of /katharsis/ and early modern humoral psychology through the uses of
physiology, epidemiology, and neurology in modern and contemporary drama, medicine and theatre have
demonstrated a shared preoccupation with questions of embodiment, observation, and somatic representation.
Articles are invited on all aspects of the relationship between modern drama and medical discourses, technologies,
institutions, and practices.
Some larger issues that these articles might address: How do medical accounts of embodiment and identity intersect
with theatrical conceptions of the same? In what ways do medical concepts of "disease", "contagion", "pathology",
"health", and "remedy" condition historical definitions of drama as an intercorporeal medium? How have recent
developments in medical technology-such as medical imaging, cosmetology, and the expansion of reproductive
technologies- challenged the notion of the "human" in dramatic representation? How are race, gender, age, and
sexuality constructed within medical and dramatic discourse? What relationship exists between the staging of illness
in modern drama and such extra-theatrical forms as case studies,
clinical description, and illness narrative? What dialogue might be established between a medical approach to drama,
theatre, and performance and the thriving field of disability studies? Do developments in the field of bioethics have
Page 35
implications for an ethics of drama and performance? How do representations of the medicalized body change
between such early movements as naturalism and symbolism and more recent drama?
Submitted articles should not exceed 9,000 words, should include all appropriate documentation, and should conform
to the /MLA Handbook/, 5th Edition.
Articles should be submitted to /Modern Drama/ ([email protected]) and guest editor Stanton B. Garner,
Jr. ([email protected]) by 1 October 2007.
6.2. SCHOLARSHIPS
Twentieth Century British History Essay Prize for Research Students
October 15, 2007
Oxford Journals and the editors of Twentieth Century British History would like to inform you of an essay prize
established with the purpose of encouraging a high standard of scholarship amongst postgraduate research students.
The competition is open to anyone currently registered for a higher research degree, or who completed one no earlier
than October 2006, and the prize winner and any other entries of a suitable standard will be published in TCBH.
We encourage you to pass along this information to all interested research students. The deadline for entries is 15
October 2007.
Full details and an entry form, as well as poster you can print out to display at your university are available here:
http://E-B2binformation.com/cgi-bin1/DM/y/eBF1u0LEVqB0fQM0EOx80E6
The winner's prize will consist of:
Publication of the winning essay in Twentieth Century British History
A cash prize of £300
£200 worth of OUP books. One year's free subscription to Twentieth Century British History for the year in which the
winning article is published
Twentieth Century British History (TCBH) covers British history since 1900 in all its aspects. It links the many different
and specialized branches of historical scholarship with work in social sciences. The journal seeks to transcend
traditional disciplinary boundaries, in order to foster the study of patterns of change and continuity across the twentieth
century. The editors are committed to publishing work that examines the British experience within a comparative
context, and also the work of recently qualified scholars.
Please visit http://www.tcbh.oxfordjournals.org for more information on this journal.
6.3. RESEARCH TOOLS
Dutch Drama Database
The website of the Theater Instituut Netherland includes a database with extracts from new contemporary Dutchlanguage plays by Dutch or Flemish authors in Dutch, English, German and/or French:
http://www.dutchdrama.nl/
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Henry Irving Foundation - Irving Correspondence *
The Henry Irving Foundation, a small registered charity set up by John H.B. Irving, has opened a website to record the
correspondence of the Victorian actor manager Sir Henry Irving, 1838-1905.
http://www.henryirving.co.uk
This is a fully searchable site, at present based largely on letters in the V&A Theatre Collections. Content is in the
process of development. Information and queries can be sent to the compilers via the Contact tab at the bottom of the
screen.
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Atelier International de Mime Corporel: Compagnie Intrepido - Projet
Laban Decroux
France - Paris
Mouvement dramatique, matière de l'art de l'acteur
par Jorge Gayon 2003
Article adressé aux acteurs, danseurs et performers, professionnels ou amateurs, à tous ceux qui s'intéressent au
mouvement comme matière artistique.
Probablement vous connaissez les mouvements du travail des ouvriers, des artisans, des paysans, de tous ceux qui
s'en servent pour gagner leur pain quotidien. Sûrement vous connaissez aussi, le mouvement dans le sport, où, se
servir de son habileté et de sa force peut être récréatif pour l'exécutant. Enfin, concernant les arts du spectacle, vous
êtes familiers du mouvement en danse ou, comme on l'appelle dernièrement en France, du mouvement dansé.
Théâtre chorégraphique
Dans le champ des arts de la scène, il y a un autre type de mouvement qui peut être appelé "mouvement
dramatique", lequel est exécuté par des acteurs. Les spectacles élaborés avec ce type de mouvement sont connus
comme du "théâtre chorégraphique". Dans ce théâtre, le développent des pièces est comme un tapis de
mouvements, dans lequel les séquences se suivent les unes aux autres comme tissées. Sa différence avec la danse,
c'est que les danseurs dansent leur partition, tandis que les acteurs chorégraphiques la jouent, leur mouvement est
joué.
Le mouvement joué
Pour que ce jeu existe, l'acteur doit établir un rapport dialectique entre son imaginaire et le mouvement qu'il fait.
Rappelez vous que tout rapport dialectique implique un échange réciproque d'informations entre les éléments qui y
participent. Cet échange de stimuli permet de développer la réflexion, comme dans un jeu de miroirs. L'imaginaire
nourrit le mouvement qui à son tour nourrit l'imaginaire, et, à chaque étape, cela va plus loin. C'est le jeu de
l'imaginaire avec la matière de l'art en question. Ceci n'est pas impossible ni même farfelu. Dans la vie quotidienne,
nous sommes habitués à ce jeu en utilisant des mots, il s'appelle "association d'idées", c'est lun des procédés de
création en littérature, ainsi que dans les autres arts.
Par exemple, en peinture, sans utiliser le nom des couleurs, et même sans modèle, nous pourrions dire que
l'imaginaire du peintre "joue" avec les couleurs et les formes. En musique, pour inventer une mélodie, il faut enchaîner
des sons, et le musicien n'a pas besoin du nom des notes pour composer. Celui-ci est un bon exemple. Combien des
fois pensons-nous en sons ? musicalement ! Ainsi, le rapport dialectique qu'établi l'artiste avec son imaginaire peut se
faire par des moyens très divers ; au-delà des mots, il est possible de penser autrement.
Cette "réflexion" peut-être vécue en improvisation, ou produite lors de la composition. Partant dune séquence sen
créent dautres et ainsi de suite jusqu'à une pièce entière. En spectacle, ce mouvement est re-produit ou "représenté". Quant au jeu de réflexion réciproque <imaginaire-mouvement>, il est la "clef de voûte" du mouvement
dramatique, et lélément démarquant une de ses différences essentielles avec le mouvement dansé.
Pourquoi ce mouvement est il dramatique ?
Ce mouvement est révélateur du drame quand l'acteur "joue" avec le poids de son corps, avec sa colonne vertébrale
et sa tonicité musculaire. Ce jeu contrasté qui donne sa valeur dramatique au mouvement, a comme support
lintensification corporelle de données physiques concrètes; par exemple, si la poussée de la colonne vertébrale est
intensifiée vers le haut, nous pouvons dire quelle exprime la volonté. À l'inverse, le poids corporel tirant ce corps vers
le bas peut renforcer lexpression des contraintes ou des obstacles. Le jeu de tonicité musculaire permet d'exprimer la
lutte que vivent ces deux forces ; il sert de relais au conflit.
Une autre des caractéristiques principales de ce jeu en mouvement est son rythme. Celui-ci se déroule en général en
trois phases : préparation, action et résultat.
Le jeu, considéré comme une série d'opérations faites afin d'atteindre un objectif déterminé, est semblable au travail
Page 38
et aux relations humaines, voire à la prière.
Grâce à cette chaîne d'équivalences entre le physique et le symbolique, le mouvement dramatique reflète par une
métaphore inversée, la lutte de l'homme pour satisfaire ses besoins et aspirations matériels, émotionnels, intellectuels
ou spirituels.
Le mouvement, matière artistique
Et l'acteur, que fait-il de ce mouvement dramatique ? C'est sa matière artistique de base, comme le son l'est au
musicien, le mot à la littérature, etcetera. Ici nous arrivons à l'un des aspects les plus importants de notre définition ;
sil existe un théâtre qui est fait à partir de la littérature dramatique, laquelle utilise les mots comme matière de base, il
est possible de comprendre que le théâtre-chorégraphique utilise comme matière de base le mouvement dramatique.
La production de mouvement dramatique
Quand nous parlons de "matière artistique de base", nous supposons que ce mouvement dramatique se matérialise,
que quelque part, il se concrétise. Or pour exister, ce mouvement doit être produit. Il ne suffit pas d'y penser ou de
l'imaginer dans sa tête.
Comparons à nouveau avec les autres arts : en général, les peintres trouvent leurs peintures quelque part, comme les
sculpteurs trouvent la glaise, le plâtre ou la pierre. Ce sont leurs matériaux concrets. Quant au musicien, il s'assoit
devant son piano et se met à jouer : il "produit" les sons qu'il utilisera dans ses compositions. De la même façon,
l'acteur doit faire le mouvement pour le concrétiser. Cela seul lui permettra de composer avec lui.
Mais, et j'insiste sur ce "mais", si dans la production du mouvement dramatique, l'acteur veut que son corps soit le
fidèle collaborateur de son esprit créatif, et que ce qu'il "pense" corporellement continue à exister, il a besoin de savoir
ce qu'il a fait, et surtout, pouvoir le refaire, car c'est bien pour cela qu'il l'a fait, et c'est aussi ce qui veut dire
matérialiser le mouvement.
Ces deux conditions, savoir ce que l'on a fait et pouvoir le refaire, ne sont pas si faciles à remplir. Cest un problème
bien connu des danseurs et danseuses et de tous ceux qui un jour ont voulu composer en mouvement. Tel qu'en
musique, produire les sons que l'on veut demande un entraînement et cela tout le monde peut le comprendre, la
production du mouvement dramatique aussi a besoin d'un entraînement spécifique.
Art et entraînement de l'acteur
Jusqu'ici nous avons vu que la base de cet art dramatique est le mouvement produit par l'acteur, et que pour être
capable de le produire concrètement, il doit accomplir un entraînement spécifique.
À partir de cette idée, des grandes figures des arts de la scène du XX Siècle ont travaillé au développement de
disciplines qui seraient, en même temps, une solide base d'entraînement pour les acteurs et le fondement de leur art.
Deux de ces disciplines ont permis la définition pratique du "mouvement dramatique". Ses pionniers ont été Rudolf
Laban et Etienne Decroux. Leur but était de donner aux acteurs, les moyens de leur indépendance artistique, par la
production de leur propre matériau et par l'apport personnel au monde de l'art et de la culture que cela leur permet, en
créant des nouvelles uvres de mouvement dramatique.
Laban et Decroux ont investi chacun plus de cinquante ans de leurs vies à leurs recherches. Ils ont travaillé au
développement de moyens dexpression dramatique fondés sur la seule présence physique de lacteur et de sa
maîtrise du mouvement.
Plus ou moins à la même époque, dautres personnes ont travaillé dans le même sens. Meyerhold développa sa
"biomécanique". Plus proche de nous il y a eu Grotowski, puis Barba, entre autres. Cependant, les contributions de
Decroux et de Laban sont les plus significatives par la profondeur atteinte et surtout, par les matériaux quils nous ont
légués.
Le "mime corporel" et "lentraînement de leffort"
Les méthodes d'entraînement d'acteurs synthétisées par Decroux et Laban sont connues aujourdhui, respectivement
comme : le mime corporel et lentraînement de leffort.
Le mime corporel, a comme base première sa nature musculaire, et comme fondement biologique, le jeu que fait
lacteur avec son poids corporel, sa colonne vertébrale et la tension musculaire, jeu dont nous avons parlé plus haut.
Decroux synthétisa ces bases et fondements dans des exercices, figures et pièces qui constituent son répertoire.
Nous pouvons dire que la matière du mime corporel fut concrétisée en modèles ou partitions de mouvement.
Les indications de Laban pour lentraînement de leffort guident lacteur pour affiner sa perception du mouvement et à
Page 39
en maîtriser l'intention. Grâce à une analyse active de la qualité du mouvement, qui permet la discrimination de ses
facteurs : le flux, le poids, lespace, le temps, lattitude et lattention. Ceci peut paraître clair et peut-être que tout a été
compris. Néanmoins, les indications de Laban et le répertoire de Decroux sont lettre morte et ne servent à rien sils ne
sont pas adoptés pratiquement avec un esprit daventure.
Cest pour cela que nous avons créé, Griet Maes et moi-même, lAtelier International du Mime Corporel. Cet Atelier
offre lespace et la structure où le lien entre ces deux disciplines est développé et maintenu vivant par une pratique
soutenue. Enfin, il est un des outils concrets au service des objectifs à long terme dun projet dynamique, le Projet
"Laban-Decroux"
Le projet "Laban-Decroux"
Ce projet, initié en 1988, donne les orientations de notre travail : la recherche en studio et la formation dacteurs
offerte à l'Atelier. Il structure la création des spectacles de notre compagnie, Intrepido. Le résultat concret aujourdhui
est notre vision du mouvement dramatique des méthodes dentraînement dacteurs, de composition et de création de
spectacles, fondées sur la synthèse de ces deux disciplines.
Dr. Jorge Gayón (mex), ethnoscénologue et choréologue, auteur et directeur du projet "Laban-Decroux", il est codirecteur de lAtelier International de Mime Corporel (Paris) et de la Cie. Intrepido. Interprète confirmé du répertoire de
Etienne Decroux, il est acteur, metteur-en-scène/chorégraphe et pédagogue en mouvement dramatique.
Atelier International de Mime Corporel
16, square Dunois
75013 Paris
France
Tel : 00 33 1 53 61 02 02
e-mail : [email protected]
http://www.laban-decroux.org
Ateliers théâtraux - Théâtre le Proscenium
France - Paris
October 11, 2007 - October 25, 2007
Théâtre le Proscenium
Direction Urszula Mikos
2, passage du bureau
75011 Paris
Tél : 00 33 1 40 09 77 19
[email protected]
http://www.theatre-leproscenium.com
Du 11 au 15 octobre 2007
de 10h30 à 16h30 (4 heures)
Coût du stage : 200
INITIATION A LA BIOMECANIQUE ET LACTEUR INSTRUMENTAL
Biomécanique, entraînement
La biomécanique meyerholdienne est un ensemble dexercices qui donne à lacteur la
connaissance de son corps comme matériau et lui propose des moyens pour lutter contre la gestuelle esthétisante et
imprécise, en développant la précision et la capacité de réponse à des excitations-réflexes. Le jeu de lacteur
meyerholdien part de lextérieur pour aller vers lintérieur : il ny a pas suppression de lémotion, mais elle jaillira toujours
à travers un état physique convenant à tel ou tel personnage dans une situation donnée. Par la méthode de
décomposition du mouvement en trois phases - intention, réalisation, réaction la biomécanique prépare à
Page 40
lorganisation des éléments du jeu et engendre chez le comédien un état de disponibilité apte à se colorer ensuite de
tel ou tel sentiment ou émotion.
de 10h30 à 15h
THEATRE ABSURDE ET PARTITIONS POUR COMEDIENS
Le comédien parcourra une série de partitions théâtrales, dans lesquelles se côtoient et se répondent des éléments
constituant la base de tout travail de lacteur : expression et
musicalité, changement de rythmes et de tonalités, attitudes quotidiennes et stylisation
une recherche de la liberté scénique et de la vérité intérieure du comédien au sein dune
structure bien définie.
Ensuite, un travail dans des mini-créations basées sur les textes comme ceux de dada ou
des OBERIUT permettra de concrétiser ces acquis : lincarnation, le développement dune
énergie ou dune émotion évidente, la recherche dune aisance « musicale, radicale et
paradoxale», le passage dun état, dune intention à une autre, la rupture logique ou
rythmique et non psychologique, et ses implications lexploration des différents systèmes de théâtralisation enfin,
lacquisition de réflexes et la connaissance de son propre instrument.
de 16h à 20h30
THEATRE DANTON TCHEKHOV ET LARS NOREN
Visant la recherche dune réalité scénique et dune vérité intérieure ou dune véracité
ayant comme support la personnalité de lacteur Ce stage permettra daborder la question « dêtre » en scène, et du
rapport entre le scénique et le privé. Le processus où le comédien devient le personnage, où il cherche à incarner,
devenant matière théâtrale en lui-même interrogeant la réalité intérieure du comédien, son intuition, sa lucidité, son
organicité, son ouverture au hasard, aux échanges aléatoires dans lensemble de sa recherche « Lacteur est
responsable de lui-même, il ne doit pas attendre quun metteur en scène ou quun dramaturge lui explique quoi faire. Il
est son propre « producteur ». Jouer ne consiste pas à devenir un autre sur la scène mais à collecter des fragments
dun personnage tout en étant soi. Lacteur reste lui-même sur le plateau. Le public regarde une personne et non un
rôle. Cette approche se situe à lopposé de lenseignement de Stanislavski fondé sur « lidentification. »
URSZULA MIKOS
Après des études de philosophie et dhistoire de lart à luniversité Jagiollone de Cracovie, en 1986, elle arrive en
France en tant que réfugiée politique et poursuit des recherches théâtrales à luniversité de la Sorbonne en troisième
cycle. Dans son parcours théâtral, elle rencontre Tadeusz Kantor, Jerzy Grotowski, Matthias Langhoff, Robert Wilson,
Peter Stein, Piotr Fomienko.
Urszula Mikos signe ses premières mises en scène en France en 1988 avec Lîle Prison dAthol Fugard et Yvonne,
Princesse de Bourgogne de Witold Gombrowicz. Depuis elle met en scène une vingtaine de spectacle.
Metteur en scène et traductrice, elle fait connaître au public français quelques grands dramaturges inconnus en
France comme Boguslaw Schaeffer ou Janusz Glowacki, en montant Quartette et Antigone à New York Grand Prix
étudiants et théâtre et Meilleur Spectacle petites scènes en 1997, Trio, daprès loeuvre de Boguslaw Schaeffer (Grand
Prix des 18èmes rencontres Charles Dullin), la trilogie : Kordian de Juliusz Slowacki, Comédie non divine de Zygmunt
Page 41
Krasinski et Hérodiade /hero died de Laurent Contamin. Elle travaille de manière régulière avec des auteurs
contemporains tels que Boguslaw Schaeffer Louis Cervin ou Laurent Contamin.
Parallèlement, elle poursuit un travail dexpérimentation théâtrale construit à partir de textes dramatiques et non
dramatiques - collages montages, performances, installations en collaboration avec des vidéastes et compositeurs de
musique contemporaine sous le titre général des UBERYOU
Quatre femmes, Caméléon daprès des nouvelles dA. Tchékhov : référence aux univers dOBERIU. 4X1 texte de Louis
Cervin : confrontation des techniques japonaises avec le langage occidental. Pourquoi cette comédie tous les jours?,
parcours en 5 chambres dans un immeuble de 4 étages, des textes de Tchékhov, Beckett, Schaeffer. Machine à
désespoir, d'après l'oeuvre de Thomas Bernhard. Le Manque de Sarah Kane, Scénario pour trois performeurs daprès
loeuvre de Boguslaw Schaeffer et les textes de Sarah Kane, Jean-Luc Lagarce, Sibylle Berg, Thomas Bernhard, Danil
Harms, Samuel Beckett, Didier-Georges Gabily, Jean-Paul Curnier, Kurt Schwitters, Gao Xijang. 3X1
Avec Olivier Cohen, elle développe un travail important sur le théâtre musical, collabore dans ses spectacles avec des
compositeurs de musique contemporaine tels que Jean François Alexandre, André Serre-Milan, Vincent Bouchot ou
avec des ensembles comme TM+, le trio Allers-retours, LEnsemble Orchestral de Paris dans Lhomme à lorchestre
dOlivier Cohen au Théâtre 13, La guerre des voyelles et des consonnes dOlivier Cohen à la Maison de la Musique de
Nanterre et à lOpéra Comique de Paris, Terra Incognita au Festival Musique en Scène de Lyon et à La Criée de
Marseille.
Depuis plusieurs années, elle mène une recherche sur les méthodes de formation du comédien avec la création de sa
propre école LActeur instrumental. Lexpérience auprès de N. Karpov en Angleterre et de G. Bogdanov du Gitis de
Moscou, associées à une analyse approfondie des écrits de Meyerhold ainsi quune collaboration avec lauteur et
compositeur polonais Boguslave Schaeffer contribuent à ce travail. Comme aboutissement de cette expérience, elle
met en spectacle la biomécanique pour la
première fois en France dans la création Hommage à Meyerhold. De même, pour parfaire le concept de lacteur
instrumental, elle utilise une connaissance du geste psychologique acquise lors des workshop internationaux de M.
Tchekhov (pendant lesquels elle rencontre certains de ses élèves : Deidre Hurst, son assistante durant de
nombreuses années, Mala Powers, Hurd Harfield ou Jack Corvin) ou lors de stages afdas organisés et gérés en
collaboration avec Jan Peszek, professeur, comédien et metteur en scène Polonais.
Hampton Research Grant Award:
Canada - Vancouver
Dr. Francesca Marini (University of British Columbia, Vancouver, Canada) has been awarded a Hampton Research
Grant for her project "Present Memory: Knowledge Requirements for Archivists Preserving Live Theatre."
The term of the award is from 1st May 2007 to 30th April 2009. Through an analysis of current scholarly and
professional theory and practice, this research project aims to identify the key knowledge requirements for archivists
who work with theatre materials.
Journée événements - Danse et Résistance I
France - Pantin
November 17, 2007
Du jeudi 15 novembre au samedi 17 novembre 2007 à 20h30 Grand Studio:
Spectacle Dancing Red (Compagnie Labkine).
Tarifs (Fees): 26 TP, 21 TR. Abonnés : 18 TP, 14 TR.
Samedi 17 novembre 2007 à 17h00 (Saturday 11/17/07 at 5.00 p.m) Studio 3:
Page 42
Spectacle The Nagrin Project (Daniel Nagrin/ Shane OHara).
Samedi 17 novembre 2007 à 18h30 (Saturday 11/17/07 at 6.30 p.m), Grand Studio: Projection Daniel Nagrin par luimême (Daniel Nagrin).
Tarifs (Fees): 6 ; offert pour les abonnés.
Pass pour tous les événements du samedi 17 novembre / Pass for all the events of the Saturday 17th November
Proclamation officielle des lauréats du XIIe Prix Europe pour le
Théâtre et du Xe Prix Europe Nouvelles Réalités Théâtrales Official announcement of the winners of XII Europe Theatre Prize
and X Europe Prize New Theatrical Realities
Greece - Thessaloniki
April 30, 2007
La XIIe édition du Prix Europe pour le Théâtre, créé en 1986/87 comme programme pilote de la Commission
Européenne et reconnu depuis 2002 par le Parlement Européen et le Conseil de lEurope en tant que «organisation
dintérêt culturel européen», aura lieu en Grèce à Thessaloniki du 9 avril au 13 avril 2008.
LUnion des Théâtres de lEurope et la Convention Théâtrale Européenne sont des organismes associés et
bienfaiteurs, tandis que lAssociation Internationale des Critiques de Théâtre, lInstituto Internacional del Teatro del
Mediterraneo et lInternational Theatre Institute UNESCO sont des organismes associés.
Le Ministère de la Culture grec subventionne la prochaine édition et a confié lorganisation en Grèce au Théâtre
National de la Grèce du Nord qui accueillera le Prix Europe pour le Théâtre.
Le Jury international, réuni à Thessaloniki le 30 avril 2007 au Théâtre Vassiliko et ainsi composé :
Président
Franco QUADRI
Critique La Repubblica
Secrétaire Permanent
Renzo TIAN
Professeur Université de Rome
Commissaire Extraordinaire Ente Teatrale Italiano jusque 2002
Georges BANU
Président dhonneur Association Internationale des Critiques de Théâtre
Professeur Institut dEtudes Thèâtrales - Paris
Manfred BEILHARZ
Président International Theatre Institute UNESCO
Directeur Hessisches Staatstheater Wiesbaden
Daniel BENOIN
Directeur Théâtre National de Nice
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Jean Claude BERUTTI
Président Convention Théâtrale Européenne
Directeur Théâtre National de Saint Etienne
Alexandru DARIE
Président Union des Théâtres de lEurope
Directeur Teatrul Bulandra
Marina DAVYDOVA
Critique Izvestia-Expert
Brigitte FÜRLE
Directrice Spielzeiteuropa
Directrice Berliner Festspiele
Ian HERBERT
Président Association Internationale des Critiques de Théâtre
Critique Theatre Record
Lydia KONIORDOU
Actrice
Metteur en scène
Directrice DESMI Centre pour lAncien Drame Grec- Athènes
Elie MALKA
Directeur Union des Théâtres de lEurope
José MONLEON
Directeur Instituto Internacional del Teatro del Mediterraneo
D
i
r
e
c
t
e
u
r
P
r
i
m
e
r
A
c
t
o
Milos MISTRIK
Critique Slovenske Divadlo
Elisabeth SCHWEEGER,
Directrice Schauspielfrankfurt
Arthur SONNEN
Directeur Artistique Stichting International Culturale Activiteiten
Centre International de Services pour les Activités Culturelles
Staffan VALDEMAR HOLM
Vice- Président Union des Théâtres de lEurope
Directeur Dramaten
a assigné à lunanimité:
le XII Prix Europe pour le Théâtre à Patrice Chéreau.
Le X Prix Europe Nouvelles Réalités Théâtrales à Rimini Protokoll, Sasha Waltz et Krzysztof Warlikowski.
Une mention spéciale a été attribué, sous proposition de Vaclav Havel, Harold Pinter et Tom Stoppard au Belarus
Free Théâtre pour leur résistance à loppression du gouvernement biélorusse.
The XII edition of Europe Theatre Prize, created in 1986/87 as a pilot programme by the European Commission and
recognised, since 2002, by the European Parliament and Council as a European cultural interest organisation will take
place in Thessaloniki, Greece, from 9th to 13th April 2008.
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The Union of European Theatres and the European Theatre Convention are associate and supporting bodies, while
the International Association of Theatre Critics, the Instituto Internacional del Teatro del Mediterraneo and the
International Theatre Institute UNESCO are associate bodies.
The Greek Ministry of Culture will finance the next edition of Europe Theatre Prize and it has entrusted the
organisation to the National Theatre of Northern Greece that will host the Europe Theatre Prize.
The international Jury, which gathered in Thessaloniki on 30th April 2007 at the Vassiliko Theatre has unanimously
awarded the XII Europe Theatre Prize to Patrice Chéreau.
The X Europe Prize New Theatrical Realities to Rimini Protokoll, Sasha Waltz and Krzysztof Warlikowski.
A special mention has been awarded, proposed by Vaclav Havel, Harold Pinter and Tom Stoppard, to Belarus Free
Theatre for their opposition against the oppression of Belarusian Government.
The Wollstonecraft Live Experience!
September 15, 2007
Fragments & Monuments invite you to:
The Wollstonecraft Live Experience ! outdoor film screening and live music on Newington Green
Saturday 15 September 2007
6.00 picnic begins
6.30 Blow the Fuse Jazz Trio
8.00 film
Watch the picnic live online http://www.wollstonecraftlive.com
Tickets £10.00 and £5.00 concs.
The Cochrane Theatre
Tel. 00 44 20 72691606
http://www.cochranetheatre.co.uk
Enquiries : [email protected]
Come and see yourself, friends and neighbours on the screen and become part of the Wollstonecraft Live Experience!
Mother of feminism reborn in triplicate. Wollstonecraft makes for a great multimedia heroine. Long may she live!
Hermione Eyre, Independent on Sunday, Talk of the Town,
25 September 2005
By bringing this active restless spirit back to Newington Green and by continuing to re-play this performance, they
hope to create a monument to this amazing woman.
Fragments of a Life: Performing History in Newington Green, Theatre Forum.Prof. Lesley Ferris November 2005
Celebrate the life and work of local historical figure, Mary Wollstonecraft (1759-1797) and discover and interact with
her ghosts and become part of the recording through a live video feed.
Wollstonecraft Live! Written by Kaethe Fine and Directed by Anna Birch was performed in the same space to 1200
people over 4 nights in September 2005. 80% of the audience were local people.
Page 45
Un soir quand on est seul
France - Paris
November 26, 2007
20h-22h
Pièce inédite de Sacha Guitry interprétée par Denis Podalydes suivie d'un florilège d'airs composés par Sacha Guitry.
Entrée libre
Plus d'informations : http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm
* : Modified only
Page 46
2007 Volume 4
FIRT/IFTR:
SIBMAS:
Cordula Treml,
Appel à communications - Colloque: La mise en scène avant la mise
en scène (1650-1880)
France - Paris
April 15, 2008
Organisé par les Universités de Paris Sorbonne (Centre de recherches en
histoire du théâtre) et Roma I La Sapienza (Dipartimento di Italianistica e Spettacolo)
Paris les 24-25 octobre et Rome 21-22 novembre 2008
Tout le monde sait, ou croit savoir que la mise en scène en Europe est née à la fin du XIXe siècle, avec les Meininger,
en Allemagne, Antoine en France, Craig en Angleterre, aussi bien éviterons-nous de poser la question du
commencement. Nous entendons lui substituer une autre: mais comment diable sy prenait-on auparavant? Lhistoire
du théâtre a certes proposé quelques réponses: on a mis en lumière tantôt le chaos, tantôt
le rôle hégémonique dun comédien, dun directeur, dun décorateur ou dun auteur; mais elle sest consacrée plus
particulièrement à létude des acteurs, des troupes, des salles, des décors, des répertoires sans répondre à notre
question sinon incidemment. Ces études, nous voudrions donc les reprendre en leur adressant la question précise de
lorganisation du spectacle, de sa régie, de sa maîtrise en un mot. Comment les différents artistes ou artisans du
théâtre travaillaient-ils ensemble ? Comment le spectacle sélaborait-il? Comment lunité plastique pouvait-elle se
constituer? Comment limpression unique sur le spectateur était-elle obtenue, à supposer quelle le fût ?
Des documents nombreux peuvent être sollicités et interprétés à cette fin: correspondances, témoignages, images,
mémoires. Plusieurs directions sont offertes à cette investigation: le contrôle du jeu des comédiens, celui de limage
scénique, celui de linterprétation des textes. Des personnalités, acteurs, auteurs, peintres, artisans ou
artistes, peuvent sortir de lombre pourvu quon étudie précisément et concrètement leur rôle. Enfin, sagissant dun
phénomène qui a concerné toutes les traditions théâtrales, nous pensons que cette étude doit être menée sur le plan
européen, et pour une période qui sétendrait des années 1650 (après le mémoire de Mahelot) jusquaux années où
lon saccorde à situer lapparition de celui que nous appelons le metteur
en scène.
Les deux universités de Paris IV Sorbonne (Centre de Recherches en Histoire du Théâtre) et de Roma I La Sapienza
se proposent de sassocier pour organiser, à Paris et à Rome, un colloque international sur cette question: nous
appelons donc les spécialistes les plus divers à nous proposer leurs approches de ce phénomène et leurs réponses à
la question que nous posons.
Le colloque comprendra quatre sections :
- Spectacles : étude de cas (échecs et succès)
- Les auteurs et leurs pièces
- Acteurs et Directeurs de troupe
- Scénographes et décorateurs
Langues du colloque: français, italien.
Adressez vos propositions de communication avant le 15 avril 2008 à
Pierre Frantz
et à Mara Fazio :
[email protected]
[email protected]
Page 2
Appel à communications - Congrès de la SIBMAS: "Capter lessence
du spectacle: un enjeu de taille pour le patrimoine immatériel
March 31, 2008
Congrès de la SIBMAS, 25-29 août 2008
Lieu du Congrès
Le lieu daccueil du Congrès de la SIBMAS en 2008 sera le conservatoire principal dEcosse, le Royal Scottish
Academy of Music and Drama dans le centre de Glasgow.
http://www.rsamd.ac.uk/
Thème du Congrès
Le programme du congrès de la SIBMAS 2008 se concentrera sur la manière dont une activité qui se déroule en
public peut faire lobjet dune documentation par lusage de méthodes traditionnelles ou novatrices.
Le spectacle vivant est un sujet où lintérêt des chercheurs se porte tout autant, si pas davantage, sur le processus de
création du spectacle que sur le produit fini lui-même. Mais est-il possible de simmiscer dans latelier de lartiste ou
dans le processus de répétition ?
Le spectacle est un domaine qui se concentre sur lactivité physique et non sur un artefact statique. Donner à voir
cette activité à laide de seuls objets statiques débouche sur un témoignage partiel, pas pleinement satisfaisant. Pour
reconstituer lexpérience dune représentation qui a eu lieu, il est capital de se servir de captations du spectacle, de
témoignages oraux et dautres techniques.
Le Congrès 2008 de la SIBMAS favorisera le débat sur les méthodes les plus efficaces pour obtenir et préserver la
mémoire du spectacle.
Inscription au Congrès
Les informations préliminaires et les détails concernant linscription seront publiés en janvier 2008.
APPEL A CONTRIBUTIONS/COMMUNICATIONS
Délai : Toutes les propositions de communications doivent parvenir avant le 31 mars 2008.
Types de communications souhaitées : Deux types de communications seront pris en compte pour le programme du
Congrès 2008.
Communications prononcées en plénière. Les communications abordant un ou plusieurs thèmes fixés (voir cidessous). Ces communications doivent être conçues pour ne pas durer plus de vingt minutes.
Communications écrites et à débattre. Les communications écrites qui seront distribuées aux délégués dans lespace
expo-vente le 28 août.
Les auteurs seront amenés à discuter leurs communications avec les délégués. Ils auront la possibilité dutiliser des
moyens audiovisuels ou en ligne (documents numérisés, archives électroniques, bases de données etc.) Une
traduction simultanée français/anglais est prévue.
Tous les auteurs seront inscrits au programme du Congrès et leur communication sera publiée dans le volume dactes
qui suivra. En raison du nombre de communications attendues, les organisateurs regrettent de ne pouvoir toutes les
Page 3
accepter pour une présentation en séance plénière.
Thèmes du Congrès
Les communications qui portent sur les thèmes suivants seront les bienvenues.
A. Nature éphémère des arts du spectacle et exemples de projets qui ont pour objectif de rassembler ou de présenter
le matériel documentaire dune manière novatrice, dans des formats traditionnels ou électroniques.
B. Leçons qui peuvent être tirées dautres disciplines et cultures à propos du défi que représente la conservation du
patrimoine immatériel.
C. Exemples de méthodes novatrices pour le rassemblement des témoignages à travers, par exemple, le travail du
souvenir ; projets dhistoire orale ; collecte proactive grâce à une collaboration étroite avec les artistes du spectacle,
etc.
D. Pratiques denregistrement de tout le processus de création dun spectacle, depuis lidée de départ jusquà la
présentation au public.
E. Caractéristiques spéciales ou formes spécifiques de matériels documentaires tels que costumes, photos,
maquettes etc., et leur fiabilité en tant que sources.
F. Reprises et reconstitutions en tant que moyens de redonner vie à la représentation théâtrale.
Présentation des propositions :
Votre proposition doit comporter les informations suivantes :
· Nom complet et fonction
· Adresse
· Adresse électronique
· Veuillez préciser si vous êtes membre de la SIBMAS
· Titre de la communication
· Résumé : Veuillez fournir un résumé dun maximum de deux cents mots, reprenant le contenu de la communication
que vous proposez.
· Précisez si vous nous soumettez une communication prononcée en plénière ou une communication écrite et à
débattre ou si vous souhaitez être pris en considération pour les deux.
· Précisez si votre communication requiert une présentation audio-visuelle ou en ligne.
Veuillez envoyer votre proposition par courriel à [email protected]
Toutes les propositions doivent nous être soumises, achevées, avant le 31 mars 2008.
Les propositions seront examinées par un comité du Congrès et les auteurs seront informés avant le 20 avril 2008 de
la décision du comité.
Tous les auteurs retenus devront être en mesure de délivrer leur communication définitive pour le 30 juin 2008. Ceci
afin de pouvoir préparer la traduction simultanée en anglais.
Asian Theatres and the Western Worlds: Culture, Alterity and
Representation
India - Thrissur
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January 12, 2008 - January 13, 2008
The Centre for Performance Research announces its first International Conference
entitled at Thrissur, Kerala.
The Conference themes in a broad sense are:
Asian Theatres and cultural interventions in the West
Western Theatre and the modern Asian Theatres: mimesis or mimicry?
Adaptations and Transformations in theatres
Intercultural and the intracultural in theatre
Asian Diaspora and its theaters in the West
Alterity in theatre
Rethinking Asianness in Theatres
History of Asian theatres in the West
Asian traditions, Westernized practices in theatre
Reworkings and rewritings
Pedagogy and performance in Asian theatre and Western Academia
Asian (Indian, Japanese, Chinese, Burmese, Srilankan, Singaporean,
Pakistani, Indonesian) theatres in transition
For further details visit the conference website: http://incpr.org/
The conference venue, Thrissur is the city of Thrissur Pooram(Grand Festival) and renowned as the cultural capital of
Kerala.
The Centre for Performance Research is designed to serve as a nexus of academics
and researchers working on Performance Studies, Cultural Studies, Theatre, Social
Psychology, Cultural Anthropology and other related areas of Social Sciences.
The Centre for Performance Research
St. Thomas College, Thrissur
Kerala, India. 680001
Phone 09446230003
Call for papers - Crossings: David Mamet's Work in Different Genres
and Media
Belgium - Brussels
January 7, 2008
An international conference hosted by the Belgian Luxembourg American Studies Association, and the Language &
Literature Department of the Vrije Universiteit Brussel
Paleis der Academiën, Brussels
April 24-25, 2008
On Nov. 30, 2007 the American David Mamet turns sixty. For an internationally renowned artist, credited with more
than fifty plays, twenty odd filmscripts and several prose works, this is an excellent occasion for a reassessment.
Although two international conferences have already been devoted to this writer/director, respectively in Las Vegas
and London, the Brussels event has, besides its honorary and retrospective functions, a more specific agenda,
namely the conjunction and transposition of different genres and media in Mamet's career.
Since the beginning of this career Mamet has indeed been exploring drama as well as radio, film, television, poetry
and prose. His proficiency and success in film and drama are even such that many a fan of the artist's works in one
field is insufficiently aware of his achievements in the other. One primary goal of the present conference, therefore, is
to bring together these spectators, to bridge the divide in order to gain a better sense of the medium-specificity of
Page 5
individual works, to assess the eventual carry-overs of genres and media, and to gauge Mamet's meta-artistic
concerns, whether these are manifested in his now critical, now polemical essays or in the artistic creations
themselves.
At stake, too, are an investigation of Mamet's authorial status and positioning in the postmodern age marked by
hybridisation, recycling, and mass production and the dynamic between independent American cinema and Hollywood
movies. The conference topic includes but is not limited to Mamet's adaptations and translations of existing plays
(Doctor Faustus, The Cherry Orchard, Uncle Vanya, Three Sisters, The Voysey Inheritance,...), the transpositions of
his playscripts to the screen (Sexual Perversity in Chicago, American Buffalo, Glengarry Glen Ross, Oleanna,
Edmond..), of a television series like The Untouchables into a feature-length movie (dir. Brian de Palma), and his
screen adaptations of novels and plays by others (James M.Cain's The Postman Always Rings Twice, Barry Reed's
The Verdict, Thomas Harris' Hannibal, Terrence Rattigan's The Winslow Boy).
Equally relevant are Mamet's incorporation of radio into the theatre (The Water Engine) and occasional pieces like his
dramatization of one of Chekhov's short stories (Vint). It is hoped that Mamet's more recent work for television (The
Unit), film (Spartan), and radio (Glengarry Glen Ross, Faustus, Keep Your Pantheon, or On the Whole I'd Rather Be in
Mesopatamia,...) shall also receive attention, besides less common transpositions like those between parodies and
their object (for instance, the treatment of the law and by extension the courtroom drama as dealt with in The Verdict,
The Winslow Boy and Romance), or comparisons between dramatic and filmic treatments of the film industry and
theatre profession (Speed-the-Plow vs. State and Main vs. A Life in the Theatre). Of further interest may be the
mediation of Mamet's artistry through satirical takes by other playwrights (Arthur Kopit's The Road to Nirvana, David
Ives's Speed the Play, Lance Tait's David Mamet Fan Club).
Keynote lecturers will include Prof. Ira Nadel (University of British Columbia at Vancouver), author of the forthcoming
biography, David Mamet: A Life in the Theatre (Palgrave, 2008), Prof. Christopher Bigsby (University of East Anglia at
Norwich), editor of the Cambridge Companion to David Mamet (Cambridge UP, 2004), Prof. Bruce Barton (University
of Toronto), author of Imagination in Transition: David Mamet's Move to Film (PIE-Peter Lang, 2005), and Prof. Yannis
Tzioumakis (University of Liverpool), author of American Independent Cinema: An Introduction (Rutgers UP &
Edinburgh UP, 2006).
Next to the plenary lectures by established scholars and specialists in the field there will be a number of parallel paper
sessions. Twenty minute paper proposals are therefore welcome on a variety of topics related to the general theme.
Presentations dealing with the medium and genre specificity of individual plays, films, and radio works, whether from
the theoretical, practical or production perspective will be welcome. Explorations of the media and genre crossings
should be of particular interest, with regard to David Mamet's output or in comparative analyses including the work of
other artists crossing genres and media.
250-word abstracts accompanied by a short biographical note should be submitted to the conference convenor, Prof.
Johan Callens ([email protected]), before January 7, 2008.
Acceptance of proposals will be notified by January 21, 2008. A selection of papers presented at the conference will
be published.
Call for Papers - SIBMAS Conference: "Capturing the Essence of
Performance: The Challenge of Intangible Heritage"
March 31, 2008
August 25th to 29th 2008
Conference Venue
The venue for the 2008 SIBMAS conference will be Scotlands leading conservatoire, the Royal Scottish Academy of
Music and Drama in Central Glasgow.
http://www.rsamd.ac.uk
Conference Theme
Page 6
The SIBMAS 2008 conference programme will focus on how effectively a live activity such as performance can be
documented using a variety of both traditional and more innovative methods.
Live performance is a subject area in which the process of creating a production is as of much if not of more interest
to researchers than the end product itself. But how practicable is it to invade the artists workshop or rehearsal
process?
Performance is a subject area which focuses on a physical activity, not on a static artefact. Representing that activity
with static objects alone provides a partial record but not a wholly satisfactory one. Using performance recordings,
oral testimony and other techniques to reconstruct the experience of a performance are crucial to explaining past
performance.
The 2008 SIBMAS conference will encourage debate on the most effective methods for recording and preserving
performance.
Conference Registration
Pre-publicity and registration details will be published in January 2008.
CALL FOR PAPERS
Deadline: All proposals for papers must be received by 31st March 2008
Papers invited: There will be two types of papers considered for the 2008 conference programme:
Full Papers: A paper addressing one or more of the stated themes (see below). Full papers should be planned to last
no more than 20 minutes.
Exhibition Papers: A paper which will be issued to delegates for the exhibition and trade fair session on August 28th.
Presenters will be expected to discuss their papers with delegates and will be provided with an opportunity to
demonstrate an audio-visual or online resource (digitisation, electronic archive, database, etc). French / English
interpretation will be available.
All presenters will be listed in the conference programme and their papers will be published in the subsequent
published proceedings. The organisers regret that, due to the likely number of papers proposed, not all can be
accepted for full presentation.
Conference Themes
Papers on the following themes will be welcomed:
A. The ephemeral nature of the performing arts and examples of projects which have attempted to collect or present
documentary material in an innovative way, in traditional or electronic formats.
B. Lessons which can be learned from other disciplines and cultures about the challenge of recording intangible
heritage
C. Examples of innovative methods of collecting evidence through, for example, reminiscence work; oral history
projects; proactive collecting through close collaboration with performing artists, etc.
D. Exercises in recording the whole process of creating a production from the initial idea through to public
performance
E. The special characteristics of specific forms of documentary materials such as costumes, photographs, designs,
Page 7
etc, and their reliability as a source of evidence
F. Restagings and reconstructions as a means of reliving theatrical performance
Format for Proposals:
Your proposal should include the following information
· Your full name and job title
· Address
· E-mail address
· Please state whether you are a member of SIBMAS
· Title of paper
· Summary: Please provide a synopsis of up to 200 words summarising the content of your proposed paper
· State whether you are you submitting a Full paper or an Exhibition paper, or are happy to be considered for either
· State whether your presentation will require an online or audio-visual demonstration
Please e-mail your proposal to [email protected]
All proposals must be submitted in full by 31st March 2008.
Proposals will be considered by a Conference Panel, and prospective presenters will be contacted by 20th April 2008
with the panels decision.
All successful presenters must be able to provide a full text of their paper by 30th June 2008. This will be required for
the purposes of preparing simultaneous translation into French.
Call for Papers: Conference on African and Afro-Caribbean
Performance
United States - Santa Barbara
February 15, 2008
University of California
Berkeley, Sept 26-28, 2008
Keynote speakers: Gerard Aching, Pauline Malefane, Tejumola Olaniyan
Co-convenors: Leo Cabranes-Grant and Catherine M. Cole
As studies of African and Afro-Caribbean performance have acquired a wider relevance during the last decade, it is
now time to examine the diverse critical approaches currently being practiced within these fields. How are African and
Afro-Caribbean cultures being constructed, analyzed, and re-imagined by recent discussions about theatricality,
transnationalism, diaspora, translation, Circum-Atlantic exchanges, or cyberspaces? (Other topics are also
welcomed). We seek papers that emphasize either Africa, the Caribbean, or the connections between both.
Please send a one-page long abstract no later than February 15, 2008 to
Leo Cabranes-Grant
Associate Professor, Department of Theater and Dance
Santa Barbara
93106-7060
email: [email protected]
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Presented by UC Berkeleys Dept. of Theater, Dance, and Performance Studies. Co-sponsors include UCBs Center
for African Studies, the Dept. of Music, and the Pacific Film Archive, as well as two UC-wide Multi-campus Research
Groups in African Studies and International Performance.
Call for Papers: International Conference on Caribbean Culture and
Performance
- Grand Cayman
January 30, 2008
June 12-14 2008
Grand Cayman, B.W.I.
The Cayman National Cultural Foundation in collaboration with the University College of the Cayman Islands, the
University of the West Indies, the Edna Manley College of the Visual and Performing Arts, the University of South
Florida College of Visual and Performing Arts and the Institute for the Study of Latin America and the Caribbean will
host a conference in Grand Cayman in honor of the 50th anniversary of Errol Johns
Moon on a Rainbow Shawl, selected as the winner of the National Observer Award in 1957 and first produced in
London in 1958.
The conference will interrogate the historical and contemporary processes that characterize the plays performative
representation of cultural identity and difference, the interaction of diverse artistic traditions, historical context, and
subsequent influence on theatrical and artistic practices in the Caribbean and diaspora.
We are seeking scholarly papers, panels and presentations from artists that will stimulate the discourse among
scholars and practitioners. Possible topics may include, but are not limited to:
Production history of the play
Errol Johns life and work
Contemporary productions (directing, acting and design)
Representations of gender, race, class, and national identity in the play
Theatrical, architectural and social space in the yard play
American military presence in pre-independence Trinidad
Interconnectedness of theatre and popular forms (Calypso, Hollywood films)
Transnational narratives: the emigration of West Indian artists
Intercultural traditions in theatrical representation
Social roles and responsibilities of artists
The interaction of critical theory and artistic practices
Politics and Caribbean aesthetics
Archivization of source material in Trinidad (e.g., Whitehall Players, playscripts,
kaisos)
Please submit a 250-word abstract for a paper or a description of a proposed panel or presentation, a brief CV and
institutional affiliation no later than January 30th, 2008. Confirmation of accepted abstracts, proposals for panels or
presentations will be done by March 1, 2008 along with session details and accommodation information at discount
rates on Grand Cayman. Please direct abstracts and all related enquiries to:
Henry Muttoo: [email protected]
Dr. Patrick Finelli: [email protected]
Eugene Williams: [email protected]
Dr. Keith Jardim: [email protected]
Call for Papers: The West End Musical, 1880-1930 - An international
conference on the study of early musicals
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December 31, 2007
10-11 April 2008
Goldsmiths, University of London
Department of Professional and Community Education
Topics include:
Musical comedy
Revue
Musicals and modernity
Musicals and national identities
Gender debates
Performance
Gilbert and Sullivan
Theatre economics
Transatlantic traffic
Key note speaker:
Peter Bailey
This conference aims to focus on the early West End musical in all its historical dimensions, and to help restore early
West End musicals to significance in terms of
historiographies of the musical. A further aim of this conference is to interrogate standard ideas about music theatre
history, and, perhaps, to seek ways of repositioning the West End musical in music theatre history.
Invited speakers include:
Jacky Bratton, Rex Bunnett, Andrew Lamb, David Mayer, Len Platt, Doug Reside, David
Walsh, Walter Zvonchenko.
Conference dinner will take place on 10 April 2008.
We are inviting papers on all forms of musical theatre, and on all aspects of the genre.
Please send a title, brief extract and outline CV to us by 31 December 2007.
Registration forms available from:
Barbara Allen
Professional and Community Education
Goldsmiths, University of London
New Cross London SE14 6NW
[email protected]
Phone: 00 44 20 7919 7221
http://www.goldsmiths.ac.uk
Call for papers: Touching Time: Bodies/Writing/Histories
United States - Ann Arbor
January 1, 2008
A practice-based research symposium
April 19th/20th 2008
Dance Building, University of Michigan
Keynote Provocation: Ann Cooper Albright, Professor of Dance, Oberlin College
Conference Team: Amy Carroll, Assistant Professor of English and American Culture (Latina/o Studies)
Amy Chavasse, Assistant Professor of Dance
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Aimee Meredith Cox, Post-Doctoral Fellow, Center for the Education of Women(Anthropology, Performance Studies)
Petra Kuppers, Associate Professor of English (Performance Studies/Disability Studies)
Yopie Prins, Associate Professor of Comparative Literature
In 2007, the University of Michigan hosted the Anarcha Project symposium: a large-scale event where black culture
and disability culture activists, medical historians and performance scholars came together to approach a particular
medical historical case-study through performance means. In 2008, we want to build on the methods explored in the
Anarcha, and invite scholars and artists to engage in experimental historical writing and art practice.
We invite up to twenty participants (grad students, faculty, artists) to come together for two days, to workshop, use
performances and presentations as provocations, and explore methods of merging art practice and critical writing in
the exploration of time. The historical topics we will explore are open, and will be determined by applicants
interests. The symposiums main focus is with innovative methodologies, writing-as-practice, archival embodiment,
timespace poetics, repronarrativities, heirlooms/legacies, frottages with his(hiss)/her-stories, myth movement,
touching textures. We will be in
research practice together: this is not a conference to share the results of previous research. Thus, we are not looking
for papers, we are looking for participants in this experiment.
Each invitee will have transport and accommodation costs reimbursed up to $300 dollars. The conference hotel offers
rooms for about sixty dollars a night, and we will assist people who want to be hosted by graduate students.
Application Process: please send us a short CV, a sample of your writing (experimental, performative or traditional
critical), and a brief statement about why you would like to participate.
Alternatively, send a DVD or CD with performance or visual arts material, also accompanied by a statement. Send all
materials to the symposium director: Petra Kuppers, [email protected], or to the snail mail address:
Petra Kuppers, English Department
3216 Angell Hall
University
of Michigan
Ann Arbor
MI 48109-1003
Deadline: January 1st. Notification: January 15th.
Colloque: Danse et Résistance
France - Pantin
January 17, 2008 - January 20, 2008
Au cours du XXe siècle, de nombreux artistes, inscrits dans des mouvements sociaux et politiques, ont clairement
revendiqué un art engagé : lutte aux côtés du monde ouvrier, condamnation de la ségrégation sociale et raciale,
combats féministes, dénonciation des discriminations sexuelles, opposition à des régimes totalitaires, etc. Cette
implication peut prendre des formes diverses : si certains sinvestissent à titre personnel, dautres élaborent des uvres
au contenu subversif ou remettent en cause les cadres de production des spectacles.
Les postures militantes de ces artistes vont de pair avec les traumas historiques qui ont ébranlé le siècle. Chacun
adopte les canons esthétiques et les modes dinterventions propres à son époque et aux objectifs visés. Il en résulte
des uvres très différentes, du New Dance Group dans les années 1930 jusquaux travaux contemporains de Robyn
Orlin, Maguy Marin ou Lia Rodrigues, en passant par le Judson Dance Theatre des années 1970.
Le plus souvent, on ne voit ces uvres quà travers le prisme de leur engagement et lon conteste leur statut artistique.
Pourtant, si certains danseurs représentent dans leurs travaux la violence ou linégalité pour les rendre tangibles au
public, dautres, loin de toute figuration qui pourrait paraître simpliste, font violence aux dispositifs mêmes de la
représentation.
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En croisant paroles dartistes et de théoriciens venus du monde entier, le colloque réinterroge les critères à luvre dans
lévaluation esthétique des chorégraphies engagées. Car résister, nest-ce pas créer ?
Programme (Schedule) :
Jeudi 17 janvier 2008
18h : Victoria Phillips Geduld, Mettre en scène le politique dans la danse américaine : le New Dance Group et Survival
of the Fittest (La survie du plus fort)
19h : vernissage de lexposition Dance Is a Weapon. NDG 1932/1955
20h30 : Cécile Proust, femmeusesaction #19, final/ment/seule
François Verret, hors-champs : une performance de François Verret autour de « Danse et résistance »
Vendredi 18 janvier
9h30-10h30 : Catherine Soussloff, Le chorégraphe comme sujet politique au XXe siècle
11h-12h : John Perpener, Eleo Pomare : artiste et activiste
12h-13h : Blondell Cummings, Une voix authentique dans le politique
14h30-15h30 : Janez Jana, Les procédés de reconstruction de Pupilija, papa Pupilo and the Pupilceks (Maman
Pupilija, papa Pupilo et les petits Pupilceks)
15h30-16h30 : Emilyn Claid, Les pieds sur Terre : comment la new dance britannique est apparue un point de vue
16h30-17h : Véronique Fabbri, Construire en danse
17h30-18h : Mark Franko (modérateur), débat avec les intervenants de la journée.
19h : Cécile Proust, femmeusesaction #19, final/ment/seule
Samedi 19 janvier
9h30-10h30 : Boyan Manchev, La résistance de la danse
11h-12h : Jens Richard Giersdorf, Les chorégraphies de la révolte et de lopposition dans un contexte national
12h-13h : Mark Franko, Still/Here de Bill T. Jones et lespace public chorégraphique
14h30-15h30 : Mattia Scarpulla, Lidentité étrangère de la chorégraphe Ea Sola : entre Orient et Occident, dénoncer la
dévastation culturelle de la guerre
15h30-17h00 : Mylène Sauloy, Le corps dans lâme
17h30-18h : débat avec les intervenants de la journée
19h : Cécile Proust, femmeusesaction #19, final/ment/seule
Dimanche 20 janvier
9h30 à 10h30 : Hélène Marquié, Danse et féminisme en France : rencontres, évitements, enjeux
11h-12h : Geneviève Vincent, Queer et résistance
12h-13h : Marina Nordera, Être femme et « danser contre »
14h30-15h30 : Okwui Okpokwasili, Pent-Up !
15h30-16h : Martha Rosler, Y a-t-il du « public » dans la vie « privée » ?
17h30-18h : Boyan Manchev (modérateur), débat avec les intervenants de la journée.
Pass colloque 3 jours : Pass colloquium 3 days
Tarifs: 38 (tarif plein), 24 (tarif réduit). Abonnés : 24
Evénements dans le cadre du colloque:
Du jeudi 17 janvier au samedi 19 janvier 2008 à 20h03, Studio 3 : Spectacle : femmeusesaction #19, final/ment/seule
(Cécile Proust).
Tarifs: 12 TP, 10 TR. Abonnés : 8 TP, 6 TR.
Du jeudi 17 janvier au samedi 19 janvier 2008 à 19h00, Studio 8 : Spectacle François Verret.
Jeudi 17 janvier 2008 à 18h00 (Thursday 01/17/08 at 6.00 p.m), Grand Studio : Conférence Mettre en scène la
politique dans la danse (Victoria Geduld).
Tarifs: 6 . Offert pour les abonnés et participants au colloque « Dance et résistance ».
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RENSEIGNEMENTS ET RESERVATIONS
- par téléphone : 00 33/ 1 41 83 98 98
- par mail : [email protected]
- site internet : http://www.cnd.fr
International Conference - Performing Arts Training Today
Slovenia - Bovec
April 14, 2008 - April 17, 2008
The conference is open to performers, performing arts educators and teachers from all over the world interested in the
research of topical questions and processes in contemporary performing arts education and training.
At the moment the conference has been accepting presentation proposals.
Presentation format:
workshop/master class
work in progress
performance fragment (not requiring any special technical conditions)
reading/lecture
any other way of demonstration to the presenter's discretion.
Conference web page: http://www.iugte.com/projects/Conference.php
Registration details:
http://www.iugte.com/projects/conf.reg.php
Participants and observers are also welcome!
Second call for papers - International Conference: CARNIVAL,
PEOPLES ART AND TAKING BACK THE STREETS
Canada - Toronto
February 15, 2008
July 30-August 3, 2008
In conjunction with the International Steelpan Association
Accolade Centre at York University and Koffler Centre at the University of Toronto
http://www.yorku.ca/CarnivalConference
Spreading from Trinidad through the Caribbean, to Canada and England as well as Germany, and with analogues in
Brazil, the United States and elsewhere, Carnival has developed into one of the most important global expressions of
popular identity. Both as celebration, and as resistance art, it builds on the collision of cultures of Catholic European
colonizers and enslaved West Africans. The claiming of public space in the use of the street is a statement of
presence that is as much political as artistic. Organized to coincide with the Caribana Festival on the streets of
Toronto, this conference addresses such important issues as Globalization and Commercialization, the formation of
Diasporas, Pan-Cultural Hybridity, the origins and development of Carnival, Gender and Racism, the nature of
Postcolonialism today.
Held as part of the Caribana Festival and Parade, and with the International Steelpan Association, the conference is
designed to merge theory and practice.
Page 13
The conference will explore the social, political and cultural aspects of Carnival and street theatre, as well as themes
of exclusion/otherness, exoticism and cross-cultural acceptance, connections across the Diaspora, and comparisons
between Carnival in Africa, the Caribbean, South and North America, Europe and the UK. Papers that address any
aspect of these areas are welcome; and there will be two New Scholars Panels, for which students are particularly
invited to submit papers. While taking African Carnival and its spread across the Caribbean to other continents as its
base, this conference is also intended to focus on the widest socio-cultural aspects of this performative street art: the
negotiation of hybrid identity in the post-colonial context; anthropological views of historical developments, the politics
of carnival and street theatre, the economics and commercial pressures. Suggested topics for papers include, but are
not limited to:
*
*
*
*
*
*
*
*
*
*
*
*
Carnival and theatricality
Images of Africa / Carnival in Africa
The Trinidad Carnival Tradition
Myth, Magic and Religion
Economics and Carnival
Social Activism & Street Theatre
Popular Art, Globalization & Copyright
Gender, Sexuality, Satire
Caribana: history, performance
New Orleans Mardi Gras
Cross-Cultural Influence: Brazil, Bolivia, Berlin
Notting Hill Carnival
Proposals for seminar topics also are welcome; and submissions are invited for seminars on:
*
*
*
*
*
*
Theorizing Carnival
Cultural Rights in a Transnational Festival
Carnival as a Vehicle for Protest
Carnival in Literature
Politics of Carnivals and Festivals
Documenting/ preserving Carnival materials
There will also be Workshops on
* Producing Carnival and on
* Carnival Artists and Design
Submissions: Prospective participants should submit abstracts of between 100 and 300 words, for individual papers,
seminars or workshops, by the FINAL deadline of FEBRUARY 15th 2008.
Abstracts should be sent to Carnival Conference, 303 Goldfarb Centre, York University, 4700 Keele Street, Toronto,
Ontario, Canada M3J 1P3 or by email to [email protected]
Abstracts must include the title of the paper or presentation, the name(s) of presenter(s); institutional affiliation; email
address, phone & Fax numbers. Students should identify themselves as New Scholars.
Special Features:
* Staging of a new calypso musical by Tony Hall
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* Major Exhibition of Carnival Art
* Viewing Kings and Queens competition and Caribana Parade
* Steelpan Music and Panels
* Special Victoria&Albert Museum seminar
CONTACT: Prof. Christopher Innes, Canada Research Chair, 303H Goldfarb Centre, York University [email protected]
Theatre Book between the Past and Future
Russian Federation - Moscow
November 1, 2008 - November 30, 2008
The Russian State Art library holds the eighth research readings Theatre Book between the Past and Future in
November 2008.
2008 Topic: Theatre periodicals in Russia.
The Conference has an interdisciplinary character. As usual, the wide circle of questions is submitted:
- The specific character of publishing theatre magazines and theatre newspapers;
- Forming of the repertoire of theatre periodicals;
- Their types;
- History and contemporaneity (censorship in theatre periodicals );
- Publishers and readers;
- Library acquisition and replenishment of historical parts of stocks;
- Catalogues and bibliography;
- Theatre periodicals in electronic medium,
and besides the whole variety of subjects proposed in the applications for participation in the Conference.
We invite theatre critics (specialists in home and foreign theatre), theatre workers, workers of libraries, museums,
archives; bibliographers, culture researchers, philologists and book researchers, publishers and editors, web-masters,
programmers, collectors to take part in the Conference.
The papers and presentations will be published in the Conference Proceedings in full. The size of the text should be
up to 0.5 authors sheet (20,000 signs). The notes should be arranged at the end of the text. Illustrations can be
included. It is obligatory to apply abstracts in English.
Please, send your applications to the following address:
Russian State Library
107031, Moscow
B.Dmitrovka 8/1
or by e-mail:
[email protected], [email protected]
Contact phone: (495)692-06-53, fax: (495)692-65-20
* : Modified only
Page 15
2. EXHIBITIONS
Dance!
Theatermuseum
Until 6 April 2008
People dance for various reasons. For some it is art and artistic expression, for others it is relaxation and enjoyment.
But how one experiences dance - on the dance floor, the stage or in the ballroom - it is always an experience. Dance!
presents a wide range of dance forms and styles, ranging from classical ballet to modern dance and from world dance
to show dance and club dance. Dance is brought to life by costumes, special objects, unique photos and video
fragments which visitors can select themselves.
One of the highlights is the monumental canvas depicting cancan dancers by the painter Jan Sluyters, probably dating
from 1915. A touching item is the little shoe left behind by Anna Pavlova after her sudden death in the Hotel Des Indes
in 1931. There are sensuous photos of night-club dancers dating from the 1960s, while the barbed-wire tutu from the
Grand Cru dance companys 2004 production Double U appeals to the senses in a rather different way.
The Dance! exhibition is accompanied by a supplementary programme. There are dance workshops, guided tours and
performances in the museum. Check the activity calendar on our website.
The Theater Museum is part of Theatre Institute Netherlands (TIN). The Institute is the heart of the Dutch theatre and
dance world. TIN accumulates knowledge, carries out research, stimulates the research of others, produces books
and other publications, provides chart trends and makes indications on developments in the field. For all these
purposes TIN organises also symposia, expert meetings, readings and presentations. In addition TIN supports the
internationalisation of Dutch theatre and dance and provides information and advice to foreign professionals wanting
to know more about theatre and dance in the Netherlands.
Opening hours
Monday to Friday: 11 a.m. - 5 p.m.
Saturday and Sunday: 1 p.m. - 5 p.m.
Admission rates
Adults: 4,50
Herengracht 168
1016 BP Amsterdam
Phone: +31 (0)20 551 33 03 / 00
[email protected]
http://www.theatermuseum.nl
or http://www.tin.nl
Exposition Dance Is a Weapon.NDG 1932/1955
France - Patin
January 17, 2008 - April 5, 2008
Danse et résistance
Victoria Phillips Geduld
En février 1932, six étudiantes en danse moderne, politiquement engagées, forment le New Dance Group et donnent
Page 16
une représentation lors dun rassemblement communiste à Manhattan. En dansant dans les syndicats et les salles de
spectacles, elles sattaquent aux problèmes les plus urgents de la Grande Dépression : de la famine à la condition des
sans-abri en passant par le chômage et la ségrégation raciale. Loin dêtre de simples actrices de lagitprop, elles sont
en relation directe avec lintelligentsia de gauche de New York et sont attirées par les principes artistiques de
lesthétique moderne.
En 1936, le New Dance Group rompt son affiliation directe avec le parti communiste, lun de ses membres affirme :
«Nous nétions pas communistes. Nous croyions simplement à tout ce quils croyaient. » Le groupe continue pourtant
de défendre les idéaux de gauche. À la fin des années 1930, il se produit sur les scènes grand public, un processus
qui atteint son apogée à Broadway en 1948. Les danses de protestation ont ainsi formé un front culturel qui est
devenu impossible à défendre pendant la Guerre froide.
Le contexte américain de la Guerre froide et de la « chasse aux sorcières » qui a pris pour cible les artistes «
subversifs » a fait obstacle à toute étude approfondie sur les liens politiques entre le New Dance Group et le parti
communiste. Pour protéger les membres du groupe, danseurs et historiens ont brillamment occulté et évité dévoquer
les liens initiaux entre le New Dance Group et la gauche radicale. Cette exposition fait ainsi revivre le passé du
collectif et met en avant les liens entre lhistoire de la danse américaine et la politique nationale.
Lexposition Dance Is a Weapon. NDG 1932/1955 se tient dans latrium du CND ainsi que dans la salle dexposition.
Les photographies et documents présentés explorent lhistoire de ce collectif et soulignent limpact de son travail
esthétique et politique.
Entrée libre
Centre national de la danse
1, rue Victor-Hugo
93507 Pantin
RER E Pantin
Métro Hoche (ligne 5)
Tel : + 33 (0)1 41 83 27 27
Fax : + 33 (0)1 41 83 27 28
[email protected]
http://www.cnd.fr
Graziella Vigo captures Verdi on Stage
November 19, 2007 - February 28, 2008
New York, NY 10023-7498
Hours: Tues, Wed & Fri: 11 to 6; Mon, Thurs: 12 to 8; Sat: 10 to 6
Admission free
This exhibition features 130 images by the famed Italian fashion, portrait, and performance photographer, Graziella
Vigo. At the suggestion of maestro Riccardo Muti, Vigo photographed productions of Verdi operas at the Teatro alla
Scala, in Milan, and the Teatro Regio, in Parma. Ms. Vigo also photographed productions touring at Bunka Kaikan in
Tokyo. The over-sized photographs, hand-printed on canvas, comprise strikingly dramatic images of Verdi's most
popular operas: Aida, La traviata, Il trovatore, Rigoletto, Un ballo in maschera, Macbeth, and two productions each of
Falstaff and Otello.
Page 17
New York Story: Jerome Robbins and His World
March 25, 2008 - June 29, 2008
New York, NY 10023-7498
Hours: Tues, Wed & Fri: 11 to 6; Mon, Thurs: 12 to 8; Sat: 10 to 6
Admission free
The most celebrated American choreographer of his time, Jerome Robbins belongs uniquely to New York. He was
born in the city and died there, and his dances, both for Broadway and for the ballet stage, recounted its lore and the
joys and travails of its ordinary folk. His dances touched a contemporary chord. They conveyed vernacular energies
and communal pleasures, echoed the rhythms of jazz, and were set physically and psychologically in New York
landscapes. New York Story: Jerome Robbins and His World explores Robbins's work in the context of the many,
overlapping New York worlds that met in it. The exhibition draws principally on the very rich collections of Robbins
material at the Library's Jerome Robbins Dance Division, as well as on material from other Library divisions,
augmented by loans from the Museum of the City of New York, the Paley Center for Media, The Jerome Robbins
Trust and Foundation, and private individuals. The exhibit has been curated by Lynn Garafola, professor of Dance at
Barnard College.
Posters from the illustrious Shaffy Theater
December 8, 2007 - March 30, 2008
As part of the 230th anniversary of Felix Meritis, the Theatermuseum presents as of December 8 posters from the
illustrious period that this building was know as Shaffy Theater (1971- 1988). During this period you could enjoy
various experimental of dance, mime, theatre and music performances of groups like Maatschappij Discordia,
Krisztina de Châtel, Festival of Fools, Hauser Orkater and Neerlands Hoop. The Theatermuseum made a selection of
the most beautiful and remarkable theatre bills of this era.
Opening hours
Admission rates
Adults: 4,50
Herengracht 168
1016 BP Amsterdam
Phone: +31 (0)20 551 33 03 / 00
[email protected]
The Archives of Ballerina Alexandra Radius - A Tour
February 24, 2008 - May 31, 2008
Page 18
Theatremuseum
Museum employees give a tour through the archives of Hollands biggest prima ballerina of the last century; Alexandra
Radius. This legendary ballet dancer of the National Ballet did compose this tour herself with materials and object
from her personal archives and added material from the archives of the Theatermuseum. Personal souvenirs,
photographs, costumes, letters, point shoes and posters including the extraordinary stories that accompany them bring to live the career of this great dancer.
Alexandra Radius danced with the greatest companies in Holland and abroad and danced with dancers like Rudolf
Nurejev and Allan Land. The tour is a supplementary to the portrait of Alexandra Radius on
http://www.eenlevenlangtheater.nl
Opening hours
Admission rates
Adults: 4,50
Herengracht 168
1016 BP Amsterdam
Phone: +31 (0)20 551 33 03 / 00
[email protected]
* : Modified only
Page 19
3. PUBLICATIONS
3.1. GENERAL
Performing Arts Collections on the Offensive / Les collections darts
du spectacle passent à loffensive *
Austria - Vienna
August 31, 2007
26th SIBMAS Congress, Vienna 2006
Series: Schriftenreihe des Österreichischen Theatermuseums Vol. 2
283 pages
num. fig. and tables, 1 DVD
ISBN 978-3-631-56635-0
Paperback
48.10
£ 31.30
by the Austrian Theatre Museum. The theme of the congress was «Performing Arts Collections on the Offensive» and
Le 26ème Congrès de la SIBMAS s'est tenu à Vienne du 28 août au 1er septembre 2006. Il était accueilli et organisé
par le Musée autrichien du théâtre. Le thème du congrès « Les collections d'arts du spectacle passent à l'offensive »
entendait souligner la nécessité, pour les institutions possédant des collections en arts du spectacle, d'aller à la
rencontre de leur public et de promouvoir leurs activités afin de rendre leurs collections plus accessibles.
Contents/Contenu:
Martha S. LoMonaco: Theatre Library Association - SIBMAS Partner for the Future - Carsten Jung: PERSPECTIV Association of Historic Theatres in Europe - Julia Prestenskaja: Collecting of the Rare Materials at St. Petersburg
Library: History and Present - Dietrich Schüller: Long-term Preservation of Audiovisual Documents - Alfred Schmidt:
The Austrian National Library - Innovation and Strategic Objectives - Kristy Davis: Slipping Thru the Cracks: Issues
With Performing Arts Ephemera and A Discussion of the Mander and Mitchenson Theatre Collection - Caroline
Raynaud : La centrale documentaire du Départment des arts du spectacle Bibliothèque nationale de France - Sylvie
François/Louise Guy : Cirque, collection et pérennité - Francesca Marini: The Identity of the Profession: Representing
Ourselves to Funding Agencies and the Public - Michael Werner: Introducing the Barry Kay Archive, London - Dalia
Sverdioliene: The Archive of Lithuanian National Opera and Ballet Theatre on the Eve of Changes - Michelle Potter:
Audacious Acts: Cross Institutional Collaboration in Australia and the Model of the Ballets Russes Project - Zdena
Benesová: The Repertoire Register of the National Theatre in Prague Now in Digital Form - Ken Hagiwara/Masako
Yagi: An Introduction to the Tsubouchi Memorial Theatre Museum at Waseda University, Tokyo/Japan - Winrich
Meiszies: Theatre Collections on the Offensive - But Where Does the Enemy Stand? - Helen Adair: Predicting the
Impact of Public Programs: A Case Study of the Stella Adler Celebration at the Harry Ransom Center - Dorota
Buchwald/Agata Adamiecka-Sitek: From Highly Specialized Archive to Multi-functional Center: Theatre Institute in
Warsaw - Mathias Auclair : L'association des amis de la Bibliothèque-musée de la danse et de la Bibliothèque-musée
de l'Opéra (ABMD) - Magdalena Stulcová: Rarities From the Theatre Collection of the Municipal Library of Prague and
the Floods of 2002 - Guy Baxter: Sharing Performance Data - The Theatre Information Group MLA SSN Partnership
Project - Hans van der Veen: Work in Virtual Progress - Camila Savu/Anisoara Burlacu : Projet «AGORA-STAR» archives éléctroniques destinées aux arts interprétatifs (théâtre, musique, danse) - Margret Schild: Theatre
Information - Searched and Recorded Once, Manifold Extended and Used - Ann Barbara Kersting-Meuleman: The
Friedrich Nicolas Manskopf Portrait Collection. Digitization and Catalogue Project at Frankfurt University Library Elvyra Markeviciute: The Basic Principles of Performance Art Collections at Lithuanian Libraries. The History of
Page 20
Collecting at the Kaunas District Public Library - Paul S. Ulrich: Yes, We're on the Internet, But Are Our Websites
Effective? A Critical Examination of SIBMAS Members' Websites - Swen Hartmut Tromm: Software Development for
an Archival Relational Database - What Criteria Need to Be Observed? - Matthieu Bonicel : Vers un répertoire en ligne
des sources pour l'étude du théâtre médiéval - Mathilde Le Gal : Exposition permanente, expositions temporaires : les
pratiques expographiques du théâtre en France - Laurent Rossion : Lettres, scène, musée... Le nécessaire dialogue
de la culture - Winrich Meiszies: To Be Or Not To Be - A Proposition For a Multinational Exhibition Project - Martin
Dreier : Théâtre d'aujourd'hui et théâtre d'hier. L'exposition permanente de la Collection Suisse du Théâtre - Gerhard
Vana/Karin Müller-Reineke: Museum and Theatre -Cordula Treml: The Online Bulletin - A Valuable Instrument of
Information Display and International Forum of Exchange.
About the author(s)/editor(s)
Ulrike Dembski studied Theatre History and History of Art at the University of Vienna. Since 1981 custodian in the
Austrian Theatre Museum, responsible for the collection of costumes and stage models; numerous exhibitions and
publications on theatre history.
Christiane Mühlegger-Henhapel studied Comparative Literature and French language and literature at the University
of Innsbruck; dissertation on the French poet Jules Laforgue. Since 1999 custodian in the Austrian Theatre Museum,
responsible for the collection of autographs.
Les responsables de la publication:
Ulrike Dembski a étudié l'histoire du théâtre et l'histoire de l'art à l'Université de Vienne. Depuis 1981, conservatrice
au Musée autrichien du théâtre, responsable des collections de costumes et de maquettes; nombreuses expositions
et publications sur l'histoire du théâtre.
Christiane Mühlegger-Henhapel a étudié le Français et la littérature comparée à l'Université de Innsbruck; doctorat sur
le poète français Jules Laforgue. Depuis 1999 conservatrice au Musée autrichien du théâtre, responsable de la
collection d'autographes.
http://www.peterlang.de/Index.cfm?vID=56635&vHR=1&vUR=2&vUUR=1&vLang=E
3.2. THEATRE
Entertainment, Propaganda, Education. Regional Theatre in
Germany and Britain between 1918 and 1945.
United Kingdom
November 22, 2007
Anselm Heinrich
University of Hertfordshire Press
Society for Theatre Research
ISBN 978-1-902806-74-7
Hardback
£25.00
$50.00
A comparative study of regional theatre in Britain and Germany during the key period of 1918 to 1945
The study takes Yorkshire and Westphalia as two representative regions and looks at theatre in York, Hull, Sheffield,
Bradford and Leeds as well as in Münster, Dortmund, Hagen, Bielefeld and Bochum. It seeks to locate the histories of
individual theatres within broader social, economic and political contexts. It places particular emphasis on regional
repertoires within the framework of national cultural landscapes and considers to what extent programmes were
shaped by concepts such as censorship and canon.
Page 21
The book challenges claims that British and German theatre are fundamentally different and incompatible. In fact, the
study suggests that the theatre in both countries became increasingly similar during the Second World War. The
British government became interested in influencing the arts and introduced state subsidies on an unprecedented
scale. At the heart of the new policy was not only the belief that theatre could play an important role in the war effort
(as both entertainment and education) but also a concept of municipal theatre provision which was, in effect, similar to
that which already prevailed in Germany. In Germany, despite claims by the Nazis that theatre programmes must
reflect National-Socialist ideas, regional repertoires remained largely unchanged from the days of the Weimar
Republic, with comedies, farces and operettas designed to appeal to public taste.
Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He has published on different aspects of
British and German history.
http://perseus.herts.ac.uk/uhinfo/university-of-hertfordshire-press/literature-and-theatre-studies/literature-and-theatrestudies-backlist/entertainment-propaganda-education.cfm
Indian Folk Theatres
August 29, 2007
By Julia Hollander
Series: Theatres of the World
Published by: Routledge
£60.00
ISBN: 978-0-415-30455-9
Hardback
Pages: 240
Indian Folk Theatres is theatre anthropology as a lived experience, containing detailed accounts of recent folk theatre
shows as well as historical and cultural context. It looks at folk theatre forms from three corners of the Indian
subcontinent:
Tamasha, song and dance entertainments from Maharastra
Chhau, the lyrical dance theatre of Bihar
Theru Koothu, satirical, ritualised epics from Tamil Nadu.
The contrasting styles and contents are depicted with a strongly practical bias, harnessing expertise from
practitioners, anthropologists and theatre scholars in India. Indian Folk Theatres makes these exceptionally versatile
and up-beat theatre forms accessible to students and practitioners everywhere.
Table of Contents
Acknowledgements. Introduction: First Encounters. 1. Chhau Competing Spaces 2. Expanding Chhau Beyond
Masks and Maharajas 3. Rediscovering Folk Theatre 4. Tamasha Escape 5. Re-working Tamasha From Socialism
to Social Mobility 6. More Discoveries 7. Theru Koothu Coalescing Worlds 8. Modern Theru Koothu Survival 9.
The Global Village. Glossary of Terms. Bibliography. Therukoothu Appendix
http://www.routledge.co.uk/shopping_cart/products/product_detail.asp?sku=&isbn=9780415304559&parent_id=&pc=/
shopping_cart/search/search.asp?search%3D9780415304559
Jacques Copeau's Friends and Disciples - The Théâtre du VieuxColombier in New York City, 1917-1919
January 31, 2008
Page 22
Donahue, Thomas John
Francophone Cultures and Literatures Vol. 54
Edited by Paulson Michael G / Alvarez-Detrell Tamara
ISBN 978-1-4331-0166-3
Hardback
184 pages
49.20
US-$ 63.95
In a remarkable adventure, Jacques Copeau brought the troupe of the Théâtre du Vieux-Colombier to the Garrick
Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different
plays in repertory in French. He experimented with the use of both the tréteau nu, a bare raised platform, for some of
Molière's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period
as a critical moment in the evolution of stage décor both in the United States and in Europe. Moreover, his
development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling
art theater movement how important a full repertory is for the actor's continued training.
Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of
personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of
the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who
renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and
scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied
Copeau's ideals; and lastly Agnès Thomsen Copeau, Copeau's loyal wife and companion. This study places the
achievement of Copeau in the context of the developments of both European and American theater at
the beginning of the twentieth century.
The Author: Thomas John Donahue is Professor of French at Saint Joseph's University in Philadelphia. He received
his Ph.D. in French literature from the University of Pennsylvania. He is the author of books on the theater of
Fernando Arrabal and a semiotic approach to the theater text, as well as articles on Samuel Beckett, Antonin Artaud,
and Suzanne Bing. His interests include the work of Ariane Mnouchkine, the use of the mask in actor training, and,
most recently, the theater of Bernard-Marie Koltès.
Performing Aotearoa - New Zealand Theatre and Drama in an Age of
Transition
Belgium - Brussels
October 30, 2007
Maufort, Marc / O'Donnell, David (eds.)
Paperback
463 pages, 16 illustrations
ISBN 978-90-5201-359-6
40.90
£ 26.60
Over the last three decades of the twentieth century, theatre and drama in Aotearoa/New Zealand have experienced
remarkable growth. This groundbreaking anthology of essays and interviews attempts to document the diversity of
these multiple dramatic voices and performative dimensions, as they reflect the evolving New Zealand identity in an
age of transition moving towards twentyfirst century globalization.
Page 23
This comprehensive volume comprises a wide range of chapters focusing on key figures in the development of New
Zealand theatre and drama, such as, among others, Robert Lord, Ken Duncum, Gary Henderson, Stephen Sinclair,
Hone Kouka, Briar-Grace Smith,
Jacob Rajan, Lynda Chanwai-Earle, Nathaniel Lees, and Victor Rodger.
It is hoped that this volume will shed light on a hitherto neglected field of the canon of English-language drama. By
extension, the issues discussed in this anthology will provide new vistas from which to study the postcolonial condition
in the wider context of the contemporary Commonwealth.
Contents: Marc Maufort: Performing Aotearoa in an Age of Transition - David O'Donnell: «Whaddarya?» Questioning
National Identity in New Zealand Drama - Christopher Balme: Staging Pan-Polynesian identity at the New Zealand
International Exhibition, Christchurch 1906-07 - Murray Edmond: Re-membering the Remembering Body:
«Autonomous Theatre» in New Zealand - Bronwyn Tweddle: Where Grotowski Meets Lecoq. «Flow» in Training at Toi
Whakaari: New Zealand Drama School - Susan Williams: Advocating Interaction with «the Other»: Robert Lord's Use
of the Food Metaphor - William Peterson: Writing into the Land: Dramatic Monologues in the Expanding Landscape of
Aotearoa/New Zealand - Marc Maufort: Painful Homecomings: Family Fractures in Contemporary Pakeha
Dramaturgies - Telling Pakeha stories. Lisa Warrington Interviews Gary Henderson - «Theatre is the lightning rod».
David O'Donnell Interviews Ken Duncum - Stuart Young: Masque(e)rades of Masculinity: Cross-Dressing Women on
the New Zealand Stage - Completing the Circle. David O'Donnell Interviews Jean Betts - Te Ahukaramu Charles
Royal: Orotokare. Towards a New Model for Indigenous Theatre and Performing Arts - «Let me feel the magic». Hilary
Halba Interviews Rangimoana Taylor - David Carnegie/David O'Donnell: Maori Dramaturgy: The Case of Nga Tangata
Toa - Hone Kouka: Re-Colonising the Natives: The State of Contemporary Maori Theatre - Marc Maufort: Recapturing
Maori Spirituality: Briar Grace-Smith's Magic Realist Stage Aesthetic - Calming the Oceans. David O'Donnell
Interviews Briar Grace-Smith - Sharon Mazer: Atamira Dance Collective: Dancing in the Footsteps of the Ancestors Peter Falkenberg: Theatre of Unease - David O'Donnell: Re-claiming the «Fob»: The Immigrant Family in Samoan
Drama - «Everything is family». David
O'Donnell Interviews Nathaniel Lees - Lisa Warrington: A Place to Tell Our Stories: Asian Voices in the Theatre of
Aotearoa - «Truth is always stranger than fiction». David O'Donnell Interviews Lynda Chanwai-Earle - «We want to
create work that's beautiful, funny, sad and true». Lisa Warrington Interviews Jacob Rajan - John Davies: The
Audience Are Stones - William Farrimond: Mask, Moko and Memory: Identity through Solo Performance in a Postcolonial World - Trisha Dunleavy: Narratives of Identity: TV Drama Production in New Zealand.
The Editors: Marc Maufort is a professor of English-language literatures and drama at the Université Libre de
Bruxelles (Belgium). He has published numerous essays and edited several books on contemporary American and
postcolonial drama. His most recent monograph, Transgressive Itineraries: Postcolonial Hybridizations of Dramatic
Realism (P.I.E. Peter Lang, 2003), offers a comparative study of contemporary Canadian, Australian, and New
Zealand drama.
David O'Donnell, a graduate of the University of Otago and Toi Whakaari: New Zealand Drama School, is a senior
lecturer in theatre at Victoria University of Wellington. He has published extensively on New Zealand and Pacific
drama and is also an award-winning director whose productions include several premieres of recent New Zealand
plays.
3.3. FILM
Cowboy Imperialism and Hollywood Film
July 31, 2007
Anderson, Mark Cronlund
VIII, 231 pages
Paperback
ISBN 978-0-8204-9545-3
Page 24
23.00
US-$ 29.95
Cowboy Imperialism and Hollywood Film explores how Hollywood has employed the frontier myth to sanction imperial
behavior. This cultural project integrates the myth, America's secular creation story, with Manifest Destiny, the sugarcoated impetus to conquer without compunction. Through Hollywood - the history teacher who reaches the largest
audiences - the imagery of conquest has become effectively naturalized, glorified, and personified in the guise of the
mythical frontiersman, such as John Wayne and Harrison Ford as Indiana Jones. This book examines eighteen
movies, ranging from The Green Berets to Raiders of the Lost Ark, from Red River to Hidalgo. Others, from Full Metal
Jacket to The Big Lebowski, The Ballad of Little Joe to 25th Hour, posit intriguing revisionist frontier tales.
The Author: Mark Cronlund Anderson is Associate Professor of History at the University of Regina and holds a Ph.D.
in history from the University of California, Riverside. He is the author/co-editor of Pancho Villa's Revolution by
Headlines (2000), Latin American Narratives and Cultural Identity: Selected Readings (Peter Lang, 2004), and
Interdisciplinary and Cross-Cultural Narratives in North America (Peter Lang, 2005). His next book explores the ways
in which Canada's mainstream press has imagined Indigenous peoples since the country was confederated in 1867.
Dis/Figuring Sam Shepard
Belgium - Brussels
December 1, 2007
Johan Callens
Peter Lang Bruxelles
276 p., 14 ill.
ISBN 978-90-5201-352-7 pb.
34.90
This illustrated volume covers the career of Sam Shepard, the provocative American playwright, scriptwriter, actor,
and director, through an introductory survey followed by in-depth analyses of representative selections from the oneacts (Action, States of Shock), experimental collaborations with Joseph Chaikin (Savage/Love), and by now classic
family plays (Buried Child, A Lie of the Mind). It ranges from Shepard's unpublished adaptation of Marlowe's Doctor
Faustus through the textual variants and political context of Operation Sidewinder to Robert Altman's movie version of
Fool for Love, besides offering brief comparisons with fellow dramatists (Albee and Beckett) and visual artists (Edward
Weston, Marsden Hartley). Several performance analyses supplement the textual criticism and provide a sample of
European directorial approaches. Together, these takes offer a composite picture of an artist whose output over the
past forty years has turned him into a figurehead of twentieth century drama, studied and produced all over the world
with a keen eye for his idiosyncratic and critical view of what it means to be American.
Contents
Portrait of the Artist as an Explorer - Memories of the Sea in Illinois - Epistemologies of Loss - Through the Windows
of Perception - When I Read the Book - The Needs and Risks of Revision(ism) - Reciprocity and Transformational
Generation - Published and Unpublished Wars - Diverting the Integrated Spectacle - European Textures - Inflections
of Nostalgia - Bring the Family.
The Author
Johan Callens teaches at the Vrije Universiteit Brussel. He is the author of From Middleton and Rowley's
«Changeling» to Sam Shepard's «Bodyguard»: A Contemporary Appropriation of a Renaissance Drama (1997) and
editor of Sam Shepard: Between the Margin and the Centre (1998, 2 vols.). For the Dramaturgies Series published by
P.I.E. Peter Lang, he also edited the critical anthology The Wooster Group and Its Traditions (2004).
Page 25
Questions of Colour in Cinema - From Paintbrush to Pixel
October 30, 2007
Edited by Everett W./Goodbody A.
New Studies in European Cinema Vol. 6
Paperback
242 pages
ISBN 978-3-03911-353-8
49.20
£ 32.00
Colour is one of the few remaining uncharted territories of film studies, and its centrality to the construction and
reception of film narratives has only recently been recognised. After a century of widespread critical and theoretical
neglect, colour is now poised to become a prime focus within film studies at all levels, and this book will constitute a
key voice within this debate. In a series of wide-ranging critical essays, marked by authoritative and innovative
perspectives, the volume explores the shifting technologies, theories, and practices of colour in cinema, highlighting
the intricate relationship between technological, philosophical, and artistic concerns, and making a compelling case for
colour as a dominant and complex signifier in filmic discourse. The essays are divided into three main sections
exploring the historical and technical dimensions of colour, the aesthetics of colour, and the significance of colour in
relation to broader issues of race, gender, and identity, and are interdisciplinary and transnational in their focus. They
provide the reader with a clear understanding of the
significance of colour, exploring new pathways and identifying discoveries still to be made.
Contents: Wendy Everett: Mapping Colour: An Introduction to the Theories and Practices of Colour - Joshua Yumibe:
Silent Cinema Colour Aesthetics - Raphaëlle Costa-de-Beauregard: From Screen to Flesh: The Language of Colour in
The Belly of an Architect - Isabelle Vanderschelden: Digital Painting: Colour Treatment in the Cinema of Jean-Pierre
Jeunet - Andrea Rinke: Sonnenallee - Rock'n' Roll and Passport Control: How an East German Comedy Colours the
Past - Wendy Everett: Colour as Space and Time: Alternative Visions in European Film - Laure Brost: On Seeing Red:
The Figurative Movement of Film Colour - Ben McCann: 'Bliss in Blueness': Colour Strategies in the Films of Michael
Mann - Richard Misek: 'Last of the Kodak': Andrei Tarkovsky's Struggle with Colour - Hilaria Loyo: Blinding Blondes:
Whiteness, Femininity, and Stardom - Liz Watkins: The (Dis)Articulation of Colour: Cinematography, Femininity, and
Desire in Jane Campion's In the Cut.
The Editor: Wendy Everett is Reader in Film Studies and French at the University of Bath. Her principal research
interests are in European cinema, and recent published books include European Identity in Cinema (2006), Revisiting
Space. Space and Place in European Cinema (2005), jointly edited with Axel Goodbody, and a study of the work of
the British director Terence Davies (2004). She is a member of the Editorial Board of the
Literature/Film Quarterly, and co-editor of Peter Lang's New Studies in European Cinema.
Watching The Lord of the Rings - Tolkien's World Audiences
January 8, 2008
Barker, Martin / Mathijs, Ernest (eds.)
Media and Culture Vol. 3
Edited by Jhally Sut / Lewis Justin
312 pages
Hardback
ISBN 978-0-8204-6397-1
69.20
Page 26
US-$ 89.95
Paperback
ISBN 978-0-8204-6396-4
25.40
US-$ 32.95
How did audiences across the world respond to the films of The Lord of the Rings? This book presents findings from
the largest film audience project ever undertaken, drawing from 25,000 questionnaire responses and a wide array of
other materials. Contributors use these materials to explore a series of widely speculated questions: why is film
fantasy important to different kinds of viewers? Through marketing, previews and reviews, debates and cultural
chatter, how are audiences prepared for a film like this? How did fans of the book respond to its adaptation on
screen? How do people choose their favorite characters? How was the films' reception shaped by different national
and cultural contexts? The answers to these questions shed fresh light on the extraordinary popularity of The Lord of
the Rings and provide important new insights into the global reception of cinema in the twenty-first century.
Contents: Martin Barker/Kate Egan/Stan Jones/Ernest Mathijs: Introduction: Researching The Lord of the Rings:
Audiences and Contexts - Janet Wasko: The Lord of the Rings: Selling the Franchise - Daniel Biltereyst/Ernest
Mathijs/Philippe Meers: An Avalanche of Attention: The Prefiguration and Reception of The Lord of the Rings - Breda
Luthar: Promotional Frame Makers and the Meaning of the Text: The Case of The Lord of the Rings - Barbara Klinger:
What Do Female Fans Want? Blockbusters, The Return of the King, and U.S. Audiences - Kate Egan/Martin Barker:
The Books, the DVDs, the Extras, and Their Lovers - Sue Turnbull: Understanding Disappointement: The Australian
Book Lovers and Adaptation - Lothar Mikos/Susanne Eichner/Elizabeth Prommer/Michael Wedel: Involvement in The
Lord of the Rings: Audience Strategies and
Orientations - Giselinde Kuipers/Jeroen De Kloet: Global Flows and Local Identifications? The Lord of the Rings and
the Cross-National Reception of Characters and Genres - Martin Barker: The Functions of Fantasy: A Comparison of
Audiences for The Lord of the Rings in Twelve Countries - Sue Turnbull: Beyond Words? The Return of the King and
the Pleasures of the Text - José Javier Sánchez Aranda/Joseba Bonaut/María del Mar Grandío: Heroism in The
Return of the King - Daniel Biltereyst/Sofie Van Bauwel: The Fantasy of Reading: Moments of Reception of The Lord
of the Rings: The Return of the
King - Lothar Mikos: Understanding Text as Cultural Practice and as Dynamic Process of Making - Martin
Barker/Ernest Mathijs/Alberto Trobia: Our Methodological Challenges and Solutions.
The Editors: Martin Barker is Professor of Film and Television Studies at the University of Wales, Aberystwyth. He is
the author of many books about film and film reception, including The Lasting of the Mohicans: History of an American
Myth (with Roger Sabin, (with Roger Sabin, 1996), Knowing Audiences: Judge Dredd, its Friends, Fans and Foes
(with Kate Brooks, 1998), and The Crash Controversy: Censorship Campaigns and Film Reception (with Jane Arthurs
and Ramaswami Harindranath, 2001). Ernest Mathijs is Assistant Professor of Film and Drama at the University of
British Columbia, Canada. He edited From Hobbits to Hollywood (with Murray Pomerance, 2006), The Lord of the
Rings: Popular Culture in Global Context (2006), Alternative Europe Alternative Europe (with Xavier Mendik, 2004),
The Cult Film Reader (also with Xavier Mendik, 2007), and is the author, with Jamie Sexton, of Cult Cinema: an
Introduction (2008).
The Musical Voyager: Berlioz in Europe
Germany - Frankfurt
May 31, 2007
Charlton, David / Ellis, Katharine (eds.)
Perspektiven der Opernforschung Vol. 14
Edited by Maehder Jürgen / Betzwieser Thomas
Page 27
XVIII, 322 pages
Paperback
ISBN 978-3-631-55343-5
US-ISBN 978-0-8204-9942-0
52.80
£ 34.30
This collection of essays has been written by thirteen scholars, from five countries. It focuses on the musical activities
of Hector Berlioz, viewed as a European phenomenon. The first part of the book discusses Berlioz's journeys to
Breslau (1846), to Moscow and St Petersburg (1847 and 1867-68), and to London (especially in 1847 and 1853). In
particular, the reception of Berlioz's music is placed under scrutiny. The second part of the book starts with a new
history of the recitatives that Berlioz wrote for Weber's Der Freischütz, as they were used in Paris (1841, 1850), Berlin
(1849), London (1850) and Milan (1872). Five essays then discuss different kinds of influence wrought by European
literature on Berlioz, including Shakespeare's Othello and Goethe's Faust. The book's final section (source materials)
contains the first complete anthology of London press reviews of Benvenuto Cellini in 1853; and new translations of
three Russian articles on Berlioz by Vladimir Odoyevsky, from 1841 and 1847.
Contents: Christina Bashford: More than Dedication? Hector Berlioz and John Ella - George Biddlecombe: Berlioz and
the London Musical Scene - Gabriella Dideriksen: Benvenuto Cellini and the Politics of Opera Production in MidVictorian London - Sarah Hibberd: Berlioz's Waterloo? Benvenuto Cellini in London - Mark A. Pottinger: The Breslau
Concert Tour of 1846: Provincial German Insights into Berlioz's Music and Aesthetic - Linda Edmondson: Berlioz and
Cultural Politics in Mid-Nineteenth-Century Russia - Elena Dolenko: Hector Berlioz as Reflected in the Russian Press
of his Time - Ian Rumbold: Berlioz and Le Freyschütz - Michael Fend: The Diabolical in Berlioz's La damnation de
Faust - Vera Micznik: The Musico-Dramatic Narrative of Berlioz's Lélio - Peter Raby: Shakespeare in Paris, 1827 Rainer Schmusch: Shakespeare and the Genesis of Programme Music: the Mottoes of Berlioz's Huit scènes de Faust
- Katherine Kolb: Berlioz's Othello.
The Editors: David Charlton is Professor of Music History at Royal Holloway, University of London, and a member of
the Editorial Board of the New Berlioz Edition.
Katharine Ellis is Professor of Music at Royal Holloway, University of London, and Director of the University of
London's Institute of Musical Research.
3.5. DANCE
3.6. OTHER SUBJECTS
Clowns, Fools and Picaros - Popular Forms in Theatre, Fiction and
Film.
November 19, 2007
ROBB, David (Ed.)
Amsterdam/New York, NY, VI
233 pp. Illustrated
Paperback
978-90-420-2340-6
47
US$ 71
Page 28
Series:
At the Interface/Probing the Boundaries 43
By its very nature the clown, as represented in art, is an interdisciplinary phenomenon. In whichever artform it appears
fiction, drama, film, photography or fine art it carries the symbolic association of its usage in popular culture, be it
ritual festivities, street theatre or circus. The clown, like its extended family of fools, jesters, picaros and tricksters, has
a variety of functions all focussed around its status and image of being other. Frequently a marginalized figure, it
provides the foil for the shortcomings of dominant discourse or the absurdities of human behaviour.
Clowns, Fools and Picaros represents the latest research on the clown, bringing together for the first time studies from
four continents: Europe, America, Africa and Asia. It attempts to ascertain commonalities, overlaps and differences
between artistic expressions of the clownesque from these various continents and genres, and above all, to examine
the role of the clown in our cultures today.
Contents
David ROBB: Introduction
Robert CHEESMOND: Where the Antic Sits
Faye RAN: Modern Tragicomedy and the Fool
Ashley TOBIAS: The Postmodern Theatre Clown
Rüdiger GÖRNER: Nietzsche and the Praise of Masks
Maxim Leonid WEINTRAUB: Clowning Around at the Limits of Representation: On Fools, Fetishes and Bruce
Naumanns Clown Torture
Barbara LEWIS: An American Circus: the Lynch Victim as Clown
Kayode Gboyega KOFOWOROLA: The Court Jester in Nigerian Drama
Ron JENKINS: Fratello Arlecchino: Clowns, Kings, and Bombs in Bali
Stephen KNAPPER: Scaramouche: The Mask and the Millenium
Des ORAWE: The Cinema of Masks: Commedia dell Arte and Jean Renoirs The Golden Coach
David ROBB: From Nestroy to Wenzel & Mensching: Carnivalesque Revolutionaries in the German-Speaking
Theatrical Tradition
Marina KOTZAMANI: Karlos Koun, Karaghiozis and The Birds: Aristophanes as Popular Theatre
Stephen LLANO: The Clown as Social Critic: Kerouacs Vision
Bernhard MALKMUS: Picaresque Narratology: Lazarillo de Tormes and Edgar Hilsenraths Der Nazi und der Friseur
David Robb is a Senior Lecturer in the School of Languages, Literatures and Performing Arts at the Queens University
of Belfast. He developed an interest in theatrical clowning while researching his PhD on the East Berlin cabaret duo
Wenzel & Mensching, who integrated aspects of commedia dellarte into their political song act. David Robbs book
Zwei Clowns im Lande des verlorenen Lachens: Das Liedertheater Wenzel & Mensching was published in 1998. He is
a specialist in German political song and has recently published the book Protest Song in East and West Germany
since the 1960s. He is also an experienced songwriter and performing musician.
http://www.rodopi.nl/senj.asp?BookId=ATI%2FPTB+43
Performance in Bali
August 29, 2007
By I. Leon Rubin, Nyoman Sedana
Series: Theatres of the World
ISBN: 978-0-415-33131-9
Hardback
£60.00
Pages: 176
Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an
understanding of performance culture in Bali from inside and out.
Page 29
The book describes four specific forms of contemporary performance that are unique to Bali:
Wayang shadow-puppet theatre
Sanghyang ritual trance performance
Gambuh classical dance-drama
the virtuoso art of Topeng masked theatre.
These culturally unique and beautiful theatrical events are contextualised within
religious, intellectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese
performer.
Table of Contents
1. Past and Present 2. Wayang Shadow Theatre 3. Sanghyang Trance Performance 4. Gambuh Classical
Performance 5. Topeng Masked Theatre 6. The Future. Travel Advisory
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The Wooster Group Work Book
September 26, 2007
Edited by Andrew Quick
Pages: 288
ISBN: 978-0-415-35333-5
Hardback
£70.00
ISBN: 978-0-415-35334-2
Paperback
£21.99
The Wooster Group has consistently challenged audiences and critics alike with their extraordinary performance
works, many of which are now recognised as classics of the contemporary stage.
The Wooster Group Work Book accesses, often for the first time, the companys rehearsal methods and source
materials, as well as the creative thinking and reflections of director Elizabeth LeCompte and her main artistic
collaborators. Focusing on six performance pieces, Frank Dells the Temptation of St. Antony (1987), Brace Up!
(1990), Fish Story (1994), House/Lights (1999) and To You, the Birdie! (Phèdre) (2002), this new volume gathers
together an astonishing range of archival material to produce a vivid and personal account of how the company
makes its work.
This books intricate layering of journal extracts, actors notes, stage designs, drawings, performance texts, rehearsal
transcriptions, stage-managers logs and stunning photographs traces a unique documentary path across the practice
of the Wooster Group, one that will be an indispensable resource for all those with an interest in contemporary
performance and its impact on contemporary culture.
Highly accessible to the student, scholar, theatre-goer and practitioner, and including three contextualizing essays by
Andrew Quick, this book offers a series of remarkable insights into the working practices of one of the worlds leading
performance companies.
Table of Contents
1. Introduction 2. Frank Dells The Temptation of St. Antony 3. Geinin 4. Brace Up! 5. Fish Story 6. House/Lights 7.
To You, The Birdie! (Phèdre) 8. On Pragmatics: Process in the Work of The Wooster Group 9. The Living Archive:
Documenting The Wooster Group 10. The Wooster Group. Bibliography. Index
Page 30
http://www.routledge.co.uk/shopping_cart/products/product_detail.asp?sku=&isbn=9780415353342&parent_id=&pc=/
shopping_cart/search/search.asp?search%3D9780415353342
Anton T. Linhart (1756-1795) Slovenia - Radovljica
December 30, 2007
The catalogue is accompanying the exhibition on A.T. Linhart at the Radovljica Municipality Museums. The exhibition
is based upon research work led by the National Theatre Museum of Slovenia. The exhibition catalogue is published
in Slovene and English language (ISBN 978-961-9987-02-7).
Radovljica, a small town not far away from the Lake of Bled, is the birthplace of the first Slovenian dramatist Anton
Toma Linhart. Born in 1756, he studied in Vienna and spent most of his life in Ljubljana, where he died in 1795. He
was one of the most important representatives of the Enlightement in Slovenia, well read and influential on several
fields of culture: Linhart contributed a great deal to organize the first public library, has written books on Slovene
history, a book of poetry and drama ("Miss Jenny Love") in German language.
He is celebrated as the first Slovene dramatist as he published two comedies in Slovene language: upanova Micka
(based upon the work of Vienesse writer Richter: Die Feldmühle) and Ta Veseli dan ali Matiček se eni (based
upon French author Beaumarchais: La folle journee ou le mariage de Figaro). Both works were printed in Ljubljana in
1789. Linhart is as important to the Slovenes as Mozart or Schiller is to the Austrians or Germans. All three of them
play an important role in shaping the bygone and the present-day spirit of the uniting Europe.
Mestni muzej Radovljica/Muzeji radovljike občine
Linhartov trg 1
4240 Radovljica
Phone: 00 386 4 532 05 20
Fax.:00 386 4 532 05 24
[email protected]
http://www.muzeji-radovljica.si/1muzej_mestni/1naslovnica_mmuzej.html
Dance Is a Weapon. NDG 132/1955
France - Pantin
January 17, 2008
Victoria Phillips Geduld, avant-propos de Claire Rousier.
Fondé en 1932, le New Dance Group est un collectif de danse politiquement engagé. Son mot dordre est la danse est
une arme dans la lutte des classes. Dans leurs uvres, ses membres traitent autant des atrocités de la guerre, de
linjustice sociale, de laliénation des individus que des rapports entre les sexes. Ce catalogue dexposition fait revivre le
passé du collectif et met en avant les liens entre lhistoire de la danse américaine et la politique nationale.
Édition : Le Centre national de la danse
Prix public : 23
00 33 1 41 83 98 02
Elodie Boulanger, Chargée de la diffusion des ouvrages
[email protected]
Page 31
Czech Plays in Translation: Contemporary Czech Playwrights in
Translation
Czech Republic
"Let´s Play Czechs" - Czech plays in translation from 1989 - 2004
The Theatre Institute in Prague, together with the AURA-PONT and DILIA Literary agencies, have put together an online catalogue of contemporary Czech playwrights. Located on these pages, you will find a list of the Czech
playwrights in alphabetical order. The page for each playwright contains a short biography, a list of works that have
been translated into other languages, synopses of some of the artists most interesting plays, and contacts to the
agencies.
http://www.theatre.cz/art/rubrika.asp?id=51&order=1
Theatre Histories: An Introduction
Phillip B. Zarrilli, Bruce McConachie, Gary Jay Williams, Carol Fisher Sorgenfrei
Theatre Histories: An Introduction is a bold and innovative way of looking both at the way we understand performance
and the ways in which history is written. Its chapters offer clearly written overviews of theatre and drama in many
world cultures and periods. These and its unique in-depth case studies demonstrate the methods used by todays
theatre historians.
Using a new narrative strategy that challenges the standard format of one-volume theatre history texts, the authors
help the reader think critically about performance in all its global diversity. Theatre Histories explores aesthetic and
interpretive approaches from many cultures, continents and time periods. The authors explore kabuki and kathakali
with as much range and depth as Shakespeare, vaudeville and realism.
Keeping performance, drama, and culture at centre stage, Theatre Histories: An Introduction is compatible with
standard play anthologies and offers many pedagogical resources including a website: Conversation about teaching;
links from all case studies to support sites; discussion questions to support case studies, a large additional
bibliography and an image bank at
http://www.routledge.com/textbooks/0415227283
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Page 33
DEVELOPMENTS
Theatermuseum Amsterdam - Relocation
The year 2008 is the Theater Museums last year on the Herengracht, Amsterdam. As of January 2009 the museum
will close on this location and will start organising various exhibitions in co-operation with theatres and other museum
around the Netherlands.
The offices of the Theater Institute including our multi-media centre - will already move in the summer of 2008 to a yet
unknown location in Amsterdam. We will inform you on these changes and new addresses as soon as more
information is available. Meanwhile check our website for the latest news.
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Page 34
6. RESEARCH
Call for contributions: TheatreForum
"TheatreForum," a journal devoted to innovative performance, welcomes new contributors. Our scope and readership
is international; we welcome articles discussing new theatre and performance from any culture. Our articles usually
focus on the recent work of one performer, director/choreographer, or company, but more wide-ranging overviews of
recent developments are also accepted. Productions should have taken place at professional venues and be welldocumented with photographs. Articles usually range from 3000 to 5000 words, and we pay 5 cents per word to a
maximum of $150.
Any proposals should be sent to:
John Rouse, Editor
TheatreForum
San Diego / Dept. of Theatre & Dance
9500 Gilman Dr. # 0344
La Jolla, CA 92093-0344
Tel: 858-822-1498 / Fax: 858-534-1080
E-mail: [email protected]
http://www.theatreforum.org
6.2. SCHOLARSHIPS
6.3. RESEARCH TOOLS
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Page 35
Barry Kay Hall of Fame - Posthumous Tribute and Commemoration
December 30, 2007
Costume by Barry Kay for Gerhard Bohner as 'Carabosse' in the ballet 'The Sleeping Beauty', Ballet of the Deutsche
Oper Berlin, 1967
The Barry Kay Archive is pleased to announce that Live Performance Australia, the peak body for Australia's live
entertainment and performing arts industry, posthumously selected Barry Kay as one of eighty theatre artists awarded
a place in its newly established virtual Hall of Fame. This Hall of Fame, launched on 30 November 2007, is Live
Performance Australia's way of paying tribute to a remarkable collection of people on the occasion of celebrating its
90th anniversary.
Frank van Straten, theatre historian and former first director of the Victorian Arts Centre's Performing Arts Museum in
Melbourne, provided a short biography on each artist, constituting the corner stone of the Hall of Fame.
Following the recognition of Barry Kay and the Barry Kay Archive by the National Library of Australia last year, and
now Live Performance Australia awarding Kay a place in its Hall of Fame represents further acknowledgement of his
important contributions to the performing arts.
Michael Werner
Director & Curator
Barry Kay Archive
http://www.barry-kay-archive.org/NOTICEBOARD/NTB.html
Direct link to three pages of a biography on Barry Kay at Live Performance Australia/Hall of Fame:
http://www.binaryblue.com.au/LPA/barrykay1.html
Drama event - Introspection 08
Singapore
February 22, 2007
The Epiphany Theatre is a student initiative and the official performance wing of the Epiphany, English and Drama
Society at NTU. In collaboration with drama students from the Visual & Performing Arts (VPA) Academic group at the
National Institute of Education (NIE), our theatre group presents Introspection 08, a drama production featuring five
original plays written by women writers. The theatre event, which will be held on Friday, 22nd February 2008, aims to
promote to all drama enthusiasts, an awareness of the literary and performing arts.
Even though the five plays are unique in their respective dramatic manifestations, especially in terms of form and
content, they do converge on a single theme that is, introspection by means of looking into oneself and into the innerworkings of social life and culture, so that we may explore the ways in which we live and thus, examine the
motivations in contemporary society that lead us to live in such fashion, be it by will or by force. Additionally,
Introspection 08 seeks to rethink what it means to be a woman and to be human in the twenty-first century by
examining, either explicitly or indirectly, the social, cultural and political perspectives of women living in patriarchal
societies, in order to move beyond the assumption that stereotypes women as being only capable of intellectualising
issues of female identity and rights. In a broader sense, this entire project posits through the ephemeral nature of
drama and the employment of mixed media technologies an extended meditation on the statuses of theatre, literature
and the arts in a rapidly changing money-driven world.
Introspection 08 forms part of the Nanyang Literary Festival (NLF) in February 2008. The admission to the literary
festival is free-of-charge. However, the tickets for the theatre event is priced at SGD12.00. The running-time for the
theatre production is approximately 2 hours, including a 15-minute intermission.
Page 36
[email protected]
Position for Director of Design and Technical Curriculum - Music
and Theater Arts, Massachusetts Institute of Technology
United States - Massachusetts
September 1, 2008
M.I.T. is an Affirmative Action and Equal Opportunity Employer
Qualifications: MFA in design or PhD; demonstrated strengths in set design; evidence of successful college or
university teaching and design experience; demonstrated expertise in digital media arts. The successful candidate will
be able to take a broad approach to theatrical aesthetics and teach fundamental design concepts across the various
areas of theatrical design; the successful candidate will possess strong communication skills and a commitment to
liberal arts educational values; the successful candidate will be willing to work hands-on in a small program housed
within a large institute of technology. The performing arts are a component of the MIT Humanities, Arts, and Social
Sciences curriculum; willingness to collaborate with colleagues in other areas of the Institute is highly desirable.
Duties: Stage design for three productions each year (two theater and one dance); two academic courses;
administrative supervision of design and technical theater curriculum in the Theater Arts section; and, in concert with
the Chair, supervising work of others, including planning, assigning, scheduling, and reviewing work.
Starting Date: September 1, 2008
Deadline: Review will begin December 12, 2007; position is open until filled
Applications: Send CV, three recent letters of recommendation, DVD or slides with examples of scenic designs, and a
statement of teaching philosophy to the search committee:
Professor Thomas DeFrantz
Chair, Director of Design and Technical Curriculum Search Committee
Music and Theater Arts, 4-246
77 Massachusetts Ave.
Cambridge, MA 02139
Senior Tutor Needed for BA Design for Stage and Screen
New Zealand - Wellington
Toi Whakaari: NZ Drama School enjoys the reputation of being New Zealands foremost training establishment for the
Dramatic Arts. It was established in 1970 by the Queen Elizabeth II Arts Council and since then the school has gone
from strength to strength.
Toi Whakaari is housed in Te Whaea: National Dance and Drama Centre in Wellington (the Capital of New Zealand),
which it shares with the New Zealand School of Dance, New Zealands nationally recognised provider of professional
training in both contemporary dance and ballet. Built as a purpose built centre of excellence, Te Whaea is large,
modern and has facilities of world standards, including nine large studios and a 200-seat theatre.
Toi Whakaari offers students the chance to study for a Bachelor of Design for Stage and Screen, a Bachelor of
Performing Arts (Acting), a Diploma in Technical Production, an Advanced Diploma in Technical Production and a
Master in Theatre Arts (Directing).
The Bachelor of Design for Stage and Screen at Toi Whakaari is exclusively aimed at training theatre and film
designers.
We are currently seeking a Senior Tutor to work alongside the Head of Design (Penny Fitt) to further develop and
deliver this course. This position is ideal for practitioners with teaching skills who want to affect the future of the
Page 37
theatre and film industries in New Zealand.
It is anticipated that the successful applicant will take up the position in Wellington in January/February 2008.
Key attributes for the position:
· Experience as a professional designer for screen or stage
· Clear commitment and passion for teaching
· A strong desire to explore an interdisciplinary approach to teaching production design
· A desire to explore interdisciplinary approachs to teaching and the work of the School
· Willingness to enter fully and contribute to the cultural life of Toi Whakaari
Experience developing and delivering courses within an undergraduate design, film or theatre
Penny Fitt, Head of Design
Penny moved to New Zealand from Britain, where she was Head of Design at the Bristol Old Vic Theatre School. She
has worked as a professional freelance designer since 1991 and has designed more than 50 theatre, dance and
opera works, including work for the Bristol Old Vic Theatre Company; the Dukes Theatre, Lancaster; the Almeida
Theatre, London and the English National Opera. She was Head of Design at the Octagon Theatre in Bolton,
Manchester for three years. Penny has also taught at Rose Bruford College and the Guildhall School of Music &
Drama in London. She is a member of the Society of British Theatre Designers and is an active member of the group
of Design Colleges who create and co-ordinate the colleges exhibits at the Prague Quadrennial International Theatre
Design Exhibition.
Applications should be sent to:
Jo Richardson
Marketing Manager
Toi Whakaari: NZ Drama School
PO Box 7146
Wellington 6242
Phone 04 381 9215
Fax 04 389 4996
http://www.toiwhakaari.ac.nz
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Page 38

FIRT/IFTR-SIBMAS Bulletin 2007 Volume 1

Transcription

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