FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1
Transcription
FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1
FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 FIRT/IFTR: SIBMAS: Membership Secretariat, Email [email protected] Cordula Treml, Email [email protected] FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 1. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES 1956, 1968, 1979, 1995: New Historiographies of Post-war British Theatre United Kingdom - London May 11, 2006 - May 13, 2006 Royal Holloway, University of London May 2006 marks the fiftieth anniversary of the première of John Osborne's 'Look Back in Anger' at the Royal Court Theatre in London. This landmark production helped establish '1956' as the first in a series of seminal, symbolic and indeed contentious dates in post-war British theatre history. To mark this anniversary, and to reflect on its implications for the ecology of contemporary theatre, Royal Holloway is organising a conference that aims to revaluate and interrogate the methodological, theoretical and political priorities that have informed scholarship on post-war British theatre to date. In particular, we wish to probe the theatrical complexion and legacy of the talismanic turning points of 1956, 1968, 1979 and 1995 and to enable scholars and practitioners to share new and emerging perspectives that unsettle or reconceptualize dominant assumptions about the recent theatrical past. We hope the conference will both celebrate the fifty years of theatrical achievements since Osborne's première, but also reshape the contours of that history, stimulating new histories of post-war British theatre. Speakers who have provisionally agreed to speak at this event include Susan Bennett, Richard Boon, David Bradby, Ian Brown, John Bull, Helen Freshwater, Maggie Gale, Melissa Dana Gibson, Dominic Hingorani, Nadine Holdsworth, Stephen Lacey, Mary Luckhurst, Janelle Reinelt, Elizabeth Sekallaridou, Aleks Sierz, Ken Urban and Jatinder Verma. Since we now have a full programme of panels and keynote speakers, this announcement is an invitation for interested delegates to register to attend this event. The delegate fee is £125, the concessionary fee is £60. Information about travel and accommodation (which needs to be booked and paid for separately) will be mailed to delegates after registration. If you wish to attend, please print out and complete the registration form below and mail it with your cheque, made payable to 'RHUL', to the following address: '1956, 1968, 1979, 1995: New Historiographies of Post-War British Theatre', Department of Drama and Theatre, RHUL, Egham Hill, Egham, Surrey, United Kingdom, TW20 0EX. An early return of registration forms is advisable. If you have any additional queries at this stage please send an email to: [email protected] Lynette Goddard, Chris Megson, Dan Rebellato (Conference Organisers) '1956, 1968, 1979, 1995: NEW HISTORIOGRAPHIES OF POST-WAR BRITISH THEATRE' CONFERENCE REGISTRATION FORM NAME: Page 2 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 INSTITUTIONAL AFFILIATION (if applicable): CONTACT ADDRESS: CONTACT EMAIL: CONTACT PHONE NUMBER: SPECIAL DIETARY OR OTHER REQUIREMENTS: I ATTACH A CHEQUE FOR THE FULL/CONCESSIONARY RATE (please delete as appropriate 26th SIBMAS Congress 2006: Performing Arts Collections on the Offensive * Austria - Vienna August 28, 2006 - September 1, 2006 The 26th Congress of the International Association of Libraries and Museums of Performing Arts (SIBMAS) will focus 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 theme will also look at the potential for productive collaborative projects. The congress will address the needs of the three types of institutions which are members of SIBMAS (archives, libraries and museums). There will be three sessions of papers and presentations during the congress; the final topics for these sessions will be chosen from the following list. Theme 1: Theatre Museums, Libraries and Archives and Their Relationship with the Public Theme 2: Collecting Policies and Strategies. Theme 3: The Money Problem: Theme 4: For Whom are We Collecting? Theme 5: Activities Exhibitions, events and education programmes Timetable March 31th, 2006: Deadline for submitting summaries of proposals to the Congress Secretary either by email or by post. The proposal must include: the authors name and institution, brief biographical information about the author, postal and email address, fax and telephone number. April 28th, 2006: Notification of acceptance June 30th, 2006: Submission of final paper in rtf format (either by email or post) The time allowed for each paper will not be more than 15 - 20 minutes. The conference languages are English or French. Registration fee 300,-Early registration fee (before May, 31th) 270,-Registration fee for SIBMAS members (before May, 31th) 250,-- Page 3 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Students 200,-Reduced Registration fee for Students (before May, 31th) 170,-The full registration fee includes: - Participation in the congress - Congress material - Coffee breaks during the congress Welcome reception in the Museum of Fine Art on Monday, August, 28th at 6 p.m Guided tour of the Austrian Theatre Museum on Tuesday, August, 29th at 6 p.m Full day excursion on Wednesday, August, 30th from 9 a.m. to 8.30 p.m. You may register for the 26th SIBMAS Congress 2006 either online at http://www.sibmas.org/English/formail.html or by sending the registration form http://www.sibmas.org/English/registrationform.pdf to The Registration and Accommodation Office. Austropa Interconvention Verkehrsbuero Group Friedrichstrasse 7 A-1010 Wien/Vienna Austria Telephone: +43 (0) 1 588 00 510 Fax: +43 (0)1 588 00 520 Email : [email protected] Terms of Payment All payments shall be paid in advance by the following means: Bank transfer - free of charges for the recipient - to the Austropa Interconvention congress account no. 00602 364 226, bank identification code 12000 at Bank Austria, Creditanstalt AG, Operngasse 8, 1010 Vienna, Austria. SWIFT Code BKAUATWW, IBAN Code AT34 1200 0006 0236 4226. Please include both the participant's name and the reference SIBMAS on the transfer. Kindly note that all banking fees must be born by the sender. Credit cards: VISA, Diners, Eurocard/Mastercard, American Express, JCB Please indicate the name of the card holder, the card number and expiration date on the application form. NOTE: The reduced fees are only applicable if the payment has been credited to the congress account by May 31th, 2006. Confirmation of Registration A confirmation of registration/acknowledgement of payment will be sent to each registrant upon receipt of full payment. Cancellation Conditions for Registration For cancellations of the registration prior to July 31th, 2006, a full refund less an administration fee of Euro 30,-- will be made. No refund can be made for cancellations after this date. For further information, please contact the organising committee at the following email or postal address: Secretary and Congress Headquarters: Österreichisches Theatermuseum (Austrian Theatremuseum) Lobkowitzplatz 2 Page 4 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 A-1010 Wien/Vienna Austria Telephone: +43 (0) 1 512 88 00 635 Fax: +43 (0) 1 512 88 00 645 e-mail: [email protected] Conference Location: Kunsthistorisches Museum (Museum of Fine Art) Maria Theresien - Platz A-1010 Wien/Vienna Meeting point for the conference: Main entrance to the Kunsthistorisches Museum (Museum of Fine Art ) http://www.sibmas.org Call for Papers: International Conference on Music Information Retreival (ISMIR) 2006 Canada - Victoria April 17, 2006 October 8-12, 2006 Fairmont Empress Hotel, Victoria, BC, Canada ISMIR 2006 is the seventh international conference on Music Information Retrieval and is the established international forum for those working on accessing digital musical material. It reflects the tremendous recent growth of music-related data available and the consequent need to search within it to retrieve music and musical information efficiently and effectively. These concerns are of interest to academia, industry, entertainment, and education. ISMIR therefore aims to provide a place for the exchange and discussion of news, issues and results, by bringing together researchers and developers, educators and librarians, students and professional users, working in fields that contribute to this multidisciplinary domain, to present original theoretical or practical work. It also serves as a discussion forum, provides introductory and in-depth information in specific domains, and showcases current products and systems. Papers, posters/demos, tutorial and panels are solicited for, but not limited to, the general areas: - Music libraries, archives, digital collections - Intellectual Property rights and business issues - Western and non-western musicology, music analysis - Composition, musical forms [email protected] structures - Searching, navigation, retrieval - Knowledge representation - Music perception, cognition, affect, emotion - Human-computer interaction and interfaces - Databases, languages, protocols - Systems, internet software, mobile devices - Social and ethical issues Deadline for submission of papers, posters/demos for tutorials and panels: 17 April 2006 Notification of acceptance: 15 June 2006 Camera-ready paper submission: 08 July 2006 General enquiries: [email protected] Page 5 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Further information on the conference website: http://ismir2006.ismir.net Call for Papers: Sixth Annual Postgraduate Symposium on Ancient Drama:'The Body' United Kingdom - London April 7, 2006 The Sixth Annual Postgraduate Symposium is being organised by the Department of Drama and Theatre, Royal Holloway, University of London and the Archive of Performances of Greek and Roman Drama, University of Oxford. This two-day event will take place this year on Wednesday, 14th June at the Classics Centre, Oxford (Old Boys High School, George Street) and Thursday, 15th June at Royal Holloway, Egham (Noh Studio). About the Symposium The Annual Postgraduate Symposium focuses on the reception of Greek and Roman drama, emphasizing the vivid afterlife of the dramatic texts through the revisitings of ancient tragedy and comedy by academics, playwrights and practitioners. In previous years, speakers from a number of countries have given papers on miscellaneous aspects of the reception of Greek and Roman drama. Abstracts of the papers given at the previous Postgraduate Symposia are accessible online at: http://www.apgrd.ox.ac.uk/events.htm This years Symposium will focus on the body in the revisitings of Greek tragedy and comedy throughout the centuries - from antiquity to the present day. Papers discussing physicality, gender or politics of the body in literary, theatrical and cinematographic adaptations are welcome. It is hoped that Peter Brown, Edith Hall, Lorna Hardwick, Fiona Macintosh, Pantelis Michelakis, Scott Scullion, Oliver Taplin and David Wiles will be present. Please note that the schedule of the Oxford day will allow participants and audience to attend lectures by Athol Fugard and Marianne McDonald, followed by a reception at Magdalen College, organized by the Archive of Performances of Greek and Roman Drama on the 14th of June. Participants Postgraduates from across the globe who are working on revivals of Greek drama are welcome to participate. The Symposium is open to speakers from different disciplines, including researchers in the fields of classics, modern languages and literatures or theatre studies. Practitioners are welcome to contribute their personal experience of working on ancient drama. Papers can also be followed by demonstrations, and there are different theatrical spaces available at Royal Holloway for such purposes. Submission of papers: Those who wish to offer either a short paper or a performance on the Body are invited to send an abstract of up to 400 words outlining the proposed subject of their discussion to [email protected] BY FRIDAY, 7TH OF APRIL 2006 AT THE LATEST.(PLEASE INCLUDE DETAILS OF YOUR CURRENT COURSE OF STUDY, SUPERVISOR AND ACADEMIC INSTITUTION). Those who submit abstracts will be notified of acceptance or rejection by Monday, 10th of April. There will be no registration fee, but participants will have to seek their own funding to cover travel and accommodation expenses. Undergraduates are very welcome to attend. Travel Details and Maps Egham: http://www.rhul.ac.uk/Shared/Maps/ Page 6 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Oxford: http://www.ox.ac.uk/aboutoxford/maps/depts.shtml (see number 10 on the map) Organisers Zachary Dunbar, Royal Holloway, University of London Elina Dagonaki, University of Oxford Cecile Dudouyt, University of Oxford Stephanie Harrop, Royal Holloway, University of London Eleftheria Ioannidou, University of Oxford Contact for Enquires [email protected] Call for Papers: Thalia Germanica - Seventh International Conference Romania - Klausenburg (Cluj-Napoca) April 15, 2006 8 - 11 November, 2006 THEME: Festive Days and Everyday Life in German Theatres Abroad Between the 17th and 20th Centuries. Repertoire Policies Between Critics Concepts and Audience Demand. Papers of 20 minutes length (plus 10 minutes for questions) are invited which address this theme and might cover (but are not limited to): 1. THEATRES: Itinerant players, permanent theatres, puppet theatres, circuses their sponsors, buildings, ensembles, administration etc. 2. GERMAN CULTURAL VALUES ABROAD: theatre programmes, repertoire, productions, dramatic subject matter, texts, adaptations and translations 3. ACTORS AND DIRECTORS: biographies, actors agencies, contracts, rules for actors etc. 4. THEATRE PUBLIC AND RECEPTION: Who formed the audience? What was the reception like? In what media was reception recorded? In what ways did concepts and demands constitute themselves? 5. MULTICULTURAL ISSUES: German-language models and influences on indigenous beginnings/traditions 6. BIBLIOGRAPHICAL ISSUES: Source studies, archives and libraries, collections of theatre documents Additionally there will be panels on travelling theatres, municipal and court theatres, and minority theatres. There will be the opportunity to present new projects, gain and offer information about lesser known theatrical events and suggest own topics for discussion. Theatre historians and practitioners, Germanists, archivists and others interested in German- language theatres abroad are invited to participate. Speakers should be paid-up members of Thalia Germanica (membership form available on the society website http://www.sfu.ca/thalia-germanica/). Proposals should reach the convenors by 15 April 2006. All papers submitted will be considered for publication. Information regarding costs and accommodation will be available shortly, external funding has been applied for. Further enquiries and proposals not exceeding 200 words should be directed to: Dr. Horst Fassel Institut für donauschwäbische Geschichte und Landeskunde Literaturwissenschaft/Kulturbeziehungen Mohlstraße 18 Page 7 Geschäftsführung Forschungsbereich FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 D-72074 Tübingen Germany [email protected] Dr. Anselm Heinrich Research Associate in Theatre History Department of History Lancaster University Lancaster LA1 4YG United Kingdom <a href"mailto:[email protected]">[email protected]</a> Late Baroque and Neo-Classicism on the Hungarian Stage Romania - Oradea August 28, 2006 - August 31, 2006 Oradea, 7 km of the Hungarian border, is an 900 old town on the banks of the river Körös, a beautiful Baroque seat of Roman Catholic bishops, but with significant buildings of art nouveau. The town saw wonderful school theatre performances in the 17-18th century, and was a cultural and industrial centre in the turn of the 19-20th centuries. We expect papers mainly in the fields of - contacts of school, castle and professional theatre - social strata of the audience, sociology; - stage and theatre architecture; - music in theatre; - approaches of mental and cultural history; - theatre as profession; - genre problems; - theory of drama and theatre; - structures, problems of textology in old Hungarian drama texts; - and, finally, all these in European context. You are expected to give papers of 20 minutes. The languages of the conference are Hungarian, Romanian, English and German. Interpreters will be provided. If you want to present a paper, please send us a short resumé (of 1 page) until 1st May 2006, in order to have a proper program. E-mail address: [email protected] Kilián, István President of the conference Russian State Art Library Russian Federation - Moscow The Russian State Art Library invites foreign colleagues to the following keynote conferences and seminars which will be held in 2006. International seminar "Microfiches in the stocks of arts libraries" will be held by the Arts Libraries Section of the Russian Library Association, the Goethe Cultural Center, "ZaurTompson" publishing house, the Russian State Art library and other organizations The 7th International scientific readings organized by the Russian State Art library. This year the readings are devoted to the theatre repertoire as the history and today's theatre play:"Theatre book between the past and future" and Page 8 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 "Creation and existance of the theatre play". Further information is available online at: http://www.liart.ru Email: Ada Kolganova [email protected] The Beckett Centenary Symposium Ireland - Dublin April 4, 2006 - April 9, 2006 Trinity College Dublin Patron: Edward Beckett April 2006 will mark the centenary of the birth in Dublin of Samuel Beckett, Nobel laureate and one of the great artists of the twentieth century. Beckett graduated with a first in Modern Languages from Trinity College Dublin in 1927. He accepted an honorary doctorate from Trinity in 1959, and in 1986 agreed to naming the new drama department as the Samuel Beckett Centre, in honour of his 80th birthday. The Beckett Centenary Symposium will be a major international occasion. Occurring in Trinity College from 4 to 9 April 2006 in the Samuel Beckett Centre, participants include eminent scholars and artists worldwide as speakers and panellists. It will also feature an academic conference of the Beckett Working Group of the International Federation for Theatre Research. The Symposium is associated with the other Irish Beckett events, including a Beckett Festival at the Gate Theatre, screenings of the Beckett films at the Irish Film Institute, and exhibitions at the Trinity Library, the National Gallery, the Irish Museum of Modern Art, the Royal Hibernian Academy, the Douglas Hyde Gallery, and elsewhere. The lectures: Wednesday 5 April, 5.30pm - Beckett and Nothing. Terry Eagleton, literary critic Thursday 6 April, 5.30pm - Beckett, Feldman, and the New York School: Music after Beckett. John Rockwell, art and music critic, New York Times Friday 7 April, 5.30 PM - Watt Ho: On Being Taken aback by Watt. Paul Muldoon, poet Saturday 8 April, 5.30pm Who Can Shave an Egg: From Speech to Silence in Mallarmé and Beckett. Marina Warner, cultural commentator The panels: * Beckett and Performance I: Fintan O'Toole (Chair), Frank McGuinness, Joyce McMillan, Fiona Shaw * Beckett and Performance II: Everett Frost (Chair), Walter Asmus, Pierre Chabert, Alan Gilsenan * Beckett and Ireland: Anna McMullan (Chair), Anthony Cronin, Seamus Deane, Declan Kiberd * Beckett and Religion and Philosophy: Nigel Biggar (Chair), Mary Bryden, Richard Kearney, Minako Okamuro * Beckett's Legacy: James Knowlson (Chair), H. Porter-Abbott, Linda Ben-Zvi, Enoch Brater, Bruno Clément, Steven Connor, S E Gontarski Sunday 9 April at 2.30pm Beckett and the Visual Arts - National Gallery of Ireland. Chair: Lois Oppenheim This Round Table Discussion hosted by the National Gallery of Ireland is included in the Full Symposium ticket but must be booked separately by contacting [email protected] before 15 February. For full details of the National Gallery's event, please go to: http://www.nationalgallery.ie The Working Group Conference: For information, contact Professor Linda Ben-Zvi [email protected] The full schedule will be announced shortly on the website http://www.tcd.ie/drama For further information on the Symposium, including details of accommodation for those attending from abroad, contact Anna Kamaralli on [email protected] Beckett Centenary Committee : Co-chairs: Professor Dennis Kennedy (Trinity College Dublin) and Professor Anna McMullan (Queen's University Belfast). Vice-chair: Dr Michael Colgan (Gate Theatre Dublin). Professor Terence Brown (TCD), Mr Gerry Dukes (Mary Immaculate College Limerick), Professor Nicholas Grene (TCD), Professor Page 9 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Declan Kiberd (University College Dublin), Dr Cathy Leeney (UCD), Dr Barry McGovern (actor, Dublin), Mr Steve Wilmer (TCD). Information and internet links to the full range of events occurring in Dublin for the Beckett centenary can be found at http://www.beckettcentenaryfestival.ie>http://www.beckettcentenaryfestival.ie The Mask in Classical Greek Theatre United Kingdom - London April 28, 2006 A research symposium sponsored by the Department of Drama and Theatre, Royal Holloway University of London (RHUL), by the Society for the Promotion of Hellenic Studies, and by the Institute of Classical Studies. The aim is to bring together scholars of diverse backgrounds to consider why the Greeks used masks in classical theatre, examining the significance of the convention in theatrical, aesthetic, anthropological and psychological terms. The venue is the RHUL building at 11 Bedford Square (adjacent to Senate House, entrance in Montague Place), London WC1B, Time: 10-30 am to 5-00 pm Schedule: 10.30 coffee. 11.00 David Wiles (RHUL): introduction. 11.20 Chris Vervain (RHUL): "The fifth-century masks - a practical interpretation of the evidence" 11.50 Sandra Kemp (Royal College of Art): "Mirror or mask: the face and identity" 12.20 Mike Burton (University of Glasgow): "The psychology of viewing faces" 12.50 Lunch provided by the Hellenic Society. 1.50 Stephen Halliwell (University of St Andrews): "What do masks represent?" 2.20 Richard Seaford (University of Exeter): "The mask in Dionysiac cult" 2.50 Richard Williams (University of Durham): "Facing the mask: issues of perception and categorisation" 3.20 C. W. Marshall (University of British Columbia) "Tresses in distresses: hair on tragic masks" 3.50 Tea 4.20 Plenary discussion 5.00 End There is no registration fee, but places are limited and early booking is advised. Those wishing to attend are asked to contact the organizer in advance, Professor David Wiles, at [email protected] Third Annual Shaw Symposium Canada - Peterborough August 18, 2006 - August 20, 2006 Co-hosted by The Shaw Festival in Niagara-on-the-Lake, Ontario DEADLINE for abstracts of about 300 words is April 30, 2006. Please send PROPOSALS for papers and panel topics (focused as much as possible on "Too True To Be Good" and "Arms and the Man", the Shaw plays being produced at the Festival) to Dr. Leonard Conolly, preferably as an attachment to an email ([email protected]), or by mail to: Professor Leonard Conolly Department of English Page 10 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Trent University, Peterborough Ontario, Canada K9J 7B8 For details, e.g. play selection, schedules, registration procedures, accommodations, travel grants, etc. please go to http://www.shawsociety.org Young scholars please note that a form for applying for travel grants is provided there. http://www.shawsociety.org/Shaw-Symposium-2006.htm * : Modified only Page 11 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 2. EXHIBITIONS Josef Svoboda - Scenographer Colombia - Bogota de Fé March 31, 2006 - April 30, 2006 After the Success of Rio de Janiero and Sao Paulo, Svoboda Continues His Latin American Tour The exhibition will be on display at the Ciudad del Teatro (Corferias) during the Festival Iberoamerica de Bogota. The exhibition will contain oversized colour and black and white photographs, stage models, and video projections will chart the career and world famous works of outstanding Czech scenographer, Josef Svoboda. Curator of the exhibiiton, Helena Albertová, will open the exhibition and will also give lectures on the life and work of Josef Svoboda to the professional theatre public. Maria Callas - The Art of Self-Performance Germany - Munich February 17, 2006 - May 14, 2006 MARIA CALLAS Die Kunst der Selbstinszenierung Deutsches Theatermuseum Maria Callas (1923-1977) is one the great 20th century divas. Her voice and stage presence are legendary. The Greek opera singer, who was born in New York, debuted in 1939 at the Olympia Theatre in Athens and celebrated her greatest successes at the Milan Scala in the 50's. Until the middle of the 60's she performed at all the major opera houses of the world. The exhibition focuses on performances and self-performances of the "prima donna assoluta" using examples from the operas La Traviata, Tosca and Norma as well as the film Medea and illuminates her artistic co-operation with Luchino Visconti, Franco Zeffirelli and Pier Paolo Pasolini. In the process the transformation of the corpulent singing Wunderkind to the slim, elegant prima donna is documented, whereby she was supported by the Milan fashion designer Elvira Biki. Costumes, stage accessories, costumes designs, Pasolini sketches, Biki drafts with comments from Maria Callas, posters, photos, recording covers, programs and press coverage are displayed. Finally, audio excerpts from recordings and photographs are presented. Tuesday Sunday 10:00 16:00 Uhr Entrance fee: 4, reduced 3 Catalogue: (Henschel) 29,90 Deutsches Theatermuseum Galeriestr. 4a (Hofgartenarkaden) 80539 München Phone: +40-089-210691 0 Email: [email protected] http://www.stmwfk.bayern.de/kunst/museen/theatermuseum_a.html Mozart's Musical Diary United Kingdom - London January 14, 2006 - April 10, 2006 The John Ritblat Gallery at the British Library The British Library holds one of the finest collections of Mozart autograph manuscripts and early printed editions in the world. Page 12 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 At the centre of the collection is perhaps the most revealing and moving of all composer testaments, which Mozart, in his own spelling, entitled 'Verzeichniss aller meiner Werke' ('Catalogue of all my Works'), and which he compiled from 1784 until his death in December 1791. A special exhibition in the John Ritblat Gallery at the British Library focuses on this 'musical diary'. The display also includes autograph manuscripts of Mozart's string quartets, the horn concerto in E flat major, and the aria 'Non so più' from Le Nozze di Figaro, alongside iconographical material and early printed editions. A newly-reunited Mozart manuscript leaf is also being displayed for the first time. Music Collections The British Library 96 Euston Road London NW1 2DB Tel. +44 (0)20 7412 7772 Fax: +44 (0)20 7412 7751 Email [email protected] http://www.bl.uk/collections/music/mozart_diary.html Parade Netherlands - Amsterdam May 20, 2006 - August 31, 2006 Mobile theatre concepts - 15 years of Theater festival Parade. Every Thursday evening and Sunday 20 may till 20 July performances, dining and dancing. Theatermuseum Herengracht 268 1016 BP Amsterdam T 020 551 33 00 Email: [email protected] http://www.tin.nl/ Admission: EUR 4,50 adults EUR 2,25 children 7-16 years Pedro Almodóvar France - Paris April 5, 2006 - July 31, 2006 Le cinéma de Pedro Almodóvar est traversé de part en part par le désir. Celui de ses personnages, multiples, bariolés, incandescents - désir de l'homme envers la femme et inversement, mais également de l'homme envers son double. Le cinéma d'Almodóvar aime jouer avec le déguisement et le travestissement. Mais ce désir et ce travestissement concernent également la forme artistique, traversée par de multiples références et affinités : goût prononcé pour les couleurs et les objets, la musique et les rythmes, l'inspiration kitsch ou pop. Cette accumulation de signes effervescents et significatifs fait la richesse de son cinéma. En consacrant une exposition à Pedro Almodóvar, la Cinémathèque française propose à travers un parcours parsemé de divers objets fétiches - affiches, photographies, tableaux, décors, bruits, extraits de films, et tant d'autres choses encore - une lecture vivante et ludique d'une oeuvre visuelle et plastique parmi les plus stimulantes du cinéma contemporain. Exposition réalisée par La Cinémathèque française avec la collaboration d'El Deseo. Avec le soutien de Pathé, de la Fondation Pierre Bergé, et de la Seacex Page 13 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 En partenariat avec France Inter, Télérama, la Fnac, la TAM, l'Ambassade d'Espagne, et Renault. Visite guidée Pour déambuler dans le labyrinthe des passions esthétiques de Pedro Almodóvar, visite guidée par un conférencier qui éclaire le contexte de création de ce cinéma. Visites les samedis et les dimanches à 17h. Pour les groupes, possibilité de visite en langues anglaise et espagnole sur demande. Plein tarif : 9 Tarif réduit : 7 Moins de 12 ans : 6 Contact : 00 33 - 1 71 19 33 33 [email protected] http://www.cinematheque.fr/fr/nosactivites/almodovar/exposition.html Petr Lébl: I am no Artist Poland - Przemysl March 27, 2006 The exhibition will be on display during a conference and showcase celebrating the International Theatre Day. The main theme of the event will be Theatre of Moral Unrest. The cross-sectional exhibition includes over 30 panels describing the works of one of the most controversial artists from the end of the 20th Century, Petr Lébl. Works on display will include designs, photographs and documentation from his early amateur beginnings to the highlight of his career the Chekhov productions at the Theatre on the Balustrades. In collaboration with the Czech Centres and the Czech Centre in Warsaw. Puppetry in Focus: Treasures from our Global Collection United States - Atlanta The Center for Puppetry Arts Museum Special Exhibition 2006 Drawing from recent acquisitions and never-before-seen pieces in the Center's permanent collection, this exclusive showing spotlights the many vital roles puppetry fulfills in communities around the world. It features more than 50 puppets from countries as diverse as Mali, Egypt, India, Japan, Russia, Indonesia, Mexico, the Czech Republic and others. Puppets include a Sicilian knight marionette, whose tarnished armor and shield is constructed from C-Ration tins; two metal shadow puppets from France; a large papier-mâche hand and rod puppet from Poland; and a tiny and angular Vertep figure from the Kijou State Puppetry Theater of the Ukraine. Co-curators are Susan Kinney and Bradford Clark. General Inquiries [email protected] Ticket Sales: 404.873.3391 Administration: 404.873.3089 Fax: 404.873.9907 http://www.puppet.org/museum/spec.shtml Searching for Shakespeare Page 14 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 United Kingdom - London March 2, 2006 - May 29, 2006 National Portrait Gallery Wolfson Gallery In 1856 the first portrait presented to the newly-founded National Portrait Gallery was a compelling painting considered to be of William Shakespeare, known as the "Chandos" portrait. At this date Shakespeare's appearance had been a matter of national interest for around two centuries. Yet the identity of this picture is still considered unproven and today we have no certain lifetime portrait of England's most famous poet and playwright. On the occasion of the National Portrait Gallery's 150th anniversary in 2006, an exhibition on the biography and portraiture will be staged at the Gallery. Alongside the Chandos portrait, five other "contender" portraits purporting to represent Shakespeare will be displayed together for the first time. The exhibition will present the results of new technical analysis and research on several of these pictures casting new light on the search for Shakespeare's authentic appearance. Shakespeare's life can only be partially reconstructed, but this exhibition will also attempt to search for the Shakespeare his contemporaries knew by looking closely at his own circle. The exhibition will bring together original documents relating to Shakespeare's life and portraits of his contemporaries including actors, patrons and other playwrights, in order to place the poet not in our historical imagination, but within his own time. Open daily 10am - 6pm Late night opening Thursday and Friday until 9pm Admission £8 / £5.25 (concession) National Portrait Gallery St Martin's Place London WC2H 0HE http://www.npg.org.uk/live/woshakespeare.asp The City of K. Franz Kafka and Prague Czech Republic - Prague Franz Kafka Museum, Prague Opened in July 2005 The new museum is situated in Pragues loveliest locations near the renowned Charles Bridge in Hergetova cihelna and occupies 700 square meters. The long-term exhibition The City of K. Franz Kafka and Prague differs from the majority of the numerous exhibitions focused on the theme of Kafka, which mostly aim at presenting relevant documents. By contrast, this exhibition has documents as its starting point and uses them to call up a metaphoric reflection of Kafka's life and work. The exhibition consists of two parts. The first one, called Existencial space, categorizes Kafka's life events as well as the influence the environment in which he lived had on him. The second one, called Imaginary topography, shows the way in which Kafka's work reflects the intricate process of transformation of the physical reality of Prague and Kafka's life into a metaphoric image. The exhibition revives the photographs of people and places as well as manuscripts and books in the ingeniously planned installations which employ the most modern audio-visual technologies. Here, a word, an image, light and music combine in a symphonic unity. The concept of the exhibition is described in a representative catalogue in three languages (Czech, German and English). Moreover, the second part contains eight essays by distinguished Kafka scholars. Opening: daily between 10 am and 6 pm Admission: 120,- CZK, concession: 60,- CZK HERGETOVA CIHELNA Page 15 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Cihelná 2b 110 00 Prague 1-Lesser Town Phone: +420 257 535 507 Email: [email protected] http://www.kafkamuseum.cz/ShowPage.aspx?tabindex=0&tabid=1 Theatrical October - Russian Theatre Avantgarde 1917 - 1931 Germany - Düsseldorf April 2, 2006 - May 28, 2006 Theatre Museum Düsseldorf An exhibition of the Theatre Collection of the University of Cologne In 1920 Theatrical October! was the programmatic slogan of the newly appointed head of the Theatrical Department at the Peoples Commissariat of Education, Vsevolod E. Meyerhold. He not only demanded a revolution of the theatre, he also insisted on a theatre of the revolution, that would overcome the borderlines between art, life and politics. At the Düsseldorf Theatre Museum the Theatre Collection of Cologne University presents for the first time its exceptional stock of objects reflecting the internationally celebrated postrevolutionary Soviet theatre. The core of the exibition is formed by twenty true-to-scale set-models, some of them even lighted. Due to a unique exchange of stage and fine arts the models esthetical and technical appeal is still unbroken today. Alongside cubistic and constructivistic set-designs by avantgarde-artists like Liubov Popova, Alexander Vesnin or the Brothers Stenberg for productions by such widely constrating directors as Meyerhold, Alexander Y. Tairov or Evgeny B. Vachtangov there are also less famous sets from the agit-theatre and the Proletkult organization of the workers-, farmers- and soldiers-theatre on display. The models are complemented by fifty theatre photographies, which give an impression of the newly found and implemented ways of dramatic expression such as Meyerholds biomechanic or Tairovs emotional gesture. But above all, a new approach to an actors profession and his way of interpreting his part in a play are shown in the portraits of the movements protagonists. The actor of the future (Meyerhold) became the prototype of the new idea of man in communism. The combination of spatial visions in set-models and photographs of individual productions illustrate one of the most exciting periods in 20th century theatre history. Further exhibition venues are in Antwerp and Vienna. Opening hours: Tuesday - Sunday: 1:00 - 8:30 pm Entrance Fee: 3,- Euro, Concession: 1,50 Euro, Under 18s are free Guided Tours: 23.4./21.5. at 3:30pm and 12.4./10.5. at 6:30pm or can be booked by email: [email protected] An Exhibition Catalogue, 80 pages with 65 photographs, can be obtained in the Museums shop for 20 ,- Euro (publishing house M. Faste Kassel, ISBN 3-931691-43-8) Theatre Museum Düsseldorf, Jägerhofstaße 1 (in the Hofgarten) 40479 Düsseldorf Tel.: 0049/ 211/ 8994660 Page 16 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 * : Modified only Page 17 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 3. PUBLICATIONS 3.1. GENERAL 3.2. THEATRE A History of African American Theatre United Kingdom - Cambridge December 15, 2005 Series: Cambridge Studies in American Theatre and Drama (No. 18) Errol G. Hill Dartmouth College, New Hampshire James V. Hatch City University of New York ISBN-10: 052162472X | ISBN-13: 9780521624725 632 pages £22.99 This is the first definitive history of African-American theatre. The text embraces a wide geography investigating companies from coast to coast as well as the anglophone Caribbean and African-American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles - from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and a half centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are productions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, is conveyed in this volume. Content: List of illustrations; Foreword Lloyd G. Richards; Preface James V. Hatch; Acknowledgments; List of abbreviations; Introduction Errol G. Hill; 1. Slavery and conquest: background to black theatre Errol G. Hill; 2. The African Theatre to Uncle Toms Cabin Erroll G. Hill; 3. The Civil War to The Creole Show Errol G. Hill; 4. The American minstrelsy in black and white James V. Hatch; 5. New vistas: plays, spectacles, musicals, and opera Errol G. Hill; 6. The struggle continues Errol G. Hill and James V. Hatch; 7. The Harlem Renaissance James V. Hatch; 8. Educational theatre James V. Hatch and Errol G. Hill; 9. The Caribbean connection Errol G. Hill; 10. The Great Depression and Federal Theatre James V. Hatch; 11. Creeping toward integration James V. Hatch; 12. From Hansberry to Shange James V. Hatch; 13. The Millennium James V. Hatch; Appendix: Theatre scholarship at the year 2002; Bibliography; Index. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=052162472X Intermediality in Theatre and Performance Netherlands - Amsterdam March 1, 2006 Freda Chapple and Chiel Kattenbelt (Eds.) Rodopi Amsterdam/New York 266 pp. Paperback: EUR 54 / US$ 68 Page 18 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Textbook: EUR 25 / US$ 31 Series: Themes in Theatre - Collective Approaches to Theatre and Performance. 2 Intermediality: the incorporation of digital technology into theatre practice, and the presence of film, television and digital media in contemporary theatre is a significant feature of twentieth-century performance. Presented here for the first time is a major collection of essays, written by the Theatre and Intermediality Research Group of the International Federation for Theatre Research, which assesses intermediality in theatre and performance. The book draws on the history of ideas to present a concept of intermediality as an integration of thoughts and medial processes, and it locates intermediality at the inter-sections situated in-between the performers, the observers and the confluence of media, medial spaces and art forms involved in performance at a particular moment in time. Referencing examples from contemporary theatre, cinema, television, opera, dance and puppet theatre, the book puts forward a thesis that the intermedial is a space where the boundaries soften and we are in-between and within a mixing of space, media and realities, with theatre providing the staging space for intermediality. The book places theatre and performance at the heart of the new media debate and will be of keen interest to students, with clear relevance to undergraduates and post- graduates in Theatre Studies and Film and Media Studies, as well as the theatre research community. Contents List of illustrations Freda CHAPPLE and Chiel KATTENBELT: Key Issues in Intermediality in theatre and performance Section One: Performing intermediality Chiel KATTENBELT: Theatre as the art of the performer and the stage of intermediality Ralf REMSHARDT: The actor as intermedialist: remediation, appropriation, adaptation Andy LAVENDER: Mise en scène, hypermediacy and the sensorium Sigrid MERX: Swanns way: video and theatre as an intermedial stage for the representation of time Freda CHAPPLE: Digital opera: intermediality, remediation and education Section Two: Intermedial perceptions Peter M. BOENISCH: Aesthetic art to aisthetic act: theatre, media, intermedial performance Christopher B. BALME: Audio theatre: the mediatization of theatrical space Meike WAGNER: Of other bodies: the intermedial gaze in theatre Robin NELSON: New small screen spaces: a performative phenomenon? Peter M. BOENISCH: Mediation unfinished: choreographing intermediality in contemporary dance performance Section Three: From adaptation to intermediality Thomas KUCHENBUCH: Theoretical approaches to theatre and film adaptation: a history Klemens GRUBER: The staging of writing: intermediality and the avant-garde Johan CALLENS: Shadow of the Vampire: double takes on Nosferatu Hadassa SHANI: Modularity as a guiding principle of theatrical intermediality. Me-Dea-Ex: an actual-virtual digital theatre project Birgit WIENS: Hamlet and the virtual stage: Herbert Fritschs project hamlet_X References Index Notes on the contributors http://www.rodopi.nl/nt.asp Le Théâtre de leffroi: Faust et Wallenstein France April 30, 2006 René-Marc Pille Collection Champ théâtral Domaine : Théâtre, littérature germanique Genre : Essai Format : 15 x 21 cm, 288 pages Parution : avril 2006 Si le Faust de Goethe est la pièce la plus célèbre du théâtre allemand, le Wallenstein de Schiller est sans doute la plus grande. La première élève la légende noire dun aventurier intellectuel du seizième siècle au rang de drame Page 19 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 cosmique ; la seconde met en scène la destinée dun condottiere de la guerre de Trente Ans, devenu généralissime des armées catholiques puis assassiné pour avoir fait ombrage au pouvoir impérial. Les deux oeuvres sont unies par des liens quune lecture croisée permet de renouer, mettant ainsi en lumière leur matrice commune, qui est leffroi. À lorigine de cet effroi, il y a la résurgence de la barbarie qui a accompagné les bouleversements politiques dont Goethe et Schiller furent contemporains. Lorsque la barbarie nest plus lantithèse de la raison, mais son instrument même, comment lhumain reste-t-il possible ? Telle est la question lancinante que posent les deux monstres dramatiques de la scène allemande. Lauteur : René-Marc Pille est né à Montpellier en 1953. Il est agrégé dAllemand et docteur en Études germaniques. Ancien lecteur de français à lUniversité Humboldt de Berlin, il est maître de conférences à lUniversité Paris-X Nanterre, où il enseigne la littérature allemande et lhistoire culturelle des pays germaniques. Après avoir étudié le romantisme allemand ainsi que les phénomènes dacculturation - il est lauteur de Chamisso vu de France (éditions du CNRS, 1993) -. il travaille actuellement sur lesthétique théâtrale du classicisme weimarien. Auteur de nombreux articles spécialisés, il collabore également au Magazine littéraire et à France-Culture. http://www.lekti-ecriture.com/editeurs/Le-Theatre-de-l-effroi.html Liebe+Tod - Kursbuch NRW (Love+Death. Theatre Guide Book for North-Rhine Westphalia) Germany - Düsseldorf Edited by the Theatre Museum Düsseldorf March 2005 Publisher: Klartext Verlag Essen Paperback 119pp, numerous colour illustrations ISBN 3-89861-471-9 Price: Euro 9,95 Without question the Rhine-Ruhr-Region is the area in the world with the greatest number of theatres on one spot. Conceived as a reference book the publication will give you a general survey on the theatres current situation. Included in the section for each theatre are information on the theatres history, its artistic ideas as well as address, opening hours, contact etc. An attached bibliography lists various titles on each theatre for further reading. The following theatres are listed: Theater Aachen, Theater Bielefeld, Schauspielhaus Bochum, das Theater Bonn, Westfälische Landestheater Castrop Rauxel, Landestheater Detmold, Landestheater Burghofbühne Dinslaken, Theater Dortmund, Deutsche Oper am Rhein Düsseldorf Duisburg, Düsseldorfer Schauspielhaus, Theater & Philharmonie Duisburg, Aalto Musiktheater und Schauspiel Essen, Musiktheater im Revier Gelsenkirchen, Theater Hagen, Bühnen der Stadt Köln, Vereinigten Städtischen Bühnen Krefeld Mönchengladbach, Schlosstheater Moers, Theater an der Ruhr Mülheim, Städtischen Bühnen Münster, Das Rheinische Landestheater Neuss, Theater Oberhausen, Westfälische Kammerspiele Paderborn, Teo Otto Theater Remscheid, Tanztheater Pina Bausch und Wuppertaler Bühnen. Parades: Le Mauvais Exemple, Léandre hongre, Léandre ambassadeur France - Paris Préface, notes et textes de scène de Guy Spielmann. Avec la collaboration de Dorothée Polanz. Paris, Lampsaque coll. «Le Studiolo-Théâtre», 2005 ISBN: 2-911-82507-1 374 p. 22 Quest-ce quune parade? Une comédie de pur divertissement en un acte, caractérisée à première vue par une intrigue Page 20 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 simple, un personnel très réduit avec des types récurrents, des dialogues riches en fantaisie verbale, et un humour axé sur le bas corporel autant dans ses fonctions génitales quexcrétoires. Issue des théâtres de foire au tout début du XVIIIe siècle, la parade a connu, des années 1710 jusquà la Révolution, une très large diffusion sur les théâtres de société et sur les balcons extérieurs des théâtres des Boulevards, où on la donnait gratis. Méprisé par la critique, ce genre nen a pas moins marqué les esprits dun Siècle des Lumières adonné à la théâtromanie.Laissant de côté tant la question autoriale que celle de lévaluation esthétique, cette édition envisage la parade en tant que texte performatif afin de mieux concevoir la manière dont ces pièces pouvaient être jouées et pourquoi elles eurent tant de succès auprès dun public si étendu, des couches les plus populaires de la société aux cercles de la plus haute aristocratie. Les défauts supposés du genre correspondent en fait à une démarche fort cohérente, à une poétique du deuxième type bien distincte de celle qui régit le théâtre littéraire, et beaucoup plus proche des fondements de la farce et de la commedia dell'arte. Pourtant, la parade ne peut se comprendre simplement comme forme dérivée de ces traditions dramatiques où elle puise lessentiel de sa matière. La différence consiste dabord dans la construction dun univers dramatique qui na pas pour référent, de manière directe ou indirecte, une quelconque réalité extra-théâtrale, mais dautres univers dramatiques. Cest ainsi que les agissements des personnages, non content déchapper à la «psychologie», défient la logique la plus ordinaire de lexpérience humaine, voire même les lois de la physique et de la biologie: quel autre genre mettrait en scène un héros prétendu eunuque et qui affirme fièrement: «Je m'appelle Christophe Colin Léandre qui z'est le même qui depuis onze mois a fait dans ce village-ci seize enfants à douze filles différentes»? Linnamorato de la tradition de larte parodiait déjà lamoureux de la comédie régulière; celui de la parade appartient à un niveau de métafiction plus complexe encore, où les personnages sont de pures créatures de théâtre. Après une substantielle préface qui donne létat présent des recherches et suggère des perspectives nouvelles, cet ouvrage propose à titre déchantillon trois textes tirés du recueil Théâtre des Boulevards (1756), assortis de notes qui, pour la première fois, permettent de prendre la mesure de loriginalité et de la complexité des parades, quon avait toujours tenues pour des comédies simplistes, grossières et répétitives. Dautre part, nous avons ajouté deux «textes de scène» utilisés par la compagnie SapassoussakasS pour une série de représentations en 2002-2004; ces textes donnent une forme concrète à la recherche et la formulation dhypothèses sur le jeu et la mise en scène, au XVIIIe siècle et de nos jours. Enfin, cette édition comprend les textes de plusieurs documents d'époque relatifs aux parades, aujourd'hui difficilement disponibles, comme la «Magnière de discours approfondi superficiellement sur lorigine originale et cocasse de la Parade» de Collé, le «Discours sur cette pièce» de Salley, le «Prologue de lopérateur pour les parades» de Gueullette), ainsi que la «Préface pour les parades» manuscrite de Gueullette, qui n'avait jamais été publiée en intégralité. Guy Spielmann est enseignant-chercheur à Georgetown University (Washington). Spécialiste des arts du spectacle aux XVIIe-XVIIIe siècles, particulièrement de scénographie, de théâtre de foire et de commedia dell'arte, il a publié de nombreux articles et Le Jeu de lOrdre et du Chaos: Comédie et pouvoirs à la Fin de règne, 1673-1715 (Paris, Champion, 2002). http://www.georgetown.edu/faculty/spielmag/ Cette publication a bénéficié du soutien de l'association Le Studiolo-IRTS de Lorraine 1, rue du Coëtlosquet 57000 Metz (France) ainsi que de la Graduate School de Georgetown University - Washington DC 20057 (U.S.A.). Players of Shakespeare 5 United Kingdom - Cambridge December 8, 2005 Series: Players of Shakespeare Edited by Robert Smallwood ISBN-10: 0521676983 | ISBN-13: 9780521676984 234 pages £17.99 Page 21 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 This is the fifth volume of essays by actors with the Royal Shakespeare Company and the National Theatre on their interpretations of major Shakespearian roles. The twelve essays discuss fourteen roles in twelve different productions between 1999 and 2002. The productions covered include three plays not featured before in the series: The Comedy of Errors, A Midsummer Nights Dream and Antony and Cleopatra. The contributors are Philip Voss, Ian Hughes, Aidan McArdle, Zoë Waites, Matilda Ziegler, Alexandra Gilbreath, Antony Sher, David Tennant, Michael Pennington, Simon Russell Beale, Richard McCabe, Frances de la Tour and the late Nigel Hawthorne. The title roles in three of the major tragedies - Hamlet, King Lear and Macbeth - are covered and there is also an essay on Iago in Othello. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages. Contents: Preface; Introduction Robert Smallwood; Prospero in The Tempest Philip Voss; Dromio of Syracuse in The Comedy of Errors Ian Hughes; Puck (and Philostrate) in A Midsummer Nights Dream Aidan McArdle; Viola and Olivia in Twelfth Night Zoë Waites and Matilda Ziegler; Hermione in The Winters Tale Alexandra Gilbreath; Leontes in The Winters Tale, and Macbeth Antony Sher; Romeo in Romeo and Juliet David Tennant; Timon of Athens Michael Pennington; Hamlet Simon Russell Beale; King Lear Nigel Hawthorne; Iago in Othello Richard McCabe; Cleopatra in Antony and Cleopatra Frances de la Tour. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521676983 The Cambridge History of American Theatre United Kingdom - Cambridge February 28, 2006 Cambridge University Press Volume 3, Post-World War II to the 1990s Series: Cambridge History of American Theatre Edited by Don B. Wilmeth, Brown University, Rhode Island Christopher Bigsby, University of East Anglia Paperback (ISBN-13: 9780521679855 | ISBN-10: 0521679850) 228 x 152 mm £24.99 This is an authoritative and wide-ranging history of American theatre in all its dimensions, from theatre building to playwriting, directors, performers, and designers. Engaging the theatre as a performance art, a cultural institution, and a fact of American social and political life, the history addresses the economic context that conditioned the drama presented. The history approaches its subject with a full awareness of relevant developments in literary criticism, cultural analysis, and performance theory. At the same time, it is designed to be an accessible, challenging narrative. All volumes include an extensive overview and timeline, followed by chapters on specific aspects of theatre. Volume Three examines the development of the theatre after World War II, through the productions of Broadway and beyond and into regional theatre across the country. Contributors also analyze new directions in theatre design, directing, and acting, as well as key plays and playwrights through the 1990s. Contributors Christopher Bigsby, Don B. Wilmeth, Jonathan Curley, Arnold Aronson, Laurence Maslon, Mel Gussow, Martha Lomonaco, Marvin Carlson, June Schlueter, Matthew Roudane, John Degen, Samuel L. Leiter, Foster Hirsch, Ronn Smith http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521679850 The Provincetown Players and the Culture of Modernity United Kingdom - Cambridge December 1, 2005 Series: Cambridge Studies in American Theatre and Drama (No. 23) Brenda Murphy University of Connecticut Page 22 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Hardback ISBN-10: 0521838525 | ISBN-13: 9780521838528 278 pages £48.00 The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the groups vital role, and its wider significance in twentieth century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborgs Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene ONeill, Susan Glaspell, and Edna St. Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphys close analysis of over thirty plays. Contents: Preface; 1. The founding: myth and history; 2. The first plays; 3. Others and the other players; 4. Glaspell and ONeill; 5. The legacy. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521838525 Women on Stage in Stuart Drama United Kingdom - Cambridge January 5, 2006 Sophie Tomlinson University of Auckland Cambridge University Press 283 pages £48.00 Women on Stage in Stuart Drama provides a prehistory of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts which explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood. Contents: Introduction: shifting sisters; 1. Magic in majesty: the poetics of female performance in the Jacobean masque; 2. Naked hearts: feminizing the Stuart pastoral stage; 3. Significant liberty: the actress in Caroline comedy; 4. Sirens of doom and defiance in Caroline tragedy; Interchapter: Enter Ianthe, Veiled; 5. The fancy-stage of Margaret Cavendish, Duchess of Newcastle; 6. Styles of female greatness: Katherine Philipss translations of Corneille; Coda. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521811112 3.3. FILM Page 23 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Books in Motion - Adaptation, Intertextuality, Authorship Netherlands - Amsterdam January 1, 2006 Mireia Aragay (Ed.) Rodopi Amsterdam/New York 289 pp. Paperback: EUR 58 / US$ 73 Series: Contemporary Cinema 2 Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of cultureany discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed Paradoxes of Fidelity, Authors, Auteurs, Adaptation, Contexts, Intertexts, Adaptation and Beyond Adaptation, variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, The Dead or Wuthering Heights, to contemporary (popular) texts/films like Bridget Joness Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time. http://www.rodopi.nl/nt.asp Carmen - From silent Film to MTV Netherlands - Amsterdam December 1, 2005 Chris Perriam and Ann Davies (Eds.) Rodopi, Amsterdam/New York 224 pp. Hardback: EUR 55 / US$ 69 Series: Critical Studies 24 Since Prosper Mérimée and Georges Bizet (with his librettists Meilhac and Halévy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformationsparticularly in terms of gender, sexuality and raceremarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmens independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time. Contents Ann DAVIES: Introduction Nicholas TILL: Space, Time And Gender In The Film dArt Carmen of 1910 Gillian B. ANDERSON: Geraldine Farrar And Cecil B. DeMille: The Effect Of Opera On Film And Film On Opera In 1915 Page 24 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Winifred WOODHULL: Carmen And Early Cinema: The Case Of Jacques Feyder (1926) Harriet MARGOLIS: Shadow And Substance: Reinigers Carmen Cuts Her Own Capers Hilaria LOYO: A Carmenesque Dietrich In The Devil Is A Woman: Erotic Scenarios, Modern Desires And Cultural Differences Between The USA And Spain José F. COLMEIRO: Rehispanicizing Carmen: Cultural Reappropriations In Spanish Cinema Peter W. EVANS: Putting The Blame On Carmen: The Rita Hayworth Version Nelly FURMAN: Screen Politics: Otto Premingers Carmen Jones Amy HERZOG: The Dissonant Refrains Of Jean-Luc Godards Prénom Carmen Andrés LEMA-HINCAPIÉ: Carlos Sauras Carmen : Hybridity And The Inevitable Cliché Jeremy TAMBLING : Cinematic Carmen And The Oeil Noir Mary P. WOOD: The Turbulent Movement Of Forms: Rosis Postmodern Carmen Susan McCLARY: Carmen As Perennial Fusion: From Habanera To Hip-Hop List of Contributors Index http://www.rodopi.nl/nt.asp Small Nation, Global Cinema: The New Danish Cinema United States - Minnesota August 15, 2005 Mette Hjort University of Minnesota Press 330 pages Public Worlds Series, volume 15 $22.95 Paperback ISBN 0-8166-4649-X $68.95 Hardback ISBN 0-8166-4648-1 Investigates the relationship between globalization and the New Danish Cinema. Small Nation, Global Cinema engages the effects of globalization from the perspective of small nations. Focusing her study on the specific cultural context of the international film market, Mette Hjort argues that the New Danish Cinema presents an opportunity to understand the effects of globalization within the culture and economy of a privileged small nation. Hjort offers two key strategies underwriting the transformation and globalization of contemporary Danish cinemathe processes of cultural circulation and the psychological efficacy of heritage. Exploring the Dogma 95 movement initiated by Lars von Trier and Thomas Vinterberg as well as films by Erik Clausen, Gabriel Axel, Henning Carlsen, and Ole Bornedal, among others, Hjort examines means for cinematic globalization specific to Denmark, but then evolves her investigation into a truly comparative framework encompassing references to Hong Kong, Latin America, and Hollywood filmmaking. Providing a fresh way of looking at cultural influence in the era of globalization, Hjorts concept of small nation points as much to the dynamics of recognition, indifference, and participation as it does to more common measures of population size, economic strength, or linguistic reach. Mette Hjort is professor of intercultural studies at Aalborg University. http://www.upress.umn.edu/Books/H/hjort_small.html 3.4. MUSICAL THEATRE Page 25 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Perspectives on Mozart Performance United Kingdom - Cambridge February 13, 2006 Cambridge University Press Series: Cambridge Studies in Performance Practice (No. 1) Edited by R. Larry Todd Paperback (ISBN-13: 9780521024068 | ISBN-10: 0521024064) 247 x 174 mm £21.99 Perspectives on Mozart Performance, published during the Mozart bicentennial year, is the first volume in a new series. It includes essays by distinguished musicologists and performers, each exploring a different aspect of Mozarts music in performance. Several studies consider the eighteenth-century roots of Mozarts approach to performance and examine such issues as the role of ornamentation (Paul Badura-Skoda, Frederick Neumann), improvization (Katalin Komlós), cadenzas (Christoph Wolff), and Mozarts conception of tempos in a pre-metronomic age (Jean-Pierre Marty). Two studies examine Mozarts string writing (Jaap Schroeder) and the influence of his fathers remarkably popular Violinschule (Robin Stowell). An essay by Peter Williams treats Mozarts use of the chromatic fourth and performance styles associated with that figura. Finally, the later, nineteenth-century response to Mozart is explored through the study of Mendelssohns performances of Mozart (R. Larry Todd). http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521024064 The Cambridge Companion to Twentieth-Century Opera United Kingdom - Cambridge December 8, 2005 Series: Cambridge Companions to Music Edited by Mervyn Cooke University of Nottingham ISBN-10: 0521780098 | ISBN-13: 9780521780094) 450 pages Hardback: £45.00 Paperback: £19.99 This Companion celebrates the extraordinary riches of the twentieth-century operatic repertoire in a collection of specially commissioned essays written by a distinguished team of academics, critics and practitioners. Beginning with a discussion of the centurys vital inheritance from late-romantic operatic traditions in Germany and Italy, the text embraces fresh investigations into various aspects of the genre in the modern age, with a comprehensive coverage of the work of individual composers from Debussy and Schoenberg to John Adams and Harrison Birtwistle. Traditional stylistic categorizations (including symbolism, expressionism, neo-classicism and minimalism) are reassessed from new critical perspectives, and the distinctive operatic traditions of Continental and Eastern Europe, Russia and the Soviet Union, the United Kingdom and United States are subjected to fresh scrutiny. The volume includes essays devoted to avant-garde music theatre, operettas and musicals, filmed opera, and ends with a discussion of the position of the genre in todays cultural marketplace. Content: A chronology of twentieth-century opera Nigel Simeone; Part I. Legacies: 1. Opera in transition Arnold Whittall; 2. Wagner and beyond John Deathridge; 3. Puccini and the Italian tradition Virgilio Bernardoni; Part II. Trends: 4. Words and actions Caroline Harvey; 5. Symbolist opera: trials, triumphs, tributaries Philip Weller; 6. Expression and construction: the stage works of Schoenberg and Berg Alan Street; 7. Neo-classical opera Christopher Walton; Part III. Topographies: 8. France and the Mediterranean Nigel Simeone; 9. Austria and Germany, 1918-1960 Guido Heldt; 10. Eastern Europe Rachel Beckles Willson; 11. Russian opera: between modernism and romanticism Marina Frolova-Walker; 12. American opera: innovation and tradition Elise K. Kirk; 13. Opera in England: taking the plunge Christopher Mark; Part IV. Directions: 14. Music theatre since the 1960s Robert Adlington; 15. Minimalist opera Arved Ashby; 16. Opera and film Mervyn Cooke; 17. Popular musical theatre (and film) Stephen Banfield; 18. Opera in the Page 26 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 marketplace Nicholas Payne; 19. Technology and interpretation: aspects of modernism Tom Sutcliffe. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521783933 The Cambridge Mozart Encyclopedia United Kingdom - Cambridge January 4, 2006 Edited by Cliff Eisen King's College London Simon P. Keefe City University, London Cambridge University Press Hardback 638 pages £95.00 Mozart's enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cambridge Mozart Encyclopedia. This reference book functions both as a starting point for information on specific works, people, places and concepts as well as a summation of current thinking about Mozart. The extended articles on genres reflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide a historical framework, as well as interpretation. The book also includes a series of thematic articles that cast a wide net over the eighteenth century and Mozart's relationship to it: these include Austria, Germany, aesthetics, travel, Enlightenment, Mozart as a reader, and contemporaneous medicine, among others. Many of the topics covered have never been written about before in English-language Mozart publications or in such detail, and represent today's greater interest in previously unexplored aspects of Mozart's life, context and reception. The worklist provides the most up-to-date account in English of the authenticity and chronology of Mozart's compositions. Contents: List of contributors; Preface; Headword list; A-Z general entries; Appendix 1. Worklist; Appendix 2. Mozart movies (theatrical releases); Appendix 3. Mozart institutions; Appendix 4. Mozart organizations; Appendix 5. Mozart websites. Review Contributors: Sarah Adams, Rudolph Angermüller, Derek Beales, Rachel Beckles-Willson, Peter Branscombe, Bruce Brown, Tim Carter, Sharon Choa, Paul Corneilson, Tia DeNora, Sergio Durante, Cliff Eisen, Faye Ferguson, Genevieve Geffray, Ruth Halliwell, Roger Hellyer, Mary Hunter, John Irving, Friedl Jary, Simon Keefe, Ulrich Konrad, Andrea LindmayrBrandl, Dorothea Link, Bruce MacIntyre Simon McVeigh, Mary Sue Morrow, Robert Münster, Don Neville, Michel Noiray, Pamela L. Poulin, Wolfgang Rehm, John Rice, Julian Rushton, Stanley Sadie, David Schroeder, Aine Sheil, Jan Smaczny, John Spitzer, William Stafford, Wiebke Thormahlen, Yo Tomita, Linda L. Tyler, Jessica Waldoff, Harry White, David Wyn Jones, Neal Zaslaw http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521856590 The Musical Life of the Crystal Palace United Kingdom - Cambridge December 15, 2005 Michael Musgrave Goldsmiths College, University of London ISBN-10: 0521616077 | ISBN-13: 9780521616072 Paperback 286 pages £23.99 Page 27 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Though it was never designed to accommodate musical performance, the Crystal Palace at Sydenham, opened in 1854, quickly established itself as the most important single location for public music-making in the United Kingdom. For almost fifty years the orchestral concerts and choral festivals provided weekly performances which set new standards and introduced new repertory unparalleled anywhere in its time. Since its spectacular destruction by fire in 1936, the once familiar patterns of music-making have been long forgotten. This is the first book to reconstruct the musical history of the Crystal Palace. In so doing, Michael Musgrave also offers a unique survey of British musical life stretching from the Victorian period to the eve of the Second World War. Fully illustrated and with valuable catalogues of performers and repertoire, the book will be of interest to students and scholars of nineteenth- and twentieth-century music, British social history, and architecture, as well as to the general music enthusiast. Contents: List of illustrations; Preface; Part I. The Beginnings: 1. The Crystal Palace in Hyde Park; 2. The Crystal Palace at Sydenham; Part II. The Choral Life: 3. The Handel festivals 18571926; 4. Other large scale choral performances; Part III. August Manns and the Saturday Concerts, 18551900: 5. The concerts, orchestra and conductor; 6. Programmes, performers, repertory, programme notes; 7. The Crystal Palace and its audience; Part IV. Other Orchestral, Vocal and Instrumental Concerts: 8. After Manns: the Crystal Palace amateur orchestra and choir; 9. Popular concerts; 10. Solo instrumental music; Part V. The Broader Educational Dimension: 11. Exhibitions; the School of Art, Science and Literature, the Theatre; 12. The great popular festivals; Appendices; Appendix 1. The Handel festivals selection day programmes and repertory, 18571923; Appendix 2. Personnel of the Saturday orchestra; Appendix 3a. Works by nonBritish composers given first British performances in the Saturday concerts of the Crystal Palace ; Appendix 3b. Works by British composers given first performances in the Saturday concerts of the Crystal Palace; Appendix 4. Staged works with music performed in the theatre; Appendix 5. The Brass Band championships; Notes; Bibliography; Index. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521616077 3.5. DANCE Choreographies of African Identities - Négritude, Dance and the National Ballet of Sénégal United States - Illinois February 15, 2006 Francesca Castaldi UNIVERSITY OF ILLINOIS PRESS 264 pages £16.95 PB ISBN 0-252-07268-5 A rich portrait of the National Ballet of Sénégal's work and of the urban dance world of Dakar "Castaldi presents an innovative overview of African performance practices, art, and ideology in her study of Négritude and the National Ballet of Sénégal. Combining ethnography, dance theory, and personal descriptions, Castaldi takes us on a journey from frontstage to backstage in the arena of African dance. Her book is a 'must read' for students of African popular culture and scholars of performance in the humanities, arts, and social sciences. The debates emerging from her important research will be of great significance in many fields."-Bennetta Jules-Rosette, author of Black Paris: The African Writers' Landscape Choreographies of African Identities traces interconnected interpretative frameworks around and about the National Ballet of Sénégal. Using the metaphor of a dancing circle Castaldi's arguments cover the full spectrum of performance, from production to circulation and reception. Castaldi first situates the reader in a North American theater, focusing on the relationship between dancers and audiences as like that between black performers and white spectators. She then examines the work of the National Ballet in relation to Léopold Sédar Senghor's Négritude ideology and cultural politics. Finally, Castaldi addresses the circulation of dances in the streets, discotheques, and courtyards of Dakar, drawing attention to women dancers' occupation of the urban landscape. Page 28 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 FRANCESCA CASTALDI is an independent dance scholar and ethnographer. http://www.press.uillinois.edu/f05/castaldi.html 3.6. OTHER SUBJECTS 3.7. EXHIBITION CATALOGUES Maria Callas - Die Kunst der Selbstinszenierung (The art of selfperformance) Germany - Munich Gunna Wendt Henschel Published February 2006 In German language 176 p. 177 illustrations 21 x 27 cm ISBN: 3-89487-537-2 EUR 29.90 Maria Callas (1923-1977) is one the great divas of the 20th century. Her voice and stage presence are legendary. Not only ther artistic work, but also the occurrances surrounding her appearances - spectacular refusals, trials, rivalries and her private life attracted public attention. This book with texts and pictures documents the stagings and the private stagings of the opera star Maria Callas with examples from the operas "La Traviata", "Tosca" and "Norma" as well as the film "Medea". Special attention is directed toward her artistic co-operation with famous directors and colleagues, like Serafin, Giulini, Visconti, Zeffirelli and Pasolini. At the same time the conversion of the singer from the corpulent singing miracle child to the slim elegant primadonna is documented. Richly illustrated catalogue published to accompany an exhibition about Maria Callas in the Deutsches Theatermuseum Munich (17.2. - 14.5.2006) and the Österreichisches Theatermuseum Vienna (1.6. - 17.9.2006). http://www.henschel-verlag.de/ Searching for Shakespeare United Kingdom - London With essays by Tarnya Cooper, Marcia Pointon, James Shapiro and Stanley Wells Published in February 2006 ISBN 1 85514 361 5, £35 (hardback) ISBN 1 85514 369 0, £22.50 (paperback) - Gallery Exclusive 280 x 240mm, 240 pages 180 illustrations In 1856 the newly founded National Portrait Gallery was presented with a compelling painting of William Shakespeare, known as the Chandos portrait. Yet whether it represents Shakespeare remains a matter of intense debate. For the first time this book looks at six contested portraits of the playwright and examines their authenticity. Page 29 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 With new scientific evidence - including X-ray, infrared and ultraviolet examination, macro and micro photography and paint sampling - Searching for Shakespeare is an impressive and perceptive contribution to historical, cultural and literary studies. Together the authors Professor Stanley Wells and Professor James Shapiro piece together Shakespeare's personal and professional life, while Curator Tarnya Cooper explores contemporary understanding of portraiture and Shakespeare's interest in the visual arts. In a thought-provoking essay, Professor Marcia Pointon also looks at the afterlife of Shakespeare's image and how this has become an icon for Englishness since his death. Richly illustrated with portraits, costumes, manuscripts and maps, this book provides fascinating insights into the life of Shakespeare, as well as into the lives of his fellow actors, entertainers and playwrights, and of his patrons and audiences. Published to accompany a major exhibition at the National Portrait Gallery from 2 March to 29 May 2006, Yale Center for British Art, New Haven from 24 June to September 2006. http://www.npg.org.uk/live/pubsearching.asp 3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS Newsletter - Theatre and Drama Denmark - Copenhagen March 16, 2006 A monthly newsletter is published by the Music- and Theatre Department at Copenhagen's Royal Library, since February 2006 in both Danish and English at these web-sites: Danish version: http://www.kb.dk/kb/dept/nbo/ma/nyhbre/aktuelt.htm#artikel07 English version: http://www.kb.dk/kb/dept/nbo/ma/nyhbre/recent-en.htm Music- and Theatre Department Royal Library P. O. Box 2149 DK-1016 Copenhagen K Denmark http://www.kb.dk/index-en.htm * : Modified only Page 30 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 4. LINKS TO OTHER ORGANISATIONS AMIA - The Association of Moving Image Archivists United States The Association of Moving Image Archivists (AMIA) is a non-profit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, preservation, exhibition and use of moving image materials. The specific objectives of the association are to: - Provide a regular means of exchanging information, ideas and assistance. - Take responsible positions on archival matters affecting moving images and related materials. - Encourage public awareness of and interest in the preservation and use of moving images as an important educational, historical, and cultural resource. - Promote moving image archival activities, including preservation, cataloging and documentation, and access, through such means as meetings workshops, publications, and direct assistance. - Support the education and professional development of moving image archivists. - Develop and promote professional standards and practices for moving image archival materials. - Stimulate and facilitate research on archival matters affecting moving images. AMIA is the worlds largest professional association of moving image archivists, currently representing over 750 individuals and institutions from the United States and Canada and around the world. In recent years, AMIA has taken on an international dimension as archivists from over 30 countries have joined the association. AMIA members are drawn from a broad cross-section of film, television, video and interactive media: classic and contemporary Hollywood productions, newsreels and documentaries, and national, regional and local television production, including news, public affairs and entertainment programming. There are also a number of significant specialized collections, including independently produced film and video art, amateur footage, and film and television programs reflecting ethnic and minority experiences. Association of Moving Image Archivists 1313 North Vine Street Hollywood, CA 90028 Phone: (323)463-1500 FAX: (323)463-1506 email: [email protected] http://www.amianet.org/ ATHE - Association for Theatre in Higher Education The Association for Theatre in Higher Education is an organization of individuals and institutions that provides vision and leadership for the profession and promotes excellence in theatre education. ATHE actively supports scholarship through teaching, research and practice and serves as a collective voice for its mission through its publications, conferences, advocacy, projects, and through collaborative efforts with other organizations. ATHE's 1,800 members include post-secondary faculty in theatre and related fields, graduate students, and theatre and performance artists in universities, commercial venues, and community-based and alternative theatres. Organizational members include theatre departments at colleges and universities, training conservatories, and many theatres. Members receive a variety of benefits including subscriptions to publications, reduced rates at the national conference, a listing in the ATHE directory, a members-only e-mail list, and a chance to participate in specific interest groups. http://www.athe.org/ Page 31 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Thalia Germanica Thalia Germanica, an international society for research into the history of the German-language theatre abroad, considers "abroad" to mean countries beyond the historical borders of Germany and Austria. German-speaking strolling players and troupes or amateur groups played or founded theatres wherever they travelled or settled. The Society is therefore interested in German theatre history world-wide from the Wanderbühne to the present, whether in Tallinn, Riga, Viborg, Montreal, Lodz, San Francisco, Chicago, St. Petersburg or elsewhere. The main aim of Thalia Germanica is to encourage research into the history of the German-language theatre as part of the theatre history of individual countries. At least every two years, the society mounts an international conference to exchange information, present research results and report on progress in the analysis of archive materials. Selected scholarly papers from each conference form a volume in a series of proceedings. The Seventh International Thalia Germanica conference will be held in Klausenburg (Cluj-Napoca), Romania, from 7 11 November 2006 . (see conferences) http://www2.sfu.ca/thalia-germanica/ UNIMA - Union Internationale de la Marionnette L'UNIMA est une Organisation Internationale non Gouvernementale réunissant des personnes du monde entier, lesquelles contribuent au développement de l'art de la marionnette afin de servir par cet art les valeurs humaines, dont la paix et la compréhension mutuelle entre les peuples, quelles que soient leur race, leurs convictions politiques ou religieuses, la diversité de leurs cultures, en conformité avec le respect des droits fondamentaux de l'être humain, tels qu'ils sont définis dans la Déclaration Universelle des Droits de l'Homme des Nations Unies du 10 décembre 1948. UNIMA existe pour promouvoir l'art de la marionnette en: 1) Stimulant, au travers de toutes formes possibles de communication, les contacts et échanges entre marionnettistes de tous les pays y continents. 2) En organisant congrès, conférences, festivals, expositions et concours ou en accordant le soutien de l'UNIMA. 3) En aidant les membres de l'organisation à garantir ses intérêts démocratiques, syndicaux, économiques et juridiques dans le cadre de ses activités professionnelles; l'UNIMA peut recommander ou soumettre des propositions aux instances compétentes. 4) En impulsant la formation professionnelle. 5) En approfondissant l'investigation historique, théorique et scientifique. 6) En maintenant vives les traditions, impulsant en même temps le renouvellement de l'Art de la Marionnette. 7) En proposant la marionnette comme moyen d'éducation éthique et esthétique. 8) En participant aux travaux des organisations internationales qui ont des buts similaires. Secrétariat Général de l'UNIMA 10, Cours Aristide BRIAND B.P. 402 - 08107 Charleville-Mézières France Tél : +33 (0)3 24 32 85 63 Fax : +33 (0)3 24 32 76 92 Email: [email protected] http://perso.wanadoo.fr/unima/index.htm * : Modified only Page 32 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 5. THEATRE BUILDINGS, RESTORATIONS & NEW DEVELOPMENTS Réouverture de l'Odéon - Théâtre de l'Europe! France - Paris April 3, 2006 L'inauguration officielle aura lieu le lundi 3 avril à 11h30, la présentation de la nouvelle saison au public aura lieu à 18h ce même jour. L'ouverture théâtrale, aura lieu le 27 avril avec la première d'"Hamlet (un songe)", d'après Shakespeare, mise en scène par Georges Lavaudant. LOdéon-Théâtre de lEurope, où Georges Lavaudant a succédé à Giorgio Strehler et à Lluís Pasqual, affiche depuis des décennies lambition dêtre lune des grandes enseignes du théâtre dart de notre continent. Avec la réouverture de la Grande Salle historique du 6e arrondissement et lattribution définitive, en qualité de deuxième salle, des Ateliers Berthier dans le 17e, cette ambition dispose désormais de nouveaux moyens pour saffirmer.Ces moyens, nous les mettrons dabord au service de la création, devenue au fil de ces dernières années lune de nos priorités, ainsi quen témoigne la présence en nos murs d'André Engel, artiste associé. La dimension européenne demeure essentielle: lOdéon est fier daccueillir des metteurs en scène de sensibilités aussi diverses que leurs origines, et de leur permettre de présenter leur travail en version originale.Quil sagisse de répertoire français, de classiques étrangers, de recherches contemporaines (et cela, dans le cadre dune création, dune coproduction, dun accueil, ou d'un partenariat avec le Festival dAutomne), les proportions peuvent varier dune saison à lautre. Mais le dosage, ici, importe moins que le désir : la volonté artistique qui préside à la programmation de lOdéon, et qui laisse à certains créateurs le temps de nouer avec leur public des liens durables et féconds. Cest encore au nom dune certaine idée de lart du théâtre et de sa transmission que nous entendons soutenir la création de demain. Soit en recourant à des formules de compagnonnage (la compagnie «Dores et déjà», après un premier passage dans notre théâtre en juin 2006, en bénéficiera à lautomne prochain). Soit en poursuivant notre collaboration avec le jeune théâtre national (JTN) afin dorganiser et de dynamiser un festival dans la lignée de Berthier05. Une telle manifestation, au service des nouvelles générations issues de grandes écoles de théâtre, nous semble en effet, dès sa première édition, avoir prouvé quelle répondait à un réel besoin. Après trois ans de fermeture, notre Odéon, abandonnant ses échafaudages et ses grues, ses bâches et ses barrières, va reprendre vie à nouveau ; et en ce jour davril, nul ne pourra dissimuler sa joie, sa fierté, son émotion. Toutes les grandes institutions vivent dune vie qui nous dépasse. Artistes, spectateurs, critiques, techniciens, dramaturges, figurants, nous traversons la salle et le plateau de lOdéon en rêvant secrètement de laisser quelques traces dans la mémoire de ceux qui viendront après nous ; et dans le même mouvement, nous nous souvenons de ceux qui nous ont précédés, de tous ceux qui ont fait dune succession de spectacles et de saisons une riche et longue histoire. Celle de lOdéon commence en 1782 ; celle du Théâtre de lEurope, deux siècles plus tard. Notre souhait le plus ardent est que cette histoire se poursuive, quelle puisse encore séprouver au présent du présent pareille à notre art, unique et si fragile en ces temps de mécanisation et de trompe-lil. Car cest cela qui fonde la richesse dun tel lieu. Elle est là, la profonde justification de tous nos efforts. Nos théâtres, et parmi eux lOdéon dans sa splendeur retrouvée, comptent parmi les rares endroits où lépoque donne rendez-vous à des paroles venues de plus loin quelle. Georges Lavaudant, Directeur de l'Odéon, 17 mars 2006 * : Modified only Page 33 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 6. RESEARCH 6.1. RESEARCH PROJECTS Call for Contributions: Performance Research Issue on Beckett United Kingdom - Totnes May 29, 2006 Performance Research Issue 12:1 (March 2007) Issue Editor: Catherine Laws As Beckett reaches 100 years of age, his work continues to provoke new artistic and theoretical responses. The centenary is generating a wide range of performances, exhibitions and conferences explicitly dedicated to his legacy in the arts and beyond. However, Beckett's influence upon much recent art and his relationship to theory can be deeply rooted but subtle and indirect. The format of Performance Research allows for artists' pages and other visual representations alongside articles, interviews, documents or reviews; we invite submissions with a relationship to Beckett or that consider Beckett's work in relation to contemporary practice and theory. We are interested in both explicit and more tangential, implicit relationships, in particular: -Beckett's influence upon and/or relation to current performance practices, including visual art, film, music, and cross/inter-disciplinary work - Beckett's influence on and/or relationship to current theories of subjectivity and the body - The reconstructed/mediated body and liminal subjectivity in late Beckett - The eye and the ear, seeing and hearing - Other new theoretical perspectives Deadlines for issue 12:1 are as follows: Proposals: 29th May 2006 Draft articles: 28th August 2006 Finalised material: 25th September 2006 Publication Date: March 2007 ALL proposals, submissions and general enquiries should be sent direct to: Linden Elmhirst - Administrative Assistant Performance Research Dartington College of Arts, Totnes Devon TQ9 7RD UK Tel: 0044 1803 861683 Fax: 0044 1803 861685 Email: [email protected] http://www.performance-research.net Content specific enquires should be directed to Catherine Laws at: [email protected] Enquiries about the volume as a whole should be directed to: Ric Allsopp at:[email protected] or [email protected] For complete Guidelines for Submissions please see: http://www.performance-research.net/pages/guidelines.html Page 34 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Performance Research is MAC based. Proposals will be accepted in hard copy, on CD or by e-mail (Apple Works, MS-Word or RTF). Please do not send images without prior agreement. Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research Call for Papers: Film and Theatre April 1, 2006 The editors of Theatre Journal invite submissions for a special issue on Film and Theatre. The issue's purpose is to stimulate dialogue between the disciplines of film and theatre/performance studies and to probe the interconnections, both historical and theoretical, between live performance and film. Topics may include historical or contemporary performances, films, events, technologies, practices or theories that elucidate these interconnections. Submissions should be received by April 1, 2006. Manuscripts should be 6,000-9,000 words, double-spaced throughout, using endnotes. For other stylistic matters, follow the Chicago Manual of Style. Send manuscripts in triplicate hard copy to: Elly Lampner Managing Editor Theatre Journal 400 Symphony Circle, #359 Hunt Valley, MD 21030 Please send inquiries to David Saltz at [email protected] Dr. David Z. Saltz, Head Department of Theatre and Film Studies University of Georgia Athens, GA 3002-3154 Phone: (706) 542-2091 http://www.drama.uga.edu Call for Papers: Journal of Religion and Theatre May 1, 2006 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. 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. Page 35 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 The address of the journal is: http://www.rtjournal.org Submission Guidelines: -Submit your article in Microsoft Word 1998 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 1998 to Debra Bruch: [email protected] Or send by regular post with the article on a zip disk (Mac format), standard CD, or jumpstick, in Microsoft Word to: Debra Bruch, Ph.D. General Editor, The Journal of Religion and Theatre Department of Fine Arts Michigan Technological University 1400 Townsend Drive Houghton, MI 49931 Deadline: May 1, 2006 6.2. SCHOLARSHIPS Contemporary Theatre Review Studentship in European Theatre United Kingdom - London April 30, 2006 Applications are invited for a three-year doctoral studentship, funded by the Vice-Chancellor of the University of London's Development Fund, to be held jointly at Royal Holloway and Queen Mary Colleges of the University of London, starting in September 2006. Applicants should have a commitment to pursuing research to doctoral level in some aspect of theatre of Europe in the contemporary period and will undertake their investigation under the supervisions of Professors David Bradby (RHUL) and Maria Delgado (QMUL), joint editors of Contemporary Theatre Review. The studentship will be accompanied by a three-year responsibility as editorial assistant on the international journal, Contemporary Theatre Review; this will involve working closely with the editors and associate editors of the journal on the four annual issues for each year of the studentship. Applicants should be holders of a good first degree from any university, with relevant MA studies completed or close to completion, and should be competent readers and writers of at least one European language other than English. The studentship will pay for all tuition fees, will provide up to £2,500 in travel funding, and a maintenance grant of £14,300 in the first year, rising to £14,729 in the second year and £15,171 in the third. Further particulars and application forms may be had by contacting either department: for Royal Holloway: [email protected], for Queen Mary: [email protected] Closing date for applications: 30th April 2006. Page 36 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Visiting Fellowships for Drama and Theatre Scholars United Kingdom - London Applications from drama and theatre scholars are invited for Visiting Fellowships at Queen Mary, University of London, for the academic year 2006-07. The fellowships are provided by the Graduate School in Humanities and Social Sciences. Distinguished Visiting Fellowships 2006/7 - Further Particulars: (1) The six Fellowships for 2006/7 are intended to appeal to scholars already in receipt of the PhD from the UK or overseas who wish to spend a period of research or sabbatical leave in London. They have been created by the College in response to a substantial donation from the Westfield Trust to build on-campus residential accommodation specifically for this purpose. The accommodation, part of a new Student Village for 1000 postgraduate and undergraduate students, opened in September 2004. (2) The Fellowships are attached to the Graduate School in the Humanities and Social Sciences, to which nine academic Schools and Departments contribute: the School of Modern Languages (Spanish, German, French, Russian, Linguistics, Film) the School of English and Drama; History; Politics; Law; Centre for Commercial Law Studies; Geography; Economics, and the Centre for Business Management. At the 2001 Research Assessment Exercise, 92 percent of the 200+ staff submitted for consideration were graded at 5 or 5*, denoting work of international excellence in all areas. The Graduate School currently has more than 800 students following taught Masters or doctoral research programmes. Full details of the academic departments may be found at http://www.qmul.ac.uk (3) Each fellow will be provided with a studio or one-bedroom flat, with kitchen facilities and private bathroom, free of charge; open-plan office space; and access to library and other facilities of the College and University of London. (4) Fellowships cover the period September to December 2006 or January to April 2007. Fellows may by arrangement and at their own cost extend residence over a longer period if they wish, subject to the availability of accommodation. (5) Each Fellow is expected to give a Fellow¹s Lecture and is invited to contribute to the seminar programme in a relevant Masters programme and to participate in the intellectual life of the Graduate School, the College more generally and the University of London. (6) Expressions of interest, accompanied by a curriculum vitae and brief description of research to be undertaken should be sent by 15 February 2006 to Professor Richard Schoch, Director, Graduate School in Humanities and Social Sciences, Queen Mary, University of London, Mile End Road, London E1 4NS Inquiries to: Dr Robyn Adams, Graduate School Administrator [email protected] 6.3. RESEARCH TOOLS Chorème - site sur l'histoire de la danse au Québec Canada - Montréal http://www.choreme.ca/ La naissance dun site Internet qui porte un regard sur les traces de la danse. Page 37 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 LÉcole supérieure de ballet contemporain (ESBC) à Montréal est très heureuse dannoncer la mise en ligne officielle du site Chorème, consacré à lhistoire de la danse du Québec. Lobjectif de Chorème est de rendre accessible à tous et de mettre en valeur une partie de lincroyable collection de la Bibliothèque de la danse de lESBC. Ce patrimoine documentaire regroupe près de 2000 documents des fonds darchives, dont 900 programmes de spectacles, près de 600 affiches et 260 enregistrements vidéos des nombreuses compagnies de danse du Québec. Certains documents sont des témoignages précieux de lhistoire de cet art si souvent éphémère dont on ne garde que quelques traces. Le site comprend 4 volets: - une section portfolios consacrée aux personnalités, organismes et uvres qui ont marqué lhistoire de la danse du Québec - une section jeunesse pour les 8 à 11 ans, à la fois ludique et éducative - accompagnée dun guide dactivités sadressant aux professeurs et animateurs - un catalogue permettant deffectuer des recherches dans la base de données Chorème qui répertorie en détail programmes de spectacles, affiches et enregistrements vidéo. Coordonné par la Bibliothèque de la danse de lESBC, le site a été réalisé avec quatre précieux partenaires : Les Productions Vandal & Thomin, spécialistes du domaine de lédition numérique destinée au jeune public; Visard Solutions, développeur et distributeur du logiciel Académus; Trigonix, spécialiste de la numérisation de documents darchives, et le Réseau de bibliothèques de la Ville de Montréal, qui participe à la promotion et à la diffusion du site. La réalisation de ce site a été rendue possible grâce, dune part, à une subvention de Patrimoine canadien Fonds des partenariats, Culture canadienne en ligne, et dautre part à la mise à la disposition de la collection de lESBC qui investit depuis de nombreuses années dans la conservation de tous les documents ayant trait à la danse sous toutes ses formes. La Bibliothèque de la danse de lESBC tient également à souligner lapport du legs testamentaire de Linda Stearns (ancienne danseuse et directrice artistique des Grands Ballets Canadiens de Montréal) dont la volonté était que son don soit alloué au traitement des documents darchives des Grands Ballets Canadiens de Montréal. Renseignements : Marie-France Garon relationniste de presse Tél.: (514) 849-4929 Email: [email protected] Online Databases of Theatre Institute in English Czech Republic - Prague The on-line databases of the Theatre Institute in Prague have been updated to provide a user-friendly service for English speaking users. The Library of the Theatre Institute, which currently contains more than 100 000 titles related to theatre and dance, enables its users to browse or conduct more thorough searches of titles found in the Library. http://institute.theatre.cz/kpsys_knihovna.asp In addition, the services of the Bibliography Department of the Theatre Institute are now available for those seeking particular articles and other information about a particular theme related to theatre in the Czech Republic. Page 38 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 http://institute.theatre.cz/kpsys_biblio.asp The Audio Library of the Theatre Institut contains a large inventory of sound recordings of spoken texts, operas, operettas, melodramas, musicals, scenic music and ballets. The collection contains recordings from the original music collections of the Theatre Institute, as well as newly acquired and donated acquisitions. These recordings can only be listened to on the premises of the Theatre Institute. http://institute.theatre.cz/kpsys_audio.asp Perspectiv - Association of Historic Theatres in Europe Links to selected historic theatres in Europe English: http://www.perspectiv-online.org/doc_eng/link_eng.html French: http://www.perspectiv-online.org/doc_fr/gesell_fr.html * : Modified only Page 39 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 7. MISCELLANEOUS ITEMS Czech Dance Platform 2006 Czech Republic - Prague April 7, 2006 - April 12, 2006 Czech Dance Platform 2006 is an exciting and intensive weekend of dance for Czech and international audiences that maps the progressive trends of Czech contemporary dance from the past year. The best Czech dance and movement theatre creation will be presented, including the new project by mature artists beginning with Petra Hauerova and her visual/laser/dance creations, young graduates from the Academy of Arts and Duncan Centre Conservatory (Linda Stránská, Michal Záhora), and other projects created during international residencies (Ioana Mona Popovici, Cobos/Mika, Karen Foss, Kozanek/Kozankova etc.). The Czech Dance Platform 2006 will take place in various venues throughout Prague. More information can be found at: http://www.tanecpraha.cz or by contacting "mailto:[email protected]">[email protected]</a Czech Theatre and Dance Invade Europe on a Grand Scale Following the success of Czech previous theatre and dance showcases (Czech Season in Canada 2003 and TEATRO.CZ Czech Season in Latin America 2005), the Theatre Institute has once again embarked on the presentation of Czech theatre and dance performances in foreign countries. This time, the new project, Invasion of Europe 2006 a Presentation of Czech Theatre Throughout Europe, has the entire continent of Europe as the target of the presentation of Czech theatre and dance projects. The Theatre Institute continues its cooperation with the governmental organizations (Ministry of Culture of the Czech Republic, the Ministry of Foreign Affairs of the Czech Republic, the City of Prague, and the Czech Centres) on this project, and welcomes the new partners of various Czech Centres located in major cities throughout Europe. From London to Sarajevo, more than twenty different theatre, dance, and puppet performances can be seen within the framework of prestigious festivals and as a part of the regular programming of theatres. In addition, exhibitions are being organized Josef Svoboda Scenographer (a salute to one of the Czech Republics most famous stage designers) and Vaclav Havel: Dramatist and Citizen (an exhibition commemorating the 70th birthday of the Czech Republics most notorious playwright and former president). More details about these events will be available at http://www.czech-invasion.cz (and http://www.ceska-invaze.cz in Czech). Edited version of Susan Glaspell's play The Susan Glaspell Society is pleased to make available an abridged version of Susan Glaspell's play, Inheritors, edited by Iris Smith Fischer, University of Kansas. This version, free to all, will enable more theatre groups and universities to stage this relevant and moving play. The only restriction is the request that Prof. Fischer and The Susan Glaspell Society be acknowledged in any program or print advertising connected with the production. Just click on the PDF files on the society's website: http://academic.shu.edu/glaspell/inheritors.html Please include the following note in the program: "The script for this performance was adapted from the original by Iris Smith Fischer, in cooperation with The Susan Glaspell Society. Page 40 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Further information: Barbara Ozieblo, President of the Susan Glaspell Society [email protected] http://www.susanglaspell.org/ Gerald Kahan Scholars's Prizes: 2004 and 2005 March 15, 2006 The American Society for Theatre Research offers an annual prize of $500 for the best essay written in English on any subject in theatre research, broadly construed. The author must be untenured and within seven years of the doctorate - or be a student working toward the doctorate - when the essay is published. The Kahan Prize is presented at the ASTR annual meeting, at which time the editors contribution to scholarship is also acknowledged. ASTR invites nominations of essays published in either 2004 or 2005. At the next ASTR meeting, two Kahan Prizes will be awarded: one for the best essay published in 2004, and one for the best essay published in 2005. Self-nominations are encouraged. Scholars may be nominated for awards in both years without prejudice. Essays (hard copy or electronic) should be sent by 15 March 2006 to: Prof Richard Schoch School of English and Drama Queen Mary, University of London London E1 4NS England [email protected] Mozart et Paris France - Paris June 20, 2006 Bibliothèque Nationale de France Site François-Mitterrand Grand auditorium 18.30 - 20.00 Pour célébrer le 250e anniversaire de la naissance de Mozart, la BnF, en association avec l'Opéra national de Paris, propose des rencontres exceptionnelles autour du compositeur et de son uvre : après " Mozart, l'Europe et le temps des Lumières ", " Le désir et le mariage chez Mozart " et " Mozart et l'Orient ", écrivains, philosophes, historiens se réunissent à nouveau pour approfondir leur réflexion sur le XVIIIe siècle. Ces soirées sont animées par Gérard Mortier, directeur de l'Opéra national de Paris et Véronique Puchala, musicologue. Invité: Marc Fumaroli, professeur au Collège de France Entrée libre BNF - Site Mitterand Quai François-Mauriac 75706 Paris Cedex 13 Tél : 33(0)1 53 79 59 59 (serveur vocal) http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm Page 41 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1 Nová dráma / New Drama - 2nd year of the Contemporary Slovak and World Drama Festival Slovakia - Bratislava May 9, 2006 - May 14, 2006 The Theatre Institute in collaboration with the Slovak National Theatre, Theatre Astorka KorzoŽ90 and the Association of Contemporary Theatre organize New Drama Festival in Slovak theatres. Since 2002 the New Drama project represents and supports contemporary drama, and its authors. Directly collaborates and links up on the project Drama and the Theatre Triangle which through the yearly competition, stage readings and performances introduce the Slovak authors and their plays. In the seven meetings with the foreign guests the New Drama project has been presenting the drama of the six European countries and USA. Through the preparation of these projects and the realization itself the organizers had realized absence and inevitability of the beginning of a new festival or better saying the review of the original performances in Slovakia and the performances of contemporary world drama at the Slovak stages. New Drama Festival is going to arise as a result of the dramaturgy coordination of the Bratislavas theatres and performances of the contemporary Slovak and International drama will be presented during the week of the festival. The co-organizer Slovak National Theatre and the partners of the festival Theatre Astorka KorzoŽ90 and Studio 12 will offer a place for out of Bratislava theatres to give a guest performance. There will be accompanying events as the working meetings of the Central European representatives of the theatre institutes and the museums; the meeting according to the projects of Culture 2000 European workshop of translation; the meetings with Slovak and foreign dramatics; discussion platforms for theatre participants and the audience, stage readings etc. Contact: Romana Maliti The Theatre Institute Bratislava Jakubovo nám. 12 813 57 Bratislava 1 Phone: +421 2 59 30 47 20/52 96 32 76 Fax: +421 2 59 30 47 33 e-mail: [email protected], [email protected] http://www.theatre.sk * : Modified only Page 42 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 FIRT/IFTR: SIBMAS: Membership Secretariat, Email [email protected] Cordula Treml, Email [email protected] FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 1. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES 20th World Congress on Dance Research Greece - Athens October 25, 2006 - October 29, 2006 This is the largest gathering of dance specialists world-wide, the best opportunity to showcase one's work to a wide audience of practitioners, dance teachers choreographers, researchers, critics and organizers. Average attendance is 400 specialists from 40 countries every year. This year we expect 1000 conferees for a grand celebration of the 20th anniversary, making it by far the largest dance congress ever. Performances will take place at a 3500-seat covered stadium by the sea built for the 2004 Olympic Games. All forms of dance are represented. Strictly non-profit. Not to be confused with festivals, workshops, or open conferences. Under the auspices of the Ministry of Culture and the Municipalities of Athens and Palio Faliro. The Congress is organized by IOFA Greece and the Dora Stratou Dance Theater, in collaboration with the International Dance Council CID, UNESCO. Its theme is in accordance with the "Convention on the Protection and Promotion of the Diversity of Cultural Expressions" adopted on 20 October 2005 by the UNESCO General Conference. The program includes: - Presentation and discussion of original research reports. - Classes, lecture-demonstrations, video projections, discussions. - Performances by selected dance companies. - Exhibitions and sales of books, records, pictures, costumes, accessories etc. - Visits to places of special interest, such as dance schools, museums, sites etc. - Evenings where conferees can dance with music by local musicians. While intended primarily for professionals, it is at the same time a participatory event, facilitating contacts with colleagues, informal discussions and individual initiative. Presenting a contribution (research report, lecture-demonstration, class, performance, exhibition) is optional. Proposals must be sent before 15 September 2006. To apply for a visa and/or financial assistance, registered participants receive an official letter of confirmation signed by the President of CID. Please make arrangements as early as possible. Congress Secretariat: Dora Stratou Dance Theater, Scholiou 8, Plaka, GR-10558 Athens, Greece Tel. (30)210.324.6188 Fax (30)210.324.6921 http://www.cid-unesco.org email: [email protected] ASTR Conference 2006 - Fiftieth Anniversary of the founding of ASTR United States - Chicago Page 2 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 November 16, 2006 - November 19, 2006 Hotel Allegro American Society for Theatre Research Exile and America Seminar This seminar seeks to investigate dramatic and performative renderings of America as an exilic place particularly focusing on issues of language, space, and identity. It will explore the utopian myth of American dream and ways in which it has been transforming throughout the 20th century and in the light of the current political climate in the US. It intends to encourage a discussion on how the American theatre practice and scholarship in general engages a vision of SOCIETY, THEATRE and RESEARCH today as a two-way street that simultaneously embraces and rejects the Other. Thus, our objective is to address the problems of representation of the Other on stage and to investigate how America and American dream is imagined, challenged and theatricalised in the works of various theatre artists (playwrights, directors, actors, and stage designers). In short, the seminar proposes to discuss the exilic aspects of American theatre from the twofold perceptive: the Other seen, presented and discussed in American theatre practice and research; and the representation of America by the Other. The three proposed themes are the focus points of the discussion, and thus we invite historical and theoretical contributions engaging various interdisciplinary approaches from the fields of sociology and theatre, anthropology and performance studies, art and film history, semiotics and theory of literature and drama. America from the Other Shores: American Dream and its Transformations How is the notion of American dream depicted in drama and theatre? How have the events of the 9/11 and the current war in Iraq been altering the mythical America? What is the status of the American dream in the light of growing antiAmericanism and how is theatrical practice and scholarship approaching this phenomenon? Exiles, Outsiders, and Immigrants How are the concepts and the figures of the Other envisioned and presented in the works of American theatre artists and through scholarship? How are the issues of internal exile addressed? How does American theatre and drama deal with the relationship between center and margin, between America and the Americas, for instance? American Theatre in Broken English How is America depicted through the works of recent immigrants and theatre artists of the diaspora? How visible are immigrant artists on American stage? How is theatrical practice and scholarship resisting the gravity of the American melting pot? Please note that final papers will be due to the seminar on September 15, 2006, so that they can be pre-circulated and discussed among the seminar participants before the ASTR meeting in November. Please submit proposals via email or post by May 31, 2006: Professor Yana Meerzon Assistant Professor Department of Theatre University of Ottawa (Canada) 135 Séraphin-Marion St. Room 304B Ottawa, Ontario K1N 6N5 Canada (613)562-5800 Ext.2243 [email protected] Professor Silvija Jestrovic Assistant Professor Department of Theatre and Performance Studies Warrick University Page 3 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Coventry CV4 7AL United Kingdom + 44 (0)24 7669-7552 [email protected] Call for Papers: 2006 Film and History League Conference United States - Dallas July 25, 2006 Dolce Conference Center 8-12 November 2006 CONFERENCE RUBRIC: Genres, Styles, and Aesthetics AREA: Exhibition While much has been written about the documentary, we still know comparatively little about where many were shown, the context(s) of their reception, and the venues and exhibitors that booked them. From movie palaces to newsreel theaters to art house cinemas to less traditional venues, documentaries have been exhibited in a host of public and private spaces. They have also had a prolific existence on television, on home video, and distributed and exhibited on the Internet. This area seeks panels and individual submissions on all aspects of documentary exhibition, including but definitely not limited to: - Venues for documentary exhibition (movie theaters, film festivals, military bases, museums, galleries, and other spaces) - Home exhibition - Itinerant exhibitors - Documentary exhibition in specific cities, regions or countries - Exhibition of documentaries in specific time periods - Distribution, marketing, exhibition and/or reception histories of individual films - Home video and video on demand - Audiences - Spectatorship - Contemporary exhibition of documentaries - And much more ... Please send proposals (200 to 400 words) and inquiries via email to: Ross Melnick Director of the Collection Museum of the Moving Image 35 Avenue at 36 Street Astoria, New York 11106 [email protected] or [email protected] Deadline for submission is July 25, 2006. The Film and History League conference details can be found at: http://www.filmandhistory.org Call for Papers: Theater and the Visual Arts in the Middle Ages and Renaissance: Aspects of Representation United States - Binghampton Page 4 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 October 20, 2006 - October 21, 2006 Interdisciplinary International Conference Center for Medieval and Renaissance Studies, Binghamton University (SUNY) The Center for Medieval and Renaissance Studies (CEMERS) at Binghamton University, New York, invites papers for a Conference to be held on the SUNY-Binghamton Campus . Theater is to be understood both as text and as performance, including their rapport with the visual arts. We welcome papers on any aspect of theater and the visual arts in the medieval and Renaissance periods, on: - genres as well as on individual authors, and including - liturgical plays, Hrotswitha of Gandersheim, Passion plays (Latin and vernacular) - mystery, miracle, and morality plays, semidramatic sermons, Jesuit catechetical plays - Byzantine theater such as the Christos Paschon (Christus patiens) and - Cyprus Passion play - Laude, comoediae elegiacae, farces, auto sacramentales, sacre rappresentazioni, drammi pastorali, spettacoli conviviali - the use of ancient drama and dramatic theory (Aristotle, Horace, Plautus, Terence, Seneca) by medieval and Renaissance practitioners - the influences exercised by the revival of Roman plays in early Renaissance Italy, France, Germany and England (such as Sofonisba, Didone, Cléôpatre, Cornélie, Henno, Pammachius, Gorboduc, Cambises) - we will consider papers on all aspects of Renaissance theatrical-visual arts rapport within the commonly accepted chronological parameters for each European country. As to the visual arts, studies from Millet to De Vito, Mâle, Cohen, Kernodle, Francastel, Konigson, Collins and others, have seen the relationship between theater and art - a complex, contentious one - variously as the influence of theater on art or art on theater. Potential fields of inquiry on the iconography of theater include, among others: - fresco cycles, such as those of Bominaco and Sant' Angelo in Formis - single miniatures (such as the Valenciennes), illuminated manuscripts - relationships between sacre rappresentazioni and Trecento and Quattrocento dossals. - Passion sculptures, dramatic decoration, theatrical images in Books of Hours, mise-en-scènes, stage directions from the plays themselves, sedes, mansions, loci, etc. We welcome proposals for panels, as well as individual Conference papers. Panel organizers are asked to send a brief statement of the organizing principle of the panel, as well as the abstracts, names and affiliations of each participant. Panel sessions will be one hour in length with no more than three papers to the panel. Plenary talks and selected refereed papers will be published in two volumes of Mediaevalia, the Center's journal. Plenary speakers include: Eckehard Simon, Harvard University Veronique Plesch, Colby College Barbara De Marco, University of California, Berkeley Nerida Newbigin, University of Sydney, Australia To be considered for the program, please send two copies of an abstract (220 words maximum), along with a copy of your current c.v. including e-mail address and phone number, and any requests for audio-visual equipment. Submissions must be received by May 15, 2006 to be given full consideration for inclusion in the program. Send inquiries and proposals to: Sandro Sticca, Conference Organizer, Director Page 5 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Center for Medieval and Renaissance Studies Binghamton University (SUNY) PO Box 6000 Binghamton, New York 13902-6000 [email protected] [email protected] Call for Papers: Theatre History Symposium United States - Minneapolis March 1, 2007 - March 4, 2007 MATC (Mid-America Theatre Conference) Changing Theatrical Landscapes: Mapping New Directions in History, Pedagogy and Practice for the 21st Century Hyatt Regency Hotel TRUE NORTH: A line from any point on the earth's surface to the north pole. All lines of longitude are true north lines. True north is usually represented by a star. In order to measure something, there must always be a starting point or zero measurement. To express direction as a unit of angular measure, there must be a starting point or zero measure and a point of reference. These two points designate the base or reference line. There are three base lines- true north, magnetic north, and grid north (Source: http://www.map-reading.com). For MATC's 2007 Theatre History Symposium in Minnesota, "The North Star State," we invite proposals for papers which reflect on or incorporate the idea of True North, broadly construed. As a theatre scholar, what are your baselines? How do you determine them? How does your selection of reference points determine the direction of your research? Topics might include: -Examinations of particular individuals, texts, and performances that highlight the perils (or pleasures) of navigating Theatre History. -Manifestos pointing us in new directions. -Legends to help us find our way home. -Surveys that indicate boundaries, landmarks, and points of reference. -Measures by which we can corroborate evidence, establish a trajectory, and navigate a course through our teaching, research, and practice. -Intersections between theory and evidence. -Instruments to chart our path through interdisciplinary landscapes -And, of course, Pirates! Please direct proposals and queries to: Scott Magelssen Augustana College [email protected] Henry Bial University of Kansas [email protected] Page 6 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Email Abstracts as Word documents to both Theatre History Symposium co-chairs, above. Abstracts must be received by November 15, 2006. Please limit abstracts to 250 words. PLEASE INCLUDE YOUR NAME, TITLE (identifying whether you are faculty, student, or independent scholar) and ACADEMIC AFFILIATION with your Abstract. Proposals for full panels (of three related papers) are also welcome. Contact Co-Chairs for details. Digital Resources in the Humanities and Arts - Conference 2006 United Kingdom - Dartington September 3, 2006 - September 6, 2006 This year the renamed DRHA Conference - Digital Resources in the Humanities and Arts -is choosing to bring a new dimension into its standard range of digital projects and interests across the major disciplines of the humanities (archaeology, history, literature, languages, linguistics...) by offering an exceptional invitation to practitioners and scholars working with digital media across the creative, visual, performing and media arts (music, performance, dance, visual arts, gaming, media...). This development is intended to draw upon and give greater opportunity to consider changes that have occurred through the various applications of digital resources across multi-media platforms and practice-based and practice-led arts research. This development offers an opportunity to all participants involved in either the arts or the humanities to present, witness, experience and exchange knowledge and applications of accessible digital resources, and to appreciate how the collaborative practices of everyone involved with digital resources has a considerable potential to inform and influence other disciplines. This significant and unique opportunity for an exchange of views, experience, approaches and knowledge across all the disciplines of both the humanities and the arts involved with digital resources, will be held at Dartington College of Arts (Totnes, Devon, UK) from Sunday September 3rd to Wednesday September 6th, 2006. The history and environment of Dartington College of Arts make it the perfect location for this Arts and Humanities Conference 2006. Well known as a place of special beauty and seclusion, the performance studios and exhibition facilities are equally superlative and include the 14th Century Great Hall, The Barn Theatre, The Gallery, plus several 'black-box' and 'white-box' studios equipped with highly sophisticated computer installations appropriate for music, sound, theatre, dance, media, exhibition,installation, screenings, demonstrations and presentations of both completed digital works and work in progress; comfortable well-equipped seminar rooms complement these facilities for the presentation of academic papers, panels sessions and debates; outdoor events are possible in the extensive gardens and estate grounds. The Dartington venue website is at http://www.dartington.ac.uk/drha06/index.asp and the DRHA2006 website (providing further details and facilities for making online proposals and checking the overall Programme as it develops) is at http://www.ahds.ac.uk/drha2006/index.php?cf=5 On these websites you will find more detailed information on: * * * * * * Conference Programme Presenters, Abstracts, and Papers Registration, Accommodation, and Travel Conference Organizers and Key Partners Key dates Points of contact for further information A series of annual conferences whose goal is to bring together the creators, users, distributors, and custodians of digital resources in the arts and humanities. DRHA Conferences are never less than inspirational for those working with digital resources in the arts and Page 7 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 humanities. The conference series has established itself firmly in the UK and international calendar as a major forum bringing together scholars, practitioners, artists, innovators, curators, archivists, librarians, postgraduates, information scientists and computing professionals in an unique and positive way, to share ideas and information about the creation, exploitation, use, management and preservation of digital resources in the arts and humanities and to analyse the all-important contemporary issues surrounding them. Dramatic Learning Spaces Conference South Africa - Pietermaritzburg September 22, 2006 - September 25, 2006 African Performance Practice - Research in action Drama and Performance Studies University of Kwazulu-Natal Pietermaritzburg Conference Themes African Performance Practice - Research in Action - Practice as Research Africa and Performance Performing Arts in Education and Development Identity and Culture Please note that these are general themes, and under these categories fall a host of other possibilities. Working Groups There will be opportunities in the programme for delegates to join a Research Working group in discussion. These working groups will be structured around the themes of the conference. Applicants wishing to join or lead a working group should indicate on their proposal form. Practicalities and Deadlines Proposals should reach the conference organizers by post or email by the 15 April 2006. Proposals or abstracts should be 200-300 words, sent electronically in Word format as an attachment to [email protected] The Conference convenors are Veronica Baxter and Louise Buchler. Telephone Number +27-31-260-5280 Fax Number +27-31-260-5552 E-Mail: [email protected] Conference website: http://www.ukzn.ac.za/dramaticlearningspaces/home.asp EVA London 2006 - Electronic Information, the Visual Arts, and Beyond United Kingdom - London July 26, 2006 - July 28, 2006 The UCL Institute of Archaeology The Foremost European Electronic Imaging Events in the Visual Arts since 1990. Main conference topics * Strategies & New Directions Page 8 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 * Museums, Libraries & Archives * Rights & Business Management * Education & Learning * New Technology Developments & Experimental Applications * Archaeology, Architecture, History & Information Technology, ARCH-IT * Multimedia Mobile Services - Ambient Wireless Computing * Contemporary Arts from Painting to Performance * Putting it all Together': Future Trends & Funding OUTLINE PROGRAMME Wednesday 26th July Workshop: New research presentations CONFERENCE DAY 1 26th July *Strategies and new directions* Emerging business models; Cultural cartography; Effects of online catalogues; Gender bias in science & art museum websites; AV preservation - the BBC archive; Rights management panel CONFERENCE DAY 2 27th July *Museums, libraries & archives* Collections documentation: a critical perspective; Museum cell phone audio tour programmes; Collections management, asset management; Turning the museum inside out *Architecture, archaeology, history* Automated classifcation system for bronze age vessels; Virtual museography for an archaeological site; On-site ICT applications; The Golden City Hall Man: 3D scanning and reverse engineering *New technical developments* Reproduction of stained glass windows on transparent material; An interactive genetic algorithm for the production of collaborative literature CONFERENCE DAY 3 28th July *Arts IT and education, new digital arts* Online education as stage and narrative acts; 'Music of the spheres'; Confessions of computer scientists working in the arts; Collaborative technology enhanced environment and interactive technologies Conference Co-chairs: Jonathan Bowen, London South Bank University Lindsay MacDonald, London University of the Arts Suzanne Keene, The Institute of Archaeology James Hemsley, Birkbeck & EVA, Honorary chair Contat - conference manager Monica Kaayk: [email protected] Furhter information: http://www.eva-conferences.com/eva_london/2006 Greek Drama & Modern Dance, APGRD Conference United Kingdom - Oxford July 12, 2006 Magdalen College, University of Oxford This symposium inaugurates our research on dance by focusing on the wide-ranging impact of Greek drama in the twentieth century: on the pioneers of Modern Dance (Duncan and Fuller), upon the mid-century Greek-inspired ballets of Martha Graham, and on the collaborative work of leading playwrights and choreographers today. The speakers include classicists, theatre practitioners, theatre specialists and historians, dance professionals, dance critics and Page 9 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 dance historians. This event is the first, to the best of our knowledge, to be devoted to the subject of ancient dance in the modern world. The programme, which starts with coffee at 10am, will include the following papers: Yana Zarifi (Artistic Director, Thiasos Theatre Company), Ancient Greek dance: the sources Dr Ruth Webb (Associate Lecturer in Classics, Université de Paris X Nanterre), La Décadanse: dance and disturbance in Late Antiquity Professor Anne Cooper Albright (Professor of Dance & Theater, Oberlin College), The Tanagra Effect: wrapping the modern body in the folds of ancient Greece Dr Henrietta Bannerman (Lecturer in Dance, The Place), Ancient myths and modern moves: the dance theatre of Martha Graham Nadine Meisner (Dance Historian & Freelance Journalist), Iphigenia, Orpheus and Eurydice in the human narrative of Pina Bausch Professor Janet Lansdale (Professor of Dance, University of Surrey), Traces of Greek myth in Lloyd Newson and DV8s Strange Fish (1992): gender constructs Professor Richard Cave (Professor of Drama & Theatre Arts, Royal Holloway, University of London), Caryl Churchill and Ian Spink: re-writing ancient words for the dancer Struan Leslie (Freelance Movement Director, Director, Choreographer, & Lecturer), Gesamtkunstwerk: modern moves and the Greek chorus Enquiries: [email protected] http://www.apgrd.ox.ac.uk/events/confdance.htm Historicizing contemporary arts Slovenia - Ljubljana September 23, 2006 - September 24, 2006 Maska, a journal for performing arts, published by the Maska institute in Ljubljana (a publishing, cultural and production house for contemporary performing arts), is celebrating the 100th issue with a series of events, which will take place under the title of Maska 001 from the 20th to the 24th of September at various locations in Ljubljana. Maska 001 is a series of events: exhibitions, performances, artistic interventions, installations, publications, panels and discussions on historicizing the arts. Moderna galerija Two panels on the subject of historicizing contemporary arts. The first A time to size up: historicizing art will discuss basic theoretic problems in historicizing the contemporary; while the second The long march through institutions or New institutions will discuss artistic strategies in Slovene art in the nineteen sixties and eighties. Concept: Aldo Milohnić, Zdenka Badovinac, Bojana Kunst, Lev Kreft Contact: Adela eleznik ([email protected]) Andreja Kopač ([email protected]) Maska 001 is produced by Maska in collaboration with Moderna galerija, Cankarjev dom, Stara elektrarna, Festival Ex-ponto and financially supported by Minisitry of Culture of Slovenia and Municipality of Ljubljana. Artistic director: Emil Hrvatin ([email protected]) Coordination: Maja Megla ([email protected]), Andreja Kopač ([email protected]) Follow the updated program at http://www.maska.si Page 10 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 More Than Just Osborne? Recollections of British Theatre from 1945 to 1968 United Kingdom - London September 5, 2006 The British Library Conference Centre 96 Euston Road London NW1 2DB 18.30 21.00 Tickets cost £10 (£7.50 concessions) from the British Library Box Office T+44 (0)20 7412 7222 Emai: [email protected] The Arts and Humanities Research Council/British Library Theatre Archive Project is based at the University of Sheffield. Its aim is to reinvestigate the key period of British Theatre between 1945 and 1968. This evening event takes place 50 years after the founding of the English Stage Company, the premières of Look Back in Anger and The Quare Fellow and the first visit of Brechts Berliner Ensemble to London. It will explore in an entertaining and informative manner some of the recollections of this period of the practitioners and members of the theatre audiences who have been interviewed by the Project, many of whom point out that the theatre of the period embraced much more than John Osborne. Highlights include an interview with Frith Banbury, a brief overview of the theatre activity of the period by Professor Dominic Shellard, Project Leader and author of Kenneth Tynan: A Life (Yale, 2003) and British Theatre Since the War (Yale, 2000); a panel discussion with interviewees who will discuss their own personal recollections of topics including regional theatre, West End theatre, Angry Young Men and illegitimate theatre; a display of post-war theatre-related artefacts held by the British Library; and a wine reception to allow informal questioning and discussion. Extracts from some of the 100 or so interviews conducted so far will also be played. Further information on the Theatre Archive Project at http://www.bl.uk/theatrearchive VIII World Shakespeare Congress Australia - Brisbane July 16, 2006 - July 21, 2006 Brisbane City Hall, Queensland Seminars and presentations will bring together delegates from many countries with diverse backgrounds including scholars, critics and theatre professionals, all united by their study and work on Shakespeare. The congress will also include a trade exhibition, featuring numerous publishers and institutions. There will be a mix of speakers and presentations from Australasia as well as from experts from around the world. Major congress topics will include: - Shakespeare through history and society Theatre and performance studies Multicultural Shakespeare Education and teaching Shakespeare on film Digital technologies - Shakespeare and the internet Texts, editing and publishing Page 11 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 For more information regarding World Shakespeare 2006, please contact the congress managers: World Shakespeare 2006 Event Planners Australia PO Box 1280 Milton Queensland 4064 Telephone: +61 (0)7 3858 5568 Facsimile: +61 (0)7 3858 5510 Email: [email protected] http://www.shakespeare2006.net Dame Judi Dench, President of the INTERNATIONAL SHAKESPEARE ASSOCIATION "I'm so thrilled that the VIII World Shakespeare Congress is being held in Brisbane in 2006. I personally am immensely grateful to Shakespeare, who has kept me in work for many years! His writings continue to inspire communities in all corners of the world and wonderful artistic and academic work has emanated from Australia and from Australian artists and academics in many different countries. I wish the organisers all good fortune in the lead up to July 16, 2006" * : Modified only Page 12 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 2. EXHIBITIONS 2023+ - Artists projects for 2023 and the 2000+ collection Slovenia - Ljubljana September 22, 2006 Maska, a journal for performing arts, published by the Maska institute in Ljubljana (a publishing, cultural and production house for contemporary performing arts), is celebrating the 100th issue with a series of events, which will take place under the title of Maska 001 from the 20th to the 24th of September at various locations in Ljubljana. Maska 001 is a series of events: exhibitions, performances, artistic interventions, installations, publications, panels and discussions on historicizing the arts. Moderna galerija We are exhibiting works and suggestions by artists, as will have been created by 2023 (the year in which, extrapolated from the publishing dynamics so far, the 200th issue of Maska magazine will be published). We invited the artists discussed in Maska between 2000 and 2005 to prepare a project for 2023. The suggestions will be exhibited along chosen works from the international collection 2000+ by Moderna galerija. Exhibiting are: Marina Abramović, Matthew Barney, Dara Birnbaum, Trisha Brown, Tim Etchells, Jan Fabre, Jan Lauwers, Christoph Marthaler, Olaf Nicolai, Jan Ritsema, Igor tromajer and others. Authors: Zdenka Badovinac, Emil Hrvatin Contact: Elise von Bernstorff ([email protected]) Maska 001 is produced by Maska in collaboration with Moderna galerija, Cankarjev dom, Stara elektrarna, Festival Ex-ponto and financially supported by Minisitry of Culture of Slovenia and Municipality of Ljubljana. Artistic director: Emil Hrvatin ([email protected]) Coordination: Maja Megla ([email protected]), Andreja Kopač ([email protected]) Follow the updated program at http://www.maska.si Between Documentary and Fine Arts Yugoslavia - Belgrade (Serbia) September 1, 2006 - September 30, 2006 Also as part of the Invasion of Europe 2006, the Theatre Institute is currently preparing a new exhibit for the Bienale of Scenography in Serbia and Montenegro, Between Documentary and Fine Arts, which will take place throughout the entire month of September in Belgrade. The exhibition presents three of the most famous contemporary Czech theatre photographers: Josef Ptáček (1946), Bohdan Holomíček (1943) and Viktor Kronbauer (1949). Their works need not only be interpreted as individual pieces of art; they can also be considered as something between a creative work of art and important documentary fragments. With his own characteristic signature, Josef Ptáček has gained his reputation in the field of colour photography, whereas audiences associate the names of Viktor Kronbauer and Bohdan Holomíček with black and white photography. Like Josef Ptáček, these two prominent Czech theatre photographers also have many awards to their credit including most recently Viktor KronbauerŽs two gold medals that he received during the 2005 International Theatre in Photographic Art Triennale in Noví Sad. Page 13 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Over the course of the past two years, however, all three have accordingly reoriented themselves from conventional photography to the more up-to-date digital photography. Have they been successful in this radical conversion? Our exhibition is the answer to that question. The multimedia projection of the works of Bohdan Homolíček entitled Bohdan and Eva H., where he collaborated with computer artist Eva Hrubá, is a part of the exhibition. Contact: Sodja Lotker Theatre Institute Prague Celetná 17 110 00 Prague 1 Czech Republic email: [email protected] Further information: http://www.theatre.cz/art/clanek.asp?id=10837 More details about the Invasion of Europe 2006 at: http://www.czech-invasion.cz Bravo! Celebrating 50 years of Opera Australia Australia - Melbourne April 7, 2006 - July 2, 2006 Experience the passion and splendor of opera as we celebrate 50 years of Opera Australia. Drawing from the Arts Centres Performing Arts Collection and Opera Australias archives, Bravo! takes a close-up look at productions that have shaped Australias national opera company. Immerse yourself in the spectacle of opera through a display of costumes, set models, props, photographs and music. In the George Adams Gallery and the Smorgon Family Plaza Free admission Open every day until late http://www.theartscentre.net.au/whats-on_detail.aspx?view=380 From Color to Light United States - New York June 19, 2006 - September 16, 2006 At the New York Public Library for Performing Arts at the Lincoln Center Vincent Astor Gallery Exhibition Hours Tues, Wed, Fri & Sat: 12 to 6pm Thurs: 12 to 8pm The exhibition wants to go over the last decade of Beni Montresors works as theatre director as well as set and light designer. It celebrates a nomadic artist, an stateless who felt at home in each of the big theatres he worked for. We can mention, for instance, Teatro Colon in Buenos Aires, Teatro alla Scala in Milan, Teatro Carlo Felice in Genoa, Teatro Argentino de La Plata, Teatro Comunale in Cagliari, The Arena of Verona, Teatro dell'Opera in Rome, Teatro Massimo in Palermo, the Brooklyn Academy of Music, The Metropolitan Opera in New York at the Lincoln Center. In his work, Montresor always tried to dress by colors of his phantasy the great melodies of the opera and of the ballet. By doing so, he defied stylistic and aesthetical stereotypes that forced the scenography to adapt itself to the libretto instead of to the music. So, he succeeded in proposing audacious and original solutions, which were elegant and convenient. These stylistic choices leaded Page 14 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Montresor during the decade 1991-2001, to a progressive subtraction of the scene till to get a wide scene, where shapes and colors are just a results of light games. In the exhibition, you can see plans, drawings, posters and pictures of some performances staged by Montresor: Faust at La Scala in Milan, Werther at Teatro Carlo Felice in Genoa, Madama Butterfly in the Arena of Verona, Otello at Colon in Buenos Aires, The Witches of Venice at La Scala in Milan, a ballet with music by Philip Glass and libretto by Montresor himself. Further sections are dedicated to drawings and pictures of scenography and costumes created for the Elisir dAmore at the Metropolitan Opera in New York, Falstaff the Lissabon Theatre, Tosca at the Puccinis Festival as well as documents Traviata, Cyrano, the ballet La Bella addormentata nel bosco for the Teatro dellOpera in Rome. For further information: Fondazione Aida Press Office P.O. Box 401 37121 Verona Centro (Italy) Tel. 0039 045 8001471 - 0039 045 595284 Fax 0039 045 8009850 e-mail: [email protected] Website: http://www.fondazioneaida.it Handel's 'Giulio Cesare': From Egypt to England United Kingdom - London May 5, 2006 The Foundling Museum Temporary Exhibition Gallery, Lower Ground Floor In 1724 when Handel staged Giulio Cesare in Egitto, he presented the London audiences with a portrayal of the Roman dictator quite different to the familiar historical, Shakespearean figure. The original libretto on which the opera is based is a light-hearted affair, written for the Venice carnival season in 1676: the details of the plot, which focuses on the love affair between Caesar and Cleopatra, are largely fictional. Handels score added depth to the characters, creating a more dramatic work and some of his most challenging roles, for which he enrolled a star studded cast providing them with some of his best known melodies, including Piangerò and Va tacito. Giulio Cesare in Egitto was pivotal in the rediscovery of Handels operas in the 20th century. Numerous recent productions have gone from reconstruction of baroque staging, to dinosaurs in Munich, to the most recent Bollywood-style reading of the Glyndebourne production, which is to be revived at the 2006 Glyndebourne Festival. The exhibition traces almost 300 years of Giulio Cesares performance history in England through documents and images and in its historical context. The Foundling Museum 40 Brunswick Square London WC1N 1AZ Tel.:020 7841 3600 Fax: 020 7841 3601 TuesSat 10am6pm Sun 126pm Admission £5 Concessions £4 http://www.foundlingmuseum.org.uk/exhibit_temp.php Page 15 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 House of Flowers, House of Stars United States - New York June 18, 2006 - September 20, 2006 At the Istituto Italiano di Cultura in New York Beni Montresor was not only a theatre artist, but also a sensitive illustrator of books for children. The relation between these two aspects of his arts is very close. Not only because many of the operas and ballets directed and designed by Montresor became illustrated books: for instance The Magic Flute by Mozart, The Witches of Venice by Philip Glass or Hansel and Gretel by Humperdick. The use of full colour shadows, full coloured profiles with no sense of depth but full of energy passes from the set to the page and back. The typically Anglo-Saxon tradition of the picture book where the illustrations are more important than the words a tradition that did not exist in Italy was one that Montresor encountered in New York. At the end of 1959 Montresor had just arrived in New York, when someone advised him to try illustrating childrens books. In 1961 the first 4 books illustrated by Beni Montresor were born and it was immediately a success. Montresor obtained a mention from the American Institute of Graphic Art for Mommies at Work and the Newberry Honor Book for Belling the Tiger. Further recognitions had followed: the Caldecott Award in 1965 for May I Bring a Friend?, the mention as best illustrated book by the New York Times in 1966 for The Magic Flute, the Gold Medail from the American Society for Illustrators in the same year for I Saw A Ship A-sailing. In 1962 for the first time, Montresor illustrated and wrote the text for House of Flowers, House of Stars. Montersor was both illustrator and author of several further books. The exhibition will show the original illustrations drawn for some edition of the Charles Perraults, Andersens and brothers Grimm tales. Many illustrations come from illustrated books written by Montresor himself for the most important American publishing houses. An Honorary Committe composed by important pesonalities of the italian art and culture will promote the Exhibition. We are pleased to mention: Princess Diane von Füstenberg, Mr. Vittorio Missoni, Mr. Massimo Ferragamo, Maestro Alberto Veronesi, Countess Francesca Baldeschi Balleani and Baroness Mariuccia Zerilli-Marimò. The event will have the patronage of: Niaf (National Italian American Foundation) and the Ministero degli Italiani nel mondo, and it will be made thank to the collaboration of Regione del Veneto (Veneto Region), Comune di Bussolengo (Bussolengo Town Council), Verona Tuttintorno, Segafredo Zanetti, Stone Italiana. For further information: Fondazione Aida Press Office P.O. Box 401 37121 Verona Centro (Italy) Tel. 0039 045 8001471 - 0039 045 595284 Fax 0039 045 8009850 e-mail: [email protected] Website: http://www.fondazioneaida.it Le Mouvement des Images - Art et Cinéma France - Paris April 5, 2006 - January 19, 2007 Le Centre Pompidou, Musée national d'art moderne, renouvelle l'expérience de la présentation thématique de ses collections : le Mouvement des images Art et Cinéma, propose une relecture de l'art du XXème siècle à partir du cinéma. A l'aube de la révolution du numérique, cette nouvelle présentation, organisée autour des composantes fondamentales du cinéma - défilement, projection, récit et montage - propose une redéfinition de l'expérience cinématographique élargie à l'ensemble des arts plastiques. Plutôt que comme un spectacle, le cinéma apparaît aujourd'hui comme une manière de concevoir et de penser les Page 16 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 images, non plus à partir de la fixité et de l'immobilité mais à partir du mouvement et de la reproductibilité. L'exposition rassemble, autour de films d'avant-garde, de films expérimentaux, de vidéos d'artistes et d'installations, plus de 200 uvres empruntées aux arts réputés statiques - peinture, sculpture, photographie, mais aussi architecture et design - et propose un parcours original à travers l'histoire de l'art moderne et contemporain dans lequel figurent des oeuvres de Henri Matisse, Bruce Nauman, Barnett Newman, Man Ray, Frank Stella, Jeff Wall, Andy Warhol Face à face, l'oeuvre pour Jean-Paul Sartre d'Hann Darboven répond aux huit études du Peintre et son modèle de Picasso. Les collages sonores et visuels d'Oracle de Rauschenberg rappellent les montages des Surréalistes. Plus loin, Men in the cities de Robert Longo placé à côté du Shoot de Chris Burden joue sur les codes et les genres du cinéma hollywoodien. Horaires: Tous les jours sauf mardi 11h - 21h Tarifs: 10 , 8 (réduit) Centre Pompidou Place Georges Pompidou 75004 Paris Téléphone: +33 (0)1 44 78 12 33 h t t p : / / w w w . c n a c gp.fr/Pompidou/Manifs.nsf/AllExpositions/F64415EF7EC115ECC125709900470B9D?OpenDocument&sessionM=2.2. 1&L=1&form=ActualiteCategorie Magritte et la photographie France - Paris March 15, 2006 - June 11, 2006 L'illustre Inconnu Peintre, cinéaste, photographe et écrivain, René Magritte est un artiste complet et la photographie joue pour lui un rôle complémentaire à celui du dessin, du croquis et des esquisses ébauchées sur un coin de table, un carton de bière ou même dans sa paume. La rapidité de la prise de vue le distrait de la peinture "ennuyeuse" et "longue" dans son élaboration, journalière dans sa pratique, routinière dans son usage. Bousilleur d'idées reçues, gouailleur licencieux, agitateur indomptable et antidoctrinaire, Magritte photographie sans souci des règles esthétiques et s'évertue à réussir des images qui semblent ratées. D'une ironie subtile et décapante, souvent décalée, extrêmement belges et d'une insolence piquante, les photographies de Magritte reflètent sa personnalité anticonformiste. Ces images, prises pour se divertir, se situent à l'antipode de la facture et de la technique réaliste de sa peinture, souvent taxée d'académique. Le peintre y donne libre cours à sa fantaisie, à son sens du burlesque et à son penchant pour la désobéissance, la grimace, la polissonnerie, et le non respect concerté des convenances. Blasphémateur impavide qu'excèdent le bon sens et la raison, Magritte applique en fait à la lettre l'injonction surréaliste : "Tout remettre en question dans tous les instants". Le côté insurrectionnel de son caractère s'en donne à cur joie. Puis, il construit peu à peu son personnage, entre vivant dans sa peinture et disparaît derrière l'apparence uniforme de son héros. Ainsi incarne-t-il par la photographie la figure du grand peintre, instantanément reconnaissable et bientôt universellement célébré. La Maison Européenne de la Photographie 5/7 rue de Fourcy - 75004 Paris Téléphone: (33) 1 44 78 75 00 Fax: (33) 1 44 78 75 15 Métro: Saint Paul ou Pont Marie Horaires Ouvert tous les jours de 11 heures à 20 heures, sauf les lundis, mardis et jours fériés. Page 17 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Accès à la billetterie jusqu'à 19 heures 30. Tarifs Plein tarif: 6 Demi-tarif: 3 Plus de 60 ans, famille nombreuse, étudiant, enseignant, demandeur d'emploi, bénéficiaire de l'aide sociale et du RMI, Maison des artistes, les abonnés des lieux partenaires. http://www.mep-fr.org/expo_1.htm Mapping & Archiving & Analysing the Defunct Spaces of Art Slovenia - Ljubljana September 22, 2006 Maska, a journal for performing arts, published by the Maska institute in Ljubljana (a publishing, cultural and production house for contemporary performing arts), is celebrating the 100th issue with a series of events, which will take place under the title of Maska 001 from the 20th to the 24th of September at various locations in Ljubljana. Maska 001 is a series of events: exhibitions, performances, artistic interventions, installations, publications, panels and discussions on historicizing the arts. Moderna galerija, Ljubljana In the last 40 years, a large number of spaces that were permanent or temporary locations for artistic creation and presentation have disappeared from the map of Ljubljana. We are making an interactive map of deleted arts spaces, available on the web and presented in Moderna galerija. Contact: Bojana Pikur ([email protected]) Maska 001 is produced by Maska in collaboration with Moderna galerija, Cankarjev dom, Stara elektrarna, Festival Ex-ponto and financially supported by Minisitry of Culture of Slovenia and Municipality of Ljubljana. Artistic director: Emil Hrvatin ([email protected]) Coordination: Maja Megla ([email protected]), Andreja Kopač ([email protected]) Follow the updated program at http://www.maska.si Maria Callas or the Art of Self-Staging Austria - Vienna June 1, 2006 - September 17, 2006 Maria Callas (1923-1977) was one of the great divas of the 20th century. Both her voice and stage presence are legendary. In 1939, the New York-born Greek made her professional debut at the Athens Olympia Theatre and enjoyed her greatest success at La Scala in Milan throughout the 1950s. Until the mid-1960s, she made numerous appearances at the worlds greatest opera houses. She considered her signature role Norma, which she portrayed almost 90 times, somewhat autobiographical. Callas said, Norma is in many ways like I am. Norma may appear strong, sometimes even brutal, but in reality she is like a lamb that roars like a lion. This exhibition focuses on the staging and self-staging of the artist Maria Callas in the operas La Traviata, Tosca, Medea and Norma as well as the film Medea. Splendid costumes, rare pictures, film sequences of Pasolinis Medea and Franco Zeffirellis Tosca as well as numerous audio samples document her unique artistic personality. The exhibition also provides a detailed picture of the star off stage. The opera star was and remains well known far beyond her own artistic oeuvre. Spectacular cancellations of performances, lawsuits, rivalries and her private life Page 18 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 caused sensations. Even today, this diva assoluta inspires not only the world of the opera but also literature and fashion. Tuesday to Sunday 10 am to 6 pm Österreichisches Theatermuseum Lobkowitzplatz 2 A - 1010 Wien Tel: 0043/1/ 52 524/ 648 Fax: 0043/1/ 52 524/ 645 http://www.theatermuseum.at/flash/page/veran/index.htm Martha Graham's Greek Journeys - an exhibition of Max Waldman photographs United Kingdom - Oxford July 10, 2006 - July 21, 2006 Americas leading performing arts photographer of the post-war period, Max Waldman (1919-1981) selected a portfolio from his photographs of Martha Grahams work as a gift to the choreographer. By kind permission of the Max Waldman Archive, this collection is exhibited in Magdalen College Auditorium, Oxford (Longwall Street entrance) from 10 to 21 July (12-2pm daily). Entrance is free to all. Enquiries: [email protected] http://www.apgrd.ox.ac.uk/events/exhibition.htm Rex Whistler: The Triumph of Fancy United Kingdom - Brighton April 14, 2006 - September 3, 2006 Brighton Museum & Art Gallery This exhibition is the first major retrospective to bring together Rex Whistlers work in all media, from his days at the Slade School of Art, through the years of his greatest success in the 1930s, and culminating in the poignant jeux desprit of his final months. It reveals the full extent of Whistlers achievement in the context of his life and times. The inventiveness, quality and scope of Whistlers oeuvre has never been doubted, yet much of his best work has never before been brought together on public display, because many items are held in private collections. The Triumph of Fancy, researched and devised by Stephen Calloway, author and curator at the V&A, traces Whistlers glittering career as a painter, illustrator, muralist and stage designer for theatre, ballet and opera. It also shows how he moved in the most brilliant literary, social and artistic circles, numbering among his friends the Sitwells, Cecil Beaton, Edward James, Lord Berners and Stephen Tennant. The exhibition is divided into three chronological sections, which represent all Whistlers principal projects, relating them to his life through portraits, photographs and mementos of his wide social circle. Admission free Opening Times Tuesday: 10.00am-7.00pm Wednesday-Saturday: 10.00am-5.00pm Sunday: 2.00-5.00pm Closed Mondays, except public holidays 10.00am-5.00pm Page 19 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Brighton Museum & Art Gallery Royal Pavilion Gardens Brighton East Sussex BN1 1EE United Kingdom Tel: + 44 (0)1273 290900 http://www.brighton.virtualmuseum.info/exhibitions/rex_whistler1.asp The Complete Works of William Shakespeare United Kingdom - Stratford-upon-Avon May 9, 2006 To complement the Royal Shakespeare Companys year-long Complete Works Festival, the Shakespeare Birthplace Trust has created a new exhibition on the first floor of Nashs House called The Complete Works of William Shakespeare. Special guest Sonny Venkatrathnam who has kindly loaned the exhibition perhaps the most iconic copy of Shakespeares Works of the 20th Century officially launched the exhibition on Tuesday 9 May. Sonny, fellow prisoner of Nelson Mandela on Robben Island, has brought to Stratford a copy of Shakespeare which circulated secretly amongst the leading African nationalist political prisoners on Robben Island, including Nelson Mandela who marked and signed his favourite passage in the book (from Julius Caesar. This was in fact marked on a very particular day, 16 December: the day when the South Africans celebrated the defeat of the Zulus at the Battle of Blood River in 1838.) This book has become something of a Talisman for black South African actors, directors and intellectuals. The Robben Island Shakespeare has never been seen out of South Africa and the Shakespeare Birthplace Trust are delighted to be able to include it in the Complete Works of Shakespeare Exhibition at Nashs House in Stratford-uponAvon. The Complete Works of Shakespeare Exhibition tells the story of the Works as a book, how over the past four centuries it has been edited, illustrated, sometimes censored, and translated. The display features interactive components including a Touch Screen and Turn Page facility for part of the famous First Folio, the first collected edition of Shakespeares plays, published in 1623. Entry to the exhibition is included in the admission price to Nashs House and New Place: Adults £3.75 Child £1.75 Concession £3.00 Family £13.00 The Shakespeare Birthplace Trust Shakespeare Centre Henley Street Stratford-upon-Avon Warwickshire CW37 9HH http://www.shakespeare.org.uk For further information please contact Mari-Colette McPhail Press and Marketing Officer for The Shakespeare Birthplace Trust Tel: 00 44 (0) 1789 201845 Mobile: 00 44 (0) 7909918559 [email protected] http://www.shakespeare.org.uk/content/view/526/427/ Page 20 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Travelling Exhibition: New in Czech! As a part of the Invasion of Europe 2006 project, organized by the Theatre Institute in Prague in cooperation with Small Inventory and New Web Association, a new exhibit, entitled New in Czech! is now making its way around Europe. The photo exhibit is the work of Michal Selinger and offers a dynamic look at the projects that were hosted during the Small Inventory Festival in February 2006 in Prague. It presents thirty documentary photos of the most interesting new Czech performances from the field of physical, dance, visual, interactive, vocal, non-verbal and crossover theatre. The Small Inventory Festival is a unique showcase of New Theatre, featuring the most interesting projects that have been created over the past year. The fourth annual Small Inventory Festival offered a manifold program: more than 18 performance projects on six Prague stages. The initiator of the festival is the MOTUS association, producers of the Alfred ve dvoře Theatre, where the year's best works on this stage was presented as part of the festival. The festival is also presented at the Archa Theatre, the NoD Universal Space, NABLÍZKO Theatre, the Eliade Library in Divadlo Zábradlí and in the Duncan Centre. The Small Inventory is a part of New Web (Nová síť), a project that aims for decentralisation and distribution of projects in the field of independent scenic work. Artists presented include: Stage Code, Petr Nikl, Lhotákova&Soukup, Handa Gote, Skutr, Krepsko, Anna Synková, Daniela Klimeová, Vojta vejda, Jan Bene-McGadie. Technical Aspects: 30 photographs (40cm X 60 cm) photographs dry-mounted on sponge board 1 Title Board (40 cm X 60 cm) in English dry-mounted on sponge board Also a DVD presentation of contemporary Czech performances, as an accompanying element to the exhibit, and a catalogue of the New Web performances The exhibition will be travelling to Holland, Germany and Romania. Contact: Sodja Lotker Theatre Institute Prague Celetná 17 110 00 Praha 1, Czech Republic email: [email protected] Further information: http://www.theatre.cz/art/clanek.asp?id=10836 More details about the Invasion of Europe 2006 at: http://www.czech-invasion.cz * : Modified only Page 21 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 3. PUBLICATIONS 3.1. GENERAL 3.2. THEATRE Applied Theatre: Bewilderment and Beyond United Kingdom - Oxford Second Printing Series Stage and Screen Studies, Volume 5 Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien, 2003, 2006 220 pages ISBN 3-03910-749-6 / US-ISBN 0-8204-8009-6, paperback 42,80 £ 28.00 US-$ 47.95 This book explores the practice of theatre in communities, social institutions and with marginalised groups. It shifts between context and country to examine different ways that theatre has been applied to a wide range of social issues. Theatre projects in Brazil, Burkina Faso, Sri Lanka and the UK are analysed to argue for a complex and questioning view of the practice. Initiatives in prisons, development contexts, war situations and participatory research projects become the sites to interrogate the claims that applied theatre can be a theatre for social change. Many practitioners and researchers, who have witnessed powerful applied theatre projects, nonetheless struggle to articulate the reasons why the projects were successful. This book uses the questions inspired by that perplexity to create a case for applied theatre as a major area of contemporary theatre practice. Contents: Applying theatre to social issues - Applying theatre in social agencies or institutions - Prison theatre Theatre and development - Participatory theatre as research method - Ethics and community based theatre Reflecting on examples of applied theatre practice. The Author: James Thompson is Professor of Applied and Social Theatre at the University of Manchester and a Director of the Centre for Applied Theatre Research. He has run applied theatre projects in Brazil, Burkina Faso, Rwanda, Sri Lanka, the UK and the US. He is editor of Prison Theatre: Perspectives and Practices (1998) and author of Drama Workshops for Anger Management and Offending Behaviour (1999) and Digging Up Stories: Applied Theatre, Performance and War (2005). http://www.peterlang.com/Index.cfm?vID=10749&vHR=1&vUR=2&vUUR=1&vLang=E Avant-Garde Performance: Live Events and Electronic Technologies United Kingdom - Basingstoke May 4, 2005 Günter Berghaus 138mm x 216mm 374 pages Paperback ISBN 1403946450 Page 22 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 £18.99 Hardback ISBN 1403946442 £52.50 Description Placing key figures and performances in their historical, social and aesthetic context, Günter Berghaus offers an accessible introduction to post-war avant-garde performance. Written in a clear, engaging style, and supported by text boxes and illustrations throughout, this volume explains the complex ideas behind avant-garde art and evocatively brings to life the work of some of its most influential performance artists. Covering hot topics such as multi-media and body art performances, this text is essential reading for students of theatre studies and performance. Key Topics How did the concept of the avant-garde come into existence? How did it stimulate developments in the performing arts? Written in a clear, engaging style, and supported by text boxes throughout, this volume presents some of the general characteristics of postwar avant-garde performance and gives detailed coverage to some of the most influential artists. Berghaus also explores hot topics such as multi-media and body art performances, making this text ideal for students of theatre studies and performance. Contents Acknowledgements Illustrations, Tables, Text Boxes, Chronologies Foreword The Genesis of Modernity and of the Avant-garde Towards an Avant-garde Performance Practice, 1896-1919 From Late Modernism to Postmodernism Happening and Fluxus Body Art, Ritualism and Neo-Shamanic Performances Video and Multi-Media Performance Performances in Cyberspace Epilogue: The Future of the Avant-garde Bibliography Index GÜNTER BERGHAUS is a Senior Research Fellow at the University of Bristol, UK. He has published widely in the areas of Renaissance and Baroque theatre, popular theatre, dance history, Modernist theatre, and avant-garde performance. As a theatre practitioner he has directed numerous plays from the classical and modern repertoire and devised many productions of an experimental nature. http://www.palgrave.com/products/Catalogue.aspx?is=1403946442 Between Playwright and Director: A Dialogue Israel - Jerusalem May 1, 2006 By Bilha Blum Magnespress ISBN: 965-493-259-8 Language: Hebrew 254 Pages Can the production of foreign plays become relevant to a local audience? What is the extent of the playwrights influence on the stage directors? How does the social and cultural climate in Israel influence local productions of foreign plays? In "Between Playwright and Director: A Dialogue" the Israeli reader will find answers to all these Page 23 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 questions and many more. Through the analysis of the Greek tragedies and the plays of Shakespeare, Ibsen, Lorca, Brecht, Beckett and Ionesco and their numerous stage realizations in Israeli public theatres since 1973 up to the present, Bilha Blum depicts the fascinating cultural encounter between the foreign and the local, so typical of the Israeli national identity. By tracing the imaginary dialogue between playwrights and directors, the book succeeds in vivifying the unique artistic language that our most accomplished directors used in staging the plays. It delves into their sources of inspiration and creative processes thus supplying its readers with the key to the mystery surrounding the classics immortality and their interpretations. "Between Playwright and Director: A Dialogue" deals with social and cultural issues concerning both classic plays and Israeli performances that have never been raised before. Bilha Blums work makes an important contribution to the study of the modern Israeli theatre. http://www.magnespress.co.il/website_en/index.asp?id=2664 Caligula et Camus - Interférences transhistoriques Netherlands - Amsterdam January 1, 2006 BASTIEN, Sophie Amsterdam/New York XIII 309 pages Paperback: 90-420-1968-9 64 US$ 80 Series: Faux Titre 274 Alors que le théâtre dAlbert Camus reçoit de plus en plus de considération de la part des universitaires, cet ouvrage se consacre à la meilleure pièce camusienne, Caligula. Il en propose une analyse structurelle, pour en faire ressortir toute la métathéâtralité, et définit les rapports complexes que celle-ci entretient avec la folie et le politique : il cerne ainsi dans leur interaction les motifs qui sont au cur de luvre. De plus, il établit des liens aussi riches que variés avec des textes historiographiques et des uvres-phares de la littérature occidentale, qui préfigurent le personnage si puissant quest Caligula. En somme, il situe la pièce sur le triple plan dune tradition philosophique et littéraire qui remonte à lAntiquité, du renouveau théâtral qui marque le milieu du XXe siècle, et de la production de Camus dans son ensemble. Il intéressera étudiants et professeurs qui se penchent sur la littérature française du XXe siècle, aussi bien que sur dautres littératures, puisque par le biais camusien, il traite de la tragédie grecque, de Shakespeare, de Melville, de Pirandello Il sadresse plus spécialement à ceux qui étudient le théâtre, que ce soit dans une perspective historique, thématique ou esthétique. Table des matières: Liste des sigles et des abréviations Introduction Chapitre premier : Caligula dans lhistoire Chapitre deuxième : Les ancêtres de Caligula dans la littérature occidentale Chapitre troisième : Caligula, le texte Chapitre quatrième : Caligula dans luvre de Camus Conclusion Sources documentaires Index Sophie Bastien est professeure au département détudes françaises du Collège militaire royal du Canada. Elle a également enseigné à lUniversité Trent et à lUniversité de Montréal, où elle a obtenu son doctorat. Ses travaux de recherche en cours se concentrent sur deux axes de la littérature du XXe siècle: le théâtre et le surréalisme, encore Page 24 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 quelle touche aussi aux études québécoises. Ses articles paraissent dans des périodiques tels French Studies et la Série Albert Camus de la Revue des Lettres modernes, et portent essentiellement, jusquici, sur le théâtre camusien. With ever-increasing scholarly attention adding to the prestige of Alber Camus theatrical writings, this in-depth study focuses on the authors best play, Caligula. A structural analysis of the work thoroughly reveals its metatheatricality and defines the complex rapport it maintains with madness and politics whose interaction, in turn, exposes the texts underpinnings. In addition, the author establishes a wealth of connections between historiographic writings and groundbreaking works of Western literature that foreshadow Camuss powerful characterization of Caligula. In brief, this study examines the play from the triple standpoint of philosophical and literary tradition dating back to Antiquity, theatrical renewal which had become the hallmark of the mid 20th century and Camuss entire body of work. This book will be of interest to professors and students of 20th century French literature as well as other literatures since, through its Camusian prism, it addresses Greek tragedy, Shakespeare, Melville, and Pirandello, to name a few. It is especially intended for those who study theatre from a historical, thematic or aesthetic perspective. http://www.rodopi.nl/functions/search.asp?BookId=FAUX+274 Call for submissions - Youth Theatre Journal United States - Madison October 1, 2006 The Scholarly Journal of the American Alliance for Theatre and Education Youth Theatre Journal is published annually by the American Alliance for Theatre and Education (7475 Wisconsin Avenue, Suite 300A, Bethesda, MD 20814) Phone: (301) 951-7977 Email: [email protected] Information about subscription rates and advertising may be addressed by contacting the AATE office or from the website: http://www.aate.com Submissions for Volume 21, 2007 Youth Theatre Journal is a juried publication, dedicated to advancing the study and practice of theatre and drama with, for, and by people of all ages. It is concerned with all forms of scholarship of the highest quality that inform the fields of theatre for young audiences and drama/theatre education. Contributors are encouraged to make submissions at any time to the editor at the address below. Final date for all submissions is October 1, 2006. All contributions should conform to the following guidelines: · An electronic submission in MS Word format and Four (4) hard copies of each manuscript must be presented. Hard copies need to match the electronic submission. Manuscripts should synthesize information cogently in 10-25 doublespaced, 12 pt font pages, excluding selective Works Cited, figures, tables, photographs, and appendices. · Manuscripts must be prepared in accordance with the guidelines of the latest edition of the MLA Handbook or the APA Publication Manual. See the AATE Website for samples. · For research involving human subjects, authors must verify that they have met the Ethical Standards for the Reporting and Publishing of Scientific Information (see APA Publication Manual, 5th edition, Appendix C) either in the text of the paper or in the cover letter to the editor. Page 25 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 · A cover sheet, attached to one copy only, must include: the title of the manuscript; the author's name; affiliation; address; telephone; fax; email address; a brief biographical description of the author and a 25 word abstract of the paper. · To insure anonymity, the author's name and affiliation must be struck from the text of the electronic submission and three copies of the manuscript. · Only manuscripts submitted with a self-addressed, stamped manila envelope will be returned. Black and white photographs cannot be returned. For questions regarding submissions contact: Manon van de Water at [email protected] Please submit papers to Youth Theatre Journal, Vol. 21 c/o Manon van de Water, Editor Department of Theatre and Drama University of Wisconsin-Madison 821 University Ave, 6173 Vilas Madison, WI 53706 Phone: 608-263-2329 Codifying the National Self - Spectators, Actors and the American Dramatic Text Belgium - Bruxelles Series: Dramaturgies Textes, Cultures et Représentations, Texts, Cultures and Performances Vol. 17 Published soon Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien, 2006 299 pp. ISBN 90-5201-028-5 / US-ISBN 0-8204-6673-5, paperback 35.20 £ 23.00 US-$ 38.95 Theater has always been the site of visionary hopes for a reformed national future and a space for propagating ideas, both cultural and political, and such a conceptualization of the histrionic art is all the more valuable in the post-9/11 era. The essays in this volume address the concept of «Americanness» and the perceptions of the «alien» - as ethnic, class or gendered minorities - as dealt with in the work of American playwrights from Anna Cora Mowatt, through Rachel Crothers or Susan Glaspell, and on to Sam Shepard, David Mamet, Nilo Cruz or Wallace Shawn. The authors of the essays come from a multi-national university background that includes the United States, the United Arab Emirates and various countries of the European Community. In recognition of the multiple components of drama, the essays for the volume were selected in order to exemplify different aspects and theories of theater studies: the playwright, the play, the audience and the actor are all examined as part of the theatrical experience that serves to formulate American national identity. Contents: Barbara Ozieblo: Introduction. Codifying the National Self. Spectator, Actor and the American Dramatic Text - David Savran: Making Middlebrow Theater in America - Susan Harris Smith: Reading Drama. Plays in American Periodicals 1890-1918 - Wendy Ripley: Anna Cora Mowatt. Player and Playwright - María Dolores Narbona-Carrión: The Woman Artist as Portrayed by Rachel Crothers and Heather McDonald - Sharon Friedman: Feminist Revisions of Classic Texts on the American Stage - Savas Patsalidis: Charles Mee's Intertextual and Intercultural Inscriptions. The Page 26 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Suppliants vs Big Love - Miriam López-Rodríguez: Sophie Treadwell, Jung, and the Mandala. Acting a Gendered Identity - William S. Haney II: Artistic Expression, Intimacy and Primal Holon in Sam Shepard - Claus-Peter Neumann: Theo/teleological Narrative and the Narratee's Rebellion in Tony Kushner's Angels in America - Marc Maufort: «Captured Images.» Performing the First Nations' «Other» - Noelia Hernando-Real: E Pluribus, Plurum. From a Unifying National Identity to Plural Identities in Susan Glaspell's Inheritors - Thierry Dubost: Politics in Paratextual and Textual Elements in Fences - Esther Álvarez-López: Food, Cultural Identity, and the Body. New Recipes for Latinas' Emerging Selves - Natalie I. Alvarez: Authenticity and the «Divinely Amateur.» The Romantic in Richard Maxwell Jerry Dickey: Mamet's Actors. A Life in the Theatre and Other Writings on the Art of Acting - Jon D. Rossini: The Contemporary Ethics of Violence. Cruz, Solis and Homeland Security - Bonnie Marranca: The Solace of Chocolate Squares. Thinking about Wallace Shawn. The Editors Barbara Ozieblo is Associate Professor of American Literature at the University of Málaga, where she has organized several conferences on American theatre. She is the International Secretary of the American Theatre and Drama Society, Treasurer of the Spanish Association for American Studies, and co-founder and President of the Susan Glaspell Society. She has published on Susan Glaspell and on other American women dramatists in Spanish and in English. María Dolores Narbona-Carrión is Assistant Professor of American Literature and History at the University of Málaga. Her publications deal with American theater and Nineteenth-century American women writers. She has co-organized and participated in several international conferences on American theater at the University of Málaga. http://www.peterlang.com/index.cfm?vID=21028&vLang=E&vHR=1&vUR=2&vUUR=1 Contemporary Theatre Review - Special issue on Globalisation and Theatre United Kingdom - London The latest issue of Contemporary Theatre Review is a special issue on Globalisation and Theatre. It's a wide-ranging discussion of various intersections between economic, cultural, theoretical globalisation and theatre, which makes a substantial contribution to this growing area of debate. CTR is usually only available on subscription, but this issue is available as a single issue, which can be ordered at the special price of £14/$25 from: http://www.tandf.co.uk/journals/spissue/gctr-si1.asp CTR 16.1: GLOBALISATION AND THEATRE CONTENTS Editorial JEN HARVIE AND DAN REBELLATO A Blessing REVEREND BILLY Where is the Cosmopolitan Stage? PAUL RAE Innocent Tourists? Neo-Colonialist Narratives in Contemporary Performance LIZ TOMLIN AND STEVE JACKSON Political Theatre in a Shrinking World: René Pollesch's Postdramatic Practices on Paper and on Stage DAVID BARNETT Exposing Globalisation: Biopolitics in the Work of Critical Art Ensemble GABRIELLA GIANNACHI There is Another World: Space, Theatre and Global Anti-Capitalism SOPHIE NIELD Witnessing Michael Landy's BREAK DOWN: Metonymy, Affect, and Politicised Performance in an Age of Global Page 27 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Consumer Capitalism JEN HARVIE Glasgow's Year of Culture and Discourses of Cultural Policy on the Cusp of Globalisation MATTHEW REASON Globalisation's Marginalia: Anglo-Canadian Identity and the Plays of Brad Fraser ROBERTA MOCK Playwriting and Globalisation: Towards a Site-Unspecific Theatre DAN REBELLATO How to Stage Globalisation? Martin McDonagh: An Irishman on TV CATHERINE REES Manjula Padmanabhan's HARVEST: Global Technoscapes and the International Trade in Human Body Organs HELEN GILBERT Me, My iBook, and Writing in America MARK RAVENHILL Backpages Symposium: Globalization and Theatre BAZ KERSHAW, LARA D. NIELSEN, JANELLE REINELT, KEN URBAN, MARTIN WELTON, DAVID GREIG Book Review. Harold Pinter: Recent Publications and the Nobel Prize MARK TAYLOR-BATTY Dramaturgies du vrai-faux France - Saint Genouph Jacques SCHERER Le dernier livre de Jacques Scherer, publié en 1994 par les Presses Universitaires de France mais supprimé depuis de leur catalogue, parce quil ne sen vendait guère plus de 100 exemplaires par an, vient dêtre rayé aussi dElectre. Mais il est toujours disponible si vous vous adressez à la Librairie Nizet: 41 rue Auberdière, 37510 Saint Genouph ( 02 47 45 50 41- fax : 02 47 45 50 15 e-mail : [email protected]) Prix de vente : 12 Euros. Exceptionnel dans la production de lauteur de "La dramaturgie classique en France": "Cet ouvrage aborde, en un développement continu et avec une grande liberté de ton, des problèmes très variés, de lanalyse dramaturgique aux systèmes auto-référentiels, en passant par les mythologies et symboliques anciennes ou modernes. Explicite ou non, le théâtre y apparaît comme la voix des philosophies et limage dune conception du monde et de la pensée. Ici, le vrai-faux théâtral conquiert moins un terrain quil ne sébahit des étranges végétations qui sy sont développées. Qui dit :Ce livre nest pas sérieux, il a tort. Dit-il alors : Ce livre est sérieux, il a tort aussi. Il a cru sappuyer sur la logique binaire, mais le mécanisme épiménidien la agrippé. Ce livre, comme tous les livres, est vrai-faux." Found in Translation - Greek Drama in English United Kingdom - Cambridge July 6, 2006 J. Michael Walton University of Hull Cambridge University Press Hardback Page 28 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 328 pages ISBN-13: 9780521861106 ISBN-10: 0521861101 £50.00 In considering the practice and theory of translating plays into English from Classical Greek from a theatrical perspective, Found in Translation also addresses wider issues of transferring any piece of theatre from a source into a target language. The history of translating classical tragedy and comedy, here fully investigated for the first time, demonstrates how through the ages translators have, wittingly or unwittingly, appropriated Greek plays and made them reflect socio-political concerns of their own era. Chapters are devoted to topics including verse and prose, mask and non-verbal language, stage directions and subtext and translating the comic. Among the plays discussed as case studies are Aeschylus Agamemnon, Sophocles Oedipus Tyrannus and Euripides Medea and Alcestis. The book concludes with a consideration of the boundaries between translation and adaptation, followed by an Appendix of every translation of Greek tragedy and comedy into English from the 1550s to the present day. Uses case studies of specific texts including Aeschylus Agamemnon, Sophocles Euripides Medea and Alcestis Offers a bridge between classicists, theatre historians and practitioners The Appendix of all translations from Greek into English is a unique record Oedipus Tyrannus and http://www.cambridge.org/us/catalogue/catalogue.asp?isbn=0521861101 L'Habit de Théâtre - Histoire et poétique de l'habit de théâtre en France au XVIIe siècle (1606-1680) France - Beaulieu Parution bientôt Anne Verdier préface Christian Biet Lampsaque, Collection « Le Studiolo-essais », 2006 447 pages 35 Sil est clair, de nos jours, que le costume de théâtre fait signe et pose des questions à lobservateur-spectateur, il était important de faire le point sur la manière dont, au XVIIe siècle, au moment où le théâtre moderne sétablit, cet objet théâtral se constitue. Anne Verdier sest livrée à ce projet, avec le souci de croiser les données et les travaux historiques, littéraires et esthétiques pour montrer que le costume de théâtre était déjà un enjeu, quil avait ses tailleurs comme il avait ses clients, quil était commenté, utilisé, débattu et littérarisé dans les textes de théâtre et quil a évolué très nettement vers ce quil convient dappeler une spécificité théâtrale. Lauteur mène son enquête et parcourt les questions posées par « lhabit de théâtre », en allant du point de vue historique au point de vue littéraire, de la société à la scène et de la scène au texte, pour comprendre en quoi consiste lefficacité spectaculaire de cet habit, si proche et pourtant si différente de lefficacité du paraître quotidien dans la société dAncien Régime. Un va-et-vient entre lhistoire et la littérature, entre lhistoire du théâtre et lhistoire des usages, permet de saisir quune esthétique naît en ce siècle et quelle se fonde sur un jeu entre le vêtement de cour, le vêtement de ville et le vêtement de scène. Lhabit de théâtre brille, fascine, captive les regards, « construit » les corps des acteurs, est infiniment visible et produit, évidemment, du sens, des sens, à lintérieur dune poétique spécifique. Un ouvrage qui apporte un argument de plus à lidée quun théâtre moderne se constitue au XVIIe siècle. Léon Chancerel - Un réformateur du théâtre français France - Paris September 1, 2005 Maryline Romain Ecrits sur le théâtre Page 29 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Préface de Robert Abirched 430 pages ISBN 2-8251-1963-6 27 On sait aujourd'hui ce que le théâtre doit à l'uvre d'un Antoine, d'un Copeau ou d'un Gémier et chacun garde en mémoire la grande aventure du théâtre populaire conduite par Jean Vilar après la guerre. Mais entre les réformateurs du début du siècle et les anima-teurs de la décentralisation, le théâtre français a occulté un maillon essentiel de son histoire: disciple de Jacques Copeau, auteur, acteur, metteur en scène et chef de troupe, Léon Chancerel fut la cheville ouvrière de la rénovation dramatique amorcée en 1913 au Vieux-Colombier. Dès 1930, au sein du scoutisme, ce précurseur crée un centre dramatique, ouvert à tous les mouvements de jeunesse, et fonde la Compagnie des Comédiens Routiers, une confrérie telle que l'avait rêvée Copeau, formée d'acteurs jeunes, polyvalents, dis-ciplinés et désintéressés, ayant de leur art une haute conception. Pendant dix ans, de 1929 à 1939, dans toute la France et jusque dans les villages les plus reculés, la troupe se consacrera à sa mission de « service dramatique social ». La même équipe crée le Théâtre de l'Oncle Sébastien, premier théâtre artistique pour l'enfance dont l'univers burlesque et poétique inspirera de nom-breux émules. L'influence de Chancerel fut déterminante dans des domaines aussi divers que le théâtre amateur, dont il fut le guide incontesté jusqu'au milieu des années soixante, le théâtre pour la jeunesse, dont il est le pionnier, et la pédagogie de l'acteur qu'il a largement contribué à faire évoluer par l'utilisation des techniques de la commedia dell' arte et la pratique du jeu drama-tique. Il a formé une génération d'hommes de théâtre - comédiens ou metteurs en scène - qui ont joué un rôle de premier plan dans le théâtre de l'après-guerre: Hubert Gignoux, Olivier Hussenot, Jean-Pierre Grenier, Maurice Jacquemont, Yves Joly ... Ce livre se propose de restituer à Léon Chancerella place qu'il a réellement occupée dans le paysage théâtral français. A travers le récit d'une aventure singulière, c'est tout un pan de l'histoire récente de notre théâtre que le lecteur est invité à découvrir. http://www.lagedhomme.com/boutique/fiche_produit.cfm?ref=2-8251-1963-6&type=11&num=1&code_lg=lg_fr Postdramatic Theatre United Kingdom - Oxford February 1, 2006 Hans-Thies Lehmann Routledge 224 pages Hardback 0-415-26812-5 £70.00 Paperback 0-415-26813-3 £19.99 Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmanns groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text- Page 30 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. http://www.taylorandfrancis.co.uk/shopping_cart/products/product_detail.asp?sku=&isbn=0415268133&pc= Schiller: National Poet - Poet of Nations Netherlands - Amsterdam May 18, 2006 A Birmingham Symposium. Martin, Nicholas (Hrsg.) Amsterdam/New York 341 paes Hardback: 90-420-2003-2 69 US$ 86 Series: Amsterdamer Beiträge zur neueren Germanistik 61 To mark the 200th anniversary of Schillers death, leading scholars from Germany, Canada, the UK and the USA have contributed to this volume of commemorative essays. These were first presented at a symposium held at the University of Birmingham in June 2005. The essays collected here shed important new light on Schillers standing as a national and transnational figure , both in his own lifetime and in the two hundred years since his death. Issues explored include: aspects of Schillers life and work which contributed to the creation of heroic and nationalist myths of the poet during the nineteenth and early twentieth centuries; his activities as man of the theatre and publisher in his own, pre-national context; the (trans-)national dimensions of Schillers poetic and dramatic achievement in their contemporary context and with reference to later appropriations of national(ist) elements in his work. The contributions to this volume illuminate Schillers achievements as poet, playwright, thinker and historian, and bring acute insights to bear on both the history of his impact in a variety of contexts and his enduring importance as a point of cultural reference. http://www.rodopi.nl/functions/search.asp?BookId=ABNG+61 The Art of Commedia - A Study in the Commedia dell'Arte 1560-1620 with Special Reference to the Visual Records Netherlands - Amsterdam April 24, 2006 Katritzky, M A Amsterdam/New York, NY 348 pages, incl. 340 ill. Hardback: 90-420-1798-8 180 US$ 225 Series: Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft-100 Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dellarte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of Page 31 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dellarte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia-related aspects of visual, dramatic and festival culture, in and beyond Italy. Content Introduction I The commedia dellarte I.i The rise and spread of professional acting and commedia dellarte troupes in sixteenth century Italy I.ii A case study in early patronage and geographic spread: the Munich wedding performance of 1568 I.iii Stock types and players of the commedia dellarte II Art-historical analysis: some case studies II.i The Recueil Fossard II.ii Inspiration and imitation. The progressive stereotyping of shared artistic motifs: Antonio Tempesta and some Flemish carnival paintings II.iii Sterlings Early paintings of the commedia dellarte in France reconsidered III Theatrical interpretation: some case studies III.i Scenery, settings and stages III.ii Zanni and Pantalone III.iii Some further comic types III.iv Composite, multiple and serial images Conclusion Bibliography http://www.rodopi.nl/functions/search.asp?BookId=IFAVL+100>http://www.rodopi.nl/functions/search.asp?BookId=IFA VL+100<7a> The Cambridge History of American Theatre - 3 Volume Paperback Set United Kingdom - Cambridge April 28, 2006 Series: Cambridge History of American Theatre Edited by Don B. Wilmeth Christopher Bigsby Cambridge University Press 3 Paperback books (ISBN-13: 9780521679862 | ISBN-10: 0521679869) 3 Paperback books (ISBN-13: 9780521679862 | ISBN-10: 0521679869) 1575 pages 228 x 152 mm £70.00 This unique three-volume history covers all aspects of American theatre from plays and playwrights, through actors and acting, to theatre groups and directors. Each volume includes an extensive overview and timeline followed by chapters on specific aspects of American theatre including vaudeville and popular entertainment, European influences, theatre in and beyond New York, the rise of the Little Theatre movement, reception, modernism, scenography, stagecraft, and architecture. Volume I covers American theatre from its beginnings to the Civil War; Volume II covers the post-Civil War period to 1945; Volume III covers the period post-World War II to the 1990s. Page 32 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 First multi-volume history of the American theatre to be published Includes a detailed overview and an extensive comparative timeline Contents Volume 1: Introduction Christopher Bigsby and Don B. Wilmeth; Timeline: beginnings to 1870: compiled by Don B. Wilmeth and Jonathan Curley; 1. American theatre in context from the beginnings to 1870 Bruce McConachie; 2. Structure and management in the American theatre from the beginning to 1870 Douglas McDermott; 3. The plays and playwrights: plays and playwrights to 1800 Peter A. Davis; Plays and playwrights: 1800 1865 Gary A. Richardson; 4. The actors: European actors and the star system in the American theatre 1752 1870 Simon Williams; 5. The emergence of the American actor Joseph Roach; 6. Scenography, stagecraft and architecture in the American theatre, beginnings to 1870 Mary C. Henderson; 7. Paratheatricals and popular stage entertainment Peter G. Buckley. Volume 2: Introduction Christopher Bigsby and Don B. Wilmeth; Timeline: 1870 1945: compiled by Don B. Wilmeth and Jonathan Curley; 1.The hieroglyphic state: American theatre and society, post Civil War to 1945 Thomas Postlewait; 2. A changing theatre: New York and beyond John Frick; 3. The plays and playwrights: Civil War to 1896 Tice L. Miller; Plays and playwrights: 1896 1915 Ronald Wainscott; Plays and playwrights: 1915 1945 Brenda Murphy; 4. Theatre groups and their playwrights Mark Fearnow; 5. Popular entertainment Brooks McNamara; 6. Musical theatre Thomas Riis; 7. Actors and acting Daniel J. Watermeier; 8. Scenography, stagecraft, and architecture Mary C. Henderson; 9. Directors and direction Warren Kliewer. Volume 3: List of illustrations; List of contributors; Preface; Ackowledgements; Introduction Christopher Bigsby; Timeline: Post-World War II to 1998 compiled by Don B. Wilmeth and Jonathan Curley; 1. American theatre in context: 1945 present Arnold Aronson; 2. A changing theatre: Broadway to the regions: Broadway Laurence Maslon; Off and Off-Off Broadway Mel Gussow; Regional/Resident theatre Martha LoMonaco; Alternative theatre Marvin Carlson; 3. The plays and playwrights: Plays and playwrights: 1945 1970 June Schlueter; American drama since 1970 Matthew Roudane; 4. Musical theatre since World War II John Degen; 5. Directors and directions Samuel L. Leiter; 6. Actors and acting Foster Hirsch; 7. American theatre design since 1945 Ronn Smith; Bibliography; Index. Contributors Christopher Bigsby, Don B. Wilmeth, Don B. Wilmeth, Jonathan Curley, Bruce McConachie, Douglas McDermott, Peter A. Davis, Gary A. Richardson, Simon Williams, Joseph Roach, Mary C. Henderson, Peter G. Buckley, Christopher Bigsby, Don B. Wilmeth, Don B. Wilmeth, Jonathan Curley, Thomas Postlewait, John Frick, Tice L. Miller, Ronald Wainscott, Brenda Murphy, Mark Fearnow, Brooks McNamara, Thomas Riis, Daniel J. Watermeier, Mary C. Henderson, Warren Kliewer, Christopher Bigsby, Don B. Wilmeth, Jonathan Curley, Arnold Aronson, Laurence Maslon, Mel Gussow, Martha LoMonaco, Marvin Carlson, June Schlueter, Matthew Roudane, John Degen, Samuel L. Leiter, Foster Hirsch, Ronn Smith http://www.cambridge.org/catalogue/catalogue.asp?isbn=0521679869 Theatre, Performance and the Historical Avant-Garde United Kingdom - Basingstoke February 22, 2006 Günter Berghaus Palgrave Macmillan Series: Palgrave Studies in Theatre and Performance History ISBN: 1-4039-6955-8 Hardback 156mm x 234mm 374 pages £39.99 Book Description This comprehensive study traces the origins of European modernism in nineteenth-century Paris, then branches out to examine four major movements of the theatrical avant-garde that sprung from this epicenter in the early twentiethcentury: Expressionism, Futurism, Dadaism, and Constructivism. Table of Contents Introduction: The Genesis of Modernism and of the Avant-garde * Expressionism * Futurism * Dadaism * Page 33 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Constructivism * Epilogue: The Postwar Revival of Modernism and of the Avant-garde Author Biography GÜNTER BERGHAUS was formerly a Reader in Theatre History and Performance Studies, has been Guest Professor at the State University of Rio de Janeiro, Brazil, and at Brown University, Providence/RI, USA. He is now a Senior Research Fellow at the University of Bristol, UK. He has published a dozen books and a large number of articles on theatre anthropology, avant-garde performance, Renaissance and Baroque theatre and dance history. He has directed numerous plays from the classical and modern repertoire and devised many productions of an experimental nature. He has been principal organizer of several international conferences and held research awards from the Polish Academy of Sciences, the German Research Foundation, the Italian Ministry of Culture, the British Academy, and the Brazilian Ministry of Education. http://www.palgrave.com/products/Catalogue.aspx?is=1403969558 3.3. FILM China on Screen - Cinema and Nation United States - New York May 9, 2006 Christopher J. Berry and Mary Ann Farquhar Columbia University Press Hardback 336 pages ISBN: 0-231-13706-0 $64.50 Paperback 336 pages ISBN: 0-231-13707-9 $24.50 In China on Screen, Chris Berry and Mary Farquhar, leaders in the field of Chinese film studies, explore more than one hundred years of Chinese cinema and nation. Providing new perspectives on key movements, themes, and filmmakers, Berry and Farquhar analyze the films of a variety of directors and actors, including Chen Kaige, Zhang Yimou, Hou Hsiao Hsien, Bruce Lee, Jackie Chan, Maggie Cheung, Gong Li, Wong Kar-wai, and Ang Lee. They argue for the abandonment of national cinema as an analytic tool and propose cinema and the national as a more productive framework. With this approach, they show how movies from China, Hong Kong, Taiwan, and the Chinese diaspora construct and contest different ideas of Chinese nationas empire, republic, or ethnicity, and complicated by gender, class, style, transnationalism, and more. Among the issues and themes covered are the tension between operatic and realist modes, male and female star images, transnational production and circulation of Chinese films, the image of the good foreignerall related to different ways of imagining nation. Comprehensive and provocative, China on Screen is a crucial work of film analysis. About the Authors Chris Berry is professor of film and television studies at Goldsmiths College, University of London. He is the author or editor of several books, including Postsocialist Cinema in Post-Mao China: The Cultural Revolution after the Cultural Revolution. Mary Farquhar is professor of Asian studies at Griffith University and is the author of numerous articles and the prizewinning book, Children's Literature in China: From Lu Xun to Mao Zedong. From the series Film and Culture Series http://www.columbia.edu/cu/cup/catalog/data/023113/0231137060.HTM Page 34 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Fashioning Filmstars - Dress, Culture, Identity United Kingdom - London May 1, 2005 Edited by Rachel Moseley 244 pages, Illustrated Paperback ISBN: 1844570681 Hardback ISBN: 1844570673 Paperback: £15.99 Hardback: £50 Fashioning Film Stars brings together work by established and emerging scholars in the field of film costume and star studies, to address the significance of the relationships between fashion, dress and star image. While studies of individual stars have often commented on the importance of style to the construction of their persona, such work has until now remained largely focused upon the female Hollywood, or occasionally European, star. This scholarly and readable volume redresses that balance, offering close analyses of the detail and significance of male and female star style in Hollywood, European, Asian and Latin American contexts. The book brings together a range of theoretical and methodological frameworks from textual analysis, archival research and audience study to offer, for the first time, a detailed consideration of the importance of the fashioning of film stars. Fashioning Film Stars asks: how does dress operate in relation to stardom to articulate particular identities gendered, national, classed, ethnic, sexual? How, precisely, does film costume operate, and how is it understood, semiotically, socially, culturally? Does star dress 'disappear' against the body as 'clothes', or speak out performatively as 'costume' or 'spectacle'? It answers them in an engaging and accessible volume which will be of interest to film scholars and film fans alike. The Stars Brigitte Bardot, Luisina Brando, George Clooney, Sean Connery, Doris Day, Marlene Dietrich, Audrey Hepburn, Samuel L. Jackson, Kay Kendall, Gregory Peck, Norma Shearer, Brad Pitt, Sulochana, female stars in Mexican Cinema. About the author Dr Rachel Moseley is lecturer in Film and Television Studies at the University of Warwick, UK. The author of Growing Up with Audrey Hepburn: Text, Audience, Resonance (Manchester University Press, 2001), she has published widely on popular film and television and is currently working on two new volumes. The first is a critical history of television programming for teenagers in Britain, and the second is a study of the television drama of Phil Redmond. http://www.bfi.org.uk/booksvideo/books/catalogue/details.php?bookid=514 From Achievement to Appreciation United Kingdom - London February 15, 2005 From Achievement to Appreciation Andrew Klevan Wallflower Press 2005 128 pages Paperback: £12.99 1-904764-24-X Performers make a crucial contribution to the achievement of narrative films. By moving through exemplary sequences, this book closely follows the movement and behaviour of screen performers Charlie Chaplin, Laurel and Hardy, Cary Grant, Katherine Hepburn, Marlene Dietrich, Barbara Stanwyck, Richard Widmark and by emphasising their relationship to other aspects of film style camera, location and plot it develops accounts that are specific and Page 35 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 involved. This study concentrates on films from the Golden Age of Hollywood and moment-by-moment descriptions enable fresh interpretations to emerge and evolve. These reveal the significance and intensity of a performers engagement with the world of a film. Andrew Klevan is Lecturer in Film Studies at the University of Kent and is the author of Disclosure of the Everyday: Undramatic Achievement in Narrative Film (2000). http://www.wallflowerpress.co.uk/publications/shortcuts/film_perf.html Screen Consciousness - Cinema, Mind and World Netherlands - Amsterdam May 1, 2006 Pepperell, Robert and Punt, Michael (Eds.) Amsterdam/New York, NY 202 pages Paperback: 90-420-2016-4 40 US$ 50 Series: Consciousness, Literature and the Arts 4 This collection of essays is driven by the question of how we know what we know, and in particular how we can be certain about something even when we know it is an illusion. The contention of the book is that this age-old question has acquired a new urgency as certain trends in science, technology and ideas have taken the discussion of consciousness out of the philosophy department and deposited it in the world at large. As a consequence, a body of literature from many fields has produced its own sets of concerns and methods under the rubric of Consciousness Studies. Each contribution in this collection deals with issues and questions that lots of people have been thinking about for many years in many different contexts, things such as the nature of film, cinema, world, mind and so on. Those of us fascinated by these diverse yet related issues may have often felt we were working in a disciplinary noman's-land. Now suddenly, it seems with Consciousness Studies we have a coherent intellectual home - albeit one that is self-consciously eclectic. The essays included in Screen Consciousness: Cinema, Mind and World are from a range of disciplines art, philosophy, film theory, anthropology and technology studies each represented by significant international figures, and each concerned with how their field is being transformed by the new discipline of Consciousness Studies. Together they attempt to reconcile the oncoming rush of new data from science and technology about how we know what we know, with the insights gained from the long view of history, philosophy and art. Each of the contributions seeks to interpose Consciousness Studies between film and mind, where for cultural theorists psychoanalysis had traditionally stood. This is more than simply updating Film Studies or nodding in the direction of cognitive film theory. Film, with all its sentient, sensuous and social qualities, is a common reference point between all these forces, and Consciousness Studies provides the intellectual impetus for this book to revisit familiar problems with fresh insight. Content Michael PUNT: Introduction Amy IONE: Locating the Artist within Views of Consciousness: Perception, Reception, and Art History Angela NDALIANIS: Tomorrows World That We Shall Build Today Sybille LAMMES: So Far, So Close: Island of Lost Souls as a Laboratory of Life Michael PUNT: Shaping Consciousness: New Media, Spirituality, and Identity Martha BLASSNIGG: Clairvoyance, Cinema, and Consciousness Patricia PISTERS: The Spiritual Dimension of the Brain as Screen Zigzagging from Cosmos to Earth (and Back) Pia TIKKA: Cinema as Externalization of Consciousness Susan STUART: Extended Body, Extended Mind: The Self as Prosthesis Robert PEPPERELL: Wheres the screen? The paradoxical relationship between mind and world http://www.rodopi.nl/functions/search.asp?BookId=CLA+4 Page 36 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 The New European Cinema - Redrawing the map United States - New York March 28, 2006 Rosalind Galt Columbia University Press Hardback 312 pages 53 photos ISBN: 0-231-13716-8 $64.50 Paperback 352 pages ISBN: 0-231-13717-6 $24.50 New European Cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s. Made around the time of the revolutions of 1989 but set in post-World War II Europe, these films grapple with the reunification of Germany, the disintegration of the Balkans, and a growing sense of historical loss and disenchantment felt across the continent. They represent a period in which national borders became blurred and the events of the mid-twentieth-century began to be reinterpreted from a multinational European perspective. Featuring in-depth case studies of films from Italy, Germany, eastern Europe, and Scandinavia, Rosalind Galt reassesses the role that nostalgia, melodrama, and spectacle play in staging history. She analyzes Giuseppe Tornatore's Cinema Paradiso, Michael Radford's Il Postino, Gabriele Salvatores's Mediterraneo, Emir Kusturica's Underground, and Lars von Trier's Zentropa, and contrasts them with films of the immediate postwar era, including the neorealist films of Roberto Rossellini and Vittorio De Sica, socialist realist cinema in Yugoslavia, Billy Wilder's A Foreign Affair, and Carol Reed's The Third Man. Going beyond the conventional focus on national cinemas and heritage, Galt's transnational approach provides an account of how post-Berlin Wall European cinema inventively rethought the identities, ideologies, image, and popular memory of the continent. By connecting these films to political and philosophical debates on the future of Europe, as well as to contemporary critical and cultural theories, Galt redraws the map of European cinema. Contents Acknowledgments 1. Mapping European Cinema in the 1990s 2. The Dialectic of Landscape in Italian Popular Melodrama 3. A Conspiracy of Cartographers? 4. Yugoslavia's Impossible Spaces 5. Back-Projecting Germany 6. Toward a Theory of European Space About the Author Rosalind Galt is assistant professor of film studies at the University of Iowa. Her essays have appeared in journals such as Screen and Cinema Journal. From the series Film and Culture Series http://www.columbia.edu/cu/cup/catalog/data/023113/0231137168.HTM Vienne et Berlin à Hollywood - Nouvelles approches Page 37 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 France - Paris May 3, 2006 Presses Universitaires de France Collection Perspectives critiques, Numéro 1 Auteurs Christian VIVIANI, Pierre BERTHOMIEU, Cyril NEYRAT, Jean-loup BOURGET, Bernard EISENSCHITZ, Thomas ELSAESSER, Patricia-laure THIVAT, Jacqueline NACACHE, Fanny LIGNON, Véronique ELEFTERIOU-PERRIN 336 pages ISBN: 2130552196 150 x 217 mm 27 Cet ouvrage porte un nouveau regard, à partir de documents inédits, sur la présence de cinéastes et acteurs germaniques à Hollywood. Et le lecteur se rend compte que tous les aspects de la création cinématographique, du film de prestige à la moindre série B, de la composition musicale à la photographie, du jeu des acteurs à la mise en scène, ont été influencés par ce "transfert culturel". Une série de reproductions rappelle quelques uns de ces chefs d'oeuvre. Introduction : La présence germanique à Hollywood, un transfert culturel essentiel par Marc Cerisuelo I -- Politiques du transfert et histoire culturelle : Onkel Karl chez Uncle Sam, les guerres de Carl Laemmle par Véronique Elefteriou-Perrin -- Entre deux mondes, Lubitsch et The Man I Killed par Jacqueline Nacache II -- Vies, formes, figures : Erich von Stroheim, mythe et réalité par Fanny Lignon -- Poésie et vérité, la Petit théâtre du monde d'Edgar G. Ulmer par Bernard Eisenschitz -- Max Steiner à Hollywood, valse viennoise et slow californien. Introduction formelle au drame musical hollywoodien par Pierre Berthomieu -- C'est la fin de la chanson, Walter Reisch, l'opérette et la double négation par Thomas Elsaesser III -- Amont et aval, questions d'héritage : Le double jeu du cinéma, retours sur Menschen am Sonntag (Les Hommes du dimanche), 1929 par Cyril Neyrat -- Alfred Hitchcock et l'héritage germanique par Christian Viviani -- Le cinéma allemand et la Nouvelle Vague, une filiation imaginaire par Jean-Loup Bourget http://www.puf.com/Book.aspx?book_id=023525&feature_id=characteristic 3.4. MUSICAL THEATRE Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris United States August 30, 2005 Mark Everist Series: Variorum Collected Studies Series Ashgate Publishing ISBN: 0 86078 915 2 460 pages Hardback 224 x 150 mm $114.95 £60.00 Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had Page 38 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 musicians from Italian- and German-speaking states beating a path to the doors of the Académie Royale de Musique, Opéra-Comique, Théâtre Italien, Théâtre Royal de l'Odéon and Théâtre de la Renaissance. This book both tracks specific aspects of this culture, and examines stage music in Paris through the lens of one of its most important figures: Giacomo Meyerbeer. The early part of the book, which is organised chronologically, examines the institutional background to music drama in Paris in the nineteenth century, and introduces two of Meyerbeer's Italian operas that were of importance for his career in Paris. Meyerbeer's acculturation to Parisian theatrical mores is then examined, especially his moves from the Odéon and Opéra-Comique to the opera house where he eventually made his greatest impact - the Académie Royale de Musique; the shift from Opéra-Comique is then counterpointed by an examination of how an indigenous Parisian composer, Fromental Halévy, made exactly the same leap at more or less the same time. The book continues with the fates of other composers in Paris: Weber, Donizetti, Bellini and Wagner, but concludes with the final Parisian successes that Meyerbeer lived to see - his two opéras comiques. Contents Introduction; Parisian music drama, 180664: social structures and artistic contexts; Lindoro in Lyon: Rossini's Le barbier de Séville; Gluck, Berlioz and Castil-Blaze: the poetics and reception of French opera; Meyerbeer's Margherita d'Anjou; Meyerbeer's Il crociato in Egitto: mélodrame, opera, orientalism; Giacomo Meyerbeer, the Théâtre Royal de l'Odéon and music drama in Restoration Paris; The Name of the Rose: Meyerbeer's opéra comique, Robert le Diable; Fromental Halévy: from opéra comique to grand opéra; Translating Weber's Euryanthe: German Romanticism at the dawn of French grand opera; 'Tutti i francesi erano diventati matti': Bellini and the Duet for Two Basses; Donizetti and Wagner: opéra de genre at the Théâtre de la Renaissance; 'Der Lieblingswunsch meines Lebens': contexts and continuity in Meyerbeer's opéras comiques; Bibliography; Index. Mark Everist is a Professor in the Department of Music, at the University of Southampton, UK. https://www.ashgate.com/shopping/title.asp?isbn=0%2086078%20915%202 Operatic Migrations - Transforming Works and Crossing Boundaries United States May 30, 2006 Roberta Montemorra Marvin and Downing A. Thomas Ashgate Publishing ISBN: 0 7546 5098 7 290 pages Hardback 234 x 156 mm $124.95 £65.00 This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries. Each essay addresses migrations between genres, cultures, literary and musical works, modes of expression, media of presentation and aesthetics. Although the directions the contributions take are diverse, they converge in significant ways, particularly with the rebuttal of the notion of the singular nature of the operatic work. The volume strongly asserts that works are meaningfully transformed by the manifold circumstances of their creation and reception, and that these circumstances have an impact on the life of those works in their many transformations and on a given audience's experience of them. Topics covered include transformations of literary sources and their migration into the operatic genre; works that move across geographical and social boundaries into different cultural contexts; movements between media and/or genre as well as alterations through interpretation and performance of the composer's creation; the translation of spoken theatre to lyric theatre; the theoretical issues contingent on the rendering of 'speech' into 'song'; and the transforming effects of aesthetic considerations as they bear on opera. Page 39 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Crossing over disciplinary boundaries between music, literary studies, history, cultural studies and art history, the volume enriches our knowledge and understanding of the operatic experience and the works. The book will therefore appeal to those working in the field of music, literary and cultural studies, and to those with a particular interest in opera and musical theatre. Contents Introduction: Migrations and transformations, Roberta Montemorra Marvin; Venice: cradle of (operatic) convention, Ellen Rosand; 'Je vous répondrez au troisième couplet': 18th-century opéra comique and the demands of speech, Downing A. Thomas; From the Comédie-Française to the Opéra: Figaro at the crossroads, Tili Boon Cuillé; Ideological noises: opera criticism in early 18th-century France, Charles Dill; Transformations on stage only: Anfossi's Circe in Weimar, Waltraud Maierhofer; Roman republicanism and operatic heroines in Napoleonic Italy: Tarchi's La congiura pisoniana and Cimarosa's Gli Orazi e i Curiazi, Robert C. Ketterer; Ghostly voices: 'Gothic Opera' and the failure of Gounod's La Nonne sanglante, Anne Williams; Mozart productions and the emergence of Werktreue at London's Italian Opera House, 17801830, Rachel Cowgill; The mirror of art and scenes of recognition: Wagner and Mann, Grace Kehler; Burlesques, barriers, borders, and boundaries, Roberta Montemorra Marvin; Local color: the representation of race in Carmen and Carmen Jones, Robert L.A. Clark; Operatic school for scandal, David J. Levin; Why (what? How? If?) opera studies?, Herbert Lindenberger; Epilog, Downing A. Thomas; Index Roberta Montemorra Marvin and Downing A. Thomas are both on the faculty of The University of Iowa, USA https://www.ashgate.com/shopping/title.asp?isbn=0%207546%205098%207 Public Theater in Golden Age Madrid and Tudor-Stuart London Class, Gender and Festive Community United States October 31, 2005 Ivan Cañadas Series: Studies in Performance and Early Modern Drama Ashgate Publishing ISBN: 0 7546 5187 8 246 pages Hardback 219 x 153 mm $94.95 / £47.50 In this comparative study of English and Spanish drama, the author concerns himself with theatrical conventions, the social significance of drama, and audience-reception in the early modern court-cities of London and Madrid. The primary focus of this study is the drama of Shakespeare and some of his contemporaries, particularly Thomas Dekker, in England, and the peasant honor plays of Lope de Vega in Spain. In engaging with these works, the study explores the representation of social conflict in the public drama of the two countries, and highlights the polyphonic appeal that the drama held for the mixed audiences of the public theatres, a communal phenomenon in which discourses of class, gender and race intersected. The author pays sustained attention to the intersections between gender and ideologies of rank, and how these produced a range of political effects in the plays he explores; the study incorporates innovative work on the role of carnival structures and gender bonding in creating pan-class communities. Cañadas provides not only literary analysis of individual plays, but also insight into the sociology of theatre as an institution. Contents Introduction; Theater and society in early modern Madrid and London; The female role in the theaters of London and Madrid; The communal appeal of Thomas Dekker's The Shoemaker's Holiday; Rank, gender and honor in the peasant plays of Lope de Vega: a revaluation; Class, gender, and carnival: communal heroism in Fuente Ovejuna; Coda; Bibliography; Index. A graduate of the University of Sydney, Ivan Cañadas is an Assistant Professor in English at Hallym University, South Korea. He has published several refereed articles on early modern drama, short essays and translations of GoldenAge Spanish poetry, and is currently at work on a critical dual-language edition of Lope de Vega's La villana de Getafe. Page 40 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 https://www.ashgate.com/shopping/title.asp?isbn=0%207546%205187%208 Society, Culture and Opera in Florence, 18141830 - Dilettantes in an 'Earthly Paradise' United States January 31, 2006 Aubrey S. Garlington Ashgate Publishing ISBN: 0 7546 3451 5 224 pages Hardback 234 x 156 mm $94.95 £47.50 Following the defeat of Napoleon in 1814, an event that signalled an end to nearly fourteen years of French domination, Florence seemed to enter a new cultural 'golden age' and by 1824 was described as 'an Earthly Paradise' by the political and liberal writer, Pietro Giordano. Politically, economically and culturally, the city prospered in this new era. After 1814 it seemed as if the Enlightenment had found a new beginning in Florence. Aubrey Garlington, a scholar of long standing in the music of early nineteenth-century Florence, considers the roles played by John Fane, Lord Burghersh, an English aristocrat, diplomat and dilettante composer together with his wife, Priscilla, in the development of the richly homogeneous culture that blossomed in Florence at this time. Burghersh, known today for being instrumental in the founding of the English Royal Academy of Music, composed six operas that were performed privately on numerous occasions at the English Embassy, his best known work being La Fedra. Lady Burghersh became known for her painting and dilettante theatrical performances. Garlington provides a thorough re-examination of the categories 'professional' and 'dilettante' which were so important in the concept of music at this time. The notions of boundaries between public and private activity are discussed, and the operas themselves are examined specifically. Through the contemplation of the Burghershs's sixteen year stay in Florence, the significance of dilettante orientations are demonstrated to have been essential components for the city's musical and social life. Garlington draws together an impressive compilation of documentation regarding the part music played in shaping society and culture. In this way, the book will appeal not only to opera historians, musicologists and critics working on the nineteenth century, but also to historians and scholars of cultural theory. Contents Preface; Prologue; The dilettante composer; Florence, 181430: the new golden years; Music and the elegant world of the British Embassy; Conclusion; Epilogue: after Florence; Appendices; Bibliography; Index Aubrey S. Garlington is Professor Emeritus at the University of North Carolina, Greensboro, USA. https://www.ashgate.com/shopping/title.asp?isbn=0%207546%203451%205 Unfinished Show Business - Broadway Musicals as Works-inProcess United States - Carbondale October 15, 2005 Bruce Kirle Southern Illinois University Press 304 pages 6 x 9, 30 illustrations Page 41 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Paper, 0-8093-2667-1 $30.00 Cloth, 0-8093-2666-3 $60.00 In this fresh approach to musical theatre history, Bruce Kirle challenges the commonly understood trajectory of the genre. Drawing on the notion that the world of the author stays fixed while the world of the audience is ever-changing, Kirle suggests that musicals are open, fluid products of the particular cultural moment in which they are performed. Incomplete as printed texts and scores, musicals take on unpredictable lives of their own in the complex transformation from page to stage. Using lenses borrowed from performance studies, cultural studies, queer studies, and ethnoracial studies, Unfinished Show Business: Broadway Musicals as Works-in-Process argues that musicals are as interesting for the provocative issues they raise about shifting attitudes toward American identity as for their show-stopping song-and-dance numbers and conveniently happy endings. Kirle illustrates how performers such as Ed Wynn, Fanny Brice, and the Marx Brothers used their charismatic personalities and quirkiness to provide insights into the struggle of marginalized ethnoracial groups to assimilate. Using examples from favorites including Oklahoma!, Fiddler on the Roof, A Chorus Line, and Les Misérables, Kirle demonstrates Broadways ability to bridge seemingly insoluble tensions in society, from economic and political anxiety surrounding World War II to generational conflict and youth counterculture to corporate America and the me generation. Enlivened by a gallery of some of Broadways most memorable momentsand some amusing, obscure ones as wellthis study will appeal to students, scholars, and lifelong musical theatre enthusiasts. Bruce Kirle is a lecturer in music theatre at the Central School of Speech and Drama in London and a formerassociate professor of theatre at Roosevelt University in Chicago. He has published on the reflexive relationship between Broadway musicals and the shifting perceptions of American identity in Theatre Journal, and he received the MonetteHorwitz Dissertation Prize for 2001 - 2002 from CLAG (Center for Lesbian and Gay Studies). Before earning his doctorate, Kirle was a professional musical director. He began his career composing musicals at La MaMa in New York. http://www.siu.edu/~siupress/KirleUnfinishedShowBusiness.html 3.5. DANCE 3.6. OTHER SUBJECTS A Staggering Revolution - A Cultural History of Thirties Photography United States - Illinois May 19, 2006 John Raeburn A comprehensive cultural and artistic history of photography during its most dynamic period 398 pages 7 x 10 inches 24 photographs Hardback, ISBN 0-252-03084-2, $75.00 Paperback, ISBN 0-252-07322-3, $35.00 During the 1930s, the world of photography was unsettled, exciting, and boisterous. John Raeburn's A Staggering Revolution recreates the energy of the era by surveying photography's rich variety of innovation, exploring the aesthetic and cultural achievements of its leading figures, and mapping the paths their pictures blazed into the public's imagination. Page 42 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke-White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League. Raeburn's expansive study explains how the democratic atmosphere of thirties photography nourished innovation and encouraged new heights of artistic achievement. It also produced the circumstances that permitted artful photography to become such a thriving public enterprise during the decade. A Staggering Revolution offers an illuminating analysis of the sociology of photography's art world and its galleries and exhibitions, but also demonstrates the importance of the novel venues created by impresarios and others that proved essential to photography's extraordinary dissemination. These new channels, including camera magazines and annuals, volumes of pictures enhanced by text, and omnibus exhibitions in unconventional spaces, greatly expanded photography's cultural visibility. They also made its enthusiastic audience larger and more heterogeneous than ever before--or since. John Raeburn is a professor of American studies and English at the University of Iowa. He is the author of Fame Became of Him: Hemingway as Public Writer and the editor (with Richard Glatzer) of Frank Capra: The Man and His Films. http://www.press.uillinois.edu/s06/raeburn.html Performance in America - Contemporary U.S. Culture and the Performing Arts United States - Durham, North Carolina December 20, 2005 David Roman Duke University Press 376 pages 86 black and white photos ISBN 0-8223-3663-4 Paperback - £15.95 Performance in America demonstrates the vital importance of the performing arts to contemporary U.S. culture. Looking at a series of specific performances mounted between 1994 and 2004, well-known performance studies scholar David Román challenges the belief that theatre, dance, and live music are marginal art forms in the United States. He describes the crucial role that the performing arts play in local, regional, and national communities, emphasizing the power of live performance, particularly its immediacy and capacity to create a dialogue between artists and audiences. Román draws attention to the ways that the performing arts provide unique perspectives on many of the most pressing concerns within American studies: questions about history and politics, citizenship and society, and culture and nation The performances that Román analyzes range from localized community-based arts events to full-scale Broadway productions and from the controversial works of established artists such as Tony Kushner to those of emerging artists. Román considers dances produced by the choreographers Bill T. Jones and Neil Greenberg in the mid-1990s as new aids treatments became available and the aids crisis was reconfigured; a production of the Asian American playwright Chay Yew's A Beautiful Country in a high-school auditorium in Los Angeles's Chinatown; and Latino performer John Leguizamo's one-man Broadway show Freak. He examines the revival of theatrical legacies by female impersonators and the resurgence of cabaret in New York City. Román also looks at how the performing arts have responded to 9/11, the U.S. invasion of Afghanistan, and the second war in Iraq. Including more than eighty illustrations, Performance in America highlights the dynamic relationships among performance, history, and contemporary culture through which the past is revisited and the future reimagined David Román is Professor of English and American Studies and Ethnicity at the University of Southern California. He Page 43 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 is the author of Acts of Intervention: Performance, Gay Culture, and AIDS and a coeditor of O Solo Homo: The New Queer Performance CONTENTS List of Illustrations, ix Acknowledgements, xv Introduction: Here and Now, 1 1. Not About AIDS, 49 2. Visa Denied: Chay Yew's Theatre of Immigration and the Performance of Asian American History, 78 3. Latino Genealogies: Broadway and Beyond - the Case of John Leguizamo, 109 4. Archival Drags; or, the Afterlife of Performance, 137 5. Cabaret as Cultural History: Popular Song and Public Performance in America, 179 6. Tragedy and the Performing Arts in the Wake of September 11, 2001, 226 Afterword: The Time of Your Life, 281 Notes, 311 Bibliography, 333 Index, 345 The Matrix in Theory Netherlands - Amsterdam April 24, 2006 Diocaretz, Myriam and Herbrechter, Stefan (Eds.) Amsterdam/New York, NY 314 pages Hardback: 90-420-1639-6 65 US$ 81 Series: Critical Studies 29 The Matrix trilogy continues to split opinions widely, polarising the downright dismissive and the wildly enthusiastic. Nevertheless, it has been fully embraced as a rich source of theoretical and cultural references. The contributions in this volume probe the effects the Matrix trilogy continues to provoke and evaluate how or to what extent they coincide with certain developments within critical and cultural theory. Is the enthusiastic philosophising and theorising spurned by the Matrix a sign of the desperate state theory is in, in the sense of see how low theory (or post-theory) has sunk? Or could the Matrix be one of the master texts for something like a renewal for theory as now being mainly concerned with new and changing relations between science, technology, posthumanist culture, art, politics, ethics and the media? The present volume is unashamedly but not dogmatically theoretical even though there is not much agreement about what kind of theory is best suited to confront post-theoretical times. But it is probably fair to say that there is agreement about one thing, namely that if theory appears to be like the Matrix today it does so because the culture around it and which made it itself seems to be captured in some kind of Matrix. The only way out of this is through more and renewed, refreshed theorising, not less. Content Stefan HERBRECHTER: Introduction Section One: Cultural Phenomenon Jon STRATTON: So Tonight Im Gonna Party Like Its 1999: Looking Forward to The Matrix Kimberly BARTON: Revolution in The Matrix: A Cue Call for Reflexive Sociology Christian KRUG and Joachim FRENK: Enter the Matrix: Interactivity and the Logic of Digital Capitalism Section Two: Virtualities Chris FALZON: Philosophy and The Matrix Sven LUTZKA: Simulacra, Simulation and The Matrix Elie DURING: Is There an Exit from Virtual Reality? Grid and Network From Tron to The Matrix Section Three: Embodiment Don IHDE: Technofantasies and Embodiment Aimee BAHNG: Queering The Matrix: Hacking the Digital Divide and Slashing into the Future Rainer EMIG: Sexing The Matrix: Gender and Sexuality in/as Cyberfiction Section Four: Theory Page 44 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Denisa KERA: Matrix The New Constitution Between Hardware, Software and Wetware Salah EL MONCEF BIN KHALIFA: The Matrix Trilogy and the Triumph of Virtual Reason Territorialized Topoi, Nomadic Lines Stefan HERBRECHTER: The Posthuman Subject in The Matrix Ivan CALLUS: New Theory? The Posthumanist Academy and the Beguilements of the Matrix Trilogy http://www.rodopi.nl/functions/search.asp?BookId=CRIT+29 3.7. EXHIBITION CATALOGUES Le mouvement des images - Des arts plastiques au cinéma France - Paris April 10, 2006 Catalogue paru à l'occasion de l'exposition au Musée national d'art moderne au Centre Pompidou. Sous la direction de Philippe-Alain Michaud 29,90 152 pages 30 ill. noir et blanc, 120 couleurs Format 22 x 28 cm Bilingue français/anglais ISBN 2 84426 295 3 - FO 7095 Diffusion Union-Distribution Aujourd'hui, alors que le cinéma, porté par la révolution numérique, migre des salles de cinéma vers les espaces d'exposition, il devient possible, sinon nécessaire, de reconsidérer son histoire d'un point de vue élargi (et de renouer ainsi avec sa préhistoire), dans ses interactions et ses prolongements avec l'ensemble des arts visuels et plastiques c'est-à-dire de repenser le cinéma du point de vue de l'histoire de l'art et dans le cadre histoire générale des représentations, et non plus simplement du point de vue restreint de l'histoire du cinéma. L'ouvrage reprendra le parcours de l'exposition (dont une grande partie des oeuvres sera reproduite) avec un commentaire en bas de page. Textes de Quentin Bajac, Frédéric Migayrou, Christine van Assche. http://www.centrepompidou.fr/Pompidou/Edition.nsf/Docs/ID1D57B4317F2ECFFEC12570E50050EAAE?OpenDocum ent&sessionM=6.1.3&L=1 Magritte et la photographie France - Paris March 3, 2005 Texte de Patrick Roegiers Editions Ludion Press 270 x 220 168 pages 250 photographies/ broché Prix: 29,90 Très jeune, Magritte joue avec la photographie. Alors qu'il est encore à l'Académie, il pose en complet veston, devant son chevalet, la palette et le pinceau à la main. Il projette ainsi l'image de l'artiste qu'il veut être. Mais dans ses photos de vacances avec ses amis, lors du retour en Belgique, il lâche la bride. Et conçoit des mises en scène réjouissantes. Page 45 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 Le côté insurrectionnel de Magritte s'en donne alors à cur joie. Puis, il construit son personnage, entre dans sa peinture et disparaît derrière la figure uniforme de son héros. Ainsi incarne-t-il par la photographie la figure du grand peintre instantanément reconnaissable et bientôt universellement célébré. Patrick Roegiers est né à Bruxelles en 1947 et s'est établi en France en 1983. Critique photographique au journal Le Monde de1985 à 1992, il est l'auteur d'une vingtaine d'ouvrages sur la photographie et d'essais consacrés à Lewis Carroll, Diane Arbus, Bill Brandt et Jacques-Henri Lartigue. Comme romancier, il a entre autres publié aux éditions du Seuil, Beau regard, L'Horloge universelle, Hémisphère Nord, La Géométrie des sentiments, L'Oculiste noyé et Tripp, ainsi que Le Mal du Pays, autobiographique de la Belgique. Catalogue paru à l'occasion de l'exposition "Magritte et la photographie" à la Maison Européenne de la Photographie à Paris. 3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS Launch of website - Ping Chong & Company Ping Chong & Company is proud to announce the launch of a new interactive website dedicated to Ping Chong's acclaimed Undesirable Elements / Secret History series. Since 1992, Ping Chong has created over 30 works in this on-going community-specific oral history theater project exploring issues of race, culture, and identity in the lives of individuals living between cultures. With the support of the Nathan Cummings Foundation and the Emma A. Sheafer Charitable Trust, Ping Chong & Company has embarked on a new initiative to expand the scope and impact of Undesirable Elements beyond the physical and temporal limits of a theatrical production. The result is a brand new website with comprehensive background information, production history, photos, script and video samples, frequently asked questions, related links, resources for further research, and interactive features. This new website will serve as an invaluable tool for students, theatre practitioners, performing arts presenters and general audiences. Check out the complete site at: http://www.undesirableelements.org/ Read the full press release (pdf file): http://www.undesirableelements.org/site_files/UE_WEB_PRESS_RELEASE.pdf Ping Chong & Company 47 Great Jones Street NY, NY 10012 Phone: 212.529.1557 Fax: 212.529.1703 Email: [email protected] http://www.pingchong.org Le mouvement des images - Des arts plastiques au cinéma France - Paris April 10, 2006 Page 46 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 DVD paru à l'occasion de l'exposition au Musée national d'art moderne au Centre Pompidou. 24,90 68 min 3 760146 320031 Diffusion Re:Voir Robert Breer, Chuck Close, Joseph Cornell, Marcel Duchamp, Gérard Fromanger, Derek Jarman, Len Lye, Laszlo Moholy-Nagy, Richard Serra. Contient un livret de textes en français sur les films et "Le mouvement des images" par Philippe-Alain Michaud. Le mouvement des images, accrochage thématique de la collection du Musée national d'art moderne, s'articule autour de la question du cinéma et de son influence sur les problématiques de l'art moderne et contemporain. SOMMAIRE Marcel DUCHAMP Anémic Cinéma, 1925, 8,25 min., noir et blanc, silencieux Laszlo MOHOLY-NAGY Ein Lichtspiel schwarz-weiss-grau, 1930, 5,15 min., noir et blanc, silencieux Joseph CORNELL Rose Hobart, 1937, 17,25 min., noir et blanc teinté, sonore Joseph CORNELL Gnir Rednow, 1955, 6 min., couleur, silencieux Len LYE Rhythm, 1957, 1,09 min., noir et blanc, sonore Richard SERRA Hand Catching Lead, 1968, 2,54 min., noir et blanc, silencieux Gérard FROMANGER Film-Tract : n° 1968, 1968, 2,45 min., couleur, silencieux Robert BREER 70, 1970, 4,35 min., couleur, silencieux Derek JARMAN Garden of Luxor, 1972, 8,53 min., couleur, silencieux Chuck CLOSE Bob, 1973, 10,44 min.,noir et blanc, silencieux http://www.centrepompidou.fr/Pompidou/Edition.nsf/Docs/ID908B999CD20A2CE6C125714C0044D3B5?OpenDocum ent&sessionM=6.3.2&L=1 TheatreVoice TheatreVoice is an audio website where you can hear theatre practitioners and critics discussing the latest trends in British theatre. It has an archive of hundreds of recordings of playwrights such as Trevor Griffiths, Howard Barker, Mark Ravenhill and Pam Gems, plus directors such as Peter Hall and Dominic Dromgoole. Subjects include Shakespeare, fringe theatre and new writing. There are also discussions of recent shows by national newspaper critics. http://www.theatrevoice.com Recordings are also downloadable. For latest news, subscribe on http://www.theatrevoice.com/subscribe_free/ Contact: Aleks Sierz [email protected] Virtual Vaudeville http://www.virtualvaudeville.com/ Vaudeville lives and breathes again on this tremendously interesting website created with the support of the University of Georgia Research Foundation and the National Science Foundation. Utilizing a team of researchers and computer visualization experts, the project has created 3D simulation of a complete act by the vaudeville-era comedian Frank Bush. Of course, visitors should first watch this remarkable act, then proceed to other sections where they can learn about the technology used to develop this recreation, and of course, about the age of vaudeville itself. On the site, visitors can also learn about the Live Performance Simulation System, which is the prototype used to create this Page 47 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 immersive experience. * : Modified only Page 48 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 4. LINKS TO OTHER ORGANISATIONS ACTR - Association for Canadian Theatre Research Canada - Toronto The Association for Canadian Theatre Research was originally created in 1976 under the name "The Association for Canadian Theatre History." Since its inception it has been the principal catalyst for expansion of theatre research in Canada, as evidenced by the change in name in 1990. It aims to shape Canada's theatrical present and future by preserving and interpreting our theatrical past and investigating areas of contemporary theory and performance. Specifically, the Association works to promote research and publication of the results of this research into Canadian theatre and drama, to encourage the collection and analysis of Canadian theatre materials, and to maintain a communications network for the exchange of information and research in progress. The Association's membership consists of theatre professionals, scholars, students and other interested individuals. Among its activities is an annual conference with papers and addresses on a variety of themes, and the publication of the journal Theatre Research in Canada (formerly Theatre History in Canada). It also produces a biannual newsletter as well as an Internet site and electronic discussion forum (CANDRAMA) to inform theatre researchers, teachers, and students of new developments in the field. http://www.actr-artc.ca/index.html Association of Nordic Theatre Scholars (Föreningen Nordiska Teaterforskare) Denmark - Copenhague The Association publishes the annual English-language journal Nordic Theatre Studies as well as an electronic bulletin, BUNT on its webpage. The Association strives to enhance and encourage the cooperation between Nordic theatre scholars and postgraduate students by arranging and informing their members of symposiums, seminars and as well as promoting guest lectures at the Nordic universities. More information: http://www.helsinki.fi/taitu/svenska/ntf/ Contact: Department of Dance and Theatre Research University of Copenhagen Karen Blixens vej 1 2300 Copenhagen DENMARK ISA - International Shakespeare Association The International Shakespeare Association offers an opportunity for individuals and institutions to join together to further the knowledge of Shakespeare throughout the world. Its central commitments, outlined in its constitution, are to link the work of various Shakespeare associations and societies and to advise on the foundation and development of new associations; to advise on the initiation and planning of the World Shakespeare Congresses; to support an information centre, covering research, publication, translation, and performance; to circulate a diary of future performances, conferences and graduate courses; to aid travel in the interests of Shakespeare scholarship and performance and to coordinate and support requests for finance from internationally cooperative projects. It produces occasional papers, a newsletter and an annual report. Page 49 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 World Shakespeare Congress The ISA has been involved in the organisation of five Shakespeare congresses since its foundation in 1974: in Washington DC (1976), Stratford-upon-Avon (1981), Berlin (1986), Tokyo (1991) and Los Angeles (1996) and Valencia (2001). The next will take place in 2006 in Australia at the University of Queensland. The theme of the conference is 'Shakespeare's World / World Shakespeares' Brisbane Congress Website Participation in the World Shakespeare Congress is open to anyone with a genuine interest in Shakespeare who is a member of the ISA. As well as a programme of seminars, the Congress will offer plenary papers by speakers from a wide range of countries, backgrounds and interests, from academic professionals to those who have engaged with Shakespeare from literary or theatrical viewpoints. ISA Membership Membership of the International Shakespeare Association is open to any person who wishes to support its objectives and accepts its articles. Corporate membership is open to any organization or institution which has interests in common with the work of the Association. Members receive copies of the annual newsletter, occasional papers as they are published, and may purchase the World Congress proceedings at a special rate. For more information about the ISA's activities and membership contact: Dr Nick Walton, Executive Secretary and Treasurer The Shakespeare Centre Henley Street Stratford-upon-Avon Warwickshire CV37 6QW United Kingdom Telephone: +44 (01789) 201840 Fax: +44 (0)1789 296083 Email: [email protected] For more information visit: http://www.shakespeare.org.uk/content/view/78/78/ OISTAT - Organisation Internationale des Scènographes, Techniciens et Architectes de Théâtre OISTAT (International Organization of Scenographers, Theatre Technicians and Architects) is the world-wide parent organization for scenographers, theatre technicians and architects. It was founded as an international NGO in 1968, Prague, Czech Republic, and operated under the auspices of UNESCO. OISTAT's principle purpose is to foster opportunities for co-operation and professional networking between and among theatre organizations and individuals world-wide. ORGANISATION OISTAT currently has 31 Centers and Individuals members, Associated members in 48 countries around the world. Congress is the directing body of OISTAT, while the activities of OISTAT are coordinated by the Governing Board (GB), the Executive Committee (EC) and supported by OISTAT Secretariat. OISTAT currently has 31 Centers and Individuals members, Associated members in 48 countries around the world. The essential activities of the organization are undertaken by the Commissions. They work in the following fields: -Scenography -Education -Theatre Architecture -Technology -Publication and Communication -History and Theory Page 50 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 OISTAT International Projects and Meetings 1. Scenofest in Prague Quadrennial The Prague Quadrennial (PQ) is the only exhibition of its kind and magnitude in the world. The PQ 2003 brought together 50 countries from 5 continents with approximately 100,000 visitors. The educational program of PQ Scenofest is an ongoing project of OISTAT Education Commission. Scenofest is the series of activities including seminars, workshops, thematic exhibitions and presentations of leading theatre practitioners worldwide. 2. OISTAT Architecture Competition Architecture Competition is an international competition organized by the OISTAT Architecture Commission. The object of the competition is to encourage new ideas of theatres and is open to all. Best entries are exhibited at PQ and published in a catalogue. 3. World Stage Design World Stage Design is a new project of OISTAT, occurs every four years in different continents around the world. The first WSD is mounted in Toronto, Canada in March 2005, with 532 designers of 43 countries participated. WSD 2009 will take place in Asia. 4. New Theatre Words and other Publications The first Theatre Words was published in 1975. It has now three versions (Northern Edition, Central Edition, World Edition) of 27 languages. OISTAT also publishes catalogues of its international projects such as Architecture Competition and PQ Scenofest. 5. OISTAT Newsletter and OISTAT Website OISTAT Newsletter is published 3 times a year. It provides information on major projects, meetings, OISTAT publications and other ongoing activities. OISTAT website was launched in 1997. The Website Working Group of OISTAT Publication and Communication Commission is charged with the mission to establish an interactive website system in facilitating communication and sharing of information. 6. OISTAT World Congress The directing body of OISTAT is the Congress, which takes place every two years. Every four years, the delegates of the World Congress elect the President and the members of the Executive Committee. They also decide on changes of the statutes and other important issues of the organization. 7. Annul Meetings of the Governing Board, Executive Committee, and Commission Meetings The Government Board, Executive Committee, and Commissions meet annually, and OISTAT Centers take turns to host meetings. The meetings focus on activities and projects of the commission, and there is election of commission chair every 4 years. The host country usually arranges side programs such as seminars, workshops, theatre tours etc. to promote mutual benefit. Contact: [email protected] President: Mr. Michael Ramsaur [email protected] Executive Director: Ms. Wei-Wen Chang [email protected] http://www.oistat.org/ SBTD - Society of British Theatre Designers United Kingdom - London The Society was founded in 1971 by John Bury, with Ralph Koltai, Nicholas Georgiadis and Timothy O'Brien. It started life with the object of deciding on the most appropriate union to negotiate for designers. Since then it has developed and diversified. It aims to enhance the standing of British theatre design at home and abroad. One example of this is Page 51 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 the organisation every four years of an exhibition of theatre design which in part also represents Britain at the International Quadrennial in Prague. A professional organisation run by designers for the benefit of designers Access to an international network of designers Access to information: registers of agents, production personnel and theatre suppliers Participation in SBTD exhibitions Publication of designers' work in catalogues Access to training and seminars The Society is incorporated within the Association of British Theatre Technicians (ABTT) but retains its identity and membership. Subscribers receive both SBTD and ABTT mailings and assume Associate Membership of the ABTT. Membership is open to any theatre designer - set, costume lighting or sound designer - working professionally. 'Student' membership is also available at a concessionary rate for those on design courses and for a further five full years after graduation. Annual membership runs from 1st January. http://www.theatredesign.org.uk/ Theatre Museum Canada Canada - Toronto The Theatre Museum Canada is delighted to announce that it now has an online home at http://www.TheatreMuseumCanada.ca Please visit us to find out more about this Canadian charity, its aims and activities. Michael Wallace Executive Director Theatre Museum Canada 77 Bloor St. W. Suite 1903 Toronto, ON M5S 1M2 Phone: 416-413-7847 Fax: 416-923-0226 e-mail: [email protected] http://www.theatremuseumcanada.ca * : Modified only Page 52 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 5. THEATRE BUILDINGS, RESTORATIONS & NEW DEVELOPMENTS Médaille du Gouverneur général en architecture 2006 pour le Théâtre Espace Libre Canada - Montréal Lapointe Magne et associés Architecte concepteur : Michel Lapointe Le Théâtre Espace Libre occupe depuis le début des années soixante-dix une ancienne caserne de 1903, uvre de l'architecte Louis-Roch Montbriand. Au pieds du pont Jacques-Cartier, le bâtiment sinscrit entre des îlots résidentiels de petite échelle et lancien centre de détention Parthenais aujourdhui transformé en bureaux, qui domine le quartier. Le client désirait poursuivre ses activités sur lemplacement actuel, et souhaita que le projet conserve les principaux éléments qui identifiaient le lieu. « Véritable coup de théâtre, ce projet dénote un geste architectural courageux et ambitieux, une réponse audacieuse à un programme donné. Marqué dun vocabulaire retenu dans lutilisation de plans verticaux et de structures simples, le bâtiment propose un jeu de contrastes entre ce qui est lourd et léger, le plein et le vide, lopacité et la transparence. » Commentaire du jury : Sans détonner, mais avec audace, ce théâtre vient créer un moment fort dans ce quartier laissé pour compte. Il combine une réponse astucieuse à un programme exigeant de deux théâtres dans un, de deux architectures, caserne ancienne et agrandissement contemporain. Le caractère affirmé de lensemble est fort apprécié des jurés. http://www.raic.org/raic/honours_and_awards/awards/gg-2006recipients/espacelibre_f.htm#top * : Modified only Page 53 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 6. RESEARCH 6.1. RESEARCH PROJECTS Call for Papers: Puppetry International special issue on puppet scripts Puppetry International is the bi-annual publication of UNIMA-USA, the United States chapter of the Union International de la Marionette, the world's oldest theater organization (http://www.unima-usa.org/publications/index.html). For a special issue of Puppetry International dedicated to scripts for puppet theater, the editors invite submissions including examples of historical and contemporary puppet scripts from all parts of the world and from all eras. In addition, for the peer-reviewed section of this issue we invite submission of short articles (2,000 words, including bibliography and notes) analyzing the nature of puppet scripts, text as an element of puppet performance, and the development of genres in puppet dramaturgy. 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. Please send submissions as Microsoft Word attachments in RTF format to John Bell: [email protected] and Andrew Periale: [email protected] Please include contact information and a brief biography. The deadline for submissions is July 25, 2006. Call for submissions - 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 wideranging overviews of recent developments are also accepted. Articles usually range from 3000 to 5000 words, and we pay 5 cents per word to a maximum of $150. A section of our journal is also available for shorter items. If you are interested and don't know our journal, please check out our website, which includes Tables of Content from all our issues. If you have an idea you think is appropriate for "Theatreforum," just send me a proposal in a paragraph or two. John Rouse, Editor [email protected] http://www.theatreforum.org MA Performance: Dance United Kingdom - Chichester July 3, 2006 University of Chichester The MA Performance: Dance has 3 routes for performers, makers and independent researchers. The MA is part of the lively research culture within the School of Visual and Performing Arts, which includes visiting Page 54 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 artists contributing to regular research presentations, performances, installations and exhibitions. Students work with an exciting team of nationally and internationally renowned arts researchers including Valerie Briginshaw, Virginia Farman, Jill Hayes, Ann Nugent, Joanna Parker, Sarah Rubidge and Marisa Zanotti. Students can create work for stage, site, screen and installation Audition dates: 3 July and 11 August, 2006 Artistic Director: Yael Flexer Working with: Lea Anderson, Kerry Nicholls, Bettina Strickler, Erica Stanton For more information and application details: Julie Thurston, [email protected] Tel: 00 44 (0)1243- 816206 http://www.chiuni.ac.uk/research/MaPerformanceDance.cfm Proposition de sujets de thèses de doctorat et de mémoires de master France - Nice Université de Nice-Sophia Antipolis Domaine: Lettres, Arts et Sciences Humaines Disciplines: Arts, Spectacles, Etudes théâtrales, Sciences de lArt Spécialités et axes de recherche : Théâtre du XXè et XXIè siècle / Théâtrologie contemporaine / Art de lacteur / Théories et pratiques du théâtre et de la performance / Enseignement du théâtre / Arts-thérapies / Nouvelles écritures dramatiques et scéniques / Hybridation des formes spectaculaires / Acteurs / Compagnies / Metteurs en scène. Liste des thèmes proposés en vue de sujets de recherche: - Michel Bouquet - Dario Fo - Fabrice Luchini - Ariel Garcia Valdès - Carmelo Bene - Tadeusz Kantor - Antonin Artaud - Romeo Castellucci - Bob Wilson - Georges Lavaudant - Le Workcenter of Jerzy Grotowski and Thomas Richards - Le chantier de la création théâtrale - La construction du personnage - Le théâtre intérieur, le théâtre vivant - Texte et jeu au théâtre - Interprétation et virtuosité au théâtre - Sexualité et poétique théâtrale - Ennui et émotion au théâtre - La réinvention du théâtre - Théâtre et récit - Les grands interprètes et les grands auteurs du théâtre - Hybridation dans les arts et au théâtre - Tiers théâtre et théâtre indépendant - Le théâtre et les minorités - Théâtre et sciences - Théâtre et nouvelles technologies - Mondialisation et patrimoine théâtral immatériel Page 55 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 - Théâtre et arts-thérapies - Théâtre, didactique et nouvelles pédagogies - Théâtrologie et théories des pratiques - Relation entre université et centre dramatique en région - Pratiques théâtrales dans le bassin méditerranéen Contacts et renseignements complémentaires: Prof. Jean-Pierre Triffaux ([email protected]) Théorie et pratique du théâtre Directeur du département des Arts Laboratoire RITM Université de Nice-Sophia Antipolis UFR Lettres, Arts et Sciences Humaines 98 boulevard Edouard Herriot BP 3209 06204 Nice Cedex 3 Secrétariat : Murielle Bonnafoux ([email protected] Tél.: 00 33 (0) 4 93 37 54 80 Research - Creation project on Shakespeare and the Queen's Men Canada - Toronto "Shakespeare and the Queen's Men", a collaborative SSHRC Research - Creation project, is studying the theatre company that influenced Shakespeare's work, a company with which he may have apprenticed. The Queen's Men were the elite acting company of 1583-1603, and toured all over England and some places abroad. Shakespeare certainly used several of the Queen's Men's plays as sources for his own later drama. The project itself is led by Professor Alexandra Johnston (University of Toronto) and Dr Helen Ostovich (McMaster), directing the team's research into costume, rehearsal practices, performance venues, patrons, contexts, and other pertinent questions to do with casting, doubling, and props. Under the direction of Dr Peter Cockett (McMaster) and Jennifer Roberts-Smith (Toronto), we will produce stagings of King Leir, Friar Bacon and Friar Bungay, and The Famous Victories of Henry the fift, with a blend of professional master-actors, non-Equity actors, and student "apprentice" actors, a company of 12 men and boys who will perform all three plays in rep. There will be a public run in Toronto at the Glen Morris Theatre (to be confirmed) for three weeks prior to the conference performances. On Tuesday October 24 and Wednesday October 25, the company will tour to McMaster in Hamilton, playing in three different locations, before returning to Toronto to perform in another three locations at or near the University of Toronto, October 26 - 29. During that period, there will be a conference at Victoria College, University of Toronto, with seminar discussion of various aspects of the Queen's Men's repertoire and theatrical practices, especially in clowning, for which they were famous. Enquiries Phone: (416) 978-5096 Further details on this unique opportunity to watch early modern performance practices in action and the conference "Shakespeare and the Queen's Men" at: http://www.chass.utoronto.ca/~reed/QueensMen/ 6.2. SCHOLARSHIPS Page 56 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 M.A. / M.Sc. in Digital Performance: Environment - Engagement Experience United Kingdom - London Queen Mary, University of London Applications are invited for a new cross-disciplinary M.A./M.Sc. in Digital Performance situated at the interface between technology, social science and the arts. This course aims to develop technically literate artists and artistically literate technologists by bringing both together in shared fields of intellectual and practical inquiry. Students with good degrees (2.1 or better) in any arts, engineering or social science background are encouraged to apply. You will graduate with either an M.A. or an M.Sc. depending on the pathway taken through a range of interdisciplinary courses. Two bursaries of £1,500 are available for outstanding applicants - one for each degree path. The programme explores ways in which technology alters the potential of human action, interaction and performance, from computer games, to stage design, to funerals. A core intellectual concern is the nature of human engagement in all its forms and the configuration of digital media as means of enriching it. We explore theories of communication and mutal engagement from performance studies, psychology and sociology and their application to the analysis of interaction in diverse contexts -from virtual chat rooms to nightclubs. The curriculum also takes advantage of London's unrivalled position as the leading international centre for live performance and the opportunities it offers to experience, critique and create a range of events. Core courses include: Design for Human Interaction Performance Theory Interaction Design Group Performance Project Live Performance Extended Research Project With available options including: Multimedia Systems Computer Vision and Neural Networks Performance Research Computing for the Web Contemporary Performance The degree, offered in collaboration with EA Games and Microsoft, will produce creative and technically literate graduates able to apply themselves within a range of creative industries from digital performance art to computer games design and interactive multimedia systems development. For further information and for applications please contact: Carla Benjamin Tel: +44 (0)20 7882 5227 email: [email protected] More details can be found online at: http://www.dcs.qmul.ac.uk/postgraduate/msc/programmes.html 6.3. RESEARCH TOOLS Page 57 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 International Bibliography of Theatre and Dance We are pleased to announce that the IBT database, now the IBTD (International Bibliography of Theatre and Dance), has been available online since June 2005. The IBTD database is provided by EBSCO Publishing through its Academic Search Premier service. Full text is available for many journals. Further information can be obtained from http://www.ebsco.com IBTD will be a cumulating database, with EBSCO covering the English-language journals, and the Theatre Research Data Center coordinating the non-English contributions. We thank everyone who has made this landmark in theatre and dance possible. Theatre Research Data Center Brooklyn College, City Univ. of New York Website about Polish Theatre http://www.e-teatr.pl English language version: http://www.theatre.pl The largest internet site devoted to Polish theatre is produced in its entirety by Theater Institute in Warsaw. At this website one can find continually updated information about current and future theater premieres, festivals, and schedules of all theater performances, reviews, articles and opinions. The site also contains an updated and constantly growing database of information about virtually everything that has happened in Polish theater since 1944. On the webside the archival collection of Theatre Institute in Warsaw, including press clippings and photos is increasingly made available. www.theaterforschung.de Website including information about conferences, call for papers, conference reports, institutions, research resources, reviews and all kinds of performing arts related contributions. http://www.theaterforschung.de/index.php4 * : Modified only Page 58 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 2 7. MISCELLANEOUS ITEMS Book Publishing United States Jill Dolan, Zachary T. Scott Family Chair in Drama at the University of Texas at Austin, just published her latest book, UTOPIA IN PERFORMANCE: FINDING HOPE AT THE THEATRE (University of Michigan Press). This spring, she was selected as a member of UT-Austin's Academy of Distinguished Teachers. IFTR Working Group "From Page to Stage" Maria Ignatieva and Julia Listengarten are the co-conveners of IFTR Working group "From Page to Stage" which was revived in 2001. The group focuses on the controversial wealth of relationships between modern drama and its contemporary theatrical interpretation. New IFTR members are invited to join the group. Maria Ignatieva, Associate Professor, The Ohio State University-Lima, completed a manuscript "Women in Stanislavsky''s Life and Art, partially sponsored by the Coca-Cola Grant "Critical Difference for Women". In the past five years, Ignatieva published essays about Stanislavsky's work with Olga Gzovskaya, Maria Andreyeva, Irina Rozanova, and Maria Lilina in such journals as Slavic and East European Performances, Theatre History Studies and Russian Theatre: Past and Present. * : Modified only Page 59 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 FIRT/IFTR: SIBMAS: Membership Secretariat, Email [email protected] Cordula Treml, Email [email protected] FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 1. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES Appel à communications: XIIe Congrès de la Société Internationale pour l'étude du Théâtre Médiéval France - Lille January 15, 2007 2-7 juillet 2007 Thèmes du congrès Théâtres du Nord - Performances et arts du spectacle dans lexceptionnel creuset que fut le Nord de la France à la jonction des domaines français et flamand. Renaissance du théâtre médiéval, XIXe-XXIe siècles - Représentations, acteurs, enjeux idéologiques, scientifiques et culturels du théâtre médiéval à lépoque contemporaine. Danse et musique - Sources et fonctions de la danse et de la musique dans les performances et représentations dramatiques médiévales. Manuscrits et archives - Manuscrits, documents de théâtre et performances: statut, contextes de production, diffusion et transmission. Merci d'envoyer votre communication (en français ou en anglais) au format pdf ou rtf à [email protected] Si ces formats ne vous sont pas disponibles, envoyer un fichier texte (format .txt sans mise en page). Plus d'informations sur le congrès: http://sitm2007.vjf.cnrs.fr/index.htm Appel de projets de communication: Congrès de l'ARTC 2007 - Créer des ponts Canada - Saskatoon November 1, 2006 Le colloque annuel de l'ARTC (Association de la recherche théâtrale au Canada) aura lieu du 26 au 29 mai 2007 à l'Université de la Saskatchewan au sein du Congrès des sciences humaines 2007. L'ARTC/ACTR recevra avec plaisir des projets de communication sur tous les sujets et toutes les pratiques qui entrent dans le domaine de l'association, y compris l'histoire du théâtre, la théorie, la didactique, et la pratique, que ça porte sur le théâtre du Canada ou d'ailleurs. Aussi, nous sollicitons en particulier des projets d'ateliers, de performances, ou de démonstrations organisés par des comédien/ne/s, scénographes, metteur/e/s en scène, dramaturges, ou enseignant/e/s. Au carrefour de la rencontre naturelle de la terre et du ciel, le paysage des prairies, associé à la vaste gamme de structures et de mouvements humains qui l'ont peuplé au cours des années, est devenu un riche point de rencontre humain fait de visions et rêves, d'impératifs culturels, politiques, économiques et sociaux, de communautés diverses, de réalités virtuelles et physiques, de traditions, et d'innovations. Déjà au cours de la première décennie du 20e siècle, on a vu surgir des points aussi saillants que la ville de Page 2 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Saskatoon, la province de la Saskatchewan et l'Université de la Saskatchewan dans ce paysage humain et naturel dynamique. À l'entrée de la première décennie du 21e siècle, tout aussi progressive, nous vous invitons à être des nôtres à Saskatoon - ville des ponts - dans la célébration du centenaire de la fondation de l'Université de la Saskatchewan,l'un des points de rencontre épanouissants du savoir de la province. Tandis que nous sollicitons des communications reflétant toutes les facettes de la pensée et de l'activité dans nos disciplines, nous tenons particulièrement à recevoir des projets de recherche qui mettent en évidence la participation des femmes et des peuples autochtones à la création des ponts: - Dans toutes leurs manifestations grandissantes - historiques, contemporaines, sociales, politiques, économiques, sexuelles, raciales, technologiques - Dans leurs manifestations savantes - historiques, littéraires, théoriques, didactiques - Dans leurs manifestations vivantes de ces dernières années - performances, mises en scènes, scénographies, happenings, événements et festivals à l'intérieur et hors de l'espace scénique - Dans la complexité interdisciplinaire qui mène de plus en plus profondément synthèses, travaux, questionnements et explorations, qui créent des ponts sur le vaste panorama du comportement humain en performance Projets de communication et de présentation Les projets de communication et de présentation devraient comporter un résumé de 250 mots et une note biographique. Date limite pour les projets de communication et de présentation: le 30 novembre 2006. Projets d'atelier: En plus de solliciter des ateliers qui s'adressent au thème du Congrès "Créer des ponts", surtout quand ils abordent des questions soulevées par des femmes ou des peuples autochtones, nous tenons à recevoir des projets d'ateliers qui portent sur des recherches spéciales ou sur des questions actuelles qui préoccupent les chercheur/e/s et les praticien/ne/s du théâtre. Nous encourageons des projets fondés sur des formats innovateurs, dont, par exemple, des ateliers de 3 personnes, des séminaires, ou des tables rondes. Les projets d'atelier devraient comporter une explication de 250 mots. Si vous avez déjà choisi les membres de l'atelier proposé, vous devriez inclure leur nom, leur institution, le titre de leur communication, et leurs coordonnées. Si vous proposez un atelier qui ne sera organisé qu'après le lancement d'un appel général de participation, la personne qui présidera l'atelier devrait aussi proposer une communication et assurer que l'appel de participation soit distribué dans les endroits convenables. Date limite des projets d'ateliers: le 1 novembre 2006. Soumissions: Les soumissions sont à envoyer par courriel, sous forme d'attachement (MS Word), à: Moira Day Department of Theatre 118 Science Place University of Saskatchewan Saskatoon, Saskatchewan S7N 5E2 Email: [email protected] Call for papers: 7th research readings Russian Federation - Moskau October 15, 2006 Subject: "The theatre play. Its creation and existence" Russian State Art library 23 - 24 November 2006 The Conference has an interdisciplinary character, and a wide circle of problems is submitted for consideration: - The specific character of publishing plays (theatre magazines; series of drama; plays in the common press; lithographic editions; manuscripts); - The formation of the repertoire (theatre censorship; theatre censorship and commissions, literature departments in theatres); Page 3 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 - The playwright and theatre (a play to order; preparation of a stage version, etc); - Advertising plays and informing potential users about them; - Prizes for drama (competitions of plays); - The institute of theatre critique; - Screening of plays; - The current acquisition of drama; - Archive, museum, library, personal collections of plays; - The bibliographical entry of plays: catalogues, headings, indices; - The play in electronic environment: theatre and drama in Internet (collections, sites, forums), electronic editions, etc. Within the frame of the readings premiers of books and electronic resources are planned. The RSAL invites theatre researchers (specialists of the home and foreign theatre), theatre workers, members of staff of libraries, museums, archives, bibliographers, culture researchers, philologists and book researchers, publishers and editors, web-masters, programmers, collectors to take part in the readings. The papers and presentations will be published in full in the Proceedings of the Conference. The text volume must be within 20.000 characters. Footnotes are given at the end of the text. The annotation in English is obligatory. Please, send your applications up to the 15th of October to the following address: Russian State Art Library 107031 Moscow B.Dmitrovka str.8/1 Contact tel./fax: (495) 692-06-53, (495) 692-65-20 e-mail: [email protected] [email protected] http://www.liart.ru/indexeng.html Call for Papers: III International Conference of Indian Society for Theatre Research - Theatre and Democracy India - Jaipur September 15, 2006 Jointly Organized by Department of Dramatics & Department of Modern European Languages, University of Rajasthan, Jaipur (Rajasthan) January 4 January 6, 2007 Theatre communicates with people directly, and that too, much more than any other literary form. The audience response to it has always been emotive and involving. This reflects largely on the fact that, 'Theatre pre-supposes the presence and participation of the people'. All literature and art is about the people as well as for the people (as recipients, appreciators as well as catalysts for social change), but at the same time it is also true that no other genre of literature/art is as much people-centric as drama. It has always been a medium of Popular Public Expression. It is this interrelationship between people and theatre, which elevates drama to a creative applied medium and saves it from being condemned to bookshelves. This calls for a continuous process of regeneration, growth and development of theatre, which by the very process of creation and presentation is essentially democratic and relates itself to democracy (not as a politico-electoral process) as a system that gives birth to, and promotes a new set of values. They are by their very nature bulwark against obscurantism, fascism, racism, and aiming at fostering equity and justice, rationality and respect for new ideas spirits of inquiry and wedding to truth. The birth of Democracy, as an antithesis to the feudal order in the past, gave rise to a new form of social and political order. The new political order was largely progressive. The class set-up changed drastically, and so did their interrelationships. The popular theatre of Europe coupled the two forms of political and social order. It celebrated the heroic qualities of Page 4 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 the lords and the kings, but at the same time also showed the process of their decay, degeneration and (imminent) downfall. Also, the Elizabethan drama introduced elements that could be called democratic. Shakespeare, at times may have vacillated between change and changelessness, between the desirability of change and the fear of change. Such a practice largely influenced the Indian theatre epitomized in the Parsi Theatre, especially when all the art forms were rallying against the colonial rule. All major dramatist tried in their works to deal with the issues that are thrown-up by the new social and political order with all its concomitant pressure. They dealt dramatically with the relationship of man and society and the mobility of man to reach the level of self-fulfillment unless a specific form is given to a democratic order. Today, the notion of democracy and the practice of theatre has become an ancient phenomenon in India, but the challenges of the contemporaneous demand the theatre to assume a greater significance. Racism, communalism and blatant attempts at establishing hegemony through unbridled globalization, democracy and democratic institutions, indigenous cultural ethos, the right to hold a view opposed to the hegimonistic neo-imperialistic stance and perception are too serious and ominous signals to be ignored and unheeded. In view of the above, papers are invited to examine the Indian theatre scene under the umbrella of globalization with primary focus on paradoxes of democracy and it's Diasporas as well as the following issues which come in the fore ground and need to be discussed thoroughly and seriously: Theatre and the Politics of Globalization Theatre for Tomorrow Theatre of Democracy: Cross-sectional Analysis The Future of Freedom and Paradoxes of Theatre Theatre under the Quest of Secularism Democracy, Social Change and Theatre The Victim of the Experiments in Democracy Frontline of Terrorism and Indian Theatre Gender Issues in Indian Theatre: Desperately Seeking Democracy Indian Democracy and Theatre: Meaning and Practice Format for Proposals Proposals are invited for presentation in the general conference and for the Research Scholars Forum dealing with the subject. Papers must be no longer than twenty (20) minutes. Research Scholars may also submit short proposals for 10-minute papers on their research for presentation in specially organized sessions. All proposals should contain: author; title; 200-250 word abstract; intended audience [i.e., General Conference, or Research Scholars Forum]; indication of technical facilities; brief biographical note on the author; full postal address; fax number and e-mail-address. The format for proposals should be sent by electronic mail at [email protected] along with a hard copy by fax or post to the Conference Office given below. Deadline for submitting the abstract: 15 September 2006 Scrutiny of Abstracts and Acceptance Letters: To maintain the academic standard of the conference, the Organisation Committee has decided to scrutinize all the abstracts. Acceptance Letters along with the Registration Forms will be sent electronically after the scrutiny of abstracts before 15 October 2006. Deadline for Registration: 15 November 2006 CONFERENCE FEE: Before 15 November: General Participants: INR 1250 Research Scholars: INR 750 International Participants: USD 60 After 15 November: General Participants: INR 1500 Page 5 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Research Scholars: INR 1000 International Participants: USD 75 The conference fee includes book of abstracts, access to all conference sessions, reception and refreshment breaks during the 3 days of conference, breakfast, lunch and dinner. Traveling Allowance: Due to financial constraints, the request to provide traveling allowance cannot be entertained. Contact: Dr. Ravi Chaturvedi Coordinator Department of Dramatics University of Rajasthan JAIPUR 302004 Phone: 0141 2702639 Fax: 0141 2653883 Email: [email protected] Call for Papers: International Seminar on “Drama & Religion” Iran - Tehran November 21, 2006 6 - 7 January 2007 Publishing and Research Department of Iranian Dramatic Arts Center (theatrical branch of Iranian Ministry of Culture) will hold an International Seminar on "Drama & Religion" with the cooperation of Dramatic Arts Dept. of Tehran University. The gathering is aimed to put on debate on the role of religion in creation and development of dramatic arts, their impacts on one another throughout world theater history and reassess the role of drama in contemporary world. AXIS 1- Analytical studies on the role of religion & religious-oriented ideas in creation of drama 2- Mutual relations of religion and drama throughout world theater history 3- Comparative study on influence of religion on drama in the West and the East 4- Philosophical and aesthetic specifications of religious drama 5- Social, political and cultural status of religious drama 6- Contemporary theater and religious drama 7- Introducing unknown religious dramas in the Western and Eastern cultures 8- Special function of religious drama in contemporary world REQUIREMENTS 1- Papers should be written on the mentioned topics. 2- Papers should be research works. 3- Papers should not have previously been published or presented in other seminars. NOTES 1- English & Persian will be the medium of the seminar. Papers and abstracts preferably to be written either in Persian or English. 2- Some of the papers will be selected for presentation at the seminar. A number of papers will be selected to be put on the board. Both abstract and full paper need to be submitted in advance of the seminar. 3- Participation in the seminar will be free of charge. 4- Abstracts should not exceed 300 words. 5- Key words for abstracts are necessary. 6- Accepted articles should be delivered in 25 minutes. 7- A 10-minute questions & answer session will be held after each speech. 8- Accepted papers will be published later. Page 6 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 9- Authors of the best accepted articles will be entitled to a payment for their papers after closing of the seminar. 10- Lecturers will decide on the procedure of delivering their papers. 11- Accommodation and/or transport will be borne by organizers. SCHEDULE 1- Abstracts should be submitted as soon as possible. 2- Papers should be submitted by Nov.21 to get published in the conference book. (in exceptional cases the deadline can be extended.) The most magnificent theatrical event in the country (Intl. Fajr Theatre Festival) will take place exactly the day after the seminar will be over (9-17 Jan.). Seminar participants can extend their stay - due to Iranian hospitality –to a few days of the festival as well. Abstracts should be sent to: [email protected] AND [email protected] (To ascertain, pls send it to both addresses.) Call for Papers: Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama Belgium - Brussels November 1, 2006 An international conference hosted by the Department of Languages & Literatures and the Center for Canadian Studies of the University of Brussels 25 - 28 April 2007 In the last two decades or so, the Anglophone North-American stage has witnessed the emergence of significant dramatic works interrogating the preservation of cultural memory. In their provocative and innovative theatrical works, a sizeable number of English Canadian and American playwrights contest standardizing and globalizing patterns of thoughts. These authors not only challenge the classic European theatrical aesthetic, but they also criticize the Canadian and American multicultural dream. Recurring themes such as exile, fragmentation of the self, stereotyped notions of authenticity, attest to a willingness to reject the simplistic binarism of Western hegemony while celebrating cultural and aesthetic heterogeneity. Through theatre, these writers invite us to re-think the issue of cultural memory in order to conceive new identities shaped according to shared values respecting local identities and traditions. The Anglophone North-American focus of this conference will seek to offer a comparative cross-cultural approach of contemporary English Canadian and American theatrical production at the turn of the 21st century. Moreover, as theatre often mirrors social and cultural conflicts, this contrastive approach will hopefully illuminate differences and/or similarities between the two countries as far as identity building, issues of nation and conception of multicultural models are concerned. Ultimately, this particular vantage point will enable participants to determine more accurately the special positioning of contemporary North-American theatre in the wider context of modern Anglophone drama. Keynote lecturers will include Professor Harry Elam (Stanford University), Professor Karen Shimakawa (Tisch School of the Arts), Professor Ric Knowles (University of Guelph), Professor Craig Walker (Queen's University), Ms Cherrie Moraga (Chicana playwright), Mr Guillermo Verdecchia (Latino Canadian playwright). The conference will consist of a series of plenary lectures by noted scholars and playwrights as well as a number of parallel paper sessions. 20-minute paper proposals are therefore welcome on a variety of topics related to the general theme. Presentations dealing with individual dramatists, theory or production aspects in contemporary Anglophone North America (U.S. and/or English Canada) will be most welcome, particularly as they relate to cultural memory issues. Papers need not provide systematic comparisons between U.S. and Canadian drama, although contrastive considerations are encouraged, whenever possible. Conference participants are therefore invited to consider the following suggestions for paper proposals, either in a U.S. and/or English Canadian context (this list is by no means exhaustive): -- How does Anglophone North-American theatre redefine cultural memory at the turn of the 21st century? Where is it located? How can we define cultural memory within multi-ethnic North American societies? How can local and national Page 7 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 identities be preserved in the dramatic text? -- How does Anglophone North-American drama interpret the link between cultural and collective memory? How does a so-called collective memory interact with individual representations in drama? -- In what sense do contemporary Anglophone North-American theatrical productions have an impact on the building and preservation of cultural memory? -- How do contemporary theatrical productions in North-America illuminate the increasing interdisciplinarity between fields such as history, memory and theatre? -- In what way(s) does Anglophone North American theatre highlight the historical construction of particular identities? -- Is cultural memory built, imagined, or perpetuated in different ways in English Canadian and American dramatic texts? -- As �a mirror to society,� how does theatre participate in the shaping of the concepts of identity and nation, both in English Canada and the U.S.? 250-word abstracts should be submitted to the conference convenors, Prof. Marc Maufort and Ms. Caroline De Wagter, before November 1, 2006. ([email protected] and [email protected]). Acceptance of proposals will be notified by December 1, 2006, so as to allow the authors of selected submissions to apply for travel funding from their universities in due course. A selection of papers presented at the conference will be published in the "Dramaturgies" book series edited by Professor Marc Maufort (published by P.I.E.-Peter Lang). Interrogating Antigone - international interdisciplinary conference Ireland - Dublin October 6, 2006 - October 7, 2006 Trinity College Dublin Keynote speaker: Luce Irigaray Referring to Antigone, Hegel called "Womankind... the everlasting irony of the community". Jacques Lacan used Antigone as a key figure in "The Ethics of Psychoanalysis". In recent years cultural theorists such as Slavoj Zizek, Judith Butler, Peggy Phelan, Luce Irigaray, Adriana Cavarero and Joan Copjec have written provocatively about the character and nature of Antigone. She has been seen as a feminist, a terrorist, a model for resistance against oppression, a self-destructive ideologue, an exponent of feminine desire, and a victim. George Steiner has argued that Antigone is reinvented for every generation. We are planning an international interdisciplinary symposium on the theme of Antigone. We intend to attract philosophers, feminists, poststructuralists, classicists and theatre and film scholars to investigate what the character of Antigone means for us today. The conference coincides with the Dublin Theatre Festival and a meeting of the European Network of Research and Documentation of Performances of Ancient Greek Drama. http://www.interrogatingantigone.com Performance Reclamation: Research, Discovery, and Interpretation United States - New York February 16, 2007 The Theatre Library Association - in conjunction with Mint Theater, New York City Center Encores!, and Jacobs Pillow Dance Festival - announces its second Symposium. Exploring the complex challenges of staging works recovered from dramatic and musical repertories, three in-depth case studies of remounting works of drama, musical theatre, and modern dance will be presented: Friday, February 16, 2007 9:00 AM - 5:00 PM Page 8 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Kimmel Center for University Life New York University 70 Washington Square South/LaGuardia Place New York City Known for excavating buried theatrical treasures, artists and dramaturgs from Mint Theater, Encores! and Jacobs Pillow will take the audience on a theatrical dig - rediscovering musical scores, recovered choreography, and forgotten plays. Issues of original intent, interpretation, and artistic license will be considered. FEATURED PRESENTERS * Jonathan Bank, Artistic Director, Mint Theater Company * Rob Fisher, former Musical Director, New York City Center Encores! * Norton Owen, Director of Preservation, Jacob's Pillow Dance Festival * Sarah Stackhouse, Jose Limon scholar * Jack Viertel, Artistic Director, New York City Center Encores! * Don B. Wilmeth, theatre scholar SYMPOSIUM WEBSITE: http://tla.library.unt.edu/symposiaworkfileindexpage.html ONLINE REGISTRATION: http://tla.library.unt.edu/symposiaworkfileindexpage_files/registration.htm For additional information, please contact Co-Chairs: Marti LoMonaco, [email protected] Kenneth Schlesinger, [email protected] Kevin Winkler, [email protected] Playing Politics - Current Approaches to Performance Studies Sweden - Stockholm October 12, 2006 - October 14, 2006 Symposium in celebration of the 60th anniversary of Theatre and Dance Studies Stockholm University Theatre Studies was established as a discipline at Stockholm University in 1946. The name and organisation of the department has changed over the years, but the ambition has prevailed to combine traditional theatre research with challenging new perspectives. Therefore, it seems appropriate to present some of the latest news in connection with our 60th anniversary. The programme includes: Thursday 12 October: GLOBAL // LOCAL Keynote by Ananya Chatterjea (Minnepolis) Contributions by Pirkko Koski (Helsinki) and Karen Vedel (Copenhagen, Helsinki) Friday 13 October: PERFORMANCE // RESEARCH Keynote by Elaine Aston (Lancaster) Contributions by Ulf Peter Hallberg (Berlin) and Ananya Chatterjea (Minneapolis) Saturday 14 October: THEATRICALITY // PLAYING Keynote by Thomas Postlewait (Ohio) Contributions by Niels Lehmann (Århus) and Ola Johansson (Lancaster) These lectures will be given in the afternoon sessions (2-6 pm) while the morning hours of these days are devoted to Page 9 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 presentations of PhD and post-doc projects. If you want to present your project, please send an abstract to the address below before 15 September 2006. In the evening of Friday 13 Oct. 2006, a meeting of the Association of Nordic Theatre Scholars (NTF) will take place. ADMISSION FREE For details see http://www.teater.su.se Or contact [email protected] Wagner Conference United Kingdom - Sidcup October 20, 2006 - October 21, 2006 Rose Bruford College Sidcup, Kent DA15 9DF An exciting programme of films and papers including a rare showing of 1912 Biopic, papers by international scholars on Meyerhold's 1909 Tristan, the Eddic sources, lighting approaches in Wagner, Wagner's unfinished scores, radical interpretations of The Ring and the use of the Taragato in Wagner, plus Dame Anne Evans in conversation about her life singing Wagner. Fees: £100 for the whole event, £75 for the Saturday papers, £15 each for the 1912 film and Dame Anne Evans Details and registration from Dr Jane Schopf at [email protected] Phone: 0044 208 308 2647 * : Modified only Page 10 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 2. EXHIBITIONS André Acquart - Architecte de l'éphémère France - Paris September 26, 2006 - November 19, 2006 Bibliothèque Nationale de France Site Richelieu / Crypte Au théâtre comme à l'opéra, André Acquart a confirmé, par son talent, le rôle central que tient le scénographe contemporain auprès du metteur en scène. Architecte de l'éphémère, Acquart est le créateur de dispositifs scéniques novateurs qui, tous, ont eu pour objectif de casser le cadre rigide du théâtre à l'italienne. À travers des documents visuels spectaculaires (accessoires de scène, dessins et maquettes en volume), l'exposition illustre une étape essentielle du travail théâtral et révèle une uvre plastique particulièrement aboutie. L'utilisation de matériaux bruts, bois et métal, caractérise le style Acquart, à la fois puissant et dépouillé. Exposer l'uvre d'André Acquart, c'est évoquer aussi de grandes aventures théâtrales de ces cinquante dernières années. Tour à tour collaborateur de Jean-Marie Serreau, Roger Blin, Jean Vilar, Gabriel Garran, Laurent Terzieff, Guy Rétoré, Jean-Pierre Miquel, au service d'auteurs ancrés dans leur temps comme Bertolt Brecht (La Résistible ascension d'Arturo Ui) ou Jean Genet (Les Nègres, Les Paravents) , André Acquart a su s'adapter aux petites scènes comme aux vastes plateaux (de la Comédie-Française ou du Théâtre national Populaire) pour servir un large répertoire. Entrée libre Ouvert tous les jours de 10 à 19 h, sauf lundi et jours fériés BNF 58 rue de Richelieu 75002 Paris Tél : 00 33 (0)1 53 79 59 59 (serveur vocal) http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm?ancre=exposition_572.htm Angus McBean: Portraits United Kingdom - London July 5, 2006 - October 22, 2006 National Portrait Gallery Porter Gallery Angus McBean: Portraits is the first museum retrospective devoted to Angus McBean (1904-90), one of the most significant British photographers of the twentieth century. It brings together over 100 photographs in black and white and colour, including a large number of vintage prints from museum collections and important loans from private collections. The exhibition offers an unprecedented opportunity to see the astonishing range of McBean's work. From the striking surrealist portraits of the 1930s to his period as indisputably the most important photographer of theatre and dance personalities of the 1940s and 1950s. The exhibition also showcases his cult re-emergence as a chronicler of pop music and includes his famous Beatles covers. Highlights of the exhibition include the iconic 1951 photograph of the then unknown Audrey Hepburn, her head and shoulders emerging from sand - and posed amidst classical pillars. The forty-year spread of the exhibition includes more recent photographs of Derek Jarman and Tilda Swinton, while other significant portraits include Marlene Dietrich, Mae West and Katharine Hepburn. The exhibition also features several defining portraits of Vivien Leigh, whom McBean photographed many times over the course of their thirty-year association. Page 11 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 On show for the first time is the complete series of his self-portrait Christmas cards which McBean produced between 1934 and 1985. These inventive and innovative portraits are displayed alongside theatrical props used in their composition, including a Mae West puppet, a marble 'Greek God' bust, bisque 'bathing beauties' and two 1930s papier mâché masks of Greta Garbo and Ivor Novello. Publication A lavishly illustrated catalogue accompanies this exhibition by curator Terence Pepper, and includes excerpts from McBean's unpublished autobiography, Look Back in Angus. (Price £25 hardback, 280 x 230mm, 172 pages, 100 images) Open daily 10am - 6pm Late night opening Thursday and Friday until 9pm Admission: £5/£3.50 http://www.npg.org.uk/live/woangusmcbean.asp Antonin Artaud France - Paris November 7, 2006 - February 4, 2007 Site François-Mitterrand / Grande Galerie Antonin Artaud dans La Passion de Jeanne dArc de Carl Dreyer, 1928, Ph. Jean Soulat - Maurice Bossus © D.R /BnF, dpt. Arts du spectacle L'uvre d'Antonin Artaud (1896-1948) occupe une position originale dans la première moitié du XXe siècle, au croisement de la littérature, du dessin, du théâtre, du cinéma et de la radio. L'hommage qui lui est rendu est l'occasion pour la BnF de rassembler l'essentiel de sa production littéraire, graphique et enregistrée: textes et cahiers conservés au département des Manuscrits et dessins issus des collections publiques et privées restituent la cohérence d'une pensée à travers ses différents moyens d'expression. Ces uvres retracent les lignes de force de son évolution depuis les débuts littéraires et théâtraux dans les années 1920 jusqu'aux ultimes témoignages de 1947 et 1948. En préambule du parcours, des autoportraits invitent au face à face avec les visages de l'homme. Puis un couloir évoque l'itinéraire biographique d'Artaud, marqué par le délire, la médecine qui entend l'endiguer et l'insurrection contre toute mise au pas thérapeutique, esthétique et métaphysique. L'uvre théâtrale, cinématographique et critique donne à voir et à entendre le prodigieux revers créateur de l'enfermement : passage(s) donc, singulier et multiple, de l'autre côté du miroir de la folie vers l'infini de l'uvre, vers l'expérience poétique dans son indéfinissable étrangeté. Tarif plein: 7 Tarif réduit: 5 Visites guidées Individuelles: Information et réservation au 00 33 1 53 79 40 43 Pour les groupes: Information et réservation obligatoire même pour les visites libres au 00 33 1 53 79 49 49 BNF Quai François-Mauriac 75706 Paris Cedex 13 Tél : 00 33 1 53 79 59 59 (serveur vocal) http://www.bnf.fr/default.htm Page 12 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Bêtes de scène France - Moulins July 2, 2006 - November 5, 2006 Exposition douverture du Centre National du Costume de scène Costume pour lAigle La Flûte enchantée Opéra de Mozart Mise en scène de Benno Besson Costumes de Jean-Marc Stehlé Opéra National de Paris, Palais Garnier, 2000 Lexposition présente environ 120 costumes, issus en majorité des fonds des trois partenaires fondateurs du CNCS ainsi quune centaine de pièces: dessins de costumes, affiches de spectacle, gravures, programmes, livres et livrets, photos de scène, pour la plupart provenant des collections de la Bibliothèque Nationale de France (département des Arts du spectacle, Bibliothèque-Musée de lOpéra). Les prêteurs sont : - les institutions fondatrices : la Bibliothèque Nationale de France, la Comédie-Française, l'Opéra National de Paris - des théâtres : Opéra-Comique, Théâtre National de Chaillot, Théâtre du Châtelet, Maison de la Culture de La Rochelle, Maison de la Culture de Loire-Atlantique - des compagnies et des costumiers : Alfredo Arias et le Tsé, Ateliers du Costume (ADC) - des bibliothèques et des musées : Association des régisseurs de théâtre (ART), Bibliothèque Forney, Centre de lIllustration Contemporaine à Moulins, Centre National de la Danse (CND), Musée Anne de Beaujeu à Moulins, Médiathèque de Moulins, Musée dAix-en-Provence, Musée de lOpéra de Vichy - des collectionneurs Des ballets de cour du XVIe siècle aux Fables de La Fontaine mises en scène par Robert Wilson à la ComédieFrançaise la saison dernière, les animaux disputent aux humains les plateaux des théâtres. Le spectacle est le lieu privilégié des enchantements, la scène est déjà un lieu magique. On ne sétonnera donc pas que les animaux y parlent, dansent et chantent, convention théâtrale oblige. Pour faire la bête, il faut en avoir la peau. Au gré des maquettes et des tenues de scène présentées ici, les costumes les plus précis, où ne manquent ni une plume ni un poil, voisinent avec ceux où règne lévocation la plus astucieuse, la plus décalée, la plus fantaisiste. La représentation dun animal, quel quil soit, sur un plateau de théâtre en fait un animal fantastique, même sil sagit des espèces les plus domestiques comme le chien ou le chat. Le seul fait quun humain les incarne les transforme en une zoologie de fantaisie, parfois émouvante, parfois inquiétante. Aux XVIe et XVIIe siècles, les premiers ballets de cour présentent créatures fantastiques et burlesques, des animaux y apparaissent souvent. Dès sa création par Louis XIV, lOpéra mêle le merveilleux et lenchantement à la mythologie. Au siècle suivant, la fantaisie éclate sur les petites scènes des Théâtres de la Foire, à la Comédie Italienne, à lOpéraComique. Limagination la plus débridée est autorisée, loin du formalisme qui fige alors lAcadémie Royale de Musique. Les livrets sinspirent des contes, empruntant très largement à Charles Perrault. Le phénomène atteint son paroxysme avec les salles du Boulevard du Temple, la Gaîté, lAmbigu, la Porte Saint-Martin. Des équipes de spécialistes se forment pour monter de grands spectacles à effet, utilisant tous les trucages connus, en inventant bien dautres, apparition de royaumes féeriques, métamorphoses, changements de costumes à vue. Les fées envahissent les scènes, les animaux sont des sujets ordinaires de leur royaume. Ils seront mis à toutes les sauces, mélodrame, ballet, opéra-comique, théâtre dramatique, revue. Le XIXe siècle encense le progrès, voit le développement des villes et lindustrialisation. Le désenchantement du monde moderne semble incompatible avec cette poésie de lirréel. Mais les animaux vont résister au théâtre réaliste et social, car survit en eux lesprit du rêve. Ils deviendront même les symboles de la résistance à la banalité du quotidien. Les nombreuses relectures duvres comme « Les Oiseaux » dAristophane, « LEnfant et les sortilèges » de Ravel, « Chantecler » dEdmond Rostand ou encore « Cats », la présence continue au répertoire des grands ballets classiques, « Le Lac des cygnes », « La Belle au bois dormant », « Le Chat botté » attestent de lintérêt des metteurs en scène, des chorégraphes et des costumiers pour ce type de sujet qui séduit toujours un public pourtant maintenant Page 13 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 rompu aux effets cinématographiques. Scénographes : Claudie Gastine, Yves Bernard Horaires d'ouverture Du 1er octobre au 5 novembre, 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 Centre National du Costume de scène et de la Scénographie, CNCS Quartier Villars Route de Montilly 03000 Moulins Tél: 00 33 4 70 20 76 20 Fax: 00 33 4 70 34 23 04 Mail: [email protected] Site internet: http://www.cncs.fr Caspar Neher and Bertolt Brecht - A Stage for the Epic Theatre Germany - Munich October 18, 2006 - February 4, 2007 The stage designer Caspar Neher was one of the central artistic personalities who shaped the form of the theatre in the 20th century. A lifelong friendship and congenial cooperation connected him with Bertolt Brecht. The two native Augsburgians worked together in writing an important segment of theatre history. Over a period of 30 years Neher not only accompanied his friend Brecht as a stage designer, he was also responsible for creating the typical stage form for Brechts epic theatre and for developing collective production work. In the center of the exhibition in the Deutsches Theatermuseum the result of its common theatre work is located: In the Brecht year 2006 the Brecht stage is demonstrated with its characteristic style elements such as the so-called Brecht curtain (= the medium-high curtain used by Neher), mobile flats and hangings and changing projections. In 2004 the Deutsches Theatermuseum, with the generous support of the Cultural Foundation of the States, the Ernst von Siemens Art Foundation and the Bavarian State Museums collection funds, was able to purchase a spectacular convolute of 315 drawings of the important stage designer Caspar Neher from a private owner. This purchase contained exclusively Nehers stage, scene and costume designs which are related to his cooperation with Brecht. The convolute supplemented the already existing collection of Caspar Neher designs, so that the Deutsches Theatermuseum in Munich now has the most extensive collection of Neher sheets in Germany. Caspar Nehers graphic sheets are of inestimable theatre-historical importance, since they document Brechts theatre between 1923 up to his death in 1956; they include not only single sheets, but also whole draft series for a large number of his plays among them numerous world premieres. Furthermore, the designs impressively document Nehers contribution to the productions. The high aesthetic attraction of the sheets, however, results from Nehers unusual visual creativeness and graphic mastery and makes viewing them a great pleasure. The exhibition illuminates the special stage shape of Brechts epic theatre. Beginning with the Munich premieres of Jungle of the Cities (1923) and The Life of Eduard II of England (1924), the initial development phase of the epic theatre is shown over the Three Penny Opera up to Brechts exile. With Sophocles Antigone, the first joint Neher/Brecht production after the war, begins the second phase with the so-called model productions such as Mister Puntilla and his Chauffeur Matti. On the basis of ten plays the development of a stage for the epic theatre is afterdrawn: The large series of Nehers designs are placed adjacent to the corresponding scene photos. Thus on the one hand the designs and their stage implementation and on the other hand the stage development of the epic theatre with its typical stylistic methods are presented for viewing. Page 14 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 A richly illustrated catalog with approximately 150 color illustrations which was published by Henschel Verlag accompanies the exhibition. Opening hours: Tuesday Sunday 10 a.m. 4 p.m. (closed on 1.11.06, 24.12. und 25.12. 06) Entrance fee: 4, concession 3 Deutsches Theatermuseum Galeriestr. 4a (Hofgartenarkaden) 80539 München Phone: 0049 089 21 06 91 0 http://www.stmwfk.bayern.de/kunst/museen/theatermuseum_a.html Everybody`s Theatre - Theater für Menschen Germany - Düsseldorf October 29, 2006 - February 25, 2007 In 30 years from the Kinder- and Jugendtheater to the Junges Schauspielhaus The german author Erich Kästner once wrote: Theatre for children must be the same as theatre for grownups, only better. When in 1976 Günther Beelitz took over the directorship of the Düsseldorfer Schauspielhaus he founded a new independent department and put Barbara Oertel-Burduli in charge of the from then on called Kinder- und Jugendtheater (Children- and Youth-Theatre). Until her death in 2002 Barbara Oertel-Burduli shaped/formed the artistic image of this theatre, that in 1979 got a first provisional stage of its own at the Münsterstraße. After extensive redevelopment in1993 it finally became an institution of local and regional standing. In 2003, under its new director Stefan Fischer-Fels it changed over to repertory system and is now able to offer up to 12 different productions per month. Additional evening performances and production that aim for all generations underline its steadly growing importance. Accordingly it will call itselve from this season on Junges Schauspielhaus (Young Schauspielhaus). Since its beginning as a theatre for young people it consequently focused on the needs and interests of his young audience, putting the idea of theatre as a place for art on a back seat. In the exhibition photos, props, costumes and videos will give a vivid account of the last thirty years. Special events for visitors as well as schools will attract the audience to visit the Theatre at Münsterstraße more often. An exhibition catalogue will be published Opening hours: Tuesday - Sunday: 1:00 - 8:30 pm Entrance Fee: 3,- Euro, Concession: 1,50 Euro, Under 18s are free Guided Tours: every 3rd Sunday at 3:30pm or can be booked by email: [email protected] Theatre Museum Düsseldorf, Jägerhofstaße 1 (in the Hofgarten), 40479 Düsseldorf, Tel.: 00 49 - 0211 - 8994660 Exposition Oscar Wilde au Théâtre Antoine Page 15 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 France - Paris September 23, 2006 Inauguration de l'exposition samedi, le 23 septembre 2006 Le Théâtre Antoine à Paris qui affiche cette rentrée "L'important d'être constant", la dernière pièce d'Oscar Wilde, inaugure samedi - jour de la... Saint-Constant - une exposition consacrée au sulfureux écrivain britannique. Le Théâtre Antoine a réuni pour son exposition Wilde affiches, programmes, dessins et caricatures évoquant surtout la carrière parisienne des pièces du dramaturge. Oscar Wilde est un auteur qui porte chance au Théâtre Antoine, qui a monté il y a dix ans sa comédie "Un mari idéal", jouée plus de cinq cents fois et dont la production a obtenu le Molière du meilleur spectacle et le Molière du meilleur comédien pour Didier Sandre. Information reçue par Agence France Presse (AFP) Le cinéma expressionniste allemand - Splendeurs d'une collection France - Paris October 26, 2006 - January 22, 2007 Ombres et lumières avant la fin du monde A l'occasion de ses 70 ans, la Cinémathèque française montrera pour la première fois au public quelques-unes des plus belles pièces de ses collections consacrées au cinéma expressionniste allemand : plus de 150 dessins originaux, qui participent de près ou de loin à cet attrait du cinéma muet allemand pour l'architecture, le « démoniaque », la métaphysique, l'abstraction et les jeux de lumière. Parmi eux, on citera les dessins originaux réalisés par les plus grands décorateurs pour Caligari (Robert Wiene), Faust (F.W. Murnau), M le Maudit, Metropolis, Mabuse (Fritz Lang), L'Ange bleu (Joseph Von Sternberg), Le Cabinet des figures de cire (Paul Leni), La Rue sans joie (G.W. Pabst)... Chargée par Henri Langlois des collections non-film de la Cinémathèque française, Lotte H. Eisner, Allemande installée en France, effectue à partir de la Libération jusqu'à la fin de sa vie un énorme travail de collecte. Elle retrouve les principaux « Filmarchitekte » et obtient d'eux, grâce à son extraordinaire enthousiasme et son talent de persuasion, qu'ils confient leurs oeuvres à la Cinémathèque française. C'est ainsi que Lotte Eisner parvient à rassembler la plus belle collection au monde qui existe actuellement sur les décorateurs du cinéma allemand. Cette exposition leur rend hommage. Autour de l'exposition - L'expressionnisme cinématographique du 25 octobre au 31 décembre 2006 - Rétrospective intégrale des films de Friedrich Wilhelm Murnau du 25 octobre au 31 décembre 2006 - Des ciné-concerts et des ciné-mix événements (accompagnement musical en direct) - Un catalogue, en co-édition avec les Editions de la Martinière (parution le 19 octobre 2006) - Un documentaire inédit sur l'expressionnisme allemand (60'), réalisé par Stan Neumann et coproduit par Arte France et MK2 TV, diffusé sur ARTE en novembre 2006 - Des conférences dans le cadre du Collège d'Histoire de l'Art Cinématographique dirigé par Jacques Aumont. Du lundi au samedi de 12h à 19h, nocturne le jeudi jusquà 22h Le dimanche de 10h à 20h. Fermeture le mardi. Entrée : 9 Tarif réduit : 7 , moins de 12 ans 6 La Cinémathèque française 51, rue de Bercy 75012 PARIS Tél.: 00 33 1 71 19 33 33 Page 16 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 email: [email protected] http://www.cinematheque.fr/fr/nosactivites/expositions-cinema/expressionnisme.html Métamorphoses du Public France - Avignon September 20, 2006 Maison Jean Vilar Photo Denis Bordat Métamorphoses parce que les époques, les manières dêtre et de penser ont changé ; Publics parce quon ne peut plus, désormais, embrasser le public sur un seul visage mais quil nous faut lappréhender (sic) dans la multiplicité de ses origines Parcours libre parce que le visiteur est invité à circuler dans les salons de la Maison Jean Vilar pour tenter, dans une complicité partagée, de dessiner son propre visage lorsquil sappelle « le public ». Cest pourquoi cette évocation prendra davantage de risques artistiques quelle ne présentera de certitudes scientifiques. Comment Jean Vilar voyait-il ce public auquel il accordait « le grand rôle » de son entreprise ? Comment les politiques et les médias sadressent-ils à lui ? Comment, en retour, le public leur répond-il ? Comment prend-il à partie les artistes, les directeurs, les profanateurs, les enfants dans lesquels il se reconnaît ou ne se reconnaît pas ? Une salle de théâtre Théâtre de poche ou Cour dhonneur cest dabord un lieu vide où rien nexiste que des possibles. Puis cela semplit, cela écoute, cela applaudit, et cela retourne au vide. Le public, cela existe, et cela nexiste pas. Lexposer est donc une gageure, mais il nempêche : public rêvé, public réel, public chéri, public honni, la seule chose dont on ne puisse changer, cest de public, ce peuple du théâtre. Entrée gratuite Du mardi au vendredi de 9h30 à 12h et de 13h30 à 17h30. Le samedi de 10h à 17h. Maison Jean Vilar 8, rue de Mons Montée Paul Puaux 84000 Avignon Tél : 00 33 4 90 86 59 64 Fax : 0033 4 90 86 00 07 E-mail : [email protected] http://maisonjeanvilar.org/public/03_activites/index.html Viktor Kronbauer : The Stages Magical Dimensions Russian Federation - Sankt Petersburg September 29, 2006 - October 20, 2006 Galerii NOMI (Novyj Mir iskusstva) The exhibition has been prepared especially for the Russian territory and presents 41 black and white and 13 colour photographs from a total of 21 theatre productions: titles from the Russian classics make up the largest part of the exhibition (Chekhov and Dostoyevsky) as well as the productions of the plays of Shakespeare directed by Czech, Russian and European theatre artists. The supra-national opera productions that included Czech artists in the casts or creative teams are a special part of the exhibit: Wagners Der Ring des Nibelungen, Bohuslav MartinůŽs The Greek Passion and Shostakovichs Lady Macbeth of Mtsensk. The exhibition will take place within the framework of the project Czech Theatre Autumn-4 and is a part of the Page 17 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 accompanying programme of the Baltijskij dom International Festival. Organized by the Consulate General of the Czech Republic in Saint Petersburg and the Theatre Institute in Prague http://www.theatre.cz/art/clanek.asp?id=11648 * : Modified only Page 18 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 3. PUBLICATIONS 3.1. GENERAL 3.2. THEATRE A History of Theatre in Africa United Kingdom - Cambridge May 13, 2004 Edited by Martin Banham Cambridge University Press 496 pages 228 x 152 mm £85.00 This book aims to offer a broad history of theatre in Africa. The roots of African theatre are ancient and complex and lie in areas of community festival, seasonal rhythm, and religious ritual, as well as in the work of popular entertainers and storytellers. Since the 1950s, in a movement that has paralleled the political emancipation of so much of the continent, there has also grown a theatre that comments back from the colonized world to the world of the colonists and explores its own cultural, political and linguistic identity. A History of Theatre in Africa offers a comprehensive, yet accessible, account of this long and varied chronicle, written by a team of scholars in the field. Chapters include an examination of the concepts of 'history' and 'theatre'; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; and the African diaspora. Contents Preface Martin Banham; 1. Concepts of history and theatre in Africa Kole Omotoso; 2. North Africa: (a) Egypt Ahmed Zaki; (b) Morocco, Algeria and Tunisia Kamal Salhi; (c) Sudan Khalid AlMubarak Mustafa; 3. Francophone Africa south of the Sahara John Conteh-Morgan; 4. Anglophone West Africa: (a) Nigeria Dapo Adelugba and Olu Obafemi, additional material by Sola Adeyemi; (b) Ghana James Gibbs; (c) Sierra Leone Mohamed Sheriff; (d) A note on recent Anglophone Cameroonian theatre Asheri Kilo; 5. East Africa: (a) Ethiopia and Eritrea Jane Plastow; (b) Kenya Ciarunji Chesaina and Evan Mwangi; (c) Tanzania Amandina Lihamba; (d) Uganda Eckhard Breitinger; 6. Southern Africa David Kerr; 7. South Africa Yvette Hutchison; 8. Theatre in Portuguese speaking African countries Luis Mitras; 9. Mauritius and Réunion Roshni Mooneeram; 10. Surviving the crossing: theatre in the African diaspora Osita Okagbue. Contributors Martin Banham, Kole Omotoso, Ahmed Zaki, Kamal Salhi, Khalid AlMubarak Mustafa, John Conteh-Morgan, Dapo Adelugba, Olu Obafemi, Sola Adeyemi, Mohamed Sheriff, Asheri Kilo, Jane Plastow, Ciarunji Chesaina, Evan Mwangi, Amandia Lihamba, Eckhard Breitinger, David Kerr, Yvette Hutchison, Luis Mitras, Roshni Mooneeram, Osita Okagbue http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521808138 Deaths Double and the Phenomena of Theatre United States - Minneapolis May 22, 2006 Alice Rayner Unniversity of Minnesota Press Page 19 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 256 pages $22.50 Paper ISBN 0-8166-4545-0 $67.50 Cloth ISBN 0-8166-4544-2 A new view of how the stage is home to ghosts. Making spirits visible has been a part of the theatrical experience since at least the sixteenth century. Instead of illusions, however, ghostly doubles in theatre are materially real and pervasive. In Ghosts, Alice Rayner examines theatre as a memorial practice that is haunted by the presence of loss, looking at how aspects of stagecraft turn familiar elements into something uncanny. Citing examples from the works of Shakespeare, Beckett, and Suzan-Lori Parks as well as the films Vertigo, Gaslight, and The Sixth Sense, she begins by describing time as it is employed by theatre with multiple aspects of presence, duration, and passage. Suggesting that objects connect past to present through the sense of touch, she explores how props are suspended backstage between motion and meaning. Her final chapters consider the curtain as theatres means for attempting to divide real and imaginary worlds. If ghosts hover where secretssecrets of the past, secrets from oneself, secrets of life and deathare kept, then, according to Rayner, theatre is where ghosts best make their appearances and let communities and individuals know that we live amid secrets hiding in plain sight. Alice Rayner is associate professor of drama at Stanford University and author of, most recently, To Act, To Do, To Perform: Drama and the Phenomenology of Action. TABLE OF CONTENTS Acknowledgments Introduction: Doubles and Doubts 1. Tonight at 8:00: The Missed Encounter 2. All the Dead Voices: Memorial and History 3. Objects: Lost and Found 4. Empty Chairs: The Memorial Double 5. Double or Nothing: Ghosts behind the Curtains 6. Ghosts Onscreen: The Drama of Misrecognition After Words Notes Index http://www.upress.umn.edu/Books/R/rayner_ghosts.html>http://www.upress.umn.edu/Books/R/rayner_ghosts.html</> Humour and Humanity - Contemporary Plays from Finland Finland - Helsinki August 9, 2006 Edited by Wilmer, S. E. & Koski, Pirkko ISBN: 952-471-805-7 442 p. 29.00 The plays in this volume reflect the uncertainty accompanying social transformations in the new millennium. They have all been very popular with Finnish and international audiences: Border Crossing by Kari Hotakainen won the 2006 Nordic Drama Prize and Mobile Horror by Juha Jokela has already been translated into many languages. Panic was selected for the Baltic Circle Theatre Festival in 2005; and Reko Lundan's Can You Hear the Howling? and Queen C by Laura Ruohonen were chosen for the Culture 2000 translation series. In each of the plays the characters search for meaningful lives in a world that seems confusing and purposeless to Page 20 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 them. The plays explore universal themes such as crises in identity, love relationships, problems of unemployment, dysfunctional families, alcohol abuse, and the questioning of moral and spiritual values. They have been chosen for this anthology on the basis of their international appeal as much as their aesthetic and dramatic quality. All the writers discuss serious and significant issues with a great sense of humour and humanity. http://www.likekustannus.fi/kirjakeko/tiedot.php?id=3930 Josip Rijavec Slovenia - Ljubljana October 5, 2006 Dokumenti SGM no 82,year 42 National Theatre Museum Paper back ISBN 961-6218-84-00 334 pages 160 x 240mm Dokumenti SGM is the periodical of the National Theatre Museum Josip Rijavec (1890-1959) also known as Jose Riavez, a wold famous tenor singer was born in Slovenia. His legacy was donated to the National Theatre Museum, therefore a research project on his international opera career in concert halls was started. Members of SIBMAS provided the missing archival material preserved in several theatre collections. The book was written by ten authors edited by Francka Slivnik and Ivo Svetina. Josip Rijavec is presented as a member of operas in Croatia (Zagreb), Serbia (Belgrade), Czechia (Prague), Germany (Berlin) and as a guest performer in Slovenia, Austria,Italy, Denmark, Germany, Sweden, Hungary, Spain, France, Argentina and Russia. He finished his career as professor at the Music Academy in Belgrade. His best student was Biserka Cvejić who gives him all his credit for her becoming an internationally known opera diva. The book is published in Slovene, summaries are in English. It presents a chronological index of his appearances, archival documents and frontpages of nine videotapes including interviews with professionals from Ljubljana, Zagreb and Belgrade that remember him. Further information: Francka Slivnik [email protected] Le monde du théâtre - The World of Theatre France - Paris July 1, 2006 Le monde du théâtre est une publication bisannuelle réalisée par le Comité de la Communication de lInstitut international du Théâtre (Unesco), lequel compte aujourdhui plus de 90 pays. Il sagit délaborer une vue densemble de lactivité, de lévolution, des courants qui se dessinent dans lactivité théâtrale mondiale, en une entreprise à la fois horizontale et verticale, autrement dit, géographique et historique. Tous les deux ans, depuis le milieu des années 1980, les Centres nationaux de lIIT sont invités à rédiger un bref article récapitulatif des grandes tendances de leur théâtre national pendant les deux années écoulées: innovations, évolutions, tant sur les plans artistique que de lorganisation générale des arts du spectacle, le tout étant naturellement indissociable de la situation sociopolitique du pays envisagé. Larticle est illustré de deux à trois photos de spectacles représentatifs. Cette entreprise permet tout à la fois de prendre conscience de la diversité des pratiques théâtrales internationales: cest probablement le seul ouvrage qui offre la possibilité de sinformer à la fois sur le théâtre au Japon et le théâtre en Argentine, au Burkina Faso et en Suède, au Bangladesh et en Islande. Disponible auprès du Secrétariat Général de l'Institut International du Théâtre - Unesco Page 21 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 1 rue Miollis 75732 Paris Cedex 15 France Courriel: [email protected] Prix: 12 Contact: [email protected] Looking Back: Playwrights at the Royal Court, 1956-2006 United Kingdom - London July 6, 2006 Harriet Devine Faber & Faber ISBN: 057123013X Format: Paperback Price: £14.99 Looking Back is a captivating collection of new interviews by Harriet Devine, the daughter of the first Artistic Director of the Royal Court, George Devine, to celebrate the theatre's fifty year anniversary. The book contains conversations with over thirty celebrated playwrights whose work has been produced at the Royal Court; from John Arden, whose first Court play was staged in 1957, to the young writer Simon Farquhar, whose premiere production is programmed for 2006. The exciting list of writers includes Sebastian Barry, Richard Bean, Martin Crimp, Anne Jellicoe, Terry Johnson, Hanif Kureishi, Conor McPherson, David Storey, Timberlake Wertenbaker, Arnold Wesker and Snoo Wilson. Concluding the volume is an interview with Graham Whybrow, Literary Manager of the Royal Court. http://www.faber.co.uk/book_detail.html?bid=36393 New Downtown Now - An Anthology of New Theater from Downtown New York United States - Minneapolis May 26, 2006 Mac Wellman and Young Jean Lee, editors Introduction by Jeffrey M. Jones Minnesota University Press Paperback 320 pages 12 halftones 7 x 10 ISBN 0-8166-4731-3 $24.95 Ten experimental new plays from New York's vibrant downtown theater scene. At a time when most serious drama being written and produced for the American stage aspires only to mainstream acceptance and high-toned mediocrity, an innovative new generation of playwrights based in New York City has emerged, crafting works that challenge and undermine the conventional structure, language, and characterization of commercial theater while rejecting outdated notions of the avant-garde. New Downtown Now brings together ten new works that exemplify the playfulness, excitement, and possibilities of the theater. Characterized by fragmenting structure, hypnotic rhythms, kaleido-scopic imagery, unpredictable characters, Page 22 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 and lyrical language, these plays resemble puzzles from which the writers are teasing revelations. Though disparate in subject matter and style, with characters ranging from a sushi chef to a soldier and settings from a taxicab to a live television broadcast, these highly original plays share a commitment to formal experimentation that places them beyond the psychological clichés of the majority and the cold condescension of postmodernism. The anthology includes Interim by Barbara Cassidy; Tragedy: a tragedy by Will Eno; Nine Come by Elana Greenfield; Shufu-Sachiko and Enoshima Island by Madelyn Kent; The Appeal by Young Jean Lee; The Vomit Talk of Ghosts by Kevin Oakes; Ajax (por nobody) by Alice Tuan; Apparition, an uneasy play of the underknown by Anne Washburn; Demon Baby by Erin Courtney. Mac Wellman is the author of numerous plays and the recipient of three Obie awards, most recently in 2003 for lifetime achievement. He is professor of playwriting at Brooklyn College. Young Jean Lee is a playwright and director, and member of the Obie award-winning company 13P. Jeffrey M. Jones is a playwright and curator of the Obie award-winning Little Theater at Tonic in New York. http://www.upress.umn.edu/Books/W/wellman_new.html#TOC Revue dHistoire du Théâtre France - Paris 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 N° 229 (2006-1) Numéro thématique : Les mises en scène de Corneille (1947-2006) · « Une uvre classique est une pièce dor dont on na jamais fini de rendre la monnaie » ? (Brigitte Prost) · Le Festival de Barentin (André Blanc) · Illustre et méconnu : Avez-vous lu Agésilas ? Conversation avec Jean-Marie Villégier (Martial Poirson) · Il était une fois une Veuve ou du ludisme dun metteur en scène : Christian Rist (Brigitte Prost) · Le Cid à la Comédie-Française : décors et interprètes (Joël Huthwohl) · Corneille en état de grâce : Le Cid ou la dénégation et lextase. Conversations avec Brigitte Jaques-Wajeman (Martial Poirson) · Eugène Green et la mise en scène « en déclamation » : un pas dans lautre monde. Entretien avec Isabelle Grellet (Brigitte Prost) · LIllusion par Frédéric Fisbach : « Etre attentif à un paysage » (Brigitte Prost) · Corneille au Portugal (Maria João Brilhante et Maria-Helena Serôdio · Tableau chronologique 1947-2006 (Brigitte Prost) N° 230 (2006-2) · · · · Artaud et le théâtre balinais. Les spectacles de 1931 (Elsa Clavé) Jeanne Laurent et Jean Dasté : une affinité élective autour du théâtre (Marion Denizot) Les Sauvages. Lhéroïsme au féminin chez Jean Anouilh (Pierre-Alexandre Sicart) Les métamorphoses dune pièce dOlivier Py. Au monde comme ny étant pas/Jeunesse (David Edney) Livres et revues (comptes rendus) - Maryline ROMAIN, Léon Chancerel. Un réformateur du théâtre français (Marco Consolini) - Anne-Madeleine GOULET, Poésie, musique et sociabilité au XVIIe siècle. Les livres dair de différents auteurs publiés chez Ballard de 1658 à 1694 (Judith Le Blanc) - Philippe BEAUSSANT, La malscène (Marie-Françoise Christout) - Charlette DARMON-LE-POGAM, Laurent Terzieff aventurier du théâtre (Marie-Françoise Christout) - Michel BATAILLON, Un défi en province , chronique dune aventure théâtrale, Chéreau, Planchon et leurs invités, Page 23 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 1972-1986 (Paul-Louis Mignon) Société d'Histoire du Théâtre Bnf - 58, rue de Richelieu 75084 Paris Cedex 02 Tél.: 00 33 1 42 60 27 05 Fax: 00 33 1 42 60 27 65 Email : [email protected] http://www.sht.asso.fr Signes du spectacle - Des arts vivants aux médias Switzerland - Bern May 31, 2006 André Helbo Peter Lang Editions Scientifiques Internationales Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien 147 pages Dramaturgies. Textes, Cultures et Représentations. Vol. 18 Directeur de collection : Marc Maufort ISBN 90-5201-322-5 br. 19.95 £ 13.90 US-$ 23.95 Lêtre humain joue au théâtre, danse, chante, exécute des numéros de cirque, met en scène le quotidien. Ces pratiques spectaculaires, séparées ou confondues dans les sociétés en mutation de lOccident, sont amenées aujourdhui à redessiner leur identité dans des champs (inter)culturels, des imaginaires, des contraintes, des modes de lecture complexes. Le concept dadaptation, au centre de ce livre, trouve dans pareil contexte une résonance exemplaire, désignant l intercession par laquelle créateurs et spectateurs s énoncent ensemble dans un questionnement sur la marque spectaculaire. Il suscite des rencontres entre compétences de réception, entre pertinences (énonciatives, émotionnelles, culturelles, technologiques) à la fois communes et propres aux différentes pratiques. Un champ innovant et décloisonné souvre à une recherche attentive à ces processus. Poursuivant un projet qui considère la sémiotique comme une discipline interstitielle, en croisement avec dautres approches lanthropologie, les sciences sociales et humaines , cet ouvrage propose des suggestions de modèles et des analyses qui prennent en compte les changements théoriques intervenus ces dernières années. Il interroge de façon stimulante les mécanismes dappropriation des arts du spectacle. Contenu : La mise en spectacle Frayer le passage. Vers la transduction Définition La marque spectaculaire Culture industrielle, culture du spectacle vivant Sur linterculturalité : toute représentation est adaptation Monde de référence et mondes possibles À propos de la traduction intersémiotique. La scène, le film Configuration discursive. Dimension sociologique ou sémiopragmatique du MRP Pour une typologie des compétences réceptives Adaptation et traduction. Une liaison dangereuse ? Le film de danse. Lailleurs imaginaire de Maurice Béjart Le conflit de lexpression et du contenu. Le cas de Mélo La télévision, lexpression en quête de contenu Delvaux : une écriture « intermédiale » Ladaptation et les nouvelles questions adressées à létude du spectacle vivant. L'auteur: Professeur à l'Université libre de Bruxelles (ULB), André Helbo dirige la filière européenne en arts du spectacle vivant et le centre de sémiologie du théâtre. Directeur depuis 1973 de la revue internationale Degrés, il a consacré de très nombreux travaux à la sémiotique générale et appliquée, ainsi qu'à la théâtrologie. Plusieurs de ses ouvrages (Les mots et les gestes ; Theory of Performing Arts ; Théâtre. Modes d'approche ; Approches de l'opéra ; L'adaptation. Du théâtre au cinéma) concernent en particulier l'adaptation comme croisement de systèmes complexes. http://www.peterlang.com/Index.cfm?vID=21322&vHR=1&vUR=2&vUUR=1&vLang=D Page 24 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 The Dynamic World of Finnish Theatre - An Introduction to its History, Structures and Aesthetics Finland - Helsinki August 9, 2006 Edited by Wilmer, S. E. & Koski, Pirkko ISBN: 952-471-804-9 182 p. 29.00 This book will provide an introduction to Finnish theatre and culture for foreign scholars and students. It includes a general introduction, and an overview of the history and aesthetics of Finnish theatre and its role in society. It will also consist of scholarly analyses of specific topics so that it will appeal to both the general reader and the more specialized academic scholar. The book will also be useful for university courses for visiting students in Finland, and for courses on theatre and culture in foreign universities. The book consists of an introduction and five chapters. The first chapter will provide a general theatre history of Finland, from its origins to the present, orientating the general as well as the specialized reader. It will focus on the ways in which Finnish theatre compares and contrasts with the theatre and culture of other countries. The second chapter will contribute a detailed history of the creation and development of the National Theatre until independence (1872 to 1917). This will give a scholarly account of the teething difficulties of the emergent Finnish (National) Theatre company under Kaarlo Bergbom and others, amidst considerable social and political change. The third chapter will discuss the performance tradition and canonization of national and foreign plays in Finland, e.g., the dramaturgy, directing styles, acting, scenography and technology involved in the general aesthetic developments in Finnish theatre. It will assess the importance of national writers such as Kivi, Canth, Jotuni and Wuolijoki, as well as the classics: the ancient Greek dramatists, Shakespeare, Ibsen, Strindberg, Shaw, Chekhov, and Brecht as part of this performance history. Chapter four will trace the development of the Finnish theatre system (such as funding, personnel, training, amateur drama, and the nature and types of theatre buildings and companies). Chapter five will discuss the Finnish plays and operas (such as those by Sallinen who has achieved great international acclaim) that have been produced abroad. It will focus mainly on those plays and operas that have been produced in English-speaking countries or have been translated into English, thereby providing an active resource for the development of courses on Finnish theatre through the medium of the English language. http://www.likekustannus.fi/kirjakeko/tiedot.php?id=3929 Tragedy Walks the Streets - The French Revolution in the Making of Modern Drama United States - Baltimore September 19, 2006 Matthew S. Buckley Johns Hopkins University Press $ 49.95 Hardcover 0-8018-8434-9 (36 ctn qty) 208 pages Tragedy Walks the Streets challenges the conventional understanding that the evolution of European drama effectively came to a halt during France's Revolutionary era. In this interdisciplinary history on the emergence of modern drama in European culture, Matthew S. Buckley contends that the political theatricality of the Revolution Page 25 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 tested and forced the evolution of dramatic forms, supplanting the theater itself as the primary stage of formal development. Drawing on a wide range of texts and images, he demonstrates how the social and political enlistment of dramatic theatricality inflected rising social and political tensions in pre-Revolutionary France, shaped French Revolutionary political culture, conditioned British political and cultural responses to the Revolution, and served as the impetus for Büchners radical formal innovations of the 1830s. Setting aside traditional boundaries of literary scholarship, Buckley pursues instead a history of dramatic form that encompasses the full range of dramatic activity in the changing cultural life of the late eighteenth and early nineteenth century, including art, architecture, journalism, political performance, and social behavior. Surveying this expanded field of inquiry, Buckley weaves together a coherent formal genealogy of the drama during this period and offers a new, more continuous generic history of modern drama in its first and most turbulent phase of development. Reviews Matthew S. Buckley is an assistant professor of English at Rutgers University. http://www.press.jhu.edu/books/title_pages/8597.html 3.3. FILM Blue-Collar Hollywood - Liberalism, Democracy, and Working People in American Film United States - Baltimore July 14, 2006 John Bodnar John Hopkins University Press Paperback 328 pp. 13 b&w photos $ 25.00 Description From Tom Joad to Norma Rae to Spike Lee's Mookie in Do the Right Thing, Hollywood has regularly dramatized the lives and struggles of working people in America. Ranging from idealistic to hopeless, from sympathetic to condescending, these portrayals confronted audiences with the vital economic, social, and political issues of their times while providing a diversionsometimes entertaining, sometimes provocativefrom the realities of their own lives. In Blue-Collar Hollywood, John Bodnar examines the ways in which popular American films made between the 1930s and the 1980s depicted working-class characters, comparing these cinematic representations with the aspirations of ordinary Americans and the promises made to them by the country's political elites. Based on close and imaginative viewings of dozens of films from every genreamong them Public Enemy, Black Fury, Baby Face , The Grapes of Wrath, It's a Wonderful Life, I Married a Communist, A Streetcar Named Desire, Peyton Place, Taxi Driver, Raging Bull, Coal Miner's Daughter, and Boyz N the Hood this book explores such topics as the role of censorship, attitudes toward labor unions and worker militancy, racism, the place of women in the workforce and society, communism and the Hollywood blacklist, and faith in liberal democracy. Whether made during the Great Depression, World War II, the Cold War, or the Vietnam era, the majority of films about ordinary working Americans, Bodnar finds, avoided endorsing specific political programs, radical economic reform, or overtly reactionary positions. Instead, these movies were infused with the same current of liberalism and popular notion of democracy that flow through the American imagination. Author Information John Bodnar is Chancellor's Professor of History at Indiana University, Bloomington, and author of numerous books, including Remaking America: Public Memory, Commemoration, and Patriotism in the Twentieth Century . Page 26 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 http://www.press.jhu.edu/books/title_pages/1232.html Contemporary World Cinema - Europe, the Middle East, East Asia and South Asia United Kingdom - Edinburgh March 15, 2006 Shohini Chaudhuri Edinburgh University Press Paperback ISBN: 0-7486-1799-X £14.99 $25.00 Hardback ISBN: 0-7486-1798-1 £45.00 $ 75.00 Since the start of the 1990s, despite tougher competition than ever before from Hollywood, a rebirth and flourishing of cinema has been taking place in parts of Europe, the Middle East, East Asia and South Asia. This book provides an overview of the cinemas of these regions, interpreting some of the recent developments as strategic responses to globalisation. Highlighting transnational and cross-cultural structures, influences and themes, it offers: * A broad critical context for the study of contemporary world cinema, introducing key concepts and issues including modes of production and distribution. * Cultural and historical background for the cinemas of each region, with analyses of regional aesthetic styles and comparisons with Hollywood models. * Case studies of Scandinavian, Iranian, Hong Kong and Indian cinema. * Close analysis of twelve landmark films, including Thomas Vinterbergs Festen, Samira Makhmalbafs The Apple, Wong Kar-Wais In the Mood For Love, and Ashutosh Gowarikers Lagaan. Shohini Chaudhuri is Lecturer in Contemporary Writing and Film at the University of Essex. http://www.eup.ed.ac.uk/edition_details.aspx?id=12193 Here's Looking at You - Hollywood, Film & Politics United States - New York Giglio, Ernest Peter Lang New York Publication in 2006 Second Printing of the Second Edition New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2005, 2006. XVIII, 327 pp., num. ill. Politics, Media, and Popular Culture Vol. 11 Edited by Schultz David A. ISBN 0-8204-7099-6 pb. 25.80 Page 27 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 £ 16.90 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 University. http://www.peterlang.com/index.cfm?vID=69099&vLang=F&vHR=1&vUR=2&vUUR=1 Horror Film and Psychoanalysis - Freud's Worst Nightmare United Kingdom - Cambridge June 28, 2004 Series: Cambridge Studies in Film Edited by Steven Jay Schneider New York University and Harvard University, Massachusetts Cambridge University Press Hardback ISBN-13: 9780521825214 ISBN-10: 0521825210 318 pages 228 x 152 mm £45.00 In recent years, psychoanalytic theory has been the subject of attacks from philosophers, cultural critics, and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility, and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres. Contents Preface: what lies beneath? Robin Wood; Introduction: Psychoanalysis in/and/of the horror film Steven Jay Schneider; Part I. The Question of Horror-Pleasure: 1. 'What's the matter with Melanie?': reflections on the merits of psychoanalytic approaches to modern horror cinema Cosimo Urbano; 2. A fun night out: horror and other pleasures of the cinema Michael Levine; 3. Excerpt from 'Why Horror? The New Pleasures of a Popular Genre' (with a new afterward by the author) Andrew Tudor; 4. Philosophical problems concerning the concept of pleasure for future psychoanalytical theories of (the horror) film Malcolm Turvey; Part II. Theorizing the Uncanny: 5. Explaining the uncanny in The Double Life of Véronique Cynthia Freeland; 6. Manifestations of the literary double in modern horror cinema Steven Jay Schneider; 7. Heimlich maneuvers: on a certain tendency of horror and speculative cinema Harvey Roy Greenberg; 8. 'It was a dark and stormy night ': horror films and the problem of irony Jonathan L. Crane; Part III. Representing Psychoanalysis: 9. 'What does Dr. Judd want?': transformation, transference and divided selves in Cat People William Paul; 10. 'Ultimate formlessness': cinema, horror, and the limits of meaning Michael Grant; 11. Freud's worst nightmare: dining with Dr Hannibal Lector Barbara Creed; Part IV. New Directions: 12. Doing things with theory: from Freud's worst nightmares to (disciplinary) dreams of horror's cultural value Matt Hills; 13. The darker side of genius: the (horror) auteur meets Freud's theory Linda Badley; 14. Violence and psychophysiology in horror cinema Stephen Prince; Afterword: psychoanalysis and the horror film Noël Carroll. Page 28 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Contributors Robin Wood, Steven Jay Schneider, Cosimo Urbano, Michael Levine, Andrew Tudor, Malcolm Turvey, Cynthia Freeland, Harvey Roy Greenberg, Jonathan L. Crane, William Paul, Michael Grant, Barbara Creed, Matt Hills, Linda Badley, Stephen Prince, Noël Carroll http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521825210 The Cinema Dreams Its Rivals - Media Fantasy Films from Radio to the Internet United States - Minneapolis March 15, 2006 Paul Young University of Minnesota Press $25.00 Paper ISBN 0-8166-3599-4 360 pages 40 halftones $ 25 Reveals the complexity of the ties between Hollywood and new media. By the middle of the twentieth century, Hollywood, formerly the one and only dream factory, found itself facing a host of media rivals for the publics attention. In the 1980s, another competitor arrived in the form of the proto-Interneta computer network as yet untested by all but research scientists, college students, the military, and a few thousand PC and modem owners. How did Hollywood respond to this nascent challenge? By dreaming about it, in a series of technological fantasies, from Tron to War Games to Lawnmower Man. The Cinema Dreams Its Rivals examines the meaning and effect of the movies attempts to reshape the shifting media landscape. Paul Young looks at the American cinemas imaginative constructions of three electronic mediaradio, television, and the Internetat the times when these media seemed to hold limitless possibilities. In doing so, he demonstrates that Hollywood is indelibly marked by the advent of each new medium, from the inclusion of sound in motion pictures to the use of digital graphics. But conversely, Young argues, the identities of the new media are themselves changed as Hollywood turns them to its own purposes and its own dreams. Paul Young is professor of English and director of the film studies program at Vanderbilt University. http://www.upress.umn.edu/Books/Y/young_cinema.html The Cinema of Canada United Kingdom - London March 31, 2006 Jerry White Wallflower Press Paperback 288 pages 24 b&w ISBN: 1-904764-60-6 $25.00 £18.99 Often overlooked and overshadowed by its North American cousin, Canadian cinema has nevertheless produced some mesmerising films and directors, including Atom Egoyan, Robert Lepage and Denys Arcand. The Cinema of Page 29 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Canada contains 24 essays, each on a different film and divides itself into three distinct categories: English-Canadian cinema; Québec cinema; Aboriginal cinema. In so doing, it provides a fascinating historical account of the development of film and documentary traditions across the diverse national and regional communities in Canada. Among the many important films discussed are Le Déclin de l'empire américain (1988), I've Heard the Mermaids Singing (1988), Exotica (1994), Le Confessionale (1995) and Atanarjuat: The Fast Runner (2001). Jerry White is assistant professor of Film Studies at the University of Alberta, where he is also President of the Canadian Association for Irish Studies. He has published widely on Canadian cinema including, as coeditor, North of Everything: English-Canadian Cinema Since 1980 (2002). http://www.wallflowerpress.co.uk/ Theory of Film Music Germany - Frankfurt July 31, 2006 Published by Peter Lang Frankfurt Lexmann, Juraj Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien 191 pages, paperback Series of Slovak Academy of Sciences Vol. 2 Edited by Slovak Academy of Sciences ISBN 3-631-54335-2 / US-ISBN 0-8204-7771-0 pb. 39 £ 25.50 $ 43.95 Theory of Film Music strives to explain how music functions in film, how it is perceived by viewers, and which meanings and values it represents in the dramaturgy of a film work. The book points out the scope of expressive potentials of music in film and arranges them in systems. It draws upon the knowledge of psychology of perception, acoustics, aesthetics of music and film, and it explains film music through concepts, and terms of semiotics. It is concerned with music in relation to film space and time, music's incorporation in film montage, and music's impressiveness in relation to the graphic nature of film pictures. It points out the expression and symbolism of individual historical and genre types of music. Trying to provide a more vivid account of the extent of theoretically outlined propositions, the book offers more than 200 examples of verbal description of certain moments in films ranging from the beginnings of the sound film up to the present. They also manifest typical creative tendencies in the history of film music. The book is supplemented with score excerpts, analyses, photographs, and registers. Contents: Aesthetic Bond Between Visual Image and Music in Film - Semiotics of Film Music - Expressive Potential of Music in Film - Incorporation of Music into Structure of Film Expression - Formative Issues in Film Music. The Author: Juraj Lexmann, born in 1941, is a Slovak musicologist, music composer, director of film and television productions. His scholarly orientation is located in musical awareness, musical culture in mass media and information society. He has composed music for about 120 documentary and animated films, for music-scenic programmes, as well as chamber music and songs. As film editor and music adviser he has collaborated in the production of about 1400 films. He is the author of a range of documentary films and television programmes devoted to musical life and has published several monographs on music in the media. At the Film and TV School of the Academy of Performing Arts in Bratislava he is the founder and professional trainer of academic courses on sound composition for sound masters. He currently holds the post of the director at the Institute of Musicology, Slovak Academy of Sciences. http://www.peterlang.com/Index.cfm?vID=54335&vHR=1&vUR=2&vUUR=1&vLang=D 3.4. MUSICAL THEATRE Page 30 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Eight Centuries of Troubadours and Trouvères - The Changing Identity of Medieval Music United Kingdom - Cambridge July 8, 2004 Series: Musical Performance and Reception John Haines University of Toronto Cambridge University Press Hardback ISBN-13: 9780521826723 ISBN-10: 0521826721 360 pages 228 x 152 mm £55.00 This book traces the changing interpretation of troubadour and trouvère music, a repertoire of songs which have successfully maintained public interest for eight centuries, from the medieval chansonniers to contemporary rap renditions. A study of their reception therefore serves to illustrate the development of the modern concept of 'medieval music'. Important stages include sixteenth-century antiquarianism, the Enlightenment synthesis of scholarly and popular traditions, and the infusion of archaeology and philology in the nineteenth century, leading to more recent theories on medieval rhythm. More often than not, writers and performers have negotiated a compromise between historical research and a more imaginative approach to envisioning the music of the troubadours and trouvères. This book points not so much to a resurrection of medieval music in modern times as to a continuous tradition of interpreting these songs over eight centuries. Contents Introduction; 1. The first readers; 2. The changing song; 3. Enlightened readers; 4. The science of translation; 5. Recent readings; 6. Conclusions; 7. Epilogue. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521826721 Opera Buffa in Mozart's Vienna United Kingdom - Cambridge June 22, 2006 Series: Cambridge Studies in Opera Edited by Mary Hunter Bowdoin College, Maine James Webster Cornell University, New York Paperback 471 pages 228 x 152 mm £38.00 This collection of essays, presented by an internationally known team of scholars, explores the world of Vienna and the development of opera buffa in the second half of the eighteenth century. Although today Mozart remains one of the most well-known figures of the period, the era was filled with composers, librettists, writers and performers who created and developed opera buffa. Among the topics examined are the relationship of Viennese opera buffa to French theatre; Mozart and eighteenth-century comedy; gender, nature and bourgeois society on Mozart's buffa stage; as well as close analyses of key works such as Don Giovanni and Le nozze di Figaro. Contents Notes on contributors; Acknowledgements; Introduction Mary Hunter and James Webster; Part I. Historical and Page 31 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Literary Contexts: 1. Goldoni, opera buffa, and Mozart's advent in Vienna Daniel Heartz; 2. Lo specchio francese: Viennese opera buffa and the legacy of French theatre Bruce Alan Brown; 3. Il re alla caccia and Le roi et le fermier: Italian and French treatments of class and gender Marvin Carlson; 4. Mozart and eighteenth-century comedy Paolo Gallarati; Part II. Social and Generic Meanings: 5. The sentimental muse of opera buffa Edmund J. Goehring; 6. The biology lessons of opera buffa: gender, nature, and Bourgeois society on Mozart's buffa stage Tia Denora; 7. Bourgeois values and Opera Buffa in 1780's Vienna Mary Hunter; 8. Opera seria? Opera buffa? Genre and style as sign Marita P. McLymonds; 9. Figaro as misogynist: on aria types and aria rhetoric Ronald J. Rabin; 10. The alternative endings of Mozart's Don Giovanni Michael F. Robinson; 11. Don Giovanni: recognition denied Jessica Waldoff; Part III. Analytical and Methodological Issues: 12. Analysis and dramaturgy: reflections towards a theory of Opera Sergio Durante; 13. Understanding opera buffa: analysis = interpretation James Webster; 14. Operatic ensembles and the problem of the Don Giovanni sextet John Platoff; 15. Buffo roles in Mozart's Vienna: tessitura and tonality as signs of characterization Julian Rushton; List of works cited; Index. Contributors Daniel Heartz, Bruce Alan Brown, Marvin Carlson, Paolo Gallarati, Edmund J. Goehring, Tia DeNora, Mary Hunter, Marita P. McClymonds, Ronald S. Rabin, Michael F. Robinson, Jessica Waldoff, Sergio Durante, James Webster, John Platoff, Julian Rushton http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=052102711X The Ballets of Maurice Ravel: Creation and Interpretation United Kingdom June 16, 2006 Deborah Mawer Ashgate 35 b&w illustrations 332 pages Binding: Hardback Book Size: 234 x 156 mm ISBN: 0 7546 3029 3 $99.95 £55.00 Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel's ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel's views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel's scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chloé through to Boléro are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel's collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel's achievement, and proposes that the composer's large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris. Contents Introduction; Cultural and critical backdrop; Childhood fantasy and exoticism: Ma Mère l'Oye and L'Enfant; Greekness and myth in Daphnis et Chloé; Essays on the waltz I: Adélaïde ou le langage des fleurs (Valses nobles); Essays on the waltz II: La Valse and epilogue; Neoclassical divertissements: Le Tombeau de Couperin and 'Fanfare' from L'Eventail de Jeanne; Spain, machines and sexuality: Boléro; 'Danse générale' Ravel's uvre as ballet; Appendix; Select bibliography; Index. Professor Arbie Orenstein, Aaron Copland School of Music, The Queens College, City University of New York Page 32 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 About the Author/Editor Deborah Mawer is Senior Lecturer in Music at Lancaster University, UK. Her research focuses upon the analysis and history of early twentieth-century French music in its cultural setting, with a particular interest in ballet. She is author of Darius Milhaud: Modality and Structure in Music of the 1920s (Ashgate, 1997) and editor of The Cambridge Companion to Ravel (Cambridge, 2000). She also writes on issues in music education. https://www.ashgate.com/shopping/title.asp?key1=&key2=&orig=results&isbn=0%207546%203029%203 3.5. DANCE Men Who Dance - Aesthetics, Athletics and the Art of Masculinity United States - New York July 31, 2006 Series: Complicated Conversation A Book Series of Curriculum Studies, Volume 9 New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien 236 pages, paperback ISBN 0-8204-7266-2 30.30 £ 19.80 US-$ 33.95 Why do men do ballet? What kinds of men become theatrical dancers? In this highly original piece of research, Michael Gard shows how the worlds of Western theatrical dance, gender relations and sexuality intermingle and, over time, produce different answers to these questions. Surveying both academic and popular writers, as well as drawing on life history interviews with twenty male dancers, Gard argues that the answers to these questions are inextricably linked to another question whose answer is never the same at any moment in history or any place in culture: What is a man? The Author: Michael Gard is Senior Lecturer in Education at Charles Sturt University in New South Wales, Australia. He has an undergraduate degree in physical education, a master's degree in sports science and a Ph.D. in gender studies. He teaches, writes and has published articles and book chapters on dance, the human body, sexuality and the shortcomings of biological determinism in all its forms. With Jan Wright he is the co-author of The Obesity Epidemic: Science, Morality and Ideology (2005). He is also working on a biography of Robert Helpmann, Australia's greatest ballet dancer. http://www.peterlang.com/Index.cfm?vID=67266&vHR=1&vUR=2&vUUR=1&vLang=D 3.6. OTHER SUBJECTS Found in Translation - Greek Drama in English United Kingdom - Cambridge July 6, 2006 J. Michael Walton University of Hull Cambridge University Press Hardback ISBN-13: 9780521861106 Page 33 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 ISBN-10: 0521861101 328 pages 228 x 152 mm £50.00 In considering the practice and theory of translating plays into English from Classical Greek from a theatrical perspective, Found in Translation also addresses wider issues of transferring any piece of theatre from a source into a target language. The history of translating classical tragedy and comedy, here fully investigated for the first time, demonstrates how through the ages translators have, wittingly or unwittingly, appropriated Greek plays and made them reflect socio-political concerns of their own era. Chapters are devoted to topics including verse and prose, mask and non-verbal language, stage directions and subtext and translating the comic. Among the plays discussed as 'case studies' are Aeschylus' Agamemnon, Sophocles' Oedipus Tyrannus and Euripides' Medea and Alcestis. The book concludes with a consideration of the boundaries between 'translation' and 'adaptation', followed by an Appendix of every translation of Greek tragedy and comedy into English from the 1550s to the present day. Contents Introduction: 'Summon the Presbyterians'; 1. Finding principles, finding a theory; 2. Historical perspectives: Lumley to Lennox; 3. Aeschylus and the Agamemnon: gilding the lily; 4. Translating the mask: the non-verbal language; 5. Sophocles' Oedipus Tyrannus: words and concepts; 6. Text and subtext: from bad to verse; 7. Euripides' Medea and Alcestis: from sex to sentiment; 8. The comic tradition; 9. Modernising comedy; 10. When is a translation not a translation; Appendix. A comprehensive list of all Greek plays in English translation; Bibliography. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521861101 LEthnographie - Création, pratiques, publics n° 3: Rites, théâtre et performance France - Vic-la-Gardiole July 1, 2006 Éditions l'Entretemps ISBN : 2-912877-36-9 / ISSN : 0336-1438 Domaine : Sciences humaines - ethnologie / esthétique Genre : Revue spécialisée Format : 16 x 23 cm, 356 pages Prix : 22 Au sommaire: Jean-Marie Pradier : Éditorial I. Études Piergiorgio Giacchè : Lidentité du spectateur - Essai danthropologie théâtrale Élizabeth Araiza : Le terrain des ethnoscénologues : Questions dethnographie dans le théâtre François Picard : La mise en scène des rituels Nathalie Gauthard : Tradition, adaptation et innovation : Les Moines Danseurs du Tibet Jean-François Dusigne : Les chasseurs dombres dOndinnok, théâtre mythologique amérindien William O. Beeman : The Performance Hypothesis (article en anglais) Julia Varley : Open Letter to the Participants and Staff of 14th Ista, Wroclaw, 2005 (article en anglais) II. Comptes rendus de publications Rodrigo Diaz Cruz : Archipiélagos de rituales. Teorías antropológicas del ritual (Compte rendu par Élizabeth Araiza) Marta Steiner : Geneza teatru w swietle antropologii kulturowej. Wrocl aw : Wydawnictwo Uniwersytetu Wrocl awskiego. (Compte rendu par Agnes Kedzierska) Mireille Rakotomalala : La Musique malgache dans l Histoire (Compte rendu par Didier Mauro) Jean-Pierre Dozon : Frères et sujets : La France et lAfrique en perspective (Compte rendu par Annie Bourdié) Roger Bastide : Le Candomblé de Bahia (Rite Nagô) (Compte rendu par André-Marcel dAns) Franz Boas : LArt primitif (Compte rendu par André-Marcel dAns) Daniel Dubuisson : Dictionnaire des grands thèmes de lHistoire des religions. De Pythagore à Lévi-Strauss (Compte rendu par André-Marcel dAns) Page 34 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Jean-Marie Hombert : Aux Origines des Langues et du Langage (Compte rendu par André-Marcel dAns) Gilbert Rouget : Initiatique vôdoun. Images du rituel (Compte rendu par André-Marcel dAns) Vie de la société dEthnographie PUCK n° 14 - Les mythes de la marionnette France - Vic-la-Gardiole Editions l'Entretemps Parution: Septembre 2006 ISSN : 0993-0701 18,5 x 24 cm 184 pages 22 La marionnette nest pas seulement une forme et un langage théâtral, un objet dart : elle est aussi la chose qui, dans toutes les cultures, a condensé les interrogations sur lorigine de la vie et sur la mort, sur les rapports quentretiennent le visible et linvisible, lesprit et la matière. Chaque époque et chaque société ont projeté sur la marionnette ses préoccupations spécifiques, lincorporant à leurs mythologies perpétuellement renouvelées, actualisées, mais quune idée constante traverse : que le vivant comprend linanimé, et vice versa. http://www.lekti-ecriture.com/editeurs/PUCK-no-14.html The Victorian Clown United Kingdom - Cambridge July 27, 2006 Jacky Bratton Royal Holloway, University of London Ann Featherstone Royal Holloway, University of London Cambridge University Press Hardback ISBN-13: 9780521816663 ISBN-10: 0521816661 288 pages 228 x 152 mm £48.00 The Victorian Clown is a micro-history of mid-Victorian comedy, spun out of the life and work of two professional clowns. Their previously unpublished manuscripts - James Frowde's account of his young life with the famous Henglers' circus in the 1850s and Thomas Lawrence's 1871 gag book - offer unique, unmediated access to the grass roots of popular entertainment. Through them this book explores the role of the circus clown at the height of equestrian entertainment in Britain, when the comic managed audience attention for the riders and acrobats, parodying their skills in his own tumbling and contortionism, and also offered a running commentary on the times through his own 'wheezes' - stand-up comedy sets. Plays in the ring connect the circus to the stage, and both these men were also comic singers, giving a sharp insight into popular music just as it was being transformed by the new institution of music hall. Contents The Victorian Clown: 1. The Victorian travelling shows; 2. Circus buildings; 3. A micro-history from two manuscripts; The autobiography of James Frowde, A Victorian Clown: 1. Childhood and youth, 1831-1849; 2. Running away to join the circus, 1847-1849; 3. Out into the world to learn his trade, 1849; 4. At last a clown with Hengler's, 1850-1851; 5. A spell with Cooke's Circus, 1851; 6. The end of the story, 1851-1857; Lawrence's Repertoire: Popular Humour Unmediated; Thomas Lawrence's gagbook: a collection of Victorian wheezes. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521816661 Page 35 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 3.7. EXHIBITION CATALOGUES André Acquart - Architecte de l'éphémère France - Paris September 22, 2006 Jean CHOLLET Editions Actes Sud Beaux livres Publication à l'occasion de l'exposition à la Bibliothèque Nationale de France (26 septembre - 19 novembre 2006) 19,6 x 25,5 176 pages ISBN 2-7427-6247-7 / AS3679 40,0 Angus McBean: Portraits United Kingdom - London June 27, 2006 Selected and edited by Terence Pepper 280 x 230mm 172 pages 100 images ISBN1 85514 515 4 Hardback £25 Angus McBean (1904-90) was one of the most extraordinary British photographers of the twentieth century. In a career that spanned the start of the Second World War through the birth of the 'Swinging Sixties' to the 1980s, he became the most prominent theatre photographer of his generation and, along with Cecil Beaton, the last of the British avant-garde studio photographers. During the 1930s and 1940s, McBean developed Surrealist techniques, including the depiction of the actress Dorothy Dickson as a water lily. Yet his style kept pace with the times and by the 1950s and 1960s he was taking photographs of celebrities from Cliff Richard to Shirley Bassey. Arguably his most famous image is of the Beatles, leaning over the balcony at their recording studios, which was used on the album cover Please Please Me. His celebrated series of self-portraits, which he sent out as Christmas cards, capture his witty and eccentric personality, while his numerous photographic commissions in the 1980s - including his work with the pop singer David Sylvian - demonstrate his inventiveness and creativity. For the first time since his death in 1990, McBean's photographs of stars such as Vivien Leigh, Laurence Olivier, John Gielgud and Audrey Hepburn, and his colour prints from the 1960s of the Beatles, Maria Callas and Spike Milligan are to be brought together in a major retrospective exhibition, accompanied by this fascinating book. Terence Pepper's intriguing account of McBean's life and work includes extracts from the photographer's unpublished autobiography and is illustrated throughout with full-page colour and duotone reproductions. Published to accompany the retrospective exhibition at the National Portrait Gallery, London (5 July-22 October 2006), Graves Art Gallery, Sheffield (2 December 2006-10 March 2007), Amgueddfa Cymru - National Museum Wales (31 March-3 June 2007) and at Royal West of England Academy, Bristol (31 March 2007-20 May 2007). Terence Pepper is Curator of Photographs at the National Portrait Gallery. He is the author of The Man Who Shot Garbo: The Photographs of Clarence Sinclair Bull, High Society: Photographs 1897-1914 and monographs on Lewis Morley and Dorothy Wilding. He curated Horst: Portraits at the National Portrait Gallery in 2001 and Beaton Portraits in 2003. Page 36 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 http://www.npg.org.uk/live/pubmcbean.asp Antonin Artaud France - Paris November 7, 2006 Évelyne Grossman Catalogue de lexposition organisée par la Bibliothèque nationale de France sur le site François-Mitterrand, du 7 novembre 2006 au 4 février 2007. Coédition Bibliothèque nationale de France - Editions Gallimard ISBN : 2-7177-2364-1 « Découvertes Gallimard » 125 x 178 mm 128 pages ISBN : 2070337499 Code Sodis : A33749 13,10 L'auteur Evelyne Grossman, professeur de Littérature moderne et contemporaine à luniversité Paris 7 Denis Diderot et directrice de programme au Collège international de Philosophie, est lauteur des dernières éditions des textes dAntonin Artaud en poche: Pour en finir avec le jugement de dieu (Poésie-Gallimard), Suppôts et Suppliciations (Poésie-Gallimard), Elle dirigé lédition des uvres dAntonin Artaud (Quarto, Gallimard, 2004) et de 50 dessins pour assassiner la magie (Gallimard, 2004). Elle a aussi publié récemment Artaud, laliéné authentique (Farrago-Léo Scheer, 2003) et La Défiguration: Artaud, Beckett, Michaux (Minuit, 2004). Bêtes de scène France July 13, 2006 Livre-catalogue paru à l'occasion de l'exposition au centre national du costume de scène (2 juillet - 5 novembre 2006). Coédition: Les Editions du Mécène / la Bibliothèque Nationale de France / le CNCS Diffuseur: Gallimard Environ 150 pages 28 x 14 cm 30 Texte courant avec illustrations, légendées / notices sur uvres, costumiers, costumes, avec photographies dun ou plusieurs costumes / notes, bibliographie Illustrations: entre 100 et 150 dessins de décors et de costumes, photographies de costumes de scène et de masques, affiches, photos de scène... http://editions.bnf.fr/nouveautes/scene.htm Caspar Neher and Bertolt Brecht - A Stage for the Epic Theatre Germany - Berlin September 21, 2006 Copyright for catalogue cover by Deutsches Theatermuseum München Accompanying the exhibition at the German Theatre Museum in Munich Page 37 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 18 October 2006 - 4 February 2007 Published by Henschel in German language 1st edition 216 pages ISBN 3-89487-554-2 175 col. and 50 b/w ill. 21 x 27 cm 26.90 The scenic realization of Bertolt Brecht's theory of the epic theatre occurred on the stages of German theatres. Beginning in the 1920s, the stage designer Caspar Neher developed a stage with specific elements for the plays of his friend and thus by 1933 had molded the characteristic face for the epic theatre. After Brecht's return from exile Brecht and Neher were able to establish it as a recognized stage form. Between 1948 and 1956 model productions were staged, which up to the present day are considered the canon for staging Brecht's plays. The texts and pictures in this volume document the importance of Caspar Neher and illustrate the stage realization of the epic theatre. http://www.henschel-verlag.de/ 3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS * : Modified only Page 38 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 4. LINKS TO OTHER ORGANISATIONS IASA - International Association of Sound and Audiovisual Archives The International Association of Sound and Audiovisual Archives (IASA) was established in 1969 in Amsterdam to function as a medium for international co-operation between archives that preserve recorded sound and audiovisual documents. IASA supports the exchange of information and fosters international co-operation between audiovisual archives in all fields. More than 400 members from more than 60 countries represent a broad palette of audiovisual archives which are distinguished by their focus on particular subjects and areas: e.g. archives for all sorts of musical recordings, historic, literary, folkloric and ethnological sound documents, theatre productions and oral history interviews, bio-acoustic, environmental and medical sounds, linguistic and dialect recordings as well as those for forensic purposes. A yearly conference gives members the opportunity to meet during which the Executive Board presents its reports and informs everybody about the Association's business. IASA is a member of the Co-ordinating Council of Audiovisual Archives Associations (CCAAA), an international alliance which seeks to represent the interests of the profession to governments and international agencies. IASA maintains operational relations with UNESCO. http://www.iasa-web.org/ Perspectiv - Association of Historic Theatres in Europe * Links to selected historic theatres in Europe English: http://www.perspectiv-online.org/doc_eng/link_eng.html French: http://www.perspectiv-online.org/doc_fr/gesell_fr.html SITM - Société Internationale pour l'Etude du Théâtre Médiéval http://www.sitm.info/index.php La Société Internationale pour l'Étude du Théâtre Médiéval a pour but de stimuler l'étude du théâtre médiéval et les contacts entre tous ceux qui s'occupent de la recherche et de l'enseignement dans le domaine du théâtre médiéval. Le Bureau International de la SITM est constitué par tous les représentants nationaux élus ou nommés à raison d'un par nation ou état, et ce pour trois ans, par l'Assemblée Générale des participants au Colloque, et a pour mission de promovoir et d'assurer l'accomplissement des buts de la SITM. Notamment, il éditera au moins chaque année un Bulletin destiné à informer tous les membres sur la vie et les actions de la SITM. Toute personne intéressée par l'étude du théâtre médiéval peut être membre de la SITM, on devient membre en versant un droit d'adhésion. Un Colloque International est organisé tous les trois ans. http://sitm2007.vjf.cnrs.fr/ Page 39 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Theater Instituut Nederland - TIN Netherlands - Amsterdam The Theater Instituut Nederland is an independent non-profit organization and its objective is to make a significant contribution to the knowledge of, and opinion on, the Dutch theatre culture in an international context. The Theater Instituut provides information, conducts research, initiates debate and stimulates reflections, in relation to the needs and interests of professional theatre and its present and future audiences. It houses a museum and a library, collects current information and documentation and organizes events such as discussions, conferences, workshops, exhibitions and international presentations. It publishes books, compact discs and other materials and participates in various international networks. The Theater Instituut started as a Theatre Museum, established by a few enthusiasts in 1924. Some private collections were purchased at that time to create the initial collection. The museum opened with its library and exhibitions to the public in the mid 1960's. It was later to merge with the Dutch Centre of the International Theatre Institute (ITI), and an archive of stage sound and image in the late 1970's, to become the Nederlands Theater Instituut. Separate smaller service institutes for dance, mime and puppetry were added later in adjoining buildings. In the course of 1992, the four institutes were merged into what is now Theater Instituut Nederland. The entire complex of 4,400 m2 was renovated in the course of 1995 -1997, to restore the monumental character of the buildings and to accommodate the Theater Instituut's expanding role. Every year the Theater Instituut organizes numerous meetings among the professionals: public lectures, debates and discussions, conferences, symposia, seminars, workshops and courses, taking place in the Netherlands and abroad. They are often developed in collaboration with suitable partner-organizations: companies, festivals, professional associations and universities. The Theater Instituut organizes visitors' programmes for foreign professionals and helps to facilitate the participation of Dutch professionals in international events. Other activities include support for the translation of contemporary Dutch plays into major foreign languages for publication and production and presentations of the Dutch performing arts in many European countries. The staffs members and external collaborators research and monitor the Dutch theatre in its international context, consult and advise, stimulate reflection and debate. Development of expertise, networking and collaboration are the Theater Instituut's main objectives in the work with professionals. Almost all its activities have an international component and often an interdisciplinary and intergenerational accent. The Library, Collection & Documentation department is the basis of the Theater Instituut's programmes and projects, and the main resource used by visitors. It has over 100,000 books and plays in several languages, scores of music, subscriptions to international magazines, compact discs, and more than 6,000 videos. There are also spacious reading rooms and viewing facilities. Previously, the collection grew in a non-systematic manner, through donations and occasional buying opportunities. Recently, however, clear acquisition criteria have been developed regarding materials. The collection encompasses 20,000 posters, 150,000 photo's and slides, thousands of programmes, prints, design sketches, letters, costumes, stage models, props, puppets, masks, paintings, backdrops and miscellaneous object. They are used for the Theater Instituut's exhibitions and are frequently loaned for temporary exhibitions. Theater Instituut Nederland Herengracht 168 1016 BP Amsterdam The Netherlands Phone: +31 (0)20 551 33 00 Fax: +31 (0)20 551 33 03 email: [email protected] http://www.theaterinstituut.nl/index.cfm/site/English/pageid/221E8ED1-BCDC-55E9-6CE419FFE2181DF7/index.cfm Page 40 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 * : Modified only Page 41 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 5. THEATRE BUILDINGS, RESTORATIONS & NEW DEVELOPMENTS 7th OISTAT Theatre Architecture Competition February 16, 2006 The Architecture Competition is an international theatre competition organized by the Architecture Commission of OISTAT to coincide with the PQ. Deadline of submissions: 16 February 2006 To read the Architecture Competition Brief: http://www.oistat.org/archcomp2007 * : Modified only Page 42 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 6. RESEARCH 6.1. RESEARCH PROJECTS Call for papers - Performance Paradigm N° 3: The End of Ethics? Performance, Politics and War September 30, 2006 The editors of Performance Paradigm call for contributions for an issue on the theme of: The End of Ethics? Performance, Politics and War We invite proposals addressing the following questions, forms, themes and issues: 1. Ethics This is the age of compassion fatigue and the relentless mediated re-enactment of distant suffering. But we are all ethical spectators aren't we? We don't participate in the festival of cruelty taking place on our tv screens. We offer an informed critique and then retire to our offices and living rooms. But isn't restricting oneself to spectatorship precisely an unethical activity in a global context of renewed political violence and the rise of neo conservative politics? This issue of Performance Paradigm is not announcing the End of Ethics as relating to arguments about the End of History. The title is a provocation to re-think the discourse of ethics in relation to political performance and art. It aims to interrogate the dynamics of aesthetic practices through an analysis of a diverse range of performance works in which the possibility of the ethical response to political events is directly broached or even structurally implicated in the work itself. We ask whether this is efficacious or what if any ethical functions can performance play in the contemporary political moment? 2. Politics Does the discussion of political artworks as forms of political protest miss a vital aspect of their role and significance as aesthetic forms? How pertinent or relevant is the category 'political performance' in the current social and political climate? How (successfully) is performance currently acting as an agent for social critique and change? What forms might a political art of the future adopt? 3. War The announcement of the End of History has not produced an end to conflict. Instead it has unleashed an intensification of conflicts which are global in scope however local in origin: civilization wars, culture wars, wars on terror and drugs, perhaps a re-emergent cold war? How can aesthetic activity offer a useful perspective on these dynamics of state power and the production of a 'mass mediated machining synonymous with distress and despair'? (Guattari) We seek scholarly contributions including essays, visual documentation, interviews, and translations. Please send proposals, including a short abstract or description to: Dr. Helena Grehan [email protected] The due date for proposals is 30 September 2006. Final material will be due by 30 November 2006. Performance Paradigm (N°3) will be published in March 2007. Please visit our website for further information and instructions for submission: http://www.performanceparadigm.net Performance Paradigm is a refereed journal published jointly by the Faculty of Arts and Social Sciences UNSW and Performance Space Sydney Page 43 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 M.Phil in Theatre and Performance Ireland - Dublin School of Drama Trinity College Dublin A one year taught post-graduate course focussing on the texts and practices of Irish theatre set against the major movements in European performance from the late nineteenth century to the present day. Visits from Irish practitioners and scholars supplement the regular lectures and seminars in Irish theatre, performance issues, and critical and cultural studies. For further information please contact the course convenor, Professor Stephen Wilmer ( [email protected]) The School of Drama, TCD, provides for a range of other undergraduate and postgraduate studies in theatre, drama and film, including Irelands only professional degree level actor-training programme, and the largest Drama PhD programme in Ireland. Candidates wishing to pursue research degrees should apply, in the first instance to Professor Brian Singleton ([email protected]) Applications for all graduate courses should be made to: The Graduate Admissions Office, Trinity College, Dublin 2, phone (01) 896 2182, by 1 April 2007. Further details: http://www.tcd.ie/Drama Whats Welsh for Performance? 40 years of Performance Art in Wales United Kingdom - Wales A research project devoted to uncovering and archiving the history of Performance Art in Wales The history of performance art in Wales has yet to be written. Over a period of nearly forty years artists have been creating performance, action or time-based art in this country, yet their work remains largely confined to oral history, to half-remembered anecdotes, rumours and hearsay. As early as 1968, Welsh painter Ivor Davies, protagonist of the Destruction in Art movement, staged happenings at Swansea University; the National Eisteddfod of 1977 in Wrexham became notorious for its international performance programme featuring Joseph Beuys, Jannis Kounellis and Mario Merz and impromptu interventions by Welsh artist Paul Davies; in the 1990s, Cardiff Art in Time provided an important platform for international and local performance work One often searches in vain for traces of these events in the official annals of Welsh art history. Surprising for an artistic genre so committed to documentation and theoretical reflection, there are no publicly accessible archives dedicated to performance art in Wales, no books, no journals. And yet, the contemporary performance art scene in this country is still one of the most vibrant anywhere in the UK. What's Welsh for Performance? is a five-year research project devoted to uncovering and archiving the history of Performance Art in Wales. It defines its area of interest as: 1. performance work that has taken place within the geographic borders of Wales, including performances made in Wales by artists from outside of Wales, but excluding performances made by Wales-based performers outside of Wales, unless these performances were of particular importance to the development of Welsh performance art. The intention is to map the formation of an artistic field or scene as the result of particular internal and external artistic, cultural, social and environmental influences. 2. performance art and work that has emerged from this field - video, sonic, multimedia, interactive and installation arts - if this work has a performative quality; 'live art', including some experimental theatre and dance if this work displays strong affinities with the aesthetics of performance art; and performance poetry. The time frame of the project covers roughly the past 40 years, from the appearance of the first happenings in Wales in the late 1960s to the present day. What's Welsh for Performance? presents a case study on: Page 44 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 - how the ephemeral art of performance remains through practices of documentation and archiving - how an artistic field or scene is formed, delineated and developed within a particular cultural, social and environment context What's Welsh for Performance? works with the following materials: a) documentation, including photos, films and videos, manifestoes, notes, drawings, newspaper articles, written accounts etc. b) a series of interviews with artists, audiences and advocates. What's Welsh for Performance? works toward the following results: 1. a searchable on-line database. 2. a series of publicly staged interviews, leading to a symposium in 2008. 3. a publication documenting 40 years of Performance Art in Wales (1968-2008), including a chronology, critical essays on key artists, institutions and networks, themes and movements, and a bibliography of relevant publications. If you have any information on performance in Wales that could be of use to the project, please get in touch! Whether you are an artist who has made performance work in Wales, or an audience member who once witnessed a performance (voluntarily or involuntarily!), we would be pleased to hear from you. Any material will be of interest - from actual pieces of documentation to vague memories of events caught out of the corner of one's eye. Send an email to this address: [email protected] http://www.performance-wales.org 6.2. SCHOLARSHIPS De la Torre Bueno Prize - Society of Dance History Scholars February 1, 2007 The de la Torre Prize is awarded annually to a book published in the English language that advances the field of dance studies. Named after José Rollins de la Torre Bueno, the first university press editor to develop a list of titles in dance studies, the Bueno Prize has recognized scholarly excellence in the field since 1973. All members of SDHS are eligible for this prize, although membership is not a prerequisite. For consideration for the 2007 prize, which carries a cash purse of $1000, authors or publishers must submit three copies of books published in 2006 to Mary Bueno, coordinator for the prize. Please send the books by 1 February 2007 to Mary de la Torre Bueno, Ansonia Station, P.O. Box 237079, New York, NY 10023. Queries may be sent to [email protected] or to the post office box. http://www.sdhs.org Getrude Lippincott Award - Society of Dance History Scholars February 1, 2007 The Gertrude Lippincott Award is awarded annually to the best English-language article published in dance studies. Named in honor of its donor, a devoted teacher of modern dance in the Midwest and mentor to many students, it was established to recognize excellence in the field of dance scholarship.The award carries a cash purse of $500. Articles published in calendar year 2006 may be submitted by their authors, or by editors, publishers, or members of Page 45 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 SDHS. Only one entry per author or advocate will be accepted. Members of the SDHS Board of Directors and Editorial Board are not eligible to apply. To center the competition, send four copies of the published article and a cover letter with the publication information and authors full contact information to Gay Morris, SDHS Corresponding Secretary, at 530 East 86th Street, Apt. 15B, New York NY 10028. Please direct any questions pertaining to the submission of articles to Gay Morris at [email protected] All submissions must be received by 1 February 2007. http://www.sdhs.org Winterthur Residential Research Fellowship Program Switzerland - Winterthur January 15, 2007 Winterthur Museum and Country Estate is pleased to announce its Research Fellowship Program for 2007-2008. Winterthur offers an extensive program of short and long-term fellowships open to academic, independent, and museum scholars, including advanced graduate students, to support research in material culture, architecture, decorative arts, design, consumer culture, garden & landscape studies, Shaker studies, travel and tourism, the Atlantic World, childhood, sentimental literary culture, and many other areas of social and cultural history. Fellowships include 4-12 month NEH Fellowships, 1-2 semester McNeil Dissertation Fellowships, and 1-2 month short-term fellowships. Fellows have full access to library collections of more than 87,000 volumes and one-half million manuscripts and images. Resources for the seventeenth to the early twentieth centuries include period trade catalogs, auction and exhibition catalogs, an extensive reference photograph collection of decorative arts, printed books, and ephemera, searchable online at http://www.winterthur.org/research/library_resources.asp Fellows may also conduct object based research in the museum collections, which include 85,000 artifacts and works of art made or used in America to 1860, with a strong emphasis on domestic life. Fellowship applications are due January 15, 2007. For more details and to apply visit http://www.winterthur.org/research/fellowship.asp or email program director Katherine C. Grier: [email protected] C o p y r i g h t b y http://www.theaterforschung.de/mitteilung.php4?ID=325>http://www.theaterforschung.de/mitteilung.php4?ID=325</a x-post http://www.theaterforschung.de 6.3. RESEARCH TOOLS Nouveau portail sur la coopération culturelle http://www.labforculture.org LabforCulture est une plate-forme dédiée à la coopération culturelle européenne et complétée, hors ligne, par une gamme de services et dactivités de programmes. Le site vous offre une richesse dinformations sur la coopération culturelle pour et dans toute lEurope élargie, et constitue une plate-forme déchanges culturels transnationaux, de débats culturels, de nouvelles et de recherche. LabforCulture est mis au point comme un outil en ligne pour les praticiens culturels, les opérateurs et les managers, Page 46 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 ainsi que pour les artistes et les organisations artistiques, les chercheurs culturels, les organismes de recherche, les décideurs politiques et les investisseurs dans les arts et la culture. Il sagit dun projet en partenariat qui est développé, financé et soutenu, conjointement, par plusieurs associations culturelles importantes dEurope. Operabase http://operabase.com Operabase has documented operatic activity worldwide since 1996, with over 165,000 performances on file. It records the work of artists in over 600 theatres, and publishes season information to opera-goers in 27 languages. The majority of Operabase's information is provided free of charge. The public area contains access to the current and announced future seasons of each opera house. Powerful tools are provided to access the data in flexible ways : - rich cross linking allows quick access to related artist, performance, and season info - geographic information is used to create mouse-sensitve maps and listings of performances in neighbouring cities - loose name matching means artist names can be recognised even when spelled incorrectly - multilingual vocabularies support searches for place names and opera titles in different languages Operabase supplies specialist opera magazines, opera companies and the general public with information in, currently, seven languages. In September 2006, Operabase marks its 10th anniversary by taking a first step towards a new project -- the translation of the current performance databases and search/listing tools into a total of 25 European languages. Theaterforschung * Website including information about conferences, call for papers, conference reports, institutions, research resources, reviews and all kinds of performing arts related contributions. http://www.theaterforschung.de/index.php4 * : Modified only Page 47 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 7. MISCELLANEOUS ITEMS Premier prix Thalie de lAICT Le premier lauréat du prix Thalie de lAssociation internationale des critiques de théâtre est ERIC BENTLEY. Il sera invité au Congrès du 50e anniversaire de lAssociation, qui aura lieu en octobre prochain à Séoul, en Corée, où le prix lui sera remis par le ministre de la Culture de ce pays. Le prix constitue une canne à pommeau dargent représentant Thalie, la muse grecque de la comédie. Il a été commandé spécialement au célèbre sculpteur roumain Dragos Buhagiar. La fabrication de la statuette a été généreusement prise en charge par le Festival shakespearien de Craïova, en Roumanie, grâce aux bons offices de la section roumaine de lAICT. Quant aux prochains prix Thalie, ils seront remis à chaque congrès biennal de lAssociation. Le prix Thalie a pour but dhonorer une personnalité ayant contribué de façon essentielle au théâtre dans le monde, jusquà changer la nature de la réflexion critique sur le théâtre. Le nom de M. Bentley a été choisi après consultation auprès des milliers de membres de lAICT, dans les sections nationales et à titre individuel, dans une cinquantaine de pays. Le prix Thalie 2006 lui est donc accordé pour lintérêt de ses écrits en théâtre et sur le théâtre et pour leur pertinence encore aujourdhui. Eric Bentley (1916-) est un des hommes de théâtre les plus influents du 20e siècle. Critique, traducteur, rédacteur en chef, auteur, professeur, mentor, metteur en scène et à loccasion interprète, Bentley, qui est britannique de naissance, est une figure dominante depuis plus de six décennies. Étudiant à Oxford et à Yale avant dêtre nommé professeur à lUniversité Columbia, à la State University de New York à Buffalo et à lUniversité du Maryland, il a dabord attiré lattention dans les années 1940 par ses traductions anglaises des pièces de Bertolt Brecht. Entre 1952 et 1956, il a travaillé comme critique de théâtre au magazine américain The New Republic et ses critiques que lon trouve encore dans son ouvrage What Is Theatre? (Hill and Wang) sont devenues une référence. Au cours de la même période, son livre In Search of Theatre (également disponible) offrait un portrait classique du théâtre européen du milieu du 20e siècle. Pendant les années 1950, ses écrits et ses traductions (dont celles des principales pièces de Pirandello) ont aidé à créer ce qui est considéré par plusieurs comme les canons de lécriture dramatique du siècle en langue anglaise. Ses deux ouvrages en plusieurs tomes, The Modern Theatre et The Classic Theatre, ont attiré lattention des milieux du théâtre et de luniversité pour plusieurs autres auteurs importants du théâtre européen, dont Schnitzler, Sternheim, Wedekind, Gogol et Kleist. Après les traductions et les adaptations, Bentley est passé à lécriture, publiant des pièces reflétant souvent ses préoccupations sociales et politiques. Trois de ses uvres, inspirées par le théâtre de lAllemand Heinrich von Kleist, constituent The Kleist Variations ; une pièce sur le procès dOscar Wilde sintitule Lord Alfreds Lover ; plus tard, il en a écrit une sur les audiences McCarthy aux États-Unis, ayant pour titre : Are You Now or Have You Ever Been? Au cours de lannée écoulée, une pièce sur Brecht et Bentley, écrite par Charles Marowitz et intitulée Silent Partners, a été présentée à Washington et fera bientôt lobjet dune tournée dans dautres villes américaines. Sur un site Web consacré à son uvre, on trouve une quarantaine de traductions, dadaptations et de pièces originales signées Bentley. Dans ses nombreux ouvrages généraux sur le théâtre, Eric Bentley sest intéressé particulièrement au rôle de lauteur. Pendant plusieurs années, il sest porté à la défense des droits des gais. On peut citer, parmi ses principaux ouvrages académiques, The Playwright As Thinker (1946) ; The Life of the Drama (1964), une poétique du texte dramatique basée sur les cours Norton quil donnait à Harvard ; enfin, Thinking About the Playwright (1987). Toujours proche des écrits et des idées de Brecht, Bentley dirige lédition des uvres de Brecht pour Grove Press et est lauteur de deux études sur cet auteur : The Brecht Commentaries et The Brecht Memoir, réunies par la suite sous le titre Bentley on Brecht. En 1990, il a été reçu à lAmerican Academy of Arts and Letters ; au cours de la saison théâtrale 1997-98, il est devenu membre du US Theatre Hall of Fame. Eric Bentley, qui a 90 ans cette année, vit à New York. LAssociation internationale des critiques de théâtre fut fondée comme organisme affilié à lUNESCO en 1956. Pour y adhérer ou connaître ses activités dont le prochain congrès 50e anniversaire à Séoul consulter le site http://www.aict-iatc.org Page 48 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 3 Rock to Baroque - Costume Open Day United Kingdom - London October 23, 2006 Theatre Museum's Collections Centre, Kensington Olympia. A rare opportunity to get behind the scenes at the the Theatre Museum and see a selection of our costumes from plays, ballet, opera, circus, pantomime and rock and pop with stage costume expert Sarah Woodcock who will talk about the construction and performance history of various costumes and genres. The event will take place on Monday 23rd October at the Theatre Museum's Archives at Kensington Olympia and places must be booked in advance. Two sessions: 11.00 & 14.30 Ticket £15 Only 15 places available per session. BOOKINGS Theatre Museum Telephone 00 44 20 7943 4750 Email: [email protected] * : Modified only Page 49 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 FIRT/IFTR: SIBMAS: Membership Secretariat, Email [email protected] Cordula Treml, Email [email protected] FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 1. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES 1st International Conference on Religion and Theatre (follow-up) Iran - Tehran January 6, 2007 - January 7, 2007 We are pleased to report that an International Jury Committee of three renowned scholars: -Prof. Ravi Chaturvedi (India) -Prof. Marvin Carlson (U.S.A.) -Prof. Farhad Nazerzadeh (Iran) have selected 10 best papers received for the Conference. The presenters will be from South Africa, India, U.S.A., Germany, Japan, Egypt, Canada, England and Iran. We have just advised the writers of these papers of our FULL hospitality including international airfare, accommodation in a 4-star hotel and all other local expenses for the period of the Conference in addition to the first 3 days of the International Fajr Theatre Festival that will take place exactly after the Conference. About 20 other papers have also been selected to get published in a book titled Theatre and Religion as a tributary to the Conference. The bilingual book will be a collection of papers by outstanding scholars from around the world to explore the relationship between theatre and religion from various aspects. International noted researchers from Egypt, Japan, Canada, Sudan, India, U.S.A., Germany, Turkey, Indonesia, Switzerland, the Netherlands, England as well as Iranian scholars in the discipline will study and analyze related issues. The program of the Conference will be published in due time. Farah Yeganeh Lecturer Member of the Academic Committee of the Conference on behalf of Majid Sarsangi, PhD. Conference Director Head of Dramatic Arts Department of Tehran University Call for Papers - Performing Literatures United Kingdom - Leeds January 8, 2007 29 June - 1 July 2007 Leeds University What are the current relationships and faultlines between text and performance, in the study and practice of theatre and the theatrical? The University of Leedss new Centre for Interdisciplinary Research in Theatre and Theatricalities (CIRTT) invites paper and panel proposals for its first international conference. The study of theatre, drama and performance is pursued in universities today in a dizzying variety of institutional and departmental contexts not just in dedicated theatre departments, but in English departments, in other modern language departments, in history, sociology and beyond. Yet there remains, perhaps, a primary divide in theatricallyoriented studies the divide between those who address performance through a focus on the language and literatures on which it is so often based, and those who see the performance event itself as their key concern, and text as simply supportive of it. In the university context, most drama and theatre departments emerged historically from moments in which Page 2 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 performance-oriented scholars broke away from their parent literature departments. Arguably, though, that separation is still regularly being re-performed: many theatre and performance people continue to insist that they are postdramatic or even anti-textual. Yet the literary text has never gone awayand indeed, many non-text-based performance practitioners have found themselves increasingly drawn back to the creation or appropriation of texts as the basis for new theatre. Equally, there is increasing recognition of the fact that, given their ephemerality, many performances only become available to a wider public through their mediation as literature, whether in artists documentation or in critical and historical appraisals. Meanwhile, within literary studies, scholars have maintained important interests in performance which have not always been understood or appreciated by theatre people. For example, analyses of poetry have continued to explore the pressure given to written language by oral performance. From another perspective entirely, the theatrical-theoretical language of performativity has radically altered understandings of the ways in which texts do things with words, and enact themselves through language and context. And a concern with representations of the body the core element of most live performance activity has been a recurrent concern in literary analysis. These are just some of the issues that we hope Performing Literatures will begin to explore through dialogue between scholars and artists from varying backgrounds. At this stage, we envisage five potentially interlinking strands to the conference proceedings, as follows (in no particular order): 1. Institutional: examining the disciplinary histories and faultlines marking the current relationships between the theatre/performance studies and literary studies. How did we get to where we are today? What works about where we are today? What habits or assumptions might productively be challenged or overturned? 2. Professional: within the theatre industry itself, the relationship between literary text and theatrical performance remains as conflicted as ever. What authority or primacy does the playwrights text have in relation to the production process? Ongoing debates over the contested roles of the dramaturg and literary manager continue to provide a telling measure of unresolved tensions and questions. 3. Theoretical: examining the so-called theatrical turn in literary-theoretical discourses over the last few decades. What impact have these debates had on actual performance practice, and conversely, what might practical, theatrical research contribute to theoretical understandings? 4. Historical: in what ways can the study of literary and performance practices of the past their relationships and distinctions shed light on current circumstances? How does the literature of performancethe body of texts in which disappeared performances are historicised and evaluatedaffect our understanding of what is possible now? 5. Intercultural: similarly, in what ways can an understanding of contrasting practices and traditions in non-Anglophone cultures shed light on debates that often become hung up on peculiarly English semantic debates around distinctions between theatre, literature and performance? Speakers are expected to include: Shannon Jackson (University of California at Berkeley), Maria Delgado (Queen Mary, University of London), Kate Newey (University of Birmingham), Alan Read (Kings College, London), Dan Rebellato (Royal Holloway, University of London), Michael Cordner (University of York), Susan Castillo (Kings College, London) and others. Proposals for papers, panels and other presentations should be submitted no later than Monday 8th January 2007 to: Professor Stephen Bottoms Workshop Theatre School of English University of Leeds, Leeds, UK LS2 9JT Email: [email protected] Performing Literatures will be the first major conference event co-ordinated by the new Centre for Interdisciplinary Research in Theatre and Theatricalities. Page 3 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 CIRTT is an interdepartmental initiative sponsored by the Leeds Humanities Research Institute (LHRI) and based at the Workshop Theatre, in the School of English. It exists to foster links and debates among scholars and artists working across a range of disciplines, who share related interests in theatre / theatricality / drama / performance / performativity. In practice, of course, those of us sharing these languages often find ourselves divided as much as united by them: terms and expressions with theatrical roots are now often deployed in radically different ways in literary, artistic, philosophical, psychoanalytic and social-scientific contexts (to name but a few). CIRTT exists to explore the possibilities for performance-oriented thinkers to speak to each other across these disciplinary boundariesproviding each of us with new perspectives on our own preoccupations, and perhaps in so doing, developing new possibilities for collaborative research. Performing Literatures will also form part of the 40th Anniversary celebrations of the Workshop Theatre, which proudly continues to pursue performance-oriented research from its place within an internationally-respected School of English. Call for Papers: IASA-BAAC Conference - Building an Archive for the Future Latvia - Riga December 15, 2006 15-20 September 2007 The conference will address themes associated with the tasks audiovisual archives are facing in a world undergoing rapid changes. It is essential that archives develop new ways to meet future demands. Analogue and digital collections will coexist for a while yet, depending on the resources made available for the preservation of analogue material, the digitization process and the management of digital content. Digitization is now recognized as the way to go to save our audiovisual heritage, but the issues of future migration and the sustainability of digital archives still need to be addressed. Digitization gives archives possibilities of delivering content via new digital platforms thus distributing the content not only to the traditional users, but to whole new groups of audiences. At the same time, ideal open access depends on the successful development of copyright legislation. Only then will large scale dissemination of content be possible. Gradually, archives will become an even more integrated part of society. IASA and BAAC invite proposals for papers of not more than twenty minutes duration that address one or more of the following sub-themes: ·Role of the archives in the future ·Sustainability of archives ·Is there a need for contextualisation of AV archives? ·How to create better access to the archives ·Are the archiving principles changing? ·Legal issues (legal deposit, copyright, freedom of speech etc.) ·How to train and educate the future archivists ·How to build an archive: technical issues and options ·Content migration ·Preservation of metadata ·Small scale archives ·Towards integrated archives ·Selection policies - a necessity? ·Archiving of webpages Proposals must be accompanied by an abstract of not more than 150 words. The deadline for this first call for papers Page 4 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 is 15 December 2006. Contributors will be notified during March 2006 of the Programme Committees decision. Please send your abstract together with your name, organisation, contact address, telephone and e-mail address to: Per Holst IASA Vice-President Chair: Programme Committee E-mail: [email protected] c/o DR (Danish Broadcasting Corp.) Archive and Research Centre Radio Archives DR Byen Emil Holms Kanal 20 DK-0999 Copenhagen C Denmark Phone: +45 3520 5554 Call for Papers: International Conference - Song, Stage and Screen II United Kingdom - Leeds January 5, 2006 Interdisciplinary approaches to the musical stage 23rd-25th March 2007 University of Leeds Contributions are invited to the above conference which aims to bring together scholars from all over the world in any discipline, working on the relationship between music and the stage/screen. This conference is organised by the School of Performance and Cultural Industries of the University of Leeds. Speakers will include Dr Nicholas Till (Director - Centre for Research in Opera and Music Theatre, University of Sussex), Jim Holmes (Head of Music Opera North), Dominic Gray (Projects Director – Opera North) and Dr Dominic Symonds (Co-editor - Studies in Musical Theatre journal). The official language of the conference is English. We would be particularly interested in papers, panels and workshops on the following themes, although these should not be taken as exclusive: · · · · · · · · · · · · The body performing Music(al) Theatre Semiotics of escapism: watching Music(al) Theatre Music(al) Theatre as voyeurism Contemporary British Music(al) Theatre Post-modernism and songs on stage Ideology, Politics and the Musical stage Globalisation and the consumption of the Musical stage Problems of Genre: Opera / Music(al) Theatre Utopia and Reality: Escapism and the screen Musical Gender and sexuality in Music(al) Theatre Analysis: the fusion of words and music Paralinguistics and the rhetorical expression of music in song We are also interested in hosting a small number of small-scale Music(al) Theatre performances (of up to 6 performers). Papers should be designed to last no more than 20 minutes. Please send an abstract of no more than 200 words to the conference co-ordinator, Sue Jones, [email protected] with the subject heading “Song, Stage and Screen II”. Page 5 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 The deadline for proposals is Friday, 5th January 2007. For more information please visit: http://www.leeds.ac.uk/paci/songstagescreen.html Conference Registration Fee: £185.00 (£85.00 for students/unwaged); this includes access to all conference proceedings, performances/evening activities, refreshments and formal dinner. Other enquiries should be addressed to the conference organisers: Dr George Rodosthenous, [email protected] and Mr Arthur Pritchard, [email protected] School of Performance and Cultural Industries University of Leeds Bretton Hall Campus West Bretton Wakefield WF4 4LG UK Call for Papers: Teatro y música en España: los géneros breves en la segunda mitad del siglo XVIII Spain - Madrid February 1, 2007 Conference organized by the Universidad Autónoma de Madrid. 26, 27 and 28 March, 2007 The call for papers is open, until February 1st. Contact: [email protected] Further information: http://www.uam.es/otros/invmus/ Call for Papers: Theatre Translation Conference United Kingdom - Norwich January 31, 2007 Drama Studio, University of East Anglia 29 June-1 July 2007 UEA Studio University of East Anglia http://www.uea.ac.uk/ London Metropolitan University http://www.londonmet.ac.uk/depts/hal/subjectareas/languages.cfm University of Warwick http://www2.warwick.ac.uk/fac/arts/ctccs/ Page 6 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Staging Translated Plays: Adaptation, Translation and Multimediality Invited participants: Professor David Johnston, Queen's University Belfast and theatre translator Laurence Boswell, Freelance director and theatre translator Professor Susan Bassnett, University of Warwick The Gate Theatre, London The conference focuses on the practice of staging translations and adaptations of all kinds of drama. We want to explore the links between translated texts and performance and open up a discussion on the (im?)possibility of defining the relationship between translated text and performance. We invite contributors to explore the ways in which translations are, or could be, staged and performed, and how the translated text is placed in performance practice, in the rehearsal room, in collaborative projects between playwrights, directors, translators, actors, and so on. Papers will be accompanied or intersected by a short performance of illustrative extracts, rehearsed readings or film or audio recordings of performances. Deadline for contribution: 31 January 2007 Organizing committee: Roger Baines, University of East Anglia Cristina Marinetti, Warwick University Manuela Perteghella, London Metropolitan University Topics will include: 1. The process of staging translations and adaptations 2. The process of writing translations and adaptations for the stage 3. The process of writing/producing/commissioning translations and adaptations for a specific theatre company or space 4. Collaboration between practitioners translators, actors, directors 5. The (im?)possibility of defining the relationship between text and performance 6. The relationship/interaction between critical theory and creativepractice 7. Models of practice pedagogy and their resource implications 8. Methodologies for evaluating practice-based research 9. Research-based study via creative practice Please send abstracts /of around 300 words or a short outline of your contribution by 31 January 2007 to [email protected] For queries about contributions, please contact [email protected] For queries about travel, accommodation and other practical information, please contact [email protected] The conference aims to foster debate between the academic community and the community of practitioners and so welcomes speakers from both these fields. Page 7 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 One of our interests is to interrogate the intersection/relationship between theory and practice, therefore contributions should be 50 minutes long (including performed extracts, rehearsed readings or the presentation of audiovisual material). Please note that performed elements need only be illustrative and small-scale. Call for Papers: Working group South Africa - Stellenbosch March 1, 2007 The working group Performance and Consciousness within the IFTR (International Federation for Theatre Research) invites papers for presentation at the working group meetings at the 2007 IFTR annual conference, to be held at The H.B. Thom Theatre Centre and the Arts Building, University of Stellenbosch, Stellenbosch, South Africa, 10-14 July 2007. Please see the conference website for further details about the conference and registration http://www.iftr2007.co.za/index_html If you want to present a paper at the conference within the Performance and Consciousness working group, please send an abstract of your paper to the working groups convenor for the 2007 conference, Dr Daniel Meyer-Dinkgräfe (University of Wales Aberystwyth, [email protected]). Deadline is March 1, 2007. However, to allow plenty of time for securing funding, making travel arrangements etc., earlier submission is recommended: information as to whether an abstract has been accepted for the conference will be provided within two weeks of receipt, initially by email, and if requested by hardcopy. Call for Papers: We Will Be Citizens: New Essays on Gay and Lesbian Drama November 15, 2007 Editor: James Fisher Contributors are sought for a collection of new essays on gay and lesbian drama in the United States to be published by McFarland & Company in early 2008. This juried volume will present an eclectic range of essays on post-Stonewall era gay and lesbian playwrights, and the ways in which their works reflect the cultural, political, personal, and aesthetic evolution of millennial American life. Prospective contributors are encouraged to consider historical and theoretical approaches. Essays are welcome on movements within gay and lesbian drama, as well as comparative literary studies. Potential contributors should send CVs and a 100-word abstract to: James Fisher, Professor of Theater Theater Department Wabash College Crawfordsville, IN 47933 (765) 361-6394 Email: [email protected] Deadline for completed essays: November 15, 2007. Manuscripts, a maximum of twenty-five to thirty typewritten pages in length, should be prepared in MLA style. Contributions may be sent as MAC-friendly email attachments or on disk, accompanied by a hard copy of the essay Page 8 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 and a paragraph-length biography of the author. Contributors will receive a copy of the volume upon its publication. Call for Working Group and Panel Paper Submissions: Inaurual Symposium - Irish Society for Theatre Research Ireland - Belfast March 1, 2007 Friday 13th April to Sunday 15th April 2007 Queen's University Belfast The theme of the Inaugural Symposium of ISTR is Theatre and Conflic which is designed to encompass notions of conflict on intra-national as well as international levels. Working Group Submissions The working group dynamic involves the submission of papers no more than 2,500 words in length which are then disseminated for all members of the working group to read before the symposium. During the working group sessions on the Friday of the symposium, working group members will give a brief synopsis of their paper lasting no more than 10 minutes, after which the group as a whole will discuss the paper for 20 minutes. The following working groups have been proposed in order to begin the process of encouraging members to develop more specialized groups in subsequent symposia in order to more fully engage with the broad spectrum of Irish theatre from page to stage: Cultural Identities seeks papers exploring issues of Irish theatre and performance that frame the construction and categorization of cultural identities such as: gender, sexuality, race, nation, ethnicity. Performances that are a part of institutional culture as well as alternate performance cultures are included, and projects that study popular as well as elite cultural performances will be welcomed. Contact Brian Singleton: [email protected] Theatre History and Historiography seeks papers pertaining to any aspect of research into the history of theatre as a practice and as an institution in Ireland or the history of Irish theatre in its international contexts. This working group is also concerned with investigating the methodologies of theatre history and/or the theoretical and historical assumptions that underpin these. Contact Tom Maguire: [email protected] Textual Practices seeks papers which engage with the relationship between textuality and performance, specifically in terms of the transformation of the play on the page into the play on stage. Of particular interest are papers that examine the performance possibilities implied by a script, score and other textual or documentary sources. Contact Eamonn Jordan: [email protected] Performance Studies seeks papers which explore ways to analyse performance in its multiplicity of elements and meanings. Participation is encouraged from practitioners, critics and academics in the disciplines of theatre and drama, digital technology, and performance art. Contact Bernadette Sweeney: [email protected] Panel Paper Submissions We invite proposals for panel papers lasting no more than 20 minutes to be delivered on the Saturday of the symposium on various conflictual issues represented in Irish theatre and performance such as: sectarianism Page 9 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 class disparity gender hierarchy domestic violence racial discrimination cultural dissonance Panel Group submissions of up to 3 papers are particularly welcome. The deadline for both Working Group and Panel Paper submissions is 1 March 2007 The Registration Form and further details about the Inaugural Symposium is available on the ISTR website: http://www.qub.ac.uk/istr Please forward any general enquires regarding ISTR to: [email protected] Closure of Theatre Museum London - Letter from FIRT to Tessa Jowell, Secretary of State for Culture United Kingdom October 18, 2006 October 18, 2006 Tessa Jowell Minister of Culture London SW1A )AA Dear Madam Minister: I am writing as President of the International Federation for Theatre Research, a professional organization of 500 theatre and performance scholars world-wide. Together with our sister organization, the International Society of Performing Arts Libraries and Museums, we are extremely distressed by the threatened closing of the Theatre Museum at the end of January. Until recently, I was working as an American academic in California, with a special research interest in contemporary British Theatre. The extremely helpful staff and archives at the conveniently located Theatre Museum made my professional life much easier. Even though I now reside in Britain, I am anxious not to loose this assetfor my British colleagues as well as my international ones. We urge the appointment of an independent body to examine the status and function of the Museum, to explore whether it might be time to break away from the V&A and be funded by key cultural bodies in England. Thank you for your attention and consideration. Sincerely, Janelle Reinelt President, International Federation for Theatre Research (FIRT/IFTR) Professor of Theatre and Performance Studies University of Warwick Page 10 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Closure of Theatre Museum London - Letter from SIBMAS to Tessa Jowell, Secretary of State for Culture United Kingdom October 18, 2006 SIBMAS C/O The Royal Scottish Academy of Music and Drama 100 Renfrew Street Glasgow G2 3DB 18 Oct 2006 Rt. Hon Tessa Jowell Secretary of State for Culture, Media & Sport Department for Culture, Media and Sport (DCMS) 2-4 Cockspur Street, London SW1Y 5DH, Dear Ms Jowell I would firstly like to introduce our society to you, SIBMAS. (Société Internationale des Bibliothèques et des Musées des Arts du Spectacle) is the International association of libraries and museums of the performing arts. Since 1954 SIBMAS has been the forum for colleagues from all over the world promoting research, practical and theoretical, in the documentation of the performing arts. As an organisation we have followed the continuing saga of the potential loss of Londons Theatre Museums with great concern and astonishment. With the recent failure of the proposal by The Royal Opera House to keep the museum afloat, we are deeply concerned to learn that it is now planned to close in January 2007. SIBMAS understands it is proposed that the Theatre Museums permanent home will be closed and that the displays reabsorbed back into the theatre archive held by its parent institution the Victoria and Albert Museum, basically returning the theatre museum to be a mere department of the V&A once again, but one without a display space. The alternative proposal of a programme of exhibitions at the V&As Kensington home cannot be seen as being progress: it is returning to the situation which existed in the 1970s. Closure of the Theatre Museum would quite simply be a significant backward step in the preservation and promotion of British performance heritage. What will be lost if the Theatre Museum closes is not simply a display of the history of London / British theatre, important enough as that is. Performing arts collections worldwide tend to present a combination of displays and activities in a unique way. Performing arts museums, with their mix of human interaction, demonstrations, workshops and displays, have a great part to play, especially in the education of young people. An exposure to performance culture can be an opening door for many to self-expression, communication skills, team working, or to further study and educational advancement. The methods used in performing arts museums to interpret their subject areas are not always well understood by more traditional museums and art galleries. This appears to be the case with the V&A and the Theatre Museum, in their current predicament. Britain and in particular London has a unique place in world theatre. The importance of saving theatrical intangible heritage is recognised throughout the world. Thriving theatre museums can be found throughout the world; in Vienna, Munich, Düsseldorf, Athens, Lubjliana, Helsinki, Copenhagen, Bern, Lisbon, and in 2010 a new Theatre Museum is planned for San Francisco. London and the UK not being able to support such a museum is staggering. The UK has an amazing theatre culture which deserves a dedicated museum that reflects that culture. Closing the Theatre Museum is sending out a message that the UK does not value and care about its own performance heritage. This has to be seen as a UK national issue, and one of international significance. As things stand, it would appear that the Theatre Museum is being allowed to slip away with as little fuss as possible by public funding bodies and the management of the V&A. A choice is being made, and it should be made clear that this decision is being taken on behalf of the British people, that the UK as a society and culture do not need or want such a theatre museum. SIBMAS believes that the British people do want such a museum. Page 11 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 SIBMAS would like to ask you as Secretary of State for Culture Media and Sport for an independent review of the Theatre Museumss future, a review that is conducted by an body without a vested interest in saving costs. It is possibly time for the Theatre Museum to break away from the V&A and be an independently funded organisation, with its own destiny in its own hands. Such a situation requires the key funding bodies in England to wake up and recognise the importance of the museum to London, the wider UK and world heritage. The Theatre Museum is one of the largest such museum of its kind in the world. It is unique - not only for its size and the marvels that it houses, its library and archive but also for the location of the permanent displays, situated as they are at the heart of Covent Garden. It is easily accessible and has the bustle of Londons theatre district all around it; the world it reflects is at its doorstep. Allowing the permanent exhibitions to be disbanded would be a sorry legacy for all the many people in the theatre business, education and the general public who fought for years for the existence of such an institution. This potential closure is particularly concerning because it was thought that the battle for a permanent home for the British theatre collection had been permanently won. SIBMAS asks you and your department to do everything that you can to stop this proposed closure and to give the Museum the future it deserves. Yours sincerely Alan R. Jones Vice-President SIBMAS Theatre Librarian, Royal Scottish Academy of Music and Drama, Glasgow Message urgent - Fermeture du musée du théâtre de Londres United Kingdom Chers membres de la SIBMAS / FIRT Jai de tristes nouvelles, le musée du théâtre à Londres est une fois de plus menacé de fermeture et ce, pour la fin du mois de janvier 2007. La coopération envisagée avec la Royal Opera House na finalement pas abouti. Le Victoria and Albert Museum (V&A), dans loptique de faire des économies, a décidé de réintégrer le musée du théâtre dans un de ses départements. Le musée du théâtre ne disposerait pas despace permanent dexposition, ses activités se limiteraient à des expositions temporaires dans le bâtiment de Kensington et des expositions itinérantes. Cette alternative ne peut être considérée comme un progrès, bien au contraire, elle constitue un retour à la situation insatisfaisante des années 1970. Cette fermeture signifierait tout simplement un recul dans le domaine de la conservation et de la promotion des arts vivants en Grande-Bretagne. Le musée allemand du théâtre a envoyé une lettre de protestation au Times, à Londres, signée de lancienne présidente de la SIBMAS Claudia Blank ainsi que de plusieurs directeurs de musées du théâtre en Europe. Une lettre a également été envoyée au nom de la SIBMAS à Tessa Jowell, Secrétaire dEtat aux affaires culturelles, en complément de celle de Janelle Reinelt, présidente de la FIRT, pour faire savoir notre opposition à cette fermeture. Nous demandons à la Secrétaire dEtat que la proposition de fermeture soit révisée de façon indépendante. Nous vous tiendrons informés de la suite des événements ainsi que des moyens de manifester votre désaccord et dapporter votre aide. Vous trouverez des renseignements sur les derniers développements sur : [email protected] http://www.thestage.co.uk/news/newsstory.php/14281 http://www.thestage.co.uk/news/newsstory.php/14376/select-committee-to-probe-theatre-museum http://www.timesonline.co.uk/article/0,,59-2408559.html Vous pouvez faire des commentaires et connaître vos points de vue sur : http://www.theatremuseum.org/news_and_views/phpbb/viewtopic.php?t=3597 Page 12 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Alan Jones Président adjoint de la SIBMAS / Cordula Treml Rédactrice du Bulletin Report from Nordisk Centrum for Teaterdokumentation (NCTD) Norway - Oslo Annual meeting 8th-10th September 2006 in Oslo. NCTD is a Nordic branch of SIBMAS, working in the five countries Denmark, Sweden, Norway, Finland and Iceland. The meeting of 2006 took place in Oslo, Norway, because of the Ibsen Year 2006. Twenty one participants gathered in the National Library (Nasjonalbiblioteket). The Theatre Museum in Oslo opened in 1939 and is situated in the old Town Hall since 1641. An exhibition called Creative Vision displayed 30 different Norwegian stage models from 1950-2005, as well as drawings and historical documentation from early performances. The exhibition caused a discussion about what is gained and what is lost when an original setting is changed, which is usually the case today. In reports from the Nordic theatre museums especially remarkable changes planned for the museums of Oslo and Stockholm were discussed. From Norway Ragnhild Wang, Director of Oslo Theatre Museum reported as follows: As in several other European countries Norwegian museums have also been subject to comprehensive reforms. The plan that was put into action in 2005 had as its goal to reduce the number of museums from 800 to around 100 bigger units. It was suggested that the museums went through effective structural and operational changes. The Theatre Museum in Oslo has worked since 2003 to achieve the consolidation with two other museums in Oslo, The International Cultural Centre and Museum and The Oslo City Museum, which celebrated its 100 years in 2005. The new organisation was established on 1/1 2006. Oslo was quite late in starting the reorganisation process. This has been an advantage as we were able to learn from the experiences of the other museums. Our total number of employees are 30 people, 1 to 2 of which work at the Theatre Museum. The new director of the consolidated museum is Mrs. Vibeke Mohr. The process of integrating our small museum with two much larger organisations can be difficult, but for several years we have had severely limited budgets, so we really have no choice. With these facts in mind, the situation looks good. We get support in our negotiations with the central government, and in addition we have a larger community of co-workers to enrich and stimulate us in our own work. We hope to improve our public profile, despite the fact that we are now called The Oslo City Museum, The Theatre Museum department. The new organisations procedures and division of work is not yet decided on. At the moment there are no plans for relocating the museum, so visitors will still find us in the oldest town hall of the city. In this building performances took place as early as in the seventeenth century. The best news since last time we met is that The Norwegian Cultural Council will probably support a complete registration of our collection and an interview project. This will give us 1 million NKR over a 3 year period. We already feel that things are going better. From Sweden Inga Lewenhaupt gave an overview about a large report made by the government with a proposal of uniting Sveriges teatermuseum (earlier Drottningholms teatermuseum), the Dance Museum, the Marionette Museum and the music collections Statens musiksamlingar consisting of music archives, library and museum. This is motivated by the strong need of better internet documentation, accessibility of the large collections and expected synergy effects. Page 13 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 The performances at Drottningholm should be separated from the museum. The new museum for Theatre, Dance and Music would be managed by the government. The theatre and dance museums are now led by foundations, but mainly financed by the government. There is a strong proposal for new location for museum exhibitions in the city. Until now the theatre museum had only the possibility to organise smaller summer exhibitions at Drottningholm, 20 km outside Stockholm. For further information about NCTD see http://www.nb.no/nctd Sommer School 2007: STANISLAVSKY and MEYERHOLD: two approaches for acting Russian Federation - St.Petersburg March 15, 2007 St. Petersburg State Theatre Arts Academy, the largest theatre educational institution in Russia established in 1779, has the pleasure of inviting you to participate in the Summer School to be organized in Saint Petersburg in 4-16 June 2007. This year course is aimed to introduce international young actors/directors and drama students as well as others interested to Russian theatre school. The course provides theoretical overview of impressive heritage of two leading theatre figures of the 20th century and offers its specific use in acting practice. STRUCTURE OF THE COURSE. The two weeks course consists of everyday classes with the leading professors of the Academy: 34 hours of acting, 8 hours of dance, 8 hours of voice and speech, 12 hours of stage movement. The exiting cultural program includes visits to leading drama St. Petersburg theatres (5 theatre visits), and world-famous museums including The Hermitage and The Russian Museum (4 excursions). COURSE LANGUAGE. English (all classes are delivered in English or in Russian with the translation to English). TUITION. Educational program costs 500 EURO. Cultural program (theatres and museums) costs 100 EURO. Full program costs 600 EURO. ACCOMODATION. Participants have a choice of staying in a hostel (20-37 EURO per person a day) or a hotel (96116 EURO). REGISTRATION PERSONAL DATA. Please note that participants are selected on a competitive basis. Therefore you are required to submit a statement of purpose explaining your motivation to take part in the Summer School (max.300 words) and an application form to download from website at: http://academy.tart.spb.ru/Home/News/3089.aspx?lang=en DEADLINES 15 March 2007 is a deadline for applicants. You will be notified about the results until 1 April 2007 by fax and e-mail. The course payment is to be made until 10 April 2007 to the account that will be sent for you in notifying letter. CONTACT Julia Kleiman, Manager of International Department St.Petersburg State Theatre Arts Academy, Mokhovaya, 34, St.Petersburg, 191028 Russia Fax: 7 812 272 17 89 E-mail: [email protected] [email protected] English language web site of the Academy: http://www.tart.spb.ru Page 14 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Urgent news flash - Closure of Theatre Museum London United Kingdom Dear FIRT / SIBMAS members, I have some sad news, the Theatre Museum in London is once again under threat and it looks like it will close at the end of January 2007. The proposed deal with the Royal Opera House did not come to anything in the end. The V&A are cost cutting and have decided to save money by returning the Theatre Museum to a department of the V&A and concentrate on touring shows and exhibitions at its Kensington home, but the Theatre Museum will not have its own permanent space with the museum. This alternative proposal cannot be seen as being progress, it is returning the situation to the 1970s. Such a closure would quite simply be a backward step in the preservation and promotion of British performance heritage. A letter of protest to the Times Newspaper in London has been sent from the German Theatre Museum signed by former SIBMAS President Claudia Blank and a number of directors of Theatre Museums in Europe. A SIBMAS letter has been send to Tessa Jowell, the Secretary of State for Culture, in addition to a letter from Janelle Reinelt, President of FIRT, protesting the proposed closure. We are asking the Secretary of State for an independent review of the proposed closure. We will keep members informed of the developing situation and ways that they can protest and help. You can find out news about the latest situation at http://www.theatremuseum.org.uk/news http://www.thestage.co.uk/news/newsstory.php/14281 http://www.thestage.co.uk/news/newsstory.php/14376/select-committee-to-probe-theatre-museum http://www.thestage.co.uk/news/newsstory.php/14376/select-committee-to-probe-theatre-museum Members can also post comments and views at http://www.theatremuseum.org/news_and_views/phpbb/viewtopic.php?t=3597 Alan Jones Vice-President SIBMAS / Cordula Treml Bulletin Editor * : Modified only Page 15 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 2. EXHIBITIONS Arthur Schnitzler Affairs and Affects Austria - Vienna October 12, 2006 - January 21, 2007 Österreichisches Theatermuseum Portrait of Arthur Schnitzler Photostudio Setzer © Reinhard Urbach Affairs and Affects is not only concerned with the work of Arthur Schnitzler, it also traces the history of his impact. Three well-known works of Schnitzler are exemplary for this. Reigen (Hands around), written in 1896/97, and two monolog novellas Lieutenant Gustl (1900) and Miss Else (1924): A carousel of erotic encounters, a disturbed young man and a pestered young girl. The exhibition makes these literary worlds permeable and provides intimate views of the culture and the mentality history of the time. It begins - without a foreplay - with Schnitzlers mechanistically joined Love Dance. Traversing social classes he brings together ten pairs sequentially to the love act. Alluded to with hyphens at the climax of each scene, the play shows sexuality as a central driving force. The concatenation of the pairings also sketches a model of uninterrupted infection - it begins and ends with the prostitute. The exhibition reproduces the play and the violent reactions as a genre picture of an epoch. A revolving door leads from the volatile sexual encounters of the sexes to the two monolog novellas. On one side the visitor is lead into an atmospheric listening area in which he can perambulate the text - together with Second Lieutenant Gustl, who wanders about nocturnal Vienna. Listening islands and associative pictures insert the visitor into Gustls mental space, with all its contradictions, hollownesses and involuntary confessions. Gustls conflict with his code of honor is an analysis of a specific environment and man around 1900; for Schnitzler himself an affair ended with him being deprived of his rank as officer. On the other side the revolving door opens into a hotel lobby with topical windows for the precarious situation of a young woman in the society at the turn of the century. In the Grand Hotel as a guest of her rich aunt, the 19 year old Else is confronted with the dominant double morality and cannot find her place in this world. She tries on roles as if they were dresses, which in the exhibition results in a revue of social attributions and artistic productions of the female. Whether sporting girl, rich wife or noble prostitute, for Else, the daughter of a defrauder who is degraded to being a bartered object, all the hotel floors lead to the same erotically-charged topic: woman and money. And from here it is easy to make the connection to the time the novella was created in the 20's, when inflation, nude dancing and revue girls prevailed. Sigmund Freud wrote in a letter to Arthur Schnitzler (18621931) that through intuition he knew everything I have uncovered through arduous work with others. What made Schnitzlers writing so scandalous that his Reigen actually led to a court case in Berlin in 1921? The exhibition Arthur Schnitzler Affairs and Affects offers some insights. Schnitzler lived in times that were increasingly obsessed with eroticism. Freud exposed the roots of erotic desires while Schnitzler revealed their consequences. The exhibition focuses on the works by Schnitzler that trace the effects of erotic desires on people and their social status. Even Schnitzlers contemporaries were aware of his remarkable introspective skills, said Professor Konstanze Fiedl. The credibility of his characters inner lives and the precision with which he analyses their mechanisms are undisputed. Stanley Kubricks film Eyes wide shut shows that Schnitzlers power to disturb is undiminished. The exhibition was conceived in co-operation with the Arthur Schnitzler Society. It was curated by Evelyne Polt-Heinzl Page 16 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 and Gisela Steinlechner and designed by Peter Karlhuber. Austrian Theatre Museum, Palais Lobkowitz 2 Lobkowitzplatz 1010 Vienna Opening hours Tuesday-Sunday 10am to 6pm Entry fees Adults 4.50 Reduced 3.50 The exhibition catalogue is priced at 29.90 and is available from the Museum or online at http://www.khm.at http://www.theatermuseum.at/flash/page/veran/index.htm Arturo Toscanini: Homage to the Maestro United States - New York February 21, 2007 - May 25, 2007 Vincent Astor Gallery The New York Public Library for the Performing Arts 40 Lincoln Center Plaza New York, NY 10023-7498 Opening hours: Tues, Wed, Fri & Sat: 12 to 6 Thurs: 12 to 8 Admission free A 50TH ANNIVERSARY RETROSPECTIVE The year 2007 marks the fiftieth anniversary of the death of one of the most influential musical figures of the twentieth century. Arturo Toscanini (1867-1957), whose career began in 1886 and continued until 1954, was a major figure in establishing standards for modern orchestral and operatic performance. This exhibit will illustrate the multi-faceted personality of Toscanini as conductor and collaborator with composers, instrumentalists and singers, such as Giacomo Puccini, Samuel Barber, Claude Debussy, and Guido Cantelli, and will shed light on his personal relationships as mentor, colleague, friend, father and grandfather. On display will be photographs, scores, letters and documents, many of which are unpublished and are rarely seen on display, such as the stage directors copy of a music score to Richard Strausss Salome, interleaved with stage directions, and a proof copy of the score for Puccinis La Fanciulla del West, annotated by both Puccini and Toscanini. These unique documents are from the research divisions of The New York Public Library for the Performing Arts as well as the conductors personal archive amassed by his son Walter and donated by the Toscanini family to The Librarys Music Division and Rodgers & Hammerstein Archives of Recorded Sound in 1986. Visitors can hear intriguing and rare highlights from the vast sound recording archive of this collection which contains all the known NBC Symphony Orchestra broadcasts and over 400 hours of rehearsals among other performances. Recorded excerpts highlighted in the exhibit will include 1926 rehearsal excerpts with the La Scala Orchestra, and Toscaninis last performance of the Bruckner 7th Symphony with the New York Philharmonic from 1935. http://www.nypl.org/research/calendar/exhib/lpa/lpaexhibdesc.cfm?id=441 Backstage Page 17 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Netherlands - Amsterdam December 14, 2006 Visitors to 'Backstage' - an exhibition about making theatre - discover that a performance is built up from several disciplines. The six most important parts of theatre making are being introduced: text, directing, play, costumes, scenery, light and sound. http://www.theaterinstituut.nl/index.cfm/site/English/pageid/B78DDE20-BCDC-55E9-6C9DFE2FAF4B9D78/index.cfm Theater Instituut Nederland Herengracht 168 1016 BP Amsterdam Phone: +31 (0)20 551 33 00 Faxd: +31 (0)20 551 33 03 Email: [email protected] 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 Groups 3,50 pp (Min. 15 p.) Les écritures du mouvement France - Pantin November 29, 2006 - February 10, 2007 La danse sécrit, la danse se note. Quelle étonnante affirmation ! Peu de gens savent en effet que la chorégraphie sest dotée tout au long de son histoire de nombreux systèmes de notation aux vocations très variées. Mais peut-on vraiment noter un mouvement ? Difficile à imaginer alors quil semble évident à tous que lon puisse écrire une langue et lire une musique grâce à des partitions. Les gestes paraissent insaisissables comme sils conservaient leurs secrets pour ceux-là même qui les produisent. Depuis le XVe siècle, plus dune centaine de systèmes de notation du mouvement ont vu le jour. De cette histoire, lexposition présente les temps forts et les figures marquantes: du manuscrit de Cervera au XVe siècle jusquaux transcriptions chorégraphiques dartistes daujourdhui, en passant par les dessins de Blasis au XIXe siècle ou encore les partitions de Laban et de Benesh au XXe siècle. Elle met en lumière la grande diversité des formes décriture. Chaque système témoigne en effet dune manière singulière de comprendre le mouvement, marquée par le contexte historique et limaginaire culturel de la société dans laquelle il apparaît. Un certain nombre dinfluences mutuelles se dessinent aussi comme, par exemple, les emprunts assumés de Laban au système Feuillet. À la multiplicité des formes répond la diversité des fonctions. Tantôt simple aide-mémoire dans le processus de travail, tantôt support dapprentissage, voire de création, la notation est au coeur des questions de constitution, de préservation et de transmission des répertoires. Elle saffirme aussi comme un outil remarquable pour analyser les composantes du mouvement et les styles. À ce titre, son utilisation dépasse largement le champ de la danse : lanthropologie y fait notamment appel pour comprendre la spécificité culturelle des comportements moteurs. La puissance graphique des systèmes développés invite à les regarder comme autant de dessins dont la force et la diversité séduisent. Ces « écritures du mouvement » qui précèdent, traversent et prolongent le travail chorégraphique nous offrent autant de parcours possibles au sein des processus de création des oeuvres. Avec ce troisième projet, le Centre national de la danse poursuit sa politique dexpositions à vocation pédagogique, en lien avec les recherches actuelles. Cet événement sera loccasion de présenter, sous la forme de reproductions, une Page 18 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 centaine de documents liés à la notation du mouvement, dont certains issus du fonds Francine Lancelot et du fonds Albrecht Knust (légué par Roderyk Lange à la médiathèque du CND). Centre national de la danse 1 rue Victor Hugo 93 500 Pantin Tél.: +33 / (0)1 41 83 27 27 http://www.cnd.fr/ Commissaire dexposition : Claire Rousier Horaires d'ouverture: 10h-19h et jusquà 22h les soirs de spectacles (fermeture les samedis, exceptés les jours de spectacles, les dimanches et jours fériés) Quel spectacle ! France - Paris October 3, 2006 - March 18, 2007 La nouvelle exposition du Musée présente des poupées et jouets dhier et daujourdhui se rapportant au monde fascinant du spectacle et du cirque. Pantins, poupées, figurines, marionnettes à fil, à main, à doigt, lanternes magiques, dînettes, danseuses, boites à musique, automates, singes, chiens, éléphant en peluche, objets en celluloïd, masques soit près de 500 pièces dexception sont présentées dans des décors aux lourds rideaux rouges évocateurs des salles de spectacle. Lexposition sarticule en 3 axes de lecture : Les jeux conçus comme spectacle pour les enfants : phonographe, poupées à systèmes telles que la valseuse, le siffleur, le gigoteur, lautomate, lanimal mécanique, lanterne magique, opéra miniature, théâtre de Guignol, marionnettes et décors de théâtre Les jouets qui représentent lunivers du spectacle tels que les poupées à limage de personnages célèbres, des personnages de la commedia dellarte, des personnages de cirque Les jouets qui évoquent lunivers du spectacle pour le plaisir des adultes comme les poupées créées par des artistes ou les passionnés sur les thèmes de lopéra, du cirque, de la danse ou du théâtre. Ces objets sont plutôt perçus comme une référence culturelle et un modèle esthétique, que comme des jouets. Musée de la Poupée Impasse Berthaud (vers 22 rue Beaubourg) 75003 Paris France Tél : 00 33 (1) 42 72 73 11 Fax : 00 33 (0) 1 44 54 04 48 E-mail : [email protected] http://www.museedelapoupeeparis.com/tempo/tempo.html Horaires d'ouverture: Mardi - dimanche de 10h00 à 18h00 Fermeture le lundi et les jours fériés Tarifs: Adulte 6 Réduction: plus de 65 ans, chômeur, étudiant de moins de 26 ans 4 Page 19 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Enfant (3 à 18 ans), handicapé, adhérent AMPP 3 Stars and Treasures: 75 Years of Collecting Theatre United States - New York November 21, 2006 - May 5, 2007 Donald and Mary Oenslager Gallery The New York Public Library for the Performing Arts 40 Lincoln Center Plaza New York, NY 10023-7498 Opening hours: Tues, Wed, Fri & Sat: 12 to 6 Thurs: 12 to 8 Admission free Since its founding in 1931, the Billy Rose Theatre Collection, a division of The New York Public Library for the Performing Arts, has amassed more than nine million items, which together constitute the world's preeminent record of live theater in all its manifestations. The collection's holdings are of such repute that researchers from every continent have availed themselves of its treasures and resources. This year marks the 75th anniversary of this world-renowned collection and The New York Public Library will commemorate the occasion with celebratory events throughout the year. The centerpiece of this anniversary celebration will be a major exhibition featuring hundreds of rare or unique treasures from the collection. The exhibition will consist of artifacts that, in most cases, have been viewed by only a few researchers on-site and, in many cases, have never before been seen by the public. Among the items featured in the exhibition will be costume jewelry worn by Edwin Booth in Hamlet, costume designs by Cecil Beaton for the original production of My Fair Lady, a bejeweled belt worn by Sarah Bernhardt in Cleopatra, letters written by Harry Houdini, heartbreaking letters from American playwright Tennessee Williams describing the burden of alcoholism and its effect upon his writing, and a color caricature by Al Hirschfeld portraying George Bernard Shaw as a red-faced, horned devil. Many contemporary actors have loaned their personal treasures for this exhibition. One among many is a silver smelling-salts vial once owned by actress Ellen Terry and now a prized possession of actress Jane Alexander. http://www.nypl.org/research/calendar/exhib/lpa/lpaexhibdesc.cfm?id=443 * : Modified only Page 20 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 3. PUBLICATIONS 3.1. GENERAL 3.2. THEATRE Early Responses to Renaissance Drama United Kingdom - Cambridge August 31, 2006 Charles Whitney University of Nevada, Las Vegas Cambridge University Press Hardback ISBN-13: 9780521858434 ISBN-10: 0521858437 354 pages 228 x 152 mm £48.00 It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to a new understanding of pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. For the first time, it makes possible the study of particular responses of women and of workers. It also contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a new view of dramatic production. Focuses on the pre-1660 response to Renaissance drama, with the main example being Shakespeare; other primary texts under discussion include Tamburlaine and Dr Faustus Develops accounts of the responses of women and of workers to particular dramatic material, extending literary and cultural history into areas of vital importance Offers in-depth analyses of the role of theatre in the lives of individuals Contents Introduction; Part I. Tamburlaine, Sir John, and the Formation of Early Modern Reception: 1. Tamburlaine intervenes; 2. Versions of Sir John; Part II. Audiences Entertaining Plays: 3. Playgoers in the Theatrum Mundi to 1617; 4. Common understanders; 5. Playgoing and play-reading gentlewomen; 6. Jonson and Shakespeare: living monuments and public spheres; Bibliography. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521858437 Living History Museums: Undoing History Through Performance United States Page 21 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 February 28, 2007 by Scott Magelssen (Augustana College, Illinois) Published by Scarecrow Press $49.95 Paperback 0-8108-5865-7 / 978-0-8108-5865-7 272pp The publication treats performance practices of living history and open-air museums, and draws on recent developments in contemporary theatre studies to offer suggestions for more efficacious museum performance programming. Living history museums are cultural institutions that merge historical exhibits with live costumed performance. While unique and vitally important, they often compromise historical accuracy and authenticity for the sake of tourism and entertainment value. Many also pursue methods of performance and historiography that are becoming increasingly outdated. Living History Museums: Undoing History Through Performance examines the performance practices used by institutions such as Plimoth Plantation and Colonial Williamsburg, and offers a new genealogy of living history museum performance in the U.S. and Europe. Currently, existing scholarship on living history museums addresses the subject from a museum-studies or anthropology perspective. Author Scott Magelssen, however, approaches the material from a background in theatre history and theory, analyzing living history museums using postmodern methodology. Considering performance as a method for the study of history and exploring emergent non-traditional theatrical practices, the book offers suggestions for performance in an increasingly postmodern landscape. Concluding with an international listing of living history institutions and a complete list of sources, Living History Museums is a valuable resource for students and teachers of theatre and performance studies, cultural studies, folklore, popular culture, American studies, and museum studies. Scott Magelssen is assistant professor of Theatre Arts at Augustana College, Rock Island, Illinois. He has published articles on living history museums in many theatre journals, including Theatre History Studies and The Drama Review. The author won the 2005 Gerald Kahan Award for the Best Essay in Theatre Studies by a Younger Scholar for his article "Performance Practices of [Living] Open-Air Museums (And a New Look at 'Skansen' in American Living Museum Discourse)," published in Theatre History Studies in 2004. http://www.scarecrowpress.com/Catalog/SingleBook.shtml?command=Search&db=%5EDB/CATALOG.db&eqSKUdat a=0810858657 Music, Theatre and Politics in Germany - 1848 to the Third Reich United Kingdom - London September 28, 2006 Nikolaus Bacht Ashgate Publishing Includes 5 b&w illustrations and 12 music examples ISBN: 0 7546 5521 0 328 pages Hardback 234 x 156 mm £55, $99.95 Music, theatre and politics have maintained a long-standing, if varying and problematic, relationship. In the Ancient World, the relationship used to be a harmonious one, scholars have us believe, glorifying the moment at the beginning of Western history when a political community, or polis, affirmed itself in a practice that purportedly achieved the perfect integration of music and theatre. To revive this original harmony was, of course, one of the main impulses that engendered the genre of opera. However, while it is widely recognized that the political represented a prius in the Ancient triangle of music, theatre and politics, there has been little attention to the status of the political in the Page 22 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 triangle's modern variety. Nonetheless, the relationship between the three continues to be strong. In many contexts, the political still takes priority, encouraging or curbing artistic creativity. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of issues in the context of Germany. The contributors focus on a national tradition and period in which the friction between music, theatre and politics grew particularly intense. Major themes include: reception history; the entwining of aesthetic and political intentions on the part of composers, critics and historians; and the construction and/or critique of collective political identities in and through music theatre. Contents Introduction. Part 1 The New German School: Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge; Wagner amongst the Hegelians, Nicholas Walker. Part 2 Wagnerian Politics: Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey; From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen; A question of identity: Die Meistersinger von Nürnberg in Weimar Germany, Áine Sheil. Part 3 The Politics of Reception: Schütz's Dafne and the German operatic imagination, Bettina Varwig; Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer; Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield. Part 4 An Excursus on Vienna: 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichneten, Peter Franklin; 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw; Berg's operas and the politics of subjectivity, Julian Johnson. Part 5 Interwar Germany: 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear; Magic boxes and Volksempfänger: music on the radio in Weimar Germany, Alexander Rehding; Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss. Bibliography; index. About the Author/Editor Nikolaus Bacht is Research Fellow at King's College, University of Cambridge, UK. https://www.ashgate.com/shopping/title.asp?isbn=0%207546%205521%200 Proust et le théâtre Netherlands - Amsterdam November 30, 2006 GOEDENDORP, Romana, Sjef HOUPPERMANS, Nell de HULLU-van DOESELAAR, Manet van MONTFRANS, Annelies SCHULTE NORDHOLT, Sabine van WESEMAEL (Eds.) Amsterdam/New York, NY 292 pages Paperback: 978-90-420-2099-3 / 90-420-2099-7 60 US$ 78 Series: Marcel Proust Aujourd'hui 4 Table des Matières Entrée en scène Pedro KADIVAR: Voir la Berma André BENHAÏM:Visages détoiles. Scènes, masques et coups de théâtre de Marcel Proust Peggy SCHALLER: Theater in Proust - the Fourth Art Nell de HULLU-VAN DOESELAAR: Le théâtre dans le théâtre ou la scène de la baignoire Nina ARABADJIEVA-BAQUEY: Le « sens luxueux et curieux » de la fête proustienne Martine BENJAMIN: Athalie à Baalbec ou le théâtre de la cruauté Danièle GASIGLIA-LASTER: Les références de Proust aux pièces sorties du répertoire : une intertextualité à retrouver Sjef HOUPPERMANS: Il y a mèche Myriam BENDHIF-SYLLAS: De la maison de passe à la maison dillusions Sam W. BLOOM: Prousts Jewish Theater Page 23 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Thanh-Vân TON-THAT: Théâtralisation et modèles dans quelques oeuvres de jeunesse de Proust Brigitte Le CAM: Marcel Proust et le théâtre de la cruauté Hiroya SAKAMOTO: Du théâtrophone au téléphone : repenser la mise en scène du dialogue dans À la recherche du temps perdu Entretien avec Guy CASSIERS: (par Romana Goedendorp et Sjef Houppermans) Liste des auteurs http://www.rodopi.nl/senj.asp?BookId=Proust+4 Contact [email protected] Revue dHistoire du Théâtre France - Paris 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 N° 231 (2006-3) ·Beaux masques ! Suivi dun entretien inédit avec Benno Besson réalisé par Martial Poirson et Jean-Pierre Aubrit ·Entre misère et exubérance, les spectacles dans les bourgs de la province française aux XIXe siècle. Législation, salles, troupe, variétés, amateurs par Christine Carrère-Saucède ·De la définition du lieu théâtral populaire : police et spectateurs du boulevard à Paris au XVIIIe siècle par Laurent Turcot ·Etienne Aignan et La Mort de Louis XVI par Harry Redman, Jr Livres et revues (comptes rendus) - Slobodan SNAJDER, Le Faust croate (Guy Boquet) - Sylvain DHOMME, Histoires de théâtres (Guy Boquet) - Jeanne BENAY et Jean-Marc LEVERATTO (sous la direction de), Culture et histoire des spectacles en Alsace et en Lorraine de lannexion à la décentralisation (1871-1946) (Guy Boquet) - Sarah HATCHUEL et Nathalie VIENNE-GUÉRIN (sous la direction de), Shakespeare on screen : Richard III (Guy Boquet) - Christian BIET, Moi, Pierre Corneille (Guy Boquet) - Anne FLEUCHTER-FELER, Le drame militaire en Allemagne au XVIIIe siècle (Guy Boquet) - Fernando de ROJAS, La Célestine, tragi-comédie de Calixte et Mélibée (Guy Boquet) N° 232 (2006-4) ·Les dessins du Mémoire de Laurent Mahelot. Sur les traces dun peintre du roi au service de Richelieu par Marc Bayard ·Réflexion sur lart de lacteur à travers le travesti dans Comme il vous plaira de William Shakespeare par Cécile Jordi ·Le procès dHorace par André Georges ·Introduction au Retour dun Croisé par Stephan Pascau Page 24 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 ·Lespace dans Partage de Midi de Paul Claudel par Cécile Turrettes ·Le rire et leffroi : la réconciliation grand-guignolesque par Nathalie Coutelet Livres et revues (comptes rendus) - Anne PENESCO, Mounet-Sully, « lhomme aux cent curs dhomme » (Marie-Françoise Christout) - Joseph DANAN, Pierre Corneille, LIllusion comique. Dramaturgie de lillusion (Colette Scherer) - Charles CHARRAS, Charles Dullin de si belle mémoire (Paul-Louis Mignon) - Marion DENIZOT, Laurent Terzieff aventurier du théâtre (Marie-Françoise Christout) - Michel BATAILLON, Jeanne Laurent, une fondatrice du service public pour la culture (Paul-Louis Mignon) Société d'Histoire du Théâtre Bnf - 58, rue de Richelieu 75084 Paris Cedex 02 Tél.: 00 33 1 42 60 27 05 Fax: 00 33 1 42 60 27 65 Email : [email protected] http://www.sht.asso.fr Stage Fright, Animals, and Other Theatrical Problems United Kingdom - Cambridge August 17, 2006 Series: Theatre and Performance Theory Nicholas Ridout, Queen Mary, University of London Cambridge University Press 206 pages 216 x 138 mm Paperback ISBN-13: 9780521617567 ISBN-10: 0521617561 £19.99 Hardback ISBN-13: 9780521852081 ISBN-10: 0521852080 £45 Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. The book focuses on the theatrical encounter those events in which actor and audience come face to face in a strangely compromised and alienated intimacy arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves. Addresses issues usually neglected or ignored by theatre scholarship Offers a full theorization of stage fright, animals on stage, and other anomalies Uses case studies of work by the Royal Shakespeare Company, Societas Raffaello Sanzio and Forced Entertainment Contents Part I: 1. From the promise of performance to the return of theatre; 2. Kleist's Über das Marionettentheater; 3. From an ethics of performance to an affective politics of theatre; Part II. Stage Fright: The Predicament of the Actor: 1. In an 'awful hole'; 2. A very 'modern' hole; 3. Into the hole and out: diagnosis and cure; 4. Abject hole: first 'blowback'; 5. Page 25 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Face your fear; Part III. Embarrassment: The Predicament of the Audience: 1. Please don't look at me; 2. What is embarrassment?; 3. Towards a politics of shame; Part IV. The Animal on Stage: 1. Mouse in the house; 2. Signs of labour; 3. Animal politics; Part V. Mutual Predicaments: Corpsing and Fiasco: 1. Laughter; 2. Corpsing; 3. Fiasco; 4. Forced entertainment; 5. Lyotard on theatre: 'last blowback'; Afterword; Bibliography. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=0521852080 The Dramatic Works of Catherine the Great - Theatre and Politics in Eighteenth-Century Russia United Kingdom - London October 28, 2006 Lurana Donnels O'Malley Series: Performance in the Long Eighteenth Century: Studies in Theatre, Music, Dance Ashgate Publishing Includes 11 b&w illustrations ISBN: 0 7546 5628 4 242 pages 234 x 156 mm Hardback £50, $99.95 The first in-depth study of Catherine the Great's plays and opera libretti, this book provides analysis and critical interpretation of the dramatic works by this eighteenth-century Russian Empress. These works are shown to be remarkable for their diversity, frank satire, topical subject matter, and stylistic innovations. O'Malley reveals comparisons to and influences from European traditions, including Shakespeare and Molière, and sets Catherine in the larger field of Russian literature in the period, further illuminating her relationship to the aesthetic debates of the period. The study investigates how Catherine expressed her social ideas throughout her drama and exploited the stage's power to promote political ideals and ideology. O'Malley sets close textual analysis within an historical framework, analyzing the major plays according to content, style, themes, characters, and relation to Catherine's life and political aims. Contents Preface; Catherines life and writings; Early comedies; Later comedies; The Shakespearean influence; Comic operas; Epilogue; Appendix; Bibliography; Index. About the Author/Editor Lurana Donnels O'Malley is Professor of Theatre at the University of Hawai'i Manoa, USA, where she teaches Theatre History, Dramatic Literature, and Directing. She is also active as a director. In 1998, she translated and edited the first published English-language translations of two of Catherine the Great's comedies. https://www.ashgate.com/shopping/title.asp?isbn=0%207546%205628%204 The Theatre Listing 2007 Edition Canada - Toronto Guide to professional theatres and rental facilities across Canada Cost per copy: $28.11 (CDN) ISBN 978-0-921129-43-1 192 pages, spiral-bound The newest edition of The Theatre Listing is now in stock. Published by the PACT Communications Centre, The Theatre Listing is comprised of detailed contact information for 350 professional theatres, theatre rental venues, arts Page 26 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 service organizations and key government agencies across Canada. This up-to-date annual print resource has become an essential reference tool for producers, playwrights, actors, designers, and other theatre professionals, as well as for students, agents, and arts service organizations. The Theatre Listing 2007 includes: - Updated information about 350 Canadian theatre companies, festivals and rental venues - Addresses, phone and fax numbers, email addresses, websites, and staff contacts - Details about seasons, repertoires, new play development, festivals and other activities - Which companies are accepting scripts and resumes - A guide to arts organizations and government agencies - Rental information including type of stage, number of seats, technical facilities and rental rates - A quick reference rental index highlighting venues available for rent, sorted by province, city and number of seats - A comprehensive index of listed theatres, companies and organizations, including staff names To order or request more information, please contact: Cristina Blesa, Member Communications Coordinator Professional Association of Canadian Theatres (PACT) 215 Spadina Avenue, Suite 210 Toronto, ON M5T 2C7 Canada Tel: 416.595.6455 x16 / 1.800.263.7228 x16 Fax: 416.595.6450 Email: [email protected] Theatre, performance, and the historical avant-garde United Kingdom February 22, 2006 Günter Berghaus Palgrave Macmillan Series:Palgrave Studies in Theatre and Performance History ISBN: 1-4039-6955-8 Hardback 374 pages £ 39,99 This comprehensive study traces the origins of European modernism in nineteenth-century Paris, then branches out to examine four major movements of the theatrical avant-garde that sprung from this epicenter in the early twentiethcentury: Expressionism, Futurism, Dadaism, and Constructivism. Table of Contents Introduction: The Genesis of Modernism and of the Avant-garde; Expressionism; Futurism; Dadaism; Constructivism; Epilogue: The Postwar Revival of Modernism and of the Avant-garde Author Biography Günter Berghaus is a Senior Research Fellow at the University of Bristol. http://www.palgrave.com/newsearch/Catalogue.aspx?is=1403969558 3.3. FILM European Film Music United Kingdom - London Page 27 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 August 28, 2006 Miguel Mera and David Burnand Ashgate Publishing Series: Ashgate Popular and Folk Music Series Hardback ISBN: 0 7546 3658 5 $99.95 £55.00 Paperback ISBN: 0 7546 3659 3 $29.95 £16.99 llustrations: Includes 2 b&w illustrations and 9 music examples 220 pages 234 x 156 mm The vast majority of writing on film music is concentrated on Hollywood in particular and on a canon of North American scores and films more generally. Recent scholarship acknowledges other traditions of film scoring but little has been written about European film music specifically. Miguel Mera and David Burnand present a volume that redresses the balance by exploring specific European filmic texts, composers and approaches to film scoring that have hitherto been neglected. Films involving British, French, German, Greek, Irish, Italian, Polish and Spanish composers are considered in detail. Starting from a study of the influence of propaganda on musical aesthetics in Nazi Germany the book includes an analysis of Italian neo-realist cinema, a consideration of the Ealing Comedies, experimental music in contemporary Spanish scoring, the invocation of traditional music, the portrayal of classical music performers, the use of space, silence and manipulation of time, and the depiction of the processes of scoring in independent film-making. Important issues that permeate all the essays involve the working relationship of composer and director, the dialectic between the diegetic and non-diegetic uses of music in films, the music-image synergism and the levels of realism that are created by the audio-visual mix. The book will appeal to those working in film studies, popular music studies, musicology, media studies and cultural theory. Contents Introduction, Miguel Mera and David Burnand; Per aspera ad astra and back again: film music in Germany from 1927 to 1945, Reimar Volker; Music, people and reality: the case of Italian neo-realism, Richard Dyer; Contemporary Spanish film music: Carlos Saura and Pedro Almodóvar, Kathleen M. Vernon and Cliff Eisen; Music as a satirical device in the Ealing Comedies, Kate Daubney; Screen playing: cinematic representations of classical music performance and European identity, Janet K. Halfyard; Outing the synch: music and space in the French heritage film, Phil Powrie; Seán Ó Riada and Irish post-colonial film music: George Morrison's Mise Éire, David Cooper; Angel of the air: Popol Vuh's music and Werner Herzog's films, K.J. Donnelly; Modernity and a day: the functions of music in the films of Theo Angelopoulos, Miguel Mera; Preisner-Kieslowski: the art of synergetic understatement in Three Colours: Red, Jon Paxman; 'The rhythm of the night': reframing silence, music and masculinity in Beau Travail, Heather Laing; Scoring This Filthy Earth, David Burnand; Bibliography; Index. About the Author/Editor Miguel Mera is Lecturer in the Centre for the Study of Composition for Screen at the Royal College of Music, UK. David Burnand is Head of Music Technology and Head of the Centre for the Study of Composition for Screen at the Royal College of Music, UK. https://www.ashgate.com/shopping/title.asp?isbn=0%207546%203658%205 Page 28 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Filmosophy United Kingdom - London September 10, 2006 Daniel Frampton Wallflower Press 256 pages Paperback 1904764843 £15 Hardback 1904764851 £45 Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. The book coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of film-thinking, arguing that film style conveys poetic ideas through a constant dramatic intent about the characters, spaces and events of film. With discussions of contemporary filmmakers such as Béla Tarr, Michael Haneke and the Dardenne brothers, this timely intervention into the study of film and philosophy will stir argument and discussion among both filmgoers and filmmakers alike. Daniel Frampton is a London-based writer and filmmaker, and the founding editor of the salon-journal FilmPhilosophy. http://www.wallflowerpress.co.uk/publications/film/filmosophy.html Journeys of Desire - European Actors in Hollywood: A Critical Companion United Kingdom - London March 1, 2006 Edited by Alastair Phillips and Ginette Vincendeau British Film Institute 350 pages, Illustrated Paperback ISBN: 1844571246 £18.99 Hardback ISBN: 1844571238 £60 Journeys of Desire is the first comprehensive critical guide to European actors in American film, bringing together fifteen overview chapters with A-Z entries on over 900 individuals in one accessible volume. Since the early days of the US film industry, European actors have consistently been a major force in Hollywood. Screen idols such as Charlie Chaplin, Greta Garbo, Marlene Dietrich, Charles Boyer, Audrey Hepburn, Maurice Chevalier, Arnold Schwarzenegger, and Antonio Banderas, as well as scores of more modest players, have profoundly shaped "American" cinema. They have also contributed to the propagation of European types and stereotypes such as the "Russian" and Nordic queens played by Garbo and Dietrich, the French roués popularised by Chevalier, the fiery Latinos depicted by Banderas, and the British arch-villains played by Steven Berkoff, Anthony Hopkins, and Tim Roth. Films such as Casablanca (1942), Gigi (1958), Green Card (1990) and Vanilla Sky roués(2001), among many others, would not be the same without them. Contributions from a team of seventy international experts provide groundbreaking case studies of prominent individuals and phenomena associated with the émigrés, such as the retired Russian officers who played crowds in silent films, the stereotyping of European actresses in "bad women" roles, and the ultimate irony of Jewish actors Page 29 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 playing Nazis. Individual entries chart the careers and screen performances of the European actors - from Victoria Abril to Mai Zetterling - who appeared in American movies. Alastair Phillips is Lecturer in Film Studies at the University of Reading. Ginette Vincendeau is Director of the Film Studies Programme at King's College London. http://www.bfi.org.uk/booksvideo/books/catalogue/details.php?bookid=547 Screening Reality - French Documentary Film during the German Occupation United Kingdom - Oxford September 30, 2006 Wharton, Steve Published by Peter Lang Oxford Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien, 2006. 252 pp. Modern French Identities Vol. 25 Edited by Collier Peter Paperback ISBN 3-03910-066-1 US-ISBN 0-8204-6882-7 47.70 £ 29 US-$ 53.95 Between 1940 and 1944 in German-occupied France, the previously disregarded documentary or film de complément took on a new and more prominent role for cinema audiences. Film programmes were obliged for the first time to show documentaries as well as the main feature. Vichy Government support and encouragement made documentary a vehicle for the palatable promotion of policy whilst ostensibly appearing neutral and didactic. Key to this task was the fostering of a climate in which documentary film could be appreciated in its own right, and so it was that special series of high quality documentaries were screened first in Paris and then across France. In 1943 a Governmentsponsored Documentary Film Congress acknowledged that these screenings were «au service de la France et du Maréchal». This book relates the films to their historical context with reference to other propaganda materials of the period, to indicate how this might have been achieved. Contents: History and reform of the film industry under Vichy - Vichy policy and propaganda - Arts, Sciences, Voyages and the Premier Congrès du film documentaire - Prisoners at home and abroad: Service de travail obligatoire and motherhood in Vichy documentary - Screening Reality and serving the Marshal? The Author: Steve Wharton is Senior Lecturer in French and Communication at the University of Bath, and previously lectured in French Studies at the University of Manchester. He works on contemporary gay activism in Britain and France, and Vichy propaganda and the héritage du passé. http://www.peterlang.com/index.cfm?vID=10066&vLang=D&vHR=1&vUR=2&vUUR=1 Screening the Stage - Studies in Cinedramatic Art United Kingdom - Oxford Cardullo, Bert Published by Peter Lang Oxford Oxford, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien 2006 414 pages ISBN 3-03911-029-2 64.20 Page 30 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 £ 42.00 This book examines the historical, cultural, and aesthetic relationships between theater and film. As we enter the 21st century, almost all artists, students, and critics working in theater will have had earlier and greater exposure to film than to theater. In fact, film has become central to the way in which we perceive and formulate stories, images, ideas, and sounds. At the same time, film and video occupy an increasingly significant place in theater study, both for the adaptation of plays and for the documentation and preservation of theatrical performances. Yet far too often theater and film artists, as well as educators, make the jump from one medium to the other without being fully aware of the ways in which the qualities of each medium affect content and artistic expression. This book is intended to fill such a gap by providing a theoretical and practical foundation for understanding the effect that film and drama have had, and continue to have, on each other's development. Moreover, this study provides a history of the relationship between drama and cinema, starting with the pre-cinematic, late 19th-century impulse towards capturing spectacular action on the stage and examining the artistic and commercial interaction between movies and plays, both in popular and experimental work, throughout the 20th century. Important subjects treated in this book include stage versus screen acting, the adaptation process itself, the theatrical as well as the cinematic avant-garde, and the «portability» or adaptability of dramatic character. Contents: Theater and Film - Stage versus Screen - Plays and Screenplays - Analysis, Criticism and Interpretation Adaptation - Acting and Directing - Interviews - Filmography - Bibliography - Film Stills - Screen Violence - AvantGarde Film - Pure versus Impure or «Mixed» Cinema - Film Farce - Shakespeare on Film. The Author: Bert Cardullo is Professor of American Culture and Literature at Ege University in Izmir, Turkey. He is the editor, most recently, of Theater of the Avant-Garde, 1890-1950: A Critical Anthology (2001) and the author of In Search of Cinema: Writings on International Film Art (2004). http://www.peterlang.com/Index.cfm?vID=11029&vHR=1&vUR=2&vUUR=1&vLang=D Contact [email protected] 3.4. MUSICAL THEATRE The American Musical and the Performance of Personal Identity United States - Princeton September 5, 2006 Raymond Knapp Hardback ISBN: 0-691-12524-4 488 pages, 6 x 9 31 halftones, 26 line illustrations, 1 table $39.50 £26.95 The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and Page 31 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike. Raymond Knapp is Professor of Musicology at the University of California, Los Angeles, and author of The American Musical and the Formation of National Identity (Princeton), winner of the George Jean Nathan Award for Dramatic Criticism. He has also published books on Brahms and Mahler. http://www.pupress.princeton.edu/titles/8291.html The Prima Donna and Opera, 18151930 United Kingdom - Cambridge August 10, 2006 Series: Cambridge Studies in Opera Susan Rutherford University of Manchester Cambridge University Press Hardback ISBN-13: 9780521851671 ISBN-10: 052185167X 394 pages 228 x 152 mm £55.00 This book is concerned not so much with the 'prima donna' as with prime donne: a group of working artists (sometimes famous but more often relatively unknown and now long forgotten) and the circumstances of their professional lives. It attempts to locate these singers within a broader history, including not only the specificities of operatic stage practice but the life beyond the opera house - the social, cultural and political framing that shaped individual experience, artistic endeavour and audience reception. Rutherford addresses questions such as the multiple discourses on the image of the singer and their impact on the changing profile of the professional artist from figlia dell'arte at the beginning of the era to middle-class woman at the end; the aspect of the 'stage mother' and patronage; issues of vocal training and tuition; professional life in the operatic market-place; and performance (both vocal and dramatic) conventions and practices. Examines the lives of a range of female opera singers including Giuditta Pasta, Maria Malibran, Wilhelmine SchröderDevrient and Emma Calvé Locates the singers within a broader history, covering social and cultural aspects Will be of interest to graduates in the areas of operatic studies, musicology, theatre history, performance studies and women's studies Contents Introduction; 1. Sirens and songbirds; 2. Superdivas and superwomen; 3. Tutors and tuition; 4. The supporting cast; 5. Professional life; 6. The vocal and theatrical landscape; 7. The singing actress; Postscript. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=052185167X Wagner and the Art of the Theatre United States - New Haven October 16, 2006 Page 32 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Patrick Carnegy Yale University Press 352 pages 100 b/w illustrations ISBN: 0300106955 ISBN-13: 978-0-300-10695-4 Cloth: $48.00 The production of Wagners operas is fiercely debated. In this groundbreaking stage history Patrick Carnegy vividly evokes theoften scandalousgreat productions that have left their mark not only on our understanding of Wagner but on modern theatre as a whole. He examines the way in which Wagner himself staged his works, showing that the composer remained dissatisfied with even the best of his productions. After Wagners death the scenic challenge was taken up by the Swiss visionary Adolphe Appia, by Gustav Mahler and Alfred Roller in Vienna, and by Otto Klemperer and Ewald Dülberg in Berlin. In Russia the Bolsheviks reinvented Wagner as a social revolutionary, while cinema left its indelible imprint on the Wagnerian stage with Eisensteins Die Walküre in Moscow in 1940. Hitler famously appropriated Wagner for his own ends. Patrick Carnegy unscrambles the interaction of politics and stage production, describing how post-war German directors sought a way to bury the uncomfortable past. The book concludes with a critique of the iconoclastic interpretations by Patrice Chéreau, Ruth Berghaus, and Hans-Jürgen Syberberg. Formerly a music critic for the Times and dramaturg at the Royal Opera House, Covent Garden, PATRICK CARNEGY has lectured, broadcast, and published widely on Wagner, opera, and the theatre. http://yalepress.yale.edu/yupbooks/book.asp?isbn=0300106955 Yvonne George United Kingdom Alan Black First full-length study of the actress and singer Yvonne George, who died at the age of 35 in 1930 after a career of considerable celebrity in Brussels, Paris, London, and New York. The book covers her early career in the Belgian capital when it was occupied by the Germans in World War 1 and takes her to Paris in the 1920's where she was a friend of Cocteau and adored by Robert Desnos. This is the first study to identify the facts of her Belgian roots and of her tragically early death in Genova. The book is written in English and is illustrated with interesting photographs. Available directly from the author, as follows: Alan Black, 6 Norfolk Court, Victoria Park Garden, Worthing, Sussex, U.K. Cost: 20 including postage 3.5. DANCE 3.6. OTHER SUBJECTS Page 33 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Czech Puppet Theatre - Yesterday and Today Czech Republic - Prague The long-awaited publication filled with information, illustrations and full-colour photographs documenting the history and trends of Czech puppet theatre from its earliest beginnings to today. Follow the course of Czech puppet theatre history - from the very first Czech puppeteer, Jiří Jan Brat, to the world-famous puppet characters of Spejbl and Hurvínek, the films of Jan vankmajer and the illusionary Black theatre. Learn more about contemporary puppet theatre companies and theatre makers, like the DRAK Theatre and the Cakes and Puppets Theatre that today grace the Czech puppet stages and have made their own impression at festivals and theatres all over the world. Czech Puppet Theatre - Yesterday and Today is a unique collectors edition for anyone interested in the movements and trends of Czech puppet theatre - or simply anyone interested in looking at the more than 70 pages of remarkable full-colour photographs of puppets taken by some of the Czech Republics leading theatre photographers. Czech Puppet Theatre - Yesterday and Today also contains information about organizations, schools and other institutions involved in the art of Czech puppet theatre. Produced and published by Theatre Institute Prague 2006 Introductory retail price: 10.ISBN: 80-7008-199-6 Czech Theatre 22 Czech Republic - Prague The latest issue of the Czech Theatre Magazine places special emphasis on the stages located in the Moravian metropolis of Brno. A Stroll through the Brno Theatre Scene (D. Viceníková) / Devotion to the Cross - J. Mlejnek) / A Century Fascinated with the Devil (M. Reslová) / The Czech Lands Rediscover Political Theatre (J. Machalická) / Exploring Male Vocations and Pastimes (J. Kerbr) / Iva Peřinová: Playing with Fire (J. Rezková) / The Greek Passion and Curlew River (R. Hrdinová) / Czech Dance Zone 2005 (N. Vangeli). As well as the Alfred Radok and Thalia Theatre Awards, new books published by the Theatre Institute, Czech Theatre in Numbers and synopses of new Czech plays in translation. Produced and published by Theatre Institute Prague 2006 Price: 12,ISSN 0862-9382 The Responsive Museum - Working with Audiences in the TwentyFirst Century United Kingdom - London July 28, 2006 Caroline Lang, John Reeve and Vicky Woollard Ashgate Publishing 296 pages Hardback 234 x 156 mm ISBN: 0 7546 4560 6 £55 What is the relationship today between museums, galleries and learning? The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted. The highly experience team of writers, including museum educators and directors, share their different experiences Page 34 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 and views, and review recent research and examples of best practice. They analyse the implications of audience development and broadening public access, particularly in relation to special groups, minority communities and disabled people, and for individual self-development and different learning styles; they explore issues of public accountability and funding; discuss the merits of different evaluation tools and methodologies for measuring audience impact and needs; and assess the role of architects, designers and artists in shaping the visitor experience. The latter part of this book reviews practical management and staffing issues, and training and skills needs for the future. This book is for students, museum staff, especially those involved in education and interpretation, and senior management and policy-makers. This is a much-needed review of the relationship between museums and galleries and their users. It also offers a wealth of information and expertise to guide future strategy and practice. Contents Introduction, Caroline Lang, John Reeve and Vicky Woollard. Understanding Audiences: theory, policy and practice: Introduction; Influences on museum practice, John Reeve and Vicky Woollard; The impact of government policy, Caroline Lang, John Reeve and Vicky Woollard; The public access debate, Caroline Lang. Developing Audiences: Introduction; Prioritising audience groups, John Reeve; Networks and partnerships: building capacity for sustainable audience development, Ian Blackwell and Sarah Scaife; Response, Nico Halbertsma; Dancing around the collections: developing individuals and audiences, Eithne Nightingale; Response: Izzy Mohammed; Museums and the Web, Caroline Dunmore; Response, Roy Hawkey; Understanding Museum Evaluation, Kate Pontin; Response, Susan Potter. Managing the Responsive Museum: Introduction; Where does the museum end?, Mike Tooby; Response, Alec Coles; The funding challenge, Phyllida Shaw; Response: Antonia Byatt; Learning, leadership and applied research, Nick Winterbotham; Response: Janet Vitmayer; Audience advocates in museums; John Reeve; Response: Jane Samuels; Whose space? creating the environments for learning, Rick Rogers; Response: Christopher Bagot; An unsettled profession, Vicky Woollard; Response: Caitlin Griffiths; Conclusion: Where do we go from here?, Caroline Lang, John Reeve and Vicky Woollard. Appendices: UK museum and gallery visitor figures; Inspiring learning for all framework; A Common Wealth (1997) Twelve targets; Bibliography; Index. About the Author/Editor Caroline Lang is Learning Centre Project Manager at the Victoria and Albert Museum, UK, and also works as a museum consultant. She was Senior Policy Adviser for Access and Audience Development at The Museums Libraries and Archives Council (formerly Resource) from 1999 to 2003 managing their first cross-domain disability, cultural diversity and social inclusion programmes. John Reeve was Head of Education at the British Museum 1982-2003. He is a Visiting Fellow at the Institute of Education, London University, UK, where he teaches on the MA in Museums, Galleries and Education. John is also vice-chair of the Group for Education in Museums. He has published on Japanese art and world religions, as well as on many aspects of museology and education. He also works as a museum consultant and trainer in the UK and abroad. Vicky Woollard is Senior Lecturer in the Department of Cultural Policy and Management at City University, London, UK. She is Programme director for the MA Museum and Gallery Management, with particular interest in Education in the Cultural Sector. Vicky has had 18 years experience as an Education Officer in 3 London Museums before becoming a consultant. https://www.ashgate.com/shopping/title.asp?isbn=0%207546%204560%206 3.7. EXHIBITION CATALOGUES Arthur Schnitzler Affairs and Affects Austria - Vienna October 31, 2006 Evelyne Polt-Heinzl, Gisela Steinlechner Christian Brandstätter Verlag Paperback Page 35 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 19 x 24 cm 159 pages Numerous illustrations Only available in German 29.90 The catalog is accompanying an exhibition at the Theatremuseum Vienna ("Arthur Schnitzler - Affairs and Affects", 12 October 2006 - 21 January 2007) and is available either from the Museum or online at http://www.khm.at 3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS DVD: Dionysos - Theatre Iconography Archive Titivillus Publishing House is pleased to announce the publication of DVD Dionysos. Archivio di iconografia teatrale, realized by the Research Team belonging to the Dipartimento di Storia delle arti e dello spettacolo of Firenze University directed by Cesare Molinari and Renzo Guardenti, to which collaborated Pisa University and Siena University (branch of Arezzo). Dionysos is the largest digital archive on western theatre, with more than 21,000 images and cataloging records concerning theatre and performing arts from the classical antiquity to the middle of twentieth century. Primarily conceived as a research and reference tool, Dionysos is also extremely useful for educational purposes. Moreover, the archive can be a precious resource for performing arts practitioners. Every image is described in a cataloging record that examines its historic and artistic features, the aspects that qualify the monument as a document of the history of the theatre, also providing information about plays and staging practices. The archive allows a substantially free access: the user may start by the name of an individual (e.g. an actor, a painter, a playwright), or by a geographic area, an historical period, the title of a play, etc. A guided search is also possible, beginning the search in fields associated to a selected dictionary. Both free and guided search results may combine again and again, in order to obtain more refined results. Besides, the program allows to create and save lists of images according to the user's needs and aims, a function particularly useful for teaching purposes. The cataloging records are compiled in italian, but an italian/english glossary of terms frequently used in Dionysos interface, and translations of the selected dictionaries, are avaible in the english version of the Instructions file and in the booklet. Dionysos is sold by Titivillus Publishing House ( 380, shipping fee included), exclusively to researchers, academic institutions, drama schools, cultural agencies, theatres, museums and libraries. It is sold non-profit, the proceeds aring from the sale being destined to finance the project itself. The DVD may be purchased at Titivillus website: http://www.titivillus.it Les éditions Titivillus proposent le DVD Dionysos. Archivio di iconografia teatrale (Dionysos. Archive Iconographique du Théâtre) réalisé par léquipe de recherche du Dipartimento di Storia delle arti e dello spettacolo de lUniversité de Florence dirigé par Cesare Molinari et Renzo Guardenti, avec la collaboration des universités de Pise et de Sienne. Dionysos est la plus ample banque de données de liconographie du théâtre européen et contient plus de 21.000 images cataloguées concernant les arts du spectacle de lantiquité à la première moitié du XXe siècle. Cette archive, conçue comme un instrument de recherche et détude, est aussi dune grande utilité pour lactivité didactique et peut être une source dinspiration pour les metteurs en scène. Une vaste indexation des mots permet Page 36 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 plusieurs modalités de recherche. Larchive est distribuée par les éditions Titivillus au prix de 380 (frais dexpédition inclus) uniquement aux chercheurs, aux instituts universitaires, aux organismes culturels, aux théâtres, aux musées et aux bibliothèques. La cession de larchive n'a pas de but lucratif puisque les revenus sont destinés à la poursuite de la recherche. Vous pouvez faire votre commande sur le site http://www.titivillus.it Titivillus Edizioni Via Zara, 58 56020 Corazzano (PI) Tel (+39) 0571462825/35 Fax (+39) 0571462700 E-mail: [email protected] * : Modified only Page 37 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 4. LINKS TO OTHER ORGANISATIONS ATEQ - Association Théâtre Education du Québec Canada - Montréal L'ATEQ est un organisme dynamique qui représente les enseignantes et les enseignants de même que les personnes-ressources en art dramatique et en théâtre depuis 1987. L'ATEQ se donne comme mandat de répondre par l'action aux demandes et aux besoins de ses membres et crée des liens entre ses différents adhérents au Québec comme à l'étranger. L'ATEQ - voit à promouvoir l'enseignement de l'art dramatique et du théâtre dans le milieu scolaire. - représente ses membres et défend leurs intérêts devant les différentes instances tant sur le plan scolaire ou professionnel que sur le plan politique. - réunit ses membres en organisant divers événements ponctuels pour favoriser les échanges d'idées et le ressourcement. - crée des contacts avec le milieu théâtral professionnel. Adhésion de - Toute enseignante ou tout enseignant, toute professeure ou tout professeur d'art dramatique ou de théâtre (de l'enseignement primaire, secondaire, collégial ou universitaire). - Toute animatrice ou tout animateur de théâtre. Toute conseillère pédagogique ou tout conseiller pédagogique responsable du dossier des arts. - Toute représentante ou tout représentant du milieu socioculturel. Toute étudiante ou tout étudiant en art dramatique à l'université. - Toute personne intéressée par la présence et la mise en valeur de l'art dramatique et du théâtre dans les écoles. - Toute compagnie théâtrale. - Toute maison d'édition. Contact: 4353, rue Ste-Catherine Est Montréal Québec Canada H1V 1Y2 Téléphone : (514) 998-8634 http://ateq2000.org/component/option,com_frontpage/Itemid,1/ * : Modified only Page 38 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 5. THEATRE BUILDINGS, RESTORATIONS & NEW DEVELOPMENTS * : Modified only Page 39 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 6. RESEARCH 6.1. RESEARCH PROJECTS A special Micro-Mini issue: In Search of the Worlds Smallest Puppet Show January 15, 2006 For a special issue of Puppetry International dedicated to the tiny, the teeny, the "plus petite" in puppetry, the editors invite submissions including examples of historical and contemporary puppet from all parts of the world and from all eras. In addition, for the peer-reviewed section of this issue we invite submission of short articles (2,000 words, including bibliography and notes) analyzing the nature of puppet scripts, text as an element of puppet performance, and the development of genres in puppet dramaturgy. Please send submissions as Microsoft Word attachments format to Andrew Periale: [email protected] Please include contact information and a brief biography. The deadline for submissions is January 15, 2007. Adding It Up: The Status of Women in Canadian Theatre: Canada A Report on the Phase One Findings of Equity in Canadian Theatre: The Womens Initiative In 1982 Rina Fraticelli released her landmark report The Status of Women in the Canadian Theatre and exposed disturbing inequities on the nations stages. Over twenty years later the report was re-opened by a national committee of women theatre artists and academics who were unsatisfied with the stagnant numbers and imbalances revealed by 21st century polls of the theatre industry. The Equity in Canadian Theatre Initiative, co-chaired by Hope McIntyre (Artistic Director of Winnipegs Sarasvàti Productions and President of the Playwrights Guild of Canada) and Kelly Thornton (Artistic Director of Torontos Nightwood Theatre), conducted forums, panels and discussions with women across Canada over the last four years. In 2005, a national survey was sent out to over two hundred theatre companies in Canada, and Main Researcher, Rebecca Burton, started collecting research materials and tallying the results of the survey returns to write one of the most comprehensive reports on the status of women in Canadian theatre ever undertaken. Canadian society in general seems to feel that we have gained so much ground in terms of gender equity, but when you look at the numbers, it just doesnt add up, said Co-Chair Hope McIntyre. The current study found that women now account for only 33% of the nations artistic directors, 34% of the working directors, and 27% of the produced playwrights. To view the full report or a condensed version of the studys findings, complete with recommendations for actions to redress the industrys gender imbalances, please visit http://www.pact.ca and click on the tab at the top for Services, then Communications/ Publications, OR, visit http://www.nightwoodtheatre.net and follow the link at the bottom of the homepage. For more information and/or interviews, contact: Page 40 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Rebecca Burton, Main Researcher Equity in Canadian Theatre: The Womens Initiative Phone: (416) 536-0916 Email: [email protected] Call for Papers Volume 28: Theatre History Studies United States January 15, 2006 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 established in the Chicago Manual of Style. Illustrations are encouraged. Consulting editors review the manuscripts, a process which takes approximately two 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 also accepted in WordPerfect. Deadline: January 15, 2007 Please direct manuscripts and inquiries to Rhona Justice-Malloy Editor, Theatre History Studies Department of Theatre Arts 110 Isom Hall University of Mississippi Box 1848 University, MS 38677 Email: [email protected] Call for papers: Postgraduate e-Journal of Theatre & Performing Arts United Kingdom - London January 12, 2007 /Platform/ is an electronic journal devoted to postgraduates, postdoctoral researchers, and entry-level academics in the fields of theatre and performing arts. /Platform/ is run by postgraduates for postgraduates, and is based at the Department of Drama, Royal Holloway, University of London. The first issue of /Platform /is now online! We invite submissions for the second issue of /Platform/. The pivotal theme is "Theatres of Resistance." Given the wide-ranging and confrontational nature of the topic, we welcome papers that explore a variety of issues such as the following: * * * * Politics and performance Representation Globalization Identity politics Page 41 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 * Western humanism and binary construction * National identity * Community theatre * Theatre of the oppressed * Street theatre This list is provisional and by no means exhaustive or restrictive. We are looking forward to your contributions! Deadline for Submissions is Friday the 12th of January 2007. For details on submission guidelines and further information please consult /Platform/'s webpage: http://www.rhul.ac.uk/drama/platform/ Call for Publications: Faust January 30, 2007 As the bicentenary of FAUST I (1808) approaches, proposals are now being accepted for chapters in an international scholarly collection on the Faust thematic. Topics in literature, music, art, theatre, philosophy, history, and cultural studies will be considered, all nationalities and periods. English language collection. Send a 500-word proposal and brief bio by 30 January 2007 to Professor Lorna Fitzsimmons at [email protected] Call for submissions: A SPECIAL ISSUE of LAW AND LITERATURE on the work of the American playwright, Barrie Stavis. United States December 15, 2006 We are excited to announce a special issue of Law and Literature, a journal from the Benjamin Cardozo School of Law, Yeshiva University, New York, published by the University California Press. This is the second special issue[1] devoted to the work of American playwright Barrie Stavis, who, on 16 June 2006, celebrated his 100th birthday. We are interested in a wide variety of approaches to Stavis work, with emphasis on one of the later plays, THE RAW EDGE OF VICTORY (1976). Mr. Stavis has prepared a revision the play, and the full text of this revision will be published in this issue. A copy of the previously published version[2] can be sent to you at your request. This play, with its emphasis on the character, decisions, and actions of those who lead us in times of crisis, with questions of justice in a time a war, and with a central focus on the use of the army by the commander not to establish a military dictatorship, but, on the contrary, to insure the primacy of civil government over the military, is especially timely in the first decade of the twenty-first century. Approaches considering generic, formal, or contextual, deconstructive aspects of the play and its times are welcome. Understanding the play as a historical drama, including its rendition of and relation to contemporary historical understandings of the events of the play, analysis of legal aspects of the plays action and its understandings of military justice in wartime and revolution - all this and much more, including papers dealing with this play in the larger context of Stavis' other works, may be considered from any pertinent perspective. Since Stavis plays have been performed in many parts of the world - Russia, Japan, Hungary, Chile, Turkey, Sweden, England, and Canada, among many others- we welcome responses from scholars or critics from any country. Our deadline for submissions is April 15, 2007, and we anticipate publication later in that year. If you have questions about the issue, or about approaches to Stavis work, please do not hesitate to contact the guest editor of the special issue. We would suggest that you send us a very brief, preliminary proposal, stating the essentials or your ideas and approach, by December 15, 2006. We will respond promptly. Please send your responses or inquiries by post or e-mail to: Page 42 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Daniel Larner, Guest Editor Stavis issue of Law and Literature Professor of Theatre Fairhaven College of Interdisciplinary Studies Western Washington University Bellingham, WA 98225-9118, USA Tel. 360 650-4908 Fax. 360 650-3677 [email protected] [1] The first Stavis issue was Cardozo Studies in Law and Literature 2:2 (Fall-Winter, 1990). [2] Published in two successive issues of Dramatics 57:8 (April 1986) and 57:9 (May 1986). 6.2. SCHOLARSHIPS 2006 André G. Bourassa prize Canada Jane Baldwin of the Boston Conservatory received the 2006 André G. Bourassa prize for her article "Klondyke: une tentative de créer une dramaturgie nationale." The article is published in the fall 2006 edition of L'Annuaire théâtral. 6.3. RESEARCH TOOLS Barry Kay Archive: Recognition by the National Library of Australia The National Library of Australia, an Australian government body, aims to build a comprehensive collection of Australian publications to ensure that Australians have access to their documentary heritage now and in the future. The Library has traditionally collected items in print, but it is also committed to preserving electronic publications of lasting cultural value. Bound by stringent selection criteria, the Library has identified Barry Kay posthumously for his artistic achievements, as well as the Barry Kay Archive for conserving, preserving and archiving Kay's creations, and for providing public online access to them - as: "Heritage of national significance with long-term research value". As a result, the online Barry Kay Archive is now integrated into the Library's database of PANDORA (Preserving and Accessing Networked Documentary Resources of Australia) Australia's Web Archive - to secure independent public internet access to the Barry Kay Archive via the Library's server. The Barry Kay Archive's continuously expanding online publication will be re-archived periodically at PANDORA to record significant additions and changes. Collaterally, PANDORA backup copies will be stored on stable data carriers, thereby preserving the evolvement and the history of the Barry Kay Archive. This development represents a sensational breakthrough and a remarkable advance for the yet relatively young Barry Kay Archive. For further reference please consult: http://pandora.nla.gov.au/index.html http://www.nla.gov.au/ Page 43 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Michael Werner Director / Curator BARRY KAY ARCHIVE 17 Moorhouse Road · London W2 5DH T +44 (0)20 7229 8339 · F +44 (0)20 7792 8783 http://www.barry-kay-archive.org [email protected] Garrick Club - Art Collection & Library Catalogue online United Kingdom - London November 2, 2006 The Garrick Club is pleased to announce that its Art Collection & Library Catalogues are now available online via the Clubs existing website http://www.garrickclub.co.uk The Club has agreed to allow free public access to these two facilities. Please remember however that an appointment with the Librarian will always be required before visiting the Club itself. Please follow the links to Art & Library where both catalogues can be accessed, together with information about visiting the collections; alternatively for the Art Collections go straight to Search the Collections The Works of Art Database contains all the primary collections of the Garrick Club, including over 1,100 paintings, drawings and sculptures, as well as the Richard Bebb Collection of theatrical porcelain. The catalogue currently contains over 1,200 prints and engravings, and this number will increase as the cataloguing program continues. The database also reproduces all previously published catalogue information about the entire collection, with appropriate corrections where required. The Library catalogue currently holds well over 5,000 records, principally monographs and collections of plays; however an ongoing program of cataloguing is in place and this is initially concentrating on rare and special collections. Contact Marcus Risdell Librarian & Archivist Garrick Club 15 Garrick Street London WC2E 9AY The Arts Centre - Recent online ressources The Arts Centre, Melbourne, Australia has recently created a page on its web site encouraging browsers to 'Discover Collections & Research': http://www.theartscentre.net.au/discover_collections-research.aspx Included on the page are links to the Arts Centre's Performing Art Collection (PAC) directories and a link to the PAC catalogue. The information on the web page is continually being update as more research is conducted. Currently there are four projects underway - stage design, Handspan Puppet Theatre, contemporary music and photography the results of which will be uploaded in February 2007. Page 44 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 Another exciting development for the Arts Centre is the recent launch of "Virtually Edna", a documentary featuring one of Australia's most iconic stars, Dame Edna Everage: http://virtually-edna.theartscentre.net.au/ Complementing the documentary are pages that highlight objects in the Performing Arts Collection. For more information about Documentation & Online projects at the Arts Centre, please contact Charlotte Smith ( [email protected]). For information about the Arts Centre's research service, please contact Patricia Convery ( [email protected]). * : Modified only Page 45 FIRT/IFTR-SIBMAS Bulletin 2006 Volume 4 7. MISCELLANEOUS ITEMS Fondazione AIDA célébre la Journée de l'Europe avec Le Marathon Littéraire Européen May 9, 2007 Fondazione AIDA/Théâtre Jeune Public de Verona, réconnu par le Ministère de la Culture Italien, propose la Ve édition du Marathon Llittéraire, qui dévient cette année international, impliquant 9 différentes Pays Éuropéens. Le Projet, pensé par Fondazione AIDA en collaboration avec le Professeur Mario Allegri de l'Université de Verona, est réalisé avec le soutien du programme 'Culture 2000'. Le rendez-vous c'est pour le 9 mai 2007: en cette journée, simultanément, en 9 différentes villes et pays d'Europe, des centaines des lecteurs volontaires se relayeront dans la lecture publique, intégrale et continue d'un texte littéraire choisi parmi les chefs d'oeuvres de chaque Pays. Les Marathons se tiendront à Vérone (ITALIE), Cracovie (POLOGNE), Carthagène(ESPAGNE), Belgrade (SERBE MONTÉNÉGRO), Bucarest (ROUMANIE), Järvepää(FINLANDE), Athènes (GRÈCE), York (ROYAUME -UNI) et Sliven (BULGARIE). Les textes qui seront lus en même temps dans les 9 Marathons sont les chefs d'oeuvres des différentes littératures nationales, choisis de la littérature du XXe siècle, répresentant la culture de chaque pays et donc le patrimoine culturel que chaque pays donne à l'Europe. Les lectures publiques débuteront simultanément à 11 heures du matin (heure de Rome) avec un bref texte introductif exprimant la valeur du patrimoine culturel européen. Le départ du Marathon et la fin, une fois terminé la lecture par le dernier relayeur-lecteur, seront soulignés par l'hymne de l'Union Européenne. Les lecteurs seront choisis parmi les citoyens volontaires des tous âges, professions, états sociaux entre 100 et 200 personnes pour chaque Marathon. Les Marathons seront complètement gratuits et ouverts à tous les participants. Il sera possible de suivre les Marathons aussi à travers: - le web (radio et vidéo) - le blog du projet - émission en différé de la tèlèvison - enregistrements audio et vidéo sur le site officiel du projet - le DVD documentaire des tous les 9 Marathons Si vous désirez organiser un Marathon Littéraire dans votre ville vous pouvez nous conctacter: nous sommes toute à fait prêts à ajouter de nouveaux Marathons dans le projet. Pour tous renseignemets: Fondazione Aida Tel. 0039-045-8001471 Fax 0039-045-8009850 E-mail: [email protected] * : Modified only Page 46