FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1

Transcription

FIRT/IFTR-SIBMAS Bulletin
2006 Volume 1
FIRT/IFTR:
SIBMAS:
Membership Secretariat,
Email [email protected]
Cordula Treml,
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:
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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,--
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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
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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]
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Further information on the conference website:
http://ismir2006.ismir.net
Call for Papers: Sixth Annual Postgraduate Symposium on Ancient
Drama:'The Body'
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/
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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
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Geschäftsführung Forschungsbereich
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
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"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
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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
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
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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
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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
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
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.
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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
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
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
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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
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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)
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
Cihelná 2b
110 00 Prague 1-Lesser Town
Phone: +420 257 535 507
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
* : Modified only
Page 17
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
March 1, 2006
Freda Chapple and Chiel Kattenbelt (Eds.)
Rodopi
Amsterdam/New York
266 pp.
Paperback: EUR 54 / US$ 68
Page 18
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
postgraduates 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
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)
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
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
December 8, 2005
Series: Players of Shakespeare
Edited by Robert Smallwood
ISBN-10: 0521676983 | ISBN-13: 9780521676984
234 pages
£17.99
Page 21
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
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
The Provincetown Players and the Culture of Modernity
December 1, 2005
Series: Cambridge Studies in American Theatre and Drama (No. 23)
Brenda Murphy
University of Connecticut
Page 22
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.
Women on Stage in Stuart Drama
January 5, 2006
Sophie Tomlinson
University of Auckland
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.
3.3. FILM
Page 23
Books in Motion - Adaptation, Intertextuality, Authorship
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.
Carmen - From silent Film to MTV
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
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
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
Perspectives on Mozart Performance
February 13, 2006
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).
The Cambridge Companion to Twentieth-Century Opera
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
marketplace Nicholas Payne; 19. Technology and interpretation: aspects of modernism Tom Sutcliffe.
The Cambridge Mozart Encyclopedia
January 4, 2006
Edited by Cliff Eisen
King's College London
Simon P. Keefe
City University, London
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
The Musical Life of the Crystal Palace
December 15, 2005
Michael Musgrave
Goldsmiths College, University of London
ISBN-10: 0521616077 | ISBN-13: 9780521616072
Paperback
286 pages
£23.99
Page 27
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.
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
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
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
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
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
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
http://perso.wanadoo.fr/unima/index.htm
* : Modified only
Page 32
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
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
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
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
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
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.
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Visiting Fellowships for Drama and Theatre Scholars
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.
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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
Online Databases of Theatre Institute in English
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.
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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
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7. MISCELLANEOUS ITEMS
Czech Dance Platform 2006
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.
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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
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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
2006 Volume 2
FIRT/IFTR:
SIBMAS:
Cordula Treml,
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
ASTR Conference 2006 - Fiftieth Anniversary of the founding of
ASTR
United States - Chicago
Page 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
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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
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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
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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
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
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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
African Performance Practice - Research in action
Drama and Performance Studies
University of Kwazulu-Natal
Pietermaritzburg
Conference Themes
African Performance Practice - Research in Action
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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
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
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* 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
*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
*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
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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
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]),
Follow the updated program at http://www.maska.si
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More Than Just Osborne? Recollections of British Theatre from
1945 to 1968
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
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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
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
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2. EXHIBITIONS
2023+ - Artists projects for 2023 and the 2000+ collection
September 22, 2006
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])
Between Documentary and Fine Arts
Yugoslavia - Belgrade (Serbia)
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.
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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
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
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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
Website: http://www.fondazioneaida.it
Handel's 'Giulio Cesare': From Egypt to England
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
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House of Flowers, House of Stars
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
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
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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
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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.
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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
September 22, 2006
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])
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
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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
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
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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
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
More details about the Invasion of Europe 2006 at:
http://www.czech-invasion.cz
* : Modified only
Page 21
3. PUBLICATIONS
3.1. GENERAL
3.2. THEATRE
Applied Theatre: Bewilderment and Beyond
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
£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
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
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
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
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
· 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
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
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
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
July 6, 2006
J. Michael Walton
University of Hull
Hardback
Page 28
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
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
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
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
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
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
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
April 28, 2006
Series: Cambridge History of American Theatre
Edited by Don B. Wilmeth
Christopher Bigsby
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
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
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
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
Fashioning Filmstars - Dress, Culture, Identity
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
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
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
May 1, 2006
Pepperell, Robert and Punt, Michael (Eds.)
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
The New European Cinema - Redrawing the map
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
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
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
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
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
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
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.
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
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
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
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
April 24, 2006
Diocaretz, Myriam and Herbrechter, Stefan (Eds.)
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
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
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
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.
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
http://www.pingchong.org
Le mouvement des images - Des arts plastiques au cinéma
France - Paris
April 10, 2006
Page 46
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
immersive experience.
* : Modified only
Page 48
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
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
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
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
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
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
http://www.theatremuseumcanada.ca
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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
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6. RESEARCH
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
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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
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- 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
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M.A. / M.Sc. in Digital Performance: Environment - Engagement Experience
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
More details can be found online at:
http://www.dcs.qmul.ac.uk/postgraduate/msc/programmes.html
6.3. RESEARCH TOOLS
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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
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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.
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2006 Volume 3
FIRT/IFTR:
SIBMAS:
Cordula Treml,
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
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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
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);
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- 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
[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
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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
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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
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.
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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
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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
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
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
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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
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
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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
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
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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
July 5, 2006 - October 22, 2006
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.
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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
Tél : 00 33 1 53 79 59 59 (serveur vocal)
http://www.bnf.fr/default.htm
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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
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.
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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
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
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
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
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
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
* : Modified only
Page 18
3. PUBLICATIONS
3.1. GENERAL
3.2. THEATRE
A History of Theatre in Africa
May 13, 2004
Edited by Martin Banham
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
Deaths Double and the Phenomena of Theatre
May 22, 2006
Alice Rayner
Unniversity of Minnesota Press
Page 19
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
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
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.
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
1 rue Miollis
France
Courriel: [email protected]
Prix: 12
Contact: [email protected]
Looking Back: Playwrights at the Royal Court, 1956-2006
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
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
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
1972-1986 (Paul-Louis Mignon)
Société d'Histoire du Théâtre
Bnf - 58, rue de Richelieu
Tél.: 00 33 1 42 60 27 05
Fax: 00 33 1 42 60 27 65
http://www.sht.asso.fr
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
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
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
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
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
£ 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
June 28, 2004
Series: Cambridge Studies in Film
Edited by Steven Jay Schneider
New York University and Harvard University, Massachusetts
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
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
The Cinema Dreams Its Rivals - Media Fantasy Films from Radio to
the Internet
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
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
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.
Page 30
Eight Centuries of Troubadours and Trouvères - The Changing
Identity of Medieval Music
July 8, 2004
Series: Musical Performance and Reception
John Haines
University of Toronto
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.
Opera Buffa in Mozart's Vienna
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
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
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
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
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.
3.6. OTHER SUBJECTS
Found in Translation - Greek Drama in English
July 6, 2006
J. Michael Walton
University of Hull
Hardback
ISBN-13: 9780521861106
Page 33
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.
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
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
July 27, 2006
Jacky Bratton
Ann Featherstone
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.
Page 35
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
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
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
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/
* : Modified only
Page 38
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/
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Theater Instituut Nederland - TIN
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
http://www.theaterinstituut.nl/index.cfm/site/English/pageid/221E8ED1-BCDC-55E9-6CE419FFE2181DF7/index.cfm
Page 40
* : Modified only
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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
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6. RESEARCH
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
M.Phil in Theatre and Performance
Ireland - Dublin
School of Drama
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:
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- 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
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
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y
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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
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
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
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Rock to Baroque - Costume Open Day
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
* : Modified only
Page 49
2006 Volume 4
FIRT/IFTR:
SIBMAS:
Cordula Treml,
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
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
Performing Literatures will be the first major conference event co-ordinated by the new Centre for Interdisciplinary
Research in Theatre and Theatricalities.
Page 3
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
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
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]
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
Enfant (3 à 18 ans), handicapé, adhérent AMPP 3
Stars and Treasures: 75 Years of Collecting Theatre
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
3. PUBLICATIONS
3.1. GENERAL
3.2. THEATRE
Early Responses to Renaissance Drama
August 31, 2006
Charles Whitney
University of Nevada, Las Vegas
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.
Living History Museums: Undoing History Through Performance
United States
Page 21
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
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
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.
Nikolaus Bacht is Research Fellow at King's College, University of Cambridge, UK.
Proust et le théâtre
November 30, 2006
GOEDENDORP, Romana, Sjef HOUPPERMANS, Nell de HULLU-van DOESELAAR, Manet van MONTFRANS,
Annelies SCHULTE NORDHOLT, Sabine van WESEMAEL (Eds.)
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
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
- 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
·Lespace dans Partage de Midi de Paul Claudel par Cécile Turrettes
·Le rire et leffroi : la réconciliation grand-guignolesque par Nathalie Coutelet
- 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
Tél.: 00 33 1 42 60 27 05
Fax: 00 33 1 42 60 27 65
http://www.sht.asso.fr
Stage Fright, Animals, and Other Theatrical Problems
August 17, 2006
Series: Theatre and Performance Theory
Nicholas Ridout, Queen Mary, University of London
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
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.
The Dramatic Works of Catherine the Great - Theatre and Politics in
Eighteenth-Century Russia
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.
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.
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
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
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
Page 27
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.
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.
Page 28
Filmosophy
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
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
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
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
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
£ 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).
Contact
[email protected]
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
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
August 10, 2006
Series: Cambridge Studies in Opera
Susan Rutherford
University of Manchester
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.
Wagner and the Art of the Theatre
United States - New Haven
October 16, 2006
Page 32
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
Czech Puppet Theatre - Yesterday and Today
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
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
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
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.
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.
Arthur Schnitzler Affairs and Affects
Austria - Vienna
October 31, 2006
Evelyne Polt-Heinzl, Gisela Steinlechner
Christian Brandstätter Verlag
Paperback
Page 35
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
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
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
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Page 37
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/
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Page 38
DEVELOPMENTS
* : Modified only
Page 39
6. RESEARCH
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
Rebecca Burton, Main Researcher
Equity in Canadian Theatre: The Womens Initiative
Phone: (416) 536-0916
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
Call for papers: Postgraduate e-Journal of Theatre & Performing
Arts
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
* 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
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
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
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
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
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
* : Modified only
Page 46

FIRT/IFTR-SIBMAS Bulletin 2006 Volume 1

Transcription

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