Kimberly Jannarone - Stanford University



EMBODYING POWER: WORK OVER TIME

JOINT CONFERENCE OF

THE AMERICAN SOCIETY FOR THEATRE RESEARCH,

THE THEATRE LIBRARY ASSOCIATION,

AND THE CONGRESS ON RESEARCH IN DANCE

Seattle, WA

18-21 November 2010

The Renaissance Seattle Hotel

CALL FOR PAPERS & PARTICIPANTS FOR WORKING SESSIONS

DEADLINE: May 31, 2010*

The following contains summaries for the collection of 42 seminars, working groups, working sessions, research groups, and the reading group convening at the 2010 conference, followed by detailed Calls for Participants and submission requirements for each.

Please Note:

All selected participants must become members of ASTR or CORD.

CORD/ASTR guidelines ask that individuals APPLY TO ONLY ONE working session.

For more information about ASTR working sessions see:

For more information about CORD working sessions see:



*Some working sessions have deadlines a few days earlier than May 31. Please see individual submission guidelines for details.

SUMMARIES:

Massed Bodies, Mass Power - This seminar will explore cultural dreams of creating an embodied politics through mass performance.

Activist Choreographies: Pas de Deux, Mashups, and Other (In)Elegant Partnerships – This seminar will take Susan Leigh Foster’s “Choreographies of Protest” as an invitation to consider the difficult activist reality of multiple “dancers” moving together--sometimes competitively—within the same political space.

The Body (Un)censored: Eastern European Performance and Physical Politics - This working session invites papers that focus on the ways in which physical expression in performance has been shaped by or has reacted against political regimes in Eastern Europe during the last century.

The Power of Absent Bodies - This seminar asks how the dead and absent body might disrupt a reading of power through the inability to securely identify past practice or present form or, alternately, how that corporeal power still works on and through the absent(ed) body.

New Cartographies: Mapping Identity Politics in Theatre and Dance - This working session is devoted to exploratory creative projects, scholarship, or research based on contemporary and historical performances that examine or use dance in theatrical performance or the development of theatrical dance to address issues of identity politics.

Racial Impersonation?: Blackface Minstrelsy, Many Times, Many Places - This seminar invites papers that consider specific moments and places within the longue durée of blackface performance, analyzed in relation to local cultures and distinct social realities.

Research Group: Cognitive Science in Theatre and Performance This research group solicits proposals for papers that focus on one or more of three terms central to defining the relation between cognitive science, theatre and performance: mirror neurons, empathy and embodiment.

Embodying Genre: Adaptation and Transformational Power - This roundtable session posits whether adaptation is its own genre by exploring the collaborations, real and imaginary, that occur on every level of adaptation, and the cultural “bending” that results when adaptations overshadow their originals.

Power and Performance: War on Stage – This working group seeks papers that bring together a broad range of scholarship and approaches to help investigate this pertinent area.

Televisuality and Embodiment - This seminar examines the mediatization of corporeal space, time and energy by inviting response to several questions.

Bodies at Play - This working session explores the performative dimensions of “bodies at play,” which we define as physical, mediatized, and / or imaginary “corporeal scenarios” where the mind and body engage in “play,” broadly construed.

The Performance Research Working Group invites artists, scholars and artist-scholars to participate in an interdisciplinary dialogue focused on the epistemological and methodological questions raised by work that explores what anthropologist Dwight Conquergood calls performance as a way of knowing.

The Open Texts Working Group seeks to exchange and analyze existing (published) written material that is potentially ripe for dance-theatre performance collaborations in a working group environment.

Contaminating Bodies: The Threat of Women on Performative Display- This working session invites scholars who are interested in finding cross-disciplinary/cross-theoretical ways of examining how recurring ideas/images of women impacted practices involving the public display of female bodies, control over such display, and, consequently, women’s participation in public performances.

The ASTR 2010 Reading Group asks participants to read David Savran’s Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class.

Moveable Feasts: Methods and Theories for Analyzing Food Performance - this working group will explore the politics operating at the intersection of performer, food and audience.

Purposed Violence: Interrogating Rehearsal as a Site of Violence – This working group seeks to investigate how power and violence work hand in hand in rehearsal, but also strive towards practical solutions.

Butô’s Corporeal Acts: New Directions in Practice and Scholarship - This working group seeks to convene a community of artists and scholars concerned with broadening the scope of butô inquiry through a format that will both generate discussion around a selection of common readings and facilitate the exchange of research.

Embodying Landscape: From Veneration to Disruption - This working group seeks to unpack the historicity of landscape and performance, which is often hidden under the discourse of the natural. Further, the group will focus on issues and case studies that examine how performance reveals or marks the disruptions in, or the veneration of, landscape.

What the body knows: Reflections on Performance Practice as Research - This new workgroup at the ASTR/CORD conference will provide a space for dance and theater practitioners and scholars to investigate performance practice as research.

Popular Fiesta and Carnival: Movement, Politics and the Body en Masse - This working session focuses on how the body en masse produces such motional flows in festive performance; how does movement in typically large-scale public events generate, shape and recreate political power?

REVISITING MEDIEVAL PERFORMANCE: EVIDENCE, THEORY, PRAXIS - This working group will bring together various theoretical perspectives and broad definitions of evidence, in order to explore the unique function and importance of performance in medieval cultures.

Re-Territorializing the City: Performance, Place and Power in the Urban Environment - This working session explores the means by which artists in urban areas find themselves in constant negotiation with their surrounding environment.

The Diasporic Body and Its Discontents - Participants are invited to consider how power is embodied in diasporic identities, cultural practices, and performances.

Exploring the Potential of a Dance Theatre MFA program - The leaders of this working session make up the inaugural two classes of UCSD’s Dance Theatre MFA program. This working session will be a round-table discussion.

Dance Dramaturgy/Theatre Dramatury:A Dialogue to Explore Distinctions and Possibilities - This roundtable seeks to bring together theatre and dance dramaturgs around several issues of mutual concern.

Risking Encounter: When Bodies Meet in Performance - This working session seeks to foster a conversation among dancers, theatre-makers, choreographers, and scholars that furthers the renewed and deepened investigation of corporeality now emerging at the nexus of dance, theatre, and performance studies.

Hybrid Lives of Professional Teaching Artists in Dance and Theatre: Questions of Power in Performance, Teaching & Community Work - This working group seeks to investigate, develop and circulate emerging research on professional teaching artists in theatre and dance.

Nursing a Beautiful Bastard: Dance Theatre in Theory and Practice – This working session seeks an informed conversation in which scholars and practitioners share observations and offer prescriptive ideas about the role of Dance Theatre in today’s performing arts marketplace.

Amping It Up: Power and Affect in Inter-media Dance Theatre - This seminar is interested in the different powers of the artist/practitioner/performer/audience as they negotiate, engage with, expand, and control various forms of media in performance practices.

POWER MOVES: New Approaches to Plays from the Spanish Golden Age Through Fencing, Dancing, & Connections to Shakespeare – This working session will reconstruct physical interpretations for world-class performance texts, bridging gaps in production history which currently inhibit teaching, staging, & critiquing plays from the Siglo de Oro.

The Dragon that Breathes Fire: Methodologies for tapping into corporeal power - The working session includes alternation of whole group experiential sections lead by the convener based on Butoh philosophy and techniques after which participants will break into smaller groups.

Dancing "African": Race, Representation, and the Moving Body - This working group considers how ideas of Africa are embodied through movement, paying special attention to staged dance—that is, choreographed dance performed for an audience.  

Indigenous Performance Research in the Americas: Bodies and Power - This session will bring together scholars of Indigenous performance who are at various stages in their professional development (senior researchers to graduate students) and work to contribute towards a foundation upon which future dialogues can build.

Negotiations of Power - A History of Collective Creation - The aim of this working group is to produce and publish a history of the international development of Collective Creation from the early twentieth century forward.

Phenomenological Investigations of Embodied Agency - In this workshop, participants embark on a collective, kinesthetic experience and – at the same time – a phenomenological investigation of embodied agency. We focus on how improvising bodies enact, experience, and negotiate power.

The Media of Theater and Dance in History and Theory – This seminar invites scholars of theater and dance to consider the importance of media to their work across historical and national divides, and discuss together how emphasis on the historical specificity of media allows for a renewed understanding of dance and theater.

Performing Modernisms - This working session explores the power of the body as a communicative instrument in all types of modernist performance, exploring the dynamism implicit in modernism’s various “

Dance and the Power of Aging: Embodiment at the intersection of nature and culture - This working session opens up discussions on how sociality plays a far more complex and powerful role in determining what is often understood as a strictly physiological event.

The Shakespearean Performance Research Group of the American Society for Theatre Research (ASTR) – This working group seeks papers that address issues relating to the history, theory, and practice of Shakespeare performance.

Ecology and/in/of Performance Working Group - The Ecology in/and/of Performance working session is an ongoing research group that fosters trans-disciplinary research (including performance-based research) that interrogates the intersection of performance and ecology.

Traumatic Structures - This working group is aimed at those who are interested in putting forward a theory of trauma in performance.

2010 ASTR-CORD-TLA Joint Conference Call for Papers and Participants

Working Groups, Working Sessions, Research Groups Descriptions

Massed Bodies, Mass Power

This seminar will explore cultural dreams of creating an embodied politics through mass performance. Revolutionary ideals since, most notably, 1789, have turned to massed bodies in space to articulate, confirm, and advance new systems attempting to solidify their power. By bringing thousands of bodies together in festivals, dance, and theatrical performances, revolutionaries of all stripes have aimed to consolidate feelings of community, establish hierarchies of power (or model the lack thereof), engineer the eruption of an uprising, and re-find a kind of corporeal "presence" deemed missing from the most recent regime.

Questions this seminar poses include: What kind(s) of power does the massing of thousands of bodies together create, enable, or encourage? What theoretical notions of "presence" help us understand the particular need for such a massive gathering of corporeal energies? When, and what types of, fictional elements enhance the goals of the revolutionaries, and when are fictional elements a distraction or impediment to their goals? How does the relationship between the audience and the performer define itself when there are thousands of participants, and when does the sheer number of orchestrated or gathered bodies mandate its own rules for that relationship?

Papers are welcome within any era and place of performance history, such as the festivals of the French Revolution; Soviet revolutionary spectacles; mass performance under Mao; the rise of mass choreographies in Western Europe in the 1920s and ‘30s; Germany’s Thingspiele performances; Laban’s Festkultur ideals; Italian mass performances under Mussolini; Olympic ceremonies; mass performances of the 1960s; and up to today’s flash mobs. Theoretical papers should explore presence, mass, and power in the context of community formation and cultural or political revolution.

Format

This will take the form of a small seminar. Participants will be expected to read each other's abstracts and papers. Authors will have discussed their papers with selected other members of the group in October. Authors will begin the seminar by outlining and investigating points of intersection in their papers. The papers will be distributed not only among the seminar authors but also, ideally, made available (on the web) for interested ASTR members in order to enable the highest degree of conversation possible once the seminar convenes in Seattle.

Please send a 200-word abstract and brief bio via email attachment to kmj@ucsc.edu by Monday, May 31. Kimberly Jannarone - Associate Professor, Theater Arts University of California, Santa Cruz - kmj@ucsc.edu

Activist Choreographies: Pas de Deux, Mashups, and Other (In)Elegant Partnerships

In her 2003 article, “Choreographies of Protest,” Susan Leigh Foster studies political performances as choreographed movements of impassioned bodies. We take Foster’s dance-studies metaphor as an invitation to consider not only the movement of bodies in protest, but also the difficult activist reality of multiple “dancers” moving together--sometimes competitively—within the same political space. Rarely do activists stage protests, demonstrations, direct actions, or other such productions as solo pieces. They are obliged to move with as well as to or for others, sometimes resulting in unlikely or inelegant partnerships.

In an oppositional paradigm of activism, groups seeking to transform policy or public opinion regularly improvise new moves and adaptive gestures to sidestep the hegemonic choreographies of exploitative state or transnational entities. In a coalitional paradigm, activist groups that previously focused on protest models might find themselves working in (sometimes uneasy) alliance with affiliated groups or even civic and corporate organizations. While such a “movement of movements” can enhance the energy and impact of a single event, it also multiplies the opportunities for careful activist choreographies to dissipate into a hodgepodge of mismatched steps and divergent tactics. As the rise of right-wing populism (e.g., tea parties) demonstrates, the dance floor now features performers “stealing each other’s moves,” with conservative activists adapting leftist tactics. Such ideological diversity leads at times to scenes of opposed or aligned groups engaging each other in a high-stakes tango of choreographic responses and counter-responses.

In this session we invite scholars and activists to explore these and other activist partnerships. How do groups with divergent means/ends address these differences in order to stage a particular intervention? How do mutually antagonistic movements working in the same space compete for public attention? How do civic and corporate entities act as dance partners whose moves activists must carefully negotiate? How do activist groups of various political affiliations adopt each other’s moves and to what ends? How might participants investigate the efficacy of activism through fields that could include social movement theory, performance/cultural studies, and/or political science?

Format:

Participants will email 10-page papers by 9/15, after which we will organize participants into four sub-groups. Over the following month, sub-group members will exchange mails among themselves about each other's work. At the 2-hour conference session, each sub-group will make a structured, 10-minute presentation consisting of 3 minutes of summary (what were their contributors' arguments?), 5 minutes of update (what issues have our conversations raised?), and 2 minutes posing a “pressing question” to the seminar. After each presentation, we will spend ten minutes discussing the group's arguments and question. Four presentations plus discussions will take up 80 minutes. With ten minutes of transition time, the first phase of the seminar should take 90 minutes. During the remaining half-hour, we will open the conversation to auditors, who may pose questions or contributions of their own.

Please send by Monday May 31st a 200-300 word abstract and brief bio to Sonja Kuftinec at kufti001@umn.edu and John Fletcher at drjohnfletcher@. Decisions will be made by the end of June.

The Body (Un)censored: Eastern European Performance and Physical Politics

This working session invites papers that focus on the ways in which physical expression in performance has been shaped by or has reacted against political regimes in Eastern Europe during the last century.

In the decade preceding the Bolshevik Revolution, many Russian theatrical practitioners experimented with the physical grotesque (pantomime, commedia dell’ arte, puppetry) and new styles of dance (the Ballets Russes, eurythmics, dance influenced by Isadora Duncan). After 1917, movement styles like biomechanics aimed to promote the Revolution, until such styles were condemned by the Stalinist regime as “formalist.” During the communist era, in the entire Eastern block, theatre, as a live performance, was the primary medium – unlike radio, newspapers and TV– that could escape governmental censorship. Playwrights and actors learned to speak between the lines, using metaphors, symbols, body language, or sometimes just a wink to communicate anti-establishment sentiments to their audiences. Thus, the body became a site of the subversion of Socialist Realism and of revolt against censorship and oppression. The fall of the Berlin Wall in 1989, followed by the fall of the Soviet Union in 1991, brought an end to the censorship that had been an integral part of the Eastern European theatrical experience. The unexpected onslaught of political freedom, ironically, deprived the theatre of what for years had been essential to it: its corporeal political subtext. In the post-Soviet era theatre and dance have been forced to reinvent the performing body in a new age of free market censorship.

We welcome papers that deal with any aspect of how physical performance has responded to political environments in Eastern Europe during the last century. We aim to trace the multiple trajectories of physical expression in Eastern European theatre and dance over the past century and their international influence. Considering the influence of Eastern European performance on Western Theatre, our hope is to encourage active interest in this area within the broader field of theatre research.

This is 3-hour working session.

Working session format:

• Papers (7-10 pages) will be distributed to session participants by October 1; all papers should be read by Nov. 1 in order to facilitate online pre-conference discussions of each other’s work.

• Participants will present 2-3 page abstracts of their papers during the session to help familiarize audience members with each project. This will be followed by a discussion of the themes raised in the papers, including suggestions for how to further develop those themes.

• The goal of the working group is to provide feedback and to create a body of thematically related articles for possible publication.

Please email a 300-word abstract and 2-page CV in a single Microsoft Word attachment to both Magda Romanska (magda_romanska@emerson.edu) and Dassia N. Posner at dassia2@ by May 31, 2010. Participants will be notified of their acceptance in late June.

The Power of Absent Bodies

Responding to the conference focus on corporeal power, this seminar asks how the dead and absent body might disrupt that reading of power through the inability to securely identify past practice or present form or, alternately, how that corporeal power still works on and through the absent(ed) body. We welcome proposals that address either of the following questions (ideally, we seek a balance of papers addressing each question):

1) How can scholars acknowledge the power of the body's movements in performance if those bodies can no longer be witnessed in performance?

With scant evidence, perhaps only anecdotal tales from the past, how can we articulate the movement of bodies, both of spectators and performers, now long dead? Can we resurrect those movements through textual analysis or production? What are the costs and what is the necessity of bringing that physicality into textuality? In this vein, we would invite papers that propose strategies to recover bodies historiographically and/or engage in the ethics of that recovery.

2) How can scholars examine the disruptive power of the incorporeal ghost in performance?

How does the ghost character, or the character never seen or embodied on stage, but written and present in the text and performance (for example the dead in Synge's Riders to the Sea or Matthew Shepard in The Laramie Project), disrupt the bodily enactments of power on stage. Does the power of the immaterial operate differently in its disembodiedness, or, are those non-visible presences rendered powerless through the lack of corporeality? We would invite papers that analyze how the invisible ghosts may or may not destabilize notions of identity (individual, cultural, national, ontological) represented by and through the visible performers' bodies on stage.

While all participants would read each other’s papers, we would pair up participants before the seminar, providing each pair with prompts/questions to address through pre-conference e-mail conversations. Once in the seminar, each pair would be given time to "report" on their conversation (connections made, additional questions raised, etc.), before the seminar participants as a whole grapple with the question how power may be de/stabilized through absent, de-corporealized bodies.

Proposals should be e-mailed as Word documents to both Kay Martinovich at the University of Minnesota (mart1249@umn.edu) and Jeanne Willcoxon at St. Olaf College (willcoxo@stolaf.edu) by Monday, May 31, 2010. Please limit abstracts to 250 words and include your name, title and academic affiliation with your abstract.

New Cartographies: Mapping Identity Politics in Theatre and Dance

Jocelyn L. Buckner, independent scholar, jocelynbuckner@

Aimee Zygmonski, University of California, San Diego, aimeezyg@

From musical theatre, vaudeville, cabaret, and revues that seemingly “require” dance, to “straight” plays and devised theatre, the incorporation of movement and dance into theatrical performance enhances relationships, defines characters, and establishes cultural parameters. Dance practitioners have in turn long drawn thematic inspiration from theatre, reimaging the narration of stories and the exploration of social issues through a kinetically based genre. Explorations of how performing bodies exhibit and code for various identity signifiers including race, class divisions, gender lines, dis/abilities, and sexual modifiers have never been more at the forefront of conversations in these related fields. The past few seasons on Broadway alone have served as an arena for boundary blending of theatre and dance in productions exploring individual and community identities. Bill T. Jones’s Fela, the film-turned-musical Billy Elliot, the dancing set in Moisés Kaufman’s 33 Variations’, and Next to Normal’s tightly choreographed neuroses are just a few recent examples which meld dance and theatre in performance. Likewise contemporary dance is infused with theatrical influence and reflections from American modern dance icon Paul Taylor’s new work “Also Playing,” a tribute to vaudeville artists which is part of his 2010 season, to American Ballet Theatre’s take on Shakespeare’s Romeo and Juliet.

This working session is devoted to exploratory creative projects, scholarship, or research based on contemporary and historical performances that examine or use dance in theatrical performance or the development of theatrical dance to address issues of identity politics. Ideally, participants will represent a variety of specialization areas in theatre or dance and offer varying perspectives on the physical in performance, addressing theoretical, critical, or practical treatment of identity politics in performance. Race, class, gender, and sexuality as mapped upon the body heightens the societal perception of identity in its starkest form: a being moving through space, offering up his/her physical self as conduit, expanding the boundaries of traditional performance.

Questions to consider include, but are not limited to:

• How does the power of the corporeal used by playwrights, directors, choreographers, designers, and performers communicate, contain, celebrate, or complicate popular stereotypes?

• What cultural assumptions or personal/political identities transfer from the moving body to the scripted word to the awaiting audience?

• How does the negotiation of the political become powerful through dance? Through theatre? Through the deployment of the tandem workings of both?

• What are some inherent problems or limitations to the overlap in these fields?

• How does new media and technology foster or limit these tenuous theatre/dance partnerships?

• How are the geographical boundaries crossed or cultural road maps re-drawn in the intersections of dance and theatre performance and scholarship?

• How can artists and scholars encourage further interdisciplinary exchanges between theatre and dance to investigate pressing social issues? 

We encourage participants from all areas, including scholars, artists, presenters, and critics. Applicants should submit a 500 word abstract and brief bio to the session leaders via email by May 31, 2010. Selected participants will then circulate a 10-15 page paper about their topic within the group prior to the ASTR conference. Participants will be paired by the group conveners to provide focused, specific pre-conference feedback to 2-3 other participants via email. Pre-conference exchanges will establish the foundation for more in-depth conversations during the two hour working group session. During the conference participants will engage in a roundtable discussion that may include small group break out sessions; opportunities to share brief demonstrations of performance techniques or designs, archival materials, or other visual examples of issues of representation that are not able to be circulated prior to the conference; as well as debate about the intersections of theatre and dance and the future of their relationship as separate yet related fields. General guidelines for working sessions and participants are at: .

Racial Impersonation?: Blackface Minstrelsy, Many Times, Many Places

Session Leader: Tracy C. Davis (Northwestern University)

When one race impersonates another and bills it as entertainment, reception is a barometer of ethnic hegemony and sensitivity to inter-racial politics. Historians of American performance claim that the most prominent tradition of race impersonation — blackface minstrelsy, dating from the 1820s — has always been racist (Bean; Cockrell; Lott; Toll), however work on Ghana shows that socially-symbolic meanings in blackface are not universal (Cole). Saidiya Hartman’s research stresses the brutality behind representations of Topsy and Zip Coon, black-faced figures of fun in America, and though British stages imported these figures Hazel Waters argues that the representations’ meanings were benign when minstrelsy coalesced as a British genre, a process completed in the late-1850s (2007). Recent work by W.T. Lhamon (2009) suggests that the racialized inscriptions might not be as clear cut in nineteenth-century American minstrelsy as has been assumed.

Historians face many challenges in reconstructing and interpreting these highly complex performances. Spike Lee’s Bamboozled (2000) and recent controversies over blackface masquerade at the University of Toronto and Northwestern University (2009) demonstrate that in North American contexts history is overdetermined when this particular racial impersonation is invoked. This seminar invites papers that consider specific moments and places within the longue durée of blackface performance, analyzed in relation to local cultures and distinct social realities. Is there evidence of how interpretive traditions vary the racialized “content” of blackface minstrelsy so that reinvention, trace, and ascription may be noted, contested, or negated in evidence of reception? How does blackface operate in various performative genres –variety, theatre, revels, carnival, and so on – and modes – dance, song, instrumentation, make-up or masking, costume, gesture, etc. – in ways that are particular to a place and time? How does color (“black” or otherwise) signify to audiences in combination with factors such as dialect or accent, or practices of local knowledge?

This topic respects no disciplinary boundary between theatre and dance studies, as the blackface minstrel tradition equally involves spoken word, dance, song, song-and-dance, and instrumental turns. It provides an opportunity to discuss work across theatre, music, and dance studies to consider these modalities comparatively.

Short papers will be pre-circulated 30 days before the conference. Depending on the number and content of papers, I may cluster the submissions by period, region, or methodology for some coordinated pre-conference e-discussion. My intention is to try to focus the in-person discussion in Seattle on historiographic interventions, interpretive strategies, and the insights that come from multi-national and trans-historical comparative work.

Send a 300-400 word abstract and brief bio (both in Word) by 31 May to:

Tracy C. Davis tcdavis@northwestern.edu

For guidelines about working sessions, see:



Research Group: Cognitive Science in Theatre and Performance

John Lutterbie (Stony Brook University), Amy Cook (Indiana University)

The research group in Cognitive Science in Theatre and Performance solicits proposals for papers that focus on one or more of three terms central to defining the relation between cognitive science, theatre and performance: mirror neurons, empathy and embodiment. Use of these terms has varied dramatically, frequently resulting in papers based on popularizations of the science that do not depend on a rigorous understanding of existing research. We seek abstracts that explore how the applicants are using these terms as they apply cognitive science to their theatre and performance research. The goal is to have a dialogue that seeks to set standards for using these three concepts responsibly as Cognitive Science establishes itself as a field of research in Theatre and Performance Studies. New research in the cognitive sciences offers new perspectives on the interrelatedness of neural connections, empathy and the body. Cognitive psychologists and neuroscientists such as Antonio Damasio, V. S. Ramachandran, Paula Niedenthal, Vittorio Gallese, along with philosophers and linguists such as Shawn Gallagher, Evan Thompson, George Lakoff and Mark Johnson, are developing models of these concepts that can be and are being fruitfully applied by scholars to the arts and humanities.

Potential research topics include:

• How the theory of mirror neurons enhances our understanding of theatrical and performance practices.

• How a scientific notion of embodiment opens reframes research in theatre and performance.

• How theories of mind, memory, imagination, and empathy can affect readings of plays and archival materials.

• How concepts of embodiment as the dynamic interaction of body, mind and environment allows us to rethink acting and spectatorship in theatre and performance.

Participants will be asked to send a) abstracts that clearly define their area of study, b) the argument that will be made and c) a brief bibliography. The organizers will provide successful applicants with a reading on each of the three terms that are the focus of the working group, expecting they will be referenced in the final essays. Papers in completed form can be no longer than 3000 words. They must be sent (in digital format) to the organizers of the session no later than August 1, 2010. Completed papers will subsequently be distributed to participants; and groups formed. All will be expected to participate in an on-line discussion of the papers with other members of their group prior to arriving at the conference. The results of these interactions will guide the organizers in defining the structure of the seminar.

Proposals should be sent to John.Lutterbie@sunysb.edu and amyecook@indiana.edu no later than Monday, May 31, 2010. Proposals should be no longer than 250 words and include a brief bibliography, contact information: phone numbers (home and office), e-mail address, postal address, fax number. All selected participants must become members of ASTR. For additional information about presenter responsibilities go to:

Embodying Genre: Adaptation and Transformational Power

This roundtable session posits whether adaptation is its own genre by exploring the collaborations, real and imaginary, that occur on every level of adaptation, and the cultural “bending” that results when adaptations overshadow their originals. The process of adaptation is full of contention, requiring risk, sacrifice, compromise, and creativity.  For an adapter, success means illuminating patterns within the original work while simultaneously reinventing it, moving and reshaping ideas with surgical skill.  Through investigating the often unexplored exchanges that occur between the lines, or brushstrokes, or frames of adaptations, theatre practitioners and scholars learn a great deal about both the original artwork and the transformed result; moreover, this investigation exposes the network of meanings that runs throughout and binds them together. 

To name just a handful, this exchange includes performances adapting visual art, classical ballet, and twentieth century popular culture that enable pseudovoyeuristic participation on the part of audiences, and performances that engage with familiar cultural symbols on an adaptive level. Rarely is the adapter's task as simple as “putting the book on film” or “putting the film on stage”: in most cases, the adapter works with as much precision and patience as a translator, and the result is an entirely new work of art with its own unique perspective. 

We seek papers that call into question the power dynamics of adapter and original author as well as adaptation and source-text. Participants will submit 8-page papers to be distributed and discussed amongst the group before the Conference. At ASTR, members of the group will make brief, five-minute presentations of their papers, which will lead to an hour-long discussion of larger issues of adaptation in performance. Please send a 200 word abstract, an 80 word bio and your name, institutional affiliation and contact information to Hesse Phillips (hesse.phillips@), Rachel Mansfield (remansfield@) and Helen Lewis (helendeborahlewis@).

The guidelines for ASTR working session may be found at

Power and Performance: War on Stage

War is everywhere: in addition to the current military conflicts going on in Iraq and Afghanistan, scholarly investigations of the intersections of performance and war have exploded in the last few years. For example: “War and Other Bad Shit” was the topic of The Drama Review (2008); the University of Manchester has started “In Place of War,” a network of theatre and dance artists in war zones across the world; and the theme of the 2005 Southern Theatre Conference was Theatre, War, and Propaganda. In an effort to join in this conversation, our working group seeks papers that bring together a broad range of scholarship and approaches to help investigate this pertinent area. The topic is relevant to this year’s conference theme because war is first and foremost an expression of nations or groups of people seeking to gain power over another group; historically a clash of armies at a specific site, war can also be conceived of in more abstract terms such as the struggle for supremacy in the Cold War. The group seeks scholars from all levels of expertise to enrich work on these issues.

Papers might address how plays, performances, musicals, operas, popular entertainments, and dance:

- Explicitly stage war, its attendant struggles for power, or its aftermath.

- Have engaged in or been co-opted for propagandistic purposes to argue for or against war. Who was the intended audience and what were the responses?

- Are sites for discussions of national, racial, or gender identity, particularly in wartime. How are these identities inter-related?

- Have helped or been used by war survivors to come to terms with, describe, or engage in truth-telling about their experiences.

- Have been part of a society’s rituals in preparation for war or served as living memorials thereafter.

- Has wartime changed the theatre (i.e. economics)? What provisions for theatre have been made for soldiers, P.O.W.s. or citizens in occupied territory?

The format for this working group has four distinct components. First, participants will submit a preliminary draft by September 23, 2010. The conveners will help facilitate an initial exchange of papers; participants will be expected to read and respond to 3-4 papers at this time. There will also be an online site where participants can engage in an exchange of ideas. Final papers (8-12 pages) should be submitted by October 21, 2010. The conveners will divide the participants into different small subgroups to continue an online discussion and exchange ideas prior to the conference. During the conference session, the subgroups will respond to larger questions suggested by the conveners, before coming together for a discussion that will include all participants.

All papers must be submitted electronically in MS Word or a compatible format. Images, video, music or other multimedia are encouraged, but the participant must be able share it with the group prior to the conference.



Please submit a 300-word abstract, along with name, affiliation, and brief bio (150 words) to Jenna Kubly (jlkubly@) and Katie Egging (k_egging@) by May 31, 2010.

Televisuality and Embodiment

Brian Herrera (University of New Mexico) and Nick Salvato (Cornell University) herrerab@unm.edu; ngs9@cornell.edu

In recent years, performance scholars have increasingly investigated the ways in which televisuality has reconfigured the dimensions of "liveness" and "presence,” thereby testing notions long presumed to be constitutive of the performance event.  Yet even as these scholars have challenged the privileging of presence and ephemerality within performance studies, much work remains to be done as we consider the ways in which televisuality has specifically reshaped comparable notions of "embodiment" in performance – especially those performances evincing power relations through enactments of memory, nostalgia, knowledge transmission, erotics, racial formations, and related identity formations. Conceiving “televisuality” broadly as a field of transmission, mediation, and documentation, we propose in this seminar to examine the mediatization of corporeal space, time and energy by inviting response to the following questions:

• How do ideas of televisuality, embodiment and temporality operate with and against each other? 

• How is the construction of historical "time" challenged and transformed by the interplay between embodiment and televisuality?

• Is there a distinction between the use of televisuality as a mechanism deployed in service to an extant embodied performance and those embodied performances explicitly enacted for – or surreptitiously captured within – a televisual frame?

• How do proliferating modes of digital televisuality (youtube, streaming video, etc.) expand and/or limit the researcher's access to hitherto "remote" embodied performance practices? How do such technologies complicate conventional distinctions between producers and consumers—and thus the very notion of audience and "the gaze"—vis-a-vis embodied performance?

• How might we interrogate the “archival” function of televisuality within contemporary library and museum practice regarding embodied performance?  How does such a televisual archive influence contemporary and future repertoires of embodied performance for researchers and/or for practitioners?

SESSION FORMAT AND GUIDELINES

This seminar welcomes paper proposals that document specific instances of the dynamic interplay of televisuality and embodiment in performance as well as proposals that develop scholarly (critical/theoretical/historical) assessments of such modes of performance. The seminar will also use a group blog to structure preconference dialogue. Beginning in late summer, and following a regular rotation, each member of the seminar will be asked to develop at least one post for the group blog. Each post will provide a brief introduction to the participant’s ongoing research, as it relates to the seminar, and prompt further discussion among seminar members. While the blog mechanism will be essential to the seminar’s preconference dialogue, the posting schedule will be flexible and no previous blogging experience is necessary. At the end of the period of preconference dialogue, each member of the seminar will also produce a 12-15 page paper to circulate among the group one month prior to the conference.

Proposal Submissions: Please send a 200-300 word proposal and a brief C.V. to Brian Herrera at herrerab@unm.edu no later than Monday, May 31. You may also address any queries regarding the seminar—including those relating to the preconference group blog process—to Brian Herrera or Nick Salvato (ngs9@cornell.edu). All selected participants must become members of ASTR or CORD.

Bodies at Play

We are seeking scholars interested in participating in a working session that explores the performative dimensions of “bodies at play,” which we define as physical, mediatized, and / or imaginary “corporeal scenarios” where the mind and body engage in “play,” broadly construed. Examples might include self-conscious movement through dance activity, competitive movement in sports, or integrative movement in yoga or other meditation/movement practices; embodied character movement in role playing experiences, spect/actor movement at festivals, sporting events, and rituals; and/or projected movement onto dolls, board game components, toys, and the like.

Within this exploration, we will pay close attention to the ways these corporeal scenarios discipline the body through expectation, narrative, tradition, and use of space. We will also investigate bodies at play as possible sites of intervention in which people might critically engage with the political and historical trajectories behind these power-based scenarios.

We are particularly interested in papers that apply theory to case studies, as opposed to papers based primarily on the review of extant literature.

Papers might consider questions such as:

-What roles do play-based corporeal scenarios ask us to physically embody, and with what ramifications?

-What discoveries do these playful performances set up for the participant, how are these discoveries transmitted through movement, and what values do those discoveries impart?

-Which groups of people are missing from these played-through performances, and how would their presence add counter or destabilizing narratives?

- How does age affect playful movement? What is specific to these performances targeted at people at various age levels, and how are these age levels constructed/treated?

-How can the “playful” nature of these performances be a seductive force, drawing in participants and associating them with a single perspective?

-How are playful performances and performances in play related to learning and educational environments? How do these destinations determine, constrain or circumscribe embodiments of play?

WORKING PROCESS AND FORMAT:

We will utilize a seminar format in which all participants circulate their papers in advance of the November conference. Participants will engage in e-mail discussion of the papers during the weeks leading up to the conference. The session chairs will pair participants whose work addresses similar or dialogically engaged material, and these partners will provide the primary responses to each others' papers. (All participants will, however, read all selected papers.)

During the 2-hour time allocated, each pair will have ten minutes to respond to each other's papers (5 minutes per paper). After this, there will be time for a general discussion around the topic as a whole based on questions that the conveners generate in response to the holistic themes arising from the submitted studies.

If interested, please submit a 250 word abstract for the paper you will present and a brief biography by May 31, 2010; authors will be notified of acceptance by July 1st.

We strongly suggest looking at the ASTR link that outlines best practices for working sessions:

Please submit proposals to BOTH Matt Omasta at theatre@ AND Drew Chappell at drewchap@. You may also address questions to these contacts.

Pointing at the Experiential: Constellating the Multiple Realities of Performance as Research

Professor Kris Salata, Florida State University, ksalata@fsu.edu

Professor Daniel Mroz, University of Ottawa, dmroz@uottawa.ca

The Performance Research Working Group aims to create a venue for theoretically informed engagement with emerging scholarship grounded in praxis. The Working Group invites artists, scholars and artist-scholars to participate in an interdisciplinary dialogue focused on the epistemological and methodological questions raised by work that explores what anthropologist Dwight Conquergood calls performance as a way of knowing. We are interested in scholarship that takes praxis as its object, yet which acknowledges the essential differences between empirical knowledge and its scholarly articulation.

Our goal is a cross-disciplinary analysis of the centrality of embodied experience in both the creation and reception of performance, as well as the challenges (methodological, theoretical, rhetorical) attendant on the process of its articulation. We focus on the experiential not only as a dimension that bridges the concerns of theorists and practitioners, but also as a productive locus for investigating the limits and conventions of scholarly discourse. By foregrounding the central role of the experiential in Performance as Research, we hope to encourage rigorous methodological reflection and rhetorical experimentation responding to the challenges of articulating embodied perception and somatic experience within the frame of a scholarly text. Our emphasis on embodied experience arises both from themes that have been developing in the Working Group over the last four years and from the focus chosen for this upcoming meeting of ASTR in collaboration with the Congress on Research in Dance.

By grounding each participant’s offering in the lived experience of performance (which encompasses both production and reception), we propose to further refine our working knowledge of this new territory of methodological and epistemological analysis. Key issues include:

• The multiple concepts and contested definitions of Performance as Research,

• The positioning of the scholar, artist and the artist-scholar along the continuum of participation/observation.

• The various and seemingly heterodox epistemological perspectives encompassed by the concept of Performance as Research,

• The academic evaluation of Performance as Research,

• The articulation of experiential and embodied knowledge.

Format

The Performance as Research Working Groups assembled at ASTR over the last four years have provided a locus of engagement for scholars and artists with diverse investments vis-à-vis performance practice and its discursive formulation. Participants in the 2010 working group must commit to and continue substantive dialogue and exchange prior to the actual conference, responding to one another’s contributions and taking full advantage of the opportunities for collegial input on members’ diverse projects.

Proposals should not exceed 300 words and be accompanied by a short bio. Please send proposals by Monday, May 31, 2010 to the conveners: Daniel Mroz, University of Ottawa, dmroz@uottawa.ca and Kris Salata, Florida State University, ksalata@fsu.edu

Selected participants will be notified by June 15th, 2010. We will initiate email discussion on the basis of abstracts on August 1, 2010, with an initial draft of a paper no longer than 10 pages to be circulated no later than September 15th, 2010. We expect that participants will engage in sustained dialogue on evolving work during the months prior to the conference. Rather than regurgitating synopses of individual essays, discussion at the November meeting will jump directly into addressing the key issues that emerge during pre-conference interaction.

Open Texts

The Open Texts working group seeks to exchange and analyze existing (published) written material that is potentially ripe for dance-theatre performance collaborations in a working group environment. Those interested in applying to our working group will propose a specific text (a play, radio play/s, poem/s, or other written material) and outline its merits as a strong candidate for dance-theatre performance practices. Questions we ask our working group participants to consider as they select works to share with the group include but are not limited to:

- What dramaturgically constitutes various works as “open texts”? What is an open text? What makes it ripe for dance/theatre collaborations?

-Is this a writer whose work ventures into more “open” territories, thus inviting dance artists to interpret and represent his/her written ideas with a physical dance vocabulary?

-Whether prose or poetry, how are the formal and dramatic elements (rhythm, structure, meter, imagery, rhyme, character, and story etc.) interrogated and prioritized in the development of a dance-theatre work?

SUBMISSION GUIDELINES: Those interested in applying to our working group should propose a specific text (a play, radio play/s, poem/s, or other written material) and outline its merits as a strong candidate for cross-disciplinary performance practices.

Please submit a) a 250 word abstract, including your choice of open texts, and a brief rational for your inclusion in this working group; and b) a short bio. Later, we’ll ask those invited to share no more than ten pages of the written material with the working group. Please submit all materials to Christina Tsoules Soriano (sorianct@wfu.edu) and Cindy Gendrich (gendricm@wfu.edu) by May 31, 2010.

EXPECTATIONS: If your proposal is selected for the “Open Texts” working group, you will be expected to read and consider the selected “open text” materials put forth by each member. You will also need to prepare to contribute to the discussion with your own proposed text, being ready to include significant historical, cultural and/or contextual information about the author and his/her text. You might also consider specific methods to introduce in a rehearsal process of this piece.

In keeping with the conference themes of power and embodiment, please reflect on these works becoming differently embodied in performance when they are enlivened or provoked from various methodological approaches, such as that of a choreographer and theatre director, collaboratively. Other themes from the conference, such as identifying the “transformational or liberatory power of performance” in these texts could also be discussed, as well as identifying how a dance-theatre collaboration of such texts might elicit embodied responses from its audience.

Contaminating Bodies: The Threat of Women on Performative Display

 

Cultural perceptions of female bodies have often been grounded in ancient notions of biology—women as leaky, loose, uncontrolled—and influenced by fears about that physiology’s power over others. For example, beliefs about menstrual blood as a mortally treacherous contagion still exist. Moreover, notions of the dangerously excessive female body endure in contemporary pop-culture images that seek to contain female appetites for food, sex, and power.

This working session invites scholars who are interested in finding cross-disciplinary/cross-theoretical ways of examining how these recurring ideas/images impacted practices involving the public display of female bodies, control over such display, and, consequently, women’s participation in public performances. Significantly, in many periods and contexts where women did not appear in dramatic events publicly, they did participate in public dancing. We are seeking work across dance and theatre that considers not only the ways in which these genres empower the female body (often as a defiant presence), but also how our perceptions of empowerment through dance and theatre differ.

We are especially interested in exploring the idea of contagion and how cultures interpret performative displays as imbuing female bodies with the power to “pollute” spectators. Although we might relegate such ideas to the past, theories of disgust explored by Mary Douglas and William Ian Miller suggest that these fears persist. Theories of contamination may help us better understand not only historical responses to female bodies, but also negative responses to contemporary stagings of women whose bodies resist hegemonic “ideals.” Negative responses to the film Precious and to magazine layouts featuring “plus-size” models offer two recent examples.

We invite work from a range of historical periods, geographies, and theoretical frameworks. We will organize participants into smaller working groups that encourage dialogue across disciplinary, theoretical, and historical boundaries. Members of these groups will exchange short papers before the conference. Each participant will prepare brief written feedback for the other members’ papers, which they will exchange and discuss at the conference session. We will follow this small group work with a larger group discussion about conclusions and connections that emerged from this work, and possibilities for further study.

Please submit a 200-word abstract and brief bio to both Jen-Scott Mobley (jen-scottm@nyc.) and Jill Stevenson (jillstevenson@) by Monday, May 31st. Feel free to email Jen-Scott or Jill with questions.

ASTR 2010 Reading Group: Institutional Economies in the Performing Arts: David Savran’s Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class

Lara D. Nielsen (lnielsen@macalester.edu), Assistant Professor, Macalester College

Patricia Ybarra (Ybarra@brown.edu), Assistant Professor, Brown University 

This 2010 ASTR reading group asks participants to read David Savran’s Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class. In recent years, many scholars have begun to examine the institutional economies that come to bear on producing theatrical and other performance events, deploying Marxian and neo Marxian frames of thinking to pursue both historical and theoretical analysis. Reading Savran supplies an opportunity to concentrate our collective attentions on an earlier period in U.S. history, motivating a community of scholars to reflect on the cultural politics of American pasts (including the production of memory), which contribute to the imagination of artistic production processes in the present juncture. Savran writes: “In this book, I am attempting to write a political economy of culture during a key moment in U.S. history: an analysis of the relationship between particular theatrical and musical practices and the changing shape of social and economic resources.” We are especially excited to work with Highbrow/Lowdown in the context of this year’s conference because of its multidisciplinary focus on “embodying power:” we see an opportunity, here, to consider theatre and performance research on labor and class relations regarding the production of popular U.S. performing arts -- and not at the expense of considering affective economies. Two additional texts therefore supply a critical counterpoint for the comparative reading project: Tavia Nyong’o’s Amalgamation Waltz: Race, Performance, and the Ruses of Memory (2009) and Mark Franko’s The Work of Dance: Labor, Movement, and Identity (2002). Given the ongoing importance of African American cultural forms, the labor practices of popular performers such as Jazz Musicians in this period, and institutionalizing cultural memory practices, this reading group contributes to theatre and performance research examining institutions of cultural production.  Before the conference, participants are expected to write and pre-circulate a five-page position paper engaging with a major theme, theoretical paradigm, or methodology pertaining to Savran’s book. We will use these short essays, in addition to the texts by Nyong’o and Franko, to frame discussion at the meeting in Seattle in November 2010.

Please send 300-word proposal to both of the email addresses listed above, and a brief bio. We ask applicants to the reading group to articulate their objectives for joining the conversation about Savran’s book, and to relate in particular a pressing theoretical challenge they are facing in the context of their own work. As always, please refer to the guidelines that outline best practices for participating in working sessions:



Moveable Feasts: Methods and Theories for Analyzing Food Performance

Identities are produced and sustained through food’s consumption. And control over food is the definition of “corporeal power.”[1] Holodomor and the recent crisis in Darfur are only two of innumerable performances of such power as exercised over the body (politic). Alternately, Irish, Turkish and countless other hunger strikers invert state authority by writing oppression on their bodies. Performance and endurance artists from Marina Abramovic to David Blaine make art at the outer limits of the human body’s capacity. On stage, food symbolizes the power dynamics of gender, race, class, and nation, as well as their boundaries and fissures: the papacy persuades Brecht’s Galileo to sacrifice his principles in the interest of his belly; Beckett’s Hamm controls the pantry and so controls Clov. This working group, convened in both 2008 and 2009, invites proposals that engage with the ways in which food on stage and in performance “has worked on/through/with bodies throughout history (over time).”[2]

While the politics of food play out in the somatic responses of characters, food on the stage also evokes audience members’ consciousness of their embodiment. Indeed, playwright Sarah Woods cautions fellow dramatists about incorporating food and cooking into drama: “On stage, activities like making food [and] eating […] make us think about ourselves. As a writer you’ve got to allow for people’s reactions.”[3] Scholars in this working group may explore the politics operating at the intersection of performer, food and audience. In what ways does food in the theatre or in the street hold sway over an audience? What does it mean to exercise this power in the name of art or entertainment? How do cultural performances and performative acts of the politics of food impact theatrical production?

Format

This research group will include 10-12 participants. Each participant will contribute a short paper (6-8 pages) describing a research project in progress. Papers will be circulated prior to the conference session, and participants will suggest priorities for the session based on connections between projects. The session chairs set the session agenda derived from common critical concerns, challenges and paradigms.

Proposal Submissions

Please send a 250 word paper abstract and a brief bio via email to Dorothy Chansky (dorothy_chansky@) and Ann Folino White (annfwhite@)

The deadline for proposals is Monday, May 31, 2010.

Guidelines that outline best practices for working sessions and participants:

Purposed Violence: Interrogating Rehearsal as a Site of Violence

Zack Whitman Gill, University of California, San Diego

Raimondo Genna, University of Caflifornia, San Diego

Hannah Arendt, in her Reflections on Violence, argued that violence “always stands in need of guidance and justification through the end it pursues.” Whether it is waterboarding, preemptive war, shock and awe, or the death penalty, in the political arena the performance of violence on the public body always carries the fragile promise of future knowledge, security, or peace as its justification. Artists and scholars have long explored and interrogated the political deployment of violence, mindful of its relation to performance. Often these critical investigations engage in and deconstruct representations of power and violence, utilizing the performer’s body as a means to confront violence’s traumatic effect. At the same time, these discursive and performative inquiries grapple with the ethics of propagating violence even as they seek to understand its origins and continuing appeal, both aesthetically and politically.

Yet theatre and dance have often turned a blind eye to their own perpetuation of violence in pursuit of an end. While theatre is most often viewed as a positive force, scholars and artists tend to gloss over the inherent violence of rehearsal. Rehearsal inflicts violence on the body with a similarly fragile promise of future security—once called to perform, the body should do so without hesitation. Ranging from the performer’s rigorous training to hone his or her craft to the repeated shock to the system of full contact athletic practice, an imagined and idealized outcome is inscribed on the body over time. While these performers might be willing participants in their own violent experience, does their voluntary participation erase the violent act on the body or make it any less severe? Does the violence enacted in rehearsal in pursuit of a perfected performance demand its own intervention? Using the critical lens of performance, this seminar seeks to interrogate the overlap of violence and power in the context of rehearsal, broadly conceived. We welcome diverse interpretations of “rehearsal,” with possible considerations ranging from acting, dance, and music to offstage arenas such as sports practice or military training. We seek papers that not only investigate how power and violence work hand in hand in rehearsal, but also strive towards practical solutions.

Format:

The working group will be a question and answer and discussion session structured around exploring the papers and potential avenues forward. Selected participants will circulate papers of no longer than fifteen pages on 1 October 2010. Prior to the conference, each participant will respond (via email to the entire group) to a different paper selected by the co-conveners; email discussion will also focus on the body of work as a whole. At the conference, each participant will offer a five-minute presentation that brings the violence discussed in their own paper to the fore in order to allow the audience to take on an active participatory role. Keeping with the conference’s theme, we encourage these presentations to perform. The last hour of the session will be an open and evolving discussion generated by the presentations and email discussions.

Applicants should submit a 500-word abstract with contact information in word or pdf format to Raimondo Genna (rgenna@ucsd.edu) and Zack Whitman Gill (zgill@ucsd.edu).

Butô’s Corporeal Acts: New Directions in Practice and Scholarship

OVERVIEW: Fifty years after its first performance by co-founder Hijikata Tatsumi, the Japanese avant-garde movement form known as butô enjoys ever-increasing global popularity as a performance genre, training method, and developing area of scholarly research. This working group seeks to convene a community of artists and scholars concerned with broadening the scope of butô inquiry through a format that will both generate discussion around a selection of common readings and facilitate the exchange of research.

Drawing on Eastern and Western philosophical perspectives, choreographic and physical practices, and the fields of dance, performance, religious, and global studies, this working group takes butô’s inception and current intercultural manifestations as dual starting points to ask questions about its historical and transnational movements. The discussion addresses how corporeal power is construed (and constructed) within dominant discourses of mind/body duality and problematizes the interaction between “East” and “West” by examining ways that a Japanese practice is taught, embodied, performed, and written in Japan and around the world. Accordingly, while we are concerned with the foundational question of what gives butô its power as a performance art form, we also raise questions about the ways geopolitical power plays out through this dance form as it is alternately employed to bolster Japan’s position at the forefront of popular and high culture while also being embroiled in intercultural negotiations that can challenge or reify existing geopolitical imbalances. The working group will engage new threads, including but not limited to: butô in globalization and diaspora, movement in butô as a philosophical inquiry, applications of butô methodologies and butô’s relationship to culture, selfhood, and Japanese intellectual history.

WORKING FORMAT: Our working group format is designed to develop a common dialog among butô scholars and practitioners while enhancing individual members’ research perspectives. It comprises responding to three key readings on a blog, exchanging individual research papers, and culminating in a roundtable discussion during the conference, facilitated by senior butô scholar Bruce Baird. Suggested readings may include: Baird (socio-political perspective on butô’s origins), Yuasa (Eastern, phenomenological perspective on the body), and Deleuze (non-binary Western philosophy). We will read one article/text per month beginning in August and respond on the blog in the months leading up the conference. Upon completing the third reading response, we will exchange research papers (at the beginning of November) and comment on them prior to the conference. The actual working session at the conference will address three key themes that arise during the process, as identified by the workgroup conveners. Participants must commit to all activities of the workgroup, including three blog posts (by August 15, Sept 15, Oct 15), submission of a research paper for review (November 1), and participation in the roundtable discussion during the CORD/ASTR conference.

The group will include 12-14 participants, selected from the submissions received by May 31, 2010. We will notify all applicants by the end of June 2010.

SPECS FOR PROPOSALS: Please send a 200-word abstract, brief bio, and contact information to Tanya Calamoneri: tcalamoneri@

Please refer to for further information on work session participation guidelines and conduct.

Convening Committee:

Chair:   Bruce Baird, Assistant Professor, University of Massachusetts Amherst, baird@asianlan.umass.edu; Tanya Calamoneri, Adjunct Faculty and PhD Student, Department of Dance, Temple University, tcalamoneri@temple.edu; Rosemary Candelario, PhD Candidate, UCLA, rcandelario@ucla.edu; Megan Nicely, Adjunct Faculty, Tisch Open Arts, New York University, PhD Candidate, Department of Performance Studies, New York University, mvn212@nyu.edu; Michael Sakamoto, Faculty, Goddard College, PhD Student, UCLA michaelsakamoto@

Embodying Landscape: From Veneration to Disruption

Heather Ramey, University of California San Diego, hramey@ucsd.edu

Rachel Gostenhofer, University of Toronto, rgostenhofer@

Performance is often thought to arise out of a dialectic between human action and its physical environmental context. Today, this context is reified in both scientific and political discourses as “the environment.” However, as illustrated by historians of religious thought, this dialectical construction is a characteristic of specific non-universal modernities. From the earliest recorded religious rituals to current performances of myriad origins the ecological environment is always already being processed, evidenced, and transformed through performance. These performances have regularly invoked and provoked the power of the landscape and its inhabitants, illuminating the body’s relationship with that power. Absent the category of “nature,” landscapes and their contents have been understood as part of the cultural life-worlds of their occupants and have therefore contained signs that narratized cultural and historical events. Such narratized events have typically been enacted through performance. The working group seeks to unpack the historicity of landscape and performance, which is often hidden under the discourse of the natural. Further, the group will focus on issues and case studies that examine how performance reveals or marks the disruptions in, or the veneration of, landscape. Discussion topics may consider:

• The embodiment of landscape in theater and dance performances

• The embodiment of landscape in political and religious ritual

• New ways of theorizing landscape and performance

• Historicizing issues surrounding performance in non- and quasi-anthropogenic landscapes, with a view to examine, what Dipesh Chakrabarty calls, “provincializing” in the dialectical human-landscape relations that are currently hegemonic in North America

• Border crossings and the landscape

• Processes of training performers in the embodiment of landscape

• Site-specific or ecosystem-specific forms of performance

• Anthropomorphization in performance of landscape

This multidisciplinary working group seeks to bring together a variety of approaches. These include but are not limited to: theatre, dance, performance studies, history, anthropology, cognitive science, visual arts, environmental studies, ritual and religious studies, and theories such as phenomenology, semiotics, and developing theories.

Session Process:

Each participant is required to submit a 15-20 page paper and participate in pre-conference discussions (via blog or wiki pg). Through email discussion the group will generate guiding questions to facilitate dialogue and debate during the conference. This session will provide a platform for the formation of an ongoing multidisciplinary research group that is a strong specified offshoot related to the discussion between performance and ecology, as well as, an effort to foster relations between sole academics and scholar practitioners.

Submission: Please send a 200 word abstract, your contact information, and a brief bio to Heather Ramey at hramey@ucsd.edu.

What the body knows: Reflections on Performance Practice as Research

Facilitator: Teoma Naccarato

This new workgroup at the ASTR/CORD conference will provide a space for dance and theater practitioners and scholars to investigate performance practice as research. Central questions to be considered through movement and discussion include: How is it that we perceive, construct and express meaning via our bodies in dance, theater and life? What is the relationship of embodied episteme with other ways of knowing, such as language? Does kinesthetic perception and expression necessarily require decoding by the brain into language to attain meaning? What is lost in translation? We will also look at what forces—external and internalized—shape our continual performances of identity and readings of one another. Does training in codified movement techniques enhance or hinder a performers’ capacity for authentic expression? What educational practices in dance and theater foster corporeal intelligence and agency? Our research will involve a personal treasure hunt, unearthing memories and experiences that have been inscribed in our bodies over time by training, the media, and diverse personal, familial and cultural realties. Together, we will honor the unique nature of what our bodies know, foregrounding the value of embodied scholarship in dance and theater.

Prior to the conference, each work session member must post a sample of their research on the group’s blog; this may be in the form of a paper (maximum 10 pages), video footage (maximum 10 minutes), photos (max 10 images), or a combination of media. These online introductions will initiate dialogue, allowing for common themes and concerns to emerge and inform our group meeting. At the ASTR/CORD Conference in Seattle, our two-hour session will take the form of a workshop, integrating movement and discussion to investigate the relationship of embodied practices with theory. Our time will begin with sensory-based warm-up games in order to facilitate personal, collective and spatial awareness, as well as an environment of play and risk. Moving on, we will explore ways in which to access memory from the body, drawing on Augusto Boal’s Image Theater, as well as activities from Authentic Movement and Contact Improvisation. Peer observation and dialogue will be interspersed with physical research, allowing us to question how, when, why and where our physicality has been shaped by external and internalized forces. Finally, I will facilitate movement exercises that examine the corporeal articulation and negotiation of power in performance. In this workshop, the interplay of artistic practice with theoretical inquiry will deepen conceptions of embodied knowledge and power.

Dance and theater practitioners and scholars are welcome in this session. To participate, please submit a brief bio, as well as a 200-word abstract that articulates your interest and involvement with performance as research. Please also provide a website or blog address at which I can view a sample of your work. Proposals are due no later than Monday May 31st, 2010, and should be emailed to: naccarato.2@osu.edu. Please feel free to contact me with any questions or concerns.

Popular Fiesta and Carnival: Movement, Politics and the Body en Masse

Milla Cozart Riggio (milla.riggio@trincoll.edu), Angela Marino Segura (angela.marino@nyu.edu), Rachel Bowditch (rachel.bowditch@asu.edu)

In his book Critical Moves (1998), Randy Martin invites us to consider politics as 'the collision and mutual displacement of forces—their motional flows.' This working session focuses on how the body en masse produces such motional flows in festive performance; how does movement in typically large-scale public events generate, shape and recreate political power? In parades, and motorcades, processions, religious events, carnival, rallies and concerts, movement and bodily expression transmit crucial information about the exchange and circulation of power. Whether invoking destruction or the demonic, nationalisms, pledges and vows, healing or amorous devotions and ritual, these events literally create motional flows that symbolically and sometimes ritually recall, attest to, or subvert the forces of social organization and interaction, sometimes through spectacular displays of animal as well as human behavior. This working group will focus on ways that popular fiesta and carnival—typically mass events—generate language, evoke history, and produce collective action through movement, inertia, syncopation and other physical forces. What kinds of political and social relationships are embodied in or signified by gestures and movements, dance, and other corporal expression among participants and regulators of these festive events?

While the study of the body will be the focus for our group this year, arguably this could not be accomplished without the recognition that spaces determine the body en masse in festive performance as much as the body, in turn, creates and situates performance within its space. Therefore, we also welcome papers that address this relationship between popular fiesta, carnival and the spaces in which they appear: streets, plazas, stadiums, porticos, prisons, natural and virtual environments or play spaces.

We invite papers that consider the 'body en masse' in:

*Street Performance*

*Festivals, fiesta and religious manifestations*

*Parades, processions, political and military marches*

*Circulation, diaspora and migrations of festive traditions and practices*

*Building communitas within local, national and global networks*

*Ritual drama, religiosity or public devotional practices*

*Methods and modes of inquiry in popular fiesta and carnival research

*Intersections of staged and scripted theatre in festival, fiesta and carnival

Session Format and Guidelines

Participants must commit to submitting preliminary drafts by September 15, 2010 and final conference papers by October 30, 2010. All participants will be expected to actively contribute to an online pre-conference discussion.

Proposal submissions: This working session is a continuation of the Popular Fiesta and Carnival session at ASTR in 2009. New members are welcome, including scholars and practitioners. All must apply. Proposals and papers are accepted in Spanish or English We invite papers from all geographic and disciplinary areas. To apply, please send a 250 word abstract, including your name, title of paper and brief bio sketch to milla.riggio@trincoll.edu, rachel.bowditch@asu.edu, and angela.marino@nyu.edu by the abstract submission deadline of May 31st.

REVISITING MEDIEVAL PERFORMANCE: EVIDENCE, THEORY, PRAXIS

Lofton Durham, Western Michigan University, and Jenna Soleo-Shanks, Briar Cliff University

The thousand years between the Roman theatre and Shakespeare’s stage was an extraordinarily fertile time in the history of Western performance, yet this era suffers from comparison with the adjoining periods. Still dogged generally by the problematic inheritance of 19th century philology and, more specifically, by the evolutionary paradigms established by medieval theatre scholars in the early 20th century, the study of medieval performance is ripe for new scholarship. As Carol Symes has argued, “the medieval theatre was more multifaceted, more immediate, and more representative (in every sense) than that circumscribed by the playhouses of the Renaissance. This is the medieval theatre we need to be studying.” Although scholars from various disciplines have made valuable and important contributions to the study of medieval performance, the future of medieval performance studies depends on the unique perspectives and specific theoretical tools of theatre scholars. Such scholarship contributes to our appreciation of performance as a dynamic cultural form by considering, among other ideas, how performance related or reacted to existing power structures and how the bodies of performers existed in and interacted with spaces that were not exclusively meant for performance. Theatre scholars also offer new perspectives on the limits and definitions of performance evidence.

This working group will bring together various theoretical perspectives and broad definitions of evidence, in order to explore the unique function and importance of performance in medieval cultures. We are particularly interested in three aspects of this topic: new primary source evidence or alternate applications of evidence; new or revised methodologies for approaching medieval performance practices; and theoretical applications that draw connections among disparate cultural phenomena, illuminate new bodies of evidence, and/or alter conventional understandings of medieval performance, theatre, and drama.

Session Format and Guidelines:

Session chairs will group papers in clusters. Each member of the cluster will be responsible for reading all papers in the cluster. At the conference, each cluster will receive a set of questions from the session chairs, which the cluster will consider as a group during a break-out session. After these break-out sessions, the clusters will give a summary report of their discussion to all session participants. The session chairs will facilitate the reporting session in order to create a summary report of the questions raised, lessons learned, and possible future actions or avenues of scholarship and dissemination.

To apply, send a 200-word abstract and a brief bio by MONDAY, MAY 31st to BOTH lofton.durham@wmich.edu and jsoleo@.  All participants will be required to join ASTR or CORD and register for the conference.  Please visit  for more information on participants' responsibilities.

Re-Territorializing the City: Performance, Place and Power in the Urban Environment

Shannon Blake Skelton (University of Wisconsin-Madison), Ryan Tvedt (University of Wisconsin-Madison), Bill Whitney (Independent Scholar, Pennsylvania):

sbskelton@wisc.edu; tvedt@wisc.edu; whitneywm@.

Deadline: Tuesday, May 25, 2010

This working session explores the means by which artists in urban areas find themselves in constant negotiation with their surrounding environment. The private, public, and liminal spaces of urban areas contain multitudinous intersections between urbanity and theatricality, between the needs of the locality or state and the needs of its denizens. Cities contain created structures and megastructures which define physical, psychological and metaphorical spaces, consistently and persistently impacting the practical and pragmatic concerns of artists and their work. Whether (or if) the city in question is part of the imperial, postcolonial, or neocolonial realm, artists who work and live in it are forced to contest and defy, or comply and capitulate, with local, national, and global power structures. The embodied arts of theatre and dance are particularly rich fields within which to explore the negotiations of performance, place, and power in the urban landscape. Such negotiations and contestations serve as vital areas of discourse concerning issues of representation, tourism, and community, as well as ethnicity, gender, sexuality, normativity, and socio-economic status. One particularly rich area for discussion would be implications of the body in urban areas – in embodied practices, bodies of work, iconic bodies and their images, movements of bodies, and/or representations of historical bodies and means of their preservation.

Additional Topics for Discussion and Dialogue may include:

Corporeality and Space in the City

Location as Memorial Performance

Public Art and Space

Memory and Ruins

Community and Utopia

Grammar of Aesthetics in the Urban Locale

Urban Community and Space

Queer Space/Queer Time

Hyperreality, Simulacrum and Erasing History

Architecture and Performance

Street Performance

Mapping Theatrical Districts

Walking in the City

SESSION FORMAT AND GUIDELINES

This working session will exist in three phases. Once the participants have been selected, a bibliography of 4-6 published articles or excerpts centered upon power and performance in the urban environment will be disseminated, serving as theoretical foundations to enhance our discussion. The second phase involves each participant developing their paper or project upon the topic, and distributing them electronically. The working session will be divided into subgroups in order to read and respond fully to each author. Lastly, the group will meet at the 2010 ASTR conference to publicly discuss concerns and questions posed by the readings and papers. Papers should be written and distributed to the group no later than September 30, 2010 to allow for the most effective discussion.

Proposal Submissions: If interested, please submit a 200-300 word abstract for the paper you will present, and a brief biography, by May 25, 2010. Please submit proposals and bios as attached Word documents to all three conveners at sbskelton@wisc.edu, tvedt@wisc.edu, and whitneywm@. You may also address questions to any of these three contacts. Selections will be made in June. All selected participants must become members of ASTR or CORD.

The Diasporic Body and Its Discontents

Participants are invited to consider how power is embodied in diasporic identities, cultural practices, and performances. Our session emphasizes the spatial and temporal aspects of the “corporeal power” at the conceptual heart of CORD/ASTR 2010. By paying attention to diaspora’s “discontents,” we will also focus on the material and political effects of diasporic performance and the exercises of corporeal power. Our theme encourages participants to examine the ways in which diasporic traditions can be at once bodily coercive and liberating, limiting and expressive, acting on and through performing bodies. This session encourages participants to consider the distinctive resources performance can provide for a multitude of subjects and actions involved in power’s applications, negotiations, and various forms of resistance.

Participants may consider the following questions:

• How might diasporic performances work over time?

• How might they reconcile the past and the present through the acting body?

• What processes work on or construct the “diasporic body”?

• How is the diasporic body created and sustained?

• What kinds of bodies fight back, desert, or deviate, and how do they perform?

• How might the body sustain diasporic identities and cultural connections? How might diasporic bodies in particular show intersections of movement and force?

As a working group, we plan to nurture and support the production of publishable scholarship related to our ongoing conversations on diaspora, performance, and ASTR and CORD’s 2010 themes of embodiment and power. We plan to submit and circulate article-length essays before the conference, allowing rigorous and creative feedback. We will utilize online technologies to encourage creative and open interactions among its participants. For further information, see ASTR’s “Working Sessions Guidelines,” URL at

Working Process:

Our working group focuses on helping participants develop article-length projects for publication.

BEFORE ASTR/CORD:

• Participants are subdivided into smaller editorial teams.

• Teams post article-length drafts of their work to our website by September 1.

• Each member of the smaller editorial teams comments on the work, posting feedback electronically.

• Team members re-draft and re-post essays, or post a précis of the revisions they plan to make.

AT ASTR/CORD:

• For the first half of our session, teams meet in smaller subgroups to discuss status of projects and to offer feedback.

• For the second half, the group convenes to discuss the articles as a collection, what they suggest about the state of the field, and possible future projects.

AFTER ASTR/CORD:

• Members may re-submit their articles to the group for additional feedback, or send them to appropriate journals. The group establishes deadlines for review as needed throughout the spring.

Submitting a proposal:

Please submit a 500-word abstract proposing an article that you would like to develop in connection to the group’s theme, including a paragraph detailing where you are in your research process. Please submit proposals via email no later than May 31, 2010 to all of the conveners: Heather S. Nathans (hnathans@umd.edu); Adrienne Macki Braconi (adrienne.macki@uconn.edu); and Peter Reed (preed@olemiss.edu)

Exploring the Potential of a Dance Theatre MFA program

Alicia Peterson Baskel, MFA in Dance Theatre (2011), UCSD - aliciasuep@

Janet Hayatshahi, MFA in Dance Theatre (2012), UCSD - hayatshahi@

Rebecca Salzer, MFA in Dance Theatre (2011), UCSD - rebeccasalzer@

Kyle Sorensen, MFA in Dance Theatre (2012), UCSD – jsorense@ucsd.edu

Rationale:

In 2008, the University of California San Diego’s Department of Theatre and Dance established the first graduate program in Dance Theatre in the United States.  The leaders of this working session make up the inaugural two classes of UCSD’s Dance Theatre MFA program (two students were accepted in each of the first two years). We entered the program with diverse backgrounds and goals, and have necessarily interacted with the curriculum in different ways. We would like to use an examination of our specific experiences as a springboard from which to discuss general strategies for the interdisciplinary study of performance. We invite scholars and practitioners from varied dance and theatre backgrounds to join us.

Our working session will be a round-table discussion structured as follows:

• Brief introduction of the session participants and their backgrounds.

• Brief presentation and discussion of UCSD’s current curriculum.

• Presentation and discussion of excerpts from performances and films that have been created by UCSD’s current graduate students

• Examination of the meaning of the term dance theatre and discussion of what distinguishes a program in Dance Theatre from a Dance MFA or a Theatre MFA (both theoretically, and in UCSD’s current program).

• Invitation to working session participants to sketch out and discuss alternative curricula for a graduate program in Dance Theatre

Specifications for Participants:

Please send your ideas regarding what is interesting or important to include in a dance theatre curriculum (200 words or less) and your bio to the working session leaders before May 31st, 2010.

Additional Information:

Guidelines outlining best practices for working sessions:



University of California, San Diego Dance Theatre Website:



Dance Dramaturgy/Theatre Dramatury:

A Dialogue to Explore Distinctions and Possibilities

Ray Miller, Appalachian State University, millerrf@appstate.edu

Rationale: Within the academic setting, Theatre dramaturgy has enjoyed an increasing presence as a part of many theatre programs. It is not unusual today to have a faculty member designated as the department dramaturg. Often, but not always, this person serves as a theatre historian. Many departments engage the dramaturg not only as a member of particular productions of a play or musical but also as a sitting member of a season selection committee advising and guiding the department in its overall choice for a production theme for its plays for an academic year.

The same has not necessarily been the case in dance programs. While a number of professional ballet and modern dance companies employ a dance dramaturg and some graduate level dance programs offer at least one course in dance dramaturgy, there are few undergraduate dance programs that do the same. As programs move towards a Dance Studies model, I would anticipate that opportunities would emerge for a Dance Dramaturg to serve the department in ways that are similar to those of the Theatre Dramaturg.

This roundtable seeks to bring together theatre and dance dramaturgs around several issues of mutual concern. Those would like to contribute to this roundtable would be asked:

1. To distinguish the role and function of the dance dramaturg from that of the theatre dramaturg.

2. To identify and explore common professional and theoretical areas of concern.

3. To discuss how the role of dramaturgy can best serve the mission of the departments in which they reside.

4. To identify how the dramaturg can expand the academic program and production schedule to other departments within the college or university setting.

5. To interrogate methods by which the theatre and dance dramaturgs might collaborate.

6. To develop a bibliography of sources that might serve both the dance and the theatre dramaturg.

Format: Participants would be asked to submit a 500-word abstract in which they provide two items. The first would be a brief description of their work in the field of dramaturgy. Second, they would be encouraged to define those issues that are of particular interest to them not only as dramaturgs but also in their roles as “cultural workers,” what Paulo Freire underscores as “those who dare to teach.” Finally, they are asked to contribute to a bibliography of materials on the topic, which will be compiled by the convener and distributed to all the parties engaged in this roundtable.

As a baseline for discussion, participants would be asked to read two articles from Theatre Topics. The first is “Teaching African American Dance/History to a ‘Post-Racial’ Class: Yale’s Project O” by Joseph Cermatori, Emily Coates, Kathryn Krier, Bronwen MacArthur, Angelica Randle, and Joseph Roach, which concerns a team taught seminar-studio course that culminated in the production of a musical based on the collision between the Orpheus myth and the civil rights era televised dance parties. The second is Clare Croft’s “A Mutually Satisfying Pas de Deux: Feminist Dramaturgy and Dance in the Undergraduate Dance Curriculum.” Using these as a common reference point, each participant is asked to be prepared to contribute to the discussion based on one or more of the six purposes for the roundtable described in the rationale.

Please send questions and materials to Dr. Ray Miller at millerrf@appstate.edu by May 31, 2010.

For further information, see ASTR’s “Working Sessions Guidelines,” URL at

Risking Encounter: When Bodies Meet in Performance

Gwendolyn Alker, Associate Teacher of Theatre Studies, Department of Drama, New York U.

Emily Coates, Artistic Director, World Performance Project; Lecturer, Theater Studies, Yale

Daniel Larlham, Lecturer, Theater Studies, Yale University; Doctoral Candidate, Columbia

Keri Walsh, Assistant Professor, Literature Department, Claremont McKenna College

All modes of corporeal performance, social or artistic, require entry into zones of risk in which subjects opens themselves to otherness. In the rehearsal room, in the theatre space, in the street, and in countless other sites of encounter, human beings – both performers and spectators – come together in hopes of learning, stealing, sampling, or passing on expertise and experience to and from the bodies that surround them. In today’s interconnected world, creating artistic dialogues across cultural, national, geographic, and economic boundaries as well as training, rehearsal, and transmission within even the most stable performance traditions require repeated engagements with bodily difference. Such engagements destabilize the subject’s bodily routines, practices, and certainties, as well as the frameworks of understanding that go along with them. Encounter carries risks as well as rewards, opens up certain possibilities even as it closes others down, and always generates unintended meanings in excess of intended ones; but these realities ought to be acknowledged as prompts to critical attention rather than deterrents to collaborative openness.

In inviting submissions on the theme of embodied encounter within performance practice, the conveners of this working session seek to foster a conversation among dancers, theatre-makers, choreographers, and scholars that furthers the renewed and deepened investigation of corporeality now emerging at the nexus of dance, theatre, and performance studies. Encouraging the momentary surrender of our disciplinary orthodoxies, we welcome traditionally written papers as well as presentations that employ differing modes of delivery, perhaps including the sharing of live performance fragments or the screening of documentary footage.

Urgent questions present themselves when bodies teach, adopt, challenge, inherit, touch, merge, or surrender to each other in performance. We invite presentations that address one or more of the following questions:

• How do we theorize the embodied dynamics governing collaboration, reception, and the transmission of performance knowledge?

• What role do phenomena like kinesthetic empathy, embodied memory, imitation, and surrogation play in pedagogical and collaborative endeavors?

• How can an investigation of corporeality deepen our understanding of the situational, conventional, textual, semiotic, and culturally coded dimensions of performance?

• What new body-to-body phenomena are emerging within performance modes in our globalizing twenty-first century? What corporeal phenomena are becoming extinct in our digital age?

• Can we codify an ethics and an ideal format for performative encounters across perceived boundaries of difference? What vocabularies and theoretical frameworks do we use to articulate such encounters to ourselves and to others?

• What do body-to-body processes of exchange within performance practice share with those of “everyday” life? How are they different?

• What frameworks from other disciplines – such as phenomenology, consciousness studies, and cognitive science – might be usefully applied to an investigation of corporeal encounter in performance?

Submission deadline:

Abstracts of no more than 250 words should be submitted along with a brief bio to: ga41@nyu.edu, emily.coates@yale.edu, dl2257@columbia.edu, and keri.walsh@claremontmckenna.edu. Presenters planning to incorporate performance elements or audio-visual materials should express this intention in their abstracts.

The deadline for abstract submissions is Monday, 31 May 2010.

Session format:

Working session participants will submit a paper of 10-12 pages by Friday, 1 October 2010. In advance of the conference, mini-groups of 3-4 members will read and comment upon each other’s papers. At the conference, each mini-group will present its conclusions reached and questions generated, referencing live or recorded performance fragments as necessary. Questions regarding the working session format should be posed to the conveners at the email addresses listed above. General information about participation in ASTR working sessions can be found at:

Hybrid Lives of Professional Teaching Artists in Dance and Theatre:

Questions of Power in Performance, Teaching & Community Work

Mary Elizabeth Anderson, Wayne State University

Doug Risner, Wayne State University

Historically, dance and theatre have shared important social bonds with their communities, both by definition and out of necessity. Many professional dance companies and theatres today depend heavily upon community support and volunteerism. Similarly, theatre and dance education have been intimately linked to community and culture since the early 1900s in the US. During the first half of the 20th Century, performing arts instruction in US public education found its justifications on the basis of humanism and public service. It was during this period that schools and universities witnessed the emergence of “artists-in-residence,” professional arts practitioners hired to facilitate arts training and assist in mounting public productions. While the ties between theatre and dance in education and the communities that they serve have long since been forged by professional artist-educators living hybrid lives, their particular function within educational institutions has been substantially controversial from the outset.

Despite the proliferation of educational arts programs during the 1960s and 1970s, perceptions about the work of the “artist-teacher” became increasingly problematic. Artist-teachers were characterized as “schizophrenic,” their work representing a “dilemma” and their identities in “peril,” in the context of schools and colleges that now prized the tenets of professionalism and vocational education over the pre-WWII values of humanism and public service. The artist-teacher, operating within the liminal spaces between professional production and academia, embodied an unresolved conflict in the values underlying public education.

During the last decade, the “professional teaching artist” has emerged, with an attendant professional association (Association for Teaching Artists), a major national research project (NORC Teaching Artists Research Project), and the development of a certification program (University of the Arts, Philadelphia). The work of today’s professional teaching artist can perhaps be understood as a creative and intentional reconciliation of the historical dichotomies that have produced the social, cultural and economic marginalization of these workers.

This working group seeks to investigate, develop and circulate emerging research on professional teaching artists in theatre and dance. In response to the conference theme of power “working” through embodied practices, the group takes as its central questions:

• How does(n’t) power circulate within and from performance pedagogies employed by professional teaching artists?

• As teaching artists traverse multiple spaces between professional and academic worlds, what do we mean when we talk about the “transformational, liberatory power of theatre and dance pedagogy?” How do we know if and when transformation occurs?

• How is power negotiated in the embodied practices of teaching artists and the communities they engage?

• In what ways, if any, can the cultural work of professional teaching artists in theatre and dance illustrate the “indispensable utility”[4] of these disciplines within the academy and its burgeoning bodies of knowledge?

Interested participants are invited to submit a 500-word (excluding references) abstract, and brief bio to drisner@wayne.edu. Selected participants will engage in pre-conference wiki-based dialogues and write and circulate a 12-page paper in advance of the conference. Co-authored and multi-authored proposals are especially encouraged.

Nursing a Beautiful Bastard: Dance Theatre in Theory and Practice

Name(s), institutional affiliation (if any), and email address of Session Leader(s):

Jeffrey Fracé Carrie Ahern

Assistant Professor Dancer, Choreographer

School of Drama Artistic Director

University of Washington Carrie Ahern Dance

fracej@u.washington.edu carrie@

Dance Theatre is a category of Dance. Physical Theatre is a category of Theatre. Is there a meeting place right in the middle, between Theatre and Dance? How and where do these two cultures meet? What demands does this hybrid culture make on its creators, performers and audiences?

We are interested in an informed conversation in which scholars and practitioners share observations and offer prescriptive ideas about the role of Dance Theatre in today’s performing arts marketplace. We’ll approach this conversation from three angles:

(1) The creator’s process (or, on the stage): A principal step in Dance’s direction toward Theatre occurs when the dancer speaks text; the converse in Theatre occurs when the actor moves expressively. Do these supplemental discursive acts necessarily multiply meaning? What can go wrong, or right, when the dancer speaks and the actor moves?

(2) The audience’s process (or, in the marketplace): Can audiences of Dance and Theatre effectively meld? Is there a possibility for a greater “live culture” that does not identify with single, separate disciplines but with hybrid forms that cross boundaries and break new ground? Considering how events listings are broken down in virtually every media outlet in the country into separate categories, we wonder how long it will take until the information catches up with the art. In a world full of marketing genius, how is it that the marketing of the performing arts is a regressive discourse?

(3) The performers’ process (or, in the studio): Performers of Dance and Theatre often run in very different circles socially and professionally. Typical rehearsal processes are very different for each – dancers often meet less frequently but for longer stretch of time, while actors might cram the same number of hours into a few short weeks – so what might a compatible process be? Can a theatre director know enough to elicit a strong performance from a dancer, and can a choreographer effectively direct an actor?

We will begin this conversation by addressing each of the three angles in turn, in advance of November’s conference. Over the summer, participants will begin to offer observations and analyses on a blog-style website. Letters addressing the first angle will be due by July 30; the second angle by September 10; and the third by October 20. Responses to these letters will be welcome anytime.

At the conference, we will turn to the Prescriptive. In the spirit of bombasts and avant-gardists, we propose to complete a manifesto of Dance Theatre Do’s and Don’ts by the end of our two-hour working session. We want to undertake this work as though we were taking responsibility for the intelligent evolution of this form. If we scholars and artists are to nourish a “live culture” that will grow and support meaningful new work, it is important that we articulate clearly and forcefully a set of goals and challenges. We hope that this roundtable will create new networks and inspire new collaborations; and we hope the participants will return to their own work with new tools for analysis and production.

Please send a 200-word response indicating your interest in and preliminary observations on one or more of these angles, as well as a brief biography to fracej@u.washington.edu, by May 31, 2010. More information on working sessions can be found at

Amping It Up: Power and Affect in Inter-media Dance Theatre

Dr. Jennifer Parker-Starbuck Drama, Theatre, and Performance Studies Roehampton University j.parker-starbuck@roehampton.ac.uk

Katherine Mezur School of Drama and Japan Studies University of Washington, Seattle kmezur@

In both theatre and dance, vocabularies of corporeality have expanded to include new media technologies. Merce Cunningham’s exploration with motion capture technologies, the Wooster Group’s televisually driven movement patterns, William Forsythe's visual choreography in the on-line Synchronous Objects, Dumb Type's examinations of technological culture, or Blast Theory’s use of mobile phone and gaming technologies to engage audiences—all negotiate how bodies are impacted by the current technological moment. 

In the development of genres of multimedia performance, theatre and dance often collide, merge, and work side by side to incorporate forms of media in performance. These body-based forms have interrogated the possibilities of media, creating spaces in which the idea of bodies might be expanded while emerging technologies are explored through theories of affect, technoscience, hybridity etc. This seminar is interested in the different powers of the artist/practitioner/performer/audience as they negotiate, engage with, expand, and control various forms of media in performance practices. What are the potentials of co-presence between living bodies and technologies—projections, robotics, interactive gaming devices, surveillance technologies, medical or bio-tech technologies—on stage and in the audience? How does media’s power affect bodies and kinaesthetics? How can bodies drive new media experimentation?

We hope to engage with scholars and practitioners to investigate feedback loops of power, exchange, and affect between bodies and technologies in theatre and dance practices exploring such questions as:

• What is the role of the “spectator” in interactive environments?

• How has new media/gaming technology appropriated vocabularies of theatre and dance?

• How does the living body of the actor/dancer/audience member impact upon technologies of image, sound, live feedback, recorded sound and image?

• Is there power for the “unmediated” discipline when it seemingly intertwines, fades, or disappears into the mediated?

This session will be structured as a 2 hour working group/seminar in which participants will discuss and analyze work previously exchanged. Preconference activities will include division of accepted proposals into pairs or small groups to facilitate an in-depth reading/observation/discussion of similarly-themed or diversely contrasting work. This will be followed by on-line exchanges that seek to identify themes and questions across the groups. We hope to facilitate on-line laboratory spaces for viewing work and discussion, using wiki, blog, or skype formats. We will facilitate a scenario in which new knowledges concerning theatre, dance, and new media/technologies are generated, explored, and interrogated. During the face-to-face discussion we will focus on questions emerging from the preconference exchanges rather than paper presentation.

We welcome and encourage research, performance, and analyses that negotiate across/with media and live bodies. We welcome work in diverse formats and practical work able to be previewed in advance of the conference. Please send 200 word proposals outlining your project to both conveners no later than Monday, May 31st. 

J.Parker-Starbuck@Roehampton.ac.uk AND kmezur@

For more information regarding the responsibilities of participants, please take a moment to read the Working Group guidelines here:



POWER MOVES:

New Approaches to Plays from the Spanish Golden Age

Through Fencing, Dancing, & Connections to Shakespeare

NOW CASTING:

TEAMS of scholars & practitioners to reconstruct physical interpretations for world-class performance texts, bridging gaps in production history which currently inhibit teaching, staging, & critiquing plays from the Siglo de Oro.

COME COLLABORATE on PRODUCING:

➢ a revolutionary re-view of how dance, combat, & ideas intersect in one- & three-act scripts from early modern Spain;

➢ a history-making journey into lost production history, re-connecting choreography with literature to recover stagecraft;

➢ a map-changing movement across boundaries between study & performance, original & translation, Shakespearean tragedy & Spanish Comedia.

SKILLS SOUGHT:

INTEREST in meeting, firsthand, vibrant examples of Total Theater – powerful fusions of movement, music, spectacle, & profound thought.

ENTHUSIASM about preparing recovered classics for rediscovery – in class, onstage, & for further research.

EXPERIENCE with dance, stage combat, Spanish, translation, dramaturgy, performance, or Shakespeare.

PRODUCTION REQUIREMENTS:

Step One: Go through the Audition Drill (details below).

Step Two: Read (then repeatedly re-read) your Team’s target play

(during the summer).

Plays currently targeted include:

➢ Lope de Vega’s three-act La dama boba / Lady Nitwit (c. 1613; translated 1962, 1976, 1998, & 2000)

➢ Cervantes’ one-act Entremés de Trampagos, el rufián viudo / The Thug Who Lost His Sugarmama (published 1615; translated 1948, 1964, & 1996)

➢ Quevedo’s one-act Entremés de la destreza / Swash-&-Buckle Play (c. 1608)

➢ Cervantes’ one-act El retablo de las maravillas / The Wonderful Showoff Show (published 1615; translated 1948, 1964, 1996, & 2008), &

➢ Lope de Vega’s three-act Castelvines y Monteses / Capulets vs. Montagues (c. 1603; translated 1998, 2005, & 2010).

Team Members will post notes about the intersection of dance, combat, & ideas in target plays on the session’s wiki as they read.

Step Three: With inspiration from your Team Leader, pose specific, pedagogy-production-research questions for the session’s senior scholars – the fight choreographers, dance historians, & movement-reconstruction practitioners who’ll enrich our exploration (September).

Step Four: In collaboration with other members of your Team, develop concrete strategies for teaching, staging, & critiquing your target play, to share as your Team report (October).

Step Five: Attend the session’s meeting in Seattle – two hours (or more) in which you’ll get to share findings with other Teams, participate in hands-on demonstrations with senior scholars, & network with ASTR’s Shakespeare Performance Research Group (November).

AUDITION DRILL:

Send a 250-word proposal & a brief personal sketch to astr_gold_2010@

by Monday, May 31.

In your proposal, tell us which of the target plays catches your interest most urgently, & why. More information about the plays is posted at

.

In your personal sketch, tell us about skills you can bring to your team.

PLEASE NOTE:

We warmly welcome participation from people with no prior exposure to the Spanish Golden Age. In step with the guidelines posted at

tabid/128/Default.aspx,

we’ll explore ideas interactively, with no formal conference-paper presentations.

QUESTIONS:

We’ll be happy to clarify, expatiate, & respond. You can reach the session’s co-conveners – Ben Gunter at Florida State University, Susan Paun de García at Denison University, & Amy Williamsen at the University of Arizona – via

astr_gold_2010@.

The Dragon that Breathes Fire: Methodologies for tapping into corporeal power

Joan Laage, PhD, CMA

kogut butoh davidthornbrugh@

As performers, we create worlds, and to do this successfully, we need to exercise our power. Power gives us the ability to engage and control the attention of the audience, to lead them through a transformative experience. The most important thing education can offer dance and theatre students is training methods and body/mind research that can unleash the individual’s potential power as a performer and uncover a unique artistic voice.

The post-WWII phenomenon Butoh is both dance and theatre. At its core is the body, but what do we mean by “the body?” One can assume the body is central to dance, but what of theatre? For theatre, perhaps the body is the carrier or deliverer of the text while in dance the body is the text. Both dance and theatre artists have ventured to cross the definitive lines, dance taking on spoken text and using non-dancers, and theatre dispensing with words. Butoh training offers much to both dance and theatre students including how to access corporeal power.

In response to the question “what is the body?”, theatre theorist Peggy Phelan writes that the body is at once a spiritual and corporeal body, an internal and external, invisible and visible, living and dead body. Butoh artist Akaji Maro insists “you have to kill your body to construct a body as a larger fiction.” Butoh co-founder Ohno Kazuo professes that “butoh revolves around the idea of the ‘dead body,’ into which the dancer places an emotion that can freely express itself.” Rather than using mimicry or specific instructions, Butoh training uses poetic imagery to shape and move the body.

Applicants are invited to submit a 200-word proposal including a statement of interest and reasons for how their research and/or practice supports, enhances, or questions the session’s topics of inquiry along with a brief bio.

Topics of Inquiry (in relation to training to access corporeal power)

• Harnessing the connection between breath and energy

• Imagining the body as composed of elements: stone, water, air, etc

• Cultivating awareness of body physics: space/time, mass, and gravity

• The body as a container: matter and metamorphosis

The working session format includes alternation of whole group experiential sections lead by the convener based on Butoh philosophy and techniques after which participants will break into smaller groups. This will be a time for participants to share their research and/or practice focusing on a specific topic through discussion or further movement experience. After the alternating experiential and discussion sections, the whole group will convene so each of the smaller groups will have a chance to share their experiences and findings. The session will culminate in reflections and in suggestions for furthering discourse on the session’s topics.

Participants will be expected to conduct email conversations within their chosen smaller groups (3-5 people) at least one month before the conference. These conversations will be focused on topics given by the convener, and are designed to help participants prepare their contributions to the working session. A pre-determined leader for each group will be responsible for emailing weekly summaries to the convener. Each group will also submit (via email) three sources (title, etc. with a summary or abstract) relating to the topics of inquiry to the convener by October 1, 2010, who will compile the list and resend to all participants for research and discussion purposes. As a post-conference conclusion, the convener will email each participant early in 2011 with the intent of determining the impact of the working session experience on the individual’s research/practice in their field.

More information on working sessions can be found at:

Dancing "African": Race, Representation, and the Moving Body

Christina Knight (Harvard University) and Jasmine Johnson (UC Berkeley)

This working group considers how ideas of Africa are embodied through movement, paying special attention to staged dance—that is, choreographed dance performed for an audience.  We are interested in contemporary manifestations of African dance in order to explore how practitioners evoke and adapt African cultural forms throughout the black diaspora.  Moreover, our working group will consider the ways in which 'African-ness' is staged through an engagement with:

The "traditional/contemporary" and "retention/adaptation" binaries that often frame interpretations of the cultures of Africa and its diaspora.

The tensions between African dance as a site of hybridity, technical prowess, and improvisation of the one hand, and also as a repository of history, tradition, and spirit on the other.

How multiple parties—directors, dancers, and audiences—discursively define Africa and putatively African cultural practices.

And, how the manner in which dance is performed and witnessed influences the dynamics of its practice.

More broadly, our working group will work to address the following questions: "How is power negotiated in terms of culture and identity?" and "How do bodies in motion negotiate and enact power?" Ultimately we are interested in the ways in which "African-ness" is defined, who gets to do the defining, and the stakes of certain definitions.  Our working group encourages discussions on culture that thoughtfully encompass race, the moving body, and popular culture. 

Working Group Process and Format:

All participant papers will be circulated prior to the conference. Though every participant will have access to all of the papers, each participant will be assigned one other paper to read closely. We recommend that everyone share their thoughts about their assigned paper with their partner prior to the conference. We encourage participants to submit works-in-progress rather than finished articles or book chapters.

During the working session itself, the group will be divided into several breakout groups based on shared themes gleaned from the papers. In order to facilitate dialogue, the larger group will come together in the final 30 minutes of the session in order to share issues raised in the breakout groups. We are hoping that this will facilitate discussion about themes that are relevant across fields such as drama, dance history, African diaspora studies, and performance studies.

We welcome both graduate students and professors to join this discussion. For more details on participant guidelines and expectations, please see the following link:

 

Please send a 200 word abstract and brief bio to: jasminej@berkeley.edu and cknight@fas.harvard.edu by Monday, May 31st.

Indigenous Performance Research in the Americas: Bodies and Power

Ann Haugo (ahaugo@ilstu.edu)

Tiffany Noell (tiffany.noell@asu.edu).

While 2009 and 2010 are watershed years in Indigenous performance research – with the publication of one monograph and three collections of articles – the field is still emergent,[5] with little professional support for dialogues among researchers about methodology, focus, or ethical considerations. As co-conveners representing different generations of scholarship, we hope this session accomplishes two goals: First, the short-term goal of bringing together scholars of Indigenous performance who are at various stages in their professional development (senior researchers to graduate students); and second, a long-term goal of contributing to a foundation upon which future dialogues can build.

In keeping with the conference theme of “Embodying Power: Work Over Time,” we propose a set of possible questions that begin with the concepts of embodiment and power, including questions that focus on the role of the scholar in the research process, a highly debated topic in Indigenous Nations Studies discourses. However, because Indigenous Americas performance research is still relatively new, we will also consider proposals from participants whose current research may not intersect precisely with these concepts. Thus, participants might consider any of the following topics, or suggest their own:

• In what ways do scholars transcribe embodied memory? 

• How do scholars mark indigenous bodies, or reveal the ways in which Indigenous bodies have been “marked” historically? 

• How is power transferred/transformed from the stage to the page in Indigenous performance? 

• How does Indigenous performance challenge colonial power relations in the Americas?

• How does Indigenous performance negotiate power as it relates to culture and identity? 

• How is the actor-spectator interaction imagined in Indigenous performance? 

Working Session Format:

In advance of the conference, participants will share 5-7 page “position” statements, articulating their methodological approach, their subject or focus, and the significance of their research to Indigenous performance. Via e-mail (or another internet-based discussion forum) participants and the co-conveners will identify common concepts, arguments, key terms, or topics through which to structure an interactive two-hour session at the conference.

We anticipate that some participants in this session may have also participated in the seminar session convened by Ann Haugo at the 2006 ASTR Conference (Indigenous Americas: Performance Research in Local and Transnational Contexts), and we hope that this working group will provide an opportunity to sustain a dialogue about Indigenous performance research within ASTR.

Applicants should send proposals of 500 words or less (in Word attachments, with affiliation and full contact information) by May 31st, 2010 to Ann Haugo (ahaugo@ilstu.edu) AND Tiffany Noell (tiffany.noell@asu.edu).

Negotiations of Power - A History of Collective Creation

We invite authors to submit proposals for essays on aspects of the international development of the Collective Creation movement, from the early twentieth century forward.

Aims: The aim of this working group is to produce and publish a history of the international development of Collective Creation from the early twentieth century forward. The goal of this proposed volume is to provide a more historically systematic overview than has hitherto been attempted, and to contribute a significant piece to a broader consideration of the relationship between institutional and aesthetic practices

We are interested in studies of particular companies, overviews of the historical development of Collective Creation in particular regions of the world, and considerations of Collective Creation’s varied manifestations (ideological, institutional, aesthetic, etc) at different historical moments and in distinct cultural contexts.

For additional information on content, please see “Themes” and “Working Definition” below.

Rationale: Despite its significant, ongoing, global impact, Collective Creation remains underdeveloped as an object of scholarship. We are aware of only a very small selection in-depth studies in English, including The Lives and Deaths of Collective Creation (Vox Teatri, 2008), and Collective Creation, Collaboration and Devising (Playwrights Canada Press, 2009). While these constitute a significant step in the field, neither claims to offer an international, historical overview.

Working Method:

▪ E-mail exchange (June–November), to test ideas and share resources;

▪ Contributions to working bibliography exchanged early July;

▪ Drafts exchanged early October;

▪ Revisions submitted subsequent to ASTR session; date TBD.

▪ ASTR session will be structured as discussion, with break-out working-groups to:

1. Refine the working definition of Collective Creation, taking into account intersections with related forms, including studio, laboratory, devised and post-dramatic theatre, as well as cultural divergences and convergences;

2. Re-define the scope of the proposed volume based upon contributions; identify critical gaps; create a plan to address gaps;

3. Discuss ways of bringing drafts into fuller harmony with aims of the proposed volume;

4. Produce draft book proposal;

5. Lay out schedule for completion.

Contact: Please send an abstract of 250 words or more, and brief bio emphasizing your interest in Collective Creation to: Dr. Kathryn Syssoyeva, syssoyeva@

Deadline: May 15, 2010

For further guidelines and information, please go to:

Themes:

Our overarching aim is to map Collective Creation’s crisscrossing temporal, spatial and cultural trajectories. Within this framework, themes we wish to see addressed include, but are not limited to:

▪ Diverse structures of artistic authority/cooperation proposed by collective theatre groups over the century;

▪ The role of particular institutional structures in facilitating/foreclosing upon particular aesthetic possibilities – and vice versa;

▪ Intersections with related forms of theatrical experimentation;

▪ Collective creation as social protest;

▪ The politics of political disengagement;

▪ Imploding utopias and failed collectives;

▪ Extra-theatrical impetuses (political, ideological, philosophical, etc) to collective creation;

▪ The roots the theatrical collective in pre-twentieth century practice.

Working Definition: Collective Creation is a theatrical movement characterized above all by the nature of the creative process – in its essence, a group of persons collaboratively developing a theatrical work from conception to performance. Typically, that collaborative method eliminates or decentralizes the role of the director, accentuates the creative contribution of the performer, emphasizes democratic or consensual decision-making, and redistributes traditional designations of responsibility. Collective Creation is here understood to be an artistic movement with broader socio-political implications: a considered intervention into normative power dynamics of hierarchically structured institutions, by practicing and modeling institutional alternatives. The movement’s impulses are thus understood to be at once aesthetic and political. The nature of that politics, however, is open-ended. Historically, the particular “politics” of particular performance collectives run the gamut from the engaged political activism that typified the U.S. collectives of the 1960’s, to utopian theatre communities such as Jacques Copeau’s “Copiaus” (established in 1924), to the politics of political refusal, such as we find in the work of Stanislavsky and his collaborators in his final Studio in the 1930's, which may arguably be understood as constituting a radical (for its time and place) retreat from political oppression through committed engagement in collective imagination.

While a flowering of Collective Creation occurred in the 60’s and 70’s, its roots can be traced to collaborative theatre practices developed earlier in the century. Meyerhold, for instance, introduced the term “collective creation” in Russia in 1906; Copeau and Saint-Denis deployed collective creation methods in France in the nineteen-twenties and thirties. Similarly, as Jane Baldwin, Jean-Marc Larrue and Christiane Page argue in The Lives and Deaths of Collective Creation, the movement’s impact continues to be felt globally. Indeed, the programs of many theatre schools, the subject matter of many conference talks, the intensifying scholarly interest in such related categories of practice as “devising,” “laboratory,” and “post-dramatic” theatre - all suggest a resurgence of interest in collective practices, in the form of broad diffusion; arguably, collective creation is experiencing a migration from margin to center.

Phenomenological Investigations of Embodied Agency

❑ Agency

❑ Kinesthesia

❑ Phenomenology

❑ Improvisation

❑ Consciousness

❑ Movement Scores

❑ Space for Action

❑ Potential for (political) Movement

❑ Sensory experience

❑ Verbal analysis

❑ Embodied Discourse

FOCUS

In this workshop, participants embark on a collective, kinesthetic experience and – at the same time – a phenomenological investigation of embodied agency. We focus on how improvising bodies enact, experience, and negotiate power. [We operate under the assumption that any movement can be looked at socio-politically, as to what it is performing, what it is producing.] In a collaborative setting we introduce frameworks, or movement scores, for improvising. Developed in relation to the theories of Michel Foucault and Maurice Merleau-Ponty, these scores implicitly alter power relationships as they restrict and condition the basic freedom of the participants: they control, encourage, rein in, permit, contain, or make space for subjectivity. As a result, the scores enable the group to have an embodied discourse on agency.

We make space for actions and trace what it is like to be engaged in a certain action. We move from privileging the sensory experience to privileging analysis to see how they inform each other. How do these moves enable an account of agency that centers on the body, its experience and potential for movement?

FORMAT

Our format lays the foundation for a democratic dialogue. We begin with a series of scores for movement improvisations that create a range of experiences and that shift our focus on kinesthetic, social, and phenomenological issues. Next, participants will engage in a writing and discussion process that allows them to articulate their experience during the improvisations and make connections to their particular research interest.

Thereafter the group will co-construct a graphic word map that centers on one collectively determined issue of embodiment. The textual drawing accounts for the various perspectives and points of view in the room, and serves as a basic score for the next round of improvisations. To conclude, we analyze and contextualize our experiences, and connect them to the larger theoretical frameworks. The back and forth between improvising and discussion/writing lends itself to understanding more about the intersections of theories and practices, in which we excavate questions that lend themselves to further thinking and moving.

WHO?

We are looking for dance and theatre artists, dance scholars, theatre scholars and individuals interested in the aforementioned lines of inquiry. Basic knowledge of Foucault, Merleau-Ponty, and theories of embodiment is helpful.

WHAT IS EXPECTED?

Post 1-2 articles or book excerpts on phenomenology/embodiment/consciousness/agency on google group (TBD). Due July 30, 2010

Read all postings. Write and post responses by October 15, 2010

❑ Commit to reading everybody’s responses before the conference

PLEASE SUBMIT the following to Arianne Hoffmann (arihoffmann@) and Kristen Smiarowski (KSmiarowski@lmu.edu) by May 31st 2010:

Statement of interest

Description of research & practice (this could include scholarship, creative practice, writing, moving, speaking)

1-2 suggested readings for the group (see “What is Expected?”)

Abbreviated CV or resume

Contact information

More information on Working Sessions:



The Media of Theater and Dance in History and Theory

 

Session Leaders: 

Sarah Bay-Cheng, Associate Professor & Director of Graduate Studies in Theatre, SUNY Buffalo,  

Martin Harries, Professor of English, NYU

 

Expected Number of Participants: 10-12

Call For Participants:

The contemporary proliferation of new media has made scholars unusually alert the mediated nature of all expression and communication: it is as though McLuhan’s exaggerations have all come true. In theater and dance studies, however, as in other fields, the glamour of an explosion of media in our historical moment has to some extent blinded scholars to the history of media. There are so many video screens on stage now that we treat the “mediatization” of dance and theater as new, overlooking theater’s reliance on or dialectical interaction with media in earlier periods. If the overall aim of this 2010 conference is to consider the ways that power is embodied in performance, the narrower aim of this working session will be to investigate the role that media play in the exercise and embodiment of -- and in the resistance to -- power of various kinds. Our goal is not collectively to develop a general theory of the mediatization of theater and dance, but to consider the variegated and historically contingent roles that different media have played in different spaces and times. We invite scholars of theater and dance to consider the importance of media to their work across historical and national divides, and discuss together how emphasis on the historical specificity of media allows for a renewed understanding of dance and theater.

This working session will take the form of a seminar at the 2010 conference in Seattle. In advance of the conference, participants will read a focused selection of crucial theoretical readings, take part in an online forum in advance, and exchange short response papers of five pages or so on how the readings and forum have, and have not, illuminated the particular issues that they encounter in their own work.

We will open an electronic forum for discussion by midsummer, and begin our discussion online. We will then ask each participant to write a short response paper of five pages or so to be distributed to all participants. These response papers will discuss how this set of readings, and our online discussion to that point, have and have not addressed issues of particular importance to their work. We will pair participants and ask each member to write a response to the other paper they have read. Questions for these response papers and for discussion in the seminar may include, among others:

( Is performance a medium?

( What definition of “media” is useful? Does McLuhan’s “extensions of man” extend the terrain too far?

( In what ways have theater and dance defined themselves by negating or offering an alternative to the dominant organization of media?

Interested participants should send an abstract of their research interests (250 words) and brief biography to Sarah Bay-Cheng (baycheng@buffalo.edu) and Martin Harries (martin.harries@nyu.edu) via email attachment by May 31, 2010.

General information about participation in ASTR working sessions can be found at:

Schedule:

Proposals for Working Session: 31 May 2010

Selection of Participants: 15 June 2010

Distribution of Readings/

Opening of Online Forum: 30 June 2010

Response Papers Due: 15 October 2010

Paired Responses Due: 7 November 2010

Performing Modernisms

Rationale:

This working session explores the power of the body as a communicative instrument in all types of modernist performance, exploring the dynamism implicit in modernism’s various “movements” and expanding our understanding of these “-isms” by attending not only to their defining principles but to the aesthetic practices they performed. Recent studies (for example, by Olga Taxidou and Günter Berghaus) have opened up the field of the “New Modernist Studies” to a performance-studies-oriented approach. This seminar invites further contributions to modernist performance studies, including (but not limited to) work on specific modernist figures and/or movements (especially understudied or overlooked artists and groups), performance and alternative modernisms (especially from the global “periphery”), indigenous and transnational modernist performance, modernist performance in popular culture, performing bodies as/and machines, manifestoes and political action, historical approaches to the study of modernist performance, problems in historicizing performance, the repertoire versus the archive in modernist performance, and theories of modernist performance.

Format:

Abiding by a seminar format, this session requires each participant to submit a 10-15 page paper by early October, such that they may be circulated among all participants. Divided into 4 clusters based upon specific topics that emerge, participants will then read and comment on the papers submitted by their fellow cluster members via an online discussion before convening in November to join in a larger group discussion. At the conference, the sponsors will briefly introduce the seminar participants, provide an overview of the 4 topics that define the clusters, and facilitate discussion among participants and attendees. Besides providing a forum in which to explore the emerging field of New Modernist Performance Studies, this session seeks to build upon the 2009 session by continuing to compile a bibliography of recent scholarship that could be posted on the ASTR website as a resource for all interested members.

Submission guidelines:

Please send a 250-word abstract and a brief bio to all four session conveners by Monday, May 31st.

• Julia A. Walker, Washington University in St. Louis, jwalker28@wustl.edu

• Rhonda Garelick, University of Nebraska – Lincoln, rkgar@

• Penny Farfan, University of Calgary, farfan@ucalgary.ca

• Kate E. Kelly, Texas A & M University, kate-kelly@tamu.edu

Dance and the Power of Aging: Embodiment at the intersection of nature and culture

With the exception of a number of high profile performers such as the late Margot Fonteyn, Sylvie Guillem and Mikhail Baryshnikov, dancing for the working professional is understood to be largely a young person’s occupation. As research indicates, the average age of retirement from professional dancing is between the ages of twenty-six and thirty-four (Wainwright and Williams 2005, Laws 2005). Contradicting this phenomenon of early retirement, recent exercise science research has pointed towards a far longer physiological longevity for professional dancers, suggesting a dancer’s physiology can cope with contemporary performance demands well in excess of actual retirement ages (Koutedakis and Jamurtas 2004; Wyon, Head et al. 2004; Wyon 2005; Wyon 2009). Looking at these current findings in exercise science, this working session opens up discussions on how sociality plays a far more complex and powerful role in determining what is often understood as a strictly physiological event. While there are pockets of research into the effects of aging and dance in the medical humanities (Wainwright and Turner 2003, 2006), performance studies disciplines have largely ignored the issue of aging and performance (Woodward 2006). In dance studies this is particularly surprising given that dance has a dramatically age influenced aesthetic. This working session looks to advance new avenues of intellectual examination, inviting a more complex negotiation of the power of aging.

Format of Working Session

The working session hopes to encourage cross disciplinary investigations into the scientific and cultural grounds of our understanding of aging in the performing arts. The breadth of possible perspectives and standpoints that this topic invites, including not only differing disciplinary points of view but also the impact of such forces as gender, race and class, opens up an exciting range of research possibilities. To this end, paper proposals are sought for presentation at the session, including contributions from graduate students. Although resulting papers should present clear research parameters around method and topic area, they are intended more as a stimulus for opening debate and making collaborative interdisciplinary connections. To aid a sustained and evolving exchange of ideas, chosen participants will be expected to circulate their presentation in essay form (with attached bibliographic references) to a secure member’s only online blog interface in the run up to the conference. Following the presentation of papers, the panel presenters will further explore intellectual convergences and departures. Discussion will then be invited from auditors of the session.

Proposals should be sent to Victoria Thoms at vickithoms@wlv.ac.uk and include:

• An abstract of no more than 200 words outlining the subject and methodological approach of your proposed presentation

• Indicative bibliography

• Contact details and biography of the presenter/presenters

• Technical requirements

The Shakespearean Performance Research Group of the American Society for Theatre Research (ASTR)

The Shakespearean Performance Research Group provides an ongoing home for the study of Shakespearean performance within ASTR.

For the 2010 conference, “Embodying Power: Work Over Time,” we seek papers that address issues relating to the history, theory, and practice of Shakespeare performance. While working group papers need not be tied to the conference theme, our inquiries do engage with several areas germane to the themes of the Seattle conference.  For example, we would like to invite papers that, broadly speaking, interrogate the "work" of Shakespeare performance. We have in mind the tension, reciprocity, overlap between several different senses of "work": the relationship between the literary "work," the "work" on stage, and the "work" of the professional theatre; how working on and with Shakespearean writing and performance has been constituted historically and theoretically; the "work" that Shakespeare performance might be said to accomplish; or the ways in which the reputation of Shakespearean "work" has been used to validate or legitimize performance as a profession and field of inquiry. As corporate entities gain nearly unlimited powers of "speech," are there ways in which the Shakespearean literary/theatrical corpus claims for itself powers to speak culturally in ways that may overwhelm other voices? We seek to interrogate such speech, work and power, and their embodiment in Shakespearean performance. At this year’s conference, we are planning to collaborate for at least a portion of our session with members of the “New Approaches to Plays from the Spanish Golden Age” working group, and so also welcome papers that look at the relationship between Shakespearean theatre and that of the Spanish Golden Age.

Those wishing to propose a paper should submit a 200-word abstract and 50-word academic biographical statement, including current affiliation(s), if any, by Monday, May 31st, 2010, to don.weingust@sou.edu (proposals also can be mailed to Don Weingust, Center for Shakespeare Studies, Southern Oregon University, 1250 Siskiyou Boulevard, Ashland, OR 97520).

Selected papers will be assigned to subgroups by the group’s conveners, Catherine Burriss, Franklin J. Hildy, Robert Ormsby, Don Weingust and W. B. Worthen, and the conveners will organize on-line communication of subgroup members before the conference. At the three-hour conference session, papers will be discussed first within the subgroups, after which the groups will come together to exchange ideas.

Ecology and/in/of Performance Working Group

Theresa May tmay33@uoregon.edu / 541 346-1789

Conveners: Theresa May (Asst. Prof. U Oregon), Downing Cless (Assoc. Prof. Tufts), Wendy Arons (Assoc. Prof. Carnegie Mellon), Arden Thomas (PhD Candidate, Stanford).

The Ecology and/in/of Performance Working Group has formed as a response to growing ecological sensibility in our collective professional imagination. (For example, in March 2009 the Public Art Research Cluster at Carnegie Mellon U hosted a symposium entitled “Greening the Future of Live Performance.” In May 2009 Earth Matters on Stage (EMOS) convened a Symposium on Theatre & Ecology at the University of Oregon.) The array of current research –which includes dance and the embodiment of landscape, architectural responses to place, critical animal studies, theatre historiography that treats the land as archive, ecopolitics, and ecopoetics, have begun to articulate a significant nexus of inquiry in our field. We are witnessing not only a growing concern and mounting artistic will, but also faith in the imagination as a critical aspect of our individual and collective ecological identities. The Ecology in/and/of Performance working session is an ongoing research group that fosters trans-disciplinary research (including performance-based research) that interrogates the intersection of performance and ecology. We are particularly interested in research models that employ the science of ecology as a critical framework; or employ environmental history to contextualize performance. (As opposed to, for example, the metaphoric use of "ecology" in reference merely to "whole systems thinking.”) Our aim is to challenge ourselves and the community of theatre and dance scholars to engage with the material non-human environment, bringing a more scientifically-based understanding of ecology to bear on how we imagine, theatricalize, or perform it. We are interested in fostering critical engagement of key theoretical and practical concerns such as:

• intersections of landscape or ecology and the body;

• the ecological ‘footprint’ of production;

• performances that participate in/reflect ecological debates through representation;

• cultural (de)construction of "nature";

• performative intersections of social justice and ecological issues;

• partnership projects in the arts and sciences;

• dialogic relationships between onstage/offstage ecological discourses;

• subjectivity/inter-subjectivity and ecological identity;

• animal representation on/off stage;

• eco-activism/community-based performance.

The format will encourage investigation (including practice) that opens up new collaborative scholarly and/or practice-based projects; dialogue and sharing of research will occur via email and/or blog. The working group members will form small interest groups prior to the conference. As introductions, these small groups will exchange written or practice-based samples of their research. Members of the small groups will respond/reflect on the work samples, and together formulate 2 foundational questions that link their projects and open up fissures or complications. At the conference the entire working group will meet prior to its session. There, the small focus groups will pose their questions to a second group, which will develop a response to the questions. At the session, each focus group will have a short time to discuss their own questions; followed by a “listening” period when they hear responses to their questions from the second small group. (Two rounds.) Following these discussions, each pair of small groups will share the the results of their exchange with the whole working group.

By Monday May 31st, please send a 200 word abstract or proposal to Theresa May tmay33@uoregon.edu.

Traumatic Structures

Trauma figures significantly in theatre, dance, and performance art. Plays, from Euripides’ Trojan Women to Lynn Nottage’s Ruined, take up both domestic and societal traumas. From its inception, the confessing and healing of trauma has been a core practices in performance art. Some examples include Mitchell’s Death by Linda Montano, Sally’s Rape by Robbie McCauley, and Sarajevo by Reza Abdoh. Isadora Duncan created Mother following the loss of her children, Butoh emerged in response to the horrors of the atomic bomb blasts, and Bill T. Jones created Still Here by interviewing people who face life threatening illnesses.

Trauma is always about power, whether it is about the loss of power of the individual or the practices of a repressive regime. Often the work of performance (over time) is to come to terms with that trauma by modifying the power relations through practice. Many claims are made about the power of the arts to heal, to hold accountable, or to promote change. There are so many examples of performative works that engage such a broad range of violences (domestic violence, genocide, racial discrimination) with such a wide range of strategies (testimony, dramatization, realism, imagism, expressionism, reenactment) and desiring diverse outcomes (accountability, healing, condemnation, reconciliation) that it seems plausible to suggest that performing arts share a “special relationship” with trauma.

This is a paradoxical effort given that trauma is defined as that which is “world shattering”, “overwhelming”, or “unrepresentable”. In her geneology of trauma, Ruth Leys describes the traumatic experience as one “so profound” that is precludes “cognitive knowledge.” In Mourning Sex, Peggy Phelan reminds us that

trauma’s potency comes in part from how well it is contained. When I say trauma is untouchable, I mean that it cannot be represented. The symbolic cannot carry it: trauma makes a tear in the symbolic network itself.”

How then do we propose to make representations of that which is not representable? And how can we do so without reiterating/reinscribing the very violences we seek to redress?

This working group is aimed at those who are interested in putting forward a theory of trauma in performance. We hope to bring together scholars with practitioners whose work explores the performative dimensions of trauma. We will attempt to share not only our scholarly efforts but also our source materials. This means we will “go the extra mile” to find ways to exchange documentation, to view live performances, or to read scripts. Proposals should address the theoretical perspectives of the applicant but also include suggestions for how the work could be best shared with group members. In addition to writing and reading one another’s papers, working group participants should be prepared to view documentation ahead of the conference and/or to meet for extended hours (beyond the allocated session) if group members propose performances or events.

Please send an abstract of 250-500 words that clearly explains your proposed contribution to this working session. Include in your narrative an explicit statement of your thesis or objective and a clear description of your object(s) of study. Make sure to indicate the format of your presentation and any special needs for your content to be fully shared with the group. In addition to your proposal, please also submit a brief bio, CV, or cover letter that clarifies your professional credentials and your relevant qualifications for this working group.

The deadline for submissions is 31 May 2010.

Send electronic proposals (pdf preferred) to Laurie Beth Clark, Professor, Art Department, University of Wisconsin: lbclark@wisc.edu.

-----------------------

[1] Call for Papers, “Embodying Power: Work Over Time” Joint Conference of The American Society for Theatre Research, The Theatre Library Association and The Congress on Research in Dance 2010.

[2] Ibid.

[3] Qtd. in Sarah Hemming, “A Sure Recipe for Staging Successful Drama,” Financial Times 6 January 2004, Arts: 15.

[4] Berkeley, A. 2004. Changing views of knowledge and the struggle for undergraduate theatre curriculum, 1900-1980. In Teaching theatre today: pedagogical views of theatre in higher education, eds. A. Fliotsos and G. Medford, 7-30. New York: Palgrave Macmillan 2004.

[5] Christy Stanlake’s Native American Drama: (Cambridge, 2009); S.E. Wilmer’s Native American Performance and Representation (University of Arizona Press, 2009), and two unreleased volumes from SUNY Press and UCLA’s American Indian Studies Center Press.

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