糖心TV

Past Events in 2024/25:

Past Events in 2023/24:

Research Seminar, Wednesday 24 April 2024, 12.00-1.00 pm, Microsoft Teams

Soo Ryon Yoon

鈥淐razy Dance鈥� in Cold War Inter-Asia: Ch'angmuhoe and Temporality of Korean Dance in the 1986 Hong Kong Festival of Asian Arts

This talk explores temporality in the choreographic experimentation of Korean dance company Ch鈥檃ngmuhoe (彀诫�错殞) and its 1986 performance in Hong Kong. Analyzing administrative documents, magazine and newspaper reviews, interviews, and dance movement descriptions, I discuss how the potential for inter-Asia relations manifested during the late Cold War years through the question of what defined post-Cold War contemporary Korean, Hong Kong, and Asian dance.

Korean dance company Ch'angmuhoe鈥檚 1986 performance at the Hong Kong Festival of Asian Arts was hailed by the local media as a 鈥渃razy dance鈥� for its original styles. While it was certainly not the first nor the last time for a Korean dance company to visit Hong Kong, Ch鈥檃ngmuhoe鈥檚 presentation ofch'angjakch'um(彀届瀾於�) or 鈥渢radition-based choreographed dance鈥� (as opposed to a reproduced traditional repertoire) for the first time in Hong Kong and Asia warrants a closer look. The political implications of this go beyond the formalistic significance: Ch'angmuhoe鈥檚 new style of traditional movement-based choreography raised a question of what defined contemporary Korean and Asian dance different from the essentialist representations of the folk and tradition. As such, Ch'angmuhoe鈥檚 show exemplified late Cold War ambivalence in cultural practices. A Cold War liberal democracy 鈥渁lliance鈥� was activated through promoting the 鈥減rogressive鈥� arts against the 鈥渙utdated鈥� aesthetic expressions of the Communist Bloc. Yet the political affinities with Euro-American hegemony were complicated by the efforts to seek new forms of expressions away from cultural essentialism frequently mobilized as an important repertoire in the US-sponsored Cold War campaigns in Asia.

I argue that studying these late Cold War dance exchanges and policies helps us revise the existing narrative of how contemporary Asian dance and its transnational relations came about only after the mid-1990s. In light of this, I also demonstrate that Ch鈥檃ngmuhoe鈥檚 case of the Hong Kong performance interrogated contemporaneity of Korean dance beyond the binary opposition of the Western and the Eastern Blocs, laying a foundation for imagining a future inter-Asia dance network.

Conference: Theatre Historians: who are we writing for?

Dear Friends,

We invite you to participate in a two-day symposium to be held on 18 and 19 March 2024 at the University of 糖心TV, focused on how and why our work as historians is read and valued. Our thinking behind what we hope will be an informal creative sharing of experience has developed out of a very successful one-day event held in Oxford in September which brought together different generations of theatre historians working within different UK institutional contexts. In September we debated the question 鈥榟ow do we position ourselves within the historical narratives that we construct?鈥� Out of that debate which foregrounded our personal standpoints and perspectives emerged another fundamental question which gets to the heart of what we do: 鈥榳ho are we writing for?鈥�. Who welcomes and needs our work and why? In 糖心TV we would like to widen our gaze to think more internationally, mindful that the assumptions and pressures which impact on scholars in the UK may appear radically different in other cultural contexts, outside the Anglosphere for example, or within the Global South

The symposium has been timed to abut in 糖心TV with a mini-conference (20-21 March) organised under the auspices of TaPRA (Theatre and Performance Research Association) by the Theatre and Performance Histories Working Group and focused on the teaching of theatre and performance history. There will be shared themes and interests but the two events are separate and autonomous. See https://www.str.org.uk/teaching-theatre-and-performance-histories-mini-conference

We want to frame this meeting around a series of panels. Contributors would be expected to offer a brief position statement rather than a formal paper. Topics may include:

• Does the question of why engage with the past configure differently in different cultural contexts
• How do we tackle truth-telling, when attempting to engage our readers? Are there now identifiably different attitudes to scholarly rigour? How much does the perspective of our reader affect our concept of academic truth?
• Do I as a historian engage my reader by having a voice that is distinctively in my own, in order to trigger a sense of bonding, or do I win over my reader by convincing her that I am the objective voice of authority?
• The language of our readership. Whether or not to publish in English is an important decision for many. What kind of hierarchies are entailed here? And within English, is there a substantive gap between academic language and the vernacular?
• What is the place of the historian in the increasingly practice-oriented discipline of theatre/performance studies? Are there other ways of being a historian, beyond being a writer?
• The physical location of our readership. While locally-focussed historians may have a role in helping build community identities, others via the Internet may reach out to minoritarian but global identity groups. Within academia, there is a question about how disciplinary subcultures create a framework of unchallenged assumptions
• Science or art. Some historians may see their work as a branch of the social sciences, working objectively to identify patterns of cultural behaviour. Other historians (including many working outside the academy) may see themselves as, in the first instance, writers, telling stories that engage the emotions, imaginations, and moral consciences of their readers. So this is a question about the nature of 鈥榟istory鈥�.
• Have we entered a post-theoretical phase liberating us to use the universal language of common sense? Or have we lost a shared set of intellectual references that allowed us to escape the confines of our discipline? Is 鈥榯heory鈥� a western construct? Do we need different intellectual frameworks in order to engage constructively with readers in the Global South?
• We are driven by what publishers want, and publishers are driven by what they can sell. Is contesting market forces in itself a highly marketable activity? Online publishing has had profound effects on how we work.
• The generation question. When we write, we assume that our readers have a foundation of knowledge, a set of historical reference points to which we can connect our arguments. These reference points have never been static, but the pace of change has been increasing. So the question is, how we connect.
• The nation-state. For the past century, in many cases longer, our democracies and structures of academic funding have been framed around the nation state, and there has been a tendency for historiography to follow. Do we think of ourselves as writing for a global readership? Does that in fact mean a new kind of elite? More generally, how do we engage with the demands and sensitivities of diverse heritages?

The symposium will take place in the University of 糖心TV. There is no registration charge. Participants will be responsible for their own accommodation and purchase of meals. Accommodation is available on the campus https://bandb.warwick.ac.uk/. The nearest airport is Birmingham, nearest mainline station Coventry

If you鈥檇 like to come (as we hope you will), we鈥檇 appreciate a response (copied to both of us) as soon as convenient and in any case by 16 December, indicating which of the above topic or topics speaks most strongly to your current research so we can frame the panels

Claire Cochrane, University of Worcester

David Wiles, University of Exeter

Schedule Conference: Theatre Historians: who are we writing for?

18-19 March 2024

DAY 1. THEATRE HISTORIANS: WHO ARE WE WRITING FOR.....

• The generation question. When we write, we assume that our readers have a foundation of knowledge, a set of historical reference points to which we can connect our arguments. These reference points have never been static, but the pace of change has been increasing. So the question is, how we connect.

Ruthie Abeliovich, David Coates, Kate Dorney, Lydia Manley, Ernst Wolf-Dieter

• Nation and identity. For the past century, in many cases longer, our democracies and structures of academic funding have been framed around the nation state, and there has been a tendency for historiography to follow. Do we think of ourselves as writing for a global readership? Does that in fact mean a new kind of elite? More generally, how do we engage with the demands and sensitivities of diverse heritages?

Soudabeh Ananisarab, Priyanka Basu, Vicki Ann Cremona, Tancredi Gusman, Kate Newey, Ewa Partyga,

• Voice. Do I as a historian engage my reader by having a voice that is distinctively in my own, in order to trigger a sense of bonding, or do I win over my reader by convincing her that I am the objective voice of authority?

Michael Bachmann, Meryl Feiers, Kate Holmes, Mechele Leon, Willmar Sauter, Dorota Sosnowska

 DAY 2. 鈥�AND WHY?

• Science or art. Some historians may see their work as a branch of the social sciences, working objectively to identify patterns of cultural behaviour. Other historians (including many working outside the academy) may see themselves as, in the first instance, writers, telling stories that engage the emotions, imaginations, and moral consciences of their readers. So this is a question about the nature of 鈥榟istory鈥�.

Hayley Bradley, Matt Franks, Sophie Nield, Catherine Quirk, Anna Sica, Berenika 厂锄测尘补苍蝉办颈-顿眉濒濒

• Practice. What is the place of the historian in the increasingly practice-oriented discipline of theatre/performance studies? Are there other ways of being a historian, beyond being a writer?

Lucy Holehouse, Patrick Lonergan, Jo Robinson, Meike Wagner, David Wiles

6. Intellectual framework. Have we entered a post-theoretical phase liberating us to use the universal language of common sense? Or have we lost a shared set of intellectual references that allowed us to escape the confines of our discipline? Is 鈥榯heory鈥� a western construct? Do we need different intellectual frameworks in order to engage constructively with readers in the Global South?

Claire Cochrane, Sarit Cofman-Simhon, Leo Kershaw, Rashna Nicholson, Trish Reid

Teaching Theatre and Performance Histories Symposium, TaPRA Theatre and Performance Histories Working Group

20-21 March 2024, University of 糖心TV

Nearly twenty years ago, Anne Fliotsos and Gail Medford remarked on the lack of attention our discipline pays to teaching: 鈥渋t is one of the great ironies of theatre scholarship that what most of us do, few of us study鈥� (1). Much has changed in the decades since, from the kinds of students that we teach to the ways that they learn. Scholars have begun to take pedagogy more seriously, publishing essays on how to teach musical, queer, and global-majority theatre and performance histories, for example (2). Nevertheless, we have few opportunities to come together and talk about our teaching. This symposium aims to provide an occasion for sharing and reflecting on how we teach theatre and performance histories today.

We invite 15-minute papers that respond to any aspect of this CfP from scholars and educators who teach any period of theatre and performance history. We鈥檙e especially open to alternative formats ranging from 5-minute provocations to 30-minute teaching demonstrations. As an output from this event, we鈥檙e considering developing the papers from this symposium into an edited collection.

Presentations might (but should not be limited to) addressing one or more of the following questions in relation to teaching theatre and performance histories:

• What does research-led teaching look like for us?
• How are we teaching dramatic literature in innovative ways?
• How are we decolonizing our curricula?
• How do we use practice in our teaching?
• What sorts of diverse assessment methods are we using?
• Are we using gamification to engage our students?
• How are we embedding skills development in our modules?
• What are the modules that we teach that work well?
• What best practices can we share for working with challenging materials?
• Did covid-19 provide new opportunities for approaches to teaching?
• How are we incorporating digital technologies in our teaching?
• In what ways is seeing live theatre engaging our students in histories?
• Do field trips enhance our practices?

Please send proposals to theatrehistory@tapra.org by 12 January 2024. In your proposal, please indicate your preference of format clearly, with a specific breakdown of any technical requirements. This symposium will be fully hybrid (in-person/online), and we are open to receiving proposals for online as well as in-person presentations.

Presenters will be notified about the outcome of their proposal by 17 January 2024.

As this is a symposium hosted by TaPRA鈥檚 Theatre and Performance Histories Working Group, there will be no registration fees, although presenters and attendees must be TaPRA members. If you are not currently a member, you will be able to join TaPRA for a small fee if your proposal is accepted for this event

We have limited funds to support bursaries for PG students who would not otherwise be able to attend. If you would like to be considered for these funds, please indicate this in your proposal.

References:

(1) Anne L. Fliotsos and Gail S. Medford, Teaching Theatre Today: Pedagogical Views of Theatre in Higher Education (New York: Palgrave Macmillan, 2004).

(2) Stacy Wolf, 鈥淚n Defense of Pleasure: Musical Theatre History in the Liberal Arts [A Manifesto],鈥� Theatre Topics 17, no. 1 (2007): 51–60; Noe Montez and Kareem Khubchandani, 鈥淎 Note from the Editors: Queer Pedagogy in Theatre and Performance,鈥� Theatre Topics 30, no. 2 (2020): ix–xvii; Patricia Ybarra, 鈥淕estures toward a Hemispheric Theatre History: A Work in Progress,鈥� Theatre History Studies 39, no. 1 (2020): 123–39.

鈥楾eaching Theatre and Performance Histories鈥� TaPRA Theatre and Performance Histories Working Group

Wednesday 20 March 2024

 Draft Schedule

10am: Registration and Morning Refreshments

10:30am-12:00pm - Panel 1: Constructing Histories

Chair: Claire Cochrane (University of Worcester)

Priyanka Basu (King鈥檚 College London) Going Back to the Archives: Teaching Theatre-Performance Histories in between Accessibility and Inaccessibility

David Coates (University of 糖心TV) Experiencing the Archive: Gamification and Performing Histories

Marta Rosa (University of Lisbon) How to Engage Students? Sharing Difficulties and Strategies (Online)

Lorna Vassiliades (Queen Mary, University of London) Decolonising the Ethics Process

12-1 Lunch Break

1:00pm-1:45pm - Panel 2: Digital Pedagogies

Chair: Matt Franks (University of 糖心TV)

Will Shuler (Royal Holloway, University of London) Using Generative AI to Teach and Create Greek Tragedy

Ulla Kallenbach (University of Bergen) Analogue/Digital Theatre Histories

1:45pm-2:30pm - Panel 3: Historical Acting

Chair: Nick Holden (London Academy of Music and Dramatic Art)

James Harriman-Smith (University of Newcastle) What Would Garrick Do? Teaching Eighteenth-Century Theatre Speculatively

David Wiles (University of Exeter) Does the Art of Acting Need a History?

2:30pm-3:00pm – Tea and Coffee Break 

3:00-4:30 panel 4: Practical Approaches

Chair: Kate Dorney (University of Manchester)

Hayley Bradley (University of Manchester): Adaptation as Subject Matter and as Approach

Jan Wozniak (University of Bristol) 鈥榊ou haven鈥檛 done the reading? So what!?鈥� On Not Knowing in Teaching Clowning Histories

Dolly Sharma (School of Oriental and African Studies, University of London) Teaching Nautanki in a Classroom: Analysing the Segments to include in the Lesson Plan

Stefan Aquilina (University of Malta) Practice-based Theatre Histories (Online)

 4:30-4:45 – Comfort Break

4:45pm-5:30pm – Roundtable, Concluding Remarks and Future Plans

Research Seminar, Wednesday 28 February 2024, 12.00-1.00 pm, Microsoft Teams

Ameet Parameswaran

Theatricality, Passion and Tragic: Thinking though Theatre in times of Authoritarian State

The two-year national Emergency (1975-77) that curtailed the fundamental rights of people and the contemporary period in India are often seen in relation to each other. Both periods are marked by the excessive authoritarianism of the state, with the contemporary often said to be the period of 鈥榰ndeclared emergency鈥� or a continuation and intensification of the processes inaugurated in the earlier period. One of the key political issues that such authoritarianism presents is censorship in the form of banning and arrests or unleashing of physical violence on performers and spectators as well as the saturation of the public sphere by state rhetoric that erases and prohibits in complex fashion the representation of oppression and suffering. Foregrounding theatricality as a complex site for engagement with authoritarian regimes, the paper interrogates the 鈥榩roductive鈥� aspect of censorship even as it is prohibitive. Drawing on examples across the two time-periods, the paper explores the strategies of engagement with and the new aesthetics emerging from this condition, and how these works necessitate a complex conceptualisation of passion and the tragic.

Research Seminar, Wednesday 31 January 2024, 16.00-17.30 pm, Room 5.03 Faculty of Arts Building (FAB)

Julia Peetz

Performance, Theatricality, and the US Presidency: The Currency of Distrust

This seminar will present Julia's recently published bookPerformance, Theatricality, and the US Presidency: The Currency of Distrust(Edinburgh University Press, 2023) and look ahead to the role of performance and distrust in the 2024 US election. The erosion of trust in politicians and political institutions is a major challenge in early twenty-first-century democratic politics, not least in the United States. Rather than being a flaw or corruption, the potential for political distrust should be understood as an essential feature of representative democracy because representation works through performance.Performance, Theatricality, and the US Presidencyexplores performance as a constellation of factors: scripts, embodiment, ideas of selfhood, and historical norms and ideals. The book draws on key scholarship of political representation, rhetoric, and populism; on theories of performativity, theatricality, and acting; and on interviews the author conducted with political speechwriters spanning presidential administrations and campaigns from Ronald Reagan to Barack Obama to demonstrate both that distrust is inherent in representative politics and that in mainstreamed populism distrust becomes a focal point around which the theatre of politics revolves.

Research Seminar, Wednesday 29 November 2023, 12.00-1.00 pm, Room 0.16-0.18 Faculty of Arts Building (FAB)

Sharmistha Saha

From communities of belief to artists in performance: Nagakalam Pattu, the Covid-19 pandemic and Clear Enigma

This paper looks at the caste labour of Nagakalam Pattu, which is a form of Kalamezhuth Pattu where Kalam means floor art, ezuth is the act of writing/drawing, and pattu is to sing i.e. it is the song of drawing floor art. It is performed primarily by the Pulluva community, although different regions of Kerala, where this ritual art practice is found, often host other caste groups associated with this practice. Nagakalam Pattu is a negotiation with snakes of the region. The performance is mediated through the Pulluvas – a ritual which brings prosperity and keeps snakes away from destroying crops or biting small children. So is the belief regarding its efficacy. In 2014, I first saw a performance of Nagakalam Pattu as part of a narrative called Clear Enigma directed by Eugenio Barba. Clear Enigma was to have only one performance to celebrate the 50 year anniversary of Odin Teatret at Holstebro, Denmark where the theatre is located. However, from what is known, the village of Holstebro is not infested by snakes! Although both ritual and theatre have often been seen as embodied and transformative, this paper looks at what happens to caste labour that is entrenched in belief and a community鈥檚 social being, when it transforms into theatre. The paper will, in particular, look at the labouring lives of the practicing Pulluvas during the Covid 19 pandemic to address complexities that arise in thinking about art as work, ritual as caste labour, and traditional performances as intangible heritage.

If you would like to attend please email Rashna.Nicholson@warwick.ac.uk

Conference: Locations of (Dis)embodied Labour in Theatre and Performance, Thursday 30 November 2023

Keynote Speaker: Professor Nicholas Ridout (Queen Mary University of London)

This interdisciplinary conference brings together scholars from around the world to explore themes of labour and body in the practices, theories, and histories of performance, covering topics such as the gendered perspectives of labour, aesthetics of labour, the agency of labouring bodies, theatre as work, etc. For the full programme please visit/fac/arts/scapvc/theatre/staff/yangzizhou/locationsoflabour2023/.

Registration for in-person and online attendance is open until 16 November 2023.

Research Seminar, The Global Cold War and Theatrical Modernism: A Case Study of Man-Guei Li

Jen-Hao Walter Hsu

Wednesday 18th October 12pm-1.30pm on MS Teams

In this talk, Hsu will explore the possible relationships between Cold War geopolitics and the formation of theatrical modernism from the 1950s through the 1970s in Taiwan. His research focus is on the leading figure in Taiwan鈥檚 theatre scene during this time period—Man-Guei Li (1907-1975), the revolutionary 'Little Theatre Movement', and dominant narratives about avant-gardism and Taiwan鈥檚 democratic process from the perspectives of Cold War geopolitics.

Past Events in 2021/22:

Mourning Theatres: Pandemic Grief and Queer Performance

Fintan Walsh

Wednesday 3^rd May 12pm-1.30pm on MS Teams

Grappling with extraordinary loss and its political denial, theatre and performance during the pandemic innovated forms and approaches to support the work of mourning. In particular, queer practices drew on their deep reservoirs of grief to make room for it in the bewildered present. This paper explores how some of this work intervened the social and cultural climate of the coronavirus pandemic, and how the pandemic enabled queer theatre and performance to reanimate and repurpose its own archives of loss.

Fat Performance (Studies) Today

Jussara Belchior, Magdalena Hutter, Gillie Kleiman

Wednesday 24^th May 4pm-5.30pm on MS Teams

The Fat Performance Reader is to be an edited collection of original artistic and scholarly material discussing fat performance, which we define - for the moment - as performance whose meaning-making is both predicated on fatness and can speak into a conversation about fatness. In this talk, the three editors of this collection will discuss the origins of the project, its aspirations and limitations, and the key themes that have emerged through dialogue with contributors, as well as our individual perspectives on fat performance (studies). We will continue to unpick our understandings of fat performance and its relationship to the disciplines of performance studies and fat studies, unfolding our collaboration in public.

Biographies

Jussara Belchior (Brazil)

Jussara Belchior is a fat ballerina. She also works as a choreographer, a collaborator in other artists鈥� projects and a researcher of practices and writings in contemporary dance. Her projects deal with fat people, fatness and non-normative bodies. She has a PhD degree in Live Arts. She is currently developing the CAIBA project (Cat谩logo Imaterial da Baleia - Whale Immaterial Catalogue), alongside that she is a part of the MANADA and the Escrita Performativa collectives. She is interested in poetics and politics of movement and positioning yourself through dance.

Magdalena Hutter (Germany/Canada)

Magdalena is a documentary filmmaker, cinematographer, and photographer. Her projects frequently deal with themes of belonging, ranging from documentary film to installations and interactive documentaries. In addition to her own projects, she also works as a DoP and consulting producer on other documentary films. She is a PhD candidate in the Interdisciplinary Humanities at Concordia University in Montreal/Canada, doing research-creation about fatness in dance and developing frameworks for Fat ScreenDance.

Gillie Kleiman (United Kingdom)

Gillie Kleiman works with and in dance and choreography, creating performances, texts, events and pedagogical encounters. Gillie鈥檚 work has a persistent interest in both the figure and the activity of the non-professional, and many of her projects have involved participation of non-professional collaborators or of the audience; this was the topic of her PhD project (completed in 2019). In 2020, Gillie initiated a new cycle of thinking and working about fat and fatness. Alongside her artistic practice, she is Head of Higher Education at Dance City, an adviser to Jerwood Arts, a Trustee of People Dancing, and external examiner at the Danish National School of Performing Arts. She is a member of the trade union UVW-DCW and is an accredited trade union representative. Gillie lives and works in Newcastle upon Tyne.

Research Seminar, Wednesday 13 October 2021, 4.30-6.00 pm

Germany in the context of decolonisation

Speakers: Dr Pedzisai Maedza (Newton International Fellow-University of 糖心TV) & Dr Lisa Skwirblies (Post-Doc in Teaterwissenschaft, Ludwig-Maximilians University of Munich)

Red Flag Day: The duty to remember and the aesthetics of commemorative memory - Dr Pedzisai Maedza

Abstract: German colonisation of lands and people in what is today known as Namibia was effected through a war of conquest led by General Adrian Dietrich Lothar von Trotha. From 1904 to 1908 German forces and the indigenous population fought a war that ended in what has been dubbed the first German genocide of the twentieth century. This war and genocide, which is sometimes called the forgotten genocide, left an estimated 80% of the Herero and 50% of the Nama population dead. Using the annual Red Flag Day commemorations as a case study this paper will trace how Herero communities have developed distinct public performance practices to remember, commemorate, contest and transmit the memory of this disavowed genocidal war. It will also suggest how the Red Flag Day can be read and understood as a cultural performance which both represents and shapes the memory of the past and the community鈥檚 relationship with the genocide, and its sense of self in the present?

Performing the Spirit of Bandung - Dr Lisa Skwirblies

Lisa Skwirblies (PhD), is a Post-doc researcher at the Theater Studies Department of the University of Munich on the ERC Project 鈥淭-Migrants". She holds a PhD in Theatre and Performance Studies from the University of 糖心TV. In 2017 she was an Early Career Fellow at the IAS 糖心TV and between 2018 and 2020 held a Marie Sklodowska-Curie International Research Fellowship (鈥淗orizon 2020鈥�). Her research interests lie in the fields of theatre historiography, postcolonial theory, and their intersections. She is currently working on her forthcoming monograph Performing Empire. Theatre, Race, and the Colonial Culture of the German Empire, 1884-1913 (Palgrave 2022) and her second-book project European Stages of Decoloniality.

Abstract - This paper discusses the history of postcolonial student migration and the under-researched repertoire of decolonial protest performances in Cold War Germany. It shows how the recruitment of hundreds of African and Asian students in the mid-1950s to visit universities in the two Germanies led to political and performative interventions of the Global South students across the Iron Curtain and to political coalitions with the nascent West German student movement. From a specific theatre and performance studies approach, this article explores these decolonial protests through the lens of performance and argues for a new approach to protest culture, one that goes beyond static and reified conceptions and instead allows us to understand the immediate and material effects such protest techniques had for those protesting.

Research Seminar, Wednesday 24 Nov, 4.30-6.00 pm

Speakers: Chitra Sundaram (Department of Theatre & Performance, Goldsmiths College, London) & performer-researcher Dr Swarnamalya Ganesh

This seminar is being offered by dance-theatre practitioner and educator Chitra Sundaram (Goldsmiths, UK). It is part of a forthcoming series that Sundaram has conceived under the overall title 'The Politics of Choreographed Intimacies: Re-framing the beloved familiar'. Joining her from India, is a special guest artist Dr Swarnamalya Ganesh, performer, researcher and Prof of Practice, Literature and the Arts, KREA University, India.

Title: The Politics of Choreographed Intimacies

Dancing for Kings, 鈥楴abobs鈥� and East India Company officers: Courtly Dance in pre-modern and cosmopolitan Southern India (17th-20th centuries).

If you can in advance, please look at the following to get a sense of the trajectory of work being undertaken:

- a vtalk

- an essay

- a short talk

Abstract -

Dance from India has for long posited to the world its ancientness, its textual treasure trove of 鈥榟ard evidence鈥�, and, above all, its special relationship to Hinduism鈥檚 great gods as its signature and validating hallmarks. Therefore, and often, Indian dance is all too easily and simplistically understood, glorified or dismissed as 鈥榓ncient religious dance鈥� i.e. nothing to do with the now; devoid of human urge or urgency; somehow all 鈥榩ure鈥� and divine; somehow innocent of strategies and negotiations necessitated by the complex political context of foreign rule and intersectionality of morality, social hierarchy, caste, gender, creed, breadwinning and wealth; somehow unfree.

In this seminar, we eschew the selective, sanitised, 鈥榮acred history鈥� of Indian dance, and make an exciting departure into herstory: we inquire into previously forbidden territory and nature of its avatar as Sadir dance in pre-modern and colonial India. Here, it presents as sophisticated entertainment in the cosmopolitan courts of kings, big and small, and in salons of courtiers and monied traders, all of them sponsors of arts.

Dance is seen here as a celebration of the Eros – a love for life itself, notwithstanding its troubles. And amid the hustle and bustle of courtly life, where 鈥榝oreign鈥� colonial era Company Officers were both inserted or invited, we will see how—through the use of social and performative 鈥榗odes鈥�—the staged performance of love and desire achieved its abiding underpinning of 鈥榠ntimacy鈥�. And how the dancers had their laughs too! (Such semiotics is still the preserve of Indian classical dance. And that鈥檚 a whole other ball of wool that's come unspooled.)

 Biographies:

Chitra Sundaram is a dance-theatre educator and researcher, an actor trainer, dramaturg, mentor,

and more infrequently now, a stage performer and choreographer. She is Associate Lecturer in the Department of Drama and Performance at Goldsmiths College, University of London, UK.

Trained rigorously by the traditional masters of the Indian dance-theatre form Bharatanatyam, Chitra鈥檚 performance works, teaching and inquiry reflect her robust form-based questions as well as explorations in to other dance/theatre forms and their intellectual/aesthetic premises. Her critically acclaimed creations include: the subversively classical solo work 鈥楳oham –A Magnificent Obsession鈥� in bharatanatyam; the site-specific mixed-genres ensemble 鈥楢waaz/Voice鈥� for Trafalgar Square festival; the social critique of 鈥楽threedom – The Good Wife鈥�; a contemporary take on a grotesque Hindu myth in 鈥楢hmas –The Immortal Sin a.k.a Skull鈥�, commissioned by the Royal Opera House鈥檚 ROH 2 programme, which toured the UK with Soma Numa, and showed internationally. Chitra鈥檚 more traditional 鈥楶ashyamey –Behold Me!鈥� premiered at the South Bank Centre鈥檚 Alchemy Festival and was shortlisted for British Dance Edition (BDE). In the 鈥�80s, Chitra co-created and toured 鈥榁isions of Rhythm鈥� with South-African origin Corrine Bougaard (Founder, Union Dance Company), as one of the earliest 鈥渇usion鈥� works in the UK.

Chitra鈥檚 research and teaching interests include the problems and potential of classical forms in cross -cultural and intergenerational transmission of cultural narratives; the effects on dance of the neo-nationalist project in India as post-truth 鈥榝acts鈥� including its 鈥榗lassicism鈥� and 鈥榬eligiosity鈥� versus the 'proven aesthetic secularism of the texts invoked; the contemporary, western 鈥榬ealism鈥� and individual-based project of 鈥榓uthenticity鈥�. Chitra was a long-time editor of Pulse, KadamUK鈥檚 South Asian dance (now also music) magazine, bridging academia, practitioner and dance aficionado, acquiring for Pulse critical international standing and subscription. Chitra was Trustee and Member Governing Council of the international dance certification body, the ISTD, a venerable110-year old institution of dance from across the genres and the world. Chitra strongly resisted, and still resists, the use of the term

鈥業mperial鈥� as she is an anointed ISTD Fellow in recognition of her services. Chitra was elected Fellow of the Royal Society of the Arts (FRSA) years ago but has recently neglected to pay her dues in time,trusting automatic bank debit–and is wondering about renewal and what 鈥楻oyal鈥� means or should mean to British colonials and post-colonials, and what disjointed individual protests may achieve herethat may be useful to others. Chitra has, in the meanwhile, accepted the honour of an MBE, an order of the British Empire Award for services to South Asian dance.

Dr . Swarnamalya Ganesh-

Swarnamalya is a combination of a performer with over 35 years of experience, a scholar of dance history as well as a trained academician in art practice and sociology. Her Ph.D dissertation was on 鈥淩esearch and Reconstruction of lost dance repertories of Early modern South India (NayakPeriod)鈥�.In a pioneering effort she studied in-depth the history and sources involved in the lost performing traditions to reconstruct them. 鈥淔rom The Attic鈥� is a performance-lecture-exhibition series based on her research. From collaborations with artistes of various genres to reflecting the multicultural historicity of dance and music in South India, FTA stands as a unique voice that speaks of inclusivity and plurality as inherent values of performing traditions. Jakkini, Sivalila, Gondhali, Perani are some of her reconstructed repertoires widely appreciated.

Her recent performances in the UK under the auspices of Akademi, European Tourto Prague, Vienna and Germany as well as the most recent Australian Arts Council tour to perform at Asia Topa brought excellent visibility to . During the pandemic, she continued to offer tutorials and lectures for student communities and worked with folk artiste families on Covid Relief. Swarnamalya was one among the six chosen Indian artistes on whom a movie was produced by Arts Quotient and India Foundation for the Arts called #BehindTheSeen.

Her further research interests include Sadiras the subaltern form of Bharatanatyam through gender, culture, society, stigma and political movements. Her first book was titled Nammai Marandarai Naam Marakkamattom (Tamil) based on her very successful stage production of the same title, from Silappadikaram from the POV of Madhavi, the danseuse. She researched to bring to light the history of repertoires in early 20th century Madras, under her production Dancing in the Parlour. Her more recent production Choreographing Society- a tryst with destiny, raises critical questions around inherent inequalities; identities, stigma and the legal frame striving to relieve democracy from it.

As a writer and thinker, some of her eminent contributions to critical theories on performance historycall for interrogation of postcolonial scholarship through her on-going project 鈥淒ecolonising dance history鈥�, where she develops new and experimental methods of writing performance histories; Decolonising Dance History Project, Notions of Classical in Bharatanatyam, Sex and Gender in Performance, Mired in Dravidian Politics, Womanity, Daughters of Pandanallur– the other story.

In her professorial capacity, she has designed and taught courses such as Past Performing Practices, Art as History, Women in Performance, Literature and Media that cover archival writing practices andperformance in the study of the body and culture as a lived experience. Her more recent addition has been a workshop-style course on ditties and dances of folk and tribal cultures from across the world titled 鈥淥r MufLeh鈥�. She is also a sought after speaker on topics pertaining to Education, art and culture.

As a Fulbright-Nehru Fellow for Academic and Professional Excellence, Swarnamalya went to UCLA toteach and pursue postdoctoral research. She is trained in Indian and Middle Eastern music, epigraphy,history and archaeology. She has received prestigious awards and fellowships for her contributions including the recent KREA-FacultyResearch Fellowship for 2020-21. She is currently Professor of Practice (Literature & TheArts), KREA University, India. She is also the Director of Ranga Mandira Academy of World Dance/ Performance and Indic Studies which works at providing education in Performing Arts. Ranga Mandira run asa community radio for the arts and also creates a platform for sustainable development for the hereditary artiste communities. She has served as a visiting faculty atSASTRA University, Madras University, and a guest faculty to Ashoka University, Bridgewater State University (Boston), and Flame University in India. Fellow for Academic and Professional Excellence, Swarnamalya went to UCLA tteach and pursue postdoctoral research. She is trained in Indian and Middle Eastern music, epigraphy, history and archaeology. She has received prestigious awards and fellowships for her contributions including the recent KREA-FacultyResearch Fellowship for 2020-21. She is currently Professor of Practice (Literature & TheArts), KREA University, India. She is also the Director of Ranga Mandira Academy of World Dance/ Performance and Indic Studies which works at providing education in Performing Arts. Ranga Mandira run asa community radio for the arts and also creates a platform for sustainable development for the hereditary artiste communities. She has served as a visiting faculty atSASTRA University, Madras University, and a guest faculty to Ashoka University, Bridgewater State University (Boston), and Flame University in India.

Research Seminar, Wednesday 10^th March 2021, 4.30-6pm (online)

Title: Re-membering assembly

Speakers: Louise Owen (Birkbeck, University of London) and Marilena Zaroulia (Central School of Speech and Drama)

Abstract: Since early 2020, the COVID-19 pandemic has radically compromised the possibilities and contours of collective assembly in the theatre. This jointly authored paper explores the conditions of theatrical assembly in the times we currently confront through analysis of Ben Duke鈥檚 In a Nutshell (The Place, 2020). Filmed in the auditorium of the Connaught Theatre, Worthing, In a Nutshell stages a series of recollections about theatregoing to a future audience of people for whom live theatre has ceased to be a reality. Though a monologue in form and function, Ben Duke鈥檚 piece and its interpellation of its imagined audience is premised on a notion of and commitment to theatre as a dialogic space across time and distance, in which the bodies of spectators play a critical role. Our response to the performance is based on a socially distanced viewing of the performance we undertook on 22 October 2020, in which we watched the piece simultaneously on YouTube while present together on Zoom. We bring our reflections on the work and its reaction to the COVID-19 pandemic into relation with this experience of spectatorship. We ask how the interrupted dramaturgies of both the piece and our socially distanced spectatorship re-invoke acts of collective assembly in the theatre, rendered temporarily out of bounds.

Biog: Louise Owen is Lecturer in Theatre and Performance at Birkbeck, University of London. Her research examines contemporary theatre and performance in terms of economic change and modes of governance. Her writing has been published in various edited collections and in the journals Performance Research, frakcija, Contemporary Theatre Review, and TDR. She co-convenes the London Theatre Seminar, and is director of Birkbeck鈥檚 Peltz Gallery and co-director of the Birkbeck Centre for Contemporary Theatre.

Biog: Marilena Zaroulia is Lecturer in Performance Arts at The Royal Central School of Speech and Drama, University of London. Her research focuses on theatre, performance and the cultural politics of post-1989 Europe. She is the co-editor of Performances of Capitalism, Crises and Resistance: Inside/Outside Europe (Palgrave 2015). Her work has appeared in various international journals and edited collections. She is one of the editors of Studies in Theatre and Performance and has just finished co-editing a special issue for the journal, entitled 'Towards Decentring Theatre and Performance studies' (spring 2021).

Past Events in 2020/21:

Book(s) Launch, Wednesday 14^th October 2020, 4.30-6pm (online)

During this session we will celebrate the fact that researchers in Theatre and Performance Studies at 糖心TV will have published five monographs in the six months from July 2020:

Nicholas Drofiak - Irusan: or, Canting for Architects, gta Verlag / eth Z眉rich

Milija Gluhovic - Theory for Theatre Studies: Memory, Bloomsbury

Nadine Holdsworth - English Theatre and Social Abjection: A Divided Nation, Palgrave

Silvija Jestrovic - Performances of Authorial Presence and Absence: The Author Dies Hard, Palgrave

Nicolas Whybrow - Contemporary Art Biennials in Europe: the work of Art in the Complex City, Bloomsbury

Each author will give a brief introduction to their book outlining the things that inspired them and the central arguments they make. There will be time to ask questions and to raise a virtual glass to this achievement.

Research Seminar, Wednesday 2^nd December 2020, 4.30-6pm (online)

Title: Disrupting negations of performativity: Motility, race and space in academic contexts

Speaker: Praveen Sewgobind

Abstract: Theorists Sara Ahmed and Fred Moten have both explored instances and processes of the negation of performativity. Moten鈥檚 profound assessment of nonperformance with respect to black bodies and Ahmed鈥檚 critical intervention as regards the non-performativity of diversity politics powerfully indicate how bodies of colour can arguably be desubjectified as they appear in spaces dominated by whiteness. My paper explores the bodily, spatial, and ocular conditions that give rise to the ubiquitous practice of bodies of colour undergoing ontological resistance from a racial visual regime that prohibits such bodies to become as motile as white bodies are. To do this, I will critically analyse academic spaces that often may seem to be 鈥渋n transition鈥� due to the promises and politics of diversity and inclusion efforts. Yet, as I will show, it will take more than altering the optics of an institution to counter the solid and insidious structures of whiteness. Phenomenological accounts as well as analyses of relevant academic texts from Fred Moten, Sara Ahmed, Shannon Sullivan, and Linda Mart铆n Alcoff will elucidate some of the potential and strategic avenues in order to come to terms with and possibly even overcome the visual and bodily regimes emanating from the violence of hierarchized racialization of bodies of colour.

Biog: Dr. Praveen Sewgobind is an activist-academic working to deepen and complicate Critical Race Theory with a decolonial lens, focusing on the embodiment of white racism and social constructs of racial formation in the Netherlands. In the academic year 2020-2021 he will be performing research on racism in the Netherlands at the Amsterdam School for Cultural Analysis at the University of Amsterdam. More specifically, the project titled 鈥淰eiled Taxonomies and Ventriloquized Grammar: Unlocking Cultural Racism in the Netherlands鈥� will investigate the workings of 鈥渧entriloquized racism,鈥� i.e. racism that is packaged and disseminated as non-racist discourse but functions to centralise and uplift whiteness and Dutchness in the Netherlands. From September 2020 onwards, Praveen will organise and host the Netherlands Institute for Cultural Analysis Critical Race Theory Seminar series (https://www.nicainstitute.com/critical-race-theory-seminar/).

Title: Stealing form my ancestors: the performance of restitution & reparation in European museum spaces

Speaker: JC Niala

Abstract: This paper takes its cue from Mwazulu Diyabanza, who was filmed in a viral video seizing African artefacts from the Mus茅e du Quai-Branly - Jacques Chirac in Paris, observing it as an act of attempted restitution. It also unpacks the removal of the Colston statue in Bristol as enacted reparation. Both of these protests were political and theatrical. They sit in direct contrast to an action carried out by a Nigerian man in the Museum of London who in frustration shook a case holding Benin Bronzes on loan from the British Museum, in the 鈥楲ondon, Sugar and Slavery鈥� gallery, whilst exclaiming that the artefacts should be returned home. It was a spontaneous moment that received no media attention.

Drawing on work that theorizes the use of drama as a tool to transform conflict, I examine these grassroots protests in the light of Paolo Friere鈥檚 Pedagogy of the Oppressed and Augusto Boal鈥檚 Forum Theatre. Furthermore, theatre as a tool of resistance has been described by Ngugi wa Thiong鈥檕 with the powerful example of Kenyan people鈥檚 theatre. I argue that these protests are an invitation, a call to the keepers of the legacy of the British empire to enter into the dramatization of ongoing forms of colonial expression in order to create a break from them and perform a decolonised future.

Biog: JC Niala is a writer and researcher of African and English material cultural heritage. She is currently working on a book entitled A Loveliness of Ladybirds which was shortlisted for the Nan Shephard nature writing prize in 2019. JC is an Honorary Research Fellow at the University of 糖心TV.

Research Seminar, Wednesday 20^th January 2021, 4.30-6pm (online)

Title: On border, identity and performance: an artist鈥檚 reflection from the field

Speaker: Taiwo Afolabi, University of Regina, Canada

Abstract: Migration is essential to human existence in this present 鈥榩ostnormal times鈥� characterized by chaos, contradictions, global displacement and neoliberal realities etc. From voluntary to forced migration, border shifts as living and non-living things move, and it is constantly being re/negotiated. Beyond physical or territorial border navigated in migration, cultures and arts transverse boundaries because people move with cultural practices, beliefs and traditions. For instance, as migrants鈥� cultural practices and art forms trans-border, culture becomes a mobile apparatus that constantly changes and shifts from one form to another. While researchers have largely focused on themes such as the relationship between border and governance, migration, securitization, historicity, visa regimes, borderland and culture, there is still knowledge base around the intersection of border and identity within performance discourse. In the presentation, I explore how experiences of migration and im/mobility find expression in my artistic practice. I investigate the notions of 鈥榮hifting identities鈥� , 鈥榠magined communities鈥� to better understand root and routes and how arts conceive, perform and represent border in Africa. My reflection focuses on my artistic practices in Sub-Saharan Africa from a practitioner鈥檚 perspective with the inquiry: in what ways does border perform, (dis)connect, alter, shift, dissolve and (re)imagine identity? As an artist-researcher of African descent, my reflection on border, identity and race is both personal and political. Finally, in this presentation, I discuss the intersection of arts and border as 鈥渁n in-between period where old orthodoxies are dying, new ones have yet to be born, and very few things seem to make sense鈥� .

Biog: Taiwo Afolabi, Ph.D. is an Assistant Professor at the University of Regina, Saskatchewan, Canada. He is an applied theatre practitioner with a decade of experience working across a variety of creative and community contexts in over dozen countries across four continents. His practice and research interests include education, decolonization, socially-engaged creative practice, and research ethics. He is the founding artistic director of Theatre Emissary International, Nigeria and a research associate at the University of Johannesburg, South Africa.

Title: Performance Therapy and Therapeutic Performance: Theorising Creative Healing Amongst Displaced Persons in Daudu, Benue State

Speaker: Shadrach Teryila UKUMA, Department of Theatre Arts, Benue State University, Makurdi - Nigeria

Abstract: This paper examines conceptualizations around the healing function of theatre and performance. It recognizes the various strands of creative art therapies including dance therapy, drama therapy, music therapy and art therapy, as well as sociodrama. Using the experience with victims of violent conflict suffering collective trauma in Daudu, who use cultural performances to negotiate their wellbeing, the paper attempts to conceptualize their holistic performative experience other than the isolated performance genres as commonly found in literature on the subject. The paper goes further to argue for the inherent transformative aesthetic quality of cultural performances. Using descriptive and performance ethnography approaches in qualitative research, the paper examines the self-created cultural performances mechanism for coping with collective trauma experiences in order to arrive at fresh theoretical considerations. It concludes that culture is at the centre of human actions and reactions, and within it there exists a pool of resources for solving societal problems, just as such resources can indeed be triggered internally. It observes that there should be a limit as to where concept affects contexts and vice versa. The paper recommends that context specific thinking should guide both discourse and praxis in engaging societal problems and solving them, especially as it is still within the same cultural matrix that these problems are created and as such approaches from a different cultural background might not work well.

Biog: Shadrach Teryila UKUMA is lecturer at Benue State University, Makurdi – Nigeria, in the Department of Theatre Arts. He recently obtained a PhD with a thesis titled 鈥淐ultural Performances: A Study on Managing Collective Trauma amongst Displaced Persons in Daudu Community, Benue State, Nigeria鈥�, at the SDG Graduate School 鈥淧erforming Sustainability: Cultures and Development in West Africa鈥� hosted by the Universities of Hildesheim, Germany; Maiduguri, Nigeria; and Cape Coast, Ghana. His research interests include Cultural Performance, Transformative Aesthetics, Creative Peacebuilding, Cultural Entrepreneurship and Leadership, and Performance Therapy.Shadrach is a member of the African Theatre Association (AfTA), Society of Nigeria Theatre Artists (SONTA), and Society for Peace Studies and Practice (SPSP).

If you want to find out more about these events, please contact Nadine Holdsworth (N.Holdsworth@warwick.ac.uk).

SCUDD Conference: Summer 2021

At the Standing Conference for University Drama Departments (SCUDD) annual conference on Zoom in July 2020, it was announced that Theatre and Performance Studies at 糖心TV would be hosting the SCUDD conference in July 2021. This conference is being organised by Dr David Coates. Further details about the event will be released in January 2021, but please don't hesitate to get in touch with David if you have any queries about this event

Wednesday 27^th May 4.30-6.00 (via Microsoft Teams)

Speaker: Jim Davis

Paper: Theatre and Visual Culture: Interpreting Visual Representations of Spectators as Evidence

I am currently in the early stages of researching for a monograph on the visual representation of theatrical spectators in the nineteenth century. This paper will focus on three representations of theatrical spectators by the French Artist Leopold Boilly and the 'referential dilemmas', to use Christopher Balme's term, encountered in assessing their value as evidence.

Speaker: Pat Smyth

Paper: Remediating History: From Romantic Drama to Virtual Reality

This presentation looks at the representation of history in Alexandre Dumas鈥� sensationally popular drama of life and death in the Renaissance court, Henri III et sa cour of 1829. I look at the strategies Dumas used to create the sensation of an eyewitness experience and at how his play was subsequently remediated in painting, film, television and virtual reality.

Spring 2020

Processes, Participations and Networks of Engagement

Wednesday 15th January, 17.00-18.30, G56

Speaker: Max Dean

Title: Ergodic Literature: Process Drama for the Information Age

鈥淣othing is going to remain the way it is. Let us, in the present, study the past, so as to invent the future.鈥�[1]

A defining characteristic of Process Drama as a medium has always been its participatory nature. The narratives of Process Dramas are not predetermined by a writer or a director and enacted for an audience physically separate from the narrative, but rather are written/created through a process of collaborative engagement between all those present.

Paulo Freire, (an Educational Theorist extremely influential on Process Drama) highlighted the importance participation in a process has within an educational context in order for people to engage in education as 鈥楽ubjects鈥�: those who know and can act, as opposed to being 鈥極bjects鈥�: which are known and acted upon.[2] Whilst this blurring of the barrier between actor and spectator historically was utilised in pursuit of Process Drama鈥檚 objectives to engender critical consciousness and reflection in its participants; this blurring of traditional differentiations between audience and participant is occurring across different mediums in the 21^st century, such as journalism, politics and media. This phenomenon is referred to as Ergodic literature by Espen J. Aarseth in his book Cybertext—Perspectives on Ergodic Literature. Aarseth states that: 鈥淚n ergodic literature, nontrivial effort is required to allow the reader to traverse the text.鈥�[3]

Whilst participatory engagement in 21^st century forms maybe increasing, a rise in dichotic social discourse, populist ideologies and increasing economic disparity can also be seen: exactly the opposite of what Freire and Boal would have espoused. Augusto Boal argued that for theatre to be a weapon for liberation, 鈥淚t is necessary to create appropriate theatrical forms. Change is imperative鈥�.[4]

This presentation will explore how my practice as research seeks to utilise this rise of ergodic literature as a form of participation across wider society to create an 鈥榓ppropriate theatrical form鈥� for the 21^st Century, utilising Process Drama methodologies in pursuit of 鈥渃onscientiza莽茫o鈥� combined with the popular 21^st Century medium of digital games.

Speaker: Bobby Smith

Title: Lessons from Rwanda/Navigating Silence

Rwanda's recovery following the genocide in 1994, in which around one million people were murdered, has led the Rwandan government and global media to portray the country as a 'beacon of hope' from which we can learn how to respond to trauma and prevent violence in the future. In July 2019, coinciding with the 25th anniversary of the genocide, I travelled to Rwanda to research theatre and peacebuilding as part of the early stages of a project involving practitioners in the UK, Rwanda, Kenya and Uganda. The aim of this project is to create networks of learning and exchange between these countries. Initially struck by the signs of economic and social development despite the horrific events of 1994, I was confronted by a range of silences which began to destabilise the narrative of Rwanda as a 'beacon of hope'. To navigate these silences I focus on three events: Kwibuka, the annual month-long commemoration of the genocide; selected performances staged as part of the Ubumuntu Arts Festival in Kigali; and activities related to a Theatre for Development project. Whereas silence is understood by some as a powerful aesthetic choice, as well as a valid response to traumatic events, this paper demonstrates that in Rwanda silence is often imposed and serves the current government鈥檚 attempts to maintain power and the refusal of certain international actors to engage with legacies of genocide. Conversely, at other times, the imposition of silence can more clearly and powerfully demonstrate legacies of genocide and violence. In this sense, silence can be considered as productive, highlighting continued injustices – albeit accidentally. In attempting to navigate the silences I encountered, it became clear that the positionality of the spectator shapes how silences are read, and how much 鈥榬eading between the lines鈥� is possible. A complicated picture thus emerges in relation to theatre and performance in post-genocide Rwanda, which throws into question what might be learnt by practitioners and researchers elsewhere in the world. I therefore argue we need to resist essentialising and simplistic representations of Rwanda as a place of hope offering lessons to follow when it comes to the role of the arts in fostering peace and addressing conflict. Instead, I suggest those of us involved in theatre and performance can learn a range of other lessons. In particular, we must consider whether silences in relation to current contexts of violence mirror the silence that enabled the Rwandan genocide to take place.

[1] Augusto Boal, Theatre of the Oppressed, Pluto Press, London, 2000, pg ix

[2] Paulo Freire, Pedagogy of the Oppressed, Penguin Classics, Random House, London, 2017, pg 10

[3] Espen J. Aarseth, Cybertext—Perspectives on Ergodic Literature. Johns Hopkins University Press. (1997) pg 1

[4] Augusto Boal, Theatre of the Oppressed, Pluto Press, London, 2000, pg xxiii

Spring 2019

Wednesday 6th March, 16.30-18.00, G56

Speaker: Fintan Walsh

Title: Viral Hamlet: History, Memory, Kinship

A chorus of overlapping voices announce the opening of Dickie Beau鈥檚 Re-Member Me (Almeida, 2017-). Resounding like a ghostly incantation, the words evoke a s茅ance in which the voices of deceased or long-standing players in UK theatre are conjured in the present, to query the compulsory invocation of the past. These figures鈥� comments have been cut from recorded interviews – some found, some conducted by Beau himself – as they reflect on their careers, in particular the experience of playing Hamlet or watching the drama performed. These observations circle around the largely forgotten and final performance of Scottish actor Ian Charleson (1949-90) as Hamlet in Richard Eyre鈥檚 production at the National Theatre in 1989, a role he played while dying of AIDS related illness. In Beau鈥檚 production, the ghost鈥檚 injunction 鈥榬emember me鈥� reverberates more as question than a demand. It queries the same words uttered in Robert Icke鈥檚 production of Hamlet, which it was originally programmed to precede, and ripples across the theatre industry and British culture, including the nation-wide events which surrounded it to mark the fiftieth anniversary of The Sexual Offences Act 1967.

This paper examines how Beau鈥檚 production finds form in Charleson鈥檚 illness, to elaborate a dramaturgy of contagion that insists the past infects the present. It considers how Beau鈥檚 production asks us to consider how certain forms of cultural remembrance and production operate by wilfully forgetting or inoculating against others, in particular queer histories. Beau鈥檚 approach offers compelling ways for thinking more broadly about medical and cultural interplay, by demonstrating the latter鈥檚 capacity to translate death, disappearance and amnesia into life-sustaining engagements with history, memory and kinship production.

Fintan Walsh is Reader in Theatre and Performance in the Department of English and Humanities at Birkbeck, University of London, Co-Director of Birkbeck Centre for Contemporary Theatre, and Director of Birkbeck Gender and Sexuality (BiGS). His books include Queer Performance and Contemporary Ireland: Dissent and Disorientation (2016), Theatre & Therapy (2013), and Male Trouble: Masculinity and the Performance of Crisis (2010) and the forthcoming Theatres of Contagion: Transmitting Early Modern to Contemporary Performance (Bloomsbury 2019). He is Senior Editor of Theatre Research International.

Speaker: Emine Fi艧ek

Title: Remembering Istanbul: Theatre, Memory and Gentrification

What is the relationship between theatre and memory in contemporary Turkey? In a national context historically dominated by centrally funded state and municipal theatre institutions, recent years have witnessed the proliferation of 鈥渁lternative theatres鈥�: small, independent ventures that draw on a rich genealogy of political and experimental theatre and seek new forms of theatrical expression. Political developments, meanwhile, have challenged the foundations of Turkey鈥檚 modernization project and produced new frameworks for interpreting the Turkish past, from rethinking the memory of the country鈥檚 military coups to re-framing its Ottoman history. How has alternative theatre responded to these developments? In this presentation, I approach this question by focusing on how alternative theatre has addressed the relationship between urban transformation and public memory: while some performances examine the memories of dispossession and exile that haunt Istanbul鈥檚 formerly non-Muslim neighbourhoods, others focus on contemporary waves of Syrian migration to interrogate Turkey鈥檚 historical identity as a 鈥渉ost鈥� country, its changing migratory regime, and the relationship of migration to patterns of gentrification. Alternative theatre鈥檚 connection to gentrification is also a question of site-specificity, as these stages are often located in neighborhoods that have themselves been subject to layers of urban transformation. Theatre, I argue, is part of the broader coterie of voices that seek to participate in the re-branding of 鈥渙ld鈥� Istanbul, and alternative theatre is an exemplary site to consider the ambivalent and ever-vulnerable participation of arts practices in the broader transformations of this city in the twenty-first century.

Emine Fi艧ek is Assistant Professor in the Department of Western Languages and Literatures at Bo臒azi莽i University. She is the author of Aesthetic Citizenship: Immigration and Theater in Twenty-First-Century Paris (Northwestern University Press, 2017) and Theatre & Community (Palgrave Macmillan, forthcoming 2019). Her articles on the relationship between immigration, theatre and civil society in contemporary France have appeared in Theatre Journal, Theatre Research International, Text and Performance Quarterly and French Cultural Studies and she is currently developing her oldest research interest on political theatre in modern Turkey.

Wednesday 16th January, 16.30-18.00, G56

Speaker: Nick Drofiak

Title: Tongues, Branches, Red Fish: Relating with things in repertoires of identity in the village of Baklaniha.

Baklaniha is situated at 64掳N on the Enisej river in the Russian Far North. While the Enisej is a major shipping artery (linking Russia鈥檚 southern cities and railway with the mining-metallurgical centre of Noril鈥檚k and, ultimately, the Kara Sea and northern route to the Atlantic), the region is sparsely populated and Baklaniha has a population today of approximately thirty persons. This liminality, in combination with the failure of the village鈥檚 electricity generator (and hence communications and water supply) led to a regional government attempt to close the village in 2008, fended off in part due to a local perception of the village as a specifically indigenous settlement. Roughly half of the population identify as members of the Ket community, and are either descended from or are themselves survivors of two previous forcible relocations from sites more remotely located on tributaries of the Enisej. Progressively restricted access to significant cultural landscapes has been accompanied by a correspondingly decreased presence of physically portable artefacts upon the ongoing possibility of whose encounter collective identities may be said to be predicated – artefacts among which I count the Ket language, now considered moribund (while known to varying degrees by a handful of older residents in Baklaniha, it is the language of first resort in no social situation and its use is a conscious performance). The region鈥檚 long history as a site of exile means that there is no resident, Ket-identifying or otherwise, who has not some complex experience of the relationship between a now inaccessible territory (distant or disappeared, remembered or imaginatively constructed) and a language or register of speech with which it is associated, itself fading. It is this possibility of exploring the roles played by languages (including attitudes toward language use and change) and geographies – each understood to be both culturally constructed and agentive – in the consolidation and exchange of cultural memories and identities that initially suggested Baklaniha as the site of the research project 鈥淧erforming indigenous identities, memory and belonging in the Russian Far North鈥�. The presentation will set out these inceptive motivations – in terms of the project鈥檚 thematic focus, methodology and intended practical outputs – and the current process of their reappraisal and change as a result of recent fieldwork. The research seminar is an opportunity to receive feedback on the narratives emerging so far, and the various potential next stages for the investigation suggested by them.

Speaker: Laurens De Vos, University of Amsterdam

Title: GOING HOME. An analysis of the history of the homecoming

What is home? This is the central question of my research project that will primarily focus on the motif of the homecoming, and in most cases the estrangement that emerges from the disruption of old constellations. Does one get back to one鈥檚 family, or to one鈥檚 home country? And is the former a more intimate reflection of what is at stake on a more political level, i.e. that of the nation? Home is inextricably bound up with one鈥檚 identity. Can we conceive of a history of the homecoming that reflects or challenges the poetics of its own time? From Agamemnon鈥檚 homecoming in Aeschylos鈥� Oresteia over Kafka鈥檚 Heimkehr to Pinter鈥檚 enigmatic play, coming home has long been a recurring theme that has intrigued playwrights and authors. But in many cases, home does not offer the comfort and protection that it has gained in the bourgeois society of the 18th century. Around the turn of the 19th century, with the emergence of symbolism and psychoanalysis, the homecoming gets an uncanny interpretation. In line with Freud鈥檚 essay on 鈥榙as Unheimliche鈥�, what is felt to be home amounts to the return of the repressed, resulting in the uncomfortable feeling of familiar alienation. This is most poignantly made explicit by the entrance of death, as in Maeterlinck鈥檚 The Intruder. In recent times, the theme of returning home after warfare is again much in the foreground, and again it is no place to relax. Soldiers return with what is now called PTSS, and cannot integrate in their society anymore. Once more, 鈥榟ome鈥� has become an estranged place. Yet there is another side of the coin to this phenomenon. A homecoming always works in two ways. Apart from the person coming home, there are the ones left behind – the core family, or the nation – who await the former鈥檚 arrival positively, negatively or indifferently. Thirdly, homecoming is not always a return to a familiar place. In search of a new home, refugees and migrants leave behind their old homes and for some time will have to call a most unfamiliar place home. Also for those staying home, the arrival of newcomers contributes to the estrangement of a familiar environment. One of the issues in my research is in what way the idea of 鈥榟ome鈥� changes because of growing migration and influence from other cultures colouring European societies and how this is reflected in contemporary theatre.

Autumn 2018

Interdisciplinary PhD Panel

Wednesday 28th November, 16.30-18.00, G56

Speakers: Theo Aiolfi and Julia Evangelista

Charting the populist repertoire and analysing political performances: an introduction to the stylistic approach to populism

Theo Aiolfi

From Donald Trump to Jair Bolsonaro, from Pablo Iglesias to Luigi Di Maio, the global rise of political actors that bypass mainstream political rules has been crystallised within both academia and the media into the nebulous concept of populism. Appearing on both sides of the political spectrum and defying most attempts to pin its nature down, populism has simultaneously been called a discourse, a strategy and a thin ideology, among others. In this paper, I will provide a brief introduction to the stylistic approach to populism which is located at the intersection of politics and performance studies. Initially coined by Moffit, I seek in this work to showcase the productive insights that can be gained from a more sustained interdisciplinary collaboration with performance studies. Borrowing in particular from Taylor and Schechner, I define the populist style as a repertoire of three performative clusters: performances of identity, performances of transgression and performances of urgency. After developing each of these three ideal-typical categories, I will then discuss the complex issue of methodology and make the case for an adaptation of Pavis鈥檚 performance analysis to political performances in general, and to populist performances in particular.

Performing decolonisation through carnival on the streets of Rio de Janeiro

Julia Evangelista

This research is concerned with the role of cultural participation of the 鈥榤ad鈥� in challenging fixed notions of space and identity created by a legacy of colonisation in Brazil. Crucial to challenging such notions is the ability to blur the lines between two spaces that have conventionally been kept apart: 鈥榓sylum鈥� and 鈥榮treet鈥�. This paper deals specifically with the role of public performance – mediated through the rituals of carnival – that are created in the 鈥榓sylum鈥� but then taken to the 鈥榮treet鈥�. In taking these performances to the street, the excluded reaffirm their right to occupy symbolically important parts of the city, and in doing so create opportunities to challenge fixed notions of their own identity imposed from those on the outside looking in, and re-build notions of their own sense of self-empowerment and self-worth from the inside looking out. Today, such processes have become even more urgent in the context of Brazil where political and economic crisis has threatened to reverse advances in the field of mental health that began with psychiatric reform in the 1990s. These reforms sought to counterpose the homogenic western psychiatric model centred on hospitalization, isolation and institutionalization of the 鈥榤ad鈥� away from 鈥榥ormal鈥� society. The reversal of these reforms risks escalating social divisions further as Brazil sees a revival of colonial ideologies fuelled by an increasingly divisive political rhetoric that values white European cultures over and above the many diverse cultures of Brazil.

This paper sets out initial findings that demonstrate how the project Loucura Suburbana (Suburban Madness) resists such oppressive contexts. It does so by engaging 鈥榤ad鈥� and 鈥榥ormal鈥� together in the making of carnival that leads to public performances in symbolically important public spaces of Rio de Janeiro.

What is Research Impact?

Wednesday 10th October, 16.30-18.00, G56.

Speakers: Nadine Holdsworth and Yvette Hutchison

Research impact is an increasingly important aspect of an academic鈥檚 career and this session is designed to explore what it is, why it matters and what it might look like. We will talk through some of the practical considerations that come into play when trying to make research impactful. We will explore ways to establish research collaborations and networks. We will consider different examples of impact and how we might capture and evidence examples of research impact. To illustrate this discussion we will draw on two impact case studies being worked up in the Theatre and Performance Studies Department – we will look at the language around impact, offer some insights into how impact might be assessed as part of the Research Excellence Framework (REF) and share some of the ways that we are talking and writing about our research to demonstrate impact.

The Royal Navy Theatre Association: Heritage and Invented Traditions
Nadine Holdsworth, University of 糖心TV

I have recently completed a research collaboration with the Royal Navy Theatre Association (RNTA) that lasted over five years as part of a wider project on amateur theatre in England. This research entailed an extensive period of primary research embedded within the RNTA community that included observation of rehearsals, attending productions, committee meetings, interviews with key personnel and serving as the RNTA鈥檚 festival adjudicator in 2016. The issues I have been exploring range around ideas of cultural value; heritage and traditions; places of performance and the relationship between labour and performance. In this talk I will outline how this research has been conceived and framed as an impact project and what issues have arisen around planning for and capturing diverse forms of impact (Individual, group, institutional, societal) and what strategies have been successful and not so successful.

Networking and performing on and off-line, in and out of Africa: African Women Playwright Network
Yvette Hutchison, University of 糖心TV

I am currently working on analysing research I have conducted through the African Womens鈥� Playwright Network that SA film and playwright Amy Jephta and I set up in 2015. In this paper I set out to analyse and compare online and live networking, as spaces for artistic and critical engagement both within Africa and beyond. It will explore the contexts, benefits, limits and potentialities of technologies in shaping creative and professional networks, particularly from the perspective of African gendered identity construction and performance. I draw particularly on David White and Alison Le Cornu鈥檚 (2013) new typology for online engagement, which analyses online behaviours as being of a digital resident and/ or visitor; and the significance of these patterns of preference for different platform usage when networking; and Linda Tuhiwai Smith鈥檚 (2012) use of indigenous research methodologies.