THURSDAY, MARCH 26, 2015 The CDC cannot guarantee that this

Transcription

THURSDAY, MARCH 26, 2015
The CDC cannot guarantee that this Itinerary will not change, although we will do everything
possible to minimize any changes.
8:00 a.m. – 5:00 p.m.
Conference Registration
Main Lobby
Conference packets for pre-registered participants are available at the Conference Registration Table in the
Lobby of the Pier 5 Hotel, as is registration for those who have not pre-registered. Events take place in the
conference rooms off the lobby of the Pier 5 Hotel and in the Harbor Club on the second floor.
9:00 – 10:15 a.m. Session 1
Indian Theatre
Harbor West A
Presiding:
1. Mishra, Sanjit. (Indian Institute of Technology Roorkee)
“Magic and Realism in Nag-Mandala, Play with a Cobra.”
2. Rudisill, Kristen. (Bowling Green State University)
“Terrorists at Home: Tamil Brahmans As Indian Patriots.”
3. Guha-Majumbur, Rupendra. (University of Delhi)
“Opposing Patriarchal Hegemony: Radical Heroines in the Plays of
Sophocles and Rabindranath Tagore.”
9:00 – 10:15 a.m. Session 2
Theatre and Theology
Harbor West B
Presiding:
1. Hagens, Jan L. (Yale University)
“Theater and Religion: A Neglected Relation.”
2. Shaw, Marc Edward. (Hartwick College)
“Don’t Mess With a Missionary Man: Mormons in Contemporary
American Drama.
3. Ramis, A. Gabriela. (Olympic College)
“Reception and Metatheater in The Great Creator: The Effect of
Baring the Device.”
9:00 – 10:15 a.m. Session 3
Theatre and/as Politics:
Olmost, Valdez, and Triana
Harbor West C
Presiding:
1. Cotsell, Michael. (University of Delaware)
“Hunting Dogs: The Vision of Matthew Paul Olmos’s The Nature of
Captivity.”
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2. Flores, Adam. (Baylor Theatre)
“Reevaluating El Teatro Campesino’s Dream for Zoot Suit’s
Prominence, Place, and Plausibility on The Great White Way.”
3. Freeman, Grant. (Virginia Commonwealth University)
“Blinded Perspectives: José Triana and the Cuban Revolution.”
9:00 – 10:15 a.m. Session 4
Adaptation Theories
Harbor East D
Presiding:
1. Gilbert, Richard. (Loyola University Chicago)
“A Practice-Based View of Theatrical Adaptation: What is Adapted?
Adapted to What?”
2. Norris, Marcos. (Loyola University Chicago)
“‘What has Christ got to do with it?’: Adaptation Theory, Søren
Kierkegaard, and Waiting for God(ot).”
3. Pellegrini, David. (Eastern Connecticut State University)
“Meta-Adaptation & Performance.”
9:00 – 10:15 a.m. Session 5
Staging Bodies in Post WWI Theatre
Harbor East E
Presiding:
1. Schwartz, Michael. (Indiana State University of Pennsylvania)
“‘What a Lot of God Damn Fools it Takes to Make a War!’:
Deconstructing and Reconstructing the American Soldier in Stallings
and Anderson’s What Price Glory?”
2. Considine, Kerri A. (University of Tennessee)
“Romanticism’s Machine Children: Modern Machine Bodies and the
Romantic Cult of the Child.”
10:30 – 11:45 a.m. Session 6
Nazi Influences on German and French Theatre
Harbor West A
Presiding:
1. Muller, David G. (Independent Scholar)
“Louis Jouvet’s Aprés-Guerre Tartufe (1950): Apotheosis or
Purification?”
2. Sharifian, Hesam and Sarah M. Henneböhl. (Tufts University
and The University of Illinois at Urbana Champaign)
“Werner Egk’s Peer Gynt: Anti-Semitism in Komponist des
Wiederaufbaus’s Work.”
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3. Jakoby, Vera. (McDaniel College)
“Hitler’s Parsifal: Reenactment of Wagner Opera’s in the Third
Reich.”
10:30 – 11:45 a.m. Session 7
Classical Greek Theatre
Harbor West B
Presiding:
1. Falkner, Thomas. (McDaniel College)
“Tragedy, Democracy, and the Athenian Jury: The Case of Socrates.”
2. Scharffenberger, Elizabeth. (Columbia University)
“The Comic Refashioning of Tragedy in Strattis’ Phoenician Women.”
3. Long, Jacqueline. (Loyola University Chicago)
“Gender, Democracy, and the Justice of Athena’s Vote to Acquit
Orestes.”
10:30 – 11:45 a.m. Session 8
Early Modern Theatre:
T. D., Jonson, and Shakespeare
Harbor East C
Presiding:
1. Kimball, Claire. (Scholar-at-large)
“Staging Dismemberment in The Bloody Banquet.”
2. Wedow, Lindsey. (Loyola University Chicago)
“But Now the Evil Out-Carries the Devil: Ben Johnson, King James I,
and the Politics of Witchcraft in The Devil is an Ass.”
3. Méndez, Emilio. (National Autonomous University of Mexico)
“‘What, then, do you see?: the Dramaturgy of Love in Shakespeare’s
Love’s Labour’s Lost and Calderón de la Barca’s To Give Everything
and Not Give Anything.”
10:30 – 11:45 a.m. Session 9
Samuel Beckett
Harbor West D
Presiding:
1. Hatch, David A. (University of South Carolina)
“The Artistic Milieu of TCD and Antecedents of Godot.”
2. Kordich, Jason. (Mt. San Antonio College)
“An Artist’s Last Stand: Krapp and his Revisionist Memory.”
3. Nail, Christopher. (University of Texas at El Paso)
“Blasphemous Existentialism: Finding Meaning in Beckett”
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11:45 a.m. – 1:00 p.m.
Lunch Break
1:00 – 2:15 p.m. Session 10
Plenary Session
Harbor Club
If Music Be the Food of Love, Play On
Christopher Innes
(York University)
Brigitte Bogar
(York University)
Presiding:
Examining both the philosophical and dramaturgical use of songs in his plays demonstrates the sheer
musicality of Shakespeare’s work. Indeed, songs can be shown as central to Shakespeare’s drama; most
notably the way he uses harmony and discord to represent politics and, related to the Music of Spheres,
humanity itself. It is the musical nature of Shakespeare’s plays that has made them one of the major sources
for operas through the centuries: in fact, more operas have been based on his plays than any other particular
source. Shakespeare has also been borrowed for musicals on the modern stage; and it can be seen how the
modern musical adaptations of his plays have restored Shakespeare’s popular appeal, rescuing him from the
elitist view of the 18th and 19th centuries.
2:30 – 3:45 p.m. Session 11
Shaw I
Harbor West A
Sponsored by The Shaw Society
Presiding: Tony Stafford (University of Texas at El Paso)
1. Cockin, Katharine. (University of Hull, England)
“Performing Passion and Patronage: Reading the Critical Exchanges
of Ellen Terry and Bernard Shaw.”
2. Lyons, Al. (Indiana University)
“Widowers’ Houses: George Bernard Shaw’s Philanthropic Drama.”
3. Dolgin, Ellen. (Dominican College)
“Beyond the Bravura: Shaw’s Historical Figures in Repose.”
2:30 – 3:45 p.m. Session 12
Highly Theoretical Theatre:
Strindberg, Pirandello, Albee and Kushner
Harbor West B
Presiding:
1. Burkart, Jessie. (Brooklyn College).
“Dream as Reality: Schopenhauer’s Influence on Strindberg’s Late
Works.”
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2. Adam, Jessica. (Brooklyn College)
“Schopenhauer in Angels in America: Sublimity Approaches the
Body.”
3. Roberts, Daniel. (Northwest Missouri State University)
“We Are What We Say: The Nature of Reality and the Self in the Works
of Pirandello and Albee.”
2:30 – 3:45 p.m. Session 13
Suzan-Lori Parks
Harbor West C
Presiding:
1. Foults, Coralyn. (University of Tennessee)
“The Use and Reuse of History: Exploring History and Political Icons
in Suzan-Lori Parks’s The American Play and Sarah Ruhl’s Passion
Play.”
2. Hammond, Yvonne. (West Virginia University)
“A Nod to Paper Cutout: Filling in Absence in Suzan-Lori Parks’ The
American Play.”
2:30 – 3:45 p.m. Session 14
Theatre in Education
Harbor East D
Presiding:
1. MacDonald, Ian Andrew (Dickinson College)
“Theatre as Public Service: Applying Theatre in Education.”
2. Kaback, Doug, Sheri Strahl, and Shad Willingham. (California
State University, Northridge)
“Persephone & Me: Utilizing Touring Theatre, Theatre of the
Oppressed Techniques, and Greek Mythology to Address Gender
Violence and Sexual Assault with Secondary School Students.”
3. du Preez, Petrus. (Stellenbosch University)
“The question of the play: Experiencing the past through high school
drama and the effect of the alternative archive.”
2:30 – 3:45 p.m. Session 15
From Opera to the Modern Musical:
Goethe and Wagner to Evita and Next to Normal
Presiding:
Harbor East E
1. Ferran, Peter W. (Rochester Institute of Technology)
“Goethe’s Musical Egmont.”
2. Moore, J. Robert. (Texas State University)
“Wagner and Musical Theater.”
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3. Little, Julie. (Virginia Commonwealth University)
“Frailty, thy name is woman: A depiction of female madness in Next to
Normal.”
2:30 – 3:45 p.m. Session 16
Staged Reading
Harbor Club
The Mathematics of Being Human
Authors: Michele Osherow and Manil Suri
Director: Michael Curry
Cast:
Dramaturg: Janna Segal
4:00 – 5:15 p.m. Session 17
Shaw II
Harbor West A
Sponsored by The Shaw Society
Presiding: Tony Stafford (University of Texas at El Paso)
1. Stafford, Tony J. (University of Texas at El Paso)
“Shaw’s The Philanderer: Home is Where the Hearth Is.”
2. Zorn, Christa. (Indiana University Southeast)
“Shaw’s Staging of Capitalism: When ‘Money is Made in the Light.’”
3. Giner, Oscar. (Arizona State University)
“The Dramatic Heroes of George Bernard Shaw and the Spanish
Golden Age.”
4:00 – 5:15 p.m. Session 18
Adaptation Across Form: Miller, Shakespeare
Harbor West B
and The Arabian Nights from Page to Stage to Film
Presiding:
1. Berryman, Ruby. (Independent Scholar)
“Distilling Genocide Into Drama: Adapting Holocaust and Slave
Narratives to the Stage.”
2. Nanney, Nancy. (West Virginia University at Parkersburg)
“Arabian Nights Retold: King Shahriyar’s Transformative Role in a
Never-Ending Tale.”
3. Ruud, Amanda K. (University of Southern California)
“Silent Soliloquies: Mediating Theatrical Affect in Early Shakespeare
Film.”
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4:00 – 5:15 p.m. Session 19
19th Century Theatrical Representations of
Ethnicity and Race
Harbor West C
Presiding:
1. Huang, Yizhou. (Tufts University)
“The Stories Told and the Stories Untold: Images of Chinese Women in
Nineteenth-Century American Theatre.”
2. Kochman, Deborah. (Florida State University)
“About [Red] Face: A Comparative Analysis the Osceola-Renegade
Tradition at Florida State University and John Augustus Stone’s
Metamora, or the Last Wampanoags.”
3. Williams-Witherspoon, Kimmika L.H. (Temple University)
“Adapting Our Own: Ira Aldridge and The Black Doctor: PanAfricanism in Early Dramatic Discourse.”
4:00 – 5:15 p.m. Session 20
Teaching Tips and Trade Secrets
Harbor Club
Presiding: Miriam Chirico (Eastern Connecticut State University)
and Kelly Younger (Loyola Marymount University)
Panelists:
Join this informal panel of experienced teachers who will be sharing classroom techniques that explore and
illuminate the performative nature of dramatic literature. This lively discussion promises to spill over into
the hotel lobby so participants can enjoy “Crabby Hour” together.
5:00 – 7:00 p.m.
5:30 and 7:15
Dinner Break
Shuttles Depart Pier 5 for Vagabond Players Theatre
We encourage you to take our walking tour of the Inner Harbor and Fells Point
to the Vagabond Players Theatre for tonight’s production. The walk is just 0.7
miles and will take only about 14 minutes. Along the way, stop to enjoy a
coffee, a meal, or a pre-show drink. See page XX of this Program for full
directions. For those who would prefer not to walk, two Stevenson shuttles will
depart from the Pier 5 hotel, the first at 5:30 and the second at 7:15.
Additionally, the Pier 5 has shuttles that run to the Admiral Fell Inn throughout
the day (see the lobby schedule); the theatre is a block North (away from the
water) from the Admiral Fell Inn, next to Pitango Gelato.
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8:00 p.m.
Curtain Time for Performance at Vagabond Players
Rabbit Hole
Written by David Lindsay-Abaire
Directed by Eric C. Stein
This Pulitzer Prize-winning drama presents an intensely moving
examination of grief, laced with wit, compassion and searing
honesty.
A Stevenson shuttle will return to the Pier 5 Hotel after the performance. For
those who wish to take a cab back to the Pier 5 (approximately $6) after dining
or enjoying nightlife in Fells Point, see page XX of this Program for restaurant
suggestions. You will find walking directions and cab service phone numbers
on page XX. Note that we recommend walking only in groups; we do not
recommend travelling alone.
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FRIDAY, MARCH 27, 2015
8:30 a.m. – 5:00 p.m.
Lobby
9:00 – 10:15 a.m. Session 21
Middle Eastern Political Theatre
Harbor West A
Presiding:
1. Sarbarani, Fatameh Madani. (Arizona State University)
“Eastern vs. Western Historiography.”
2. Shalha, Ziad Abu. (Tiabah University)
“Shakespeare’s Hamlet in Postcolonial Middle Eastern Drama: A
Comparative Study Between Shakespeare’s Hamlet and Mamdouh
Adwan’s Hamlet Wakes Up Late.”
3. Nichols, Laura. (Baylor University)
“Freeing the Syrian Refugee’s Natural Voice: A Look at the
Reinforcement of Nationalism through Memory-Based Production.”
9:00 - 10:15 a.m. Session 22
A Different Story Altogether: Lochhead,
Wertenbaker, Whitty, and LaChiusa Rewrite
Ibsen, Euripides, and Oklahoma!
Harbor West B
Presiding:
1. Zinman, Tony. (University of the Arts, Philadelphia)
“Reimagining Hedda.”
2. Craig, Lydia. (Loyola University Chicago)
“Politic Silence: Female Choruses in Lochhead’s Medea and
Wertenbaker’s The Love of Nightingale.”
3. Gibbes, Allison. (Florida State University)
“Challenging the Canon: Using Michael John’s LaChiusa’s Giant to
Deconstruct the Mythos of Rogers and Hammerstein’s Oklahoma!”
9:00 - 10:15 a.m. Session 23
Staging Gender and the Family
Harbor West C
Presiding:
1. Byrne, Elena E. (Southern Connecticut State University)
“Henry Higgins: Androgynous Parent or Mother in Bernard Shaw’s
Pygmalion.”
2. Andes, Anna. (Susquehanna University)
“Capitalizing on Daughters: The Awkward Gender Politics of Edith
and Honour Thy Father.”
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9:00 - 10:15 a.m. Session 24
Tennessee Williams
Harbor East D
Presiding:
1. Garganourakis, John. (Mercy College)
“The Grotesque Body in the Late Plays of Tennessee Williams.”
2. Yost, Connie A. (Millersville University)
“Conflicting Identities: Invisible Males in Suddenly Last Summer and
The House of Bernarda Alba.”
3. Rafieisakhaci, Soudabeh. (The University of Georgia)
“Yalda, a Laura in Iran: A Study on the movie adaptation of The Glass
Menagerie.”
9:00 - 10:15 a.m. Session 25
Contemporary European Drama and
Harbor East E
Performance: Bardiou, McPherson and Kjartansson
Presiding:
1. Phillips, Doug. (University of St. Thomas)
“Thirteen Ways of Thinking about the Theatrical Event.”
2. Rosbrow, Jesse Edward. (Tufts University)
“Layer upon Layer of Mischief: The Evolving Dramaturgy of Conor
McPerson’s Early Monologue Plays.”
3. Butler, Thomas. (Eastern Kentucky University)
“Ragnar Kiartansson’s Theatrical Repetitions.”
10:30 – 11:45 a.m. Session 26
Staging Grief: Contemporary American
Playwrights Lindsay-Abaire, Hudes, and Parks
Harbor West A
Presiding:
1. Muse, Amy. (University of St. Thomas)
“Sympathetic Curiosities: Rabbit Hole’s demonstration of the power of
intimate theatre.”
2. Smith, Susan Harris. (University of Pittsburgh)
“Re-membering Place: Staging Grief.”
3. Williams, Jaye Austin. (University of California, Long Beach)
“Alienated Flesh Excavating Dereliction and Inaudible Loss in SuzanLori Parks’ One-character Short Play, Pickling.”
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10:30 – 11:45 a.m. Session 27
Shakespeare Through the Lens of
Race, Sex, and Class
Harbor West B
Presiding:
1. Boulton, Alex O. (Stevenson University)
“Shakespeare’s Floating World.”
2. Chapman, Matthieu. (UC San Diego)
“Aaron’s Incorporation and the Destruction of Civil Society in Titus
Andronicus.”
3. Charlesbois, Elizabeth. (St. Mary’s College of Maryland)
“With Rhyme and Reason: Hip Hop Hamlet in Prison.”
10:30 – 11:45 a.m. Session 28
Acting Theories: From Plato to the Present
Harbor West C
Presiding:
1. Kaplan, Jeff. (University of Maryland, College Park)
“The Poetry of Madness: Plato’s Ion and the Psychology of Acting.”
2. Pastorino, Gloria. (Farleigh Dickinson University)
“The Physical Language of Satire: Jacques Lecoq’s Legacy in the
Theatre of Dario Fo.”
3. Yoho, Rob. (Baylor University)
“Group Mind and Human Consciousness: Improv as Mindfulness
Practice.”
10:30 – 11:45 a.m. Session 29
Feminist Theatre of the 17th Century:
Behn, Cary, and the Sallonniéres
Harbor East D
Presiding:
1. Raphaeli, Kara. (University of California, San Diego)
“Troubling Gender in English Restoration Comedy.”
2. Kennedy, Theresa. (Baylor University)
“Deliberating the heroine in Seventeenth-Century French Women’s
Theater.”
3. Park, Judy. (Loyola Marymount University)
“Dominium and Imperium in the Theater of the Mind: Geopolitical
Desire in Elizabeth Cary’s The Tragedy of Mariam.”
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10:30 – 11:45 a.m. Session 30
Monstrous Beckett
Harbor East E
Presiding: William Hutchings
1. Wetmore, Kevin J. (Loyola Marymount University)
“Night of the Living Dead, or Endgame: Jan Kott, Peter Brook,
Samuel Beckett and Zombies.”
2. Ardoin, Paul. (University of Texas at San Antonio)
“‘Fashionable Despair’ and Literary Theater: Hansberry’s Monstrous
Beckett.”
3. Herren, Graley. (Xavier University)
“Beckett at the Bates Motel: Eh Joe and Psycho.”
12:00 – 1:30 p.m.
Lunch Break
12:00 – 1:30 p.m. Session 31
CDC Board Meeting
Chesapeake Room
Board Members Only
1:30 – 3:00 p.m. Session 32
Plenary Panel: Author Meets Critics
Harbor Club
Awarding of The 2014 Anthony Ellis Prize for the Best Paper by a Graduate Student
Presiding: Graley Herren
Awarded to
Giuseppe Sofo (University of Avignon; Università La Sapienza, Roma)
for
“Translating Tempests: A Reading of Aimé Césaire’s Une Tempête in Translation”
Author Meets Critics
Presiding
Verna A. Foster
(Loyola University Chicago)
The Author
Katherine Weiss
(East Tennessee State University)
The Book
The Plays of Samuel Beckett
(Critical Companions)
(Metheun Drama)
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The Critics
Doug Phillips
(University of St. Thomas)
William Hutchings
(University of Alabama-Birmingham)
3:15 – 4:30 p.m. Session 33
Wrestling with Albee: The Politics behind
Harbor West A
Who’s Afraid of Virginia Woolf? and Three Tall Women
Sponsored by The Edward Albee Society
Presiding: Natka Bianchini
1. Huang, Chi-hua. (National Chengchi University)
“Facing with the Mother Figure: A Comparative Study of Edward
Albee’s Three Tall Women and K.S. Hugh Lee’s Wedding Memories”
2. Malarcher, Jay. (West Virginia University)
“The Metaphysics of Pronoun Confusion in Edward Albee’s Who’s
Afraid of Virginia Woolf?”
3. Stanley, William Chad. (Wilkes University)
“Who’s Afraid of the Big Bad Bear?: Edward Albee’s Who’s Afraid of
Virginia Woolf? and the Cuban Missile Crisis.”
3:15 – 4:30 p.m. Session 34
Staging Domestic Space in Contemporary
Drama: Ruhl, The Raisin Cycle, and Pinter
Harbor West B
Presiding:
1. Shanahan, Ann M. (Loyola University Chicago)
“Women and Houses in Theatre and Drama.”
2. Thomas, LaRonika. (University of Maryland)
“‘An Attractive Place to Live’: Thresholds, Landmarks, and Spatial
Imaginaries on the American Stage.”
3. Higgins, Jeanmarie. (University of North Carolina at Charlotte)
“Walls, Thresholds and Doorways in Harold Pinter’s Mountain
Language.”
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3:15 – 4:30 p.m. Session 35
Images as Performance, Performance as Image
Harbor East C
Presiding:
1. Grote, John. (Baylor University)
“The Burning Monk’s Inspirational Flame: The Self-Immolation
Performance of Thich Quang Duc and Audience Reaction in the United
States and Vietnam.”
2. Snyder, Christine. (Brooklyn College)
“Consuming Pauline: Confirming and Conforming to the Middle Class
Woman Through Pauline Cushman’s 1864 Publicity Materials.”
3. Essif, Davenne. (UNC, Chapel Hill)
“Theatrical Emptiness in Giorgio de Chirico’s The Painter’s Family
(1926).”
3:15 – 4:30 p.m. Session 36
Women of Color Counter the Hegemonic Stage:
Spiderwoman, Carroll, and Childress
Harbor East D
Presiding:
1. Sundin, Bridget. (Indiana University)
“Spiderwoman Theater: (Re)Claiming Authenticity through the
Othered Body.”
2. Stollenwerk, Joe. (Indiana University)
“Don’t Bother Me, I Can’t Cope: Reclaiming a Lost Musical.”
3. Ponnuswami, Meenakshi. (Bucknell University)
“Alice Childress’s Wedding Band.”
3:15 – 4:30 p.m. Session 37
Ibsen
Harbor East E
Presiding:
1. Bailey, Matthew J. (Northwest Missouri State University)
“Puppeteers and Meta-Puppeteers: The Autodeconstructive Nature of
The Master Builder.”
2. Striplin, Alyssa. (Northwest Missouri State University)
“Crossing Masculinity and Feminism to Build a Common Ground: A
Comparison of Ibsen’s The Master Builder and Howe’s Pride’s
Crossing.”
3. White, Eliot. (Millersville University)
“The Family as a Fulcrum of Tragedy: Maternal Burden, Sins of the
Father, and Shattered Illusions in Ibsen’s Ghosts and Williams’ The
Glass Menagerie.”
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3:15 – 4:30 p.m. Session 38
Staged Reading
Harbor Club
The Quickening
Author: Mark Scharf
Director: Chelsea Dove
Cast: Amanda K. Gatewood, Marianne Angelella, Eric C. Stein
4:45 – 6:00 p.m. Session 39
Damaged Masculinities in the Drama of
Shepard, Letts, Koutsoubeli, and Highway
Harbor West A
Presiding:
1. Covey, William B. (Slippery Rock University)
“Fool for Love, Killer Joe, and the Fate of Women in Rural Noir
Drama.”
2. Rapti, Vassiliki. (Harvard University)
“Orpheus in the Bar by Chloe Koutsoubeli: A Radical Modern Greek
Adaptation.”
3. Hawkins, Maureen S.G. (University of Lethbridge)
“‘Symbolically Loaded’: The Functions of the Wall Hangings in Dry
Lips Oughta Move to Kapuskasing.”
4:45 – 6:00 p.m. Session 40
Dark and Twisted: British Playwrights Pinter,
Jellicoe, Ravenhill, and Kane
Harbor West B
Presiding:
1. Cameron, Rebecca. (DePaul University)
“Playing with Fire: Rape Games in Pinter and Jellicoe.”
2. Izmir, Sibel. (Atılım University)
“Theatrical Strategies in Mark Ravenhill’s Shopping and Fucking.”
3. Ngezem, Eugene. (Clayton State University)
“Consumerism in Mark Ravenhill’s Shopping and F***ing and Sarah
Kane’s Blasted: (Mis)representation of Sexual Hurricane and the
Collapse of Decency in Contemporary World.”
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4:45 – 6:00 p.m. Session 41
Stop that Show! Recovering Historiography
in the Wake of Interrupted Performance
Harbor West C
Presiding:
1. Ginder, Brittany Proudfoot. (University of Maryland, College
Park)
“Black Magic: The Curse of Macbeth Meets Orson Welles.”
2. Hughes, Erica. (Virginia Commonwealth University)
“Tannhäuser in Paris: Richard Wagner vs. French Tradition.”
3. Salsbury, Kate. (Point Park University)
“Sparks of Controversy on Catfish Row.”
4:45 – 6:00 p.m. Session 42
Chinese Theatre and Theatre for China
Harbor East D
Presiding:
1. Lowe, William (Howard Community College) and ChingHsuan. (Ohio Wesleyan University)
“Uncovering the Zaju Chinese Drama of the Yuan Dynasty.”
2. Hoenshell, Nicholas. (Baylor University)
“Gao Xingjian’s Model Theatre: Postmodern Pastiche and Parody in
The Other Shore.”
3. Hunter, Mead K. (University of Portland)
“Lessons from the Mouse: Shifting Narratologies on Planet Disney.”
4:45 – 6:00 p.m. Session 43
Contemporary Comedy in Theory and Practice: Harbor East E
Sedaris, Leguizamo, Gray, Durang, McDonagh, and Callaghan
Presiding:
1. Chirico, Miriam. (Eastern Connecticut State University)
“Performed Authenticity: Narrating the Self in Comedic Monologues.”
2. Combs, Robert. (George Washington University)
“The Joys and Sorrows of Not-Getting-It: Christopher Durang, Martin
McDonagh, and the Dangerous Comedy of Defamiliarization.”
3. Goff, Jennifer. (Wayne State University/Frostburg University)
“Not-So-Benign Violation: The Dangerous Comedy of Sheila
Callaghan.”
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4:45 – 6:00 p.m. Session 44
Staged Reading
Harbor Club
Dyskolos
Translated by: Katherine B. Free
Director: Kevin J. Wetmore
Cast:
8:00 p.m.
Harbor East A, B & C
2015 Keynote Event:
David Lindsay-Abaire
Welcome:
President Kevin Manning
(Stevenson University)
A Conversation with David Lindsay-Abaire
Presiding: Kelly Younger (Loyola Marymount University)
Join your colleagues from the Comparative Drama Conference for a conversation with
David Lindsay-Abaire, Pulitzer Prize winning playwright, screenwriter, lyricist and
librettist. Lindsay-Abaire’s play Rabbit Hole received the 2007 Pulitzer Prize for Drama
and five Tony nominations. His most recent play Good People was awarded the New
York Drama Critics Circle Award for Best Play, The Horton Foote Prize, The Edgerton
Foundation New American Play Award, and two Tony nominations. Lindsay-Abaire also
wrote the book and lyrics for Shrek the Musical, which was nominated for eight Tonys,
four Oliviers, a Grammy, and earned him the Ed Kleban Award as America's most
promising musical theatre lyricist. His other plays include Fuddy Meers, Kimberly
Akimbo, Wonder of the World and A Devil Inside. In addition to his work in theatre,
Lindsay-Abaire’s screen credits include his film adaptation of Rabbit Hole (starring
Nicole Kidman - Oscar Nomination), Oz the Great and Powerful, Inkheart, Robots, and
MGM's upcoming Poltergeist reboot. Come prepared for a lively conversation on
contemporary theatre followed by a Q & A with the audience.
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9:30 p.m.
Reception
Harbor Club
All conference participants are invited to join us for a reception with David Lindsay-Abaire hosted by the
Comparative Drama Conference Board and sponsored by Stevenson University. Please join us for hors
d’oeuvres, a cash bar, and a magnificent view of the Inner Harbor from the Pier 5 Hotel’s Harbor Club.
Shuttles to the Admiral Fell Inn will close at 10:45. Information on taxi services can be found on page XX
of this Program.
20
SATURDAY, MARCH 28, 2015
8:30 a.m. – 2:00 p.m.
Lobby
9:00 – 10:15 a.m. Session 45
The Function of Realistic Conventions in
Wilder and Young Jean Lee
Harbor West A
Presiding:
1. Piede, Samantha. (Millersville University)
“Not Verisimilitude, But Reality: Theatre and Film’s Impact on
Thornton Wilder’s Our Town.”
2. Vorlicky, Robert. (New York University)
“Radical Dramaturgy: The Case of Young Jean Lee’s Straight White
Men.”
9:00 – 10:15 a.m. Session 46
Cross Cultural Translation: The Political
Adaptations of Walcott and Wijaya
Harbor West B
Presiding:
1. Sofo, Giuseppe. (Université d’Avignon)
“Theatre, Rewriting and Translation: Analysing the translations of
Derek Walcott’s The Odyssey: a Stage Version.”
2. Sachdev, Rachana. (Susquehanna University)
“Exoticization, Postcolonialism and Globalization: The Case of Puta
Wijaya’s Geez!”
9:00 – 10:15 a.m. Session 47
Dramas of the American Progressive Era
Harbor West C
Presiding:
1. O’Malley, Lurana Donnels. (University of Hawai’i at Manoa)
“Spirits in Black and White: Ethiopia, Columbia, and the Witch of
Endor.”
2. Westgate, J. Chris. (California State University)
“‘Dissolution by Stages—and then—the Worst’: The Specter of Syphilis
in The Dawn of a To-morrow.”
3. Holtcamp, Victor. (Tulane University)
“Remembering ‘The Rod’: The Goldenrod Showboat in St. Louis.”
21
9:00 – 10:15 a.m. Session 48
Lorraine Hansberry
Harbor East D
Presiding:
1. Bernd, Lisa. (Cleveland State University)
“Lorraine Hansberry and Amira Baraka: The Mimesis of Militancy in
the Civil Rights Movement.”
2. Burch, William. (Rutgers University)
“Bad Theatricality: Lorraine Hansberry’s Apocalyptic Anxiety.”
3. Grams, Timothy. (Northern Michigan University)
“The Causes and Effects of Nihilism in Black America.”
9:00 – 10:15 a.m. Session 49
Shakespeare in Historical Context
Harbor East E
Presiding:
1. Cooledge, Dean R. (University of Maryland Eastern Shore)
“The Original ‘Company Man’: Shylock as a Metaphor for the
Corporation in Early Modern England.”
2. Dotson, Jessica. (Virginia Commonwealth University)
“Shakespeare’s Supernova.”
3. Dieterich, Elizabeth. (Independent Scholar)
“‘For ‘tis your thoughts that must now deck our kings’: Affect in
Shakespearean Performance.”
9:00 – 10:15 a.m. Session 50
O’Neill Society Meeting
Harbor Club
Presiding:
This meeting is open to all interested parties.
10:30 – 11:45 a.m. Session 51
Adapting Historical Conventions to a
Harbor West A
Contemporary Context, or How to Do Things
with a Greek Chorus, Restoration Comedy, and Moliere
Presiding:
1. Kafetzi, Eleni. (University of Sorbonne)
“Ancient chorus in modern interpretations: Modern choruses in
contemporary interdisciplinary performances.”
2. Bell, James. (Grand Valley Shakespeare Festival School of
Communications)
“Cheating History: Performing Period or Period Plays.”
22
3. Taylor, Scott D. (Western Washington University)
“Moliére Meets Paris Hilton at the Circus: Expanding the Theatrical
Text and Bridging the Gap between 17th Century Paris and 21st Century
Hollywood.”
10:30 – 11:45 a.m. Session 52
Sex (Not) on the Stage: Shaw’s Brothel Keeper
and Scarborough’s White Slavery
Harbor West B
Presiding: J. Chris Westgate
1. Tavasolian, Sierra. (California State University, Fullerton)
“We Can’t Have Ladies Doin’ It for Themselves: Censorship through
Erasure as Controversy in the 1905 New York Production of Mrs.
Warren’s Profession.”
2. Prado, Rocio I. (California State University, Fullerton)
“Body Politic: The Prostitute’s Role in De-stabilizing Masculine
American Identity.”
3. Ramos, Heather. (California State University, Fullerton)
“The Lure of the Discourse of White Slavery: Revealing the
Intersection in the Polarized Reception of the 1913 Production of The
Lure.”
10:30 – 11:45 a.m. Session 53
Tennessee Williams Goes to the Movies
Harbor West C
Presiding: William Hutchings
1. Loomis, Jeffrey B. (Northwest Missouri State University)
“Archives of an Ironic Film Fan?: The ‘Tony’ Drafts of The Glass
Menagerie.”
2. Feldman, Alex. (MacEwan University)
“Tropic Temptations, Exotic Epiphanies: Reading the Hispanic in the
Plays and Films of Tennessee Williams.”
3. Foster, Verna A. (Loyola University Chicago)
“White Woods and the Blue Jasmine: Woody Allen Rewrites A
Streetcar Named Desire.”
10:30 – 11:45 a.m. Session 54
The Drama of Business/The Business of Drama
Harbor East D
Presiding:
1. Boles, William C. (Rollins College)
“Money at Play: Theatricalizing the Great Recession in Contemporary
British Theatre.”
2. Papa, Lee. (College of Staten Island)
“Theatre vs. Business: Plays of the Contemporary Workers’ Theatre.”
23
3. Johnson, Martha. (University of Minnesota)
“‘Bring Your Own Translator’: Communication and Changing
Business Paradigms in David Mamet’s Glengarry Glen Ross and
David Henry Hwang’s Chinglish.”
10:30 – 11:45 a.m. Session 55
Nietzche’s The Birth of Tragedy:
Drama, Play and Performance
Harbor East E
Presiding:
1. Potts, Kathleen. (The City College of New York)
“Dramaturgical Alternatives to Naturalism in Nietzche’s Birth of
Tragedy and Suzan-Lori Parks’s Topdog/Underdog.”
2. Sheaffer, Adam. (University of Maryland, College Park)
“‘delightful and tragic’: Nietzche’s The Birth of Tragedy and Sarah
Ruhl’s Dead Man’s Cell Phone.”
3. Young, Patrick James. (University of Maryland, College Park)
“The Politics of Sandcastles: Rhetorics of play and The Birth of
Tragedy.”
10:30 – 11:45a.m. Session 56
Arthur Miller’s Life and Work – A Centennial
Discussion of the Works of Arthur Miller
Harbor Club
Sponsored by The Arthur Miller Society
Presiding: David Palmer (Massachusetts Maritime Academy)
Panelists: Susan C.W. Abbotson (Rhode Island College), Claire
Gleitman (Ithaca College), Susan Albert Loewenberg (L.A. Theatre
Works), Stephen A. Marino (St. Francis College), Brenda Murphy
(University of Connecticut).
In celebration of the centennial this year of Arthur Miller’s birth, participants in this roundtable will discuss
why Miller’s plays continue to be produced so widely, not just in America but indeed throughout the world.
Which of Miller’s themes are specifically American; which are grounded in universal issues of the human
condition? What can we learn from looking at Miller’s plays about how people engage with literature and
why people care about fictional characters? How do plays become canonical, as many of Miller’s plays
have in American and other cultures? The session begins with brief statements from each of the five
panelists followed by discussion among the panelists and an open discussion with the audience.
12:00 – 1:30 p.m.
Lunch Break
12:00 – 1:30 p.m. Session 57
CDC Board Meeting
Board Members Only
24
Chesapeake Room
1:30 – 3:00 p.m. Session 58
Plenary Panel: Visions of Tragedy
in American Theatre
Harbor Club
Awarding of The Philadelphia Constantinidis Essay in Critical Theory Award
Presiding: Kevin J. Wetmore, Jr.
The 2014 Philadelphia Constantinidis Essay in Critical Theory Award Winner:
Name
Title
Journal
This year the selection committee consisted of Chairperson Kevin J. Wetmore, Jr. (Loyola Marymount
University),
The CDC Board would like to extend its gratitude to the committee for their service.
The selection committee thanks those who nominated essays for this year’s award and strongly encourages
nominations for next year’s award.
Call for Nominations: The 2015 Philadelphia Constantinidis Essay in Critical Theory Award
The Philadelphia Constantinidis Essay in Critical Theory Award in 2015 will be given to the best
comparative essay on any aspect and period of Greek drama or theatre that was published in English in any
journal in any country between January 1 and December 31, 2015. The award was established in 2006 in
memory of Philadelphia Constantinidis to encourage research and writing on Greek drama and theatre. This
is an open rank competition for academics, independent scholars, and doctoral students. The award is
administered by the Board of the Comparative Drama Conference. The Board solicits nominations and selfnominations for this award. The winner will be notified by the Director of the Comparative Drama
Conference, and will be offered complimentary hotel accommodations and a registration fee waiver to
attend the 40th Comparative Drama Conference. The winner will also receive a check of one thousand
dollars ($1,000) during the awards ceremony at the conference. The deadline for
nominations is December 31, 2015. Nominating letters and electronic copies of the essays (converted to
Adobe PDF) should be emailed to Kevin.Wetmore@lmu.edu by December 31, 2015. Postal mail and
faxes are not acceptable. The letter of nomination should include the name of the author of the published
essay, the title of the essay, the year of publication, the name of the journal, the email address and postal
address of the author, and a brief statement explaining why this essay was chosen for nomination.
Recipients of the award are not eligible for nomination or self-nomination for a three-year period.
Visions of Tragedy in American Theater
Sponsored by The Arthur Miller Society
Presiding
David Palmer
(Massachusetts Maritime Academy; Arthur Miller Society)
25
J. Christ Westgate
(California State University, Fullerton; Eugene O’Neill Society)
Panelists:
On Edward Albee: Natka Bianchini (Loyola University Maryland, Edward Albee Society)
On Susan Glaspell: Sharon Friedman (New York University, Susan Glaspell Society)
On David Mamet: Brenda Murphy (University of Connecticut)
On Arthur Miller: Stephen A. Marino (St. Francis College, Arthur Miller Society)
On Eugene O’Neill: Jeffery Kennedy (Arizona State University, O’Neill Society)
On Thornton Wilder: Jackson R. Bryer (University of Maryland, Thornton Wilder Society)
On Tennessee Williams: Susan C.W. Abbotson (Rhode Island College)
On August Wilson: Sandra G. Shannon (Howard University, August Wilson Society)
Organized by the Arthur Miller Society, this round-table discussion among representatives from various
American dramatist societies will examine the ways in which tragedy has been envisioned and depicted in
American theater. Opening five-minute statements from the panelists will be followed by an open
discussion with the audience.
3:15 – 4:30 p.m. Session 59
Critiquing Business from Everyman to Enron
Mamet, Prebble, and Pommerat
Harbor West A
Presiding:
1. Pressley, Nelson. (Scholar-at-large)
“Capital Meltdowns: November, Enron, and the Stage Rhetoric of
Money.”
2. Essif, Les. (University of Tennessee)
“From Vinaver to Pommerat: The De-idealization of Capital and
‘Work as Business’ in Contemporary French Theatre.”
3. Lowell, Mandy. (Cornell University)
“He Who Could Be Each of Us: Everyman/Elckerlijc as
Communitarian Censure.”
3:15 – 4:30 p. m. Session 60
Audience Reception Studies:
Fahrer, Crimp, and The Living Theatre
Harbor West B
Presiding:
1. Heaps, Eric “C”. (Indiana University)
“Refusing to Fully Translate: Echo Translation and Music in Refusing
the Flower.”
2. Running-Johnson, Cynthia. (Western Michigan University)
“Re-viewing and the Role of the Spectator.”
3. Hsieh, Yu-Yun. (University of Illinois at Urbana-Champaign)
“Staging ‘the record ritual’: Live and Recorded Sound in The Living
Theatre’s The Connection.”
26
3:15 – 4:30 p. m. Session 61
O’Neill and Ecocriticism
Harbor West C
Organized by The Eugene O’Neill Society
Presiding: J. Chris Westgate
1. Kennedy, Jeffery. (Arizona State University)
“‘It’s a hell av a life’: The Sea as Character in O’Neill’s Provincetown
Players Plays.”
2. Johnson, Katie. (Miami University)
“‘Come On Out o’ That Jungle’: The Ecologies of The Emperor
Jones.”
3. Baker-White, Robert. (Williams College)
“Nature’s Veiled Purpose: O’Neill’s Ecological Imagination in the Tao
House Plays.”
3:15 – 4:30 p.m. Session 62
Re-Interpreting Classical Texts:
Pushkin, Gogol, Chekhov
Harbor East D
Presiding: Verna Foster (Loyola University Chicago)
1. Ignatieva, Maria. (The Ohio State University, Lima)
“Tragedy ‘Boris Gudunov’ by Alexander Pushkin as Russian Political
Nostradamus.”
2. Partan, Olga S. (College of the Holy Cross)
“The Russian Goldoni: Gogol’s ‘The Inspector General’ and the
Italian Comic Tradition.”
3. Rylkova, Galina. (University of Florida)
“Anton Chekhov’s Plays as Studies of Idealism.”
3:15 – 4:30 p.m. Session 63
Trends in Contemporary American Drama:
Vogel, Hwang, Jacob-Jenkins, and Hudes
Harbor East
Presiding:
1. Long, Khalid Yaya. (University of Maryland, College Park)
“Are We There Yet: Post-Race in Contemporary American Drama.”
2. Schlatter, James F. (University of Pennsylvania)
“‘When the Dead Won’t Die’: The Role of Ghosts in Contemporary
American War Plays.”
3. Cizmar, Elizabeth. (Tufts University)
“‘I hates myself!’: Reviving Blackface Minstrelsy in Branden JacobsJenkins’ Neighbors.”
27
3:15 – 4:30 p.m. Session 64
Staged Reading
Harbor Club
Leah’s Dybbuk
Author: Susan McCully
Director:
Cast:
4:45 – 6:00 p.m. Session 65
Theatre of West and South Africa
Harbor West A
Presiding:
1. Zapkin, Phillip. (West Virginia University)
“‘Kill the Pity in Us’: The Communal Crisis as Crisis of Individualism
in David Greig’s Oedipus the Visionary.”
2. Udengwu, Ngozi. (University of Nigeria, Nsukka)
“Women in Men’s World: A Focus on the Yoruba Popular Travelling
Theatre.”
3. Ofori, Michael. (Ohio University)
“‘Pato’ to Proscenium: Tracing the Paradigm Shift in Ghanaian
Theater Through Architecture.”
4:45 – 6:00 p.m. Session 66
Fin de Siecle Stages: Oscar Wilde, Alfred Jarry
and The Cancan
Harbor West B
Presiding:
1. Williams, Todd O. (Kutztown University)
“‘Beautiful Untrue Things’ in Oscar Wilde’s Society Comedies.”
2. Trainor, Sebastian. (Saint Lawrence University)
“The Real Battle of Ubu Roi: The Last Stand of Henry Bauër, Anarchist
Theatre Critic of the Parisian Fin de Siecle.”
3. Calvano, Jenn. (University of Colorado Boulder)
“Challenging Ways of Seeing: Physicality and Female
Representations in Bob Fosee’s Sweet Charity and Fin de Siécle
Cancan in France.”
28
4:45 – 6:00 p.m. Session 67
Future Scholars: The Undergraduate Theater
Studies Honors Program at NYU
Harbor West C
Presiding: Robert Vorlicky (New York University)
Presenting Students: Katherine Banos, Michelle Nicole Brady
Davis, Ethan Charles Abramson, Cassidy Dawn Graves, Taylor
Edelhart, and Ilana Khanin.
For over 15 years, the Department of Drama, Tisch School of the Arts, NYU—whose majors are actors,
designers, and directors—has enhanced the scholarly acumen of Theatre Studies researchers through its
Honors Program offerings: students’ participation in highly selective seminars, coupled with the option to
write a mentored thesis. Former undergraduates who completed the thesis have gone on to such successes
as earning PhDs in Drama, Performance Studies, and English; securing teaching positions in university
Theatre Departments; publishing their thesis and speaking at national conferences; and performing on
Broadway and theatres across the U.S.—with their thesis in hand! Please join us to hear 6 honors students
speak briefly about their recent research, within the context of the program’s demanding, pedagogical
approach to elicit original thinking and writing from our future artists-scholars.
4:45 – 6:00 p.m. Session 68
August Wilson and Amiri Baraka
Harbor East D
Presiding:
1. Kern, Douglas S. (University of Maryland, College Park)
“Dramatizing Death Threats: Amiri Baraka’s Nuyorican Trio.”
2. Nesmith, Eugene. (New Harlem Arts Theatre)
“August Wilson and Lloyd Richards: The Playwright-Director
Dynamic Collaborative Relationship.”
3. Maley, Patrick. (Centenary College)
“Tennessee Williams After August Wilson.”
4:45 – 6:00 p.m. Session 69
NEH Grant Session
Harbor Club
Presiding: Victoria Sams
Mark Your Calendar:
The 40 Comparative Drama Conference, 2016
Stevenson University
Abstracts and Proposals due by 3 December 2015
th
29

THURSDAY, MARCH 26, 2015 The CDC cannot guarantee that this

Transcription

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