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2013 Conference Program
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The American Society for Theatre Research & the Theatre Library Association
present

You Are Here: The Post-Thematic Conference

 

For a .pdf of the complete program book, click on this link.


Thursday, November 7

8 a.m. - 2 p.m.
ASTR Executive Committee Meeting
Continental Room, Banquet Level
2 - 7 p.m.
Registration Open
Regency Foyer, Banquet Level


Exhibitor Move-In
Gold Room, Banquet Level
3 - 3:15 p.m.
Welcome
Regency Ballroom, Banquet Level


2013 Program Co-Chairs
Jonathan Chambers, Bowling Green State University
Scott Magelssen, University of Washington

ASTR President
Heather S. Nathans, Tufts University
3:15 - 4:45 p.m.
Plenary #1
Regency Ballroom, Banquet Level


Chair: Wendy Arons, Carnegie Mellon University

Jessica Berson, Yale University
Dancing in the Combat Zone: Striptease and Nostalgia in the "New Boston”


Judith Hamera, Texas A&M University
Staging DeIndustrialization: Detroit, Detroit, and the Trouble with Ruins

Courtney Ryan, University of California, Los Angeles
Performing in Sidewalk Cracks and Alleyway Gaps
Continuous Performances
Perform ASTR #1
See Perform ASTR Menu for location

Laurie Beth Clark, University of Wisconsin
Michael Peterson, University of Wisconsin

Spatula&Barcode


Lauren Hlubny, Florida State University
Joshua Myles Inocencio, Florida State University

Jack et Jackie


Katherine Mezur, Freelance Performance Scholar
Dance Like No One is Looking


Jen-Scott Mobley, Rollins College
Susanne Shawyer, Independent Scholar
ASTR Working Conditions Task Force

The Doctor is IN: Tell ME!!

Angela Sweigart-Gallagher, Northeastern Illinois University
Victoria Pettersen Lantz, Sam Houston State University

WUP Concierge Desk

5 p.m.Perform ASTR #2
See Perform ASTR Menu for location

Michelle Cowin-Mensah, Bowling Green State University
Blunt-Force Trauma
5 - 7 p.m.
Concurrent Paper Panel #1
Regency Ballroom, Banquet Level


Chair: Scott Magelssen, University of Washington

Jenny Kokai, Weber State University
Postdiluvian Performances: Aquacades and SurrealMermaids at the 1939 New York World’s Fair

Hillary Miller, Stanford University
"Cooling the ‘Slums’”: Coney Island, Lincoln Center,and the Long Shadow of Moses

David Saltz, University of Georgia
Robots, Puppets and Performers: Theoretical Implications of Robotic Theatre



Working Sessions A

#A1: Dancing Sex: Eroticism, Embodiment, and Agency in Performance
Continental Room, Banquet Level

Convener: Kirsten Pullen, Texas A&M University

Angie Ahlgren, Ohio University
White Women, Taiko, and the Erotics of Race

Kathaleen Boche, Florida State University
"Saxy Sailors”: Dance, Nationalism, and Ethnic Exoticism in Hollywood Musicals set in World War II

Elizabeth M. Cizmar, Tufts University
Primal, Pure, or Something In Between? Aida Walker, Dance, and Sexuality
Todd Coulter, Colby College
The Erotic Monotony of Olivier Dubois: A Queer Consideration

Chloe Rae Edmondson, City University of New York, Graduate Center

Sex on Strindberg’s Kitchen Table: The Peasant Dancea nd Betrayals of Naturalism in Miss/Mies Julie

Aaron Glover, Texas A&M University
The Booty Don’t Lie: The Female Backside as Focal Point in Twentieth Century American Popular Dance

Matthew McMahan, Tufts University

Talking Feet and Legs: Ada "Bricktop” Smith, the Charleston, and Racial Commodification

Evleen Nasir, Louisiana State University

"They’re Doing Momeography”: Michelle Obama and Maintaining the Status Quo of Motherhood

Ariel Nereson, University of Pittsburgh
Performing and Consuming Pleasure in the "Dance of Death”: Tango Teas in Urban America, 1905-1925

Kirsten Pullen, Texas A&M University
Navel Gazing: Dance, Costume, and Censorship in Golden Age Movie Musicals

Kaitlyn Regehr, King’s College, London
Sexual Celebrity: The Construction of a Burlesque Queen

Aaron Shackelford, University of North Carolina, Chapel Hill

The Chosen Couple: The Erotics of Selection in Le Sacre du Temps



#A2: Indigenous Research in the Americas: Exploring the Liminality between Cultural Epistemologies
Royal Room, Banquet Level

Conveners: Adron Farris, University of Georgia; Heidi L. Nees, Miami University of Ohio

Jill Carter, University of Toronto
Performing Grief: Resistance or Capitulation?

Miriam Hahn, Bowling Green State University
Resisting Reincarnation: Mourning and Appropriationin the Living Theatre’s Paradise Now

Petra Kuppers, University of Michigan

Cultural Epistemologies and Community Performance

Sharon Mazer, University of Canterbury
A Case for Creative Misunderstanding

Stefani Overman-Tsai, University of California,Santa Barbara
Re-Contextualizing the Archive: Indigeneity and the U.S. in Sean T.C. O’Malley’s Wilcox’s Shot

Teresa Stankiewicz, University of Missouri
A Semiotic Study of the Myth of the American Indian

Mark David Turner, University of Toronto
Mimetic Agency and the Labrador Inuit: A Proposal for a Video Instillation

Stephanie Lein Walseth, University of Minnesota

Survivance and "Good Stories”: Thinking through Indigenous Epistemologies




#A3: Corporate Tools: Commercial Performance in Theory and Practice
Executive Room, Banquet Level

Conveners: David Calder, Northwestern University; Eero Laine,City University of New York, Graduate Center

Sean Bartley, Florida State University
Tools of the New Economy: Punchdrunk and ProductImmersion

David Calder, Northwestern University
Artists and Workers in France’s Creative Economy

Kimi Johnson, University of Minnesota
Corporate Ideology: Shaping the Player-Citizen in World of Warcraft

Stefanie Jones, City University of New York, Graduate Center
More than a Marketing Tool: Race and the Imperative to Perform

Kimon Karamidas, Bard Graduate Center
The Disneyfication of Times Square

Eero Laine, City University of New York, Graduate Center
The Self-Made Brand: Performance Labor and WWE "Superstars”

Elizabeth Melton, University of North Carolina, Chapel Hill
The Arts Midwest Conference and Performances of Cosmopolitan Supply

Michael McKinnie, Queen Mary University of London
Industrial Patronage and the Neoliberal State

Michael Leonard Kersey Morris, Tufts University

Corporations as Artists: The Case of Disney Theatrical Group

David Savran, City University of New York, Graduate Center
Trafficking in National Brands: Notes on the Political Economy of Theatre

Karen Shimakawa, New York University
Acting like a Lawyer in Japan’s Saiban-in System

Peter Zazzali, University of Kansas
All the World’s a Business with Stages Comprised of Corporate Players: Exploring Actors as Entrepreneurs in the Experience Economy




#A4: The Common Good: Articulating Theater and Performance in Precarious Times
Florentine Room, Banquet Level

Conveners: Catherine Ming T’ien Duffly, Reed College; Michelle R.Martin-Baron, Hobart and William Smith Colleges


Virginia Anderson, Connecticut College
Broadway Cares? AIDS, Broadway, and the Formation of Local/Global Communities

Heidi Bean, Bridgewater State University
Poet’s Theater’s Countercultural Attachments

Brandi Wilkins Catanese, University of California, Berkeley
The Cruel Optimism of Post-black Ethics and Aesthetics

Catherine Ming T’ien Duffly, Reed College and Michelle R. Martin-Baron, Hobart and William Smith Colleges
The Communal Norm: The Question of Community in Theater and Performance

Julia Goldstein, City University of New York, Graduate Center
Performing Parallel Publics in the Global City: Rimini Protokoll’s 100 Percent Project and Dah Teatar’s In/Visible City

Sharon Green, Davidson College
Intersecting Campus "Communities”: Strategies for Survival in the Liberal Arts Curriculum

Shannon Jackson, University of California, Berkeley
When Community is Not a Theme: On Form in the Work of Theaster Gates

Esther Kim Lee, University of Maryland
The Ironic "Yellow Face” of David Henry Hwang and the Asian American Theatre Community

Elliot Leffler, University of Minnesota
Asymmetrical Optimism: A Study of a Process-Based, Intercultural Theatre Project

Shilarna Stokes, Ohio State University
Modern Mass Spectacle and the Amateur Mystique

Ariel Watson, Saint Mary’s University, Halifax
Forgetting the Red Rabbit: Omission and Violence in Theatrical Community




#A5: Object Lessons: Performances, Pedagogies, and Things
Far East Room, Banquet Level

Conveners:
Marlis Schweitzer, York University; Joanne Zerdy, Illinois State University


Lis Austin, University of Roehampton
Holding Every Possibility Open: Pedagogical Object sand the Design of Education

Sarah Balkin, University of Melbourne

Human Furniture in Strindberg and Kopit

Lindsay Cummings, University of Connecticut
How to Do Things with a Tuft of Grass: Theatre, Ecology,and the Non-Human Actor

Allan Davis, University of Maryland, College Park
How the (Ethnic) Children Became White: Racial Projects in an Amateur Temperance Theatrical

Heather Fitzsimmons Frey, University of Toronto
"Influenced by Individual Taste and the Length of the Purse”: Props in Victorian Juvenile Theatrical Stage Directions, Domestic Space and Middle Class Girls’ Lives

Rachel Gilbert, Independent Scholar
The Moral of the Wooden Body: Pinocchio and the Legacies of Minstrelsy

Jeanmarie Higgins, University of North Carolina, Charlotte
"Abject Lessons”: Domestic Objects and the Dead in Wallace Shawn’s The Designated Mourner

Annie Holt, Columbia University
What Makes a Costume?: Clothing and Costumes of Lucile

Gabrielle Houle, University of Toronto
The Gift of Publicity: How the Piccolo Teatro of Milan Gave Theatrical Masks as a Way to Brand Itself in the 1950s

Victoria Lewis, University of Redlands
The Prop Wheelchair Meets the Bespoke Spokes: What the Wheelchair has to Say about the Human Condition and the Theatre

Karen Jean Martinson, Chicago State University
What the Serape Taught Me: How Costumes and Props Collaborate with El Vez, The Mexican Elvis

Adeleke Ogunfeyimi, Samuel Adegboyega University
Teabags and Oranges as Metaphors of Sacrificial Leadership in Africa: A Comparative Study of Selected TV Commercials and Plays

Paul Rae, National University of Singapore
The Construction of Theatrical Truths

Bruno Roubicek, University of London, Birbeck
Performing Worknets: "Man Digs Pond” and "The Little Ecological Arts Festival” London

Marlis Schweitzer, York University
The Failure of Affective Labor: Object Lessons from Jean Davenport’s Jamaica Scrapbook, c. 1840

Alan Sikes, Louisiana State University
Performative Acts, Performing Objects, and the Persistence of the Golem Legend

Joanne Zerdy, Illinois State University
Environmentally-Conscious Objects: Reading Against the Grain of Things in Ian Hamilton Finlay’s Plays




#A6: Away from Drama? Debating Postdramatic Theater
Oak Room, Banquet Level

Conveners: Michael Shane Boyle, Stanford University; Matt Cornish, Freie Universität Berlin


Minou Arjomand, Boston University
Courtroom Theatre and the Postdramatic

Michael Shane Boyle, Stanford University
Postdramatic Theater and Finance Capital

Jen Buckley, University of Iowa
Postdramatizing the Book

Peter Campbell, Ramapo College
My Naïve American Postdramatic

Emma Cole, University College London

The Reception of Greek Tragedy in British Postdramatic Theatre

Matt Cornish, Freie Universität Berlin
Einar Schleef and Postdramatic Historiography

Andrew Friedman, City University of New York, Graduate Center
Postdramatic Ibsen: Vegard Vingeand Ida Mueller’s Ibsen-Saga

Benjamin Fowler, University of Warwick

Katie Mitchell’s Multimedia Theatre: Remixing the "Dramatic”

Elinor Fuchs, Yale University
The Future of Postdrama

Ryan Hatch, University at Buffalo, The State University of New York
On the Speculative Identity of the Dramatic and Post-Dramatic, from Schiller to David Levine

Beth Hoffmann, George Mason University

On the (Dramatic) Narrativity of Experience in Punchdrunk’s The Drowned Man

Julia Jarcho, New York University
Re-Writing the Postdramatic

Tony Perucci, University of North Carolina, Chapel Hill
Dog Sniff Dog: Postdramatic Theatre and the Politics of Materialism in Viewpoints

Magda Romanska, Emerson College
Of Drammatology: Form and Content in Performative Exchange

Amy Stebbins, University of Chicago

Stepping Out of the Role: The Art and Politics of Ausstieg in Christoph Schlingensief’s Hamlet

Tamara Todorut, Yale University
Image over Action: Rabih Mroue’s The Pixelated Revolution

Scott Wallin, University of California, Berkeley

Postdramatic Theater as Critical Disability Practice

Jeanne Willcoxon, St. Olaf College
She She Pop and the Postdramatic Non-Actor




#A7: Post-Union and Post-Class? The Staging of Union Activity
French Room, Banquet Level

Convener: Michael Schwartz, Indiana University of Pennsylvania


Patricia Everett, University of British Columbia
Workers’ Theatre in 1920’s and 1930’s British Columbia

Bahar Karlidag, University of Washington
Taksim Square, Squared

Jeff LaRocque, Bowling Green State University

The Stuff of Strikes: Shaping Audience Expectations through Performative Production Materials

Mary McAvoy, University of Wisconsin, Madison
Lee Hays, a Preaching Hillbilly, and the FBI: Labor Drama’s Radical Turn at Commonwealth College

Michael Schwartz, Indiana University of Pennsylvania
Dead Hand of the Dead: The Doomed I.W.W. Stand in Anderson and Hickerson’s Gods of the Lightning

Barry Witham, University of Washington

Emanuel Fried’s Working Class Theatre




#A8: Medieval Post-Performance: A Workshop and Roundtable Discussion on Performance Theory and/of Praxis, Part 1
Panorama Room, Terrace Level

Conveners: Lofton L. Durham, Western Michigan University; Jacqueline Jenkins, University of Calgary


Lofton L. Durham, Western Michigan University
Re-shaping Performance: Selecting, Translating, and Producing Medieval Texts for a Contemporary Audience

Elisabeth Dutton, University of Fribourg, Switzerland
The Power of the Word? John Bale’s Three Laws in Performance

Erith Jaffe-Berg, University of California, Riverside
Traces of the Jongleur Tradition in Mantua: The Strange Case of Simon Basilea

Jacqueline Jenkins, University of Calgary
Medieval Post-Performance: Contemporary Embodiment as Performance Research

Alexandra Johnston, University of Toronto

Not just a Type of Christ: Three Different Dramatic Treatments of the Figure of Isaac

Claire Sponsler, University of Iowa
Lost Sound: Performance, Knowledge, and the Senses

Kyle A. Thomas, University of Illinois, Urbana-Champaign
Learning to Act Medieval: Contextual Layering andvPerforming Medieval Plays

7:15 - 8:45 p.m.
Plenary #2
Regency Ballroom, Banquet Level

Chair: John Fletcher, Louisiana State University

Henry Bial, University of Kansas
Wholly Theatre: Spectacle and Sincerity in the Biblical Epic

Charlotte Canning, University of Texas, Austin
What Should Have Provoked Post Cultural Diplomacy: U.S. Clowns and Balloon Animals in 1961 Southeast Asia

Megan Sanborn Jones, Brigham Young University
Walking with the Dead: Resurrecting Mormon History on the Streets of Nauvoo

9 - 10 p.m.
Opening Night Reception
Exhibit Hall - Gold Room, Banquet Level



Friday, November 8

7:15 - 8 :15 a.m.
Graduate Mentor Meeting: Meet Your Mentor
Parisian Room, Banquet Level


ASTR Collaboration Task Force Meeting
Far East Room, Banquet Level

7:30 - 8:15 a.m.
ASTR Meta-Committee Meeting
Royal Room, Banquet Level

8 a.m. - 5 p.m.
Registration Open
Regency Foyer, Banquet Level
8 a.m. - 6 p.m.
Exhibit Hall Open (closed for lunch, 1:30 - 2:30 p.m.)
Gold Room, Banquet Level
8 - 10 a.m.
Coffee and Breakfast Breads Available in the Exhibit Hall
Gold Room, Banquet Level
8:30 - 10 a.m.
Plenary #3
Regency Ballroom, Banquet Level


Chair: Shannon Rose Riley, San Jose State University

Gibson Alessandro Cima, Tshwane University of Technology, South Africa
Future Nostalgias: Theatre, Memory, and Post-apartheid South Africa

Ellen MacKay, Indiana University
William Henry Ireland and Theatre History’s Oaken Chest

Kee-Yoon Nahm, Yale University
Rethinking Post-Racism in the Plays of Young Jean Lee
10:15 - 11:45 a.m.
Plenary #4
Regency Ballroom, Banquet Level


Chair: Aparna Dharwadker, University of Wisconsin

Marla Carlson, University of Georgia
Autism and Affect in Post-Realist Theatre

David Mayer, University of Manchester
Trouble at t’Millpond: An Early Film and a Late-Victorian Stage

Kim Solga, Queen Mary University of London
Realism after Neoliberalism

12 - 1:15 p.m.
Career Sessions
Organizer: Koritha Mitchell, Ohio State University

Please click this link to view moderators and descriptions for all career sessions.

#CS1 - Publish, Don't Perish: Articles
Oak Room Banquet Level

#CS2 - Publish, Don't Perish: Books
Far East Room, Banquet Level


#CS3 - Under Pressure: Claiming Success and Sanity in Your Pre-Tenure Years

Continental Room, Banquet Level

#CS4 - Surviving and Thriving During the Dissertation
Royal Room, Banquet Level

#CS5 - Pedagogical Predicaments: Meeting the Challenge of 21st-Century Teaching

Executive Room, Banquet Level

#CS6 - Navigating the Changing Job Market: Industry Applications
Florentine Room, Banquet Level

#CS7 -  Meet the Editors of Theatre Survey
French Room, Banquet Level

12 p.m.
Perform ASTR #4
See Perform ASTR Menu for location

Nicola Shaughnessy, University of Kent; Melissa Trimingham, University of Kent
Imagining Autism

Perform ASTR #5
See Perform ASTR Menu for location

Katherine Mezur, Freelance Performance Scholar
Dance like No One is Looking
1:30 - 3:30 p.m.
Tours of the Wyly Theatre
Offsite - Wyly Theatre

Concurrent Paper Panel #2
Oak Room, Banquet Level


Chair: Penny Farfan, University of Calgary

Paul Bonin-Rodriguez, University of Texas, Austin
Crowd-Sourcing a Theater Infrastructure in the Post-Ford Era: The Mellon-Funded Austin New Works Theatre Community (ANTWC)

Chase Bringardner, Auburn University
Talking Texan in Atlanta: The Best Little Whorehouse in Texas at Atlanta’s Fabulous Fox Theatre

Charlotte McIvor, National University of Ireland, Galway
Microhistories as Macrotheatre: Dismantling the Irish State (of Performance)

Julia A. Walker, Washington University, St. Louis
Touts, Shills, Puffs and Plants: Modernist Performanceand the Sociological Unconscious



Working Sessions B

#B1: Performance Studies in/from the Global South
Continental Room, Banquet Level


Conveners: Catherine Cole, University of California, Berkeley; Megan Lewis, University of Massachusetts, Amherst; Jisha Menon, Stanford University


Nandi Bhatia, University of Western Ontario
Globalizing Local Themes through Indian Drama in English

David Afriyie Donkor, Texas A&M University
"Let Me Play My Play”: Popular Performance, Corporate Sponsorship and Artistic Labor in Neoliberal Ghana

Laura Edmondson, Dartmouth College
"Pay Us So We Can Forget”: The Neoliberalization of Memory in Northern Uganda

Julius B. Fleming Jr., University of Pennsylvania
"Of Time, Space, and Revolution”: Performance and the Making of Modern Blackness in the Global South

Avishek Ganguly, Rhode Island School of Design
Figuring Translation in Wole Soyinka’s The Road

Ryan Hartigan, Brown University

Spinning the Compass: The Legal Construction of the Indigenous Global South

Paige Johnson, University of California, Berkeley
Buying Islam: Performing New Economies, New Economies of Performance

Omi Osun Joni L. Jones, University of Texas, Austin
"On’ lati bami dele ba’mi (You must follow me to myfather’s house)”: Performance, Patriarchy, and Evolving African Gender Constructions

Mwenya Kabwe, Independent Scholar
Mobility, Migration and "Migritude” in Afrocartography: Traces of Places and All Points In Between

Katherine Lieder, University of Wisconsin, Madison
Performing "Not-Feminism” in Modern Indian Theater

Diana Looser, University of Queensland, Australia
Cultures of Climate Change: MAU Dance Theatre’s Birds with Skymirrors and the Ecopoetics of an Island World

Kelly McKay, University of Minnesota
Sin Fines de Lucro: Space, Occupation, and Performance in the Chilean Student Protests

Nicholas Ridout, Queen Mary, University of London
"Denorthification” in Addison, Steel and Austen

April Sizemore-Barber, University of California, Berkeley
Displacement, Chronopolitics, and Sexual Violence in Mamela Nyamza and Mojisola Adebayo’s I Stand Corrected




#B2: Theatres of War: Performing Big Ideas on Big Stages
Royal Room, Banquet Level

Conveners: Jenna L. Kubly, Independent Scholar; Elizabeth Reitz Mullenix, Miami University of Ohio


DeAnna Toten Beard, Baylor University
"Inspiration and Atmosphere”: Theatrical Authenticity and the WWI Soldier in Popular Music for the Broadway Stage

Karen Dabney, University of Colorado

"For the Solider, By the Soldier”: Self-generated, Live Entertainment in the U.S. Army from 1990-2013

Laura Ferdinand Feldmeyer, Miami University

"To Die Would Be an Awfully Big Adventure”: Or, Preparing Boys for War: J.M. Barrie’s Peter Pan, WWI,and the Myth of Manhood

Megan Geigner, Northwestern University
Performing the Polish American Patriot: Polish Theatre in WWI Chicago

Amy Huang, University of Illinois
Entertaining Performances of Gender: Bronson Howard’s Shenandoah, the Civil War, and Late 19th centuryAmerican Gender Roles

Lisa Jackson-Schebetta, University of Pittsburgh
Performance, War, and Transnational Refugee Efforts in the Americas

Macy Jones, Louisiana State University
Fighting Fascism at Home: The Federal Theatre Project and the Rise of Totalitarianism Before WWII

David Jortner, Baylor University
"Dangerous Thoughts” and "Incitement to Violence”: Kamishibai, Reformation and Control during the U.S. Occupation of Japan

Emily Klein, Birmingham-Southern College
Raced Bodies/Erased Bodies and Wartime Citizenship: the Federal Theatre Project’s Negro Repertory Lysistrata

Yining Lui, Ohio State University
Staging War and Gender in Ohio University School of Theater’s Production of Lysistrata

Irma Maygora, Dartmouth College
Dramaturgies of War: Discourses of the U.S. Military in Elliot, a Soldier’s Fuge by Quiara Algria Hudes and blu by Virginia Grise

Laura Mielke, University of Kansas
Staging the Imp of National Discord in the Late-1850s U.S. Theatre

Hesam Sharifian, Tufts University
Hans Henny Jahnn’s Medea: Medea’s Revenge against Europe

Mina Sohai, University of Illinois
War Sells: A Case Study of the Only National War-Themed Production in Belgrade during the Croatian and Bosnian Wars, 1991-1995

Seth Wilson, University of Georgia
Soviet Images of the Second World War



#B3: State of the (inter)discipline: Cognitive Science in Theatre, Dance, and Performance
Far East Room, Banquet Level

Conveners:
Rhonda Blair, Southern Methodist University; Amy Cook, Indiana University

Natalie Bainter, Indiana University
Skincraft: Gallim Dance’s Blush

Diana Calderazzo, Independent Scholar
Music and Affect: Cognitive Mechanisms at Work in the Sondheim Experience

Pamela Decker, Ohio State University
Split Empathies and Soviet Spectatorship in Mayakovsky’s The Bedbug

Jeanine A. DeFalco, Teachers College, Columbia University
Reframing the Director as Educator: Incorporating Cognitive Science Principles in the Theatre Director’s Education and Training

Stephen Di Benedetto, Miami University
Change Blindness and the "Miser’s Dream”: Magical Neuro-Play and Other Theatrical Potentials

James R. Hamilton, Kansas State University
Spectating: A Bayesian Perspective

Pil Hansen, University of Toronto
Acts of Memory in Performance Generating Systems

Christopher Jackman, Brock University
Insight Cascade: Exercising Sensorimotor Mastery in Creative Flow

John Lutterbie, Stony Brook University
Time-Based Aesthetics and Cognitive Science

Sarah McCarroll, Georgia Southern University
The Historical Body Map: Cultural Pressures on Embodied Cognition

Maiya Murphy, University of Southern California

Actor-Creator as Actor-Perceiver: How Enactive Perception Underpins Physically-Based Actor Training

Vanille Roche-Fogli, Université Paris 3
Coordination and Brain’s Synchronization During Actors’ Kinesthetic Training in l’Ecole du Jeu (Paris, France)

Naomi Rokotnitz, Tel-Aviv University
"Screaming with Despair”: Passion Play and Affective Truth

Samuel T. Shanks, Briarcliff University
Involuntary Imagination: How Plays Highjack our Counterfactual Imagination

Nicola Shaughnessy, University of Kent

Inside/Out: Exploring the Extraordinary Aesthetics of Autism through Contemporary Performance and Film

Gabriele Sofia, Independent Scholar
Reflections about the Spectator’s Performative Experience

Jenn Stephenson, Queens University
Not Safe, Not-Playing in "Winners and Losers”: How Counterfactual Blending Illuminates our Sense of Actual-World Risk in Reality-Based Performance

Natalie Tenner, University of Mary Washington
Memory-Guided Attention and Audience Reception in Shakespeare’s Theatre

Evelyn Tribble, University of Otago
Mindful Bodies

Neal Utterback, Juniata College
"The Olympic Actor: Improving Actor Confidence through the Cognitive Sciences and Sports Psychology



#B4: Digital Methodologies in Theatre and Performance Studies
Regency Ballroom, Banquet Level

Conveners: Sarah Bay-Cheng, University at Buffalo; Debra Caplan, Baruch College, City University of New York


Wendy Arons, Carnegie Mellon University; Natalya Baldyga, Tufts University; and Michael Chemers, University of California, Santa Cruz
The Hamburg Dramaturgy–An Experiment in Online Digital Peer Review

Jane Barnette, Kennesaw State University
Wiki This Way: Dramaturgical Research and Wiki Collaboration

Marissa Béjar, Pontificia Catholica Universidad

Constructing the Sociological Field of Theater through its Digital Voices in Social Media and the Web

Scott D. Dexter and Amy Hughes, Brooklyn College
Form Follows Function: Drupal’s Role in Editing The Diary of Harry Watkins (1825-1894)

Serap Erincin, University of South Florida and University of London

Theorizing the Use of Digital Archives

Anita Gonzales, University of Michigan
Visualizing Performance Biography: Mix D - A Work in Progress

Kyna Hamill, Boston University
Assessing the Iconographical Record of Jacques Callot

Elizabeth Jochum, University of Colorado, Boulder
GRACE: Generating Reliable and Affective Choreography through Engineering

Patrick Mike Konesko, Bowling Green State University
"Make Boot of his Distraction, Never Anger”: Academic Process, Digital Possibility, and the ADHD Mind

Jessica Krenek, University of Maryland
Once a Fan, Always a Fan?: Female Sports Fandom

Deb Levine, New York University, Abu Dhabi
Demonstrating ACT UP

Adam Wayne Nixon, University of Maryland
Performance in Ones and Zeros. Cinema in a Digital Space, an Analysis of Metadata to Better Understand an Otherwise Invisible Audience-Performer Interaction

Sara Rofofsky, Queens College
Digital Repositories: Using the Non-traditional to Support Research

Naomi Stubbs, LaGuardia Community College
Form Follows Function: Drupal’s Role in Editing The Diary of Harry Watkins (1825-1894)




#B5: All Kinds of Music is Pouring Out of Me: Living Large and Feeling Big in Musical Theatre Performance and Reception
Executive Room, Banquet Level

Conveners:
Kathryn Edney, Regis College; Laura MacDonald, University of Portsmouth


Amanda Boyle, University of Kansas
The Large and In-Charge Liliom: Billy BIGelow is Bustin’ Out All Over

Maya Cantu, Yale University
Fantastic Oversized Figures: Broadway’s March of the Amazons

Mark Cosdon, Allegheny College
The Twentieth Century’s First Big Flop: Little Nemo in Wonderland

Dan Dinero, New York University
Boys and Girls Like You and Me: Gender Dynamics of Musical Theatre’s Adolescent Affect

Garrett Eisler, Ithaca College
Bursting into Song: The Grotesque Body in Broadway Musical Comedy

Kurt Edwards, East Central University
Anne Bogart and the Destabilization of the Rodgers and Hammerstein Embedded Idea

Stuart Hecht, Boston College
From Blacklist to Free: The Musical Liberation of Zero Mostel

Valerie Joyce, Villanova University
My Fair Ladies: Musical Biographies in Post-War American Musical Theatre

Julie Noonan, Ottawa University
History, Celebrity, and the Rock Star Image in the Musical

Brian Valencia, Yale University

"What a Crescendo—Not to be Missed”: Loudness in the American Musical

Kellee van Aken, Seton Hill University
One: Audience Identification with the Musical Theatre Chorus

Stacy Wolf, Princeton University
"If You do South Pacific, You Should Have Real Planes Flying Overhead”: Big Outdoor Summer Musical Theatre




#B6: Postpartum: Motherhood, Maternity,and Pregnancy as Performance
Florentine Room, Banquet Level

Conveners:
Judith Griselda Caballero, Millsaps College; Alicia Beth Corts, University of Georgia; Chelsea Phillips, Ohio State University


Sara Boland-Taylor, University of Illinois, Urbana-Champaign
(m)Otherhood: Constructing the Maternal Moor in Titus Andronicus

Judith Griselda Caballero, Millsaps College
The Righteousness of Child Neglect and Infanticide

Mina Choi, Ohio State University
Only Bad Mothers Survive: Women Playwrights’ Revisions of Medea

Rachel Price Cooper, University of Illinois, Urbana-Champaign
Deadly Vessels: Performing Maternity and Mourning on the Early Abbey Stage

Alicia Beth Corts, University of Georgia
I Am Ciera Spyker: Transgressive Motherhood in Second Life

Lynn M. Deboeck, University of Kansas
Breech Presentation: Unproductive Labor in Brecht’s Mother Courage and her Children

Andrea Dudziak, Naropa University
"A Bit of Earth to Make It Live”: An Exploration of Nurturing in Marsha Norman’s The Secret Garden during the 1990s Feminist Backlash

Eric Heaps, Indiana University
Refusing the Self/Other: Pregnancy and Motherhood in Refusing the Flower

Deidre Onishi, Cameron University
Any Mother’s Journey: the Noh play Sumidagawa

Chelsea Phillips, Ohio State University
Domestic Celebrity: Sarah Siddons and the Performance of Maternity

Emily Roxworthy, University of California, San Diego
Mother Courage Time: The Spectacle of WorkingMotherhood and War’s Temporality

Theresa Smalec, Bronx Community College
Single Motherhood: Social Malady, Symbol of Women’s Empowerment, or Something Else?

Francesca Spedalieri, Ohio State University
Allegorical Monstrosity: Motherhood as Representation of The Sicilian Struggle in the Works of Emma Dante

Aoise Stratford, Cornell University
Contemporary Gothic Drama, Monstrous Motherhood,and Suzan-Lori Parks

Angela Sweigart-Gallagher, Northeastern Illinois University
Too Much of a Good Thing: Motherhood in the Plays of Elizabeth Sanger’s The Birth Control Review

Cheryl L. Kaplan Zachariah, Universityof Illinois, Chicago
Fertility Goddess vs. Infertile Monster: Reclaiming inFertility through Disability and Performance




#B7: Beyond the Turn: Performance Philosophy Now
French Room, Banquet Level

Conveners:
Gabriella Calchi-Novati, Trinity College, Dublin; Will Daddario, Illinois State University


Claire Maria Chambers, Sogang University
"The Oblivion of Difference” and James Baldwin’s Performative Afropessimism

Jon Cogburn and Neal Hebert, Louisiana State University
"It’s Still Real to Me, Dammit!” Suspension of Disbelief and Performed Ontologies in Professional Wrestling

David Fancy, Brock University
"Immanent Performativity”: Gilles Deleuze’s Difference and Repetition and the Performative Ontology of Perpetual Affirmation

R. Darren Gobert, York University
Late Descartes and the Theatre/Philosophy Divide

Ozum Hatipolglu, Cornell University
Logodramas

Wade Hollingshaus, Brigham Young University
Peter Gabriel’s Growing Up Live: Theatricality and Aging

Ioana Jucan, Brown University
Un-picturing the Disenchanted World

Tasoula Kallenou, Charles Sturt University
Plato’s Drama: the Transformative Power of Performance Philosophy

Kate Katafiasz, Newman University
Drama and Dasein

David Kornhaber, The University of Texas, Austin
Performing Philosophy: The Case of Socrates

Jon Foley Sherman, Franklin & Marshall College
The Strange: Thinking About a Phenomenology of Stage Presence

Nathaniel Stern, University of Wisconsin, Milwaukee
The Implicit Body as Performance

Stephanie Vella, City University of New York, Graduate Center
Signaling through the Flames: Gestic Afterlives in Aby Warburg and Antonin Artaud

Aline Wiame, University of Brussels
Mapping, Thinking, Performing: Deligny’s and Deleuze’s Theatres of Subjectivity

Maurya Wickstrom, City University of New York, Graduate Center
The Infinitude of Thought in Precarious Form: Thomas Hirschhorn’s Gramsci Monument



#B8: The Applied Ph.D.
Panaroma Room, Terrace Level

Conveners:
Valleri Hohman, University of Illinois; Jen Schlueter, Ohio State University


Carolyn Bain, Bain Pugh and Associates, Inc.
President, Strategic Communication/Creative Media

Heather Barfield, Austin Creative Alliance
CFO/Business Director

Rebecca Hewett, New York City Department of Cultural Affairs
Associate Arts Program Specialist

Wendy Meier, Independent Scholar

Judith Sebesta, Texas Higher Education Coordinating Board
Director of Distance Learning

Richard Tharp, Kaiser Foundation Health Plan
Director, Educational Theatre Programs and Workforce Development



1:30 p.m.
Perform ASTR #6
See Perform ASTR Menu for location

Laurelann Porter, Arizona State University
How Not to Make Love to a Woman
2:30 p.m.
Perform ASTR #7
See Perform ASTR Menu for location

Nicole Stewart
Oral Fixation
3:45 - 5:15 p.m.
Plenary #5 – Special Plenary Session: Dallas Theatre
Regency Ballroom, Banquet Level

Chair: Rhonda Blair, Southern Methodist University

Robyn Flatt, Artistic Director, Dallas Children’s Theatre
Teresa Moreno, North Texas Alliance of Latino Theatres
Kevin Moriarty, Artistic Director, Dallas Theatre Center
Katherine Owens, Founder and Artistic Director, Undermain Theatre
Tina Parker, Co-Artistic Director and Administrative Director, Kitchen Dog Theatre
Will Power, Playwright in Residence, Dallas Theatre Center
Stan Wojewodski, Southern Methodist University
5:15 - 6:15 p.m.
Celebrating Performance Encounters:
A Reception Sponsored by Northwestern University Press and the Mellon Foundation

Pavilion Room, Terrace Level

Dinner Break
6:15 - 9:15 p.m.
Working Sessions C

#C1: Everyday Life: Histories of the Ordinary, Persistent, and Repeated
Oak Room, Banquet Level

Conveners: Robin Bernstein, Harvard University; Kyla Wazana Tompkins, Pomona College


Kemi Adeyemi, Northwestern University
"No, I am Not Carmen”: (Mis)recognition and the Black Hipster Everyday Life

Arnab Banerji, University of Georgia,
The Extra Ordinary: The Story of Bengali Theatre, as Told by the People who "Build” It

Nelson Barre, National University of Ireland, Galway
Revising History: Performance and Ritual in The Walworth Farce

Shamell Bell, University of California, San Diego
Corporeal Pedagogy: Haunting and Resisting Public Imagination

Nicole Berkin, City University of New York, Graduate Center
Celebrated and Ordinary Players in the Ludlow and Smith Company

Sara Brady, Bronx Community College, City University of New York
Somewhere in between Stephen Colbert and the Koch Brothers: How Money Performs in the Everyday

Jyana S. Browne, University of Washington
Stained by Tears: Circulation of Affect in Professional and Amateur Performance in Early Modern Osaka

Michelle Liu Carriger, Queen Mary, University of London
Getting in the Habit: Clothing and Everyday Theatricality

Danny Devlin, University of Kansas
Crash Bars and You: Revitalizing the Dead and Forgotten in Everyday Life

Angela Farr-Schiller, Stanford University

The Choreographies of Touch: Performance, Race and the Politics of Tactility

Benjamin Gillespie, City University of New York, Graduate Center
Encountering Everyday Acts of Transfer: Embodiment, Creative Economy, and Administrative Violence

Lisa Hall Hagen, Utah Valley University
Performing the Ordinary Body in the Large Labia Project

Kelly Howe, North Central College
Staging Absurd Commonsense of the (Legislated?) Everyday: Zygote Personhood, Corporate Personhood, and The Least Person-ish Thing One Could Be

Kristin Hunt, Northern Illinois University
Dining as Acting: Mimesis and Authenticity in Contemporary Cuisine

Katie N. Johnson, Miami University
Queering Everyday Life in the Archive: The Case of Jules Bledsoe

Magdalena Kazubowski-Houston, York University
"Thoughts Sit Like Stone in Me”: Dramatic Storytelling in the Ethnographic Study of Everyday Interiority

Tabitha Kenlon, Northeastern University
"Such Perverse Obedience!”: Performing Transgression and Conformity in the Plays of Hannah Cowley

Ju Yon Kim, Harvard University
Standardized Performance: The Model Minority at Work and at Play

Lindsay Adamson Livingston, Brigham Young University
Extra/Ordinary Crime: The Place and Performance of Gun Violence in the United States

Carol Martin, New York University
Staging the Self

Carra Martinez, University of Minnesota
The Radical Everyday: Performance Traditions in East Austin, Texas

George McConnell, Florida State University
"Don’t Stop Believing”: An Ethnographic Journey along the Porous Boundary between Performances of Everyday Life and Popstar Fantasy Karaoke Performance

Patrick McKelvey, Brown University
Performing Disaffectation, Disabling Mimesis

Lisa Merrill, Hofstra University
Antebellum Everyday Life Performances and Civil War Sympathies

Christina Mok, University of Cincinnati
Race and Persistence

Lara D. Nielsen, Macalester College
Performing the Everyday in the War on Drugs: The Rhetorics of Sexuality, Photographs, and the Citizen

Coleman Nye, Brown University
Biological Properties: Gene Patenting and the Theatrical Laws of Nature

Eleanor Owicki, Texas A&M University
"This is Our Wee State”: Unionism and the Normalization of Sectarian Power Struggles in "Post-Conflict” Northern Ireland

Ryan Platt, Colorado College
The Ambulatory Aesthetics of Yvonne Rainer’s Trio A

Matthew Shiflett, University of Maryland, College Park
Cities of Grace: Dance and Comportment in the Eighteenth Century British Empire

Eleanor Skimin, Brown University
Sitting at Home/Sitting at the Theatre

Rhaisa Williams, Northwestern University
When a House is More than a Home: Pleasure, Infrastructural Memory, and Constructing a New Archive



#C2: Entertaining Children: The Participation of Children in Theatre and the Entertainment Industry
French Room, Banquet Level

Convener:
Victor Emeljanow, University of Newcastle


Gillian Arrighi, University of Newcastle
Towards a Cultural History of Global "Youth” and "Social” Circus

Dyan Colclough, Manchester Metropolitan University
The All-Child Victorian Audience: Marketing Childhood in the British Theatre

Marah Gubar, University of Pittsburgh

The Dirty History of American Children’s Theatre

Erika Hughes, Arizona State University
Sentimentality and the Rules of American Theatre for Young Audiences

James Skidmore, Memorial University of Newfoundland

Defying Death: Children in the Indian Circus

Shauna Vey, New York City College of Technology
The Baby Peggy Project



#C3: Shakespearean Performance Research Group
Far East Room, Banquet Level

Conveners:
Catherine Burriss, California State University, Channel Islands; Franklin J. Hildy, University of Maryland; Robert Ormsby, Memorial University of Newfoundland; Don Weingust, Center for Shakespeare Studies, Southern Utah University/ Utah Shakespeare Festival; W.B. Worthen, Columbia University


Erin Ashworth-King, Angelo State University
"And Fare Thou Well”: Staging Shakespeare’s Tempest V.1

Todd Landon Barnes, Ramapo College of New Jersey
Barack Obama’s "Hamlet-like Indecision”

Andrew Blasenak, Emory and Henry College
Creating Character with/for a Visible Audience in Early Modern Plays in Reimagined Early Modern Playhouses

Andrew Carlson, University of Texas, Austin
Racializing the Shakespearean: Authorizing Robeson’s Othello

Lezlie Cross, University of Nevada, Las Vegas
Sweating the Small Stuff: Shared Lines in Shakespeare

Sarah Daugherty, Western Washington University
"Dans Sa Douce Et Tendre Folie”: Madness, Anti-genre, and Spectatorship in Hector Berlioz’s La Mort d’ Ophelie

Joe Donohue, University of Massachusetts, Amherst
Shakespeare’s Blatant but Problematic Presence in Oscar Wilde’s The Duchess of Padua (1883)

Rose Elfman, University of California, Santa Barbara
Fighting Shakespeare with Shakespeare: Artistic Protests at an Israeli Merchant of Venice

Tom Fish, McGill University
The Whirligig of Time: Queer Temporalities in All-Male Twelfth Night

Nicholas Helms, University of Alabama, Tuscaloosa
Mental Illness and Reading Shakespeare’s Characters

Nicola Imbracsio, Saginaw Valley State University
"Oh, Straziante, Meravigliosa Bellezza del Creato”: Object and Bodily Performances in Pasolini’s Othello

Robert Lublin, University of Massachusetts, Boston
"Apparel Oft Proclaims the Man”: Hamlet and Costumes on the Early Modern Stage

Cary Mazer, University of Pennsylvania
Our Frames, Our Selves

Maureen McDonnell, Eastern Connecticut State University
Signing Shakespeare: Staging American Sign Language in Cymbeline (2013)

Deirdre O’Rourke, University of Pittsburgh
John Lacy’s "Sauny” Shakespeare

Rob Ormsby, Memorial University of Newfoundland
Leon Rubin at the Stratford Festival

Dave Peterson, University of Pittsburgh
The Flop and Failure in 500 Clown Macbeth

Andrew Ross, University of North Texas
"All the World’s a Stage”: Shakespeare’s Metatheatre in Performance

Danielle Rosvally, Tufts University
Once More into the Breech

Jessica Schiermeister, Mary Baldwin College, Blackfriars
Women Were Not Legally Barred from the Early Modern Stage

Johanna Schmitz, Southern Illinois University, Edwardsville
Elizabethan Playhouse Reconstruction In Four Films since 1996

Richard Schoch, Queen’s University, Belfast
Genealogies of Shakespearean Acting

Robert Shaugnessy, University of Kent
In Time with Shakespeare

Lauren Shepherd, University of Toronto
Defining and Performing Madness in Shakespeare’s Women

Andrew Sofer, Boston College
"An Undergoing Stomach”: Performing Catharsis in Shakespearean Tragedy

Fran Teague, University of Georgia
Performing Theatrical Memory and Its Lapses

Pamela Thielman, City University of New York, Graduate Center
Musick, Curious Dancing, Splendid Scenes and Machines

Sara Thompson, University of Maryland
Mark Rylance Newly at the Helm of Shakespeare’s Globe

Dan Venning, City University of New York, Graduate Center
Ludwig Tieck’s Shakespeare Chronology: Romantic Criticism versus Historical Scholarship

Martin White, University of Bristol
"A New Chamber of Demonstrations”: The Sam Wanamaker Playhouse



#C4: Rediscoveries in One Act: New Approaches to Teatro Breve from the Spanish Golden Age
Continental Room, Banquet Level

Conveners:
Ben Gunter, Florida State University; Kerry Wilks, Wichita State University


More information on the internet: http://spanish-golden-age-plays.wikispaces.com/Teatro+Breve+administration

Team Entremés:
Melissa Figueroa, Cornell University (Team Leader)
Karen Berman, Georgia College
Nena Couch, Ohio State University
Sarah Esmi, Brooklyn Law School
Ronna Feit, State University of New York
Antonio Guijarro, University of Connecticut
María Paz Pintané, Vanderbilt University
Peter Thompson, Queens University
Jared White, University of California, Irvine
Jason Yancey, Grand Valley State University

Team Auto/Loa:
Susan Paun de García, Denison University (Team Leader)
Rick Davis, George Mason University
Deborah A. Dougherty, Alma College
Ronna Feit, State University of New York
Alejandra Juno Rodríguez Villar, Duke University
Colleen Rua, Bridgewater State University
Alyssa Rumple, Independent Scholar

Team Translation:
Ben Gunter, Florida State University (Team Leader)
Ian Borden, University of Nebraska, Lincoln
Kathleen Costales, University of Dayton
Rick Davis, George Mason University
Christiana Molldrem Harkulich, University of Pittsburgh
Alyssa Rumple, Independent Scholar
Amy Williamsen, University of North Carolina, Greensboro

Encina Encounter Group:
Kerry Wilks, Wichita State University (Team Leader)
Susan Paun de García, Denison University
Ben Gunter, Florida State University
Benjamin J. Nelson, University
of South Carolina, Beaufort
Yuri Porras, Texas State University

Senior Scholar:
Grover Wilkins III, Orchestra of New Spain



#C5: DH and Theatre Research: An ASTR Unconference
Regency Ballroom, Banquet Level

Conveners:
Nancy E. Friedland, Columbia University; Mary Isbell, Yale University


More information on the internet: http://dhandtheatreresearch.wordpress.com

Robert Davis, City University of New York, Graduate Center
Chris Eaket, University of Georgia
Bethany D. Holmstrom, City University of New York, Graduate Center
Linzi Juliano, University of California, Los Angeles
Kimon Keramidas, Bard Graduate Center
Katherine Mezur, Independent Scholar
Emmanuelle Sirois, Université du Québec à Montréal
J.A. Sokalski, McMaster University
Lisbeth Wells-Pratt, University of Georgia




#C6: Post-thematic Returns to the Fundamentals: Performance as Research and Practice Based Research
Executive Room, Banquet Level

Conveners:
Daniel Mroz, University of Ottawa; Kris Salata, Florida State University


Mary Elizabeth Anderson, Wayne State University
After and Away From: The Vicissitudes of Writing (up) Performance Research

Bruce Barton, University of Toronto
"Hang On”: Disrupting and Disruptive Intimacy in All Good Things

Dorothy Chansky, Texas Tech University
Assessing Three Eleanors: Arts as Historiography

Patrick Finn, The University of Calgary
Performing Citizenship: The Report of the Philosopher Kings

Kyle Gillette, Trinity University, San Antonio
Becoming the Engine: Rehearsal, Encounter, and Machine

Lynette Hunter, University of California, Davis
Keeping in Touch

Virginie Magnat, University of British Columbia
Towards an Ecological Understanding of Post-Theatrical Performance Research

Alissa Mello, Royal Holloway University of London
Blurry Roles of Participant Observation in Praxis as Research

Lucia Rainer, University of Hamburg
On Nothing–For Nothing

Daniel Sack, Florida State University
The Lecture as Performance: Theatricality in the Academy

Ben Spatz, Urban Research Theater, New York
Massimiliano Balduzzi: Physical Training for the Actor

Kris Salata, Florida State University
Daily Research at the Workcenter of Jerzy Grotowski and Thomas Richards: Analytical Notes from the Field

Michael St. Clair
Games of Blood and Treasure: Representation and Power in Cold War Simulation Games

Robert C. Thompson, Odd Act Theatre Group
Into the Fountain: Participatory Performance at the Nexus of Ritual and Theatre




#C7: Expanding Scholarship Through the American Theatre Archive Project
Panorama Room, Terrace Level

Conveners:
Susan Brady, Yale University; Ken Cerniglia, Disney Theatrical Group


April Anderson and Ann Haugo, Illinois State University
Identifying, Processing, and Preserving the Papers of the Illinois Shakespeare Festival at the Dr. JoAnn Rayfield Archives at Illinois State University

Claudia Case, City University of New York, Lehman College
Teaching the Archive: A Graduate Seminar on Reconstructing Performance

Patrick Finelli, University of South Florida
Broadway Visions: Digital Exhibit of American Scenographers—Boris Aronson

Shannon Fitzsimons, Northwestern University
Work in Progress: Editorial Communities and New Play Development in Chicago Regional Theatre

Kristin Leahey, Northlight Theatre Company
The Erased Legacy of Charlotte Chorpenning

Michael Kaufman, Temple University
Teaching Drama Through Collaborations

Lillian Manzor, University of Miami
Integrating Archival and New Media Work in the Undergraduate Classroom

Michelle Salerno, University of Illinois at Urbana Champaign
Archiving Inner Voices: Making Space for What Students Have to Say

Cynthia SoRelle, McClennan Community College
ATAP and LMDA: Surveying the Landscape



#C8: Traumatic Structures
Florentine Room, Banquet Level

Conveners:
Mary Karen Dahl, Florida State University; Jeff Paden, Florida State University


Paul Adolphsen, University of Massachusetts, Amherst
"Fiery Possibility”: The Ambivalence of (Post)Trauma in Yael Farber’s Molora and Mies Julie

Rachel E. Bennett, University of Illinois, Urbana-Champaign
Repeating/Resisting Fascism: Dresden on February 13th

Barbara Wallace Grossman, Tufts University
Courage, Hope, and Defiance in Terezín: The Power of "Transcendence Art”

Rebecca Johannsen, Mercy College
Unwatchable: Testimony in Erik Ehn’s Soulographie

Haddy Kreie, University of California, Santa Barbara
Un/Binding: Processing National Colonial Trauma through Ritual Practices of Madagascar

Chiara Montanari, University of Chicago
Yet Another Failed Revolution: The Unification of Italy on Stage

Lisa Peschel, University of York
Trauma, Humor and National Identity in Scripts from the Terezín Ghetto

Rebecca Rovit, University of Kansas
In Memoriam, 1945: German Resistance, Post-trauma, and Günther Weisenborn’s The Illegals

Laura Schlein, University of Washington
On Un-Hallowed Ground at the New England Holocaust Memorial

Andrew Wilford, University of Chichester
Finding a Wounded Future on Dealey Plaza

Edward Ziter, New York University
Torture on the Syrian Stage



#C9: Influence, Transposition, Revision: Eastern European Theatre and its International Metamorphoses
Royal Room, Banquet Level

Convener:
Yana Meerzon, University of Ottawa


Veronika Ambros, University of Toronto
Petr Bogatyrev’s Studies and E. F. Burian’s Theatre as a Model of Past and Present Synergy Between Theory and Practice

Sharon Marie Carnicke, University of Southern California
Contesting Realism in Chekhov and Stanislavsky: The Seagull as Case in Point

Brian E.G. Cook, University of Alaska, Fairbanks
Between Brook and McBurney: An Alternate Genealogy of Physical Theatre in the UK

Jane G. Duncan, Independent Scholar
Saviana Stanescu: Haunted by Dueling Influences

Maria Ignatieva, Ohio State University, Lima
Stanislavsky Revisited

Margarita Kompelmakher, University of Minnesota
Staging Solidarity Across Borders: The Belarus Free Theater’s Being Harold Pinter in the US

Dominika Laster, Yale University
Tadeusz Kantor’s Eternal Return: Reality of the Lowest Rank Returned

Julia Listengarten, University of Central Florida
Stanislavsky and the Avant-Garde

Andrei Malaev-Babel, Florida State University, Asolo Conservatory for Actor Training
Vakhtangov Acting Theories in USA Theatre Schools

Yana Meerzon, University of Ottawa
On the Dramaturgy of Affect: Staging the Spectator in Michael Chekhov’s Acting Theory

Barbora Příhodová, Masaryk University
"Hullabaloo” in Boston: Intolleranza 1960 Performed on the Stage of the Cold War

Martin Pšenička, Charles University
Aesthetics of Unintentional and Group Quidam

Ann Shapiro, University of Birmingham
Between Perception and Practice: The Challenges of Studying Eastern Bloc Theatre Through an Anglo-American Context

Adam Siegel, University of California, Davis
Theorizing the Nation: Sandro Axmeteli and the Georgian Stage

Aniko Szucs, New York University
Uncanny Homecomings 2: Theatre Director Peter Halasz’ Return to Eastern Europe in the Early 1990s

Natalie Rewa, Queen’s University
Looking back to Malevich...

Vessela Warner, University of Alabama at Birmingham
Experimental Laboratory @lma @lter and Jerzy Grotowski’s Legacy in Bulgaria

Stephen Wilmer, Trinity College Dublin
Maciunas: Nutty Artist or Seminal Influence?

Seth Wolitz, Schusterman Center for Jewish Studies, University of Texas, Austin
Staging a Jewish Post Shoah European Theatre: Sloves, Grumberg and Tabori

Jie Zheng, Central China Normal University
Brecht in China: The Good Person of Szechwan


6:30 p.m.
Perform ASTR #8
See Perform ASTR Menu for location

Beliza Torres Narváez, University of Texas at Austin
A sexy picnic with Y ... pervertida

8 p.m.
Perform ASTR #9
See Perform ASTR Menu for location

Andrea ‘Andi’ Dudziak, Naropa University
Bedlament

9:30 p.m.
Perform ASTR #10
See Perform ASTR Menu for location

Brian Herrera, Princeton University
Touch Tones: The Party Line Experiment

11 p.m., 11:20 p.m.,
11:40 p.m., 12 a.m.,
12:20 a.m., 12:40 a.m.,
1 a.m., 1:20 a.m, 1:40 a.m. (Fri. Night/Sat. Morning)

Perform ASTR #11
See Perform ASTR Menu for location

Melissa C. Thompson, University of Arizona; Alison Dobbins, Michigan State University
Ask the Unsleeping Cassandra



Saturday, November 9

7:30 - 8:45 a.m.
Career Sessions
Organizer: Koritha Mitchell, Ohio State University

Please click this link to view moderators and descriptions for all career sessions.

#CS 8 - Publish, Don’t Perish: Articles, Part II
Panorama Room, Terrace Level

#CS 9 - Publish, Don’t Perish: Books, Part II
Far East Room, Banquet Level

#CS 10 - Under Pressure: Claiming Success and Sanity in Your Pre-Tenure Years, Part II
Continental Room, Banquet Level

#CS 11 - New Paradigms: Avoiding the ABD Cliff
Royal Room, Banquet Level

#CS 12 - Size Matters: Unique Challenges and Opportunities in Small Liberal Arts Colleges
Executive Room, Banquet Level

#CS 13 - Navigating New Technologies
Florentine Room, Banquet Level

#CS 14 - Navigating the Changing Job Market: Beyond US Borders
French Room, Banquet Level

#CS 15 - Towards a Mentor Manifesto: Guiding Principles for Effective Mentorship in ASTR
Oak Room, Banquet Level

8 a.m. - 5 p.m.
Registration Open
Regency Foyer, Banquet Level
8 a.m. - 5 p.m.
Exhibit Hall Open (closed for lunch, 11:30 a.m. - 1:30 p.m.)
Gold Room, Banquet Level
8 - 10 a.m.
Coffee and Breakfast Breads Available in the Exhibit Hall
Gold Room, Banquet Level
9 - 11 a.m.
Plenary #6 – Theatre Library Association
Pavilion Room, Terrace Level


Chair: Doug Reside, New York Public Library

Harmony Bench, Ohio State University; Nena Couch, Ohio State University
Engaging Big Data Bit by Bit

Kimon Keramindas, Bard Graduate Center
Analog Continuity, Digital Granularization and the Challenge of Using the Digital Medium to Study the Historical Record of Performance

Doug Reside, New York Public Library
Big Data and the Performing Arts

Publications Committee Meeting
Florentine Room, Banquet Level

11:30 a.m - 1:30 p.m.
ASTR Awards Banquet and Business Meeting
Regency Ballroom, Banquet Level

1:45 - 3:45 p.m.
Concurrent Paper Panel #3
Pavilion Room, Terrace Level


Chair: Ana Puga, Ohio State University

Areum Jeong, University of California, Los Angeles
(Un)Positioning Transnational Identities in Ping Chong’s Chinoiserie and Deshima

Odai Johnson, University of Washington
First Person, Plural

Freddie Rokem, Tel Aviv University
The Logic of/in Tragedy: Sophocles’ Theban Plays

Sara Warner, Cornell University
Terminal Maladies and Chronic Desires: Madeleine George’s Aching Lesbian Bodies



Working Sessions D

#D1 - Performing Science and Scientific Performance
Oak Room, Banquet Level

Conveners: Aileen Robinson, Northwestern University; Kati Sweaney, Northwestern University


Beatrice Choi, Northwestern University
In "Good Faith”: The Clash between Scientists and Skeptics and the Performance of "Science” in Climate Change Discourse

Jenn Cole, University of Toronto
Cries Onstage: The Force of Inarticulacy in the Hysteria Performances of Nineteenth-Century France

Erin Hood, University of Wisconsin, Madison
Making and Remaking "Pain”

Beth A. Kattelman, Ohio State University
Interrogating the Blue Room: Reflections on a Turn-of-the-Century Magic Show and the Veracity of the Senses

Sarah Marsh Krauter, University of Washington
"The Most Famous Man in the U.S. Meets the Most Famous Woman in France”: Thomas Edison, Sarah Bernhardt and the Birth of Motion Pictures

Ciara Murphy, Stanford University
A Night at the Museum: Transformational Performances of Natural Knowledge

Jennifer Pacenza, Indiana University
Experiments in (In)Credibility: Performance’s Truthful Lies in Early Tudor Drama

Kara Reilly, University of Exeter
Operating Theatres: Staging the Body as an Object

Aileen Robinson, Northwestern University
Wonders of a Water Drop: Animalcules and the Theatre of Popular Science

Kati Sweaney, Northwestern University
"The Most Famous Brain in the World”: Scientific Performance and the Brain as Archive

Katherine Swimm, Tufts University
"The outward marks of a mind now overshadowed by despair”: Hugh Diamond, John Conolly, and the Characterization of the Insane

Jeanne Tiehen, University of Kansas
Dystopian Drama: Untapped Possibilities for Bringing Science to the Stage

E. J. Westlake, University of Michigan
The Interrogative Stage: Devising Performance About Science




#D2: Histories: Large x Small
Far East Room, Banquet Level


Conveners: Tracy C. Davis, Northwestern University; Lisa A. Freeman, University of Illinois, Chicago


Samer Al-Saber, Davidson College
Permission to Perform: Cultural History of Jerusalem

Cindy Brizzell-Bates, State University of New York, Empire State College

The Astor Place Riot and Modern Memory

Pannill Camp, Washington University in St. Louis
Arts of Brotherhood: French Freemasonry in Performance

Soyica Colbert, Georgetown University
Black Movements: Performance, Politics, and Migration

Colleen Kim Daniher, Northwestern University
Troubling Acts: Racial Ambiguity and the Performance of North American Intimacies

Tracy C. Davis, Northwestern University
Living in Public: Studies in Liberal Subjectivity

Lisa A. Freeman, University of Illinois at Chicago
Antitheatricality and the Body Public: From the Renaissance to the NEA

Brian E. Herrera, Princeton University
Casting: A History

Nicole Jerr, Johns Hopkins University

Pretenders to the Throne: Sovereignty and Modern Drama

Douglas A. Jones Jr., Rutgers University
"Something Gained”: Frederick Douglass and the Practice of Democratic Individuality

Kim Marra, University of Iowa
Riding Queers: A Sensational Performance History

Sean Metzger, University of California, Los Angeles
Site-Specific Performance in the Chinese Atlantic

Emily Sahakian, University of Georgia
Dramatic Disconnects: Slavery’s Legacy in French Caribbean Theatre by Women

Daniel Smith, Michigan State University
Alternative Classics: Sexual Excess and Scatological Authority in Eighteenth-Century French Drama




#D3: (Re)Positioning the Latina/o Americas: Theatrical Histories and Cartographies of Power
Continental Room, Banquet Level

Conveners:
Jimmy A. Noriega, College of Wooster; Analola Santana, Dartmouth College

Debra Castillo, Cornell University
Repositioning Migration: Trabajadores Desde Otro Mundo

Honey Crawford, Cornell University
Now Let’s Shake to This: Viral Power and Flow from Harlem to São Paulo

Andrew Gibb, Texas Tech University
"What the heck do I call this course?”: The Effect of New Maps on Old Classrooms

Christopher Goodson, University of Washington
The Octopus: Becoming Guatemalan in a Home Depot Parking Lot

Jean Graham-Jones, City University of New York, Graduate Center
Buenos Aires and the Emerging International Performance Networks: Lola Arias Remaps the Real

Gad Guterman, Webster University
"Your Brother Doesn’t Have Papers”: La Víctima’s Mixed-Status Family

Patricia Herrera, University of Richmond
Staging America: Universes’ Ameriville and Party People

Jorge Huerta, University of California, San Diego
The Challenges of Directing Bilingual Plays: From the Mainstream to the Streets

Teresa Marrero, University of North Texas and TANTO
Transnational (Dis)placement and Border Crossing: Dallas, Texas

Eric Mayer-Garcia, Louisiana State University
Piñera’s Absurd and the Absurd’s Caribbean Character

Alexandra Ripp, Yale School of Drama
Re-localizing Globalized Theater: The Revisionary Performances of Post-Dictatorship Chile in Guillermo Calderón’s Neva, Diciembre, and Villa

Jon Rossini, University of California, Davis
Articulating the Political Geography of Latino America

Roxanne Schroeder-Arce, University of Texas, Austin
Toward Culturally Responsive Artistry: Implications of Latino/a Theatre for Young Audiences On Texas Stages

Claudia Villegas-Silva, Arizona State University
On the Cutting Edge: Theater and New Media in Latin American Theatre



#D4: The Afterlives of the Sixties in Contemporary Performance
Royal Room, Banquet Level

Conveners
: Kate Bredeson, Reed College; Jason Fitzgerald, Columbia University

Ryan M. Davis, Yale School of Drama
Feeling Remains

Elin Diamond, Rutgers University
Austin: the First Linguistic Turn

Miriam Felton-Dansky, Bard College
The Streets are Dead Capital

Bertie Ferdman, Borough of Manhattan Community College, City University of New York
Off-Site Performance: Extending Time and Space

Lindsay Goss, Brown University
"We no longer paint, we don’t think about it anymore”

Juliet Guzzetta, Michigan State University
Translating the 1960s for Contemporary Italian Stages

James Harding, University of Warwick
Undercover Surveillance Operatives: Bigotry, Bathrooms and Environmentalists

Vivan L. Huang, New York University
Modern, Modular, Model: Mika Tajima, Action Office Furniture, and a Good-Enough Environment

Chloe Johnston, Lake Forest College
Operation RAW, Operation First Casualty, and the Repetition of Risk

Jessica Nakamura, Stanford University
Chim Pom’s Post-Fukushima Art: Revising The Sixties’ Nuclear Aesthetics And Activism

Cindy Rosenthal, Hofstra University
Circling up with The Assembly: A New Ensemble Negotiates Collective Creation and Community Connections

Nick Salvato, Cornell University
"That Was Then, This Is Dumb”? Daria, Cynicism, and the 90s’ 60s

Aaron C. Thomas, Florida State University
Sexual Violence and Banality at the Cineplex



#D5: Theater in the Global Nineteenth Century
Executive Room, Banquet Level

Conveners:
Katherine Biers, Columbia University; Sharon Marcus, Columbia University


Rimli Bhattacharya, University of Delhi
The Trade Routes Of Performance In Colonial Bengal

Justin A. Blum, University of Toronto
"Mechanical Trickery” or "The Legitimate Resources of His Art”?: British and American Views on Richard Mansfield’s On-Stage Transformation from Mr. Hyde to Dr. Jekyll

Jim Davis and Patricia Marie Smyth, University of Warwick
Anglo-Australian Theatrical Exchange in the Late-Nineteenth Century

Angela Esterhammer, University of Toronto
The Cross-Cultural Reception of Improvised Drama in Early-Nineteenth-Century Europe

Joachim Fiebach, Humboldt-Universitaet zu Berlin
World’s Fair 1900 and Beni-Nogma

Narve Fulsås, University of Tromsø
Ibsen’s Scandinavian Context – a Revaluation

Michelle Granshaw, University of Pittsburgh
Creating Global Community: Virtual Witnessing, Moving Panoramas, and the Irish Diaspora in the Nineteenth Century

Christopher Grobe, Amherst College
Every Nerve Keyed Up: ‘Telegraph Plays’ and the Networked Theater

Lisa M. Kelly, Northwestern University
Global Touring from the Individual Perspective: the Commentary of 19th Century British Actresses on Their Transnational Experiences

Daphne Pi-Wei Lei, University of California, Irvine
Globalizing Chinese in Nineteenth-Century California

Derek Miller, Harvard University
Nineteenth-Century Theater and Global Modes of Production

Kate Newey, University of Exeter
Adaptation and Circulation

Lawrence Smith, University of Illinois at Urbana-Champaign
Spectacular Remedies to Colonial Conflicts: Tableaux Vivantes, Proto-cinema, and the Performance of Imperial Dialects/Dialectics in Jessie Brown

Matthew Wilson Smith, Stanford University
Industrial Disaster as Thrill Ride



#D6: Theatre, Media, and History: The Post-Truth Historian
Florentine Room, Banquet Level

Conveners:
Sam O’Connell, Worcester State University; Ann Folino White, Michigan State University


Vivian Appler, University of Pittsburgh
Broadcasting Burma: Myanmar’s Messages from Inside, Outside, and on the Border

Christine Simonian Bean, Northwestern University
Dramaturging the "Truth”: Historiography and Activism in The Exonerated

Ryan Claycomb, West Virginia University
The Document and the Account: The Dramaturgy of Truth Claims in Oral History and Documentary Performances

Rick DesRochers, Long Island University
Post Truth or Truthiness?: The New Humor of Radio and Television in Mid-Twentieth-Century America

John Fletcher, Louisiana State University
Proving the World is Round (and Very, Very Old): Epistemic Fidelity and Historiographic Good Faith in Evangelical Denialist Performance

Rhona Justice-Malloy, University of Mississippi
News Or History?: When Does Opinion Count As Fact?

Oona Kersey Hatton, San Jose State University
"Hey, asshole: you had your say”: Crowdsourcing Theatre Scholarship

Keith Byron Kirk, University of Houston
Staging "Truths” for Post-Truth Stages

Reza Mirsajadi, Tufts University
Spectrums of Truth: Transcribing Reality in Verbatim Musical Theatre

Scott Proudfit, Elon University
Shaping Things to Come: How Formatting Theatre Reviews Can Create Community for Critics and Artists

Susanne Shawyer, Independent Scholar
Celebrity Gossip and the Playwright: A Ranciérean Approach to Theatre-as-History in Release the Stars: The Ballad of Randy and Evi Quaid

Annika Speer, University of California, Santa Barbara
From Trial Transcript to Docudrama Script: The Complexity of Activism in Dustin Lance Black’s 8

Paul Thelen, Northwestern University
Onus Probandi: The Burden of Proof Project




#D7: Tasting Dallas, or I Hope You Brought Enough for Everyone?
French Room, Banquet Level

Convener:
Joshua Abrams, University of Roehampton


Elaine Aston, Lancaster University
From Good Night Out Girls to Cowgirls

Susan Bennett, University of Calgary
Bridge Performance: Building the Dallas Brand

Joana Craveiro, University of Roehampton
Birth Of A City, Transhumance and Abandoned Practices: Pioneer Plaza, In Dallas

Susan Haedicke and Tim White, University of Warwick
Edible Stories: Community Gardens and the Democratic Performance of Everyday Life

Macelle Mahala, University of the Pacific
Discovering the Black Theatres of Dallas and Fort Worth

Emily Piepenbrink, Independent Scholar
Bonnie, Clyde, and J.R. Ewing: The Performance of the Outlaw in Dallas, Texas

Jessica Riley, University of Guelph
Kitchen Dog, with a Side of Tarragon

Shannon Rose Riley, San Jose State University
Nicole Returns to Dallas: Post-tenure Performance as Research and Gentlemen’s Clubs in the Naked Empire

Ramon Rivera-Servera, Northwestern University
Exhibiting Performance: Dallas, Race and Museum Cultures

Klaus van den Berg, University of Tennessee, Knoxville
Wyly Theatre: How does the Skyscraper Perform in Dallas?

Stephani Etheridge Woodson, Arizona State University
Pam Dougherty’s Living Room: Understanding Change in 30 years of Dallas Theatre




#D8: Medieval Post-Performance: A Workshop and Roundtable Discussion on Performance Theory and/of Praxis, Part 2
Panorama Room, Terrace Level

Conveners:
Lofton L. Durham, Western Michigan University; Jacqueline Jenkins, University of Calgary


Lofton L. Durham, Western Michigan University
Re-shaping Performance: Selecting, Translating, and Producing Medieval Texts for a Contemporary Audience

Elisabeth Dutton, University of Fribourg, Switzerland
The Power of the Word? John Bale’s Three Laws in Performance

Jody Enders, University of California, Santa Barbara
Medieval Pornography? Staging Subversion, Transhistorical Comedy, and Impolitic Translation

Erith Jaffe-Berg, University of California, Riverside
Traces of the Jongleur Tradition in Mantua: The Strange Case of Simon Basilea

Jacqueline Jenkins, University of Calgary
Medieval Post-Performance: Contemporary Embodiment as Performance Research

Alexandra Johnston, University of Toronto
Not just a Type of Christ: Three Different Dramatic Treatments of the Figure of Isaac

Claire Sponsler, University of Iowa
Lost Sound: Performance, Knowledge, and the Senses

Kyle A. Thomas, University of Illinois, Urbana- Champaign
Learning to Act Medieval: Contextual Layering and Performing Medieval Plays



1:45 p.m.
Perform ASTR #12
See Perform ASTR Menu for location

Petra Kuppers, University of Michigan
Salamander

2 p.m., 2:15 p.m., 2:30 p.m.,
2:45 p.m., 3 p.m., 3:15 p.m., 3:30 p.m., 3:45 p.m.

Perform ASTR #13
See Perform ASTR Menu for location

Marissa Béjar, Ponificia Universidad Católica
In Transit

2:45 p.m.
Perform ASTR #13
See Perform ASTR Menu for location

Judith Sebesta, Independent Writer
Thrust & Perry
4 - 5:30 p.m.
Plenary #7
Regency Ballroom, Banquet Level


Chair: Elinor Fuchs, Yale University

Kane Anderson, University of Puget Sound
Is Post-Human also Post-Gender? Comic-Con Crossplayers and Transformation as Resistance

Lourdes Arciniega, University of Calgary
Staging the Science of Sex: Gender Positioning in the Drama of Marie Stopes

Jennifer Parker-Starbuck, University of Roehampton
Performance Beyond Humanity: Animality and the Shifting Terrain of Post-Human Performance
5:45 - 7:15 p.m.
Plenary #8
Regency Ballroom, Banquet Level


Chair: Stacey Wolf, Princeton University

Thomas F. Connolly, Suffolk University
Sex, Race, Song, and Dance: "Moanin’ Low” as High-Wire Act

Amma Y. Ghartey-Tagoe Kootin, University of Colorado, Boulder
Laughing Post Slavery: The Performance Act of "Laughing Ben” Ellington

Shannon Walsh, Louisiana State University
Exorcising a Forgotten Physical Culture: Progressive Era Muscular Maternity
7:30 - 9 p.m.
Staged Reading of Mariachi Girl
Far East Room, Banquet Level

Staged Reading of Mariachi Girl by Roxanne Schroeder-Arce with music by Héctor Martinez Morales, with a cast and crew from University of North Texas under the direction of Franky Gonzalez. Sponsored by Dallas Children’s Theater.

Full production of Mariachi Girl will be professionally produced in March and April of 2014 under the direction of Robyn Flatt, with performances at Dallas Children’s Theater’s Rosewood Center for Family Arts and the Latino Cultural Center.
7:30 p.m.
Perform ASTR #15
See Perform ASTR Menu for location

James Andrew Wilson, University of Warwick
You Know How I Feel
8:30 p.m.
Perform ASTR #16
See Perform ASTR Menu for location

Evangeline Ciupek, Florida State University; Charles Poole, Florida State University
The Fairmont is Not Haunted
9 - 10 p.m.
Graduate Student Caucus
Pavilion Room, Terrace Level

10-11 p.m.
President’s Reception for Emerging Scholars
Oak Room, Terrace Level

Sunday, November 10

8 - 10 a.m.
Coffee and Breakfast Breads Available
Gold Room, Banquet Level
8 - 9:30 a.m.
Plenary #9
Regency Ballroom, Banquet Level


Chair: Allan Davis, University of Maryland, College Park

Christin Essin, Vanderbilt University
Working in the Dark: Backstage Subjectivities

Kimberly Jannarone, University of California, Santa Cruz
Revolutionary Bodies

Dassia Posner, Northwestern University
Baring the Frame: Meyerhold’s "Reflective Analysis” of Gozzi’s Love for Three Oranges
9:45 - 11:15 a.m.
Special Session: You’re/Your Standing in A Field
Regency Ballroom, Banquet Level


Moderators
Jonathan Chambers, Bowling Green State University;
Laurie Beth Clark, University of Wisconsin;
Scott Magelssen, University of Washington;
Michael Peterson, University of Wisconsin


Agents in the Field
Sarah Bay-Cheng, University at Buffalo
Gibson Alessandro Cima, Tshwane University of Technology
Michelle Cowin-Mensah, Bowling Green State University
Jill Dolan, Princeton University
Freddie Rokem, Tel Aviv University
Edward Ziter, New York University


American Society for Theatre Research (ASTR)

1000 Westgate Drive, Suite. 252 | St. Paul, MN 55114 | Phone: 651.288.3429 | Fax: 651.290.2266 | Email: info@astr.org