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Thursday, November 5, 2015
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Thursday, November 5, 2015

8:00 am – 2:30 pm

ASTR Executive Committee Meeting

8.00 am – 2.30 pm

Mentoring Skills and Tools: A Workshop for Mentors of Graduate Researchers

Based on Northwestern University's acclaimed professional development workshops for research mentors, this is a special opportunity for ASTR members to hone their skills and learn new tools to guide Master's and PhD students successfully through their degree programs. Experienced and novice faculty mentors will become more aware of their approach to mentoring, become equipped to approach mentoring adaptively yet systematically, and learn strategies to try in those challenging situations that confound us all at one time or another.

The workshop will run on Thursday, 5 November 8:30 a.m.-2:30 p.m. in the Portland Marriott Hotel, the site of ASTR's annual conference (ASTR's conference will begin the same day at 3:00 p.m., so please note that you would need to arrive in Portland on 4 November in order to participate). Registration is free to ASTR members, but please register by 15 October. Questions: Contact Tracy C. Davis, who will facilitate the workshop.

9:00 am – 1:00 pm

ATAP Training Workshop

A free workshop for the American Theatre Archive Project will be held at the Portland Marriott Downtown Waterfront on Thursday, November 5, from 9:00 a.m. to 1:00 p.m. to introduce area archivists, dramaturgs, and scholars to the ATAP Initiation Program, a process through which theatre companies can establish company archives. The workshop is being conducted in conjunction with the American Society for Theatre Research/Theatre Library Association’s annual conference, “Debating the Stakes in Theatre and Performance Scholarship,” to be held in Portland from November 5-November 8, 2015. Registration for the workshop is free, and available at the following link:

For more information and to find out more about ATAP, please visit or contact ATAP Co-Chair Colleen Reilly at

ATAP is a network of archivists, dramaturgs, and scholars dedicated to preserving the legacy of the American theatre operating under an initiative of the American Society for Theatre Research (ASTR). Through the ATAP Initiation Program, location-based teams work with individual theatre companies to evaluate their records, develop an archiving plan, and secure funding to support long-term archive health. Once established and made accessible to theatre makers, scholars, patrons, and funders on premises online, and/or in a repository, a theatre's archives support institutional integrity and development. ATAP currently has active teams throughout the United States, and training sessions for team members have been conducted in Austin, Baltimore, Boston, Cleveland, New York, Philadelphia, and Seattle.

11:00 am – 5:00 pm

Exhibit Hall Move-In

2:00 pm – 7:00 pm

Registration Desk Open

2:15 pm – 4:15 pm

Working Sessions (1–6)

  1. Animals Perform II: Non-Human Agency and Advocacy in Performance
    Covenors: Jennifer Parker-Starbuck (University of Roehampton) and Kim Marra (University of Iowa)

    Jane Barnette (University of Kansas)
    "Troubling the Whiteness of the Whale: The Adapturgy of Moby-Dick on Stage"

    Marla Carlson (University of Georgia)
    "What's at Stake in Performing Animal Death?"

    Rachel Price Cooper (University of Illinois at Urbana-Champaign)
    "Destabilizing Colonial Taxonomies: Irish Nationalism and Interspecies Transformation in The Countess Cathleen"

    Joni Doherty (Kettering Foundation)
    "Uneasy Appetites: Life, Death, and Defamiliarization"

    A. J. Knox (Independent Scholar) 
    "Human and Inhuman: Animals, Puppetry, and Apartheid Narratives in Ubu and the Truth Commission"

    Jennifer A. Kokai (Weber State University) and Lauren Kokai (University of Pittsburgh) 
    "Do Goats Have a Right to Cigarettes?"

    Kim Marra (University of Iowa) 
    "The Queer Matter of Horses in Shenandoah, 1889-99"

    Katherine Mezur (Independent Scholar)
    "Girls 'R' Pets: The Cruelty of Kawaii (Cute) through Care, Affection, Empathy, and Imitation in Japanese Girl and Animal Performance, Anime, and Cosplay"

    Jennifer Parker-Starbuck (University of Roehampton)
    "Animals Dissenting: Re-directing the Anthropocene"

    Andrew Sofer (Boston College and Harvard's Mellon School for Theater and Performance Research) 
    "Getting Albee's Goat"

    Scott Venters (University of Washington)
    "Framing Violence in Interspecies Relations: Encountering Flesh as Neoliberal Spatio-temporal Imaginary in The Portland Meat Collective"

    Deke Weaver (University of Illinois at Urbana-Champaign)
    "Re-enchantment and The Unreliable Bestiary"

    Catherine Young (CUNY, The Graduate Center)
    "'The Right to Bodily Liberty': Primates, Personhood, and Performance"

  2. The Stakes of Digital Scholarship of Theatre and Performance
    Covenors: Darren Gobert (York University) Ellen MacKay (Indiana University), Matthew Rebhorn (James Madison University), and Tamsen Wolff (Princeton University)

    Robin Bernstein (Harvard University)
    "'I'm very happy to be in the reality-based community': How Alison Bechdel's Fun Home Used Digital Photography to Stage an Act of Resistance against George W. Bush"

    Gina Bloom (University of California, Davis)
    "A Long History of Motion Capture Technology in Performance"

    Ashley Ferro-Murray (University of California, Berkeley)
    "Technologically Embodied Border Crossings"

    Rye Gentleman (University of Minnesota)
    "Broadcasting the Trans Self: Disidentification and Digitality"

    Lindsay Brandon Hunter (University at Buffalo, SUNY)
    "'Alternative Content': Theatre-Cinema and Digital Theatricality"

    Steve Luber (Connecticut College)
    "'May I not be relieved from carrying these chains?': Film as First Threat, Film as Renewed Catalyst for Scholarship and Performance"

    John Muse (University of Chicago)
    "Twitter Theater and Virtual Realism"

    Alice Reagan (Barnard College)
    "This Was The End by Mallory Catlett: Digital Performance Makes Memory"

    Nick Salvato (Cornell University)
    "Interrogating Digital Givenness"

    Peter Wood (University of Pittsburgh)
    "Deep Time and Digital Archives: The Limits of 1s and 0s"

    David J. Wright (University of Pittsburgh)
    "Comprehending Ubiquitous Computing and Audience Participation with Aristotle and the Philosophy of Action: Beginning Dialogue and Collaboration with User Experience Designers through Practical Knowledge, Materials, Morphology, and Ecology"

  3. Contemporary Theatre and the Communist Hypothesis
    Covenor: Ryan Anthony Hatch (California Polytechnic State University, San Luis Obispo)

    Joseph Cermatori (Columbia University)
    "Mallarmé, Our Contemporary"

    Ryan Anthony Hatch (California Polytechnic State University, San Luis Obispo)
    "Contemporary Theatre and the Terrorist Hypothesis"

    Andrés Fabian Henao Castro (University of Massachusetts, Boston)
    "Who Are The Puppeteers? The Contemporaneity of Plato's Drama and the Communist Hypothesis"

    Yizhou Huang (Tufts University)
    "The Validity of Brechtian Plays in Contemporary Left-Wing Politics: A Case Study of Mark Ravenhill's Shoot / Get Treasure / Repeat"

    Fatine Bahar Karlidaǧ (University of Washington)
    "Dismissive Environs: Missing Credits in the Theater Workshop Legacy"

    Maria Mytilinaki Kennedy (CUNY, The Graduate Center)
    "'Nothing Ridiculous or Criminal About Having A Good Idea': Translating the Past into the Future in Contemporary Greek Theatre"

    Eero Laine (CUNY, The Graduate Center) 
    "Form, Content, Collaboration: Communizing Theatrical Labor"

    Graham Wolfe (National University of Singapore)
    "The Actor's Desire: Looking Awry on Žižek"

    Matthew Yde (The University of New Mexico)
    "The Theological Turn: The Gospel and Revolutionary Politics in Contemporary Philosophy and Performance"

  4. Human Rights, Political Action, and Performance in the Americas
    Covenors: Noe Montez (Tufts University) and Katherine Zien (McGill University)

    Lorraine J. Affourtit (University of California, Santa Cruz)
    "Can the Subaltern Be Seen?: Indigeneity, Televisuality, and Performativity in the 2006 COR-TV Takeover (Oaxaca de Juárez, Mexico)"

    Andrew Brown (Northwestern University)
    "Promising the Past, Performing the Future: Athi-Patra Ruga's The Future White Woman of Azania"

    Alicia del Campo (California State University, Long Beach)
    "Human Rights, Political Action, and Performance: Theatricalities of the Student Movement in Chile"

    Victoria Fortuna (Reed College)
    "Poner el cuerpo: Dance, Politics, and Memory"

    Eva Heppelmann (University of California, Los Angeles)
    "Pale pou fanm Ayisyen yo: Speaking for the Haitian Women"

    Youngji Jeon (University of Illinois at Urbana-Champaign)
    "'Walking is Remembering': A Performance of Pilgrimage to Remember, Analyze, and Redeem a National Tragedy"

    Barbara Lewis (University of Massachusetts, Boston)
    "Troubling the Times: Alice Childress's Cassandra Legacy"

    Tania Lizarazo (University of Maryland, Baltimore County)
    "Digital Utopias: Collaborative Archives of Survival in Chocó, Colombia"

    Angela Marino (University of California, Berkeley)
    "Barrio Adentro in Venezuelan Theatre of Dictatorship (1955-1957)"

    Patrick McKelvey (Brown University)
    "Liberalism Remains (or, Bureaucratic Drag): Queer Disability Activism and the Performance of Infrastructure"

    Lilian Mengesha (Brown University)
    "'Without a body, there is no crime': Performance as Evidence in the Repertoire of Regina José Galindo"

    Sunita Nigam (McGill University)
    "Spectacles of Democracy at Tlatelolco"

    Isel Rodríguez (University of Puerto Rico)
    "Queer Among the Godly"

    Klaas Tindemans (Free University of Brussels and Royal Institute for Theatre, Cinema and Sound)
    "The Theatrical Trial and its Realistic Re-enactment: The Dispute between Ai Wei Wei and Chinese (Tax) Authorities, Re-enacted on Stage"

    Carlos Vargas-Salgado (Whitman College)
    "Remains of Coloniality and Challenges to Human Rights Dissemination: A Discussion of Two Productions by Yuyachkani"

    Brenda Werth (American University)
    "Coming of Age Activism: Youth, Performance, and Human Rights in the Southern Cone"

  5. Race between Theatre and Performance
    Covenors: Soyica Diggs Colbert (Georgetown University) and Shane Vogel (Indiana University)

    Kevin Byrne (University of Arizona)
    "Spell Bound: Studying Blackface Minstrelsy at the Juncture of Theatre Studies and Performance Studies"

    Donatella Galella (University of California, Riverside)
    "The Great White Hope and the Great White Way"

    Patricia Herrera (University of Richmond)
    "Sounding Race: Universes' Ameriville and Party People"

    Katie Johnson (Miami University of Ohio)
    "Rac(e)ing the Other Side of Broadway"

    Hee-won Kim (University of California, Santa Barbara)
    "Postracial Aesthetics, Racial Counternarratives, and Asian American Authorship in Young Jean Lee's The Shipment and Straight White Men"

    Anthea Kraut (University of California, Riverside)
    "Dance Doubles and Racialized Performance"

    Macelle Mahala (University of the Pacific)
    "Performing Civil Rights: Theatres of Protest in the Wake of Ferguson"

    Caitlin Marshall (University of California, Berkeley)
    "Sonic Redface between Theatre and Performance"

    Lisa Merrill (Hofstra University)
    "Black Voices and Black Bodies—Performing Race in Nonconventional Antebellum Sites"

    Yumi Pak (California State University, San Bernardino)
    "The Archive as Discipline: Blackness between Theatre and Performance"

    Zachary Price (University of California, Los Angeles)
    "Riffin' on Robey: A Black Performance Theory on the Continuum of Black Los Angeles Theatre, 1994-2014"

    Julia A. Walker (Washington University in St. Louis) 
    "Civil Rites: Enacting Racial Identity in Modernist Performance"

    Kimberly Welch, (University of California, Los Angeles)
    "Black Bodies and National Objects: Excess and Lack in Representations of Katrina"

  6. Transnationalism and Performance
    Covenors: Julia Goldstein (CUNY, The Graduate Center) and Ji Hyon (Kayla) Yuh (CUNY, The Graduate Center)

    Jennifer Buckley (University of Iowa)
    "DOC / UNDOC: Guillermo Gómez-Peña, the Performance Artists' Book, and Pocha Pedagogy"

    Chloë Rae Edmonson (CUNY, The Graduate Center)
    "'The Paper of Your Flesh': Tattooed Skin and Transnational Identity in Mexican-American Art"

    Alex Ferrone (York University)
    "'Humanity in the Marketplace': Crossing Borders in Three Kingdoms"

    Julia Goldstein (CUNY, The Graduate Center)
    "'Exchange Is Oxygen': East African Transnationalism and the Sundance Institute at the Kampala International Theatre Festival"

    Jennifer Goodlander (University of Indiana)
    "Transnational Puppets: Articulating Identities in Southeast Asian Cities"

    Kelley Holley (San Diego State University)
    "Performing a Nation: Iceland's Use of Transnationalism to Assert Public Identity"

    Vicki Hoskins (University of Pittsburg)
    "Māo: China's Transnational Adaptation of Cats"

    Jieun Lee (University of Georgia)
    "Performing Transnational Adoption: Korean American Women Adoptees' Autobiographical Solo Performances"

    Daphne Lei (University of California, Irvine)
    "What's Left to Cross? What's Left to Defend? Chinese Opera in the Transnational Context"

    Sissi Liu (CUNY, The Graduate Center)
    "Shaolin Monks' Wukongist Transformation at the Lincoln Center"

    Jessica Nakamura (University of Nevada, Reno)
    "National Histories and Transnational Performances in the North American Tour of Zero Hour: Tokyo Rose's Last Tape"

    Adair Rounthwaite (McGill University)
    "Transnationalism and Temporality: The Performance of Grupa Spomenik and the Janez Janšas"

    Rita M. Rufino Valente (University of California, Los Angeles)
    "Performance of Lusophone Transnationalisms in Theatre Festivals in Portuguese-Speaking Countries"

    Bryan Schmidt (University of Minnesota)
    "Festival Performance and Transnational Negotiations of Cultural Imaginaries: Rituals of 'Indigeneity' at Costa Rica's Envision"

    Susan Tenneriello (CUNY, Baruch College)
    "The Neo-Baroque Stages of Twenty-First Century Olympic Opening Ceremonies: Transformations in Global Performance"

    Emily Warheit (University of Maryland, College Park)
    "Methods, Money, and Mzungus: Transnational Movement in Theatre for Development"

    Andretta Lyle Wilson (University of California, Los Angeles)
    "Sounding Black in Paris: Transnational Pan-African Narratives and Performance in the City of Lights"

    Ji Hyon (Kayla) Yuh (CUNY, The Graduate Center)
    "National Desires and Transnational Expansions of Korean Musicals in East Asia"

4:30 pm – 6:00 pm

Welcome + Plenary 1: The Stakes of Blackness in U.S. Theatre and Performance
Chair and Respondent: Harvey Young (Northwestern University)

Douglas Jones (Rutgers University)
"The Slave Past in Contemporary Theatre and Performance Culture: An Essay of the Abandonment Thesis"

Paige McGinley (Washington University in St. Louis)
"Rehearsing Nonviolence: Towards a Theatre History of the Civil Rights Movement"

Mike Sell (Indiana University of Pennsylvania)
"Activism and / or Ethics? Historicizing the Black Arts Movement"

6:15 pm – 7:30 pm

ATAP Plenary
Kate Bredeson (Reed College)
Kevin Jones (August Wilson Red Door Project)
Jerry Tischleder (Risk/Reward)
Lue Douthit (Oregon Shakespeare Festival)
Rebecca Lingfelter (Portland Experimental Theatre Ensemble)
Kaj-Anne Pepper (Independent Drag Performer)
Olga Sanchez Saltveit (Milagro Theatre)
Erin Boberg Doughton (Portland Institute of Contemporary Art)

7:30 pm – 8:30 pm

Presidential Address: "At Your Service"
Heather Nathans (Tufts University)

8:30 pm – 10:00 pm

Opening Night Reception / Exhibit Hall Open

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