This website uses cookies to store information on your computer. Some of these cookies are used for visitor analysis, others are essential to making our site function properly and improve the user experience. By using this site, you consent to the placement of these cookies. Click Accept to consent and dismiss this message or Deny to leave this website. Read our Privacy Statement for more.
Join | Contact Us | Print Page | Sign In
Schedule - ASTR 2018 Forum (La Jolla)
Share |

ASTR 2018 Forum (La Jolla)


Schedule

Jump to: Room Key | Friday, November 16 | Saturday, November 17

*Schedule is subject to change


Room Key

Galbraith Hall

Theatre and Dance Small Room
Galbraith Hall 135

Theatre and Dance Conference Room 1
Galbraith Hall 144

Theatre and Dance Conference Room 2
Galbraith Hall 254

Molli and Arthur Wagner Hall

Dance Studio
Molli and Arthur Wagner Hall, Dance Studio 3
http://theatre.ucsd.edu/places/theatres/DS3.html

Warren College

Warren College Small Room
Computer Science & Engineering Building 1125

Warren College Conference Room 1
Computer Science & Engineering Building 1113

Warren College Conference Room 2
Computer Science & Engineering Building 1115

Warren College Large Room
Computer Science & Engineering Building 1117

Return to top


Friday, November 16

9:00 am – 11:00 am

Round Table 1
Participants have been moved to Roundtable 4.



9:00 am – 11:00 am

Working Sessions 3, 5, 9, 11, 12, and 16

WS3. Arousing Curiosities: Knowledge, Embodiment, and the Science Performance
Convenors: Vivian Appler, College of Charleston; Meredith Conti, University at Buffalo, SUNY
Location: Warren College, Medium Room 1

Participants:

Virginia Anderson, Connecticut College
A Profile in Synergy: Theatre and the Early AIDS Research of Dr. Jeffrey Laurence

Vivian Appler, Knowing with(out) Others: The Hybrid Epistemologies of Cavendish and Harding
Andy Babinski, Louisiana State University, Baton Rouge Using Science with Artistic Integrity: The Logical Manipulations and Rhetoric in Inherit the Wind

Roberta Barker, Dalhousie University
“Love isn’t in the Materia Medica”: Eugene O’Neill’s Sentimental Science

Shelby Brewster, University of Pittsburgh
“We Are Nature:” Anthropocenic Museological Performance

Meredith Conti. The University at Buffalo, SUNY
Of Smells and Victorian Operating Theatres

Natalia Duong, University of California, Berkeley
Chemical Diasporas: Kinship, Debility, and Performance

Liz Fairchild, University of Oregon
Being Dead: Die-in Protest Performance as an Arousal for Change

Derek Gingrich, York University
Theatrical World as Cognition

Kathe Gray, York University
Worlding the Insensible: Soundsinging as an Act of Radical Imagination

Barbara Wallace Grossman, Tufts University
Overcoming “the stigma of intelligence”: Women of Science Who Mapped the Future

Bryan Markovitz, Brown University
Politics is the New Aura: The Technoscientific Remaking of Cultural Heritage

Laura McGuire, University of Hawaii at Manoa
Interiority, Virtual Reality, and the Early Modernist Theater: Technologies of Embodiment and Disembodiment in Frederick Kiesler’s Stage and Cinema Designs

Bella Poynton, The University at Buffalo, SUNY
The Robot Theatre Project’s Sayonara as Android Theatre: The Uncanny and Cyborg Anthropology in Performance

Aileen Robinson, Stanford University
“Where Curiosity Takes You”: Theatricality and Spectatorship at San Francisco’s Exploratorium

Marlis Schweitzer, York University
The Strange Case of the Infant Sappho: Phrenology, Somnambulism, and a Musical Prodigy

Katherine Swimm, Tufts University
“Their residence comfortable”: Theatre in the Surrey County Lunatic Asylum, 1830-1880

Claudia Villegas-Silva, Arizona State University
Embodiment and the Post-Human in Contemporary Latin American Theater and Performance

Sanja Vodovnik, University of Toronto
Companionchip: Human-robot Interactions in Science Fiction Theatre

Graydon Wetzler, University of California, San Diego
HOME Arousals

WS5. New Research in Minoritarian Performance Proposal/Grant Writing Workshop (Muñoz)
Convenors: Soyica Diggs Colbert, Georgetown University; Douglas Jones, Rutgers University; Shane Vogel, University of Indiana
Location: Theatre and Dance, Small Room

Participants:

Nicholas Fesette, Emory University
Cagecraft: Theatre and Performance in Carceral America

Amy Huang, Brown University
Performing Privacy: Race, Gender and Sexuality in Nineteenth-Century Theatre

Christine Mok, University of Rhode Island
Disorientations: Performance, Failure, and Form in Asian America

Grace Kessler Overbeke, Northwestern University
The Forgotten Pioneer: Jean Carroll, the First Jewish Female Standup Comedian

Zachary Price, Texas A&M University
Black Dragons: Afro Asian Performance and the Martial Arts Imagination

Christofer Rodelo, Harvard University
Exhibiting Black and Brown: Latinx Performance and Literature in the Transnational Nineteenth Century

SAJ, New York University
Liberal Antiracisms, the Broadway Class, and Racial Capitalism at the Turn of the Millennium

Kathleen Schaag, Georgia Institute of Technology
Conceptual Theatre: Race, Gender, and Dematerialization

Kristen Wright, Cornell University
Adrienne Kennedy’s Cinema

WS9. Animal Engagements: Arousal, Affect, Empathy, Spectacle
Convenors: Marla Carlson, University of Georgia; Kim Marra, University of Iowa; Jen Parker-Starbuck, Royal Holloway University of London
Location: Warren College, Large Room

Participants:

Nazli Akhtari, University of Toronto
Bleeding to Death as Spectacle: Animal Partners in Re- enactments of Ashura

Laura Cull Ó Maoilearca, University of Surrey Interspecies
Empathy &/as Radical Equality: An encounter between Sheep Pig Goat and Non-Philosophy

Dominic Dongilli, University of Iowa
Pleasure & Peril: Affective Potentials with Zoo-Housed Great Apes

Amy E. Hughes, Brooklyn College, CUNY
Inventing Man’s Best Friend: The Dogs (and Dog Plays) of Edwin Blanchard

Victoria Lantz, Sam Houston State University
What Goes Bump in the Night: Spectacle, Darkness, and Arousing Entertainments in Animal Parks

Marin Laufenberg, Eastern Washington University
“Basic Penguinology”: Blurring the Animal/Human Divide through the Grotesque in Alejandro Acobino’s Continente viril

Sean Metzger, University of California, Berkeley
The Panda’s Political Performanc

Katherine Mezur, University of California, Berkeley
Panda Heaven: An Introduction to the Visual and Performative Representation of Intraspecies Arousal through Caring, Devotion, Hospitality, and the Artificial Breeding of the Beijing Zoo Giant Pandas

Lisa Moravec, Royal Holloway, University of London
Zoo Time: A Comparison between Dressaged and Wild Equines at Spectacular Manèges

Daniel O’Neill, University of California, Berkeley
Performing Knut

Malin Palani, Independent Scholar
Does the Animal Live?!: Arousing Concern, Desiring Ignorance in Spectacles of Animal Death and Survival

Ariel Sibert, Yale School of Drama
“Speak”: Canine Voices in Performance

Alison Urban, University of California, San Diego
The San Diego Zoo: A Wild Simulacrum

Ante Ursic, University of California, Davis
Approaching Limitrophy— Beastialities in Baro d’Evel Cirk’s Bestias

Michael Valdez, University of Minnesota, Twin Cities
Meeting the Polar Bear in Chantal Bilodeau’s Sila: Puppets, Performers, and Good Grief

Scott Venters, University of Washington
Arousing the Empathic Gendered Subject: Transpecies Domesticity and Sentient Spectacles in the Early Enlightenment

Hana Worthen, Barnard College, Columbia University
Sealing Memory: For Max

WS11. Arousing Generosity
Convenors: Laurie Beth Clark, University of Wisconsin-Madison; Michael Peterson, University of Wisconsin-Madison; Spatula & Barcode
Location: Warren College, Small Room

Participants:

Lisa Aikman, University of Toronto
From “Giving Voice” to “Arousing Action”: Challenging the Gift Economy in Documentary Theatre Dramaturgies

Duskin Drum, University of Tyumen
Salmon Woman and her Children

Andrew Kimbrough, Oklahoma State University
RoundUP Theatre’s Performances of Generosity

Christian Nagler, University of California, Berkeley
Simming Subsistence: Basic Income Experiments and Economic Performativity

Kristin O’Malley, University of Pittsburgh
Pass the the Collection Basket: The (In)Visibility of Performing Generosities in “Late Nite Catechism”

Kristin Perkins, University of Texas, Austin
Dead Gay Mormons Matter: Advocacy, Generosity, and Representations of Violence

Olga Sanchez Saltveit, University of Oregon
Generosity in Common: TENAZ and the LTC

Shane Thorn, University at Buffalo, SUNY
Taking and Reshaping: Billie Whitelaw, Lisa Dwan, and the Legacy of Beckett Performance

WS12. Impacting Audiences: Spectatorship, Embodiment, and Change
Convenors: Dani Snyder-Young, Northeastern University; Matt Omasta, Utah State University
Location: Warren College, Medium Room 2

Participants:

George Belliveau, University of British Columbia
Audience Impact on Research-based Play about Military Veterans

Christopher Corbo, Rutgers University
“Harlem” as Melodrama

Melissa Huerta, Denison University
Collective-Consciousness in Latinx Theater Companies: Teatro Luna and Teatro Público de Cleveland

Signy Lynch, York University
Direct Audience Address in Cliff Cardinal’s ‘Huff’: Overturning the Settler Gaze

Holly Maples, Brunel University London
Touching Past Lives: Sensorial Spectatorship, Arousal and Heritage Performance Audiences

Scott Mealey, University of Toronto
New Feelings, New Thinking: Touchstones for Recognizing and Arousing Audience-centric Theatrical Impacts

Farrah O’Shea, University of California, Los Angeles
Virtuosic Intimacy as Arousal in David Lang’s Whisper Opera

Julia M. Ritter, Rutgers University
Choreographed Embodiment Impacts Spectator Participation and Evokes Fandom Creativity in Punchdrunk’s Sleep No More

Ricardo Rocha, University of California Irvine and San Diego (joint program)
Building and Dismantling Illusions with American Latinidad—A study of Belasco’s “The Rose of the Rancho” (1907)

Hanife Schulte, Tufts University
Spectatorship as Performance: Becoming an Aroused Performer in the Performance of Brazen

Claire Syler, University of Missouri
Prioritizing Black Interpretation, of the Inevitability of Educating White Audiences

Sarah Thompson, Independent Scholar
Drawing from Me Many Tears: Talthybius and the Spectatorship of Trauma-Tragedy

Tiffany Trent, University of Chicago
Spectating Safely in Village Venues

Eric Villiers, Arizona State University
It’s Alive, or Is It?: Exploring Initial Encounters Between Person and Mask

WS16. Arab Arousal: Embodying Arab Identity in Performance
Convenors: Hala Baki, University of California, Santa Barbara; George Potter, Valparaiso University; Samer Al-Saber, Florida State University
Location: Theatre and Dance, Conference Room 1

Participants:

Samer Al-Saber, Stanford University
Relevant Scholarship: Key Middle-Eastern Words At Work

Roaa Ali, University of Manchester
Moving Forward: Arab American Dramatic strategies to Countering Stereotypes

Marisa M. Andrews, University of Pittsburgh
There Are Many Precious Fields: Exploring the Palestinian/ Israeli Conflict with U.S. American Undergraduate Students

Hala Baki, University of California, Santa Barbara
Art of Negotiation: Arab American Playwriting and its Support Structures

Marina Bergenstock, Beloit College
Taking up Space: Oslo on Broadway

Gary English, University of Connecticut; AlQuds Bard College, Abu Dis, Palestine
Case Study in Research Practice in Palestinian Theatre: Post 1967 vs. Post 1948 Perspectives - Arab Identity as a Challenge to Christian Zionism

Misha Hadar, University of Minnesota
Com(passionate) Attachment: The Muslim, Arabs, and Refugees We Desire

Anna Holman, University of California at Santa Barbara
Arousing the Algerian Arab Identity Amidst Linguistic and Cultural Conflict

Yasmine Jahanmir, American University of Kuwait
Globalization LIVE! : Arab Performance as Corporate Goodwill

Gerald Pitchford, University of Texas at Austin
Performing Post-nostalgia: Programming Nationalism Through Imagined Memory

George Potter, Valporaiso University
Chic Sheiks: National Identity and Global Marketing in Jordanian Cinema

Kris Salata, Florida State University
Marie Keyrouz’s Carnal Prayer

Keren Zaiontz, Queen’s University
Socially-Engaged Performances of Forcible Displacement



11:30 am – 2:30 pm

Working Sessions 18, 20, 24, and 26

WS18. Cognitive and Affective Intersections in the Arousals of Performance
Convenors: Carla Neuss, UCLA,; Scott Knowles, Southern Utah University; John Lutterbie, Stony Brook University
Location: Warren College, Medium Room 1

Participants:

Cohen Ambrose, Community College of Baltimore
County Shocked to Aliveness’: The Aesthetic Arousal of the Feeling-Knowing Body in Susan Glaspell’s The Verge

Rhonda Blair, Southern Methodist University
In the Blood: Arousal, Cognitive Science, and Affect Theory

Scott Harman, University of Wisconsin-Madison
Affective Reconstructions: The Arousal(s) of Emotion/ Memory in the so-called “Method”

Kelley Feeman, Miami University
Embodying Life: Connecting the Non-Human to Human through Puppetry

Yelena Gluzman, University of California, San Diego
Analyzing the Analyst

Sarah Hoover, Center for Drama, Theatre & Performance at NUI Galway
Virtual Bleeds Aroused in Actual Bodies: Affective Encounters with Menstruation in the Larp Mentioning the Unmentionables

Warren Kluber, Columbia University
“The Spectator Will Go the Theatre as He Goes to the Surgeon:” Cognitive and Affective Perspectives on Theatre-as-Medicine

Scott Knowles, Southern Utah University
The Performative Body: Affect, Emotion Science, and Performance

Sarah Lucie, The Graduate Center, CUNY
Accessing Affective Stimuli in Ryoji Ikeda’s SUPERCODEX

Mark Pizzato, University of North Carolina-Charlotte
The Neuroscience of Arousal between Actor, Character, and Spectator

Daniel Sack, University of Massachusetts, Amherst
S(t)imulating Tears

Elliott Turley, The University of Texas at Austin
Epic Laughter in the Theatre

Àine Josephine Tyrrell, Stanford University
Performing Control: Counter-Terrorism as an Embodied Practice of by Fear

WS20. Ecology & Performance
Convenors: Angenette Spalink, Texas A&M University; Jonah Winn-Lenetsky, Institute of American Indian Arts; Lisa Woynarski, University of Reading
Location: Warren College, Large Room

Participants:

Chris Bell, University of Minnesota
Water is Medicine, Water is Life: Making Kin with Emily Johnson and the White Earth Land Recovery Project

Charli Brissey, University of Michigan
Queerly Inhuman: A Materialist Approach to Gender, Desire, and Transformative Resistance

Juan Camilo Cajigas, University of California, Davis
Emanations

Rosemary Candelario, Texas Woman’s University
Arousal of the Body: Butoh, Ecology, Ethnography

Joe Carson, Rice University
The Archive of Post-Harvey Houston

Ashley Chang, Yale School of Drama
Ecofetishism: Fuckin’ with Plants

Marnie Glazier and Jennifer Grohol, Hartnell College
Arousing Environmental and Educational Equity

Antonia (Tonia) Krueger, Eckerd College
Rising Seas Give Rise to a New Aesthetic: Inuit Cultural Dramaturgy and Climate Change Performances

Petra Kuppers, University of Michigan
Drifting Erotics of Non-Realist Sitedness

Lia Wen-Ching Liang, National Taiwan Normal University
Mediating the Anthropocene on the Taipei Stage: What’s The Colour of Cloud? (2016), Taipei Notes (2017), and 1984 (2017)

Theresa May, University of Oregon
Rape, Sovereignty and Land in Mary Kathryn Nagle’s Sliver of a Full Moon

Lucas Olscamp, York University
Erotic Plastic: Recontexualizing a Toxic Relationship to the Non-Human Substance

Kelli Shermeyer, University of Virginia
More-than-Human Actors in Wole Soyinka and Caryl Churchill

Angenette Spalink, Texas A&M University
Choreographing Desire: Staging Polymorphous Eroticism in the Anthropocene

Sarah Standing, New York City College of Technology, CUNY
Despair, Hope, Despair, Hope (?) in Saving the Whales

Cory Tamler, The Graduate Center, CUNY; Jennie Hahn, University of Maine
Following the River: The In Kinship Archives and Performance Lab

Brenda Varda, Independent Scholar
Engaging Ecological Responsibility Through Performance

Clara Wilch, University of California, Los Angeles
How Might It Feel To Care About Climate Change?

Jonah Winn-Lenetsky, Institute of American Indian Arts
Three Rivers: Arousing Laughter and Anger through an Indigenous Approach to Performing Threatened Rivers

Lisa Woynarski, University of Reading
Performing Intersectional Ecologies

WS24. Violent Incitements: Affect/Effect and Arousal
Convenors: Mary Karen Dahl, Florida State University; Deborah Kochman, Florida State University; Victoria Thoms, Coventry University
Location: Warren College, Medium Room 2

Participants:

Jim Ball, Texas A&M University, Department of Performance Studies
Watching Violence from a Safe Distance

Victoria Fortuna, Reed College
Choreographing Violence: Performance and the Politics of Exile in Fernando Solanas’s Tangos: El exilio de Gardel (1985)

Deborah Kochman, Florida State University
Terrible Rage and a Cup of Tea: Age(ing), Violence, and Human Suffering in Churchill’s Escaped Alone

Haddy Kreie, Drury University
Sacrifice and Violence: Arousing the Sense of Self

Nova Myhill, New College of Florida
Traitors, Martyrs, Witnesses: Fragmentation, Affect, and the Rhetoric of State Violence

Katherine Nigh, Independent Scholar
The Exotic Other in the Lugar de la Memoria, Tolerencia y Inclusion

Colin Poole, Coventry University UK
Antiblack Violence, Whiteness and Choreographic Practice

Kim Richards, University of California-Berkeley
Anthropocene (An)Aesthetics and the Stage Management of An Accident

Matthew Roberts, University of Illinois at Urbana Champaign
Ajax in America, or Catharsis in the Time of Terrorism

Rebecca Rovit, University of Kansas
Arousing Austria’s “Victim Pride”: Memorializing Cultural Violence in Vienna and Thomas Bernhard’s Heldenplatz

Lisa Wilson, Coventry University
Violence as a Conflict of Memory: New Beginnings (2013) and Impossible Bodies

Kathryn Van Winkle, The University of Texas at Austin
“Would You Die for Ireland?”: Political Violence and Blood Sacrifice in the Centenary Commemorations of Ireland’s 1916 Rising

WS26. Archived Arousal?
Convenors: Dorothy Chansky, Texas Tech University; Terry Dean, James Madison University; Valleri Robinson, University of Illinois
Location: Theatre and Dance, Conference Room 1

Participants:

Angela Ahlgren, Bowling Green State University
Entangled Limbs and Hybrid Aesthetics: Arousal and Sublimation in the Balanchine Archive

Debra Caplan, Baruch College
‘Emotional Style’: Reading the Reception History of Molly Picon

Jonathan Chambers, Bowling Green State University
Misremembering Indecent

Eileen Curley, Marist College
The Shame of the Amateur Kiss

Natalie Dollison, University of Minnesota–Twin Cities
From Sun People to Lesedi: The Elasticity and Endurance of South Africa’s Cultural Villages

Maria Ignatieva, Ohio State University, Lima
Estonian Precedent

Lisa Merrill, Hofstra University; Theresa Saxon, University of Central Lancashire
How Archives Re-tell the Story: Piecing Together Newly- Discovered Promptbooks and Playbills of The Octoroon

Rachel Moss, Northwestern University
Dispirited Dybbuk: the First Polish Dybbuk, a Dream or a Dud?

Charles O’Malley, Yale University
Arousal of Body and Spirit in “Crimes Against Nature”

Eleanor Roberts, University of Roehampton
Performance and Prostitution: The Magazine Actions of Cosey Fanni Tutti

Cindy Rosenthal, Hofstra University
Between the Yellowed Sheets! - or Arousal Aplenty in Pirandello at the Living Theatre, 1959

Lawrence Smith, University of Arkansas at Little Rock
Manda Björling as Miss Julie: Arousal, Embodiment, and the Archive

Sunny Stalter-Pace, Auburn University
Gertrude Hoffmann Copying Angna Enters

Aniko Szucs, Haverford College
Arousing Performances, Arousing Files: Biased Readings of the Underground Experience in the Soviet Bloc



3:00 pm – 6:00 pm

Working Sessions 7 and 22

WS7. Shakespearean Performance Research Group
Convenors: Catherine Burriss, California State University-Channel Islands; Amy Cook, Stonybrook University; Louise Geddes, Adelphi University; Cary Mazer, University of Pennsylvania; Don Weingust; W.B. Worthen, Barnard College
Location: Warren College, Large Room

Participants:

Eric Brinkman, The Ohio State University
“I hold the world but as the world”: The Effects of the Arousal of “Democratic” Populism at Shakespeare’s Globe

Thomas Cartelli, Muhlenberg College
The Problem/Politics of Spectacle and Spectatorship

Joel Castellaw, San Diego State University
Hauntings and Hamlet: An Exploration of Performance, Memory, Loss, and Grief

Matthieu Chapman, University of Houston
Rewriting Shakespeare: Black Bodies, Cultural Capital, and the Capacity for Affect

Sonia Desai, University of California
Irvine Desire, Twelfth Night, and Original Practices

Joy Brooke Fairfield, Rhodes College
“Like green timber, warp, warp:” Queer Femme Spousals on the Elizabethan Stage

Matt Kozusko, Ursinus College
Silvia as Affective Object

Kristin Leahey, Boston University and Seattle Repertory Theatre
MACBETH: Erica Schmidt’s Interpretation of “the Wild Girls”

Cason Murphy, Iowa State University
Below the (Bible) Belt: Arousal, “Appropriateness,” and A Midsummer Night’s Dream in the American Academic South

Thomas Oldham, Colby College
Barbarous Arousal: The Violent Provocation of Lucy Bailey’s Titus Andronicus

Sunghee Pak, University of Wisconsin-Madison
Revealing the Present through a Metadrama: Discussing Othello in Murray Carlin’s Not Now, Sweet Desdemona

Valerie Clayman Pye, Long Island University
Shakespeare’s Globe: the Provocative Arousal of the Spectator

Jennifer Rich, Hofstra University
Raising the Ghost: Speculative Arousal in Hamlet

Lisa Robinson, St. John’s University
Fetishization or Dramatization: Enacting Nature on the Shakespearean Stage

Hesam Sharifian, Tufts University
Aroused by Visual Ephemera: The Curious Case of the American Tallis Shakespeare

Donovan Sherman, Seton Hall University
Arousing Indifference and Indifferent Arousal in Early Modern Stoicism

Stephanie Shirilan, Syracuse University
Breathing Matters: Pneumatic Community and Performance in Shakespeare

Shane Wood, University of California, Irvine
Theatrical Healing and Healing Theatre: An Analysis of Early Modern Theatrical Depictions of Cures for Madness in Shakespeare’s Plays

WS22. Puppetry and Material Performance
Convenors: Alissa Mello, Independent Scholar; Claudia Orenstein, Hunter College/The Graduate Center, CUNY; Dassia N. Posner, Northwestern University; Lawrence Switzky, University of Toronto
Location: Warren College, Medium Room 2

Participants:

Morgan Anderson, York University
The Arousing Potential of Juggling in Plastic Boom’s Water on Mars

Ted Anyebe, Benue State University
Arousing the Spiritual in Corporeal Performances: A Study of Oboche and Analoo Masquerade Embodiment

Salma Mohseni Ardehali, University of Tehran
Different Aspects of the Relationship between the Puppet and Puppeteer

Pia Banzhaf, Michigan State University
What Cognition Can Tell Us About the Potential of Harnessing the Power of Co-Presence

Dennis Beck, James Madison University
Becoming Object: Reverse Puppetry on a New Generation of Czech Stages

John Bell, University of Connecticut / Ballard Institute and Museum of Puppetry
Happenings, Street Parades, and Puppetry: Reinventing Processional Theater in the 60s

Dawn Tracey Brandes, Dalhousie University
Material Performance and Ethical Spectatorship

Liu Chun, Southeast University, Nanjing
The Wearable Puppets: Take North Sichuan Giant Panda Puppets for an Instance

Tim Cusack, Hunter College, CUNY
Traversing the Uncanny Valley: Westworld and Puppetry Poetics

Kathy Foley, University of California, Santa Cruz
Puppetry and Intangible Cultural Heritage

Adam Houghton & Rick Curtiss, Brigham Young University
The Power of Pure Form and Puppetry

Mayumi Imari, University of São Paulo, Brazil
Mamulengo Variations in Sao Paulo: Tradition and Innovation in Brazilian Larger than Life Puppets

Kyounghye Kwon, University of North Georgia
Aroused for Social Justice: Hong Dongji’s Masculinity, Irreverence, and Catharsis in Kkokdugaksi Noreum

Gabriel Levine, York University
Materializing Treaty: Jumblies Theatre’s Talking Treaties Spectacle

Alissa Mello, Independent Scholar
Toward a Theory of Trans-embodiment

Sonia Norris, University of Toronto
(Re)Membering the Success of Survival Through the Body of the Puppet

Claudia Orenstein, Hunter College/The Graduate Center, CUNY
Thai Nang Yai and the Ritual Puppet

Hazel Rickard, University of Minnesota
Reviving Faust: Response-Ability and Magic in Puppet Theatre

Mark Sanders, New York University
The Pleasure of Self-Deception: William Kentridge and Puppetry

Nicole Sheriko, Rutgers University
Performing Objects and Rhetorical Performances: Puppet Theater and Reformation Iconoclasm

Lawrence Switzky, University of Toronto
Puppetry without a Puppeteer: Animating Algorithmic Performance in Gob Squad’s My Square Lady

Blair Thomas, The School of the Art Institute of Chicago
The Stage Puppet’s Presence

Denise Rogers Valenzuela, York University
Practicing the We: being singular plural through Bread and Puppet’s Population



3:30 pm – 5:00 pm

GSC Reception
Location: Warren College Medium Room 1



6:00 pm – 7:30 pm

Transnational Reception
Location: Warren College, Medium Room 1



8:00 pm – 10:00 pm

Performance

Wonder Women: Arousal Unbound
Performers: Tessa Carr, Auburn University; Heather Carver, University of Missouri; Heather May, Hobart and Williams Smith College
Location: Theatre and Dance, Dance Studio

Description:

How is illness embodied and performed? How can the diagnosis, treatment, and management of disease arouse a theatrical event. In this performance, three scholar artists—who did not meet until this conference—perform autoethnographic narratives of their experiences as medicalized but aroused bodies.

In “Adrenaline Junkie,” Tessa Carr positions personal narrative and fragments of reconstructed memories in dialogue with a history of clinical hysteria, the forerunner of modern trauma studies. When people learned she carried the adrenal load of 100 average people, they asked if she could lift cars. Instead Carr reports how that level of arousal fragments into trauma, interpolating her into the trope of the “hysterical woman” during her three- year illness.

Heather May’s “Rearranging the Furniture” is an auto/ biographical diagnosis of a disease plaguing the theatre and the performer: lack of vision. Incited by a round of visits to doctors that left May feeling unmoored, “Rearranging the Furniture” is an attempt to hold ground that feels increasingly unstable and to learn to love the ties that bind.

“Booby Hatch: A Hysterical Musical(e)” is an auto/ biographical performance of a breast cancer survivor about desire: desire to be on stage; desire to have a voice, a body, a presence; and desire to be desired in the academy. Through the lens of childhood longing, middle school belonging, and desire to sing and dance on stage, Heather Carver explores the messiness of personal desires in relation to the social expectations and people (school musical theater directors) who oppress us. Booby Hatch critiques the medicalization of women’s bodies in survival, desire, and the politics of visibility.



Return to top


Saturday, November 17

8:30 am – 10:30 am

Round Table 2
Location: Warren College, Medium Room 2

Participants:

Bryan Schmidt,
The Settler Colonial Politics of "Festive Arousal": A Performance Genealogy

Heather Nathans, Tufts University
Sugar Stained with Blood: Abolitionism, Joy, and Anger on the French Revolutionary Stage

Alesha Claveria, University of California, Santa Barbara
Resistance, Reclamation, Humor, and Healing

Derek Miller, Harvard University
On Performance Management or, Notes from the SM



8:30 am – 10:30 am

Working Sessions 33, 37, and 39

WS33. Drive and Desire for Perfection: The Arousing Effects of Sport, Physical Culture, and Performance
Convenors: Kimberly Jannarone, University of California, Santa Cruz; Noe Montez, Tufts University; Shannon Walsh, Louisiana State University
Location: Theatre and Dance, Conference Room 1

Participants:

Sean Bartley, University of Florida
The Ghosts of Qualcomm Stadium

Kelsey Blair, Simon Fraser University
Cheers and Jeers: Indexing Discomfort in Sport Performances

Michael Franz, Florida State University
King of Kings: LeBron James’ Arousing Performance in the 2017-2018 NBA Season

Kimberly Jannarone, University of California, Santa Cruz
Physical Culture under the Terror: Arousing National Sentiments through Festivals

Daniel Larlham, Freie Universitat Berlin
Morality in Action: The Athletic Feat as Heroic Endeavor

Christine Mazumdar, University of Toronto
Not Your Own: Agency, Consent, and Disembodiment in Gymnastics

Noe Montez, Tufts University
The WNBA and the Performance of Intersectional Social Activism

Tony Perucci, University of North Carolina at Chapel Hill
Both Flesh and No: Three Sets on Tennis and Temporality

Katherine Profeta, Yale School of Drama
The Influence of Sports Rhetoric and Training on Improv Comedy and Contact Improv

Leticia Ridley, University of Maryland, College Park
Surviving Against the Sharp White Background: Serena Williams’s Bodily Negotiations

Danielle Rosvally, University at Buffalo
My Swordmaster’s Teacher: A Cultural History of the Society of American Fight Directors

Travis Stern, Bradley University
Anxiety, Arousal, and Audience: The Yips as (Involuntary) Performance

Susan Tenneriello, Baruch College, CUNY
Competing Desires at the 1968 Mexico City Summer Olympics: When Sport Culture and Civil Rights Collide

Malcolm Womack, Cornish College of the Arts
The Funeral Games of Crixus: Inverse Exaltation in the Spartacus War

WS37. Rousing the (Theatrical) Worker: Labor Conditions, Uprisings, and Unionization in American Theatre and Dance from the 19th Century to the Present
Convenors: Claudia Wilsch Case and Rick DesRochers, Lehman College/CUNY
Location: Theatre and Dance, Small Room

Participants:

David Bisaha, Binghamton University, SUNY
Depression Relief: Conflicts Between the United Scenic Artists and the Federal Theatre Project

Chrystyna Dail, Ithaca College
Labor Hiccups: Performing the US Factory Worker Onstage

Rick DesRochers, Lehman College CUNY
No More Pay, Just Fair Play: Marie Dressler and the Chorus Equity Association

Anthony Hostetter, Rowan University
The Robert Edmond Jones Revolution: The Reluctant Organization of Designers by the United Scenic Artists

Rhona Justice-Malloy, University of Mississippi
In Union There is Strength

Michael Schwartz, Indiana University of Pennsylvania
The Actor’s Actor and The Actors’ Strike: George M. Cohan and the Union

Christine Snyder, The Graduate Center, CUNY
Special Situation: The 2003 Broadway Musicians Strike and the Clause that Transformed Musical Theatre Production

Angela Sweigart-Gallagher, St Lawrence University
“Take dis ol’ hammer.”: John Henry’s Black Labor and the Federal Theatre Project

Claudia Wilsch Case, Lehman College CUNY
Leagues, Guilds, and Author-Producers: Protecting the Labor of Playwrights

Beth Wynstra, Babson College
“The Old Ways Are Dying and A New World is Rising As They Fall”: The American Worker and the San Francisco Mime Troupe’s Dramaturgy of Nostalgia

WS39. Between Orientalism and Orientation: Rethinking Arousal through East Asian Performance
Convenors: Tara Rodman, University of California, Irvine; Soo Ryon Yoon, Lingnan University; Kayla Ji Hyon Yuh, The Graduate Center, CUNY
Location: Theatre and Dance, Conference Room 2

Participants:

Jasmine Yu-Hsing Chen, Utah State University
Dancing Silent Screams: Legacy (1978) and the Arousal of Shared Loss in Martial-Law Taiwan

Maoqing Chen, University of Oregon/East China Normal University
The Intercultural Embodiment of Arousals in the Beijing Opera Miss Julie

Fan-Ting Cheng, National Taiwan University
The Queer-Asian Reorientation in The Theatrical Aesthetics of Ear East Ensemble’s Dress in Code

Maria De Simone, Northwestern University
“Re-orienting” Orientalist Fantasies: Lee Tung Foo’s and Jue Quon Tai’s Racial Impersonations in Early-twentieth- century American Vaudeville

Adrianna DiRisio, University at Buffalo, SUNY
Dancing for Survival in Shanghai Dance Theatre’s Crested Ibises

Ellen Gerdes, University of California, Los Angeles
Duetting in Hong Kong: Contact and the Politics of Return

Reginald Jackson, University of Michigan
Numb to the Touch: Cold War Orientalism and the Quarantined Queerness of Premodern Japan

Anthea Kraut, University of California, Riverside
Inter-corporeal Arousals: Orienting Nancy Kwan’s Racially Ambivalent Dancing Body

So-Rim Lee, Columbia University
Performing Desire through Cosmetic Surgery: Ji Yeo’s Art of the Spectacular Melancholy

Weiyu Li, University of Washington
Japan’s Post-Colonial Ghost: Kazuo Ohno’s Butoh Performance

Siyuan Liu, University of British Columbia
Censoring Arousal in Traditional Chinese Theatre in the 1950s

Carol Martin, New York University
A Futuristic Portal of Light: Toshiki Okada’s Time’s Journey Through a Room

Tara Rodman, University of California, Irvine
Learning to be Oriental: Ito Michio, Modern Dance, and the Pan Asian Glance

Shannon Steen, University of California, Berkeley
Asian America’s China

Chee-Hann Wu, University of California, Irvine
Rewriting the Topography and Historiography of Taiwan through Dance: Cloud Gate Dance Theatre’s Formosa

Yi-Ping Wu, The Ohio State University
Why I Perform on the Street: A Discussion on The Political Body of Korean Comfort Women

Soo Ryon Yoon, Lingnan University
Motion Censoring: Dance, Censorship, and the Making of the Korean Body

Ji Hyon Kayla Yuh, The Graduate Center, CUNY
Arousing Minjok: Race, Nation, and Representation in Korean Musical Theatre

Yi-Jen Yu, University of California, San Diego
Voguing Indigeneity: Aljenljeng Tjatjaljuvy’s Embodied Interpretation of Ballroom Culture and Street Dance



11:00 am – 1:00 pm

Round Table 3
Location: Theatre and Dance, Conference Room 2

Participants:

Rebecca Ormiston, Stanford University
Strange Sights: Performances of Race and Pleasure in New Orleans’ Quadroon Balls, 1825-1850

Aparna Dharwadker, University of Wisconsin
From Brothel to Theatre: Prostitutes, Performers, Performances

Jasmine Mahmoud, Seattle University
Rousing the Black Quotidian in Post-Bankrupt Detroit: Maya Stovall’s "Liquor Store Theatre"

Chloe Rae Edmonson, City University of New York
Uptown (C)arousals: Slumming, Intoxication, and Inequality in Prohibition-Era Harlem



11:00 am – 1:00 pm

Working Sessions 28, 29, 34, and 41

WS28. The Pedagogy of Extraordinary Bodies
Convenors: Jessica Brater, Montclair University; Michelle Liu Carriger, University of California-Los Angeles; La Donna Forsgren, University of Notre Dame
Location: Theatre and Dance, Conference Room 1

Participants:

Mikaela Berry, University of Texas at Austin
Touch- To Be Queer, Black, and Unapologetically Soft

Matt Cornish, Ohio University
Measuring Syllabi

Lynn Deboeck, University of Utah
Activating Body and Mind with Liveness

Michelle Granshaw, University of Pittsburgh
Embodied Learning in the Theatre History Classroom

Kyna Hamill, Boston University
Ambitious History in the Classroom: Theatre from the Greeks to the Nineteenth Century

Ellen Mareneck, Bronx Community College, City University of New York
Teaching Acting at BCC: From Shakespeare to SZA

Patrick McKelvey, University of Pittsburgh
Disability, Accessible Pedagogy, and Theatre History

Elise Morrison, Yale University
Adaptation as Historiography

Heidi Nees, Bowling Green State University
(Present)ing the Past: Immediacy and Impact in the Theatre History Classroom

Glenn Odom, Roehampton University
Extraordinary Writing / Extraordinary Bodies

Stefani Tsai, California State University, Stanislaus
An Extraordinary Body of Dramatic Criticism: Choosing and Analyzing the Right Theater History Writing Assignments

Rachel Wolfe, Utica College
Balancing Space and Time: The Challenges of Integrating World Theatre into the Mainline Curriculum

WS29. Prick Up the Ears: Listening to the Subalterns’ Sonic Revolutions
Convenors: Caitlin Marshall, University of Maryland; Marci McMahon, University of Texas-Rio Grande Valley; Patricia Herrera, Richmond University
Location: Warren College, Medium Room 1

Participants:

Masi Asare, Northwestern University
Exercises in Vocal Color: Black Women Singers as Broadway’s Voice Teachers

Avishek Ganguly, Rhode Island School of Design; Diya Das, Bryant University
‘Voice Work’: Sonic Performances in Indian International Call Centers

Katelyn Hale Wood, University of Virginia
Sonic Intimacies: Archiving Cross-Racial and Queer Resonance

Eva Heppelman, University of California, Los Angeles
The Point of Speech: Haitian Pwen as a Lyrical Message

Patricia Herrera, Richmond University; Marci McMahon, University of Texas-Rio Grande Valley
Sonic Coalition in Lin Manuel-Miranda’s In The Heights

Lindsay Brandon Hunter, University at Buffalo, SUNY
Staging Listening: The Revolutions of the Wooster Group’s The B-Side

Elias Krell, Vassar College
Little Girls, Big Words: Sexuality, Trauma, and the Sounds of Feminist, Queer, & Trans of Color Activism

Caitlin Marshall, University of Maryland
Listening to the Sonic Subaltern: Sound Methods for Performance Studies

Maryam Parhizkar, Yale University
“This Song is Sound of Enlightenment”: Sun Ra’s Proselytization of Counter-Universal Listening

Jade Power Sotomayor, University of Washington, Bothell
Corporeal Sounding: Listening to Bomba dance, Listening to Puertorriquenxs

Dylan Robinson, Queen’s University
Settler Colonial Listening Logics | Indigenous Listening Sovereignty

Eleanor Russell, Northwestern University
Standing Up the Avant-Garde: Richard Pryor on Record

WS34. Monstrous Arousal: The Erotics of Fear
Convenors: Rosemarie Garland Thomson, Emory University; Michael M. Chemers, University of California, Santa Cruz; Analola Santana, Dartmouth College; Jimmy A. Noriega, College of Wooster
Location: Theatre and Dance, Small Room

Participants:

Penny Farfan, University of Calgary
Monstrous Arousals, Queer Erotics: Nijinsky’s Rose and Faun

Anita Gonzalez, University of Michigan at Ann Arbor
Presenting the Monster of Stereotype in “We Are Proud to Present”

James Harding, University of Maryland, College Park
The Falling Blade and the Radical Cleric: The Dissident as Monster

Jeffrey Kaplan, Manhattanville College
Undocumented Zombies: Immigration and The Walking Dead

Allison Leadley, University of Toronto
Fantasies of the Flesh: Obesity the Post Mortem and the Fat Body as Monstrous

K. Frances Lieder, Independent Scholar
The Rapist as Horror and Arousal in Performative Representations of the Delhi Bus Gang Rape of 2012

Sierra Ortega, Hofstra University
Monstrous Becoming: A Speculative Account of an Obscene Body

Ana Puga, The Ohio State University
“Los Mutilados” and the Casting of Undocumented Migrant Protesters with Disabilities: Tragically Feminized Victims/Heroic Soldiers in Battle

Kara Reilly, University of Exeter
Samuel Foote’s Lucky Break (in which the English Aristophanes Sings for his Supper)

Alexis Riley, University of Texas at Austin
Monstrous Minds: Mapping Neuroqueer Desire

Carlos Salazar, University of Washington
Gods, Monsters & Lividness

Aoise Stratford, Cornell University
Awakening the Undead: The Coming of Age of the Adolescent Female Vampire

Bridget Sundin, Indiana University
Going Ape: The Erotic Animal Drag of Josephine Baker and Marlene Dietrich

Aaron C. Thomas, Florida State University
Closet Monster and the Threat of Homophobic Violence

Jessica Watkin, University of Toronto
Losing and Loving: The Fury of Becoming the Monster in Alex Bulmer’s Smudge

Margaret Werry, University of Minnesota
Monster in a Bottle, Angel on a Shelf: On the Afterlives of Teratological Specimens

WS41. Impotent Performance
Convenors: Tarryn Chun, University of Notre Dame; Christopher Grobe, Amherst College; Rebecca Kastleman, Harvard University; Derek Miller, Harvard University; Alisa Zhulina, New York University
Location: Warren College, Medium Room 2

Participants:

Megan Bailon, University of Wisconsin-Madison
Exploring the Potential of Failed Immigration: Journeys in Contemporary Puerto Rican and Dominican Theater

Nic Barilar, University of Pittsburgh
Censoring Arousal, Arousing Censorship: The Rose Tattoo in Dublin, 1957

Tarryn Chun, University of Notre Dame
Ideology & Impotence: Technical Failure in Chinese Revolutionary Performance

Daniel Ciba, Tufts University
“A Parade of Images for the Sake of Images”: The Impotence of Tennessee Williams’s Camino Real

Danielle Drees, Columbia University
Sleeping Actor, Sleeping Audience: Performing Political Exhaustion

Jason Fitzgerald, University of Pittsburgh
See What I Wanna See: Staging Climate Change in the Civilians’ The Great Immensity

Nicole Jerr, United States Air Force Academy
Smashed Castles: The Impotent Master Builder

Macy Jones, Independent Scholar
Arousing Suspicion: The Federal Theatre Project’s Canceled Production of Ethiopia

Caitlin Kane, Cornell University
Theatrical Misfits: Internal Contradictions in the Documentary Form

Rebecca Kastleman, College of the Holy Cross
Engendering Theatrical Failure: Mrs. Warren’s Profession at the Chicago Little Theatre

Kee-Yoon Nahm, Illinois State University
Ethno-National Borders, Translation, and the Incest Taboo in the Korean Diaspora Festival

Evleen Nasir, Independent Scholar
Flopping Along, or, the Making of an Insurance Lawsuit in 2016 and All that Followed

Elizabeth Phillips, Harvard University
Maeterlinck’s Post-Nobel Turn to Oblivion

Curtis Russell, The Graduate Center, CUNY
Emotional Capitalism on 51st St.: Navigating Failure with the Cast, Crew, Creators, Critics, Patrons, Investors, Staff, and Friends of A Doll’s Life

James Stanley, Harvard University
Aspiring to Impotence: Dismantling a Mythos of the Avant-Garde

Marcos Steuernagel, University of Colorado, Boulder
Public Domain — Performing The Brazilian Conservative Turn

Ariel Watson, Saint Mary’s University
Flop House: Theatres of Boredom and Exhaustion

Elizabeth Wiet, Yale University
A Tree Is Best Measured When It is Down: Robert Wilson’s Civil Wars and the Limits of Maximalist Performance

Alisa Zhulina, New York University
“Never Talk to Strangers”: The Theatrical Flops of Vladimir Nabokov’s Lolita



1:30 pm – 4:00 pm

Round Table 4
Location: Theatre and Dance, Conference Room 2

Participants:

Joseph Appleton, University of Sydney
Queer Corporealities: Bodies that Ache

Broderick D.V. Chow, Brunel University London
Idle Training: Scenes of Pleasure at Muscle Beach, 1934-1958

Lindsay Goss, Temple University
Sex and Solidarity: Jane Fonda's Role in the GI Resistance

Dan Venning, Union College
From The Alley to Long Wharf: #MeToo and the American Theatre

Charlotte McIvor, National University of Ireland, Galway
Arousing Social Change through the Intercultural Performative?: "Intercultural dialogue," Migration, Cultural Diversity and Theatre in the European Union Today



1:30 pm – 4:00 pm

Working Sessions 17, 36, 42, and 44

WS17. Arousal and Precarious Labor in Burlesque: Methods, Archives, and Ethical Scholarship
Convenors: Beth Hartman, University of Minnesota; Elizabeth Wellman, Oregon State University; Kalle Westerling, CUNY Graduate Center
Location: Location: Theatre and Dance, Small Room

Participants:

Casely Coan, University of Arizona
Punk Sensibilities and Super(s)hero Personas: Queered Erotic Desire/s as Rhetorical Re/negotiation in Burlesque Performance

Laura Dougherty, Hamline University
Burlesque, Community, and Place

Elisabeth Fallica, University of Maryland
Making Pasties, Stripping with Power, and Forging Connections: Participant Observation at the New York School of Burlesque

Julia Havard, University of California, Berkeley
sparkly ethical queer burlesque performer and researcher seeks same

Marcus Johnson, University of Washington
Suga, Spice & Everything Nice: The Embodiment of Black Burlesque Performers

Scott Magelssen and Hannah Probst, University of Washington; Nicole Henriksen, Independent Scholar/Artist
Arousal and Precarious Pedagogy

Julia Matias, University of Toronto
Tracing Colonialism Through Costuming: Mixing Methods to Examine “Exotic” Otherness in (Neo)Burlesque Performance

Amber Muller, University of California, Davis
“Not what you were expecting, right?”: Politics of Visibility and Sexual Economy in Confessions of a Sex Worker

Amanda Olmstead, University of Pittsburgh
Zumanity: Performing Utopia, Performing Fetish

Max Hunter, Independent Scholar
Queer Bodies, Queer Eyes: Queerlesque and the Subversion of the Gaze

WS36. Performance and/as Arousal in Global Asia
Convenors: Jyana S. Browne, University of Maryland, College Park; Amanda Culp, Vassar College; Sissi Liu, Brown University
Location: Warren College, Medium Room 1

Participants:

Jyana S. Browne, University of Maryland, College Park
Love Suicide’s Dangerous Arousal

Sukanya Chakrabarti, Florida State University
Minstrelsy and Memory: Arousing Pride, Shame and Nostalgia Through the Performance of ‘Folk’ Festivals in a ‘Glocal’ Context

Kaijun Chen, Brown University
Performing Merchant’s Erotica: Conspicuous Pleasure and Its Deficit

Po-Hsien Chu, University of Maryland at College Park
Reassembling the Chinese Canon on Stage: Linguistic and Corporeal Arousal in Edward Lam’s “What is Man?”

Amanda Culp, Vassar College
It’s Only a Play: Arousing Bewilderment in Sanskrit Drama

Kirk Kanesaka, University of California, Los Angeles
The Hybrid Geisha: Presentations and Representations Across Time, Space, and Media

Joanna Mansbridge, City University of Hong Kong
The Global City as Actor, Archive and Event: Hong Kong and Macau

Erin Mee, New York University
The Rasa-fication of Modern Western Drama

Jessica Nakamura, University of California, Santa Barbara
Tracing Invisible Arousal: Embodied Ascetic Practice in Murobushi Ko’s butoh

Minwoo Park, University of California, Irvine
Mourning of Sewol Ferry Disaster and South Korean Activism Over Dead Bodies of Children

Seth Powers, The Graduate Center, CUNY
Cooking “Genjer-Genjer”: Changing Appetites for a Javanese Song

Anne Rebull, University of Michigan
Questioning the Spectacle of the Nonhuman: Arousing Audiences through The Legend of White Snake

Sebastian Samur, University of Toronto
Arousal in SITI Company’s Hanjo

Sarah Tan, Arizona State University
Two Cultures, One Body: The Performance of Identity in an International Student in Postsecondary Education Institutions in America

WS42. Indigenous Research in the Americas: Rousing Resistance, Withholding Arousal
Convenors: Adron Farris, Independent Scholar; Jill Carter and Jenn Cole, University of Toronto
Location: Warren College, Medium Room 2

Participants:

Julie Burelle, University of California, San Diego
Rousing Anger: Ktahkomiq and the Arduous Labor of Intra-Mural Reconciliation

Jill Carter, University of Toronto
Indigenous Rage Incarnate: Irreconcilable Spaces and Indigestible Bodies

Jenn Cole, University of Toronto
By What Are We Dazzled? Rousing and Lulling in Ottawa 2017’s Miwate

Adron Farris, Independent Scholar
Warning: This Booger’s Paroxysmal Excitement is NOT for your Emotional Arousal

Ric Knowles, University of Guelph
Indigeneity and Festivals/Indigenous Festivals

Virginie Magnat, University of British Columbia
Vocality as Source and Resource: Resonance, Relationality, and Reciprocity

David Melendez, University of Minnesota
As the Vandals Sawed Them: Dehistoricizing California

Stefanie Miller, Brown University
Ethical Settler Spectatorship and Participation

Melissa Poll, Simon Fraser University
Towards Reconciliation? Intercultural Performance- Making on Turtle Island

Kristen Tregar, University of California, San Diego Buffalo
Tracing: Mapping the Re-emergence of the Sioux and Buffalo Nations

E.J. Westlake, University of Michigan
Walk Toward the Sunset: Inspiring the Performance of Melungeon Ethnicity in Appalachia

Peter Zazzali, University of Kansas
Arousing Resistance or Accepting Enchantment?: Exploring Indigeneity in Western Actor Training

WS44. Theatre and Performance vs. the Crisis in the Humanities: Arousing the “Mobile Critical Paradigm”
Convenors: Kim Solga, Western University; Sylvan Baker, Diana Damian, Rebecca Hayes Laughton, and Katharine Low, Royal Central School of Speech and Drama
Location: Theatre and Dance, Conference Room 1

Participants:

Sharon Green, Davidson College
Facing Our Truth: Curating a Campus Conversation about Racial Injustice

Barry Freeman, University of Toronto
How to Walk through Walls: Pulling Down Academic and Material Barriers to Interdisciplinary Collaboration via “ACM Connects” at the University of Toronto Scarborough

Shannon Jackson, University of California, Berkeley
On the Opportunities and Limits of ‘Creative’ Incorporation

Clara Nizard, Royal Central School of Speech and Drama
Sexual Misconduct & The Consumer-Student Paradigm

Emily Roxworthy, University of California, San Diego
Academic Drama at the (University of California) San Diego Border

Theron Schmidt, University of New South Wales
Modeling Creative Activism with Media Students

Max Shulman, University of Colorado at Colorado Springs
Welcome to Campus: Setting New Standards Through Embodied Learning

Joanne Tompkins, University of Queensland/Australian Research Council
Theatre and Performance in the Context of the Humanities in Australia

Michael Zampelli, Santa Clara University
Performing Meaningfully: Repositioning Theatre and Dance in Silicon Valley



4:30 pm – 6:30 pm

Award Ceremony
Location: Warren College Mall



4:30 pm – 6:30 pm

Closing Reception
Location: Warren College, Computer Science & Engineering 1130



Meeting Off Site

Working Sessions 1, 4, 8, 14, 25, 31, 35, 38, and 40

WS1. Change as an Arousing State: Continuing the Conversation about Theatre, Performance, and Change
Convenors: Stephani Etheridge Woodson, Arizona State University; Tamara Underiner, Arizona State University

Participants:

Deniz Basar, Concordia University
Puppetry as a Pedagogical Tool of Ethics and Politics for Adults: A Reflection on Pedro Reyes’ Manufacturing Mischief (2018)

Gad Guterman, Webster University
The Theatrical Life of a Supreme Court Justice

Karen Jean Martinson, Chicago State University
“And I say who has ever ever seen this place?”: Feeling Change in the Performances of El Vez, The Mexican Elvis

Caro Novella Centellas, University of California, Davis
Rehearsal as Method

Jon D. Rossini, University of California, Davis
@change...

WS4. Arousing the Senses: Sonic and Digital Dimensions in Performance
Convenors: Stephanie Lim, University of California-Irvine; Vicki Hoskins, University of Pittsburgh; Laura London Waringer, Florida State University

Participants:

Joyelle Ball, Stonehill College
Raising the Dead: Liveness, Theatricality, and QueerSurvival in KindaTV’s Webseries

Emily Clark, Marymount Manhattan College
Broadway Celebrities, Misnomer No More: The Internet as Bridge Between Audiences and Broadway Stars

Miyoko Conley, University of California, Berkeley
Designing a K-pop Audience: Interactivity and Digital Media in KPOP the Musical

Areum Jeong, Asia Culture Research Institute
The Deokhu Code: Performing Affective K-Pop Fandom (P)labor

Emily Klein, Saint Mary’s College of California
Seductive Movements: Lessons from Lysistrata and Spike Lee’s Chi-Raq on Immersive Theatre and the Cinema of Resistance

Lilianne Lugo Herrera, University of Miami
Virtual Bodies and Archives in Caridad Svich’s Antigone Arkhe

Talley Murphy, Brown University
Search-Lights

Bradley Rogers, Duke University
The Amplification of the Critic

Shane Vincent Sedlemyer, Indiana University of Pennsylvania
Living Up to Its Title: Mean Girls and the Use of Social Media and Technology to Arouse Audiences

Nahuel Telleria, Yale School of Drama
Affective Metatheatricality in Federico León’s Ideas

WS8. Amusement Parks, Tourism, and Performed Selves
Convenors: Jennifer Kokai, Weber University; Ryan Claycomb, West Virginia University

Participants:

Shiraz Biggie, The Graduate Center, CUNY
Agency at the Sea: The Park Goer’s not so Unique Experience

T. Nikki Cesare Schotzko, University of Toronto
12, or so, Rules for Spectatorship at the Destination of the Dead: Finding Amusement Somewhere between Jordan Peterson and Westworld

Sara Christian, Louisiana State University
Theme or Scream: How Thrill Ride Shaming is Visible at Amusement Parks

Ryan Claycomb, West Virginia University
Theme Park Dadding: Scrambling the Affective Arrangements of American Masculinity

Jennifer Kokai, Weber University
Dressed for Fun: Clothing and Affiliation at Amusement Parks

Eero Laine, University at Buffalo, SUNY
Amusement Park Characters: The Work and Performance of Costumes and Uniforms

Elizabeth Laurie, Northwestern University
You Become a Detective: Performing the Detective in Belmont Park’s Escapology Escape Rooms

Sarah Lewis Cappellari, University of California, Los Angeles
Performances in Escapology

Grant Tyler Peterson, Brunel University
Grotesque Arousal in Banksy’s Dystopic Dismaland and English Performance Grammars of Self-Deprecation

WS14. queer nightlife performance: flesh, pleasure, and power at night (Muñoz)
Convenors: Kemi Adeyemi, University of Washington; Ramón H. Rivera-Servera, Northwestern University; Kareem Khubchandani, Tufts University

Participants:

Dhiren Borisa, Jawaharlal Nehru University
Ephemeral Geographies of Gay Men Dancing in Delhi: Mapping Caste and Class Anxieties in Seeking Desires

Julian Carter, California College of the Ars on crawling

Karen Jaime, Cornell University

Clit Club at Mother: Lesbian Erotic Pleasure and Sexual Practice in 1990s NYC

Chelsea Grimmer, The University of Washington
Cellular Connections: The Queer Nightlife of LaWhore Vagistan’s Global Anti-Colonial, Anti-Racist Poetics

Siri Gurudev, University of Texas at Austin
La fulminante: fuck the power

Carina Guzman, University of Toronto
Arousing Greater Machistán: A Translocal Archive of Queer Magic

Denise (Deni) Li, University of California, Irvine
Sex on Shrooms: Psychedelic Arousal, Disidentifications, and Queer-Feminist Futurity

James McMaster, New York University
What’s a Slaysian?

Alaina Monts, University of Texas at Austin
Theatricality and Kink: on Xandra Ibarra (and unnamed white porn stars who think their pussies will save the world)

J. Lorenzo Perillo, University of Illinois at Chicago
Titos of Manila: A Queer of Color and Feminist Analysis of Filipino Hip-Hop Spaces

Jennifer Thompson, Cuny Graduate Center
“Power in Party”: the Fiestas Spandex and the Chilean democratic transition

Enzo Vasquez Toral, Northwestern University
La Familia Galán’s Folkloric Drag: Rethinking the Dance Floor of the Fiesta

WS25. About Face: The Material History of Pleasure in Stage Makeup
Convenors: Jane Barnette, University of Kansas; Esther Kim Lee, University of Maryland; Martine Kei Green- Rogers, SUNY New Paltz

Participants:

Eleanor Blackman, Case Western Reserve University
Unpacking the Makeup Case of Dorothy Paxton

Zachary Dorsey, James Madison University
Learning to Read: The Pleasures of Makeup at Drag Queen Story Hours

Hyewon Kim, University of Michigan Ann Arbor
Material Transposition: A Materialist Approach to Marking Musical Identity

Mads Leigh-Faire, American Conservatory Theater
Whose Drag Is Valid? - Identity and Makeup Politics

Mary McAvoy, Arizona State University
Cults of Ordinary Beauty: The Politics of Amateur Cosmetic Performances in the YouTube Era

Chuyun Oh, San Diego State University
The Pleasure of Mimicry: Male K-pop Idols Makeup Tutorials on YouTube

Tina Post, University of Chicago
Lina Iris Viktor & Blackface in Contemporary Performance Photography

Iris H. Tuan, National Chiao Tung University
Arousal by Face and Identity Transformation in Global Asia: Jekyll & Hyde & So On

WS31. Stimulating Transfeminisms
Convenors: Sarah Bess Rowen, Villanova University; Rye Gentleman, University of Minnesota; Amy Meyer, Tufts University; Janet Werther, The Graduate Center, CUNY

Participants:

Rye Gentleman, University of Minnesota
Trans/materiality

Amy Meyer, Tufts University
Transfeminisms and the Acrobatic Body

Jess O’Rear, University of Texas at Austin
Trans Identity & Performing Personal Narratives

Kara Raphaeli, University of California, San Diego
Transgender Bibliography

Sarah Bess Rowen, Villanova University
She and They: Towards Transfeminisms

Annie Sansonetti, New York University
The Composition of Transgender Childhood through Performance

Janet Werther, The Graduate Center, CUNY
Dyke Dramas: Transmogrifying the Legacy of ‘Women’s’ Writing

Anna Winget, University of California, Irvine
Arousing Resistance in DarkMatter’s Healing of Failure

WS35. Moving San Diego: Sites, Senses, and Bodies
Convenors: Susan Bennett, University of Calgary; Kristin Hunt, Arizona State University

Participants:

Guillermo Aviles-Rodriguez, California State University, Northridge
Murals in Motion: High Performing Low Riders in San Diego’s Chicano Park

Mohamadreza Babaee, Bowling Green State University
Unpacked: Performing Racial Mobility

Marissa Béjar, Pontificia Universidad Católica del Perú
A Being in the City: San Diego

Susan Bennett, University of Calgary; Kristin Hunt, Arizona State University
Moving San Diego: Sites, Senses, and Bodies

Sarah Hart, University of California, Davis
Affecting Humanity, Challenging Exclusion, Moving-with Stories of Deportation

Kelley Holley, University of Maryland, College Park
Transportable Site-Specificity and Malleable Domesticity in Do Ho Suh’s Almost Home

Elora Mastison, Arizona State University
Designed Place: Terror and the Garden

Katie Morris, Louisiana State University
Arousing Suspicion: Moving Through San Diego’s William B. Kolender Sheriff’s Museum

Marcella Munson, Florida Atlantic University
From Revue Halls to Ports of Call: Staging Naval Experience for the Audience in 1860s Paris and Present - Day San Diego

Chai Ju Shen, University of Roehampton
Body in the Cities: Imaging Taiwaneseness through Urban Choreographies

WS38. “Staying Woke”: Authorship, Circulation, and Critique of American Blackness in Performance
Convenors: Megan Geigner, United States Naval Academy; Rhaisa Williams, Washington University; Le’Mil Eiland, University of Pittsburgh

Participants:

Brandi Catanese, University of California, Berkeley
Planned Obsolescence and Dominique Morrisseau’s The Detroit Project

Randi Evans, University of California, Berkeley
Abstracting the Vernacular

Theresa Incampo, Tufts University
“Stand in your POWER”: Extending Activist Bodies in the Digital Sphere

Donta McGilvery, Arizona State University
Understanding My Black Male Body as A Site of Performativity

Laura Mielke, University of Kansas
Arousing an Audience: Antebellum African American Performers and Spectator Response

Aviva Neff, The Ohio State University
Confronting an Aesthetics of Absence: Beyoncé Knowles, Branden Jacobs-Jenkins, and Kara Walker’s Performative Remembrances

Marisa Plasencia, University of California, Santa Barbara
In Solidarity with the Past: Reading Lines, Histories, and Bodies in the Work of Ralph Lemon

Rosa Schneider, Columbia University
“Start by being black”: New Forms of Embodying Blackness in We are Proud to Present a Presentation

WS40. Blurring the Lines in the Sand: Border Actions and Investigations
Convenors: Kevin Byrne, University of Arizona; Ana Martínez, Independent Scholar
Website: https://blurringlinessand.wordpress.com

Participants:

Bertie Ferdman and Daphnie Sicre, Borough of Manhattan Community College, CUNY
Staging 14

Jean Graham-Jones, The Graduate Center, CUNY
Reenacting / Reconsidering Border Subjectivities: Border Bodas, three decades later

Christiana Harkulich, Miami University of Ohio
A Seed, An Idea, A Human Hand: The Border and Unruly Plants

Katie Johnson, Miami University of Ohio
Border Traces

Dennis Sloan, Bowling Green State University
Do I Sabe Yet? Living/Performing in the Mixed-race Liminal Space

Adam Versenyi, University of North Carolina
Calling Out Lineage/Amalgamating Cultures



Return to top

© 2019  American Society for Theatre Research (ASTR). All Rights Reserved.

Home | Member Login | Privacy Policy | Site Map | Contact Us
1000 Westgate Drive, Suite 252, St. Paul, MN 55114
Phone: +1 651-288-3429 | Fax: +1 651-290-2266 | Email: info@astr.org