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Sunday, November 23, 20147:30 AM - 9:30 AMCoffee and Breakfast BreadsHarborside Foyer, 4th Floor

8:00 AM - 11:00 AM

WORKING GROUPS FPerformance as Research Working GroupEssex A, 4th FloorConvenersDaniel Mroz, University of OttawaKris Salata, Florida State UniversityParticipantsRachel Anderson-Rabern, Franklin and Marshall CollegeMargaret F. Savilonis, University of New HavenDirecting and Dramaturgy: The Institutional Tensions of Not-Knowing

Julie Burelle and Sam Mitchell, University of California, San DiegoPerforming/Theorizing Violent Landscapes: Dance, Dramaturgy, and Repatriation of Indigenous Memory

Natasha Davis, University of Warwick, United KingdomBody, Memory and Identity Explored through Performance as Research Project Internal Terrains

Ciane Fernandes, Federal University of Bahia, BrazilSomatic-Performative Research or “How to Move Things and Words”

Rick Kemp, Indiana University of PennsylvaniaCognitive Strategies for Generating Affective States: A Research Project Conducted during Rehearsals and Performances of The Tempest

Kyle Gillette, Trinity UniversityLiberal Arts as Theatre as Nexus as Performance as Research

Rachel Joseph, Trinity UniversityWe Have to Stop Now. Psychoanalysis, Performance as Research, and the Real

Daniel Mroz, University of OttawaLuo Shu Ji Xing - Theorizing a Research/Creation Laboratory in Theatre Creation

Daniel Sack, University of Massachusetts, AmherstTen Ways of Looking at an “Imagined Theatre”

Kris Salata, Florida State University, TallahasseeMartin Buber’s “I and Thou” in the Lab

ªIOWA where great writing begins

University of Iowa Press . www.uiowapress.org . order toll-free 800.621.2736

Athenian Tragedy in PerformanceA Guide to Contemporary Studies and Historical Debatesby Melinda Powers

Music for the Melodramatic Theatre in Nineteenth-Century London and New York by Michael V. Pisani

IOWA m studies in theatre history and cultureHeather Nathans, series editor, and Thomas Postlewait, founding editor

“This is a salutary book that reminds us that nearly everything we think we know about the practicalities of the ancient Greek theatre can crumble under rigorous questioning. Even then, Powers is brave enough to test the exposed interrogations out on the staging and interpretation of Euripides’s Bacchae. All those inter-ested in the staging of Greek tragedy will find their ideas sharpened by this wide-ranging critique.”—Oliver Taplin, University of Oxford210 pages . 15 b&w photos$45.00 paperback

“An immensely brilliant scholarly work that should be compulsory reading for anyone interested in nineteenth-century theatre.”—David Mayer, author, Stagestruck Filmmaker: D. W. Griffith and the American Theatre384 pages . 50 illustrations 2 tables . $40.00 paperback

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Michael St. Clair, Stanford UniversityTell Me which Buttons to Press: The Emergence of Crowd Agency and Governance Strategies through Ludic Participation

Ian Watson, Rutgers UniversitySomatic Communication: Memories and The Embodied Archive in The Performer Training Cycle

James Andrew Wilson, Unaffiliated, CaliforniaExcavation and Re-animation: Uncovering Performance Process

Shakespearean Performance Research GroupEssex B, 4th FloorConvenersCatherine Burriss, California State University, Channel IslandsFranklin J. Hildy, University of MarylandRob Ormsby, Memorial University of NewfoundlandDon Weingust, Center for Shakespeare Studies, Southern Utah University and Utah Shakespeare FestivalW. B. Worthen, Barnard College, Columbia UniversityParticipantsKane Anderson, University of Puget SoundComics and Tragedy: Locating Original Practices in Graphic Literature “Stagings” of Shakespearean Plays

Susan Bennett, University of CalgarySounding Original

Sara Boland-Taylor, University of IllinoisThe Belly Performs: Pregnant Boys on the Stuart Stage

Scott Campbell, Mary Baldwin College and BlackfriarsThe Vanishing Experiment: Marketing Dearth in Twenty-First Century Original Practices Shakespeare

Valerie Clayman Pye, Manhattanville CollegeOP on Broadway: Inauthentic “Authenticity” and the Commercialization of Practice as Research

Joe Falocco, Texas State University“How not-so-easily She may be Surprised”: An Original Practice Solution to the Puzzle of Antony and Cleopatra 5.2.

Louise Geddes, Adelphi University“Il Faut du Sang”: Shocking the Elizabethan Audience

Peter Kanelos, Valparaiso UniversityRefiguring Richard: Rhetoric and Character in Richard III

Daniel Keegan, California State University, Fullerton and New York Film Academy, Los AngelesOffspring of the Dallying Puppets: The Hidden Room and the “Original” in “Original Practices”

Matt Kozusko, Ursinus CollegeInferred Implied Stage Directions

Jemma Levy, Washington and Lee UniversityCreating Citizens: Implicating the Audience through Direct Address

Emily Madison, Columbia University“Original Practices” and Performance Criticism

Cary Mazer, University of Pennsylvania“Original Practices” and Modernism: The Case of Granville Barker

Josy Miller, University of California, DavisGesture, Gender, Genre: Original Practices and the Articulation of Femininity

Kathryn Moncrief, Washington CollegeOriginal Practices and the Performance of Pregnancy in Shakespeare’s All’s Well that Ends Well

Nova Myhill, New College of FloridaPositioning the Audience in the Original Practices Movement

Dierdre O’Rourke, University of PittsburghRestoring Shakespeare: Original Practices and Restoration Shakespeare Performance

Dave Peterson, Colby CollegeMark Rylance, Clowning Original Practice

Kathryn Prince, University of OttawaAuthenticity, Aura, and Audience at the Wanamaker Playhouse

Johanna Schmitz, Southern Illinois University, Edwardsville“I have thee not and yet I see thee still”: The Rose Theatre Archaeological Discovery in 1989 as Tool for Re/Creating Original Practice

Richard Schoch, Queen’s University BelfastEdmond Malone and the Historiography of Original Practices

Adam Sheaffer, University of Maryland, College ParkFrom Workshop to Festival: Original Practices and The New York Shakespeare Festival

Lauren Shepherd, University of Toronto“And I did laugh sans intermission / An hour by his dial”

Fran Teague, University of GeorgiaConceptual Original Practices and Present Production

Natalie Tenner, University of Mary WashingtonMemory and the Performing Object: A Case Study of the Blackfriars Playhouse

W. B. Worthen, Barnard College, Columbia UniversityIntermediating OP

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“Vestida de ___”: Costumes as Dramatic Agents in Plays from the Spanish Golden AgeEssex C, 4th FloorConvenersSusan Paun de García, Denison UniversityMelissa Figueroa, Binghamton UniversityBen Gunter, Theater with a MissionParticipantsDON GIL DE LAS CALZAS VERDESKaren Berman, Georgia CollegeJordan Cohen, The Graduate Center, City University of New YorkJason A. Eckard, University of WashingtonHarley Erdman, University of Massachusetts, AmherstPamela Kierejczyk Thielman, The Graduate Center, City University of New YorkTeam leaderSusan Paun de García, Denison University

LA FUERZA DE LA COSTUMBREMarissa Béjar, Pontificia Universidad Católica del PerúSharon D. Voros, United States Naval AcademyTeam leaderMelissa Figueroa, Binghamton University

LA ROPAVEJERADeborah A. Dougherty, Alma CollegeTeam leaderBen Gunter, Florida State University

9:00 AM - 10:45 AMPerformASTR DiscussionHarborside D, 4th FloorConvenerBrian Herrera, Princeton UniversityParticipantsChristina Banalopoulou, University of Maryland, College ParkSlade Billew, Bowling Green State UniversityMarc Boucai, Independent Artist-ScholarMichael Chemers, University of California, Santa CruzLindsay Cummings, University of ConnecticutAllan Davis, University of Maryland, College ParkJennifer Goodlander, Indiana UniversityGad Guterman, Webster UniversityBrian Herrera, Princeton UniversityJessica Krenek, University of Maryland, College ParkVictoria Pettersen Lantz, Sam Houston State University

This two-year master’s program offers students a broad-based approach to the study of performance, expanding a traditional focus on the aesthetic practices of theater and dance to include cultural performances such as gender performativity, Civil Rights activism, and street begging in early modern Europe. Under the broad umbrella of performance, students are invited to explore the mutual engagement of aesthetic and cultural performance practices across history, around the globe, and between disciplines, drawing on a variety of theoretical approaches to illuminate the complex meanings generated by and through performance. For more information, visit pad.artsci.wustl.edu/graduate. Please recommend our program to your most promising students! Application deadline is January 15th

master of arts program in theater and performance studies

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David Saltz, University of GeorgiaAndrew Salyer, University of Wisconsin, MadisonKatie Schaag, University of Wisconsin, MadisonReya Sehgal, Brown UniversitySusanne Shawyer, Elon UniversityAngenette Marie Spalink, Bowling Green State UniversityAngela Sweigart-Gallagher, Northeastern Illinois UniversityMelissa C. Thompson, University of ArizonaAdam Versenyi, University of North Carolina, Chapel Hill

Curricular Performance RoundtableHarborside C, 4th FloorChairs Amy Cook, Stony Brook UniversityValleri Robinson, University of IllinoisNew Paradigms in Graduate Education CommitteeParticipantsOdai Johnson, University of WashingtonJohn Lutterbie, Stony Brook UniversityDassia Posner, Northwestern University

CAREER SESSIONS 9-15CoordinatorsStefka Mihaylova, University of WashingtonAnn Folino White, Michigan State University

CS9. Writing Effective Book ProposalsHarborside E, 4th FloorIn this session, a panel of commissioning editors and series editors discuss what they look for in a proposal, the dos and don’ts of proposal writing, and publishers’ perspectives on new projects.

ConvenerJanelle Reinelt, Co-editor of Studies in International Performance for Palgrave Macmillan, University of WarwickPanelistsPaula Kennedy, Publisher, Literature & Theatre/Performance Studies for Palgrave MacmillanLiz Levine, Commissioning Editor, Routledge Research and the Routledge Advances in Theatre & Performance Studies seriesBrian Singleton, Co-editor of Studies in International Performance for Palgrave Macmillan, Trinity College, Dublin

CS10. Effective InterviewingFalkland, 4th FloorThis session consists of a mock interview for a faculty position, a postmortem of the interview from the interviewers’ and the interviewee’s perspectives, and a discussion of how to prepare for different interviews.

ConvenerKirsten Pullen, Texas A&M UniversityPanelistsMegan Sanborn Jones, Brigham Young UniversityJim Peck, Muhlenberg CollegeScott Proudfit, Elon University

CS11. Alt-Ac Career Paths In, Around, and Out of AcademiaGalena, 4th FloorThis session addresses careers off of the tenure track that utilize Ph.D. training, where to find job postings, how to market the Ph.D. for a variety of positions, and the application and interview process.

ConvenerAriel Nereson, Vassar CollegePanelistsKen Cerniglia, Dramaturg and Literary Manager Disney Theatrical GroupJane Duncan, Director of Accreditation and Assessment, Nova Southeastern UniversityTom Pacio, Producing Manager for New York Stage and FilmAaron Shackelford, Mellon Postdoctoral Fellow, Carolina Performing Arts

CS12. Avoiding the ABD CliffHeron, 4th FloorThis session offers strategies for dissertation completion in instances when an ABD candidate must craft, compose, and defend a dissertation while taking on a first-time teaching position, becoming a parent, or assuming other time- and energy-intensive tasks.

ConvenerKeith Byron Kirk, University of HoustonPanelistsLa Donna Forsgren, University of OregonLaura Lodewyck, Northwestern University

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CS13. Postdocs: Should You or Shouldn’t You?Iron, 4th FloorThis session addresses the variety of postdoc options that exist, as well as how to apply, the reasons to do so, and how to get the most out of a postdoc experience.

ConvenersGibson Cima, Tufts UniversityJesse Njus, New York UniversityPanelistPannill Camp, Washington University, St. Louis

CS14. First Year as a Faculty MemberJames, 4th FloorThis session focuses on the experience of the first year as a faculty member. Topics include what to expect, the unexpected, and managing expectations; navigating institutional and departmental cultures; tips and advice.

ConvenerLisa Jackson-Schebetta, University of PittsburghPanelistsJocelyn L. Buckner, Chapman UniversityGad Guterman, Webster UniversityNicole Hodges Persley, University of KansasJimmy A. Noriega, The College of Wooster

CS15. Meet the Editors of Theatre SurveyBristol, 3rd FloorIn this session, the editors of Theatre Survey offer information on the process of publishing in the journal including how articles and book reviews are evaluated and selected.

ConvenersHarvey Young, Associate Editor, Northwestern UniversityEsther Lee Kim, Editor, University of Maryland

11:00 AM - 12:30 PMState of the Profession Materialisms and Humanisms: New, Old, and Other?Harborside C, 4th FloorChairsRobin Bernstein, Harvard UniversityUri McMillan, University of California, Los AngelesPanelistsJu Yon Kim, Harvard University and Coleman Nye, Brown UniversityEveryday Life: Histories of the Ordinary, Persistent, and Repeated

Nadine George-Graves, University of California, San Diego and Susan Manning, Northwestern UniversityPerforming the Boundaries Between Theatre Studies and Dance Studies

Jorge A. Huerta, University of California, San Diego and Tiffany A. Lopez, University of California, RiversideLatina/o Theatre in the 21st Century: Making the Invisible Visible

Adron Farris, University of Georgia and Heidi L. Nees, California Polytechnic State University, San Luis ObispoI Object! These Things Have Been Performing Long before You Started Watching – Non-Human Performances and (re)Considerations of Indigenous Identities

Faedra Chatard Carpenter, University of Maryland, College ParkFacing the Other: Reconsidering Transracial Performance

Catherine Cole, University of California, Berkeley; Megan Lewis, University of Massachusetts, Amherst; and Jisha Menon, Stanford UniversityPerformance Studies in/from the Global South

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