Department of Theatre & Drama Hires New Faculty in Theatre History, Theory, & Literature

Dr. Jennifer Goodlander presents an Interdisciplinary Arts lecture entitled “Kehidupan: Bringing Puppets to ‘Life’ in Bali,” at her alma mater, Ohio University, in September, 2011.

Dr. Jennifer Goodlander is excited to be joining the faculty of the Department of Theatre and Drama of Indiana University Bloomington as an Assistant Professor of History, Theory, and Literature. Jennifer will be teaching undergraduate world theatre courses as well as graduate seminars in performance studies, feminist theatre, intercultural, and Asian performance.

Dr. Goodlander earned her M.F.A. in Asian Performance at the University of Hawai’i at Mānoa and her Ph.D. from Ohio University. Her research is interested in unraveling and exploring connections between scholarship and theatrical practice.  In New York City and regionally she worked extensively as a director and teacher with a special emphasis on new plays and physically based performance.   She combined Asian theatre into innovative productions of The Ghost Sonata, The Bacchae, and others.  She was a member of the 2005 Lincoln Center Director’s Lab that focused on new play development and working in collaboration.  She often shares her research through performances and lectures at theatres, civic groups, and universities and has performed wayang kulit in NYC, Michigan, Kentucky, Illinois, and Ohio.  Jennifer is the Membership and Outreach Coordinator for the Association for Asian Performance (AAP) and Symposium Co-Chair for Practice and Production Symposium of the Mid-America Theatre Conference (MATC).

This spring she gave Balinese wayang kulit performances and lectures in Kentucky, Illinois, and Michigan, and recently published “Gender, Power, and Puppets: Two Early Women Dalangs in Bali” in Asian Theatre Journal, vol. 29.1, 2012. You can read more about Jennifer in her faculty profile at theatre.indiana.edu.

Prof. Alison Calhoun presents Practice as Research Performance of Scenes from Jean-Baptiste Lully with Jacobs School of Music

Lully: Glory without Love?

Scenes from the operas and comedy ballets of Jean-Baptiste Lully

Saturday, April 21, & Sunday, April 22, at 4:00 pm
Auer Hall (Located on the second floor of the Simon Music Center, 200 S. Jordan Ave.)

Lully Opera Rehearsal

A rehearsal from Lully: Glory without Love?

A Co-production of IU Baroque Orchestra, Pro Arte Singers, IU Ballet Department, and the Early Music Institute
The delights of Jean-Baptiste Lully’s magical dances, airs, recitatives and triumphant marches will be on display in Auer Hall this weekend as the Early Music Institute, Jacobs School Ballet Department and Pro Arte Singers combine forces to present Lully: Glory Without Love?

A rehearsal for “Lully: Glory Without Love?”

With an original script by guest actor Mace Perlman, baroque choreography by guest stage director Catherine Turocy and music direction by Nigel North, the program weaves together scenes chosen from the most poignant moments in the composer’s operas and comedy-ballets Psyché, Alceste, Armide, Atys, Isis, Le Bourgeois Gentilhomme and Bellérophon.

For this production, the Early Music Institute has brought together two outside professionals to work with students on artistic expression specific to the French seventeenth century.

Catherine Turocy, leading choreographer, reconstructor, and stage director in 17th-18th century period performance. | Photo by Beatriz Schiller.

Choreographer and period movement expert Turocy, director of the New York Baroque Dance Company, has worked with ballet students and singers in the art of early French dance, gesture and pantomime. She has also provided a number of elaborate period costumes, which will be used by dancers during this production.

By weaving Lully’s music into one moving story about the impossible tension between love and glory, Perlman has created a staging for the production, with inspiration from the diverse masks of the commedia dell’arte. His collection of Venetian commedia masks will also be featured.

Lully, love and power are three key words that combine to create Lully: Glory Without Love? From the allegory of Glory herself to such diverse characters as Armida, Renaud, Fury and Italian and Spanish lovers; from suicidal scenes, dream scenes, triumphant marches and the wonders of Lully’s passacaille, this production will present what Perlman has called the “many eyes of Lully’s life and art.”

With talented student soloists, a full baroque orchestra, the choral strengths of the Pro Arte Singers, the masterful baroque choreography of Turocy and the commedia dell’arte-inspired staging of Perlman, audiences will be offered a unique and powerful experience that captures the essence of the French baroque.

Nigel North, Music Director
Stage Direction by Catherine Turocy and Mace Perlman
Choreography by Catherine Turocy
Spoken Narration by Mace Perlman
Production Concept, Alison Calhoun

Nigel North, music director
Mace Perlman, stage director and writer/text and language coach/actor
Catherine Turocy, stage director/choreographer/period movement coach
Alison Calhoun, production concept, French diction coach
Paul Elliott Director, Early Music Institute, vocal coach
William Jon Gray, Director, Pro Arte Singers
Juan Carlos Zamudio, Assistant Director, Pro Arte Singers
Sarah Edgar, assistant choreographer
Rachel Fernandez, stage manager

Dr. Alison Calhoun, Department of French & Italian

Dr. Alison Calhoun, Assistant Professor of French & Italian

Alison Calhoun is Assistant Professor of French in IU’s Department of French and Italian. Her research focuses on the cultural and intellectual history of the Renaissance and extends to the 17th and 18th centuries to study genre, reception (theater), and morality. Her approach is interdisciplinary (philosophy and literature, music and literature) and often fits into the categories of history of the book, reception theory, and genre studies. Her forthcoming book, A Transverse Self: Montaigne and the Lives of the Philosophers, situates Montaigne and Diogenes Laertius in the history of life writing in the Renaissance and Classical Age in France.

In Calhoun’s latest research project, Motion and Emotion in Early Modern French Drama, she explores the reading, staging and stagecraft of composite drama (court ballet, machine plays, comedy-ballets, and opera). With key authors like Balthasar de Beaujoyeulx, Honorat de Bueil de Racan, Honoré D’Urfé, Jean Mairet, Pierre Corneille, Isaac de Benserade and Philippe Quinault, she aims to show that the libretto, parallel to and concurrently with the novel, trained readers not only to imagine greater fictional possibilities than before, but also to feel (sometimes to practice) more diverse emotions.