Cultural Indigestion Symposium Schedule

ART@IU Cultural Indigestion Conference

ART@IU Cultural Indigestion Conference

Indiana University Department of Theatre, Drama, and Contemporary Dance

Cultural Indigestion
3rd Annual Graduate Symposium on Theatre and Performance Studies

All events are in the Lee Norvelle Theatre and Drama Center, 275 N. Jordan Avenue, Bloomington, IN 47405, with the exception of Panel 1 which is located at the Mathers Museum of World Cultures, 416 N. Indiana Avenue, Bloomington, IN 47408. There is free parking across the street from the theatre building, on the upper level of the Jordan Avenue Garage.

Friday, December 12
3:30 pm-4:30 pm
Registration Table Open……………………………………………….Michaels Lobby

4:30 pm-6:00 pm
Panel 1: Mathers Museum Exhibit Opening – Still/Moving………..……Mathers Museum

6:00 pm-7:30 pm
Catered Dinner………..……………………………………………Lee Norvelle Center

8:00 pm-10:00 pm
Performance 1: Staged Reading of an Adaptation………………………….Studio Theatre
The Poisonwood Bible written and directed by Joe Stollenwerk

Saturday, December 13
8:45 am-9:20 am
Bagel Breakfast………………….…………………………………….Michaels Lobby

9:20 am-9:25 am
Welcome.………………………………………………………………Studio Theatre
Dr. Ronald Wainscott
Director of Graduate Studies and Head of Theatre History, Theory, and Literature


9:30 am-10:45 am
Panel 2a: Re- and Un-Known Musicals…………………………………………Studio Theatre
1. Capitalism Induced Cannibalization and the Contemporary American Musical Revival of Chicago
Mike Rodriguez, Masters Student in Theatre & Drama, Indiana University
2. When Hell Freezes Over, I’ll Skate: Vinnette Carroll’s Theatrical Melting Pot
Joe Stollenwerk, PhD Candidate in Theatre & Drama, Indiana University
3. Singing Multiculturalism; Bilingualism and the 2009 Production of West Side Story
Joshua Robinson, PhD Student in Theatre & Drama, Indiana University

9:30 am-10:45 am
Panel 2b: Transgressing Identity………………………….….………………….A 201
1. The Chinatown Cowboy: Re-masculating the Chinese Male Through the Drama of Frank Chin
Whit Emerson, PhD Student in Theatre & Drama, Indiana University
2. Transgressive Dramaturgy in Prison-Based Theatre
Julie Rada, Raymond C. Morals Fellow, University of Utah
3. Challenging Gender in Anna and the Tropics
Andres Lopez, PhD Student in Theatre & Drama, Indiana University
4. Chewing Up and Spitting Out a New White: Genet, Ward, Parks and the Absurd Terror of Whiteface
Susannah Stengel, Masters Student in Theatre & Drama, Indiana University
11:00 am-12:35 pm
Panel 3: Practical Multiculturalism Roundtable…………………..………………A 201
Moderator: Sara Taylor, PhD Student in Theatre & Drama, Indiana University
Panelists: Jennifer Goodlander, Assistant Professor of History,
Theory, and Literature, Indiana University
Mauricio Miranda, MFA Student in Playwriting, Indiana University
Bridgette Dreher, MFA Student in Scenic Design, Indiana University
David Koté, MFA Student in Directing, Indiana University
Caroline Huerta, BFA Student in Musical Theatre, Indiana University

12:45 pm-1:45 pm
Performance 2: Performance of a Translation…………………………….Studio Theatre
I Didn’t Expect Such Humanity by Lucienne Guedes Fahrer
Translated and Directed by Eric “C” Heaps
(mature content – nudity)

1:45 pm-3:00 pm

3:00 pm-4:15 pm
Panel 4a: Cultural Adaptation and Appropriation…………………………..Studio Theatre
1. War Bonnet: Racist and Sexualized Misappropriation of Native Dress
Emmie Pappa Eddy, Masters Student in Folklore, Indiana University
2. Rediscovering Shakespeare Through Translations
Brennan Murphy, Arts Management and Theatre & Drama Major, Indiana University
3. Thunder God: The Difficulties of Producing Chinese Theatre at an American University
Lucia Xioran Zhu, Theatre & Drama Major, Indiana University
3:00 pm-4:15 pm
Panel 4b: Western Influences in Asia…………………………………….………A 201
1. Post-Colonial Indian Theatre
Jashodhara Sen, M.A. in Theatre Arts, Mumbai University
2. Brecht in China
Weiyu Li, Masters Student in Theatre & Drama, Indiana University
3. Kim Jong-il on the Invention of Tradition and the Art of Propaganda
Sara Taylor, PhD Student in Theatre & Drama, Indiana University

4:15 pm-4:30 pm
Snack Break………………………………………………………Theatre West Alcove

4:30-4:45 pm
Presentation of Essay Prize…………………………………………….Studio Theatre
Dr. Jennifer Goodlander
Assistant Professor of History, Theory, and Literature, Indiana University

4:45-6:00 pm
Keynote Address
Processo Colaborativo de Criação (Collaborative Process of Creation)……Studio Theatre
Lucienne Guedes Fahrer, Professor of Playwriting, Escola Superior de Artes Celia Helena

6:00-7:30 pm
Dinner Break

7:30-9:00 pm
IU Theatre…………………………..…………………………….Wells-Metz Theatre
In the Red and Brown Water by Tarell Alvin McCraney
Directed by David Koté
Talkback with David Koté and dramaturg Eric “C” Heaps to follow
Keynote Address

Lucienne Guedes Fahrer
Escola Superior de Artes Celia Helena
Professor of Playwriting

Lucienne Guedes Fahrer is a playwright, actor, director, professor, and researcher. She received her first degree from the University of São Paulo (USP) in Theatre with a specialization in Theory of the Theatre (2000) and her Master’s in Theatre (2011), also from USP. As an invited artist for the Teatro de Narradores, Cia., she put on her production of CIDADE CORO – CIDADE FIM – CIDADE REVERSO, as both playwright and co-driector. This production represented Brazil in the Messe Frankfurt in Germany in 2013. She was also an invited actor for Cia. Balagan (under the direction of Maria Thaís Lima Santos) in the project Cabras in 2013. She was a founding actress of Teatro da Vertigem, with whom she has put on the productions O Paraíso Perdido (1992), Apocalipse 1,11 (2000), e A última palavra é a penúltima 2.0 (2014). In 1998 she was invited to be principal of the Free School of Theatre in Santo André. She was an invited professor of the Theatre Department of ECA-USP in 2009, 2010, and 2013 and an invited director for the School of Dramatic Arts at USP in 2014. She is professor of playwriting at the Escola Superior de Artes Celia Helena em São Paulo. She has a wide range of experience in the arts, with an emphasis in playwriting and acting/directing, workign principally in the following areas: the creation process, playwriting, theatrical interpretation, the collaborative process, body techniques, vocal techniques, and performance. Currently she is working on her doctorate at USP under the direction of Sílvia Fernandes (beginning in 2012), with her work focusing on the creative processes in playwriting.

“A restauração e os deslocamentos da narratividade no teatro”
“Restoration and Displacement in the Narrativity of Theatre”


Feb. 27: Theatre Circle Presents Dr. Amy E. Cook on King Lear and Cognitive Science

Cook_Staging-nothingStaging Nothing, Staging Science: King Lear and the Theatricality of What is Absent

Being and seeing bodies speak onstage is powerful—it manages to change minds. The seemingly simple ability to watch, understand, appreciate, and be moved by a theatrical production is, in fact, an extraordinary cognitive and biological feat. In this, the final Theatre Circle Lecture of the season, Dr. Amy Cook focuses on the performance of science and the science of performance in Shakespeare’s language, examining how conceptual linguistics illuminates Cordelia’s invocation of “nothing,” in the King Lear’s opening scene and Lear’s desperate attempt to capture some sign of life from his daughter at the play’s end.

Thursday, February 27 | 5:30 pm
Studio Theatre
2nd Floor, Lee Norvelle Theatre & Drama Center
Corner of 7th and Jordan

Dr. Amy Cook, Theatre History, Theory, & Literature

AMY COOK is Associate Professor of Theatre History, Theory, and Literature at Indiana University. She specializes in the intersection of cognitive science (particularly cognitive linguistics, theories of embodied and embedded cognition, and empathy), and theories of performance, theatre history and dramaturgy, early modern drama, and contemporary productions of Shakespeare. Her book, Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science, provides a methodology for applying cognitive science to the study of drama and performance. With Shakespeare’s Hamlet as a test subject and the cognitive linguistic theory of conceptual blending as a tool, Cook unravels the “mirror held up to nature” at the center of Shakespeare’s play. She is co-chair, with John Lutterbie, of the Cognitive Science in Theatre and Performance Working Group at the American Society of Theatre Research conference (2010 and 2011).

She was a Mellon Fellow in dramaturgy, directing, and dramatic literature at Emory University in Atlanta, where she was commissioned to write a documentary theatre piece on race at Emory University, presented at the Brave New Works Festival in February of 2009. She received her Ph.D. in Theatre and Drama at University of California, San Diego where she studied with Louis Montrose, Bryan Reynolds, Jim Carmody, Janet Smarr, and cognitive scientists Gilles Fauconnier, Rafael Núñez, and Seana Coulson. She got received her B.A. in theatre directing and psychology (a self-designed individual concentration through the Honors Program) from University of Michigan, Ann Arbor.

Mar. 4: IU French & Italian Presents Dr. Georgia Cowart on Watteau and 18th C. French Opera

Performing a New France: Watteau, the Musical Stage, and the Burial of Louis XI

Tuesday, March 4th | 5:30 pm
Simon Music Building, Room 242
200 S. Jordan Ave. (behind the fountain)

Antoine Watteau (1684-1721) worked briefly as a set painter at the Paris Opera House around 1702-1703, and a number of his most well-known paintings can be explained via a series of pieces performed in the musical theater of that time. These works encode a critique of the increasingly unpopular rule of the aging Louis XIV, while offering utopian visions of a new France. Drawing on the opera, ballet, and commedia dell’arte, the presentation will examine the imagery of The French Comedians, The Italian Comedians, Mezzetin, and other works as they respond to and participate in a theatrical game of masks involving satire, parody, and allusion.

Dr. Georgia Cowart, Case Western University

GEORGIA COWART is Professor of Music at Case Western Reserve University. She has published three books and a number of articles on music, the arts, and cultural politics in early modern France. Her most recent book, The Triumph of Pleasure: Louis XIV and the Politics of Spectacle (University of Chicago Press, 2008), focused on the shifting intersections of the arts, ideology, and aesthetics at the court of Louis XIV and in the Parisian public sphere in the late 17th and early 18th centuries.  She is currently at work on a book manuscript, tentatively titled “Performing a New France: Watteau, Spectacle, and the Sunset of Absolutism.”

From 2007-09, Prof. Cowart served as Sylvan C. and Pamela Coleman Memorial Fund Senior Fellow in Art History at the Metropolitan Museum of Art in New York, and as guest curator of the Met exhibition “Watteau, Music & Theater” (Fall 2009). From 2011-12 she served as Marta Sutton Weeks Senior Fellow at the Stanford Humanities Center.

This talk made possible by the kind sponsorship of the Mary-Margaret Barr Koon Fund of the Department of French & Italian, Department of the History of Art, the Renaissance Studies Program, Department of Theatre, Drama, & Contemporary Dance, IU’s Center for 18th-Century Studies, Department of Musicology

If you have a disability and need assistance, accommodations can be made to meet most needs. Please call (812) 855-5458.

Feb. 21: Mathers Museum presents Jennifer Goodlander on Indonesian Puppetry as “Intangible Cultural Heritage”

Wayang-Kulit-PuppetUnderstanding Puppets as Heritage: Performing Objects/Performing Culture

Friday, February 21 | 12:30 – 1:30 pm
Mathers Museum of World Culture
416 N. Indiana Ave, Bloomington, IN 47408

Join MMWC Faculty Research Curator and Theatre, Drama, and Contemporary Dance professor Dr. Jennifer Goodlander as she discussses puppetry as heritage. UNESCO has designated puppetry as “Intangible Cultural Heritage” in several Asian nations, adding to its economic and political relevance. This designation, however, also problematizes the relationship between the tangible objects with the intangible performance. In the museum the objects of performance function as a transatlantic archive of living and changing traditions; likewise the tradition of Asian performance lies within the body and that in order to understand the tradition and how it changes one must engage with the art as performer. In this presentation, Goodlander will explore how the puppet as an object in a museum articulates (past) performances and performs cultural heritage.

The lecture will be free and open to the public.

Jennifer Goodlancer, Theatre, Drama, & Contemporary Dance

Dr. Jennifer Goodlander, Dept.  of  Theatre, Drama, & Contemporary Dance

JENNIFER GOODLANDER is Assistant Professor of Theatre History, Theory, and Literature in IU’s Department of Theatre, Drama, and Contemporary Dance. Her research focuses on Asian performance as it intersects with gender studies, ethnography, performance studies, postcolonial theory, visual culture studies, and transnational circuits of performance.  Her dissertation, with research funded by a Fulbright Fellowship to Indonesia, focused on women and performance in Bali, especially wayang kulit or shadow puppetry.  She is currently revising the dissertation into a book manuscript tentatively called Women in the Shadows: Gender, Puppets, and the Power of Tradition in Bali.  Drawing upon her own experience of the practical training and ritual initiation to become a dalang, or puppeteer, coupled with interviews of early women dalangs and leading artists, she argues that “tradition” in Bali must be understood as a system of power that is inextricably linked to gender hierarchy.

Jennifer 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).

Sept. 26: Theatre Circle presents Dr. Alison Calhoun on Molière’s Imaginary Invalid

Courtesy of the Bibliothèque Nationale de France

“‘This Fatal Marriage’: The Critique of Opera in Molière’s Imaginary Invalid”

Molière’s Imaginary Invalid draws a very fine line between fact and fiction, since it not only presents illness and dying as its subject matter, it has gone down in the history of theater as the play during which its dramatist, playing the title role, met his own death. But Molière’s final performance was not just brought about because of bad health. His fame and the future of his comedies were also severely threatened by his once collaborator, turned rival, the opera composer Lully. This talk will look at how the more obvious subject matter of quack doctors and ridiculous medicine doubled as a clever strike at Lully and the rise of opera.

Dr. Alison Calhoun, Department of French & Italian

Dr. Alison Calhoun, Department 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.

Dr. Jennifer Goodlander Receives Mellon Innovating International Research & Teaching Grant

Dr. Jennifer Goodlander performs Indonesian shadow pupper theatre, wayang kulit, at her Alma mater, Ohio University, in September 2011.

Congratulations to Dr. Jennifer Goodlander, Assistant Professor of Theatre History, Theory, and Literature and recent fellowship recipient in the first round of funding to IU Bloomington faculty from the Mellon Innovating International Research and Teaching Grant Program, funded by $750,000 from the Andrew W. Mellon Foundation.

Jennifer plans to use her faculty felllowship to conduct field research in Indonesia and Cambodia in Summer 2013, studying how the arts, especially shadow puppetry, functions in the formation of Southeast Asian national identity.

“An IUB Professor Creates—and Performs with—Balinese Shadow Puppets” | Inside IU features Dr. Jennifer Goodlander

Dr. Jennifer Goodlander performs wayang kulit, a form of traditional Balinese shadow puppetry. Goodlander trained in the ancient art while studying for her doctoral degree on a Fulbright Fellowship in Indonesia.

Dr. Jennifer Goodlander, the newest Assistant Professor of History, Theory, and Literature in the Department of Theatre & Drama is this month’s Featured Spotlight in Inside IU, the online news magazine for faculty and staff at Indiana University Bloomington. According to Bethany Nolan’s intimate profile:

“If you’re lucky, [Jennifer Goodlander] will show you one of the brightly colored and intricately carved puppets she’s mastered use of through her studies of an ancient Balinese art form — wayang kulit, or shadow puppetry. … But watch her give an actual performance, and you’ll only see the puppets through a thin cloth screen. That’s because the show — and all the magnificence of those works of art — is meant for the gods. As part of the human audience, your eyes are allowed to see a mere shadow of the story.”

Goodlander became interested in traditional Balinese shadow puppetry while studying for her doctoral degree on a Fulbright Fellowship in Indonesia. Her research there focused on broadly women and performance, but after trying her hand at the ancient art form, her dissertation project shifted to include her own experience learning wayang kulit. Drawing upon her own experience of the practical training and ritual initiation to become a dalang, or puppeteer, coupled with interviews of early women dalangs and leading artists, she argues in her book manuscript (tentatively titled Women in the Shadows: Gender, Puppets, and the Power of Tradition in Bali) that “tradition” in Bali must be understood as a system of power that is inextricably linked to gender hierarchy.

Read more about Jennifer in the Inside IU Spotlight Profile, or on her faculty profile at