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
REGISTRATION AND OPENING EVENTS
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
BREAKFAST AND DEPARTMENTAL WELCOME
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

PANEL PRESENTATIONS

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
BREAK FOR LUNCH

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
lucienneguedes@terra.com.br
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”

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Cultural Indigestion (colon) Exploring the Complexities of Interculturalism in Theatre and Performance

ART@IU Cultural Indigestion Conference

ART@IU Cultural Indigestion Conference

GRADUATE SYMPOSIUM @ INDIANA UNIVERSITY | CULTURAL INDIGESTION | DECEMBER 12-13, 2014

The 3rd Annual Indiana University Department of Theatre, Drama, and Contemporary Dance Graduate Symposium on Theatre & Performance Studies:

Cultural Indigestion (colon) Exploring the Complexities of Interculturalism in Theatre and Performance

“Tupi or not Tupi: that is the question.” -Oswald de Andrade

In 1928, Oswald de Andrade published his Cannibalist Manifesto, asserting Brazilians’ right to cannibalize other cultures and break free from post-colonial European dominance. In the next decade he would write the play The Candle King to try and put those ideas to work on stage. It was not performed until the Tropicalist movement found it and put it on in the 1960s. Such cultural tends to be linked with imperialism since those with the power are the ones appropriating the performance techniques and culture of others. This raises certain questions that do not sit easy on the stomach: Can cultural appropriation function in the way Andrade proposes? Is the metaphor of cannibalism or digestion appropriate for interculturalism? What are the stakes for the participants in intercultural performance?

In our increasingly global culture, the blurring of boundaries both forces cultures to mix and opens up more people to a desire to understand other cultures. In our third annual graduate symposium on theatre and performance studies, we hope to host a diverse, interdisciplinary community of scholars whose research ruminates on this mixed platter of performance and theory at the intersection of cultures. We seek proposals for papers, presentations, and performances that actively interrogate cultural cannibalism and intercultural performance.

Proposals might address topics relevant to the following areas:
• Cultural cannibalism
• Intercultural vs. Multicultural vs. Cross-cultural
• Borders and Margins
• Postcolonial performance
• Translation
• Diversity and difference
• Post-migrant theatre and immigration
• Syncretic theatre
• Adaptation and appropriation
• Bilingualism on the stage
• Diaspora studies

Conference dates: DECEMBER 12-13, 2014

Jennifer Goodlander’s Grad Class T583, Theatre East/West Invites Composer P.Q. Phan to Discuss Intercultural Opera

Jennifer Goodlander's T583 Invites P.Q. Phan to Discuss Intercultural Performance

In the 20th century, as world-travel has become more accessible, theatre has experienced an explosion of cross-influences.  Artists have shared stories, techniques, and especially aesthetics.  This phenomenon of artistic development and sharing is not new – but recently it carries baggage of colonialism, tourism, and differences in economic and political power between “first” and “third” world nations. “Tradition” or “traditional performance” carries a certain value within local and global contexts.

Dr. Jennifer Goodlander’s class, THTR T583: Theatre East/West, examines both Western and Nonwestern performance, and how these performances, and categories of performance, have shaped the practice and teaching of theatre in the 21st century.  The categories of Asian performance, intercultural theatre, and tradition each embody a considerable scope of work—it is not the intention of this class to give a comprehensive or complete overview of any of these topics. Rather this class seeks to introduce the student to a variety of performance genres, practices, and debates so that each student will have the tools to do further research and practice. Goals include attempts to:

  • Develop an understanding and appreciation of traditional theatre genres in Asia.  Our study will focus on aesthetics and story but we will also explore the role that performance plays in Asian cultures.
  • Workshop some of the physical and vocal styles used in traditional Asian theatre.
  • Examine a variety of theatre artists that are forging companies/productions/systems of training with international aesthetics.
  • Understand some of the theoretical models for discussing intercultural theatre practices.
  • Investigate the notion of “tradition” and how it relates to performance in contemporary global societies.
  • Participate in the debate concerning ethics surrounding intercultural performance.
  • Apply our understanding of methods, aesthetics, and theory in papers and creative projects exploring possibilities that emerge when you combine performance traditions from the East and West.

PhD Student Joe Stollenwerk’s adaptation of The Handmaid’s Tale @ Cincinnati Shakes

[Adapted from several entries at cinstages.com]

A World Premiere of Modern Classic: Cincinnati Shakespeare Company is proud to present the world premiere production of The Handmaid’s Tale by Margaret Atwood, adapted for the stage by Indiana University Department of Theatre & Drama PhD student Joe Stollenwerk, April 3-20, 2011

The Handmaid's Tale, adapted by Joe Stollenwerk from the Novel by Margaret Atwood. Cincinnati Shakespeare Company Cincinnati, OH.

Corinne Mohlenhoff as Offred in The Handmaid’s Tale, adapted by Joe Stollenwerk from the Novel by Margaret Atwood. Cincinnati Shakespeare Company. Cincinnati, OH, April 3-20, 2011. Directed by Brian Isaac Phillips, Sound Design by Chris Guthrie, Costume Design by Heidi Jo Schiemer, Lighting and Scenic Design by Andrew J. Hungerford. | Photo copyright Rich Sofranko. See more photos at Hungerford’s personal web site.

Opening April 3rd, Cincinnati Shakespeare Company is proud to present the world premiere of The Handmaid’s Tale by Margaret Atwood, adapted for the stage by Joe Stollenwerk. For a limited run of only nine performances, this captivating one-woman show features CSC Ensemble member Corinne Mohlenhoff and is directed by Producing Artistic Director Brian Isaac Phillips. The Handmaid’s Tale will run concurrently with CSC’s production of Julius Caesar through April 20th.

Phd Student Joe Stollenwerk

Phd Student Joe Stollenwerk

Joe Stollenwerk is originally from Cincinnati where he spent nearly ten years as the Artistic Director of Ovation Theatre Company. A vibrant member of the local theater community, he has also directed and/or acted with Cincinnati Music Theatre, Covedale Theatre, Cincinnati Playwright Initiative and Madisonville Arts Center. It was during this time in Cincinnati, that Stollenwerk and Mohlenhoff first met and began working together, this collaboration actually inspiring Stollenwerk to create this one-woman role with Corinne in mind:

“I first read The Handmaid’s Tale in a course on feminism and utopia/dystopia in literature in 2002. This was in the wake of 9/11 and it seemed that our country might all too easily be teetering on the brink of something reminiscent of Gilead from this novel. I immediately began thinking about turning it into a play, despite the fact that this seemed an insurmountable task. Then I remembered that one of my favorite genres of plays is the one-woman show, and that was that.”

He began with a draft in 2006 which was well over six hours long.

“I cut, and cut, and cut, always trying to be mindful that I wanted to preserve the plot and characters but also the social/political commentary as well as the marvelous language Atwood employs.”

The artistic process continued and Stollenwerk invited close friends over for informal readings of the script in his living room throughout 2007.

“Finally, I felt ready to give Corinne a draft of the script, and in May of 2009 we did a staged reading here at Cincinnati Shakespeare Company. I’m so pleased that I was finally able to secure the rights to have a full production staged and to present the world premiere right here in Cincinnati, OH!”

Photo copyright Rich Sofranko. See more photos at Hungerford's personal web site.

Photo copyright Rich Sofranko. See more photos at designer Andrew J. Hungerford’s personal web site.

Cincinnati Shakespeare Company presents The Handmaid’s Tale for a limited run of nine performances. Performances are scheduled for April 3-20 on Sunday, Tuesday and Wednesday evenings at 7:30pm. The theater is located at 719 Race Street, downtown Cincinnati, two blocks west of the Aronoff Center. Ticket price is $22. Visa, MasterCard, and American Express are accepted. Student rush tickets are available one hour before showtime. Weekday matinee performances for school groups are also available, contact 513.381.2272 ext. 3202 for more information. To purchase tickets or for more information, call the CSC Box Office at 513.381.BARD (2273), or visit us online at www.cincyshakes.com and click any “Buy Tickets” link.

For additional information on The Handmaid’s Tale (or for interviews with Mohlenhoff, Stollenwerk or Phillips), please contact Jeanna Vella, Director of Education & Communications here or visit www.cincyshakes.com.

Wednesday April 13: GLBT Night (6:00 pm)

A pre-show reception beginning at 6:00PM in CSC’s lobby, with refreshments sponsored by Bagpipes Irish Pub. The performance of The Handmaid’s Tale begins at 7:30PM. Following the performance there will be an after party at Below Zero Lounge, located at 1122 Walnut St.

Tuesday, April 12: Women’s Rights Pre-Show Panel Discussion hosted by Planned Parenthood (6:15 pm)

Beginning at 6:15pm, the talk is included free with any ticket for that evening’s production and a ticket to the The Handmaid’s Tale must be purchased to attend the discussion. Luke Brockmeier, the Public Affairs Coordinator for Planned Parenthood Southwest Ohio Region, told CSC “your production of The Handmaid’s Tale is jaw-droppingly timely, because everybody in the women’s movement is talking about that book right now. The panel will be lead by Laurie Housemeyer, Planned Parenthood Southwest Ohio Region. Luke Brockmeier, PPSWO will speak about the current legislation, Barbara Myers, Cincinnati Women’s Political Caucus will speak about the legislative history of reproductive health and Dr. Christine Anderson, chair of a local history university department, will cover the history of women’s property rights. Following the performance, there will be a casual post-show discussion at Bagpipes Irish Pub across the street. All audience members are invited.

Sunday, April 3 & April 10: Playwright, Joe Stollenwerk in a Pre-show Talk-back (6:45-7:15 pm)

Stollenwerk will share his insights into his creative process for writing this piece for the stage. Stollenwerk is originally from Cincinnati where he spent nearly ten years as the Artistic Director of Ovation Theatre Company. A vibrant member of the local theater community, Stollenwerk has also directed and/or acted with Cincinnati Music Theatre, Covedale Theatre, Cincinnati Playwright Initiative and Madisonville Arts Center. It was during this time in Cincinnati, that Stollenwerk and Mohlenhoff first met and began working with each other actually inspiring Stollenwerk to create this piece with Corinne in mind during the process.