Keynote Speaker Lucienne Guedes Fahrer Workshops and Lecture

The Department of Theatre, Drama, and Contemporary Dance, The Association for Research in Theater at IU, and Indiana University Student Association invite you to workshops and a lecture by:

Lucienne Guedes Fahrer  (University of São Paulo/Teatro da Vertigem)

Lucienne Guedes Fahrer

Lucienne Guedes Fahrer


“Working with Actors in Site-Specific Performance”

Tuesday, December 9, from 4:30 – 6:00 pm

Studio Theatre (Lee Norvelle Theatre and Drama Center. 275 North Jordan Ave, Bloomington, IN)



“The Works of Lucienne Guedes Fahrer and the São Paulo Theatre Scene”

Wednesday, December 10, at 5:30 pm

A200 (Lee Norvelle Theatre and Drama Center)


“The Collaborative Playwriting Process”

Thursday, December 11, from 4:30 – 6:30 pm

Studio Theatre (Lee Norvelle Theatre and Drama Center)

Another lecture, co-sponsored with the Department of Spanish and Portuguese, will be offered in the Redbud Room of the Indiana Memorial Union, Wednesday, December 10, at 2:30 pm. This lecture will be in the Portuguese language and is entitled “O Processo Colaborativo de Criação.”


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

ART@IU Cultural Indigestion Conference

ART@IU Cultural Indigestion Conference


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

Eric “C” Heaps Directs World Premiere of Lucienne Guedes Fahrer’s “Refusing the Flower” in His Own Translation

In November, second-year PhD student Eric “C” Heaps will be presenting the world premiere of Refusing the Flower (A recusa da flor) by Lucienne Guedes Fahrer, a playwright, director, actor, and theatre artist from São Paulo, Brazil.

    Images from, D. Sharon Pruitt, Tim Sheerman-Chase, & Lauren Sagendorph

Images from, D. Sharon Pruitt, Tim Sheerman-Chase, & Lauren Sagendorph

In his director’s note, Eric shares his interest in both the playwright and her play, which he translated and directed:


PhD Student, Eric “C” Heaps

“I first met Lucienne last year at an event titled Dramaturgia Concisa e Contemporânea (Concise and Contemporary Playwriting), where playwrights have 90 minutes to write a 5-10 minute scene which will be performed that night; Lucienne was the winner that night. The following week I attended her play Banda Hamlet, a rock show where the characters from Hamlet come back from the dead to retell their stories using popular music. I was hooked from that point. And since even award-winning contemporary playwrights from Brazil are unfortunately unknown in the United States, I decided to bring one of her plays to you.”

Lucienne Guedes Fahrer

Lucienne Guedes Fahrer

A founding member of Teatro da Vertigem (Vertigo Theatre), as well as a member of Cia. dos Dramaturgos (Company of Playwrights), Fahrer has been principal at the Free School of Theatre in Santo André and a resident-artist at the São Paulo School of Theatre. In addition to her career as a professional artist, she is now pursing a doctoral degree from the University of São Paulo.

It is an interesting turn of events that the first fully staged production of Refusing the Flower should be in English rather than Portuguese. The play’s translation and eventual production served as a practice as research project for Eric who plans to pursue translation theory in his dissertation next year. In part, Refusing the Flower’s American premiere asked questions key to Eric’s research about how meaning is transmitted when both actors and spectators are working in a language that they have no prior experience with:

“The history of translation is marked by a pendulum swing of public opinion regarding its validity as a practice. Romans translated and adapted Greek theatre, believing that by putting it into Latin they improved it. Later, early translations of the Bible into languages other than Latin brought people to the stake to be burned. But whatever the opinion towards translation’s viability, we often take translation for granted in the theatre world. Partially in order to combat this tendency, and also to demonstrate the validity of bilingualism in American theatre, for this production I’ve maintained some of the Portuguese in the script. By so doing, I hope to further various dramatic functions of the script and provide something more meaningful than would be provided by either language alone.”

Eric collaborated with Fahrer on on the final draft of his translation and plans to film the project in the hopes that the piece might continue to be developed both in the US and Brazil. The production features IU students and community members, most of whom are making their premiere on IU stages as well.

See Lucienne Guedes Fahrer’s Refusing the Flower, translated and directed by Eric “C” Heaps.

November 9-10 @ 7:30 pm; November 11 @ 12:00 noon

Studio Theatre
2nd Floor, Lee Norvell Theatre & Drama Center
275 N. Jordan Ave. | Bloomington, Indiana 47403


Lauren Sagendorph as Júlia
Keenan H. Crotty as Lúcio
Mary Emma Heaps as Young Girl/Mother/Echo/Band
Amanda Wenz as Enemy/Pregnant Woman/Band
Nick Pappas as Pregnant Woman’s Husband/Echo/Band
Clarence Knapp – Band


Director……………………….Eric “C” Heaps
Stage Manager………………..Jenna Johnson
Composer/Music Advisor……..Ben Taylor
Lighting Design……………….Justin Bennett
Costume Design………Mary Emma Heaps
Hair/Makeup……………………….Anna Ross
Additional music by Fito Paez