Conference Program

(Re)making (Re)presentation Conference Program


8:30-9:15  Registration Green Room [Room 3111]

9:15-11:00 am  Panel Sessions 1

Authorship and Embodied Performance Room 5414

Moderator: Jessica Del Vecchio

Mina Choi (The Ohio State University)

“Women Playwrights’ Presentation of Violence in the Re-visions of the Greek  Dramas: Marina Carr’s By the Bog of Cats and Portia Coughlan

Karinne Keithley (Graduate Center, City University of New York)

Ontological Cover Acts: Anti-Quotation in the Work of Young Jean Lee and Miguel Gutierrez

Laura Hydak, (Graduate Center, City University of New York)

Pasión de un Pueblo: Identity, Religion, and Modernity in Iztapalapa, Mexico

“Child’s Play”: Myths, Comics, Puppets, and Child Subjects           Room 5489

Moderator: Dan Venning

Noelia Diaz (Graduate Center, City University of New York)

Violence and Intertextuality in The Pillowman by Martin McDonagh and Marta  Stutz by Javier Daulte

Stefan Blaeske (University of Vienna)

Re-enactment and Re-presentation? Performing ‘KAMP’

Daniella Vinitski (Colorado University, Boulder)

The Naming of Ghost: Distance and the Formation of Meaning in Amiri  Baraka’s The Dutchman

Donatella Galella (Graduate Center, City University of New York)

Staging Superman: Adapting the Superhero, the Original Broadway Musical, and  the Flop Narrative

The Visual                                                                                                        Room 8301

Moderator: Jake Hooker

Michael Krahel (College of New Jersey)

‘A Note on Subtitles’: Projected Text and a Multiplicity of Experience in Viewing Sarah Ruhl’s The Clean House

Megan Hammer (Tufts University)

The Making of a Modern Woman, or How the Robots Hijacked Hedda Gabbler

Francesca Martinez Tagliavia (Ecole des Hautes Etudes en Sciences Sociales)

Blob: The Power of Visual Archive Against Politics of Imagination”

Karilynn Ming Ho (Simon Fraser University)

Towards the Inauthentic Copy

Political Engagement and the Formation of Community Through Performance Room 8304

Moderator: Hillary Miller

Jamie Matty (Boston College)

Arendt and Metaphysical Guilt: Political Performative Violence in Pinter’s Ashes to Ashes

Lina Zigelyte (Utrecht University)

Staging the Real Five Meters Below the Ground: Theatricality in  a Soviet Bunker

Marco Deseriis (New York University)

Black Square on Red Square: A Reexamination of Irwin’s Retroprinciple

Elisa Legon (Graduate Center, City University of New York)

Staging the National Hero: Arena Conta Tiradentes

11:15am-1:00pm  Panel Sessions 2

Authorial Intent                                                                                                Room 5414

Moderator: Kevin Byrne

Aoise Stratford (Cornell University)

Gothic Tales Reimagined

Dan Venning (Graduate Center, City University of New York)

‘To Lose a Thing that None but Fools Would Keep’: The Elimination of ‘set-piece’ Monologues in Restoration Adaptations of Shakespeare

Christina Katopodis (Graduate Center, City University of New York)

Speaking from One and Many Voices, Harriet Jacobs’ A Slave Girl Performance

Cordelia Zukerman (University of Michigan)

Reconstructing What’s Lost: The Intersection of Editing and Adaptation in Shakespeare and Middleton’s Macbeth

Mediation in Representation: Film, Painting, and New Media  Room 5489

Moderator: Sascha Just

Rebecca Brantley (University System of Georgia)

Behind the Masks of Gods: The Re-Staged Self in Caravaggio and Cindy Sherman

Andrew Iliadis (Ryerson University and York University)

A Nation Talking to Itself: Psychoanalytic Critiques of Contemporary Photojournalism in the Middle East

Georgia Young (Texas State University)

Breaking the Stage: von Trier (Re)makes Brecht for the Cinema

Lisa Reinke (Graduate Center, City University of New York)

Filtering Video Games through Puppetry and Comic Books Charts

Race, Gender, and Performing Bodies Room 8301

Moderator: Catherine Young

Molly Hatcher (University of Michigan)

Suzan-Lori Parks’s Venus: Transforming History

Joseph Talarico (Graduate Center, City University of New York)

Shirley Q. Liquor and the Uncomfortable Position of Race in Queer Performance

Danielle Sanfilippo (Boston College)

Somewhat Stiff Between the Legs: A Psychoanalytic Reading of the Politics of  Gender and Cross-Dressing in The Roaring Girl.

To (Re)member: The Body in Performance and Spectatorship    Room 8304

Moderator: Bethany Holmstrom

Anne Hege (Princeton University)

Sympathetic Vibrations: Connecting with the Audience through    Images of the Body

Coco Roberge and Elliot Gordon Mercer (New York University)

History as Practice: Reinventing Site-Specific Performance from the 1960s and  70s

Ben Spatz (Graduate Center, City University of New York)

Technique and Event: Toward an Epistemology of Embodied Knowledge

1:00-1:45 pm LUNCH Green Room [3111]

2:00-3:30pm Plenary Session Martin E. Segal Center [1st floor]

3:45-5:30pm  Panel Sessions 3

Reading Plays: Performance and (Re)creation                                    Room 8304

Moderator: Professor Judith Milhous

Zachary Ross (University of Illinois, Urbana-Champaign)

Trigorin’s Notebook: Tennessee Williams, Anton Chekov, and Soviet Sexual  Bigotry

Dave Peterson (University of Pittsburgh)

Reconstructing Performance Authority at Shakespeare’s Globe

Lance Mekeel (Bowling Green State University)

Voicing the Silenced: As[a/o]pting Plautus for a Contemporary Community of Readers

Andrew Friedman (Graduate Center, City University of New York)

Waking a Postcolonial Silence: Playing Gombrowics’s Operetta Across Borders

Constructing Culture: “Lows,” “Middles,” and “Elites”                     Room 8301

Moderator: Ben Spatz

Julia Goldstein (Graduate Center, City University of New York)

‘Saving the Day’ The Confused Cultural Capital of Hip Hop Theatre

Sarah Kozinn (New York University)

Remaking Law: Judge TV and the Accidental Avant-Garde

Christopher Martin (University of Maryland, College Park)

A Constellation of Cakewalks

Rick DesRochers (Graduate Center, City University of New York)

The Tradition of Canovacci and its Legacy in Buster Keaton, the Marx Brothers, and Larry David: Where is the Author?

Managing Risk: Safety, Copyright, and Investors         Room 5489

Moderator: Christopher Silsby

Dan Boulos (Brooklyn College)

The Era of Ragtime in the Age of Disney

Robert Woods (University of Oklahoma)

Pillage this Play!  Do Artistic Re-Presentations Clash with a Playwright’s Copyright?

Josh Jeffries (University of Georgia)

Disgust Reaction and Startle Effect: Responsibility in Representation

The Theatre Students of the Graduate Center at CUNY announce “(Re)making (Re)presentation” as theme for second graduate student conference to be held May 3, 2010.


Graduate Student Conference: (Re)making (Re)presentation

May 3, 2010
CUNY Graduate Center, New York, NY
Call for Papers

The Theatre Students of the Graduate Center of the City University of New York announce their second graduate student conference, in conjunction with the conferral of the 2010 Edwin Booth Award by the Doctoral Theatre Students Association.*

According to New York based playwright Charles Mee, “there is no such thing as an original[.]”** His (re)making project, an endeavor that highlights his own method of creative production while encouraging borrowing and overlap by other playwrights and performers, resists the notion of an “original” in artistic creation. Mee suggests that the (re)makings of classics and (re)presentations of “originals” become the vehicles “through [which] the culture speaks, often without the speakers knowing it.”* Practiced citationality, intertextuality, and ideas of “twice-behaved” properties have come to the fore in analysis of postmodern theatre, dance, and performance as well as in recent investigations of canonical literature and poetry. How might an analysis of how art (re)creates itself (re)make discussions of the author, the creative process, and the effect on audiences, readers, and participants?

Larger questions loom behind these considerations of artistic creation and originality: can any art be original, or truly called new? Are such claims ever feasible or useful? And when texts, stories, or performances are openly (re)made, what are the implications of such gestures? Do new forms emerge when we elaborate upon spectacle or add novel technology in (re)presentations? What happens when practitioners push the proverbial envelope, exposing the body or staging violence in innovative (and possibly problematic) ways? Finally, who can assert authorship/ownership over such (re)makings? Can representation ever project the politics of the avant-garde if it has always already been done?

We invite proposals for papers and panels exploring these and related questions. The one-day graduate student conference will take place at CUNY’s Graduate Center and the Martin E. Segal Theatre Center on May 3rd, 2010. The conference will be followed by the 2010 Edwin Booth Award, which is being awarded by CUNY’s Doctoral Theatre Students Association to Charles Mee.   Papers and panels do not need to directly address Mee’s work.

Proposals might consider themes such as, but not limited to:

-Issues of intertextuality and citation in literature and performance
-Questions of ownership, adaptation, and reappropriation of ideas
-The (re)making nature of the avant-garde
-Issues of copyright
-Use of technology and multimedia in performance
-Ethics of (re)presentation
-Authority, authorship, and power-sharing in collaborative projects
-(re)Presenting violence and brutality
-New paradigms in theatre economics
-Performing history
-Theatre as process
-Aspects of stage/performance spectacle
-Sex, nudity, and other representations of the body
-Adaptation: What happens to content when it moves across media?
Please send proposals or abstracts of 100 to 300 words to Bethany Holmstrom, Rayya El Zein, and Kelly Aliano at by January 30, 2010. Please include a cover letter stating name, affiliation, and A/V requirements.
* For more information about the DTSA and the Booth Award, please see DTSA and Edwin Booth Award
Looking forward to your submissions!

 OpenCUNY » login | join | terms | activity 

 Supported by the CUNY Doctoral Students Council.