Chair: Farah Yeganeh Freddie Rokem (Israel), “Re-examining the anti-theatrical prejudice” Katrien Vuylsteke Vanfleteren
(Belgium), “A political and an ideological
Performance: Always a question of desire” José Camões (Portugal), “License to silence: The role of the Inquisition in a comedy of errors (1649)”
· Room 2.1 | Classical French comedy facing censorship at home and abroad
Chair: David Whitton Roger Herzel (USA), “The Tartuffe controversy and the freedom of comedy” Ana Clara Santos (Portugal), “La dramaturgie française au Portugal face à la
censure au cours de la deuxième moitié du XVIIIe siècle” Virginia Scott (USA), “Overruling Molière: Thomas Corneille’s Festin de
pierre”
· Room 3.1 | Theatre in Portuguese under political surveillance from 1930’s to the 1960’s
Chair: Guilherme Filipe Maria Cristina Castilho Costa (Brazil), “Crossings: Elective affinities of the
censorship in Brazil and Portugal in the first half of the 20th century” Fernanda Borges & Carlos Castilho Pais (Portugal), “Look Back in Anger (by
John Osborne) and the translated horizon in the sixties in Portugal” Maria João da Rocha Afonso (Portugal), “A tempestuous relationship with
political power: Theatre, politics and religion in the repertoire of the first
years of the Teatro Experimental de Cascais”
· Room 4 | Under colonial and post-colonial pressure
Chair: Rosa Figueiredo Biplab Chakraborty (India), “Prohibited plays in colonial India: In search of the
theatre of protest” Peilin Liang (USA), “A tradition of cultural hybridity in performance under
colonial censorship: The Golden Bough Performance Society” Sunday Bamisile (Portugal), “The African writer’s contest of text and context:
The quest for freedom in colonial and post-colonial regimes”
· Room 5.1 | Forms of cultural resistance in former Eastern Europe
Chair: Milija Gluhovic Laura Bradley (Scotland), “Censorship and cooperation: Staging Demetrius and
Dimitri in the GDR” Zoltán Imre (Hungary), "Dictatorship, Theatre and Legitimation: A Debate over a 1955 Tragedy of Man – mise en scène at the Hungarian National Theatre Robert Sollich (Germany), “Unwritten theatre history: Ruth Berhaus’ first Ring
des Nibelungen”
· Room 7.1 | Women’s silent voices and spectres of the invisible
Chair: Penny Farfan Hélène Lecossois (France), “Unvoiced female selves in Marina Carr’s The Mai” David Cregan (USA), “The performance of death and dying: A theology of
death of Marina Carr”
· Room 8.1 | Theatre under pressure: Russia and revolution
Chair: Alexander Chepurov Rose Whyman (UK), “Science, censorship and theatrical performance in
revolutionary Russia” Laurence Senelick (USA), “A Woman’s Kingdom: Minister of Culture Furtseva
and the censorship of the soviet theatre in the Krushchyov era”
· Room 9 | Meaningful silences on stage
Chair: Paulo Eduardo Carvalho José Pedro Serra (Portugal), “Dramaturgies du silence dans la tragédie grecque” Christel Stalpaert (Belgium), “The creative power in the failure of word and
language on silence, stuttering and other performative intensities” Aoife MacGrath (Ireland), “Disputing silence: Choreographies of dissensus in
political Irish dance theatre”
· Amphithatre III | Religious and ideological pressures
Chair: B. Ananthakrisnan Ravi Chaturvedi (India), “Demon-crazy in democracy: The extra-legal
censorship agenda for Indian theatre” Amelia Howe Kritzer (USA), “Censorship and religion in contemporary theatre” Ranjeet Singh Bajwa (India), “Establishing consubstantiation between explicit
discourse of martyrdom and terrorist discourse in Punjab from 1980 to
1992”
17h30 - 19h00
>> Panels + Atelier pour les Jeunes Chercheurs
· Room 1.1 | Questioning self-censorship
Chair: Ken Cerniglia Tom Sellar (USA), “Beyond self-censorship: Recent theatre controversies in
context” Rüta Mazeikiené (Lithuania), “Self-censorship in acting or how Stanislavski’s ‘I
don’t believe you’ still affects contemporary acting” Sofia Rodrigues (Portugal), “The dispossessed is free: On a concept of freedom
and its boundaries”
· Room 2.1 | How 19th century theatre responded to control and censorship
Chair: Kate Newey Ana Isabel Vasconcelos (Portugal), “The censorship according to Almeida
Garrett” Wenche Torrissen (UK), “The Gaiety Girls and their contribution to the debates
about censorship and sexual morality in late-Victorian and Edwardian England” Sos Eltis (UK), “Staging the unspeakable: Evading the censor in mid-Victorian
theatre”
· Room 3.1 | Reporting on censorship in the 1930’s to the 1970’s in Western Europe
Chair: David Wiles Ana Cabrera (Portugal), “La censure au Portugal entre 1940 et 1974” Jan Lazardzig (Germany), “Theatre Studies and censorship in Germany (1933-
1945)” Philip Hager (UK), “Theatre and censorship during the Colonels’ Junta in
Greece (1967-1974): Restrictions, innovation, politics”
· Room 4 | Colonial censorship persisting after independence
Chair Joanne Tompkins Balakrishna Pillai Anandhakrishnan (India), “Changing contexts and shifting
objectives: Dramatic Performance Control Act of India in democracy” Samuel Ravengai (Zimbabwe), “Performing the subversive: censorship and
theatre making in Zimbabwe” Tapati Gupta (India), “Subversion on the Bengali stage: Time, authority and the
text”
· Room 5.1 | Responding to censorship in former Eastern Europe
Chair: Hana Worthen Bryce Lease (UK), “Two hundred years of censorship and enjoyment: The
Polish paradigm” Lauren McConnell (USA), “The success of censorship: Czechoslovak
playwriting during the ‘normalization’” Dennis Beck (USA), “Czech methods of censorship circumvention as
performative expressions of philosophical belief”
· Room 7.1 | Women’s voice in theatre
Chair: Ana Gabriela Macedo Maria João Dodman (Canada), “Violence and the desired woman in Golden Age
Iberian theatre: The plays of Angela de Azevedo” Jacqui Singer (South Africa), “The female voice in (South African) theatre:
Silent, absent or hidden?” Eunice Adeighon (Nigeria), “The status, the woman, the theatre and socio-
political reform: A study of Isoken Salami’s Sweet Revenge”
· Room 8.1 | Theatrical disobediences: Against quiet artistic expectations
Chair: Johan Callens Ewa Kara (USA), “Convention and transgression on the operatic stage: The case
of Achim Freyer’s Freischütz (1980)” Natalya Baldyga (USA), “Resisting an imperial order of vision: Oskar
Kokoschka’s Murderer, Hope of Women as optical shock therapy” Janne Risum (Denmark), “The true story of how Meyerhold staged his last
production Woe to the wit in 1935 and how it was censured”
· Room 9| Performing while bombs drop and religious fundamentalism toughens
Chair: Mitsuya Morid
Christopher Innes & Brigitte Bogar (Canada), “Religious censorship: The 25th
International Theatre Festival, Tehran” Paul Barker (UK), “Composing while bombs drop: How musicians and
performers have responded to times of war” Preeti S. Kurup (India), “Theatre of unrest: Habib Tabvir’s Naya Theatre &
Mallika Sarabhai’s Darpan Academy”
· Amphitheatre III | Performing memories as a strategy for resistance
Chair: Solehah Ishak Maria Helena Werneck (Brasil), “The performance of memories as acts of
political resistance” Barbara Lewis (USA), “Necessary secrets: Aunt Ester and the censoring of self” Berenika Szymanski (germany), “Polish revolution as performance of national
memory”
21h00
Cocktail de bienvenue au Château de S. Jorge
2eme jour
Mercredi, le 15 juillet
09h00 - 10h30
Séance plénière
10h30 - 11h00
Pause café
11h00 - 12h30
>> Panels
· Room 1.1 | Scanning the ambivalence of political censorship
Chair: Amelia Howe Kritzer Edgaras Klivis (Lithuania), “Inherent transgressions of political censorship: The
case of Lithuanian theatre of the Soviet period” Ana Teresa Marques dos Santos (Portugal), “Another way of censoring radio:
Radio plays in the first decades of ‘Estado Novo’” Mayra Gomes (Brazil), “Forbidden words: Censored expressions in stage plays”
· Room 2.1 | Theatricality as an instrument for civic participation
Chair: Frank Hildy Ann Folino White (USA), “‘You aren’t afraid of a few women, are you?” Surrogation in the 1935 Detroit Housewives Strike” Gerard Boland (Australia), “Recovering the ‘radical in performance’:
Contemporary mummery amongst popular audiences” Solehah Ishak (Malaysia), “Staging the forbidden: Of Laws and Theatre
Productions”
· Room 3.1 | Crossing national borders: The importance of foreign heroes and plays
Chair: Nancy Delhalle Hana Worthen (USA), “‘The darkest night will also change to morning’: Or
performing Czech Macbeth – Translations, censorships and the sculpting
of cultural memory” Inês Alves Mendes (UK), “A tragedy of freedom: Antigona by António Pedro
(1952)” Roseli Figaro (Brazil), “Les transits culturels et la censure d’État: La résistance à
la censure du théâtre amateur fait par des immigrés”
· Room 4 | Evaluating democracy: Laws in court and on stage
Chair: José Pedro Serra Erik Mattsson (Sweden), “The Power of Performance: Law and Performing Arts in Plato's
Laws” Manuel Fialho Silva (Portugal), Euripides’ Hyppolytus and the Athenien pride in
Parrhesia” Rachel Clements (UK), “Verbatim Hauntology: Contemporary Spectres in the
‘tribunal’ plays”
· Room 5.1 | Locating identities: Margins, routes and urban scenes as site specific
Chair: Dominika Larionov Sílvia Fernandes (Brazil), “Cartography of BR3” Susan C. Haediche (UK), “Foot power: The politics of walking and the
Paris/Rouen route in Witness/N14” Katia Arfara (France), “La fiction documentaire: Typologies de la Grossstadt
dans le théâtre de Rimini Protokoll”
· Room 7.1 | Women’s rebellion staged through dance craze and other feminist stereotypes
Chair: Lesley Ferris Holly Maples (UK), “Embodying resistance: Gendering public space in the 1913 Dance craze” Elizabeth Schafer (UK), "‘Not our Olivia’: establishing a genealogy of lesbian performance and Twelfth Night" Tiina Rosenberg (Sweden), “Aesthetics of activism and activist aesthetics: Contemporary feminist performance in Sweden”
· Room 8.1 | Confounding expectations
Chair: Yasushi Nagata Stephen di Bennedetto (Italy), “1000 mostly silent transgressions: The role of
performance design in deranging attendant’s reception of a theatrical
event” Seda Ilter (UK), “Re-imagining the setting: The postdramatic space in the new
Six Characters in Search of an Author” Nicholas Johnson (Ireland), “Theatre of the unword: Samuel Beckett and the law
of genre”
· Room 9 | Disrupting the unspeakable and challenging prejudices
Chair: Daniel Meyer-Dinkgräfe Alexandra Sutherland (South Africa), “Theatre HIV/AIDS and gender:
Performance strategies for disrupting the unspeakable” Ana Maria de Bulhões-Carvalho (Brésil), “Fiction, autocensure et confession” Boris Daussà-Pastor (USA), “Queer visibility in the Cuban scene”
· Amphitheatre III | In praise of censorship I
Chair: Chris Blame Janelle Reinelt (UK), “Standing up for political correctness” Peter Eckersall (Australia), “Censorship and power, protecting the innocent,
questions of anxiety and laying to moral outrage: Protocols, children and
art” Paul Rae (Singapore), “Freedom of repression”
12h30 - 14h00
Déjeuner (en incluant le déjeuner des Jeunes Chercheurs)
Chair: Christina Nygren Peter W. Marx (Switzerland), “Tap-dancing on the red line: Max Reinhardt
stages Sternheim’s Die Hose in Berlin (1911)” Catherine Diamond (Taiwan), “Dancing with the censor: Burmese and
Singaporean dramatists partner Big Brother” Zhang Xian (China), “Censorship in changes. A review on today’s censorship of
performing arts in China”
· Room 2.1 | Playing upon popular artforms
Chair: Victor Emeljanov Annabel Rutherford (Canada), “Petrushka: A total defiance of censorship” Egil Bakka & Anne Fiskvik (Norway), “Borders between dance genres in the
19th century Norway: open, confining or excluding?”
· Room 3.1 | Writing about victims of past eras as symbols of liberty
Chair: Ana Isabel Vasconcelos John Andreasen (Denmark), “Dr. Dampe – Dr. Democracy” Cristina Guerreiro (Portugal), “Le juif de Bernardo Santareno: Le théâtre et
l’intervention politique” Iman Ismail (Egypt), “Al-Husayn Revolutionary and Martyr: An example of
censorship power on the theatre“
· Room 4 | Interpreting history: How oppositions have been misread
Chair: Steve Wilmer Sofia Frade (Portugal), “Athenian imperial self-image on stage: Euripides’
Suppliants” Anril Pineda Tiatco (Philippines), “The aftermath of Komedya Fiesta 2008 in
the University of the Philippines: Misrepresenting national theatre form
in the Philippines”
· Room 5.1 | Merging bodies and landscapes to challenge traditional theatrical concepts
Chair: Pirkko Koski Julia Listengarten & Christopher Niess (USA), “Staging movement of
landscape: Unspoken voices and transgressed bodies” Annette Arlander (Finland), “Performing landscape on Cape Verde” Manabu Noda (Japan), “Voice Made Visible: The Place for Voice on Stage in Robert Lepage’s Lipsynch (2009)”
· Room 7.1 | Surveilling the feminine presence in history and on stage
Chair: Ana Gabriela Macedo Hazem Azmy (UK), Thoughts spoken and unspoken: Kalam fi Serri and the
hazards of Arabo-Islamic intercultural mobility” Elsa Santos (Italy), “Theatrical representations of the historical figure of Leonor
Teles: An instance of social censorship” Fawzia Afzal-Khan (USA), “Singing past silence”
· Room 8.1 | Can communicative action perform reconciliation?
Chair: Temple Hauptfleisch Linda Taylor (UK), “Operations of dialogue” Tamar Meskin & Tanya Van der Walt (South Africa), “’Public hearing of private griefs’: Investigating the performance of history in Jane Taylor’s Ubu and the truth commission (1998) and John Kani’s Nothing but the Truth” Lobna A. Ismail (Egypt), “In search of a performative audience: ‘The
sociological imagination’ as a political act in Osama Anwar Okasha’s The People on the Third Floor (2001)”
· Room 9 | Stories of resistance and critique of power
Chair: Kurt Taroff Vibeke Glørstad (Norway), “Surviving Gukurahundi: Stories of resistance in the
play Attitudes (Cont Mhlanga 1997)” Yuko Kurahashi (USA), “Beyond the mirror: Telling the Afghans’ story through
theatre” Salwa Rashad Selim (Egypt), “Performing power in John McGrath’s Hyperlynx”
· Amphitheatre. III | In praise of censorship II
Chair: Janelle Reinelt Christopher Balme (Germany), “Artistic freedom, censorship and cultural
pluralism: In Germany, for example” Amine Khalid (Morocco), “Performance and the body politics in postcolonial
Morocco: An ambiguous compromise” Milija Gluhovic (UK), “Theatre, censorship and the post-secular turn”
17h30 - 19h00
>> Panels
· Room 1.1 | Intended appropriations: The unexpected use of foreign projects
Chair: Erika Fischer-Lichter Yinan Li (China), “Is there intercultural theatre? A critical reading into the
interculturalism in theatre making in the past 10 years” James A. Ellison (UK), “Censorship by omission: The appropriation of Les
belles-soeurs into the Anglo-Canadian canon” Annelis Kuhlmann (Denmark), “Performativity as ritual of a struggle of dogmas
and religions”
Chair: Daniel Tércio Petri Hoppu (Finland), “Creating national dance repertoires: Canonization of
Nordic folk dances” Lena Hammergren (Sweden), “The community and the canon. Nordic dance and
identity formation” Karen Vedel (Finland). “Strategic mobility and/or artistic vagrancy:
Performing Norden(s) in dance”
· Room 3.1 | Textual strategies to tackle social and political issues
Chair: Hanna Korsberg Katri Tanskanen (Finland), “Absurd Helsinki in year 2006: Intertextuality as
rhetorical means of Esa Leskinen’s play Hyvin Päättyy kaikki” Faustina Brew (Ghana), “Inferences and latent repercussions in resolution of
suicides in selected African tragedies” Wei Shu-Mei (Taiwan), “Theatrical asylum for the repressed others: Assignment
theatre in Taiwan”tent
· Room 4 | Negotiating responses to censorship
Chair: Sophie Proust Susan Philip (Malaysia), “Speaking through silence: Election day and theatrical
responses to censorship in Malaysian theatre” Tomoko Akai (Japan), “The Lord Chamberlain and the popular playwright of
the West End theatre: How Noël Coward reacted to theatre censorship” Graça dos Santos (France), “Corps imposé et corps détourné : Le rire pour
tromper le regard du censeur -. La revue portugaise et le grotesque”
· Room 5.1 | Painful outcries: Ghosts of recent history haunting the stage
Chair: Marvin Carlson Didier Plassard & Caroline Guidicelli (France), “Effet-dibbouk, effet spectre: Le
théâtre de la mémoire douloureuse” Maria Helena Serôdio (Portugal), “Disturbing silence (and outcries) over
memories of a colonial war (1961-1974)” Liz Tomlin (UK), “Beyond representation: Re-membering the ghosts of recent
history in contemporary performance”
· Room 7.1 |Feminine representations through dance: Between the poetical and the cacophonous modes
Chair: Catherine Diamond Yin-Ying Huang (Taiwan), Choreographing gender and difference:
Shakespeare’s Wild Sisters’ Company’s Emily Dickinson (2003) Katherine Mezur (USA), “Small gestures” Aino Kukkonen (Finland), “Men in tulles – Silent voices in the reception of Ballet Pathetique (Helsinki City Theatre Dance Company, 1989)
· Room 8.1 |New media and network models to address new problems
Chair: Peter Eckersall William Ray Langenbach (Malaysia), “Censorship & crisis networks: s. e. Asia”
José Alberto Ferreira (Portugal), “New archives, new media, new canons?” Terry Price (USA), “Redefinig network: Entertainment and a Changing concept
of how content is produced and delivered”
· Room 9 | Violent clashes and global suspicion
Chair: Yuko Kurashi Kati Röttger & Alexander Jackob (Netherlands), “The Babel project:
Wartainment and global censorship” Valerie Kaneko Lucas (UK), “Memory and loss: Staging Japanese-American
internment”
· Amphitheatre. III | Ways of breaking theatre walls
Chair: Baz Kershaw Judith Rudakoff (Canada), “Exceeding reach, excluding risk: The Ashley plays Cyber-cycle (Cuba) and Roots/Routes to Home (Cuba)” Rita Martins (Portugal), “Travelling with Teatro Meridional” Joanne Tompkins (Australia), “The National Theatre of Scotland: Theatre
without walls”
21h00
Spectacle de théâtre
3eme jour
Jeudi, le 16 juillet
09h00 - 10h30
Séance plénière
10h30 - 11h00
Pause Café
11h00 - 12h30
>> Panels
· Room 1.1 | Open society, its unwritten taboos and non-political attitudes
Chair: Helena Werneck Sara Granath (Sweden), “Drawing the line in an open society” Kristiane Hasselman (Germany), “The silent censorship of taboos: On socio-
political taboos and artistic taboo-breaking” Joshua Edelman (Ireland), “Boal with bitten thumb: Invisible theatre, flash mobs
and the New York Police Department”
· Room 2.1 | Questioning national / regional specificities through dance
Chair: Rachel Fensham Ya-Ping Chen (Taiwan), “Of liberation and discipline: The dancing bodies in
early Taiwanese modern dance history” Mnena Abuku (Nigeria), “Dance in communication art” Emma Meehan (Ireland), “Finding a voice for dance performance in Ireland:
The Maya Lila project of Joan Davis”
· Room 3.1 | How to do (and avoid) things with theatre in times of political unrest
Chair: Avraham Oz Julia Stenzel (Germany), “Censorship and parody: Aristophanic intertextuality in
German drama (1840-1850)” Meike Wagner (Germany), “Revolving stages: Theatre and revolution around
1848”
· Room 4 | Lines of control: Censoring theatre in India (and Pakistan), Iran and Britain
Chair: Jean Graham-Jones Proshot Kalami (UK), “A journey into night; Bahram Beyzaei’s Silence” Bishnupriya Dutt (India), “‘Terrorist-artist’ to ‘Brother-artist’: Experiencing
Pakistani plays in India” Sudipto Chatterjee (UK), “‘Theatre is not necessarily a cosy space…’: After
Behzti in Birmingham”
· Room 5.1 | Exploring the sense of space: Physical and discursive journeys
Chair: Peter Eversmann Nic Leonhardt (Germany), “Difference, Danger, Demi-Monde: Experiencing the Regulation of Urban Public Spheres” Jerrard Smith (Canada), “Asterion: Thresholdfs and limits within an
unconventional theatre environment” Nesreen Hussein (UK), “Negotiating the material past: Telling as rearticulation
of site”
· Room 7.1 | Desire and homoeroticism
Chair: Francesca Rayner George Rodosthenous (UK), “The body as an [erotic] object on stage: Jan
Fabre’s L’histoire des larmes (2005) and Orgy of Tolerance (2009)” Teresa Botelho (Portugal), “Sexual otherness in the American stage: From
evasion to centre stage” Yu Weijie (Singapore), “The trilogy of Asian Boys on Singapore stage:
Thematic exploration & theatrical interweaving beyond gay theatre”
· Room 8.1 | Cruelty, transgression and moral questionings
Chair: Paulo Eduardo Carvalho Hassane Yousfi (Morocco), “Le théâtre arabe contre l’autocensure: L’expérience
de Saadalah Wanouss” Ana Gabriela Macedo (Portugal), “The Pillowman by Martin McDonagh / Tiago
Guedes / Paula Rego: Censorship, abjection and the ‘duty of the
storyteller’”
· Room 9 | Questioning censorship under international agendas
Chair: John Bull Steve Nicholson (UK), “International politics and the British stage before 1968” Teemu Paavolainen (Finland), “Kantor, Grotowski and metaphors” Eszter Jagica (Canada), “Profaning the ‘Gift’- Political Performance Under “Fulfilled
Capitalism””
· Amphitheatre III | Haunting memories and German politics
Chair: Gad Kaynar Vera San Payo de Lemos (Portugal), “Resonances of a piece that tried to reach
elsewhere: On Brecht’s and Eisler’s The Decision” Frederik Le Roy (Belgium), “Ragpickers in a post-communist age: Counter-
memorial strategies in the work of Heiner Müller and andcompany& co” Kristina Hagström-Stähl (Sweden), “These stories of ghosts: The plays and
poems of Charlotte Delbo”
· Room 1.1 | Refocusing theatre after great political changes
Chair: Gay Morris Adrian Giurgea (USA), “What good are poets?” Yvette Hutchinson (UK), “Justice or stability: Women and silence in post-
apartheid South Africa” Anton Krueger (South Africa), “Free to remember: Paradoxes of heritage and
transformation in South African theatre”
· Room 2.1 | Restaging surveillance for artistic purposes
Chair: Catherine Mezur Luísa Roubaud (Portugal), “Dance and fascism in Portugal” Simon Hagemann (France), “Staging video surveillance: A short history of
theatre confronting the phenomenon of video surveillance” Vera Amorim (Portugal) “Maurice Béjart in Lisbon: 1968”
· Room 3.1 | Evading censorship through satire, double-meaning and grotesque
Chair: Didier Plassard Gad Kaynar (Israel), “Beating the Philistine addresses with their own weapon:
Carl Sternheim’s dramaturgy and rhetoric – A prototype of censorship
elusive satire” Isabel Vidal (Portugal), “When double-meaning was a strategy used to convey a
message” Anna Nothof (Canada), “Ronnie Burkett’s subversive marionettes:
Deconstructing the Daisy Plays”
· Room 4 | Balancing artistic insight and national concern
Chair: Lena Hammergren Rachel Fensham (UK), “Breaking the rules: Eleo Pomare and the hidden stories
of Gin Woman Distress” Rantimi Jays Julius-Adeoye (Nigeria), “The playwright and the devils: Ahmed
Yerima and successive Nigerian governments”
· Room 5.1 | Deconstructing historical walls: New ways to reach consciousness
Chair: Mark Fleishman João Brites (Portugal), “Refaire le rapport dans le théâtre: Défit au travail de l’acteur” N. Mamatha (India), “Kannada Theatre and moving theatre” Maria Beatriz Mendonça (Brazil), “Street performances”
· Room 7.1 | Homosexual and queer identities: Imposed silence and disobedience
Chair: David Cregan John Potvin (Canada), “Domesticating performativity: Silence, memory and
modernist historiography” Fintan Walsh (UK), “Performing sexuality in the beauty pageant” Nadine Holdsworth (UK), “Courting controversy / queering the nation: Joan
Littlewood’s Edward II and Richard II”
· Room 8.1 | Did you ask for moral neutrality in theatre?
Chair: Linda Ben-Zvi Mike Wilcock (Ireland), “’Put to silence’: Murder, madness and ‘moral
neutrality’ in Shakespeare’s Titus Andronicus and Martin McDonagh’s
The Lieutenant of Inishmore” Frank G. Bradley (Egypt), “Taking the temperature: The Fever Chart in Cairo” Maria Cândida Zamith Silva (Portugal), “Farce and politics in Shakespeare: A
very cunning way to make words break theatre walls and spread serious
but dangerous messages”
· Room 9 | Strategies of African theatre to survive at home and abroad
Chair:: Yana Meerzon Jacques Raymond Fofié (Cameroun), “Distanciation et (auto)censure: Le silence
contourné dans le théâtre camerounais et africain” Johan L. Coetser (South Africa), “Expressions of Diaspora in three South
Afrikaans plays post 2004” Rosa Figueiredo (Portugal), “Silent voices and the insanity of power in
Soyinka’s From Zia with Love”
· Amphirtheatre III | Performing painful memories: Children under dictatorship in Chile
Chair: Josette Feral Nancy Nicholls Lopeandia (Chile), “The sounds of the coup: The experience
of children under dictatorship in Chile” María José Contreras Lorenzini (Chile), “The creation process as research in
Pajarito nuevo la lleva: From testimony to performance”. Milena Grass Kleiner (Chile), “Theatre and memory: (re)representation and
theatrical elaboration of childhood traumatic memory”
17h30 - 19h00
>> Panels + Meeting with Portuguese theatre (dance, music and opera) practitioners
· Room 1.1 | Construing identities: Theatre as collective awareness
Chair: Peter Eversmann Alberto Rocha Jr (Brazil), “La mise-en-scène de A capital federal d’Artur
Azevedo en 1972: La construction d’une identité hétérogène” Ricardo Seiça Salgado (Portugal), “Political self and community produced by
dramatic play CITAC: Ethno-historical study of a University theatre
group” Farah Yeganeh (Iran), “Ta’ziyeh as Shiite Rebellion”
· Room 2.1 | Releasing the body through dance, music and verbal grief
Chair: Paul Barker Clemens Risi (Germany), “The singers’ bodies and opera boundaries: Calixto
Bieito’s staging of Mozart’s Abduction from the seraglio” Ana Macara (Portugal), “Social and political constraints in the life of a Portuguese Dancer,
from 1972 to 2009” Yvon Bonenfant (UK), “Sobbing in the public sphere: Extended voice, ‘grief’
and emotional activism”
· Room 3.1 | How censorship was performed and the consequences of its removal
Chair: Manabu Noda Denis Poniz (Slovenia), “Methods and examples of censorship and self-
censorship in Slovene drama from 1945 to 1990” Marta Vosyliute (Lithuania), “Censorship and nostalgia”
· Room 4 | Redefining the dramatic hero in times of political censorship
Chair: Ana Isabel Vasconcelos Marta Rosa (Portugal), “Love and hate: The political hero and theatre
audiences” Tânia Brandão (Brazil), “The hero of two stages: Brazilian modern theatre,
Maria della Costa and Salazarism” Stanley Longman (USA), “Political persecution reflected in the drama of Ariel
Dorfman”
· Room 5.1 | Outdoor theatre: Looking for regional and local understandings
Chair: Susan Haedicke Berta Teixeira (Portugal), “’Warce’ theatre: Between cultural activism and
artistic aspiration” Olubunmi Julius-Adeoye (Nigeria), “Re-evaluating theatre for development in
volatile regions” Mark Hunter (UK), “Welcome to … your area: On claiming, climbing and
clambering”
· Room 7.1 | Theatre and transgressive sexual politics on stage
Chair: João Carneiro Dirk Gindt (Sweden), “A gorillalike highly potent he-male reeking of sex:
Sexuality and forbidden homoeroticism in Ingmar Bergman’s production
of A Streetcar Named Desire” Olga Muratova (USA), “Homosexuality or antisocialism? A seventy-year ban on
staging Oscar Wilde’s Salome in Soviet Russia”
· Room 8.1 | Addressing immigrants’ conditions
Chair: Nancy Delhalle Misha Myers (UK), “Homing tales: Enactments of a future-oriented nostalgia” Catarina Neves (Portugal), “Invisible Lisbon: A visible immigrant community” Lucy Burns & Cindy Garcia (USA), “Performance and migrant conditions”
· Room 9 | Memories of violence and censorship in Latin America
Chair: Boris Daussa-Pastor Gabriela Ramis (USA), “Inklings of attempts on expression on the stage in
Uruguay: Critics, authors, practitioners and the State in 1971” Nancy Lee Ruyter (USA), “Yuyachkani (I am thinking, I am remembering)” Ana Elena Puga (USA), “The duty to remember: Eluding censorship in Uruguay
under dictatorship”
· Amphitheatre III | Metaphors for torture in contemporary theatre
Chair Freddie Rokem Helen Gilbert (UK), “Against the ‘Architectures of Impunity’: Nigel Jamieson’s
Honour Bond” George Potter (USA), “Foreign texts and domestic politics: Torture in
contemporary Egyptian drama” Robert Gordon (UK), “'Language and oppression in Mountain Language'”
21h00
Spectacle de théâtre
4eme jour
Vendredi, le 17 juillet
09h00 - 10h30
>> Panels
· Room 1.1 | How the post-war period voiced hopes through theatre
Chair: Steve Nicholson Rui Pina Coelho (Portugal), “Surveilling youth outcries: The case of the theatre
anthology Novíssimo teatro português (1962)” Ioulia Pipinia & Dominiki Mountzouroglou (Greece), “Purging the stage,
purging the state: Strategies against dissenting voices in post-war
Greece”
· Room 2.1 | Giving a voice to victims of violence: Documentary theatre
Chair: Nicholas Johnson Stuart Young (New Zealand), “Breaking the silence: Hush – a
documentary theatre play on family violence” Nancy Delhalle (Belgique), “La recherche d’une forme théâtrale pour les sans-
voix” Andrés Kalawski Isla (Chile), “Chronotope of testimonial theatre”
Chair: Alyson Forsythe Joel Anderson (UK), “Josef Koudelka: Theatre photography and the spectre of
exile” Maria Virgílio Cambraia Lopes (Portugal), Theatricality and caricature - on satirical image against censorship” Klaus van den Berg (USA), “Image, performance and the state of exception”
· Room 4 | Disclosing hidden voices: Memories of past experiences and the strategy of silence
Chair: Cathy Leeney Dalia El-Shayal (Egypt), “Speaking out the silent voices: Dramatic monologues
in theatrical narratives” Armando Nascimento Rosa (Portugal), “Theatre of disquiet: Creating plays with
forbidden voices” Ewa Wachocka (Poland), “Silence and body language in contemporary Polish
drama”
· Room 5.1 | Site-specific art: Indoor and engaging with environment
Chair: Susan Haedicke José Almeida Jr. (Brazil), “The theatre space and the interference on the scene:
:Notes of the creation of the Teatro Oficina (São Paulo / Brazil) Nigel Stewart (UK), “The weathering body: Environmental dance and site-
specific live-art” Robert John Brocklehurst (UK), “‘Danger! Memory works ahead’: Road
performances in Bosnia Herzegovina”
Chair: Francesca Rayner Lesley Ferris (USA), “Staging the female: Male mimesis and the actress in
contemporary theatre”
Penny Farfan (Canada), “’This feverish, jealou
s attachment of Paula’s for
Ellean’: Queer homosociality and The Second Mrs. Tanqueray” Katharine Cockin (UK), “Edith Craig, the Pioneer Players and ‘marriage as a
trade’”
· Room 8.1 | Community responses to political constraints
Chair: Yvette Hutchinson Marina Kotzamani (Greece), “Theatre is elsewhere: Censorship and community
in Contemporary art” Kennedy C. Chinyowa (South Africa), “Playing against violence: Case study of
political (community) theatre practice in Zimbabwe” Inmaculada López-Silva (Spain), “Between theatre and Ideology: The artistic
and ideological configuration of performing arts as a reaction to repression and censorship”
· Room 9 | Still struggling for civil and political freedom
Chair: Dennis Kennedy Marvin Carlson (USA), “Censorship in Tunisia: Jalila Baccar’s Corps Otages” Edward Ziter (USA), “Oppositional theatre in Syria: Naila Al-Atrash direct
Saadallah Waannous” Dan Olsen (Denmark), “A survey of some international projects in response to
ideological constraints”
· Amphitheatre III | Post-dramatic theatre in German and its dilemmas
Chair: Khalid Amine Riku Roihankorpi (Finland), “The stormy marriage of self-expression and moral
law: Gesturing/censoring radical evil with Handke and Kant” Samir Signeu (Brazil), “The Speaking pieces of Peter Handke” Ingrid Koudela (Brazil), “Heiner Müller: Description of image”
10h30 - 11h00
Pause Café
11h00 -12h30
>> Panels
· Room 1.1 | Debating censorship and subsidies in the UK after 1968
Chair: Rui Pina Coelho Graham Saunders (UK), “Tickets, critics and censorship: The Royal Court &
The Spectator (1969-1970)” Kate Dorney (UK), “Passing the blue pencil: The end of theatre censorship and
the Arts Council of Great Britain” John Bull (UK), “No politics please, we’re British: The case of 7:84 revisited”
· Room 2.1 | Granting a voice to refugees and immigrants
Chair: Helen Gilbert Stephen Wilmer (Ireland), “Refugees vs the nation State: exposing the obscene
superego of the system” Mark Fleischman (South Africa), “The dramaturgy of displacement” Areeg Ibrahim (Egypt), “Exile and search for expression in Algerian and Cuban
expatriate drama: Leila Sebbar’s My Mother’s Eyes and Maria Fornes’s
The Conduct of Life”
· Room 3.1 | Cutting the cutting edge: Censorship and performative avant-garde
Chair: João Carneiro Cindy Rosenthal (USA), “The Living Theatre’s Legacy of Cain in Brazil: Street
theatre, censorship and Judith Malina’s Jail Diaries” Kimberly Jannarone (USA), “To have done with the judgement of Artaud” James M. Harding (USA), “Carolee Schneemann, the edge of obscenity and the
censor’s ruse: Tracing liability in the performance of Round House,
London 1967”
· Room 5.1 | Foregrounding disabilities
Chair: Christine Hamon Fernando Matos Oliveira (Portugal), “Performing disability between inclusion
and aesthetics” Marie Vandenbussche (France), “La visée anthropologique de Joël Pommerat
dans le tryptique Au monde, D’une seule main, Les marchands :
Échapper au pouvoir de l’impensé” Daniel Meyer-Dinkgräfe (UK), “Body against boundaries: Raimund Hoghe”
· Room 7.1 | Prejudices against women on stage
Chair: José Camões Bruno Schiappa (Portugal), “No women in the theatre” Sarit Cofman-Simhon (Israel), “Actresses, religion and self-censorship” Said En-Naji (Morocco), “Le spectacle inachevé : Femme et sexe dans le théâtre
marocain”
· Room 8.1 | Theatre activism and committed disobedience
Chair: Bishnupriya Dutt Nagesh Bettakote (India), “Theatre activism and social change: A study of a
cultural movement in Karnataka” John Rex Amuzu Gadzekpo (France), “Forbidden but not silenced: Survival
strategies of a censored popular satirical oral genre” Christina S. McMahon (USA), “Guerrilla theatre and strategic role-play in
Guinea-Bissau’s liberation movement (1963-72)”
· Room 9 | Promoting tolerance against a competitive world order
Chair: Ravi Chaturvedi Vidyandhee Vanarase (India), “A tool of understanding” Glória Bastos (Portugal), “Theatre for children on the eve of the Carnation
Revolution”
· Amphitheatre III | Irish theatrical policies in words and deeds: At home and abroad
Chair: Clare Wallace Paulo Eduardo Carvalho (Portugal), “Constricted efforts of renewal: The
translation of Irish Drama for the Portuguese theatre during the ‘Estado
Novo’” Thomas Connolly (USA), “’Straight’ at the gate: Queering and colonizing the
theatre of Michaél MacLiammóir”
12h30 - 14h00
Déjeuner
14h00 - 15h30
>> Panels + Workshop for New Scholars
· Room 1.1 | Silence, omission and resistance: Theatrical responses for different cultural contexts
Chair: Maria João Brilhante Silvina Pereira (Portugal), “Heurs et Malheurs des Comédies de Jorge Ferreira
de Vasconcelos” Yana Meerzon (Canada), “Performing non-participation: On the East-European
theatre of non-violent resistance” Maria Mafalda Viana (Portugal), “Présences et silences d'un dieu absent: Dionysos dans Eschyle”
· Room 2.1 | Social stereotypes as forms of racial prejudices
Chair: Laurence Senelick Veronica Kelly (Australia), “New allies and old diseases: The yellow ticket in
Australia” Hsin-Yun Ou (Taiwan), “Chinese servants and their masters/mistresses on the
late-nineteenth century American stage” Kimmika L. H. Williams-Witherspoon (USA), “Blacks on stage: Voiced but still
voiceless. The legacy of stereotypes of American Mistrelsy”
· Room 3.1 | Artistic innovation as a political strategy to resist political scrutiny
Chair: Christine Zurbach Marie-Christine Autant-Mathieu (France), “Du moujik au kolhozien ou comment représenter la campagne sur la scène soviétique” Martynas Petrikas (Lithuania), “To serve and protect: Theatre in the eye of
official press during authoritarian regime in Lithuania (1927-1940)” Catarina Firmo (Portugal). “Un theatre baîllonné: La censure et le théâtre de
l’absurde au Portugal”
· Room 4 | Personal worlds against dominant aesthetics
Chair : Didier Plassard Akhiro Odanaka (Japan), “Ghelderode et Mishima: Deux confessions de
masques” Constança Carvalho Homem (Portugal) “Howard Barker: A wrestling
playwright” Francesca Rayner (Portugal), “Performing the unspeakable: Speech and silence
in the theatre of Debbie Tucker Green”
Chair: Katherine Mezur Kirsty Johnston (Canada), “Following whose guidelines?: Problems for theatre,
disability and arts-based health research” Bree Hadley (Australia), “Celebrating difference/ Censoring difference? Marie
Chouinard’s bODY rEMIX” Hayato Kosuge (Japan), “ Hijikata’s way of rebellion in the age of political
chaos: A Tale of Smallpox and his anti-authoritarian aesthetics”
· Room 7.1 | Looking at the feminine body from afar
Chair: Daniel Tércio Sarahleigh Castelyn (UK), “The politics of looking and dancing” Yatin Lin (Taiwan), “Hong Kong’s representations of Chineseness through city
Contemporary Dance Company (CCDC)’s choreographies”
· Room 8.1 | Silent/ Forbidden bodies: Looking to the brain
Chair: Daniel Meyer-Dinkgräfe Barbara Sellers-Young (Canada), “Rationality, neuroplasticity and
contemplative practice” Cara Gargano (USA), “Mimesis and mirror neurons: Old questions for a new
theatre? Bonnie J. Eckard (USA), “Power of the body: Mirror neurons and audience
response”
· Room 9 | Art in transition: Assigning theatre in various formats and different media platforms
Chair: João Carneiro Bettina Brandl-Risi (Germany), “Moving through the event, once more. The Scenes for Participation in Jeremy Deller's Reenacment Project "The Battle of Orgreave" (1984/2001)” Jelena Novak (Netherlands/Serbia), “Silent Voices, Singing Bodies: Body Without
Voice and Voice without Body in Philip Glass/Jean Cocteau opera for ensemble and film La Belle et la Bête” Ulf Otto (Germany), “15 Minutes of Scientific Attention – Some Considerations
about the rehearsal of High Culture in New Media and Scholarly Self-Censorship”
· Amphitheatre III | How censorship affects the responsibility of either the artist or the audience
Chair: Avraham Oz Dennis Kennedy (Ireland), “Censorship and the spectator” Shiva Prakash (India), “Censorship: Freedom or responsibility?” Alexander Chepurov (Russia), “The borders of theatre censorship”
