From MICHEL VAÏS, Secretary General of AICT-IATC
Dear colleagues,
The following message from our Hungarian section contains a link to a petition. I encourage you to sign it, as I did.
Michel Vaïs
================
Dear Michel,
Thank you for circulating the Hungarian section’s letter to international media among the members of AICT-IATC. We have started a petition on the internet for the freedom of artists and press in Hungary.
During this week more than 1,700 people signed it from all around the world, among them Elfriede Jelinek, Richard Schechner, Luk Percevel, Caryl Churchill, Martin Crimp, Andrea Breth, Joachim Sartorius, Helgard Haug and many others.
We would be very grateful if you could put this link on the AICT-IATC’s mailing list, it would be a honor to have the support of the members: http://www.petitions24.com/hands_off_culture_and_media_in_hungary
If you agree with the petition, we also ask you personally to sign it.
Best regards,
Tamas Jaszay, Hungary
Monday, December 27, 2010
Saturday, December 25, 2010
REPORT: Criticism Conference in Caen
Members of the AICT-IATC gathered December 14 and 15 in Caen, France, to interrogate the shifting role of dramatic criticism in the cultural discourse of various countries. Representatives traveled from China, Finland, Korea, Quebec and the United States to discuss how criticism may influence theatrical production in their respective countries—and how theatrical production may affect theatre criticism.
In addition to presentations by outstanding international critics such as Jean-Pierre Han (France), Primoz Jesenko (Slovenia), Yun-Cheol Kim (Korea), Matti Linnavuori (Finland), Brigitte Purkhardt (Québec), Michel Vaïs (Québec), Julie York Coppens (USA), and Qing-Yan Zhang (China), those who attended the conference were given opportunities to see thought-provoking productions from the Avignon Festival.
Jean Lambert-wild, artistic director of Comédie de Caen and co-host of the conference, presented his multimedia piece La Mort d'Adam, which employs live action—overlapped by projected film—and a female narrator who sits to one side of the action as she provides context for Lambert-wild's layered images. Anyone familiar with Western philosophy and religion might easily see parallels between La Mort d'Adam and tales from the bible, from Arabian Nights, from Greek myth, from Shakespeare. In a conversation with the assembled critics the next day, Lambert-wild shared the very specific influences from his own life that led to the piece. Some critics felt that the French text (and its English surtitles) confused Lambert-wild's tale, while others thought the spoken French provided a sonic score that enhanced the director's other elements of spectacle. Facing the critics, eager for a conversation on what may or may not have worked, Lambert-wild bravely demonstrated the possibilities for which Peter Brook argued in The Empty Space (1968):
When all of the papers had been presented and the critical roundtable of Lambert-wild's piece had concluded, the participants were invited to see Silke Mansholt's Wolfstunde (Wolf Lesson). Mansholt's performance piece employs minimal technical elements and ritualized manipulations of the actor's physical body—Mansholt performs with collaborator Clara Garcia Fraile—in an exploration of the internal battles of darkness and light that comprise human experience. Where Mansholt differs from many other examinations of this type is in her use of imagery that speaks specifically to her heritage as a German—and to the echoes of guilt that resonate for many of those in the post-World War II, post-Holocaust generations. Her use of the famous Auschwitz sign, "Arbeit Macht Frei" (Work Will Make You Free), strikes chords of memory in the minds of her audience and asks an open question regarding the relationship between art and power. Ultimately, the piece seems to ask if the "power of art" is any power at all.
Throughout the four days, participants enjoyed marvelous French cuisine and wine as they engaged in ongoing discussions on theatre, criticism, culture, and politics. There were tours to sites commemorating the 1944 invasion of Normandy by Allied military forces and to a remarkable archive, in an abbey outside of Caen, that contains the works of many well known writers.
In remarks made during a discussion period following one set of papers, Lambert-wild argued strongly for an international federation of theatre-related groups dedicated to keeping the art form in the forefront of global cultural discourse. In the work generated (and seen) in Caen recently, it is safe to say that a good start has been made on getting that discourse underway.
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| Primoz Jesenko (Slovenia), Jean-Pierre Han (France), Yun-Cheol Kim (Korea) and Qing-Yan Zhang (China) |
In addition to presentations by outstanding international critics such as Jean-Pierre Han (France), Primoz Jesenko (Slovenia), Yun-Cheol Kim (Korea), Matti Linnavuori (Finland), Brigitte Purkhardt (Québec), Michel Vaïs (Québec), Julie York Coppens (USA), and Qing-Yan Zhang (China), those who attended the conference were given opportunities to see thought-provoking productions from the Avignon Festival.
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| Dream state: The beast and the blind (from La Mort d'Adam). Photo: Tristan Jeanne-Valès |
Jean Lambert-wild, artistic director of Comédie de Caen and co-host of the conference, presented his multimedia piece La Mort d'Adam, which employs live action—overlapped by projected film—and a female narrator who sits to one side of the action as she provides context for Lambert-wild's layered images. Anyone familiar with Western philosophy and religion might easily see parallels between La Mort d'Adam and tales from the bible, from Arabian Nights, from Greek myth, from Shakespeare. In a conversation with the assembled critics the next day, Lambert-wild shared the very specific influences from his own life that led to the piece. Some critics felt that the French text (and its English surtitles) confused Lambert-wild's tale, while others thought the spoken French provided a sonic score that enhanced the director's other elements of spectacle. Facing the critics, eager for a conversation on what may or may not have worked, Lambert-wild bravely demonstrated the possibilities for which Peter Brook argued in The Empty Space (1968):
I see nothing but good in a critic plunging into our lives, meeting actors, talking, discussing, watching, intervening. I would welcome his putting his hands on the medium and attempting to work it himself. Certainly, there is a tiny social problem—how does a critic talk to someone whom he has just damned in print? . . . The criticism that theater people make of one another is usually of devastating severity—but absolutely precise. (32-33)
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| Art Macht Frei? Silke Mansholt in Wolfstunde. Photo: Tristan Jeanne-Valès |
When all of the papers had been presented and the critical roundtable of Lambert-wild's piece had concluded, the participants were invited to see Silke Mansholt's Wolfstunde (Wolf Lesson). Mansholt's performance piece employs minimal technical elements and ritualized manipulations of the actor's physical body—Mansholt performs with collaborator Clara Garcia Fraile—in an exploration of the internal battles of darkness and light that comprise human experience. Where Mansholt differs from many other examinations of this type is in her use of imagery that speaks specifically to her heritage as a German—and to the echoes of guilt that resonate for many of those in the post-World War II, post-Holocaust generations. Her use of the famous Auschwitz sign, "Arbeit Macht Frei" (Work Will Make You Free), strikes chords of memory in the minds of her audience and asks an open question regarding the relationship between art and power. Ultimately, the piece seems to ask if the "power of art" is any power at all.
Throughout the four days, participants enjoyed marvelous French cuisine and wine as they engaged in ongoing discussions on theatre, criticism, culture, and politics. There were tours to sites commemorating the 1944 invasion of Normandy by Allied military forces and to a remarkable archive, in an abbey outside of Caen, that contains the works of many well known writers.
In remarks made during a discussion period following one set of papers, Lambert-wild argued strongly for an international federation of theatre-related groups dedicated to keeping the art form in the forefront of global cultural discourse. In the work generated (and seen) in Caen recently, it is safe to say that a good start has been made on getting that discourse underway.
Monday, December 6, 2010
MEMORIAM: Canadian Playwright David French
From DON RUBIN, President of the Canadian Theatre Critics Association
David French has died at age 71 after a long battle with brain cancer. The playwright was one of the seminal figures in the emergence of modern Canadian playwriting in the 1970s. His plays Leaving Home, part of his Mercer cycle, and Jitters, one of the great satires on Canadian theatre, are deeply loved and profoundly effective plays, major works that have been done all across Canada and the United States, and continue to be done by professional and amateur companies. French’s plays—most of which premiered at the Tarragon in Toronto in productions directed by Bill Glassco—were also among the first to present real Newfoundlanders on a stage speaking in real Newfoundland accents. These plays will last because they truly are genuine works of art written from the heart by one of our first major modern playwrights. French was a dominant force in our theatre through the 1970s and 1980s and continued to write and produce new work. His contribution to Canada's cultural life was enormous.
Saturday, December 4, 2010
LETTER: Response to Hungary Media Law
Andrea Tompa, President
Hungarian Section
International Association of Theatre Critics
Dear Andrea,
The International Association of Theatre Critics fully supports your section’s fight for freedom of expression in theatre and arts. The new media law of your government is dangerous, anti-cultural and anti-intellectual, which obviously attempts to go back to that archaic practice of censorship.
Theatre has always reflected human societies and one of its essential functions is to criticize social complacency to better recognize and understand the world and the humanity. IATC deplores strongly any governmental attempts to control the arts, culture and media, whose critical performance has become even more important in this 21st century of globalized culture.
It is a great pity that such a culturally advanced country like Hungary is trying to implement its control over the arts, artists, and the media. IATC strongly demands that the Hungarian parliament and government withdraw this shameful media law and guarantee its artists freedom and independence.
Otherwise, we will make this issue big and global so that the world may know the danger and corruption in this new media law and its implementation in the form of replacing legally appointed, competent and ambitious artists with docile figures.
Sincerely,
Yun-Cheol Kim
President, International Association of Theatre Critics
Dean, School of Drama, Korea National University of Arts
Hungarian Section
International Association of Theatre Critics
Dear Andrea,
The International Association of Theatre Critics fully supports your section’s fight for freedom of expression in theatre and arts. The new media law of your government is dangerous, anti-cultural and anti-intellectual, which obviously attempts to go back to that archaic practice of censorship.
Theatre has always reflected human societies and one of its essential functions is to criticize social complacency to better recognize and understand the world and the humanity. IATC deplores strongly any governmental attempts to control the arts, culture and media, whose critical performance has become even more important in this 21st century of globalized culture.
It is a great pity that such a culturally advanced country like Hungary is trying to implement its control over the arts, artists, and the media. IATC strongly demands that the Hungarian parliament and government withdraw this shameful media law and guarantee its artists freedom and independence.
Otherwise, we will make this issue big and global so that the world may know the danger and corruption in this new media law and its implementation in the form of replacing legally appointed, competent and ambitious artists with docile figures.
Sincerely,
Yun-Cheol Kim
President, International Association of Theatre Critics
Dean, School of Drama, Korea National University of Arts
Thursday, December 2, 2010
REPORT: Arts Freedom Under Threat in Hungary
From the HUNGARIAN THEATRE CRITICS ASSOCIATION, a section of AICT-IATC, forwarded to the United States section by Secretary General Michel Vaïs
A highly-contested and controversial “media law” of the present government promises serious control over the whole media, including blogs. The new Media authority—formed by members of the ruling party—will have the entitlement to control and punish. This week, independent cultural papers and sites are published with a blank cover page as a protest sign against this control.
Because appointments of theatre directors in the provinces are made directly by the local governments, decisions were often based on political sympathies for the ruling political party. This has been always the same, indifferent of political climate. The process has a legal face and an illusory professional basis, because seemingly directors’ applications and eventual appointments are based on competition. There is a board of professionals who evaluates the applications and makes recommendations to the local government. But this board is either formed of people with a particular political view who are certain to make the “right” decision, or it is an indeed free board whose proposal is not taken into consideration. This situation was recently repeated when the new artistic director was named to the theatre in Tatabánya, and a fine previous leadership was replaced.
The independent theatres in Hungary are most vulnerable in this current climate. This is the field that is most mobile, young, and willing to take artistic risks; this is the field that contains all dance companies, and most of the production houses and freelance artists. It has been only one year since the so-called theatre law, which guarantees for the first time that a minimum 10% of the total budget for the national theatre subsidy goes to independents, came to operate. One of the new cultural leadership’s first actions was to cut this subsidy, although it is such a microscopic part of the whole budget.
The theatre law will undergo a serious rework in the spring 2011, and there is little hope that the 10 percent for independents will be maintained. We are addressing you, the international theatre and media community, because we want to preserve the freedom of artistic expression and speech we gained 20 years ago after the social changes.
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| Róbert Alföldi |
A highly-contested and controversial “media law” of the present government promises serious control over the whole media, including blogs. The new Media authority—formed by members of the ruling party—will have the entitlement to control and punish. This week, independent cultural papers and sites are published with a blank cover page as a protest sign against this control.
Governmental attacks on the National Theatre and its artistic director, Róbert Alföldi, were only rumors until the “case” was recently discussed on the floor of Parliament. Members of Parliament described Alföldi as deviant, rowdy, and treasonous, and called the present National Theatre dangerous and mischievous. They are calling the work presented in the National Theatre obscene, pornographic, anti-national, and anti-Hungarian, and are demanding the expulsion of director Alföldi from the National. The Secretary of the Ministry of National Resources commented: “Everything will happen in due time.”
On December 1, one of the parties of Parliament, Jobbik, organized a demonstration next to the National Theatre’s building with the sole purpose of replacing the director. Artists, writers, critics, and theatre goers—organized by a Facebook group—also gathered in front of the National marking their sympathy for this theatre and artistic freedom. Since the beginning of Alföldi’s tenure in July 2009, the National Theatre has prospered and undergone an artistic rebirth. The director was awarded the precious Critics’ Prize in September 2010 for “renewing the National Theatre.” He also received a similar prize from the City Council of Budapest. Many works presented in the theatre received international critical acclaim were invited to international festivals.
Alföldi’s contract does not expire until June 30, 2013. His dismissal would mean the termination of this contract without any legal base, and this, consequently, could create a dangerous precedent: from that time on the leader of any cultural institute could be dismissed based on the aesthetic ideal of a given political party.
Another major cultural institution in the country, the Opera House of Budapest—the best financed institution—is also undergoing difficult times. The artistic director of the Opera, Balázs Kovalik, an internationally celebrated director, was dismissed this past summer. There is still no appointed general director to take his place.Because appointments of theatre directors in the provinces are made directly by the local governments, decisions were often based on political sympathies for the ruling political party. This has been always the same, indifferent of political climate. The process has a legal face and an illusory professional basis, because seemingly directors’ applications and eventual appointments are based on competition. There is a board of professionals who evaluates the applications and makes recommendations to the local government. But this board is either formed of people with a particular political view who are certain to make the “right” decision, or it is an indeed free board whose proposal is not taken into consideration. This situation was recently repeated when the new artistic director was named to the theatre in Tatabánya, and a fine previous leadership was replaced.
The independent theatres in Hungary are most vulnerable in this current climate. This is the field that is most mobile, young, and willing to take artistic risks; this is the field that contains all dance companies, and most of the production houses and freelance artists. It has been only one year since the so-called theatre law, which guarantees for the first time that a minimum 10% of the total budget for the national theatre subsidy goes to independents, came to operate. One of the new cultural leadership’s first actions was to cut this subsidy, although it is such a microscopic part of the whole budget.
The theatre law will undergo a serious rework in the spring 2011, and there is little hope that the 10 percent for independents will be maintained. We are addressing you, the international theatre and media community, because we want to preserve the freedom of artistic expression and speech we gained 20 years ago after the social changes.
Wednesday, November 3, 2010
REPORT: "Intercriticism" in Slovenia
From PRIMOZ JESENKO, Association of Slovenian Theatre Critics and Researchers (AICT-IATC)
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| Primoz Jesenko |
The "Intercriticism" conference attempted a recontextualization and re-organization of critical writing about theatre and the performing arts, examining the situation of critical writing from various viewpoints and considering its professional position within particular social contexts. The initial presentation by Rok Vevar established "Intercriticism" as a notion that has yet to be given a full definition. It is hoped that in the course of the upcoming debate such a definition may emerge. As proposed in the call of the Slovenian section, critical writing has become just one of the roles fulfilled by theatre and performing arts critics. How do the various positions held by critics affect analysis, description, evaluation, and social position of the observer. And how do these positions influence the critic's relationship to the subject of observation?
More than coming to a common denominator in dealing with intercriticism, the discussion pointed out the heterogeneous ways of reflecting criticism and its roles in the countries of presenters. Apart from the more theoretical discourse of a couple of papers (i.e., on transfigurations of critical judgment of the "new" criticism), the conference presented many individual experiences. Although some presentations contradicted others in mild ways—which was anticipated in the dramaturgy of the selection process—papers pointed to other possible understandings of the proposed term with the "inter" prefix: the intervention of criticism in society, the intervention of the critic in the artistic event, a form of collaboration among critics.
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| Observing "Intercriticism" (Photo: Katayoun Salmasi) |
Issues surrounding conflict of interest, critical engagement in society, the myth of critical distance and objectivity, and the Code of Practice of the AICT-IATC were discussed as well. The moderator of the concluding session, Kristof Jacek Kozak, noted that the debated notion became ever more elusive as the conference evolved. The variety of perceptions of contemporary theatre and performing arts criticism needs to be acknowledged in order to reach a fruitful debate on common phenomena of criticism.
The conference filled the auditorium on both days and produced a lively debate after every presented paper, which confirmed AICT-IATC as a highly responsive organism. This proved that reflecting and discussing the state of theatre criticism is a necessary intellectual discipline at any given moment. Hope persists that the term of intercriticism will pass into the general use and will in time gain a recognizable theoretical meaning. The notion managed to arouse constructive responses at the Maribor conference but its persistence still needs to be tried.
Wednesday, October 27, 2010
FESTIVAL: 45th Maribor Theatre Festival
From MARK BROWN (UK), member of the AICT-IATC Executive Committee
Members of IATC were in the beautiful city of Maribor, Slovenia (October 20-24, 2010) as guests of the annual Borštnik festival of Slovene theatre, which celebrated its 45th edition. Delegates saw a wide array of performances in the splendid Slovene National Theatre. In addition, IATC colleagues from Slovenia and around the world participated in an excellent international symposium at Maribor University on the subject of “Intercriticism.” Many rich papers were given and an energetic debate was held.
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| Slovene National Theatre |
Members of IATC were in the beautiful city of Maribor, Slovenia (October 20-24, 2010) as guests of the annual Borštnik festival of Slovene theatre, which celebrated its 45th edition. Delegates saw a wide array of performances in the splendid Slovene National Theatre. In addition, IATC colleagues from Slovenia and around the world participated in an excellent international symposium at Maribor University on the subject of “Intercriticism.” Many rich papers were given and an energetic debate was held.
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| What He Does for Art: Marko Mandic in Viva Mandic |
The festival kindly hosted the meeting of the IATC Executive Committee at the Slovene National Theatre. IATC President, Professor Yun-Cheol Kim, and the entire excom offer their warmest thanks to Alja Predan, artistic director of the Borštnik festival, Mojca Planšak, guest manager of the festival, and the festival team for their tremendous organization and hospitality.
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| Alja Predan, Artistic Director |
Friday, October 15, 2010
CONFERENCE: Criticism Reflecting Nations’ Theater?
From JEAN-PIERRE HAN, Vice President of AICT-IATC
International guests are invited from Monday, December 13 until Friday, December 17.
During the stay in Caen, guest critics will have the opportunity to attend two plays presented in the official programming of the Avignon Festival :
Participants may also become familiar with the IMEC (Memory Institute of the Contemporary Edition) which possesses archives of such writers and artists as Jean Genet, Bernard-Marie Koltès, Kateb Yacine, Michel Vinaver, Jerzy Grotowski, Antoine Vitez, Alain Françon, and many others.
Deadline for application is 16 November 2010.
Jean Lambert-wild,
Director, National Center for Drama in Normandy
Jean-Pierre Han
Vice President, AICT-IATC
jp.han@free.fr
From JEAN-PIERRE HAN, Vice President of AICT-IATC
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| Abbazia aux Hommes, Caen |
Does your country’s dramatic criticism reflect your national theatre?
and
present
An International Conference
December 14 and 15, 2010
Organizers of this conference invite presentations, of up to 15 minutes in length, that discuss the state of drama criticism and theatrical production in the presenter’s home country. What are the links—or interferences—between dramatic criticism and the development of theatrical production? Does dramatic criticism participate in the chain of theatrical creation? If criticism has a role, how does that interaction occur?
The conference, including a series of roundtable discussions, will be held December 14 and 15 at the Theater of Caen. Ten contributions by critics are planned. Roundtable discussions will focus on shows seen locally and on dramatic criticism from the Internet (blogs, etc.).
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La Comédie de Caen |
International guests are invited from Monday, December 13 until Friday, December 17.
During the stay in Caen, guest critics will have the opportunity to attend two plays presented in the official programming of the Avignon Festival :
- La Mort d’Adam, by Jean Lambert-wild, director of the National Center for Drama in Normandy. Patrice Pavis wrote of the productions that “in spite of the complexity [of its] device, of the multitude of tracks and interpretations, this play gives an impression of lightness, harmony and humor. An impression certainly engendered by the very mastered configuration of each of the components (read text, high-definition video, music, magic, photography) and their combination in the production.”
- Wolfstunde, by Silke Mansholt. Performer Mansholt raises questions, in Wolfstunde (Wolflesson), on the wolf that is inside each of us, on the dark part of each individual and the battle between the dark part and the lighter, human part. Based on Mansholt’s personal experience, the work questions the power and impotence of art. Is art free? Are we? If there are, in our contemporary world, wolves and scapegoats, are we wolves or scapegoats? If we are trying to be what we do not want to be, is the wolf transformed into a scapegoat—or is the scapegoat transformed into a wolf? (Adapted from the Festival d’Avignon website)
Participants may also become familiar with the IMEC (Memory Institute of the Contemporary Edition) which possesses archives of such writers and artists as Jean Genet, Bernard-Marie Koltès, Kateb Yacine, Michel Vinaver, Jerzy Grotowski, Antoine Vitez, Alain Françon, and many others.
Deadline for application is 16 November 2010.
Jean Lambert-wild,
Director, National Center for Drama in Normandy
Jean-Pierre Han
Vice President, AICT-IATC
jp.han@free.fr
Tuesday, August 17, 2010
INTERCRITICISM CONFERENCE: Slovenia in October
From PRIMOZ JESENKO in Maribor, Slovenia
The Maribor Theatre Festival and the Association of Slovenian Theatre Critics and Researchers (a national section of the AICT/IATC) present an international conference on "Intercriticism," a re-contextualization and reorganization of critical writing about theatre and the performing arts.
In addition to their primary task, i.e. critical writing, contemporary critics have become interactively involved in parallel activities that pertain only indirectly to their area of work while, more importantly, engaging their field of vision as critical observers and judges. Usually, a freelance critic is also a member of various juries and panels, a dramaturge, a producer, a university teacher, a program adviser co-shaping a program, a selector of performances or a (co)creator of festival programs, a moderator of panel discussions, an editor of professional publications, a copy-editor, and sometimes even a performer. Critical writing has therefore become just one of the roles fulfilled by theatre and performing arts critics.
Over the past decades, the aesthetic, cultural, social, political and productional realities have placed the theatre critic into an area of intermediate interest, a location which has undermined the presence and the role of a critical position. "Theatre criticism" or "theatre journalism" has suffused virtually all segments of social life dealt with in the print and broadcast media. This raises the question of how much room is left for the critic's basic task within this network of interests, and how privileged this position is. How does this affect the analysis, description, evaluation and social position of the observer and his/her relation to the subject of observation? What happens when a critic no longer observes a performance from a privileged, detached position but becomes part of the performance itself as a result of these circumstances?
The inter-criticism debate will examine the current situation of critical writing from various viewpoints as well as its professional position within the context described above.
The deadline for sending completed contributions: 15 September 2010.
Intercriticism
21–22 October 2010
Trstenjak Hall, University of Maribor, Slovenia
The Maribor Theatre Festival and the Association of Slovenian Theatre Critics and Researchers (a national section of the AICT/IATC) present an international conference on "Intercriticism," a re-contextualization and reorganization of critical writing about theatre and the performing arts.
In addition to their primary task, i.e. critical writing, contemporary critics have become interactively involved in parallel activities that pertain only indirectly to their area of work while, more importantly, engaging their field of vision as critical observers and judges. Usually, a freelance critic is also a member of various juries and panels, a dramaturge, a producer, a university teacher, a program adviser co-shaping a program, a selector of performances or a (co)creator of festival programs, a moderator of panel discussions, an editor of professional publications, a copy-editor, and sometimes even a performer. Critical writing has therefore become just one of the roles fulfilled by theatre and performing arts critics.
Over the past decades, the aesthetic, cultural, social, political and productional realities have placed the theatre critic into an area of intermediate interest, a location which has undermined the presence and the role of a critical position. "Theatre criticism" or "theatre journalism" has suffused virtually all segments of social life dealt with in the print and broadcast media. This raises the question of how much room is left for the critic's basic task within this network of interests, and how privileged this position is. How does this affect the analysis, description, evaluation and social position of the observer and his/her relation to the subject of observation? What happens when a critic no longer observes a performance from a privileged, detached position but becomes part of the performance itself as a result of these circumstances?
The inter-criticism debate will examine the current situation of critical writing from various viewpoints as well as its professional position within the context described above.
The deadline for sending completed contributions: 15 September 2010.
Monday, August 16, 2010
IATC-AICT NEWS: Minutes of Executive Committee Posted
Minutes of the Executive Committee meetings in Yerevan, Armenia, have been posted on the AICT-IATC website. The documents are in PDF format and may be accessed by clicking here.
Members with interest in international issues or upcoming meetings and seminars may peruse these minutes to see how the process evolves for developing international programs within the International Association of Theatre Critics.
Members with interest in international issues or upcoming meetings and seminars may peruse these minutes to see how the process evolves for developing international programs within the International Association of Theatre Critics.
IN MEMORIAM: Ian Hill
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| Ian Hill |
Ian Hill, a longstanding friend of IATC and for many years its Irish representative on ExCom, died suddenly at the age of 73. Ian trained in dentistry at Queen's University, Belfast, where he got a taste for journalism, becoming editor of student magazine The Gown. He went on to work for the Belfast Telegraph before turning freelance, where he built up a reputation for being one of Northern Ireland's leading arts writers and critics. As well as writing about the arts—theatre was his great love, and he also reviewed exhibitions—he was a presenter of arts programs on Radio Ulster. In recent years he contributed an arts gossip column to the Belfast Telegraph as "Man About Town," while continuing to review, for the British Theatre Guide among others.
He contributed a major essay on Arts Administration to Stepping Stones, the Arts in Ulster, 1971–2001 (Blackstaff Press, 2001), the third volume in the Arts in Ulster series, covering the development of Arts Council policy and practice.
He was also a travel writer and spent ten years working for the Northern Ireland Tourist Board. He wrote or contributed to many books about Northern Ireland and also on his other love, fishing.
He was the theatre reviewer for the Belfast Telegraph for many years. His reviews showed a wide and deep knowledge and love of Irish theatre and he was always able to place the productions he reviewed in context. He was not afraid to be totally honest, so that praise from Ian was praise indeed and criticism was always constructive.
He died at home on Friday, 16 July 2010. He leaves a wife, Helena, and two daughters, to whom the Association extends its deepest sympathies.
NEW E-MAIL ADDRESS FOR CRITICAL STAGES EDITOR
Thursday, July 8, 2010
IATC's Critical Stages Issues Call for Contributions
The International Association of Theatre Critics (IATC) is presently preparing the third edition of its web journal, Critical Stages.
The editorial board of Critical Stages, headed by Maria Helena Serodio (IATC honorary secretary general and professor at Lisbon University), as well as the journal's publisher, IATC president Yun-Cheol Kim, issued a call for contributions.
Kim writes: "Please contribute your articles, reviews, interviews, essays to the third edition of our web journal Critical Stages, which will be published in October, 2010. I would like to have as many countries represented in this international journal. The first two issues attracted so many visitors, more than 25,000 each, and I am sure we are doing the right thing with this journal to meet the expectations from the world theatre community toward us. Deadline for articles is August 31. You can visit the site at http://www.criticalstages.org/ and find the style and other guidelines on the front page."
For your convenience, the guidelines are as follows:
1) The review should concern a relevant performance during the current U.S. theatre season that would justify international attention, i.e., "that would be important for international critics and scholars to know about."
2) A double-spaced MS Word article file, 2,000 to 2,500 words (or 15,000 characters) in length should be submitted as an e-mail attachment. If written in English, the article should include an abstract – not longer than 200 words. If written in French, it should include an abstract in English.
3) The title of the article only should appear at the head of the article file. The author’s name and/or institution should not appear in the article file itself.
4) A separate file should contain a cover letter with author’s name, title of the article, address, e-mail address, telephone number, and professional affiliation.
5) The writer will have to provide at least three (3) high-resolution digital photographs (JPEG), as well as other types of illustrations.
A photo of a performance should include: title of the performance, name of the playwright (if there is one), name of the director, name of the company, theatre venue, date of the première of that performance, names of the actors (clockwise from top left) and photographer's credits. All necessary permissions for images should be provided. These photos can be in the form of an e-mail from the company, or documentation that you have procured the images from an official web site. In case the performance attended by the reviewer does not coincide with the opening night, the reviewer should somewhere register this fact in her/his text, but without interfering with the general information referring to that production (so that it should match the date recorded in national and international date bases).
6) All writing submissions will be reviewed by members of the editorial board of Critical Stages. This peer-review process will determine the suitability of the articles for publication. Reviews will selected on the principles of geo-political balance and quality of writing.
7) No fee will be offered for the contribution. At the moment, Critical Stages is, and will be, operated on a voluntary basis. (If and when the journal is able to generate enough revenue in the near-future, we will, of course, gladly pay for the contributions.)
8) The editorial board will be unable to read submissions of a different length or formatting from these stated guidelines.
9) Critical Stages is seeking original reviews, not reprints of reviews that have been published elsewhere. We ask that articles first published in Critical Stages include reference to the web address of the journal when they are republished elsewhere.
10) The deadline to submit the review is August 31, 2010. Please send your articles or any questions to Yun-Cheol Kim (yunckim911@yahoo.com) or Maria Helena Serodio (m.h.serodio48@gmail.com).
In this time of globalization, the members of the editorial board of Critical Stages are irresistibly curious as to what is happening in theatre around the world, and to learn the context of local performances. We hope you share our enthusiasm and will contribute your reviews, essays and articles to Critical Stages.
The editorial board of Critical Stages, headed by Maria Helena Serodio (IATC honorary secretary general and professor at Lisbon University), as well as the journal's publisher, IATC president Yun-Cheol Kim, issued a call for contributions.
Kim writes: "Please contribute your articles, reviews, interviews, essays to the third edition of our web journal Critical Stages, which will be published in October, 2010. I would like to have as many countries represented in this international journal. The first two issues attracted so many visitors, more than 25,000 each, and I am sure we are doing the right thing with this journal to meet the expectations from the world theatre community toward us. Deadline for articles is August 31. You can visit the site at http://www.criticalstages.org/ and find the style and other guidelines on the front page."
ATCA members are invited to contribute.
For your convenience, the guidelines are as follows:
1) The review should concern a relevant performance during the current U.S. theatre season that would justify international attention, i.e., "that would be important for international critics and scholars to know about."
2) A double-spaced MS Word article file, 2,000 to 2,500 words (or 15,000 characters) in length should be submitted as an e-mail attachment. If written in English, the article should include an abstract – not longer than 200 words. If written in French, it should include an abstract in English.
3) The title of the article only should appear at the head of the article file. The author’s name and/or institution should not appear in the article file itself.
4) A separate file should contain a cover letter with author’s name, title of the article, address, e-mail address, telephone number, and professional affiliation.
5) The writer will have to provide at least three (3) high-resolution digital photographs (JPEG), as well as other types of illustrations.
A photo of a performance should include: title of the performance, name of the playwright (if there is one), name of the director, name of the company, theatre venue, date of the première of that performance, names of the actors (clockwise from top left) and photographer's credits. All necessary permissions for images should be provided. These photos can be in the form of an e-mail from the company, or documentation that you have procured the images from an official web site. In case the performance attended by the reviewer does not coincide with the opening night, the reviewer should somewhere register this fact in her/his text, but without interfering with the general information referring to that production (so that it should match the date recorded in national and international date bases).
6) All writing submissions will be reviewed by members of the editorial board of Critical Stages. This peer-review process will determine the suitability of the articles for publication. Reviews will selected on the principles of geo-political balance and quality of writing.
7) No fee will be offered for the contribution. At the moment, Critical Stages is, and will be, operated on a voluntary basis. (If and when the journal is able to generate enough revenue in the near-future, we will, of course, gladly pay for the contributions.)
8) The editorial board will be unable to read submissions of a different length or formatting from these stated guidelines.
9) Critical Stages is seeking original reviews, not reprints of reviews that have been published elsewhere. We ask that articles first published in Critical Stages include reference to the web address of the journal when they are republished elsewhere.
10) The deadline to submit the review is August 31, 2010. Please send your articles or any questions to Yun-Cheol Kim (yunckim911@yahoo.com) or Maria Helena Serodio (m.h.serodio48@gmail.com).
In this time of globalization, the members of the editorial board of Critical Stages are irresistibly curious as to what is happening in theatre around the world, and to learn the context of local performances. We hope you share our enthusiasm and will contribute your reviews, essays and articles to Critical Stages.
Message From IATC-AICT President Yun-Cheol Kim
Dear Colleagues and Friends,
Three weeks have passed already since we had our 25th World Congress in Yerevan, Armenia. I thank those of you who participated in the Congress for your great contributions to and cooperation for the success of this most important event of IATC-AICT. With those who could not come to this remote city, I would like to share the joy and pride of the achievements we made in the Congress.
I am extremely happy that the Code of Practice was finally approved, and almost unanimously. I hope these ten guidelines will be the lighthouse in performing our profession with intellectual freedom, professional integrity and critical competence. IATC-AICT also awarded its third Thalia Prize to Mr. Richard Schechner, whose writings and artistic works have greatly influenced our critical thinking for more than four decades. I am also very happy with the newly elected Executive Committee members. China has newly joined the excom, and Canada is now represented by Quebec Association of Theatre critics. With these two new members and the remaining eight incumbent members, the new Excom will work as hard as it used to, to serve well the IATC-AICT causes. I can assure you that we are a good team.
Now, I have a special request for all of you. Please contribute your articles, reviews, interviews and essays to the third edition of our web-journal Critical Stages, which will be published in October 2010. I would like to have as many countries represented in this international journal. The first two issues attracted so many visitors, more than 25,000 each, and I am sure we are doing the right thing with this journal to meet the expectations from the world theatre community toward us. Deadline for articles is August 31. You can visit the site http://www.criticalstages.org/ and find the style and other guidelines on the front page.
I wish you all nice holidays in good health.
All the best,
Yun-Cheol Kim
President, IATC-AICT
Three weeks have passed already since we had our 25th World Congress in Yerevan, Armenia. I thank those of you who participated in the Congress for your great contributions to and cooperation for the success of this most important event of IATC-AICT. With those who could not come to this remote city, I would like to share the joy and pride of the achievements we made in the Congress.
I am extremely happy that the Code of Practice was finally approved, and almost unanimously. I hope these ten guidelines will be the lighthouse in performing our profession with intellectual freedom, professional integrity and critical competence. IATC-AICT also awarded its third Thalia Prize to Mr. Richard Schechner, whose writings and artistic works have greatly influenced our critical thinking for more than four decades. I am also very happy with the newly elected Executive Committee members. China has newly joined the excom, and Canada is now represented by Quebec Association of Theatre critics. With these two new members and the remaining eight incumbent members, the new Excom will work as hard as it used to, to serve well the IATC-AICT causes. I can assure you that we are a good team.
Now, I have a special request for all of you. Please contribute your articles, reviews, interviews and essays to the third edition of our web-journal Critical Stages, which will be published in October 2010. I would like to have as many countries represented in this international journal. The first two issues attracted so many visitors, more than 25,000 each, and I am sure we are doing the right thing with this journal to meet the expectations from the world theatre community toward us. Deadline for articles is August 31. You can visit the site http://www.criticalstages.org/ and find the style and other guidelines on the front page.
I wish you all nice holidays in good health.
All the best,
Yun-Cheol Kim
President, IATC-AICT
Wednesday, July 7, 2010
Georgia National Section Extends Invitation to Critics Symposium in Tbilisi
Irina Gogobéridzé, representative of the Georgia national section of critics, has extended an invitation to the member of the International Association of Theare Critics to attend the Tbilisi International Festival.
Gogobéridzé writes: "We are happy to inform you that the second edition of TBILISI INTERNATIONAL FESTIVAL OF THEATRE is going to be held in Tbilisi, 29 September through 16 October 2010.
"Together with the international program, we will present a Georgian showcase, with the new productions of well-known artists as well as young and emerging theaters. We will be happy if you become a showcase guest during the four days from 29 September to 2 October.
"The autumn in Tbilisi is warm. I hope very much that the theatre as well as the simultaneous translation will not disappoint you.
"Welcome to Tbilisi, one of the most theatrical cities in the world!"
Many theatre-makers and critics claim to work “on behalf of the audience.” Others – a minority but no less vociferous – openly deride this idea: their criteria, they say, dwell in an area much higher than the level (i.e. taste) of the audience.
The audience is generally reduced to mere statistics: this mysterious, many-headed creature is very rarely invited to break out of its anonymous state of existence and become real faces and individual voices. The bulk of the awards are given by juries composed of theatre professionals only, at times with the explicit aim of counteracting the audiences’ preferences and verdicts at that. Don’t we, theatre professionals, tend to take the audience for granted, while effectively excluding it from the theatre equation when we start discussing it? Don’t we light-handedly dismiss respect for the audience as mere crowd-pleasing? How can we strive to improve the standards of the theatre without paying closer attention to the concrete needs, desires and verdicts of the people who fill in its halls? Are we ready to admit that at times the type of theatre we praise is exactly that which drives audiences away?
This symposium is an invitation for a discussion between theatre professionals, critics and audience members on what we all gain when the three sides of Theatre – Audience – Critics triangle are considered of equal importance and what we all lose when the balance is disrupted. The symposium is not only “open to the public.” It will rely on its active participation.
The Symposium “Cultural Bridge” will be hosted by the Tbilisi International Festival during the Georgian Theatre Showcase on September 29–October 2, 2010:
The symposium will be held in sessions: morning session will last from 10 a.m. until 1:30 p.m., followed by lunch. Afternoon session will last from 3 p.m. until 5 p.m.
Afternoon session of the second day—Oct 2—will be dedicated to discussion on Georgian Theatre.
Term of presentations is 20 minutes.
Term of interventions (with prior notice) is 5 minutes.
Notification on participation and abstracts of presentations in English or French (no more than 200 words) should be mailed in advance (deadline for submission August 15) to Irina Gogoberidze (irenetval@gmail.com), Eka Mazmishvili (eka@osgf.ge) and Kalina Stefanova (kalina@eurointegra.com).
The papers and the interventions will be published after the symposium.
Number of IATC participants: 10-12 critics.
Hotel, receptions, lunch, transportation in Tbilisi, excursions, tickets to the performances will be covered by the hosts.
Preliminary information about the Georgia Showcase is available at this website: http://www.tbilisiinternational.com/.
If you are planning to participate, please contact Irene at irenetval@gmail.com. Note the performances you prefer to see during your stay in Tbilisi and return the form by 23 July 2010.
Gogobéridzé writes: "We are happy to inform you that the second edition of TBILISI INTERNATIONAL FESTIVAL OF THEATRE is going to be held in Tbilisi, 29 September through 16 October 2010.
"Together with the international program, we will present a Georgian showcase, with the new productions of well-known artists as well as young and emerging theaters. We will be happy if you become a showcase guest during the four days from 29 September to 2 October.
"The autumn in Tbilisi is warm. I hope very much that the theatre as well as the simultaneous translation will not disappoint you.
"Welcome to Tbilisi, one of the most theatrical cities in the world!"
INTERNATIONAL ASSOCIATION OF THEATRE CRITICS
TBILISI INTERNATIONAL FESTIVAL
SHOTA RUSTAVELI THEATRE AND FILM GEORGIAN STATE UNIVERSITY
Cultural Bridge
(Experienced Critics Symposium)
Theatres – Audience – Critics:
A ”Bermuda Triangle” or a “Holy Trinity”
Tbilisi (October 1 and 2)
Many theatre-makers and critics claim to work “on behalf of the audience.” Others – a minority but no less vociferous – openly deride this idea: their criteria, they say, dwell in an area much higher than the level (i.e. taste) of the audience.
The audience is generally reduced to mere statistics: this mysterious, many-headed creature is very rarely invited to break out of its anonymous state of existence and become real faces and individual voices. The bulk of the awards are given by juries composed of theatre professionals only, at times with the explicit aim of counteracting the audiences’ preferences and verdicts at that. Don’t we, theatre professionals, tend to take the audience for granted, while effectively excluding it from the theatre equation when we start discussing it? Don’t we light-handedly dismiss respect for the audience as mere crowd-pleasing? How can we strive to improve the standards of the theatre without paying closer attention to the concrete needs, desires and verdicts of the people who fill in its halls? Are we ready to admit that at times the type of theatre we praise is exactly that which drives audiences away?
This symposium is an invitation for a discussion between theatre professionals, critics and audience members on what we all gain when the three sides of Theatre – Audience – Critics triangle are considered of equal importance and what we all lose when the balance is disrupted. The symposium is not only “open to the public.” It will rely on its active participation.
Preliminary Program of the Symposium
The Symposium “Cultural Bridge” will be hosted by the Tbilisi International Festival during the Georgian Theatre Showcase on September 29–October 2, 2010:
September 29–October 1: Georgian Theatre Showcase
October 1 and 2: Cultural Bridge symposium
October 3: Departure of participants
The symposium will be held in sessions: morning session will last from 10 a.m. until 1:30 p.m., followed by lunch. Afternoon session will last from 3 p.m. until 5 p.m.
Afternoon session of the second day—Oct 2—will be dedicated to discussion on Georgian Theatre.
Term of presentations is 20 minutes.
Term of interventions (with prior notice) is 5 minutes.
Notification on participation and abstracts of presentations in English or French (no more than 200 words) should be mailed in advance (deadline for submission August 15) to Irina Gogoberidze (irenetval@gmail.com), Eka Mazmishvili (eka@osgf.ge) and Kalina Stefanova (kalina@eurointegra.com).
The papers and the interventions will be published after the symposium.
Number of IATC participants: 10-12 critics.
Hotel, receptions, lunch, transportation in Tbilisi, excursions, tickets to the performances will be covered by the hosts.
Preliminary information about the Georgia Showcase is available at this website: http://www.tbilisiinternational.com/.
If you are planning to participate, please contact Irene at irenetval@gmail.com. Note the performances you prefer to see during your stay in Tbilisi and return the form by 23 July 2010.
Mario Fratti Reflects on Armenian Theater and IATC Congress on "Femininity in Today's Theater"
I remembered from another trip to Yerevan, a stunning monument near the elegant Republic Square. I went to see it again. I was disappointed. It is no longer there. I was told it was destroyed by vandals.
We stayed in two hotels. The Metropole and the Shirak, both easy to reach. Our efficient Secretary General Michael Vais had organized every minute of our stay in Yerevan: list of the participants, meetings, symposia, time for the elections, and a biography of the winner of the Thalia Prize: our brilliant critic Richard Schechner. Michel even gave us a new “Code of Practice,” to be discussed during the Congress.
We began promptly at 10 am with a speech from our distinguished president, Yun-Cheol Kim. He reminded us of the theme of this year’s congress: “Redefining Femininity in Today's Theater.” (He was later unanimously re-elected to his IATC post.)
I listened with curiousity to all the papers written and delivered by the participants: Margareta Sörenson (Sweden), Jean-Pierre Han (France), Akiko Tachiki (Japan), Katayoun Hosseinzadeh Salmasi (Iran), Zhang Xian (China), Randy Gener (U.S.A.), Savas Patsalidis (Greece), Deepa Ganesh (India), Guna Zeltina (Latvia), Zane Radzobe (Latvia), Maria Helena Serôdio (Portugal), Patricia Keeney (Canada), Ravi Chaturvedi (India) and Ravinder Kaul (India). They all revealed details about great women in their countries, their huge contribution to education and culture. Maria Helena Serodio gave us useful information about a Jewish writer who was persecuted and died young in Portugal: Antonio Jose da Silva. He wrote nine plays that are being republished and maybe performed. The poet, Patricia Keeney, passionately defended the plays and achievements of the Canadian playwright, Judith Thompson; it was a discovery for many of us. Katayoun let us know that the condition of women in Iran is improving.
The delegates from India, China and Japan surprised us with lists of great directors and actresses whom we did not know, unfortunately. Margareta Sorenson reminded us that we must research and read articles and works written by Asian women.
We learned about many new playwrights including the new ones in Armenia: Yernjakyan, Shant, Demirchyan, Ananyan, Yernjakyan, Khodikyan, Santoyan, Teqgyozyan. Their hero is anyhow, William Saroyan, whom they call “the Good Giant.”
Every evening at five and at nine we were invited to see performances. Three evenings were dedicated to Saroyan’s plays: Salvation Island, You Are Coming Into the World (Marionette), and Stories in the Train. This last piece was well-directed and conceived with great sense of humor by Marine Malyan.
I focused on contemporary Armenian productions. I saw and applauded Anush by A. Tigranyan, a powerful and moving opera, a tragic love story that reveals the poetry of the Armenian world; Frank Werfel’s The Forty Days of Musa-Dach, about the Armenian resistance against the Turks in 1915; Durrenmatt’s The Old Woman’s Visit; and a stunning Macbeth, directed by Armen Khandikyan, with two powerful actors, Arthur Utmazyan and Luiza Ghambaryan. I also enjoyed in the elegant Chamber Theatre The Call of Glowworm, written and directed by Ara Yernjakyan. It is a brilliant satire about power, well-acted by Rafael Yeranosyan, Andranik Harutyunyan and Katrin Manasyan.
At the end of the Congress, we had a polemic, an ironic and pleasant acceptance speech by the Thalia winner Richard Schechner.
It was a successful Congress, but I had to conclude that their papers did not focus on Femininity. I shared with the participants my theory about the subject, which I have depicted in two of my plays. Feminine, gentle, poetic, vulnerable women have no chance in our society. They will become victims. — Mario Fratti
Thursday, June 3, 2010
Critical Stages Publishes its Spring 2010 Issue
The second issue of Critical Stages, the webjournal of the International Association of Theatre Critics (IATC), came out this spring.
Yun-Cheol Kim, publisher of Critical Stages and IATC president, said, "All of the editors, headed by Dr. Maria Helena Serodio, have worked extremely hard to make this 'crazy project' a sustainable reality. This journal will be our contribution to world theatre, and serve greatly to make theatre and theatre criticism matter in our society."
In her editorial, Serodio added that the second issue "brings with it the evidence that the IATC is able to pursue one of its main goals: to highlight the need (and the importance) of critics and criticism in the field of theatre. But this claim is not to be held as a vain conceit: it only means that we assume this as a challenge and a responsibility, so that we shall do our best not to disappoint artists, readers and theatre audiences alike."
Three American critics were prominent contributors to the second issue. San Francisco-based writer and acting teacher Lissa Tyler Renaud interviews theatre directors David Zinder and Stan Lai (Lai Sheng-Chuan) in the "Theatre Views" department.
A daring contribution comes from New York-based critic and author of the book Theatre Voices, Steve Capra who actually reviews the first edition of Critical Stages, published this past fall. In his article in the Book Reviews" department, Capra, a dedicated member of the International Committee of the American Theatre Critics Association, writes:
The interviews, the reviews, the discussions of our iconic influences―these all reflect an erudite and articulate critical community. Indeed, Robert Greig's review is close to a model of analysis. Naturally, the material paints a more sanguine portrait of world theatre than it deserves. As our publisher rightly notes, “The theatre is in a real crisis.” The unique contribution of the issue lies in its first and final sections: “Theatrical Commentary and Professing Theatre Criticism” (it’s unclear why the sections are separate). It’s here that Critical Stages addresses its mission most directly, and we find discussions of criticism per se, material that contextualizes our work. It somehow validates us.
In addition, on the eve of granting the third Thalia Prize to Richard Schechner in IATC's forthcoming Congress in Yerevan, Armenia, to be held in June, American Theatre senior editor Randy Gener subjects the French critic, playwright and essayist Jean-Pierre Sarrazac to a Proust Questionnaire. The speech Sarrazac read in Sofia is also published in French. Sarrazac received the second Thalia Prize in Sofia two years ago “for having influenced critical thinking about the art of theatre.”
In the accompanying photos, the article shows the emblem of the Thalia Prize, which was specially commissioned from the distinguished Romanian stage and artist-designer Dragos Buhagiar: a cane with a silver top, representing Thalia, the Greek muse of comedy. (Incidentally, an interview of Buhagiar appears in the same spring issue.)
Says Kim, "The second issue shows some improvements over the first one. Now we have some moving images, more visual designs, and the archive where you can refer to the past issues. I have no doubt that Critical Stages will soon become one of the best resources, one of the most informative and relevant theatre journals in the world, especially given that we have such a rich pool of fine writers in every corner of the globe. Your suggestions to make it better are always welcome. Please visit the IATC Webjournal and
"Redefining Femininity" Symposium for IATC World Congress Announced
The International Association of Theatre Critics (IATC) announced June 2 the preliminary program for its next World Congress, which takes place June 15-20 in Yerevan, Armenia.
The theme for this year's congress is "Redefining Femininity in Today’s Theatre." The call for papers, issued earlier this year, states: "The concept of femininity seeks in today’s theatre its own place, language, identity and expression. In the 21st century, it has reemerged as a creative issue. In a sense, even the masculine subject is isolated in the phallocentric system. “Alliance,” for example, is emphasized over “self” as a recurring theme, “difference” over “homogeneity,” “sense and experience” over “abstraction,” as well as “nature” over “civilization.” Can we characterize and explain the various phenomena of this 21st century concept of femininity?
"Some of the main elements characterizing the changing theatrical models which have emerged or developed under the aegis or influence of this new paradigm seem to encompass new subject matter; changes in plot and character; new developments and thinking in terms of the relationships between body and language; shifts in the encounters between the performers and the spectators; a reordering of the symbolic and thematic structures; a recognition of “the other”; poetic attention and expression to individuality and everyday-ness; fresh perspectives on the roles of memory, politics, gender, class, race, and family."
Papers on that theme will be presented by a motley of speakers. The preliminary program schedule, divided into three sessions, is as follows:
SESSION I, June 16, Wednesday, 10:00-13:00:
Chair: Margareta Sörenson
Keynote Speech:
Maria Helena Serôdio, Portugal, Editor Critical Stages, Honorary General Secretary:
Reframing the Feminine: Some Classical Heroines on the Contemporary Stage
Un nouveau cadre de féminité : Quelques héroïnes classiques sur la scène contemporaine
Jean-Pierre Han, France, vice president IATC:
The Position of Femininity in French Theatre
La position de la féminité dans le théâtre français
Ravi Chaturvedi, India:
The Emergence of the New Woman: Reflections on Indian Theatre in the 21st Century
L’émergence de la femme nouvelle : Réflexions sur le théâtre indien du 21e siècle
Guna Zeltina, Latvia:
The Emergence of the Concept of Femininity in Latvian Theatre
L’émergence de l’idée de féminité dans le théâtre lituanien
Katy Salmasi, Iran:
Feminism, Art and Theatre in Iran
Féminisme, art et théâtre en Iran
Deepa Ganesh, India :
The Woman’s Voice in Indian Theatre
La voix de la femme dans le théâtre indien
SESSION II, Wednesday, 15:00-17:00:
Chair: Jean-Pierre Han
Birgitte Purkhardt, Québec, Canada:
The Evolution of the Female Character in the Imagination of Québec’s Playwrights
L’évolution du personnage féminin dans l’imaginaire des dramaturges québécoises
Patricia Keeney, Canada:
Where the Wild Things Are: A Study on Canadian Playwright Judith Thomson
Où tout est sauvage, étude sur la dramaturge canadienne Judith Thomson
Randy Gener, USA:
Women and War: On Lynn Nottage’s Ruined
Les femmes et les guerres : Sur Ruines de Lynn Nottage
Savas Patsalidis, Greece :
Recontextualizing Sacrifice, Revenge and Power: Ellen MacLaughlin’s Iphigenia and Other Daughters
La recontextualisation du sacrifice, de la revanche et du pouvoir: Iphigénie et autres filles de Ellen MacLaughlin
Akiko Tachiki, Japan:
Femininity/Masculinity: Beyond the Border
Féminité/Masculinité : au-delà des limites
SESSION III, Thursday 10:00-13:00:
Chair: Randy Gener
Ravinder Kaul, India:
Redefining Femininity in Indian Modern Theatre
La redéfinition de la féminité dans le théâtre indien contemporain
Margareta Sörenson, Sweden, vice president IATC:
Femininity and Body Language, Reflections on Pina Bausch and Mats Ek
Féminité et langage du corps ; réflexions sur Pina Bausch et Mats Ek
Jae-Min Shim, Korea:
Lee Breuer’s Dollhouse
La maison de poupée de Lee Breuer
Zhu Ning, China:
The Female Directors in the New Theatre Market
Les femmes metteurs en scène sur le nouveau marché du théâtre
Zane Radzobe, Latvia:
Redefining Feminine: National Romanticism in Three Performances by Alvis Hermanis
La redéfinition de la féminité : Le romantisme national dans trois spectacles de Alvis Hermanis
Magdalona Jakfalvi, Hungary:
The Women, The Regimes
Les femmes, les régimes
Philip Zitowitz, Japan:
On the Geisha Today
Sur la geïsha aujourd’hui
Discussion and closure of the conference
Discussion et clôture du colloque
The theme for this year's congress is "Redefining Femininity in Today’s Theatre." The call for papers, issued earlier this year, states: "The concept of femininity seeks in today’s theatre its own place, language, identity and expression. In the 21st century, it has reemerged as a creative issue. In a sense, even the masculine subject is isolated in the phallocentric system. “Alliance,” for example, is emphasized over “self” as a recurring theme, “difference” over “homogeneity,” “sense and experience” over “abstraction,” as well as “nature” over “civilization.” Can we characterize and explain the various phenomena of this 21st century concept of femininity?
"Some of the main elements characterizing the changing theatrical models which have emerged or developed under the aegis or influence of this new paradigm seem to encompass new subject matter; changes in plot and character; new developments and thinking in terms of the relationships between body and language; shifts in the encounters between the performers and the spectators; a reordering of the symbolic and thematic structures; a recognition of “the other”; poetic attention and expression to individuality and everyday-ness; fresh perspectives on the roles of memory, politics, gender, class, race, and family."
Papers on that theme will be presented by a motley of speakers. The preliminary program schedule, divided into three sessions, is as follows:
SESSION I, June 16, Wednesday, 10:00-13:00:
Chair: Margareta Sörenson
Keynote Speech:
Maria Helena Serôdio, Portugal, Editor Critical Stages, Honorary General Secretary:
Reframing the Feminine: Some Classical Heroines on the Contemporary Stage
Un nouveau cadre de féminité : Quelques héroïnes classiques sur la scène contemporaine
Jean-Pierre Han, France, vice president IATC:
The Position of Femininity in French Theatre
La position de la féminité dans le théâtre français
Ravi Chaturvedi, India:
The Emergence of the New Woman: Reflections on Indian Theatre in the 21st Century
L’émergence de la femme nouvelle : Réflexions sur le théâtre indien du 21e siècle
Guna Zeltina, Latvia:
The Emergence of the Concept of Femininity in Latvian Theatre
L’émergence de l’idée de féminité dans le théâtre lituanien
Katy Salmasi, Iran:
Feminism, Art and Theatre in Iran
Féminisme, art et théâtre en Iran
Deepa Ganesh, India :
The Woman’s Voice in Indian Theatre
La voix de la femme dans le théâtre indien
SESSION II, Wednesday, 15:00-17:00:
Chair: Jean-Pierre Han
Birgitte Purkhardt, Québec, Canada:
The Evolution of the Female Character in the Imagination of Québec’s Playwrights
L’évolution du personnage féminin dans l’imaginaire des dramaturges québécoises
Patricia Keeney, Canada:
Where the Wild Things Are: A Study on Canadian Playwright Judith Thomson
Où tout est sauvage, étude sur la dramaturge canadienne Judith Thomson
Randy Gener, USA:
Women and War: On Lynn Nottage’s Ruined
Les femmes et les guerres : Sur Ruines de Lynn Nottage
Savas Patsalidis, Greece :
Recontextualizing Sacrifice, Revenge and Power: Ellen MacLaughlin’s Iphigenia and Other Daughters
La recontextualisation du sacrifice, de la revanche et du pouvoir: Iphigénie et autres filles de Ellen MacLaughlin
Akiko Tachiki, Japan:
Femininity/Masculinity: Beyond the Border
Féminité/Masculinité : au-delà des limites
SESSION III, Thursday 10:00-13:00:
Chair: Randy Gener
Ravinder Kaul, India:
Redefining Femininity in Indian Modern Theatre
La redéfinition de la féminité dans le théâtre indien contemporain
Margareta Sörenson, Sweden, vice president IATC:
Femininity and Body Language, Reflections on Pina Bausch and Mats Ek
Féminité et langage du corps ; réflexions sur Pina Bausch et Mats Ek
Jae-Min Shim, Korea:
Lee Breuer’s Dollhouse
La maison de poupée de Lee Breuer
Zhu Ning, China:
The Female Directors in the New Theatre Market
Les femmes metteurs en scène sur le nouveau marché du théâtre
Zane Radzobe, Latvia:
Redefining Feminine: National Romanticism in Three Performances by Alvis Hermanis
La redéfinition de la féminité : Le romantisme national dans trois spectacles de Alvis Hermanis
Magdalona Jakfalvi, Hungary:
The Women, The Regimes
Les femmes, les régimes
Philip Zitowitz, Japan:
On the Geisha Today
Sur la geïsha aujourd’hui
Discussion and closure of the conference
Discussion et clôture du colloque
Wednesday, May 26, 2010
Paulo Eduardo Carvalho, IATC Director of Seminars for New Critics, Dies at 45
Paulo Eduardo Carvalho
July 7, 1964 – 20th May 20, 2010Born in Oporto on 7th July 1964, Paulo Eduardo Carvalho graduated from the Faculty of Letters, University of Oporto, in 1984, with a degree in Modern Languages and Literature (Portuguese and English Studies); taking the Translation Course in Modern Languages and Literature at the same university, in 1990. He then went on to complete a Master’s degree in English Studies at the Faculty of Letters, University of Lisbon, in 1993, with A História no Território da Imaginação: A Irlanda de Brian Friel e Field Day [History in the Territory of the Imagination: The Ireland of Brian Friel and Field Day].
In addition to taking intensive courses abroad (most frequently in England, Ireland and Italy), Paulo was an outstanding presence in a host of international events organised by the International Association of Theatre Critics (IATC-AICT), the English Society for the Study of English (ESSE) and the International Federation for Theatre Research (FIRT-IFTR). He also presented papers at Trinity College (1999), the Dublin Theatre Festival (2003), a number of IATC-AICT congresses, and at various European universities to which he was invited.
He was responsible for cultural activities in various major institutions in Oporto, such as Teatro Nacional São João and Rivoli Teatro Municipal; in addition to collaborating with the Serralves Foundation, ESMAE (the School of Music and Performing Arts) and the Eugénio de Almeida Foundation, among others.
A keynote speaker at numerous conferences and colloquiums (in Portugal and abroad), Paulo always brought tremendous energy and enthusiasm to debates on the theatre, literature, cinema, music and the fine arts, working with various institutions in the organisation of colloquiums, publications, courses and exhibitions, among countless other activities.
He was a tireless member of the Institute for Comparative Literature Margarida Losa at the University of Oporto; the Centre for Theatre Studies at the University of Lisbon and the Department of English and American Studies at the University of Oporto; making a vital contribution to colloquiums, seminars, conferences, exhibitions and various publications.
He joined the Board of the Portuguese Association of Theatre Critics in 2004, representing it on the IATC-AICT Executive Committee, and was currently the International Association’s Director of Seminars for New Critics.
In 2004, Paulo co-founded the magazine Sinais de Cena (produced by the Portuguese Association of Theatre Critics together with the University of Lisbon Centre for Theatre Studies), immediately joining the Editorial Board and regularly contributing articles, reviews and translations. He was also part of the team involved in producing the Cadernos de Literatura Comparada at the Institute for Comparative Literature Margarida Losa at the University of Oporto.
In the theatre, he was a founder member of the Oporto company, Assédio, did dramaturgical work with various directors and translated over forty plays by such diverse authors as Brian Friel, Samuel Beckett, Harold Pinter, Martin Crimp, Martin McDonagh, Marina Carr, Athol Fugard, Caryl Churchill, Wallace Shawn, Frank McGuinness and Thomas Kilroy, among others.
A man of vast learning, blessed with boundless energy and a rare artistic sensibility, Paulo Eduardo Carvalho was a major figure in both Portuguese theatre and Portuguese theatre studies. He established a remarkable level of academic rigor in dealing with the theatre, which was reflected by what he wrote in the field of the essay and critical analysis, clearly shown in his book on the Portuguese director, Ricardo Pais, Ricardo Pais: Actos e Variedades [Ricardo Pais: Acts and Variety] (Oporto: Campo das Letras, 2006).
He lived generously and lovingly, always available to anyone needing his advice and priceless help.
Paulo left us on 20th May. During a warm afternoon, he was tragically taken by the sea; and all who knew him are left with a huge, immeasurable sense of loss.
It is with an immense sorrow that I have to announce the tragic death of our colleague and member of the executive committee of IATC representing Portugal, Paulo Eduardo Carvalho. Dr Carvalho was also director of the seminars for new critics of IATC. Pleased read the obituary below, and pass the word to all who may have known him. On behalf of the IATC, I express my deepest condolences to his family, to his numerous friends and to his colleagues.
Friday, April 9, 2010
IATC Thalia Prize Goes to American Critic-Scholar Richard Schechner
The International Association of Theatre Critics – an association of theatre critics, theatre journalists and theatre scholars in over 50 countries – is pleased to announce that the winner of its highest honour, the Thalia Award, will be American critic-scholar Richard Schechner for 2010.
“The Thalia is awarded by IATC every two years,” said IATC President Kim Yun-Cheol of Korea, “to a scholar, theatre critic or theatre practitioner whose writings have significantly influenced critical thinking about the art of theatre. Previous winners have included Eric Bentley (US, 2006) and Jean-Pierre Sarrazac (France, 2008). We are delighted to add such an eminent man of theatre as Prof. Schechner to the list of Thalia laureates.”
The prize includes a specially designed theatrical memento contributed by the Romanian national IATC centre and the Craiova “William Shakespeare” Foundation, and full expenses to attend the award ceremonies which in 2010 will be in Yerevan, Armenia June 16 to 20. Previous awards have been presented at IATC Congresses in Seoul, Korea and Sofia, Bulgaria.
President Kim pointed out that Schechner, based at New York University’s Tisch School of the Arts, has been the editor of one of the world's leading theatre journals, TDR (The Drama Review) for some 30 years. He first edited TDR from 1962 to 1969 and then returned to it again in 1986, still editing the quarterly journal today.
“During that time, he has turned it from a rather specialised academic journal into the world's leading journal on the avant-garde and later helped it to evolve into the premiere journal of Performance Studies, a field he virtually invented. TDR promoted very early on the work of most of the major avant-garde artists of the late 20th century from Brook and Grotowski, to Barba, Boal and Suzuki. Through its work in Performance Studies, the journal has significantly changed the way theatre is seen world-wide. As well, Prof. Schechner has been a tireless theorist of theatre in Asia and Africa. Indeed, an Asian version of TDR is now coming out in Shanghai. He is also the author of a variety of books which have significantly affected perceptions of theatre on the stage, and the theatrical in our lives,” said Kim.
Among Schechner’s major books are Public Domain (1968), Environmental Theatre (1973), The End of Humanism (1981), Between Theatre and Anthropology (1985), By Means of Performance: Intercultural Studies (1990), The Future of Ritual (1993), and Performance Theory (2003). His books have been translated into Spanish, Chinese, Parsi, Italian, French, German, Japanese, Korean, Polish, Hungarian and Serbo-Croat.
“One other aspect of his lifelong work as a scholar-critic-editor has been his constant willingness to test his theories as a working director, “ said Kim. “He has done this on stages in New York through his Performance Group (which produced such landmark shows as Dionysus in '69), through the Wooster Group, through the East Coast Artists company which he ran from 1992 to 2009 and in the many individual productions he has staged in China, India, South Africa, Poland and Taipei among other countries. He is truly an international figure and a most worthy winner of this award. We are delighted that he has chosen to accept the Thalia Award for 2010.”
Thursday, March 4, 2010
Call for Papers for IATC Congress on "Redefining Femininity in Today's Theatre"
The International Association of Theatre Critics (IATC) has announced the theme and the call for papers for the 25th IATC congress which will take place in Yerevan, Armenia, from 15-20 June, 2010.
ATCA members are encouraged to register soon for this congress as well as to submit abstracts for papers on the theme by March 30.
Redefining Femininity in Today’s Theatre
IATC Congress Theme, Yerevan, Armenia
15-20 June, 2010
The concept of femininity seeks in today’s theatre its own place, language, identity and expression. In the 21st century, it has reemerged as a creative issue. In a sense, even the masculine subject is isolated in the phallocentric system. “Alliance,” for example, is emphasized over “self” as a recurring theme, “difference” over “homogeneity,” “sense and experience” over “abstraction,” as well as “nature” over “civilization.” Can we characterize and explain the various phenomena of this 21st century concept of femininity?
Some of the main elements characterizing the changing theatrical models which have emerged or developed under the aegis or influence of this new paradigm seem to encompass new subject matter; changes in plot and character; new developments and thinking in terms of the relationships between body and language; shifts in the encounters between the performers and the spectators; a reordering of the symbolic and thematic structures; a recognition of “the other”; poetic attention and expression to individuality and everyday-ness; fresh perspectives on the roles of memory, politics, gender, class, race, and family.
The IATC Yerevan congress seeks abstracts of no more than 500 words that would explore the theatrical contexts and new evolutions of a redefined and reinvigorated femininity in today’s theatre. Abstracts are due by March 30th, 2010, and should be sent to Margareta Sörenson soerenson@swipnet.se. Formal acceptance of papers will be announced at the end of March. Final versions of papers (15-20 minutes) must be submitted on May 15th, 2010.
Monday, February 22, 2010
ATCA Members Urged to Vote on IATC Code of Practice by March 10
As a member of the International Association of Theater Critics, ATCA is asked to vote on a proposed new IATC Code of Practice. The ATCA membership vote will be totaled on March 10.
Following are an explanation and recommendation by ATCA International Chair Jeffrey Eric Jenkins and a link to the English and French texts of the proposed code on ATCA's official website.
Dear Friends,
For nearly two years, the Executive Committee of the International Association of Theatre Critics has worked assiduously toward creating a Code of Practice. This proposed code is not unlike the Code of Conduct which ATCA labored over in the 1990s and finally passed at the Utah Conference in 1997.
After many discussions that took into account both the journalistic and scholarly approaches to theater criticism which have to coexist in the IATC, the working group, which included our own Randy Gener, now offers a final text, which appears below in both its English and French versions. I believe this code offers helpful guideposts for criticism on a global scale, without constraining one from doing work according to one’s own high professional standards.
While there may be slight disagreements among us regarding a word here or a phrase there, we must also take into account that the two texts have to be consistent with each other.
Please know that this document has been created in the finest traditions of international cooperation and collaboration. In this spirit, I strongly urge that ATCA members vote in the affirmative.
All ATCA members are urged to vote. We are asking that votes be registered with me via a special e-mail address no later than 10 March 2010. We will report the results to the International President, Yun-Cheol Kim, on 14 March 2010. If the Code is approved by a majority of the IATC’s sections, of which ATCA is one, it will be on the agenda for adoption at the IATC World Congress in Yerevan, Armenia, June 15-20, 2010.
You may read the document, which is linked on the International page of the ATCA website.
ATCA is voting specifically on the English text. Best Plays Theater Yearbook is hosting a special mailbox for these votes. Please email your vote to: intl@bestplays.org.
With all best wishes,
Jeffrey
--
Jeffrey Eric Jenkins
Member, Executive Committee of the International Association of Theatre Critics
Following are an explanation and recommendation by ATCA International Chair Jeffrey Eric Jenkins and a link to the English and French texts of the proposed code on ATCA's official website.
Dear Friends,
For nearly two years, the Executive Committee of the International Association of Theatre Critics has worked assiduously toward creating a Code of Practice. This proposed code is not unlike the Code of Conduct which ATCA labored over in the 1990s and finally passed at the Utah Conference in 1997.
After many discussions that took into account both the journalistic and scholarly approaches to theater criticism which have to coexist in the IATC, the working group, which included our own Randy Gener, now offers a final text, which appears below in both its English and French versions. I believe this code offers helpful guideposts for criticism on a global scale, without constraining one from doing work according to one’s own high professional standards.
While there may be slight disagreements among us regarding a word here or a phrase there, we must also take into account that the two texts have to be consistent with each other.
Please know that this document has been created in the finest traditions of international cooperation and collaboration. In this spirit, I strongly urge that ATCA members vote in the affirmative.
All ATCA members are urged to vote. We are asking that votes be registered with me via a special e-mail address no later than 10 March 2010. We will report the results to the International President, Yun-Cheol Kim, on 14 March 2010. If the Code is approved by a majority of the IATC’s sections, of which ATCA is one, it will be on the agenda for adoption at the IATC World Congress in Yerevan, Armenia, June 15-20, 2010.
You may read the document, which is linked on the International page of the ATCA website.
ATCA is voting specifically on the English text. Best Plays Theater Yearbook is hosting a special mailbox for these votes. Please email your vote to: intl@bestplays.org.
With all best wishes,
Jeffrey
--
Jeffrey Eric Jenkins
Member, Executive Committee of the International Association of Theatre Critics
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