Performance, Identity and Community
VENUE: Oculus, 1.01
Working Group Session 1
Wednesday, 27th August, 13.00-15.00
Doing the Work: Revisiting Research Methods
Chairs: Gemma Edwards and Stephen Greer
Molly Wilson “Take me back!”: Autobiographical art and performance making as girlhood reclamation.
Jenny Hughes, Rhiannon White & Evie Manning How to make a book | DIY: Making political theatre.
Paola Botham & Carla Hamer From Eurocentric Theory to Decolonial Practice: Reflections on a Collaborative Research Turn.
Riccardo Bin Wu Performing Domestic Labour: Precarity, Nostalgia, and Socialist Praxis in PostPandemic China.
Working Group Session 2
Thursday, 28th August, 09.00-10.30
Glitching Institutions and Disciplinary Inheritances
Chairs: Grace Joseph and Adam Alston
Jessi Parrott ‘It’s because I’m in this chair / And you felt sorry for me’: A wheelchair user’s professionally-personal perspective on recent shifts in the casting of Nessarose in “Wicked” on stage and screen.
Hikaru Morimoto Submissive bride transforming into a monster: disidentification of ESEA racial stereotypes in the performance 'Unforgettable Girl '.
Georgia Achilleopoulou Feminist glitching pedagogy: Physiovocality & Autobiography in a community musical theatre performance.
Heath Pennington Kinking Consent in the Wake.
Working Group Session 3
Thursday, 28th August, 15.30-17.00
Critical Epistemologies: Inheritances, Reproductions and Representation
Chairs: Eli Massana and ally walsh
Rashi Mishra Staging the Law: Performative Archives of the Pathalgadi Movement.
Roaa Ali The Making of pragmatist feminism in Arab American women theatre.
Soudabeh Ananisarab Cultural Homelands: Theatre in Exile and Nationhood.
Working Group Session 4
Friday, 29th August, 13.00-15.00
Messy Inheritances and Queer Methodologies
Chairs: Eli Massana and Marilena Zaroulia
Stephen Greer Performance studies and the refusal of queer theory.
Konstantinos Makridakis Deconstructing 'Erotikon' Queer Performance.
Tiffany Murphy Messy Memorials: resurrecting sexual and gendered trauma in Carolina Bianchi’s ‘A Noiva e o Boa Noite Cinderela’ .
Dan Hill Backwards Queer Utopias in British Musical Theatre