Doctoriales RADAC / RADAC PhD Symposium – 5 juin 2024 | June 5th, 2024 (Zoom)

Le bureau de RADAC est très heureux d’annoncer la tenue des Doctoriales le 5 juin 2024 en ligne (lien Zoom ci-après). Ouverte aux doctorant.e.s effectuant des recherches dans le domaine du théâtre anglophone contemporain, les Doctoriales ont pour but de permettre aux membres de RADAC et aux doctorant.e.s d’échanger sur leurs thèses et travaux en cours.

Programme

14h-15h: Présentation des travaux de recherche de Dominic Chamayou-Douglas

Affiliation : Universités de Kent et Lille

Année d’inscription en doctorat: 2ème

Thèse dirigée par: Ariane Martinez et Margherita Laera


Traverser la Manche : Mettre en scène des pièces françaises contemporaines en Grande-Bretagne et des pièces britanniques en France au XXIe siècle

Les systèmes théâtraux britannique et français bénéficient de deux des plus forts domaines d’écriture dramatique contemporaine en Europe. Cependant, les deux écologies théâtrales sont très différentes dans leur façon d’aborder l’esthétique théâtrale, les méthodes de jeu, la traduction théâtrale, les préférences des spectateurs et la construction de la valeur culturelle par le théâtre. Ce projet de recherche vise à déterminer ce que nous pouvons apprendre en comparant les scènes théâtrales britannique et française et leurs interactions au XXIe siècle en focalisant sur les productions récentes de pièces traduites.

Discutantes:  Mariane Drugeon (Univ. Paul-Valéry-Montpellier); Marie-Nadia Karsky (Univ. Paris 8)


15h10-16h10: Présentation des travaux de recherche de Lisa Bertucco

Affiliation : Sorbonne Université. 

Année d’inscription en doctorat: 1ère

Thèse dirigée par: Aloysia Rousseau et Elisabeth Angel-Perez. 


Thèse sur la re-émergence du théâtre “dramatique” sur la scène contemporaine britannique venant remettre en cause la pérennité du théâtre postdramatique et sa portée politique. Le corpus est constitué de pièces de Lucy Kirkwood, Ella Hickson et Winsome Pinnock.  

Discutantes:  Déborah Prudhon (Univ. Aix-Marseille); Jeanne Schaaf (Univ. Lyon 2)

Assister aux Doctoriales RADAC | Attending the RADAC PhD Symposium

Suivez les Doctoriales en ligne en rejoignant la réunion Zoom dès 14h, le 5 juin 2024.

ID de réunion: 985 0523 9354

The symposium will take place online, via this Zoom link, on June 5th, at 2:00pm.

Reunion ID: 985 0523 9354

ANR ACTiF (American Contemporary Theater in France)

DESCRIPTION DU PROJET :

Coordinatrice : Emeline Jouve (Université Toulouse-Jean Jaurès)

Résumé :

Pour quelles raisons l’influence du théâtre étasunien reste-t-elle limitée sur la scène théâtrale française en dépit de son actualité florissante et l’omniprésence américaine dans de nombreux autres domaines ? Le programme ACTiF vise à cerner cette contradiction peu considérée jusqu’ici afin de combler un manquement dans les études des arts du spectacle et des politiques culturelles internationales, et favoriser les interactions entre les recherches actuelles menées en études théâtrales de part et d’autre de l’Atlantique.

L’importation du théâtre américain en France est le résultat d’un processus de sélection ancré dans un contexte et sous-tendu par des logiques de subjectivités qui doivent être analysées afin d’expliquer sa relative rareté. Le premier objectif d’ACTiF est de circonscrire l’épistémè des mécanismes de transferts culturels en définissant les différents enjeux esthétiques, politiques et diplomatiques de la circulation des pièces américaines en France des années 1960 à nos jours. Son second objectif est de contribuer au développement d’outils utiles aux communautés académiques et artistiques mais aussi au grand public afin de dynamiser la recherche française sur les échanges culturels transatlantiques, et accroître la visibilité du théâtre américain. Pour atteindre ses objectifs, ACTiF adopte la méthode à la fois conceptuelle et pratique de recherche-action en réunissant des chercheurs de diverses disciplines et des praticiens du théâtre (artistes et agents culturels).

Titre des 4 axes :

·       WP1 Taking inventory of US theater in France” – Leaders: J. Bak and C. Triau

Cet axe est relatif au recensement des œuvres étasuniennes qui ont migré en France

·       WP2 Mapping out France-US theater relations – Leaders: E. Wallon and N. Peyre

Cet axe concerne principalement les questions diplomatiques/économiques/socio-politiques

·       WP3 Investigating adaptations – Leaders: J. Vatain and X. Lemoine

Cet axe concerne principalement les questions liées à la traduction

·       WP Trans. Cross-referencing cultural differences – Leaders: E. Jouve and Post-doc

Cet axe concerne principalement les questions liées à la notion d’altérité.

Durée du projet : 4 ans

Partenaires universitaires :

Université Toulouse-Jean Jaurès

Université Toulouse-Capitole

Université de Lorraine

Université Paris-Nanterre

Université Gustave Eiffel

Université Paris-Sorbonne

Partenaires culturels:

5 institutions théâtrales.

France:ThéâtredelaCité (Toulouse); Théâtre Garonne (Toulouse); Festival d’Automne (Paris)

-US: New York Theater Workshop; Festival Seuls en Scène (Princeton Univ.)

1 institution diplomatique.

France/US:Performing Arts Department of the French Embassy in the US (Villa Albertine)

1 institution académique/artistique:

-US: Martin S. E. Segal Theatre Center (New York)

2 centres d’écriture.

France:La Chartreuse (Avignon)

-US: New York Theater Workshop

1 centre de traduction

-France:Maison Antoine Vitez

3 maisons d’éditions 

-France:Les Solitaires Intempestifs; Deuxième Epoque; Nouvelles Scènes anglais (PUM)

[SEM] 26.03.24 / 18:00 / EMMA (Montpellier): Experiencing collaborative translation

Six RADAC members will present their collaborative translation in progress of The Gut Girls by Sarah Daniels: Susan Blattès (Grenoble-Alpes), Marianne Drugeon (Paul-Valéry Montpellier 3), Claire Hélie (Lille), Marie Nadia Karsky (Paris 8), Estelle Rivier-Arnaud (Grenoble-Alpes), Agathe Torti-Alcayaga (Paris Sorbonne Nord).

The seminar will be in hybrid and bilingual format, we had much rather you were there with us in the flesh, but do not hesitate to join us on zoom by clicking here.

Brief synopsis of The Gut Girls :

The play tells the story of a small community, the “Gut Girls”, who work in a gutting shed at Deptford cattle market, in the South East of London in 1900. This work means they remain at the margins of society, but it also gives them some autonomy, gritty and distasteful as it is: the salary is higher than what women usually get, and they are, up to a point, considered equal to men. Because the work is hard, they use humour and irony to their heart’s content, and try to avoid Lady Helena’s club, which she has set up to teach them how to speak and behave properly. Unfortunately, the cattle market is soon to close, in the wake of progress in refrigerating meat. Each “Gut Girl” will have to find another way to survive: some will marry, most will become servants – and one of them may die as a consequence – and some will find jobs in a factory. Patriarchy, and capitalism, which had been questioned and jeopardised for a time by the small community of the “Gut Girls’, close down upon them, except perhaps one, who now works in a factory where they have a union.

Our Project:

We are a team of six researchers and translators from different universities, and we have set up to translate the play over the last year in a cooperative and collaborative way. We will present our work from different angles: its method (how is it possible for six translators to work together on the same text?), its translation (the play is riddled with puns linked to a particular sociolect, that of the working class in 1900 London) and its historical and literary context (But who are the “Gut Girls, and what does their work tell us?)

[BOOK CLUB] 29.03.24 / 9:00 / Zoom

Elisabeth Angel-Perez and Aloysia Rousseau, eds. The New Wave of British Women Playwrights: 2008-2021.  Contemporary Drama in English Studies 33. De Gruyter, 2023.

Elisabeth Angel-Perez and Aloysia Rousseau, the two editors of The New Wave of British Women Playwrights: 2008-2021, and some of the contributors (among which Alex Watson, Eleanor Stewart, Vicky Angelaki, Lianna Mark, Jeanne Schaaf, Déborah Prudhon) will present their volume on the new wave of women playwrights. There will be time for discussion and questions.

Join the meeting by clicking here!

About the book

It is a fact that today’s British stages resound with powerfully innovative voices and that, very often, these voices have been those of young women playwrights. This collection of essays gives visibility and pride of place to these fascinating voices by exploring the vitality, inventiveness and particularly strong relevance of these poetics. These women playwrights sometimes invent radically new forms and sometimes experiment with conventional ones in fresh and unexpected ways, as for example when they re-energize naturalism and provide it with new missions.

The plays that are addressed are all concerned with the necessity to grasp the complexity of the contemporary world and to further investigate what it means to be human. Intimate or epic, and sometimes both at once, visionary or closer to everyday life, these plays approach the contemporary world through a multitude of prisms – historical, scientific, political and poetic – and open different and visionary perspectives.

More information here.

Notes on Contributors

Vicky Angelaki is Professor in English Literature at Mid Sweden University (Department of Humanities and Social Sciences). She was previously based in the United Kingdom (Birmingham City University; University of Birmingham; University of Reading). Major publications include the monographs Martin Crimp’s Power Plays: Intertextuality, Sexuality, Desire (2022); Theatre & Environment (2019); Social and Political Theatre in 21st-Century Britain: Staging Crisis (2017); The Plays of Martin Crimp: Making Theatre Strange (2012) and the edited collection Contemporary British Theatre: Breaking New Ground (2013; 2016). She co-edits the series Adaptation in Theatre and Performance (Palgrave Macmillan, with Kara Reilly). She is currently working on the research project Performing Interspaces: Social Fluidities in Contemporary Theatre, funded by Riksbankens Jubileumsfond (Sweden). The project will result in an open-access monograph, contracted with Palgrave Macmillan/Springer. 

Elisabeth Angel-Perez is Professor of Contemporary British Literature and Drama at Sorbonne University in Paris. She has published extensively on modern and contemporary theatre. She has also translated many theoretical essays and plays by Howard Barker, Martin Crimp, Caryl Churchill, David Harrower, Lucy Kirkwood or Nick Payne, etc. Her new monograph is entitled Le Théâtre de l’oblitération: essai sur la voix photogénique dans le théâtre britannique contemporain (Sorbonne UP, 2022).

William C. Boles holds the Hugh F. and Jeannette G. McKean Chair in English at Rollins College (USA).  He is the author of The Argumentative Theatre of Joe Penhall (2011) and Understanding David Henry Hwang (2013). He edited After In-Yer-Face: Remnants of a Theatrical Revolution (2020) and Theater in a Post-Truth World: Text, Politics, and Performance (2022).  Along with Anja Hartl, he co-edits the Methuen Drama Agitations series and he currently serves as the director of the Comparative Drama Conference.

Hannah Greenstreet is Lecturer in Creative Writing: Stage and Screen at the University of Liverpool. She completed her DPhil at the University of Oxford in May 2021, funded by the Arts and Humanities Research Council. Her doctoral thesis on ‘Experiments with Realism in Contemporary Feminist Theatre in Britain’ was joint winner of the Swapna Dev Memorial Prize. Her work has been published in Studies in Theatre & Performance and Contemporary Theatre Review. She is also a theatre critic and playwright.  

Claire Hélie is a Senior Lecturer at Lille University and Vice President of RADAC (Recherches en Arts Dramatiques Anglophones Contemporains). She is the editor of Verse Drama on the Anglophone Stage in the 20th and 21st centuries (Coup de Théâtre, 2020). A specialist in poetry, she is currently working on a monograph on dialect in contemporary poetry.

Ella Hickson is an award-winning playwright whose work has been performed throughout the UK and abroad. Her recent play Anna, a sonic collaboration with Ben and Max Ringham, opened at the National Theatre in Spring, 2019. Other theatre includes, Swive (2019) at The Globe, The Writer (2018), Oil (2016) at The Almeida Theatre, and Wendy and Peter Pan (2015) at The Royal Shakespeare Company. She is a member of the Royal Society of Literature, a MacDowell Fellow and recipient of The Catherine Johnson Award. She is developing new work with The Old Vic, Tim Minchin and The National Theatre, and television projects with Kudos Productions and Warp Films.

Lucy Kirkwood is a British playwright and screenwriter whose plays include: Rapture (Royal Court, 2022), Maryland (Royal Court, 2021), The Welkin (National Theatre, 2020); Mosquitoes (National Theatre, 2017); The Children (Royal Court Theatre, 2016); Chimerica (Almeida Theatre & West End, 2013; winner of the 2014 Olivier Award for Best New Play, the 2013 Evening Standard Best Play Award, the 2014 Critics’ Circle Best New Play Award, and the Susan Smith Blackburn Award); NSFW (Royal Court, 2012); small hours (co-written with Ed Hime; Hampstead Theatre, 2011); Beauty and the Beast (with Katie Mitchell; National Theatre, 2010); Bloody Wimmin, as part of Women, Power and Politics (Tricycle Theatre, 2010); it felt empty when the heart went at first but it is alright now (Clean Break & Arcola Theatre, 2009; winner of the 2012 John Whiting Award); Hedda (Gate Theatre, London, 2008); and Tinderbox (Bush Theatre, 2008). Lucy Kirkwood is also a screenwriter, known for Adult Material (2020), Chimerica (2019) and The Smoke (2014). She won the inaugural Berlin Lee UK Playwrights Award in 2013.

Lianna Mark is Assistant Professor of Contemporary English Literature at LMU Munich and Associate Member of the Excellence Cluster “Temporal Communities” at FU Berlin. She completed her LAHP-funded PhD in English and Theatre Studies at King’s College London in 2021 and has held research and teaching positions at Durham University and FU Berlin. Her research has been published in Comparative Drama and the Journal of Contemporary Drama in English and she has co-edited an issue of Platform: Journal of Theatre and Performing Arts. She is currently completing two monographs: the first, Theatres of Autofiction, is forthcoming in 2024 with Cambridge University Press; the second, Narrating Political Engagement on Stage: British New Writing in the 2000s, will be published in Methuen Drama’s Engage series. 

Déborah Prudhon teaches at Aix-Marseille University, France. She holds a PhD in English literature from Sorbonne University – her thesis explored the relation between fiction and reality in contemporary English theatre. She has published several articles on the work of Tim Crouch and Punchdrunk’s immersive theatre, and has co-organised a symposium on immersive theatre in Paris in January 2020. In addition to these topics, her current research interests include the intersections between theatre and psychology.

Verónica Rodriguez is Lecturer in the Department of English Studies at University of Alicante (Spain). Her main research interests are in the fields of contemporary British theatre and feminism.  She is the author of David Greig’s Holed Theatre: Globalization, Ethics and the Spectator (Palgrave, 2019). With the research group “Contemporary British Theatre Barcelona”, she participates in the project “Gender, Affect and Care in Twenty-First Century British Theatre,” funded by the Spanish Ministry of Economy and Competitiveness. She is also a commissioned playwright (e.g: Royal Court Theatre), a published poet and women’s health coach. Her current research also examines the intersection of women’s health and illness and contemporary theatre and performance practices and she is writing forthcoming chapters for The Routledge Companion to Performance and Medicine (Eds. Alex Mermikides and Gianna Bouchard) and The Methuen Drama Handbook of Women in Contemporary British Theatre (Eds. Marissia Fragkou and Rebecca Benzie).

Aloysia Rousseau is Senior Lecturer at the Sorbonne University (research group VALE). She specialises in contemporary British theatre and has authored several articles on the plays of Martin Crimp, Tim Crouch and Dennis Kelly. She has recently co-edited The New Wave of British Women Playwrights (De Gruyter, 2023) and The Renewal of the Crime Play on the Contemporary Anglophone Stage (RADAC, 2018) as well as a volume of French journal Théâtre/Public devoted to the British and Irish contemporary stage (n°241, 2021). Her monograph on Dennis Kelly for the Routledge Modern and Contemporary Dramatists series will be published in August 2024.

Jeanne Schaaf got her PHD at Sorbonne University Paris for her thesis entitled “The places and non-places of the Scottish stage: identity constellations in a postnational era”. Her fields of research in contemporary Scottish theatre include the link between theatre and nation, the tension between local and global stages, as well as the emergence of new artistic communities in a technological era. She currently holds a teaching and research position as junior lecturer in English at Lyon 2 University.

Eleanor Stewart is a Senior Lecturer in British civilization and Anglophone theatre at the University of Avignon and member of the research group ICTT (“Cultural Identity, Texts and Theatricality”). Her research focuses on women and theatre in the 20th and 21st centuries. She has published articles on suffrage dramatists of the Edwardian period and contemporary female playwrights and is author of the book La Nouvelle Femme dans le théâtre britannique: 1890-1914 (L’Harmattan, 2020).

Alex Watson is a lecturer at the Institute for Contemporary Theatre, Brighton. He has recently completed his PhD studies with the thesis “Staging the Systemic”, which focuses on 2010s British theatre, representations of violence, and theories of performativity. He has performed in two site-based performances for the BBC and is published in the Methuen Engage title Harold Pinter: Stages, Networks, Collaborations (2021), Contemporary Theatre Review,and Theatre Notebook. Alex is also a co-editor for the PGR/ECR theatre and performance studies journal Platform.

[CONF] Staged Reading and Conference: Prof. Dorothy Chansky | March 15th, 2024 | Université Gustave Eiffel

Staged Reading

RADAC is pleased to announce the staged reading of Joint Owners in Spain by Alice Brown (1913) and Dorothy Chansky‘s presentation of her latest book Losing It (2023) on Dementia in American Theatre on Friday March 15th, 2024 at the Université Gustave Eiffel (see details about the event below).

Attending the event

Date & time

The event will take place on Friday March 15, 2024 at 4pm

Location

Université Gustave Eiffel

Bâtiment Copernic, 3rd Floor, Room 3B230

To get there: RER A, Noisy-Champs stop

Cocktail

If you plan to come and join us for the cocktail please contact Xavier Lemoine.

[BOOK CLUB] 14.03.24 / 12:00 / Zoom

Anne Etienne & Chris Megson, Theatre Censorship In Contemporary Europe : Silence and Protest (University of Exeter Press, 2024)

Anne Etienne and Chris Megson, the two editors of Theatre Censorship In Contemporary Europe : Silence and Protest and three of the contributors, Roaa Ali, Olga Kolokytha, and Alex Trustrum-Thomas, will present their volume on pan-European study of contemporary theatre censorship. There will be time for discussion and questions.

Join the meeting by clicking here!

About the book

What are the contexts (political, social, legal, cultural) of theatre censorship in twenty-first-century Europe? Given the abolition of state-sanctioned and institutional forms of stage censorship in the late twentieth century, the prevalence of authoritarian and populist politics, and the escalation of so-called ‘culture wars’, in what ways and to what extent does stage censorship manifest and proliferate today? How does censorship respond (or not) to governmental, economic, moral, and religious circumstances? And how have theatre-makers in Europe contested or countered censorial prohibitions in the recent past?

More information here.

About the speakers

Roaa Ali is a lecturer in Creative and Cultural Industries at the University of Manchester. She is an interdisciplinary educator and researcher focusing on race, inequality, and diversity in the Creative and Cultural Industries (CCIs); Arab American theatre, and identity and the politics of cultural production. Her most recent publications include an article titled ‘The trouble with diversity: the cultural sector and ethnic inequality’ (‘Cultural Sociology’) and a monograph for Routledge titled ‘Contemporary Arab American Drama: Cultural politics of ethnicity, Otherness and visibility’ (forthcoming).

Anne Etienne lectures in Modern and Contemporary Drama in the School of English, University College Cork. Her research focuses on theatre censorship, Arnold Wesker and contemporary Irish theatre. She authored essays on those topics for international journals and collective volumes. Her publications include ‘Theatre Censorship: from Walpole to Wilson’ (Oxford University Press, 2007), and the co-edited volumes ‘Populating the Stage: Contemporary Irish Theatre’ (Palgrave, 2017), ‘Arnold Wesker: Fragments and Visions’ (Intellect, 2021), ‘Adult Themes: British Cinema and the X Certificate in the Long 1960s’ (Bloomsbury, 2023). She is co-editor of the series ‘Palgrave Studies in Cultural Censorship’.

Chris Megson is Reader in Drama and Theatre at Royal Holloway College, University of London. His research focuses on post-war and contemporary British playwriting, and documentary and verbatim theatre. His publications include ‘Get Real: Documentary Theatre Past and Present’ (co-edited with Alison Forsyth; Palgrave, 2009), ‘Decades of Modern British Playwriting: the 1970s’ (Methuen Drama, 2012), and numerous essays and book chapters. He is a Series Editor of Methuen Drama Student Editions, and ‘Playwriting and the Contemporary: Critical Collaborations’ (Liverpool University Press).

Olga Kolokytha is the lead researcher for the University of Vienna in the Horizon2020 project CICERONE on cultural and creative industries in Europe (project leaders University of Amsterdam). She has worked for more than a decade as cultural projects manager and consultant around Europe. She is a member of the editorial board of the journal ‘City, Culture and Society’ and an elected member of the Board of the Research Network Sociology of the Arts of the European Sociological Association. Her research interests include cultural policy and management, sociology of culture, and culture in conditions of crises.

Alex Trustrum-Thomas is a postdoctoral Visiting Scholar at the University of Warsaw (Poland) and the V.N. Karazin Kharkiv National University (Ukraine), funded by the Leverhulme Trust. His publications include ‘From Stalinist Socialist Realism to Putinist Capitalist Realism: Tracing Cultural Ideology in Contemporary Russia’, in J.A.E. Curtis, ed. (2020) ‘New Drama in Russian: Performance, Politics and Protest in Russia, Ukraine and Belarus’, London: Bloomsbury Academic. He holds a D.Phil. from the University of Oxford.

Ask your library to get you a copy:

[SEM] Aloysia ROUSSEAU (Sorbonne Université) : « Théâtre et pandémie: Together de Dennis Kelly »

La prochaine séance du séminaire du PRITEPS et de l’Initiative Théâtre aura lieu à la Bibliothèque Ascoli (17 rue de la Sorbonne, escalier C, 2e étage) mercredi 28 février de 17h30 à 19h30.

Discutante : Elisabeth Angel-Perez

 Aloysia ROUSSEAU (Sorbonne Université) : « Théâtre et pandémie: Together de Dennis Kelly », 

suivi d’une conversation avec l’auteur. Denis Kelly sera présent en visio.

Voici le lien Zoom pour celles et ceux qui souhaiteraient suivre cette séance à distance : 

https://zoom.us/j/89306208400?pwd=ckVaQWJXSjAwRFdrWnF2bnB3VjBkUT09

ID de réunion: 893 0620 8400

Code secret: 185638

Au plaisir de vous retrouver,

Silvia De Min

http://theatrestudies.hypotheses.org/

Coup de Théâtre n°35: Le théâtre immersif sur les scènes contemporaines anglophones et francophones (2021)

L’attribut alt de cette image est vide, son nom de fichier est BAT-cdt35-couv-1_page-0001-500x332.jpg.

Sous la direction de Juliette Mézergues, Déborah Prudhon et Emeline Jouve

Foreword – Susan Blattès

Introduction – Juliette Mézergues, Déborah Prudhon, Emeline Jouve

Prologue: Context and Issues

Josephine Machon: Looking Through a Punchdrunk Lens into the Immersive World of The Drowned Man: a Hollywood Fable

I – Creative Immersive Strategies

Marianne Drugeon: Immersion and Communion on
Community Plays

Séverine Ruset: Engaging the audience through immersion and displacement. A Case Study of domaine nomade by Laurent Pichaud

Estelle Rivier-Arnaud: Immersive Shakespeares: Dive into Suspense and Macabre

II – Immersive Theatre, Ethics and Politics

Cyrielle Garson: Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain

Marilena Borriello: The Politics of Participation in Immersive Theatre and Participatory Art. The Spectatorship Between Role Reversal and Narcissistic Self-Exploitation

Szabolcs Musca: “A Way Not To See”: Immersive Dramaturgies of Migration and Displacement

III – In Practice: Creators and Spectators On and Off Stage

Sarah Sigal and Katharine Fry: Eating for Victory: making small-scale immersive theatre in the UK

Rick DesRochers: Immersive Performance and Sensory Stimulation. The Intimacy of Participation in Third Rail Projects’ Then She Fell

Juliette Mézergues : Transcription de la table ronde du 17 janvier 2020, Théâtre Lepic

Juliette Mézergues : Entretien avec Dot Pierson. Immersion et confinement

IV – Immersive Play

Sébastien Bonnabel, Cyrano Ostinato Fantaisies (2019, Théâtre Lepic)

V – Master Prize

Sophia Mallek: The Body, the Dance, and the Voice: Asserting the Celtic Identity in Contemporary Irish Drama

Coup de Théâtre n°37: Performing Gender, Sexual and Racial Dynamics of the US Stage (2023)

Order Coup de Théâtre | RADAC (hypotheses.org)

Contents

Foreword (Emeline Jouve)
Introduction: Performing Gender, Sexual and Racial Dynamics on the US Stage (Xavier Lemoine, Claire Delahaye, and Christine Kiehl)

I. Crossing Gender, Race and Ethnicity

Lara Cox: “Black America in the Repertoire of Jean-Marie Serreau: Edward Albee, Adrienne Kennedy, and the Theatre of the Absurd’s Role in the Decolonization of the Stage”

Michel Büch: “Democratic Rhetorics and Anti-Black Realities in US Improv Comedy”

Sebnem Nazli Karali: “Postmemorial Dramaturgy of the Armenian Catastrosphe: The Armenian Question”

II – Intersectional and Erotic Queerings


Yannick M. Blec: “’Cause Not Enough Niggas Rap and Be Gay’: Redefining Black Queer Masculinities Through Intersectional Dynamics and Performativity in Contemporary Rap”


Charalampos Keivanidis: “’Six degrees of segregation’: les voix noires et gay des Pomo Afro Homos”


Antoine Alario: “La performance queer: une expérimentation
érotique”

III – Interviews


Xavier Lemoine: “’I really prize rage’: 50 years of Queer American Theater with David Savran”

Xavier Lemoine: “’Arts for the queer community’: Creating Queer Theater for a New Generation with Adam Odsess-Rubin”

IV – A Queer Play


Lyam B. Gabel: the dance floor, the hospital room, and the kitchen table

V – RADAC Master’s Award Laureate


Gaïa Richard: Itinéraire d’un auteur vers une dramaturgie de circonstance : le théâtre politique pour jeune public d’Edward Bond (abstract du mémoire)

Groupe de Recherche sur les Arts Dramatiques Anglophones Contemporains | French Society for Contemporary Anglophone Drama

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