Wednesday, February 11, 2015

Alternative Dramaturgies of the new millennium in Arabo-Islamic contexts and beyond


BOOK LAUNCH: May 2, 2015 at the Tangier American Legation (Tangier Morocco), and available for purchase at amazon.com and at fine bookstores worldwide. CMI is an all-volunteer sales-supported book cooperative, kindly lend your support..

(click in the image to view in larger format)

Selected papers from the 10th annual meeting of the
Tangier International Conferences: Performing Tangier 2014

(click in the image to view in larger format)

Buy it - on Amazon.com, click here

This volume contains 15 chapters (three French-language), plus an Introduction, one ‘emerging scholar’ paper, and two book reviews (of Terror and Performance by Rustom Bharucha, Routledge 2014).

Contributors are leading experts from seven countries (in the Americas, Europe and North Africa / Middle East regions): Canada (2), Egypt (2), Germany (1), Morocco (4), Syria (1), United Kingdom (5), USA (6).

Contents - 

Introduction – Khalid Amine (Tangier, Morocco)

Acknowledgements: International Centre for Performance Studies

1. Dramaturgie et postdramaturgie – Patrice Pavis (Canterbury, UK)

2. Dramaturgy as Performance of Holding (it) Together – Christel Weiler (Berlin, Germany)

3. Devising and Dramaturgy: Decolonizing Praxis – Ric Knowles (Guelph, Canada)

4. Alternative Dramaturgies Across Performance and Art: Richard Hawkins’ Restaging of the Performance-Archive of Tatsumi Hijikata – Stephen Barber (London, England, UK)

5. Answering Back and Returning the Gaze: Two Examples of ‘alternative dramaturgies informed by a Deaf and disability perspective’ (see image gallery below) – Kaite O’Reilly (Llarneth, Wales, UK)

6. ‘...beneath the surface’ of Told by the Wind: An Intercultural Experiment in an Alternative/Subtle Form of Performance Dramaturgy and Aesthetics – Phillip Zarrilli (Llarneth, Wales, UK)

7. Alternative Dramaturgy for Jihad Against Violence – Fawzia Afzal-Khan (New York, USA), Nesrin Alrefaai (London, England, UK / Damascus, Syria), and Katherine Mezur (San Francisco, California, USA)

8. Immersive Theatre – Marvin Carlson (New York, USA)

9. Dramaturg For Hire: Contextual Dramaturgy for a Global (St)Age – Avia Moore (Nelson, BC, Canada) and Jessica Applebaum (Brooklyn, NY, USA)

10. Brecht’s Theatre and Social Change in Egypt 1954-71 – Magdi Youssef (Cairo, Egypt)

11. Conflict Lies in the Body of the Beholder: Investigating Alternative Experimental Dramaturgies – Nesma Youssef Idris (Cairo, Egypt)

12. Cultural Manifestations of the Arab Revolution: New Visual Images and Performances (see image gallery below) – Touria Khannous (Baton Rouge, LA, USA)

13. The Problematics of History, Religion and Cross-Cultural Performance in Alternative Dramaturgies: Dramaturgy of Persian Plays in the West (see image gallery below) – Proshot Kalami (Lynn, Massachusetts, USA)

14. Dramaturgie et société dans Le gardien de Issam El Yousfi: du texte à la mise en scène de Abdelatti Lembarki – Rachid Mountasar (Taza, Morocco)

15. La “mécanique” de la création: écriture et mise en scène – Zohra Makach (Agadir, Morocco)

Emerging Scholar - Alternative Dramaturgy: Toward Understanding Intermediality in Theatre (see image gallery below) – Jaouad Radouani (Tangier, Morocco)

Book Review - Terror and Performance by Rustom Bharucha (Routledge, 2014, 978-1138014275)
– by Khalid Amine (Tangier, Morocco) and Redouan El Ayadi (Tetuan, Morocco)

Acknowledgements: Collaborative Media International


About the cover -  cover images selected from the following productions presented at Performing Tangier 2014: Dmoue Bel K’houl (Kolh Tears), presented by Anfass Theater Group; Hadda, presented by Dabateatr; and, Schizophrenia presented by Dabateatr. Photos contributed by Abdelaziz Khalili, a Tangier, Morocco-based artist (khaliliaziz @yahoo.fr) and design contributed by Andy Reynolds, a Washington, DC-based graphic designer (andynco @earthlink.net)

Granting / dedication - this book was made possible by a grant from the Crossroads Institute, in special recognition of Tina Packer, “alternative dramaturge extraordinaire” (and founder, Shakespeare & Company, Lenox, Massachusetts) on the release of her groundbreaking analysis, Women of Will: following the feminine in Shakespeare's plays (New York: Alfred A Knopf, 2015) and her lifetime commitment to making the world a better place through creative research, education, and performance. Of the Women of Will show (part performance, part master-class), the New York Times reports, “Ms. Packer isn’t onstage just to … seduce an audience; she’s as much a professor as she is a performer here”, for information click here


Image gallery - the following images accompany the papers referenced:

Answering Back and Returning the Gaze: Two Examples of ‘alternative dramaturgies informed by a Deaf and disability perspective’ – Kaite O’Reilly
(click in the image to view in larger format)
Figure 1. Jean St Clair in 'In Praise of Fallen Women: A Postmodern History of Prostitution,' photography courtesy of Patrick Baldwin.

Cultural Manifestations of the Arab Revolution: New Visual Images and Performances – Touria Khannous


(click in the image to view in larger format)
Figure 1. Mural by Hamid Ibrahim, Benghazi, Libya, 2011.This mural was featured at The "Creative Dissent" exhibit at the Arab American National Museum in Dearborn.  For information about the exhibit, see “Art Revolution Blooms After Arab Spring,” November 7, 2013. Photo by Jill Dougherty, used by permission to Touria Khannous.


 (click in the image to view in larger format)
Figure 2. This mural is at the corner of Muhammed Mahmoud Street and Tahrir Square in Cairo, Egypt
The phots and translation of the poem were first published in http://www.jadaliyya.com/pages/index/9724/the-dramaturgy-of-a-street-corner
 
The photo also featured in the "Creative Dissent" exhibit at the Arab American National Museum in Dearborn.  For more information about the exhibit, refer to “Art Revolution Blooms After Arab Spring,” November 7, 2013. Photo by Mona Abaza, used by permission to Touria Khannous.


(click in the image to view in larger format)
Figure 3. A mural on Mohammed Mahmoud Street, featuring a hungry child eating a sandwich. Photo Mona Abaza, used by permission to Touria Khannous.This photo first appeared in an article written by Mona Abaza entitled “Is Cairene Graffiti Losing Momentum?” http://www.jadaliyya.com/pages/index/20635/is-cairene-graffiti-losing-momentum

(click in the image to view in larger format)
Figure 4. Stencil on freedom by Egyptian graffiti artist Nemo, , used by permission to Touria Khannous. see http://blog.globalstreetart.com/post/29469606488/nemo


 (click in the image to view in larger format)
Figure 5. Stencil by Egyptian graffiti artist Nemo, used by permission to Touria Khannous.
http://blog.globalstreetart.com/post/29469606488/nemo

(click in the image to view in larger format)
Figure 6. Stencil by Egyptian graffiti artist Nemo, used by permission to Touria Khannous.
http://blog.globalstreetart.com/post/29469606488/nemo


 (click in the image to view in larger format)
Figure 7. No to Sexual Harassment, by Egyptian graffiti artist Mira Shihadeh, Photo by Suzeeinthecity, used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com   

This photo is cited in an online article on “Feminist Street Art in the Egyptian Uprising” as part of the The WomanStats Project Blog

http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/



 (click in the image to view in larger format)
Figure 8. Mural by Mira Shihadeh and El Zeft, depicting a woman swarmed by a sea of men who mutter to her all kinds of excuses they have for harassing women. Photo by Suzeeinthecity,
used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com 

This photo is cited in an online article on “Feminist Street Art in the Egyptian Uprising” as part of the The WomanStats Project Blog
http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/


(click in the image to view in larger format)
Figure 9. A mural by Egyptian graffiti artist El Zeft, showing a picture of Egyptian Queen Nefertiti in a mask in an attempt to ward off her male harassers. Photo by Suzeeinthecity, used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com  

This photo is cited in an online article on “Feminist Street Art in the Egyptian Uprising” as part of the The WomanStats Project Blog
 
http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/


 (click in the image to view in larger format)
Figure 10. A mural by Mira Shihadeh featuring one woman unveiled, a woman with a head scarf and a third woman with niqap.  The Arabic script states “do not label me.” Photo by Suzeeinthecity,
used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com 

This photo is cited in an online article on “Feminist Street Art in the Egyptian Uprising” as part of the The WomanStats Project Blog
 
http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/


(click in the image to view in larger format)
Figure  11. The Uprising by Peter Snowdon, Photo by Peter Snowdon, used by permission to Touria Khannous. http://www.rienavoir.org/index.php?/films/the-uprising/


 (click in the image to view in larger format)
Figure 12. The Uprising by Peter Snowdon, Photo by Peter Snowdon, used by permission to Touria Khannous. http://www.on-point.be/the-uprising/


 (click in the image to view in larger format)
Figure 13. A Painting From Patricia Triki’s series “Free Art”. Photo by Patricia Triki, used by permission to Touria Khannous.http://www.ifa.de/en/visual-arts/ifa-galleries/past-exhibitions/rosy-future/patricia-k-triki.html


 (click in the image to view in larger format)
Figure 14. From Patricia Triki’s series “Free Art”. Photo by Patricia Triki, used by permission to Touria Khannous.http://www.ifa.de/en/visual-arts/ifa-galleries/past-exhibitions/rosy-future/patricia-k-triki.html


 (click in the image to view in larger format)
Figure 15. Arabic Calligraphy art entitled “Balance” by calligraphy artists el Seed and Hest1. Photo by el Seed, used by permission to Touria Khannous. Cited under article “Ancient calligraphy meets politics in modern Arabic graffiti.
http://www.dw.de/ancient-calligraphy-meets-politics-in-modern-arabic-graffiti/a-15145388


 (click in the image to view in larger format)
Figure 16. Tunisian graffiti artist el Seed painted the tallest minaret in Tunisia with verses from the Quran.  His goal is to spread a message of peace and tolerance to the Islamic radicals. Tunisia, 2013. Photo by el Seed, used by permission to Touria Khannous.
http://www.cnn.com/2012/09/19/world/meast/el-seed-grafitti-minaret/


 (click in the image to view in larger format)
Figure 17. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt, 2013. Photo by Bahia Shehab, used by permission to Touria Khannous. http://www.citysharing.ch/invited-projects~96.html


 (click in the image to view in larger format)
Figure 18. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt, 2013. Photo by Bahia Shehab, used by permission to Touria Khannous. http://www.citysharing.ch/invited-projects~96.html


 (click in the image to view in larger format)
Figure 19. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt, 2013. Photo owned by Bahia Shehab, used by permission to Touria Khannous. http://www.citysharing.ch/invited-projects~96.html


The Problematics of History, Religion and Cross-Cultural Performance in Alternative Dramaturgies: Dramaturgy of Persian Plays in the West – Proshot Kalami

(click in the image to view in larger format)
Figure 1. The original poster of 1980 Tehran production (used by permission to Proshot Kalami).

(click in the image to view in larger format)
Figure 2. Loughborough production 2009-2010, photograph by Kevin Ryan (used by permission to Proshot Kalami).

(click in the image to view in larger format)
Figure 3. Rehearsal picture of Loughborough production 2009-2010, photograph by Kevin Ryan (used by permission to Proshot Kalami).


Alternative Dramaturgy: Toward Understanding Intermediality in Theatre – Jaouad Radouani
(click in the image to view in larger format)
Figure 1. A chart showing the way the alternative/intermedial stage usurps reality thrice and re-presents it in a completely re-constructed shape.


No comments:

Post a Comment