tag:blogger.com,1999:blog-22757670556282511162024-03-12T18:07:00.115-07:00Collaborative Media InternationalUnknownnoreply@blogger.comBlogger44125tag:blogger.com,1999:blog-2275767055628251116.post-44492546801302681772015-02-11T10:06:00.003-08:002015-04-18T16:43:37.041-07:00Alternative Dramaturgies of the new millennium in Arabo-Islamic contexts and beyond <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: red;">BOOK LAUNCH:<i> </i></span></b><i>May 2, 2015 at the Tangier American Legation (Tangier Morocco), and available for purchase at <a href="http://www.amazon.com/dp/0982440987/" target="_blank">amazon.com</a> and at fine bookstores worldwide. CMI is an all-volunteer sales-supported book cooperative, kindly lend your support..</i><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 9.0pt;">Selected papers from the
10<sup>th</sup> annual meeting of the </span></b></div>
<div style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Tangier
International Conferences: Performing Tangier 2014</span></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i></td></tr>
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<b>Buy it </b>- on Amazon.com, click <a href="http://www.amazon.com/dp/0982440987/" target="_blank"><i>here</i></a><br />
<br />
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<![endif]-->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).<br />
<br />
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). <br />
<br />
<b>Contents - </b><br />
<b><br /></b>
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<![endif]-->Introduction – Khalid Amine (Tangier, Morocco)<br />
<br />
Acknowledgements: International Centre for Performance Studies<br />
<div style="text-align: center;">
</div>
<br />
1. Dramaturgie et postdramaturgie – Patrice Pavis (Canterbury, UK)<br />
<br />
2. Dramaturgy as Performance of Holding (it) Together – Christel Weiler (Berlin, Germany)<br />
<br />
3. Devising and Dramaturgy: Decolonizing Praxis – Ric Knowles (Guelph, Canada)<br />
<br />
4. Alternative Dramaturgies Across Performance and Art: Richard Hawkins’ Restaging of the Performance-Archive of Tatsumi Hijikata – Stephen Barber (London, England, UK)<br />
<br />
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)<br />
<br />
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)<br />
<br />
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)<br />
<br />
8. Immersive Theatre – Marvin Carlson (New York, USA)<br />
<br />
9. Dramaturg For Hire: Contextual Dramaturgy for a Global (St)Age – Avia Moore (Nelson, BC, Canada) and Jessica Applebaum (Brooklyn, NY, USA)<br />
<br />
10. Brecht’s Theatre and Social Change in Egypt 1954-71 – Magdi Youssef (Cairo, Egypt)<br />
<br />
11. Conflict Lies in the Body of the Beholder: Investigating Alternative Experimental Dramaturgies – Nesma Youssef Idris (Cairo, Egypt)<br />
<br />
12. Cultural Manifestations of the Arab Revolution: New Visual Images and Performances (see image gallery below) – Touria Khannous (Baton Rouge, LA, USA)<br />
<br />
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) <br />
<br />
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)<br />
<br />
15. La “mécanique” de la création: écriture et mise en scène – Zohra Makach (Agadir, Morocco)<br />
<br />
<i>Emerging Scholar </i>- Alternative Dramaturgy: Toward Understanding Intermediality in Theatre (see image gallery below) – Jaouad Radouani (Tangier, Morocco)<br />
<br />
Book Review - <i>Terror and Performance</i> by Rustom Bharucha (Routledge, 2014, 978-1138014275)<br />
– by Khalid Amine (Tangier, Morocco) and Redouan El Ayadi (Tetuan, Morocco)<br />
<br />
Acknowledgements: Collaborative Media International<br />
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<b>About the cover - </b>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) <br />
<br />
<b>Granting / dedication</b> - this book was made possible by a grant from the <i>Crossroads Institute,<b> </b></i>in special recognition of Tina Packer, “alternative dramaturge extraordinaire” (and founder, Shakespeare & Company, Lenox, Massachusetts) on the release of her groundbreaking analysis, <i>Women of Will: following the feminine in Shakespeare's plays</i> (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 <i>Women of Will</i> 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 <a href="http://women-of-will.com/" target="_blank"><i>here</i></a><br />
<br />
<br />
<b>Image gallery </b>- the following images accompany the papers referenced:<br />
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<![endif]-->Answering Back and Returning the Gaze: Two Examples of ‘alternative dramaturgies informed by a Deaf and disability perspective’ – Kaite O’Reilly<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i><br />
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure
1. Jean St Clair in 'In Praise of Fallen Women: A Postmodern History of
Prostitution,' photography courtesy of Patrick Baldwin.</span></span><i><br /></i></div>
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Cultural Manifestations of the Arab Revolution: New Visual Images and Performances – Touria Khannous <br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg27i1DQ25oivSU6G7n-hX9brIoef3mF2cl_5v3T0cNkOf6Q00b_BuPvkBhLcaRXo1s-igN7T44WzybMCgbydCnWQ4w_r4Xb9uyicpx10_gHEWQQlsemZYXMW3xt2lIo-wXj69nDyAz4Ng_/s1600/1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg27i1DQ25oivSU6G7n-hX9brIoef3mF2cl_5v3T0cNkOf6Q00b_BuPvkBhLcaRXo1s-igN7T44WzybMCgbydCnWQ4w_r4Xb9uyicpx10_gHEWQQlsemZYXMW3xt2lIo-wXj69nDyAz4Ng_/s1600/1.JPG" height="248" width="320" /></a></td></tr>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><i>(click in the image to view in larger format)</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 1. Mural by Hamid Ibrahim, Benghazi, Libya,
2011.<span style="line-height: 107%;">This mural was featured at The "</span><span style="line-height: 107%;"><a href="http://artsofthearabworlduprisings.com/" target="_blank"><span style="line-height: 107%;">Creative Dissent</span></a></span><span style="line-height: 107%;">"
exhibit at the Arab American National
Museum in Dearborn.
For information about the exhibit, see “</span><span style="line-height: 107%;"><a href="http://www.northcountrypublicradio.org/news/npr/243720260/art-revolution-blooms-after-arab-spring"><span style="line-height: 107%;">Art Revolution Blooms After Arab Spring</span></a></span><span style="line-height: 107%;">,” November 7, 2013. </span>Photo by Jill Dougherty, used by permission to Touria Khannous.</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif; font-size: small;">Figure 2. This mural is at the corner of Muhammed Mahmoud Street and Tahrir Square in Cairo, Egypt</span></div>
<div style="text-align: left;">
<span style="font-family: Times,"Times New Roman",serif; font-size: small;">
<span style="line-height: 107%;">The phots and translation
of the poem were first published in</span></span><span style="font-size: small;"> <span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">
<a href="http://www.jadaliyya.com/pages/index/9724/the-dramaturgy-of-a-street-corner" target="_blank"><span style="line-height: 107%;">http://www.jadaliyya.com/pages/index/9724/the-dramaturgy-of-a-street-corner</span></a></span></span></span><br />
<span style="font-family: Times,"Times New Roman",serif; font-size: small;"><span style="line-height: 107%;">
</span><span style="line-height: 107%;"> </span></span></div>
<div style="text-align: left;">
<span style="font-family: Times,"Times New Roman",serif; font-size: small;"><span style="line-height: 107%;">The photo also featured in the "</span><span style="line-height: 107%;"><a href="http://artsofthearabworlduprisings.com/" target="_blank"><span style="line-height: 107%;">Creative Dissent</span></a></span><span style="line-height: 107%;">"
exhibit at the Arab American National
Museum in Dearborn.
For more information about the exhibit, refer to “</span><span style="line-height: 107%;"><a href="http://www.northcountrypublicradio.org/news/npr/243720260/art-revolution-blooms-after-arab-spring"><span style="line-height: 107%;">Art Revolution Blooms After Arab Spring</span></a></span><span style="line-height: 107%;">,” November 7, 2013. </span><span style="line-height: 107%;">Photo by Mona Abaza, </span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">used by permission to Touria Khannous.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4X0fqvof9p5YR2DzMCnYgpopUWsJUqBFy1JwFdD9li3p6DIkCPlizgRweOx-6BXh8c9HUbkxkVQv-QiijbVRnTqxNxFszMhOdOMfqnis6mfl1E3lpMIz_Akc1mUoYe09pPojBEoYPLle/s1600/2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<ul style="text-align: left;">
</ul>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><i>(click in the image to view in larger format)</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 3. A mural on Mohammed Mahmoud Street, featuring a
hungry child eating a sandwich. Photo Mona Abaza</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">This photo first appeared in an article written
by Mona Abaza entitled “</span><span style="line-height: 107%;"><a href="http://www.jadaliyya.com/pages/index/20635/is-cairene-graffiti-losing-momentum" title="Permanent Link To: Is Cairene Graffiti Losing Momentum?"><span style="line-height: 107%;">Is Cairene Graffiti Losing Momentum?</span></a></span><span style="line-height: 107%;">” http://www.jadaliyya.com/pages/index/20635/is-cairene-graffiti-losing-momentum</span></span></span></div>
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</xml><![endif]--><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"><i>(click in the image to view in larger format)</i> </span></span></span></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure 4. Stencil on freedom by Egyptian graffiti
artist Nemo, </span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span> see http://blog.globalstreetart.com/post/29469606488/nemo</span></span></span><!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"> </span></span></span><i>(click in the image to view in larger format)</i></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure 5. Stencil by Egyptian graffiti artist Nemo, </span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">used by permission to Touria Khannous.</span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://blog.globalstreetart.com/post/29469606488/nemo</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure 6. Stencil by Egyptian graffiti artist Nemo</span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://blog.globalstreetart.com/post/29469606488/nemo</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 7. No to Sexual Harassment, by Egyptian graffiti
artist Mira Shihadeh, <span style="line-height: 107%;">Photo by
Suzeeinthecity, used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com </span></span></span><b><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"> </span><span style="font-weight: normal;"> </span></span></span></b><br />
<br />
<b><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-weight: normal;">This
photo is cited in an online article on “Feminist Street Art in the
Egyptian Uprising” as part of the </span><a href="https://womanstats.wordpress.com/"><span style="font-weight: normal;">The WomanStats Project Blog</span></a></span></span></b></div>
<div style="text-align: left;">
<br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-weight: normal;"><span style="color: windowtext; line-height: 200%;">http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/</span></span></span></span></div>
<div style="text-align: left;">
<b><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
<span style="line-height: 107%;"><br /></span></span></span></b></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">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, </span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com </span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">This photo is cited in an online article on “Feminist Street
Art in the Egyptian Uprising” as part of the <a href="https://womanstats.wordpress.com/">The WomanStats Project Blog</a></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
</span></span><span style="font-family: "Times New Roman"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising</span></span>/</span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><i>(click in the image to view in larger format)</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">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, </span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com </span></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">This photo is cited in an online article on “Feminist Street
Art in the Egyptian Uprising” as part of the <a href="https://womanstats.wordpress.com/">The WomanStats Project Blog</a></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
<span style="line-height: 107%;"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"> </span></span><i>(click in the image to view in larger format)</i></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">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, </span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">used by internet fair-use principle - if in error email removal request to collaborative.media@ymail . com </span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">This photo is cited
in an online article on “Feminist Street Art in the Egyptian Uprising” as
part of the <a href="https://womanstats.wordpress.com/">The WomanStats Project
Blog</a></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
<span style="line-height: 107%;"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://womanstats.wordpress.com/2013/06/10/feminist-street-art-in-the-egyptian-uprising/</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 11. The
Uprising by Peter Snowdon, Photo by Peter Snowdon</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"> http://www.rienavoir.org/index.php?/films/the-uprising/</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 12. <i>The
Uprising</i> by Peter Snowdon, Photo by Peter Snowdon</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"> http://www.on-point.be/the-uprising/</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"> </span></span><i>(click in the image to view in larger format)</i></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 13. A Painting From Patricia Triki’s series “Free
Art”. Photo by Patricia Triki</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://www.ifa.de/en/visual-arts/ifa-galleries/past-exhibitions/rosy-future/patricia-k-triki.html</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 14. From Patricia Triki’s series “Free Art”. Photo by
Patricia Triki</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">http://www.ifa.de/en/visual-arts/ifa-galleries/past-exhibitions/rosy-future/patricia-k-triki.html</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 15. Arabic
Calligraphy art entitled “Balance” by calligraphy artists el Seed and Hest1. Photo
by el Seed</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span> Cited under article “Ancient calligraphy meets politics in modern
Arabic graffiti.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
<span style="line-height: 107%;">http://www.dw.de/ancient-calligraphy-meets-politics-in-modern-arabic-graffiti/a-15145388</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">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</span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure</span><span style="line-height: 107%;"> 17. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt,
2013. </span><span style="line-height: 107%;">Photo
by Bahia Shehab</span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span> </span><span style="line-height: 107%;">http://www.citysharing.ch/invited-projects~96.html</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"> </span></span></span><i>(click in the image to view in larger format)</i></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure
18. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt,
2013. Photo by Bahia Shehab</span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous. </span></span>http://www.citysharing.ch/invited-projects~96.html</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;">Figure
19. “No, and a Thousand Times No” by Bahia Shehab, Cairo, Egypt,
2013. Photo owned by Bahia Shehab</span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="line-height: 107%;"><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">, used by permission to Touria Khannous.</span></span> <a href="http://www.citysharing.ch/invited-projects~96.html">http://www.citysharing.ch/invited-projects~96.html</a></span></span></span></div>
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<br />
<br />
The Problematics of History, Religion and Cross-Cultural Performance in Alternative Dramaturgies: Dramaturgy of Persian Plays in the West – Proshot Kalami<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSuhR4eMh3mlXeGEGfyuydeT3jOlDWJUpaZS0qS8h11rw9MKzhOH8y64_00YCiLnDZcvb_rJ3Z41B7ZQko634Liz9bLwdeVmbm2WSv0MWeRsd9LkYjk9zctAmTAC3tQzNbD6tjRkswRTX/s1600/Beyzaie+Marg+Yazd-gerd+Poster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYSuhR4eMh3mlXeGEGfyuydeT3jOlDWJUpaZS0qS8h11rw9MKzhOH8y64_00YCiLnDZcvb_rJ3Z41B7ZQko634Liz9bLwdeVmbm2WSv0MWeRsd9LkYjk9zctAmTAC3tQzNbD6tjRkswRTX/s1600/Beyzaie+Marg+Yazd-gerd+Poster.jpg" height="320" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i><br />
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 1. <span lang="EN-GB">The
original poster of 1980 Tehran
production (used by permission to </span><span lang="EN-GB">Proshot Kalami).</span></span></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYHBv5Ra1qQaS87E_ZyG3HnxDJCePnsOIPVpCBuSNm9EDG_EIAxR13Ok6SqnvMfVV4VGKgEVzHi0PQV8T4qxGQMFLVq5y-myQ9x7iT8Ul1xQ3HqG4DQ22TPPf1VBl5Bw8fXQ-l19OkEAJ/s1600/Tanger+milstone+stage+1+72+dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYHBv5Ra1qQaS87E_ZyG3HnxDJCePnsOIPVpCBuSNm9EDG_EIAxR13Ok6SqnvMfVV4VGKgEVzHi0PQV8T4qxGQMFLVq5y-myQ9x7iT8Ul1xQ3HqG4DQ22TPPf1VBl5Bw8fXQ-l19OkEAJ/s1600/Tanger+milstone+stage+1+72+dpi.jpg" height="320" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i> <br />
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 2. <span lang="EN-GB">Loughborough
production 2009-2010, photograph by Kevin Ryan </span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span lang="EN-GB">(used by permission to </span><span lang="EN-GB">Proshot Kalami).</span></span></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg1dqYCsfXFNjUhhVTddDoY2wom2vKxh0Ao29iRz_2n9YfEwPIGJAOoA2psoDxkQUwG4yAbBmi3VGeH8vmH1nAzanfCtFOpkh3xYf6g7_wvOnwlSxZpuh5exUmZCRxaipDn2wv_chmzgvG/s1600/Tanger+DoY+Production+2+72+dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg1dqYCsfXFNjUhhVTddDoY2wom2vKxh0Ao29iRz_2n9YfEwPIGJAOoA2psoDxkQUwG4yAbBmi3VGeH8vmH1nAzanfCtFOpkh3xYf6g7_wvOnwlSxZpuh5exUmZCRxaipDn2wv_chmzgvG/s1600/Tanger+DoY+Production+2+72+dpi.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i> <br />
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 3. R<span lang="EN-GB">ehearsal
picture of Loughborough production 2009-2010, photograph by Kevin Ryan </span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span lang="EN-GB">(used by permission to </span><span lang="EN-GB">Proshot Kalami).</span></span></span></div>
</td></tr>
</tbody></table>
<br />
<br />
Alternative Dramaturgy: Toward Understanding Intermediality in Theatre – Jaouad Radouani<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGCvDnYWIlEB1pqVOez8Gz_Ap66dA0Hv81MTB1aOk3bBJsYqEn4NLfEhavnvOcBo-wbgP5zT3zghMgVboh8EHrReMmYspn-um4so5ZlPWsSNEn_HNk2zK_gvIt3dmw7DMSPEZU8CDOOEK/s1600/Capture.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGCvDnYWIlEB1pqVOez8Gz_Ap66dA0Hv81MTB1aOk3bBJsYqEn4NLfEhavnvOcBo-wbgP5zT3zghMgVboh8EHrReMmYspn-um4so5ZlPWsSNEn_HNk2zK_gvIt3dmw7DMSPEZU8CDOOEK/s1600/Capture.JPG" height="238" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(click in the image to view in larger format)</i><br />
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Figure 1. A chart showing the way the alternative/intermedial stage
usurps reality thrice and re-presents it in a completely re-constructed
shape.</span></span><i> </i></div>
</td></tr>
</tbody></table>
<i><br /></i>
<i><br /></i></div>
Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-2275767055628251116.post-71138567493705545632014-10-16T16:56:00.002-07:002014-10-16T16:56:38.906-07:00Collaborative Media International<div dir="ltr" style="text-align: left;" trbidi="on">
Our webpage is under construction..<br />
<br />
The best way to view CMI, is to start at the "welcome" page, click <b><a href="http://collaborativemedia.blogspot.com/2009/03/welcome.html" target="_blank"><i><span style="color: red;">here</span></i></a></b><br />
<br />
or cut and paste the link below into your browser:<br />
<br />
http://collaborativemedia.blogspot.com/2009/03/welcome.html<br />
<br />
Thank you for your interest in CMI<br />
<br />
George F Roberson<br />
Director - george.roberson @ fulbrightmail.org</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-59179001148401098392014-06-09T06:40:00.001-07:002014-07-12T09:47:59.162-07:00Amazon best sellers<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8aPQKNsJ8OjQ2beX6DYNU4ZKv5T3_Q2Wx87lHmHjoX3asQ77YN1-zznqXI0cLLrIJ5ILjWHPicuiZo5ZipFD1i9DVO6tWwNYhCJN8aAgeNucPuwy63eUJ94EsFqjrcjhqo6KIWTBySwK/s1600/number+2+11july2014.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8aPQKNsJ8OjQ2beX6DYNU4ZKv5T3_Q2Wx87lHmHjoX3asQ77YN1-zznqXI0cLLrIJ5ILjWHPicuiZo5ZipFD1i9DVO6tWwNYhCJN8aAgeNucPuwy63eUJ94EsFqjrcjhqo6KIWTBySwK/s1600/number+2+11july2014.JPG" height="217" width="320" /></a></div>
<div style="text-align: center;">
<b>Amazon best sellers:</b> #2 Morocco travel books, #5 business travel -- listing on July 11, 2014 </div>
<div style="text-align: center;">
<i><span style="font-size: x-small;">(click on the images to view in larger format)</span></i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-67796465076448915062014-05-22T08:16:00.001-07:002014-05-22T08:20:52.593-07:00CMI / ICPS book launch at TALIM<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-small;"><i>(click on the image to view in larger format) </i></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-58768371336154123622014-04-08T16:47:00.000-07:002014-04-15T20:04:04.814-07:00New international volume -- twenty-four papers, contributed by leading scholars from a dozen countries on three continents<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbC3II9nYbYR1hP1bWCW1stjSYyxFhLaveJd_vqRHP-eeAwfNGPD6qFOvtivcdUJ85Hjlw-a3Pa5eMdJ93Wr51M9sLr55VIfx7_8YgQcCqVhCpVfKRXDJo-HrFSH1d5o-8amVRvre4AD3y/s1600/front.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbC3II9nYbYR1hP1bWCW1stjSYyxFhLaveJd_vqRHP-eeAwfNGPD6qFOvtivcdUJ85Hjlw-a3Pa5eMdJ93Wr51M9sLr55VIfx7_8YgQcCqVhCpVfKRXDJo-HrFSH1d5o-8amVRvre4AD3y/s1600/front.JPG" height="400" width="261" /></a></div>
<div style="text-align: center;">
<i><span style="font-size: x-small;">(click images to view in larger format, photos by Abdelaziz Khalili, </span></i><br />
<i><span style="font-size: x-small;">cover details listed at the bottom of this page)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfSN1AV7YOxpVFdotOC33caeQpRxgdpoAtvZmDusnaoMXf4M0pMqbWsVMl8n5QYaN5Be4NLrIkD9Z8wQgL5ez-lh7GB9YFoUgAwoMycNi1DUl4Nya5_DEtvP9EFWDc22Z-W9P-w5CCMzW/s1600/back+crop.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfSN1AV7YOxpVFdotOC33caeQpRxgdpoAtvZmDusnaoMXf4M0pMqbWsVMl8n5QYaN5Be4NLrIkD9Z8wQgL5ez-lh7GB9YFoUgAwoMycNi1DUl4Nya5_DEtvP9EFWDc22Z-W9P-w5CCMzW/s1600/back+crop.JPG" height="320" width="273" /></a></div>
<div dir="ltr" style="text-align: left;">
<div style="text-align: left;">
<span style="font-family: inherit; font-size: small;"><b><i>Intermediality, Performance and the Public Sphere</i></b><i>:</i></span><i> selected papers from recent meetings of the Tangier International Conferences</i><span class="a-size-large" id="productTitle"> </span><br />
<br />
<span style="font-family: inherit; font-size: small;">Khalid Amine and George F Roberson, Editors</span><br />
<span style="font-family: inherit; font-size: small;"><span style="color: black;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-family: inherit; font-size: small;"><span style="color: black;">Jaouad Radouani, Editorial Associate </span></span> </span></span></span></span><br />
<br />
<span style="font-family: inherit; font-size: small;">$15 | ISBN 978-0-9824409-7-1</span><br />
<span style="font-family: inherit; font-size: small;">Buy it Amazon.com (click <a href="http://www.amazon.com/dp/0982440979/" target="_blank"><i>here</i></a>) and other fine book shops </span><br />
<i><br /></i>
<span style="font-family: inherit; font-size: small;"><span style="color: black;"><i>With special thanks and appreciation to: </i>Carol Malt, friend of the arts; and, Gerald Loftus, Director (2010 to 2014), Tangier American Legation Institute for Moroccan Studies</span></span><br />
<br />
<span style="font-family: inherit; font-size: small;"><span style="color: black;">This book was made possible by a grant from the <b>Crossroads Institute</b> </span></span><br />
<br />
This volume features a selection of key papers that were originally
presented at recent meetings of the Tangier International Conferences.
Convened amidst the still unfolding so-called ‘Arab Spring’, the themes
of intermediality, performance and the public sphere have generated
immense interest around the globe. Included are contributions from
leading scholars on three continents and from a dozen countries:
Austria, Canada, France, Germany, Greece, Italy, Morocco, Nigeria,
Poland, Spain, United Kingdom, and USA. <br />
<br />
The book has two parts.
The first focuses on the intermedial connections of theater, dance and
the visual arts, with a specific concentration in documentary theatre,
new media practices, staged photography and installations. <br />
<br />
The
second part aims at reframing the discussion on the public sphere and
questioning the performative articulations of political critique.
Indeed, the revolutionary "Arab Spring" has been fueled as never before
by a ‘techno-imagination’ —a powerful and ever evolving relationship
between images and texts. <br />
<br />
A total of twenty-four papers are
presented including: a preface by the editors; two chapters translated
into English (from the original Arabic); three chapters presented in the
original French, and three chapters contributed by emerging scholars. <br />
<br />
<span style="font-size: small;"><b>Table of Contents</b></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Prologue: Performing Tangier – Khalid Amine and George F Roberson </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><b>I. Intermediality and Performance </b></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Collaborative Choreography and Intermediality in Contemporary Dance: Frédéric Gies’ “danse praticable” – Gabriele Brandstetter</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">In the Mix: Contemporary Intermedial Theatre and Hybridity – Andy Lavender. To view article images, <span style="font-family: inherit;"><span style="color: black;">click <span style="color: red;"><a href="http://collaborativemedia.blogspot.com/2013/10/in-mix.html" target="_blank"><i>here</i></a></span></span></span></span><br />
<span style="font-family: inherit; font-size: small;"><span style="color: black;"><i> </i></span></span><span style="font-size: small;"> </span><br />
<span style="font-size: small;">Theatre in a State of Latency: The Radical Criticism of Rabih Mroué Performative Lectures – Katia Arfara </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Revitalizing Opera on TV: Alexander Kluge’s TV Program “A Woman like a Volcano” - Klemens Gruber. To view articles images, <span style="font-family: inherit;"><span style="color: black;">click <a href="http://collaborativemedia.blogspot.com/2013/01/images-3_24.html" target="_blank"><i>here</i></a></span></span></span><br />
<span style="font-family: inherit; font-size: small;"><span style="color: black;"><i> </i></span></span><span style="font-size: small;"> </span><br />
<span style="font-size: small;">Talking in the City - based on the performance “in/of the city”: Tangier – Laurie Beth Clark and Michael Peterson </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The Ceremony of Transformation: Performance and the New Media – Jose Luis Delgado Guitart </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Le théâtre au regard de la performance – Pierre Katuszewski </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Rabih Mroué et Lina Saneh, Comment ralentir l'occultation du corps/individu – Omar Fertat. To view article images, click <a href="http://collaborativemedia.blogspot.mx/2013/11/rabih-mroue.html" target="_blank"><i>here</i></a></span><br />
<span style="font-size: small;"><b><br /></b></span>
<span style="font-size: small;"><b>II. Performance and the Public Sphere </b></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The Performativity of Protest in its Filmic and Digital Representation – Stephen Barber </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The Sound of the Street – Performance, Sound and Revolution in 1848 – Meike Wagner. To view article images, click<span style="font-family: inherit;"><span style="color: black;"><i> <span style="color: red;"><a href="http://collaborativemedia.blogspot.com/2013/10/the-sound.html" target="_blank">here</a></span></i></span></span></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">“Nonviolent Terrorism” or the Legitimate Performance of Resistance?
Hunger Strikes, Death Fasts, and a Habermasian Conception of Political
Action and the Public Sphere – Amy Bartholomew </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Western Im/Mobility: LIGNA’s Radioballet, Western Transit Zones and the
Public Sphere – Wolf-Dieter Ernst. To view article images, click <a href="http://collaborativemedia.blogspot.com/2013/10/western-immobility.html" target="_blank"><i>here</i></a></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Riot of Dwarfs: on a possible negotiation of aisthesis – Berenika Szymanski-Düll </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">One Needs a Voice to Express Indignation: Debtors’ Oxymoronic Presence in the Public Sphere – Izabela Morska </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Protest in the Arab Theatre: A Historical Outlook – Hassan Lamniai, translated by Jaouad Radouani </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Le dernier Carnival de Dijon: Une politique festive et genrée – Philip Whalen. To view article images, click <a href="http://collaborativemedia.blogspot.com/2014/03/le-dernier-carnival-de-dijon-une.html" target="_blank"><i>here</i></a></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Performing Public Sphere: Theatre in Current Zimbabwe – Julius Heinicke </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Scheherezade Goes West: Acting Out ‘as a’ Pakistani/American/Muslim/Wo/Man – Fawzia Afzal-Khan </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Arab Writers: Arab Spring. The Arab Spring: An Unprecedented Spectacle – Rita S Nezami </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Touria Jebrane: The Dynamics of Coincidence and Careful Choice - An
Extract from Balaghat Al-Iltibass (Rhetoric of Ambiguity) – Mohammed
Bahjaji, translated by Jaouad Radouani and Abdelaziz Al-Amrani </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><u>Emerging Scholars Papers</u></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Je danserai malgré tout!: Tunisian public space performances in times of
democratic transition – Anna Serlenga. To view article images, click <a href="http://collaborativemedia.blogspot.com/2013/12/je-danserai.html" target="_blank"><i>here</i></a></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Traces of Operation Desert Storm: Aesthetic Transformations of War – Kristin Flade </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Exclusivity and the Colonisation of the Public Sphere in African Performance – Bode Ojoniyi </span><br />
<span style="font-size: small;"></span>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><b>- - - </b></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Acknowledgements, click <a href="http://collaborativemedia.blogspot.com/2012/04/acknowledgements.html" target="_blank"><i>here</i></a> </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Related books from Collaborative Media International (CMI), click <a href="http://collaborativemedia.blogspot.com/2010/10/international-publishing.html" target="_blank"><i>here</i></a></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Focus on Moroccan Arabic: A Practical Guide to Learning Moroccan Darija, click <a href="http://collaborativemedia.blogspot.com/2009/03/darija-text.html" target="_blank"><i>here</i></a> </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">About the cover: </span><br />
<br />
Features the performance, “Dialogue Between Body and Architecture”, by Graziella Boggiano, with the collaboration of many local Tanjawi performance artists, Tangier, Morocco, May 2009<br />
<br />
Photos contributed by Abdelaziz Khalili, a Tangier, Morocco-based artist: khaliliaziz @ yahoo.fr<br />
<br />
Design contributed by Andy Reynolds, a Washington, DC-based graphic designer: andynco @ earthlink.net<span style="font-size: small;"> </span></div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-41828812540947175742014-03-25T08:51:00.001-07:002014-03-25T08:58:19.238-07:00Le dernier Carnival de Dijon: Une politique festive et genrée – Philip Whalen<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Figure 1. <!--[if gte mso 9]><xml>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-55505165496632437912013-12-13T08:13:00.002-08:002013-12-13T08:19:19.262-08:00Je danserai malgré tout!: Tunisian public space performances in times of democratic transition – Anna Serlenga<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-87690656414341370382013-11-14T14:33:00.001-08:002013-11-14T14:38:40.703-08:00Rabih Mroué et Lina Saneh, Comment ralentir l'occultation du corps/individu – Omar Fertat<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Figure 2: Photo-Romance</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 3</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-83833698885940442892013-10-18T12:09:00.000-07:002013-10-18T12:16:36.168-07:00Western Im/Mobility: LIGNA’s Radioballet, Western Transit Zones and the Public Sphere – Wolf-Dieter Ernst<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-31385062475003392632013-10-17T13:56:00.000-07:002013-10-17T13:56:33.600-07:00The Sound of the Street – Performance, Sound and Revolution in 1848 – Meike Wagner<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-38961465462087907382013-10-16T13:38:00.004-07:002013-10-16T14:43:04.565-07:00In the Mix: Contemporary Intermedial Theatre and Hybridity – Andy Lavender<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-80563000942712036472013-10-15T09:56:00.004-07:002014-04-09T08:30:27.093-07:00Image gallery: Intermediality, Performance and the Public Sphere<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: inherit;"><b><i>Intermediality, Performance and the Public Sphere</i></b><br />
Khalid Amine, <span style="color: black;">Jaouad Radouani</span> and George F Roberson, editors<i> </i></span></span>
<span style="font-size: small;"><span style="font-family: inherit;"><br /> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">$15 | ISBN 978-0-9824409-7-1 </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">For more details on the book, click <a href="http://collaborativemedia.blogspot.com/2014/04/intermediality-performance-public-sphere.html" target="_blank"><i>here</i></a> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">Available on Amazon.com (click <a href="http://www.amazon.com/dp/0982440979/" target="_blank"><i>here</i></a>) and other fine book shops </span></span></div>
<div style="text-align: left;">
<br />
<br />
<b>To view online images referenced in the text, click on the links below: </b><br />
<br />
In the Mix: Contemporary Intermedial Theatre and Hybridity – Andy Lavender. To view article images, <span style="font-family: inherit;"><span style="font-size: small;"><span style="color: black;">click <span style="color: red;"><a href="http://collaborativemedia.blogspot.com/2013/10/in-mix.html" target="_blank"><i>here</i></a></span></span></span></span><br />
<br />
<br />
Revitalizing Opera on TV: Alexander Kluge’s TV Program “A Woman like a Volcano” - Klemens Gruber. To view articles images, <span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">click <a href="http://collaborativemedia.blogspot.com/2013/01/images-3_24.html" target="_blank"><i>here</i></a></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;"><i> </i></span></span></span> <br />
<br />
Rabih Mroué et Lina Saneh, Comment ralentir l'occultation du corps/individu – Omar Fertat. To view article images, click <a href="http://collaborativemedia.blogspot.mx/2013/11/rabih-mroue.html" target="_blank"><i>here</i></a><br />
<b><br /></b>
The Sound of the Street – Performance, Sound and Revolution in 1848 – Meike Wagner. To view article images, click<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;"><i> <span style="color: red;"><a href="http://collaborativemedia.blogspot.com/2013/10/the-sound.html" target="_blank">here</a></span></i></span></span></span><br />
<br />
<br />
Western Im/Mobility: LIGNA’s Radioballet, Western Transit Zones and the Public Sphere – Wolf-Dieter Ernst. To view article images, click <a href="http://collaborativemedia.blogspot.com/2013/10/western-immobility.html" target="_blank"><i>here</i></a><br />
<br />
Le dernier Carnival de Dijon: Une politique festive et genrée – Philip Whalen. To view article images, click <a href="http://collaborativemedia.blogspot.com/2014/03/le-dernier-carnival-de-dijon-une.html" target="_blank"><i>here</i></a><br />
<br />
<br />
Je danserai malgré tout!: Tunisian public space performances in times of democratic transition – Anna Serlenga. To view article images, click <a href="http://collaborativemedia.blogspot.com/2013/12/je-danserai.html" target="_blank"><i>here</i></a></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-61194003738348348942013-04-26T07:56:00.002-07:002013-05-31T18:01:21.286-07:00Feature film, CMI presents: <div dir="ltr" style="text-align: left;" trbidi="on">
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<i><b>Joshua Tree</b>: </i>a new film by Cheng Li - YQstudio LLC, Denver, Colorado (USA) and Qingdao (China) </div>
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<img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFTRMjQcNSwiSVozX26QCJ-4q1JxeAS0CzUkTd8qs9lEclCAXI7kTdY_Op3xRM4gICilR0tQWvGXkg0fVV_8OBRv5j0C5ayMWvNc8woexKgzf4M5JTBGJ1N0aM8mjOVcbdUFnbMnvFxw_/s320/IMG_3082reduced.JPG" width="320" /></div>
<br />
A family's struggle. Set in the USA heartland, Kate’s living the
“American Dream”, but everything changes following the 2008 economic collapse.
Kate’s husband loses everything in the stock market and it’s the final blow to
their marriage. Kate is left alone with two young daughters, a house she
obviously can’t afford, and few opportunities. Like millions of US Americans,
she’s determined to earn enough money but soon falls behind and home
foreclosure looms. Self-reliance is dear, and family communication is guarded
especially about money, so Kate avoids her father, Alan, and brother though
they are well-off. Instead she turns to her mother and a friend, they try to
help but have limited resources. In desperation, Kate turns to surprising and
secret solutions while struggling to provide for her children and maintain
public appearances. All are thrust into difficult and defining choices as
tragedy strikes and a painful search for redemption ensues. <br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">A social-political fable at the crossroads of our times: what kind of
individuals, families and country are we going to be?<span style="mso-spacerun: yes;"> </span></span><br />
<br />
Filmed in Denver-Boulder metro area (Colorado, USA). Currently in final post-production and headed for the film festival circuit.<br />
<i><b></b></i><br />
<br />
<b>Li Cheng</b> (writer, director). <!--[if gte mso 9]><xml>
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holds a PhD from the University
of Medicine and Dentistry
of New Jersey (UMDNJ).</span> <i>Joshua Tree</i> is his first feature film.</span><br />
<br />
<b>Joel Diamond</b> (composer). Credits include original score for <a href="http://www.imdb.com/title/tt0247199/" target="_blank"><i>The Believer</i></a> - winner at Sundance International Film Festival and writer of Grammy Award nominated song, see IMDb - the internet movie database, click <a href="http://www.imdb.com/name/nm0224652/" target="_blank"><i>here</i></a><br />
<br />
<b>Jeremy Dehn</b> (editor). Credits include winner, <a href="http://www.austinfilmfestival.com/news/audience-award-winners-announced/" target="_blank">Austin Film Festival Audience Award</a> for <span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><i>Miracle Investigators</i> (writer, director, editor - 2008), s</span>ee IMDb - the internet movie database, click <a href="http://www.imdb.com/name/nm2590384/" target="_blank"><i>here</i></a><br />
<br />
<b>Ed Kaufman</b> (post-production sound, Coupe Studio, Boulder). Credits include sound design for Oscar winner, <i>Saving Face</i>.<br />
<br />
<b>George F Roberson</b> (co-writer, producer). <!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Academic, advocate, entrepreneur, publisher, adventurer. </span><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Fulbright Scholar to Morocco, h</span>e holds a PhD from the University of
Massachusetts-Amherst and collaborates widely on community-based initiatives.</span><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span><br />
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<b>Full cast and crew</b>, see IMDb - the internet movie database, click <a href="http://www.imdb.com/title/tt2267368/fullcredits?ref_=tt_ov_st_sm#cast" target="_blank"><i>here </i></a><br />
<br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;">"<i><b>Like</b></i>" </span></span><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"><i>Joshua Tree</i> on Facebook, click <a href="https://www.facebook.com/pages/Joshua-Tree/266490960116552" target="_blank"><i>here</i></a></span></span><br />
<br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;">See also <i><b>Joshua Tree</b></i> entry on IMDb - the internet movie database, click<i> <a href="http://www.imdb.com/title/tt2267368/" target="_blank"><i>here</i></a></i></span></span><br />
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-56163579984923752013-02-26T09:10:00.001-08:002013-04-26T08:13:34.666-07:00Performing Transformations<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
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Khalid Amine and George F Roberson, editors<i> </i><br />
<br />
$15 | ISBN<b> </b>978-0982440964<br />
Available on Amazon.com, click <a href="http://www.amazon.com/Performing-Transformations-Khalid-Amine/dp/0982440960/" target="_blank"><i>here</i></a><br />
<br />
<br />
Text image gallery <br />
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The Affective Public Sphere: Romeo Castellucci’s “On the Concept of the Face regarding the Son of God”, by Christopher Balme, for images click <a href="http://collaborativemedia.blogspot.com/2013/01/images-2.html" target="_blank"><i>here</i></a><br />
<br />
Transformative Effects of Ta’ziyeh versus Intercultural Models of Performance Theory, by Mohammad Jafar Yousefian Kenari, for images click <a href="http://collaborativemedia.blogspot.com/2013/01/tranformative-effects.html" target="_blank"><i>here</i></a><br />
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Reenacting Revolution and the New Public Sphere in Tunisia, Egypt, and Morocco, by Khalid Amine, for images click <a href="http://collaborativemedia.blogspot.com/2013/02/images-1.html" target="_blank"><i>here</i></a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-17334871296001650482013-02-26T08:58:00.001-08:002013-02-26T20:05:14.112-08:00Reenacting Revolution<div dir="ltr" style="text-align: left;" trbidi="on">
Reenacting Revolution and the New Public Sphere in Tunisia, Egypt, and Morocco, by Khalid Amine<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUCsv4krucNxeZgnqxsEJ0WKyZOTKme84Lqrz_Hf9ltRkAMIuoREbtoOgL8IiMBodvWn3vFejLc5UCayEixMNmzjEuvMydnOTN4FNjq0zdDe66h2Uv9KIAS3oFGAHIRW29xfMylXBAtdp/s1600/Solitaire+1+photo+by+Aziz+Khalili+Tangier+2011.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUCsv4krucNxeZgnqxsEJ0WKyZOTKme84Lqrz_Hf9ltRkAMIuoREbtoOgL8IiMBodvWn3vFejLc5UCayEixMNmzjEuvMydnOTN4FNjq0zdDe66h2Uv9KIAS3oFGAHIRW29xfMylXBAtdp/s320/Solitaire+1+photo+by+Aziz+Khalili+Tangier+2011.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1: "Solitaire", by Aziz Khalili</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGw2IBRtRPhyphenhyphen4rqLUJggbsRLg2A_iGQts7GT5hS6XLz5XGh7RZ19cktrIUbaWpzk_IGTYUgNZmckkdQgKcdXfrM5BWRrEGFahEgVDtHeQN6X3iHA8TiXm9d6qA3m3QHvYFDuij5SuYiKj/s1600/Solitaire+2+photo+by+Aziz+Khalili.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGw2IBRtRPhyphenhyphen4rqLUJggbsRLg2A_iGQts7GT5hS6XLz5XGh7RZ19cktrIUbaWpzk_IGTYUgNZmckkdQgKcdXfrM5BWRrEGFahEgVDtHeQN6X3iHA8TiXm9d6qA3m3QHvYFDuij5SuYiKj/s320/Solitaire+2+photo+by+Aziz+Khalili.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2: "Solitaire", by Aziz Khalili</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MJG54lpVz0ITPsoIfiaUEl7WZTWgzQcQu4_x-SFtUrEejslm2fqNcAvVkv1LvdkcWm1s_i6FFMBIspalkUuJQANm4hoiNWGwwchrohdIkRpotxm-8KmQAg8QfxWticV6AZU2BjtgMwJQ/s1600/Dyalli+1+Phto+by+Alice+Dufour-Feronce.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0MJG54lpVz0ITPsoIfiaUEl7WZTWgzQcQu4_x-SFtUrEejslm2fqNcAvVkv1LvdkcWm1s_i6FFMBIspalkUuJQANm4hoiNWGwwchrohdIkRpotxm-8KmQAg8QfxWticV6AZU2BjtgMwJQ/s320/Dyalli+1+Phto+by+Alice+Dufour-Feronce.JPG" title="" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3: "Dyalli", by Alice Dufour-Feronce</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eFJwTlU8F6EODjP0MfvOsxzs-eMwvamgKkWEch20DpFq1KlYOpdTNrPdeYxSJ6jQKo_36mch7ndU86YpMRfxM0rFVTfbicHQIEc34GEW7bnMH4PyreVZdq1sys2U6qgKUG6V2akrpPgV/s1600/Dyalli+2+Phto+by+Alice+Dufour-Feronce.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_eFJwTlU8F6EODjP0MfvOsxzs-eMwvamgKkWEch20DpFq1KlYOpdTNrPdeYxSJ6jQKo_36mch7ndU86YpMRfxM0rFVTfbicHQIEc34GEW7bnMH4PyreVZdq1sys2U6qgKUG6V2akrpPgV/s320/Dyalli+2+Phto+by+Alice+Dufour-Feronce.JPG" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 4: "Dyalli", by Alice Dufour-Feronce</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-74158407009522520612013-01-24T08:57:00.003-08:002013-10-16T14:44:16.052-07:00Revitalizing Opera on TV: Alexander Kluge’s TV Program “A Woman like a Volcano” – Klemens Gruber<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Figure 1</td></tr>
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<span style="font-family: Verdana;"><i> </i></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Figure 2</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 3</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 4</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-4877084607640042832013-01-24T08:48:00.003-08:002013-01-24T08:48:26.916-08:00images 3<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Image 1</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Image 2</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Image 3</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Image 4</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Image 5</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-72911923231539604622013-01-23T10:58:00.003-08:002013-02-26T09:34:47.533-08:00Affective Public Sphere<div dir="ltr" style="text-align: left;" trbidi="on">
The Affective Public Sphere: Romeo Castellucci’s “On the Concept of the Face regarding the Son of God”<br />
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<tr><td class="tr-caption" style="text-align: center;">Fig1_Castellucci_On the concept_3_c_klaus_lefebvre</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fig2_Castellucci_On the concept_4_c_klaus_lefebvre</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-13431389384340265822013-01-22T17:23:00.002-08:002013-01-23T09:01:05.088-08:00Images<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Times New Roman";">Article citation: </span><br />
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<b><span style="font-family: "Times New Roman"; font-size: 9.0pt;">Table
1- The efficacy-entertainment/ aesthetic performance dyad; Adapted to</span></b></div>
<b><span style="font-family: "Times New Roman"; font-size: 9.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Ta’ziye by the author based on (Schechner
2002:71)</span></b> </td></tr>
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<b><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: FA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 1</span><span style="font-family: "Times New Roman"; font-size: 10.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: FA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">- The
process of transported/ transformed performances, Schechner, 2003: 270</span></b> </td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b>Table 2. Figures 2 - 8.</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYIcLwZw6GpRx7AS7LSQTuBBb0qBJcn9vipnP63_k6mL_OUNxht-4t96yMlBoBdb5pg_KkpZRjVOPogpAyZxPsouylUNyOT631R46g5uY6WpeDt5k48b-N6MtuDUKgktPHb6QqSjKK-00/s1600/figure+9.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYIcLwZw6GpRx7AS7LSQTuBBb0qBJcn9vipnP63_k6mL_OUNxht-4t96yMlBoBdb5pg_KkpZRjVOPogpAyZxPsouylUNyOT631R46g5uY6WpeDt5k48b-N6MtuDUKgktPHb6QqSjKK-00/s400/figure+9.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Times New Roman"; font-size: 9.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Fig 9- Theoretical
challenges of Schechner’s models (Author)</span></b></td></tr>
</tbody></table>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Times New Roman"; font-size: 9.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Fig 10- Ta’ziye’s
potential to improve performance (Author)</span></b></td></tr>
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<b><span style="font-family: "Times New Roman";">Fig 11-</span></b><b><span style="font-family: "Times New Roman"; font-size: 11.0pt;"> </span></b><b><span style="font-family: "Times New Roman"; font-size: 10.0pt;">Calabi-Yau as an approximateimage
of heterogeneous micro-transforms,</span></b></div>
<b><span style="font-family: "Times New Roman"; font-size: 10.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">based on Basse 1987, (Author)</span></b></td></tr>
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To return to the <i>Performing Transformations </i>webpage, click <i><a href="http://collaborativemedia.blogspot.com/2013/01/transformations.html" target="">here</a></i><br />
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-35797502492528811102012-10-19T17:47:00.002-07:002012-10-20T19:01:56.281-07:00"Bowles / Beats / Tangier" on BBC World <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i>Bowles / Beats / Tangier</i> subject of report on BBC World </b></div>
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"Tangier's curious Beat generation heritage" by<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> Sylvia Smith</span> </div>
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<a href="http://news.bbc.co.uk/2/hi/programmes/fast_track/9756230.stm" target="_blank"><i></i></a> </div>
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Features ICPS/CMI friends Simon-Pierre Hamelin, Librairie des Colonnes and <span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Gerald Loftus, Tangier American Legation. <i>(see ICPS/CMI book cover at <span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">0:18 and 2:03 of 4:09 total)</span></i></span></div>
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View the video report, click <a href="http://news.bbc.co.uk/2/hi/programmes/fast_track/9756230.stm" target="_blank"><i>here</i></a></div>
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<i><b>Bowles / Beats / Tangier - Paul and Jane Bowles, the Beat
Generation & the crossroads city of Tangier,
Morocco.</b> </i>Allen Hibbard and Barry Tharaud, Editors.<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> Khalid Amine, Project Director.<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> International Collaboration Series - North Africa</span></span> </div>
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For more about the book, <i></i>click <i><a href="http://collaborativemedia.blogspot.com/2010/10/international-publishing.html">here</a> </i></div>
<br />
To order the book online, click <a href="http://www.amazon.com/Bowles-Beats-Tangier-Allen-Hibbard/dp/0982440928"><i>here</i></a><br />
<br />
There is renewed interest in the Beat Generation with recent release the new film <b><i>On the Road</i></b>, by Jack Kerouac, for info click <a href="http://www.imdb.com/title/tt0337692/"><i>here</i></a><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-31995703629641728492012-09-19T19:04:00.002-07:002013-02-25T07:00:39.373-08:00Kaouti's "No Man's Land" now in ebook edition<div dir="ltr" style="text-align: left;" trbidi="on">
RE: (ROBERSON) USA-Morocco NGO interculturalism | conferences, publishing, collaborations | “Arab Spring” themed materials now in ebook <br />
<br />
SUBJECT: Kaouti’s "No Man's Land" now available worldwide in both ebook (instant digital delivery) and print editions <br />
<br />
Hailed as "one of the most important plays in the Moroccan artistic repertoire following independence.."<br />
<br />
--Khalid Amine, Professor and President of the International Centre for Performance Studies (ICPS) Tangier<br />
<br />
Ready for course adoption: “Arab Sprint”, human rights, Arabic to English translations, contemporary Moroccan literature, Arab theatre/performance<br />
<br />
And situated as “a product of Morocco's traditional 'open space' for debate - the theatre, No Man's Land foregrounds and predicts the “Mouvement du 20 Février”. It shrewdly highlights the seemingly irreconcilable struggles, conflicting aspirations, and complex socio-political realities of postcolonial Morocco. As various groups vie for power in the still-unfolding “Arab Spring”, Kaouti’s No Man’s Land reminds us that we ought to be paying closer attention to artists, the voices of 'insiders' and to performative powers."<br />
<br />
--George F Roberson, Chair, Partners for International Collaboration and Education<br />
<br />
Includes the forward, "No Man's Land: Voices From 'Deep Morocco'" by Khalid Amine<br />
<br />
Translated from Arabic by Mohamed Yassin El Harruchi<br />
<br />
Paperback – print edition $15<br />
<a href="http://www.amazon.com/dp/0982440944/">http://www.amazon.com/dp/0982440944/</a><br />
<br />
Ebook – Kindle edition $2.99<br />
<a href="http://www.amazon.com/dp/B00987M2UC/">http://www.amazon.com/dp/B00987M2UC/</a><br />
<br />
Free e-reader apps for Kindle books (PC, Ipad, etc) <br />
<a href="http://www.amazon.com/gp/feature.html/ref=sv_kstore_1?ie=UTF8&docId=1000493771">http://www.amazon.com/gp/feature.html/ref=sv_kstore_1?ie=UTF8&docId=1000493771</a><br />
<br />
View this announcement on the web <br />
<a href="http://collaborativemedia.blogspot.com/2012/09/nml-ebook-edition.html">http://collaborativemedia.blogspot.com/2012/09/nml-ebook-edition.html</a><br />
<br />
Bulk orders and reprint permissions through the Publisher<br />
<a href="http://collaborativemedia.blogspot.com/2009/03/welcome.html">http://collaborativemedia.blogspot.com/2009/03/welcome.html</a><br />
<br />
The English-language print and ebook editions of “No Man’s Land” were made possible through the generous support of the Crossroads Institute (CI) and in partnership with Collaborative Media International (CMI) and International Centre for Performance Studies (ICPS) Tangier, Morocco.<br />
<br />
Collaborative Media International (CMI) is an all-volunteer USA-based book publishing cooperative with all proceeds reinvested for more books and conferences: <br />
<a href="http://collaborativemedia.blogspot.com/2009/03/welcome.html">http://collaborativemedia.blogspot.com/2009/03/welcome.html</a><br />
<br />
International Centre for Performance Studies (ICPS) Tangier is a Morocco-based academic NGO, founded by Fulbrighter to the USA, Khalid Amine. ICPS organizes the Annual Tangier International Conferences (8 editions complete) co-founded with Barry Tharaud (Professor, Fulbrighter) and Andrew Hussey (Dean of the Institute, University of London Institute in Paris): <br />
<a href="http://icpsmorocco.org/new/">http://icpsmorocco.org/new/</a><br />
<br />
Also from Collaborative Media International (CMI):<br />
<br />
“Moroccan Arabic: A Practical Guide to Learning Moroccan Darija - the Arabic Dialect of Morocco <br />
(2nd edition)” By Aaron Sakulich, Edited by Rajae Khaloufi, ISBN 9780982440933<br />
<a href="http://www.amazon.com/dp/0982440936/">http://www.amazon.com/dp/0982440936/</a><br />
<br />
Coming soon, new francophone edition, "L'arabe Marocain"<br />
<br />
9th Annual International Conference, Tangier - Tetouan<br />
Call for Papers: Performing the (Arab) Public Sphere<br />
Morocco, June 1-3, 2013<br />
<br />
Hosted by the International Centre for Performance Studies (ICPS) – Tangier<br />
<br />
The conference aims at reframing the discussion on the public sphere and questioning the performative articulations of political critique. It is a continuation of our discussions in the “Performance and<br />
Transformations” conference (2012). <br />
<br />
Excerpt: The Arab world “has long being characterized by its Orientalizers, past and present, as not only lacking in civility but also in public-ness and public-ity.”(Seteney Shami, 2009: 14). Is there an “Arab Public Sphere”? Does it conform to the Habermasian model? Or else, it is a post-Bourgeois model? Is it different from the public sphere of the North? Or else, an exemplary instance of what Gayatri Spivak calls the “Feudal North-in-the-South”? <br />
<br />
Arabic, English, French: simultaneous interpreting in all panel sessions. Proposal deadline: 31 January 2013 <br />
<br />
View/download/print full CFP:<br />
<a href="http://collaborativemedia.blogspot.com/2012/09/cfp-performing-tangier-2013.html">http://collaborativemedia.blogspot.com/2012/09/cfp-performing-tangier-2013.html</a><br />
<br />
ICPS conferences/publishing founded by Fulbrighters and supported by<br />
dozens of Fulbrighters (to Morocco and to USA)<br />
<a href="http://interactive-worlds.blogspot.com/2012/08/affliated-fulbrighters.html">http://interactive-worlds.blogspot.com/2012/08/affliated-fulbrighters.html</a><br />
<br />
Join us! <br />
<br />
Partners, co/granters, proposals, manuscripts, inquiries, etc., always welcomed<br />
<br />
Information:<br />
<br />
George F Roberson, PhD<br />
Capitol Hill - Denver, Colorado USA<br />
c720.878.1698<br />
<br />
Geography Human Dimensions Research Group -- University of Massachusetts-Amherst<br />
Fulbright Scholar -- Morocco<br />
<br />
george.roberson@fulbrightmail.org<br />
<a href="http://interactive-worlds.blogspot.com/2007/04/editor.html">http://interactive-worlds.blogspot.com/2007/04/editor.html</a><br />
<br />
--<br />
Partners for International Collaboration and Education (PICE)<br />
George F Roberson, Chair</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-11379222003852652002012-09-13T10:26:00.001-07:002012-09-13T10:26:14.337-07:00CFP - Performing Tangier 2013<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.scribd.com/doc/105825447/CFP-PT2013" style="-x-system-font: none; display: block; font-family: Helvetica,Arial,Sans-serif; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 12px auto 6px auto; text-decoration: underline;" title="View CFP PT2013 on Scribd">CFP PT2013</a><iframe class="scribd_iframe_embed" data-aspect-ratio="0.707514450867052" data-auto-height="true" frameborder="0" height="600" id="doc_22277" scrolling="no" src="http://www.scribd.com/embeds/105825447/content?start_page=1&view_mode=scroll&access_key=key-28co8wqpp2h4q1zp8u4" width="100%"></iframe></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-63143311714476639132012-04-15T20:45:00.009-07:002012-04-17T17:35:59.108-07:00No Man's Land by Mohammed Kaouti<!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1028"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--><span style="font-weight: bold;">About the cover</span><br /><br />The fro<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb54R2oJGJQswD2qJweUstienKD7nokOzFEX6GdH3gwc5PwUvDKlm_TTf_U-dIFAZFEox3beroKh790ugzS_hm_bQFAHYXjUc44bvjm0O2Y4F2HuvAYMvpATn8JR5lRJH80D2fOvO2BDv9/s1600/No+man%2527s+land+%25281%25C3%25A8re+version%2529+En+arri%25C3%25A8re-plan+de+gauche+%25C3%25A0+droite+Lahcen+A%25C3%25AFt+Tajer+-+Jamila+Chariq+-+Omar+Lahboub+dans+les+r%25C3%25B4les+du+choeur+des+masques.+En+avant-sc%25C3%25A8ne+Ahmed+Zagrari+dans+le+r%25C3%25B4le+de+X.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 158px; height: 112px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb54R2oJGJQswD2qJweUstienKD7nokOzFEX6GdH3gwc5PwUvDKlm_TTf_U-dIFAZFEox3beroKh790ugzS_hm_bQFAHYXjUc44bvjm0O2Y4F2HuvAYMvpATn8JR5lRJH80D2fOvO2BDv9/s320/No+man%2527s+land+%25281%25C3%25A8re+version%2529+En+arri%25C3%25A8re-plan+de+gauche+%25C3%25A0+droite+Lahcen+A%25C3%25AFt+Tajer+-+Jamila+Chariq+-+Omar+Lahboub+dans+les+r%25C3%25B4les+du+choeur+des+masques.+En+avant-sc%25C3%25A8ne+Ahmed+Zagrari+dans+le+r%25C3%25B4le+de+X.jpg" alt="" id="BLOGGER_PHOTO_ID_5732532005655001474" border="0" /></a>nt cover shows an original production photo from the premier theatrical version of the play. The actors are (left to right): Lahcen Aït Tajer, Jamila Chariq and Omar Lahboub (as the Chorus of masks) with Ahmed Zagrari (in the role of “X”).<br /><br /><br />The back cov<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_HkBlJ-cXzGSmGCnVrTi-ThV1XNJb4DpFnG8XUPgyoIpsw-HCPdQn-7QOwDvJx5FkhVTFoMmEd22NnhrmwSmuWZaN2yL3fq5oOJLUIbmmpCru3vVfCtWyKSGG_HI0rbm2T15yOErgcAm/s1600/No+man%2527s+land+%25282%25C3%25A8me+version%2529+Lahcen+A%25C3%25AFt+Tajer+dans+le+r%25C3%25B4le+du+choeur+des+visages+et+Omar+Lahboub+dans+le+r%25C3%25B4lr+de+X.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 116px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_HkBlJ-cXzGSmGCnVrTi-ThV1XNJb4DpFnG8XUPgyoIpsw-HCPdQn-7QOwDvJx5FkhVTFoMmEd22NnhrmwSmuWZaN2yL3fq5oOJLUIbmmpCru3vVfCtWyKSGG_HI0rbm2T15yOErgcAm/s200/No+man%2527s+land+%25282%25C3%25A8me+version%2529+Lahcen+A%25C3%25AFt+Tajer+dans+le+r%25C3%25B4le+du+choeur+des+visages+et+Omar+Lahboub+dans+le+r%25C3%25B4lr+de+X.jpg" alt="" id="BLOGGER_PHOTO_ID_5732532743383962210" border="0" /></a>er shows an original production photo from the second theatrical version of the play. The actors are: Lahcen Aït Tajer (left, in the Chorus of faces) and Omar Lahboub (right, in the role of “X”).<br /><br /><br />The photographs are compliments of Mohammed Kaouti, Author of <span style="font-style: italic;">No Man’s Land</span>.<br /><br />The cover design was contributed by Andy Reynolds, a Washington, DC-based graphic designer: andynco (at) earthlink.net<br /><br /><br />To return to the main No Man's Land page, click <a href="http://collaborativemedia.blogspot.com/2011/12/no-mans-land.html"><span style="font-style: italic; color: rgb(255, 0, 0);">here</span></a><br /><br />To return to the CMI welcome page (front page) click <a href="http://collaborativemedia.blogspot.com/2009/03/welcome.html"><span style="font-style: italic; color: rgb(255, 0, 0);">here</span></a><br /><p class="MsoNormal" style="text-align:justify"><span style="font-family:Georgia;mso-fareast-font-family:"Times New Roman"; mso-bidi-Simplified Arabic";mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-MA;mso-bidi-font-weight:boldfont-family:";font-size:10.0pt;" ><i style="mso-bidi-font-style:normal"></i></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-61313093775868928692012-04-15T20:11:00.004-07:002012-04-15T20:21:18.293-07:00From the book's forward<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1026"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]-->"No Man's Land: Voices From 'Deep Morocco'" by Khalid Amine<br /><br /><span style="font-style: italic;">an excerpt:</span><br /><br /><span style="font-style: italic;">No Man’s Land</span> remains one of the most important plays in the Moroccan artistic repertoire after independence. The play is considered a historical document that portrays the socio-political conditions in Morocco during the years following independence. It is about the traumatic conditions of prisoners of conscience in Morocco during the 1960s, 1970s, and through the 1980s. For decades, Moroccan authorities have routinely practiced a regime of garde à vue detention (inherited from the French colonial administration), whereby political prisoners are utterly cut off from the outside world. Such a system of indefinite incommunicated detention, according to Amnesty International Report of 20 March 1991, “disregards the most basic safeguards of detainees against torture.”<span style="font-family:Georgia"></span><i><span style="font-family:Georgia"></span></i><br /><br /><span style="font-style: italic;">No Man’s Land</span> is partly informed by the prison experience of the political activist Kamal Al-Habib, a prisoner of conscience who spent five years in Morocco’s most cruel detention centers. The play was written during the peak of what was called “the years of lead”, between the years 1980 and 1984. This fact explains why Mohammed Kaouti resorted to using Sufi symbolic dimensions and the rhetoric of ambiguity, for it was not an easy task to write about imprisonment during these days without running the risk of being jailed. Using artistic conceit of anti-utopia as a spine, Kaouti attempts to highlight the seemingly irreconcilable struggle between political necessity and creative imagination, performance and the body politics, censorship and the performative turn in postcolonial Morocco.<br /><br /><span style="font-style: italic;">No Man’s Land </span>exemplifies the full-fledged counterculture that was highly sensitive to Pan-Arabism that emerged as a painful process of renewal that grew out of attribution and contention, a postcolonial struggle affected by sometimes violently conflicting aspirations for a better future. Theatre in Morocco, especially the amateur theatre movement, has been at the heart of this counterculture. It strictly defined itself as the theatre that thinks for the emerging Moroccan nation—and by extension, the Arab world—though some theatre practitioners have capitulated to the regime, accepting to preserve a hypocritical facade behind which the wheels of a despotic machine keep turning, since the amateur theatre movement was very much dependent on the state to survive. Subsidized by the Ministry of Youth and hosted in youth centers all over the country, this movement was affected by politically overriding objectives. Selected performances began to go each year to the National Festival of Amateur Theatre, a real platform for a theatre movement in the making. <span style="font-style: italic;">No Man’s Land</span> is still recognized among the best performances of amateur theatre in Morocco.<br /><br />Political satire became a favorite motif in this amateur theatre, a break-through in both subject matter and style. This subversive tendency pushed audiences not only to laugh at that which is unhappy (the mirthless laugh in Samuel Beckett’s terms), but also it prompted them to act. Conflicts were highlighted in order to force the audiences to make decisions, and not only to laugh at their miserable conditions. Generally, the moderate and redemptive tendency is manifested in popular theatre that deploys situations of conflict in order to simulate contradictions by laughing at them. This strategy suggests Brecht, whose political theatre was introduced in Morocco during the politically difficult times of the 1970s and early 1980s. While the European stage was experiencing a certain “Brecht fatigue,” Brechtian aesthetics became highly influential on the Moroccan stage. In order to evade various forms of censorship, most influential amateur theatre practitioners distanced their dramas in the past, or in allegorical frames. Scripts borrowed from past Islamic traditions provided a politically symbolic variation on the present situation. The tendency to distance the drama in theatrical parables is clear in Kaouti’s No Man’s Land and others including: Mohammed Kaouti, Adafadie Al-Kahla (The Black Turtles) by Mohammed Sharamane, Les Tortus (Turtles), by Nabil Lahlou, Le Rhinoceros by Driss Tadili, A-Zawiya by Abdelkrim Berrchid, Assatir Muassira (Contemporary Myths) by Mohammed Kaghat, and Urss Al-Dib (The Wolf’s Wedding) by Mohammed Timoud.<br /><br /><span style="font-style: italic;">No Man’s Land</span> has been largely performed and debated among scholars in Morocco. The play has also been acclaimed and celebrated by more than one national prize. It sheds light on important chapters of Moroccan political history leading to what can be called now “The Arab Spring”. Following the logic of the metaphor of “deep Morocco”, deepness is manifest in No Man’s Land in the intense overlapping between moments of crisis and tragic sublimity, and the dream of utopia. Such overlapping is best illustrated in terms of essentialist claims over certain historical past, territories, or cultural memory. Moroccan playwright Mohammed Kaouti stages the ambivalent state of repression, which characterized Morocco in the near past that was fueled by taxonomic violence and conflicting aspirations long before the “Arab Spring”. The ensuing violence of the state and political opposition during the 1960s, 1970s, and 1980s seems to leave simplistic bipolar Manicheasms open to different interpretations today. After all, the revolutionary spirit of the “20 February Movement” today is no more than a continuation of the struggle that was initiated right after independence.<span style="font-size:12.0pt;font-family:Georgia; mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"; mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2275767055628251116.post-35932035856730839032012-04-15T19:54:00.003-07:002013-02-25T07:01:27.893-08:00CMI can't exist without your support<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-weight: bold;">Acknowledgements</span></div>
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The Collaborative Media International (CMI) book publishing cooperative would not be possible without the efforts and generosity of numerous all-volunteer academic and community-based partners along with other actors. These include a great variety of roles, such as authors; translators; editors; designers; granters; referees/references; professors; peer reviewers; in-kind contributors; publishers; artists; expert reviewers; etc. Many are listed below (in alphabetical order and sorry for any mistaken omissions):</div>
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Annual Performing Tangier International Conferences; Kerry Adams, Executive Director, American Institute for Maghrib Studies (AIMS); Khalid Amine, Professor, Abdelmalek Essaadi University, Tetouan, Morocco and founding President of International Centre for Performance Studies (ICPS), Tangier, Morocco; Zoubeir Ben Bouchta, Playwright, Tangier, Morocco; Edwin Bodensiek, Director of Outreach and Public Relations, Council for International Exchange of Scholars (CIES-Fulbright), Washington, DC; Marvin Carlson, Professor, City University of New York Graduate Center – Theatre Program; Soufiane Chami, Professor, Berkeley, California; Mitchell Cohen, Cultural Attaché, Department of State, USA; Crossroads Institute (CI); Abdennebi Elhaloui, Professor, Arabic Language Institute in Fez (ALIF); José Luis Delgado Guitart, Visual Artist and Innovation Consultant, Madrid; Mohamed Yassin El Harruchi, Translator, Rabat, Morocco; Abdelmajid Elsayd, Professor and Member, International Centre for Performance Studies (ICPS), Tangier and M’hamid, Morocco; Friends of Morocco; Allen Hibbard, Professor and Chair of the Middle East Center, Middle Tennessee State University; Andrew Hussey, Dean of the Institute, University of London Institute in Paris, France; International Centre for Performance Studies (ICPS), Tangier, Morocco; Nabil Khan, Fulbrighter and Master’s Candidate, Harvard University, Cambridge, Massachusetts; Marjorie Kanter, Writer, Madrid; Mohammed Kaouti, Playwright, Casablanca, Morocco; Rajae Khaloufi, Professor, High School, Tangier, Morocco; Nadia Khoumbarek, Artist, International Centre for Performance Studies (ICPS), Tangier, Morocco; Shara K. Lange, Professor and Director, Light Projects, Tennessee; Jim Long, Fulbrighter and Professor, Solano Community College, California; Carol Malt, Publisher, Ethos Publishing, Pensacola, Florida; Saadia Maski, Program Officer (formerly), Moroccan American Commission for Educational and Cultural Exchange (MACECE), Rabat, Morocco; Jeffrey Miller, Publisher, Cadmus Editions, Belvedere Tiburon, California; Moroccan American Commission for Educational and Cultural Exchange (MACECE); Brahim Nechikh, Director, ForeSee Theatre, Washington, DC; <!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Rita Shabnam Nezami, Professor, Department of Writing and
Rhetoric, Stony Brook University,
New York;</span> Imelda O’Reilly, Film Director and Professor, New York University, Singapore; Megan Pavlischek, Fulbrighter, Fes, Morocco; Partners for International Collaboration and Education (PICE); José Manuel Goñi Pérez, Professor, Aberystwyth University, UK; Andy Reynolds, Designer, Washington, DC; Jennifer Roberson, Professor, Sonoma State University, California; Aaron Sakulich, Author and Professor, Worcester Polytechnic Institute, Worchester, Massachusetts; Brian Singleton, President, International Federation for Theatre Research (IFTR) and the Samuel Beckett Chair of Drama at Trinity College, Dublin, Ireland; Mustapha Hillal Sousi, Translator, International Centre for Performance Studies (ICPS), Tangier, Morocco; Leslie Taplin, Urban Advocate, Los Angeles, California (deceased); Barry Tharaud, Professor, Doğuş University, Turkey and co-Founder of the Tangier International Conferences; Tangier American Legation Institute for Moroccan Studies (TALIM), Tangier, Morocco; USA Embassy in Rabat, Morocco; Yiqing, Yqstudio, USA and Qingdao, People’s Republic of China; Mouhssin Zaroual, Artist and Director, International Centre for Performance Studies (ICPS), Tangier, Morocco.</div>
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Equally important to our efforts are all the people who actually use the books and also help promote all that we are doing. These include: everyone that’s bought our books; Professors who use our books in their courses; libraries who’ve added our books to their collections; and bookstores that stock our books on their shelves. And all the kind people who’ve recommended the books to others: person-to-person, with their online comment postings, and by contributions by email to: collaborative.media@ymail.com </div>
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Collaborative Media International (CMI) is a Fulbright Scholar research grant outcome and was founded by George F Roberson in 2009. CMI exists to support initiatives that promote constructive, creative and alternative engagements to enhance mutual respect and understanding between the peoples of the Morocco/North Africa-Middle East region and the USA/Europe and the rest of the world.<br />
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Unlike most academic books, all CMI books are priced at $25 or less making them available to people on almost any budget. But with such low prices it also means that supporting grants and volunteer partners are needed: we depend on your kind offers of support and assistance.<br />
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Unknownnoreply@blogger.com0