Schedule of Lectures and Performances


9:30am: Introduction

David J. Levin, U of C Germanic Studies/Theater and Performance Studies/Cinema and Media Studies

Location: Franke Institute

10-11am: Talk #1; “Choreographies of the Curatorial”

Gabriele Brandstetter, Institute for Theater Studies, Free University of Berlin

Location: Franke Institute

11-11:15am: Coffee Break

Location: Franke Institute

11:15am-12:15pm: Response & Discussion

Respondent: Larry Norman, U of C Romance Languages and Literature/Theater and Performance Studies/Deputy Provost for the Arts

Location: Franke Institute

12:30-2pm: Lunch

Location: Renaissance Society

2:15-4pm: Dramaturgy Workshop; “An Actor Prepares,” an adaptation of Stanislavski

Mickle Maher, (Chicago). How to adapt Stanislavski’s thoughts and writings to the stage has been, in one way or another, the labor of actors and directors for much of the eighty years since “An Actor Prepares” was published. Adapting “An Actor Prepares” itself into a theater piece is a new sort of foolishness, the worth of which (or lack thereof) will be explored in this workshop.  Playwright Mickle Maher will lead a discussion on the legendary director’s ideas and contemporary relevance, and present a staged reading of a scene from the stage-bound version of “An Actor Prepares”.  Attendees are invited to read chapter 3 of Stanislavski’s text, available here.

Moderator: Heidi Coleman, U of C Theater and Performance Studies and University Theater

Location:  Reynolds Club, First Floor Theater

4:15-5:15pm: Talk #2/Performance; “Divas, Voices, David Moss”

David Moss (Berlin) and Clemens Risi (Free University of Berlin/U of C Bosch visiting professor in Music and Germanic Studies). A dialogue between an artist and a scholar about voices in opera and beyond, about fans, energy and performance.

Location: Franke Institute

5:15-5:30pm: Coffee

Location: Franke Institute

5:30-6:30pm: Response & Discussion

Respondent: Hamza Walker, U of C Renaissance Society

Location: Franke Institute


9:30-10:30am: Talk #3; “Coming and Going: Observations on Elementary Theatrical Operations”

Juliane Vogel, German Studies, University of Konstanz

Location: Franke Institute

10:30-10:45am: Coffee Break

Location: Franke Institute

10:45-11:45am: Response & Discussion

Respondent: Christopher Wild, U of C Theater and Performance Studies/Germanic Studies.

Location: Franke Institute

12-1pm: Performance; Four and a Half Rooms of Jorge Luis Borges

Seth Bockley (Chicago) and Drew Dir (Court Theatre/ U of C Theater & Performance Studies).  “Four and a Half Rooms of Jorge Luis Borges” is a site-specific play reading series curated and directed by Seth Bockley, and featuring new 10-minute plays by Emily Schwartz, Ira Murfin, Seth Bockley and Sophie Ostlund, adapted from stories by Jorge Luis Borges.  Occupying classrooms in the University’s Classics and Romance Languages departments, this hour-long performance will offer thought provoking and whimsical contemporary takes on Borges’ metaphysical fictions, along with guided tours and performance installations created with students at the University.

Location: Classics Cafe (The Classics building is at 1010 East 59th St; the Cafe is in room 20 on the second floor. Please arrive at 12pm sharp.)

12:45-2pm: Discussion and Lunch

Location: Classics Cafe

2-3pm: Talk #4; “Bodies of Knowledge: Can performance practices be theorized?”

Freddie Rokem, Tel Aviv University/U of C visiting scholar in Theater and Performance Studies

Location: Franke Institute

3-3:15pm:  Coffee

Location: Franke Institute

3:15-4:15pm: Response & Discussion

Respondent: Matthew Jesse Jackson, Visual Arts, Art History, and Theater & Performance Studies, University of Chicago

Location: Franke Institute

4:30-6:30pm: Performance; Peter Maxwell Davies’ Vesalii Icones

Opera Cabal (Chicago/NY; Artistic Director Majel Connery, U of C PhD student in Musicology). Conceived at the height of his career in experimental stage music, Peter Maxwell Davies’ Vesalii Icones is based on the unlikely superimposition of 16th-century anatomical diagrams with the fourteen Stations of the Cross. As one of Davies’ only choreographed works, Vesalii Icones permitted experimentation on a new level with two of the composer’s perennial preoccupations: excessive embodiment, and the slippery division between sacred and profane. It is the task of the current production to intelligibly engage two systems of representation (religious iconography and the medicalized representation of bodies in decay) very much at odds with one another — or perhaps offering unexpected mutual illumination.

Discussant/Moderator: David J. Levin, U of C

Location: Fulton Recital Hall