{"id":10,"date":"2024-04-04T07:55:11","date_gmt":"2024-04-04T04:55:11","guid":{"rendered":"https:\/\/sisu.ut.ee\/ants2022\/programme\/"},"modified":"2024-04-04T07:55:21","modified_gmt":"2024-04-04T04:55:21","slug":"programme","status":"publish","type":"page","link":"https:\/\/sisu.ut.ee\/ants2022\/programme\/","title":{"rendered":"Programme"},"content":{"rendered":"

\n\tTHURSDAY 13.10.2022<\/b><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t12.45-13.45 City excursion (starting point Hotel SOHO lobby)<\/span><\/span>\n<\/p>\n

\n\t14.00-15.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\tI National vs International <\/span><\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair Luule Epner<\/em><\/span>:<\/span><\/i><\/span><\/span>\n<\/p>\n

\n\tSteve Wilmer?<\/span><\/i><\/span><\/span>\n<\/p>\n

\n\tUlla Kallenbach Transgressing Borders: Practices of Mobility and Cultural Exchange at The Royal Danish Theatre<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tLauma Mell\u0113na-Bartkevi\u010da <\/span><\/span>Opera Film \u201cBa\u0146uta\u201d \u2013 Example of Transgression and Performativity<\/span><\/i><\/span><\/span>\n<\/p>\n

\n\tMadli Pesti The Reception of Transgressive Performances. The Case of NO99<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tII Political Activism<\/span><\/b> and<\/b> Protests <\/b>(\u00dclikooli 16, room 214)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair\u00a0<\/em>Jaak Tomberg<\/em><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tRiina Oruaas Intolerable Images: Women\u2019s Protest Against Sexual Violence in Ukraine War<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tSigr\u00ed\u00f0ur L\u00e1ra Sigurj\u00f3nsd\u00f3ttir Where Are We And What Does It Mean?<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tAna Falcon How a Performance Led to a Latnix Community Organisation in Estonia<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t15.30-16.00 Coffee break<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t16.00-17.30 OPENING. I KEYNOTE: Ene-Liis Semper\u00a0Untitled\u00a0<\/em><\/span><\/strong>(\u00dclikooli 16, room 212)<\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t19.00 \u2013 performance of\u00a0Stereo<\/i> in the Tartu New Theatre (Lai 37)<\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tFRIDAY 14.10.2022<\/b><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t9.00-10.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tIII\u00a0Political Negotiations\u00a0<\/span><\/span><\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tChair Eva-Liisa Linder<\/em><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tPirkko Koski When the Real Contextual World Pushes Itself into the Centre of Fiction<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tHanna Korsberg Performing Dirty Hands at the Finnish National Theatre in 1948<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tLuule Epner Transgressive Collaborations: The Case of Von Krahl Theatre<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t10.30-11.00 Coffee break<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t11.00-13.00<\/span> II KEYNOTE: Ida M\u00fcller and Vegard Vinge\u00a0\u00a0Untitled 2\u00a0<\/em><\/span><\/span><\/strong>(\u00dclikooli 18, room 139)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair Prof Jon Refsdal<\/strong><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t13.00-14.00 LUNCH BREAK<\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t14.00-15.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\tIV Agency and Strategies of Transgression\u00a0<\/span><\/span><\/b>(\u00dclikooli 16,\u00a0room 214)<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tChair Ulla Kallenbach<\/em><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tZane Kreicberga Performance that Disappeared: Two Case Studies of Alternative Aesthetics in the Recent Latvian Theatre History<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tTiit Ojasoo Who Can Cross the Border?<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tAnneli Saro Transgression of Gaze in Performing Arts<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tV\u00a0Liminality of Performance\u00a0<\/span><\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair Katri Tanskanen<\/em><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tJanne Risum A Transgression Nobody (But Later Anybody?) Wanted: Walter Benjamin\u2019s \u201cDas Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit\u201d<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tKitija Balcare Theatre Beyond the Human. Interspecies Relations in Ecotheatre in Latvia<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tAnne-Liis Maripuu <\/span><\/span>Immortality and Theatre Dance in the 1920s. Dance Performance of Elmerice Parts and Herman Kolt-Oginsky<\/span><\/i><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t15.30-16.00 Coffee break<\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t16.00-17.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\tVI<\/span><\/b>\u00a0Theatre and Pedagogy\u00a0<\/b>(\u00dclikooli 16, room 214)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair Zane Kreicberga<\/em><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tSanni Lindroos \u201cWhat Theatre Can and Cannot Be\u201d: The Theatre of God\u2019s Transgressive Oulu Act as a Social Drama<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tJ\u00fcri Nael Transformative Learning Through Transgressive Performer Training Pedagogy in the Context of Higher Education<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tVictor Polyakoff The Theory of Verbal Action\/Influence as One of the Tools of Transgression of Boundaries Between Theatre\/Performance and Everyday Life<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tVII<\/span><\/b> Dramaturgy and Adaptations\u00a0<\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair\u00a0<\/i>Riina Oruaas<\/em><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tLiina Lukas Transgression in the Work of Jakob Michael Reinhold Lenz<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tKatri Tanskanen Hamlet on a Hook. <\/i><\/span>Adaption as a Transgressive Force in Cultural Reproduction<\/span><\/i><\/span><\/span>\n<\/p>\n

\n\t
18.00-22.00 Reception in Pepe\u2019s (\u00dclikooli 7)<\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tSATURDAY 15.10.2022<\/b><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t10.00-11.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\tVIII\u00a0Taboos and Violence\u00a0<\/span><\/span><\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tChair S<\/em><\/span><\/span><\/span><\/span>igr\u00ed\u00f0ur L\u00e1ra <\/b>Sigurj\u00f3nsd\u00f3ttir<\/em><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tMonika Ja\u0161inskait\u0117<\/span><\/span> The Notion of Suicide in Lithuanian Theatre<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tHedi-Liis Toome\u00a0<\/span><\/span><\/span>How theatre mirrors reality: some critical aspects of the representation of women in mainstream performances<\/em><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tIX Transgressive Forms of Performance\u00a0<\/span><\/span><\/b>(\u00dclikooli 16, room 214)<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tChair Kristel Pappel<\/em><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tIldik\u00f3 Sirato Performing Speaking and Singing Bodies. The Physical Theatre as a Concept, a Phenomenon and Practice of Contemporary (?) Transgression of Genre Borders<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tJaak Tomberg Desubjectivation as Transformation. On Bodily Present in Karl Saks\u2019 \u201cPlanet Alexithymia\u201d<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tKarin Allik The Transformative Power of Transgression in Juhan Ulfsak\u2019s Work as a Director<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t11.30-12.00 Coffee break<\/span><\/span><\/span>\n<\/p>\n

\n\t12.00-13.30 <\/span><\/span><\/span><\/strong>\n<\/p>\n

\n\tX<\/span><\/b>\u00a0Invisible Minorities\u00a0<\/b>(\u00dclikooli 16, room 212)<\/span><\/span><\/span>\n<\/p>\n

\n\tChair Pirkko Koski<\/em><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tEva-Liisa Linder Outsiders or Innovators? The Untold Story of Queer Theatre in Estonia<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tStephen Elliot Wilmer Transgressive Performances: Refugees Demanding the Right to Have Rights<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tDaria Skjoldager-Nielsen Polishing Reykjavik: Immigrant Language on the City Theatre Stage<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tXI\u00a0Transgressions in Opera and Sound Art\u00a0<\/span><\/span><\/b>(\u00dclikooli 16, room 214)<\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tChair <\/span><\/span><\/span><\/span><\/span><\/span>Lauma <\/span><\/span><\/span><\/span><\/span>Mell\u0113na-Bartkevi\u010da<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\tJustina Paltanavi\u010di\u016bt\u0117 The Performativity of Socially Vulnerable Groups in the Opera Genre: A Case Study of the Opera \u201cHave a Good Day!\u201d<\/i><\/span><\/span><\/span><\/span>\n<\/p>\n

\n\tKristel Pappel Law and Order in Estonian Musical Theatre<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\tKarl Saks Sound Art and Performativity in Johhan Rosenberg \u201ctraps\u201d<\/i><\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t13.30-14.45 LUNCH BREAK<\/span><\/span><\/span>\n<\/p>\n

\n\t\u00a0\n<\/p>\n

\n\t14.45-15.30 Concluding Discussion of the Conference<\/span><\/span><\/span>\n<\/p>\n

\n\t15.45-17.00 Roundtable Discussion on Membership Issues of the ANTS<\/span><\/span><\/span>\n<\/p>\n

\n\t
19.00 opera Don Giovanni <\/i>in Vanemuine (Vanemuise 6)<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

THURSDAY 13.10.2022 \u00a0 12.45-13.45 City excursion (starting point Hotel SOHO lobby) 14.00-15.30 I National vs International (\u00dclikooli 16, room 212) Chair Luule Epner: Steve Wilmer? Ulla Kallenbach Transgressing Borders: Practices of Mobility and Cultural Exchange at The Royal Danish Theatre …<\/p>\n","protected":false},"author":279,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-10","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/10","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/users\/279"}],"replies":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/comments?post=10"}],"version-history":[{"count":1,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/10\/revisions"}],"predecessor-version":[{"id":72,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/10\/revisions\/72"}],"wp:attachment":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/media?parent=10"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}