{"id":3,"date":"2024-04-04T07:55:10","date_gmt":"2024-04-04T04:55:10","guid":{"rendered":"https:\/\/sisu.ut.ee\/ants2022\/abstract-and-speakers\/"},"modified":"2024-04-18T21:35:56","modified_gmt":"2024-04-18T18:35:56","slug":"abstract-and-speakers","status":"publish","type":"page","link":"https:\/\/sisu.ut.ee\/ants2022\/abstract-and-speakers\/","title":{"rendered":"Abstracts and Speakers"},"content":{"rendered":"<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff0f965\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff0f965-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff0f965-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff0f965-collapse-1\">\n\t\t\t\t\t\t\tA Transgression Nobody (but Later Anybody?) Wanted: Walter Benjamin's \u201cDas Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit\u201d\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff0f965-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff0f965-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div id=\"page\" class=\"page admin-menu-closed header-second content-none footer-none\">\n<div id=\"page-wrapper\">\n<div id=\"columns\" class=\"container clearfix\">\n<div class=\"row hg-container\">\n<div id=\"content-column\" class=\"col-md-12\" role=\"main\">\n<div class=\"content-inner\">\n<div id=\"main-content\">\n<div id=\"content\">\n<div class=\"region region-content \">\n<div id=\"block-system-main\" class=\"block block-system contextual-links-region\">\n<div class=\"content\">\n<div id=\"file-72649\" class=\"file file-document file-application-pdf contextual-links-region\">\n<div class=\"content\">\n<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Janne Risum<\/strong>, Aarhus University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/risum_janne_a_transgression_nobody_but_later_anybody_wanted_walter_benjamins_das_kunstwerk_im_zeitalter_seiner_technischen_reproduzierbarkeit.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>We are indebted to Theodor W. Adorno and his wife Gretel, for publishing their posthumous two-volume German edition in 1955 (Schriften 1-2) of central texts by Walter Benjamin, whose work during his exile years for obvious reasons had been largely overlooked. As well as we are to Hannah Arendt, for publishing in 1968 a selection of them in English translation with the title Illuminations and a thorough introduction by herself and complementing it with her treatise on Benjamin and Brecht, Men in Dark Times. In their respective spheres of action, together they initiated the process of elevating Benjamin\u2019s contribution as a cultural philosopher to its subsequent highly respected status.<\/p>\n<p>It is however crucial to our understanding of his endeavours to study them in the contemporary context he aimed them for. A tricky case in point is his essay \u201cDas Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit\u201d, which is more generally known today by the title of the Arendt edition, \u201cThe Work of Art in the Age of Mechanical Reproduction\u201d. With its partially contradictory contrasting of an apparently antiquated aesthetic aura of the unique work of art with the assumed promises for the artistic future through mechanical reproduction, in his essay Benjamin pushes his argument to extremes and aims at a radical transgression of contemporary aesthetic theory. As I shall demonstrate in more detail, it was an attempt at transgression which nobody in his personal circle of acquaintances welcomed. Quite the reverse: from Brecht to Adorno, they all criticized it severely, but did so from incompatible points of view. In short, writing and publishing it proved an uphill battle. It fell between all stools, and might have been left there, were it not for the retrospective magnanimity of Theodor and Gretel Adorno. Why it grew to become such a famous and widely used study text in university curricula is moreover a good question but may precisely be due to its combined challenge of insistent sincerity and inherent imperfections.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Janne Risum is Emeritus Associate Professor of Dramaturgy at the School of Communication and Culture at Aarhus University, Denmark. She was co-editor and author of the Danish standard work, Dansk teaterhistorie (Copenhagen: Gyldendal, 2 vols, 1992-1993). She is a long-standing member of the International Federation for Theatre Research and of its Historiography Working Group; and has moreover been active in Association for Nordic Theatre Scholars since its foundation. She has published widely in English and other languages on past and present theatre and acting in Europe and in Asia, including on Meyerhold and on gender issues. Her PhD dissertation in English on the Soviet tour of the Chinese male performer of female roles Mei Lanfang and his Beijing opera troupe in 1935 and its effects, The Mei Lanfang Effect (2010), was based on extensive archive studies in Russia and elsewhere, as are her subsequent follow-up articles exploring complementary aspects of this seminal event.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff0fdd1\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff0fdd1-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff0fdd1-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff0fdd1-collapse-1\">\n\t\t\t\t\t\t\tCaryl Churchill\u2019s Kill: Deeds of Words, Deeds of Bodies &amp; Matter. Deconstructing the Capital Transgression of Killing Children\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff0fdd1-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff0fdd1-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div id=\"page\" class=\"page admin-menu-closed header-second content-none footer-none\">\n<div id=\"page-wrapper\">\n<div id=\"columns\" class=\"container clearfix\">\n<div class=\"row hg-container\">\n<div id=\"content-column\" class=\"col-md-12\" role=\"main\">\n<div class=\"content-inner\">\n<div id=\"main-content\">\n<div id=\"content\">\n<div class=\"region region-content \">\n<div id=\"block-system-main\" class=\"block block-system contextual-links-region\">\n<div class=\"content\">\n<div id=\"file-72637\" class=\"file file-document file-application-pdf contextual-links-region\">\n<div class=\"content\">\n<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Outi Lahtinen<\/strong>, Aalto University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/lahtinen_outi_caryl_churchills_kill_deeds_of_words_deeds_of_bodies_matter_deconstructing_the_capital_transgression_of_killing_children.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>Caryl Churchill\u2019s Kill (produced by Finnish National Theatre, dir. Minna Leino) is an extremely economical and focussed play: two people on the stage, one giving a monologue, the other one pouring sticky liquid from a carton to a bowl. They both remain seated during the whole monologue, only the words and the sticky liquid, stage blood, flow in a torrent. The monologue hurls words talking about family relations generation after generation repeating one particular narrative: the fathers sacrificing their children. Something else keeps on repeating as well. The speaker of the monologue is a God, and he speaks on behalf of gods. Occasionally, he reminds us that the gods do not exist, they are invented by people. Yet the sacrificing of the children is performed to please the gods. The stage blood flows over the brim of the bowl.<\/p>\n<p>In my paper, I use the word \u2018deed\u2019 to point specifically to J. L. Austin as the theoretical founder of the discourse on performativity. Words and Deeds was the name of Austin\u2019s series of lectures at Oxford before his better-known Harvard lectures (1955) of which the notes then were later edited and published as the book How to Do Things with Words (1962). Following Austin, I locate the point of performativity in the act\u2019s capacity to establish something instead of representing or presenting something. Churchill\u2019s play points a finger at humans who use gods that they have invented to justify their transgressive acts. The scandalous spectacle of Greek mythology is distant and therefore safe, but the bare and reduced narrative and setting suggests that it might be a representative of a larger group, the religions in general. Is that what the humans tend to do with religion: justify the killing of their own descendants?<\/p>\n<p><strong>Biography<\/strong><br>\nOuti Lahtinen (PhD in theatre research, University of Helsinki) is a professor of practice at Aalto University \/ The School of Arts, Design and Architecture and a visiting lecturer at the\u00a0University of Helsinki. Her research interests include performance analysis and theory of performativity, which are also the topic of her dissertation Performativity in Theatre or How to Play with a Burned Match: A Study on a Concept, a Theory and a Theatre Production (<a href=\"https:\/\/helda.helsinki.fi\/handle\/10138\/321776\">https:\/\/helda.helsinki.fi\/handle\/10138\/321776<\/a>).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<footer id=\"footer\" class=\"clearfix\">\n<div id=\"powerby-login\"><\/div>\n<\/footer>\n<div id=\"extradiv\"><\/div>\n<div class=\"region region-page-bottom \">\n<form id=\"sweaver-frontend\" class=\"ng-pristine ng-valid\" accept-charset=\"UTF-8\" action=\"https:\/\/sisu-vana.ut.ee\/ants2022\/file\/72637\" enctype=\"multipart\/form-data\" method=\"post\">\n<div>\n<div id=\"sweaver\">\n<div id=\"sweaver-tabs\" class=\"clearfix\">\n<div class=\"close active-tab\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/form>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff1006f\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff1006f-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff1006f-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff1006f-collapse-1\">\n\t\t\t\t\t\t\tDesubjectivation as Transformation. On Bodily Present in Karl Saks' \"Planet Alexithymia\"\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff1006f-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff1006f-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Jaak Tomberg<\/strong>, Unviversity of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/tomberg_jaak_desubjectivation_as_transformation._on_bodily_present_in_karl_saks_planet_alexithymia_.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">In\u00a0his \u201eAntinomies of Realism\u201c (2013), a book on the poetics of literary realism, cultural and literary theorist Fredric Jameson usefully differentiates between emotion and affect. He redesignates \u201eemotion\u201c as \u201enamed emotion\u201c and reserves the term affect for those bodily sensations and perceptions that somehow (still) resist symbolic language and meaning. For Jameson, emotion and affect also belong to different temporalities: \u201enamed emotion\u201c is carried by a \u201ecoherent\u201c subject that \u201emeaningfully\u201c connects the past to the present and the present to the future, whereas affect belongs to pure bodily present of sensations and perceptions that somehow precede or underly subjectivity, symbolic language and meaning.<\/p>\n<p dir=\"ltr\">This presentation is a bystander\u2019s attempt to reappropriate Jameson\u2019s theoretical framework to describe the transformative effect of Karl Saks\u2019 \u201ePlanet Alexithymia\u201c \u2013 and by hypothetical extension, of possible other examples of contemporary performance art as well. I claim that the affective space and presence established in \u201ePlanet Alexithymia\u201c has the potential to reduce the viewer to pure bodily present, to a state that precedes language and meaning where subjectivity is temporarily dissolved or taken apart \u2013 and later put back together in a reconfigured way when the linguistic apparatus of symbolic meaning inevitably re-establishes itself. Thus, \u201ePlanet Alexithymia\u201c is a good example of how the affective dimension of (performance) art decisively contributes to what Jacques Ranci\u00e9re called the (re)distribution of the sensible \u2013 in other words, how it transforms the ways it is possible to perceive, think, say or do. Transgression, in this sense, is not social, psychological or physical, but ontological.<\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Jaak Tomberg is a co-professor of Contemporary Literature at the University of Tartu, Estonia. His research focuses on science fiction, utopia, and philosophy of literature. His two monographs focus on the poetics of Science Fiction, and his next one will be about utopian imagination. Besides research, he regularly writes literary criticism.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10260\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10260-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10260-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10260-collapse-1\">\n\t\t\t\t\t\t\tHamlet on a Hook. Adaptation as a Transgressive Force in Cultural Reproduction\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10260-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10260-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Katri Tanskanen<\/strong>, University of Helsinki<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/tanskanen_katri_hamlet_on_a_hook._adaption_as_a_transgressive_force_in_cultural_reproduction.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>\u201cThe rest is silence,\u201d are Hamlet\u2019s famous last words. However, E. L. Karhu\u2019s adaptation Princess Hamlet (2017) asks what happens next, for those who need to continue the story after its tragic end. It breaks the silence by offering us a new act during which Princess Hamlet\u2019s body hangs on a meat hook, Horatia dresses up as Hamlet and the post-truth kingdom continues its life in front of a screaming crowd. This presentation explores the strategies that Princess Hamlet uses to exceed the boundaries of tragedy and detect the implicit value-systems and hierarchies, especially in relation to gender.\u00a0Chris Jenks writes in his book Transgressions (2003, 2) that \u201c[t]ransgression is a deeply reflexive act of denial and affirmation\u201d. The same is true for adaptations that confirm the status of the source text but simultaneously advocate a radical break with that tradition. Adaptation can be an oppositional, subversive or even hostile takeover that reflects and undermines the canon. It demands cultural knowledge on the part of the audience and can be viewed as a conservative and elitist genre, but at the same time the historical awareness of the tradition provides an opportunity for reformulation and expansion, especially with regard to those consigned to its margins or excluded from it. This study explores the connections between transgression and adaptation by investigating how Princess Hamlet raises fundamental questions concerning the categories of genre, gender, normality, and how it rocks the tradition and collective order.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Katri Tanskanen currently works as a university lecturer in theatre studies at the University of Helsinki. Her main areas of interest include dramaturgy and the politics and ethics of\u00a0contemporary theatre and drama. She is also an author of several books discussing contemporary performance and drama and Finnish theatre history. She has worked as a cultural journalist as well as a theatre critic and is currently a co-editor of the journal Nordic Theatre Studies.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10448\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10448-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10448-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10448-collapse-1\">\n\t\t\t\t\t\t\tHow A Performace Led to a Latnix Community Organisation in Estonia\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10448-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10448-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Ana Falcon<\/strong>, Estonian Academy of Music and Theatre<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/falcon_ana_how_a_performance_led_to_a_latinx_community_organization_in_estonia.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>In November 2019, a performance titled \u201cUn Violador En Tu Camino\u201d (\u201cA rapist on your way\u201d) emerged in Chile, denouncing the sexual violence against women exerted by different spheres of society. The performance and its song quickly spread through Latin America and Latinx communities around the world. On March 9, 2020 a public performance was presented in the Town Hall Square of Tallinn, Estonia. This article explores how this performance became the starting point of the NGO International Women\u2019s Network in Estonia, which helps international migrant women who are affected by domestic violence.\u00a0This case shows how performance as a protest may have a deeper impact that goes beyond political expression, as the interaction between the participants can lead to more impactful activities such as the establishment of nonprofits, fundraisers, and community help platforms.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Ana Victoria Falcon Araujo is a PhD student at the Estonian Academy of Music and Theater, focused on VR screenwriting. She was a recipient of the 2008 Fusion Arts Exchange in Screenwriting and Film Production hosted by the University of Southern California and the US State Department. In 2017, she was distinguished with a Young Creators FONCA grant from the Mexican Culture Ministry. She obtained an MA in European Cinema granted by Universidade Lus\u00f3fona (PT), Tallinn University (EE), and Napier University (SCT). In 2019, she was a screenwriting finalist in the Watersprite International Student Film Festival hosted by the University of Cambridge. In 2021 she was selected as a Berlinale Talents.<\/p>\n<p><strong>Contact<\/strong><\/p>\n<p><a href=\"mailto:anavicfalcon@gmail.com\">anavicfalcon@gmail.com<\/a>\u00a0+372 5363 0874 Affiliation: Estonian Academy of Music and Theatre<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10645\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10645-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10645-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10645-collapse-1\">\n\t\t\t\t\t\t\tHow Theatre Mirrors Reality: Some Critical Aspects of the Representation of Women in Mainstream Performances\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10645-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10645-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Hedi-Liis Toome<\/strong>, University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/toome_hedi-liis_how_theatre_mirrors_reality_some_critical_aspects_of_the_representation_of_women_in_mainstream_performances.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">Theatre continues not just to mirror reality but to mediate and shape what we imagine is possible,\u201d states Jill Dolan in her book \u201cThe feminist spectator as critic\u201d (2nd edition 2012). Taking this statement as a starting point, the presentation analyzes two recent mainstream performances, \u201cWomen of Niskam\u00e4e\u201d by Vanemuine Theatre in Estonia and \u201cThe Sleepers\u201d by Lithuanian National Theatre from the perspective of how women are represented on stage. The presentation shows that even though the main characters are strong and powerful women, at the same time, their agency is still very much defined by the male directors who staged these productions. How to overcome this issue as a feminist spectator?<b>\u00a0\u00a0\u00a0<\/b><\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Hedi-Liis Toome (PhD) is a lecturer of theatre studies at the University of Tartu. Her research interest are the relationship between theatre and society, the functions and values of theatre and reception and audience research. She is also the organizer of an annual Estonian performing arts festival Draama.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10840\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10840-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10840-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10840-collapse-1\">\n\t\t\t\t\t\t\tImmortality and Theatre Dance in the 1920s. Dance Performance of Elmerice Parts and Herman Kolt-Oginsky\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10840-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10840-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Anne-Liis Maripuu<\/strong>, Univeristy of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/maripuu_anne-liis_at_the_boundary_between_art_and_non-art._elmerice_partss_and_herman_kolt-oginskys_dances_in_the_1920s.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The sociologist Chris Jenks understands transgression as that which exceeds boundaries or exceeds limits. The meaning of an act, Jenks explains, does not reside solely within the intentionality of the actor; indeed, in most instances it resides within the context of the act\u2019s reception.<\/p>\n<p>In the 1920s the Estonian modern dancers Elmerice Parts and Herman Kolt-Oginsky caused a scandal with their dance performances. At the centre of the scandal was the use of \u2018erotic\u2019 or \u2018acrobatic\u2019 elements on stage. Soon after the first performances the local reviewers found themselves in a heavy dispute. Whilst some of them were convinced that the duo\u2019s dance performances were \u2018immoral\u2019; the others praised the artists for \u2018rejuvenating\u2019 Estonian dance art.<\/p>\n<p>My presentation consists of two parts. In the first part, I try to create an image of Parts\u2019s and Kolt-Oginsky\u2019s dances performances on the basis of the reviews. How did their dance performances look like? What kind of movements did the performers use? In the second part I go for the meaning and try to understand what the scandal tells us. Where did the borders between \u2018moral\u2019 and therefore eligible and \u2018immoral\u2019 that is ineligible art lie in Estonia in the 1920s?<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Anne-Liis Maripuu \u2013 a PhD student at the University of Tartu. Author of multiple articles dedicated to early modern dance in Estonia. Maripuu has organised a symposium on Rudolf von Laban and two photo exhibitions: Dancing Free (Tantsides vabaks, 2018) and \u2018Gerd Neggo: \u201cDance Only Is Sovereign\u201d\u2019 (\u2018Gerd Neggo. \u201cTants ainu\u00fcksi on suver\u00e4\u00e4n\u201d\u2019, 2021, 2022). Her main research interest is early modern dance in Estonia and Germany.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff109ee\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff109ee-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff109ee-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff109ee-collapse-1\">\n\t\t\t\t\t\t\tIntolerable Images: Women's Protest Against Sexual Violence in Ukraine War\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff109ee-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff109ee-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Riina Oruaas<\/strong>,\u00a0University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/oruaas_riina_intolerable_images_womens_protest_against_sexual_violence_in_ukraine_war.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>During the war in Ukraine, activists have protested against the war and European countries supporting Russian Federation in war economically all over Europe, finding performative ways to express their position. In April 13, a group of women gathered in front of embassy of Russian Federation in Tallinn. They stood still in a row, heads in black plastic bags, hands tied behind their backs, bare legs and backsides covered with red paint, marking blood. A few days before, first photos of massacre in towns of Kyiv outskirts in Ukraine, had spread over the world media, including images of dead people lying down, hands tied behind their backs, heads in black plastic bags. A few days after the protest in Tallinn, women repeated the acts against war rape in Vilnius, Riga and other cities around Europe.<\/p>\n<p>As performative acts these protests are 1) actual bodies that bring a sign of the most stigmatized crime into the public sphere; 2) re-enactments of actual victims; 3) sources of new bodily and visual representations and re-enactments in public sphere; 4) media images. Ukraine war is also a media and information war and as transgressive images, the photos of protesting women create a zone of disturbance both in the public space and sphere.<\/p>\n<p>Jacques Ranci\u00e9re\u2019s essay \u201cIntolerable image\u201d states: only the one who does not want to witness, is the witness. Ranci\u00e8re discusses in the essay the ethics of being a spectator of war images or political art of photography, and ask questions of acceptability, the visible and the invisible. An intolerable image is in a complex relation to the intolerable reality. I\u2019ll discuss in the paper, what the protest acts can make, and how do they make us witness the war crimes against women.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Riina Oruaas is Lecturer and PhD candidate in theatre research at the Institute of Cultural Research, University of Tartu. Her research is focused on transforming aesthetics in Estonian theatre since 1990s, including dramaturgy, performing, scenography, and intermediality. She gives courses on theatre history, textual and performance analysis, has also taught in Estonian Academy of Arts and Tallinn University Baltic Film, Media and Arts School. Oruaas has worked as a visiting scholar at University of Surrey in 2015, has been chairing and board member of the Estonian Association of Theatre Researchers and Theatre Critics (2012\u20132015, since 2020) and co-edited the book Views on Contemporary Estonian Theatre (original title: Vaateid Eesti n\u00fc\u00fcdisteatrile, University of Tartu Press 2016), and co-curated arts festival Tartu Interdistsiplinaar (2022)<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10bbd\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10bbd-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10bbd-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10bbd-collapse-1\">\n\t\t\t\t\t\t\tLaw and Order in Estonian Musical Theatre\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10bbd-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10bbd-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Kristi Pappel<\/strong>, Estonian Academy of Music and Theatre<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/pappel_kristi_law_and_order_in_estonian_musical_theatre.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>In Estonia, activity in the field of musical theatre seems to take place in two parallel worlds (without diving in to questions of terminology, I consider the wider term of musical theatre to embrace opera as well). Opera performances are staged in National Opera Estonia and in the multi-genre theatre Vanemuine. Especially the National Opera Estonia stands out as conservative in its choice of repertoire as well as opera directing. When the renowned German opera director Tobias Kratzer staged 2016 Verdi`s \u201cAida\u201d at the National Opera without the typical Egyptian attributes, whilst also including more physical expression, a large part of the audience as well as the critics saw it as crossing the borderline.\u00a0A different attitude rules outside institutionalised theatre and especially in the case of new productions, where at least nearing the borders is acceptable and new performative solutions are being sought. The presentation uses case studies to analyse the setting of borders in institutional and non-institutional musical theatre productions and asks what it would take to cross those borders.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Kristel Pappel, Estonian musicologist, special research areas (1) history and theory of the opera and musical theatre, (2) history of the nineteenth-century music. Studied violin and musicology at the Estonian Academy of Music and Theatre (EAMT), PhD 2004 (\u201eOpera in Tallinn in the Nineteenth Century\u201c). Professor for music history and since 2015 head of the Centre for Doctoral Studies at the EAMT. Several research scholarships (Stadt L\u00fcbeck; Forschungsinstitut f\u00fcr Musiktheater, Universit\u00e4t Bayreuth; International Wagner Society; Viro-S\u00e4\u00e4ti\u00f6 Helsinki etc.). 2011\u20132014 guest lecturer and guest professor for music theatre at the Vienna University; guest lectures at the universities of G\u00f6ttingen, Dresden, Tartu etc<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10d86\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10d86-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10d86-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10d86-collapse-1\">\n\t\t\t\t\t\t\tOpera Film \u201cBanuta\u201d \u2013 Example of Transgression and Performativity\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10d86-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10d86-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Lauma Mell\u0113na-Bartkevi\u010da<\/strong>, J\u0101zeps V\u012btols Latvian Academy of Music<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/mellena-bartkevica_lauma_opera_film_banuta_-_example_of_transgression_and_performativity.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The paper aims to tackle the project that was initially planned as interactive music theatre production that turned into opera-film due to Covid-19 circumstances and restrictions. Anyway, in case of \u201cBa\u0146uta\u201d we deal with officially 1st Latvian original opera deconstructed and transformed into a new movie-opera form in the 21st century, proving that such transformation does not necessarily mean the mocking of national romanticism or culture values. German director Franziska Kronfoth has found a key that surprisingly resonates with social contexts of 21st century and in particular in 2022. The recontextualized story founds new audiences and new perception contexts without violating the original idea, although it is undoubtedly innovative and transgressive, bringing in such issues women\u2019s experience at war and questioning of traditions both in terms of contents and form.<\/p>\n<p>A hundred years after the premiere of Alfr\u0113ds Kalni\u0146\u0161\u2019 \u201cBa\u0146uta\u201d in 1920, comes the opera film \u2013 an international project that melts opera, musical performance, the conditionality of the performing arts and contemporary performativity. Director Franziska Kronfoth and dramaturg Evarts Melnalksnis bring together Latvian artists and the German musical theatre collective \u201cHauen und Stechen\u201d to interpret the dramatic message, which they do without sentimentality, playing with time and shattering space into pieces. The trauma and violence of war and personal relationships is an important leitmotif \u2013 Ba\u0146uta takes part in partisan battles, bringing with her the collective experience of the women who have suffered through the wars in 20th century Eastern Europe. Nevertheless, mixing the boundaries between genres, a paradoxical sense of humor seeps into the tragedy, while characters stuck deep in the centuries strive to break the fourth wall. This example brings the theory of performativity into practice and challenging the museum value of the piece opens new horizons and contexts for the subject treated within.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Lauma Mell\u0113na-Bartkevi\u010da holds a PhD degree in Arts by the University of Latvia (2018), she is a researcher of J\u0101zeps V\u012btols Latvian Academy of Music (since 2020), music and theatre critic. Head of Latvian National Section of International Theatre Critics\u2019 Association AICT\/IACT and coordinator of international relations in Latvian Theatre Labour Association, editor of the musicology magazine \u201cM\u016bzikas akad\u0113mijas raksti\u201d and co-editor of Latvian theatre website Kroders.lv. As a freelancer she has worked for \u201cNeatkariga Rita avize\u201d, the 2 nd largest daily newspaper of Latvia, covering themes related to classical music, opera and theatre since 2004 to 2020. Regularly publishes articles in national magazines of music and theatre. In 2022 works in the jury of the Great Music Award of Latvia and as an expert invited by radio \u201c Latvian Radio 3 Klasika\u201d.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff10f7f\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff10f7f-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff10f7f-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff10f7f-collapse-1\">\n\t\t\t\t\t\t\tOutsiders or Innovators? The Untold Story of Queer Theatre in Estonia\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff10f7f-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff10f7f-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Eva-Liisa Linder<\/strong>, Tallinn University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/linder_eva-liisa_outsiders_or_innovators_the_queer_theatre_in_estonia.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>During the transition period, Estonian society started to return towards the Western semiosphere. As censorship was abolished at the end of the 1980s, a wave of memory theatre and the theatre of the absurd flooded the stages. It enabled a distanced view at the totalitarian past. A vision for the future was displayed in contemporary Western dramaturgy along with impulses of political theatre.<\/p>\n<p>The arrival of sexually liberal dramaturgy has so far been largely overlooked. In it, crucially, emerged queer dramaturgy, a litmus test of democracy. The first, subdued homosexual characters reached Estonian stages in the Anglo-American dramaturgy, e.g. by Delaney and Williams, around the time homosexuality was decriminalized (1992).<\/p>\n<p>The first openly queer and widely discussed production \u201cAngels in America\u201d (1996) was directed by Georg Malvius from liberal Sweden. Despite the contradictory reception to the long-time taboo topic, Malvius went on with queer classics like \u201cBent\u201d and \u201cCabaret\u201d. He stressed the need to cultivate pluralism, equality and tolerance in the xenophobic post-Soviet society. Although his thematic and aesthetic breakthrough was received by many as too foreign, didactic and shocking, his technical skills could not be overlooked. He was appreciated for his masterful productions full of performative scenes. However, his innovation in queer aesthetics with transgressive bodily messages, fight with prejudices and attempt to legitimize the plurality of sexual identities have not been recognized.<\/p>\n<p>Later, others developed queer theatre from gay to queer, trans and drag issues, using a variety of styles and techniques from original full-length plays, devised and documentary theatre to dance shows. On a metalevel these productions have contributed to the breaking of the mental iron curtain, left from the post-communist times.<\/p>\n<p>Until now, queer theatre in Estonia has remained politicized and poorly covered. Therefore, the current presentation aims to give one of the first overviews of it, drawing inspiration from the history of queer theatre and the ethical turn in theatre studies.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Eva-Liisa Linder is a theatre researcher at the Drama School of the Estonian Academy of Music and Theatre. She holds an MA in theatre studies from the University of Tartu and continues her studies at Tallinn University, where her research is focused on the changing theatrical public sphere during the transition period of Estonia. As a freelance editor and critic, she has edited collections on theatre history and pedagogy, and published several articles.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff1119e\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff1119e-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff1119e-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff1119e-collapse-1\">\n\t\t\t\t\t\t\tPerformativity and Empowerment of Socially Vulnerable Groups of Society: a Case Study of the Opera \u201cHave A Good Day!\u201d\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff1119e-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff1119e-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Justina Paltanavi\u010di\u016bt\u0117<\/strong>, Vilnius University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/paltanaviciute_justina_the_performativity_of_socially_vulnerable_groups_of_society_in_the_opera_genre_a_case_study_of_the_opera_have_a_good_day_.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The opera genre is considered to be an artistic, namely a hermetic domain. Yet, since the very first examples, the production principles of the opera were controlled by the authorities, consenquently opera reflected the dominant political powers and ideologies (Rabb, 2006, p. 322-323; Hanning, 1979, p. 590; Hume, 1998, p. 29). Gradually the subsequent comic forms of the opera genre enabled a creative criticism of the dominant political power and the prevailing socio-political system (Gabriel, 2006, p. 6; Muir, 2006, p. 331-333; Rosand, 2006, p. 413). In order to draw the public attention to the issues of social distinction and to empower socially vulnerable groups of society, opera composers and librettists appropriated different kinds of aesthetics of lower class society (Cowart, 2001, p. 273-285; Cowart, 2001, p. 272; Morrissey, 1971; Pettegree, 2012). Although various examples of the opera genre from G. B. Pergolesi to A. Piazolla represent the appropriation of the performativity of lower class of society, the actual response of people, represented in the opera genre and considered as socially vulnerable, has never been investigated emipircally. This research aims to reveal whether the representation of the performativity of socially vulnerable society groups affects and empowers individuals considered as socially vulnerable.\u00a0The example of the opera by composer L. Lapelyt\u0117, librettist V. Grainyt\u0117 and director R. Barzd\u017eiukait\u0117 \u201cHave A Good Day!\u201d (2011) was deliberately chosen as the research object. The research was performed while carrying out the social experiment: the opera \u201cHave A Good Day!\u201d, fictionally representing cashiers of the supermarket, was shown to the participants of the social experiment who work as cashiers. Consequently, the participants were interviewed, qualitative content analysis of the gathered data was performed. In order to address the general topic of performativity and transgression, the problematics of ethics and possibly transgressive behaviour of the authors of the opera is also discussed.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Justina Paltanavi\u010di\u016bt\u0117 Department of Digital Cultures and Communication, Faculty of Communication, Vilnius University, Saul\u0117tekio av. 9, House 1\u2013603, 10222 Vilnius, Lithuania Justina Paltanavi\u010di\u016bt\u0117 is a musicologist, music journalist, the editor-in-chief of the virtual platform of the Music and Information Center, which is the main organisation promoting Lithuanian music culture in Lithuania and abroad. Justina is currently a lecturer and a doctoral student of Vilnius University, Faculty of Communication, focusing on various aspects of opera and politics. Publications on the theatre research: Paltanavi\u010di\u016bt\u0117, J. (2022). Creativity As Social Critique: A Case Study Of The Opera Have A Good Day! Creativity Studies, 15(1). 233-245.\u00a0<a href=\"https:\/\/doi.org\/10.3846\/cs.2022.15026\" target=\"_blank\" rel=\"noopener\">https:\/\/doi.org\/10.3846\/cs.2022.15026<\/a><\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff11362\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff11362-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff11362-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff11362-collapse-1\">\n\t\t\t\t\t\t\tPerformance that Dissapeared: Two Case Studies of Alternative Aesthetics in the Recent Latvian Theatre History\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff11362-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff11362-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div id=\"page\" class=\"page admin-menu-closed header-second content-none footer-none\">\n<div id=\"page-wrapper\">\n<div id=\"columns\" class=\"container clearfix\">\n<div class=\"row hg-container\">\n<div id=\"content-column\" class=\"col-md-12\" role=\"main\">\n<div class=\"content-inner\">\n<div id=\"main-content\">\n<div id=\"content\">\n<div class=\"region region-content  \">\n<div id=\"block-system-main\" class=\"block block-system contextual-links-region\">\n<div class=\"content\">\n<div id=\"file-72635\" class=\"file file-document file-application-pdf contextual-links-region\">\n<div class=\"content\">\n<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Zane Kreicberga<\/strong>, Latvian Academy of Culture<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/kreicberga_zane_performance_that_dissapeared_two_case_studies_of_alternative_aesthetics_in_the_recent_latvian_theatre_history.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The paper will focus on the alternative theatre and performance culture of the late 1980s in Latvia and on two independent companies that appeared around 1987 in particular, namely \u201cThe Obsessed House\u201d and \u201cThe Theatre Studio No. 8\u201d. Both companies existed only for a few years and their activities and traces in Latvian theatre had not been properly researched by now. However, they are remarkable because of their aesthetics, which significantly differed from the mainstream Latvian theatre of the time and could be regarded as performative transgressions.\u00a0\u201cThe Obsessed House\u201d grew out of the amateur theatre group led by the theatre director Ilm\u0101rs \u0112lerts (1948-1991) who during the Soviet times consistently worked outside the institutional theatre framework and developed his own theatre language much closer to the ideas of Grotowski and Brook than to psychological theatre. The whole artistic path of \u0112lerts could be defined as the resistance to and the transgression of the uniformed understanding of theatre during the Soviet times. In 1986\u201387, several graduates of the acting course at the Conservatorium refused employment at institutional theatres and together with the movement artist Modris Tenisons (1945-2020) and the young playwright Lauris Gundars established \u201cThe Theatre Studio No. 8\u201d. They were interested in absurdist approach mixed with performance art strategies that were hardly known and adopted in the context of Latvian theatre of the time. The paper will contextualize both phenomena within the recent Latvian theatre history and within a wider context of the post-soviet Eastern European theatre and performance culture.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Zane Kreicberga has been trained as a theatre director at the Latvian Academy of Culture (LAC) where she currently is a professor in contemporary theatre. For about 20 years she has been working at the New Theatre Institute of Latvia organizing the International Festival of Contemporary Theatre \u201cHomo Novus\u201d. Since 2012, she has been the research assistant at the LAC Research Centre. In 2017\u20132022, she was the head of the Performing Arts Department. Her research interests include acting techniques and the role of the theatre in the social and political context. Now Zane is working on her doctoral thesis about the transition period of the late 1980s and 1990s of the Latvian theatre.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<footer id=\"footer\" class=\"clearfix\">\n<div id=\"powerby-login\"><\/div>\n<\/footer>\n<div id=\"extradiv\"><\/div>\n<div class=\"region region-page-bottom  \">\n<form id=\"sweaver-frontend\" class=\"ng-pristine ng-valid\" accept-charset=\"UTF-8\" action=\"https:\/\/sisu-vana.ut.ee\/ants2022\/file\/72635\" enctype=\"multipart\/form-data\" method=\"post\">\n<div>\n<div id=\"sweaver\">\n<div id=\"sweaver-tabs\" class=\"clearfix\">\n<div class=\"close active-tab\"><a href=\"https:\/\/sisu-vana.ut.ee\/ants2022\/file\/72635#\">x<\/a><\/div>\n<div id=\"tab-sweaver_plugin_advanced\" class=\"tab active-tab sweaver_plugin_advanced\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/form>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff115b5\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff115b5-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff115b5-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff115b5-collapse-1\">\n\t\t\t\t\t\t\tPerforming Dirty Hands at the Finnish National Theatre in 1948\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff115b5-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff115b5-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Hanna Korsberg<\/strong>, University of Helsinki<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/korsberg_hanna_performing_dirty_hands_at_the_finnish_national_theatre_in_1948.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>In my presentation I will discuss debated boundaries and strategies of transgression in performing arts. I am looking at a production of Jean-Paul Sartre\u2019s Dirty Hands at the Finnish National Theatre and discussing the political context of transgression. What were the boundaries the production broke and the strategies the theatre negotiated with the transgression.<\/p>\n<p>The Finnish premiere of Jean-Paul Sartre\u2019s Les Mains Sales or Dirty Hands took place on 8 October 1948 at the Finnish National Theatre. The production was directed by the director of the theatre Eino Kalima and the part of Hoederer was played by Aku Korhonen, a well-known actor and a board member of the Finnish National Theatre. It also included two very prominent young actors Kyllikki Forssell as Jessica and Rauli Tuomi as Hugo.<\/p>\n<p>The play received considerable attention from the critics as well as from the audience. Especially the performance of Hoederer cut a dash. As a member of the audience recalled later concerning the moment at the end of act II (the third episode) when Hoederer entered: [there] was a total silence and then everybody was thinking how did the ensemble dare? The reason for the shock was that the character Hoederer was masked to look like Joseph V. Stalin, the General Secretary of the Soviet Union. The production run for less than two months before the Finnish National Theatre was forced to close it.<\/p>\n<p>Performing Dirty Hands the way the Finnish National Theatre did in 1948 was a courageous act. After the WWII the political situation in Finland remained critical for years. For example, the Control Commission, with mainly Soviet members, stayed in Helsinki until 1947 when the final peace treaty was signed in Paris. The years the Control Commission stayed in Helsinki, have often been characterized as an extremely hard time for Finland. Even after the ratification of the Paris peace treaty and when the control commission had left Finland in the autumn of 1947 the conditions in the country did not return to their pre-war conditions. There were constant negotiations about what was allowed and what was forbidden in relation to the Soviet Union to keep independence and avoid a Soviet military\u00a0takeover. Simply by performing Dirty Hands the Finnish National Theatre became part in these negotiations.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Hanna Korsberg has been Professor of Theatre Research at the University of Helsinki since 2008. Her research interests include the relationship between theatre and politics in Finland, a topic which she has studied in two monographs. She is also the author of several articles discussing theatre history, historiography and performance. She has been an active member of the International Federation for Theatre Research (IFTR) Historiography Working Group since 2001, anexecutive committee member in 2007\u20132015 and Vice President during 2015\u20132019. She has served as a member of the advisory boards for Contemporary Theatre Review and Nordic Theatre Studies. She is also a member of the Teachers\u2019 Academy at the University of Helsinki.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff117a2\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff117a2-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff117a2-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff117a2-collapse-1\">\n\t\t\t\t\t\t\tPerforming, Speaking and Singing Bodies. The Physical Theatre as a Concept, a Phenomenon and Practice of Contemporary (?) Transgression of Genre Borders\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff117a2-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff117a2-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Ildik\u00f3 Sirat\u00f3<\/strong>, Hungarian Dance University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/a_-_taiendatud_sirato_ildiko_performing_speaking_and_singing_bodies._the_physical_theatre_as_a_concept_a_phenomenon_and_practice_of_contemporary_transgression_of_genre_borders.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The paper refers to the contemporary performances using distinctive name of Physical Theatre. What does that concept mean in comparison to stage genres that are (more) traditional (dance, movement performance, wordless theatre, voice-performance, etc.)? What are the topical features of practice of Physical Theatre performances, focusing e.g. on performers\u2019 tasks, text and textures of content, analytic and\/or symbolic characters and gestures, technics and methods of multiplication of characters?<\/p>\n<p>There are some basic and newer literature on the theory of Physical Theatre as well as the practice of performances. As the concepts of ritual syncretism as well as of Gesamtkunstwerk are well known in the history of arts and theatre, man can consider the movement of Physical Theatre form the 1970s defining itself as a contemporary part of a historical process of renewing those earlier concepts and features. At the same time as a cross-over contemporary genre, performances labelled Physical Theatre unify some important for authors and public possibilities. As e.g. use of contemporary technologies, conceptual elements and forms, as well as inventions in expression of time-space frames too.<\/p>\n<p>These special cross-over or transgressive features we could show via some performance analyses. Man could get familiar with some Hungarian examples from last decades until the recent days Physical Theatre productions in the mirror of theories and histories.<\/p>\n<p>In Hungary, the first special Physical Theatre performance has been staged in 2008. On the first night of the play named and based (partly) on Kalevala made by choreographer Csaba Horv\u00e1th and his troupe ForteDanse (lately Forte Company\u00a0<a href=\"https:\/\/www.fortecompany.hu\/\">https:\/\/www.fortecompany.hu\/<\/a>). Their latest performance (premi\u00e8red 26.3.2022) was the Cross Cantatas (J. S. Bach\u00a0<a href=\"https:\/\/www.opera.hu\/en\/programme\/megtekint\/keresztkantatak-2021\/\">https:\/\/www.opera.hu\/en\/programme\/megtekint\/keresztkantatak-2021\/<\/a>) in the former industrial space of Eiffel Art Studios\u00a0<a href=\"https:\/\/www.opera.hu\/en\/about-us\/building\/eiffel\/\">https:\/\/www.opera.hu\/en\/about-us\/building\/eiffel\/<\/a>, which is running as the contemporary performing venue (real space of transgressions) of Hungarian State Opera having two traditional houses, too. In this performance, we could\u00a0consider different types of transgressions: in between genres oratory and opera (with contemporary dance scenes), in between music and movement-theatre performance etc. There are dancers who sing, singers who move, musicians moving set and property, stage personnel used as set elements, choir sitting (or standing) in auditorium side etc.<\/p>\n<p>There are some other type Physical Theatre performances on Hungarian stages too, which are dealing with societal issues of people on the peripheries of community, e.g. performances of (mentally) disabled professional actors (Baltaz\u00e1r Theatre or M\u00e1Sz\u00ednh\u00e1z \u2013 AnotherTheatre) you could get some information too.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Ms. Ildiko Sirato Ph. D. theatre and literature researcher from Budapest, Hungary. Working in Collection of Theatre History at Hungarian National Sz\u00e9ch\u00e9nyi Library; associate professor at Hungarian Dance University, and lecturer at different Universities and Doctoral Schools in Hungary and abroad (Austria, Finland etc.). Theatrical activities as stage director and dramaturg. Research fields: comparative theatre research, dramaturgy, history of Hungarian theatre and the national type of theatres of Europe. Author of books e.g. A Short History of Hungarian Theatre, 2017; National Theatres in Europe. Institution of National Theatre, Comparative Studies on Theatre History, 2007; Theatre in the Northern Light. Estonian and Finnish Drama on the Hungarian Stage, 2005; editor of Hungarian Theatre Lexicon, 1992; book-series Studia Theatralica, and journal Sz\u00ednpad [Stage]. Membership in ITI, IFTR\/FIRT, ASSITEJ, OISTAT, TeaTS (Finland), and others. Permanent guest at DRAAMA festivals in Estonia since 2003.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff11999\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff11999-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff11999-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff11999-collapse-1\">\n\t\t\t\t\t\t\tPolishing Reykjavik: Immigrant Language on the City Theatre\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff11999-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff11999-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Daria Skjoldager-Nielsen<\/strong>, Stockholm University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/skjoldager-nielsen_daria_polishing_reykjavik_immigrant_language_on_the_city_theatre_stage.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>When a colleague asked me: \u201cDo you know that we are staging a performance in Polish in the Reykjav\u00edk City Theatre?\u201d, my mind immediately exploded with all the questions: why? How is it possible? Who is responsible for that? And most importantly, how is it going? After all, it is not that often to see a performance in a foreign language to be part of the regular repertoire of the city theatre. As a guest performance \u2013 yes; as part of the immigrant institution (e.g., polnisches theater kiel \u2013 Polish Theatre in Kiel, Germany) \u2013 yes; as a performance in an official minority language (e.g., Finnish in Sweden) \u2013 yes. But the forementioned example does not belong to any of those cases: the City Theatre invited foreign artists to perform in their mother tongue and included the result of their work in the regular repertoire available to all the Reykjav\u00edk residents.<\/p>\n<p>In my paper I will deliberate on how performances by P\u00f3liS theatre group in Reykjav\u00edk cross the cultural boundaries of the theatre institution. I will look at them as an example of the Third Space [Bhabha] \u2013 a space where cultures interact that supports creative processes. In my discussion I will include the terms transculturation (i.e., reciprocal processes that appear during the meeting of two cultures [Ortiz and Taylor]) and acculturation (i.e., engaging in the intercultural contact [Berry]) that may help to better understand what effect the staging of the performances in Polish may have on local audiences. I will also consider whether such an event can contribute to a cultural transfer [Prykowska-Michalak] or rather serves as a theatrical experiment.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Daria Skjoldager-Nielsen, Stockholm University. Also publishes as Daria S. Nielsen. Holder of two MA degrees from the University of Lodz: in marketing and theatre studies. PhD candidate in theatre studies at Stockholm University. Lecturer at University of Lodz. Member of the IFTR working group The Theatrical Event. Vice chairwoman of Rococo Foundation researching cultural institutions\u2019 management and performance. Research interests: the theatrical event; new approaches to audience development; marketing and theatre; audience\u00a0research. Recent publications: \u201cThe (Ir)replaceable Master Director \u2013 Considering the Case of the Odin Teatret\u201d with Kim Skjoldager-Nielsen, in Zarz\u0105dzanie w kulturze 2020, Tom 21, Numer 2, \u201cPara-Anthropo(s)cene Aesthetics Between Despair and Beauty: A Matter of Response-Ability\u201d with Kim Skjoldager-Nielsen, in Nordic Theatre Studies 2020, 32(1)<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff11b53\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff11b53-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff11b53-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff11b53-collapse-1\">\n\t\t\t\t\t\t\tSound Art and Performativity in Johhan Rosenberg \"traps\"\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff11b53-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff11b53-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Karl Saks<\/strong>, Estonian Academy of Music and Theatre<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/saks_karl_sound_art_and_performativity.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>My proposal for the conference would be a presentation on the topic of sound art and performativity. In the context of my artistic research as a sound artist, I participated in Johhan Rosenberg\u2019s solo work \u201cTraps\u201d, where I was interested in the audible components of the work and their relationship with the dramatic structure and choreographic material of the production, as well as communication with the author during the production process and presentation. A very strong detail that emerged from the performances was the fact that I did not just make sound design, but I accompanied Johhan\u2019s performance in real time.\u00a0For that I had to fully understand and even emerge into Johhan\u2019s performance, physically, mentally and linguistically. My presentation would be about the difficulties and possibilities of accompanying a performer in real time, including the complexity of the performers identity changes during the work. \u201ctraps\u201d can be seen as a confluence of different actions, dragged by linguistic elements. A hypnotic zoo invites the viewer into its trap. By featuring the unknown as a source of compositional information, where words, bodies and configurations morph, a collective playground is created. It is not a game, but rather an overt observation of a hidden manifesto.\u201d Johhan Rosenberg<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Estonian Academy of Music and Theatre Artistic research : \u201cCompositional and conceptual tools of a sound artist in the context of postdramatic theater\u201d\u00a0<a href=\"mailto:cubuslarvik@gmail.com\">cubuslarvik@gmail.com<\/a><\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff11d2a\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff11d2a-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff11d2a-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff11d2a-collapse-1\">\n\t\t\t\t\t\t\tThe Notion of Suicide in Lithuanian Theatre\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff11d2a-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff11d2a-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div id=\"page\" class=\"page admin-menu-closed header-second content-none footer-none\">\n<div id=\"page-wrapper\">\n<div id=\"columns\" class=\"container clearfix\">\n<div class=\"row hg-container\">\n<div id=\"content-column\" class=\"col-md-12\" role=\"main\">\n<div class=\"content-inner\">\n<div id=\"main-content\">\n<div id=\"content\">\n<div class=\"region region-content  \">\n<div id=\"block-system-main\" class=\"block block-system contextual-links-region\">\n<div class=\"content\">\n<div id=\"file-72632\" class=\"file file-document file-application-pdf contextual-links-region\">\n<div class=\"content\">\n<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Monika Ja\u0161inskait\u0117<\/strong>, University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/jasinskaite_monika_the_notion_of_suicide_in_lithuanian_theatre.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>World statistics show Lithuania is among the countries with the highest suicide rates in the world. During recent decades the problem has been known yet little approached in performing arts, although theatre has been traditionally seen as important tool for shaping national identity. The presentation discusses three different approaches to suicide in several works on Lithuanian stage.\u00a0Firstly, it examines the most popular Lithuanian opera, \u201cPil\u0117nai\u201d (\u201cPillenen\u201d, three stagings between 1956-1986) by Vytautas Klova as a historical background. It follows the story of medieval lord failing to defend the castle and committing communal suicide with his people; in 1956 it was received as an example of collective Lithuanian people heroism and Soviet patriotism. Another work \u2013 the performance \u201cFreedom\u201d (2021, director Dainius Gavenonis) based on the play by Canadian writer Martin Bellamare \u2013 draws into discussion on legal right for citizens to decide when and in what manner they want to end up their lives. Finally, the dance performance \u201cDance for Washing Machine and Mother\u201d (2020, choreographer Greta Grinevi\u010di\u016bt\u0117) offers insight into the personal relationship of the performer with her mother who committed suicide when the artist was a small child.<\/p>\n<p>By showing the different perspectives on the taboo topic in the performing arts, presentation also suggests differences in the understanding about the functioning of arts and the role of an artist in society.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Monika Ja\u0161inskait\u0117 developed an interest in performing arts when studying Arts History and Criticism at Vytautas Magus University (Kaunas, Lithuania) a decade ago. She began writing about theatre and dance for cultural media and became involved in questioning conditions for creation. She worked for a few companies, such as independent Art\u016bras Areima Theatre and regional state institution Juozas Miltinis Drama Theatre. Besides, she contributed to several productions as a dramaturg. In 2019, she started a statistical survey on behalf of the Performing Arts Critics Association of Lithuania. Now she is a Ph.D. student at the University of Tartu.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<footer id=\"footer\" class=\"clearfix\">\n<div id=\"powerby-login\"><\/div>\n<\/footer>\n<div id=\"extradiv\"><\/div>\n<div class=\"region region-page-bottom  \">\n<form id=\"sweaver-frontend\" class=\"ng-pristine ng-valid\" accept-charset=\"UTF-8\" action=\"https:\/\/sisu-vana.ut.ee\/ants2022\/file\/72632\" enctype=\"multipart\/form-data\" method=\"post\">\n<div>\n<div id=\"sweaver\">\n<div id=\"sweaver-tabs\" class=\"clearfix\">\n<div class=\"close active-tab\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/form>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff12f4f\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff12f4f-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff12f4f-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff12f4f-collapse-1\">\n\t\t\t\t\t\t\tThe Reception of Transgressive Performances. The Case of NO99\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff12f4f-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff12f4f-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Madli Pesti<\/strong>, Estonian Academy of Music and Theatre<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/pesti_madli_the_reception_of_transgressive_performances.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The presentation will look into the perception and reception of transgressive performances. I will analyse the case of the Theatre NO99. Theatre NO99 (2005\u20132018) was an Estonian contemporary theatre that was founded by the director Tiit Ojasoo, the director and scenographer Ene-Liis Semper and the dramaturg Eero Epner. The theatre created performances that crossed both aesthetic and thematic boundaries compared to traditional theatre. NO99 became a frequent visitor at theatres and theatre festivals across Europe. The presentation focuses on two productions that represent transgressive political theatre and that created most controversy and debate in the European media.\u00a0The first example is the production \u201cNO88 GEP. Hot Estonian Guys\u201d (2007) that tackles the problem of Estonian demography: Estonians are dying out, there are not enough children. The situation in the play is as follows: a group of young Estonian men decide to start making babies to Estonian women. Their action is morally unacceptable and ethically dubious, but raises discussions. The devised production won several international awards and travelled to many countries: Lithuania, Poland, Russia, Finland, Germany, Austria, Switzerland and the Netherlands.<\/p>\n<p>Another debated production I will focus on, is \u201cNO69 Three Kingdoms\u201d (2011), an international collaboration between the Theatre NO99, M\u00fcnchner Kammerspiele (Germany) and Lyric Hammersmith (UK). Directed by Sebastian N\u00fcbling, one of the most innovative and intuitive directors in contemporary Germany, \u201eThree Kingdoms\u201c was a crime thriller whose plot followed an investigation that goes from England to Estonia, from Western Europe to Eastern Europe. This long mystical journey across the continent was written by the British playwright Simon Stephens especially for this director and these actors. It dealt with what it means to be European. It brought together actors and arstists from across Europe \u2013 from Estonia, Germany and United Kingdom. It brought together and merged three distinct acting traditions and the result was fascinating for the different audiences around Europe (it was played in Tallinn, London, Munich, Berlin, Hamburg and Vienna). In London it caused something one might call \u201crevolution\u201d as younger generation of theatre makers greeted it with exultation, but part of the reception denied that kind of theatre completely. In Germany it was highlighted as one of the most remarkable international co-productions in German theatre history.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Madli Pesti (b. 1980) holds a PhD in theatre research from Tartu University, Estonia (Political Theatre and its Strategies in the Estonian and Western Cultures, 2016). She is currently working as a senior researcher in the Estonian Academy of Music and Theatre, where she runs the practice-as-research PhD programme. Her research areas are performance analysis and theory, political and applied theatre, and contemporary theatre. In 2018 she published the book 100 Years of Estonian Theatre. She has also been writing theatre reviews since 2002, winning the award as best theatre critic at the Estonian Annual Theatre Awards in 2019. She was head of the Estonian Theatre Researchers\u2019 and Critics\u2019 Association (2015) and curated the programme of the new performing arts centre Open Space (Vaba Lava) in Tallinn between 2015 and 2017<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff13178\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff13178-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff13178-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff13178-collapse-1\">\n\t\t\t\t\t\t\tThe Theory of Verbal Action\/Influence as One of the Tools of Transgression of Boundaries Between Theatre\/Performance and Everday Life\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff13178-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff13178-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<div id=\"page\" class=\"page admin-menu-closed header-second content-none footer-none\">\n<div id=\"page-wrapper\">\n<div id=\"columns\" class=\"container clearfix\">\n<div class=\"row hg-container\">\n<div id=\"content-column\" class=\"col-md-12\" role=\"main\">\n<div class=\"content-inner\">\n<div id=\"main-content\">\n<div id=\"content\">\n<div class=\"region region-content  \">\n<div id=\"block-system-main\" class=\"block block-system contextual-links-region\">\n<div class=\"content\">\n<div id=\"file-72647\" class=\"file file-document file-application-pdf contextual-links-region\">\n<div class=\"content\">\n<div class=\"field field-name-os-file-description field-type-text-long field-label-hidden\">\n<div class=\"field-items\">\n<div class=\"field-item even\">\n<p><strong>Victor Polyakoff<br>\n<\/strong><a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/a_-_taiendatud_polyakoff_victor_the_theory_of_verbal_action_influence_as_one_of_the_tools_of_transgression_of_boundaries_between_theatre_performance_and_everday_life.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">If we try to give an artistic illustration of the general theme of our conference, then I would illustrate the concept of Performativity with a phrase from the ancient Roman writer Petronius Arbiter \u201cMundus universus exercet histrionam\u201d. This saying, by the way, adorned the pediment of Shakespeare\u2019s Globe Theatre. Yes, and the very phrase Shakespeare elaborated in his play \u201cAs you like it\u201d in the monologue of Jaques \u201cAll the world\u2019s a stage. And all the men and women merely players\u201d.<\/p>\n<p dir=\"ltr\">And evolving this topic, I would illustrate the second component of the general theme of our conference, which is Transgression, with the phrase of Oscar Wilde \u201cThe world is a stage, but the play is badly cast\u201d from his \u201cLord Arthur Savile\u2019s Crime\u201d. The whole quotation is like this: \u201cActors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast\u201d.<\/p>\n<p dir=\"ltr\">Modern society is often called the \u201csociety of the spectacle\u201d. Now it is not enough for public figures to simply convey their position. Now it is important how you convey this position. For example, meetings of the British Parliament are broadcast live, with rare exceptions. If earlier a public figure used his eloquence and demagogic techniques in order to convince his opponents in the rightness of the position (the public received only extracts of what happened within the walls of parliament through journalists or official communiqu\u00e9s), then now public figures should use speech techniques meaning how the general public will hear them. Thus, the boundaries of the performance (spectacle) on the stage and the spectacle (performance) in life are washed out, and the public figures more and more resemble the actors on the theatre stage.<\/p>\n<p dir=\"ltr\">A\u00a0group of researchers and practitioners set out to create a kind of musical score for director and actor of drama art in order to capture the very action taking place on stage. Literally speaking to play like clock-work. The theatrical theory of action includes three sections: wordless elements of action, verbal influence, socially playing exercises (performativity) in acting. Through long studies and experiments on the physical action on the stage, they managed to find out that all the action on stage is subject to 11 verbs and, as to say, fittings to them. Each of the actions denoted by these verbs is well known to performers from childhood, as these are reactions and actions from everyone\u2019s daily life. As a result, it became possible, in conjunction with the explication, to create the most detailed staff and score of the performance, so to speak.<b>\u00a0<\/b><\/p>\n<p dir=\"ltr\">Let me, please, introduce my practical course \u201cPsychophysical nature of acting \u2013 verbal action\/influence\u201d. The course is planned for 25 academic hours.\u00a0 The course consists of two parts: theoretical (the essence of it will be explained further) and the practical part. During the practical session some texts from the plays are disseminated to the students and they will be practicing the method in pares and in groups depending the topic discussed. In the conclusion please find an example how the scene could be differently played with different actions and fittings.<\/p>\n<table class=\"table table-hover\">\n<tbody>\n<tr>\n<td>\n<p dir=\"ltr\"><b>HAMLET: (enticing) Lady, shall I lie in your lap?<\/b><\/p>\n<p dir=\"ltr\"><b>Lying down at OPHELIA\u2019s feet<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (learning) No, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: (explaining) I mean, my head upon your lap?<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (encouraging) Ay, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: Do you think I meant country matters?<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (encouraging) I think nothing, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: That\u2019s a fair thought to lie between maids\u2019 legs.<\/b><\/p>\n<\/td>\n<td>\n<p dir=\"ltr\"><b>HAMLET: (ordering) Lady, shall I lie in your lap?<\/b><\/p>\n<p dir=\"ltr\"><b>Lying down at OPHELIA\u2019s feet<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (reproaching) No, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: (explaining) I mean, my head upon your lap?<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (reproaching) Ay, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: Do you think I meant country matters?<\/b><\/p>\n<p dir=\"ltr\"><b>OPHELIA: (get off) I think nothing, my lord.<\/b><\/p>\n<p dir=\"ltr\"><b>HAMLET: That\u2019s a fair thought to lie between maids\u2019 legs.<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Estonian theatrical and political figure. Graduated from the Academy of Theater Arts (GITIS) acting and directing course of Professor Andrei Goncharov in 1982. Played on the stage of the Academic Mayakovsky Theatre, Estonian Drama Theatre. Acted in movies and television productions. Directed in the literary and artistic editorial office on Estonian television and in various theater studios. Has been teaching theater art since 1984. Specialization \u2013 psychophysical action on stage based on the acting techniques of Konstantin Stanislavsky, Lee Strasberg and Mikhail Chekhov. Over the years, taught stagecraft courses at Tallinn University, Tallinn Technical University, Vladimir Regional College of Culture and Art, Skopje Drama Theater. In recent years, actively involved in art producing and organizing activities. One of the founders of the theater festival \u201cGolden Mask in Estonia\u201d. Member of the Estonian Theater Union (Eesti Teatriliit) and Harjumaa Union of Culture organizers (Harjumaa Kultuurikorraldajate Liit).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff134b1\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff134b1-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff134b1-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff134b1-collapse-1\">\n\t\t\t\t\t\t\tThe Transformative Power of Transgression in Juhan Ulfsak\u2019s Works as a Director\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff134b1-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff134b1-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Karin Allik<\/strong>, University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/allik_karin_the_transformative_power_of_transgression_in_juhan_ulfsaks_works_as_a_director.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>Juhan Ulfsak has been present and well-received in the Estonian theatre field for more than two decades, working both as an actor and as a director. His works can be described as daring and original, but more importantly, often transgressive. In my presentation, I would like focus on three of his pieces \u2013 NO36 The Dreamers (2017), Rather Not (2020) and Melancholia (2022), which I regard to have transgressive elements \u2013 and study how the transgressive elements in the productions potentially influence the dynamics between the actors and the audience, transforming the viewers into co-subjects.\u00a0The theoretical framework for the presentation mainly relies on Erika Fischer-Lichte\u2019s influential The Transformative Power of Performance: A New Aesthetics (2008). According to Fischer-Lichte, the stage actions that trigger physiological, affective, volitional, energetic, and motor reactions also establish the relationship between the actors and the audience as oscillatory. I believe this type of stage actions can often be considered as transgressive, including in the works of Juhan Ulfsak. The research would be carried out as a performance analysis, relying both on my experience from the performances and on the reception of the works in Estonian theatre criticism.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Karin Allik (1998) is a freelance theatre critic, currently studying theatre research (MA) in the University of Tartu and working in the Estonian Theatre Agency. She holds a BA degree in theatre research and is a member of the Union of Students of Theatre Research, the Union of Estonian Theatre Researchers and Critics as well as the Estonian Theatre Union. Allik actively publishes theatre reviews in Estonian media, including newspapers like Postimees, Sirp, Eesti P\u00e4evaleht, and participates in the work of the juries for the Estonian theatre awards.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff13661\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff13661-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff13661-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff13661-collapse-1\">\n\t\t\t\t\t\t\tTheatre Beyond the Human. Interspecies Relations in Ecotheatre in Latvia\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff13661-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff13661-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Kitija Balcare<\/strong>, University of Latvia<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/1balcare_kitija_theatre_beyond_the_human._interspecies_relations_in_ecotheatre_in_latvia.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The aim of the paper is to analyze econarratives in productions of ecotheatre in Latvia looking for interconnections, represented in various forms and on various stages, between humans and non-human entities, whether plant, animal, biotope or any other form of life. Paper highlights how do theatre practitioners in Latvia represent care for nature \u2013 emotional and also physical \u2013 that goes beyond the human meanwhile turning ecotheatre into environmental activism.\u00a0One of the major environmental challenges nowadays is the biodiversity loss. The world of theatre has long been human-centred: so far non-human entities in performing arts mostly were used as metaphores and symbols of the wild rather than actants with their own identities to be accepted. The theatre studies scholar Una Chaudhuri proposes term zooesis referring it to discourse of species in art, media and culture looking how animal is constructed, represented, understood and misunderstood. With the development of ecodramaturgy (May, 2005) and ecodirecting (Cless, 2010), turning anthropocentric point of view to the ecocentric, non-human entities are becoming bioperformative. In late years theatre practitioners in Latvia put at the spotlight non-humans: bees, trees, plants, birds, river, forest, even mycelia. That requires not only overcoming of the physical boundaries of actors but also new artistic strategies which comes together with new forms.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Kitija Balcare (Mg.sc.hum.) is a theatre critic for major performing arts periodicals and online media in Latvia; as a journalist specializes in sustainability and environmental issues. Main research interests are posthumanism, ecocriticism, particuliarly \u2013 ecotheatre, econarratives and sustainability in the performing arts. Currently working on a PhD degree in environmental humanities at the University of Latvia. Member of Latvian Theatre Union.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff1380c\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff1380c-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff1380c-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff1380c-collapse-1\">\n\t\t\t\t\t\t\tTransformative Learning Through Transgressive Performer Training Pedagogy in the Context of Higher Education\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff1380c-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff1380c-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>J\u00fcri Nael<\/strong>, Estoninan Academy of Theatre and Music<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/nael_juri_transformative_learning_through_transgressive_performer_training_pedagogy_in_the_context_of_higher_education.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>It could be argued that one of the main aims of performer training is their growth through transformative learning experience. Transgressive pedagogy, both in the context or education and artistic practice, in the era of #metoo movement, has a danger of becoming endangered practice as the tutors\/artists have become more aware of the possible consequences of their pedagogical strategies.\u00a0Transformation, by definition, is not necessarily a pleasant experience when the student\/performer\/artist is pushed beyond their physical and emotional comfort zones and perceived limits, and yet several well-known artists have in recent years faced accusations of violence, harassment, and abuse in their artistic practice. By definition, transgressive pedagogy involves pushing beyond and through one\u2019s inhabited sociocultural framework, leading to extra-daily and extra-ordinary discoveries, situations, states, revelations and understandings. This presentation will investigate opportunities and ethical concerns related to transgressive pedagogy in the context of new international MA in Contemporary Physical Performance Making (CPPM) programme at the Estonian Academy of Music and Theatre.<\/p>\n<p>Keywords: transgressive pedagogy, transformative learning, performer training, higher education, ethics.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff139a7\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff139a7-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff139a7-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff139a7-collapse-1\">\n\t\t\t\t\t\t\tTransgressing Borders: Practices of Mobility and Cultural Exchange at the Royal Danish Theatre\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff139a7-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff139a7-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Ulla Kallenbach<\/strong>, University of Bergen<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/kallenbach_ulla_transgressing_borders_practise_of_mobility_and_cultural_exchange_at_the_royal_danish_theatre.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">In this paper, I will discuss the Royal Danish Theatre\u2019s practices of international travelling and its impact on the national repertoire and aesthetics in the long nineteenth century. The paper will present work in progress from the research project Artistic Exchanges: The Royal Danish Theatre and Europe (Aarhus University\/University of Bergen, 2021-2024).The Royal Danish Theatre, founded in 1748, was a key site for cultivating and examining Danish national identity, but the significance of the theatre owed to a marked international outlook and artistic exchange. The transgression of borders was from the onset, integral to the theatre\u2019s institutional identity, since the multilingual kingdom of Denmark in varying constellations also has included Norway, Iceland, the Faroe Islands, Greenland, Schleswig-Holstein and overseas colonies. Furthermore, the theatre was both founded by, and relied on inviting artists from, abroad. Several of the first ballet masters, dancers, theatre painters, musicians, technicians and even directors came from France, Germany and Italy, including Vincenzo Galeotti, who created the first Nordic-themed ballet, Lagherta (1801). Likewise, the Danish performing artists travelled Europe extensively \u2013 often encouraged and funded by the theatre \u2013 drawing inspiration from leading European artists and aesthetic currents. Dramatist and theatre director Johan Ludvig Heiberg\u2019s (1791-1860) stays in Paris and Kiel, for example, inspired his development of the Danish vaudeville, and ballet master August Bournonville\u2019s (1805-79) studies of European folkloric dances were highpoints in his ballets, even becoming (and still being perceived as) quintessentially \u201cDanish\u201d, such as the ballet Napoli (1842). The artists practices of transgressing national borders, thus also became aesthetic practices of transgression, transferring cultures from one domain to another, which in turn would transgress (ideas of) nationalities.<\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Ulla Kallenbach, PhD, is Associate Professor in Theatre Studies, University of Bergen, Norway. Her principal field of research is the cultural history of imagination and dramaturgy, particularly the performativity of drama and the point of view of the spectator. Her monograph, The Theatre of Imagining \u2013 A Cultural History of Imagination in the Mind and on the Stage, (Palgrave 2018) was the first comprehensive study of the cultural history of imagination in the context of theatre and drama. Kallenbach is President of the Association for Nordic Theatre Scholars, Head of the Norwegian research group for theatre history and dramaturgy, and steering committee member of the Centre for Historical Performance Practice, Aarhus University, Denmark. She currently heads the research project Artistic Exchanges: The Royal Danish Theatre and Europe, which develops digital methods for investigating artistic exchange and performative representations of Europe through the the unique archive of the Royal Danish Theatre.<\/p>\n<p dir=\"ltr\">ullakallenbach.net<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff13b61\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff13b61-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff13b61-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff13b61-collapse-1\">\n\t\t\t\t\t\t\tTransgression in Work and Life of Jakob Michael Reinhold Lenz\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff13b61-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff13b61-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Liina Lukas<\/strong>, University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/lukas_liina_transgression_in_work_of_jakob_michael_reinhold_lenz.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">\u201cI love all strange instances\/cases; they are the sign of not mean hearts. I can\u2019t stand a quarter of an hour with anyone who trots along the beaten track\u201d. These are the words Jakob Michael Reinhold Lenz, the son of the pastor of Tartu\u2019s (Dorpat\u2019s) St John\u2019s Church, wrote to his friend, the German writer Sophie von La Roche, from Strasbourg in July 1775.\u00a0The strange instances that often provocatively test and possibly transgress the norms and boundaries of the social or moral order are also treated by Lenz in his work. Lenz is a transgressive author par exzellence, if one understands by transgression the transgression of a norm, law or taboo (in terms of Georges Bataille, Michel Foucault and others).\u00a0A<b>\u00a0<\/b>subject of his time, burdened with taboos and norms, which occupies a very important place in his work, is sexuality. In both his theoretical and fictional works, Lenz treats this theme with a directness that was rare until then.<\/p>\n<p dir=\"ltr\">In my paper, I explore the representation of transgressions in the realm of the sexual in Lenz\u2019s work. I focus primarily on his most transgressive work, the comedy \u201cDer Hofmeister, oder Vorteile einer Privaterziehung\u201d (1774).\u00a0<b>\u00a0<\/b><\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Liina Lukas is Professor of Comparative Literature at the University of Tartu. Her research focuses on literary relations in the multilingual Baltic cultural area, especially from the 18th to the early 20th century. Since 2001, he has organised international symposia on Baltic literary culture, which have brought together scholars from different disciplines interested in Baltic cultural history. He is the editor-in-chief of the eight-volume collective monograph \u201cThe History of Baltic Literary Culture\u201d (Volume 1 was published 2021) and has been the director of EEVA, a digital text collection of early Estonian literature, for 20 years.<\/p>\n<p dir=\"ltr\">She is the head of the Estonian Comparative Literature Association and of the Estonian Goethe-Society; she is the corresponding member of the G\u00f6ttingen Academy of Sciences.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff13d40\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff13d40-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff13d40-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff13d40-collapse-1\">\n\t\t\t\t\t\t\tTransgression of Gaze in Performing Arts\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff13d40-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff13d40-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Anneli Saro<\/strong>, University of Tartu<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/saro_anneli_transgression_of_gaze_in_performing_arts.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>The Greek word theatron referred to a place for viewing and viewing is still the core of communication in performing arts. Nevertheless, viewing or a gaze can be perceived also as a performative or transgressive act, since it is an implicit extension of the viewer\u2019s body that touches or even penetrates the object viewed. In the paper, I am going to analyse what kind of gazes, when and why could be considered transgressive, making first a distinction between neutral and performative, and secondly between theatrical and extra-theatrical gazes.Since many theatrical languages rely to a considerable extent on everyday behaviour, I start my analysis from such transgressive examples, making use of studies by philosophers, psychologists and feminist theorists. Nevertheless, in theatrical communication frame, daily gazes are often recontextualised and magnified, which might make a neutral gaze performative. For analysis of different types of performative gazes in theatre, I use Ene-Liis Semper\u2019s and Tiit Ojasoo\u2019s production 72 days (2022) as an example.<\/p>\n<p><strong>Biography<\/strong><\/p>\n<p>Anneli Saro is Professor of Theatre Research at the University of Tartu (Estonia). In 2010-2014, she was Lecturer of Estonian Culture at the University of Helsinki. Saro has published articles and books on Estonian theatre history and system, performance theory and audience research. Currently she is working on two projects: comparative analysis of amateur theatre fields in small European countries and poetics of playing. Saro has been a convener of the international working groups Project on European Theatre Systems (2004-2008, 2017-) and Theatrical Event (2011-2017). She has been active as the Editor-in-Chief of Nordic Theatre Studies (2013-2015) and as a member of the executive committee of the International Federation for Theatre Research (2007-2015). She also served the University of Tartu as Vice-Rector for Academic Affairs and as Vice-Dean of the Faculty of Arts and Humanitie<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff13f2c\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff13f2c-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff13f2c-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff13f2c-collapse-1\">\n\t\t\t\t\t\t\tTransgressive Collaborations: The Case of Von Krahl Theatre\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff13f2c-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff13f2c-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Luule Epner<\/strong>, Tallinn University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/epner_luule_transgressive_collaborations_the_case_of_von_krahl_theatre.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>Established in 1992, Von Krahl Theatre is the first permanently operating private theatre in re-independent Estonia. In the 1990s it acted as an open platform for diverse experimental theatre projects. At the turn of the century, Von Krahl theatre hired a small permanent troupe and intensely developed international collaboration. The paper takes look at two collaborative productions that premiered in 2001. Connecting People, directed by Finnish guest director Erik S\u00f6derblom from Q-Teatteri, was the world premiere of Jouko Turkka\u2019s controversial play Osta pient\u00e4 ihmist\u00e4. Production was received as a social critical performance, missing in Estonian theatre of the time, and it generated debates revolving around ethical and political issues. Pirates, the collaboration of Von Krahl Theatre and Showcase Beat le Mot from Hamburg, was one of the first examples of performance-theatre in Estonia. In criticism, it was called \u201can underground outbreak teasing official theatre culture and acts like a vagabond invading a nunnery\u201d.<\/p>\n<p dir=\"ltr\">In the social and theatrical context of post-Soviet Estonia, these collaborations questioned established norms and values. Very likely the social and aesthetic impulses, at least in part, came from the theatrical cultures with which Von Krahl collaborated, and where social and artistic boundaries may have been drawn differently. This raises the question of whether or in what respect transgressions were perceived as a kind of imported phenomenon.\u00a0 The paper discusses the reception of the above-mentioned productions in Estonia, and more generally, the interplay of different contexts and its effect on the perception of transgressivity.<\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p>Luule Epner, PhD, is an Estonian theatre and literary researcher. She is Associate Professor at the School of Humanities of Tallinn University. Her main research fields are Estonian theatre history, theory and practices of postdramatic theatre, and drama theory. She has published widely in different journals. She is the author of Draamateooria probleeme I-II (Problems of Drama Theory, 1992, 1994), and the co-author of Eesti kirjanduslugu (Estonian Literary History, 2001) and Eesti s\u00f5nateater 1965\u20131985 (Estonian Dramatic Theatre 1965\u20131985, 2015). Her most recent book, M\u00e4ngitud maailmad (Worlds in Play), was published in 2018.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff140e7\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff140e7-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff140e7-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff140e7-collapse-1\">\n\t\t\t\t\t\t\tTransgressive Performances: Refugees Demanding the Right to Have Rights\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff140e7-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff140e7-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Stephen Elliot Wilmer<\/strong>, Trinity College Dublin<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/wilmer_stephen_elliot_transgressive_performances_refugees_demanding_the_right_to_have_rights.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">Despite the UN Declaration on Human Rights that \u201ceveryone has the right to seek and to enjoy in other countries asylum\u201d, Hannah Arendt, Giorgio Agamben and Jacques Ranci\u00e8re have commented on the lack of human rights of the refugee. They argue that, while the nation-state privileges the rights of its citizens, it arbitrarily undermines the status of the refugee. According to Arendt, \u201cThe great danger arising from the existence of people forced to live outside the common world is that\u2026 they begin to belong to the human race in much the same world as animals belong to a specific animal species \u2026 forcing millions of people into \u2026 the conditions of savages.\u201d (Origin of Totalitarianism, p. 30). In this article I explore not only the mechanisms by which the nation-state transgresses the rights of the non-citizen and the philosophical commentary on this by Arendt, Agamben and Ranci\u00e8re, but also the ways in which theatre performances can transgress the disenfranchising actions of the nation-state.\u00a0Such performances as Letters Home by the Refugee Club Impulse in Berlin and their street campaign \u201cMy Right is Your Right\u201d have challenged the disempowering practices of the nation-state, and reaffirmed, as in the UN Declaration, \u201cthe right [of refugees] to have rights\u201d (Origin of Totalitarianism, p. 296).<\/p>\n<p dir=\"ltr\"><b>Biography\u00a0<\/b><\/p>\n<p dir=\"ltr\">S.E. Wilmer is Professor Emeritus at Trinity College Dublin, where he was Head of the School of Drama, Film and Music. He has served on the executive committees of the American Society for Theatre Research and the International Federation for Theatre Studies and on the board of Nordic Theatre Studies and was Editor in Chief of Nordic Theatre Studies from 2018 to 2020. He has been a Visiting Professor at Stanford University and the University of California at Berkeley, and as a Research Fellow at the Interweaving Performance Cultures at the Freie Universit\u00e4t Berlin. He has written and edited twenty books and co-edited a special topic on \u201cTheatre and Statelessness in Europe\u201d for Critical Stages in 2016. His latest books are Performing Statelessness in Europe (Palgrave Macmillan, 2018) and Deleuze, Guattari and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing Life in the Posthuman Condition (Edinburgh University Press, forthcoming in 2022) and the Palgrave Handbook on Theatre and Migration (Palgrave Macmillan, forthcoming in 2023).<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff142cd\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff142cd-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff142cd-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff142cd-collapse-1\">\n\t\t\t\t\t\t\tWhen the Real Contextual World Pushes Itself into the Centre of Fiction\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff142cd-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff142cd-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Pirkko Koski<\/strong>, Univeristy of Helsinki<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/koski_pirkko_when_the_real_contextual_world_pushes_itself_into_the_centre_of_fiction.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">I will\u00a0examine the role that contemporary society plays in politicising theatrical events and themes. I have chosen to survey Hagar Olsson\u2019s 1939 play Lumisota (Snowball Fight) which tells about a fictional Finnish Prime Minister\u2019s family in that same year: negotiations with the Soviet Union and political tensions of the family. The play is intimately bound up with contemporary societal tensions, but its theme has also been activated in 2022.<\/p>\n<p dir=\"ltr\">Contextual reality was able to fully penetrate fiction (created during spring 1939) in Lumisota as societal events kept escalating to mirror the events in the play during autumn rehearsals. The (real) Ministry of Foreign Affairs prohibited the play from being performed before its opening night as the play was deemed detrimental to (real) ongoing fateful conversations with the Soviet Union that would determine Finland\u2019s future. Finland was attacked shortly after the performance embargo, and the Winter War began.<\/p>\n<p dir=\"ltr\">I<b>\u00a0<\/b>will also shortly discuss few later productions of the play, as well as American Robert Sherwood\u2019s Winter War play There Shall Be No Night (1940), to give a broader view to the ways of politicising drama.<\/p>\n<p dir=\"ltr\">In<b>\u00a0<\/b>my chosen examples, the focus is firmly on theatrical references to wider contemporary society, and I will be examining both the forms that the process of fictionalization (according to Dorrit Cohn) takes under such circumstances, as well as its inherent power. I will be referencing Jonathan Charteris-Black\u2019s Politicians and Rhetoric (2004) and the way in which political speech and its mechanisms are analyzed, such as listener persuasion through metaphor and the power of myth as a messenger for an idea.<\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Pirkko<b>\u00a0<\/b>Koski is Helsinki University\u2019s professor emerita of theatre research. She has specialized in theatre performance analysis and historiography, as well as historical analysis of the Finnish theatre. She has written and edited several articles and books for the domestic and international market. Her most recent work includes 2019\u2019s monograph Suomen Kansallisteatteri ristipaineissa (\u201cThe National Theatre of Finland meeting pressure conflicts\u201d), 2013\u2019s monograph N\u00e4yttelij\u00e4n\u00e4 Suomessa (\u201cBeing an actor in Finland\u201d), and monograph Finland\u2019s National Theatre 1974-1991. The Two Decades of Generational Contests, Cultural Upheavals, and International Cold War Politics in 2022.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff144dc\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff144dc-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff144dc-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff144dc-collapse-1\">\n\t\t\t\t\t\t\tWhere Are We And What Does It Mean?\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff144dc-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff144dc-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Sigr\u00ed\u00f0ur L\u00e1ra Sigurj\u00f3nsd\u00f3ttir<\/strong>, University of Iceland<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/sigurjonsdottir_sigridur_lara_where_are_we_and_what_does_it_mean_.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p>Protest movements in Iceland have been experimenting with different forms of street actions to make their dissidence known. Street performance is by no means a big part of Icelandic culture but a few distinct events have still made history there.\u00a0Some are monumental ones that made a lot of difference, such as the Women\u2019s Holiday on November 24th 1975, when Icelandic women in Reykjav\u00edk took a day off and flocked to the streets and made a big impact on the fight for women\u2019s rights in Iceland.On November 8th, 2008, protests in the aftermath of the economic collapse in Iceland were happening every weekend. This particular Saturday was unusually eventful at Austurv\u00f6llur, the square in front of the house of congress, for many reasons.\u00a0A few thousand people gathered there for a protest meet that was interspersed with a few unusually transgressive acts. In my paper I will go into a few key points of what happened that day, look at their historical significance and the performative part of the transgression. In this paper I will look at a few symbols and actions that have been key figures in these protest performances, in short, who does what, where and what might it mean? That is, what do we do\/can we do with the relatively simple act of putting our bodies and other things in \u201cdifferent\u201d places?<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff146a5\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff146a5-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff146a5-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff146a5-collapse-1\">\n\t\t\t\t\t\t\tWho Can Cross the Border?\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff146a5-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff146a5-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Tiit\u00a0Ojasoo<\/strong>, Estonian Academy of Music and Theatre<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/ojasoo_tiit_who_can_cross_the_border_.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">Loads of creators, artists, theatre makers are busy from day to day finding where is the fruitful border to cross and become if not immortal, then at least recognised and maybe even remembered. Who doesn\u2019t want to make \u201ca cut into canvas\u201d like Lucio Fontana, penetrate the surface, acknowledge the border by crossing it. When I saw my first Fontanas pierced canvas in Madrid, without much historical background, just being astonished by the act of opening new dimension by the artist, the very next moment there was a little group of American teenagers, spending their quality time in museum. One of them gifted a glance to Fontana and shouted immediately: \u201cI can do that!\u201d. Although it happened years ago, the sound of her voice is still with me, and also the voice from my head, which said: no, you can not! Question is, why she can\u2019t?\u00a0Years ago, when Theatre NO99 started its international touring, my professor Ingo Normat from theatre school said: yes very good, of course, but you do not do anything particulary new, you just act on better level, thats why you are invited. Another bothering voice in my head. I think he was right and wrong in the same time \u2013 yes, we didn\u2019t really brought any new dimension to the field of political theatre at this point, but what we clearly did, we crossed the border between actors and spectators, we recognised ourselves as members of the society. We acknowledged, that there was a border before. And yes, our actors were good, making some \u201cquality acting\u201d. Over following years we gazed several times into abyss of society and as it was predicted, abyss gazed into us, not always in a pleasant way. But that\u2019s another story. Here I would like to concentrate on the quality of performative act itself as the base for any kind of transgression. I will be using our recent production \u201c72 days\u201d as a case-study to describe a few principles in the work with the performers.<\/p>\n<p dir=\"ltr\"><b>Biography\u00a0<\/b><\/p>\n<p dir=\"ltr\">Tiit Ojasoo (b. 1977) Estonian theatre director and teacher. Graduated from Estonian Academy of Music and Theatre he worked in most of Estonian theatres. On 2005 he and Ene-Liis Semper created Theatre NO99, a serial art project, lasted until 2018. During that time his works were presented in numerous stages over Europe, including Od\u00e9on-Th\u00e9\u00e2tre de l\u2019Europe, Festival d\u2019Avignon, Wiener Festwochen, NET Festival Moscow etc. His recent international works were in Burgtheater Wien and Great Drama Theatre St. Petersburg.<\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<div class=\"accordion-block mb-3\">\n\t\t<div class=\"accordion \" id=\"accordion-accordion-69da27ff14877\">\n\t\t\t\t\t\t\t<div class=\"accordion-item accordion-item--white\">\n\t\t\t\t\t<h2 class=\"accordion-header\" id=\"accordion-69da27ff14877-heading-1\">\n\t\t\t\t\t\t<button class=\"accordion-button collapsed\" type=\"button\" data-bs-toggle=\"collapse\" data-bs-target=\"#accordion-69da27ff14877-collapse-1\" aria-expanded=\"true\" aria-controls=\"accordion-69da27ff14877-collapse-1\">\n\t\t\t\t\t\t\t\u201cWhat Theatre Can and Cannot Be\u201d: The Theatre of God\u2019s Transgressive Oulu Act as a Social Drama\n\t\t\t\t\t\t<\/button>\n\t\t\t\t\t<\/h2>\n\t\t\t\t\t<div id=\"accordion-69da27ff14877-collapse-1\" class=\"accordion-collapse collapse \" aria-labelledby=\"accordion-69da27ff14877-heading-1\">\n\t\t\t\t\t\t<div class=\"accordion-body\">\n\t\t\t\t\t\t\t<p><strong>Sanni Lindroos<\/strong>, Stockholm University<br>\n<a href=\"https:\/\/sisu.ut.ee\/wp-content\/uploads\/sites\/552\/lindroos_sanni_what_theatre_can_and_cannot_be_the_theatre_of_gods_transgressive_oulu_act_as_a_social_drama.pdf\" target=\"_blank\" rel=\"noopener\">Download<\/a><\/p>\n<p dir=\"ltr\">In the early afternoon of the 17th of January 1987, an auditorium at the Oulu City Theatre in Finland is filled with theatre professionals and representatives of the cultural field. Four students from the Helsinki Theatre Academy who call themselves the Theater of God (Jumalan Teatteri) are about to present to the theatre festival audience what they have declared as a manifest about \u201cwhat theatre can nowadays be, and what it cannot be\u201d (Hotinen, 1987, 390). Four young men enter the stage and proceed to cause a chaotic scene by throwing yoghurt and feces at the audience, discharging a fire extinguisher and one of the performers cutting his wrist with a razor blade. The audience escapes and the members of the Theater of God are soon arrested. A nation-wide scandal is born, and the two-minute act radically shifts the public discourse on the state of theatre and professional actor training in Finland. The Theater of God\u2019s Oulu act has been categorized as everything from an avant-garde performance to an act of terrorism.\u00a0This paper approaches the happening as a transgressive performative and explores its aftermath through the framework of anthropologist Victor Turner\u2019s conceptual social drama. Turner defines social dramas as \u201cunits of aharmonic or disharmonic process, arising in conflict situations\u201d which consists of four chronological phases of public action: breach, crisis, redressive action and finally reintegration or schism (1974, 37). The paper investigates how transgression manifested in the Theatre of God\u2019s Oulu act through the breakage of corporeal, psychological as well as performative boundaries. Recognizing the Oulu act as the breach in the social drama which unfolded, the crisis phase is discussed in the specific context of the cultural tensions of Finland in the 1980\u2019s and the Theatre Academy\u2019s controversial training methods at the time. The extensive redressive actions, from legal processes to probations and terminations of employment, are discussed together with the \u201csub-breaches\u201d which appeared as protests against the redressive actions and maintained the crisis phase. Finally, the paper addresses the complexity of determining whether the social drama resulted in reintegration or a schism.<b>\u00a0<\/b><\/p>\n<p dir=\"ltr\">Hotinen, Juha-Pekka. \u201dJumalan teatteri.\u201d Mit\u00e4-Miss\u00e4-Milloin, Kansalaisen vuosikirja 1988. Helsinki: Otava, 1987<\/p>\n<p dir=\"ltr\">Turner, Victor. Dramas, Fields, and Metaphors: Symbolic Action in Human Society. Ithaca, NY: Cornell University Press, 1974<b>.<\/b><b>\u00a0<\/b><\/p>\n<p dir=\"ltr\"><b>Biography<\/b><\/p>\n<p dir=\"ltr\">Sanni Lindroos received her Master\u2019s degree in Performance Studies from Stockholm University in January 2022. Her thesis \u201cA Number, A Noose, A Nipple: Three Interventions in the<b>\u00a0<\/b>Construction of Performative Nationhood During the Finnish Independence Day Reception\u201d investigated embodied acts of protest in the context of performative nation-building. Her research usually gravitates towards the construction of scandals in the Finnish society.<b>\u00a0<\/b><\/p>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n","protected":false},"excerpt":{"rendered":"","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-3","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/3","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=3"}],"version-history":[{"count":29,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/3\/revisions"}],"predecessor-version":[{"id":144,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/3\/revisions\/144"}],"wp:attachment":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/media?parent=3"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}