Volume 1, Number 1
Greetings
Introduction to Etudes: A Note from the Editors
Jennifer Goff & Julia Moriarty
Audience Participation as Consumption and Citizenship in Contemporary Storytelling Performances of The Iliad
David Bisaha
Testimony for the Forgotten: Sebastian Barry's The Pride of Parnell Street as Celtic Tiger Critique
Kristi Good
Words from Another Place
Andrew Starner
Performing Deviance: A Photo Essay on "Manuscript Performance"
Isabel Pinto
The Living Stage: A Case Study in Ecoscenography
Tanja Beer
Ethi-something
Gustavo Vicente
Introduction to Etudes: A Note from the Editors
Jennifer Goff & Julia Moriarty
Audience Participation as Consumption and Citizenship in Contemporary Storytelling Performances of The Iliad
David Bisaha
Testimony for the Forgotten: Sebastian Barry's The Pride of Parnell Street as Celtic Tiger Critique
Kristi Good
Words from Another Place
Andrew Starner
Performing Deviance: A Photo Essay on "Manuscript Performance"
Isabel Pinto
The Living Stage: A Case Study in Ecoscenography
Tanja Beer
Ethi-something
Gustavo Vicente
About the Contributors
TANJA BEER is a stage designer and PhD candidate investigating ecological design for performance at the University of Melbourne, Australia. Her PhD seeks to re-think traditional design practices, and re-interpret materials and processes to embrace the possibilities of ‘ecoscenography’ – a movement that integrates ecological principles into all stages of scenographic thinking and production. Tanja has more than 15 years professional experience, including creating 60 designs for projects in London, Cardiff, Melbourne, Sydney, Brisbane, Vienna and Tokyo. She has received numerous grants and awards, and was recently ‘Activist-in-Residence’ at Julie’s Bicycle (London). Tanja has a Masters in Stage Design (Kunst Universität Graz, Austria), a Graduate Diploma in Performance Making (Victorian College of the Arts, Australia) and has taught Design Research, Scenography and Climate Change at the University of Melbourne, Australia.
DAVID BISAHA is a doctoral candidate and Mellon Predoctoral Fellow at the University of Pittsburgh. His dissertation project charts the history and dissemination of set design process among twentieth-century American designers and institutions. David’s articles and reviews have been published in Theatre Journal, Theatre Survey, and Text & Presentation. Research and teaching interests include contemporary performances of trauma, design history, theater architecture, and cognitive approaches to theater production and performance history.
KRISTI GOOD is a visiting lecturer in the Department of Theatre Arts at the University of Pittsburgh, where she recently received her PhD. Her scholarship focuses on the intersection of cognitive sciences and the arts, particularly regarding Irish theatre and theatre of trauma and human rights. She is an active member of the American Conference for Irish Studies, the Association for Theatre in Higher Education, and the Mid-America Theatre Conference.
ISABEL PINTO (Research Centre for Communication and Culture, Catholic University of Portugal): I am a postdoctoral research fellow, with a PhD in Theatre Studies from the University of Lisbon. Over the last decade, I have been a member of the research team of several projects related to the Portuguese Theatre History, at the Centre for Theatre Studies. At the present date, one of my main topics of research is how the performing arts endorse or reject certain social and educational constructs, envisioning pathways for new intercultural categories and practices.
ANDREW STARNER is a performance theorist and theatre artist whose research and teaching interests include media and cultural studies, psychoanalysis, textual theory, postcolonial theory, and teleperformance. His current research project is an historical account of the rise and fall of television from 1650 to 1950. He has a B.A in American Studies and an M.A in English Language and Literature from the University of Virginia; he expects to receive a Ph.D. in Theatre and Performance Studies, Brown University in 2015. His articles have appeared in Scene, the Wilson Quarterly, and the American Scholar. He is the recipient of several awards, including a fellowship at the Pembroke Center for Teaching and Research on Women, a grant from the Creative Arts Council, and recognition from the Performance Studies Focus Group of the Association of Theatre in Higher Education for his paper on the portrayal of the assassination of JFK in theatre, film, and television. At NYUAD, he teaches courses on the writing of ritual and rituals of writing.
GUSTAVO VICENTE is a Post-Doctoral researcher at the Centre for Theatre Studies from the Faculty of Letters of the University of Lisbon (grant from the Fundação para a Ciência e Tecnologia). He published several articles and essays on contemporary performing arts, with special emphasis on the Portuguese practice. He is a member of the IFTR’s Choreography and Corporeality Working Group. Gustavo is also an actor, having worked with several important artists both in theatre and cinema. In 2009 won the 1st prize of the Portuguese Academic Theatre Festival with his first project as an artistic director. He always combined his theatre making with a comprehensive research experience.
TANJA BEER is a stage designer and PhD candidate investigating ecological design for performance at the University of Melbourne, Australia. Her PhD seeks to re-think traditional design practices, and re-interpret materials and processes to embrace the possibilities of ‘ecoscenography’ – a movement that integrates ecological principles into all stages of scenographic thinking and production. Tanja has more than 15 years professional experience, including creating 60 designs for projects in London, Cardiff, Melbourne, Sydney, Brisbane, Vienna and Tokyo. She has received numerous grants and awards, and was recently ‘Activist-in-Residence’ at Julie’s Bicycle (London). Tanja has a Masters in Stage Design (Kunst Universität Graz, Austria), a Graduate Diploma in Performance Making (Victorian College of the Arts, Australia) and has taught Design Research, Scenography and Climate Change at the University of Melbourne, Australia.
DAVID BISAHA is a doctoral candidate and Mellon Predoctoral Fellow at the University of Pittsburgh. His dissertation project charts the history and dissemination of set design process among twentieth-century American designers and institutions. David’s articles and reviews have been published in Theatre Journal, Theatre Survey, and Text & Presentation. Research and teaching interests include contemporary performances of trauma, design history, theater architecture, and cognitive approaches to theater production and performance history.
KRISTI GOOD is a visiting lecturer in the Department of Theatre Arts at the University of Pittsburgh, where she recently received her PhD. Her scholarship focuses on the intersection of cognitive sciences and the arts, particularly regarding Irish theatre and theatre of trauma and human rights. She is an active member of the American Conference for Irish Studies, the Association for Theatre in Higher Education, and the Mid-America Theatre Conference.
ISABEL PINTO (Research Centre for Communication and Culture, Catholic University of Portugal): I am a postdoctoral research fellow, with a PhD in Theatre Studies from the University of Lisbon. Over the last decade, I have been a member of the research team of several projects related to the Portuguese Theatre History, at the Centre for Theatre Studies. At the present date, one of my main topics of research is how the performing arts endorse or reject certain social and educational constructs, envisioning pathways for new intercultural categories and practices.
ANDREW STARNER is a performance theorist and theatre artist whose research and teaching interests include media and cultural studies, psychoanalysis, textual theory, postcolonial theory, and teleperformance. His current research project is an historical account of the rise and fall of television from 1650 to 1950. He has a B.A in American Studies and an M.A in English Language and Literature from the University of Virginia; he expects to receive a Ph.D. in Theatre and Performance Studies, Brown University in 2015. His articles have appeared in Scene, the Wilson Quarterly, and the American Scholar. He is the recipient of several awards, including a fellowship at the Pembroke Center for Teaching and Research on Women, a grant from the Creative Arts Council, and recognition from the Performance Studies Focus Group of the Association of Theatre in Higher Education for his paper on the portrayal of the assassination of JFK in theatre, film, and television. At NYUAD, he teaches courses on the writing of ritual and rituals of writing.
GUSTAVO VICENTE is a Post-Doctoral researcher at the Centre for Theatre Studies from the Faculty of Letters of the University of Lisbon (grant from the Fundação para a Ciência e Tecnologia). He published several articles and essays on contemporary performing arts, with special emphasis on the Portuguese practice. He is a member of the IFTR’s Choreography and Corporeality Working Group. Gustavo is also an actor, having worked with several important artists both in theatre and cinema. In 2009 won the 1st prize of the Portuguese Academic Theatre Festival with his first project as an artistic director. He always combined his theatre making with a comprehensive research experience.
