UNMENTIONABLES: ‘no-go’ areas in performance practices and research.
The Royal Central School of Speech and Drama’s annual Intersections Conference will be held on Thursday the 18th and Friday the 19th of January 2018. Led by the Research Degrees community at Central, Intersections seeks to engage with current theoretical and conceptual discourses in performance research, not only to highlight the diverse research interests at Central, but also to host a range of national and international scholars from a variety of backgrounds and institutions, addressing points of intersection between disciplines, fields and modes of research. Panels are composed of researchers whose papers may potentially speak to each other not within the confines of perceived fields of performance (as defined by genres of performance, for example), but through concepts, concerns and issues which may be common to a wide range of researchers in performance, including crossing boundaries between practice-as-research and so-called ‘conventional’ research.
The postgraduate community at Central invites proposals for papers, panels, provocations and performative lectures. The theme of this year’s conference is: UNMENTIONABLES: ‘no-go’ areas in performance practices and research.
We’ve seen it all – the scandalous, the sacrilegious and the outrageous. In some arenas of art and performance it seems that there are no more boundaries to cross, no thresholds to raise. Artists have performed sexual acts, bled and even killed in the making of their work. Theorists have shattered totems and broken taboos. We are unshockable.
Or are we? Do we, however tacitly, subject ourselves and others to different forms of censorship? Do we police language? Do we confine ourselves to echo chambers and suffocate the free exchange of ideas? Even artists, perhaps especially them, who had previously been agitators and provocateurs often find themselves in the position of a shocked audience, forced to respond to provocative gestures made by politicians, celebrities and other public figures. When global leaders can scandalize the world with a tweet, what role does art play in challenging norms and frontiers?
Intersections 2018 peeks at the unmentionables of performance practices and research. Its aim is to seek out the contours, the edges and the boundaries we encounter, be they self-imposed, externally enforced, or simply the limits of our own ability to understand and to articulate our experience. Where do artists and theorists still come up against blockades? Where have the lines been drawn in our disciplines and where do we draw the line?
Click on panel titles in order to view times, rooms, paper abstracts and presenter bios.
THURSDAY 18TH JANUARY 2015
|9:30 – 10:00||Registration (Reception)|
|10:00-10:15||Welcome: Dr Tony Fisher (RCSSD) and the Conference Committee|
|10:15-11:30||Keynote address by Dr Anna Birch (Royal Conservatoire of Scotland 2010 – 2017)|
|11:50-13:20||PANEL 1: Oversharing|
|PAPER 1: “Revealing the Invisible: The politics of sharing lived experiences of ‘addiction’ and ‘recovery’.” Cathy Sloan|
|PAPER 2: “Ethical border zones: the tortured female refugee body as performer/ victim/ activist.” Rebecca Hayes Laughton|
|PAPER 3: “Voicing Domestically Abuse Against Woman through Digitized Theatre in India.” Nivedita Gokhake|
|14:30-16:30||PANEL 2: Embarrassing Bodies||PANEL 3: Politically Incorrect|
|PAPER 1: “Embarrassing Utopias: Locating Hope in Homophobia” Joe Parslow||PAPER 1: “Welfare Melancholia” Pilar Costa|
|PAPER 2: “Playing ‘Yindao’ in China” Chengyu Tan||PAPER 2: “Intersections between theatre practice, disability and phenomenology: Debating the lived experience of professional directors and disabled actors” Nina Michelle Worthington|
|PAPER 3: “From Pretty Orifice of a Morphing Creature: pleasure and pain in Hoax Theatre’s absurdist eco comedy Stuck” Jillian Wallis||PAPER 3: “Silent soldier will laugh: performing taboos in post conflict society” Maja Milatovic-Ovadia|
|PAPER 4: “Bodies as Sites of Struggle: Embodying Shock and Chaos in the Caring Teaching Practice” Christina Vasileiou|
|16:30-19:00||Wine reception and plenary event|
FRIDAY 19TH JANUARY 2015
|10:00-11:15||Keynote address by Dr. Nina Power (Roehampton)
Respondent: Dr. Rachel Cockburn (RCSSD)
|11:30-13:00||PANEL 4: Dangerous Methods||PANEL 5: Persona non grata|
|PAPER 1: “Trans* Bodies, Queer Movements:Queer Trans* Methodological Approaches to Movement Practice”Jae Endris||PAPER 1: “Documenta 14: Subject or Agent of Censorship?” Sozita Goudouna|
|PAPER 2: “Towards a (New) Dramaturgy of Knowledge” Clio Unger||PAPER 2: “Discourses in experiential performance research?” Ioana-Florentina Manciu|
|PAPER 3: “A 20min paper (between article and lecture-performance): diagramming censorship(s) across research-in-writing” Paula Caspão & Ingrid Cogne||PAPER 3: “Exchanging Artistic Assumptions: Debating Ownership and Censorship in Manchester’s “Memories of Partition” Project?” Asif Majid|
|14:00-15:30||PANEL 6: Unauthorised Personnel||PANEL 7: Deleted Scenes||PANEL 8: PAPER/ PERFORMANCE: What are you doing there? Dr. Kiki Selioni|
|PAPER 1: “Live Art, Dead Art: Ethics, Audiences, and (Dead) Animal Bodies in Taxidermy-Performance” Francis Wilson||PAPER 1: “Minute of Silence” Karoline Moen|
|PAPER 2: “How do we practice the end of the world?” Yaron Shyldkrot||PAPER 2: “The aetiology of surveillance -the structure of trauma and the grammar of the internet” Lior Lerman|
|PAPER 3: “Reason and Resonance and Sea Monsters: The semantic limits of conventional radio dramaturgy” Farokh Soltani Shirazi||PAPER 3: “Snapping up some Deviant Other: How Labouring Animals Ate Up a Queer Black Kid’s Objective Aims” Ezra Tafari Rose|