Theatricality – Antitheatricality
4 APRIL - 8 APRIL 2022
(ONLINE)
3RD INTERNATIONAL ACADEMIC CONFERENCE
THEATRICALITY – ANTITHEATRICALITY:
TRANSDISCIPLINARY AND SCENOLOGICAL STUDIES ON CONTEMPORARY THEATER
CONFERENCE LANGUAGES: SPANISH, ENGLISH, POLISH
DEADLINE FOR REGISTRATION 20 MARCH 2022
ORGANIZERS
INSTITUTE OF MODERN LANGUAGES UNIVERSITY OF BIELSKO-BIALA (POLAND)
MONASH UNIVERSITY (AUSTRALIA)
EMBASSY OF ARGENTINA IN POLAND
INSTITUTO DE ARTES DEL ESPECTÁCULO UNIVERSITY OF BUENOS AIRES (ARGENTINA)
DEADLINE FOR SENDING ABSTRACTS 20TH MARCH 2022 ACCEPTANCE OF ABSTRACTS 22TH MARCH 2022
3RD INTERNATIONAL ACADEMIC CONFERENCE
THEATRICALITY – ANTITHEATRICALITY:
TRANSDISCIPLINARY AND SCENOLOGICAL STUDIES ON CONTEMPORARY THEATER
CONFERENCE LANGUAGES: SPANISH, ENGLISH, POLISH
4-8 APRIL 2022
(ONLINE)
DEADLINE FOR REGISTRATION 20 MARCH 2022
ORGANIZERS
INSTITUTE OF MODERN LANGUAGES UNIVERSITY OF BIELSKO-BIALA (POLAND)
MONASH UNIVERSITY (AUSTRALIA)
EMBASSY OF ARGENTINA IN POLAND
INSTITUTO DE ARTES DEL ESPECTÁCULO UNIVERSITY OF BUENOS AIRES (ARGENTINA)
DEADLINE FOR SENDING ABSTRACTS
20TH MARCH 2022
ACCEPTANCE OF ABSTRACTS
22TH MARCH 2022
CONFERENCE RECORDINGS
4 APRIL
5 APRIL
6 APRIL
7 APRIL
CONFERENCE RECORDINGS
4 APRIL
5 APRIL
6 APRIL
7 APRIL
CALL FOR PAPERS – FIRST CIRCULAR
BETWEEN DAY AND NIGHT: TRANSMIGRATIONS OF SPACE AND TIME
The objective of the 3rd edition of the conference Theatricality – Antitheatricality is to study the processes of scenic creation, performance, and theater through the dimensions of space, time, and text (dramatic, literary, and plastic text). We want to analyze how the multi-faceted elements of space and time organize, articulate, and manifest in other dimensions. We aim to do so by putting in dialogue different research fields such as theater, performance and body art, literature, the visual and plastic arts, and astrophysics. From Edgar Morin, Jacques Derrida, Gilles Deleuze, Félix Guattari, among others, concepts such as complexity, dissemination, and dispersion, point to a new conceptualization of time and space. In recent years, human life has been transformed by new factors that increasingly emerge in the environment. Space is a receptor of infinite relationships and fractalities activating the idea of being in a place, here and now, but what happens when that here-and-now dimension is disrupted and transmuted? This is the question pervading Samuel Beckett’s poem “Dieppe”:
what would I do without this world faceless incurious
where to be lasts but an instant where every instant
spills in the void the ignorance of having been
without this wave where in the end
body and shadow together are engulfed
what would I do without this silence where the murmurs die
the paintings the frenzies
towards succour towards love
without this sky that soars
above its ballast dust
what would I do what I did yesterday and the day before
peering out of my deadlight looking for another
wandering like me eddying far from all the living
in a convulsive space
among the voices voiceless
that throng my hiddenness
Moving from the dynamics at play in physical and non-physical processes of creation, the construction of space-time metaphors generates new possibilities and “creative devices” (Borges, circa 1925) that bring us closer to creation events and different scenic poetics. The idea of “theatrical transmigration” (Dimeo 2015) proposes the relativization of the space-time-real dimensions in the arts of scenic creation (being it theater, performance, or installations), adding also to some literary experiences that can become scenic. We want to propose that the successive accumulation of what we call “theatrical transmigrations” (Dimeo 2015) and the modeling of various creative devices allow the artist to approach different conceptions of space and time.
We invite you to re-think scenic creation experiences through a vision that exceeds the dimension of the world in which we live, overcoming the frontier of reality. We ask you to question, review, and reconfigure known notions of space and time in the process of theatrical, scenic, and broadly artistic creation. We propose a series of ideas and themes open to further possibilities that allow us to approach new dimensions of the spatial-temporal processes of creation from a multitude of perspectives, condensed and/or disseminated in the creative spaces of the stage. These perspectives are (but we welcome more) the sidereal space, other possible worlds, virtual space, literary space, unknown dimensions of space and time, science fiction (is it possible in theater and performance, installation, the visual arts?), virtual spaces and virtual times in theater, performance, and other art forms.
CALL FOR PAPERS – FIRST CIRCULAR
– The Infinite space
– The world out of orbit
– Terrestrial space, outer space, and intergalactic space
– Installations, poetic, and plastic creations of the installations
– Theater and text: two dimensions of the world and space
– Theatricality and literature: the literary dimension in performance
– Textual and theatrical borders: The body as a literary text, the body as a performative text, the body as a theatrical text
– Art, creation of the Galaxy
– Languages of virtuality in the scenic space
– Linguistic transmigration: between the plastic world, the corporeal world, the theatrical world
– Performance: Theater or antitheater?
Proposals towards other Galaxies
– The virtual dimension in performance and theater
– Time in dramatic writing, time in stage writing
– Time-tunnel
CALL FOR PAPERS – FIRST CIRCULAR
– The Infinite space
– The world out of orbit
– Terrestrial space, outer space, and intergalactic space
– Installations, poetic, and plastic creations of the installations
– Theater and text: two dimensions of the world and space
– Theatricality and literature: the literary dimension in performance
– Textual and theatrical borders: The body as a literary text, the body as a performative text, the body as a theatrical text
– Art, creation of the Galaxy
– Languages of virtuality in the scenic space
– Linguistic transmigration: between the plastic world, the corporeal world, the theatrical world
– Performance: Theater or antitheater?
Proposals towards other Galaxies
– The virtual dimension in performance and theater
– Time in dramatic writing, time in stage writing
– Time-tunnel
KEYNOTE SPEAKERS
Dr. Angela Viora
Angela Viora is an Italian multidisciplinary artist and scholar whose core practice is performance art. She researches on the process of site-specific and durational performances to offer a deeper understanding of how performance art operates in the world. Her thought-provoking performances explore the human relationship with space and places, and aim to raise awareness on experiences of migration, identity, and belonging. Using her body as a vehicle, Angela makes room for the audience who then become an agentic element of the performance process, conceived as an offer and a shared experience.
The performative-participatory element characterizes every medium in her production, and she favors working in public spaces accessible to anybody. Angela has performed, exhibited, and presented her work internationally, including at the Biennale of Australian Art, Daegu Art Factory (SK), Performance Studies International Conference, the MAXXI Museum in Rome (IT), and the 12th Istanbul Biennial (TK). She has worked as an artist-researcher and a curator in interdisciplinary community projects across countries, partnering with the Polytechnic of Turin (IT), UniCredit Bank (DE-IT), and the City of Melbourne (AUS), among others. Angela has published internationally on performance and public art, documentation and audience reception.
She has been teaching for over 10 years across institutions and countries. She currently lectures at Monash University (European Languages), where she integrates the study of language, literature and history with the study of visual and performing arts, public art, and artivism through a phenomenological and performative approach.
The performative-participatory element characterizes every medium in her production, and she favors working in public spaces accessible to anybody. Angela has performed, exhibited, and presented her work internationally, including at the Biennale of Australian Art, Daegu Art Factory (SK), Performance Studies International Conference, the MAXXI Museum in Rome (IT), and the 12th Istanbul Biennial (TK). She has worked as an artist-researcher and a curator in interdisciplinary community projects across countries, partnering with the Polytechnic of Turin (IT), UniCredit Bank (DE-IT), and the City of Melbourne (AUS), among others. Angela has published internationally on performance and public art, documentation and audience reception.
She has been teaching for over 10 years across institutions and countries. She currently lectures at Monash University (European Languages), where she integrates the study of language, literature and history with the study of visual and performing arts, public art, and artivism through a phenomenological and performative approach.
Prof. Marek Bernacki
Born in 1965 in Bielsko-Biała, he enrolled in the Polish philology course at the Jagiellonian University in Kraków, where he graduated with a master’s degree in 1990. Immediately after graduation, he started working at his alma mater as an assistant in the Institute of Polish Studies. At the same time, he took up doctoral studies there. In 1995 he received a doctoral degree in literature studies, specializing in Polish philology, based on a thesis titled „Obraz świata człowieka w młodej prozie polskiej lat 70. [XX w.] Studium analityczno-interpretacyjne (w kontekście personalistycznego myślenia o człowieka i świecie)” [A picture of the human world in young Polish prose of the 1970s [20th c.]. In 2002 he began working at the Bielsko-Humanist University of Technology and Humanities as an assistant professor in the Department of Polish Studies. In 2008-2012 he held the position of Vice-Dean for Student Affairs at the Faculty of Humanities and Social Sciences. In 2011, the Council of the Faculty of Polish Studies of the Jagiellonian University awarded him the academic degree of doktor habilitowany in the field of literary studies, specializing in contemporary Polish literature, based on his dissertation entitled Hermeneutics of the phenomenon of existence.
Studies on Polish contemporary literature (Vincenz, Miłosz, Wojtyła, Herbert, Szymborska). On the 1st of February 2012 he was appointed an associate professor at the University of Bielsko-Biala, and a few months later he was elected the dean of the Faculty of Humanities and Social Sciences.
Studies on Polish contemporary literature (Vincenz, Miłosz, Wojtyła, Herbert, Szymborska). On the 1st of February 2012 he was appointed an associate professor at the University of Bielsko-Biala, and a few months later he was elected the dean of the Faculty of Humanities and Social Sciences.
Liliana Alzate Cuervo
She was born in Cali – Colombia in 1968. Creator and researcher of theater, she has more than 25 years of experience in the performing arts: from research-creation, work with community and university teaching in several faculties of performing arts and literature in the country. In addition, she has developed cultural projects with vulnerable communities in different cities of the country with victims of the war conflict: designing pedagogical projects in the fields of cultural and social management, event organization, art therapy program, creative writing, research – action, translation, and tourism with awareness. As well, She has also been an actress in several professional groups of recognized trajectories in the country and has developed the dramaturgy in her own creations with the lunadá from 2014 to date. She has made several publications: Women’s theater: a frontier dramaturgy (2011) ¿What is its fundamental? Conversations with Santiago García (2016), Another voices, the untold history of the theater (2021), among others. As part of her training she has studied with great masters of contemporary Latin American theater.
Víctor Viviescas
Is a titular professor at the Universidad Nacional de Colombia, Department of Literature. A playwright, theater director and theater researcher, he has directed Teatro Vreve-Proyecto Teatral since 1997. Between 2015-2016 he was the Academic Coordinator of the Master in Creative Writing of Universidad Nacional de Colombia, and from 2009 to 2013 of the Interdisciplinary Master in Theater and Live Arts. He is part of the research group in History and Literature of Universidad Nacional de Colombia and directs the group of Aesthetic and History of Colombian and Latin American Theater and the creating researching Pensar Sonido. He has published several articles in relation to the notion of ‘Crisis of Drama’ and the problem of the ‘Theory of Representation in Colombian and Latin American theaters’. An awarded international theater artist and performer, he has been invited as an Artist in Residence, Mexico with Proyecto 3, performing at “Noche de Teatro” in 2004, 2006 and 2009; to the Université du Québec à Chicoutimi invited by Chaire de Recherche de la Dramaturgie du son in 2012; and to the Academy of Arts of Cologne-Germany, 2015. A Doctor in Theater Studies of University of Paris 3- Sorbonne Nouvelle, and Master in Literature at Universidad Javeriana, he is currently Human Science Academic Associate Dean at the Universidad Nacional de Colombia, Bogotá.
KEYNOTE SPEAKERS
Dr. Angela Viora
Angela Viora is an Italian multidisciplinary artist and scholar whose core practice is performance art. She researches on the process of site-specific and durational performances to offer a deeper understanding of how performance art operates in the world. Her thought-provoking performances explore the human relationship with space and places, and aim to raise awareness on experiences of migration, identity, and belonging. Using her body as a vehicle, Angela makes room for the audience who then become an agentic element of the performance process, conceived as an offer and a shared experience.
The performative-participatory element characterizes every medium in her production, and she favors working in public spaces accessible to anybody. Angela has performed, exhibited, and presented her work internationally, including at the Biennale of Australian Art, Daegu Art Factory (SK), Performance Studies International Conference, the MAXXI Museum in Rome (IT), and the 12th Istanbul Biennial (TK). She has worked as an artist-researcher and a curator in interdisciplinary community projects across countries, partnering with the Polytechnic of Turin (IT), UniCredit Bank (DE-IT), and the City of Melbourne (AUS), among others. Angela has published internationally on performance and public art, documentation and audience reception.
She has been teaching for over 10 years across institutions and countries. She currently lectures at Monash University (European Languages), where she integrates the study of language, literature and history with the study of visual and performing arts, public art, and artivism through a phenomenological and performative approach.
The performative-participatory element characterizes every medium in her production, and she favors working in public spaces accessible to anybody. Angela has performed, exhibited, and presented her work internationally, including at the Biennale of Australian Art, Daegu Art Factory (SK), Performance Studies International Conference, the MAXXI Museum in Rome (IT), and the 12th Istanbul Biennial (TK). She has worked as an artist-researcher and a curator in interdisciplinary community projects across countries, partnering with the Polytechnic of Turin (IT), UniCredit Bank (DE-IT), and the City of Melbourne (AUS), among others. Angela has published internationally on performance and public art, documentation and audience reception.
She has been teaching for over 10 years across institutions and countries. She currently lectures at Monash University (European Languages), where she integrates the study of language, literature and history with the study of visual and performing arts, public art, and artivism through a phenomenological and performative approach.
Prof. Marek Bernacki
Born in 1965 in Bielsko-Biała, he enrolled in the Polish philology course at the Jagiellonian University in Kraków, where he graduated with a master’s degree in 1990. Immediately after graduation, he started working at his alma mater as an assistant in the Institute of Polish Studies. At the same time, he took up doctoral studies there. In 1995 he received a doctoral degree in literature studies, specializing in Polish philology, based on a thesis titled „Obraz świata człowieka w młodej prozie polskiej lat 70. [XX w.] Studium analityczno-interpretacyjne (w kontekście personalistycznego myślenia o człowieka i świecie)” [A picture of the human world in young Polish prose of the 1970s [20th c.]. In 2002 he began working at the Bielsko-Humanist University of Technology and Humanities as an assistant professor in the Department of Polish Studies. In 2008-2012 he held the position of Vice-Dean for Student Affairs at the Faculty of Humanities and Social Sciences. In 2011, the Council of the Faculty of Polish Studies of the Jagiellonian University awarded him the academic degree of doktor habilitowany in the field of literary studies, specializing in contemporary Polish literature, based on his dissertation entitled Hermeneutics of the phenomenon of existence.
Studies on Polish contemporary literature (Vincenz, Miłosz, Wojtyła, Herbert, Szymborska). On the 1st of February 2012 he was appointed an associate professor at the University of Bielsko-Biala, and a few months later he was elected the dean of the Faculty of Humanities and Social Sciences.
Studies on Polish contemporary literature (Vincenz, Miłosz, Wojtyła, Herbert, Szymborska). On the 1st of February 2012 he was appointed an associate professor at the University of Bielsko-Biala, and a few months later he was elected the dean of the Faculty of Humanities and Social Sciences.
Liliana Alzate Cuervo
She was born in Cali – Colombia in 1968. Creator and researcher of theater, she has more than 25 years of experience in the performing arts: from research-creation, work with community and university teaching in several faculties of performing arts and literature in the country. In addition, she has developed cultural projects with vulnerable communities in different cities of the country with victims of the war conflict: designing pedagogical projects in the fields of cultural and social management, event organization, art therapy program, creative writing, research – action, translation, and tourism with awareness. As well, She has also been an actress in several professional groups of recognized trajectories in the country and has developed the dramaturgy in her own creations with the lunadá from 2014 to date. She has made several publications: Women’s theater: a frontier dramaturgy (2011) ¿What is its fundamental? Conversations with Santiago García (2016), Another voices, the untold history of the theater (2021), among others. As part of her training she has studied with great masters of contemporary Latin American theater.
Víctor Viviescas
Is a titular professor at the Universidad Nacional de Colombia, Department of Literature. A playwright, theater director and theater researcher, he has directed Teatro Vreve-Proyecto Teatral since 1997. Between 2015-2016 he was the Academic Coordinator of the Master in Creative Writing of Universidad Nacional de Colombia, and from 2009 to 2013 of the Interdisciplinary Master in Theater and Live Arts. He is part of the research group in History and Literature of Universidad Nacional de Colombia and directs the group of Aesthetic and History of Colombian and Latin American Theater and the creating researching Pensar Sonido. He has published several articles in relation to the notion of ‘Crisis of Drama’ and the problem of the ‘Theory of Representation in Colombian and Latin American theaters’. An awarded international theater artist and performer, he has been invited as an Artist in Residence, Mexico with Proyecto 3, performing at “Noche de Teatro” in 2004, 2006 and 2009; to the Université du Québec à Chicoutimi invited by Chaire de Recherche de la Dramaturgie du son in 2012; and to the Academy of Arts of Cologne-Germany, 2015. A Doctor in Theater Studies of University of Paris 3- Sorbonne Nouvelle, and Master in Literature at Universidad Javeriana, he is currently Human Science Academic Associate Dean at the Universidad Nacional de Colombia, Bogotá.
SPECIAL EVENTS
Prof. Lucas Margarit
(University of Buenos Aires)
Guests:
- prof. Luz María Sánchez Cardona (Metropolitan Autonomous University, Mexico)
- prof. José Francisco Fernández (University of Almeria, Spain)
- prof. Lucas Margarit (University of Buenos Aires, Argentina)
Dr. Angela Viora
(Monash University)
Guests:
- prof. Maryrose Casey (Flinders University, Adelaide)
- dr. Jaime G. Dorner (independent researcher)
- dr. Francesco Ricatti (Monash University)
- dr. Chris Wenn (Melbourne University)
Cristhian M. Avila
Filmmaker and MA in Theater and Live arts in the National University of Colombia. He is Artistic director of Teatro Errante since 2011 and Creative director of Casa Reflector Foundation since 2016, organization dedicated to design transmedia projects (performing arts, graphic arts, cinema) and generating artistic and cultural training. In the audiovisual field, he has worked as scriptwriter, video-editor, and director for many productions. He has participated as video stage designer and lightning designer for others companies, but also he has writed and directed several documentary plays as Suicide breviary (2009), How much to be woman (2016), Bed stories and another spines (2021), among others. In addition, he has developed a closer work with different communities (trans communities, afro-colombian migrants, children and youth demobilized from guerrilla and paramilitary groups, soccer fans…). He has worked as professor in several universities in Bogotá and his job as theatrical researcher involves around the relationship between cinema and theater, and pheriferical narratives within the history of national dramaturgy.
Marco Tulio Contreras
Psychologist, actor, director and theatrical teacher. He graduated as Psychologist professional from National University of Colombia and has experience in the social area, mainly plaining, coordination and execution of child abuse prevention programs. He has vast experience in the diagnosis and treatment of the population with mental retardation, Down syndrome, autism and infantile psychosis. In the theatrical field, he was director of National University´s experimental Theater (1995 - 2005), director of District Jail´s theater group (1998), director of El cajon (2005 - 2015), director of Teatrante since 2016, besides to be Teatro Errante´s actor since 2011.
Initial explorations about time and space in the performing art: The case of Teatro Errante and its first ten years.
Teatro Errante (Colombia): It's A performing collective founded in 2011, integrated by a net of multidisciplinary artists interested to explore the hybrid and the liminal in the contemporary arts, using several languages and expressive resources like theater, cinema, music, electronics media, and a closer work mainly with communities in a situation of vulnerability. Teatro Errante has created so far the following projects: Creditors (2011), a staging that explores the possibilities of sound around Strindberg's work; Objection´s office (2013), a series of performative street actions about freedom of speech in Colombia; That bullshit called love (2015), a documentary theatrical play made with trans community of red district of Bogota; Lard of dead (2017), inquiry about myth world of the afro colombian culture faced against the colombian pacific´s violence reality; and The Elsinor´s judgment (2021), free version in thriller mood about Shakespeare's Hamlet. Actually, Teatro Errante has linked to Casa Reflector Foundation to develop transmedia projects.
SPECIAL EVENTS
Prof. Lucas Margarit
(University of Buenos Aires)
Guests:
- prof. Luz María Sánchez Cardona (Metropolitan Autonomous University, Mexico)
- prof. José Francisco Fernández (University of Almeria, Spain)
- prof. Lucas Margarit (University of Buenos Aires, Argentina)
Dr. Angela Viora
(Monash University)
Guests:
- prof. Maryrose Casey (Flinders University, Adelaide)
- dr. Jaime G. Dorner (independent researcher)
- dr. Francesco Ricatti (Monash University)
- dr. Chris Wenn (Melbourne University)
Cristhian M. Avila
Filmmaker and MA in Theater and Live arts in the National University of Colombia. He is Artistic director of Teatro Errante since 2011 and Creative director of Casa Reflector Foundation since 2016, organization dedicated to design transmedia projects (performing arts, graphic arts, cinema) and generating artistic and cultural training. In the audiovisual field, he has worked as scriptwriter, video-editor, and director for many productions. He has participated as video stage designer and lightning designer for others companies, but also he has writed and directed several documentary plays as Suicide breviary (2009), How much to be woman (2016), Bed stories and another spines (2021), among others. In addition, he has developed a closer work with different communities (trans communities, afro-colombian migrants, children and youth demobilized from guerrilla and paramilitary groups, soccer fans…). He has worked as professor in several universities in Bogotá and his job as theatrical researcher involves around the relationship between cinema and theater, and pheriferical narratives within the history of national dramaturgy.
Marco Tulio Contreras
Psychologist, actor, director and theatrical teacher. He graduated as Psychologist professional from National University of Colombia and has experience in the social area, mainly plaining, coordination and execution of child abuse prevention programs. He has vast experience in the diagnosis and treatment of the population with mental retardation, Down syndrome, autism and infantile psychosis. In the theatrical field, he was director of National University´s experimental Theater (1995 - 2005), director of District Jail´s theater group (1998), director of El cajon (2005 - 2015), director of Teatrante since 2016, besides to be Teatro Errante´s actor since 2011.
Initial explorations about time and space in the performing art: The case of Teatro Errante and its first ten years.
Teatro Errante (Colombia): It's A performing collective founded in 2011, integrated by a net of multidisciplinary artists interested to explore the hybrid and the liminal in the contemporary arts, using several languages and expressive resources like theater, cinema, music, electronics media, and a closer work mainly with communities in a situation of vulnerability. Teatro Errante has created so far the following projects: Creditors (2011), a staging that explores the possibilities of sound around Strindberg's work; Objection´s office (2013), a series of performative street actions about freedom of speech in Colombia; That bullshit called love (2015), a documentary theatrical play made with trans community of red district of Bogota; Lard of dead (2017), inquiry about myth world of the afro colombian culture faced against the colombian pacific´s violence reality; and The Elsinor´s judgment (2021), free version in thriller mood about Shakespeare's Hamlet. Actually, Teatro Errante has linked to Casa Reflector Foundation to develop transmedia projects.
AUSTRALIAN GUEST-PERFORMANCE ARTISTS
Dr. Jill Orr
(Flinder University, Victoria)
Jill Orr’s work centers on the psycho- social and environmental where she draws on land and identities as they are shaped in, on and with the environment be it country or urban locales. Orr grapples with the balance and discord that exists at the heart of relations between the human spirit, art and nature. Jill has worked nationally and internationally since the late 1970’s. She was represented in the inaugural Venice International Performance Art Week in 2012.
She was awarded an Australia Council Fellowship to produce Antipodean Epic from 2015-7. Recent commissioned works include Detritus Springs, Listen, Laundry and Dark Night (2018, 2019). In 2020-2021, she was represented in Australia: Antipodean Stories at PAC Padiglione d’Art Contemporanea, Milan, curated by Eugenio Viola. Orr’s works are held in major collections including the National Gallery of Australia, National Gallery of Victoria, Griffith, RMIT and Monash University collections. She is held in numerous private collections in Australia, The Netherlands, England, France, the United States, China and Belgium.
Orr is represented by THIS IS NO FANTASY, Melbourne (AUS).
www.jillorr.com.au
Stelarc
SPLIT BODY, SYNTHETIC SELF: EXCESS AND EMPTINESS
The body now performs beyond the boundaries of its skin and beyond the local space it inhabits. It increasingly interacts remotely, transmitted and mediated by computational systems. Subjectively, the body experiences itself as an extruded system, rather than an enclosed structure. The self is distributed, physically embodied in one location but virtually represented in multiple other locations. You are no longer merely here nor there but rather partly here sometimes and partly elsewhere all the other times. The self becomes situated beyond the skin, and the body is emptied. But this emptiness is not an emptiness of lack but rather a radical emptiness through excess. An emptiness from the extrusion and extension of its capabilities, its augmented sensory antennae and its increasingly remote functioning. What becomes important is not merely the body’s identity, but its connectivity. The body in excess has become a contemporary chimera of meat, metal and code. What it means to be human is perhaps not to remain human at all. In this age of body hacking, gene mapping, prosthetic augmentation, organ swapping, face transplants and synthetic skin, what it means to be a body and what it means to be human and what generates aliveness and agency becomes problematic. At the time when the individual body is threatened existentially by fatally being infected by biological viruses, the human species is confronted by the more pervasive and invasive ontological risk of infection by its techno-digital artifacts and entities.
AUSTRALIAN GUEST -PERFORMANCE ARTISTS
Dr. Jill Orr
(Flinder University, Victoria)
Jill Orr’s work centers on the psycho- social and environmental where she draws on land and identities as they are shaped in, on and with the environment be it country or urban locales. Orr grapples with the balance and discord that exists at the heart of relations between the human spirit, art and nature. Jill has worked nationally and internationally since the late 1970’s. She was represented in the inaugural Venice International Performance Art Week in 2012.
She was awarded an Australia Council Fellowship to produce Antipodean Epic from 2015-7. Recent commissioned works include Detritus Springs, Listen, Laundry and Dark Night (2018, 2019). In 2020-2021, she was represented in Australia: Antipodean Stories at PAC Padiglione d’Art Contemporanea, Milan, curated by Eugenio Viola. Orr’s works are held in major collections including the National Gallery of Australia, National Gallery of Victoria, Griffith, RMIT and Monash University collections. She is held in numerous private collections in Australia, The Netherlands, England, France, the United States, China and Belgium.
Orr is represented by THIS IS NO FANTASY, Melbourne (AUS).
www.jillorr.com.au
Stelarc
SPLIT BODY, SYNTHETIC SELF: EXCESS AND EMPTINESS
The body now performs beyond the boundaries of its skin and beyond the local space it inhabits. It increasingly interacts remotely, transmitted and mediated by computational systems. Subjectively, the body experiences itself as an extruded system, rather than an enclosed structure. The self is distributed, physically embodied in one location but virtually represented in multiple other locations. You are no longer merely here nor there but rather partly here sometimes and partly elsewhere all the other times. The self becomes situated beyond the skin, and the body is emptied. But this emptiness is not an emptiness of lack but rather a radical emptiness through excess. An emptiness from the extrusion and extension of its capabilities, its augmented sensory antennae and its increasingly remote functioning. What becomes important is not merely the body’s identity, but its connectivity. The body in excess has become a contemporary chimera of meat, metal and code. What it means to be human is perhaps not to remain human at all. In this age of body hacking, gene mapping, prosthetic augmentation, organ swapping, face transplants and synthetic skin, what it means to be a body and what it means to be human and what generates aliveness and agency becomes problematic. At the time when the individual body is threatened existentially by fatally being infected by biological viruses, the human species is confronted by the more pervasive and invasive ontological risk of infection by its techno-digital artifacts and entities.
OTHER DEBATES
OTHER DEBATES
1
“He aquí el lugar: Hemos llegado. Llegar – llegar.” (Claudio Santana Bórquez) Based on the recent artistic work “Barranco,” a solo performance by / with Claudio Santana Bórquez, and the investigations of the Performer Persona Project ensemble. An approach to the experience within the action of the person in action will be developed.
3
Lecture by prof. Jorge Dubatti: "Production of knowledge from the stage: research areas of the philosophy of Theater Praxis"
5
Presentation of the monograph published by Escuela Nacional Superior de Arte Dramático “Guillermo Ugarte Chamorro” (ENSAD, Lima Perú): Artistas-investigadoras/es y producción de conocimiento desde la escena, Vol 2."
2
Roundtable/Panel de expositores: Representaciones del tiempo y del espacio en la obra de Samuel Beckett. Participantes: Luz María Sánchez Cardona, Universidad Autónoma Metropolitana, México, José Francisco Fernández Universidad de Almería, España Lucas Margarit, Universidad de Buenos Aires, Argentina Coordinador: Lucas Margarit
4
Lecture by prof. Lucas Margarit: "Quietud y voluntad: formas de apropiación del espacio en el teatro de Samuel Beckett."
6
BECKETTIANA-30: Presentation regarding the thirtieth anniversary of the Beckettiana Magazine of the University of Buenos Aires. (Lucas Margarit (Director of Beckettiana), María Inés Castagnino (co-director of Beckettiana), Marcelo Lara (editorial secretary).
7
“Debate of Latin-American theatrologists and researchers on: “Telematic communication: new connections for Latin American theaters?”
1
“He aquí el lugar: Hemos llegado. Llegar – llegar.” (Claudio Santana Bórquez) Based on the recent artistic work “Barranco,” a solo performance by / with Claudio Santana Bórquez, and the investigations of the Performer Persona Project ensemble. An approach to the experience within the action of the person in action will be developed.
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Roundtable/Panel de expositores: Representaciones del tiempo y del espacio en la obra de Samuel Beckett. Participantes: Luz María Sánchez Cardona, Universidad Autónoma Metropolitana, México, José Francisco Fernández Universidad de Almería, España Lucas Margarit, Universidad de Buenos Aires, Argentina Coordinador: Lucas Margarit
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Lecture by prof. Jorge Dubatti: "Production of knowledge from the stage: research areas of the philosophy of Theater Praxis"
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Lecture by prof. Lucas Margarit: "Quietud y voluntad: formas de apropiación del espacio en el teatro de Samuel Beckett."
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Presentation of the monograph published by Escuela Nacional Superior de Arte Dramático “Guillermo Ugarte Chamorro” (ENSAD, Lima Perú): Artistas-investigadoras/es y producción de conocimiento desde la escena, Vol 2."
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BECKETTIANA-30: Presentation regarding the thirtieth anniversary of the Beckettiana Magazine of the University of Buenos Aires. (Lucas Margarit (Director of Beckettiana), María Inés Castagnino (co-director of Beckettiana), Marcelo Lara (editorial secretary).
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“Debate of Latin-American theatrologists and researchers on: “Telematic communication: new connections for Latin American theaters?”
COMMITTEES
SCIENTIFIC COMMITTEE:
– prof. Patrice Pavis (Université Paris 8, France)
– prof. Anna Węgrzyniak (University of Bielsko-Biala, Poland)
– prof. Jorge Dubatti (University of Buenos Aires, Argentina)
– prof. Lucas Margarit (Universidad of Buenos Aires, Argentina)
– prof. Marek Bernacki (University of Bielsko-Biala, Poland)
– prof. Maria Korusiewicz (University of Bielsko-Biala, Poland)
– prof. Carlos Dimeo Álvarez (University of Bielsko-Biala, Poland)
– prof. Michał Kopczyk (University of Bielsko-Biala, Poland)
– prof. Dorota Fox (University of Silesia, Poland)
– dr. Aneta Głowacka (University of Silesia, Poland)
ORGANIZING COMMITTEE:
– prof. Carlos Dimeo Álvarez (University of Bielsko-Biala, Poland)
– dr. Agnieszka Palion-Musioł (University of Bielsko-Biala, Poland)
– dr. Aneta Głowacka (University of Silesia, Poland)
– dr. Angela Viora (Monash University, Australia)
– dr. Tomasz Jerzy Brenet (University of Bielsko-Biala, Poland)
– Aleksandra Hasior, MA (University of Bielsko-Biala, Poland)
– Agnieszka Kliś, MA (University of Bielsko-Biala, Poland)
– Artur Biela, MSc (University of Bielsko-Biala, Poland)
COMMITTEES
SCIENTIFIC COMMITTEE:
– prof. Patrice Pavis (Université Paris 8, France)
– prof. Anna Węgrzyniak (University of Bielsko-Biala, Poland)
– prof. Jorge Dubatti (University of Buenos Aires, Argentina)
– prof. Lucas Margarit (Universidad of Buenos Aires, Argentina)
– prof. Marek Bernacki (University of Bielsko-Biala, Poland)
– prof. Maria Korusiewicz (University of Bielsko-Biala, Poland)
– prof. Carlos Dimeo Álvarez (University of Bielsko-Biala, Poland)
– prof. Michał Kopczyk (University of Bielsko-Biala, Poland)
– prof. Dorota Fox (University of Silesia, Poland)
– dr. Aneta Głowacka (University of Silesia, Poland)
ORGANIZING COMMITTEE:
– prof. Carlos Dimeo Álvarez (University of Bielsko-Biala, Poland)
– dr. Agnieszka Palion-Musioł (University of Bielsko-Biala, Poland)
– dr. Aneta Głowacka (University of Silesia, Poland)
– dr. Angela Viora (Monash University, Australia)
– dr. Tomasz Jerzy Brenet (University of Bielsko-Biala, Poland)
– Aleksandra Hasior, MA (University of Bielsko-Biala, Poland)
– Agnieszka Kliś, MA (University of Bielsko-Biala, Poland)
– Artur Biela, MSc (University of Bielsko-Biala, Poland)
PAYMENTS IN PLN:
All participants from Poland, please make a transfer to the following bank account:
Conference fee: 180 zł
Akademia Techniczno-Humanistyczna, ul. Willowa 2, 43-309 Bielsko-Biała
Konto nr: 73 1240 4142 1111 0010 5457 2831
Bank PEKAO S.A. o/Bielsko-Biała
Tytuł wpłaty: Teatralidad (Imię Nazwisko)
PAYMENTS IN EUR:
Conference fee: 40 euros
University of Bielsko-Biala Poland, ul. Willowa 2, 43-309 Bielsko-Biała
IBAN: PL 39 1240 4142 1978 0000 4824 0356
Bank: PEKAO S.A./O. Bielsko-Biała, SWIFT/BIC: PKOPPLPW
Title: Teatralidad (Name Surname)
PAYMENTS IN PLN:
All participants from Poland, please make a transfer to the following bank account:
Conference fee: 180 zł
Akademia Techniczno-Humanistyczna, ul. Willowa 2, 43-309 Bielsko-Biała
Konto nr: 73 1240 4142 1111 0010 5457 2831
Bank PEKAO S.A. o/Bielsko-Biała
Tytuł wpłaty: Teatralidad (Imię Nazwisko)
PAYMENTS IN EUR:
Conference fee: 40 euros
University of Bielsko-Biala Poland, ul. Willowa 2, 43-309 Bielsko-Biała
IBAN: PL 39 1240 4142 1978 0000 4824 0356
Bank: PEKAO S.A./O. Bielsko-Biała, SWIFT/BIC: PKOPPLPW
Title: Teatralidad (Name Surname)
