Katherine Profeta // Nov. 12, 2019

The Promise of Common Creation in Improv Comedy and Contact Improv

Katherine Profeta, Nov. 12 2019 2- 3 pm. 220 York Street, Room 100.

My new research explores two forms of improvisational performer training and performance, and Improv Comedy and Contact Improvisation, which emerged in the USA in the second half of the 20th century.  Both live on today, partially assimilated into institutional training structures, but still sometimes serving as alternatives to more formal pathways of study and creative production.  Thinking across dance and theater can better illuminate each practice, for instance clarifying how they arose from a shared cultural moment, during which the ideals of improvisation and collective creation swept across many disciplines.  I assign much credit for that larger moment to Africanist approaches to musical improvisation, and particularly the popular awareness of 1940s bebop which grew in the 50s and 60s. I also find common roots in progressive theories of education, which date back to the 19th century but similarly expanded in popularity as the 20th century went on. Both Contact Improvisation and Improv Comedy boast an exciting rhetoric of inclusion, according to which the creative act is decentralized, and performances are generated as the common property of all bodies present. Yet these techniques must also reckon with a less pleasant reality that the rhetoric of inclusion cannot obscure: open improvisation within a collective does not always counter patterns of socially ingrained bias, and in fact can amplify them instead.

Katherine Profeta is a NYC dramaturg who has worked with choreographer/visual artist Ralph Lemon since 1997. Other collaborators over the years, both recent and long-past, include Alexandra Beller, Nora Chipaumire, Karin Coonrod, Annie Dorsen, Julie Taymor, David Thomson, Ni’Ja Whitson, and Theater for a New Audience. She is also a founding member and frequent choreographer with the New York City theater company Elevator Repair Service, lending her hand to the majority of its productions since 1991. Profeta holds an MFA and DFA in dramaturgy from the Yale School of Drama, where she is currently a Professor in the Practice of Dramaturgy and Dramatic Criticism. Previously she taught in the theater departments of Barnard and Queens College, CUNY.  Her first book, Dramaturgy in Motion, came out in 2015 from University of Wisconsin Press. Other writing has been seen in Performing Arts Journal, Theater magazine, Movement Research Performance Journal, TCG’s Production Notebooks, and MoMA’s Modern Dance series. She was proud to be a dramaturg last year with the Urban Bush Women Choreographic Center Initiative.

Elise Morrison // Nov. 5, 2019

Postdramatic Stress: Performance in the Aftermath of War

Elise Morrison, Nov. 5, 2019 2-3pm. 220 York Street, Room 100.

 

Post-dramatic performance in the aftermath of war describes performances whose practitioners and audiences have prior knowledge of the war(s) that have come before, are versed in the dramaturgies and narratives employed in the preparation and enactment of war, and have chosen deliberately to step beyond those habitual expressive structures into imaginative and embodied new vocabularies of peace. Centered on research conducted on a recent trip to Hiroshima and Okinawa, two communities that experienced such severe devastation in WWII that civic life has been defined by the aftermath for the 75 years since, Morrison discusses examples of artist-activists who submit martial interfaces and received narratives of war to “post-dramatic stress,” utilizing interactivity and participatory world making within the space of a performance as a means of facilitating “performative ethics” and “moral imagination” for local and international communities.

Elise Morrison is an Assistant Professor of Theater and Performance Studies at Yale, where she teaches courses such as Feminist Theater, Theater History, Embodied Communication, and Digital Media in Performance. Her book, Discipline and Desire: Surveillance Technologies in Performance was published by University of Michigan Press in 2016. In 2015 Morrison edited a special issue on “Surveillance Technologies in Performance” for the International Journal of Performance Arts and Digital Media (Routledge, 11.2) and has published on this topic in the International Journal of Performance Art and Digital Media (IJPADM), Theater Magazine, and TDR. She is an associate editor for IJPADM and a consortium editor for TDR.

Steve Luber // Oct. 22, 2019

FPS: First-Person Spectator
Steve Luber, Oct. 22, 2019 2-3pm. 220 York Street, Room 100.
Much has been made of the cross-pollination between video games and performance, including categories of analysis such as interactivity in performance, narrative and spectatorial dynamism. Given the cultural and economic juggernaut that gaming has become internationally, it is no surprise that theatre and performance begin to not only examine, but take on gaming phenomena. I will focus on repurposing the effects of remediation as older forms remediate newer forms remediate older forms.
Steve Luber is Associate Director of the Ammerman Center for Arts and Technology at Connecticut College. His current book project is entitled Last Gasp: The Ends of Multimedia Performance.

Charles O’Malley // Oct. 15, 2019

A Specific Anarchy: The Cockettes, Genderfuck, and the Beginning of the 1970s

Charles O’Malley, Oct. 15, 2019 2-3pm. 220 York Street, Room 100.

This talk comes from Charles O’Malley’s current project, a critical history of the genderfuck performance collective the Cockettes, a group of mostly queer artists working in San Francisco from 1969-1972. Situated between the rise of the New Left and the opening of the queer liberation movement, the Cockettes worked to blur the line between performance and the everyday, all while constantly needling at definitions of gender and asking which walls needed to come down. Drawn from interviews and performance detritus left by members of the group, this talk analyzes the use of “genderfuck” as a tool and considers the group’s legacy.

Charles O’Malley is a doctoral candidate at the Yale School of Drama; his dissertation focuses on queer radicalism in 1970s San Francisco. At Yale, he co-convenes the Performance Studies Working Group and is the Artistic Fellow at Yale Repertory Theatre. His writing has appeared in the New Republic, Lambda Literary, Indiewire, and in the journal QED. He has taught at Yale College and Connecticut College.