M Lecture/Seminars 10:00-12:00pm G56 Student-led Whshops 6:00-10:00pm Humanities Studio Tue Student-led Whshops 6:00-10:00pm Humanities Studio

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1 Warwick ST 2 Syllabus, Spring/Summer 2011 Below you will find a weekly guide to the lectures and assignments that will make up your course this term. Many of the reading assignments will be posted on the MAIPR website teaching pages for by the end of the autumn term. The rest will be will be posted on the website or distributed to you one week in advance of the session for which they are intended. You are expected to be at all regularly scheduled lectures and workshops and screenings; research seminars and performances will also be described here. Overview: The instruction for this term has been structured around some of the key issues of international performance research and artistic practice including the following topics: identity and citizenship, trauma and witnessing, nation and transnational, gender and sexuality, public sphere and social action. Your initial period of study (ten weeks) will include lectures and workshops by Visiting Scholars, Warwick Staff and small group work with your colleagues, guided by Visiting Scholars. Lectures/workshops are two hours on Mondays and Thursdays, and three hours on Friday mornings (unless indicated otherwise). Monday, Tuesday, and Thursday evenings and Friday afternoons you will have studio space available for group work. Your second ten weeks (starting April 27 th, after spring break) will involve your fieldwork placement and ongoing work on your essay, a three week intensive creative practice workshop with Tim Miler on performance and social change, and work on your dissertation. Your assessment will be based on a 5000 word essay on some aspect of the course thematic (details TBA); a modalities group project with 2500 words or equivalent, and a 2500 report/dossier on your fieldwork placement. You will also be developing your ideas for your final dissertation to present at the summer school. Class Sessions (unless otherwise indicated): The Humanities studio in the Humanities building is booked for student-led workshops on Monday, Tuesday and Thursday evenings and Friday afternoons starting from week 2 of classes (except in weeks 6 and 7, when an alternative space will be sought). M Lecture/Seminars 10:00-12:00pm G56 Student-led Whshops 6:00-10:00pm Humanities Studio Tue Student-led Whshops 6:00-10:00pm Humanities Studio W Screenings pm G56 Department research seminars 4:00-6:00pm TH Lecture/Seminars 10:00-12:00pm G56 G56 1

2 Student-led Whshops 6:00-10:00pm Humanities Studio F Lectures/ Wkshops pm Humanities Studio 2 Student-led Wkshops pm Humanities Studio 2 Assigned Please complete the readings for each day before class. Readings may be accessed online. See website pages: SCHEDULE AND READINGS (subject to change) WEEK 1 10 Jan. (Monday): 9:30-1:00pm Induction session; Preparation for Indian Theatre Research in weeks 2&3 (J. Reinelt and M. Gluhovic) Zarrilli, Phillip B et al, CASE STUDY: Social drama in Kerala, India: Staging the revolution in Theatre Histories: An Introduction, pp Gaikward, Namrata. Revolting Bodies, hysterical state: women protesting the Armed Forces Special Powers Act (1958). Contemporary South Asia 17.3 (2009): Also: browse the website for the Warwick/JNU collaboration at 12 Jan. (Wednesday): **Morning : Induction/Orientation to Humanities Studio 2 with a technician Ian O Donoghue (i.f.c.o-donoghue@warwick.ac.uk) Schedule: group A: 10:30-11:30 (6 students) GROUP b: 11:30-12:30 (6 students) Sign up on Monday for slots ***Afternoon 1:30-2:30pm, the Seminar Room on Floor 2 of the Main Library: Library induction with the theatre librarian Richard Perkins (R.Perkins@warwick.ac.uk ) [info about finding basic material on the catalogue, access to resources online, how to find good quality articles etc.] Afternoon: 3:00-4:00pm Screening in G52, Milburn House (for Yvette Hutchinson s class on Friday) 2

3 SABC-TV 2. (2004) Sticks and Strings, Producer: Simon Damast, Directed: Jemima Spring Handspring Puppet Company excerpt from the play 13 Jan. (Thursday): 10:00-13:00 Performance and Identity in the context of globalization: the place of intercultural theatre (Yvette Hutchinson) ***Location: Humanities Studio in the Humanities building tbc. Alternatively, you will have this session in Rm. G56 in Milburn House. These two sessions aim to explore the connections between the local and the global, particularly in terms of identity construction, and how theatre and performance negotiates representation of ourelves in a wider context. 10: : Semiotics of Identity Who are we? - bring an object that has some personal/ cultural resonance for you [think about what offends you personally, why?] How does this relate to constructions of identity: personal, cultural, national? - Inventing traditions - The myth of a nation What does the representation of ourselves/others involve [playing with semiotics] - Media/ cultural imperialism hypothesis (see references attached, for consideration and discussion) How do these issues relate to the performances of identity in wider contexts? What do we mean, and what is implied in terms like: the global world, transculturalism, diasporas, creolisations, refugees, immigrants,? 11:30-13:00: Translating context What is the significance of context (both space and place) to the reception of theatre especially in terms of semiotics and the languages of performance)? Case study: Tall Horse (2005) Mali-South Africa Puppet collaboration - Issues that emerge related to negotiating culture, language, performance style, encoding, decoding - evaluating strengths and weaknesses of production (process and product) In the light of this case study, what must a practitioner consider in terms of context when planning, rehearsing an intercultural theatre production? How can this relate to a radical theatre approach? Wilkinson & Kritzinger: Representing the other in Tim Prentki and Sheila Preston, The Applied Theatre Reader (London: Routledge, 2008). Schipper, Insiders and outsiders in Prentki and Preston. 3

4 bell hooks: Choosing the margin as a space of radical openness in Prentki and Preston. Further readings on Tall Horse (not required): M. Kruger, The Relationship between Theatre and Ritual in the Sogo bo of the Bamana from Mali in New Theatre Quarterly 25.3 (2009): Mervyn Millar, Journey of the Tall Horse: A story of African Theatre (London: Oberon Books, 2006) (text of the play and notes on the process) Yvette Hutchison, The Dark Continent goes North: an exploration of intercultural theatre practice through Handspring and Sogolon Puppet companies The Tall Horse Theatre Journal 62.1 (2010): SABC-TV 2. (2004) "Sticks and Strings". Producer: Simon Damast, Directed: Jemima Spring Handspring Puppet Company. (2005) Tall Horse promotional DVD, Cape-Town, see 15 Jan. (Friday): 10:00-13:00 Performance and Identity in the context of globalization: the place of intercultural theatre (Yvette Hutchinson) 10:00-11:15 Performing ideology versus questioning positions: open and closed performances Returning to Tall Horse compare this to the SA -Mali collaboration on the Timbuktu Manuscript Project 11:30-1:00pm Discuss how intercultural issues may affect methodologies of intercultural practice for - theatre practitioners - researchers * How do transcultural (universal) versus post-colonial theoretical approaches to international performance affect practice? Give examples form your own experiences David Kerr s Malawian based case study You just made the blueprint to suit yourselves, in Tim Prentki and Sheila Preston, The Applied Theatre Reader (London: Routledge, 2008): Joseph Roach, World Bank Drama, in ESQ: A Journal of the American Renaissance, : WEEKS 2&3 Performed identities: Indian dance in the globalized world (With Urmimala Sarkar Munsi from Jawaharlal Nehru University, New Delhi) Course description: 4

5 India has used its dance and dancers to project it's image of being a modern nation with equal space and importance accorded to tradition as well as transition. As the nation negotiates its' local' and 'global' identity in the context of the world in the 21st century - it also nurtures it's image as the cultural heavyweight of South Asia - by constantly highlighting the '2500 years old tradition of classical dances'. The course will explore some of the key cultural, social and political issues that make up the reality of the world of dance in India - historiographically analyzing the construction of the unified category projected and known as 'Indian dance'. WEEK 2 17 Jan. (Monday): 10:00-12:00 Performed identities: Indian dance in the globalized world (A. Sarkar Munsi and MG) ***All sessions with Urmimala Sarkar Munsi will take place in the Humanities Studio. - Community practices and identity functional implications (performance and issues of boundary maintenance/ social solidarity/ assertion of identity) - Contextuality / audience / reception - Policies and politics of representation - Everyday to proscenium: divides across class caste and space/ Community practices to urban appropriation Andree Grau, Dance, Identity and Identification Processes in the Postcolonial World, in Dance Discourses: Keywords in Dance Research, eds. Susanne Franco and Marina Nordera. London and New York: Dance, Identity and Identification Processes in the Post Colonial World Anuradha Kapoor, Introduction. Actors, Pilgrims, Kings and Gods: The Ramlila of Ramnagar. New Delhi, Seagull, , Urmimala Sarkar Munsi, Being Rama: Performing Rama in the Changing Times, in Documenting Ramayana. New Delhi: Indira Gandhi Centre for the Arts, 2011 (forthcoming). 19 Jan (Wednesday): 2:00-4:00 Screening (for A. Sarkar Munsi s class) 20 Jan (Thursday): 10:12:00 Performed identities: Indian dance in the globalized world cont d (A. Sarkar Munsi and JR) - Community practices and identity functional implications (performance and issues of boundary maintenance/ social solidarity/ assertion of identity) - Contextuality / audience / reception - Policies and politics of representation 5

6 - Everyday to proscenium: divides across class caste and space/ Community practices to urban appropriation Kalpana Ram, Dancing off-stage: Nationalism and its Minor Practices in Tamil Nadu, in Dance Matters: Approaches and Issues in Indian Dance, ed. Pallabi Chakravorty. London: Routledge: Pallabi Chakravorty, From Interculturalism to Historicism: Reflections on Classical Indian Dance. Dance Research Journal 32.2 (Winter ): Jan (Friday): 9:30-1:00 Group Project Assignment and Creative Practice Workshop (A. Sarkar Munsi and MG) Performing the self/community Issues around urban living and identification of self in the urban space and time WEEK 3 24 Jan. (Monday): 10:00-12:00 Performed identities: Indian dance in the globalized world cont d (A. Sarkar Munsi and JR) ***Recommended theatre visit: Danish Dance Theatre s Enigma, CaDance, Kridt, Tue 25 and Wed 26 Jan., Warwick Arts Centre at 7:30 - Identity in the transitional world: National, transnational, global emerging from the colonial space. - Transnational/ global issues in the post-colony world: market/diaspora/ South Asian identity/ Classical vs. contemporary - The popular in Indian dance: Bollywood in the local and the global eyes - The contested concept of Contemporary. Ann David, Negotiating Identities: Dance and Religion in British Asian Communities, in Dance Matters. Peforming India, ed. P. Chakravorty, and N. Gupta. London; New Delhi: Routledge, 2010, Partha Chatterjee, Beyond the Nation? or Within? Social Text 56 (Autumn 1998): Jan. (Wednesday): 2:00-4:00 (Screening: TBC) 6

7 Recommended Attendance: 26 January Colloquium: Somewhere between Science and Legend: A Colloquium on Cirque du Solieil and Robert Lepage s Totem. Time: Place: The Centre for Creative Collaboration 16 Acton Street, London WC1X 9NG In connection with: Performance of Totem (Cirque de Soleil and Robert Le Page) at the Royal Albert Hall 5 January -17 February Tickets: pounds Website: 27 Jan (Thursday): 10:00-12:00 Performed identities: Indian dance in the globalized world cont d (A. Sarkar Munsi and MG) - Gender and identity: body, sexuality and socialization - The changing sphere of the woman dance - The body of the woman dancer : the politics of texts references, patriarchy and socialization - Performing gender/ performing identity/ performing resistance Urmimala Sarkar Munsi, A Century of Negotiations: The Changing Sphere of the Woman Dancer in India, in Women in Public Sphere in India: Some Exploratory Essays, New Delhi: Primus Books, forthcoming. Amita Nijhawan, Excusing the female dancer: Tradition and Transgression in Bollywood Dancing. South Asian Popular Culture 7.2 (2009): Jan. (Friday): 9:30-1:00 Group Project Assignment and Creative Practice Workshop (A. Sarkar Munsi) Issues around urban living and identification of self in the urban space and time WEEK 4 31 Jan (Mon.): Trauma theory (M. Gluhovic) 7

8 Cathy Caruth, Introduction, in Trauma: Explorations in Memory, ed. Cathy Caruth (Baltimore and London: The Johns Hopkins University Press, 1995), 3-12; Diana Taylor, Trauma and Performance: Lessons from Latin America, PMLA (2006): Screening in class: Artur Zmijewski, (10min); The Game of Tag (5min.) Claude Lanzmann, Shoah (excerpt, 20min.) Lisa Kudrow, Who do you think you are (10 min) Optional reading: Susannah Radstone, Trauma Theory: Contexts, Politics, Ethics, in Paragraph 30.1 (2007): Feb. (Wednesday): Screening 2:00-4:00 Breaking the History of Silence: Documentary of the Women's International War Crimes Tribunal on Japan's Military Sexual Slavery (2001), 68 min. 3 Feb. (Thursday): Gender, Sex, Empire (with Nobuko Anan) Taylor, Diana. Acts of Transfer in The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003), Butler, Judith. "Critically Queer" in Bodies that Matter: On the Discursive Limits of 'Sex' (1993), ***Readings may also include selected testimonies from Dai Sil Kim-Gibson s Silence Broken: Korean Comfort Women (Parkersburg, Iowa: Mid-Prairie Books: 1999); John Beverly s Testimonio, On Politics of Truth (Minneapolis: U of Minnesota P, 2004); and sections from Dominick LaCapra s book Writing History, Writing Trauma (Baltimore, Md.: Johns Hopkins UP, 2001).. 4 Feb. (Friday): Modalities workshop: Curation (M. Gluhovic and Silvija Jestrovic) See: Intercult s SEAS projects at in preparation for the class TBA WEEK 5 7 Feb. (Monday): 9:30-11:00 Trauma and Performance cont d (M. Gluhovic); 8

9 Harold Pinter, Ashes to Ashes (New York: Grove Press, 1996). Marianne Hirsch, Projected Memory: Holocaust Photographs in Personal and Public Fantasy, in Acts of Memory: Cultural Recall in the Present, eds. M. Bal, J. Crewe, and L. Spitzer (Hanover; London: UP of New England, 1999), Optional: Ernst van Alphen, Playing the Holocaust. Art in Mind: How Contemporary Images Shape Thought (Chicago: Chicago University Press, 2005), :30-1:00 Images of Violence: The Unknown Soldier (Hanna Korsberg, University of Helsinki) TBA SEE (in class): Tadeusz Kantor s The Theatre of Death performances, (excerpts) The Dybbuk (Der Dibek) The original Yiddish-Polish film based on Sholom Anski's classic play about possession and exorcism (excerpt) 10 Feb. (Thursday): Theatre and Conflict Resolution (J. Reinelt; guest in class Hanna Korsberg) David Edgar, Pentecoast (1994) and The Prisoner s Dilemma (2001) , Two newspaper articles in which the playwright discusses the plays Janelle Reinelt and Gerald Hewitt, Socialism s Aftermath: The Shape of the Table, Pentecost, and The Prisoner s Dilemma (excerpts from Chapter Six of their forthcoming book on David Edgar) Kuftinec, Sonja, Theatre, Facilitation, and Nation Formation in the Balkans and Middle East, pp notes 11 Feb. (Friday): 9:30-11:30, Modalities workshop: Scholarship -- Dissertation session (with M. Gluhovic and Margaret Shewring) WEEK 6 -- READING WEEK 16 Feb. (Wednesday): Screening (for N. Anan s class on Mon 21 Feb.) Some scenes from Jacques Demy's Lady Oscar (1979). (Basic information is needed before viewing Lady Oscar, as it is based on the Japanese girls manga The Rose of Versailles. The students will need to familiarize themselves with the manga by reading this: I suggest they read it after they finish the assigned readings). 9

10 WEEK 7 21 Feb (Monday): Gender, Sexuality, and National Identity (N. Anan) **Feb Essay outlines due (Essay due on 6 April) Jennifer, Robertson, Staging Androgyny, Takarazuka: Sexual Politics and Popular Culture in Modern Japan (1998), Michael Taussig, A Report to the Academy, in Mimesis and Alterity: A Particular History of the Senses (1993): xiii-xix. M. Taussig, Alterity, in Mimesis and Alterity: A Particular History of the Senses (1993): Feb. (Wednesday): Screening: TBC 24 Feb. (Thursday): Gender, Sexuality and British Identity (J. Reinelt) Janelle Reinelt, On Feminist and Sexual Politics, The Cambridge Companion to Caryl Churchill, ed. Elaine Aston (Cambridge UP, 2009), Aston, Elaine and Harris, Geraldine, Feminist Futures? Theatre, Performance, Theory, pp 1-33 Caryl Churchill, TopGirls (1982) Zinnie Harris, The Panel (2010) McIntyre, Clare, The Thickness of Skin 25 Feb (Friday): Creative practice workshop: Organic theatre: what happens when you are the hero (with Jose Julián Martínez, Universidad Central de Venezuela) Workshop Description: Words have so much to say, but in this workshop the main speaker will be the body. Personal, cultural and sexual stiff-identity (what we are supposed to be) will get blur and make way to a non-intellectual perspective. The organic theatre hopes to help the individual (or the group) to take some prefabricated ideas off and find a more naked version of people. This allows for a discovery of an organic (less artificial) way of creation. Something closer to our organic life (the way the body organizes it self). This might create a kind of hero or heroine. The one who has the nerve to hurt a preconceived ego and go beyond. The one who will be brave enough to connect with him or herself. The human being who will show the audience at least a part of what is also our life. 10

11 Maurice Maurice Merleau-Ponty, Preface in Phenomenology of Perception (London and New York: Routledge, 2002). Joseph Campbell, The Hero and the god in The Hero with a thousand faces (Princeton and Oxford: Princeton UP, 2004). Friedrich Nietzsche, Will a Self ( 360) in Human all-too-human, (Nebraska: UNP, 1985), and Consciousness ( 11) in The Gay Science (New York: Random House, 1974). WEEK 8 28 Feb (Monday): Internationalizing the Public Sphere (J. Reinelt and Barbara Orel, Erasmus visiting lecturer from the University of Ljubljana)) TBA Michael Warner, Publics and Counterpublics, Public Culture 14.1 (2002): Jodi Dean, Cybersalons and Civil Society: Rethinking the Public Sphere in Technoculture, Public Culture 13.2 (2001): Antoni Abad, artist responsible for this project: 2 March (Wednesday): Screening: SEE: Paul Poet s documentary film about Christoph Schlingensief s performance Foreigners Out! (2000). 3 March (Thursday): 9:30-12:30 Creative Practice Workshop with Baz Kershaw ***Theatre visit: W. Shakespeare, The Tempest, Dir. Declan Donnelan at 7:30pm, Warwick Arts Centre (free of charge; L. Mullard will arrange for the tickets) 4 March (Friday): 10:00-12:00 Theatre, Performance and the European Public Sphere (MG and Barbara Orel) Janez Janša, Slovene National Theatre [unpublished play, the manuscript will be provided by the instructor] Giorgio Agamben, We Refugees. See: Christopher Balme, Tropes of Mixture: Reassessing Multiculturalism and Performance in Germany (2007), unpublished essay. 11

12 Janelle Reinelt, Performing Europe: Identity Formation for a New Europe, Theatre Journal 53 (2001): WEEK 9 Dissertation session; Creative Practice with Urmimala Sarkar *Recommended theatre performance: National Theatre of Scotland s staging of Black Watch, dir. John Tiffany, Tue 7-Sat 12 March, at 7:30 (these tickets sell fast) **All sessions with Urmimala Sarkar will take place in the Humanities studio ***7 March (Monday): Presentation of your dissertation proposals (J. Reinelt and M. Gluhovic) 9 March (Wednesday): Creative practice (with U. Sarkar Munsi) Location: Humanities studio ***4:00-6:00 Research Seminar for Graduate Students and Staff with A presentation by Urmimala Sarkar Munsi, Rm G56, Milburn House; MAIPR students attendance is expected 10 March (Thursday): Creative practice (U. Sarkar Munsi) Location: Humanities Studio 11 March (Friday): Creative practice (U. Sarkar Munsi) Humanities Studio WEEK March (Monday): Creative practice (U. Sarkar Munsi) 16 March (Wed.): Creative practice (U. Sarkar Munsi) ***Theatre visit: Company Theatre Mumbai s performance Hamlet the Clown Prince at 7:30 Warwick Arts Centre (free of charge; L. Mullard will arrange for the tickets) 17 March (Thursday): Creative practice (U. Sarkar Munsi) 18 March (Friday): Final presentations; Discussion; Transition to the summer term (U. Sarkar Munsi, J. Reinelt; M. Gluhovic, S. Jestrovic)

13 Warwick MAIPR ST 2 Syllabus, Summer 2011 SUMMER TERM 27 April-2 July 2011 WEEK 1 no classes WEEK 2 2 May (Monday): Bank holiday no classes 3 May (Tuesday): Dissertation session (J. Reinelt and M. Gluhovic) ***6 May: ASSIGNMENT DUE: ST2 Essays due WEEK 3 9 May (Monday): Comparative Methodologies: Problems and Possibilities (with N. Anan) Readings (TBC): Barthes, Roland. The Three Writings and The Written Face in Empire of Signs (1982), 48-55, Sorgenfrei, Carol Fisher. Countering Theoretical Imperialism : Some Possibilities from Japan. Theatre Research International 32:3 (2008): Allison, Anne. "Different Differences: Place and Sex in Anthropology, Feminism, and Cultural Studies" in Permitted and Prohibited Desires: Mothers, Comics, and Censorship in Japan (2000): (just for skimming through) 10 May (Tuesday): session details tbc WEEKS 4-5 Creative Practice with Sonja Arsham Kuftinec *** All sessions with Sonja will take place in the Humanities Studio 16&17 May: Creative Practice with Sonja Arsham Kuftinec 16 May Mon: 12:00-4:30pm 17 May Tue: 10-1pm; 2-5:30pm 23&24 May Creative Practice with Sonja Arsham Kuftinec 23 May 12-4:30pm 13

14 23 May 5-7pm Sharing more information about Combatants for Peace and the dramaturgy of personal narrative with Chen. 24 May: rehearsal; 2:00:4:30 Public Presentation/discussion TBC Workshop Description: This short course investigates adaptations of Augusto Boal s Theatre of the Oppressed. We ll focus on how Boal s techniques particularly games and image theater forge spaces of participatory democracy and group reflection. Through creative practice we ll examine how theatrical facilitations work with multinational groups (such as MAIPR students) as well as in polarized situations (in the Balkans and Middle East). Israeli TO facilitator and activist, Chen Alon, will join us in the second week when we focus on theatrical facilitations with polarized groups. A few recommended readings can be accessed at warwick_reading (readings under Sonja s name) Please dress prepared to move. Assignment: The week before the classes with Sonja please review the podcast with her made by MAIPR students (on the MAIPR webpage, under students podcasts), a prologue to Sonja s book Theatre, Facilitation and Nation Formation in the Balkans and Middle East (Palgrave, 2009) and Ch. 4 of this book (optional) so that you also get a sense of Chen's work. While reviewing the podcast come up with one thing that you notice that's relevant to your own work and a question that you would like to pose. Please also complete an autobiography assignment (see below). Assignment On a 4 x 6 index card (or equivalent) compose your autobiography. Include details you consider significant with particular attention to your roots and routes whatever this means to you. You may be as poetic or prosaic as you d like, using whatever language you choose, but must confine yourself to one side of the card. On the back of the card, add a secret, or note about yourself that might seem contradictory or surprising. While we ll be sharing select details from the cards, you won t be obliged to share your secret in verbal form. It might be useful to read the prologue to my book before preparing this assignment. Sonja Arsham Kuftinec (PhD, Theatre, Stanford University, 1996) is Associate Professor of Theater Arts and Dance at the University of Minnesota. Her research and teaching interests include performance and social change, community-based theater, and the intersection between theater and identity. She has published close to 20 articles on theater and facilitation (Theater Topics), Balkan theater (Journal of Dramatic Criticism, South East European Performance, Text and Performance Quarterly) and on Cornerstone and community-based theater (Theater Journal, Brecht Yearbook) featured in her 2003 book Staging America: Cornerstone and Community-Based Theater. In 2004, she received honorable mention for the Barnard Hewitt Award for the best book in theater 14

15 history. Professor Kuftinec also works professionally as a director and dramaturg. Since 1995 she has been creating original theater and leading workshops with young people across ethno-religious boundaries in Bosnia, Romania, Croatia, Serbia, and Germany. Her production, Where Does the Postman Go When all the Street Names Change? won an ensemble prize at the 1997 International Youth Theater Festival in Mostar. In 2002 her production Between The Lines, created with Balkan youth from seven countries, opened at Berlin's House of World Cultures. There is a Field, an original, collaborative production meditating on the Middle East, premiered on the University of Minnesota main stage in February Professor Kuftinec has also worked as a conflict resolution facilitator with Seeds of Peace, an organization bringing together youth from the Middle East and Balkan regions. In her newest book Theatre, Facilitation and Nation Formation in the Balkans and Middle East (Palgrave, 2009), she analyzes, in part, how Augusto Boal s Theatre of the Oppressed work has been adapted to a conflict context. Her current research focuses on the Oregon Shakespeare Festival under the tenure of Artistic Director Bill Rauch, the cofounder of Cornerstone Theater. Chen Alon is a Ph.D. candidate in the Theatre Department at Tel-Aviv University where he also serves as a facilitator and lecturer of "Activist-Therapeutic Theatre." As a Major (reserve) he co-founded "Courage to Refuse" a movement of officers and combatant soldiers who refuse to serve in the occupied Palestinian territories, an action for which he was sentenced to a month in prison. Alon is also a co-founder of "Combatants for Peace" a movement of Palestinians and Israeli combatants who abandoned the way of violence and struggle together non-violently against the occupation. Alon also cofounded the Tul-Karem/Tel-Aviv Theatre of the Oppressed group of 'Combatants for Peace' (TK/TA/TO Group). The activism in the complicated reality in Israel-Palestine led him from the formal theatre, as a professional actor and director, to search and create new forms of political activism in the Israeli Palestinian theatre against the occupation. In recent years Alon has developed, with other colleagues, a method/approach in various community-based theatre projects and TO projects within state prisons and drug addiction/homeless rehabilitation centers, interconnects two polarized groups. These two parallel processes of the two homogenous groups allows them to become one empowered heterogeneous group by exploring and transforming--on stage--the oppression relations between the two groups. These processes are in two parallel paths: dialogue and reconciliation alongside building an active alliance of mutual non-violent struggle. WEEK 6 Summer School in Finland, 30 May 3 June 2011 WEEKS 7-10 Students work on completing their field placements 15

16 ***27 June: ASSIGNMENT DUE: Creative Placement Reports Due For Warwick staff web pages go to: WARWICK TUTORS: Janelle Reinelt, Milija Gluhovic, Silvija Jestrovic JR: ext SJ: ex MG: ex OTHER WARWICK INSTRUCTORS AND VISTING SCHOLARS: Dr Nobuko Anan, Dr Yvette Hutchinson Dr Urmimala Sarkar Munsi, Jawaharlal Nehru University, New Delhi Dr Sonja Arsham Kuftinec PROGRAMME ADMINISTRATOR: Lindzey Mullard (M, T, W, 11:00-5:30, F, 1:00-4:00) ext