Past Conference

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Conference Information:

The NTU International Theatre Conference is a biennial event hosted by the Department of Drama and Theatre of National Taiwan University. National Taiwan University invites proposal submissions for the conference.

In the 1980s, Anderson proposes “imagined community” to explain the emergence of nation-state. Appadurai in the 90s further extends its notion of collective imagination to discuss global culture in the postelectronic world. Through collective reading, criticism and pleasure, a “community of sentiment” is made possible. With the help of mass media and migration, individuals and groups have responded to modernity in their own terms and deployed their imaginations differently in the practice of their everyday lives. The experiments with modernity vary and have gone beyond the regulations of the state. The global flows and interactions can no longer be understood in terms of center-periphery/ east-west models, but rather in terms of disjunctures. People do not necessarily accept mainstream (American) culture as it is; they tend to incorporate their agenda and preferences while annexing the global into their own practices of the modern.

Thus in this conference we ask: how does the consumption of the mass media throughout the world provoke resistance, irony and selectivity, and in what forms do they appear in the performing arts? How do global and indigenous cultures circulate in current global cultural economy? How do cultural practices resist or succumb to tourism and commoditization? How do canonical works get re-imagined and indigenized? Under this theme, the conference welcomes, but is not limited to, papers addressing the above issues

Conference Agenda:

Day 1: Saturday, October 29th, 2016
Time/Panel Moderator Presenter Presentation Discussant
08:30~08:50 Registration
08:50~09:00 Opening Speech
Jo-Shui Chen, Dean of College of Liberal Arts
Wei-Jan Chi, Chair of the Department of Drama and Theatre
09:00~10:00

Panel 1

Wei-Jan, Chi Xiao-Ping, Lu Reconsideration of Drama,
and Traditional Chinese Theatre of “Chuanqi”
Hui-Ling, Chou
Hui-Zhu, Sun Is Universality Possible in Content and Pedagogy? Les Miserables as an Etude Series in the School Drama Curriculum Wei-Hung, Kao
10:00~10:30 Interval and Coffee Break
10:30~12:00

Panel 2

Ya-Hsiang, Hsu Kun-Liang, Chiu Water Purification: Ritual Theatre in National Taichung Theatre’s Opening Event Po-Shen, Lu
Chih-Li, Lin Ritual and Play: Local Performance and Innovation of Ban-Shian Drama in Taiwan Ho-Yi, Lin
Wan-I, Huang The Invisible Pilots: Compilation of the Anthology of Performance Scripts in Ming and Qing Dynasty Hsing-Hui, Lin
12:00~13:00 Lunch Break
13:00~14:30

Panel 3

Chin-Jung, Chiu Yi-Mei, Wang Costume Design Management Strategies for Shakespeare’s As You Like It Chien-Jui, Wang
Hsiao-Mei, Hsieh Alienation Effects in Contemporary Xiqu Reconsidered: Chichiao Musical Theatre’s
The Police Chalk Circle
Yu-Pin, Lin
Hui-ling, Chou Digital Theatre and Mediated Performance: Discourse and Practice Jen-Hao, Hsu
14:30~15:00 Interval and Coffee Break
15:00~16:30

Panel 4

Ho-Yi Lin Sookyung Oh Orphan of Zhao Family
on the Korean Stage in 21 Century
Ai-Ling, Lu
Pei-Zhong, Pan Diverse and Instantaneous: The Online Interaction and Internet Dissemination of Gezi Opera
in the We Media Environment
Long-Ting, Chen
Hui-Ru, Shen Parody and Irony: The Culture of Theatre Troupes in Screen Narratives and Its Contemporary Meanings Ru-Fang, Shih
End of Day 1

 

Day 2: Sunday, October 30th, 2016
Time/Panel Moderator Presenter Presentation Discussant
08:40~09:00 Registration
09:00~10:00

Panel 5

 

An-Chi, Wang Yue-Lin, Wu  “Present” and “Taiwan”: The Practices and Creation of Peking Opera in Taiwan as Sites to Expand the Meaning of “Contemporary Xi-qu” Xing-Hui, Lin
Hui-Mien, Li The Thematic Variation of Chu Mai-Chen’s Divorce and Its Imagery – Based on Kunju’s Existing Complete Texts, Full-length Plays from Selected Scenes and Their Practices Ai-Ling, Wang
10:00~10:30 Interval and Coffee Break
10:30~12:00

Panel 6

Ching-Hsi, Perng Osita C. Ezenwanebe African Indigenous Performance Arts in the Theatre of Shadows on Arrival (2011) Howard Blanning
Catherine Diamond Human see, Human do: Simianificatio Cross-species, Cross-cultural, Body Transformation Pao-Hsiang, Wang
Fan-Ting, Cheng Performing Against the Grand: Jade Y Chen’s Mazu’s Bodyguards Wen-Ling, Lin
12:00~13:00 Lunch Break
13:00~14:30

Panel 7

Yu-Pin, Lin Tzu-Chung, Su A Critique of Phillip Zarrilli’s Psychophysical Approach to Actor Training Yi-Wei, Keng
Chia-Yi, See-Too Collision with Reality: The Indigenous Social Engagement of The Living Dance Studio (Beijing) Wei-Yu, Lin
Wei-Chi, Wang Local Theatre Studies in the Age of Globalization: Bodily Performance as an Intercultural Method Li-Wen, Wang
14:30~15:00 Interval and Coffee Break
15:00~16:30

Panel 8

Yao-Heng, Hu Yu-Hui, Fu When Space Becomes a Narrative, When Audience Become Active Spectators: Probing into The Relationship Between Taiwanese Little Theatres and Performance Arts since 1980s I-Chun, Chen
Tsui-Fen, Jiang Five Bushels of Rice. Damn! I-Fan, Chang
Yu-Shian, Lin Female Melancholy and the Writing of Love Madness: Bedlam Scenes of Ophelia in Hamlet and The Jailer’s Daughter in The Two Noble Kinsmen I-Chun, Wang
16:30~:17:00 Closing Speech
Hsiao-Mei Hsieh, Conference Organizer
End of Second Day