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VII CONGRESO INTERNACIONAL DE TEATRO UNIVERSITARIO DE LA AITU EN LA BUAP

Tema: “Identidad y sus Lenguajes en el Teatro Universitario; paradigmas y paradojas”

CONFERENCIAS Y ACTIVIDADES

Junio/2	Junio/3	Junio/4	Junio/5	Junio/6
9 a 11 hrs. Inscripción en la recepción de los hoteles y Salón Barroco 11 hrs. Acto Inaugural con la presencia del Sr. Rector Mtro. Enrique Aguera Ibáñez, Autoridades universitarias, Autoridades del Estado y el H. Ayuntamiento de Puebla, Presidente de la AITU Dr. Robert Germay integrantes del COMEX, miembros de la AITU, participantes.	9 a 10.45hrs. Salón Barroco Tema: Teatro Universitario identidad y sus lenguajes: ¿Como las prácticas de la universidad ayudan a definir y preservar la identidad? Panel I Moderadora: Maria Horne -D. Ariza, C. Flores, G. Biscu y C. Bendazzoli, C. Vazquez, R. Torné. 9 a 10.45 hrs. Salón Verde Panel II Moderador: Rob Brannen M. Jozani, K. Saladucha, (S. Turban, V. Makarevich), Mustafa Sekmen, T. Esizi, W. Coelho, A. A. Nazari y K. Nazari, M. Bellaoui. 10.45 a 11 refrigerio. 11 a 12 hrs. Panel III O. Ortiz, S. Merlin, E. Ibarra, A. Martinez.	9 a 10.45 hrs. Salón Jiménez de las Cuevas, Tema: Las paradojas y las funciones del teatro universitario en el contexto de la globalización: ¿Cuál es el impacto del teatro universitario en facilitar y/o contrarrestar este proceso? Panel I Moderador: Alain Chavalier -J. M. Larrue, L. Garbanati, S.Hlavenkova, Maria Horne, Rob Brannen, Chiwoon Ahn. 9 a 10.45 hrs. Salón Paraninfo Panel II Moderador : Francoise Odin Panel: T. Arthur, M. Nebenzahl, E.Cooper.Anifowoshe, D. Patafta, G. Guerra, V. Arrojo. W. Harris 10.45 a 11 refrigerio.	9 a 10.45 hrs. Tema: El teatro Universitario, identidad, historia y sociedad: ¿Cómo evolucionó el teatro universitario entre lo global y local a través del tiempo y el espacio? Panel I Moderador: J. M. Larrue O. Zohar, V. Anuziz, Selda Ergun, D. Adame. 9 a 10.45 hrs. Panel II Moderador: L. Garbanati. J. R. Alcantara, M. Arce Sainz y J. A. Pérez, E. Long, Ileana Azor, K. Freymeyer, E. Fediuk, E. Ruiz. 10.45 a 11 refrigerio.	9 a 10.30hrs. Tema: Teatro Universitario identidad y sus lenguajes. Moderadora: Elka Fediuk D. Hugo, C. Gargano, D. Aldama, M. Pankova, K. Kudu, J. Sanchez. 10.30 a 11 refrigerio. 11 a 12 hrs. Presentación de Revista “Con acento en la T” y Libro Cuadernos de Actuación.
12.00 hrs. Conferencia Magistral dictada por la Actriz Luisa Huertas. 12.30 hrs. desfile inaugural en el Zocalo y presentación de la obra “Pleyto y querella de los guaxolotes” 13 a 14 hrs. Visita guiada a la catedral y al Templo de Santo Domingo.	12 hrs. “Mesa de Escritores Mexicanos” Participan: V. H. Rascón Banda, Tomas Urtusastegui, Estela Leñero, Willebaldo López, Flavio Gonzales Mello, Guillermo Ríos	11 a 12.30 hrs. Salón Paraninfo. Encuentro con Carlos Morton Lectura de atril de la obra “Frontera Norte”. 13 hrs. Salida a Centro Ceremonial de Cholula.	11.30 hrs. Salida a Tecali de Herrera.	12 a 14 hrs. Salón Barroco Mesa de estudiantes y egresados. Moderador: Rafael Ruiz N. Sánchez, R. Villarauz, L. Nájera, P. Alvarez, M. Rodríguez, J. Arroyo, Edén Montalvo.
14.30 a 16 hrs. COMEX de la AITU				14.30 a 17hrs. Salón Jimenez de las Cuevas Asamblea de la AITU
16 a 17.50 talleres	16 a 17.50 talleres	16 a 17.50 talleres	16 a 17.50 talleres
18 y 20 hrs. Obras de teatro	18 y 20 hrs. Obras de teatro	18 y 20 hrs. Obras de teatro	18 y 20 hrs. Obras de teatro	18 y 20 hrs. Obras de teatro

The English text is unavailable. The Spanish text is below.

El Teatro Universitario en Puebla en sus diferentes épocas ha cumplido con su misión histórica y poética, marcando el paso a la vanguardia teatral, dibujando senderos a la búsqueda y exploración de lenguajes escénicos, en correspondencia con las exigencias del teatro contemporáneo y los interrogantes de un tiempo y entorno específicos.

TEMA:

“IDENTIDAD Y SUS LENGUAJES EN EL TEATRO

UNIVERSITARIO; PARADIGMAS Y PARADOJAS”.

• CONFERENCIAS MAGISTRALES.
• MESAS DE TRABAJO.
• TEMÁTICAS (PONENCIAS).
• TALLERES.
• CURSOS.
• PRESENTACIÓN DE OBRAS DE TEATRO EN EL
• FESTIVAL PARALELO AL CONGRESO EN HORARIOS VESPERTINOS.

DÍA	OBRA	GRUPO	LUGAR	HORA
Lunes 2 de Junio	“Mi nombre es Dulcinea” De Andrés Molinari.	Universidad de Granada, España Dirección del Mtro. Rafael Ruiz. Idioma: Español.	Teatro Principal.	18:00 hrs.
	“Memory” Creación colectiva.	Dirección: Jean-Marc Larrue Troupe de théâtre du Collège de Valleyfield, Québec. Idioma: Francés.	Teatro Principal.	20:00 hrs.
	“El Viaje de los Cantores”De Hugo Salcedo.	Compañía Universitaria de Teatro, BUAP. Dirección: Cristina Flores. Idioma: Español.	Salón de Usos Múltiples, Colegio de ArteDramático.	18:00 Y 20:00 hrs.
Martes 3 de Junio	“I dialoghi del Ruzante”	Teatro Aenigma. Universidad Urbino, Italia. Dirección: Dr. Gianfranco De Bosio.Idioma: Italiano.	Teatro Principal.	18:00 hrs.
	“Saint Joan of the Stockyards” Bertolt Brecht.	Universidad: Athenas, Grecia. Dirección: Dra. Anna Lazou. Idioma: Griego-Inglés.	Teatro Principal.	20:00 hrs.
	“Sazón de Mujer” De V. H. Rascón Banda.	Compañía Universitaria de Teatro, BUAP. Dirección: Cristina Flores. Idioma: Español.	Salón de Usos Múltiples, Colegio de Arte Dramático.	18:00 Y 20:00 hrs.
Miércoles 4 de Junio	“Vamos a Juglar” (Creación poética)	Taller de Teatro Universitario. Universidad de Quintana Roo. Actuación y Dirección: Oscar Ortiz Quiroz. Idioma: Español.	Teatro de la Ciudad.	11:00 hrs.
	“If you love me… (take care)” Hans Sachs.	Dirección: Robert Germay Theatre Universitaire Royal de Liege Universidad de Lieja, Bélgica Bélgica: Francés.	Teatro de la Ciudad.	18:00 hrs.
	“Juego entre cuatro niños”	Universidad Veracruzana, México. Dirección: Octavio Rivera. Idioma: Español.	Teatro de la Ciudad.	20:00 hrs.
Jueves 5 de Junio	“Pleyto y querella de los guaxolotes” Anónimo poblano del Siglo XVIII.	Dirección: Cristina Flores. Compañía Universitaria de Teatro BUAP. Idioma: Español.	Teatro de Tecali de Herrera.	13.00 hrs.
	Iranian Tradicional.	Theater- Tazieh. Ali Akbar Nazari y Kazem Nazari. Universidades de Irib y Tarbiat Modares, Iran. Idioma: Árabe.	Auditoriode la Casa de la Juventud Poblana	18.00 hrs.
	Why…! De Fatih Sevdi.	Dirección: Mustafa Sekmen Universidad de Anadolu, Conservatorio Estatal, Departamento de Artes de Eskisehir, Turquía. Idioma: Turco.	Auditorio de la Casade la Juventud Poblana.	20:00 hrs.
Viernes 6 de Junio	“La cruzada de los niños” De M. A. de la Parra.	Compañía de Teatro “La Calderona”. Escuela de Teatro, Facultad de Artes. Pontificia Universidad Católica de Chile. Dirección: Macarena Baeza. Idioma: Español.	Teatro Principal.	18:00 hrs.
	“Los Inquilinos de la Ira” Del colombiano Jairo Aníbal Niño.	Universidad de Caldas, Colombia. Dirección: Mtra. Maria del Rosario Trujillo. Idioma: Español.	Teatro Principal.	20:00hrs.

www.puebla.com.mx | www.puebla.gob.mx

www.buap.mx | www.artes.buap.mx

Para mayor información dirigirse a:

LA BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA, MÉXICO.

SOBRE LA LICENCIATURA EN ARTE DRAMÁTICO BUAP

News Bulletin #2

Dear Colleagues and Friends,

Receive warm greetings from the Organizing Committee of the “VIIth International University Theater Congress the of the AITU” in Puebla, Mexico. In this bulletin we are trying to answer the most frequent questions submitted from the participants.

• The Congress web page is: http://chronos.cs.buap.mx/cadartesaitu
• The opening of the bank account for the congress fee has been delayed, due the problems related to the payment in different currencies: Euros, dollars and pounds, etc. Soon we will inform you about the mechanisms for the early bird inscription, as well as about credit card charge, account number, etc.
• Registration process for participants will start on June 1st to 3rd from 8 am to 12 m at Pueblas office CAD, 10 Oriente # 415.
• Inaugural ceremony will be carried out on June 2nd at 11 hrs. In the "Salon Barroco" at the Carolino Building of the BUAP, 4 Sur # 104, second floor.

Events schedule shall be done like the following way:

• Congress activities (mesas, talleres y conferencias) will be made at the facilities of the Carolino building and our Dramatic Art School (CAD), 10 Oriente # 415.
• Hotels where participants will stay are located in downtown of the city feedings shall be taken at the hotel. The hotels we recommend are at walking distance of the BUAP (5-10 minutes). There are planned another activities and excursions (Archaeological Ruins, Cholula, Tecali de Herrera), transportations for free.

  Official Congress Hotels:

  • Hotel Colonial

    4 Sur # 105, Centro Histórico.

    Tel. +52 (222) 246 46 12.
  • Hotel Posada San Pedro

    2 Oriente #202, Centro Histórico.

    reservaciones@hotelposadasanpedro.com.mx
• Participants will have 5 hotel nights from June 2nd till June 7th at 12:00 PM and with all meals during these days. If you wish to make another kind of reservation (an extra night or something else) please get in contact directly with hotels front desk.
• Arriving from abroad, you will land at “Benito Juarez” International Airport in Mexico City. Some information regarding the displacement from Mexico to Puebla: distance 120 kms. Duration of the trip: 2 hours. An estimation of the ticket U$17.00 (or 180.00 Mexican pesos) one side. There are two companies covering the route, during all day: “Estrella Roja” and ADO
• Ticket expenses of the trips Mexico-Puebla and Puebla-Mexico will be covered by participants.
• From June 1st to 3rd it will be a Reception Commission of the Congress at the “Benito Juárez” International Airport of Mexico city. (We will be pleased if you send us your flying number and schedule) this commission will help you to find the bus station and to approach the "Estrella Roja" bus that will take you from Mexico City to Puebla City. There will be another commission that shall take you to your hotel.
• In the case that you arrive to Puebla (CAPU station bus, for example) directly from Mexico City please notify by phone or email to decide a well know meeting point.

  MOBILE NUMBERS FOR CONTACT
  Calling from Mexico	Calling from abroad
  (044) 22 23 28 94 45	+ (52) 12223 51 38 22
  (044) 22 25 29 57 95	+ (52) 12225 29 57 95

  Notice: If you are calling us from a public Mexican phone you must dial 044; however, if you are calling from another Mexican mobile you have to avoid 044. Calling from foreigner mobile is similar to call from abroad.

• In order to organize the best distribution of the hotel rooms it is precise to know your availability to share the room with another person, or if you prefer to share your room with a known person please suggest it or he/she will be assign by list. We also need to know your meals preferences/needs, if you are vegetarian or have problems with some kind of food, please notify.
• Weather: The climate in Puebla is tempered, for dates of the congress temperature will oscillates during the day between 20º to 28ºC (68-83ºF), It is a very comfortable temperature nevertheless sometimes can appear rains or nights could be fresh 15°C (59ºF ).
• About historical or archaeological ruins places in Mexico that you can visit, we will include a tour in Puebla City and you have this information available in your folder.
• People who want to visit Mexico City can do it, but our recommendation is to do it before or after the congress; in this case you must count ahead of time a hotel reservation in downtown hotels or one of your preferences or you can visit the page: www.mexicocity.gob.mx. For visiting archaeological ruins of Teotihuacán (Located in Estado de Mexico) or Cacaxtla (Located in Tlaxcala), you can get the information of this places on its official web site.

If you have any questions please send me an email to:
isacrish@gmail.com

Looking forward to see you soon in Puebla!

Best regards,

VIITH WORLD CONGRESS

INTERNATIONAL UNIVERSITY THEATRE ASOCIATION (IUTA) AND THE BENEMERITA UNIVERSITDAD AUTÓNOMA DE PUEBLA, MÉXICO.
JUNE 2ND– 6TH 2008

HEADQUARTERS: ESCUELA DE ARTES, COLEGIO DE ARTE DRAMÁTICO, BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA, MÉXICO.

THEME:
“UNIVERSITY THEATER, IDENTITY AND ITS LANGUAGES;
PARADIGMS AND PARADOXES”

http://chronos.cs.buap.mx/cadartesaitu

---

IUTA members, theatre researchers, actors, directors, playwrights, critics, students and the whole theatre community are invited to participate as speakers and/or observers to the “VIIth IUTA World Congress” on the theme: “Identity and its languages in the University Theatre; paradigms and paradoxes”.

We propose a reflection around the aesthetics and languages of university theatre – in relation with the identities of its national, regional, local environment – on the processes of theatre training, and on the paradigms and paradoxes that contextualize artistic productions of current theatre in our new globalized environment.

THEME
One of the worst fears about the globalization process is that it tends to uniformize practices, attitudes and values, and erase and abolish differences. This fear is justified and amplified by the tremendous means that the globalizing process can access: liberalized exchanges of all sorts, supported by the vast majority of current political regimes, and the extraordinary power of the media.

While globalization affects all spheres of human activity, including culture and especially theatre, theatre has not waited for globalization to penetrate borders. From its very beginnings, theatre has been the special place for encounter, exchange and convergence – not only encounters between actors and characters, between actors and audiences, and between creators themselves, but also encounters between cultures through artists, plays, shows and aesthetic theories that circulate across national and linguistic boundaries. However, in moving from one country to another, from one culture to another, theatre has never abandoned its role of helping to affirm the particular identities of cultures, nations, groups and individuals, which, down the centuries, have been able to recognize themselves and reaffirm their identity by and through their theatre.

This question of the paradoxical role of university theatre in the current highly disturbing context of globalization constitutes the main theme of IUTA’s eighth World Congress, which will take place in Puebla, Mexico, from June 2ND to 6TH, 2008. Theatre practitioners, trainers, theoreticians and amateurs from all over the world are invited to this debate on university theatre in terms of training (theoretical or practical), criticism, production or creation.

The objective is to understand how and to what extent university theatre, which is implicitly involved in the globalization process, also helps define and defend particularities by giving expression to other voices and by preserving and celebrating differences. While contributing to globalization, as reflected in the astonishing growth of university theatre festivals and the increasing number of international exchanges, university theatre might well also stand as one of the principal bastions of resistance to globalization by virtue of its role in defending particular identities.

The question of identity – that of the actor with respect to the character, of the actor with respect to the director, of the audience with respect to what it watches, or of the student with respect to the trainer – is central to this theme and, clearly, the discussions at the Congress will shed light on the way in which university theatre helps define and express identity on stage.

Congress participants are invited to submit their papers on one of the following themes:
Identity, identity’s languages and university theatre: How have university practices helped define and preserve identity (personal, social, cultural, etc.)?

Paradoxes and functions of university theatre in the context of globalization: What is the impact of university theatre in facilitating or counteracting this process?

Identity, history, society and university theatre: How has university theatre evolved in time and space amidst the opposing trends of globalization and local preference?

Submissions:
Proposals are invited for three types of activities: (1) scholarly papers (twenty minutes),
(2) demonstrations (twenty minutes to one hour), and (3) workshops (one to two hours).
Submissions should include a 500-word titled abstract, complete contact information and institutional affiliation of the proponent, and a short biographical note.

Deadlines:

• Reception of abstracts: January 31, 2008.
• Selection of papers: January 10, 2008.
• Proposals for demonstrations or workshops : December 15, 2007.
• The proposals for participation in the Festival will be received until December 15, 2007.

The development of the program of activities will be of magisterial conferences assigned to the guests, thematic desks, workshops, courses, and presentation of plays in evening schedule of 6 and 8 p.m.

Proposals for participating with a theatre performance to the University Theatre Festival parallel to the Congress are also welcomed. See Application form for performance on the website of the Congress* (the page will start on June 25th).

Registration fees for the Congress.

• $180.00 (US dollars or Euros)
• ($ 600.00 m/n, for educational or investigators from the BUAP)

Registration fees for IUTA membership:

• Institutional 120.00 US $/120€/180 $ CAD.
• Individual 40 US $/40 €/60 $ CAD.
• Students 25 US $/25€/40$ CAD.

The Organizing Committee is constituted by the members appointed by IUTA Executive Committee and the local committee of the headquarters of the event. For more information, please contact:

• Jean Marc Larrue
• Maria S. Horne
• Elka Fediuk
• Isabel Cristina Flores (comité local)

ROBERT GERMAY, MOT DU PRÉSIDENT/PRESIDENT’S FOREWORD/PREFACIO DEL PRESIDENTE ….......5

MARIA S. HORNE & CLAUDE SCHUMACHER, THÉÂTRE-THEATRE-TEATRO: POUR QUOI ? / WHAT FOR? / PARA QUÉ ? ..............................................................................................................9

CHRISTIANE PAGE, DANS UN MONDE SANS DIEU, LE THÉÂTRE EST-IL UNE RELIGION ? ....................14

ALAIN CHEVALIER, APPORTS PÉDAGOGIQUES DES RECHERCHES HISTORIQUES DANS LA FORMATION DE L’ARTISTE DE THÉÂTRE …...........................................................................20

ALYA ZAHAF & ORENCIA MORENO CORREA, LES RESPONSABILITÉS DU THÉÂTRE À L’UNIVERSITÉ DE PARIS III EN 3ÈME CYCLE DE THÉÂTRE ET ARTS DU SPECTACLE ? .................26

ANNE FLIOTSOS, TEACHING WHAT CANNOT BE TAUGHT : EXPERIENTIAL EVIDENCE FROM DIRECTING TEACHERS IN THE UNITED STATES …..........................29

ASHLEY LUCAS, THE SOCIAL SIGNIFICANCE OF CHICANA/O THEATRE ….....................................35

MÉLISSA COMTOIS, ENJEUX SCÉNIQUES DU THÉÂTRE MULTIMÉDIA : VERS UNE NOUVELLE MÉTHODE D’INTELLECTION …...............................................................................41

CHANTAL HÉBERT & IRÈNE PERELLI-CONTOS, L’ENSEIGNEMENT DU THÉÂTRE À L’UNIVERSITÉ : LE CAS DES ÉTUDES THÉÂTRALES À L’UNIVERSITÉ LAVAL (QUÉBEC) .........................................47

ELIZABETH PLOURDE, ÉTUDIER L’ODYSSÉE DE DOMINIC CHAMPAGNE À L’UNIVERSITÉ : POUR UNE APPROCHE NOUVELLE DES ÉCRITURES SCÉNIQUES COMPLEXES …..............................51
IRÈNE ROY, FAIRE SURGIR L’INATTENDU …...............................................................................58

JEAN-MARC LARRUE, LA CRÉATION COLLECTIVE ET LA FORMATION : GRANDEURS ET MISÈRES ….....63

OUSMANE DIAKHATÉ, L’ENSEIGNEMENT, LA RECHERCHE ET LA PRATIQUE THÉÂTRALE À L’UNIVERSITÉ CHEIKH ANTA DIOP DE DAKAR ….................................................................70

HIBER CONTERIS, ENSEÑAR TEATRO LATINOAMERICANO EN LOS ESTADOS UNIDOS: CÓMO DEFINIR SU IDENTIDAD …........................................................................................75

ISABEL CRISTINA FLORES, TEATRO UNIVERSITARIO EN PUEBLA: UNA PROPUESTA FORMATIVA EN UN CONTEXTO SOCIAL …................................................................................................82

GUSTAVO GEIROLA, TEATRO LATINOAMERICANO EN ESPAÑOL EN LAS UNIVERSIDADES DE ESTADOS UNIDOS: TENSIONES CURRICULARES ENTRE LOS DEPARTAMENTOS DE LENGUAS Y DE TEATRO …..88

JOSÉ MONLÉON, ¿POR QUÉ EL TEATRO? EL RITO DE LA FUGACIDAD ….....................................94

MIGUEL GARCIA ORDAZ, EL TEATRO EN LA UNIVERSIDAD: ¿UNA ALTERNATIVA PARA LA CALIDAD DE VIDA? .....................................................................................................100

JANE BALDWIN, PITCHING CULTURE AT THE CONSERVATORY …................................................106

DENNIS C. BECK, THEATRE : THE MESSAGE OF THE MEDIUM IN A MEDIATIZED WORLD ….........112

THOMAS W. BURKMAN, OPENING DOORS FOR ASIAN THEATRE AT THE UNIVERSITY: THE CASE OF THE UNIVERSITY AT BUFFALO ….....................................................................118

PAMELA CHRISTIAN, LIFE-STUDIES: INTERACTIVE CLASSROOM PERFORMANCES OF VOICE AND CULTURE ….............................................................................................................123

THOMAS H. ARTHUR, UNITED STATES THEATRE STUDY: SOME CURRICULAR CONSIDERATIONS ….139

SERGE TAMPALINI, STRATEGIES OF SURVIVAL …......................................................................145

YANNIS PAPADOPOULOS, MIMESIS OR EXPERIENTIAL METHOD OF TEACHING …........................149

DANIELLE DUBOIS MARCOIN, LA PRATIQUE THÉÂTRALE, UNE REMISE EN QUESTION DE L’ENSEIGNEMENT DE LA LITTÉRATURE À L’UNIVERSITÉ? ........................................................156

PINELOPI HATZIDIMITRIOU, THE BALD THEATRE: A PARADIGM ….............................................162

MARIA FRANGI, EDUCATING THE EDUCATORS: THEATRICAL ANIMATION AND EMOTIONAL INTELLIGENCE …..............................................................................................................166

HAEKYOUNG LEE, UNIVERSITY THEATRE EDUCATION IN KOREA: ITS INDISPENSABLE ROLE IN THE DEVELOPMENT OF MODERN THEATRE ….........................................................171

VITO MINOIA, THEATRE, PRISON & SOCIETY: WHEN THEATRE WRONG-FOOTS THE PRINCIPLE OF AUTHORITY ….............................................................................................................174

COLLABORATEURS & COLLABORATRICES, CONTRIBUTORS, COLABORADORES ….............................178

MARIA S. HORNE , JEAN-MARC LARRUE, & CLAUDE SCHUMACHER, Théâtre sans frontières/Theatre Without Frontiers/Teatro sin Fronteras…................................................................................... 5

En guise d’introduction/ To Introduce the Subject/ A Modo de Introducción…...................15

ROBERT GERMAY, Mot du Président, The IUTA President’s Foreword, Prefacio del Presidente de AITU…........................................................................................... 16

LUKASZ DREWNIAK, Itinéraire, assimilation, particularité : trois voies ou peut-être une seule? .. 19

KRZYSZTOF PLESNIAROWICZ, Tadeusz Kantor’s Heritage …............................................................. 21

L’Art du troc / How to Barter / El Arte del Trueque…............................................................23

SETH BAUMRIN, Eugenio Barba and Professional Identity: Transcultural Actor Training …........ 24

FRANÇOISE ODIN, Eugenio Barba et l’Odin Teatret ….................................................................... 40

DAVID KORISH & ROXANA AVILA, Central American Tour 2000: The Journey of a Lifetime…...... 41

VITO MINOIA, Theatres of Diversities, a New Departure for Anthropological Theatre …............. 49

HJ. IR. DERY SYRNA, Touring and Working in Indonesia : Teater Keliling….................................53

SIMON Parry, Dancing the Dabkah : A Reflection on the Youth/Art/Peace/ Network Project…....56

JEAN-MARC LARRUE, Le Cas du théâtre yiddish à Montréal …...................................................... 62

L’Amérique latine en marche / Latin-American Frontiers / Fronteras Latinoamericanas …........71

MATÍAS MONTES HUIDOBRO, Teatro Cubano del Exilio …............................................................... 72

JAVIER MARTÍNEZ DE VELASCO, Cruces de Fronteras Lingüísticas en el Teatro Hispano en los Estados Unidos …........................................................................................................... 82

NORA GLICKMAN, Latino Theater: How Ethnic Does It Have to Be?............................................87

MANUEL F. RUIZ-GARCÍA, Teatro Surco, a Theatre in Exile: A Chilean-Costa Rican Theatrical Experience …........................................................................................................... 92

YARA GONZÁLEZ-MONTES, Mito y Magia en la Dramaturgia Afrocubana …................................. 98

Étudier le théâtre /Studying Theatre/ /Estudiar el Teatro …........................................................107

MARIA S. HORNE, Co-Existence and Interpenetration of Cultures: Academia and Latin-American Theatre in the USA …........................................................................................ 108

ALAIN-MICHEL ROCHELEAU, Initiation au jeu scénique et improvisation : à l’heure des choix et des enjeux pédagogiques ….................................................................................................. 113

KYUNG-OK KIM, Une expérience franco-coréenne : Théâtre étudiant en collaboration avec une troupe professionnelle française ….......................................................................... 123

IRÈNE ROY, Vivre la théorie en pratique ….................................................................................... 127

PHILIP G. HILL, The Death of Educational Theatre ….................................................................. 131

Texte et mise en scène/ The Text in Production/ El Texto y la Puesta en Escena….............137

TERESA MURJAS, A Question of Identity : Translating and Directing Slawomir Mrozek’s
The Turkey …..........................................................................................................................138

ROBERTO TOMAELLO, Un atelier théâtral : mettre en scène la vie de Caterina Fieschi…............ 149

HIBER CONTERIS, Una Propuesta de Análisis Socio-semiótico: Mujeres Soñaron Caballos de Daniel Veronese …................................................................................................................. 151

ALEJANDRO FINZI, Variantes en las Formas del Texto Teatral en el Siglo XX: la Relación entre Texto Literario y Dramaturgia, la Noción de ‘Figura’, la Noción de Teatro Experimental y la Construcción Intercultural …........................................................................................... 162

JOSÉ ENRIQUE GARNIER, Objeto y Sujeto del Diseño Escénico en la Arquitectura Teatral: El Proceso de Adaptación de un Texto Dramático al Espacio Escénico …............................ 175

Collaborateurs et collaboratrices/Contributors/Colaboradores …............................................ 172

ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING

1997 + 1999
Étudier le théâtre
Studying Theatre
Estudiar el Teatro

Table des matières
Contents
Contenido

MOT DU PRÉSIDENT/PRESIDENT’S FOREWORD/PREFACIO DEL PRESIDENTE, Robert Germay (5)

ÉTUDIER LE THÉÂTRE/STUDYING THEATRE/ESTUDIAR EL TEATRO, Maria S. Horne, Jean-Marc Larrue, Claude Schumacher (8)

LES ÉTUDES THÉÂTRALES À L’UNIVERSITÉ/STUDYING THEATRE AT UNIVERSITY/ESTUDIOS DE TEATRO EN LA UNIVERSIDAD (13)

THE CABBAGE IN THE CATHEDRAL: A CULTURAL PATHOLOGY OF UNIVERSITY THEATRE IN ENGLISH CANADA, Alan Filewod (14)

DE L’ALTERNANCE ENTRE LE SAVOIR ET LE JEU POUR QUE LA RAISON L’EMPORTE SANS QUE LE COEUR NE RENONCE, Christian Pratoussy (24)

LA MISE EN OEUVRE DES SAVOIRS THÉORIQUES DANS LES ENSEIGNEMENTS PRATIQUES (ET RÉCIPROQUEMENT) À L’INSTITUT D’ÉTUDES THÉÂTRALES (SORBONNE NOUVELLE), Jean-Pierre Ryngaert (29)

LE THÉÂTRE À L’UNIVERSITÉ FRANÇAISE, FORMATION PROFESSIONNELLE OU FORMATION CULTURELLE ?, Lucile Garbagnati (35)

SOUS LE REGARD DE LÉONARD : THÉÂTRE ET INGÉNIEURS, Françoise Odin (43)

THE GOLDEN TRIANGLE : EMPOWERMENT AND OWNERSHIP IN THEATRE STUDIES, David Jones (52)

LA INVESTIGACIÓN TEATRAL EN LA UNIVERSIDAD, María Elsa Chapato (60)

A PROPÓSITO DEL CONCEPTO DE PRÁCTICA TEATRAL EN EL TEATRO UNIVERSITARIO LATINOAMERICANO, Alejandro Finzi (66)

MISIÓN Y VOCACIÓN DEL TEATRO EN LA UNIVERSIDAD: EL CASO COSTARRICENSE, Maria Bonilla (70)

APPROCHES DU JEU ET DE LA MISE EN SCÈNE/TOWARDS ACTING AND DIRECTING/ACTUACIÓN Y DIRECCIÓN (77)

THE NATIONAL THEATRE SCHOOL OF CANADA: AN EXPERIMENT IN CULTURAL ENGINEERING, Jane Baldwin (78)

L’ENSEIGNEMENT DE LA MISE EN SCÈNE AU DÉPARTEMENT DE THÉÂTRE DE L’UNIVERSITÉ D’OTTAWA, Tibor Egervari (84)

THEORY AND PRACTICE: THE ALEXANDER TECHNIQUE AS A TOOL FOR DIRECTORS AND CHOREOGRAPHERS, Annmarie K. Davis and Jana Tift (90)

LA NOTION D’AUTOPOÏÉSIS ET LA MÉTHODE FELDENKRAISMD AU SERVICE DE LA FORMATION, DE LA RECHERCHE ET DE LA CRÉATION THÉÂTRALES, Odette Guimond (99)

SEMIOTIC THEORY AS APPLIED TO DIRECTORIAL STUDY AND PRACTICE, Mark Malinauskas (110)

LA FORMATION DE L’ACTEUR DANS LES DÉPARTEMENTS FRANÇAIS D’AMÉRIQUE, Alvina Ruprecht (116)

CONFRONTATION, ADJUSTMENTS AND COMPROMISES BETWEEN TWO CULTURES, David Jiang (122)

ANTROPOLOGÍA TEATRAL Y EXPRESIÓN CORPORAL: DISCIPLINAS ALTERNATIVAS PARA EL ENTRENAMIENTO CORPORAL DEL ACTOR, Gabriela Cubas Pérez y Martín Rosso (126)

ACERCA DE LA RELAJACIÓN EN EL MÉTODO STRASBERG, Maria S. Horne (135)

APPROCHES DU TEXTE/TEXTUAL STRATEGIES/INTERPRETACIÓN DE TEXTOS (139)

ADVENTURES IN SPACE : REALIZING THE EDUCATIONAL PLAY TEXT, Rob Brannen (140)

DU BON USAGE DES DIDASCALIES, Claude Schumacher (146)

FOLIE, THÉÂTRE ET POLITIQUE CHEZ CALIGULA ET SES ANCÊTRES, Sophie Bastien (153)

EL DOTOR A LONJAZOS DE RAÚL ECHEGARAY: ENTRE LA CRÍTICA SOCIAL Y EL DIDACTISMO ESTÉTICO, Teresita Maria Victoria Fuentes (161)

THÉÂTRE ET ESPACE/THEATRICAL SPACE/ESPACIO TEATRAL (169)

POUR UNE MÉTHODE D’ANALYSE DE L’ESPACE DANS LE TEXTE DRAMATIQUE, Hélène Laliberté (170)

LE SENS DU LIEU : NOUVELLES APPROCHES, Jean-Marc Larrue (178)

¿OBTIENE LO QUE BUSCA LA GENTE QUE VA AL TEATRO? Miguel Angel Santagada (187)

COLLABORATEURS ET COLLABORATRICES/CONTRIBUTORS/COLABORADORES (192)

ENGLISH TEXT IS MISSING ENGLISH TEXT IS MISSING

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A host of benefits in being an IUTA member!

All duly registered members – institutional, regular, student and retiree – have the same rightsⁱ and benefits:

• Automatic reception of all the IUTA’s scholarly publications that come out during the membership year
• Free subscription to the trilingual, biannual Newsletter, sent out in electronic or (by request) hard-copy format
• Access to the all-member electronic network, which can take the form of a discussion forum if required (currently 300 members).
• Access, on request, to a unique network of 1,200 university theatre colleagues, as well as some 10 major national and international University-theatre-related organizations consisting of over 3,000 members.
• Access to a network of over 100 university theatre festivals
• Reduced rates for attending scholarly gatherings and the IUTA’s fee-charging events.

In addition, the fact of being a member gives you access, via a personal password, to certain specific functions on our Web site:

• Downloading all or part of IUTA publications
• Publicizing general interest news on the site
• Addressing questions, requests and announcements directly to all members, and via the site’s Webmaster, to IUTA’s broader network.

¹Except for the right to vote, since, in accordance with our statutes, only institutional members are eligible to vote at our annual general meeting and be elected to the Executive Committee.

Festivals can be viewed by Members only.

The Collective Process and Globalization: Devised Theatre in the “hypermodern”¹ age – Collective and Identity

Second IUTA/AITU international symposium on devised theatre
Pedagogical University of Krakow (Poland) 25-29 April 2006

¹This expression is borrowed from Gilles Lipovetsky and covers the contemporary period characterized by post-modern disillusionment (Gilles Lipovetsky and Sébastien Charles, les Temps hypermodernes, Paris, Grasset, 2004, pp. 67-150).

SYMPOSIUM THEME

Although the devised theatre of the 1970s now belongs to the past, it still remains as one of the high points of theatrical post-modernism. In fact, the challenging questions it raised and the creation and production processes and techniques that it bequeathed are still very apparent in certain contemporary creators and groups. However, does this mean that devised theatre is condemned to remain just a relic from the past? Surely not!

The phenomenon of accelerating globalization that is one of the dominant features of the contemporary world and which is based on the “laws” of the marketplace not only eliminates – or tends to eliminate – borders, it also tends to standardize the organization of space and homogenize cultures. On the other hand, various forms of resistance to this powerful trend now exist and manifest themselves both at the political level (the altermondialist movement) and at the level of asserting specific identity, whether it be of a local community, a group of individuals, or a particular place (neighbourhood or region). It is thus no surprise that this phenomenon is paralleled in the theatrical field by a proliferation of collectives, a revival of action theatre, and an explosion of community-based troupes, such as regional theatre.

The aim of the symposium will be to define and assess this phenomenon by making use of both contemporary and past examples as approaches to understanding and explaining the phenomenon. One of the hypotheses that we will be submitting for the participants’ consideration and analysis is that devised theatre – by a creative group, or by artists interacting with a social group, or by a group with its community – constitute key moments in theatre history that presage or provoke radical changes in theatrical practice and reflect profound social transformations. Contributions at the symposium will thus focus on one or other of the following aspects:

• particular theatrical expressions and experiences of devised theatre in the contemporary era that reflect this wish – by specific groups (marginalized, minority, ignored or dominated) within a local community or a particular artistic or political movement or located in a particular place – to assert their identity as a gesture of resistance to ambient globalization;

• devised theatre experiences that have helped revive the practice and which show similarities with current practices of resistance to globalization and global hegemony;

• devised theatre as a place for individuals to express themselves, singly or as a group,

Papers presented at this symposium can naturally deal with more than one of these theme areas. For instance, papers can deal with a general topic or cover a particular event, person or group.

SYMPOSIUM PROCEDURE

We don’t want the symposium to be limited to just a series of talks, followed by a few questions. Quite the contrary, we want this symposium to be a very dynamic forum of discussion between participants who are going to spend three days pooling and confronting their ideas, knowledge and, possibly their experience of devised theatre, in the hope that out of this exchange will come a new, insightful vision of devised theatre. We expect that all the participants will have read all their colleagues’ papers before the symposium starts so that the interactive sessions can devote as much time as possible to discussion, examples and demonstrations.

SYMPOSIUM FORMAT

The symposium will bring together a maximum of 20 participants and consist of six/seven consecutive sessions. Each of the symposium’s theme areas will be the focus of one session, while the purpose of the last session will be to synthesize the proceedings. The maximum time allotted for reading a paper is 10 minutes, but more time will be added to this initial allotment for demonstrations, experiments, audiovisual presentations and so on.

Presentations and discussion will be in English or French, with participants communicating in the language of their choice. Papers do not have to be translated.

PUBLICATION OF PROCEEDINGS

The symposium’s proceedings will be published by the AITU Press based on the selection made by the publications committee.

REGISTRATION FEES

Registration fees: 100 Euros or $110 US for non-members; 60 Euros or $70 US for members.

Accommodation: Approximately 30-70 Euros per night in local hotels.

ACTIVITIES

The symposium will take place during Kralow International University Theatre Festival.
The symposium includes a visit to Auschwitz.

SYMPOSIUM ORGANIZERS

Christophe Blonski, University Pedagogical, Krakow
blonskichristof@poczta.onet.pl

Jean-Marc Larrue, Valleyfield College, Quebec, Canada
jmlarrue@rocler.qc.ca

Christiane Page, University of Arras, France
christiane.page@wanadoo.fr

SUBMISSION OF PAPERS

Please send a 200-300-word description of the paper, together with a brief personal information sheet, before 15 January 2006 to:

aitu@colval.qc.ca

The selection of papers for inclusion in the symposium will be completed by 30 January 2006. The complete texts should be sent to the organizers by 15 March 2006.

VIth IUTA World Conference Urbino, Italy, Juy 22-26, 2006

What does it mean for the university actor to be on stage?
What does it mean to perform?
How does the actor relate to his stage surroundings and beyond?

PRELIMINARY PROGRAMME

Thursday 20 July 2006
arrival of participants

Friday 21 July 2006
9 am – 12 pm guided tour of Urbino and visit to Palazzo Ducale and National Gallery
1 pm – lunch
4 pm – Official Congress Opening, keynote organizers and guest lectures, inaugural speeches
7 pm – dinner
9 pm – Opening Performance in the framework of 5th “Teatri e Contesti”

International University Theatre Festival

Saturday 22 July 2006
10 am – 1 pm Three parallel thematic working groups (1)
1 pm lunch
3 pm – 6 pm Thematic working groups (2)
7 pm – dinner
9 pm – 12 pm Performances in the framework of 5th “Teatri e Contesti”

International University Theatre Festival

Sunday 23 July 2006
10 am – 1 pm Three parallel thematic working groups (3)
1 pm – lunch
3 pm – 6 pm Thematic working groups (4)
7 pm – dinner
9 pm – 12 pm Performances in the framework of 5th “Teatri e Contesti”

International University Theatre Festival

Monday 24 July 2006
10 am – 1 pm Three parallel thematic working groups (5)
1 pm – lunch
3 pm – 6 pm Thematic working groups (6)
7 pm – dinner
9 pm – 12 pm Performances in the framework of 5th “Teatri e Contesti”

International University Theatre Festival

Tuesday 25 July 2006
10 am – 1 pm I.U.T.A./A.I.T.U. General Assembly
1 pm – lunch
3 pm – 6 pm Meeting of new I.U.T.A./A.I.T.U. Comex
7 pm – dinner
free evening

Wednesday 26 July 2006
10 am – 1 pm Three parallel thematic working groups (7)
1 pm – lunch
3 pm – 6 pm Congress Closure
(Summarizing the work of the thematic groups, symposium)
7 pm – dinner
9 pm – 12 pm Closure performance in the framework of 5th “Teatri e Contesti”

International University Theatre Festival

Thursday 27 July 2006
departure

ORGANIZERS

International University Theatre Association
TULg – Université de Liège
Place Cockerill 3
B-4000 Liège – Belgique

TEATRO AENIGMA – Università di Urbino
c/o Teatro La Vela
Via Nazionale Bocca Trabaria n. 108
61029 Urbino – Italia

ORGANIZER’S OFFICE

Teatro Aenigma – Università di Urbino
Tel./fax + 39 0721 893035
mobile + 39 320 8006742
e.mail:
http://www.teatroaenigma.it (by september 2005)

Payment can be made by cheque, credit card or international money transfer to the following bank account:

BANCA DELLE MARCHE FILIALE 290 – URBINO SEDE

61029 URBINO (PU), ITALY

Account holder: SESTO CONGRESSO INTERNAZIONALE I.U.T.A./A.I.T.U.
Swift code: BIC BAMAIT3A
Bank account: IBAN IT35 V060 5568 7000 0000 0014 459

Lodging

RECOMMENDED SOLUTION
A special offer consists in the accomodation at the University College (where the most part of Congress will happen and where all members of Comex will have hospitality).

Single or double rooms with bathroom and breakfast included that is possible to ask at the moment of subscription with a unic reservation.

CONFERENCE FEES, LODGING INCLUDED

(from 21 to 27 July 2006 – seven nights )

• Non IUTA members: 480 Euros
• Non IUTA members (Students/retired): 440 Euros
• IUTA members: 440 Euros
• IUTA members (Students/Ret.): 415 Euros

We can suggest other recommended hotels more expensive in the ancient Urbino. At the moment costs are between 50 and 110 euro per person in a single room and between 40 and 95 euros per person in a double room.

Application

Dear Friends,

The organisers of the 6th University Theatres World Congress have the pleasure to invite you to Urbino, Italy, between 22 and 26 July 2006.

If you are interested in taking part in the Conference, you are kindly requested to fill in the attached application form and send it to our address by mail, fax or e-mail by 30 april 2006.

On receipt of your application and conference fees, we shall confirm your reservation.

CONFERENCE FEES

• Non IUTA members: 280 Euros
  (URBINO COST : 220 Euros + IUTA Fees 40 E + IUTA GA 20 E)
• Non IUTA members (Students/retired): 255 Euros
  For non IUTA Students/RET: Urbino cost 220+ IUTA Fees 25+ IUTA GA 10
• IUTA members: 240 Euros
  (Urbino cost 220+ IUTA GA 20)
• IUTA members (Students/Ret.): 230 Euros
  (Urbino cost 220+ IUTA GA 10)

The conference fees include:

Transportation from Airport (Rimini or Ancona) or from Pesaro railway station to Urbino (preferred accomodation) . In Urbino is possible to go in all Congress locations by walking (maximum 800-1000 meters)

Complete set of Congress materials.

Coffee and refreshments during the sessions’ intervals.

Lunches and dinners during the Congress days, from 22 to 26 august .

Guided tour of Urbino and its museum (Palazzo Ducale and National Gallery).

Free entrance to all performances of the 5th “Teatri e Contesti” International University Theatre Festival

Transportation from Urbino (accomodations) to Airport (Rimini or Ancona) or to railway station

CONGRESS THEME
(Official languages: english, spanish, french, italian)

Actors in University Theatre

Since the fifties, the study of theatre in universities has taken a more practical turn. This has led to the situation where the work of the actor – or the ‘performer’ – has assumed ever greater significance.

We propose to investigate some fundamental questions:

1) What does it mean for the university actor to be on stage?

Whatever the ultimate aim which each teacher or institution pursues through stage activity, it is the actor’s job to make that work concrete.

Whether we consider such an activity as free or ‘directed’ or pre-professional, we take it for granted that actors will receive guidance in order to achieve that aim.

2) What does it mean to perform?

Should the student/actor try and achieve artistic excellence, or are there other objectives to reach? Are these objectives ‘academic’ or do they fall beyond the world of the university or the theatre? What are these objectives, and who defines them?

3) How does the actor relate to his stage surroundings and beyond?

What positive outcome(s) do we wish for the student who has worked in university productions?

(Contributors are invited to discuss all aspects of their work or focus, in particular, on the issues of particular significance to them.)

N.B.: The three discussion themes suggest three possible angles of approach.

Proposals for papers and/or workshops should be sent to:
• In English or French:
• In Spanish:

For information, accommodation, registration… write to:

Vito Minoia and Teatro Aenigma
Via San Nicola, 11
61030 CARTOCETO (Pesaro e Urbino)
ITALY

e-mail :

*Participants who would like to deliver lectures at the conference are requested to send their abstracts (maximum: 1800 characters) in two languages (English, French or Spanish) by e-mail or on disc, by 1. 02. 2006 at the latest.

You are requested to use Microsoft Word for the text and Microsoft Excel for all tables and calculations.

The maximum lecture time will be 20 minutes.

POINTS OF INTEREST

THE CITY AND THE UNIVERSITY OF URBINO
Protected by its walls, the ancient city of Urbino is perched high on a ridge between the Metauro and Foglia valleys. It is surrounded by green hills that bear the landscape features left by inhabitants of centuries past. Even from afar the city appears compact and self-contained. It got its original shape, similar to a ship’s bow, from the Romans who founded the municipium Urvinum Mataurense. This shape remained virtually unchanged in the Middle Ages, but under the Dukes of Montefeltro Urbino underwent a miraculous metamorphosis emerging as one of the most beautiful cities of the Italian Renaissance.

Duke Federico da Montefeltro, a great military commander, statesman and man of culture had his palace built by the architects Luciano Laurana and Franceso Di Giorgio Martini, and it soon became a cultural center where the most important figures of Humanism and the Renaissance met. The palace, this “city in the form of a palace”, which blends so harmoniously with the hills on which it is constructed and the beautiful landscape that surrounds it, became a model for many contemporary courts and stood gloriously even in the dark centuries that followed the end of the Montefeltro rule. Many important figures of Italian and European culture contributed to the glory of the Montefeltro court. This illustrious group includes painters such as Raffaello Sanzio, Piero della Francesca, Paolo Uccello, Melozzo da Forlì, Giusto di Gand and Pedro Berruguete, writers Baldassarre Castiglione and Pietro Bembo, architects Leon Battista Alberti, philosophers, mathematicians Luca Pacioli and Paulus von Middelburg, poets Bernardo and Torquato Tasso, and the musician Ottaviano Petrucci da Fossombrone. Raffaello Sanzio was born and inspired in Urbino but soon moved to Perugia , and than to Florence and Rome . Urbino, such as the architect Girolamo Genga, painter Federico Barocci, architect and mathematician Muzio Oddi, and in the 20th century the writer Paolo Volponi who maintained close ties to his birthplace until his death in 1994.

After a long, difficult period of decline the city experienced a brief revival in the 18th century when Giovanni Francesco Albani, a nobleman from Urbino, was elected as Pope Clemente XI. During his 21 year reign he was responsible for important works in the city as well as the consolidation of the College of Doctors , which had been founded by Duke Guidobaldo at the very beginning of the 16th century and recognized by Pope Giulio II in 1507. The College of Doctors gave rise to the University of Urbino .
The despoliation of Urbino, which had begun after the death of the last Duke of Urbino in 1631, was completed at the beginning of the 19th century. The city lost Duke Federico’s important library, many of the most significant paintings linked to its history, and all the furnishings of the Ducal Palace . It was difficult to recover from all these inauspicious events and it was not until the 20th century that Urbino began to renew itself, restoring its architectural heritage and assembling precious works of art of Urbino and the Marches in the National Gallery of the Marches housed in the Ducal Palace . However, these works are but a pale reflection of the splendor and opulence of the city’s past.

Today, while Urbino strives to preserve its ancient buildings, many new areas have sprung up outside the city walls. Urbino has a population of 15,000 and must accommodate the 20,000 students enrolled at the University. The University Colleges, which house many of the students who attend the University, were built on a hill not far from the old city. The University of Urbino, which has maintained its status as a “free” university, during the many years when Carlo Bo was Rector, has been enlarged and improved over the past 50 years reestablishing itself as a cultural center, a meeting place for scholars, artists and men of letters.
Urbino is the ideal place for a summer course in Italian Language and Culture.

If you want to study, the city offers every opportunity, but you can also make excursions into the surrounding area to visit other splendid cities in the Marches and bordering regions or go bathing in the nearby Adriatic See. Urbino, more charming than ever in the summer, is also an ideal place to strike up conversation and friendships.

How to reach Urbino
Urbino can be reached by car, on the A14 Motorway. Leave the motorway at the Pesaro-Urbino exit when travelling south from Bologna or the Fano exit when traveling north from Bari or Rome . Participants travelling by train (Bologna-Ancona-Lecce line) should get off at Pesaro station where is possible to take a bus to Urbino (bus stop right next to the station).

The nearest airports are Rimini-Miramare, Ancona-Falconara, Bologna or Rome
A Rome-Urbino bus leaves Rome , Piazza Tiburtina, at 7.30 and 16.00, but only Mon. – Sat

5th INTERNATIONAL UNIVERSITY THEATRE FESTIVAL

TEATRI E CONTESTI takes place every year in Urbino, a place of utmost beauty and special historical and cultural importance for the wider region of MARCHE .

The International Meeting is an initiative taken by TEATRO AENIGMA at The “Carlo Bo” University of Urbino, inspired by the idea of an International Workshop for the author, the actor and spectator.

“Does a specificity of the theatre experience exist at the University?” is the question wich offers every year an occasion of comparison to theatre scholars and researchers coming from different world universities. The different compared models give important information about the essential role which universities could have to promote theatre culture and to press for experimentations of new forms of stage communication. TEATRI E CONTESTI is dedicated to the perspective of ‘Educative and social theatre’ and to a more organic relation between Theatre and School or Theatre and Diversities.

Festival has also embraced the principles and aims of the I.U.T.A. (International University Theatre Association) founded in 1994 in Liege and functions under the auspices of the UNESCO and the International Theatre Institute (I.T.I.), which is present in every continent and has members in over 50 countries.

In period 2005 – 2009 TEATRI E CONTESTI will help Teatro Aenigma, under the auspices of IUTA, in the project to write a general history of university theatre. First initiatives of this project was presented on 2004 and others steps will be in programme on autumn 2005.

HISTORY

The International University Theatre Association was established at Université de Liège (Belgium) in 1994 to develop and promote recognized post-secondary activity in theatre training, creation, research and theoretical and practical research, throughout the world, at the level of university or higher studies. The IUTA is present in every continent and has members in over fifty countries.

MANDATE

Designed by and for people from universities and other types of post-secondary learning institutions, the IUTA is a unique forum where teachers, practitioners, creators, scholars and theorists can share discoveries and discuss common concerns. The IUTA provides a space for both exchanges and services (through the presence of festival organizers), and is open to all members of the academic community with an interest in theatre. The IUTA holds a World Congress every two years.

CHARTER OF LIÈGE

The aim of the international Association of University Theatres is to develop and promote university theatre worldwide. ‘University theatre’, in this context, means any theatrical activity carried out within higher and tertiary education institutions, as training, creative or research activities, either theoretical or practical.

Aware of the role theatre plays in fostering dialogue and understanding between cultures, the association promotes exchanges and collaboration between university theatres (be it spontaneous student theatre, assisted, vocational or professional work) as well as contacts with amateur and professional theatres.

The association, rich in its diversity, will not tolerate political, national, linguistic, racial, religious, sexual or any other kind of discrimination.

Founded on the principle of solidarity and cooperation the IUTA is an independent network open equally to all its members according to their individual circumstances.

Alain CHEVALIER, Liège (B)
Georg FRANKE, Köln (D)
Lucile GARBAGNATI, Besançon (F)
Robert GERMAY, Liège (B)
Jean-Marc LARRUE, Valleyfield (CND)
Anna LAZOU, Athènes (GR)
Krzysztof LIPSKI, Cracovie (P)
Philippe ROUYER, Bordeaux (F)
Claude SCHUMACHER, Glasgow (GB)
Louis THENON, Québec (CND)
Joséphine VAN ES, Amsterdam (NL)
Ouriel ZOHAR, Haïfa (ISR)

Liège, 19.02.1994

GOALS

Creating the International Association of Theatre at University (IATU), Development tool of university theatre.

The mission of the IUTA will be the following :

• asserting the specificity of theatre at university
• developing solidarity and cooperation between university theatres around the world
• structuring exchanges among the different members and establishing regular communication among them

ISSUES

• Relationships between university theatre and education
• Relationships between university theatre, vocational theatre and amateur theatre
• Relationships between university theatre and authorities
• Repertoire and audience(s)
• Acting and method(s)
• The university theatrical practices and university theatrical research
• The worldwide network of theatre at university

The Gallery is visible to all visitors, but can only be updated by Members.  Members will be able to add pictures to the gallery simply by e-mailing them to a special address, which will process and post the images automatically.

Here there will be a list of AITU/IUTA publications to download.  This page is accessible ONLY to members. Not guests.

Right click on the link and click on Save As to download the following publications in PDF format:

Étudier le théâtre /Studying Theatre /Estudiar el Teatro :
Actes/Proceedings/Actas :
Congrès mondiaux/World Congresses/Congresos Mundiales
Valleyfield-Québec (1997)
Dakar (1999)

If you wish to send a message to our mailing list please e-mail Jean Marc Larrue at with details, and he’d be happy to forward it for you.

Please specifiy if you’d like the message to go out to all our Members (Regular, Students, and/or Retired), and/or Guests.

Please expect a delay of one or two days.

ENGLISH TEXT IS MISSING

What are Private Messages (PMs)?
Private Messages are messages sent between AITU/IUTA members and guests which are visible only through this “Members and Guests” area of our website.  To view any private messages sent to you, click on “View Your Profile”, and then click on Private Messages.  The advantage of sending private messages is that members and guests can communciate with each other in a less formal and more anonymous way.  When you send a Private Message, your e-mail address is NOT revealed to the receiver.

How does the mailing list work?
Everyone registered as a member or guest on our website is added to our mailing list.  The mailing list is meant to keep everyone informed about AITU/IUTA updates, events, and special announcements.  If you’d like to send something to our mailing list, visit the “Mailing List” page of this “Members and Guests” area, where you will find links which allow you to send Private Messages or an e-mail to Jean Marc Larrue, our web administrator, who will then forward your message to the list.

How do I e-mail a member or a guest?
Visit “Member’s List” for a list of all the members and guests registered on the site.  Find the member or guest you want to e-mail, then click on the “E-MAIL” button beside their name.  A form opens which allows you to send an e-mail to them through our site.  It will appear in their e-mail inbox as if it were a regular e-mail, and the “Reply-To” address will be the address you specified in your “Profile”.  The advantage of this system is that members and guests can be contacted through e-mail other members and guests, but while keeping their address strictly confidential.

If you wish to e-mail or Private Message several people at once, please do so through our Mailing List.

How do I upload images to the gallery?
Only Members can upload images to the gallery.

Vol. 6 No. 2 :: Fall 2004 / Winter 2005

Our IUTA is ten years old: HAPPY BIRTHDAY!
On 15 October last year, a number of us exchanged e-mails to wish a happy birthday to… the IUTA! As the news was kept just a little too quiet, even amongst ourselves, we’d like to take this opportunity to give it pride of place in the opening lines of this issue of our newsletter.

That’s right, our association is already ten years old. On 15 October 1994, the AITU-IUTA was voted into existence by the Inaugural General Meeting at our first Congress, held in Liège , Belgium . Not that we didn’t have our share of disagreements and dissension: “What’s the point of an international association? Who needs it? Do we? We’ve managed until now without an association. Etc…” The whole issue remains up for discussion.

This newsletter is not the place to take stock of our first ten years. Simply put, the IUTA is still here: we ’re still here! With the emphasis on that collective “we” – which allows us now and in the future to meet our challenges and manage with meagre, almost non-existent, resources. Made possible by the commitment of all concerned – which today is more crucial than ever.

Long may we work together and collaborate as a team! And it’s already time to start preparations for our 6th Congress!


6th IUTA WORLD CONGRESS
The International University Theatre Association (IUTA) is in process of preparing its Sixth World Congress. Originally planned for November 2005 in Puebla , Mexico , the Congress was postponed to spring 2006. However, a number of difficulties have delayed the official announcement of the finalized date and place. While the Executive Committee is still prepared to approve an alternative solution, preferably in Latin America , if so requested by our Mexican colleagues, it now seems clear that IUTA’s Sixth World Congress will not take place, as planned and hoped, in a Latin American country. Nonetheless, IUTA will do its best to ensure that its Seventh World Congress will take place in Latin America .

As soon as it has news of any further developments concerning the next World Congress, the IUTA Executive Committee will let all members know both by e-mail and on the IUTA Web site.

IUTA/AITU INTERNATIONAL
SYMPOSIUM:
“LIVES AND DEATHS OF COLLECTIVE VREATION”

IUTA’s second international symposium, “The Lives and Deaths of Happening Theatre,” will take place in April 2006 in Cracow , Poland .

In March 2004, the IUTA held its first international symposium on happening theatre at the University of Cologne in Germany during the Theaterszene Europa – Kölner Universitäts – Theater Woche festival (see following report). Based on this success, the symposium’s organizing committee and its participants have decided to continue working and interacting together and are inviting colleagues interested in this subject to join them for a second international symposium on the same theme during the Reminiscences international festival, to be held in Cracow, Poland, in April 2005.

A first call for papers will be launched in June 2005.

Contact: Jean-Marc Larrue and Christiane Page

and

IUTA MEMBER FESTIVALS

Liege, Belgium, 21-27 February:

22nd Rencontres Internationales de Théâtre Universitaire de Liège – RITU 22 [22nd Liège international symposium on university theatre]

On the program: Performances, daily workshops, roundtables and open discussions.

Participating troupes from:

South Africa, Algeria, Germany, Spain, France, United Kingdom, Greece, Lithuania, Mexico, Netherlands, United States, Quebec and Belgium;

- and observers from Estonia , Italy , Poland , Burkina Faso , Argentina , Croatia , Slovakia , Senegal and Sweden .

IUTA’s Executive Committee will be in attendance and hold its statutory meeting on Saturday, 26 February 2005 .

CONTACT : Théâtre Universitaire Royal Liègois Director: Prof. Robert Germany, University of Liège , Bldg. A 4, Quai Roosevelt 1b B 4000 LIEGE Tel.: +32 (0)4 366 53 78

Fax: +32 (0) 4 366 56 72

E-mail:

Web site: http://www.ulg .ac.be/turlg



Cologne , Germany , 5-12 March:
Turco-German Festival –

“Theaterszene Europa -Kölner Universitäts-Theater Woche.”

Participants to include a dozen Turkish and German troupes.

The Europa Theatre Stage / University of Cologne Theatre Week was founded in 1982 with the goal of bringing together a number of theatre troupes from across Germany at a single event. The project was thus originally only national in scope. Then, in 1987, the University of Cologne ’s Studiobühne took over the event and made it what it is today. Every year an equal number of German troupes and troupes from another country – a different one is chosen for each event – come together to celebrate and portray the theatrical culture of the guest country. In that spirit, from 5 to 12 March, 12 theatre groups from Germany and Turkey will present their productions, discuss them, and organize workshops and forums intended to familiarize Cologne ’s audiences with the riches of Turkish theatre.

The event is organized by Studiobühne.

CONTACT : Studiobühne c/o Georg Franke & Dietmar Kobboldt, Universität, D-50923 Cologne

Tel.: +49-221 -470 4513

Fax: +49-221 - 470 5150

E-mail:

Web site: http://www.studiobuehne-koeln.de



Zagreb , Croatia , 7-12 March 2005: TEST!6 – International festival of university theatre and independent theatre
This festival is an annual event that stretches over an entire week and serves as a launchpad for theatre productions by students. The festival is designed to support and encourage creativity amongst young artists, in addition to boosting development of a collaborative network amongst student theatre groups from Europe and the rest of the world.

In parallel with the main festival event, which hosts groups from Croatia and abroad, the festival organizes workshops, lectures and roundtables.

CONTACT : Test! Teatar studentima, Hermanova 13 H, 10020 Zagreb , Croatia

Tel.: (+385) 1 655 48 40, 98 189 1589
Fax: (+385) 1 459 36 68
E-mail:
Web site: http://www.test.hr



Valleyfield College , Quebec , 21-26 April 2005: 9th edition of the Fêtes théâtrales du Suroît - Volet international
[Suroît theatre forum – international session]

The festival is a multilingual and multidisciplinary get-together, mixing performance, dance, theatre and multimedia. The international section is open to university and post-secondary college troupes, as well as young professional artists. It hosts about 20 troupes, comprising 200 to 250 participants from Canada and the rest of the world. Each group presents in its own language.

Training is an essential element of the festival and is offered through workshops, discussion groups and other sessions.

On the program: On average, 20 productions, 200 to 250 participants, three professionally equipped stages (small studio, 880-seat hall, approx. 4,500 spectators).

CONTACT : Jean-Marc Larrue, Theatre Section Valleyfield College , 169 Champlain, Valleyfield , Quebec J6T 1X6
CANADA
Tel.: 1-450-373-9441, ext. 211

Fax: 1-450-377-6048

E-mail:



Compiègne , France , 29 May to 6 June: FESTUPIC

The Festival de Théâtre Universitaire de Picardie [university theatre festival of Picardy ] is organized by students from the Compiègne Technical University . This year, it celebrates its 12th edition. On the program:

theatre, improv, circus, street theatre, juggling, fire-eating, clowns, music, brass bands, etc.

On stage and in the street, FESTUPIC takes over the town of Compiègne (in the Oise ) for an entire week!!!

If you’d like to take part and show off your material and your talents, just send us an application form, which you will find on the FESTUPIC Web site ( http://www.festupic.fr.st), or simply send in a request.

OTHER UNIVERSITY THEATRE FESTIVALS

Giessen, Germany, 18-23 October 2005: DISKURS , 21st edition

Diskurs is a festival devoted to the art of Europe ’s pioneering generation based on the performing arts and organized by students of the Giessen Institute for Applied Theatrical Studies. Diskurs welcomes many varieties of theatre, dance, performance, installation, music, literature, film and video.

Diskurs encourages impassioned exchanges among participants and tries to bring out links between different artistic disciplines, as well as common ground in both theoretical and practical approaches.

Deadline for applications: 12 April 2005 .

CONTACT : Diskurs 05, Kunstrasen giessen e.V., Postfach 11 06 25, D-35351 Giessen

Tel: 0049/641- 9931 248.

E-mail: l

Web site: http://www.diskursfestival.de



Teheran , Iran , February 2005:

The 18th International festival of drama universities of Iran has been announced.

On the program: performances, street theatre, photo exhibits, scientific and research activities.

CONTACT : Iran ’s international festival of Drama universities No.8, Balavar alley, Vali asr Crossroad, Enghelab Ave , Teheran , Iran

Tel: +98 21 648 27 31-32

Fax: +98 21 648 27 31



THE HISTORY OF UNIVERSITY THEATRE: A PROJECT OF UNIVERSITY OF URBINO’s TEATRO AENIGMA

The Teatro Aenigma of the University of Urbino launched this project, a written history of university theatre, in 2004, under the auspices of the IUTA. The first piece of work on this initiative was presented on 22 November 2004, when Maria Bonilla, of the University of Costa Rica, gave a lecture entitled “Mission and vocation in university theatre: the case of Costa Rica.” The next stage of the program is a piece of research on university theatre in Liège, scheduled for 2005.

The organizing committee is actively seeking other proposals. The essential requirement for these scholarly lectures is of course that they concentrate on the history of university theatre. However, proposals involving productions or workshops suitable for the university setting will also be considered.

Yet another option is to present short productions for prison audiences. Teatro Aenigma has a performance studio in the nearby prison of Pesaro . The studio puts on one production a year.

CONTACT : Vito Minoia, Teatro Aenigma, Urbino University , Italy

E-mail:

PREVIOUS SYMPOSIA:

Reports from IUTA members

FRANCE: Rennes, 24-26 September 2004: Le Théâtre des amateurs, un théâtre de société(s) [amateur theatre, a theatre of society(ies)]

Report by IUTA president Robert Germay

The CNRS, the French scientific research centre, published a major piece of work this year on amateur theatre, entitled Du théâtre amateur. Approche historique et anthropologique [amateur theatre: an historical and anthropological approach], edited by Marie-Madeleine Mervant-Roux, CNRS éditions, Paris 2004, Collection Arts du spectacle, ISBN 2-271-06182-2.

Two of the articles in this book are devoted to university theatre:

* One by Françoise Odin, “L’INSA et ‘Théâtre-Études’. Des pré-amateurs? ” [ France ’s engineering university and “theatre-studies.” Pre-amateurs?]; pp. 299-309. A very clear description of the role of the theatre in this institution in Lyon . No elaboration needed.
* Another by Evelyne Ertel, “Grandeur et décadence du théâtre universitaire” [grandeur and decadence of university theatre]; pp. 319-344. Much more debatable. The author is an instructor at the University of Paris III and an ex-member of the troupe associated with the Groupe Théâtral antique de la Sorbonne [Sorbonne ancient theatre group], founded by Roland Barthes in the 1930s. The author offers a history of a particular kind of university theatre she obviously knew well, but she does so in such a nostalgic way that the picture she paints of today’s university theatre

is dark, pessimistic and short on praise, which does little justice to the real situation, one she seems to be supremely oblivious to. The concept of “decadence” coming just after a “golden age,” accompanied by pronouncements such as “university theatre is losing its identity and uniqueness” – these are views that deserve a more nuanced analysis.

As soon as the book was published, I immediately contacted the editor, Marie-Madeleine Mervant-Roux, on behalf of IUTA, to offer my opinion on what I claimed was a hasty generalization, to be treated with caution, about a phenomenon which had certainly shaken France after the 1960s, but which should not be indiscriminately projected beyond the borders of this country.

Publishing this fine book had, however, taken so much effort on the part of the CNRS [French scientific research centre] that those involved felt compelled to follow up with a symposium which would bring together actors from, and researchers interested in, this phenomenon known as “amateur theatre.” A fine idea.

Subsequently, an international session was planned as part of the Rennes discussions, in conjunction with Jacques Lemaire, ex-president of IATA, the International Amateur Theatre Association. I was invited as IUTA president to give a talk on university theatre: “Du TU à l’AITU, essai de mise au point, ou le théâtre universitaire a la peau dure” [from university theatre to the International University Theatre Association - a reality check on university theatre’s “thick skin”]. Seated beside me at the roundtable were: Jacques Lemaire, acting as moderator; Jean-Marc Larrue ( Valleyfield College , Quebec ); Jean-Pierre Guingane ( Burkina Faso and International Theatre Institute); Benedict Ayrton ( United Kingdom ); Jamal Boudouma ( Morocco ); and Jakub Korcák ( Czech Republic ).

With Françoise, Jean-Marc and myself in attendance, the IUTA was out in strength at this symposium, which happened to be very worthwhile, in our unanimous opinion.

I can attest that the IUTA’s interests were well looked after. It was time to reset our instruments to the international standard – a need especially evident amongst the French attendees.

We also agreed that the various speakers and researchers were in full mastery of their subject-matter, whether theatrical, anthropological or aesthetic in nature. The research presented shed light on the practical issues. The participants were particularly well chosen.

One real surprise and a source of encouragement about the event arose from the serious connections made between the podium and the floor. An astonishingly large and varied group of attendees talked, responded and communicated with rare enthusiasm on all the issues broached. One small regret was that the session devoted to the international discussion was the least well attended. I would tend to blame that on the fact it was held on the Sunday (and many attendees had travelled a long way), rather than point the finger at lack of interest on the part of the French contingent regarding what’s taking place beyond our borders.

We also speak as one in congratulating the scientific committee for its shrewd and thoughtful selection of speakers, and the Rennes amateur theatre cultural centre for a fine job on the technical and logistical matters, and the warm welcome we received. The food was good, the wine of superior quality, the beds comfortable and the sun a welcome presence. Thanks again to all the volunteers for their exemplary efforts.

We are looking forward eagerly to the promised publication of the proceedings so that we may continue the de(com)bat.

Robert GERMAY.



GERMANY : Cologne , 24-26 mars 2004: “The Lives and Deaths of Happening Theatre”

Studiobühne , University of Cologne

Report by Jean-Marc Larrue ( Valleyfield College , Quebec , Canada )

Some 20 researchers from 15 different countries gathered to discuss happening theatre, with a view to better understanding its unique qualities; assessing its impact on contemporary practice (in terms of creation, training and management); and trying to identify the links to both the theatre movements that preceded the happening theatre movement and the trends that followed in theatre, related practices and other disciplines.

The discussions focused on the movement itself, between 1965 and 1980, what it led to, what is left today and the reasons why it has almost completely disappeared. The analysis benefited from the fact that most of the participants approached the subject from the perspective of practices typical of their home countries.

The group decided to create a general bibliography on the subject, as well as a descriptive chronology. These two documents will be issued at the same time as the proceedings, sometime in 2005.



BELGIUM : Louvain-La-Neuve, 19-20 November 2004: “Learning (through) the theatre, ” Centre d’études théâtrales [centre for theatrical studies], Louvain-la-Neuve).

Director: Jean-Louis Besson ( University of Paris X , Nanterre ) and Anne Wibo (Centre d’études théâtrales, Louvain-la-Neuve)

Report by Christiane Page, University of Artois , Arras , France

This symposium brought together teachers, researchers and practitioners from the theatre in order to share ideas on the differences in the practices that typify Belgium and France today. Issues related to content, pedagogy and methods for implementing theatrical activities in education prompted discussions on questions such as what principles should guide practitioners in theatre and education. This symposium gave the organizers a chance to demonstrate the need for a thorough analysis (after several years of neglect) of the ways in which theatre and education can work together.

The proceedings will be published by the Centre for theatrical studies.

(Christiane Page, University of Artois , Arras , France )

FRANCE, University of Artois, Arras, 22-23 March 2005: “Troupe and youth”

The dearth of theoretical research on the notion of