Alternative Dramaturgies of the New Millennium

An International Conference

In Homage to Abdelhak Zerouali
(Moroccan Actor & Director)

29, 30, 31 MAY/ 1, 2, 3 JUNE 2014

Conference Book: Tenth Edition 2014


Conference: Alternative Dramaturgies of the New Millennium
Keynote Speakers
Program & Public Agenda
IFTR Workshop on Academic Writing & Publishing
Note to Participants & Chairs
Short Biographies of Special Guests and Panel Chairs
Abdelhak Zerouali
Abstracts: Conference
The Kasbah: A Historical Glimpse
The City of Tangier (Tingis/Tanja/Tanger)
Conference Venues
Team & Acknowledgements
Special Events’ Overview


“Thankfulness is the beginning of gratitude. Gratitude is the completion of
thankfulness. Thankfulness may consist merely of words. Gratitude is
shown in acts.” - David O. McKay

Welcome Dear Participants,
Along with our partners, we extend a warm welcome in advance
to all guest participants at the Tangier International Conference 2014:
“Alternative Dramaturgies”, hosted by the International Centre for
Performance Studies (ICPS); it’s our 10
annual conference of
performance, dialogue and debate – hosted by the famous crossroads city
of Tangier, Morocco.
It is an honor and privilege to celebrate Performing Tangier’s
tenth year through this special event. In preparation for this milestone, I
am humbled by the history of activisms that preceded our annual
conference and admire the collaborative efforts by students, faculty, and
artists with whom I have had the opportunity to work to make this event a
permanent one in the city’s cultural agenda. Although this commemorative
moment cannot begin to encapsulate the many contributions within our
center’s history, it is my hope that it will serve as a timepiece in the
preservation of our highlights from the past ten years. It is also an
expression of gratitude towards those who were a part of our legacy.
The International Centre for Performance Studies (ICPS) was
founded in Tangier, Morocco in 2007 as an NGO that is closely affiliated
with the Research Group of Theatre at Abdelmalek Essaadi University. It
brings together numerous initiatives that have been developing over
recent years with the common goal of fostering collaboration and dialogue
in research, performance, publishing, conferences, exchange, and
education. At our core, we are an academic organization; and as such, we
are fueled by the generosity of our partners and by the rigorous
contributions of our members and participants. We actively invite all
collaborators beyond academics —especially artists, writers, directors,
actors, musicians, filmmakers, photographers, and students— to join in the
collaboration and dialogue. Activities are temporarily housed at numerous
cultural venues in the city and personal office spaces. ICPS has a vibrant
intellectual culture, which provides the basis for cutting-edge research and
scholarship in and across the fields of Performance Studies.

The International Center for Performance Studies in Tangier is
truly fortunate to benefit from the enthusiasm, commitment and support
many institutions and individuals pledge to the organization. We are also
delighted to have partners from different parts of the world who bring
such a wide range of skills and access to diverse networks in Morocco and
beyond. With their engagement, we look forward to expanding both our
events, publications, audiences and programs as well as ensuring
successful annual conferences. Above all we would like to thank the
International Research Center "Interweaving Performance Cultures" Freie
Universität Berlin, the Ministry of Culture of Morocco, La Wilaya de la
Région Tanger-Tétouan, the Collaborative Media International (CMI),
Goethe Institute Rabat-Casablanca, the Faculty of Letters and Human
Sciences at Abdelmalek Essaadi University, Theatre National Mohammed
V, the Kasbah Museum of Tangier, TALIM - Tangier American Legation
Institute for Moroccan Studies, La Commune Urbaine de la ville de Tanger,
Le Conseil de la Région Tanger-Tétouan, Alia Concept… Our thanks also go
to the contributors (colleagues, friends, and artists) from the four corners
of the globe who are far too numerous to list here, but our gratitude to all
of them is nevertheless beyond measure: Erika Fischer Lichte, Hassan
Mniai, Christel Weiler, Marvin Carlson, Abdallah Chakroun, Mohammed
Saad Zemouri, Patrice Pavis, George F. Roberson, Marjorie Kanter,
Christopher Balme, Elaine Aston, Mark O’Thomas, Rustom Bharucha,
Berenika Szymanski-Düll, Wolf-Dieter Ernst, Richard Gough, Nigar Hasib &
Shamal Amin, Mohamed Al Ashaari, Zoubir Ben Bouchta, Mohammed
Laamiri, Muhamed Sef, Mohammed Kaouti, Hassan Ben Ziane, Katherine
Mezur, Hassan Ourid, Touria Jabrane, Allen Hibbard, José Manuel Goñi
Pérez, Barry Tharaud, Andrew Hussey, Mustapha Bennouna, Salah M.
Moukhlis, Alfred Hackensberger, Rita S. Nezami, Monica Ruocco, Fawzia
Khan, S. E. Wilmer, Said Karimi, Benyounes Amirouch, Mohammed Bahjaji,
Ibrahim Al Husseiny, Masoud Bouhsine, Susan Gilson Miller, Dwight
Reynolds, Deborah Kapchan, Jennifer Baichwal, Regina Weinrich, Randy
Weston, Rebekah Maggor , Ursula Troche, Helena Oikarinen-Jabai, Shara K.
Lange, Delgado Guitart, Amy Kaminsky, Sue Ott Rowlands, Azeddine
Bounit, Hassan Youssefi, Abou El Hassan Sallam, Bouchra Jamil Ismail
Raoui, Hamza Zaoui, Sidi Mohamed El Yamlahi Ouazzani, Hanaa
Abdelafattah, Abderrahman Ibn Zidane, Ikram El Kabbaj, Abdel Aziz Al
Idrissi, Mohamed Samir Al Khatib, Amr Kabil, Sebaie Al Sayid, Abdelhamid
Akkar, Wolf-Dieter Ernst, Richard Schechner, Janelle Reinelt, Heike Roms,
Mike Pearson, Nicola Savarese, Stanca Scholz-Cionca, Carol Malt, Graziella

Boggiano, ٌRachid Daouani, Katrina M. Powell, Isabel Menezes, José
Eduardo Silva, Sandra J. Schumm, Antonio Prieto-Stambaugh, Domingo
Adame, Pierre Katuszewski, Michael Roes, Steffen Wippel, Maria Vittoria
D'Amico, Michael Keren, Stephen Barber, Izabela Filipiak, Janine Lewis,
Patrick Ebewo, Lynn A. Staeheli, Amy Bartholomew, Avanthi Meduri, Lilian
Seuberling, Meike Wagner, Berenika Szymanski-Düll, Samira Al Kadiri,
Zohra Makach... We offer to all of them our warmest thanks for their
valuable participation in reaching across the divide to the other. Last, but
not least, we would like to express our gratitude to the greater Tangier
community who have supported ICPS through meaningful collaborations.
Particular thanks also must go to Ahmed Akbib, Khalil Damoun, Rachid
Amahjour, Driss Alouch, Faraj Roumani, Youssef Nouri, Aziz Jadir, Zober
Ben Bouchta, Mustapha Guenad, Jamal El Abrak, Badredin Charab, Said
Salah, Abdelaziz Khalili… many thanks to our students, the future of our
center belongs to them; as the proverb says: “He who does not (know how
to) look back at his past (where he came from) will not reach his
destination”. Meanwhile, we beg forgiveness of all those who have been
with us over the course of the years and whose names we have failed to

Conference: Alternative Dramaturgies of the New Millennium

2014 marks the 10th Anniversary of our international forums. The
present conference aims at reframing the discussion on new dramaturgies.
It is a continuation of our previous debates, as well as an attempt to
synthesize our overall deliberations over a decade. Dramaturgy is an
inclusive word that refers to the ‘composition of a play’, or its internal
structure. However, the processes of analysis often called dramaturgical
analysis are deeply rooted in the practice of dramaturgy. Ever since
Hamburgische Dramaturgie by the German playwright and critic Gotthold
Ephraim Lessing, the term dramaturgy has been broadly formalized in
theatre circles. For Lessing, dramaturgy was framed according to a
compositional logic based upon the supremacy of the verbal text. It was
conceived of as “the technique (or poetics) of dramatic art, which seeks to
establish principles of play construction” (Pavis 1998, 24). Contemporary
theorists, on the other hand, seem to emphasize the non-literary
composites of dramaturgy.
'Dramaturgy' could also be applicable to current performance
structures that do not start from pre-existing play-texts; that develop as
verbal texts or non-verbal forms, or verbal mixed with intermedial or
choreographic structures from improvisational approaches. Since the
1960s, performances “have repeatedly disconnected individual theatrical
tools from their larger contexts” (Erika Fischer-Lichte 2008, 140). The re-
appearance of what Fischer-Lichte calls ‘emergent phenomena’ further
undermines the production of meaning through theatrical representation.
Thus, alternative dramaturgies might also suggest new ways of
interrogating presence and negotiating our roles as spectators and critics;
they tend to disintegrate neo-classical notions of character-dramaturgy
and unity by disrupting their underlying dualism within performance.
Meanwhile, the advent of new media has profoundly changed
dramaturgical practice in the last decades. Today, many theatrical
performances are characterized by visual dramaturgy and digital
workflows, which can hardly be subordinated to the text. The process of
remediation throws the audience into the abyss of la mise en abym, or
what J. D. Bolter & R. Grusin describe as the “representation of one
medium in another;” hierarchies and differences between live presence
and recorded versions, spatial and temporal coordinates, and the current

critical emphasis on ‘Intermediality’ in contemporary theatre investigates
theatre’s performative privileging of simulacra. Such phenomenon has
become a generalized feature of the so-called postmodern epoch of
writing -as well as the postcolonial- since our Global Village now is not only
a hyperspace of 'mobile objects' but also one of 'reflexive subjects'. The
degree of the ability to reflect upon the social conditions of existence is
also linked to the process of decolonization in the case of developing
countries like most Arobo-Islamic ones. Many recent Arabo-Islamic
performances are exercises in what D.E. George calls “restless semiosis” in
which meaning emerges from interdependent relations and not by
ascription to some objective referent. The tendency to privilege the
turbulent reflection of liminal experience, where we are invited to become
co-artists rather than passive consumers, becomes so apparent in the
theatres and performances of Jaàfer Guesmi from Tunisia, Asmaa Houri
and Youssef Rayhani from Morocco, Lina Saneh and Rabih Mroué from
Lebanon, the renowned Al-Hanager and independent theatre movement
of Egypt, the Lebanese-Canadian Wajdi Mouawad… (To state just a few
from a long list that is growing every day.)
The conference also seeks new discourses to explore the complex
interrelationship within and across the boundaries of contemporary Arabo-
Islamic theatre forms, and assumes the quality of personal quests and
participation in the public contemplation of Arabo-Islamic changing
identities. It is a call for more critical attention to an observable alternative
dramaturgy that has become so visible also in Arabo-Islamic contexts.
Inspired from our previous discussions, we propose a double-edged
dialogue, which is artist-driven and research-oriented. The moment of
creation and the myriad locations where Arabo-Islamic theatre today is
being made in postcolonial and postmodern ones are significant instances
in a conference that seeks to de-freeze, or rather re-discover artistic
experiences that persist on reassessing fluctuating boundaries between
tradition and modernity. Distinguished scholars from around the world are
joining the debate to offer elements of reflection on the various
problematics related to the following proposed panels:
• What are the present alternative dramaturgies? Is the term
'alternative' adequate for these dramaturgies?
• Mainstream or traditional dramaturgies & alternative
dramaturgies: threads of commonalities and differences
• Dramaturgy as a “weaving together of elements”
• The practice of dramaturgy as analytical process

• The dramaturge’s various roles & devised theatre practice
• Alternative dramaturgies in Arabo-Islamic con-texts
Simultaneous Interpreting in all Panel Sessions

Keynote Speakers

Patrice Pavis
Patrice Pavis was previously Professor of theatre studies at the University
of Paris (1976-2007). He is currently a Professor in
the School of Arts at the University of Kent in
Canterbury. In 2011 and 2012 he has been Visiting
Professor in the Department of Theatre Studies of
the Korea National University of the Arts in Seoul.
He published a Dictionary of theatre (translated
into 30 languages) and books on Performance
analysis, Contemporary French
dramatists and Contemporary theatre. His most
recent book publication is: either each word with a
capital or none La mise en scène contemporaine,
Armand Colin, 2007 (English translation: Contemporary Mise en Scène:
staging theatre today, translated by Joel Anderson, Routledge, 2012). His
current research areas include: performance theory; theory and practice
of mise en scène; intercultural and globalized theatre; contemporary
dramatic writing; creative writing and staging; theory of contemporary
theatre and performance.

Christel Weiler
Christel Weiler is Professor at the Institute for Theatre Science of the Freie
Universität Berlin, with focus on research and teaching in: theory,
aesthetics and analysis of contemporary theatre,
theoretical and practical investigations for the
work of the actor, in cooperation within the
research platform "Cultures of the Performative"
(working group "Aesthetics of the Performative").
Recent publications on Contemporary Theatre
include: „Theater als öffentlicher Raum. Die
Berliner Ermittlung von Jochen Gerz und Esther
Shalev-Gerz“, Berlin 2005, „Etwas ist dran.
Vorurteile zum Lehrstück“ in: Erika Fischer-Lichte,

Clemens Risi, Jens Roselt, (Hg.) Kunst der Aufführung – Aufführung der
Kunst, Berlin 2004, „Glaubensfragen – postdramatisch“, in: Patrick
Primavesi, Olaf A. Schmid, (Hg.) AufBrüche. Theaterarbeit zwischen Text
und Situation, Berlin 2004. Since August 2008 she has also been the
programme director of the International Institute for Advanced Studies in
the Humanities on "Interweaving Cultures in Performance". She produced
works as a dramaturg, e.g. at the Theater am Turm in Frankfurt, at the
Residenztheater in Munich, at the Staatsschauspiel in Stuttgart and at
Theater Heidelberg.

Workshop on Academic Writing & Publishing

by The International Federation for Theatre Research (IFTR)
30, 31 MAY/ 1 JUNE 2014
Venue: Andalucía Hotel, Room 2, Tangier, Morocco

During our 2014 international conference ‘Approaching
Alternative Dramaturgies’, we propose a three-day IFTR workshop on
Academic Writing and Publishing during the conference from 30 MAY till 1
JUNE 2014, from 17: 00 till 19:30 pm each afternoon. Twenty new scholars
and critics from the Arab World (including committed participants in the
conference) will participate in the workshop.
Since the upcoming ICPS conference aims at reframing the
discussion on new dramaturgies, the workshop might also suggest new
ways of interrogating presence and negotiating our roles as spectators and
critics. Such dramaturgies tend to disintegrate neo-classical notions of
character-dramaturgy and unity by disrupting the underlying dualism
within performance. Is it not time to investigate the paradigm shift in
contemporary Arab-Islamic theatres? While the legitimating of
postcolonial performance cultures in relation to the European canon has
been a major concern for the international theatre research community in
the last decades, Arabo-Islamic artists and scholars are faced with a
different task, namely that of negotiating the passage of modernity with a
particular attention to the complexities of the current postcolonial
situation. Reflexivity becomes a characteristic feature of our age

embedded in our cultural processes; and theater is, indeed, part of these
cultural processes.
We need more venues and opportunities of real dialogue and
exchange, and we believe that IFTR is an ideal partner in this matter of
great importance to all of us. IFTR has become a home for many Arab
scholars in reaching across the divide to the other. As a revisionary project,
the inception of the intercultural debate inside IFTR ushered in the
promise of offering the rest of the world, specifically marginalized
constituencies, a platform from which to articulate their own positions. In
line with these developments has been noted a remarkable growth of
emerging scholars from different parts of the World including the Arab
The main objective of the workshop for emerging Arab
researchers is to seek new discourses to explore the complex
interrelationship within and across the boundaries of contemporary Arabo-
Islamic theatre forms. We need to call their critical attention to an
observable alternative dramaturgy that has become so visible also in
Arabo-Islamic contexts. Inspired from our previous discussions we propose
a double-edged dialogue, which is artist-driven and research-oriented.
Preparing work for publication will also be at the heart of the workshop.

Workshop 1: ‘From Conference Paper to Journal Publication' (covering the
art of giving a paper on the international conference circuit, to
transforming it for publication, as well as getting it published and working
with editors, etc.)

Workshop 2: 'Towards an International Profile - Book publishing' (covering
issues of representing the ‘local’ and ‘regional’ in terms of themes,
formats, and concerns, etc., in international publishing market)

Workshop 3: ‘Clinic: individual sessions for Arab scholars with international
editors of journals and book series’ (scholars to respond to written work of

Brian Singleton
Brian Singleton is Associate Professor and Head of Drama at Trinity College
Dublin, former Editor of Theatre Research International (Cambridge
University Press) and Ex-President of the International Federation for

Theatre Research. His principal research interests lie in the fields of
orientalism and interculturalism in performance, and he has published
widely on numerous aspects of those genres in European theatre, from
popular musical theatre in the monograph Oscar Asche, Orientalism and
British Musical Comedy (Praeger, 2004) to a variety of publications on
French intercultural performance from Antonin Artaud to Ariane
Mnouchkine. Within that same generic compass, he is particularly
interested in issues of gender and sexuality not only in performative
representation but also in terms of the performative agency of social

Elaine Aston
Elaine Aston is Professor of Contemporary Performance at Lancaster
University, UK. Her monographs include Theatre As Sign-System (1991,
with George Savona), Caryl Churchill (1997/ 2001/ 2010); Feminism and
Theatre (1995), Feminist Theatre Practice (1999), Feminist Views on the
English Stage (2003), Performance Practice and Process: Contemporary
[Women] Practitioners (2008, with Geraldine Harris) and A Good Night Out
for the Girls (2013, with Gerry Harris). She is the co-editor of The
Cambridge Companion to Modern British Women Playwrights (2000, with
Janelle Reinelt); Feminist Futures: Theatre, Performance, Theory (2006,
with Geraldine Harris), Staging International Feminisms (2007, with Sue-
Ellen Case), and The Cambridge Companion to Caryl Churchill (2009, with
Elin Diamond). She has served as Senior Editor of Theatre Research
International (2010-2012) and is currently completing Royal Court:
International (with Mark O’Thomas).

Marvin Carlson
Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative
Literature and Middle Eastern Studies at the Graduate Center of the City
University of New York and the author of numerous books and articles on
Western and Arabic theatre history and theory.






Program of the Conference & Public Agenda
Conference Alternative Dramaturgies...

Thursday May 29, 2014
Welcome to visiting and international Academics and Artists (USA, Cyprus,
Canada, Pakistan, Egypt, Tunisia, France, Germany, Great Britain, South
Africa, Algeria, Nigeria, Greece, Chili, Iraq, Spain, New Zealand, Brazil,
and others)

20: 00/ 21: 00| Theatrical Performance « En Pleine Mer » by
Jassadi Group
(Venue: Kasbah Museum Tangier)
21: 30/ 22: 30| Theatrical Performance “Vie Rus” by The
Theatre Workshop of the Master Students ENES, Meknes
(Venue: Kasbah Museum Tangier)

Friday May 30, 2014
(Venue: Andalucia Hotel)
10: 00/ 14: 00 Conference Registration

14: 00/ 14: 30| Welcome and Book Presentation
The Politics of Interweaving Performance Cultures. Beyond
Postcolonialism, Edited by Erika Fischer-Lichte, Torsten Jost, Saskya Iris
Jain. New York: Routledge, 2014.
(Venue: Andalucía Hotel: Conference Room I)
Chairs: Christel Weiler & Khalid Amine

14: 30/ 15: 30 Keynote Address I by Patrice Pavis
(Venue: Andalucía Hotel: Conference Room I)
Chair: Said Karimi
15: 30/ 15: 45| Discussion & Coffee

15: 45/ 17: 30 Panel Session 1/ Alternative Dramaturgies?
Conference Room I: Chair Prof. Maria Shevtsova
Marvin Carlson
“The Challenges of Immersive Theatre”
Richard Gough
“Against Illustration: Falling Bodies - Seen and Unseen”






Peter Eckersall
“Dramaturgy and the gap: Rupture and alternative dramaturgy”
Kamal Khalladi
“Are we questioning Alternative Dramaturgies or New Dramaturgies?

17: 30/ 19: 00 Panel Session 2/ Dramaturgy as a ‘Weaving Together of
Conference Room I: Chair Pedro Ilgenfritz
Kaite O’Reilly
“‘But you know I don’t think in words.’‘Alternative Dramaturgies Informed
by a d/Deaf and Disability Perspective:’Bilingualism in performance across
spoken and signed languages.”
Ioulia Pipinia
“Refashioning dramaturgy: a stage rewriting of a 19
-c. play in 2013
Pierre Katuszewski
« PippoDelbono: Un Dramaturge de Plateau »
Zohra Makach
« La ‘mécanique‘ de la création : écriture et mise en scène »
17: 30/ 19: 30| IFTR Workshop on Academic Writing & Publishing,
directed by:
Elaine Aston, Brian Singleton, and Marvin Carlson
(Session 1 Andalucía Hotel: Conference Room 2)
Public Agenda (Friday May 30)

19: 30/ 20: 00 Inaugural Reception (Venue: Andalucia Hotel)

20: 00/ 21: 00| Special Homage to Moroccan Artist Abdelhaq
Zerouali & Book Launch (Venue: Andalucia Hotel)
21: 00/ 22: 00| Theatrical Performance “Reportashe”
by Abdelhaq Zerouali (Venue: Andalucia Hotel)
22: 00 Gala Dinner (Venue: Andalucia Hotel, Tangier)

Saturday May 31, 2014

09: 00/ 12: 00 Panel Session 3/ Traditional Dramaturgies and Alternative
Dramaturgies: Commonalities and Differences
Conference Room I: Chair Holger Hartung






Mustapha Haddad
“Theatre, Performance and the Mind”
Nesma Youssef Idris
"Conflict" lies in the "Body" of the beholder: Investigating alternative
"Experimental" dramaturgies
Proshot Kalami
“Dramaturgy of Persian Plays in the West: the problematics of History,
Religion and Cross-Cultural Performance”
Elaine Aston
“Alternative Dramaturgies – Feminist Reflections and Perceptions”
Majid Chakir
“Dramaturgy between the Script and the mise en scène”

14: 30/ 17: 00 Panel Session 4/ The Dramaturg’s Various Roles
Conference Room I: Chair Gabriele Brandstetter

Jessica Applebauny & Avia Moore
“Dramaturg for Hire: Contextual Dramaturgy for a Global (St)age”
Katalin Trencsényi
“The Factory’s new dramaturgy from a dramaturg’s perspective”
‘Bode Ojoniyi
“Contentious Dramaturgies: A Critical Analysis of the Consciousness of
Soyinka, Osofisan and Yerima in Playmaking”
Muhammed Sef
“The Dramaturge: the One who knows and sees and understands
17: 00/ 17: 15 | Discussion & Coffee
17: 15/ 19: 00 Panel Session 5/ Dramaturgy & Devised Theatre Practice
Conference Room I: Chair Marjorie Kanter
Ric Knowles
“Alternative dramaturgies across performance and art: Richard Hawkins’
restaging of the performance-archive of Tatsumi Hijikata”
Phillip Zarrilli
"...beneath the surface" of Told by the Wind: an intercultural experiment
in an alternative/subtle form of performance dramaturgy and aesthetics”
Pedro Ilgenfritz
“Dialectical Theatre and Devising: dramaturgy as a dialogue between the
author and the audience”
Said Karimi






“A View on the Alternative Dramaturgy of Romeo Castelluci”
17: 15/ 19: 15| IFTR Follow-up Workshop on Academic Writing &
Publishing (Session 2 Andalucía Hotel: Conference Room 2)
Public Agenda
19: 00/ 20: 00| Book Launch (ح,~--ا ¸- ª=,--ا ª-آ,=) by Distinguished
Professor Hassan Mniai| (Venue: Kasbah Museum)
20: 00/ 21: 00| Book Launch (ل;=--'- ع;-د) A Dramatic Text
by Issam El Youssefi & Reception in honor of the guests|
(Venue: Kasbah Museum)
21: 00/ 22: 30| Theatrical Performance: “Larms au Khol” by
Anfass Theatre Company (Venue: Kasbah Museum)

Sunday June 1, 2014

09: 00/ 10: 00| Keynote Address III by Christel Weiler
(Venue: Andalucía Hotel: Conference Room I)
Chair: Marvin Carlson
10: 00/ 10: 15| Discussion & Morning Coffee
10: 15/ 13: 00 Panel Session 6/ Alternative Dramaturgies in Arabo-Islamic
Con/texts I
Conference Room I
Chair: Rustom Bharucha
Magdi Youssef
“Maghrebi Halqa Performances in France as an instrument of self-
Abderrahman Ben Zidan
“Dramaturgy between the Problematic of Theory and Performance
Hassan Youssfi
“Moroccan Theatre: from Systematic Dramaturgy to fragmented
Omar Fertat
« Investir le Genre pour une Nouvelle Dramaturgie Maghrébine des Corps:
Le Cas de Radhouane El Medeb, Héla Fattoumi et Abou Lagraa »
Mohammed Samir Al-Khatib
“Alternative dramaturgies: Power, Knowledge and Representation”






14: 30/ 17: 00 Panel Session 7/ Alternative Dramaturgies in Arabo-Islamic
Con/texts II
Conference Room I:
Chair: Christel Weiler
Touria Khannous
“The Role of Visual Art in the Arab Spring”
Rachid Amahjour
“What type of Alternative Dramaturgy in the Case of Morocco?”
Youssef Raihani
“Illusions of realism or the paradoxes of the era of the screen”
Mohammed Refaat Assayed Younes
“Dramaturgy in Contemporary Egyptian Theatre”
Khalid Amine
“Alternative Dramaturgies in Morocco”

17: 00/ 17: 15| Discussion & Coffee
17: 15/ 19: 00 Panel Session 8/ Alternative Dramaturgies in Arabo-
Islamic Con/texts III & Wrap Up session
Conference Room I: Chair Khalid Amine
Ibrahim El-Husseini
“Dramaturgy and the Struggle for the Monopoly of Meaning in Arab
Rachid Outerhout
“Obscenity and Nudity in Contemporary Moroccan Theatre”
Lahcen Tlilani
“Alternative Dramaturgies in Contemporary Algerian Feminist
Jaouad Sonnani
“The Alternative Dramaturgies of Dabateatre”
Rachid Mountassar
“Dramaturgy and society in "The Guardian" by Issam El Yousfi”
17: 15/ 19: 15| IFTR Follow-up Workshop on Academic Writing &
Publishing (Session 3 Andalucía Hotel: Conference Room 2)
Public Agenda

19: 30/ 21: 30| Theatrical Performance & Panel Discussion
“Jihad Against Violence ” by Fawzia Khan, Katherine Mezur,
and Nesrine Al Refaai

(Venue: Kasbah Museum)

21: 30/ 22: 30| Theatrical Performance: “Hadda”, a Concert-
theatre by Dabateatr (Venue: Kasbah Museum)

Monday June 2, 2014
(Venue: Faculty of Letters and Human Sciences, AEU, Tangier/ Conference
08: 30/ Departure for Tetouan
10: 00/ 11: 00| Round Table on “Alternative Dramaturgies” hosted by the
Department of English (Chair: Abderrazzak Essrhir)
11: 00/ 11: 15| Reception in honor of the guests|
11: 15/ 12: 30| Wrap Up Session of the Tenth Edition Chaired by the Dean
of the Faculty and Directors of the Interweaving Performance Cultures
Institute & Book Launch: Performance and Terror, by Rustom Bharucha
12: 30/ 14: 00| Lunch at Martil & back to Tangier

\Public Agenda
18: 00/ 19: 00| Book Launch ª···-'-;- by the Moroccan
Dramaturge Mohammed Kaouti & Reception in honor of the
guests| (Venue: Kasbah Museum)

19: 00/ 20: 00| Book Launch ( ح,·~--ا ª·-,=-) by Abdelouahed Ouzri
& Reception in honor of the guests| (Venue: Kasbah Museum
20: 30/ 21: 15 | Theatrical Performance: “ ¸-'·-- ~·-,=-” by Nour
Ghanem Company| (Venue: Kasbah Museum)

21: 30/ 22: 30 | Theatrical Performance “Schizophrenya” by
Aphrodite| (Venue: Kasbah Museum)

Tuesday June 3, 2014

17: 00/ 18 00| Book Launch “Un désir de Culture" (Essai sur l'action
culturelle au Maroc) by Ahmed Massaya (Venue: Kasbah Museum)
18 : 00/ 18 : 30 Reception in honor of the guests| (Venue: Kasbah
18: 30/ 19: 30 Book Launch « Al-Waliyu Salihu Tartuffe » by Ahmed
Berouhou (Venue: Kasbah Museum)

19: 30/ 21: 00 The Bagged Stories Project by Marjorie kanter &
Book Launch تار;~-- ,آ,--ا ¸-و--ا ت'~ار-- ,--ا ª=
21: 00/ 22: 30 Theatrical Performance “Rajul Al-Khubz Al-Hafi” by
Bab Bhar Company (Venue: Kasbah Museum)
21: 00/ 22: 30| Theatrical Performance: “Sarrout” from Fez (Venue:
Theatre Mohammed Al-Haddad/Tangier)

\Papers and panel sessions:
• We kindly request participants to respect time-slots for presentations
and try their best to attend most of the activities, especially since we
will have simultaneous interpreting in most panel sessions thanks to
the generous support of our privileged partner the International
Research Centre "Interweaving Cultures in Performance" (Free
University, Berlin).
• All paper presentations, other than keynote addresses, are limited to
fifteen to twenty (15-20) minutes. The time limit will be strictly
enforced to ensure that every speaker and every paper receives equal
opportunity for presentation and discussion. (Needless to say that you
need not read the whole paper, but a concise summary will be fine as
the full paper may be published)
• Participants who wish to publish their papers in the upcoming book of
proceedings are kindly requested to submit their maniscripts to Khalid
Amine by the end of the conference in hard copy and in digital form
(RTF). A selection of papers will be published.

\Manuscript preparation: The recommended length for articles is 3000-
5000 words (inclusive of notes). An electronic copy of the manuscript in
WORD should be submitted. The author’s name, address, email address,
and title of manuscript should appear on a cover sheet. An abstract of no
more than 250 words should also be included as well as a brief biography
(150 words).
Text Conventions
1. Articles must be typed and double-spaced throughout. Quotations and
Notes are also double-spaced. Do not exceed 35 lines per page, nor 70
characters per line.
2. Leave margins of 1" (25mm) at right, top and bottom, and a larger
margin of 1. 112" (40 mm) on left.
3. Italicize titles of books, newspapers, and journals.

4. Titles of articles are given in single quotation marks.
5. Notes are indicated by raised Arabic numerals (without any other sign)
at the end of the sentence, following any punctuation. Notes are
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or of organizations (UNESCO).
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12. Write: "ninety nine spectators", but "101 fans".
13. "Act III, sc. v, lines 35-51" becomes after a quotation: (III,v: 35-51). For
volume, or part, use roman numerals: I, II...
14. Write centuries in full. Hyphenate the adjectival use: "seventeenth-
century drama", but "the theatre in the seventeenth century..."
15. Seventies or 1970s (no apostrophe).
16. Possessive case: as a rule, write "s”.
17. Do not forget to number your pages.
18. Illustrations are indicated in the text thus: (Fig. 1). When submitting
illustrations, please include comprehensive captions, drawing the reader’s
attention to the important features of each picture. It is your responsibility
to obtain permission for the reproduction in TRI of photographic or other
illustrative materials. List the captions at the end of your document,
prefaced by "Fig. 1", etc. The captions should refer to the text and NOT list
simply character names, etc. Photographers must be credited.
19. If in doubt, please refer to the latest issue of TRI.
20. NOTES/REFERENCES: Make all references in endnotes according to the
following conventions:
Book: Ruth Levitas, The Concept of Utopia (Syracuse: Syracuse University
Press, 1990), p. 148.

\A Note to Chairs: Session Chairs are kindly requested to help with the
• Note the time allocated for each paper in your session. Chairs are
urged to strictly monitor and manage time allocation.

• Arrive at the room of the session five minutes before the session
starts and identify each of the speakers for the session.
• If the presenter of a paper is absent (“no-show”), please continue
to the next presentation. Please check again at the end of the last
presentation whether the “no-show” shows up. Best efforts have
been made to reduce the number of no-shows; however, they
may not be eliminated.
• If technical equipments are not working properly, please contact a
student helper.
Thank you very much for your great help in this important task!

Short Biographies of Special Guests and Panel Chairs

Gabriele Brandstetter is co-director of the International Research Centre
"Interweaving Performance Cultures" and Professor of Theatre and Dance
Studies at Freie Universität Berlin since 2003. She is also vice-president of
„Heinrich-von-Kleist-Society“, a member of „German National Academy of
Sciences Leopoldina“ and a jury member for „art history, musicology,
Theatre-, film- and media-studies“ of the DFG. Her research focus is on:
History and aesthetics of dance from the 18th century until today, theatre
and dance of the avant-garde; performance, theatricality and gender
differences; concepts of body, movement and image. In 2004 she was
awarded the “Gottfried-Wilhelm-Leibniz-Prize” by the DFG, and in 2011
the Federal Cross of Merit of the Federal Republic of Germany. Among her
numerous book publications: Tanz-Lektüren. Körperbilder und
Raumfiguren der Avantgarde (1995); ReMembering the Body (2000, co-ed.
H. Völckers); Bild-Sprung. TanzTheaterBewegung im Wechsel der
Medien (2005); Methoden der Tanzwissenschaft. Modellanalysen zu Pina
Bauschs ‚Sacre du Printemps‛ (2007, co-ed. G. Klein); Schwarm(E)Motion.
Bewegung zwischen Affekt und Masse (2007, co-eds. B. Brandl-Risi, K. van
Eikels), Tanz als Anthropologie (2007, co-ed. C. Wulf) ,Prognosen über
Bewegungen (2009, co-eds. S. Peters, K. van Eikels);Improvisieren.
Paradoxien des Unvorhersehbaren. Kunst - Medien – Praxis (2010, co-eds.
H.-F. Bormann, A. Matzke)

Maria Shevtsova holds the Chair of Drama and Theatre Arts at Goldsmiths,
University of London, having previously held professorships at the
Universities of Connecticut and Lancaster (Founding Chair). She was
founding director of European Studies at Sydney University and has held

visiting professorships and similar positions at, among others, the Teatro
Ateneo in Rome, Oslo University, the Academy of Theatre Arts in St
Petersburg and the Grotowski Institute. She is the author of over one
hundred journal articles and chapters in collected volumes, and her books,
other than the three cited below, include the co-authored/co-edited I
placed a space here Directors/Directing: Conversations on
Theatre (Cambridge University Press, 2009) and Fifty Key Theatre
Directors (Routledge, 2005). Her publications have been translated into
Korean, Chinese, Persian, Russian, Romanian and Polish. She is co-editor
of the New Theatre Quarterly, and on the editorial team of Critical
Stages of the International Association of Theatre Critics and the editorial
Board of Polish Theatre Perspectives.

Rustom Bharucha is Professor of Theatre and Performance Studies at the
Jawaharlal Nehru University in New Delhi. He is a writer, director,
dramaturg and cultural critic. Combining intercultural theory and practice
with social concerns, he is the author of several books on cultural
exchange, globalization, secularism, oral history, and the question of faith.
At an activist level, he has conducted workshops on land and memory, the
politics of touch, and migration in India, the Philippines, South Africa and
Brazil. A former advisor to the Prince Claus Fund for Culture and
Development in the Netherlands, he has worked as a consultant for the
Ford Foundation and the Arts Council in Dublin on policies relating to
cultural diversity and artistic practice. More recently, he has worked as
Project Director of Arna-Jharna: The Desert Museum of Rajasthan on
traditional knowledge and as Festival Director of the Inter-Asian Ramayana
Festival in Adishakti, Pondicherry.

Marjorie Kanter is author of short literary and poem-like pieces. She holds
degrees from Ohio University and the University of Cincinnati. She first
visited Spain in 1965 and has lived between Madrid and Tarifa for the past
30 years and spent extended periods of time in Morocco. Author of I
displace the air as I walk, The Saddle Stitch Notebooks, The Bagged
Stories and "Im/politeness: One Hundred Im/polite Days" amongst other
texts; she has participated in Public Word Art Installations and Interactive
Projects at La Caixa, Lleida (In-Comunicación); Historias para la Espera for
La Noche en Blanco, Madrid and Nexus, a project for Madrid Abierto.

Holger Hartung studied theater, media and communication and North-
America-studies at FreieUniversität Berlin. He wrote his master thesis on
video in contemporary dance (‘Bodies between REC and PLAY – Aesthetics
of Video and Film in Meg Stuart’s Replacement’). From 2008-2010 he
worked as research associate at the International Research Center
“Interweaving Performance Cultures” in Berlin. Since March 2010 he is
coordinator of the Research Center. Currently, he is completing a
dissertation project focusing on ruptures, tears, cracks as performative
figures of the in-between.

English Abstracts 2014 Arranged in Alphabetical Order

Bode Ojoniyi teaches Drama in the Literature Unit of the Department of
Languages and Linguistics, Osun State University, Nigeria. He holds a B.A in
Performing Arts, Ilorin, M.A. Dramatic Literature from University of Lagos
and Ph.D. Performing Arts, Ilorin, Nigeria. He has published articles in
journals and chapters in books. He also has three published plays to his
credit: The Primate and the Lost Clergy (2010), The Infidel and the Blood
Suckers (2010) and Once upon an Evil Genius (2011).
Title: Contentious Dramaturgies: A Critical Analysis of the Consciousness of
Soyinka, Osofisan and Yerima in Playmaking
Abstract: Wole Soyinka, Femi Osofisan and Ahmed Yerima are arguably the
most prolific of numerous Nigerian playwrights. While Soyinka belongs to
the first generation of Nigerian playwrights, Osofisan belongs to the
second generation and Yerima belongs to the third generation. These
playwrights, particularly, Soyinka and Osofisan are believed to present
different and conflicting ideologies in their plays. This claim is also
supported by Osofisan’s open attempt to reply to Soyinka’s plays. For
instance, to Soyinka’ The Strong Breed, Osofisan replies with No More the
Wasted Breed and against the accusation of myth making by Soyinka,
Yerima claims that his aim as a playwright is it to demythologise and speak
directly to the people. However, beyond these seeming contradictions in
ideology and dramaturgy is a common denominator of outward
commitment to transforming their society by provoking positive social
change. In essence, beyond a facile reading of their dramaturgies is a
familiar consciousness. This general consciousness that perhaps underlines
their dramaturgies is what this paper seeks to discuss in existential
dialectical terms. We contend in the paper that the three of them are,
technically speaking, myth makers and that myth making is not

synonymous with evasiveness, but it is rather a way of re-evoking the
African storytelling tradition and of reengaging the archetypal
consciousness of the people. It is in the spirit of the race that their plays
unfold like true African parables
Elaine Aston is Professor of Contemporary Performance at Lancaster
University, UK. Her monographs include Theatre As Sign-System (1991,
with George Savona), Caryl Churchill (1997/ 2001/ 2010); Feminism and
Theatre (1995), Feminist Theatre Practice (1999), Feminist Views on the
English Stage (2003), Performance Practice and Process: Contemporary
[Women] Practitioners (2008, with Geraldine Harris) and A Good Night Out
for the Girls (2013, with Gerry Harris). She is the co-editor of The
Cambridge Companion to Modern British Women Playwrights (2000, with
Janelle Reinelt); Feminist Futures: Theatre, Performance, Theory (2006,
with Geraldine Harris), Staging International Feminisms (2007, with Sue-
Ellen Case), and The Cambridge Companion to Caryl Churchill (2009, with
Elin Diamond). She has served as Senior Editor of Theatre Research
International (2010-2012) and is currently completing Royal Court:
International (with Mark O’Thomas).
Title : Alternative Dramaturgies – Feminist Reflections and Perceptions
Abstract: Drawing primarily on Jacques Rancière’s The Emancipated
Spectator (2011) and Eve Sedgwick’s Touching Feeling: Affect, Pedagogy,
Performativity (2003), this paper proposes a series of feminist reflections
on ‘alternative dramaturgies’ with a view to exploring how ideas related to
dramaturgical thinking might be beneficial to a feminist critical practice.
Reflecting out of the UK context where in recent years attachments to
feminism have weakened rather than strengthened, I begin with a
consideration of theory/practice relations to argue how close encounters
with performance of the affective-textural kind might be valuable for their
capacities to enrich, complicate or contest the ‘explanatory structures’
(Sedgwick) routinely applied in the name of theory. Acknowledging the
affectively realised impressions that the textures of the performance
makes, in turn allows me to reflect on how the spectator is integral to the
composing of the ‘text’ and how ‘alternative dramaturgies’ might be
conceived as the ‘other’ stories created by spectators as ‘active
interpreters, who develop their own translation in order to appropriate the
“story” and make it their own story’ (Ranciere, 22). Arguing for the
emancipated spectator’s capacities for dramaturgies of ‘dissensus’
(Rancière, 48), in the final part of the paper I bring these reflections
together and put them into feminist practice by situating myself as a

feminist theatre critic at one particular ‘scene of dissensus’: the ‘One
Billion Rising for Justice’ campaign, orchestrated by US activist-artist Eve
Javiera Larraín holds a degree in Spanish Literature at Pontificia
Universidad Católica de Chile, and is Master of Arts with a Major in Theatre
Directing at the Universidad de Chile. She is currently a PhD student in
Literature. She has participated in numerous research projects related to
theater, narrative writers, arts and culture in Chile; and in different
international congresses: Argentina, México, Uruguay, Barcelona, London,
and others. She has also published articles in international and
international academic journals, book chapters an editing work on several
theater books; currently preparing her book “History of theater direction in
Chile: 1940-1979” (National Research FONDART 2013), wich is founded by
a national investigation grant. Since 2011, Larraín works as a theater
director of Cronópolis Theatre Company. In 2011, she debuted with her
first play, PruebaViviente (Living Proof), written and directered by herself.
On the same year Larraín toured Buenos Aires, Argentina. In 2012, she
debuted with a new play Rojoclarosobrerojooscuro (Light red on dark red),
which is funded by a national grant (FONDART 2012). Her third play, about
women wtriters (Gabriela Mistral, Virginia Woolf and Simone De Beauvoir);
called Tríptico (Tryptic) was debuted in 2013. She is now preparing her
fourth play, about the Chilean dictatorship.
Title: Conversations with tradition. A dramaturgical research on the
Chilean scene of the first millennium: 2000-2010.
Abstract: The Chilean dramaturgical generation that inaugurates the new
millennium of 2000 is made up of a new group of authors born between
1965 to 1979 (which proceeds the older generation between 1949 to
1964). This generation brings about a national theater that is founded on
an evanescence of all semblance to reality, truth, fiction or deception; a
theater of political guidelines that (un)politicize their context to ask for the
"responsible" ties and "utopian" links which bind modern social
communities. They are a generation that not only allows ironic, but also
skeptical criticism. This paper aims to investigate the performing authorial
complexities of a particular group of authors from this group that broke
through in the Chilean theatre scene in 2000: Guillermo Calderón (1971),
Ana Harcha (1976), Luis Barrales (1978),and Manuela Infanta (1980). It
seeks to identify the main methods of dramatic construction present in the
most representative elements of this new generation, which are
constituting themselves as the dramatic canon of the new Chilean. As such,

this work delves into the making of this new stage drama from four angles:
the blurring of the roles of director and playwright, the postdramatic fact,
the textual performativity, and the redefinition of the appointment and the
intertext. To this purpose, there is an investigation and critical reading of
fundamental texts of dramatic authors. Corresponding to both theater
theory and cultural studies (Lehmann, Derrida, Sánchez, Fischer-Lichte,
Bauman), and Chilean theater historiography (Opazo, Oyarzun, Larraín).
Additionally, critical materials will be reviewed in order to determine their
theoretical and performing associations with their scriptural predecessors
in the history of Chilean dramaturgical tradition.
Ioulia Pipinia is Assistant Professor at the School of Drama, Faculty of Fine
Arts, Aristotle University of Thessaloniki, Greece. She read Classics at the
University of Crete, Greece, and theatre history at the Department of
Drama, University of Bristol, England (Ph.D. 2002). Her research and
publications are on European theatre history and, particularly, secondary
genres and spectacle of the 19th and early 20
centuries, cultural
exchanges and theatrical institutions during modernism, the
representation of history on modern Greek stage.
Andreas Dimitriadis is Assistant Professor at the School of Drama, Faculty
of Fine Arts, Aristotle University of Thessaloniki, Greece. He read English
Literature at the Aristotle University of Thessaloniki, Greece, and Theatre
Studies at Royal Holloway College, University of London, England. His Ph.D.
thesis is on 19
-century Greek theatre (University of Crete, Greece) and he
has researched extensively on actors and acting in modern Greek stage. His
recent publications are on the interrelation of theatre politics and history,
theatre on Greek prison islands, performance and diplomacy.
Title: “Refashioning dramaturgy: a stage rewriting of a 19
-c. play in 2013
Abstract: Golfo by Spyridon Peresiades is by far the most famous modern
Greek play ever written. Since 1894, the tragic-ending love story of a
shepherd and a mountain girl has seen a great number of performances
and adaptations both on stage and screen. By the end of the 20th century
the play was heavily criticized as old-fashioned and overemotional and was
rarely seen on stage, primarily to be ridiculed. However, last March the
National Theatre of Greece staged a new version of Golfo, which attracted
large audiences, received critical acclaim and an invitation to be performed
at the ancient theatre of Epidaurus. This new production, without altering
substantially the language, characters or plot, turned the old script into a
visual and musical canvas, depicting distressed identities and wrecked

dreams, and thus transforming, as we intend to argue, a piece of
traditional dramaturgy into a work of alternative dramaturgy. Our aim in
this paper is, therefore, twofold: first, to explore the ways the recent
production rewrites the original text and negotiates its role in stage
history, by disrupting its performative boundaries and refashioning its
dramatic code; and second, to discuss the haunting image of a society in
mourning, the performance fosters —a “festive” requiem as the director
put it— at a time when economic crisis and political instability incite
feelings of despair and acts of violence, in response to what is often
described, concerning the recent situation in Greece, as a process of
modern colonization.
Jessica Applebaum has been working as a dramaturg in New York City for
the past thirteen years. She is Literary Manager and Dramaturg for One
Year Lease Theater Company and collaborates with companies such as
Enthuse Theater & Yinzerspielen. In 2004 she earned her Master’s in
Performance Studies at NYU and served as Editorial Assistant for TDR: The
Drama Review. In 2012, she finished her MFA in Dramaturgy at Columbia
University. The culmination of that work was a trip to Prague where she
presented part of her thesis: "Standing the Dramaturg on Her Head: A Call
for New Perspectives on Training" at the Prague Quadrennial's symposium
Devised Dramaturgy: A Shared Space. Her upcoming article "Finding the
Hyphenate – Embodying Dramaturgy" will appear in the The Routledge
Companion to Dramaturgy, edited by Magda Romanska and slated to be
published in 2014.
Avia Moore, as a director, facilitator, and creative producer,
has worked with individual artists, ensembles, and festivals in Canada, the
United States, and Europe. Focusing on performance through the lens of
cultural memory and identity, Avia completed a BA Honors in Theatre at
the University of Alberta in 2007 and an MA in Devised Theatre at
Dartington College of Arts in Devon, England. Avia is recognized as an
important emerging scholar on performances of Jewish cultural identity.
She is the Creative Producer of the Kootenay Storytelling Festival.
Title: Dramaturg for Hire: Contextual Dramaturgy for a Global (St)age
Abstract: This paper explores the potential for dramaturgical interventions
in creative processes that lie beyond the theatrical setting. Proposing the
need for a dramaturgy of the every day, we imagine dramaturgs as
invaluable to institutional programming, social media, and cultural
criticism. Contemporary identity is a curatorial business: a pastiche drawn
from a thousand sources, a tension between online/offline personal

profiles, an emerging aesthetics of self. Lines blur between the theatrical,
the everyday performative, and the virtual. Increasingly, however, the
sources available are divorced from context. With the speed of information
increasing exponentially, complications arise as to how performances of all
kinds are shared, consumed, and comprehended. Without the time and
space for questions and reflection, information sharing has become so self-
referential that fiction and fact is hard to distinguish.
Both freeing and challenging, the stripping away of context has socio-
political implications that include cultural appropriation, mis-use of
information, and a simultaneous proliferation and reduced fluency of
language, signs and symbols. These implications can be seen in
performances across medias. We will discuss the need for dramaturgical
interventions that counter the overwhelming trend towards global
decontextualization. With the increased blurring between the
performative and the every-day, dramaturgy can inform and strengthen
the composition of contemporary identity by providing access to context.
Case studies will include the frequent appropriation by the fashion industry
of First Nations cultures and online “news” that demonstrates mass shared
mis-information. In each case we will explore public responses and the
potential for dramaturgical intervention.
Kaite O’Reilly is a UK-based playwright, radio dramatist, writer, and
dramaturge working in disability arts and culture and mainstream culture.
She won the Peggy Ramsay Award for YARD (Bush Theatre, London) and
M.E.N. Best Play of 2004 for Perfect (Contact Theatre, Manchester). Her
acclaimed new version of Aeschylus’ Persians, winner of the 2010/11 Ted
Hughes Prize for New Works in Poetry, was directed in August 2010 by
Mike Pearson as part of the inaugural year of National Theatre Wales. In
Water I’m Weightless, her Unlimited/ Cultural Olympiad Commission for
the official London 2012 Olympics festival, was produced by National
Theatre Wales at Southbank Centre. This was a series of short dramatic
monologues written specifically for Deaf and disabled performers,
shortlisted for the inaugural International James Tait Black Drama Prize in
2013. The Mandarin premiere of her latest script, The 9 Fridas, about
disability icon Frida Kahlo, will be directed by Phillip Zarrilli at The Taipei
International Festival, Autumn 2014. Woman of Flowers will tour nationally
with Forest Forge and The Almond and the Seahorse be produced in
translation in German, French, and Estonian. Her plays are published by
Faber & Faber and Oberon. She is a fellow of the International Research
Centre ‘Interweaving Performance Cultures’ at FreieUniversitat, writing

about her work between mainstream, disability and Deaf cultures. For
further information see:
Title: ‘But you know I don’t think in words.’‘Alternative Dramaturgies
Informed by a d/Deaf and Disability Perspective:’ Bilingualism in
performance across spoken and signed languages.
Abstract: How do we ‘write’ disability? Is it in the aesthetic, the narratives,
the content, the form, or the bodies of the performers? This paper seeks to
introduce ‘Alternative dramaturgies, informed by a d/Deaf and disability
perspective’, exploring some of the dramaturgical developments I have
initiated as a playwright working within disability arts and Deaf culture
since 1987. Alternative? To the mainstream, hearing, non-disabled
perspective and by ‘alternative dramaturgies’, I mean the processes,
structures, content and form which reinvent, subvert or critique
‘traditional’ or ’conventional’ representations, narratives, dramatic
structures and routes in performance.
Much of my work as a playwright and theatre maker explores issues of
how distinctive Deaf and disability cultures operate with, against, and/or in
opposition to ‘mainstream’ or ‘dominant’ cultural paradigms. The paper
will introduce the aesthetics of access (integrated audio description, sign
theatre, etc), and questions of translation and translatability within
different, disabled and non-disabled cultures and their specific forms of
expression, especially the dynamic between signed and spoken languages,
the interface and relationship between hearing majority culture and Deaf
culture, and experiments in bilingualism between spoken/projected
English and theatricalised BSL.
This paper aims to reflect on my work exploring alternative dramaturgies
regarding the aesthetic, content, form, processes, and narratives in a series
of my past works, including peeling (Graeae Theatre 2002) and In Praise of
Fallen Women (2006).
Katalin Trencsényi is a London-based dramaturg. She studied Aesthetics
and Literature at the Janus Pannonius University, Pécs (1995), Dramaturgy
at the Academy of Drama and Film, Budapest (2000), accomplished her
traineeship at the Guildhall School of Music and Drama, London (1998-
2000), and completed her PhD at the Eötvös Loránd University, Budapest
(2014). As a freelance dramaturg, Katalin has worked with the National
Theatre, the Royal Court Theatre, the Courtyard Theatre, Deafinitely
Theatre, Corali Dance Company, and Company of Angels amongst others.
Katalin co-founded the Dramaturgs' Network with Hanna Slättne in 2001,
and has worked on its various committees ever since. From 2010 to 2012

Katalin served as President of the Dramaturgs’ Network. Her book on
theatre making with people with Down’s syndrome (“Megfinomítom
halandó göröngyöd.” Színház Down-kórral élőkkel, Down Egyesület,
Budapest, 2001) was the first published on this subject in Hungary. Katalin
is one of the contributors to the Routledge Companion to Dramaturgy
(Routledge, 2014), and co-editor of New Dramaturgy: International
Perspectives on Theory and Practice (Methuen Drama, 2014). Her
monograph on contemporary dramaturgical practices, Dramaturgy in the
Making, is to be published by Methuen Drama in October 2014.
Title: The Factory’s new dramaturgy from a dramaturg’s perspective
Abstract: The London-based Factory theatre is one of the most innovative
companies on the contemporary British theatre scene. Ever since their
‘guerrilla’ Hamlet appeared at secret locations in 2006, they have become
a cult company, renowned for their experiments with an improvisational
approach to classics, chance dramaturgy and a playful relationship
between performers and audience. Strongly associated with director Tim
Carroll, the starting point for the company’s artistic explorations was his
experience gained from his ten year tenure as associate director of the
Globe Theatre. Having worked in a theatre where, given the Elizabethan
architectural organisation of the space, the audience cannot be ignored
only acknowledged and involved in the performance, Carroll and The
Factory apply this approach to their contemporary performances, playing
with the spectators’ ‘response-ability’ (Lehmann).
In my paper I examine the dramaturgies of two recent Factory productions,
The Seagull Project (2009), that was chance cast for every production and
improvised, thus creating a ‘new translation’ every night, and The Odyssey
after Homer (2012), that used chance dramaturgy and the audience’s
decisions combined with dance, song, text and improvisation in order to
create a new performance for every show, thus weaving together the
tradition of story-telling with postdramatic theatre.
Based on my interviews with the director, and using Mira Rafalowicz’s
division of the performance making process (1978), I focus on the
dramaturgical practice during the company’s theatre making process,
uncovering step by step their way of creating porous structures (Turner)
that would contain classics in postdramatic theatre. I also try to answer
how tradition and modernity can be interwoven and layered in
contemporary dramaturgies.

The essay is an extension of my seven year research on contemporary
dramaturgical practices, supported by the Literary Managers and
Dramaturgs of the Americas’ dramaturg driven research grant.
Katherine Mezur is a dance theatre scholar most recently based at the
International Research Center of the Freie University Berlin, "Interweaving
Performance Cultures." She is investigating the work of Japanese women
butoh and contemporary dance artists who create work in Europe, Asia,
and the Americas, focusing on issues of gender, migration, and new media.
Her research focuses on transnational dance/theatre performance, gender
studies, and new media performance in the Asia Pacific region. She holds a
PhD in Theatre and Dance, emphasis on Asian Performance, from the
University of Hawai'i, Manoa. She is author of Beautiful Boys/Outlaw
Bodies: Devising Female-likeness on the Kabuki Stage (Palgrave
Macmillan). Her other manuscript is "Kawaii: Cute Girl Cultures in
Contemporary Japanese Performance and Media Art." She has published in
journals such as Women and Performance, Discourses in Dance, and edited
volumes including "Bad Girls of Japan." She has taught at the University of
Washington Seattle, Cal Arts, Georgetown University, UC Santa Barbara,
and McGill University.
Title: "New Dramaturgies of Gesture OUT of Translation"
Abstract: The aim of this paper is to frame the argument for an alternative
dramaturgy of "gesture-out-of-translation," which can provoke,
complicate, and illuminate transnational, translated, and multilingual
performances through stylized physical practices. By "gesture" I mean the
postures, in place movements of the limbs, locomotive movement through
space, and tiny individual body/character movements. All of these are
deeply implicated in gender and cultural prescriptions within the context
of the play. "OUT of translation" means that I will be using gestural
dramaturgy to oppose, provoke, subvert, and sometimes erase or hide the
text's meaning or enunciation to demonstrate the politics of translation. If
thought of as an inside/outside architecture of movement, this alternative
dramaturgy can be used in analysis and in performance devised for raising
questions concerning the bodies, characters, and circumstances of the
play, which become "assumed" and "assimilated" in the text translation.
There is an assumption that text translation is of course difficult but
corporeal modes are often considered universal or easily understood.
Contrary to this, stylized dramaturgy of gesture, based on a choreography
of time, space, and energy patterns, which may be repeated, expanded,
and re-cycled, can be a device for keeping differences in the performance

text clearly visible and unresolved. Reframing performance through
strategies of a dramaturgy of gesture, particularly drawing on basic
anatomical physical skills, magnifies the disturbing differences of corporeal
gender politics and social norms, which the text-in-translation can mask.
With this alternative dramaturgy, the corporeal acts spin (out) sensations
that deliberately mix-up and press on the translations' equivalencies. What
this produces is a text/performance OUT of translation and IN
transformation: a performance that stumbles and shakes up our attention
to the ongoing in-flux, non-hierarchical narrative of inquiry for both
performers and spectators.
Magdi Youssef was until his retirement a Professor of Comparative
Literature and drama studies at Cairo University, in Egypt. In 1965 he
introduced Modern Arabic Literature and Culture as a new subject at
Cologne University and taught it in a comparative socio-literary context at
the same University as well as at Bochum and Bonn Universities for 17
years. He is the president of the International Association of Intercultural
Studies (IAIS), which he founded at Bremen University in Germany in 1981
along with a group of literary scholars who were unsatisfied with the
overwhelming Euro-Centric, respectively Western-Centric canon of literary
and Cultural research that largely marginalizes non-'Western' literatures,
and - if ever paying attention to them - attempt to annex them to the
Western criteria in order to be to able to regard them as being worthy of
'international' recognition ! Magdi Youssef exchanged his ideas with most
prominent Western literary and scholarly figures, like Guenter Eich, the
late eminent German poet, Henrik von Wright, the late Finish philosopher
and member of Finland's Academy, and Pierre Bourdieu, the late most
famous cultural sociologist. Youssef's contribution to socio-literary
criticism of Euro-Western-centrism have been published so far in six
European languages, as well as in Arabic, his mother tongue. Among his
most widely read and cited critical studies we may cite: The Myth of
'European Literature', 1998, which found international acclaim and has
been translated and published twice into Italian, where it has been
described by such distinguished Italian scholars as Armando Gnisci
(La Sapienza University in Rome), as a " source of inspiration” for the
literary and cultural decolonizazzione movement. Other widely read and
cited books of Magdi Youssef are: Socio-Cultural Interference and
Intellectual Independence, Cairo, 1993, From Socio-Cultural Interference
To Cross-Cultural Interaction, Cairo, 2001, Critical Debates, Cairo, 2007 (all
of them in Arabic), as well as in German: Brecht in Aegypten, Versuch

einer literatursoziologischen Deutung (Brecht’s Theater in Egypt – a Socio-
Literary Interpretation), Bochum, 1975/1976. The latter has been reviewed
in several European, Canadian, and US periodicals and books for 15 years
in a row. Magdi Youssef has been selected in 2009 as a UNESCO consultant
with regard to Euro-Western-Arab Socio-Cultural Interactions. The last
congress of the IAIS that he coordinated at UNESCO headquarters was
entitled: The Contemporary Arabic Contribution to World Culture- A
Western-Arab Dialogue.
Title: Maghrebinian Halaqa Performances in France as an Instrument of
Abstract: During a conversation with the eminent German poet and
playwright Guenter Eich in the late 1960s, Eich told me that even though
he appreciated Brecht’s playwriting, he did not like his instructive plays
(the “Lehrstuecke”). These last ones were in fact far too directly geared
towards meeting practical, “non aesthetic” needs. In other words, they
were geared towards satisfying other vital needs, such as bringing
medicine for the ill from beyond the mountains (e.g. in his instructive play:
Der Jasager und der Neinsager (The Yeah-Sayer and The Nay-Sayer).
The accusation that these plays were lacking in aesthetic value could have
been also leveled against the performances of les sans papiers in France
which I will refer to now. And yet when I witnessed these performances of
North African citizens in Southern France in the course of the mid-
seventies, I was stunned by the amount of pleasure these plays
transmitted to me and to the rest of the spectators – an audience that was
comprised of Arab expatriates, other non-French people and French
people during the performances I saw in Aix-en-Provence, Avignon and
Marseille. Since then, I could not help but attempt to trace these extremely
vivid and aesthetically inventive performances, holding them in high
esteem as theatrical innovations even though they were geared towards a
most practical goal: that of winning the solidarity of the spectators with
regard to the very difficult situation of immigrants without official papers
who were subjected to racist marginalization, material exploitation and
exclusion from whatever decent social rights existed in French society.
Most of those performances which took place in Southern France at the
time clearly had recourse to the legacy of the Maghrebinian Halaqa
‘theatre’ – for they were presenting their situation (and thus their cause) in
truly enjoyable interactive ways, spontaneously involving the spectators in
the ‘play’, thus to become an “inter-play.” The earnest purpose of those
performances which attempted to achieve a specific social goal, have

turned out to be an amazing aesthetic enjoyment. And this to such an
extent that they were often commended by the local French press.
And yet when later on some of those ‘fighters’ who had staged these plays
in an effort to struggle against their marginalization in French society by
relying on the means of ‘Halaqa theatre performances,’ felt flattered by
the lauding of the French media and tried to present their artistic theatrical
skills in the context of what is normally considered as “theater proper”,
their whole artistic achievement was lost, and the original formed troupe
fell apart.
Why the transition from street theater to so-called serious, established
theater resulted in failure, is the puzzle or the question I would like to
present to you in this paper. And I will also ask you to ponder, conjointly
with me, a number of research problems which have preoccupied me in
this context ever since.
Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative
Literature and Middle Eastern Studies at the Graduate Center of the City
University of New York. Ph.D in Drama and Theatre, Cornell University. The
Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature
and Middle Eastern Studies. His research and teaching interests include
dramatic theory and Western European theatre history and dramatic
literature, especially of the 18th, 19th, and 20th centuries. He has been
awarded the ATHE Career Achievement Award, the George Jean Nathan
Prize, the Bernard Hewitt prize, the George Freedley Award, and a
Guggenheim Fellowship. He has been a Walker-Ames Professor at the
University of Washington, a Fellow of the Institute for Advanced Studies at
Indiana University, a Visiting Professor at the Freie Universitat of Berlin,
and a Fellow of the American Theatre. In 2005, he was awarded an
honorary doctorate by the University of Athens. His best-known book,
Theories of the Theatre (Cornell University Press, 1993), has been
translated into seven languages. His 2001 book, The Haunted Stage won
the Calloway Prize. His newest book, Speaking in Tongues, was published
by the University of Michigan Press in 2006.
Title: The Challenges of Immersive Theatre
Abstract: One of the most striking new dramaturgical forms to come to
prominence in the new millennium, especially in the United States and
England, but increasingly elsewhere as well, is the kind of performance
called “immersive theatre” by its most prominent group, the British-based
Punchdrunk, founded, appropriately, in the millennial year 2000. Their
production Sleep No More has dominated the New York experimental

theatre since 2011, and has inspired countless other productions based on
this new dramaturgical approach. In Europe the Scandinavian company
Signa, also using an immersive model and formed in 2001, has developed a
major international reputation. Some major experimental directors like
the Flemish Ivo van Hove have recently turned to immersive theatre as in
his 2008 Roman Tragedies. I propose to present a brief overview of this
new millennial dramaturgy, what new things it brings to the range of
modern dramaturgical experimentation, what challenges it poses to
producers and audiences, its relationship to contemporary theatre
economics, and how it is likely to affect the ongoing experimental theatre

Nesma Youssef Idris Born in Cairo 1973, is a short story writer and a
language instructor at Cairo University. Currently she is a "New Scholar"
writing her PhD. dissertation on female drama at Cairo University. She
worked at the Al–Ahram Weekly for three years. She won the Sawiris
foundation 1
prize for her short story collection «Heads or Tails".
Moreover, she is member of the "Women and Memory" NGO forum, for
which she did several performances at "Bit el Harawy"-"AL-Hanger" and at
the "Cairo Opera House" of her re-writing of folktales from a feminist view
point. In 2011, she was responsible for organizing a festival of "Alternative
Dramaturgies of the Revolution" at the Hosapir theatre. The festival was
presented shows which were taking place at Tahrir Square including
standup comedies, pantomime, poetry recitals, experimental comedies
and folkloric performances.
Title: "Conflict" lies in the "Body" of the beholder: Investigating alternative
"Experimental" dramaturgies
Abstract: My paper shall be focusing on an un-abashing experimental
performance Untitled Feminist Show which was performed at the
Baryshnikov Arts Center in New York 21
of January 2012. The dramaturge
of the script is a young «absurdist" playwrightess, who produces and
directs her own shows. The performance starts with five completely
'naked' women bombarding the 'bare' stage eloquently with no trace of
any contrived 'shame'. The ladies begin to move slowly within their own
intrinsic space. The rhythmic movements evoke an effect of a 'holy' dance,
entirely 'liberated' of all concerns including 'feminism'. Throughout the
show, a narrow screen spans the width of the theatre, until the final
shocking 'finala' when the screen descends several feet, suggesting the
closure of the show. Surprisingly, the five performers re-appear fully

dressed, with make – up, jewelry, completely eroticized to jubilant,
modern dancers, thus the anti- climax of their previous utopian state
juxtaposed to the newly acquired 'titled' personas. The "Untitled feminist
show ingeniously staged not only Eden, but also the fall. By shunning away
the traditional complications of language, meaning and even 'décor' the
performance challenges the very essence of a dramatic show. In other
words, 'the body' becomes the locus of self expression. Thus lee's piece
illustrates how the female body may transcend signification. The exposure
to such daring performances is particularly vital to an Arabo-Islamic
audience (male & female) to challenge the margins and 'limitations' of
mainstream performances, introducing new 'Experimental' (alternative)
dramaturgies via absolute "shock"!
Pedro Ilgenfritz is a Brazilian actor, theatre director, dramaturge, lecturer
and researcher based in Auckland, New Zealand; holds a Bachelor's degree
in Performing Arts/Acting (UDESC/Brazil) and Master's in Theatre
Arts/Directing (Toi Whakaari & Victoria University of Wellington). He is the
director of LAB Theatre and together the company produced Alfonsina
(2009), One by One (2011) and Comic Interludes (2012). He is in interested
in the intersection between acting training and dramaturgy, as well as
clowning, popular culture, masks, street theatre and improvisation. Pedro
is currently a lecturer at UNITEC – Performing and Screen Arts Department
in Auckland, New Zealand.
Title: Dialectical Theatre and Devising: Dramaturgy as a dialogue between
the author and the audience
Abstract: This paper argues that the notion of a theatre event as a dialogue
extends in many directions, stretching beyond the temporal and spatial
boundaries of the performance itself. The performance space today can be
considered an arena where this conversation begins, and the process of
developing the narrative of devised theatre does not stop at the opening
night, it evolves and continues to change as the work encounters the
spectators. The ramifications of this constitute the most valuable material
for the dramaturge’s work.
The meaning and way in which the text is delivered by the author and
interpreted by the audience highlights a conflict between what Mark
Fortier describes as the two general tendencies of reception theory that
overlap and combine in diverse ways. The first is prescriptive, where there
are right and wrong readings, and a second tendency termed descriptive,
embracing the free-flowing dissemination of meaning without advocating
any one particular approach to reading that meaning.

This paper describes the work of LAB Theatre from Auckland, New Zealand
in the process of creating the dramaturgy of their theatre show Alfonsina,
a tragicomic story of an Argentinean cleaner migrating to New Zealand. It
suggests that the descriptive tendency in the reception of a work of art,
with its infinite complexity and multiple interpretations, forms a web of
paradoxes and contradictions that are central in the work of dramaturge.
This approach is modeled on the work of Bertolt Brecht’s Dialectical
Theatre and finds resonance in the concept of perverted logic and the
world of clowns.
Peter Eckersall is Professor of Asian Theatre at the Graduate Centre City
University of New York. Recent publications include We’re People Who Do
Shows, Back to Back Theatre: Performance, Politics, Visibility (co-edited
with Helena Grehan, Performance Research Books, 2013), Theatre and
Performance in the Asia-Pacific: Regional Modernities in the Global Era (co-
authored with Denise Varney, Barbara Hatley and Chris Hudson, Palgrave
2013) and Performativity and Event in 1960s Japan: City, Body, Memory
(Palgrave 2013). He is a fellow in the Centre for Interweaving Performance
Cultures, Berlin. He was the cofounder of Dramaturgies (Australia) and is
the resident dramaturg for the performance group Not Yet It’s Difficult. He
is co-convenor of the Dramaturgy and Performance Studies Working Group
at PSi.
Title: Dramaturgy and the gap: Rupture and alternative dramaturgy
Abstract: We are now dealing with a proliferation of forms and activities
that are currently being described as dramaturgical. Moreover, the
questioning that often accompanies the work of dramaturges speaks to
larger questions about the place of the arts and the identity of artists in a
globalised world. In this situation theatre might offer the cosmopolitan
idea of multitude and interweaving in contrast to more hegemonic and
totalising structures of power. At the same time, a question arises about
the possibility of finding common grounds among diverse culturaland
political spaces for the production of dramaturgical practices that might
constitute an alternative – a space of rupture to consider other
In this paper, I want to suggest that dramaturgy is a form of rupture and
can become new grounds for considering the arts as an essential factor in
the reformation of the social space. Here I am thinking about what the
political theorist Jodi Dean calls communist desire: ‘Desire [that] depends
on a gap, a question, a missingness and an irreducible non-satisfaction.’
(2012: 187) Although Dean expressly rejects art as a transforming

medium, her study of alternative politics is helpful in thinking about how a
dramaturgical process that factors gaps is a productive intervention for
theatre. It gives a political theory to the abstract idea of dramaturgy being
an amorphous creative process. When talking about dramaturgy we might
lessen the emphasis on structures of dramatic unity and production
efficiencies and instead show dramatic desire as rupture.
My paper will consider this in relation to the cross-cultural piece ‘Doku Rai.
You, Dead Man, I Don't Believe You’ (2012), by Melbourne’s Black Lung
Theatre and the Timor-Leste theatre group Liurai Fo’er. A doku is a death
curse. The freewheeling theatricality of this play uses this as means to
explore wider questions about theatre and the recent history of regional
politics. I will suggest that the dramaturgy of ruptures in this performance
constitute a model of alternative dramaturgy.
Phillip Zarrilli is a professional actor, director, and actor trainer who has
developed his own process of training actors interculturally using Asian
martial arts and yoga. He is Professor of Performance Practice within the
Drama Department, Exeter University (U.K.), a Fellow at the International
Research Centre (‘Interweaving Performance Cultures’, Freie Universitat,
Berlin), Founding Artistic Director of The Llanarth Group (Wales, U.K.), and
runs the Tyn y parc Studio in Wales. He is the author of numerous books
including: (co-author with Jerri Daboo and Rebecca Loukes) Acting:
psychophysical phenomenon and process (intercultural and
interdisciplinary perspectives) Palgrave-Macmillan, 2013; Psychophysical
Acting: an intercultural approach after Stanislavski, Routledge Press, 2009
(named ‘Outstanding Book of the Year’ for 2010 by ATHE); Kathakali
Dance-Drama: Where Gods and Demons Come to Play, Routledge, 2000;
(editor) Acting Reconsidered, Routledge 2002. During the course of his
career, Zarrilli has directed or acted in over twenty very different forms,
types, and styles of ‘intercultural’ performance making use of widely
divergent dramaturgies.

Title: "...beneath the surface" of Told by the Wind: an intercultural
experiment in an alternative/subtle form of performance dramaturgy and
Abstract: This paper explores alternative intercultural dramaturgy as a
practical process of ‘weaving together of elements’ across cultures through
one example of a co-created production by The Llanarth Group in
2010: Told by the Wind. Using Told by the Wind as a case-study, I
interrogate the principles and processes used to inspire and create a

subtler, more understated form of ‘alternative’ (intercultural) dramaturgy-
in-performance '...beneath the surface'. The paper will be illustrated with
numerous photographs from the production, and a short video extract will
also be shown.
Told by the Wind previewed at the Evora (Portugal) festival in 2009,
premiered at Chapter Arts Centre (Cardiff) in 2010, has toured in the U.K.
and to Berlin, Wroclaw, Chicago, and (most recently) Tokyo (November,
2013). Co-created by Zarrilli with Kaite O’Reilly (dramaturg, playwright) and
Jo Shapland (choreographer/dancer), it is an experiment in alternative
dramaturgy and performance inspired by elements and aesthetic principles
of East Asian performance (especially Japanese nō), and ‘quietude'. Told by
the Wind challenges its performers and audience to experience
time/space/performance in alternative ways with its slowed down
everyday movement, minimal poetic text, and two on-stage Figures who,
throughout the 50 minute performance, never look to one another or
interact directly. In contrast to both newly composed nō (shinsaku nō) and
English language nō, (see Scholz`-Cionca and Balme, 2008), what is
dramaturgy-at-work in Told by the Wind and how do its text and
performance style ‘work’ in ‘new’ or alternative ways?
Proshot Kalami received her PhD in Comparative Literature & Cinema from
the University of California, Davis, in 2007. Prior to that, she was a teacher,
playwright & radio director in Tehran, Iran. In the USA, she taught at the
University of California (Berkeley, Santa Cruz and Davis), before moving to
the UK to be a lecturer at Loughborough University. In 2009, she was
dramaturge for the London production of Death of Yazdgerd, a play by
Iranian playwright, Bahram Beyzaie, directed by Dr Sudipto Chatterjee. As a
live performance videographer, she has worked with the Asia Society of
North America, Brooklyn Academy of Music (New York), Cal Performances
(UC Berkeley), Mondavi Center (UC Davis), Chorus Repertory Theatre
(Manipur, India) and the Barbican (London). Alongside a number of essays
on world cinema in international journals, Kalami has published two poetry
anthologies in Farsi. Her book, Iran’s Reel Spectre: The Cinematic Story of a
Nation, is forthcoming in 2013.
Title: Dramaturgy of Persian Plays in the West: The problematics of
History, Religion and Cross-Cultural Performance
Abstract: The spring of 2010 witnessed the British premiere of the
prominent Iranian playwright, Bahram Beyzaie's canonical play "Death of
Yazdgerd" (1979), performed by a full British cast. The play was performed
at the Pit Theatre, London. How the play was realized and staged within an

environment informed by a predominantly British cast and crew is at the
core of this analysis. The effort of the dramaturgy, in that process,
embarked on a search to identify aspects of commonality between the
British and Persian cultures which would allow the British performers to
enter their own cross-cultural performance zone. While my aim as the
dramaturg was not to create historical accuracy, familiarity with the
cultural history, the transition from Zoroastrianism to Islam, the fall of
Persian Empire, and parallel similarities of that part of ancient history with
the more modern history of the event of 1979 Islamic Revolution in Iran
proved to be of outmost importance for the crew. This essay explores the
ways in which the English translation of "Death of Yazdgerd" was
interpreted as a cross-cultural adaptation within the rubric of dramaturgy
of a text that deals with history, national identity and religious conflicts.
Richard Gough is Senior Research Fellow and Artistic Director of the Centre
for Performance Research, Department of Theatre, Film and Television
Studies, Aberystwyth University, Aberystwyth, Wales. He is also an IRC
Fellow: Interweaving Performance Cultures, Berlin.
Title: Against Illustration: Falling Bodies - Seen and Unseen
Abstract: In Pieter Breughel’s Landscape with the Fall of Icarus (origin and
attribution now disputed but the ‘original’ painted in 1560’s), one has to
look carefully to see Icarus. The painting appears to be of the (then
contemporary) Netherlands landscape, coast, sea and distant town; the
sun is setting and in the foreground a farmer is plowing (oblivious to any
event), in the centre a shepherd surrounded by his sheep looks up to the
empty sky (the top left of the painting) and then finally one sees, close to a
fisherman busy at shore, two legs flaying in the sea - the micro second
before disappearance, almost comical and seemingly disproportionate to
the sailing ship nearby; a fall to earth, a dive of calamitous proportion.
Beginning from this image, I wish to analyze the work of the contemporary
dramaturge on a de-centred stage, where events are purposely and
efficaciously positioned off-stage, offside, sub-score: where the
imagination of the audience is engaged through devious and tangential
strategies, where illustration is avoided and the world is made image (not
But in seeing Icarus drown I think also of his father, Daedalus (no doubt still
flying, more cautious in his trajectory, not seen in this painting), the master
craftsman, the builder of the labyrinth: through Daedalus I wish to
reconsider the work of the dramaturge: Daedalus – ‘clever work’, a work of

craft and precision, invention and mischief, and the dramaturge’s role as
labyrinth maker.
I wish to focus on two contemporary productions RagnarKjartansson’sDer
Klang der Offenbarung des Gottlichen premiering in the Volksbuhne, Berlin
in February 2014 and Punchdrunk’sThe Drowned Man: A Hollywood Fable
that opened in London in June 2013 (and which is still running). The
Volksbuhne press release for Der Klang der Offenbarung des Gottlichen
promises: ‘paintings without narrative, symphonic majesty without
aspirations, nothing but essences and sensations, a music production – a
symphony with tableaux vivants’. The production has in part been inspired
by Hubert van Herkomer experiments in ‘pictorial music plays’ – again the
Volksbuhne press release proclaims ‘It was Sir Hubert von Herrkomer’s
artistic vision to dissociate theatre from drama: ceremony replaces text
and narration, and song takes over spoken word’. I wish to revisit Hubert
von Herrkomer (in the light of Robert Wilson) and consider extended
dramaturgy as a dissociation of theatre from drama.
The immensely popular London-based Punchdrunk create ‘immersive
theatre’ where the audience is free to wander around vast spaces,
conceived and constructed as sets - not as background for action but as
detailed spaces to be inhabited and explored by the audiences as
visitor/witness within a labyrinth. Performers also inhabit the spaces and
one can construct narratives/meanings from shards of action encountered
and woven together. The work is essentially choreographic and
scenographic in vision and again begs questions of the role and function of
In this paper I will explore the creative strategies of the dramaturge
detached from the word - beyond text, off script; the dramaturge not as an
extension of literary advisor (with extended responsibilities and
sensibilities) but as a maker of theatre with a visual poetics, a counterpoint
to illustration, an organizer, a co-creator - a constructor of labyrinths for
the imagination of the spectator.
Ric Knowles is a Fellow of the International Research Centre “Interweaving
Performance Cultures at the FreieUniversität, Berlin, and Professor of
Theatre Studies at the University of Guelph, Canada. He is editor of Theatre
Journal, past editor of Modern Drama and Canadian Theatre Review, and
general editor of two book series. He is currently Principle Investigator of
the major research/creation project “Indigenous Knowledge,
Contemporary Performance,” funded by the Social Sciences and
Humanities Research Council of Canada. Among his publications are six

authored books on theatre and performance, including The Theatre of
Form and the Production of Meaning, Reading the Material Theatre,
Theatre &Interculturalism, and (forthcoming) How Theatre Means. He has
also edited or co-edited eleven books, including two anthologies of First
Nations plays. He has been honoured by major awards from the Canadian
Association for Theatre Research and the US-based Association for Theatre
in Higher Education, and he is a Fellow of the Royal Society of Canada.
Title: Devising and Dramaturgy: Decolonizing Praxis
Abstract: This paper will consider the role of the play-development
dramaturge in contemporary devised performances within post- and
neocolonial cultures, specifically among the Indigenous peoples of Turtle
Island (North America). It will focus on the conscious attempt within the
rehearsal/creation process—in the studio—to forge alternative
dramaturgical forms and practices based on principles derived from
Indigenous “cultural texts” (in Lotman’s sense), circumventing the
colonizing practices and structures of dominant settler-invader theatrical
cultures. The dramaturge’s role in this process is in the first instance
analytical, identifying the resources (space) on which the creation process
will draw, distilling the formal principles of the source cultural texts and
practices, and designing a creation process and performance structure
based on those principles. This means developing practices that are
fundamentally dramaturgical but that precede, parallel, or eschew the no
longer taken-for-granted writing or analysis of spoken text. In a very real
sense it involves a kind of script analysis when there is, at least at the
outset, no script.
“Devising and Dramaturgy: Decolonizing Praxis” will use as its central case
study the devised piece, Chocolate Woman Dreams the Milky Way (2011)
by Guna and Rappahannock artist Monique Mojica and the Chocolate
Woman Collective, a production on which I worked as development
dramaturge, and which was based dramaturgically on the mola textile arts
and pictographic writing of the Indigenous people of GunaYala, an
autonomous territory on coastal Panama.
Stephen Barber is a research professor in the Faculty of Art, Design &
Architecture at Kingston University, London, and a fellow of the
International Research Centre ‘Interweaving Performance Cultures’ at the
Free University Berlin. His books include ‘Muybridge: The Eye in Motion’
(Chicago UP, 2012) and ‘Performance Projections’ (Reaktion, forthcoming,

Title: Alternative dramaturgies across performance and art: Richard
Hawkins’ restaging of the performance-archive of Tatsumi Hijikata
Abstract: Alternative dramaturgies increasingly amalgamate contemporary
performance cultures with elements from moving-image, photographic,
digital/new-media and visual-arts cultures, often with profound
consequences for perceptions of the temporal, spatial and memorial
dimensions of performance. In many cases, original sources or artefacts
from performance histories will be transformed by that process in ways
that reveal unforeseen insights, but such sources may also be
comprehensively reconfigured and distanced from their initial form. This
paper will look in particular at the implications of an art-exhibition,
‘Hijikata Twist’, held in 2014 at the Tate Museum in Liverpool, UK, in which
pages from the working notebooks and scrapbooks of the Japanese
performance-theorist and choreographer Tatsumi Hijikata (instigator of the
1960s ‘ankoku butoh’ performance form) have been altered and recreated
by the American artist Richard Hawkins in order to form new works, with
those pages original textual content (in the form of evocations about
corporeality and sensation in relation to performance) being deleted and
replaced by the collaged insertion of text which responds to that original
content, but also ‘twists’ and recasts it. As a dramaturgical restaging of
Hijikata’s preoccupations within the art-museum gallery space, Hawkins’
project forms both an expansion of the archival materials of performance
cultures, but also interrogates the potential for such materials to be
redeployed (or ‘remediated’) in their occupation of contemporary
spectatorial space - subject to the subversions, simulations and
appropriations integral to the histories of performance art and of collage,
but also to new, unprecedented resonances and instabilities emerging
from the digital world.
Touria Khannous, Assistant Professor, Louisiana State University.
Title: The Role of Visual Art in the Arab Spring
Abstract: Art has always been an integral part of revolutions. It is therefore
part of the process of political expression during protest movements. My
paper examines the place art and artistic expressions have played in the
struggle for social and political change during the Arab Spring in Egypt,
Tunisia and Libya. The Arab Spring in these places inspired an artistic
revolution, since artists used various forms of art such as murals, posters,
graffiti and paintings as an indirect way of expressing their opposition to
governments. Some artists also resorted to more traditional styles and
methods such as Arab Calligraphy and Islamic art to invoke a sense of Arab

nationalism and Islamism. The paper tracks the creative work of visionary
artists such as Egyptian artists Nazeer and Nemo, among others. It looks at
a variety of posters, murals, and graffiti, and discusses their socio-political
context, production and imagery. The paper assesses such art, while
suggesting that the Arab Spring has been from the very beginning a
creative and complex movement.

French Abstracts in Alphabetical Order

Omar Fertat est docteur en littératures française, francophones et
comparées. Il enseigne le théâtre dans le monde arabe au département
des Études Orientales et Extrême-Orientales et au Département des Arts
du Spectacle à l’Université Michel de Montaigne-Bordeaux 3. Il est
Directeur de la revue Horizons/théâtre et chercheur appartenant à l’équipe
TELEM (Textes, littératures : écritures et modèles), associé aux CELFA
(centre d’Études Linguistiques et Littéraires Francophones et Africaines) et
l’ACNAD (Langues et Cultures du Nord de l’Afrique et Diasporas). Ses
recherches portent sur le théâtre arabe en général et plus particulièrement
sur les formes populaires du théâtre maghrébin. Il s’intéresse aussi aux
questions liées à la traduction et à l’adaptation dans le théâtre ainsi qu’à la
culture urbaine dans le monde arabe. Il a publié plusieurs articles dans des
revues spécialisées. Son livre, Le théâtre marocain à l’épreuve du texte
étranger : traduction, adaptation, nouvelle dramaturgie sera publié par les
Presses Universitaires de Bordeaux en 2013.
Title: Investir le Genre pour une Nouvelle Dramaturgie Maghrébine des
Corps: Le Cas de Radhouane El Medeb, Héla Fattoumi et Abou Lagraa.
Abstract: Radhouane El Medeb est un jeune artiste, comédien, danseur et
metteur en scène, Héla Fattoumi est chorégraphe, danseuse et metteur en
scène, Abou Lagraa est quant à lui danseur, chorégraphe et metteur en
scène d’origine algérienne. En plus du fait que les trois artistes d’origine
maghrébine, évoluent tous en France, et qu’ils ont en commun une
prédilection pour le corps et la danse qu’ils utilisent comme outil
fondamental pour leurs créations, ils font partie des rares artistes
maghrébins à explorer la question du « genre » en brouillant, recréant,
déconstruisant et questionnant les rapports homme/femme dans les
sociétés maghrébines.
A travers des spectacles tels Quelqu’un va danser…(2008) ou Sous leurs
pieds, le paradis(2012) ou Au temps où les arabes dansaient(2014), El
Medeb met en geste la liberté de son corps, sa capacité à accompagner

toutes les gammes d’émotions humaines et fait de la danse, un art
traditionnellement réservé à la gente féminine, un moyen de revendication
et un acte de rebellion. En s’appropriant une forme artistique « féminine »
le chorégraphe revendique sa part de féminité et fait exploser le cliché de
« la virilité arabe », cette interdiction d’exprimer ses sentiments et une
certaine rigidité, forme d’effacement corporel.
Héla Fattoumi et Abou Lagraa, opèrent quant à eux, grâce à la danse et à la
performance un rapprochement géographique entre sexes supposés être
opposés et toujours séparés. Les deux chorégraphes se qualifient eux-
mêmes d’ « artistes engagés » car pour eux pointer du doigt les artifices de
la différenciation entre homme et femme, c’est critiquer les responsables
de ce phénomène, politiques et religieux confondus.
Quand Abou Lagraa rend dans son dernier spectacle Sous leurs pieds le
paradis (2012), rend hommage aux femmes maghrébines sur la chanson al-
Atlal d’Ibrahim Naji interprétée par Oum Kalsoum, ou quand Héla Fattoumi
dénonce dans Masculines (2013) l’occultation de la femme par son
compère masculin, ils investissent de nouveaux espaces dramaturgiques
où le « corps agissant » devient moteur et métaphore.
Nous proposons au travers de cette communication de faire découvrir le
travail original de ces trois artistes qui connaissent aujourd’hui en France
et en Europe un certain succès mais dont l’audience au Maghreb, leur pays
d’origine, reste très confidentielle. En exposant leur travail et leur univers
artistiques, nous essaierons de mettre en lumière l’originalité de leurs
démarches artistiques inhabituelles dans un monde arabe généralement
« hostile au corps » et à l’expression corporelle, surtout quand elle se veut
transgressive oscillant entre féminité et masculinité.
Pierre Katuszewski est Maître de conférences en Etudes Théâtrales au
département Arts du Spectacle de l’Université Bordeaux Montaigne
(laboratoire CLARE/ARTES). Il est l’auteur de l’ouvrage Ceci n’est pas un
fantôme. Essai sur les personnages de fantômes dans les théâtres antiques
et contemporain, paru aux éditions Kimé en 2011. Il est rédacteur en chef
de la revue Horizons/Théâtre des Presses Universitaires de Bordeaux. Il est
également comédien et metteur en scène. Il est l’auteur de plusieurs
articles sur le théâtre antique et sur le théâtre contemporain (Pippo
Delbono, Romeo Castellucci, Pina Bausch, Wajdi Mouawad etc).
Title: PippoDelbono: Un Dramaturge de Plateau.
Abstract: PippoDelbono, metteur en scène italien et largement diffusé en
France compose ses spectacles à partir d’éléments s’écartant
manifestement de ceux de la dramaturgie traditionnelle : absence de

personnages et de narration, omniprésence de la musique, de projections
(dans ces derniers spectacles), utilisation d’extraits de textes connus ou
écrits par le metteur en scène comme matériaux, présence du metteur en
scène sur la scène.
Les spectacles sont composés par une succession de tableaux sans lien de
vraisemblance les uns avec les autres et sans faux semblants
dramaturgiques. En effet, les acteurs qui forment la compagnie sont
toujours les mêmes et jouent de leur présence particulière, notamment
ceux qui sont issus d’un milieu non théâtral : Bobo microcéphale, Gianluca
trisomique, Nelson, ancien sans domicile fixe etc. Acteurs phares de la
compagnie, ils endossent des costumes mais ne disparaissent jamais
derrière un personnage éphémère qui ne vit que le temps d’un
tableau.PippoDelbono intervient entre les scènes afin de raconter
comment les acteurs ont rejoint sa troupe ou bien, il tient un discours
politique sur l’actualité présente.
Les spectateurs connaissant son travail savent à quoi s’attendre : les
éléments dramaturgiques sont toujours les mêmes, ils forment un code à
la manière des théâtres codifiés de l’Antiquité ou des théâtres comme le
nô japonais ou le kathakali indien. C’est l’agencement des éléments du
code qui font advenir une œuvre singulière à chaque création, une œuvre
éphémère et non reproductible, aucun texte ou partition n’étant publiés
après le spectacle.
Ces éléments dramaturgiques composent des spectacles fragmentés ou
cris et corps exhibés troublent le spectateur bien assis dans son
fauteuil.Des émotions fortes, d’adhésion ou de rejet, sont provoquées par
ce théâtre de l’émotion.
Nous analyserons la composition dramaturgique singulière des spectacles
du metteur en scène italien et nous avancerons des pistes d’explication des
réactions fortes du public, déstabilisé par une dramaturgie innovante où
les sens sont malmenés et décentrés, mais convoqués pour un rapport
émotionnel inédit entre la scène et la salle.
Rachid Mountassar est Professeur de littérature française à la Faculté
Polydisciplinaire de Taza. Il est auteur d’un ensemble de travaux de
recherches sur le théâtre : Le poétique dans les bonnes de Jean Genet
(Presses Universitaires de Lille), Le théâtre et le dialogue entre les cultures
(Publication de l’Université de Murcie). Il est également auteur d’articles
sur le théâtre d’expression françaises, sur le langage et le masque au
théâtre, sur le spectaculaire (revue Primer acto, Madrid). En tant que
dramaturge, il a publié une alliance nommé désert (Chez Marsam, Rabat)

et il a écrit aussi, toujours pour le théâtre et en espagnol, les chemins du
désir (Los caminos del deseo), « Nasrudin et Shérazade », « Fuera, fora,
dehors ». Il est aussi membre de l’association française d’ethnoscénologie,
association présidée par Nathalie Gauthard de l’Université de Nice.
Title: Dramaturgie et société dans « Le gardien » de Issam El Yousfi
Abstract: Il s’agit dans cette contribution de faire voir une nouvelle
tendance d’écriture théâtrale. Cette tendance se trouve cristallisée à
travers les écrits de Issam El Yousfi et surtout dans son texte Le gardien. Il
s’agit d’une production artistique qui tente de faire voir l’image d’une
société confrontée à elle même et à ses contradictions. L’élaboration de
l’œuvre de El Yousfi passe par un échantillonnage qualitatif et sociologique
singulier. Ses deux textes, Le gardien et Larmes de Kholse veulent ainsi une
maquette sociologique où le statut professionnel des personnages nous
introduit ipso facto dans un univers dramaturgique à la fois tendu et tensif.
Le « gardien », en arabe, al assas, métaphore théâtrale efficace pour
aborder l’évolution sociologique d’une société dont les valeurs éthiques
s’érodent lentement face à l’avancée inévitable d’une globalisation
sauvage et sans âme. Une société minée de l’intérieur par des
déséquilibres économiques de plus en plus patents. Une société marquée
principalement par les inégalités sociales qui creusent l’écart entre ceux
qui ont tout, ceux qui se contente du peu qu’ils ont et enfin ceux qui n’ont
absolument rien.
La pièce de théâtre de Issam El Yousfi, Le gardien, propose avec
intelligence et lucidité une triple variation dramaturgique autour d’un
personnage dont le statut social est difficilement définissable : le gardien.
Gardien d’une école publique primaire à la veille de son départ à la
retraite, gardien d’un parking confronté aux horodateurs automatiques
qu’il ne cesse de maudire et enfin un gardien d’immeuble obligé à
supporter l’avarice et l’hypocrisie d’un patron peu supportable, peu
Le gardien n’est ni un être antisocial et encore moins un marginal. Il n’est
pas non plus un laissé-pour-compte. La figure du gardien représente un
échantillon sociologique de grand intérêt : il est le témoin de l’évolution
sociale du pays. Et le point de vue du gardien comme personnage de
théâtre est à plus d’un titre intéressant.
Zohra Makach: Professeur chercheur en théâtre à l’Université Ibn Zohr
d’Agadir. Titulaire d’un Doctorat en Etudes Théâtrales, Art du spectacle,
sous la direction de Michel Corvin (Sorbonne Nouvelle, Paris III),
traductrice de plusieurs dramaturges contemporains en arabe dialectale

(Sartre, Koltès, Minyana, Genet), traductrice de l’arabe dialectale en
français de Pieds blancs de Zobeir Ben Bouchta et de l’amazighe en français
de quelques poèmes d’Izenzarn. Elle a collaboré avec Moïse Touré (La P…
respectueuse, Sartre), Abderrazk Zitouny (Tabataba Koltès), Minyana
(Inventaires, ça va), Cristèle Alves Meira (Splendid’s, Introspection (1)) …
Zohra Makach est le metteur en scène de cinq créations Théâtrales (Assays
n’wawal, Fragments, Les voies de Koltès, L’autre moitié, Second Hand Cities
IV) et d’un spectacle musical Malhoun Roudani. Elle a animé des ateliers de
théâtre dans plusieurs festivals nationaux (Agadir, Casablanca) et
internationaux (Lisbonne, Frankfurt). Elle est l’auteur de La mise en scène
de l’Histoire du texte à la représentation (Editions Universitaires
Européennes 2011), Fragments d’une vie (Edilivre 2012), 1789 La
révolution doit s’arrêter à la perfection du bonheur (Edilivre, 2012). Elle est
également l’auteur de plusieurs articles sur l’écriture dramatique
Title: La « mécanique » de la création : écriture et mise en scène
Abstract: Ecrire le monde aujourd’hui. Parler du quotidien, de choses
simples ordinaires, de la vie pour la rendre lisible et palpable. Dire ce qui
est proche, intime, violent. Donner à voir et à comprendre l’interdit, le
non-dit, le refoulé, le tabou…
Comment écrire aujourd’hui pour la scène marocaine ? Avec des mots ?
Est-il possible maintenant de composer un dialogue qui sonne, qui
résonne, qui interpelle sans déranger ? Les mots sont-ils insuffisants,
impuissants à dire et à représenter un monde complexe, un monde en
mutation, un monde qui se cherche ? Ou s’exprimer avec son corps ? Ce
corps qu’il ne faut pas projeter, ni exhiber, ni mettre en valeur, ni en parler
directement !
L’écriture théâtrale a besoin d’évoluer pour pouvoir dire le monde
d’aujourd’hui, elle doit laisser plus de place aux autres éléments de la
scène : espace, corps, lumière… L’idée c’est d’apprendre à décrire et
représenter notre situation collective, et donc à ouvrir la scène à
l’intelligence des autres, qui vivent les mêmes questions sur d’autres
scènes, avec les mêmes tentations et les mêmes risques.
Notre communication abordera notre modeste expérience de l’écriture et
de la mise en scène.

Arabic Abtracts Translated into English Arranged in Alphabetical Order

Abderahman Ibn Zaidan is a Moroccan post-doctoral researcher with a
PhD in Theater studies. He is a Professor teaching at Moulay Ismail
University, Faculty of Arts and Humanities, Meknes, Morocco. He is the
head of a training and research unit at the faculty where he teaches, its
specialization is: theater, the city, literary criticism, and art. He was the
General Coordinator of the National Festival of University Theater that was
organized by the University of Moulay Ismail in Meknes. He is also a
member of the Secretariat of the Arab Theater.
Title: Dramaturgy between Theory and Reading
Abstract: In approaching the concept of dramaturgy i will try to shed light
on the diversity of uses of this word and its functions. This will bring to the
fore a question about the exact meaning of such concept and its practical
possibilites. As this concept puts us in confrontation with a wide literary
and philosophic field, it seems to be impossible to have a final definition as
the concept itself has not been established as a final reference designing
one thing. Therefore, examples of working dramaturges will be highlighted
and then the contribution will move to other types of dramaturgy such as
audience dramaturgy and space dramaturgy.

Hassan Youssefi: is a Moroccan University professor teaching at the High
National School of Teachers, Meknes, Morocco. He is holder of a PhD in
theatre from Mohamed Ben Abdellah University, Fez, Morocco.
Title: The Moroccan Theater: From "Layout Dramatorgy" to "Chip
Abstract: This paper attempts to read the transformations that affected
the practice of Moroccan theatricality particularly at the level of
daramaturgy. This is intended to be done by evoking the concept of two
types of daramatorgy: one is systemic and traditional in reference; the
second is modernist in reference.
To address the issue I will give examples from a Moroccan theater piece
which I either read or watched, all in an attempt to highlight new taking-
place daramaturgic facets of these emerging and diverse theatrical
Ibrahim Al-Husseini is a famous writer and a theater critic from Egypt
holder of a BA in Science and Education in 1993, and a BA in Drama and
Criticism from the Higher Institute of Dramatic Arts, the Academy of Arts,
in 1998. He has a Postgraduate Diploma in Drama and Criticism (2000) and
he is one of the founders of the newspaper "Our Theater," its editor, and
columnist too. He writes in newspapers and magazines such as: Theater,

Arts, Kuwait, Life, Cairo, Tributary, Dubai Cultural Scenes, New Culture, etc.
He holds numerous awards.
Title: Daramaturgy as a means of ‘conflict for’/’monopoly of’ multiplicity of
meaning in the Arab theater.
Abstract: With the advent of theater in the postmodern times, and post-
dramatic types too, the Arab theatre had to change. It had to find more
advanced ways of expression that go along with the post-modern time and
the possibilites it offers. Therefore, the Arab theatre started experiencing
some changes at the level of dramaturgic production. As the postmodern
wave hit the Arab theatre and it had to transform into a post-
dramatic/dramaturgic theatre, this paper tries to focus on these ideas:
- Darmaturgy and the Dramaturge: evolution of functions and
- Dramaturge’s means adopted in creating meanings.
- The dramaturge and the authority of meaning, and bloated selves
of theatre makers.
- Disengagement, ways of theatrical communication, and
participatory theater production of meaning.
- Why are we in need in this moment of an Arab Dramaturge?
Kamal Khaladi is a writer and theater director from Morocco. He
participated in the international meeting on "theater across the world,"
which was organized by the group named « The Fence » in Amsterdam.
The "Contemporary Arab Theater Project" chose his play "VISA" Among the
plays that make up the face of the new Arab playwriting (2013). He was
chosen to represent the Moroccan and African theater in the "Pen World
Voices" in New York (2010). His texts were selected to participate in a
workshop organized by the "the British Centre for Literary Translation" in
Cairo (2010). He participated in a training session in the "Royal Court" in
London, where he met with and was trained by senior playwrights such as
"Harold Pinter", "Tom Stoppard" and "David Craig." He is also member of
The Fence global theatrical work that is based in the United Kingdom.
Title: Are we facing an alternative dramaturgy or new dramatic forms?
Abstract: This paper will try to humbly question the term alternative
daramatorgy. It will do so according to a logic that considers performance
a social display and experiment. The focus will be on finding links, not
separating elements, and hence try to make and answer the following
question: Are we facing an alternative dramatorgy, or some new forms of
drama? In this attempt, the paper will focus in its suggested approach on

the status of the "text," which is - in our estimation - the backbone of
"difference" and the center of "transformation»...
Lehssen Tlilani is an Algerian professor teaching at the Faculty of Arts and
Languages, 20th August University, Skikda, Algeria. His field of studies and
research is theatre.
Title: New Forms of Alternative Dramaturgy in Algerian Feminine Theatre:
Fouzia Laradi’s El-Boukala as a Case in Point.
Abstract: This paper seeks to focus on some emerging theatrical forms in
Algeria. It takes as an example a play by Fouzia Laradi in which she exposes
the feminine subject in its depths and tries to approach the situation of the
woman in the Algerian society. The producer of this drama is Ahmed Kara
Hassan. This type of drama that relies on intermedial means and uses
alternative dramaturgic techniques makes us question Algerian emerging
new dramaturgies. Therefore, this paper seeks to highlight dramatic and
dramaturgic features specific to modern Algerian theatre.

Majid Chakir is holder of a Ph.D in Dramatic Aesthetics. His work was
entitled: "Aesthetic Elements in the Moroccan Theater" (1994). He is a
professor at and associated to many other Moroccan universities and
departments of study. He prepared and directed numerous dramatic
works. He has many publications in the field of theatre and participated
and was honoured during many national and international theatre
Title: Daramaturgy: Script Writing and Production Procedure.
Abstract: This intervention starts from specific contexts within which the
concept of Daramaturgy appeared and took a central place in theatre both
at the level of creativity and criticism. It takes into account the context that
made of modern drama a renewed phenomenon. It delineates two most
important concepts in the transformational evolvement of theatrical
production in the modern times:
The first is related to overcoming the traditional concept of "Theatrical
Text" to the concept of "Dramatic Writing," which marks a transition from
writing scripts fully carried out by the author, to dramatic writing carried
out by the dramaturge (who some times plays the role of director too) by
relying either on a traditional written text from or on other textual
materials from outside the field of theatre that stand as basic
Daramaturgic material. The second development is related to the
transition of the stage from the authority of the playwright or the
playwright-director lead to what may be termed the authority of the

director-playwright, hence so dramaturgy is associated with the perception
accomplished by the producer about the dramatic text before submitting it
to the stage.

Mohamed Samir Al-Khatib, is a critic, lecturer, researcher, and man of
theatre from Egypt. He holds a PhD degree in Philosophy of Modern Art, an
MA in Criticism, and a diploma from the Higher Institute of Art Criticism.
Title: Alternative Dramaturgy: Power, Knowledge, and Representations
Abstract: This paper aims to explore the concept of alternative dramaturgy
for the establishment of a new theater in the community, which is a fact
that requires being in conflict with a network of power relations and
meaning industry. From then, we notice that alternative dramaturgic acts
in fragile areas of thinking in theater, and considers each theatrical
performance sort of complex geography made of plains and rugged paths.
It is a geography with a double construction combining wise reflection and
madness. This trend helps us open alternative daramatorgy on the
remoteness of technical knowledge, existential dimensions, and its relation
to the cultural contexts in a new image based on the principle of
Mohamed Refaat Youness is a writer, a critic, and a translator working at
the Higher Institute of Dramatic Arts - Academy of Arts – Cairo, Egypt. He
received his BA in English language and an MA in theater criticism. He is
the translator of the book Dramaturgy and Performance and has may
other books and translations from English into Arabic.
Title: Meaning of Dramaturgy and its impact on Contemporary Egyptian
Abstract: One of the prominent ongoing discussions in Egyptian theatre is
about defining the word dramaturgy at the level of theory and practice. As
this concept has lately known widespread use, it seems that it is in need to
a cut and clear definition. Therefore this paper seeks to answer many
questions, one of which is the following:
How is dramaturgy practiced in the current Egyptian theater? What are the
limits of its practice in Egypt as opposed to the global concept and use?
For this reason, four models were chosen as specimen in order to elucidate
the nature of the work of the Egyptian dramaturge and allow us to
compare him to the global model.
Mohammed Sef is an Iraqi playwright, author, director, and actor living in
Paris since 1994. He is the director of the theatrical group « The Theatre of
the Two Banks » in Paris with which he presented many performances. He

is a graduate of the Institute of Fine Arts in Baghdad and holds a doctorate
in sociology of theatre from the Sorbonne University.
Title: The Dramaturge: the Master who Knows, Sees, and Understands
Abstract: the term « dramaturgy » and « dramaturge » have not yet been
given a definite of meaning in the world of art. Many contributions have
been made to sketch a definition to the profession the dramaturge does
and to what is dramaturgy exactly, yet no attempt could come to a final
description that explains the function of dramaturges and dramaturgy. The
term seems to be an evolving one. It takes from very different positions
and benefits from various fields of work. In other words, we lack a
meaningful definition of the word dramaturgy that could save us many of
the troubles we stumble into in theory. As for practice, the dramaturge
does so many things. This paper will try to analyse this ambiguous role of
dramaturgy and the dramaturge and give examples from different
practices. The objective here will be to help better understand what is
dramaturgy and who is the dramaturge, hence help shape a definition that
could somehow give dramaturgy and the dramaturge a meaning.
Mustafa Al-Haddad: A researcher and University professor teaching
linguistics and philosophy at the Faculty of Arts and Humanities in Tetouan,
Mortocco. Some of his works are: Language, Thought, and Mental
Philosophy (1995), Carl Schmitt and Critique of Liberalism and other
valuable publications published within the Encyclopedia of Philosophical
Research of the Arab League Academy of Philosophy. His coming book is
on "Slavoj Cicek."
Title: Theater, Performance, and the Mind
Abstract: Theater, performance and the mind is a paper trying to discuss
what Daniel Dennett calls 'Cartesian theater' (Cartesian Theater) in the
light of some of the ideas developed by the playwright Richard Foreman.
My purpose in this presentation is to show some parallelism between
performance studies and emotional studies. What Dennett calls the
Cartesian theater requires that the mind operates in an hierarchical
manner (removed and) graded by the senses in a way that presents one
thing after the other collecting what was picked up on the stage in the
heart of the mind for the self as a spectator. This spectator, separated
from the show, comes to build his beliefs, knowledge and to make
decisions based on what is submitted to it on the stage. This scenario,
which explains how the mind works, is called artificial intelligence in
classical models in the field of cognitive science. I will present a number of

arguments with regard to the presence of the stage erected in the heart of
the mind, but also with respect to understanding that inspires the self in
the bystanders as well. For this, I will rely on Foreman’s dramaturgic ideas
and perceptions.
Outrhot Rachid is a Moroccan professor teaching at the Faculty of Social
Sciences, University Ibn Zohr, in Agadir. He is also the author of many
books on theatre; some of these are plays like: Two Women and a Man,
The Boat, Noise, and Al-Kira.
Title: The Poetics of Obscenity and Nudity in Modern Moroccan Theatre - A
Search in Gendered Dramaturgies
Abstract: This paper aims to study some gendered and sexualised features
of modern Moroccan theatre. Two examples are considered in this
context: a play by Naima Zaitan and another one by Zohra Makach. These
revolutionary dramas deal with the topic of sexuality and gender issues in a
new way. They evoke the theme from purely modernist points of view that
challenge much traditional orthodoxy in the society they reflect and
Rachid Amahjour holds a Ph.D. in modern literature, with specialization in:
Comedy Theater in Contemporary Moroccan Drama. He obtained a
diploma in cultural policy and management from Paris, and he underwent
much artistic training both inside Morocco and in Europe. He is a professor
at the Higher Institute of Dramatic Art and Cultural Revitalization in Rabat.
He is also a representative of the Ministry of Culture in the city of Tetouan.
Currently, he works as representative of the Ministry of Culture in Tangier
and president of the Tangier Mediterranean - Atlantic Association.
Title: What Alternative Dramaturgy for Morocco?
Abstract: Faced with the current situation, meaning the post-Arab Spring
era, and as the "theater of the oppressed" founded by "Ogusto Boal"
began sweeping our country as a formula of social play active in prisons
and in society through different social associations in big cities like
Casablanca, Tangier, Tetouan, Rabat, Fez, ..., we are proposing a vital
alternative dramaturgy for our country. We see in as an alternative
dramatic choice of paramount importance and value. Therefore, this paper
will try to prove the validity of alternative dramaturgy and give examples
from real experiences undertaken in Tangier by one of our theatrical

Said Karimi: Professor of Arts and Modern Literature in the
Multidisciplinary Faculty of Rachidia, Morocco. He holds a Ph.D. in modern

Arabic Literature, with a specialty in Theater. His thesis is entitled: "Theatre
of Cruelty and its Implications on Experimentation in Western and
Moroccan Theater." He has many other academic interests and
Title: A Look at the Features of Alternative Daramaturgy for Romeo
Abstract: Romeo Castelluci is a contemporary playwright who have
brought a fundamental shift in the practice of experimental drama and
founded a new dramaturgic view, based on cutting down traditional
practices and building a basically different horizon in drama both in terms
of engaging the text and theatrical directing.
So what are the parameters and facial features of alternative Daramaturgy
in Castellucci’s theatre? What are the functions performed by his
dramaturgy in other experimental dramaturgies? Where lie the common
bonds between his and other post-dramatic theatrical forms? Is there a
dramatic privacy in Castellucci’s theatre? What are the qualitative
additions that his unique experience brings with it?

Youssef Raihani is a dramaturge, a researcher, and a visual artist
Title: Reality Illusions or Screen Time Ambiguities
Abstract: This paper seeks to explore some resistance to alternative
dramaturgy forms in North Africa. This period of time, which has known a
revolution at the level of means adopted and re-produced in art, has
created an upheaval in artisitic production and lead to alternative
dramaturgic(al) forms that are unamiginable. Examples will be given from
some Arab productions and one of my productions named « Labo-
Beckett » will be analysed too as an example of a specific piece of art that
relies on alternative methods of dramaturgy in both its production and

Abdelhak Zerouali (Moroccan Actor & director)

Abdelhak Zerouali is one of the famous figures of the world of art
in Morocco. He is a man of theatre. For more than half a century, Zerouali
has been, and still is, contributing to theatre in many ways. He is
considered one of the pioneers of post-independence Moroccan theatre
who helped build, maintain, and give a shape and an identity to the
theatrical institution in Morocco. His contributions are many and
distinctive, and his typical ‘theatralizations’ of Moroccan reality stand

today as unique dramas that reflect basic preoccupations of the Moroccan
society from the day Morocco gained its independence until now. His
personal understanding of art, theatre, the stage, the actor, etc, and the
role of these in society is exceptional. In a way, Zerouali’s involvement,
participation, understanding, and practice of theatre marked both himself,
as a man who dedicated his life to this artistic field, and the Moroccan
theatre in general.
Zerouali is one of few Moroccan theatre avant-gardes. He is the
very emblem of a founding father who bore, with incomparable patience
and sacrifice, the burden of establishing a local Moroccan theatre. Today,
Zerouali is considered a principal figure in the modern indigenous history
of theatre in Morocco and the Arab world. In other words, the Moroccan
theatre cannot be identified without reference to such eminent figures as
Zerouali who have dedicated their life to the erection of a purely Moroccan
theatre of a post-independence era (1956-...) that was in need of the
courage, artistic talent, and adventure of such figures as Zerouali in order
to come into being, take shape, and become a theatre of its own kind, in its
own right.
From another angle of vision, Zerouali’s theatrical experience is
too broad. This man’s experience cannot be summarised in full within the
scope allocated to this introductory contribution. Yet, main events that
marked the life of this artist, which in fact shall be rightly met in a
comprehensive book, could be highlighted as a starting point for
introducing this figure.
Abdelhak Zerouali was born in Fez in 1952. He studied in Al-
Karaouyin traditional school for nine years, practiced many traditional
handicrafts, and worked as a street vendor in his early years. In the
seventies of the last century, he entered the world of journalism and had a
mission in both the written and audio-visual press. He worked as an editor,
producer, and presenter of different cultural programs.
As for theatre, Zerouali had the chance to practice it since an early
age. In 1961, (removed four words) he was chosen by a family friend
named Abdulkamel Bennis for the leading role of « Prince » in a play
entitled For the Sake of the Nation, which was presented at Derb Ras
Zaouia in the Al-Makhfia neighbourhood in Fez, on the occasion of success
of one of the sons of a rich family in elementary school, Zerouali put to
practice his talent and won the challenge. This experience was presented
in a historical house and attended by a number of women who seemed
very fond of Zerouali and liked his brilliant performance of the role of the

‘prince.’ The women, his first audience in fact, expressed much of their
extreme love of the show by constantly applauding Zerouali and giving him
different kinds of presents and a few coins at the end of the performance.
That experience was the first spark that triggered Zerouali’s theatrical
interest in drama and later on paved his way toward more advanced
artistic contributions. One of the next steps Zerouali took then was his
decision to belong to an organised group of neighbourhood talents known
as « Uniting Art Association » where he became an active member from
1961 to 1965.
Because love of theatre found way to the inner depths of
Zerouali's being, it was a fortunate coincidence that it intersected with a
preliminary romantic experience of this teenager who, by chance, read the
novel Majdouline by Mustafa Lutfi Al-Manfalouti, whose text he learnt by
heart and had the chance then to theatrically perform by the end of the
school year while still a student in Lycée Moulay Idriss in Fez for the feast
that was held to honor outstanding students. Najeeba, his sweetheart, was
present on that day, yet she could not understand at the time that by
blazing the fire of love in the heart of Zerouali, we gained one of the
greatest masters of Moroccan theatre specialised in performing
monodrama theatre. The play Majdouline is one of the first mature
dramatic works that can be seriously considered as the starting point of
the professional life of Zerouali. In fact, it was a professional life that knew
deep verges both at the level of experience and putting acquired
consciousness into practice as translator, writer, and director of theatrical
performances of various kinds. Therefore, by extrapolating the theatrical
repertoire of Zerouali, we can divide the course of his life into three main
historical stages.

The International Center for Performance Studies

The Center, who we are?
It is an honor and privilege to celebrate Performing Tangier’s tenth year
through this special commemorative book. In preparation for this
milestone, I am humbled by the history of activisms that preceded our
Annual Event and admire the collaborative efforts by students, faculty, and
artists with whom I have had the opportunity to work to make this event a
permanent one in the city’s cultural agenda. Although this commemorative
book cannot begin to encapsulate the many contributions within our
center’s history, it is my hope that it would serve as a timepiece in the

preservation of our highlights from the past ten years. It is also an
expression of gratitude towards those who are a part of our legacy.
The International Centre for Performance Studies (ICPS) was founded in
Tangier, Morocco in 2007 as an NGO that is closely affiliated with the
Research Group of Theatre at Abdelmalek Essaadi University. It brings
together numerous initiatives that have been developing over recent years
with the common goal of fostering collaboration and dialogue in research,
performance, publishing, conferences, exchange, and education. At our
core, we are an academic organization; and as such, we are fueled by the
generosity of our partners and by the rigorous contributions of our
members and participants. We actively invite all stakeholders beyond
academics —especially artists, writers, directors, actors, musicians,
filmmakers, photographers, and students— to join in the collaboration and
dialogue. Activities are temporarily housed at numerous cultural venues in
the city and personal office spaces. ICPS has a vibrant intellectual culture
which provides the basis for cutting-edge research and scholarship in and
across the fields of Performance Studies. It is home to a great variety of
research types:
• Multidisciplinary research in performance studies, theatrical
production, and related arts.
• The promotion and development of collaboration between
different theatrical disciplines, performing arts, and academic
research in these fields at the national, Arab and international
levels in order to attract academics and actors in other disciplines
to enrich the objectives of the centre through.
• The creation of committees in the field of theatrical research,
theatrical creation and performance studies for the advancement
of research projects and field work.
• The coordination of theatrical activities and dissemination of
information on the topicality of theatre and the arts. Promotion
of dialogue and collaboration between theatre artists and
academics specialized in the field.
Multilingual publications of studies, works and books on theatre,
performance studies, and related arts under various prospects and within
the framework of the publications of the international Centre for
Performance Studies.

The Kasbah Museum, Sahat El Mechouar, Tangier.

The Kasbah: A historical glimpse
The Kasbah Palace, also called “Dar al Makhzen” or “the Sultan Palace”, is
situated in the eastern part of the Kasbah area. The strategic surroundings
of the land on which the palace had been built were colonized by the
Romans and the Carthaginians: according to a roman legend, a temple
devoted to the roman god Hercules was erected on the Kasbah hill.
Historical writings state that during the first era of the Islamic presence in
Tangier, a 12th century Muslim Governor established his residence on the
Palace location. Later, in the 15th century the spot had been used by the
Portuguese, who erected their Governor’s residence called the “Domus
Praefecti” (1471-1661). In the 17th century, the British raised, on the same
site, “the Upper Castle” which was inhabited by the British Governors. The
Kasbah Palace, as we can admire it in its actual form, was constructed by
Ahmed Ben Ali, son of Ali Ben Abdallah Al Hamani Errifi, the man who, in
1664, liberated Tangier from its British settlers. Since then, the palace had
been used as headquarters for the local authority, and considered as the
symbol of the central political power and the Monarchy. The Kasbah Palace
was converted into a museum in 1922.

The exhibition
The Kasbah Museum offers a synthesis of the major aspects of the culture,
the artifacts, the techniques, the craftsmanship of Tangier and its
surroundings. The exhibition is divided into three sections. It illustrates the
dominant features of this area, which played a privileged part in the
relationship between Africa and Europe. The Gibraltar Strait, real crossroad
between the two continents, helped make of Tangier a confluence of
encounters and exchanges in the occidental basin of the Mediterranean.
The first room, covered by an eight-faced dome, is the “Bit Al Mal”, or the
accounts department. The visitor can admire its original safe, made of a
heavy cedar box strengthened with fittings. In the centre of the Palace, we
find seven rooms surrounding a magnificent patio encircled with white

marble columns crowned with composite capitals. These exhibition rooms
display an assortment of artifacts evoking the material history of Tangier
and its area from prehistoric times, up to the 19th century: sets of bone
and stone tools, pieces of ceramic, a series of terracotta figurines,
Phoenician silver jewels, amulets, silver necklaces, decorated ostrich
eggshells… This collection is enriched with a magnificent set of painted
pieces of ceramic and figurines excavated from the workshop site of
Kouass, the activity of which goes back as far as the fifth century before
our era. The room devoted to the Roman era is characterized by a low-
relief representing the scene of a lying banquet, and a block evoking the
theme of the Victory sacrificing a bull. The visitor can also admire some
pieces of ceramic, statuettes, ivory jewels and some masterpieces of
Roman glassware. The copula, or the “kubba kbira”, is a room walls that
are covered with polychrome earthenware panels or “zellije” and sculpted
plaster, and an ornate ceiling made of sculpted and painted cedar wood.
Manuscripts, illuminations, a writing set and a gilded and an illuminated
Coran manuscript from the 13th century are exposed for the visitor to
admire. The poetic verses carved in the earth ware panels all around the
walls make of this room a majestic one. The rooms 5, 6 and 7 are
dedicated to the Islamic period: fragments of ceramic coverings, sculpted
cedar wood friezes covered with kufic inscriptions and enhanced with
floral designs, ceramic vases, coins and funeral steles. The visit of the first
patio ends with the exhibition of works belonging to the Alawite dynasty: a
gilded and illuminated manuscript, bindings (????), coins, a brass
chandelier, firearms… The ground floor corresponds to the important
commercial activity which has existed between the Tingis peninsula and
the other Mediterranean civilizations. The floor of this patio is cobbled
with a mosaic from Volubilis representing the goddess Venus sitting in the
back of a ship. This exhibition is enriched with masterpiece objects such as
a vase with fish decorations, an Etruscan wine jug, an Egyptian shabti, a
Greek lamp, pieces of amphorae, anchors, and an astrolabe. All these
objects are testimonies of the fertile encounters which had occurred
between the local populations and the other Mediterranean civilizations,
and put the Tingis Peninsula at the confluence of the maritime roads.
Testimonies of religious and funeral rites are displayed on the first floor: a
life-size scale model of a Phoenician tomb excavated in Mghogha’s area,
accompanied with the ritual objects it had delivered, the remains of a child
inhumed in an amphora, lead sarcophagus, incineration urns found in the
necropolis of Marshan, and painted frescoes coming from the roman site

of Boukhachkhach. “Riad As Sultan”, an Andalousian garden, is
ornamented in the center with a white marble fountain, and displays an
open cast exhibition of marble capitals, heads of wells, and canons.

The City of Tangier (Tingis/Tanja/Tanger)

Tangier was founded in the fourth century BCE as Tingis. An ideal trade
centre located on the borderline between Europe and Africa, the Atlantic
Ocean and the Mediterranean Sea, the city is situated at the extreme
northwest of the Moroccan kingdom, facing across the Straits of Gibraltar
toward the Iberian Peninsula. Tangier has long been at the crossroads of
civilizations, a point of intersection for various encounters, coveted by
different powers notably Phoenicians, Romans, Vandals, Spaniards,
Portuguese, and English. A few kilometres farther west of Tangier is Cape
Spartel and precisely in the Hercules Caves where the legendary hero
named Hercules struggled with Anteaus, history and legend are remarkably
blended to give the city its mythical proportions. Its geographical location
in proximity to Europe has largely affected its fascinating history, making it
open to the outside world and traditionally liberal. In 1471, Portugal
invaded the city and made it a defensive fortress against piracy as well as
occasional assaults from Western rivals. In 1661, right after the Restoration
of the monarchy in England, Tangier was given away to King Charles the
Second of Britain and Ireland on the occasion of his marriage to the
Portuguese Princess, Catherine of Braganza. In 1684, the British were
forced by the troops of Sultan Moulay Ismail to evacuate the city after
destroying the mole and blowing up York Castle in the Kasbah along with
other forts. The old medina is still a rich archaeological site that has been
permanently occupied and even overpopulated. After the departure of the
British, Dar el-Makhzen palace was built upon the ruins of York Castle, and
now houses the museum of Moroccan Art and Antiquities. Even the big
Mosque of the medina is built upon the ruins of one of the oldest temples
in the continent.
In 1912, the French Protectorate was established in Morocco while ceding
the north and the southern Sahara to Spanish power. In 1923 Tangier
became an international zone that was politically neutral and economically
open. The new statute formalized international control over the 140
square miles that represented the city and its surroundings. For almost 23
years, Tangier became a notorious dream city and a congregation site for a
number of important Western artists, writers, and politicians who fell

captive to its magical spell including Henri Matisse, Eugene Delacroix,
Walter Harris, Jean Genet, Paul Bowles along with his wife Jane Bowles.
During the late fifties and sixties, the Beat Generation made a well-worn
path to the underground life that marked the international city. Writers
such as Brion Gysin, William Burroughs, Tennessee Williams, Allen
Ginsberg, Truman Capote, Gregory Corso, Ira Cohen, Irving Rosenthal, Gore
Vidal, and Alfred Chester all passed through in transit and marked the city’s
collective memory. Tangier’s urban tissue is characterized by a strong
dualism that includes an old medina with narrow meandering streets
around the big mosque and with quarters for bazaars and artisans
organized according to activity and craft, and the modern city that has
been constructed according to modern architectural norms since the
internationalization of the city.

This annual international conference is organized by the
International Centre for Performance Studies, The Research
Group of Performance Studies at Abdelmalek Essaadi
University, The; International Research Center "Interweaving
Performance Cultures" at Freie Universität Berlin, sponsored
by German Ministry of Education and Research

In collaboration with the Ministry of Culture of Morocco, La
Wilaya de Tanger, La Commune Urbaine de la Ville de
Tanger, La Région de Tanger-Tétouan, Collaborative Media

The Conference Daily provides announcements in real time
And on the board in the reception area of HOTEL Andaucia & the Kasbah

Where is it?
Conference Location: Faculty of Letters at Abdelmalek Essaâdi University,
Tétouan & the Kasbah Museum, Sahat El Kasbah, The Golden Tulip
Andalucia Golf Tanger

Hôtel Andalucia Golf, Route de cap spartel, (près du Golf Royal)
90000- Tanger - Maroc
Tél: +212 539 37 37 39. Fax: +212 539 93 37 39
The Kasbah Museum, Sahat El Kasba, Tangier/
Tél. : (+212) 539 91-20-92
Theatre Mohammed Al Haddad, Tanger Awama
Faculty of Letters at Abdelmalek Essaâdi University, Rue Martil,
The Golden Tulip Andalucia Golf Tangier is our official host:

Lying on the north coast where the Mediterranean meets the Atlantic
ocean off Cap Spartel, the white city nestles one of the most prestigious 5*
hotel of the city: The Golden Tulip Andalucía Golf Tangier. Blessed with a
breathtaking location overlooking the Royal Golf of Tangier, the Golden
Tulip Andalucia Golf Tangier welcomes you in a contemporary elegance
and a refined Arabo-Andalous style. The spectacular surroundings are
echoed by the hotel's beautifully appointed bedrooms, suites, lounges, fine
dining restaurants, swimming pool, spa and conference rooms with free
WIFI access. On leisure or business, the Golden Tulip Andalucia Golf
Tangier offers the perfect solution for your travel needs!
For more details on the hotel please visit their website:

Conference Team: There is a team of helpful ICPS staff and volunteers with
badges, familiar with the program, conference venues and surrounding
area, to whom you can turn when in need of assistance. Team members
can be identified by their conference badges. If you cannot find a team
member, then please ask for help at the conference information desk at
the Andaluce Hotel or the Kasbah Museum.

Conference Board (2014)
• Erika Fischer-Lichte (Head of DFG Collaborative Research
Centre "Performing Cultures" and Director of BMBF
International Research Centre "Interweaving Cultures in
Performance", Berlin, Germany
• Christel Weiler, Professor at Institute for theatre science of
the Freie Universität Berlin, Germany
• Maria Shevtsova (Chair Professor of Drama and Theatre
Arts, Co-editor of New Theatre Quarterly (Cambridge
University Press), Director of Sociology of Theatre
and Performance Research Group, University of London)
• George F. Roberson, Adjunct Assistant Professor,
Geography Human Dimensions Research Cluster, University
of Massachusetts-Amherst, USA
• Richard Gough, Senior Research Fellow and Artistic Director
of the Centre for Performance Research, Department of
Theatre, Film and Television Studies, Aberystwyth
University, Aberystwyth, Wales

• Zohra Makach (Professor of Theatre at Ibn Zohr University
of Agadir. She holds a PhD degree in Theatre Studies from
Paris III)
• Omar Fertat (Professor of Theater in the Arab World,
Department of Oriental Studies and the Far East and the
Department of Performing Arts, Université Michel de
Montaigne, Bordeaux 3)
• Mohammed Samir Al-Khatib, Art Critic, the Academy of
Arts, Cairo, Egypt

Conference Supporting Committee:
• Mohammed Saad Zemmouri (Dean of the Faculty of
Humanities at AEU, Tetouan)
• Mohammed KAOUTI (Independent Playwright, Morocco)
• Carol Malt, Museum Curator, Adjunct Professor at the
University of West Florida, and Ex-Director of the Art &
Culture Center of Hollywood, USA
• Marjorie Kanter, Author of short literary and poem-like
pieces, USA
• Noureddine Chemlali (Director, King Fahd School of
• Mustapha El-Ghachi (Vice Dean, Faculty of Humanites, AEU,
• Abderrazzak Essrhir (Chair of the English Department at
• Hassan Ben Ziyane (Professor, Abdelmalek Essaadi
University, Morocco)
• Redouan El Ayadi (Professor of Discourse Analysis,
Abdelmalek Essaadi University)
• Mohammed Taqqal (Regional Director of the Miniustry of

Conference Convener:

Khalid Amine (President of ICPS)
Conference Co-Convener:

Younes El-Assad Ryani (Professor of Cultural Studies, Abdelmalek Essaadi
Conference Assistant:
Jaouad Radouani (Theatre Scholar, member of ICPS)
Conference Organizing Committee:
(ICPS members & volunteers/ to be announced later)

Thanks to

International Research Center "Interweaving Performance Cultures" Freie
Universität Berlin Ministry of Culture
The Ministry of Culture of Morocco
La Wilaya de la Région Tanger-Tétouan
Dean of the Faculty of Letters and Human Sciences of Martil
Theatre National Mohammed V
The Kasbah Museum of Tangier
Collaborative Media International (CMI)
Staff and students of the English Department at AEU
La Commune Urbaine de la ville de Tanger
Le Conseil de la Région Tanger-Tétouan
Agence pour la Promotion et le Développement Economique et Social des
Provinces et Préfectures du Nord
Mr Ahmed Akbib
Mr Ahmed El Hakim & the translation team
Les Troupes Aphrodite, Anfass, Bab Bhar, Soullami, Alaoui Mrani Fes,
Dabateatre, Group Jassadi, Master students of ENES Meknes & Andalucia
Golden Tulip HOTEL de Tanger

We value all kinds of donations, whether it is financial support or offering
your time and expertise to help our work.

Contact Details: Prof. Dr. Khalid Amine, Conference Convener, Residence
Al Andalous N° 11, Rue Birr Anzaran, Tanger 90010, Maroc. Compte

Bancaire: 164- 640- 21214 90077510009- 61 (Banque Populaire Tanger-
Tétouan, Ain Ktiout). Adresse: E-mail:, Tél/Fax:
+(212) 539330466, Portable: 0664596791/ Web: