Alternative Dramaturgies of the New Millennium

An International Conference

In Homage to Abdelhak Zerouali

(Moroccan Actor & Director)

TANGIER/TETOUAN, MOROCCO

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

Conference Book: Tenth Edition 2014

Contents

Welcome

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

Welcome

“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

th 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, Rٌachid 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 mention.

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 World.

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 participants)

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 networking.

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.

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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”

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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

Elements’

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

th-c. play in 2013

Greece”) 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

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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

everything”

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

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“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 (ا����ح � ا���� by Distinguished (��آ

Professor Hassan Mniai| (Venue: Kasbah Museum)

20: 00/ 21: 00| Book Launch (د��ع ������ل) 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-liberation” Abderrahman Ben Zidan “Dramaturgy between the Problematic of Theory and Performance

Analysis”

Hassan Youssfi “Moroccan Theatre: from Systematic Dramaturgy to fragmented Dramatugy” 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”

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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

Theatre”

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

Room)

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 ��������� by the Moroccan

Dramaturge Mohammed Kaouti & Reception in honor of the

guests| (Venue: Kasbah Museum)

19: 00/ 20: 00| Book Launch ( ح� by Abdelouahed Ouzri (����� ا��

& Reception in honor of the guests| (Venue: Kasbah Museum

Tangier)

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

Museum)

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 رات���� � ا��� ��را �ت ا��و�� ا���آ�

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.

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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 Ensler. 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

th 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

th-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

th-c. play in 2013

Greece” 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: www.kaiteoreilly.com 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 Self-liberation. 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 scene. 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

st 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

st 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 perspectives. 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 aesthetics. 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 word). 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 dramaturgy. 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, 2014).

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 orthodoxe. 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 contemporaine. 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 Dramaturgy." 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 sensibilities. 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 meanings.

- 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 festivals. 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 assimilation. 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 Theatre. 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 Everything 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 criticise. 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 groups.

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 publications. Title: A Look at the Features of Alternative Daramaturgy for Romeo Castellucci. 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 performance.

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

International…

The Conference Daily provides announcements in real time

www.furja.ma

And on the board in the reception area of HOTEL Andaucia & the Kasbah

Museum

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

www.hotelandaluciagolf.com

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,

Tétouan

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: http://www.goldentulipandaluciatanger.com/hotel-information.152761.aspx

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 Translation)

• Mustapha El-Ghachi (Vice Dean, Faculty of Humanites, AEU, Tetouan)

• Abderrazzak Essrhir (Chair of the English Department at AEU)

• 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 Culture)

Conference Convener:

Khalid Amine (President of ICPS) performingtangier2014@gmail.com khamine55@gmail.com Conference Co-Convener:

Younes El-Assad Ryani (Professor of Cultural Studies, Abdelmalek Essaadi University) ra_younes@hotmail.com

Conference Assistant:

Jaouad Radouani (Theatre Scholar, member of ICPS) performingtangier2014@gmail.com 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: khamine55@gmail.com, Tél/Fax: +(212) 539330466, Portable: 0664596791/ Web: www.furja.ma

© ICPS