Theatre and Performance Studies Commons^™

Cineture: Shared Narratives And Cultural Exchanges Between Iran And The Us (Introduction), Naghmeh Esmaeilpour

CLCWeb: Comparative Literature and Culture

No abstract provided.

That’S Sooo Povo!, Sophie O'Toole, Trudy Nolan

Irish Communication Review

When Chantelle and Craoí, two working class Dublin drama students, lock horns over The Plough and the Stars, their combined rage brings forth Queen Povo, a drag-drenched larger-than-life entity who forces the girlos and the audience to examine what they’re thinking about when they think of class. From D'Girlos Theatre, this riotous, razor-sharp debut crashes through class, art, and authenticity with wit, grit, and glitter. A juicy-tracksuit clad call to arms for anyone who’s ever felt too loud, too real, or just too povo.

“This Play Has Become Something That Isn’T For Us”: Working Class Identity, Canonical Inheritance, And The Girlo On Stage In That’S Sooo Povo!, Ciara L. Murphy Dr

Irish Communication Review

That’s Sooo Povo! was first produced in 2025 as part of the Dublin Fringe Festival by D’Girlos Theatre Company. The play follows Chantelle and Croía, two working class Dublin drama students who, when faced with partnering up to perform a scene from Sean O’Casey’s The Plough and the Stars (1926), end up summoning the “drag-drenched larger-than-life entity” Queen Povo (That’s Sooo Povo! | Fringe Festival, 2025). This companion piece firstly aims to examine how O'Casey's The Plough and the Stars has made a journey from subversive class critique to nostalgic institutional property, and what it means for working class women …

Des Arbres Comme Des Lignes De Vie – Pascale Cassagnau Et Suhaib Gasmelbari En Conversation, Pascale Cassagnau, Suhaib Gasmelbari

Regards

As part of a study day organized in September 2025 at the University of Grenoble Alpes in partnership with the Centre National des Arts Plastiques entitled “The Loss of Images: Research and Creative Narratives,” Pascale Cassagnau and Suhaib Gasmelbari discussed his film Talking about Trees (2019), focusing on the film’s sources and structure, the history of Sudanese cinema that it reveals within the film itself, and the metaphors of trees and plants as lifelines and living archives at a time when images have disappeared.

Résumé
Dans le cadre d’une journée d’études organisée en septembre 2025 à l’Université Grenoble Alpes en …

Introduction – Carnets Filmiques, Carnets Sonores : Des Essais Intimes Et Collectifs, Robert Bonamy, Aude Fourel, Eve Le Fessant Coussonneau

Regards

Le sens à attribuer à la notion de carnet filmique ou de carnet sonore suscite quelque indécision, en raison du caractère composite et mouvant des cas envisagés. L’enjeu principal ne paraît ainsi pas ici celui d’une définition serrée d’un objet, mais plutôt une attention accordée à des tentatives de réalisation. De surcroît, si la forme-carnet permet à peu près tout, elle n’interdit donc véritablement rien : l’esquisse, le brouillon, l’approximation, voire l’échec et l’interruption.
[...]

Du Journal De Deuil À L’Œuvre De Sépulture : « Lo » (Thanassis Vassiliou, 2021-2025), Marie Martin

Regards

After his mother’s death in 2017, Thanassis Vassiliou returned to Greece and began filming. The instinctive act of recording aimed both to come to terms with the now definitive absence in places still filled with memories, and to document his own reactions, attempting to preserve them even if he could not fully understand them. These filmic notes could perhaps, later on, allow another perspective, according to the dynamic that Antoine Compagnon aptly analyzed as paradoxical in relation to Barthes’s Mourning Diary: “mourning and narrative are antinomic, but [...] only narrative [...] is capable of expressing the experience of mourning, …

« From Ground Zero » Et « Letters » : Carnets Polyphoniques En Quête D’Intersubjectivité, Eve Le Fessant Coussonneau

Regards

The two polyphonic films From Ground Zero (2025, produced by Rashid Masharawi) and Letters (2025, produced by Josef Khallouf) bring together, in response to the war in Gaza, unique short films, letters and chronicles that address collective questions. How do these films take charge of the urgent need to problematize, aesthetically and politically, the relationship between subjectivity and the collective? From the Palestinian enclave or neighboring Lebanon, they seek irreducible singularities and intersubjective connections in the face of the horror of genocide. Caught in a complex combination of places and times, their address to our spectatorial gaze thus reveals the …

Le Vent Du Sud, « La Nuit Et L’Enfant » – Récit D’Une Vidéo-Correspondance Avec Zoheir Mefti, David Yon

Regards

Entre 2011 et 2012, Zoheir Mefti et David Yon ont entretenu une correspondance autour de la réalisation filmique. A travers leurs échanges, ils questionnent la nécessité de l’image. Zoheir Mefti travaille un geste filmique de l’urgence, tandis que David Yon prépare un film en Algérie dans un temps plus long. Après les mots, ils partagent des images et des sons, tels des carnets filmiques, dans lesquels ils donnent leurs positions et interrogent les liens entre la vie et le cinéma.

Carnets De Bord. Tables D’Orientation « Tariq Teguia », Pascale Cassagnau, Tariq Teguia

Regards

This interview by Pascale Cassagnau with Tariq Teguia puts into perspective the Algerian filmmaker’s work notebooks, which are both autonomous objects and working documents, linked to the film itself. A medium for thought, the notebook is a space for language, a score and a cartographic space that gives shape to the writing of the film in a graphic way. A discursive space parallel to the space of scriptwriting, the notebook accompanies the development of the film from its inception, collecting the writing of thought in no particular chronological order.

Résumé
Cet entretien de Pascale Cassagnau avec Tariq Teguia met en …

« Voi(E)X De L’Exil, Formes De La Pensée » : Le Cinéma-Essai De Borhane Alaouié », Elie Yazbek, Farah Alhashem

Regards

This article offers a comprehensive study of Borhane Alaouié’s work, a central figure in modern Lebanese cinema, situating it within the tradition of the essay film. Through an analysis of Lettre d’un temps d’exil, À toi où que tu sois and Khallas, it examines how exile, wounded memory, and fragmentary thought shape the filmmaker’s aesthetic and ethical approach. Exile is explored not only as a geopolitical condition but as an interior state, a persistent uncertainty that structures voices, narratives and images. The study highlights the importance of voice-over, fragmentation, memory-driven editing and epistolary address, while positioning Alaouié’s work …

The Personal Is Collective: Egyptian First-Person – Documentary Cinema As Post-Revolution Diary, Eman Elharmeel

Regards

The 2011 Egyptian revolution marked a watershed moment in the reconfiguration of individuality, autonomy and self-expression within Egyptian society. Challenging long-standing collectivist frameworks, the revolutionary moment opened new spaces for individual agency and subjective reflection. This paper examines how these shifts intersect with the rise of first-person documentary cinema as a powerful medium for articulating post-revolutionary subjectivity in Egypt.
Focusing on The Past Will Return (2015) by Dina Hamza, Happily Ever After (2016) by Nada Riyadh and Ayman El Amir, and Little Eagles (2016) by Mohamed Rashad, the paper analyzes how filmmakers negotiate personal desires, familial pressures and collective belonging …

Triste Souvenir Et Sombre Avenir, « Lettre À Ma Sœur » (2006) De Habiba Djahnine, Boualem Khelifati

Regards

This article explores how Letter to My Sister (2006), a film by director and poet Habiba Djahnine dedicated to her sister Nabila, a democratic and feminist activist who was murdered by Islamist terrorists in Tizi Ouzou in 1995, revisits the fate of the direct and indirect victims of Algeria’s dark decade of the 1990s and the repressive religious and state policies towards women. It employs a narrative structure that combines several film genres – film-letter, film-journey, film-poem, and film-archive – showing situations in which memories and pain are shared, as well as the necessary perpetuation of a struggle that is …

Beyrouth 1978-1982 : Le Fonds Photographique De Monica Maurer – Une Collection Contre L’Oubli Et La Destruction, Aude Fourel

Regards

It was while searching for unused film footage on the Palestinian struggle for a documentary essay that I discovered the filmography of German director Monica Maurer and her work restoring and preserving Palestinian films. For the past four years, we have been working together to digitise and catalogue the photographs and documents she still keeps at home.
I reflect on the paths opened up by the writing of a film in the making, on the formatting of Monica Maurer’s photographic collection, and on the initial prospects for visual and historical studies of this material in the particular context of the …

Sonorisation De L’Anarchive Ou La Palestine Comme Projet Politique – À L’Écoute De « A Fidai Film » De Kamal Aljafari Et De « Partition » De Diana Allan, Judith Abensour

Regards

Kamal Aljafari’s A Fidai Film draws on Palestinian archives confiscated by Israel in Beirut in 1982. Diana Allan created Partition using archives from Mandatory Palestine held at the Imperial War Museum in London. The film notebook not only refers to a type of fragmentary editing, but also allows us to revisit the relationship between sound and image, thus offering an exercise in remembrance in the present. By adding sound to images, the two filmmakers question the contradictions inherent in archives, their erasure or their resistance to authoritative or propagandistic discourse. Thus, under the guise of sensory and sound anthropology for …

Videotracts For Palestine : Images Et Contre-Images, Lola Maupas

Regards

This article examines the political and aesthetic gesture of Videotracts for Palestine, a collective founded on Instagram in November 2023 in the context of the Israeli offensive in Gaza. Heirs to the ciné-tracts of 1968 and, more broadly, to international militant cinema, these very short anonymous films also mobilize contemporary digital tools and produce what might be called a counter-visuality of resistance. The study highlights how the collective situates itself within a tradition of images as weapons of struggle while inventing its own forms, shaped by the massive circulation enabled by the Internet and social media. The videotracts deconstruct …

Des Sons Pour L’Histoire. Correspondance Avec Mohammed Yaghi, Aude Fourel

Regards

Sounds for History. Correspondence with Mohammed Yaghi
Mohammed Yaghi was born in 1992 and trained in sound engineering in Gaza. He has worked for UNRWA television and collaborated with Palestinian and international documentary film production companies.
These sound recordings for films, educational programs and interviews were the first step in the sound diary that he has kept on building on a daily basis.
[...]


Résumé
Mohammed Yaghi est né en 1992 et s’est formé aux métiers du son à Gaza. Il a travaillé à la télévision de l’UNRWA et collaboré avec des maisons de productions palestiniennes et internationales de films …

Humanity Is Evolving Its Consciousness: The Role Of Archetypal Energies As Guides During An Unfolding Weeding Out And Alignment Process, Carroy U. Ferguson

Psychology Faculty Publication Series

Humanity is evolving its consciousness at individual and collective levels.  Given these seemingly tumultuous times, as of this writing (January 2026), to make such a statement may sound like a strange thing to say.  However, I suggest that if you are alive today and if you are reading these words, these are the very times for which you were born—to assist Humanity as it evolves its consciousness with your unique gifts, whatever they may be.  That is, this period of our individual and collective human being-ness may be characterized as an unfolding period of weeding out and alignment with the …

Framing Affect: Close Up To Feeling With Women At The Eighteenth-Century Theatre On The Twenty-First Century Screen, Ros M. Ballaster Professor

ABO: Interactive Journal for Women in the Arts, 1640–1830

Period films and television dramas of the twenty-first century use scenes of attendance at the theatre by women in the (long) eighteenth century as a test of their capacity to feel. Such scenes provide an opportunity to measure the competing affordances of screen and stage regarding affect in the eighteenth century and our present moment. Explored are scenes of theatrical affect from Dangerous Liaisons (1998) to The Duchess (2008), Harlots (2017), Portrait of a Lady on Fire (2019), Bridgerton (2020). The figure of the liberated, educated, and aesthetically sensitive woman serves in period fiction on stage, screen and page more …

A Review Of Alberto Toscano’S Late Fascism, Clint Burnham

CLCWeb: Comparative Literature and Culture

No abstract provided.

A Review Of Zahi Zalloua's The Politics Of The Wretched: Race, Reason, And Ressentiment, Benjamin Davis

CLCWeb: Comparative Literature and Culture

No abstract provided.

Exploring Chinese Elements In J.D. Salinger’S Works: A Response To Mccarthyism In The Early Cold War Era, Yixin Lu

CLCWeb: Comparative Literature and Culture

Since the publication of “The Laughing Man” in 1949, various ideas about “China” have emerged in J. D. Salinger’s famously obscure works. This article aims to argue that Salinger’s incorporation of elements related to China and ancient Chinese philosophy in his works illustrates an artistic response to American anxieties during the McCarthy Era. The article uses “The Laughing Man” and “De Daumier-Smith’s Blue Period” as case studies to demonstrate how Salinger’s engagement with “China,” including the concept of indiscrimination from Zen Buddhist ideas, as well as notions of naturalness and non-action from Taoist ideas, develops not only a mystical writing …

Ginsberg’S China Experience And Its Influence On His Series Of Poems On China, Xiankai Ren

CLCWeb: Comparative Literature and Culture

As a renowned poet and representative of the Beat Generation, Allen Ginsberg was invited to be a member of the US Writers’ Delegation to visit China in 1984. His China trip as well as his reading of traditional Chinese literature constitute his China experience, which is represented in Ginsberg’s poetry. This essay examines Ginsberg’s series of poems on China. It first shows that Ginsberg’s introduction to the Beat Generation poets and their poetics provided the inspiration for his poetry writing. Then it discusses Ginsberg’s observation of Chinese society during his visit and his reading of the Chinese poet Bai Juyi. …

Transversal Storytelling | Wintersession 2026 Syllabus, Patrick Buhr, Movement Lab

Course Materials

What does "story" mean? How can stories help us understand what appears profoundly different from us? How might seemingly unrelated elements converge in poetic resonance?

A “transversal line” cuts across worlds — moving through unexpected spaces, ideas, people, and moments. In this course, we explore how such crossings can inspire new forms of expanded storytelling and technique, looking at vivid examples from animation, film, coding, and performance. The students will choose contrasting elements (stories / characters / places) from their personal experience and together explore artistic ways of creating meaningful transitions and intersections.

The class will culminate in the development …

Transversal Movement Framework, Patrick Buhr, Movement Lab

Personal Work

"Every type of art can be understood as performance, and every performance involves movement. Every movement has a mover, and every mover relies on something through which to move…." – Patrick Buhr

“A Couple Days In The Life Of What It’S Like In Washington Heights:” The Representation Of Latine Immigrants In Lin-Manuel Miranda’S In The Heights, Natalie M. Bowen

Undergraduate Research Posters

The United States of America is a nation built by and made up of immigrants, being home to one-fifth of all migrants across the world. Anti-immigrant prejudice and xenophobia have long defined the American people and national policy, but the target demographic is constantly changing to reflect current narratives and fears. In recent years, Latine immigrants have been a prominent topic of concern in American politics. Lin-Manuel Miranda’s 2021 movie musical In The Heights aims to celebrate the existence of immigrants in Washington Heights, a neighborhood in New York City. Using peer-reviewed scholarly sources and movie reviews, this comprehensive literature …

‘Politics! Not My Thing!’:The Misrepresentation Of Anne Boleyn In Six: The Musical, Natalie M. Bowen

Undergraduate Research Posters

With the rise of Hamilton and Come From Away, stage musicals have become the next hottest form of historical reenactment, and the six wives of Henry VIII are no exception. These modern spins on Tudor history are typically riddled with inaccuracies that leave audiences with a skewed idea of Tudor England. The wives of Henry VIII, in particular, are the victims of centuries of historically inaccurate fictional media. Six: The Musical is a modern musical spin on this centuries-old story, following the six wives of Henry VIII as they reclaim their narratives in a pop concert competition on who had …

Experimental Diegetic Thresholds: A Study Of Adapted Carceral Narratives [The] Nickel Boys And Sing Sing, Leslie D. Muench

Graduate Theses/Dissertations

The diegesis is the storyworld of a film, including all the characters, settings, events, and other elements. At certain times, though, that threshold is permeable, particularly when the fictional source material involves lived experiences. Two carceral films model an experimentation with adapted material and the palimpsestuous layering effect that is a result of real-life narratives being transposed into fictional ones. Nickel Boys, directed by RaMell Ross (2024), and Sing Sing, directed by Greg Kwedar (2023), endeavor to humanize a stereotypically ostracized community: Black boys and men who are incarcerated. Through the screenwriting, casting, producing, filming, and sharing of their films …

The Transforming Image | Wintersession 2026 Syllabus, Hunter Whitaker-Morrow, Movement Lab

Course Materials

This studio course engages the contemporary digital moving (and sounding) image as a medium undergoing rapid development. Advancing the exploratory ethos of early video art, participants will probe new possibilities for experimentation against the contemporary backdrop of ubiquitous access to smartphones and production capabilities as well as the proliferation of tools for digital signal manipulation, media recycling, and image sequencing.

Coursework will center on a variety of hands-on creative exercises that challenge predominant conceptions of the moving image and engage with medium-specific approaches including video installation, desktop performance, generative cinematics, recycling media, realtime audio-visual performance, and notions of digital materiality. …

The Transforming Image | Class 1.1, Hunter Whitaker-Morrow, Movement Lab

Course Materials

No abstract provided.

The Transforming Image | Class 1.2, Hunter Whitaker-Morrow, Movement Lab

Course Materials

No abstract provided.