Skip navigation

Tag Archives: Theatre




The School of the Arts, English and Drama at Loughborough University invites applications from outstanding current M.A. students to undertake research for the degree of PhD.

Two fully funded PhD studentships are available in the Department of English and Drama. The Department offers an exciting interdisciplinary research environment and we welcome the submission of high-quality proposals focusing on topics related to literary and cultural studies, creative writing, publishing and scholarly communication, linguistics, drama, theatre and performance studies.

The studentships will be paid for a period of up to three years, starting in October 2014, and will cover tuition fees at the UK/EU rate, and provide a tax-free stipend of £13,863. Please note that studentships are open to UK/EU students only.

For further details of the Department’s current research and information about how to apply please go to:

Please note that the deadline for applications is Monday 2 June 2014.

Initial queries should be sent to Dr Jenny Fry ( <>) or Mrs C.J. Flynn ( <>).



‘Human Herbs’ – a song by Cold Hands & Quarter Moon:

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia:

Glenn Rikowski on Facebook at:


Rikowski Point:

Glenn Rikowski on Facebook at:

Online Publications at:

Paulo Freire

Paulo Freire


The 20th Annual Pedagogy and Theatre of the Oppressed Conference
June 26 – 29, 2014
Community Engagement Center, UNOmaha
Omaha, Nebraska

The University of Nebraska at Omaha hosted the first PTO conference in 1995. In recognition of our twenty years of community engagement, UNO is welcoming PTO back as the first event to be held in the new Community Engagement Center. UNO will be one of the few civically engaged universities to have a dedicated facility for community engagement. We are excited and honored to be the inaugural event for this venue and look forward to seeing you all there!

Where have we been?
Where are we?
Where are we going?
(And HOW?)

WE are change-makers, educators, global activists, local leaders, artists, organizers, advocates, rabble-rousers, hair-raisers, instigators. WE are working in performance, literature, education, politics, advocacy, organizing, social work, healthcare, communities. WE are people who have come a long way and have a long way to go, coming together to review, reflect and reimagine.


The 20th Annual PTO Conference is:

A celebration of what we have done, a look at where we are, and a challenge to move forward.

An opportunity to gather with experienced artists, activists, teachers and friends, and a challenge to expand our efforts and our community.

An opportunity to share our experience, and a challenge to develop new ways of dismantling systems of oppression and promoting critical thinking and social justice through liberatory theatre and popular education.

For twenty years Pedagogy and Theatre of the Oppressed conferences have been a place to gather, dialogue, explore, express, share, learn, teach, develop and build community. In this exciting moment the history and significance of our work in education, in theatre, in combating local and global oppression, in political struggle, in social justice, in community organizing, in scholarship, in performance certainly deserves critical review and celebration.

But even more, we need to know HOW to move forward—how to modify, extend, and apply theory and practice of Pedagogy of the Oppressed and Theatre of the Oppressed to challenge both old and ever-changing forms of oppression, and how to transform dehumanizing systems into those that move toward social and economic freedom and justice.

We are asking you to consider these questions and shape these important dialogues by submitting proposals, papers, discussions, performances, workshops, debates, you name it, for presentation at the conference. Share your techniques, report on your projects, explore ideas for the future, seek assistance in meeting challenges, get constructive critique of your efforts, and raise new questions about the where’s and how’s of the struggle against oppression through theatre and education.

Come to the Conference in Omaha—yes, back in Omaha where this all started twenty years ago!—and engage in the celebrations and struggles, through practical workshops, physical explorations, learning opportunities, keynote presentations, performances, and countless discussions of our most pressing questions.

The power to transform the world lies with us—let’s multiply that power when we gather together for the 20th Annual PTO Conference!

Learn more about submitting a conference session proposal:

PTO Conference site:


Cold Hands & Quarter Moon, ‘Stagnant’ at:

‘Cheerful Sin’ – a song by Victor Rikowski:

Posted here by Glenn Rikowski

The Flow of Ideas:

Rikowski Point:


Glenn Rikowski on Facebook at:

Online Publications at:

Victor Rikowski


This is an essay written by Victor Rikowski when he was a final year student in Music, Creative Writing and English Literature at Bangor University, Wales.

 It was written as an assignment for the QXE3089 module, ‘Rage! How Writers Can Change the World’.

Victor’s essay can now be found at The Flow of Ideas website:

Rikowski, V. (2011) Rage! Writers Change the World, An essay written for the QXE3089 module, ‘Rage! How Writers Can Change the World’, Bangor University, Wales, April, online at:

Whilst at Bangor, Victor was in Cold Hands & Quarter Moon, a post-punk folk band. For more on this, see:, and also the page on the band here (above).

Posted here by Glenn Rikowski

The Flow of Ideas:

Theodor Adorno


*****Call for Papers******

‘The Actuality of Adorno: Theatre, Performance, and the Culture Industry Reconsidered (again)’

The PSi Performance and Philosophy working group

@ Performance Studies international #18

University of Leeds,UK

27 June – 1 July 2012


Invitation to contribute to a panel organised by the ‘Performance and Philosophy Working Group’

‘The Actuality of Adorno: Theatre, Performance, and the Culture Industry Reconsidered (again)’


The aim of this panel is to revisit and interrogate Theodor W. Adorno’s seminal critique of the ‘culture industry’, which he articulated in his collaborative work with Max Horkheimer (Dialectic of Enlightenment) as well as in numerous studies of cultural criticism that explore the status of art in the administered world of advanced capitalism.

We invite paper presentations that pursue Adornian perspectives and compositional stylistics in order to re-engage with his dialectical critique of the culture industry through specific sentences, phrases, and ideas composed by Adorno himself. As such, we ask that those interested in contributing to this panel build a paper around a specific Adorno quotation that deals with the culture industry. Or, in other words, we ask that proposals treat Adorno quotations as fragments through which to re-view the workings of the culture industry as it extends into the realms of theatre and performance in the present.

You may choose from one of the following quotations or select your own from Adorno’s body of work.


From: ‘Culture and Administration’, Adorno: The Culture Industry, trans. Rolf Tiedmann (New York: Routledge, 1991).

‘Through the sacrifice of its possible relation to praxis, the cultural concept itself becomes an instance of organization; that which is so provokingly useless in culture is transformed into tolerated negativity or even into something negatively useful—into a lubricant for the system, into something which exists for something else, into untruth, or into goods of the culture industry calculated for the consumer. All this is registered today in the uncomfortable relation between culture and administration’ (117).


From: ‘Cultural Criticism and Society’, Prisms; Also in Critical Theory: A Reader, ed. Douglas Tallack (1995). The page numbers below refer to this edition:

‘Cultural criticism shares the blindness of its object.’ (291)

‘The dialectical critic of culture must both participate in culture and not participate. Only then does he do justice to his object and to himself.’ (296).


From: Aesthetic Theory, trans. Robert Hullot-Kentor (London: The Athlone Press, 1997):

‘The consumer arbitrarily projects his impulses – mimetic remnants – on whatever is presented to him. Prior to total administration, the subject who viewed, heard, or read a work was to lose himself, forget himself, extinguish himself in the artwork. The identification carried out by the subject was ideally not that of making the artwork like himself, but rather that of making himself like the artwork.

This identification constituted aesthetic sublimation; Hegel named this comportment freedom to the object. He thus paid homage to the subject that becomes subject in spiritual experience through self-relinquishment, the opposite of the philistine demand that the artwork give him something.’ (17)

‘The poles of the artwork’s deaestheticization are that it is made as much a thing among things as a psychological vehicle of the spectator. What the reified artworks are no longer able to say is replaced by the beholder with the standardized echo of himself, to which he hearkens.’ (17)


From: Negative Dialectics, trans. E.B. Ashton (1973): ‘All post-Auschwitz culture, including its urgent critique, is garbage….Whoever pleads for the maintenance of this radically culpable and shabby culture becomes its accomplice, while the man who says no to culture is directly furthering the barbarism which our culture showed itself to be’ (367).

‘The power of the status quo puts up the façades into which our consciousness crashes. It must seek to crash through’ (17).

‘Direct communicability to everyone is not a criterion of truth. We must resist the all but universal compulsion to confuse the communication of knowledge with knowledge itself, and to rate it higher, if possible—whereas at present each communicative step is falsifying truth and selling it out’ (41).


From ‘Culture Industry Reconsidered’ in Adorno: Essays on the Culture Industry (Routledge)

‘The masses are not the measure but the ideology of the culture industry, even though the culture industry itself could scarcely exist without adapting to the masses’ (99).

‘The autonomy of works of art, which of course rarely ever predominated in an entirely pure form, and was always permeated by a constellation of effects, is tendentially eliminated by the culture industry, with or without the conscious will of those in control’ (19).

‘The concept of technique in the culture industry is only in name identical with technique in works of art. In the latter, technique is concerned with the internal organization of the object itself, with its inner logic. In contrast, the technique of the culture industry is, from the beginning, one of distribution and mechanical reproduction, and therefore always remains external to its object’ (101).


Please send a 350-word abstract (including your affiliation and technical requirements) to the session organisers Will Daddario and Karoline Gritzner

Deadline for proposals: Friday 7th October 2011

Please note that, as usual, the panel as a whole will still have to be submitted to the PSi 18 conference organizers – so even if session organizers accept your proposal, this is not a guarantee of participation in PSi 18.


Performance & Philosophy Working Group (PPWG) wiki:

Performance Studies International (PSi) website:




‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: (recording) and (live)


‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: (recording) and (live, at the Belle View pub, Bangor, north Wales)  


Posted here by Glenn Rikowski

The Flow of Ideas:

Online Publications at:

MySpace Profile:

The Ockress:

Rikowski Point:


Howard Zinn


“It was smart, it was funny, and it was the perfect thing for the times in which we live.” —Michael Moore 

Coming to Chicago for two shows only:

Howard Zinn’s ‘Marx in SoHo‘ 

Marx is back! In this witty and insightful “play on history,” Karl Marx has agitated with the authorities of the afterlife for a chance to clear his name. Through a bureaucratic error, though, Marx is sent to Soho inNew York, rather than his old stomping ground in London, to make his case.

Howard Zinn, best known for his book, ‘A People’s History of the United States’, introduces us to Marx’s wife, Jenny, his children, the anarchist Mikhail Bakunin, and a host of other characters.

Brian Jones, an African American actor and activist, has been performing this engaging one-man show across the country since 1999.

Marx in Soho is a brilliant introduction to Marx’s life, his analysis of society, and his passion for radical change. Zinn also shows how Marx’s ideas are relevant in today’s world.

Saturday, June 25th @ 7pm

Experimental Station

6100 S. Blackstone Ave

in Hyde Park

Get tickets

Sunday, June 26th @ 1pm

Lifeline Theatre

6912 N. Glenwood Ave

in Rogers Park

Get tickets

$20 adults / $10 students (Suggested minimum donation)

For more information, visit

Sponsored by Haymarket Books and the International Socialist Organization – Chicago

Posted here by Glenn Rikowski

The Flow of Ideas:

Socialism and Hope


Dear Friends,

Spring is here and things are heating up at the Brecht Forum. On April 15th we are hosting the legendary activist Grace Lee Boggs for a book party celebrating “The Next American Revolution” along with Academy award nominated actress Ruby Dee. 

On May 20th, the Brecht Forum, Critical Resistance and the Mission and Social Justice Ministry of The Riverside Church welcomes Angela Y. Davis for a talk “The World We Need is The World We Want” hosted by GRIT TV’s Laura Flanders.

Also check out our classes in Spanish, Hubert Harrison,and a special seminar conducted by the 15th Street Manifesto Group.

Check out for updates and as always, subscribers go to most events and classes for free. 


Kazembe Balagun 

Outreach Coordinator

Friday, April 15

7:30 pm


Co-Sponsor: The Boggs Center to Nurture Community Leadership

The Next American Revolution:

Sustainable Activism for the Twenty-First Century

Grace Lee Boggs with Scott Kurashige Introduction by Ruby Dee

A world dominated by America and driven by cheap oil, easy credit, and conspicuous consumption is unraveling before our eyes. In this powerful,…

More info

Friday, April 22

7:00 pm


Deadly She Wolf Assassin at Armageddon

& Momma’s Song

Fred Ho and Afro Asian Ensemble

Revolutionary composer and Afro-Asian creator-extraordinaire Fred Ho has created another innovative “first”: a double manga-cd project,…

More info

Thursday, May 5

7:30 pm- 9:30 pm


Hubert Harrison, Theodore W. Allen & the Continuing Centrality of the Fight Against White Supremacy

Jeffrey B. Perry with Others

This course will focus on Hubert H. Harrison (1883-1927) and Theodore W. Allen (1919-2005), two autodidactic, anti-white supremacist working class…

More info

Friday, May 20

7:00 pm


Co-Sponsor:Mission and Social Justice Ministry of Riverside Church, Brecht Forum and Critical Resistance Presents

Conversations Uptown

The World We Want is the World We Need

Angela Y. Davis, Ruthie Gilmore, Vijay Prashad Moderated by Laura Flanders

Some 40 years after uprisings at Attica and her own arrest, Angela Davis comes to Riverside Church in Harlem to build bridges around issues of social equality.


‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: (recording) and (live)

Posted here by Glenn Rikowski

The Flow of Ideas:

MySpace Profile:

The Ockress:

Rikowski Point:



Friday 6th May 2011


Journeys Across Media (JAM) 2011 is the 9th annual international conference for postgraduate students, organized by postgraduates working in the Department of Film, Theatre & Television at the University of Reading. It provides a discussion forum for current and developing research in film, theatre, television and new media. Previous delegates have welcomed the opportunity to gain experience of presenting their work at different stages of development in the active, friendly and supportive research environment of Film, Theatre & Television at the University of Reading. This year JAM will be guest-editing the Autumn issue of Intellect’s Journal of Media Practice and in 2012 an associated journal to the conference will be launched, providing further opportunities for new researchers to publish their work and interact with established scholars.

Non-presenting delegates are also very welcome.

The 9th JAM conference seeks to address issues of space in performance, media and wider society and instigate discussions about space across disciplines, practices and fields of research.

Space in performance and media is constantly shifting. Emerging technologies and new models of physical spaces have radically shaped our conceptions and experiences of performing, the world and our performing within that world. Artistic experimentation in live performance tests and contests space as a neutral/political/liminal/active zone.

Through innovative spatial delineations and/or site specific work, contemporary theatre and performance challenge conventions of text and space, performance and institution and performance and audience. Issues of space are increasingly central to performance studies and the experience of live performance. The growing popularity of companies such as Secret Cinema reflect the importance of the exhibition site for cinema and possibilities for cross-media events. The organisation and handling of space on screen can reveal the conceptual reality of a time, rather than just function as background. Studies of the cinematic screen continue to focus on ideological articulations through oppositions, such as on-screen/off-screen space, interior/exterior, centre/periphery, inclusion/exclusion in space. Meanwhile, televisual spaces continue to change both in terms of on-screen representation and how the television as an object inhabits space, particularly in relation to its online dissemination and the proliferation of products which facilitate its access.

This is a call for postgraduates engaging in contemporary discourses around space to submit papers for the JAM 2011 conference; topics may include, but are not restricted to:
Cross-disciplinary/inter-disciplinary spaces
National/International space; Globalisation
Centrality – Marginality of/in space
Gendered spaces
Space and memory
Critical masses (people in space)
Space as a character
Time and Space in performance
Architecture and performance
Immersion and illusion in contemporary performance spaces
Space in Contemporary art
Ownership and accountability
Ontology of space

CALL FOR PAPERS deadline: Friday 30th January 2011

Please send a 250-word abstract and a 50-word biographical note for a fifteen-minute paper to Amanda Beauchamp, Becki Hillman, Tonia Kazakopoulou, Martin O’Brien and James Rattee, at Proposals for practice-as-research presentations/performances are warmly invited; these have to conform to the 15-minute format.

We would appreciate the distribution of this call for papers and wider promotion of this conference through your networks. Journeys Across Media is supported by the Standing Committee of University Drama Departments (SCUDD) and the Graduate School in Arts and Humanities, University of Reading.

Posted here by Glenn Rikowski

The Flow of Ideas:

MySpace Profile:

The Ockress:

Rikowski Point:

Glenn Rikowski on Facebook at:




Alternative Worlds: A retrospective of the last 111 years

Call for Papers / Art Presentations

Seminar in Visual Culture 2011
Deadline for proposals: 13 December 2010

Institute of Germanic & Romance Studies, Room ST 274 (School of Advanced Study, Stewart House, 32 Russell Square, WC1B 5DN London)

This series of seminars acts as a forum for practicing artists, researchers, curators, students, and others interested in visual culture who are invited to present, discuss and explore a given theme within the broad field of Visual Culture.

In an attempt to escape the doom and gloom of the economic crisis the theme for 2011 is ‘Alternative Worlds’. The aim is to examine the dreams, plans and hopes, but also the nightmares and fears reflected in utopian thinking since 1900 in the Western hemisphere. What has become of all those possible worlds? How do they reflect their contemporary culture and society and what, if anything, do or can they mean for our present, or indeed, our future? What alternative worlds are engendered by our own times, by the world of 2011 itself? This is, hence not only a retrospective of past utopias and their after-lives but also an invitation to look towards our possible futures.

Looking backwards, we could revisit the Futurist utopia of a mechanical universe based on the principles of speed and technology, or look at the somewhat similar proposals of the American Technocratic Society for a world based on the laws of engineering. Or we could examine the repercussions of Hermann Sörgel’s plan for Atlantropa, a merger of Europe and Africa created by damming the Strait of Gibraltar, meticulously worked out in the late 1920s and promoted by Sörgel until his death in 1952. Or we could look at the architectural utopias of Modernism, at Le Corbusier’s Plan Voisin, or at GM’s 1939 Futurama exhibit of the ‘City of the Future’ with its intricate congestion-free road systems. We could look at the social housing projects of the 1950s and ’60s – those that were built and those that were imagined. We could look at the many futures inspired by the space age, or at the alternative lives and societies envisaged in reaction to the Cold War and the nuclear threat. We could revisit the multiple Ballardian worlds or the various projects for the future proposed by the architects and artists who contributed to “This is Tomorrow”, the exhibition held at London’s Whitechapel Gallery in 1956 and restaged in 2006 at Tate Britain. We could look at the social utopias of the 1960s, the communes, sex and free love as a basis for a new society. We could look at the alternative worlds inspired by the possibilities of robotics, cybernetics or genetics; or at virtual worlds, like Second Life or all those parallel lives made possible by social networking sites. We could look backwards and at the same time look forwards.

Contributions on any of the above topics or on other alternative worlds of the past and the present are invited from individuals working in the fields of art history, philosophy, literary, cultural and visual studies, fine arts, film and media studies, theatre, history, etc.

Artists are also invited to present new (and existing) work on the theme.

Please send proposals for art presentations (200 words plus images) or academic papers (200 words) to Ricarda Vidal: ||| by 13 December 2010.

Please indicate which date you would prefer for your talk.

Dates and times:

Wednesday 26 Jan. 2011, 6.30pm – 8.00pm

Wednesday 23 Feb. 2011, 6.30pm – 8.00pm

Wednesday 30 March 2011, 6.30pm – 8.00pm

Wednesday 27 April 2011, 6.30pm – 8.00pm

Wednesday 25 May 2010, 6.30pm – 8.00pm


‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: (recording) and (live)

Posted here by Glenn Rikowski

The Flow of Ideas:

MySpace Profile:

The Ockress:

Wavering on Ether:

Rikowski Point: