Day 3 / Tuesday, July 27, 1.30 - 3.00 pm

_{Venue: LMU main building, Geschwister-Scholl-Platz 1}

^{Room 1
MP: Genealogies and Legacies}
Post/Modern Discourses 2

Chair: Bettina Brandl-Risi (Free University Berlin, Germany)

• Hanna Järvinen (Theatre Academy Helsinki, Finland):
  The Past and the Present. Nostalgia as a Critique of Progressive Notions of History
• Mark O'Thomas (University of East London, UK):
  Rewriting the Book of Disquiet
• Nikolaus Müller-Schöll (University of Hamburg, Germany):
  Walking under the Unthinkable. On the Modernity of Oedipus according to Sophocles, Hölderlin, Heiner Müller and Gotscheff/Lammert (shifted paper)

^{Room 2
MP: Global Theatre History}
Fin-de-siècle Global Performance

Chair: Christopher Balme (LMU Munich, Germany)

• Susan Tenneriello (Baruch College, USA):
  Spectacles of the Progressive Citizen at London's Great White City, 1908-1914
• Peter Marx (University of Bern, Switzerland):
  Theatropolis: Theatre and the Metropolitan Sphere 1900
• Nic Leonhardt (LMU Munich, Germany):
  Transnational and Global Theatre Histories – Components of a New Research Architecture

^{Room 3
MP: Modern Bodies, Modern Techniques}
(Post)Modern Discourse, Dance and Theatre Practice

Chair: Claudia Case (City University of New York, USA)

• Sabine Sörgel (University of Aberystwyth, UK):
  Between Dance and Theatre: Archetype and the Modernist Legacy
• Nigel Stewart (Lancaster University, UK):
  Dance and the Event: John Jasperse's Giant Empty and the Disclosure of Being
• David Fancy (Brock University, Canada):
  A Re-ontologized Understanding of "Active Analysis"

^{Room 4
MP: Modernism and Popular Culture}
The Modern Comic

Chair: Jörg von Brincken (LMU Munich, Germany)

• Carmen Szabo (University of Sheffield, UK):
  Burlesquing the Canon: Alternative Performances of Shakespeare's Plays in 19th Century London and Beyond
• Simon Hagemann (Université de Paris III, France):
  The Significance of Charlie Chaplin in the Search for a Theatre of the Modern Times
• Takanobu Settsu (Waseda University, Japan):
  Acting without End – Two Comedies of Karl Valentin

^{Room 5
MP: Ontologies of the Innovative}
On the Edge of the Avant-Garde

• Grace Correa (City University of New York, USA):
  What else is old?: Questioning the Paradigm of "The New" from a Symbolist Ecocritical Perspective
• Helen E. Richardson (City University of New York, USA):
  The Avant-Garde in the Age of Globalization
• Miriam Drewes (LMU Munich, Germany):
  The Tradition of the New: On the Relation between Production and Innovation in Film and Theatre

^{Room 6
MP: Pasts of Modernity}
A Pre-History of Modern Theatre

Chair: Hans-Peter Bayerdörfer (LMU Munich, Germany)

• Meike Wagner (LMU Munich, Germany):
  Adumbrations of Modernity. Theatre and Media History in 19th-Century Germany
• Julia Stenzel (LMU Munich, Germany):
  Modelling Modern Public Spheres. Performances of the Athenian Polis in Vor- and Nachmaerz Germany
• Jan Lazardzig (Free University Berlin, Germany):
  "Noise Police". Theatre Censorship in Early 19th-Century Germany

^{Room 7
MP: Theatre and Technological Innovation}
Stage Innovations and Modern Mise-en-Scène

Chair: Ralf Remshardt (University of Florida, USA)

• Zoltan Imre (Eötvös Loránd University, Hungary):
  Modernity, Visuality, and Theatre: A Debate over a 1883 Tragedy of Man–Mise-en-Scène at the Hungarian National Theatre
• Annemarie Fischer (LMU Munich, Germany):
  Modernity and Revolution – Ernst Toller
• Kurt Taroff (Queen's University Belfast, UK):
  Screens, Closets, and Echo-Chambers of the Mind: The Struggle to Represent the Stream of Consciousness on Stage

^{Room 8
MP: Performance as Research (WG)}
Exhausting Modernity – Repetition, Time and Generative Processes

Chair: Anna Birch (Royal Scottish Academy of Music and Drama, UK)

• Annette Arlander (Theatre Academy, Helsinki):
  Exhausting Modernity – Repetition and Time in the Year of the Ox
• Baz Kershaw (University of Warwick, UK):
  "Don't do that again!" Failure and Entailment in Performance Practice-as-research
• Mark Fleishman (University of Cape Town, South Africa):
  The Difference of Performance as Research

_{There are 14 Main Programme Topics:
Beyond Words / Composing the Modern / Genealogies and Legacies /
Global Theatre History / Modern Bodies, Modern Techniques / Modernism Abroad /
Modernism and Gender / Modernism and Popular Culture /
Modernization of Theatre Institutions / Ontologies of the Innovative /
Pasts of Modernity / Theatre and Technological Innovation /
Theatre for Development / Transitions from Modernism to Postmodernism}