Day 5 / Thursday, July 29, 5.00 - 6.30 pm

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

^{Room 1 (A 125)
MP: Genealogies and Legacies}
Legacies of the Avant-Gardes

Chair: Michael Bachmann (University of Mainz, Germany)

• Ulla Kallenbach (University of Copenhagen, Denmark):
  Imagining Absence
• Inmaculada Lopez Silva (Escola Superior de Arte Dramatica de Galicia, Spain) and Azucena Gonzalez Blanco (University of Granada, Spain):
  Artaud's Cruelty in Lars von Trier's Anticristo: Deconstructing Catharsis and Performing Arts
• James M. Harding (University of Mary Washington, USA):
  Cold War Legacies and Clandestine Performances. The Modernist Aesthetics of Truth and Deception in Espionage Theatre

^{Room 2 (A 120)
MP: Theatre for Development}
Theatre for Development in African Countries

Chair: Sara Granath (Sodertorn University College, Sweden)

• Veronica Baxter (University of Warwick, UK):
  Efficacy and Optimism in Applied Theatre
• Olubunmi Julius-Adeoye (Redeemer's University, Nigeria):
  Theatre for Development and Nigeria's Rebranding Project
• Julius Heinicke (Humboldt University Berlin, Germany):
  Performing for Democracy and "Political Modernization" – Sociopolitical Aspects of Theatre Plays in Contemporary Zimbabwe

^{Room 3 >>> Room 9 (A 022)
MP: Modern Bodies, Modern Techniques}
From Modern(ist) to Contemporary Choreography

Chair: Miriam Drewes (LMU Munich, Germany)

• Katja Schneider (LMU Munich, Germany):
  No Dance, No Music, No Costume, No Dancers in the Society of the Spectacle
• Sabine Kim (University of Mainz, Germany):
  Writing Histories, Reading Systems: William Forsythe's Decreation of Power

^{Room 4 (A 016)
MP: Modernization of Theatre Institutions}
"Moments in Modernity": The Arts Council of Great Britain and The 1951 Festival of Britain

Chair: Bianca Michaels (LMU Munich, Germany)

• Kate Dorney (University of Reading, UK):
  "The Autobiography of the Nation": The Festival of Britain and the Construction of History
• Graham Saunders (University of Reading, UK):
  "Prizes for Modernity in the Provinces": The Arts Council's 1950-51 Regional Playwriting Competition
• John Bull (University of Reading, UK):
  "An Experiment Far in Advance of its Time, a Wild Landscape of the Mind": Attempting Modernity in a Non-Modernistic Theatre

^{Room 5 (A 014)
MP: Ontologies of the Innovative}
Transgressing Boundaries

Chair: Avraham Oz (University of Haifa, Israel)

• Christine Matzke (Humboldt University Berlin, Germany):
  The Flaneur in Asmara: Modernist Innovations in Beyene Haile's Play Weg'i Libi (2008)
• Tanya van der Walt (Durban University of Technology, South Africa) and
  Tamar Meskin (University of KwaZulu-Natal, South Africa):
  FrontLines: Traversing the Modern and the Post-modern through History and/in Theatre

^{Room 6 (A 021)
MP: Pasts of Modernity}
Ancient Places – Modern Spaces

Chair: Julia Stenzel (LMU Munich, Germany)

• Athanasios Blesios (University of Peloponnese, Greece):
  Appropriating the Past: The Use of the Acropolis and the Pantheon in Modern Greek Theatre and Poetry
• Raffaele Furno (Independent Scholar, Italy):
  Italian Musical Comedy and the Reconfiguration of Tradition
• Rebecca Free (Goucher College, USA):
  Célimène's Modernity: Role, Type, and Tradition

^{Room 8 (M 110)
MP: Transitions from Modernism to Postmodernism}
Theorizing (Post)Modern Performance

Chair: Stefanie Diekmann (LMU Munich, Germany)

• Eve Katsouraki (East London University, UK):
  Aesthetic - Anti-Aesthetic in Reverse
• Piotr Woycicki (Lancaster University, UK):
  Post-cinematic Performance and the "Causal Turn"

_{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}