Day 6 / Friday, July 30, 1.30 - 3.00 pm

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

^{Room 1 (A 125)
MP: Genealogies and Legacies}
Avant-Garde Corporealities

Chair: Stefanie Diekmann (LMU Munich, Germany)

• Nina Hein (American University, Dubai):
  Strategies of Representing the Body in the Historical Avant-Garde
• Wolf-Dieter Ernst (University of Bayreuth, Germany):
  Institutions and the Energetic Body. The Foundation of Acting Schools Around 1900 as a Reflection of Modernity
• Christine Hamon-Sirejols (Université de Paris III, France):
  Utopies Théâtrales et Courants Spiritualistes (1880-1930)

^{Room 2 (A 120)
MP: Modernism Abroad}
Brecht Revisited

Chair: Paola Botham (University of Worcester, UK)

• Hye-Gyong Kwon (Dongseo University, South Korea):
  The Influence of Bertolt Brecht on Korean Mask Play "Madang-Nori" under the Military Dictatorship in South Korea
• Ming Chen (Kennesaw State University, USA):
  The Paradox of Old and New: Epic Theatre and Beijing Opera on Modern Stage
• Rantimi Julius-Adeoye (Redeemer's University, Nigeria / University of Leiden, Netherlands):
  Womanhood and Modern Domestic Terrorism: A Study of Brecht's Mother Courage and Her Children and Yerima's Little Drops

^{Room 3 (A 119)
Film Presentation & Screening}
The Dybbuk: Between Two Worlds (Part 1)

Zvika Serper (Tel Aviv University, Director, Israel):
A Presentation and Screening of The Dybbuk: Between Two Worlds by S. Ansky. An Israeli Production using Traditional Japanese Theatre Aesthetics (in Hebrew with English Subtitles, 120 min.; with a short Introduction, followed by a Q&A Session)

^{Room 4 (A 016)
MP: Beyond Words}
Text Beyond Performance – Performance Beyond Text

Chair: Hanna Korsberg (University of Helsinki, Finland)

• Avra Sidiropoulou (Aristotle University of Thessaloniki / University of Peloponnese, Greece):
  The Stage Claiming the Text: Neo-Dramatic Writing and the Legacy of Beckett's "Performance Plays"
• Cate Clelland (Australian National University, Australia):
  Exploring Tennessee Williams' Notion of "Plastic Theatre"
• A. Gabriela Ramis (University of Washington, USA):
  Where is the Playwright? Where is the Play Script?: Odin Teatret, Teatro de los Sentidos and Compagnia Pippo Delbono

^{Room 5 (A 014)
MP: Composing the Modern}
Musical and Visual Concepts of (Post)Modernity

Chair: Nicholas Till (University of Sussex, UK)

• Monika Woitas (Ruhr University Bochum, Germany):
  Composing Modern Life. Urbanism and Musical Concepts in Petruschka (1911) and Parade (1917)
• Anno Mungen (University of Bayreuth, Germany):
  Music Iconography of Modernity: From the Weimar Republic to Nazi Germany and Beyond
• Mercé Saumell (Institut del Teatre de Barcelona, Spain):
  La Atlántida. Restoring a Nurtured Project

^{Room 6 (A 021)
MP: Pasts of Modernity}
Tradition – Modern China and the West

Chair: Michael Gissenwehrer (LMU Munich, Germany)

• Christine J.C. Chou (Chinese Culture University, Taiwan):
  Undigested Modernity in China
• Zhiyong Zhao (Central Academy of Drama, China):
  The Staging of China's Alternative Modernization: Insights from Lao She's Plays at Beijing People's Art Theatre
• Yinan Li (Central Academy of Drama, China):
  Tradition? Modernization? Culture? – Retrospective Reflections on the Innovations of Theatre during the 4th May Period

^{Room 8 (M 110)
MP: Transitions from Modernism to Postmodernism}
Sites and Spaces of (Post)Modernity

Chair: Barbara Lewis (University of Massachusetts, USA)

• Loren Kruger (University of Chicago, USA):
  Urban Form, Performance and Uncivil Modernity
• Joanne Tompkins (University of Queensland, Australia):
  Spatialising Modernity in And While London Burns
• Ralph Fischer (University of Vienna, Austria):
  Walking Postmodernism: Walking Performance as a Postmodern Counter Culture against the Kinetic Excess of Modernism

_{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}