Agenda

Ca' Foscari Series
3.11, Ten Years on: Reflections on Contemporary Japan after the Great East Japan Triple Disaster
PhD in Asian and African Studies

Shintarō Fujii (Waseda University, Tokyo)
On Romeo Castellucci's The Phenomenon Called I (2011), Created in the Wake of the Great Earthquake in Eastern Japan

Peter Eckersall (The Graduate Center, CUNY)
Okada Toshiki’s Laboratory for an Ecological Theatre The Eraser Series (2020-21)

Discussant:
Katja Centonze (Ca’Foscari University of Venice)

Peter Eckersall is Professor and Executive Officer in the PhD program in Theatre and Performance at the Graduate Center, City University of New York and is a Professorial Fellow, University of Melbourne.  He is coeditor of Okada Toshiki and Japanese Theatre, with Andreas Regelsberger, Barbara Geilhorn, and Cody Poulton (out in October 2021 with Performance Research Books).  Other publications include: Machine Made Silence (ed. with Kristof van Baarle, 2020), The Routledge Companion to Theatre and Politics (ed. with Helena Grehan, 2019), New Media Dramaturgy (co-authored with Helena Grehan and Ed Scheer, 2017), and Performativity and Event in 1960s Japan (2013). He was co-founder/dramaturg of Not Yet It’s Difficult.  Recent dramaturgy includes: Everything Starts from a Dot (Sachiyo Takahashi, LaMama), Phantom Sun/Northern Drift (Alexis Destoop, Beursschouwburg, Riga Biennial).  

Shintarō Fujii is Professor in Theatre Studies at Waseda University, since 2002. He specialises in contemporary performing arts and cultural policy supporting them, with a focus on francophone countries and Japan. He now directs a French-Japanese research project on the idea of “public” (both noun and adjective) in theatre in the history and today's changing society. He writes extensively in Japanese, English and French. He has been the editor or co-editor of Alternatives théâtrales, numéro hors-série, “Scène contemporaine japonaise” (Brussels, 2018); The Dumb Type Reader (Museum Tusculanum Press, 2017); Théâtre/Public, n^o 198, “Scènes françaises, scènes japonaises: allers-retours” (2010); Creative Forces in the Postdramatic Age (Hakusuisha, 2014); Arts and Their Environment (Ronsōsha, 2012); and Keywords in Theatre Studies (Perikansha, 2007), among others. He also translates theoretical texts and plays, such as Qu'est-ce que le théâtre? by Christian Biet and Christophe Triau (co-translation, Kokusho-kankōkai, 2009), Incendies (2012) and Littoral (2017) by Wajdi Mouawad and La Demande d'emploi (2001) by Michel Vinaver (all performed at Setagaya Public Theatre). 

Registration is required at the following Zoom Link

Photo credits: Installation “Sansen sōmoku” (2011) by Ozeki Ritsuko, Azabujūban Gallery. Photo: Ozeki Ritsuko.

For abstracts see poster in attachment.