Re/Presentation of Trauma: Roundtable Discussion

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Thursday, October 24 at 5:00pm
Adams Humanities, Room 2116

Join Adam John Manley, D.J. Hopkins, Shelley Orr, Arzu Ozkal, and Alison Urban for a series of speed research presentation on the ways that trauma is represented in art, memorials, museums, and performances.

• How do we mark traumatic events?
• When the scale of trauma exceeds our ability to understand it, how do we respond?

Join us for a roundtable discussion with a reception to follow.

Presented by SDSU’s Center for the Study of Media and Performance

SDSU Presents THE FULL MONTY

THE FULL MONTY opened on Thursday, April 21, exploring the subjects of unemployment, masculinity, body image, and the underdog coming out on top.

The show runs from April 21 to April 30. Get your ticket online, and enjoy the 10-time Tony Award nominated musical based on the cult film of the same name!

Need more persuasion? Follow SDSU The Full Monty on WordPress for overview about the show and interviews with the cast and production team.

 

Hollywood Bound: Performance for Social Justice with CSU-Northridge Performance Ensemble

The Center for the Study of Media and Performance (CSMP) was proud to co-host a SDSU Common Experience Event, “Hollywood Bound.”

The event was a three-day narrative workshop leading up to a final student performance led by CSU-Northridge Performance Ensemble. Together with Dr. Kurt Lindemann’s Communication class, Dr. Jeanine Minge and the Performance Ensemble investigated the ways sexism, classism, racism, and heterosexism are mapped on the bodies of those participating in the entertainment industry.

Interview with Kurt Lindemann, PhD

Professor Kurt Lindemann, PhD, is the Director of the Center for the Study of Media and Performance (CSMP). He also serves as the Director of Graduate Study in the Communication Department at San Diego State University (SDSU). His teaching interests include performance studies, ethnography, critical theory, and organizational communication.His work focuses on communicative performances of identity in organizational and mediated contexts, and he has adapted his research on men’s narratives of grief for stage in numerous performance venues.

The following is a short interview with Dr. Lindemann about his work and teaching at SDSU. (For the purpose of brevity, the interviewer’s questions have been abbreviated.)

EVENT: Talk with Sarah Bay-Cheng, PhD

The Center for the Study of Media and Performance is excited to announce that guest speaker Dr. Sarah Bay-Cheng will be holding a seminar at SDSU on November 14, 2016 at 3:30pm-5:30pm in LARC’s Multimedia Computer lab, Room 204!

This special event is FREE. Seating is limited to 30 people.

RESERVATIONS REQUIRED
Reserve your seats HERE, or contact sdsucsmp@gmail.com with your name, and number of attendees if more than one.

Sarah Bay-Cheng is Chair and Professor of Theater and Dance at Bowdoin College, where she teaches theater history and theory, dramatic literature, and intermedia performance.  Her research focuses on the intersections among theater, performance, and media including cinema history, social media, and digital technologies in performance. Recent publications includePerformance and Media: Taxonomies for a Changing Field (2015) and Mapping Intermediality in Performance (2010) as well as essays in Theater,Contemporary Theatre Review, and Theatre Journal, among others. She currently co-edits the Palgrave book series, Avant-Gardes in Performancewith Martin Harries and is a co-host for On TAP: A Theatre and Performance Studies podcast. Bay-Cheng frequently lectures internationally and in 2015 was a Fulbright Visiting Professor at Utrecht University in the Netherlands. She has served on the boards of Performance Studies international and the Association for Theatre in Higher Education, and she contributes to several editorial and advisory boards. Bay-Cheng has also worked as a director and dramaturg with particular interest in intermedial collaborations and a fondness for puppetry.

Seminar Description:

Computer technologies have impacted nearly every area of history and historiography. As Steve Anderson wrote in 2011, “Just as the emergence of the photographic apparatus altered nineteenth-century perceptions of the world, increasingly powerful digital tools for storing, retrieving, and combining historical information now impact the way the past is conceived and reconstructed” (Technologies of History, 2011). Such pronouncements seem all the more significant in the domain of theater and performance history, where recordings of 20th- and 21st-century performances offer a form of theater history not previously accessible. This seminar invites students to take stock of these changes in their own work. What does it mean to “do” theater history digitally? How have digital technologies shaped contemporary historiography? As theater and dance makers and performance artists of all types, how does one create work in light of a digital record?

For more information about Sarah Bay-Cheng, PhD, visit her website sarahbaycheng.net.

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