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.
Reserve your seats HERE, or contact email@example.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.
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.