ucuz ukash

T. Nikki Cesare Schotzko

T. Nikki Cesare Schotzko
Assistant Professor
Critical Acts Editor, TDR: The Drama Review

Email: cesare.schotzko@utoronto.ca
Website: http://www.cesareschotzko.com/
http://utoronto.academia.edu/TNikkiCesareSchotzko

Office: University College, Room E101
Office hours: by appointment. Click here to schedule an appointment.

Degrees

Ph.D., 2008; M.A., 2001; Performance Studies, New York University
M.A., 2000; Double Bass Performance, Hartt School
B.A. with highest honors, B.M., 1999; English, Double Bass Performance, Oberlin College

Biography

Major Interests: performance art; experimental performance and avant-garde theatre; music-theatre; intermedial performance; feminism and phenomenology; intersections with popular culture

Affiliations: Performance Studies international; Canadian Association for Theatre Research; American Comparative Literature Association; Toronto Performance Studies Working Group

Fellowships/Honors: Fellow, The Mellon School of Theatre Performance and Research at Harvard University; Michael Kirby Memorial Prize for Distinguished Doctoral Dissertation

Current Projects

Learning How to Fall: Art and Culture after September 11, forthcoming in 2015 from Routledge and funded by a generous Connaught New Researcher Award, engages the changing relationship between world events and their subsequent documentation in both artistic and news media. The objective of this book is to examine how today’s ubiquitous modes of technological (in particular, digital) reproduction- of events, of information, and of misinformation – effect a theatricalized understanding of real-world events. Positing contemporary theatre and performance as not only a stylized re-envisioning of daily life but, inversely, as a viable means by which one experiences and processes the significant events within social and political life, this project combines two concurrent if somewhat contradictory trends in aesthetics, narrative, and dramaturgy:

  1. the dramatization of real-world events so as to broaden commercial appeal in both mainstream and alternative media;

  2. the establishment of a more holistic relationship between politically and aesthetically motivated modes of disseminating and processing information.

Implicated in both trends is the study of an ethics of information: that it is not the information itself but rather the context, mode, and manner of its dissemination that defines the social and political parameters of the event it divulges.

The Future of Cage: Credo is a SSHRC– and Jackman Humanities Institute–funded project that involves a major international conference, hosted by the University of Toronto’s Centre for Drama, Theatre, and Performance Studies, in October 2012, and a forthcoming collection of essays that functions as both a celebration of John Cage, one hundred years after his birth, and an opportunity to explore Cage’s influence on music, writing, performance, and critical scholarship. Fundamental to the development of innovations in performance art, contemporary music, graphic notation, audience reception, and theories of social practice, Cage remains one of the most, if not the most, influential figures in twentieth- and twenty-first-century art and performance. Such a legacy necessarily resonates beyond any single artistic or historical trajectory, and The Future of Cage: Credo explores not only Cage’s output, both artistic and philosophical, but its after-effects through a variety of fields, genres, and modes of presentation.

Recent Publications

1. Book Chapters

forthcoming “If not falling then flying: Falling Man, Terminal Velocity, and the Politics of Witnessing.” In Iconoclasm: The Making and Breaking of Images, edited by Rachel Stapleton and Antonio Viselli.

2010 “Pity and Fear: Performing Iannis Xenakis’s Psappha” (with David Schotzko). In Performing Xenakis, edited by Sharon Kanach, 203–18. New York: Pendragon Press.

2. Edited Journal Issues

2015 “Performing Products: When Acting Up Is Selling Out.” Guest Editor, with Isbael Stowell-Kaplan (DC) and Didier Morelli (Northwestern  U). Special issue. CTR 161, 1.

2010 “Caught Off-Garde: New Theatre Ensembles from NYC (mostly).” Guest Editor, with Mariellen R. Sandford. Special Issue, TDR 54, 4 (T208).

3. Peer-Reviewed Articles

2013  “To Carry the Archive with Us: The Multi-Burdened Crawls of William Pope.L and Didier Morelli.” CTR 156: 52-57

2011 “‘Barack Me Tonight’: Re-Sounding Politics via the Interweb.” Performance Research 16, 2:105–112.

2010 “‘Comedy, Truth, and, like, Real Shit’: Derek Ahonen, the Amoralists, and the Well-Made Play.” TDR Caught Off-Garde: New Ensemble Theatre in NYC (mostly) Special Issue 54, 4 (T208): 175–87.

2010 “To Avant or Not to Avant: Questioning the Experimental, the New, and the Potential to Shock in the New Garde” (with Mariellen R. Sandford). TDR Caught Off-Garde: New Ensemble Theatre in NYC (mostly) Special Issue 54, 4 (T208): 7–10.

4. Non Peer-Reviewed Articles

2015 “A Sufficiently Advanced Racket: Performance on the Margins of Art and Commerce.” CTR Performing Products: When Acting UP is Selling Out Special Issue.

2010 “‘Comedy, Truth, and, like, Real Shit’: Derek Ahonen, the Amoralists, and the Well-Made Play.” TDR Caught Off-Garde: New Ensemble Theatre in NYC (mostly) Special Issue 54, 4 (T208): 175-87.

2010 “To Avant or Not to Avant: Questioning the Experimental, the New, and the Potential to Shock in the New Garde” (with Mariellen R. Sandford). TDR Caught Off-Garde: New Ensemble Theatre in NYC (mostly) Special Issue 54, 4 (T208): 7-10

5. Performance Reviews

2014 “Guillermo Gomez-Pena and Gutavo Vazquez: Homo Fonterizus: Recent performance video works 2008-2011.” Routledge performance Archive, http://www.routledgeperformancearchive.com

2013 “Guillermo Gomez-Pena: Il Cuerpo Politico: Trimming One’s Identity (Ethno-Techno): Identity Crisis: Bi-National Boxer (Ethno-Techno); Identity Crisis: El Machoman in Two Takes (Ethno-Techno).” Routledge Performance Archive, http://www.routledgeperformancearchive.com

6. Book Reviews

2014 “Conversations across Borders: A Performance Artist Converses with Theorists, Curators, Activists, and Fellow Artists, by Guillermo Gomez-Pena and Laura Levin, ed.” New Theatre Quarterly 30, 2:199-200.

2013 “The Tragically Hip: The Politics and Poetics of Contemporary English Tragedy, by Sean Carney.” CTR 156: 80-81

2012 “Performing Remains: Art and War in Times of Theatrical Reenactment, by Rebecca Schneider.” Modern Drama 55, 2:283-85.

2011 “The DbD Experience: Chance Knows What It’s Doing, by Rachel Rosenthal.” TDR 55, 4 (T212): 17-72

2010 “Tehching Hsieh: One Year Performance: Art Documents 1978-1999, by Tehching Hsieh (DVD).” TDR 54, 2 (T206): 176-78

Creative Practice

2012 Dramaturge, Botched (world premiere), by Colleen Osborn. Toronto Fringe Festival, Toronto, Ontario.

2012 Dramaturge, Quad I and II, by Samuel Beckett, with projections by Vojin Vasovic (CDTPS MA alumnus); dancers:
Steph Bernston (CDTPS PhD student), Jenn Cole (CDTPS PhD student), Myrto Koumarianos (CDTPS MA alumnus), Didier Morelli (CDTPS MA student); percussionists: Alejandro Cespedes (Faculty of Music), Michelle Colton (FoM), David Schotzko, Jonathan Smith (FoM); stage manager Myrto Koumarianos. Walter Hall, Faculty of Music, University of Toronto, Toronto, Ontario.

2011 Director and Dramaturge, Au dela d’une étude pour percussion, music by Vinko Globokar, performed by David Schotzko. The Music Gallery, Toronto, Ontario.

2010 Director, Gold Ocean (world premiere), music and text by Du Yun and Ken Ueno. The Flea, New York, New York.

2006 Dramaturge and Sound Design, Eva Perón en la hoguera, by Leónidas Lamborghini, dir. Marsha Gall. Dixon Place, New York, New York.

2005 Dramaturge, Zolle, song cycle with narrator, music and text by Du Yun, dir. Lydia Steier, performed by the International Contemporary Ensemble. PS 122, New York, New York.

2005 Dramaturge, Eight Songs for a Mad King, music by Sir Peter Maxwell Davies, text by Randolph Stow, dir. Lydia Steier, performed by the International Contemporary Ensemble. Teatro Campo, Morelia, Mexico; Columbia College, Chicago, Illinois; PS 122, New York, New York; International Tour.

3. Papers Presented

2014 Hemisperic Institute Encuentro. “Not Yet Finished, Never Yet Begun: Aliza Shvarts, the Girl from West Virginia, and the performance of Documentation.” Tactical Media: Steps Towards Interruption, Community, Autonomy Work Group. Concordia University, Montreal, Quebec.

2014, Canadian Association of Theatre Research. “Money Talks, Again… Again: Performance on the Margins of Art and Commerce.” Brock University, St. Catherines, Ontario

2014, Canadian Association of Theatre Research. “This is the Time, And This is the Record of the Time.” Performance History: The Challenge of Setting Boundaries Working Group. Brock University, St. Catherines, Ontario.

2014 American Comparative Literature Association. “Money Talk, Again Again… and Dances with Jay Z.” New York University, New York, New York.

2013 Performance Studies international. “‘Speaking Truth to Stupid’: Episode 5/1 and the Reassignment of Truth.” Stanford University, Palo Alto, California.

2013 American Comparative Literature Association. “Measuring the Space between Bodies: Didier Morelli’s Five Dollar Crawl after William Pope.L and Douglas Gordon and Philippe Parreno’s Zidane, A 21st Century Portrait.” University of Toronto, Toronto, Ontario.

2013 The Festival of Original Theatre. “How Time Flies: Vojin Vasovic’s 5 Minutes Each and the Chronometry of Falling.” University of Toronto, Toronto, Ontario.

2012 Performance Studies international. “The Untruth of Style: From Abramovic to Bradshaw and Back Again.” Leeds University, Leeds, England.

2012 History, Memory, Performance. “An Untrustworthy Discourse: Aliza Shvarts and the Performance of Documentation.” University of Ottawa, Ottawa, Ontario.

2012 (An)Aesthetic of Absence. “Detritus, Decomposition, and Deconstruction: Things that Disappear.” University of Toronto, Toronto, Ontario.

2012 The Affect Factory. “‘Don’t Be a Drag, Just Be a Queen’: What It Means ‘To Be’ on Planet Gaga.” New York University, New York, New York.

2011 American Society of Theatre Research. Economies of Theatre. Working Session: Virtuosity. “Unscoring Performance: Music beyond Notation, Audition beyond Tradition; or, Is Laughter Preferable to Tears?” Montreal, Quebec.

2011 Performance Studies international. “The Artist is Missed: Liveness in an HD World.” Utrecht University, Utrecht, The Netherlands.

2011 Staging Sustainability. “Kidnapping Water: Bottled Water as Post-Catastrophic Performance” (with Byron Au Yong). York University, Toronto, Ontario.

2011 Iconoclasm: The Breaking and Making of Images. “If not falling, then flying: Richard Drew’s Falling Man, Carolee Schneeman’s Terminal Velocity, and the Politics of Witnessing.” University of Toronto, Toronto, Ontario.

2010 Performance Studies international. “‘Barack Me Tonight’: Re-Sounding Politics via the Interweb.” York University and OCAD, Toronto, Ontario.

2009 Festival of Original Theatre: Exquisite Corpses, Bloody Bodies: Murder, Myth, and Representations of Violence on Stage and Screen. “The Aestheticization of Reality: Affective Violence in Postmodern Performance.” University of Toronto, Toronto, Ontario.

2008 Is an Interdisciplinary Field of Memory Studies Possible? “Representation, Repetition, and Reperformance: A Temporal Stutter in Performance Art History” (Revised). New School for Social Research, New York, NY.


RSS
şahin k porno
Farkli porno izle me siteleri
escort fatih escort bayan bayan escort escort