Friday the 19th of November
10.am Registration and Tea/Coffee
10.30 Welcome address
(Great Hall)
11.am Parallel sessions A and B
( University Square)
A. Painters and the Theatre: Interactions and Exchanges
a. Jill Fell (Birkbeck College, London), ‘The Théâtre des Nabis and the Théâtre des Pantins.’
b. Clément Dessy (FNRS, Université Libre de Bruxelles) ‘Comme l’arabesque’: De la ligne picturale à la ligne théâtrale dans les rapports entre peinture synthétiste et théâtre à la fin du XIXe siècle.’
c. Camille Racine (Paris IV, La Sorbonne), ‘Un peintre au théâtre: Les décors de George Desvallières pour le Théâtre des Arts.’
B. Performance and Society
a. Patricia Smyth (University of Nottingham), ‘Representing Authenticity: Delaroche and Marie Dorval.’
b. Rebecca Free (Goucher College, Baltimore), ‘Seeing through the Coquette: Fan, Fashion and Célimène in Early 20th-century France.’
1.pm lunch
(Great Hall)
2.15 pm Plenary 1.
Laurence Senelick (Tufts University), ‘The Century of Offenbach.’
3.30 pm Coffee/Tea
4.pm Parallel sessions C and D.
(University Square)
C. Representation and the Stage
a. Karen Stock (Winthrop University), ‘Degas’ and Zola’s piercing of the veil.’
b.Maria Athanesekou (National Technical University, School of Architecture, Athens), ‘Degas’ representations of the Stage – A ballerina’s journal in painting.’
c. Andrei Pop (University of Vienna), ‘Masks, Modernity, Egoism: The St. Anthony of James Ensor and Maurice Maeterlinck.’
D. Puppets and pantomimes
a.Séverine Reyrolle (Université de Paris X, Nanterre), ‘Le petit théâtre à l’assaut du grand ou de l’importance des castelets franco-belges dans les avant-gardes théâtrales.’
b.Josephine Landback (University of Pittsburgh), ‘Interface : Champfleury and Pierrot at the theatre des Funambules, 1847.’
c.Cosimo Chiarelli (University of Pisa), ‘Charles Deburau, Pierrot photographe. La photographie et la pantomime face à la modernité.’
6.pm Wine reception
(Naughton Art Gallery)
10.30 Welcome address
(Great Hall)
11.am Parallel sessions A and B
( University Square)
A. Painters and the Theatre: Interactions and Exchanges
a. Jill Fell (Birkbeck College, London), ‘The Théâtre des Nabis and the Théâtre des Pantins.’
b. Clément Dessy (FNRS, Université Libre de Bruxelles) ‘Comme l’arabesque’: De la ligne picturale à la ligne théâtrale dans les rapports entre peinture synthétiste et théâtre à la fin du XIXe siècle.’
c. Camille Racine (Paris IV, La Sorbonne), ‘Un peintre au théâtre: Les décors de George Desvallières pour le Théâtre des Arts.’
B. Performance and Society
a. Patricia Smyth (University of Nottingham), ‘Representing Authenticity: Delaroche and Marie Dorval.’
b. Rebecca Free (Goucher College, Baltimore), ‘Seeing through the Coquette: Fan, Fashion and Célimène in Early 20th-century France.’
1.pm lunch
(Great Hall)
2.15 pm Plenary 1.
Laurence Senelick (Tufts University), ‘The Century of Offenbach.’
3.30 pm Coffee/Tea
4.pm Parallel sessions C and D.
(University Square)
C. Representation and the Stage
a. Karen Stock (Winthrop University), ‘Degas’ and Zola’s piercing of the veil.’
b.Maria Athanesekou (National Technical University, School of Architecture, Athens), ‘Degas’ representations of the Stage – A ballerina’s journal in painting.’
c. Andrei Pop (University of Vienna), ‘Masks, Modernity, Egoism: The St. Anthony of James Ensor and Maurice Maeterlinck.’
D. Puppets and pantomimes
a.Séverine Reyrolle (Université de Paris X, Nanterre), ‘Le petit théâtre à l’assaut du grand ou de l’importance des castelets franco-belges dans les avant-gardes théâtrales.’
b.Josephine Landback (University of Pittsburgh), ‘Interface : Champfleury and Pierrot at the theatre des Funambules, 1847.’
c.Cosimo Chiarelli (University of Pisa), ‘Charles Deburau, Pierrot photographe. La photographie et la pantomime face à la modernité.’
6.pm Wine reception
(Naughton Art Gallery)
Saturday the 20th of November - Drama and Film Centre
9.30am Parallel Sessions E and F
(Screen 1 / Rehearsal Room)
E. Staging and the Visual: Costumes, Sets and Mise-en-Scène
a. Cécilia Falgas-Ravray (University of Cambridge), ‘Staging Les Misérables : The Triumph of Visual Theatre.’
b. Katherine Hoffman (St. Anselm College), ‘The Early World of the Ballets Russes: The Role of Interdisciplinary Collaboration.’
F. Le Tableau Vivant
a. Daniela Peslin (Université de Paris III, La Sorbonne Nouvelle), ‘Les tableaux vivants dans le travail théâtral de Georg II.’
b. Arnaud Rykner (Université de Toulouse/Institut Universitaire de France), ‘A la recherche de l’image absolue : le tableau vivant au carrefour des scènes.’
11.am Coffee/Tea
11.30 Plenary 2
(Brian Friel Theatre)
Patrick McGuinness (St. Anne’s College, Oxford), ‘Symbolism and the Idea of an Audience.’
1.pm Lunch
(Foyer, DFT)
2.pm Parallel sessions G and H
(Screen 1 / Rehearsal Room)
G. Text/Image Collaborations and Inspirations
a. Xavier Fontaine (Princeton University), ‘The bibliophile’s Book as Theatrical Performance : Pelléas et Mélisande illustrated by Fernand Khnopff.’
b.Mokomo Fukada (University of Tokyo/Université de la Sorbonne), ‘Le dialogue avec Réjane dans l’œuvre de Marcel Proust.’
c. Marcela Pozarek (Wirth Institute, University of Alberta) ‘La Femme fatale absolue: The cultural phenomenon of Salome and its manifestation in visual arts, drama and literature.’
H. Documenting the Stage
a. Merel van Tilburg (University of Geneva) ‘Art Works or The Visual Evidence of Symbolist Theatre’
b. Jason Vrooman, (Institute of Fine Arts, New York University) ‘Gentlemen and Journeymen. Representations of Masculinity in Nabi Theatrical Programmes.’
c. Sandra Bornemann (Institute of Art History, University of Bern), ‘Interior and Stage: Interaction of Painting and Theatre in Edouard Vuillard’s work.’
3.30 Tea/Coffee
4. pm Session I
Session I. Aesthetics, Genre and Spectacle
a.Vladimir Kapor (University of Manchester), ‘Couleur locale: between stage and text.’
b.Olivia Voisin (Paris IV, La Sorbonne), ‘L’image spectacle dans un fauteuil: la naissance d’un genre pictural.’
c.Karen Humphreys (Trinity College, Hartford) ‘Scenettes, pantominades and intermèdes with Barbey d’Aurevilly and Mlle Duverger : Spectating in the Théâtre de la Gaité and Le Gaulois
5.30.pm Concluding discussion
7.pm Conference Dinner
(Screen 1 / Rehearsal Room)
E. Staging and the Visual: Costumes, Sets and Mise-en-Scène
a. Cécilia Falgas-Ravray (University of Cambridge), ‘Staging Les Misérables : The Triumph of Visual Theatre.’
b. Katherine Hoffman (St. Anselm College), ‘The Early World of the Ballets Russes: The Role of Interdisciplinary Collaboration.’
F. Le Tableau Vivant
a. Daniela Peslin (Université de Paris III, La Sorbonne Nouvelle), ‘Les tableaux vivants dans le travail théâtral de Georg II.’
b. Arnaud Rykner (Université de Toulouse/Institut Universitaire de France), ‘A la recherche de l’image absolue : le tableau vivant au carrefour des scènes.’
11.am Coffee/Tea
11.30 Plenary 2
(Brian Friel Theatre)
Patrick McGuinness (St. Anne’s College, Oxford), ‘Symbolism and the Idea of an Audience.’
1.pm Lunch
(Foyer, DFT)
2.pm Parallel sessions G and H
(Screen 1 / Rehearsal Room)
G. Text/Image Collaborations and Inspirations
a. Xavier Fontaine (Princeton University), ‘The bibliophile’s Book as Theatrical Performance : Pelléas et Mélisande illustrated by Fernand Khnopff.’
b.Mokomo Fukada (University of Tokyo/Université de la Sorbonne), ‘Le dialogue avec Réjane dans l’œuvre de Marcel Proust.’
c. Marcela Pozarek (Wirth Institute, University of Alberta) ‘La Femme fatale absolue: The cultural phenomenon of Salome and its manifestation in visual arts, drama and literature.’
H. Documenting the Stage
a. Merel van Tilburg (University of Geneva) ‘Art Works or The Visual Evidence of Symbolist Theatre’
b. Jason Vrooman, (Institute of Fine Arts, New York University) ‘Gentlemen and Journeymen. Representations of Masculinity in Nabi Theatrical Programmes.’
c. Sandra Bornemann (Institute of Art History, University of Bern), ‘Interior and Stage: Interaction of Painting and Theatre in Edouard Vuillard’s work.’
3.30 Tea/Coffee
4. pm Session I
Session I. Aesthetics, Genre and Spectacle
a.Vladimir Kapor (University of Manchester), ‘Couleur locale: between stage and text.’
b.Olivia Voisin (Paris IV, La Sorbonne), ‘L’image spectacle dans un fauteuil: la naissance d’un genre pictural.’
c.Karen Humphreys (Trinity College, Hartford) ‘Scenettes, pantominades and intermèdes with Barbey d’Aurevilly and Mlle Duverger : Spectating in the Théâtre de la Gaité and Le Gaulois
5.30.pm Concluding discussion
7.pm Conference Dinner
For registration details, please contact: Dr. Claire Moran, (c.moran@qub.ac.uk)
French Studies,
10 University Square,
Queen's University Belfast
Belfast BT7 1NN
10 University Square,
Queen's University Belfast
Belfast BT7 1NN
