「跨界對談20──表演藝術研究國際學術研討會暨跨領域構作工作坊」熱烈報名中！The 20th “Crossover Dialogues” International Conference on Performing Arts Studies & Workshop on Transdisciplinary Dramaturgy

國立臺灣藝術大學跨域表演藝術研究所，將於2025年5月3-4日舉辦第二十屆「跨界對談──表演藝術研究國際學術研討會」，歡迎踴躍報名參加！

National Taiwan University of Arts, Graduate Institute of Transdisciplinary Performing Arts,Taipei, Taiwan

本次研討會很榮幸邀請到國際跨域構作重量級學者麥怡珂‧布利克（Maaike Bleeker）教授帶來「劇場與科技創生」（Theater & Technogenesis），以及瑪格達．羅曼斯卡（Magda Romanska）教授帶來「量子戲劇構作」（Quantum Dramaturgy）二場專題講座，期望藉由國外學者的邀請講座，促進國際學術交流，並提升我國跨域構作的學術能量。
本研討會旨在觀察表演藝術（包括音樂、舞蹈、戲劇、戲曲、民俗技藝等各領域）之創作、展演風貌與跨界合作，探索表演藝術學術理論之多元基礎與立論面向，及從跨領域、跨文化等觀點研究當代表演藝術之複合性與開創性，歡迎表演藝術研究者、專業人士、教師與各界同好踴躍報名參與。

Now Open for Registration!
Special Features:
Keynote Speech by Professor Magda Romanska: Saturday, May 3^rd, 2025, 1:30-2:30  P.M.
Keynote Speech by Professor Maaike Bleeker: Sunday, May 4^th 22025, 9:10-10:10 A.M.
Workshop on transdisciplinary dramaturgy: May 5^th, 1:00-2:00 P.M.

研討會時間：2025年5月3日（六）、5月4日（日）
研討會地點：國立臺灣藝術大學教學研究大樓十樓國際會議廳
報名連結：https://forms.gle/Wc66cRcxez9utABi7

– Venue: International Conference Hall, 10th Floor, Teaching and Research Building, National Taiwan University of Arts 
– Registration Link: https://forms.gle/Wc66cRcxez9utABi7

Magda Romanska is Professor of Performing Arts at Emerson College and Faculty Associate at the Berkman Klein Center for Internet & Society at Harvard University. She is also a Principal Researcher at metaLAB@Harvard and chairs the Transmedia Arts Seminar at Harvard’s Mahindra Humanities Center. A pioneering voice in transmedia dramaturgy and digital performance, Romanska has published widely on the intersection of technology and performance. She is the author of The Post-traumatic Theatre of Grotowski and Kantor and editor of The Routledge Companion to Dramaturgy. Her work bridges traditional dramatic theory with emerging technologies and theories of consciousness. As Executive Director and Editor-in-Chief of TheTheatreTimes.com, she has championed global perspectives in theatre scholarship. Her research on the intersection of science, technology, and performance has been presented at numerous international conferences and has influenced contemporary understanding of modern dramaturgy. She is currently working on books on transmedia theatre and digital ethics.

Keynote Lecture Title: “Quantum Dramaturgy: Theory of Polyphonic Drama”

Einstein’s 1905 book on the theory of relativity revolutionized not just physics, but human understanding of reality itself. Quantum theory posits that particles can exist in multiple states simultaneously (superposition), their reality only crystallizing when observed. As a result, each observer has a different view of what that reality is. Quantum shift profoundly influenced early 20th-century art, with Cubism fracturing single-point perspective into simultaneous multiple viewpoints. Literature followed with modernist experiments in subjective perception and unreliable narration. From James Joyce’s Ulysses (1922), Virginia Woolf’s Mrs. Dalloway (1925), and William Faulkner’s As I Lay Dying (1930) to contemporary novels such as Annie Erneaux’ The Use of Photography (2024), the multiple narrators are a well-established literary convention. Philosophy has paralleled these artistic and literary experiments, with poststructuralism and postmodernism offering theory of truth multifaceted as social construct, a subjective individual experience rooted in our embodied experience and cultural framework. Yet theatre, despite its unique capacity for simultaneity, has remained largely wedded to Aristotelian dramaturgy of singular, if flawed, tragic hero, or similar, cyclical dramaturgy of the Asian drama well into the mid-20th century.

This lecture traces the emergence of what I call Quantum Dramaturgy – theatrical works that deliberately employ dramaturgy of multiple, sometimes contradictory perspectives of the same events. Beginning with works like Rashomon (Fay and Michael Kanin’s 1959 adaptation of Kurosawa’s film), and Michael Frayn’s Copenhagen (1998) through the documentary theatre’s use of competing testimonies, and contemporary plays that use multiple perspective to destabilize our sense of reality and moral clarity such as by Nina Raine’s Consent (2017), Duncan Macmillan’s People, Places & Things (2015), or Punchdrunk’s Sleep No More (2011), Quantum Dramaturgy openly acknowledges that our world and its global conflicts are too complex for the classical dramaturgy of singular hero’s journey.  Quantum Dramaturgy reflects our increasingly interconnected yet fractured world: digital and social media have accelerated the quantum perception of reality, as different groups can now live in entirely different information ecosystems. Simultaneously, immersive theater technologies (VR, AR) are creating new possibilities for quantum dramatic experiences.

In recent years, Roger Penrose, and Stuart Hameroff’s Orchestrated objective reduction (Orch OR) theory of human consciousness which proposes that consciousness comes into being through a process of quantum collapse. If we assume that consciousness itself operates on quantum principles (as Penrose-Hameroff suggest), then our perception of reality isn’t just subjective – it’s literally existing in multiple states until the moment it is observed. The theory thus provides foundation for free will. In classical physics, all events follow deterministically from prior causes – everything is essentially “pre-programmed” by what came before. It suggests all our actions are simply the inevitable result of prior physical states, and not a result of our free will. If our consciousness, however, is in a constant quantum state, it means that its structure and responses are not predetermined. Under the Orch OR theory, if consciousness operates through quantum processes in microtubules in brain neurons, then conscious decisions wouldn’t be purely deterministic outcomes of prior brain states. Instead, they would involve quantum superpositions that only “collapse” into definite states through the OR (objective reduction) process. Quantum nature of consciousness indicates genuine choice and agency, genuine quantum indeterminacy that only resolves into specific choices through conscious observation/collapse.

In theatre, it would mean that the characters who have multiple perspectives on the same event are not just remembering things differently, but their consciousness may have actually experienced different quantum states of the same moment. In other words, characters’ different perspectives aren’t just about memory or interpretation, but could reflect different quantum states of consciousness that actually existed simultaneously before collapsing into specific experienced realities. Quantum Dramaturgy, thus, can offer unique tools for representing and understanding complex contemporary realities where truth itself is often relative to the observer. The challenge, of course, becomes how to form moral judgment, develop legal framework, and build international law in reality governed by Quantum Dramaturgy? How can we function when even basic reality is observer-dependent?

Maaike Bleeker is a theatre studies professor, a dramaturg and a translator. Her work combines approaches from the arts and performance studies with insights from philosophy, media theory and cognitive science. Much of her research focuses on processes of embodied and technologically mediated perception and transmission, with a special interest in the relationship between technology, movement and embodied perception and cognition. Current research subjects include social robotics, spectacular astronomy and the intersection of performance studies and space studies, posthuman performativity, corporeal literacy, digital archiving of artistic work, and artistic creation processes.

Bleeker’s monograph Visuality in the Theatre was published by Palgrave (2008). She (co)edited several volumes including Anatomy Live. Performance and the Operating Theatre (2008), Performance and Phenomenology: Traditions and Transformations (Routledge 2015), and Transmission in Motion. The Technologizing of Dance (Routledge 2016). Former president of PSi (2011-2016), she is also a member of the editorial team of MediaMatters (Amsterdam University Press), Thamyris (Rodopi) and Thinking Through Theatre  (Bloomsbury), and of the editorial board of Theatre Survey, the journal of the American Society for Theatre Research (2017 and 2018).  (https://centerforthehumanities.org/person/maaike-bleeker/)

Keynote Speech Title and Abstract

“Theater & Technogenesis”

Recently, I spent considerable amounts of time dialoguing with makers about making. I wanted to understand the role of dramaturgy in their creation processes. This brought me to an understanding of making as thinking through practice and doing dramaturgy as attending to such thinking as it unfolds within the creative process. Making-thinking proceeds through embodied, material, and collective practices and results in compositions in space and time of people, texts, objects, movements, sounds, and more. These compositions, in their turn, engage audiences in thinking with them. In my current research, I am interested in the specificities of this thinking and what it might help us to think. In this presentation, I will look at theatre as a means to explore the human co-evolution with technology. Humans invent and use technology, which, in turn, is co-constitutive of human becoming. Bernard Stiegler, Katherine Hayles, Mark Hansen, and others have theorized this as technogenesis, the co-evolution of humans and technology. Technological, biological, social, and cultural phenomena and processes are inseparable in how they together predispose and channel human action, in the theater as well as in the world at large. Contemporary questions concerning technology meet with posthumanism, environmentalism, and ecological activism in how they point to the need for, as well as contribute to, a decentering of the human relative to the more-than-human environments in which they participate. These developments confront us with the necessity to reconsider fundamental aspects of our understanding of self and world, identity, subjectivity, and agency.

聯絡人：邱柏盛助教
電話：(02)2272-2181分機2595
mail：peter@ntua.edu.tw
地址：22058新北市板橋區大觀路一段59號

Contact Information:
– Contact Person: Assistant Chiu Po-Sheng 
– Phone: (+8862) 2272-2181 ext. 2595
– Email: peter@ntua.edu.tw
– Address: No. 59, Section 1, Daguan Road, Banqiao District, New Taipei City 22058, Taiwan