2009 ASTR Conference

Alfredo J. Sosa-Velasco, University of North Carolina at Chapel Hill
The theoretical assumption that gender is performative, that gender operates as a performance—contribution due to Judith Butler—is now universally accepted and practically unquestioned. In Bodies That Matter, Butler emphasizes the role of repetition in performativity, making use of Jacques Derrida’s theory of iterability, a form of [...]

Lisa Jackson-Schebetta, University of Washington
Written by puertorriqueña Franca de Armiño, Las hipocritas is set in Spain in 1930/31. Geronimo, the main character, engineers a successful strike with his fellow shoe factory workers. Their victory leads to the destruction of capitalism, fascism and religion, indexing not only the political priorities of Armiño and her peers [...]

Analola Santana, California State University, Fresno
Migdalia Cruz’s work stands out for its aesthetics, and because of the themes and characters that she so carefully develops. Cruz captures characters that belong to areas usually associated with the grotesque and low social order, and she “re-invents” them by offering a poetic voice that allows not only for [...]

Jason Ramírez, Bronx Community College ( CUNY )
Nuyorican playwright Carmen Rivera’s La Gringa is currently the longest running play in Repertorio Espanol’s season. La Gringa’s success is in part a product of Nuyorican displacement from, and desire to return to, Puerto Rico, an enterprise made extremely difficult by both economic constraints on the island as [...]

Kimberly del Busto Ramírez, LaGuardia Community College ( CUNY )
When a displaced community re-forms to preserve a culture, the adjective “little” is frequently used to distinguish between the new location and the place for which it attempts to substitute—”Little Italy,” for example.  Of course, “Little Havana,” describes how a Cuban enclave has reproduced Havana in [...]

Dr. Yael Prizant, University of Notre Dame
When Soviet patrons abandoned the arts in Cuba in the early 1990s, Cuban theater got a crucial opportunity to reinvent itself. Although the Special Period brought extensive hardships, these made it difficult for authorities to continue to censure art, particularly works that depicted the contradictions of the island’s [...]

Boris Daussà-Pastor, City University of New York Graduate Center/Brooklyn College
This paper explores how official attitudes towards queerness in Revolutionary Cuba influenced its theatre, with a particular focus on the period from 1988 to the present. The changing attitudes towards homosexuality in Cuba played an instrumental role in the arts; the theatre scene, in [...]

Jorge Luis Morejón, University of California, Davis
In this study, I will present a personal testimony of what it was like to involuntarily play the role of an effigy in a ritual of violence during the 1980’s Mariel Boatlift Exodus in Cuba, and how that traumatic experience generated a lifelong commitment to the study of ritual [...]

Monica Stuffit, University of San Diego

Kimi Johnson
University of Minnesota
World of Warcraft, a Massively Multiplayer Online Game (MMOG), is a highly interactive fantasy world visited by over eleven million people around the globe.  Children and adults alike engage in a highly social environment playing high-powered characters hailed as heroes.  Players invest months into leveling and arming their creations by completing [...]

Oona Kersey Hatton
Northwestern University
Recent scholarship on the popular brand American Girl (owned by Mattel) has taken producers to task for historical inaccuracies, troubling representations of race and class, and promoting ardent consumerism among the largely upper middle class girls who accumulate the dolls, outfits, books, and videos. A large portion of this skepticism is directed [...]

Megan Sanborn Jones
Brigham Young University
Today, the Mormon Church is the largest producer of pageants in USAmerica, with seven pageants running throughout the year at various Mormon heritage sites.  These performances are based on the historical pageant model of the early 20th century, using large casts to stage episodic historical moments through song, dance, and spectacle.  [...]

Dani Snyder
Illinois Wesleyan University
Wizard: A hero whose power comes from intelligence, willpower, and strength of personality; wizards cast spells. Warrior: A hero whose power comes from physical strength, agility, and athletic prowess; warriors bash heads. Cleric: A hero whose power comes from moral strength, verbal aptitude, and generosity; clerics heal the sick [...]

Michael Schwartz
Widener University
One of the most popular tourist attractions in South Africa is shark-cage diving—a carefully orchestrated event that transforms tourists into movie stars and heroes. As the tourists are taken out into open water by small boat, they put on diving suits to prepare for the dive. The dive itself consists of a [...]

John Moss
Southern Illinois University at Carbondale
While the Japanese love hotel is marketed to heterosexual couples as a no-questions-asked space complete with Hello Kitty bondage gear, carousels, subway cars and gas chambers; the fantasy suite caters primarily to couples seeking the milder allure of lagoon-style whirlpool tubs and beds made up as space capsules. [...]

Jeff List
University of Kansas
Abstract: This paper is an ethnographic reading of fan behavior during the 2009 NCAA men’s basketball Final Four® in Detroit, Michigan which analyzes interviews with fans, documentation of displays from the various student sections during the games, and descriptions of my encounters with fans during the weekend. Fandom is an emerging [...]

Kristin Leahey
Wooly Mammoth Theatre
In 1931, children’s theatre playwright and artistic director of Chicago’s Children’s Theatre Charlotte Chorpenning began incorporating child audiences’ feedback into the development of her work.  She listened to audiences’ responses (e.g., laughing, wiggling, and in-awe stillness) throughout performances and interviewed children during intermissions to improve her plays and the productions.  Employing [...]

Ana Paula Höfling
University of California at Los Angeles

The concept of play is central to capoeira, the Afro-Brazilian movement practice that combines elements of martial arts and music.  The capoeira “match” is called a game (jogo), and capoeira is played, not danced or fought.  The verb to play (jogar) refers to capoeira’s ludic call-and-response improvised movements [...]

Natalie Harrower
Queen’s University

The island of Doagh, on the northernmost tip of Ireland, boasts a curious attraction for tourists and locals alike: The Doagh Famine Village, whose website sports the tagline “Looking Forward to the Past”  http://www.doaghfaminevillage.com/). Visitors to the village are meant to experience what life would have been like during the Great Potato Famine [...]

Stephen Harrick
Bowling Green State University

During the spring and summer months of 2008 and 2009, I attended vintage base ball games in Ohio. In vintage base ball, the players must abide by rules that date back to the nineteenth century, as well as wear vintage uniforms, use vintage equipment and speak in nineteenth century lingo–“well struck” [...]

Jennifer Goodlander
Ohio University
Plaza Indonesia is Indonesia’s first and biggest shopping mall.  This mulit-level complex contains local and international shops, restaurants, and entertainment.  Plaza Indonesia does not attempt bring the world to the consumer; rather its allure is that it allows the shopper to “act” out a fantasy of modernity that connects him/her with a global [...]

Dena Davis Freed
Glendale Community College
Build-A-Bear, a company leading the “retail-entertainment experience,” encourages consumers take on the role of “builders” as they “create furry friends,” outfit their “furry friends” in a variety of clothing and accessory pieces, and subsequently play with their newly “made” “friends.” Additionally, the company’s website offers in a virtual space (Build-A-Bearville) games [...]

Lindsay Adamson Livingston
City University of New York
In this paper, I propose to explore the carefully constructed role-play undertaken by those who participate in guided hunting expeditions in the western United States and Alaska.  I argue that, during these excursions, participants are constructed as frontiersmen (and, more rarely, frontierswomen) conquering a real and possibly treacherous [...]

E.J. Westlake, University of Michigan

The Lake City, Minnesota has been celebrating the Johnny Appleseed Days in October beginning in the 1970s, a period marked by the rise of local tourism in the US. While Lake City is more commonly known as the birthplace of water-skiing, the city leaders chose a food-oriented festival [...]

Matthew Shifflet, University of Maryland, College Park
In April of 1671, Francois Vatel—maitre d’ of the house of Condé—entered the annals of legend when he took his own life rather than suffer the shame of not having enough seafood to feed King Louis XIV. The next day, the king denounced the extravagance of Vatel’s act and [...]

Megan Shea, NYU
A 1994 cover of New York Magazine features Anna Nicole Smith with the title “White Trash Nation” slapped across her.  The photo depicts the fully-clothed Smith with legs wide open and replaces her privates with a delectable bag of Cheez Doodles.  Smith’s hand reaches into the bag’s opening while her mouth is [...]

S.I. Salamensky, University of California, Los Angeles
A smiling woman – nude but for a transparent lab coat – forces an iron machine around a classical pillar in a crater in an industrial space.  Factory worker? Fairy godmother? Stripper?  Victim? Oppressor?  Spectators above, like the woman and her landscape, are gradually covered with a fluffy pastel [...]

Cindy Rosenthal, Hofstra University
The unique hybrid form of the Living Theatre’s Passover seder is performed every year, no matter where the group tours or what production they are rehearsing or running. The event, “curated” by company director Judith Malina, includes ritual practices and objects that reflect the pacifism and anarchism of the collective.  The Haggadah, [...]

Jesse Njus, Northwestern University
While food was certainly eaten on the medieval stage, the concept of food was also portrayed by the character Gluttony and the practice of fasting. Famine was a daily reality in the Middle Ages, and many religious spectacles dealt with food insecurity by demonizing the act of eating and exalting the ability [...]

Catherine Ming T’ien Duffly, University of California-Berkeley
This paper is part of a larger research project investigating socially engaged performances based in the U.S. that engage primarily with American food practices and politics. I examine what kinds of eaters/political actors these performances create; how the work is informed by a contemporary food politics discourse; how the [...]

Will Daddario, University of Minnesota -Twin Cities
“What the hell I’ll eat myself, that’s all I’ve got! That should do the trick. And that’ll make everything better, because if I eat myself, then I’ll die happy, in spite of this famine.” These words spoken by the enigmatic figure of Ruzzante, perhaps the most renowned lower-class [...]

Alyssa Brown, Tufts University
Dramatized struggles over the production and consumption of food demonstrate theatre’s power to replace the rhetorical assumptions of globalization with literal analyses of local practices. This year marks a vivid meeting of intercultural perspectives on famine. This year the Royal Shakespeare Company will premiere an urgent account of the Ukrainian famine as [...]

Sara Warner
Cornell University

On August 13, 2004, Animal Prufrock, of the dyke punk band Bitch and Animal, staged the world premiere of Hothead Paisan: Homicidal Lesbian Terrorist, the musical, at the 29th annual Michigan Women’s Music Festival. The production is based upon an underground comic-zine, a cheaply produced, self-published graphic novella, of the same name [...]

Robert Vrtis
University of Oregon

Often times I have found myself at the mercy of a strange (though welcome) phenomenon, especially in the presence of someone with a particularly boisterous and joyful laugh, in which I find myself laughing for no other reason that I can explain except that others were laughing. “Infectious” laughter, the common name, [...]

Rebecca Schneider
Associate Professor
Brown University
Rebecca_Schneider@brown.edu
In 2005 Alison Smith delivered a speech calling “intellectuals, activists, artists, and queers” as well as “Ladies and Gentleman” to muster.  In advance of a reenactment she mounted on Governor’s Island in New York City, Smith called participants to pitch rainbow flags among the Blue and the Grey of the Civil [...]

Nicholas Ridout (Queen Mary University of London)
This paper begins with an image from Jean-Luc Godard’s film, Vivre sa vie, in which Anna Karina, as Nana, goes into a cinema and finds herself watching Carl Theodor Dreyer’s The Passion of Joan of Arc. The image – of Nana / Karina in tears – is part of [...]

Lisa Peschel
US Holocaust Memorial Museum / Jiho česká univerzita , Czech Republic
Is Raymond Williams’ term “structures of feeling” still useful to us?  Judging by how frequently it appears in scholarly work, it is definitely meeting a need.  The phrase is used to label a vast range of affective phenomena that seem to have as [...]

Ursula Neuerburg-Denzer,
Department of Theatre, Concordia University, Montreal Canada
It is a tricky process to tease out how a performer plays emotion. Is the performed emotion “felt”? Can the “felt” emotion be performed? And how does the performed emotion transmit to co-performers and audience?  What are postmodern feelings? In order to empirically investigate the embodiment of [...]

José Esteban Muñoz
New York University

DL Alvarez’s series of drawings, “The Closet” resemble pixilated film captures. They speak to the logic and moment of the digital. They seem to narrate a movement of technological adaptation from an older medium (film) to a newer one that we identity through the vague genre of new media. [...]

Kim Marra
University of Iowa

The Life, Death, and Restoration of the High-Mettled Racer; Or, Harlequin on Horseback was the most popular harleqinade produced at London’s sensational Astley’s Amphitheatre in the Romantic and early Victorian eras.  As a 1823 broadside proclaimed, the piece dramatized “the celebrated ballad written and composed by the late C. Dibdin, [...]

Kate Elswit, Stanford University

At the risk of generalization, academic studies of dance spectatorship tend to be framed in two ways: either by critical theorization that is based on identity politics in which bodies materialize or counter socio-cultural constructions, or alternately with that politics resisted by the fuzzy term “kinesthesia,” which is meant to suggest that [...]

Alex Dodge, Indiana University
In response to working session’s offer to engage with the soliciting organizing, and marshalling of affective responses, I want to turn to the collisions between affect and sensation, both physical and national, in the performance art of Ron Athey.  Athey’s 1994 performance from Four Scenes in a Harsh Life, “Excerpted Rites Transformation,” [...]

Lindsay Cummings
Cornell University
LBC29@cornell.edu
Is theatre a place where we come to cross the boundaries between self and other—to feel what others feel, think as they think, identify, and empathize? If empathy does describe a crossing of borders between self and other, what kind of crossing is it? In aesthetic theory, empathy, from the German Einfühlung, [...]

Jennifer Brody, Duke

In this paper,  I explore the affect generated by the nineteenth century sculptor and member of the “white marmorean flock” heralded by Henry James who were part of the entourage assembled around Charlotte Cushman’s Roman home.  I discuss HOW feeling her sculptures is a theatrical act that conjures, via touch, traces of [...]

Natalya Baldyga, Ph.D.
Florida State University

G. E. Lessing’s acting theory deserves more attention than it has traditionally been given in theatre studies as it demonstrates a unique engagement with the eighteenth-century acting debates that appear in better-studied texts. In his analysis of the acting process, Lessing addresses the actor’s body both as a site [...]

Katherine Nigh, Arizona State University
How do we come to understand traumatic events which have happened “somewhere else?” To “someone else”? How do those traumatic events “travel” to us through the media, first person narratives, photos, and the imagination?  This essay explores the implications of performances which have been generated from and respond to traumas of [...]

Susanne Shawyer, Texas State University

For the past eight years, the performance group Improv Everywhere has experimented with guerrilla physical theatre in public locations around New York City. Part of the Urban Prankster Network, a loose organization of provocateurs who use flash mobs and guerrilla theatre to poke fun at contemporary [...]

David Savran, The City University of New York

Given the status of commercial theatre in the US as public amusement for audiences rich in cultural and economic capital, it is not surprising that the Internet has proven an indispensible promotional tool.  Websites and elaborate campaigns (both on- and offline) play crucial roles in [...]

Nick Salvato, Cornell University

Video-sharing Web sites, enabled by digital technologies and epitomized by YouTube, have created a fertile and fraught destination for the experience of nostalgia. Users can revisit, with startling and unprecedented ease, their favorite music videos of the 1980s, or television sitcoms of the 1970s, or variety shows of [...]

Emily Roxworthy, University of California – San Diego

I am the Principal Investigator for an NEH-designated “We the People” project that is in its initial planning stages. This digital humanities project is a 3D virtual environment and role-playing game called DRAMA IN THE DELTA: Digitally Reenacting Civil Rights Performances at Arkansas’ Wartime [...]

Lisa Reinke, CUNY Graduate Center

One of the more popular open games currently online is called Second Life, launched in 2003.  Between October to December 2008, around 1,420,000 people throughout the world logged on to Second Life.  Cyberformances in Second Life range from full Shakespeare productions, original play productions, play readings, story-telling performances, [...]

John Muse, Yale University

Somewhere in the wilds of cyberspace, the WikiPlay is growing. Although its composition was initiated by the Toronto-based UnSpun Theatre, the project can be assigned to no author or company, and it claims allegiance to no style, nation or language. Subtitled “A Theatrical Experiment in Global Collective Creation,” [...]

Katherine Mezur, University of Washington

In this paper I will examine several live/digital performances, which use different forms of technology in order to open up the possibilities of “digital intimacies” which suggest an evolving translation of our senses into a more radical and complex humanity. In many critical works of digital performance [...]

Brian Eugenio Herrera, University of New Mexico

During the first half of 2009, most television spectators in the United States likely witnessed one or another public service announcements heralding “The DTV Transition.”  In myriad PSAs, infomercial style mini-programs, and ubiquitous news “tickers” scrolling across the bottom of viewer screens, “DTV” quickly emerged as [...]

Jean Graham-Jones, The City University of New York

In the final chapter of my book-length study of performances of female iconicity in Argentina, I move away from the previous chapters’ focus on a single female figure understood through physical onstage and onscreen embodiment.  Instead, the book’s final chapter looks at Argentina’s many popular [...]

Sean J. Bliznik, Arizona State University

Considering theatre as one of the forms of representation, this paper explores the self-representation of adolescents on stage through the lens of the pop-culture phenomenon Disney’s High School Musical.  Disney’s High School Musical is a direct-to-cable-TV movie intended and marketed towards pre-teens and young adolescents.  Following the [...]

Sarah Bay-Cheng, University of Buffalo

Since Walter Benjamin’s celebrated essay, “The Work of Art in the Age of Mechanical Reproduction” (1936), historians of diverse genre have wrestled with the relations between emerging technology and its implications for history. Perhaps one of (if not the) the most widely cited essays on the relations between [...]

Worthen, Hana (Barnard/Columbia)

My paper begins with the choreographed routine of the clinical encounter: the practice of deindividualizing, naturalizing (assigning sex), racializing, and nationalizing the subject’s body in order to enhance, control, legitimize its physical performance in the clinic. This moment – stripped nude in a generic gown waiting to be examined, isolated, in [...]

Watson, Ariel (St. Mary’s)

The psychotherapeutic encounter provides the perfect cipher for theatre’s representation of its own processes of identity production, reception, scripting, and interpretation. Psychotherapists “read through” performances just as spectators do, and the negotiation of the co-presence in a single body of a scripted character and an unpredictable actor is transformed metatheatrically [...]

Walsh, Shannon (Minnesota)

My paper explores the discourse and pedagogy of Dudley Allen Sargent, Harvard’s physical director from 1879-1919, a key figure in the physical culture movement in the US during that time. Physical culture was a set of interventions into everyday routines related to bathing, dressing, but especially exercise, evolved in the [...]

Wallin, Scott (UC Berkeley)

How do we conceive of and represent people who receive psychiatric services for “severe mental illness?” While medical charting of patients and their treatment is necessary for clinical social work, such representation strives to speak for someone, not with that individual. It is widely argued that a medical [...]

Schweik, Susan (UC Berkeley)

In 1998, two doctors published a parodic article in the Journal of the Canadian Medical Association, entitled “The Impact of Hissy Fits in Primary Care.” Its humor replicated medical language applied to fits that people _have_ in the clinic –“real” “seizures” “suffered” by “the epileptic” “patient” —-in the realm of [...]

Kairshner, Shawn (Villanova)

In 19th Century Paris, the slippery symptomologies of hysteric bodies became, for clinicians like Jean-Martin Charcot, a terrible and terrifying deception. To circumvent the epistemological uncertainty and dangerous theatricality of hysteric bodies, Charcot and his team of clinicians developed accurate and durable markers of identity, such that hysteric bodies divulged their [...]

Johnston, Kirsty (U British Columbia)

Many people living with disabilities routinely negotiate critical questions of identity, personal agency and quality of life through clinical encounters. This paper explores these negotiations in the context of disability theatre and one company’s attempt to re-imagine the clinical encounter as a space to subvert and question medical authority as [...]

Hunter, Michael (Stanford)

Georges Canguilhem’s groundbreaking work on the concepts of the “normal” and the “pathological” critiques the structure of the clinical diagnosis: in its insistence on, and elaboration of, an abstract and universalizing standard, the diagnosis refuses to consider the individual in relation to her particular lifeworld. Rather than regarding it as [...]

Thea Gold (U.C. Berkeley)
In August of this year, the CDC began drafting a statement recommending routine circumcision in all US-born male infants, to help curb the spread of HIV. This is merely the latest addition to a passionate, long-running debate over the health benefits and risks of what is possibly the most popular surgical procedure [...]

Fletcher, John (LSU)

Do people have a right not to be homosexual? Ex-gays—people who experience their homosexuality as an unwanted mental-emotional disorder and seek treatment accordingly—find themselves caught between competing discourses of mental/sexual health. The progressive left and (present-day) mainstream medical authorities define homosexuality as healthy, casting ex-gays as either agents [...]

Anderson, Virginia (Cal Poly)

Premiering at San Francisco’s Theatre Rhinoceros in 1990, Dirty Dreams of a Clean Cut Kid concerns friends awaiting test results at an HIV/AIDS clinic. Its opening number, “Waiting for the Lab Report,” establishes the show’s conceit: only one minute of “real” time passes, but the full-length musical spans the memories of [...]

Cole, Catherine (UC Berkeley)

The clinic serves as an important backdrop to the travails of Soho Eckstein, a fictional recurring character in the work of visual artist William Kentridge. Soho seems to personify a white South African history of complicity, capitalism, guilt, amnesia, and denial. Paralyzed in a coma, Soho emerges in Kentridge’s art [...]

Daniel Smith, Northwestern University
Theatre historians have long harbored an interest in obscene drama in eighteenth-century France, variously characterizing such plays as “libertine,” “erotic,” “clandestine,” or “pornographic.” Le Bordel, ou le Jean-foutre puni (1732?) by the Comte de Caylus, is one of the most frequently cited of these obscene comedies. In this paper, I situate [...]

Ellwood Wiggins, Yale University
Arguably the most significant event in German theatrical history during the eighteenth century was the arrival of Shakespeare. From actual journeys made by actors like David Garrick to the published promotions in essays and translations by Lessing and Wieland, Germany’s growing obsession with the transplanted English playwright led to the wide [...]

Kate Roark, University of Houston
Two hit plays titled Jonathan in England debuted on opposite sides of the Atlantic in the 1820s. The first premiered in London in 1824 and depicted the titular Jonathan (an American Yankee character) as an abusive slave owner, absurdly hypocritical in his bragging about American liberty. The second Jonathan [...]

Joseph Roach, Yale University
Disappearing is a thankless task, and it never seems to end. Wikipedia recalls that Herman Melville named his doomed Nantucket whaler “Pequod” after the Pequot Indians, “who were annihilated in the Pequot Wars” of 1637. Wikipedia goes on to cite the author of Moby Dick as its authority for the [...]

Heather S. Nathans, Department of Theatre, University of Maryland
The figure of the itinerant Jew, unmoored from the confines of national belonging, is a familiar figure in European literature. Whether villain, clown, or figure of pathos, the character wanders among the various communities that he encounters — always ineluctably foreign.  The status of permanent traveler [...]

Mechele Leon
Associate Professor of Theatre
University of Kansas
It is common to regard cross-Channel voyages of drame bourgeois as a transparent affair. With seemingly little trouble, middle-class drama and theory of the eighteenth century passed back and forth between England and France. George Lillo’s The London Merchant became Louis-Sébastien Mercièr’s Jenneval; Denis Diderot’s Le Fils naturel became [...]

Odai Johnson, University of Washington, Seattle
Somewhere in the mid-1760s David Douglass, a Scottish immigrant, manager of a itinerant company of actors, and modestly, the founder of the American theatre, began to sign his name ‘Esquire’. When and how exactly the social promotion occurred is not clear, nor is it clear what exactly it [...]

Erith Jaffe-Berg, University of California, Riverside
Carlo Goldoni reflects 18th transnationalism in his frequent voyages within France and Northern Italy, writing from both locations and writing in both Italian (Venetian) and French. Perhaps for this reason, Goldoni frequently explores national identity and characterological identification with national identity in his plays by foregrounding visual appearance and [...]

Lisa A. Freeman, Associate Professor
Department of English
University of Illinois at Chicago
Abstract for ASTR Working Session:  DestiNation and Detour:  Theatre’s Voyages in the Long Eighteenth Century
In 1757, amidst the swirling controversy over John Home’s Douglas, the Reverend John Witherspoon published a treatise against the stage, a pamphlet entitled:  A Serious Inquiry Into the Nature and Effects [...]

Heather S. Nathans, Department of Theatre, University of Maryland
The figure of the itinerant Jew, unmoored from the confines of national belonging, is a familiar figure in European literature.  Whether villain, clown, or figure of pathos, the character wanders among the various communities that he encounters — always ineluctably foreign. The status of permanent traveler [...]

Laurence Senelick
Fletcher Professor of Drama and Oratory
Tufts University

Gerasim Stepanovich Lebedev (1749-1817) was a Russian court musician who taught himself fluent English, French, German and the violin.  As a member of an ambassadorial ensemble, he traveled to Vienna and then to London, whence he embarked to British India. In Madras in 1785 he staged concerts, [...]