October 21-24, Philadelphia, PA.

Panel: “Susan Glaspell’s Alison’s House and the Legacy of Emily Dickinson.”
Chair: J. Ellen Gainor, Cornell University.

This panel invited papers considering any aspect of the relationship between the Emily Dickinson legend and Glaspell’s 1931 Pulitzer Prize winning drama. Possible topics included the relationship between the Dickinson biographies (Taggard’s and/or others) or other treatments of the Dickinson legend and Glaspell’s play; comparisons between Alison’s House and other dramas about the Dickinson legend; comparisons of Glaspell’s and Dickinson’s writing; historical analyses of the controversial Eva Le Gallienne production of Alison’s House or its critical reception; new directions in the study of Alison’s House alone or in combination with other Glaspell works.

Papers:  “No Hard Evidence: Alison’s House and Emily Dickinson,” Basia Ozieblo, Universidad de Malaga;

“Susan Glaspell’s Alison’s House and the Many Meanings of Emily Dickinson’s Legacies,” Sharon Friedman, the Gallatin School, New York University;

“On Closets and Graves: Intertextualities in Susan Glaspell’s Alison’s House and Emily Dickinson’s Poetry,” Noelia Hernando-Real, La Salle College-Universidad Autonoma de Madrid;

“Susan Glaspell, Eva La Gallienne: Queering . . . Chekov?” Drew Eisenhauer, University of Maryland.

Staged Reading of Alison’s House presented by the Susan Glaspell Society
Friday evening October 22, 6:00-8:00
Abridged, Directed, and Introduced by Cheryl Black, University of Columbia-Missouri

May 21-24, Boston MA.  The Susan Glaspell Society was pleased to join the Eugene O’Neill Society, the Thornton Wilder Society, the Arthur Miller Society, and the American Theater and Drama Society in sharing the general thematic topic “Adaptations” at ALA 2009.

Panel: “Challenging Generic Boundaries: Susan Glaspell’s Adaptations.”
Chair: Martha C. Carpentier, Seton Hall University.

In addition to welcoming papers discussing film adaptations of Susan Glaspell’s work (can anybody find Paramount Pictures1931 The Right to Love with screenplay by Zoe Akins?), this panel invited discussions of Glaspell’s own adaptations. While producing eleven innovative plays for the Provincetown Players from 1916 to 1922, Glaspell continued to publish short stories in magazines such as Harpers Monthly as well as producing a third critically acclaimed novel, and her increasingly sophisticated fiction showed the impact of her playwriting success. Throughout Glaspell’s four-decade writing career she was a consistent adapter of her own work: themes, narratives, and characters that engrossed her appear and reappear, transformed, in both the genres she excelled in. This panel asked contributors to analyze how Glaspell tests generic boundaries as she adapts similar content to the different demands and different possibilities offered by drama and fiction. Works suggested for consideration were: Trifles and its short-story version “A Jury of Her Peers”; her 1917 play Close the Book and 1916 story “Unveiling Brenda“; her lyrical 1917 one-act The Outside with “A Rose in the Sand” written ten years later; either of her 1921 full-length plays Inheritors or The Verge with the 1919 story “Pollen“; her final play for the Provincetown, Chains of Dew, and 1931 novel Ambrose Holt and Family, etc.

Papers:  “Ethnic and Racial Discourse in Susan Glaspell’s Generic Transformation of ‘Unveiling Brenda’ to Close the Book,” Sharon Friedman, Gallatin School, New York University;

“Susan Glaspell’s Dionysian Poetics in Trifles and ‘A Jury of Her Peers,'” Yoko Onizuka Chase, Osaka University of Human Sciences;

“Susan Glaspell’s Generic Hybridity,” Drew Eisenhauer, University of Maryland.

The Society also presented a concert reading of Inheritors directed by Cheryl Black: Inheritors Program

November 1-9, Saint Francis College, Brooklyn, NY.

Panel: “Staging Modern Geographies: Susan Glaspell and the Dramatic Space.”
Chair: Noelia Hernando-Real, Universidad Autónoma de Madrid.

Papers:  “Susan Glaspell’s Theatre and the ‘Discourse of Home,'” Sharon Friedman, Gallatin School, NYU;

“On the Margins of Utopia: Heterotopian Houses in Susan Glaspell’s Trifles and The Outside,” Emeline Jouve, Toulouse University;

“Crumbling Geographies: The House of Usher in Susan Glaspell’s Theatre,” Noelia Hernando-Real.

Workshop: “Broader Contexts for Teaching Susan Glaspell.”
Chair: Barbara Ozieblo, University of Málaga.

Participants:

Nieves Alberola, Universidad de Jaume I, Castellón; Judith E. Barlow, University at Albany, SUNY; Martha C. Carpentier, Seton Hall University; Sherry Engle, CUNY; Drew Eisenhauer, University of Maryland; Sharon Friedman, Gallatin School, New York University; Noelia Hernando-Real, La Salle Collage-Universidad Autónoma de Madrid; Michael Winetsky, Graduate Center of the City University of New York.

“Americans and the Experience of Delphi,” June 24-26, Delphi, Greece.

Presented by the Richard Stockton College Interdisciplinary Center for Hellenic Studies; Executive Director: Tom Papademetriou, Conference Director, David Roessel.

On one side of the Philadelphia Art Museum stands a replica of the famous statue of “The Charioteer” in the archaeological museum of Delphi. The statue is more than simply a copy of a famous work of art; it also represents a cultural matrix linked to the ancient shrine of Apollo at Delphi, a matrix that centers on what it means to be human and happy as encapsulated in the phrases “know yourself” and “nothing in excess.”  Often in current discourse “Greek” or “Hellenic” is taken as a single ideological construct, but “Greece” as an idea is polymorphous and multicultural, and Delphi occupies a key place within that ideological construct.  By understanding what it meant, and continues to mean, in the modern age, we take a step toward knowing ourselves.  And within that step, of course, lies the meaning of Apollo’s sanctuary.

Participants in this symposium examined the work of American and European artists, writers, and scholars who stood at the ancient site and, like the founders of the famed Provincetown Players, George Cram Cook and Susan Glaspell, inhabited Delphi in body and mind.  Participants analyzed how the “spirit” of Delphi inspired individuals, and how they in turn infused that spirit into American literature and culture, presenting, in addition to Glaspell and Cook, papers on Isadora Duncan, Eva Palmer Sikelianos and her role in the Delphic Festivals of the 1920s, H. D., Henry Miller, and James Merrill.     

Susan Glaspell Society Panels and Papers:

June 24, George Cram Cook Session, Chair Christa Frantantoro:
“Jig Cook’s Road to the Temple,” Linda Ben-Zvi, Tel Aviv University.

June 25, Susan Glaspell Session, Chair Marina Angel:
“Letters Home: Susan Glaspell’s Experience of Delphi,” Barbara Ozieblo, University of Málaga;

“Susan Glaspell’s Greece: the people, the place and the past,” Martha C. Carpentier, Seton Hall University;

“Susan Glaspell’s Female Charioteers: the spirit of Delphi and Aristotle’s Poetics in Inheritors, The Verge, and The Comic Artist,” Noelia Hernando-Real, Universidad Autónoma de Madrid;

“The Noble Peasant: Humanism and Primitivism in Glaspell’s Life and Work,” Michael Winetsky, The Graduate Center of the City University of New York.

June 26, L’Envoi to George Cram Cook Session, Chair David Roessel:
“The Influence of George Cram Cook’s Delphic Spirit on Eugene O’Neill,” Michael Solomonson; Northland Pioneer College.

University of Athens students presented a spirited reading of Suppressed Desires on the evening of the 26th.

For more information:
Delphi Symposium Program
Susan Glaspell Paper Abstracts

The Theatre of Dionysus and Temple of Apollo at Delphi, which Glaspell celebrated in Fugitive's Return and The Road to the Temple.

Linda Ben-Zvi and guide take us to Susan and Jig's camp in Kalania (SGS members left to right, Michael Winetsky, Martha Carpentier, Yoko Chase, Noelia Hernando-Real, and Linda Ben-Zvi). "The forest opens and gives us Kalania--the mountain park, that secret beauty, loveliness that is like a heart, a heart guarded by mountains of spruce" (The Road to the Temple 261).

“O’Neill’s Global Legacy,” June 11-15, Tao House, Danville CA.

Panel: “Performing Race, Gender, and Nation: Susan Glaspell, Eugene O’Neill
and the Modern Drama Classroom.”
Chair: Monica Stufft, University of California Berkeley.

This panel explored the global legacies of the two playwrights and considered the ways we locally stage these legacies in a broadly defined modern drama classroom that includes scholarship and productions. Papers investigated intertextual links around issues of race, gender and/or nation, and considered questions such as how do the plays of Glaspell and O’Neill construct identities both nationally and internationally? How might issues of race, gender and/or nation circulate when we frame these playwrights as American in relation to the European modern theatrical tradition and, in our scholarship and productions, as part of the modern drama canon?

Papers:  “Divided by a Common Language: O’Neill, Glaspell and the European Modern Drama Tradition,” Francesca Coppa;

“Performing Liberalism: Empathy and Protest in an Age of Nationalist Fervor,” Michael Winetsky, City University of New York;

“American Bodies: Intersections of Race and Gender in Emperor Jones and Inheritors,” Monica Stufft, University of California Berkeley.