Oct. 29-30, Kean University, Union NJ.
Panel: “The Significance of Susan Glaspell to American Drama and Performance.”
Chair: Linda Ben-Zvi, Professor Emeritus, Tel Aviv University.
Papers: “Re-Visiting Bernice in the 21st Century,” Sharon Friedman, Gallatin School of New York University;
“Gender Identity in Susan Glaspell’s and Marsha Norman’s Plays”, Noelia Hernando-Real, Universidad Complutense de Madrid;
“Searching for the Voice of Minnie Wright in Trifles,” a dramatic monologue written and performed by Milbre Burch, University of Missouri.
In addition, a staged reading of Chains of Dew was presented by SGS members and professional actors, adapted and directed by Cheryl Black, University of Missouri.
Aug. 3-6, Los Angeles.
SGS/ATDS sponsored panel: “Surviving The Outside: Modernity and the Woman Artist.”
Chair: Monica Stufft, University of California at Berkeley.
This ATDS focus group panel involved Susan Glaspell Society members and featured a reading and discussion of Glaspell’s play, The Outside. A deeply symbolic one-act set at an abandoned life-saving station, the play focuses on two women who have virtually exiled themselves. In the play, male characters attempt and fail to resuscitate a drowning victim while the two women living at the life-saving station struggle with their decision to remain isolated from the rest of society. Allie Mayo “has not spoken an unnecessary word for twenty years” after the death of her husband while Mrs. Patrick has elected to be emotionally and physically distanced from others after the infidelity of her husband. Our reading (with a run-time of approximately 30 minutes) and discussion explored the significance of what Veronica Makowsky has called “two aspiring, but temporarily stymied, female modernist artists-in-life.” We considered the implications of Glaspell’s presentation of a highly gendered view of modernism or modernisms in The Outside. In particular, we addressed Glaspell’s suggestion that the woman artist cannot survive if she disconnects herself from society or from her past in order to consider the play’s implications for theatre today.
May 27-30, San Francisco.
Panel: “Intertextual Exchanges: Susan Glaspell.”
Chair: Drew Eisenhauer, University of Maryland.
Following our successful collaboration in 2009, once again the Susan Glaspell Society joined forces with the American Theatre and Drama Society, the Eugene O’Neill Society, the Arthur Miller Society, and the Thornton Wilder Society to collaborate on a series of panels and roundtables on the theme of “Intertextual Exchanges” conceived in the broadest sense. Topics included direct intertextual references to authors such as Emerson or Charlotte Perkins Gilman, as well as comparisons or interrelationships between Glaspell and her fellow Provincetowners, other playwrights of her era, or textual connections with European dramatists such as Shaw, Ibsen, Strindberg, and Chekov. The panel was not limited to dramatic works: Glaspell’s novels and short fiction also offered an opportunity to explore intertextuality as she adapted themes and characters to different genres and challenged American traditions in fiction. Another avenue of exploration considered was Glaspell’s interaction with textual sources from areas of intellectual inquiry such as evolution, psychoanalysis, metaphysics, political philosophy, and contemporary events causing social and political debate during the time of her writing.
Papers: “Intertextuality on the Frontier in Susan Glaspell’s Inheritors,” Sarah Whithers, Indiana University;
“Looking for Herland: Embodying the Search for Utopia in Susan Glaspell’s The Verge,” Frank Lasik, University of Missouri-Columbia;
“‘Trailing Clouds of Glory’: Politics, History, and Material Culture in Glaspell’s Echoes of Romantic Literature,” Michael Winetsky, The Graduate Center of the City University of New York.