Theatre Conferences

and

Calls for Papers

Table of Contents  (Updated January 30, 2012.  Corrections, additions welcome)

ASTR Online seeks:

 1.)   Two Associate Editors for Features

2.)   One Associate Editor for Media

Reply by: 5pm PST on February 24, 2012

2011-12 ACLS Fellowship Competitions Now Open

KURT WEILL FOUNDATION GRANT PROGRAM

Newsletter  -  Fall 2011

THE 2012 AATE RESEARCH AWARDS

The Heather McCallum Scholarship

ATDS PUBLICATION SUBVENTION AWARD

ASTR Awards, Grants, Fellowships and Prizes - Deadlines March 1 - July 1

Five College Fellowship Program 2012-13

Vera Mowry Roberts Award

Harry Ransom Center 2012-2013 research fellowship program See also: (.pdf)

ATDS GRADUATE STUDENT RESEARCH/TRAVEL AWARD

I.  Calls for Papers

CFPs for Working Sessions for the 2011 ASTR / TLA Conference, to be held in Montreal on November 17 - 20, 2011, may now be consulted at the ASTR website at http://www.astr.org/conference/working-sessions,

Or go to CFPs (a .doc file on this site).

II.  Conferences

III.  Publications

I.  CALLS FOR PAPERS  

II.  CONFERENCES

III.  Publications

Meanings and Makings of Queer Dance
Congress on Research in Dance (CORD) Special Topics Conference 2012
University of Michigan, Ann Arbor
February 16-18, 2012

What is queer dance? Given the multiple, contested, and historically 
contingent meanings of the word ?queer,? the term seems useful for 
opening an inquiry about dance, just as dance?s emphasis on embodiment 
has much to contribute to queer studies. If dance is a way to think 
through social relationships, what images, bodily techniques, and 
spectatorial and embodied pleasures might dance offer to queer 
communities, scholars, and artists? How have lesbian, gay, and 
transgender histories intersected with dance in the theatre, on the 
club floor, and in the streets? When?and how?do ?queer? and ?dance? 
signal (or obscure) other vectors of identity, such as race, class, 
gender, ability, and others? The meanings of ?queer? have shifted and 
proliferated over time; competing and overlapping ideas about queer 
pleasure, desire, and politics may all manifest themselves within 
dance. Queer dance might be defined by an artist?s identity or 
preoccupations; by a work?s critique of normative values; or by a 
spectator?s or performer?s queer pleasures and desires. Queer spaces, 
or those haunted by a queer past, might also prompt a consideration of 
how dance engages history, representation, and community. Dance and 
sexuality can also be thought through together as social, physical, 
and historically situated practices that are (often at once) 
liberatory, risky, entertaining, and always in process, often inviting 
inquiries about affect and public feelings.

This conference seeks to bring together queer studies and dance 
studies to consider the questions, methods, practices, and politics 
that preoccupy both fields. We encourage submissions from both artists 
and scholars, who study, make, and/or participate in dance in and for 
a variety of venues?from the concert stage to the social club dance 
floor to the video screen. Submissions exploring the limits or 
problems of the term ?queer? are also welcome. While dance will be at 
the center of the conference, we hope submissions will take up dance 
from a range of disciplines and practices, including visual culture; 
cultural studies; theatre and musical theatre studies; film, radio, 
and television studies, etc. We also encourage proposals that blur 
boundaries between dance and music, and that take up global 
performance traditions. Given the provocative challenges dance studies 
and queer studies make to hierarchies of power and ways of knowing, 
this conference invites submissions in a range of formats: traditional 
paper panels, embodied workshops, performances, and screendance.

Proposals might consider the following questions:
? How might queer dance shift understandings of the larger field of 
queer performance?
? What dance works or dance communities allow for expressions of queer 
pleasure? Of queer politics?
? What do queer somatics feel like?
? What are the intersections of race, ethnicity, and queer dance?
? What are the transnational and cross-cultural dimensions of queer 
dance? Does queer dance travel and, if so, what are the challenges to 
its legibility?
? How might research methods  in dance studies and queer studies 
inform one other?
? How does sexuality prompt a reconsideration of familiar narratives 
in dance history, and in the history of dance in physical education?
? How do dancing bodies read as queer in different mediums?the 
televisual vs. the live?or in different genres, for example, salsa vs. 
contact improvisation?
? How has dance, through representation and/or institutional 
practices, forwarded heteronormative values and when has dance 
critiqued heteronormativity?
? How do claims of queer liberation on the social dance floor 
translate to the concert stage?
? What ideas about temporality emerge from thinking of dances as queer?
? How have choreographers taken up queer themes or narratives in dance?
? How do other terms related to, but not synonymous with 
queer?lesbian, gay, bisexual, trans, butch/femme, two-spirit, and 
queer/crip?relate to dance making and dance spectatorship?
? How does dance offer non-narrative ways of thinking about or feeling queer?
? What are the languages of queer dance? What does multilingual queer 
dance look and sound like?

Submission Guidelines:
Every submission must include a 300-word abstract and a 300-word (max) 
biography of the applicant. (In the case of two people submitting a 
joint paper, performance, etc., a biographic statement should be 
included for each person.) Please note additional submission 
requirements for the screendance and performance formats.

Format Options:
1) Screendance works will be selected for a curated 2-hour viewing. 
Individual screendances must be 15 minutes or shorter. If submitting a 
proposal for already completed work, send a DVD of that work. If 
submitting works-in-progress or new work to be created around the 
conference theme, submit a DVD of past completed work. In lieu of a 
DVD, applicants may include a hyperlink in the abstract.
2) Individual Papers will be part of 3-person paper panels with a 
respondent. Each paper will have a 20-minute time limit and will be 
submitted at least three weeks prior to the conference, so the 
respondent may read each work and respond in more depth.
3) Performances will be part of a 2-hour performance late Friday 
afternoon held in a black box studio theatre. Works must have running 
times of 12 minutes or less. Each selected work (or performance 
excerpt) will have a 20-minute tech time Friday morning. If applying 
to be part of the performance, please submit a DVD or hyperlink to 
representative work. NOTE: Acceptance to the curated performance will 
come with a $300 performance resource stipend to help offset the costs 
of bringing dancer(s) to the conference.
4) Workshops will be held in dance studio spaces with sprung floors. 
The workshop may last up to 1.75 hours. Preference will be given to 
workshops led by more than one person.

All submissions must be received by September 15 and should be 
uploaded to the Congress on Research in Dance website, 
http://www.cordance.org/.  (Information about DVD submission will be 
available through the online submission form.) Participants will be 
notified of acceptance by October 30. All accepted participants, 
excluding additional performers involved in the Friday performance, 
must register for the conference and become members of CORD.

For questions about programming, please contact Clare Croft at 
chcroft@umich.edu. For questions about the online submission process, 
please contact Ashanti Pretlow at Ashanti@cordance.org.

Program Committee
Co-Chairs: Clare Croft and Peter Sparling; Committee: Angela Ahlgren, 
Larry La Fountain, Hannah Kosstrin, Petra Kuppers, Tracy Pearson, 
Robin Wilson


Clare Croft  chcroft@umich.edu.

Postdoctoral Fellow, Society of Fellows
Assistant Professor, Department of Dance
University of Michigan
 

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Below, please find the CFP for the 2012 Mid-America Theatre Conference Theatre History Symposium.  I've attached a handy pdf for anyone planning to print and post (if it doesn't make it through the listserv, I'll be happy to send you a personal copy!).  Please circulate this call widely to colleagues, students, and acquaintances who might have an interest!

MATC will meet at the Hyatt Regency in Chicago from March 1-4, 2012, and the conference theme is "Work." For the Theatre History Symposium, the focus is "Work: Mythology, Ideology and Practice."  The MATC website (http://matc.us) will be updated with all of the conference information in the near future.

I am co-chairing the symposium with Chris Woodworth (University of North Carolina, Greensboro), and we are thrilled to announce that Heather Nathans (University of Maryland, College Park) will be the Theatre History Symposium Respondent. 

Untenured faculty presenters in the Theatre History Symposium are also invited to submit full-length conference papers by February 15, 2012 for consideration in the prestigious Robert A. Schanke Award competition.

Deadline for submissions is October 15, 2011.  Both full panel and individual submissions are welcome!  Feel free to contact Chris or I with questions.  We look forward to your proposals and another invigorating conference in 2012!

Take care,
Beth Osborne

Beth Osborne, Ph.D.
Asst. Professor in Theatre Studies
324 Fine Arts Building
Florida State University
bosborne@fsu.edu
(850) 645-6858

Please consider the environment before printing this email.

CALL FOR PAPERS

Theatre History Symposium

Mid-America Theatre Conference (http://matc.us)

Chicago, March 1-4, 2012

 Work: Mythology, Ideology and Practice

For MATC’s 2012 meeting in Chicago, the Theatre History Symposium invites proposals for papers on or around the theme of Work: Mythology, Ideology and Practice.  In what ways does the idea of work—or workers—complicate, resist, or redefine the categories that historians frequently apply to the telling of history? As Henry Bial and Scott Magelsson remind the scholar in Theatre Historiography: Critical Interventions, methodological concerns often cannot be separated from political agendas, and “theatre history, in remembering a cultural past, stakes a claim on that culture’s present and future” (4). The condition of workers—imagined, mythologized, politicized, or simply in the midst of the daily grind—plays a vital role in the theatre that becomes that moment’s cultural artifact.  How do mythology, ideology, and practice connect the work of the theatre across time and space?

Possible topics might address these questions, or explore one or more of the following:

—Perceptions of work, and expectations regarding the workers who perform that work, shape, influence, or dictate their historical identities.

— Challenges of writing about the manifestations of labor in regards to theatre praxis, especially to issues of evidence, corroboration, or documentation (or lack thereof).  How might existing methodologies reinscribe the very histories that we strive to challenge?  What new historiographical approaches could prove revealing in our own work?

—Representations or case studies exploring the range and limits of representing “work” or workers theatrically. This may include explorations of “special skills”—illicit, extraordinary, or otherwise—cultivated or required in theatre or popular entertainment.

—How workers “wear” class on their bodies (calluses, clothing, scars, etc.)—the collision of work and the body constitutes performative and historical palimpsests.

—The ways in which theatre—popular, legitimate, or otherwise—rewards those who “dream big” and fail.

—Discussions of conflicts between workers, artists, patrons or institutions.  In what ways have artists found themselves in conflict with potential audiences, those they hope to represent, or those who pay the bills?  How have artists survived, thrived, or failed when confronted with these competing tensions?

—Ways the work of art, the “product” of labor, or the intangible, inspired “stuff” of art-making factors into mythology, ideology or practice.

 Please direct proposals and queries to the Theatre History Symposium co-chairs:

Dr. Beth Osborne, Florida State University, bosborne@fsu.edu

Dr. Chris Woodworth, University of North Carolina at Greensboro, cewoodwo@uncg.edu
 
Please submit proposals via email in Word or Rich Text Format to both co-chairs, including the following:

—Your name, title (student, faculty, independent scholar), academic affiliation, and a brief biography.

—Your contact information (particularly email).

—The title and abstract for your paper.  Please limit abstracts to 250 words.

—Any audiovisual elements you request for you presentation. We cannot always guarantee audiovisual support, but will endeavor to take requests into account. Late requests may not be honored.

—We also welcome proposals for full panels.  Contact the co-chairs for more information.

All proposals must be received by October 15, 2011

 Robert A. Schanke Award

The Robert A. Schanke Research Award is given annually to an untenured faculty presenter of the Theatre History Symposium and carries a cash award of $500 as well as subsequent publication of the paper in Theatre History Studies, the journal of the Mid-America Theatre Conference.  To be eligible for the Schanke Award, candidates must submit full, conference-length versions of their paper to the co-chairs at the addresses above by February 15, 2012.

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Call for Session Organizers for the 2012 Canadian Association for Theatre Research (CATR/ACRT) conference in Waterloo, Ontario.

The conference dates are Saturday, May 26, to Tuesday, May 29, 2012.

Given the success of both the 2010 and 2011 conferences with their wide range of session types, the Conference Planning Committee is offering a similar variety for participants of the 2012 conference. We are now seeking proposals for curated panels, seminars, and roundtables. There will be a subsequent call for praxis workshops (distinguished from other types of praxis sessions by attendees' participation).

The deadline for session organizer proposals is Friday, September 16, 2010.

Seminar and Roundtable Guidelines are attached to help organizers determine the type of session best suited to their proposal.

Topics selected for curated panels, seminars, and roundtables will be announced in early October, and will be followed by a call for proposals for participation in seminars, roundtables, curated and open panels.

For more information, please consult the attached Call for Session Organizers and accompanying Seminar and Roundtable Guidelines.

If you have any questions, please contact Peter Kuling, Chair of the Conference Planning Committee: pkuling@wlu.ca

Peter Kuling
Sessional Lecturer, Communications Studies
Wilfrid Laurier University
75 University Avenue West
Waterloo, ON
N2L 3C5

Tel: (519) 884-0710 ext. 2627
Fax: (647) 344-6198

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“Theatre and Learning”

University of Toronto, Festival of Original Theatre (F.O.O.T)

February 2 - 5, 2012

Call for Papers

 The annual Festival of Original Theatre (FOOT) conference, held at the Graduate Centre for the Study of Drama at the University of Toronto, seeks paper presentation proposals for its 2012 Conference: “Theatre and Learning.”

 FOOT 2012 will explore the complex relationships between theatre and learning in both theory and practice. This conference will comprise three broad areas of exploration:

1)   learning theatre (e.g., learning and teaching theatre skills)

2)    learning through theatre (e.g., Theatre/Drama in Education)

3)    theatre plus learning (e.g., Applied Theatre, Theatre for Personal and Social Change)

 All three streams of the festival will include paper presentations, roundtables, workshops, and performances, with the latter taking place at various sites on campus and in various theatres in downtown Toronto. We expect theatre scholars, artists, educators and education scholars to be most active participants at the festival.

Confirmed Keynote Speakers: Professor Kathleen Gallagher (University of Toronto, Canada) and Professor Helen Nicholson (Royal Holloway University, UK)

Possible Panel Topics might include, but are not limited to:

1.  Drama as a Way of Knowing

2. Pedagogy and Theatre and/or Education through Theatre Practice

3. Drama in Urban Schools 

4. Drama Practices with Disadvantaged and At-Risk Populations/Communities

5. Marginalized Voices in Theatre, Youth Theatre, and Theatre for Young Audiences: Urban Aboriginal Youth, Queer Youth, Youth-At-Risk, Recent Immigrants, Elderly or Geriatric Voices, Disability Voices

6. Theatre Training Programs / Methods, and Philosophies Cognitive Science, Drama, and Education

7. Cognitive Science, Drama, and Education

8. Applied Theatre – Theatre and Urban Community

9. Performance and Learning

10. Method and Praxis in Theatre Education

11. Theatre-in-Education Research

12. Theatre Learning in Intercultural Perspective

13. Arts Education and Theatre for Young Audiences

14. Dramatic Play and Learning

15. Theatre and Second Language Education

Please submit abstracts of 250 words or less by Friday, September 30, 2011 to Festival Directors Art Babayants and Heather Fitzsimmons Frey at foot.graddrama@utoronto.ca.  Please include your full name, your email address, and your affiliation and status (academic or artistic institution or independent scholar/artist; student, faculty, or staff).  Please also include a short (75 word) bio.  We will acknowledge the receipt of every proposal within three days of receiving it.  A separate call for performances and workshops will also be posted.

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CFP: “Teaching Restoration and Eighteenth-Century Drama: A Workshop” (Roundtable)

American Society for Eighteenth-Century Studies
San Antonio, TX
March 22 – 25, 2012

Fiona Ritchie (McGill U.) and Diana Solomon (Simon Fraser U.), Dept. of English, McGill U., 853 Sherbrooke Street West, Montreal, QC, H4A 2X3, Canada; Tel: (514) 398-6583; Fax: (514) 398-8146; E-mail: fiona.ritchie@mcgill.ca AND dks5@sfu.ca

Building on the success of our 2011 roundtable, “Approaches to Teaching Restoration and Eighteenth-Century Drama,” we propose a workshop to enable a more detailed exchange of ideas on this topic.  This innovatively structured session would bring scholars together for a collaborative and in-depth discussion of teaching philosophy and pedagogical practice as they relate specifically to teaching the plays and theatre history of the long eighteenth century.  The session chairs will circulate preparatory discussion questions in advance, encouraging panelists to think both broadly (e.g. “what is the place of performance in the classroom?”) and concretely (e.g. “suggest an assignment that helps students develop an understanding of the cultural context of the theatre of the period”) with the aim of facilitating a structured dialogue on certain key questions and encouraging the sharing of materials and ideas.  We will also consider the issue (which arose during the 2011 roundtable) of the availability of suitable teaching editions of plays and paratexts.  The ultimate aim of this session is to probe more fully the specifics of teaching long eighteenth-century drama and theatre, which often takes place at the intersections of “traditional” literature teaching and more practically oriented instruction.

This session encourages its participants to complete some preparatory work in advance (as outlined above); however, those involved could also present a paper in a traditional session in addition to involvement in this workshop. Prospective participants should send a brief statement to the session chairs outlining the pedagogical issues that are of particular interest to them, suggesting topics for discussion and noting an example of some form of teaching material (e.g. assignment, syllabus) they would be willing to share.

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CO-SPONSORED PANELS WITH THE AMERICAN THEATRE AND DRAMA SOCIETY AT THE 57^th ANNUAL BRITISH ASSOCIATION FOR AMERICAN STUDIES CONFERENCE

UNIVERSITY OF MANCHESTER

APRIL 12-15, 2012

DEADLINE:  Friday October 21, 2011

To further develop links between scholars working in American Theatre and Drama in the UK, Europe and North America, the American Theatre and Drama Society will be co-sponsoring panels at BAAS 57.  Interested scholars are invited to propose papers engaging with ANY subjects in American Theatre or Drama.  Conference delegates will be able to attend a production of Leonard Bernstein, Betty Comden and Adolph Green's 1953 musical Wonderful Town which will be running at the Lowry during BAAS 57, therefore papers engaging with this musical or a related topic are particularly welcomed.  Because the conference organisers this year are keen to have a number of interdisciplinary panels that cross the boundaries of literary, historical, political, cinematic, cultural and theoretical work, any abstracts not programmed on a co-sponsored panel will be considered in general conference programming.  Abstracts (250 words max) and titles for 20 minute papers should be submitted by Friday October 21, 2011.  Please e-mail proposals to Laura MacDonald, University of Groningen: l.e.macdonald@rug.nl

For further conference information, please visit

http://www.arts.manchester.ac.uk/subjectareas/englishamericanstudies/newsevents/baas2012/

Or http://bass.ac.uk/administration/bassconf.asp

For further information on ATDS, please visit http://atds.org/

Conference Plenary Speakers:

Joyce Chaplin, James Duncan Phillips Professor of Early American History at Harvard University

Thomas Doherty, Professor of American Studies at Brandeis University

Peter Coates, Professor of American and Environmental History at Bristol University

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Greetings from the American Council of Learned Societies! We are pleased to let you know that the 2011-12 ACLS fellowship competitions are now open. You will find the most updated and comprehensive information on all our programs on the ACLS website: www.acls.org/programs/comps <http://www.acls.org/programs/comps> . As in previous years, the majority of competition deadlines are in the early fall. ACLS awarded nearly $15 million in research support to over 350 scholars worldwide during the past year. Fellows' profiles, along with research abstracts, are accessible at: www.acls.org/fellows/new <http://www.acls.org/fellows/new> . We are looking forward to an equally successful fellowships season in 2011-12.

With best wishes, Nicole Stahlmann
Director of Fellowship Programs
American Council of Learned Societies
fellowships@acls.org

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36th Comparative Drama Conference
Text & Presentation
Call for Papers

Abstract Submission Deadline: 3 December 2011

Papers reporting on new research and development in any aspect of drama are invited for the 36th Comparative Drama Conference hosted by Stevenson University in Baltimore, MD, March 29-31, 2012. Papers may be comparative across nationalities, periods and disciplines; and may deal with any issue in dramatic literature, criticism, theory, and performance, or any method of historiography, translation, or production. Papers should be 15 minutes in length and should be accessible to a multi-disciplinary audience. Scholars and artists in all languages and literatures are invited to email a 250 word abstract to Dr. Laura Snyder at cdc@stevenson.edu by 3 December 2012. Please include paper title, author’s name, institutional affiliation, academic status (faculty, graduate student, other/scholar at large), and postal address at top left. Also include any technical requirements for your presentation such as powerpoint or slide projectors, DVD/VHS, etc. (Please note: AV that is not requested with the abstract cannot be guaranteed.) Those whose abstracts are accepted for presentation are expected to attend the conference.  Papers are not read inabsentia. Abstracts will be printed in the conference program.

The Conference

The Comparative Drama Conference is an international, interdisciplinary conference founded by Dr. Karelisa Hartigan at the University of Florida in 1977. Every year, approximately 150 scholars are invited to present and discuss their work in the field of drama. The conference draws participants from both the Humanities and the Arts. The papers delivered range over the entire field of theatre research and production. Over the past 34 years, participants have come from 32 nations and all 50 states. Each year a distinguished theatre scholar or artist is invited to address the participants in a plenary session.

The Publication

For 30 years, The Comparative Drama Conference Series has been publishing the best papers presented at its annual meetings, keeping readers current in scholarship and performance aesthetics in drama internationally. Text & Presentation’s articles have framed dramatic discourse, identified emerging trends, and challenged established views. Each volume consists of approximately 15 articles which have passed the mandated anonymous peer review. For back issues, visit www.McFarlandpub.com.

Participants in the conference are invited to submit their papers for publication consideration to the editor of Text & Presentation. Manuscripts should be formatted according to the T & P style. Manuscripts can be extended beyond the delivery length at the conference, but should not exceed 25 double-spaced pages (including notes, references cited and photos). Each volume also features several book reviews by noted scholars.

Pre-organized Panels

Pre-organized panels will also be considered. A pre-organized panel should include three papers. Each paper should be 15 minutes in length. Panel proposals should include (1) a copy of each panelist’s 250 word abstract with paper title, author’s name, institutional affiliation, academic status, postal address, and email address at top left, and (2) a succinct, 50-word rationale for the grouping of the papers. The panel organizer should email the abstracts and rationale to cdc@stevenson.edu by 3 December 2012.

Staged Readings

The conference board invites proposals for staged readings of new plays. 2-4 new plays will have staged readings during the course of the conference. Each staged reading will also feature a talkback with the audience. Proposed plays should be no longer than 45 minutes.  Readers may either be listed as part of the proposal or solicited at the conference. Reading organizers should submit title, character list, a 200 word summary of the play, a 100 word rationale for reading the play at the conference, and an exemplary scene or act to cdc@stevenson.edu by 3 December 2012.

Session Chairs

Submitters and non-submitters of abstracts who are interested in chairing a session at the conference are invited to send a two-paragraph resume highlighting their areas of expertise to cdc@stevenson.edu by 3 December 2012.

The Philadelphia Constantinidis Essay in Critical Theory Award

 The Philadelphia Constantinidis Essay in Critical Theory Award in 2012 will be given to the best comparative essay on any aspect and period of Greek drama or theatre that was published in English in any journal or anthology in any country between January 1 and December 31, 2011. The award was established in 2006 in memory of Philadelphia Constantinidis to encourage research and writing on Greek drama and theatre. This is an open rank competition for academics, independent scholars, and doctoral students. The award is administered by the Board of the Comparative Drama Conference. The Board solicits nominations and self-nominations for this award. The winner will be notified by the Director of the Comparative Drama Conference, and will be offered complimentary hotel accommodations and a registration fee waiver to attend the 36th Comparative Drama Conference.

The winner will also receive a check of one thousand dollars ($1,000) during the awards ceremony.  The deadline for nominations is December 31, 2011. Nominating letters and electronic copies of the essays (converted to Adobe PDF) should be emailed to cdc@stevenson.edu by December 31, 2011. Postal mail and faxes are not acceptable. The letter of nomination should include the name of the author of the published essay, the title of the essay, the year of publication, the name of the journal, the email address and postal address of the author, and a brief statement explaining why this essay was chosen for nomination. Recipients of the award are not eligible for nomination for a three year period.

Pre-registration

Submitters of abstracts will be notified by email on or before 30 January 2012 as to the board’s decision regarding their abstracts. Those submitters whose proposed papers are accepted for presentation will be asked to prepare full papers, suitable for 15-minute readings, for delivery at the conference. Those whose papers are accepted are expected to attend the conference.  Presenters are required to pre-register.

The 2012 pre-registration fees are as follows:
(1) Presenter, Reader or Presenter Session Chair: $89 for faculty members, $79 for graduate students
(2) Non-presenter Session Chair: $69
(3) Guest: $49
(4) Student Guest: $25
(5) One day guest passes: $20 ($10 for students)

The pre-registration fee covers all conference events and services including a copy of the conference Programs and Abstracts book, a copy of the current edition of Text and Presentation, admission to all conference events, admission to the conference reception, and a ticket to a local performance yet to be determined. For those who wish to register at the conference, the fees increase to $99 / $89, $79, and $59, respectively. Submitters of abstracts are also advised to apply for travel funds from their home institutions as early as possible.

Find someone to share a ride or a room on the Comparative Drama Conference Facebook page.

Please circulate this announcement to other interested parties.

cdc@stevenson.edu or lsnyder4990@stevenson.edu for more information

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American Theatre and Drama Society Sessions for ATHE 2012, Washington, DC

Deadlines:
Individual papers and papers for the following panels (see individual CFPs): October 15 (submit to Susan Kattwinkel – kattwinkels@cofc.edu or panel chairs as listed on CFPs)
Complete sessions: November 1 - submit online to ATHE at www.athe.org

 
ATDS @ 25: Looking Forward, Looking Back
To celebrate its 25th anniversary, the American Theatre and Drama Society plans to present a set of coordinated panels, designed to chart the chronological, topical, and historiographic progression of our discipline.  
 
Four panels have been created by ATDS and feature a chair/respondent who will issue a call for papers.  Keep an eye out for CFPs on the following topics:
 
1. The Long Nineteenth Century
 
2. American Popular Entertainments
 
3. Twentieth Century American Theatre and Drama
 
4. American Theatre in the Twenty-First Century
 
 
ATDS plans to put forward three multi-disciplinary calls for papers on the following topics:
 
5.  The American Musical
 
6.  African American Theatre and Drama
 
7. Latino/Latina American Theatre and Performance
 
ATDS will also program one additional panel on the state of the profession, to be offered at the end of the conference as a response to all previous sessions.
 
ATDS welcomes additional panels or individual papers that address key loci in American Theatre and Drama from all ATHE members. (Panels might address theatrical movements, specialties, historical moments, key individuals, etc.)
 
Multi-disciplinary panels addressing key movements, genres, or moments in American Theatre history are also encouraged.

ATDS looks forward to celebrating our 25th Anniversary with you all in our nation's capital, August 2-5, 2012.
 
 
Preference will be given to ATDS members. If you are interested in enjoying all of the membership benefits of ATDS – including your own subscription to the Journal of American Drama and Theatre – please visit the website (www.atds.org <http://www.atds.org> ) for an application or contact ATDS Membership Secretary Stuart Hecht (hecht@bc.edu <mailto:hecht@bc.edu> ).
 
About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide.  

Additional information can be found in the attached CFP.


--
Susan Kattwinkel
ATHE Conference Planner 2012, American Theatre and Drama Society

--
Susan Kattwinkel, Ph.D.
Director of the First-Year Experience
Associate Professor, Theatre
183 Lightsey Center Annex
College of Charleston
Charleston, SC 29424
(843) 953-8218
(843) 953-5800 (fax)
Web: www.cofc.edu/fye
--
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Shared Visions: Art, Theatre and Visual Culture in the Nineteenth Century

Conference date: Saturday 11th February 2012 (10am to 6pm)
CFP Deadline: 15 November 2011

School of Theatre, Performance and Cultural Policy Studies, Millburn House, Warwick University

This one-day conference, held in conjunction with the journal, Nineteenth Century Theatre and Film, will explore the connections between art, theatre, and visual culture in the nineteenth century. During this period, the ‘art of seeing’ challenged the traditional dominance of the written word. Vision, previously denigrated as deceptive, became considered as a universal language, accessible to all, and more authentic than text. Popular theatre, especially melodrama, led the way in exploring the possibilities of the new visuality. We invite papers that explore the visual culture of theatre and exchanges between theatre and the visual arts. We are particularly interested in contributions which explore the following topics:


•       Theatre as visual culture
•       The relationship between word and image
•       Theatrical illustration
•       Theatrical portraiture
•       Audiences and reception of art/theatre/visual culture
•       Posters/playbills
•       Visual technology: panoramas; dioramas; phantasmagorias; magic lanterns
•       Stage spectacle: set design, scene painting, lighting, special effects, costume
•       Stage pictorialism/stage tableaux/realization
•       Local colour
•       Illusion
•       Authenticity
•       Theatricality
•       Attitude and gesture
•       Theatre architecture
•       Caricature
•       Narrative/temporality
•       History as spectacle


Please submit abstracts (500 words maximum) to patricia.smyth@nottingham.ac.uk.

Papers should be no more than 20 minutes long and will be followed by a panel discussion.

Lunch, tea and coffee will be provided.

Conference fee: GBP20 (GBP10 for postgraduate students)

For further information, please contact Patricia Smyth at the above e mail address.

Kate Newey and Jim Davis
Editors, Nineteenth Century Theatre and Film

Dr Kate Newey
Professor of Drama and Theatre Arts
Head of Research, School of English, Drama, American and Canadian Studies,
Department of Drama and Theatre Arts
SOVAC
998 Bristol Road
Selly Oak Campus
University of Birmingham, B29 6LQ

k.newey@bham.ac.uk=

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THE 2012 AATE RESEARCH AWARDS

THE RESEARCH AWARD

THE RESEARCH AWARD & DISTINGUISHED DISSERTATION AND THESIS AWARD

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"THE AMERICAN MUSICAL SINCE 1987"

AMERICAN THEATRE AND DRAMA SOCIETY

ATHE Conference 2012
August 2-5, Washington, D.C. 

As a part of a special set of coordinated panels at the ATHE conference titled "ATDS @ 25: Looking Forward, Looking Back," on behalf of the American Theatre and Drama Society, I am curating a session to be submitted as a multidisciplinary panel sponsored by ATDS, Music Theatre/Dance, and another Focus Group to be determined.

To celebrate its 25th anniversary, ATDS plans to present a series of sessions designed to chart the chronological, topical, and historiographic progression of our discipline.  The Board of ATDS has identified the musical as an important part of this discipline.

I invite submission of proposals for papers for possible inclusion in this session on the American musical in the past twenty-five years. "American musical" can be broadly construed and defined, and musicals explored need not have been original productions during this period but might be revivals of earlier shows. Possible topics may include:
• Defining the contemporary American musical
• Locating the musical in America today (e.g. Broadway and off-Broadway, regional theatre, Las Vegas, educational and community theatre)
• Depictions of "America" in musicals during the past twenty-five years
• Musicals (and their creators) as reflections of America's diversity
• The American musical abroad
• Innovations in the contemporary American musical (genre, style, structure, staging, technology, training, etc.)
• The future of the American musical

Proposals should be no more than 250 words and should be submitted to me at judy.sebesta@lamar.edu BY OCTOBER 15. Abstracts must include paper title and contact information and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website.  Proposers will be notified of inclusion in the session proposed to ATHE by Oct. 23 but please note that preliminary acceptance of inclusion does not guarantee acceptance by the ATHE Conference Committee. ATHE will notify ATDS concerning accepted or rejected panels by late February.

ATDS looks forward to celebrating our 25th Anniversary with all of you in our nation's capital during the ATHE Conference, August 2-5, 2012.

About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide.  For more information, please visit the ATDS website at www.atds.org.


Judith A. Sebesta, Ph.D.
Chair and Professor
Department of Theatre & Dance
Lamar University
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AMERICAN POPULAR ENTERTAINMENTS

ATHE Conference 2012

August 25,

Washington, D.C.

ATDS @ 25: Looking Forward, Looking Back

To celebrate its 25th anniversary, the American Theatre and Drama Society plans to present a set of coordinated panels, designed to chart the chronological, topical, and historiographic progression of our discipline. 

I am inviting proposals for a panel on American Popular Entertainments. Specifically, I am looking for papers that address change in American popular entertainment forms over time.  Concepts in keeping with this theme might include mutation, adaptation, influence, fusion, and censorship, among others. 

      Any form of American popular entertainment throughout history is welcome.  Proposals fulfilling the call might address:

     the mutation of a form over a period of time due to cultural, economic, or theatrical changes

     the influence of one form on another in the accommodation of changes in the leisure habits of Americans

     the ways one entertainer or company adapted to changing conditions

     how changing social mores and laws affected an entertainment form

     how understanding of popular forms have developed based on changing scholarship and attention

The subtitle of the panel will be created once a set of compelling, complementary proposals are chosen.

Proposals should be no more than 250 words and should be submitted to me at kattwinkels@cofc.edu BY OCTOBER 15. Abstracts must include paper title and contact information and must specify any AV needs. ATHE does not accept individual paper submissions --DO NOT submit your individual proposal on the ATHE website. Proposers will be notified of inclusion in the session proposed to ATHE by Oct. 23 but please note that preliminary acceptance of inclusion does not guarantee acceptance by the ATHE Conference Committee. ATHE will notify ATDS concerning accepted or rejected panels by late February.

About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide. For more information, please visit the ATDS website at www.atds.org.

Susan Kattwinkel, PhD

ATDS Conference Planner - 2012

Director of the First-Year Experience

Associate Professor, Department of Theatre

College of Charleston

Charleston, SC 29424

843-953-8218

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ATDS @ 25: Looking Forward, Looking Back

American Theatre and Drama Society Sessions for ATHE 2012, Washington, DC

Deadlines:

Individual papers and papers for the following panels (see individual CFPs): October 15 (submit to Susan Kattwinkel – kattwinkels@cofc.edu or panel chairs as listed on CFPs)

Complete sessions: November 1 - submit online to ATHE at www.athe.org

To celebrate its 25th anniversary, the American Theatre and Drama Society plans to present a set of coordinated panels, designed to chart the chronological, topical, and historiographic progression of our discipline. 

Four panels have been created by ATDS and feature a chair/respondent who will issue a call for papers.  Keep an eye out for CFPs on the following topics:

1. The Long Nineteenth Century

2. American Popular Entertainments

3. Twentieth Century American Theatre and Drama

4. American Theatre in the Twenty-First Century

ATDS plans to put forward three multi-disciplinary calls for papers on the following topics:

5.  The American Musical

6.  African American Theatre and Drama

7.  Latino/Latina American Theatre and Performance

ATDS will also program one additional panel on the state of the profession, to be offered at the end of the conference as a response to all previous sessions.

ATDS welcomes additional panels or individual papers that address key loci in American Theatre and Drama from all ATHE members. (Panels might address theatrical movements, specialties, historical moments, key individuals, etc.)

Multi-disciplinary panels addressing key movements, genres, or moments in American Theatre history are also encouraged.

ATDS looks forward to celebrating our 25^th Anniversary with you all in our nation's capital, August 2-5, 2012.

Preference will be given to ATDS members. If you are interested in enjoying all of the membership benefits of ATDS – including your own subscription to the Journal of American Drama and Theatre – please visit the website (www.atds.org) for an application or contact ATDS Membership Secretary Stuart Hecht (hecht@bc.edu).

About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide.  

INFORMATION ON SUBMITTING PROPOSALS:

1. Completed proposals (with all panel members assembled) may be submitted directly to ATHE at www.athe.org by November 1, 2011. Please forward a copy of your completed proposal to Susan Kattwinkel (kattwinkels@cofc.edu).  PLEASE NOTE THAT ALL TECHNOLOGY REQUESTS, CONFERENCE GRANT REQUESTS AND GUEST PASS REQUESTS MUST BE INCLUDED IN YOUR COMPLETED PROPOSAL. (ATHE cannot accommodate AV needs submitted after November 1 without substantial cost to the individual presenter.)

2. While complete sessions are strongly encouraged, individual paper proposals may be submitted to ATDS Conference Planner, Dr. Susan Kattwinkel, at kattwinkels@cofc.edu. I will attempt to group submissions into cohesive panels, but cannot guarantee inclusion.  In order to be considered, individual proposals must be submitted by OCTOBER 15, 2011. Abstracts (250 words) must include paper title and contact information, and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website.  Individuals wishing to identify colleagues to create panels prior to the November 1^st deadline may use the ATDS listserv: ATDS@LISTSERV.COFC.EDU to circulate questions or possible panel topics.  If you're not an ATDS member, you may send your email to Susan Kattwinkel and she will post it to the listserv for you.
3. Individual paper proposals for the ATDS-planned panels will also be due October 15, 2011 to the chairs listed above.  CFPs for those panels will appear soon.

4. ATHE will provide one piece of AV equipment as indicated on the Session Proposal Form. Session Participants must pre-pay for the following equipment by May 1, 2012.

• 2nd piece of AV: 35 mm projector($60), audio cassette player ($40), CD player ($40), flip chart ($40);

• LCD Package ($200); DVD/VCR Player/Monitor ($100); Internet Hook-up ($300)

• After May 1, 2012, add $50 per piece of equipment.

• Session Participants may apply for a Conference Grant (see Conference Grant Requests) to pay for audio visual equipment. However, it is the Session Participant's responsibility to confirm the receipt of the grant prior to the conference. Grants will be announced no later than March 1, 2012 to the FGCPlanners and Committee Chairs.

5. Presenters wishing to create multidisciplinary panels must contact the Focus Group Conference Planners for each of the THREE groups they propose as.  MD panels that do not complete this step are likely to be rejected.

6. Presenters proposing programs outside of the traditional panel format are asked to be specific in their proposals concerning the structure and number of participants so that ATHE can be notified about space/time needs.

7. ATHE will notify ATDS concerning accepted or rejected panels by late February. Panelists should expect to hear from the Conference Planner or their Panel Chair by early March.

FOR MORE INFORMATION, PLEASE VISIT THE ATDS WEBSITE AT WWW.ATDS.ORG

Questions? Please contact Dr. Susan Kattwinkel at kattwinkels@cofc.edu or review the information on the ATHE website at www.athe.org for additional conference information and for submission forms.

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"African American Theater and Drama Since 1987"

ATHE Conference 2012

August 2-5,

Washington, D.C.

As a part of a special set of coordinated panels at the ATHE conference titled "ATDS @ 25: Looking Forward, Looking Back," on behalf of the American Theatre and Drama Society, I (Soyica Colbert) am curating a session to be submitted as a multidisciplinary panel sponsored by the American Theater and Drama Society (ATDS) the Black Theater Association (BTA) and another Focus Group to be determined.

To celebrate its 25th anniversary, ATDS plans to present a series of sessions designed to chart the chronological, topical, and historiographic progression of our discipline.

I invite submission of proposals for papers for possible inclusion in this session on the late-Twentieth Century and Early Twenty-First Century Black Theater and Performance.

Possible topics may include:

• Developments in Black Theater after the Black Arts Movement Period

• Black Theater in the Americas

• Black Playwrights on Broadway

• Black Theater and Performance, Where Have We Been

• The Future of Black Theater

Proposals should be no more than 250 words and should be submitted to me at

soyica.colbert@dartmouth.edu BY OCTOBER 15. Abstracts must include paper title and contact information and must specify any AV needs.

Proposers will be notified of inclusion in the session proposed to ATHE by Oct. 23 but please note that preliminary acceptance of inclusion does not guarantee acceptance by the ATHE Conference Committee.

ATHE will notify ATDS concerning accepted or rejected panels by late February.

ATDS looks forward to celebrating our 25th Anniversary with all of you in our nation's capital during the ATHE Conference, August 2‐5, 2012.

About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS

welcomes scholars, teachers, and practitioners world‐wide. For more information, please visit the ATDS website at www.atds.org.

New research and development in any aspect of American drama

ATDS at the Comparative Drama Conference (March 29 - 31, 2012 - Baltimore, MD)

Submission Deadline: 18 November 2011

Papers reporting on new research and development in any aspect of American drama are invited for the 36th Comparative Drama Conference hosted by Stevenson University in Baltimore, MD, March 29-31, 2012. Papers may be comparative across nationalities, periods and disciplines; and may deal with any issue in dramatic literature, criticism, theory, and performance, or any method of historiography, translation, or production of the Americas.  Papers should be 15 minutes in length and should be accessible to a multi-disciplinary audience. Scholars and artists in all languages and literatures are invited to email a 250 word abstract to Dr. Chrystyna Dail (cdail@ithaca.edu) by 18 November 2011.

Please include paper title, author’s name, status (faculty, graduate student, other/scholar-at-large), institutional affiliation, and postal address at top left. Also include any technical requirements for your presentation such as powerpoint or slide projectors, DVD/VHS, etc. (Please note: AV that is not requested with the abstract cannot be guaranteed). Those whose abstracts are accepted for presentation are expected to attend the conference.  Abstracts will be printed in the conference program.

Pre-organized panels will also be considered. A pre-organized panel should include three papers. Panel proposals should include (1) a copy of each panelist’s 250 word abstract with paper title, author’s name, institutional affiliation, status, postal address and email address at top left, and (2) a succinct, 50-word rationale for the grouping of the papers. The panel organizer should email the abstracts and rationale to cdail@ithaca.edu by 18 November 2011.

Conference registration includes a complimentary ticket to Sondheim's INTO THE WOODS performed at CenterStage Theater on March 29.

The Conference - The Comparative Drama Conference is an international, interdisciplinary conference founded by Dr. Karelisa Hartigan at the University of Florida in 1977. Every year, approximately 150 scholars are invited to present and discuss their work in the field of drama. The conference draws participants from both the Humanities and the Arts. The papers delivered range over the entire field of theatre research and production. Over the past 35 years, participants have come from 32 nations and all 50 states. Each year a distinguished theatre scholar or artist is invited to address the participants in a plenary session.

Submitters of abstracts will be notified by email on or before 30 January 2012 as to the board’s decision regarding their abstracts. Those submitters whose proposed papers are accepted for presentation will be asked to prepare full papers, suitable for 15-minute readings, for delivery at the conference. Those whose papers are accepted are expected to attend the conference. Presenters are required to pre-register.

ATDS - The American Theatre and Drama Society is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide.  http://www.atds.org/ 
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“Performance as/is Civic Engagement: Advocate, Collaborate, Educate”

The Religion and Theatre Focus Group invites panels that address any issues arising from the conference theme.  In addition to the traditional format of paper panels, we also welcome proposals in the form of roundtables, collaborations, staged readings, talkbacks, and more.
 
The relationship between religion and civic engagement has always been complicated and compelling.  In Washington D.C. late summer 2012, the dialogue between the two will be enhanced and focused during the presidential election. This site-specific conference suggests a number of avenues for fruitful discussion:  What role does religion play in political performance? How might religious performance disrupt or enhance civic engagement?  What are important or difficult collaborations between religious and civic performance?  What have been important sites of advocacy for religion and theatre in the past/the present/the future?     
 
Remember that panels are not just an opportunity to showcase the work of people already active in the field, but also to bring in fresh ideas and new faces.  We encourage you to distribute your CFPs widely and to think creatively about how to engage in new conversations in your sessions.
 
Submission Deadlines:  
Complete Sessions (recommended):
       Submit online directly to ATHE (www.athe.org) by 1 November.
Individual paper proposals or session ideas:
       Submit to Megan Sanborn Jones (msjones@byu.edu) by 15 October and she will work with you create a complete                  session.
Multidisciplinary Sessions:
       Multidisciplinary (MD) panels must be sponsored by at least three different focus groups. All MD session organizers         must contact the conference planners of all three sponsoring groups before submitting their session directly to ATHE        by 1 November.
Starting the conversation:
       Use the RT listserv (ReligionTheatreList@athe.org) to find colleagues with shared interests.

Get Started!
Now is the time to begin your own conversations, brainstorming, and calls for participants through the R&T listserv and other venues. If you have any questions or confusion, feel free to email conference planner Megan (msjones@byu.edu).  We are looking forward to an exciting and thought-provoking conference in Chicago and hope to see you there.
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KURT WEILL FOUNDATION GRANT PROGRAM

Each year the Kurt Weill Foundation Grant Program awards financial support
to not-for-profit organizations for performances of Kurt Weill’s musical
works, to individuals and not-for-profit organizations for scholarly
research projects, and to not-for-profit organizations for educational
initiatives directly related to Weill and/or Lotte Lenya.

FUNDING CATEGORIES:
Research and Travel
Kurt Weill Dissertation Fellowship
Publication Assistance
Educational Outreach
College/University Performance
Professional Performance
Broadcasts

DEADLINES: 
The annual application deadline is 1 November for the following calendar
year, academic year, or cultural season, and applicants will be informed of
awards no later than 1 February of the funding year. An additional
application deadline of 1 June is limited exclusively to College/University
Performance grants for productions taking place in the upcoming fall
semester. Applications for support of major professional
productions/festivals/exhibitions, etc., will be evaluated on a case-by-case
basis without application or performance deadlines.

APPLICATION: 
For more information and guidelines, see:
http://www.kwf.org/kwf/grants-a-prizes/grant-program.
Inquires may be directed to:

The Kurt Weill Foundation for Music
7 E. 20th St., New York, NY 10003
(212) 505-5240
kwfinfo@kwf.org
www.kwf.org

“THE MOST FABULOUS PRODUCERS”

ATHE CONFERENCE 2012 ROUNDTABLE PROPOSAL

DEADLINE: OCTOBER 10, 2011

This proposed roundtable invites proposals re-evaluating both the business and creative achievements and innovations of major theatre producers.  The role of the producer has often been undervalued, and while biographies document the careers of great impresarios, scholarship has not consistently assessed the work of the producer alongside that of a creative team.  This roundtable aims to chart the evolving role of the producer from the nineteenth century to the present day, to generally acknowledge the commercial nature of American theatre, and more specifically to recognize the producer's role in sustaining the industry.  By examining innovation originating outside the rehearsal hall and off-stage, this roundtable seeks to offer a new appreciation of the producer's influence on American theatre. 

Please submit a 250 word abstract, which must move beyond a biographical sketch to focus on a particular achievement and/or offer a new perspective on a specific producer.  The deadline is OCTOBER 10 and abstracts should be sent to both William Everett, University of Missouri-Kansas City (everettw@umkc.edu) and Laura MacDonald, University of Groningen (l.e.macdonald@gmail.com).  Successful proposers will be confirmed by OCTOBER 17, at which point a full proposal will be prepared and submitted to the ATHE Conference Committee.  The variety of proposals will determine whether the roundtable is submitted as a multi-disciplinary or single focus group proposal.

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“The National Mall as a Sacred/Social/Political Performance Site”

The Association for Theatre in Higher Education’s 2012 Conference

August 2-5, 2012; Washington D.C.

The National Mall in Washington, D.C. has always been a public performance site. This space not only hosts countless demonstrations and gatherings throughout the year, but the negotiations concerning museum and memorial locations on the Mall often become public performances. What is at stake in these performances? How can performance and theatrical theory help us understand the power of this site? How does the mall’s nationalistic/patriotic atmosphere give credibility and visibility to groups with specific social, political, and/or religious agenda? Alternatively, how does performance imbue the Mall with ongoing power and value? What performative strategies have groups used to appropriate the Mall’s symbolic power? How might we understand the layout of the Mall as a visual performance? This session invites work that explores the National Mall as a sacred, social, and/or political performance site from various historical, critical, and theoretical perspectives.

Please send a one-page abstract and brief bio to Jill Stevenson (jillstevenson@gmail.com) by October 20^th. Feel free to email Jill with questions. This panel is co-sponsored by ATHE’s Religion and Theatre Focus Group and Performance Studies Focus Group. For further information on ATHE’s conference, please visit: http://www.athe.org/

“ELECTIVE PERFORMANCES: AMERICAN THEATRE IN THE 21^ST CENTURY”

Panel Coordinator:  Iris Smith Fischer

As part of a special set of coordinated panels titled “ATDS @ 25: Looking Forward, Looking Back,” on behalf of the American Theatre and Drama Society I invite submissions for a panel that engages both the Society’s celebration and ATHE’s conference theme, “Performance as/is Civic Engagement: Advocate, Collaborate, Educate.”

The 2012 Presidential and national elections will take place shortly after ATHE meets in Washington, D.C. As preparations for the elections begin to gather momentum, ATDS invites consideration of the relations between theatre and elections in the 21^st century. Papers may address any of the aspects of elections:

·         the formal choosing of a person for an office, usually by the votes of a constituent body;

·         the exercise of deliberate choice or preference; choice between alternatives, esp. in matters of conduct;

·         having the power of elective officers or representatives by vote;

or the characteristic of being elective:

·         of physical forces and agencies; having a tendency to operate on or combine with certain objects in preference to others;

·         an optional subject or course of study.

To what extent does theatre participate in elections? Does theatre encourage debate? More broadly, does theatre invite deliberation and choice in the 21^st century? Does theatre address certain audiences in preference to others? What power does theatre have in the lives of the voters? What are the elective characteristics of theatre considered as twice-behaved behavior, i.e. performance? Is theatre elective in the 21^st century—i.e., is it dispensable?

DEADLINE FOR PROPOSALS: SATURDAY, OCTOBER 15

Proposals should be no more than 250 words and should be submitted to me at ifischer@ku.edu. Abstracts must include paper title and contact information and must specify any audio-visual needs.

Proposers will be notified of inclusion in the session by October 23, but please note that preliminary acceptance does not guarantee acceptance of the panel by the ATHE Conference Committee. ATHE will notify ATDS of panels accepted/rejected by late February.

The members of ATDS look forward to celebrating our 25^th anniversary with all of you in our nation’s capital during the ATHE conference, August 2-5, 2012.

The American Theatre and Drama Society is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide. For more information, please visit the ATDS website at www.atds.org.

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The 33rd Annual Mid-America Theatre Conference will be held at the Hyatt Regency in Chicago from March 1-4, 2012.
The conference hosts two debut Emerging Scholars Panels designed for both undergraduate and graduate students who have not yet presented at a conference.

Paper submissions for each panel are welcome on any topic in theatre history, theory, or dramatic literature. Papers that complement the conference theme of "Work" are encouraged but not required.

Up to three participants will be selected for each panel, and each panelist will have fifteen minutes to deliver his or her paper. Students whose papers are accepted will received free conference registration, free admission to the conference luncheon, a one-year membership in MATC, and a cash prize of $50. Undergraduate panelists will also be paired with a conference mentor.

Papers should be 7-10 pages in length (1750-2500 words), and will be evaluated on their originality, the quality of writing and research, and critical/theoretical sophistication.

For consideration, please e-mail all submission as Microsoft Word attachments to the symposium co-chairs:
Kate Roark (roarkk@uhd.edu)
Jeff Grace (jgrace@knox.edu)

Submissions should include the following:
(1) Your name and the name of your academic institution
(2) Contact information (including mailing address, e-mail, and telephone number
(3) A brief bio
(4) Indication of whether you are submitting to the Undergraduate or Graduate Debut Panel
(5) Completed paper (no abstracts, please)

Deadlines for submission are:
Graduate Panel = October 15, 2011
Undergraduate Panel = November 1, 2011

Attached is a .pdf of the CFP. Please feel free to distribute to your interested students.

Thank you,

Jeff Grace, Ph.D.
Assistant Professor of Theatre
Knox College
2 E. South St. K-131
Galesburg, IL 61401
jgrace@knox.edu
(309) 341-7329

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18 February 2012, Toronto.

“A famous Spanish comedian named Adriano, who came to Naples with other [actors] to put on

their comedies, could not understand how one could produce a comedy by simply coordinating

several characters and staging it in less than an hour. An undertaking as fascinating as it is difficult

and risky, it should not be attempted except by qualified and competent people...”

Andrea Perrucci’s quote raises the issue of the training of the Commedia dell’Arte performers. While the success of Commedia dell’Arte troupes throughout the centuries is well documented, the performers’ training practices often remain elusive. Today, various teaching approaches have been devised to recreate the Commedia dell’Arte. This colloquium proposes to explore the transmission of performance knowledge from the Golden Age of the Commedia dell’Arte to current practices inspired by this tradition.
 

Paper topics may include, but are not limited to:

-The transmission of performance knowledge in the Golden Age of the Commedia dell’Arte;

-Deducing practices from Commedia scenarios;

-Interpreting Commedia dell’Arte treatises;

-Commedia dell’Arte training trends in the 20^th and 21^st centuries;

-Specific training approaches: Meyerhold, Giorgio Strehler and the Piccolo Teatro of Milan, Dario

Fo, Jacques Lecoq, etc.

-Commedia dell’Arte training in various countries;

-Specific aspects of training: rhythm and musicality, improvisation, grammelot, masked

performance techniques, dialects, etc.;

-Commedia dell’Arte training and the other performing arts: circus, opera, puppetry, etc.;

-Commedia dell’Arte training and interculturalism.

Dr. Robert Henke, Professor of Comparative Literature and Drama, Washington University in St Louis is the confirmed key-note speaker of the conference. He is the author of Performance and Literature in the Commedia dell’Arte (Cambridge UP, 2002), a groundbreaking book that examines the interplay between oral and literary cultures in the Commedia dell'Arte.

We are open to various presentation formats; from academic presentations with a historical focus to lecture-demonstrations. Presentations may be in English or French and should be 20 minutes in length. Proposals should include the following items:

-Your name, title (student, faculty, independent scholar), and academic affiliation.

-Your contact information (particularly email) and a short bio.

-The title and abstract for your paper. Please limit abstracts to 250 words.

-Any special requests for your presentation.

Please direct queries and proposals in Word format to the colloquium co-chairs: Guillaume Bernardi (Coordinator, Drama Studies Programme, Glendon College, York University) and Gabrielle Houle (PhD candidate, Graduate Centre for Study of Drama, University of Toronto), at the following address:

commedia2012@glendon.yorku.ca

All proposals must be received by October 31, 2011. Emails of acceptance will be sent by November 15, 2011. We intend to publish selected papers in a peer-reviewed publication.

In parallel with the colloquium, Carlos Garcia Estevez, internationally acclaimed Commedia performer, educator and co-founder of Amsterdam based Teatro Punto, <www.teatropunto.net>, will be leading a Commedia dell'Arte workshop at the University College Drama Program (University of Toronto). For more information on this workshop and to enroll in it, please contact the workshop organizer, Lester Trips Theatre, at <lestertrips.theatre@gmail.com>.

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Creative Critical Pedagogy Seminar

Seminar Chair: James McKinnon (Victoria University of Wellington)

CATR/ACRT Conference 2012, University of Waterloo and Wilfrid Laurier University, Waterloo, Ontario (Canadian Association for Theatre Research/Association canadienne de la recherche théâtrale).

26 – 29 May 2012, University of Waterloo, Ontario, Canada

Critical and creative thinking are valued skills, and developing them is part of the explicit mandate of many of our universities, and particularly of their liberal and creative arts programs. Drama and theatre programs, in theory, are ideally positioned to provide this training, and yet academic staff in those programs face a number of serious obstacles, including cultural attitudes (some people dismiss “intellectual” content as irrelevant to their artistic aspirations, others believe that creative talent is born, not trained), curricula which reinforce those attitudes (by privileging the creative output of individual geniuses, e.g.), university hierarchies which set teaching “load” against research “opportunities,” and structural/infrastructural issues (large classes, etc.).

This project invites proposals for teaching and learning experiments that address these problems by seeking productive intersections between teaching and research, creativity and criticality. During the period of this project (November 2011 – May 2012), participants will develop, share, and evaluate teaching and learning strategies for post-secondary drama and theatre contexts. We will focus in particular on strategies that exploit the potential of theatre to stimulate creative and critical thinking – a goal shared by all drama and theatre academics and educators, from scenographers, to theatre historians, to acting instructors.

Each participant will design and conduct a teaching experiment that addresses this problem in their specific teaching/research context, assess its effectiveness, and report on the results. During the process, we will connect regularly through a blog, to exchange ideas, methods, resources, and results. In the weeks leading up to our meeting in Waterloo, we will invite auditors to read part of our discussion in order to enrich the seminar.

We invite proposals from scholar/educators in all areas of post-secondary drama and theatre. Prospective participants should send a bio along with a 250-word proposal, which presents an idea for a drama/theatre-based teaching experiment which addresses the challenges of developing critical and creative thinking in their particular teaching/learning context to james.mckinnon@vuw.ac.nz by 15 November.
2011. Participants will be expected to collaborate through and contribute to our blog, and to attend the seminar at the CATR/ACRT Conference in Waterloo, Ontario, 26-29 May 2012.

“Performance as/is Civic Engagement: Advocate, Collaborate, Educate”

The Religion and Theatre Focus Group invites panels that address any issues arising from the conference theme.  In addition to the traditional format of paper panels, we also welcome proposals in the form of roundtables, collaborations, staged readings, talkbacks, and more.
 
The relationship between religion and civic engagement has always been complicated and compelling.  In Washington D.C. late summer 2012, the dialogue between the two will be enhanced and focused during the presidential election. This site-specific conference suggests a number of avenues for fruitful discussion:  What role does religion play in political performance? How might religious performance disrupt or enhance civic engagement?  What are important or difficult collaborations between religious and civic performance?  What have been important sites of advocacy for religion and theatre in the past/the present/the future?     
 
Remember that panels are not just an opportunity to showcase the work of people already active in the field, but also to bring in fresh ideas and new faces.  We encourage you to distribute your CFPs widely and to think creatively about how to engage in new conversations in your sessions.
 
Submission Deadlines:  
Complete Sessions (recommended):
      Submit online directly to ATHE (www.athe.org) by 1 November.
Individual paper proposals or session ideas:
      Submit to Megan Sanborn Jones (wlmailhtml:msjones@byu.edu) by 15 October and she will work with you create a complete session.
Multidisciplinary Sessions:
      Multidisciplinary (MD) panels must be sponsored by at least three different focus groups. All MD session organizers must contact the conference planners of all three sponsoring groups before submitting their session directly to ATHE by 1 November.
Starting the conversation:
      Use the RT listserv (wlmailhtml:ReligionTheatreList@athe.org) to find colleagues with shared interests.

Get Started!
Now is the time to begin your own conversations, brainstorming, and calls for participants through the R&T listserv and other venues. If you have any questions or confusion, feel free to email conference planner Megan (wlmailhtml:msjones@byu.edu).  We are looking forward to an exciting and thought-provoking conference in Chicago and hope to see you there.
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Theory and Criticism Focus Group of the Association for Theatre in Higher Education (ATHE), 2012 conference

Washington, DC, August 2-5, 2012

I.                   Theory & Criticism 6^th Annual Roundtable Series (individual paper abstracts)

II.                Session Proposals (Theory & Criticism or Multidisciplinary focus)

I. "Criticism as Activism” – An Interactive Roundtable Event

In response to the 2012 ATHE conference theme of “Performance As/Is Civic Engagement: Advocate, Collaborate, Educate,” the Theory and Criticism Focus Group desires to create a series of roundtables that takes up the notion of Criticism as Activism. Tertullian, the French Academy, Zola, Brecht, Boal, Butler, Dolan, and . . . you!

Theatre is a cultural product, revealing who we think we are in a historic moment, and who we might want to be in the future. Theatre, like all art, engages with the political. It responds to, comments on, and shapes how we see the world and how we imagine the future. In propaganda performance, for example, the politics are overt. But often the politics of a piece of performance or work of criticism lies in unquestioned assumptions about how the world works. In the past, some critics scorned actors for their lowly social status, or resented their spectacular performances that pulled people away from more sober, and often religious, pursuits. Some monarchs embraced performance as a political tool, one that could be employed to bolster support or crush dissent. Critics have culled from Shakespeare evidence of Romantic sensibility, of racial bigotry, of queer subversion. As artists and pedagogues, we engage with the political each time we create a performance, or teach a script. As scholars and critics, we take up politics when we take up our pen. Our art, our voices, our writing, matters because it expresses who we are right now, and who we wish to be in the future.

Inspired by the ATHE 2012 conference theme, the Theory and Criticism Focus Group (T&C) responds to the challenge of considering performance as civic engagement with a roundtable series that encourages participants and audiences to explore the notion of Criticism as Activism.

We aim to create a series of panels where scholars, teachers, and practitioners can investigate, challenge, re-imagine, and explode how historical or contemporary theorists and critics have used dramatic and/or performance criticism to intervene in social and political debates. How does performance criticism empower voices, on stage and off? What can we learn from critical attempts to engage with publics and counterpublics? How do we theorize and apply historical criticism that supports diverging ideological viewpoints? What can theatre and performance criticism offer to contemporary debates in the field about new media or academic publishing? How are critics activists? What is activist criticism? What does criticism mean today?

 T&C seeks submissions from theatre artists, pedagogues, scholars, activists, and critics interested in exploring these questions specifically or the notion of Criticism as Activism in general. Building on the tradition of our previous panel series, we strive to include a diverse range of participants from graduate students and emerging scholars, to professional critics, established artists, and senior scholars. For the 2012 ATHE conference, we will host a series of roundtable discussions, with each participant presenting a position statement or paper of up to 8 pages, which take up questions of Criticism as Activism from a wide range of starting points, including but not limited to:

T&C will be accepting individual, 250 word abstracts for position statements or papers for this roundtable series until: Monday, October 24^th, 2011.  At that point T & C will group these papers into a panel series and seek out respondents.  Participants will be informed of their acceptance by Thursday, October 27^th, and T&C will oversee the submission of the series panels through ATHE’s online proposal process. Send your paper abstracts to cab0023@auburn.edu.

II. Complete session proposals

We also seek complete session proposals as well for the 2012 conference that include a broad range of theoretical interrogations and applications. We encourage multidisciplinary dialogues across the fields of performance scholarship and seek participants from a variety of focus group affiliations. Note that all multidisciplinary proposals must be authorized by three sponsoring ATHE focus groups; please contact the appropriate focus group conference planners and or committee chair for authorization. For a list of the ATHE focus group conference planners visit http://www.athe.org/getinvolved/focusgroups/index and click on the desired focus group.  

The Theory and Criticism Focus Group supports broad definitions of criticism and performance, and therefore encourages a wide range of examples and topics. Feel free to explore both historical and contemporary critics and theorists, in popular culture and academic scholarship. Panel proposals that engage scholarly conversation in creative ways are highly encouraged.

Complete session proposals (separate from the roundtable series) should be submitted directly to ATHE: www.athe.org  All participants must be included in these proposals.  The website includes submission information and forms.  The session proposal deadline is November 1^st, 2011.

A Final Summary of Submission Guidelines for Both Options:

For the “Criticism as Activism” Roundtable Series:

Individual submissions for the series should be submitted to the T&C focus group representative, Chase Bringardner: cab0023@auburn.edu. Submissions should include an abstract (250 words or less), title, contact information (name, institutional affiliation, email address, and phone number), a brief bio (50 words or less), and any specific A/V requirements. Deadline for these submissions is:  Monday, October 24^th, 2011.

For complete session proposals (separate from the roundtable series):

Session proposals should be submitted directly to ATHE: www.athe.org  All participants must be included in these proposals.  The website includes submission information and forms.  The session proposal deadline is November 1^st, 2011.

For single paper submissions (outside of our annual panel series) looking for a session home

contact either cab0023@auburn.edu or sshawyer@gmail.com.

Individuals do not need to be a member or T&C or ATHE to submit abstracts or session proposals. However, if chosen and scheduled, participants must become members of ATHE by the time of the conference.

We look forward to hearing from you!

Theory and Criticism Focus Group of the Association for Theatre in Higher
Education (ATHE)
2012 Conference, Washington, DC, August 2-5, 2012

I. Theory & Criticism 6th Annual Roundtable Series (individual paper abstracts)
II.Session Proposals (Theory & Criticism or Multidisciplinary focus)


I. "Criticism as Activism” – An Interactive Roundtable Event

In response to the 2012 ATHE conference theme of “Performance As/Is Civic
Engagement: Advocate, Collaborate, Educate,” the Theory and Criticism Focus
Group desires to create a series of roundtables that takes up the notion of
Criticism as Activism. Tertullian, the French Academy, Zola, Brecht, Boal,
Butler, Dolan, and . . . you!

Theatre is a cultural product, revealing who we think we are in a historic
moment, and who we might want to be in the future. Theatre, like all art,
engages with the political. It responds to, comments on, and shapes how we
see the world and how we imagine the future. In propaganda performance, for
example, the politics are overt. But often the politics of a piece of
performance or work of criticism lies in unquestioned assumptions about how
the world works. In the past, some critics scorned actors for their lowly
social status, or resented their spectacular performances that pulled people
away from more sober, and often religious, pursuits. Some monarchs embraced
performance as a political tool, one that could be employed to bolster
support or crush dissent. Critics have culled from Shakespeare evidence of
Romantic sensibility, of racial bigotry, of queer subversion. As artists and
pedagogues, we engage with the political each time we create a performance,
or teach a script. As scholars and critics, we take up politics when we take
up our pen. Our art, our voices, our writing, matters because it expresses
who we are right now, and who we wish to be in the future.

Inspired by the ATHE 2012 conference theme, the Theory and Criticism Focus
Group (T&C) responds to the challenge of considering performance as civic
engagement with a roundtable series that encourages participants and
audiences to explore the notion of Criticism as Activism.

We aim to create a series of panels where scholars, teachers, and
practitioners can investigate, challenge, re-imagine, and explode how
historical or contemporary theorists and critics have used dramatic and/or
performance criticism to intervene in social and political debates. How does
performance criticism empower voices, on stage and off? What can we learn
from critical attempts to engage with publics and counterpublics? How do we
theorize and apply historical criticism that supports diverging ideological
viewpoints? What can theatre and performance criticism offer to contemporary
debates in the field about new media or academic publishing? How are critics
activists? What is activist criticism? What does criticism mean today?

T&C seeks submissions from theatre artists, pedagogues, scholars, activists,
and critics interested in exploring these questions specifically or the
notion of Criticism as Activism in general. Building on the tradition of our
previous panel series, we strive to include a diverse range of participants
from graduate students and emerging scholars, to professional critics,
established artists, and senior scholars. For the 2012 ATHE conference, we
will host a series of roundtable discussions, with each participant
presenting a position statement or paper of up to 8 pages, which take up
questions of Criticism as Activism from a wide range of starting points,
including but not limited to:

1. How has theatre or performance criticism engaged with individual artists
or performing companies, or empowered specific social groups?  How does
performance criticism empower voices, on stage and off? What ethical
questions surround the critical relationship? How can theatre and
performance scholarship be sensitive to critical ethics?

2. How has theatre or performance criticism engaged with notions of
nationalism and the nation state? In what ways have activist critics
challenged or reified national ideologies, transnational identities, or
diasporic imaginaries?

3. How has the changing media landscape supported or resisted the creation
of the celebrity critic, that star author who wields great power? What
historiographical strategies encourage or transcend the narrative of the
celebrity critic?

4. How have fields or schools of criticism shaped theatre and performance
historiography? How do specific schools of criticism consider and frame the
notion of activism? How do we theorize and apply historical criticism that
supports diverging ideological viewpoints?

5. How does theatre or performance criticism engage with its relationship to
the media in an activist way? How has the changing academic landscape
supported or resisted activist criticism?

6. What can we learn from critical attempts to engage with publics and
counterpublics? How are critics activists? What is activist criticism? What
does criticism mean today?

T&C will be accepting individual, 250 word abstracts for position statements
or papers for this roundtable series until: Monday, October 24th, 2011.  At
that point T & C will group these papers into a panel series and seek out
respondents.  Participants will be informed of their acceptance by Thursday,
October 27th, and T&C will oversee the submission of the series panels
through ATHE’s online proposal process. Send your paper abstracts to
cab0023@auburn.edu.

 
II. Complete session proposals

We also seek complete session proposals as well for the 2012 conference that
include a broad range of theoretical interrogations and applications. We
encourage multidisciplinary dialogues across the fields of performance
scholarship and seek participants from a variety of focus group
affiliations. Note that all multidisciplinary proposals must be authorized
by three sponsoring ATHE focus groups; please contact the appropriate focus
group conference planners and or committee chair for authorization. For a
list of the ATHE focus group conference planners visit
http://www.athe.org/getinvolved/focusgroups/index and click on the desired
focus group. 

The Theory and Criticism Focus Group supports broad definitions of criticism
and performance, and therefore encourages a wide range of examples and
topics. Feel free to explore both historical and contemporary critics and
theorists, in popular culture and academic scholarship. Panel proposals that
engage scholarly conversation in creative ways are highly encouraged.

Complete session proposals (separate from the roundtable series) should be
submitted directly to ATHE: www.athe.org  All participants must be included
in these proposals.  The website includes submission information and forms.
 The session proposal deadline is November 1st, 2011.
 

A Final Summary of Submission Guidelines for Both Options:


For the “Criticism as Activism” Roundtable Series:

Individual submissions for the series should be submitted to the T&C focus
group representative, Chase Bringardner: cab0023@auburn.edu. Submissions
should include an abstract (250 words or less), title, contact information
(name, institutional affiliation, email address, and phone number), a brief
bio (50 words or less), and any specific A/V requirements. Deadline for
these submissions is:  Monday, October 24th, 2011.

For complete session proposals (separate from the roundtable series):

Session proposals should be submitted directly to ATHE: www.athe.org  All
participants must be included in these proposals.  The website includes
submission information and forms.  The session proposal deadline is November
1st, 2011.

For single paper submissions (outside of our annual panel series) looking
for a session home

contact either cab0023@auburn.edu or sshawyer@gmail.com.

Individuals do not need to be a member or T&C or ATHE to submit abstracts or
session proposals. However, if chosen and scheduled, participants must
become members of ATHE by the time of the conference.

We look forward to hearing from you!
 

The Performance Studies Focus Group (PSFG) of the Association for
>Theatre in
> Higher Education (ATHE) invites session proposals for the 2012
>Conference at
> the Hyatt Regency Capitol Hill in Washington, D.C., 2-5 August on
>the
> conference theme of "Performance as/is Civic Engagement: Advocate,
> Collaborate, Educate."  We welcome proposals for panels,
>performances,
> roundtables, working groups, and alternative formats.
>
>
>
> In the midst of the political circus surrounding the United States
>2012
> presidential election, we will reconcile the state of contemporary
>political
> performance with intellectual gestures toward an idealistic notion
>of the
> performative.  In the current climate, can performance still create
>hope?
> As mediatized performance dominates Washington power plays, PSFG
>invites
> submissions that consider the possibility of advocacy and civic
>engagement.
> Might performance disrupt/reinforce hegemonic structures?  Does
>performance
> as civic engagement necessarily have to participate in the process
>of nation
> building?  What opportunities exist for transnational civic
>engagement?  How
> might we trace the genealogy of performative politics in the United
>States
> and beyond?  In the wake of social mediatization and political
>posturing,
> what indeed is the new capitalist aesthetic?  We encourage
>historical work
> as well as political performance of all kinds, from all periods, in
>all places.
>
>
>
> All session proposals are filed electronically directly to ATHE.  A
>link to
> the session proposal form, along with full explanations, can be
>found at
> http://athe.org/displaycommon.cfm?an=1&subarticlenbr=156.  All
>session
> proposals have a deadline of 1 November.
>
>
>
> ATHE also accepts proposals for Multidisciplinary (MD) sessions.
> Multidisciplinary panels must be sponsored by at least three
>different focus
> groups.  All MD session organizers must contact the Conference
>Planners of
> all sponsoring groups before submitting their session directly to
>ATHE. If
> you would like to learn more about ATHE Focus Groups, go to:
> http://athe.org/displaycommon.cfm?an=14.  All session proposals are
>due by 1
> November.
>
>
>
> While individual papers will receive consideration, submissions that
>pull
> together a strong panel of participants are preferred.  With
>individual
> papers, the Focus Group Conference Planner will curate panels,
>attempting to
> match up related papers.  In order to facilitate this process, these
>papers
> must be received directly by the Conference Planner Megan Shea at
> megan.shea@nyu.edu, by October 10th.  Individual paper proposals
>should
> include title, contact information, and an abstract of 250 words.
>
>
>
> If you are looking for co-panelists, please feel free to post your
>inquiries
> to our listserv: PerformanceStudiesList@athe.org.  If you are not
>yet a
> member of the listserv, you can subscribe by sending an e-mail to
> imailsrv@athe.org. In the body of the e-mail, type the following:
>subscribe
> PerformanceStudiesList Firstname Lastname (where Firstname and
>Lastname
> equal your first name and your last name).
>
>
>
> If you have any questions or concerns, feel free to contact:
>
> Megan Shea
>
> PSFG Conference Planner
>
> Expository Writing Program
>
> New York University
>
> 411 Lafayette Street, 4th Floor
>
> New York, NY 10003
>
> megan.shea@nyu.edu

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American Theatre and Drama Society Sessions for ATHE 2012, Washington, DC

Deadlines:
Individual papers and papers for the following panels (see individual CFPs): October 15 (submit to Susan Kattwinkel – kattwinkels@cofc.edu or panel chairs as listed on CFPs)
Complete sessions: November 1 - submit online to ATHE at www.athe.org

 
ATDS @ 25: Looking Forward, Looking Back
To celebrate its 25th anniversary, the American Theatre and Drama Society plans to present a set of coordinated panels, designed to chart the chronological, topical, and historiographic progression of our discipline. 
 
 
ATDS welcomes panels or individual papers that address key loci in American Theatre and Drama from all ATHE members. (Panels might address theatrical movements, specialties, historical moments, key individuals, etc.)
 
Multi-disciplinary panels addressing key movements, genres, or moments in American Theatre history are also encouraged.

ATDS looks forward to celebrating our 25th Anniversary with you all in our nation's capital, August 2-5, 2012.
 
 
Preference will be given to ATDS members. If you are interested in enjoying all of the membership benefits of ATDS – including your own subscription to the Journal of American Drama and Theatre – please visit the website (www.atds.org <http://www.atds.org> ) for an application or contact ATDS Membership Secretary Stuart Hecht (hecht@bc.edu <mailto:hecht@bc.edu> ).
 
About the American Theatre and Drama Society: The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide. 
--
Susan Kattwinkel
ATHE Conference Planner 2012, American Theatre and Drama Society
--
Susan Kattwinkel, Ph.D.
Director of the First-Year Experience
Associate Professor, Theatre
183 Lightsey Center Annex
College of Charleston
Charleston, SC 29424
(843) 953-8218
(843) 953-5800 (fax)
Web: www.cofc.edu/fye
 

The Thornton Wilder Society calls for papers for a proposed panel at the ATHE (Association for Theatre in Higher Education) conference: “Performance as/is Civic Engagement: Advocate, Collaborate, Educate.”  The conference focus is: “How is theatre a mode of advocacy for the arts in general and for higher education more specifically?  How can we use performance to help our students and audiences find their voices as local, national and global advocates?  In what ways is every theatrical event a mode of civic engagement?”  Papers may address any aspect of Wilder’s dramatic works as they have been or could be used as modes of social advocacy and/or civic engagement.

The conference will be in Washington, D.C. at the Hyatt Regency Capitol Hill on August 2 - 5, 2012. Deadline for proposals: October 29.  Please send proposals (approximately 500 words and a title, with name, title, and institutional affiliation, if applicable) to Dr. Park Bucker, University of South Carolina Sumter (email: psbucke@uscsumter.edu).

Possible topics include:

Performance studies (including high schools) on how any of Wilder’s plays have been used as forms of civic engagement.

Analysis of the documentary O.T. Our Town (2002) or other significant high school productions of the play.

The Skin of Our Teeth or other plays as political theatre or agitprop.

Production histories of The Skin of Our Teeth as presented to wartime or similarly traumatized audiences.

George Antrobus, Dolly Levi (The Matchmaker/Hello, Dolly!), or other Wilder characters as models for social advocacy.

Wilder’s stagecraft as a form of civic engagement, particularly in Our Town.

 

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The Heather McCallum Scholarship

The Heather McCallum Scholarship was established in 1987 by the
Canadian Association for Theatre Research (CATR) in honour of the
former head of the Theatre Department at the Toronto Reference
Library. Every year scholarships totaling $1000 are awarded to
graduate students and emerging scholars (within five years of the
completion of a PhD) in the disciplines of theatre, drama and
performance studies, broadly defined, with a preference given to
topics with a Canadian focus. The scholarships are intended to allow
researchers to enrich their projects in ways otherwise unaffordable,
through travel, access to archives or events, or the purchase of
materials. The final outcome of the project is not restrictive (it may
be a doctoral dissertation, proposed publication, or a new or on-going
research initiative). The scholarship is aimed towards projects not
usually fundable under other subsidy schemes. The committee welcomes
any well-defined project including subsidy for travel to theatre
sites, for consulting special collections, for purchase or access to
film or video materials.

Candidates are asked to submit the following:

1) A letter (1 to 2 pages) describing the project for which assistance
is required.

2) An anticipated breakdown of costs

3) Information concerning other funding received or anticipated,
including applications made to other granting agencies

4) A current curriculum vitae

5) The name of one person who has been asked to send a letter of
reference directly to the Secretary of the Committee. These letters
should comment on the project, on the candidate's scholarship record
and potential.

This year's deadline for applications for the 2012 Heather McCallum
Scholarship is 30 March 2012. Applications should be sent, preferably
via email, to:

Natalie Alvarez
Associate Professor
Department of Dramatic Arts,
Marilyn I. Walker School of Fine and Performing Arts
Brock University
500 Glenridge Avenue
St. Catharines, Ontario L2S 3A1

Email: nalvarez@brocku.ca

For more complete information concerning Terms of Reference, Selection
Criteria and Application Procedures, please refer to the
Organization's website at www.catr-acrt.ca


--
Natalie Alvarez, Ph.D.
Associate Professor
Brock University | Department of Dramatic Arts and Liberal Arts
500 Glenridge Avenue  | St. Catharines, ON  L2S 3A1
www.brocku.ca |  905.688.5550  x 4496
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ATHE Theatre History Focus Group Call for Proposals

The Theatre History Focus Group of the Association for Theatre in Higher Education invites proposals for next year’s conference, to be held at the Hyatt Regency on Capital Hill in Washington, DC, August 2-5, 2012.  The overall conference theme, “Performance as/is Civic Engagement: Advocate, Collaborate, Educate” calls for rich contextualization and interrogation of performance as a contributor to civic debate. Thinking broadly about how we define “civic engagement,” we invite proposals for panels and roundtables about histories of theatre that might engage the following questions and themes:  

• How has advocacy historically been incorporated within theatre practice, and how has theatre practice spurred changes in advocacy?  

• How has the actor’s body as medium been perceived as a site of performed civic discourse in different historical periods?

• What are the implications of advocacy for research in theatre history and historiography, especially as pertaining to archive sustenance?

• How might we teach the history of theatre and civic engagement?  How has theatre “survived” power shifts in earlier periods?

• How does advocacy influence theatre history pedagogies?

Please note that papers and panels with a scope beyond the conference theme are also welcome.

Tips for submitting proposals:

1.  Complete proposals for sessions (with all presenters assembled) should be submitted directly to ATHE through the website at www.athe.org.  The deadline for all proposals is November 1, 2011.  Please forward a copy of your proposal to THFG Chair and Conference Planner, Virginia Anderson at ginny.anderson@gmail.com.  

If you would like assistance in panel coordination, please use the THFG listserv (theatrehistorylist@athe.org) or Facebook group (ATHE Theatre History Focus Group), or email individual paper proposals to the conference planner no later than Friday, October 28 (note that the latter option does not guarantee submission/acceptance).

2.  Submissions may be either discipline specific or multidisciplinary.  In general, we are interested in panel topics that address the history of theatrical practice, historiography, or the relation of theatre to history in a larger sense.  We encourage proposals that include both senior and junior scholars, as well as graduate students. A senior scholar could well serve as a respondent.  We also encourage collaborations with other Focus Groups and Committees of ATHE to develop dynamic multidisciplinary sessions.  Please see below for specific rules and guidelines for multidisciplinary proposals. 

3.  For Theatre History-Specific Proposals:  If your session addresses primarily theatre history, then choose “Single Focus Group” in the first selection box of the online proposal form.  For Session Sponsor, select number 18, “(TH) Theatre History.”  When the selection process begins, all THFG-targeted proposals will be sent to the THFG conference planner.  The THFG Executive Committee will rank the proposals, and the conference committee will use those rankings to make final programming decisions. It is not necessary to contact the conference planner before submitting a THFG proposal, but please do forward a copy of your proposal to the conference planner once you have submitted it (see above, ginny.anderson@gmail.com).  Also feel free to contact the conference planner if you have any problems or concerns or if you are curious as to whether or not your proposal is appropriate for THFG. 

4.  For Multi-Disciplinary (MD) Proposals: If your session addresses theatre history but is also appropriate for another Focus Group or Committee, consider THFG as one of your target focus groups.  You must select 3 targeted Focus Groups or Committees for an MD panel to be considered.  To make an MD proposal you must contact the conference planners for each of the targeted Focus 

Groups/Committees by email before submitting online in order to receive feedback and to make sure the proposals are appropriate for each FG /Committee.  If one of your targeted focus groups is not enthusiastic, better to know before submission and perhaps find another FG or committee.  See www.athe.org for contact information for Focus Group conference planners and Committee chairs.  As with the THFG-specific proposals, we receive a list from ATHE of all MD sessions, and we rank those that target TH and return that ranking for consideration by the program committee. 

5.  Special notes for the 2012 Conference:

A.  Double-sessions will not be included as part of the 2012 conference program. Please make sure your proposal fits well within the traditional 90 minute session format.

B.     You must request an LCD projector at the time of proposal.  While there is a $300 fee, please note that ATHE grant requests for technology are strongly encouraged and frequently awarded.

C.     It will not be possible to request specific days for presentations.  If selected, your session could be scheduled on any day of the conference.  Session Coordinators should ensure that all participants know that they should be available for all days of the conference.

D.      Participants will be limited to a maximum of two presentations.  “Presentation” refers to the act of delivering a paper, serving on a roundtable, or serving in an equivalent role in a different type of session. There is no limit to the number of sessions that a person can Chair or serve as Session Organizer.

7.  Individual papers and assistance in forming panels:  We encourage you to use our listserv to network proposals, paper topics, and do other brainstorming.  If you are not already signed up for the THFG ATHE listserv, you can sign up at http://www.athe.org/displaycommon.cfm?an=1&subarticlenbr=75 and following the directions found on that page.  Contact everyone on the listserv by e-mailing to theatrehistorylist@athe.org. We have a Facebook group called “ATHE Theatre History Focus Group,” which might also facilitate this kind of networking.  While we prefer to receive full session proposals, you may request assistance from the conference planner in developing a session from your idea for an individual paper. 

8.  You should expect to hear whether or not your proposal has been accepted or rejected by mid-March, 2010.

9.  Questions?  Contact THFG Chair/Conference Planner Virginia Anderson at ginny.anderson@gmail.com.

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Theatre Journal

Special Issue

Theatre and Material Culture

Call for Papers

“No ideas but in things.”

-          William Carlos Williams

“Thing Theory” has developed rapidly in literary theory since the publication a decade ago of a special issue of Critical Inquiry on Things. And as scholars such as Andrew Sofer have shown (The Stage Life of Props), theatre has a special relationship to objects, things, thingness, and material culture more generally. Submissions to this special issue are invited to consider the complex relationships between theatre and things. We are particularly interested in essays that address theatre as material culture (or material culture as theatre), that approach theatre through material culture methodologies (including “thing theory”), that trace how the theatre industry has interacted with objects over history, or that consider the status of the material traces of the ephemeral theatrical event.

This special issue will be edited by Ric Knowles, Coeditor, Theatre Journal.  Submissions (6000-9000 words) should be e-mailed to Bob Kowkabany, Managing Editor, at doriclay@aol.com by February 15, 2012.

The Jackman Humanities Institute invites proposals for the conference

Locating Compassion in Land Ethics
Deadline:  Dec 19th, 5:00 pm
Details and full CFP (conference to be held 23-25 March 2012,
featuring Mimi Gellman) available at the link below.

Please follow this link for full details on this event:
http://www.humanities.utoronto.ca/event_details/id=473

Thank You!

Jackman Humanities Institute
University of Toronto                 Phone: 416 978-7415
Jackman Humanities Building         Fax: 416 946-7434
170 St. George St., 10th floor
Toronto, ON M5R 2M8

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• protests and rallies
   
• inaugural parades/balls
• daily ceremonies, such as the Changing of the Guard in Arlington National Cemetary, or saying the Pledge of Allegiance
• citizenship tests
   
• civic pilgrimage/tourism
• commemorative ceremonies
• historical reenactments
• "patriotic" performances
   

2012 Association for Theatre in Higher Education Conference

“Performing Racial and Ethnic US Histories”

With the deadline just around the corner, I would like to create a panel for ATHE’s 2012 conference in Washington D.C. this August. This panel proposal will be submitted to the American Theatre and Drama Society, and would explore the performance of racial and ethnic histories in the United States—both past and present. Papers might discuss how performances produce histories/memories to create or divide peoples, and could include theatrical productions, re-enactments, pageants, memorials, parades, community festivals, or tourism, amongst others.

The work done by these performances might touch upon the following:

• Challenging or celebrating established canonical histories
• Interrogating or reifying juridical status
• Educating audiences on a particular historical site, moment, or political message (including TYA) important to race/ethnic relations in the US
• Destabilizing or buttressing constructs and concepts of race and ethnicity
• Troubling or normalizing “whiteness”
• Processes of embodying, decoding, and performing race or ethnicity

Please send proposals (no more than 250 words) to me (bethanyholmstrom@gmail.com) by October 30th with paper title, contact info, and A/V needs. Varied formats and theoretical approaches welcome. Send any questions my way as well. The ATHE deadline is fast-approaching, so interested parties should contact me ASAP.

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