CFP| ATHE 2020: Middle Eastern Theatre Emerging Scholars

** Please note: This CFP requests completed papers by the date of submission. **

 

Call for Papers
ATHE’s Middle Eastern Theatre Focus Group:
The Emerging Scholars Panel in Middle Eastern Theatre
Deadline: March 15, 2020
The Middle Eastern Theatre (MET) Focus Group of the Association for Theatre in Higher
Education (ATHE) announces its call for papers for the Emerging Scholars Panel in Middle Eastern theatre and performance at the 2020 ATHE conference in Detroit, Michigan from July 29-August 2, 2020. Accepted papers will be presented in our debut panel.
Paper submissions may concern any area within the purview of Middle Eastern theatre and performance history, criticism, and studies, and we also welcome projects working with interdisciplinary methodologies. Papers can encompass themes within diaspora studies, Pre-Islamic studies, postcolonial theory and beyond. Paper submissions are especially encouraged to address intersections of ability, class, race, gender, nationality, and sexuality with Middle Eastern theatre broadly construed.

We recognize the dilemma of classifying a “Middle East” based on colonial terminology and borders, and we therefore welcome any work from countries in the Near East, North Africa, Central Asia, parts of South and East Asia, and Eastern Europe, as well as work that self-identifies as aligned with Middle Eastern culture, its diaspora, and the region at-large.

Submissions are open to emerging scholars (particularly graduate students and advanced undergraduate students) who have not yet presented at a national conference on a topic related to Middle Eastern theatre, as well as junior scholars who have not previously presented or published in the area of Middle Eastern Studies. Scholars may also present or serve on other panels at this conference.

While all submissions on Middle Eastern theatre are welcome, we encourage submitting papers that engage with ATHE’s 2020 conference theme of DRIVE:
Combustion ⇔ Energy ⇔ Resilience ⇔ Drive ⇔Resilience ⇔ Energy ⇔ Combustion.
The panel’s respondent will be Professor Edward Ziter, an established leader in the field of Middle Eastern Theater, and stipends will be made available to selected scholars to cover conference admission fee.

For consideration, please e-mail your paper, 8 to 10 pages in length (20 minutes when read aloud) as a Microsoft Word attachment to oelsayigh[at]gradcenter[dot]cuny[dot]edu by March 15, 2020. Please include a cover page with your name, paper title, institutional affiliation, and contact information, but remove your name from the body of the essay.

Three papers will be selected by a blind-review committee for inclusion on this competitive panel. The selected authors will be expected to attend and present their papers at the conference in Detroit.

For more information on the ATHE 2020 conference, visit the ATHE website..

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CFP| Theatre History Studies 2022, General Section / Special Section “Commingled Histories: Theatre & Dance”

Theatre History Studies accepts submissions on the full range of topics in theatre history on a rolling deadline. Please submit articles for consideration as soon as they are ready for review.

Please send manuscripts for the general section to:

Lisa Jackson-Schebetta

ths.editor@matc.us

Editor, Theatre History Studies

Skidmore College

Theatre Department

815 N. Broadway

Saratoga Springs, NY 12866

 

The 2022 issue will feature a special section co-edited by Angela K. Ahlgren and Victoria Fortuna

Commingled Histories: Theatre & Dance

Over the past two decades, theatre, dance, and performance scholars have grappled with the tensions and generative intersections between text and movement, archival practices and performance repertoires, history and ethnography. Influential studies have probed and blurred the lines between theatre, dance, and performance. How might future histories account for the commingling of performance disciplines, both in how they have been practiced and in our historical accounting of them?

We propose “commingling” as a term that signals the fleshy, shifting, and sometimes risky ways performance research and practice ask us to share space, borrow methods, and move together in difference. Whereas “intersections” imply potentially static points of overlap, “commingling” invites consideration of the always-embodied dimensions of researching performance histories, including the  kinesthetics of archival research, the body-to-body encounters that drive oral history and ethnographic methods, and the collaborative dimensions of the writing process itself.

This special section interrogates the commingled histories of theatre, dance, and performance and the interdisciplinary methodologies that documenting them requires. We ask: How do theatre histories commingle with histories of dance, music, and other disciplines? What happens when ethnographic and archival research merge or generate friction? How does dance studies inform approaches to movement and text, voice and gesture, designs and bodies in theatre histories and vice versa? How might “commingling” provide a lens for considering conflict, coalition, segregation, and/or other ways of relating through performance processes, research practices, and in everyday life?

Submissions might engage the theme of “Commingled Histories” in relation to:

-Performances and/or performance genres that invite multi- or intra-disciplinary analyses

-Performances that commingle, frustrate, or disrupt received racial, ethnic, national, and/or hemispheric histories

-Theorizing ethnographic dimensions of archival research and vice-versa, or other mixed methodological analyses

-Dance and movement as a central concern in theatre histories and vice-versa

-Rehearsal and training processes that bridge dance and theatre

-Commingling and/or juxtaposition of on-stage and off-stage labor (directors, choreographers, stage managers, crew, etc.)

-How costumes, props, and other material objects script or choreograph human agents

-Political and ethical dimensions of performance practices

-The co-editors are especially interested in essays that foreground political/ethical issues that arise out of the commingling of dance and theatre histories.

Please submit manuscripts for the special section by January 1, 2021. Submissions should follow  The Chicago Manual of Style, 16th edition. For specific formatting guidelines, please see Guidelines for Contributors. Publication in 2022.

Please submit Special Section inquiries and manuscripts to both editors:

 

Special Section Editors

Angela K. Ahlgren Victoria Fortuna

akahlgr[AT]bgsu[DOT]edu    fortunav[at]reed[dot]edu

 

Theatre History Studies is the official journal of the Mid-America Theatre Conference and is published by the University of Alabama Press. Please send manuscripts prepared in conformity with the guidelines in the Chicago Manual of Style and the University of Alabama Press style sheet located on the MATC website (here). Illustrations are encouraged. Essays should be between 6,000-8,000 words and use endnotes rather than footnotes.

Theatre History Studies accepts submissions for its general issue on the full range of topics in theatre history on a rolling deadline. Please send manuscripts for the general section to:

 

Dr. Lisa Jackson-Schebetta, Editor

ths.editor@matc.us

CFP | ATHE 2020: Performance Studies Emerging Scholars Panel | Deadline: February 15th, 2020

Note: This CFP requests full papers at the time of submission.

The Performance Studies Focus Group (PSFG) of the Association of Theater in Higher Education (ATHE) conference invites submissions of papers for its Emerging Scholars Panel. The theme of this year’s conference, which will take place in Detroit, MI July 29 – August 2, is “DRIVE < > Combustion < > Energy < > Resilience ”

The PSFG Emerging Scholars Panel is an opportunity for researchers to present their work at a major international conference at the outset of their career. All graduate students and scholars who have not yet presented at ATHE are eligible to apply. Selected emerging scholars are paired with a mentor from the field of Performance Studies who will offer critical feedback on papers in preparation for the conference. Successful applicants receive a $100 stipend as well as complimentary registration to the ATHE PSFG pre-conference.

Located at the boundaries and intersections of scholarly and artistic practice, Performance Studies theorizes and analyzes embodied practices and events, and explores the ways in which performance creates meaning and shapes social life. This year’s PSFG will develop a conversation on the theme of Drive using the cultural, political and economic backdrop of Detroit. In light of this year’s theme, some questions we will consider include:

DRIVE: How can Performance Studies (PS) help us to learn from the past to envision and act upon a stronger future? How can PS help drive our field to a more welcoming environment and realistic institution?

Combustion: How can we amalgamate voices and catalyze conversation without burning down the past and preempting the future? How do breakaway texts and dialogues in the field subvert or serve our peers and advocate for performance studies as inquiry and action?

Energy: How have practices of consumers and producers influenced and been influenced by climate change and environmental activism?

Resilience: How can we be responsible visitors to a city like Detroit (indeed, what some have deemed “the Renaissance City”)? How can artists/scholars serve as citizens and uplift their neighbors, but resist issues of gentrification and appropriation? What does PS have in its toolkit to foster shared community action/voice?

Submissions to the PSFG Emerging Scholars panel may engage these questions generated by the conference theme, or may address issues raised by Performance Studies more broadly. Papers across performance modes and historical periods are welcome. Topics may include:

-Contested boundaries between performance, theater, and other art forms/disciplines

-Performance as a modality of (historical) knowledge

-Historiographical approaches to performance

-Negotiating and building identity through performance

-Situating performance in terms of race, gender, and sexuality

-The role of performance in shifting configurations of power and resistance

-Performative strategies of the avant-garde

-Conflict, confrontation, and dissensus in the performance encounter

-Intersections of performance and philosophy

-Performance within postcolonial and neocolonial contexts

-Performativity and theatricality

-Embodiment and technological culture

Papers should be formatted using MLA or author-date Chicago style and adhere to a strict 2000-3000 word limit (including notes). The deadline for submission is Saturday, February 15, 2020. Please send completed papers (in Microsoft Word format) without your name anywhere in the text, along with a current CV to PSFG Graduate Representative Enzo Vásquez Toral at enzo[at]u[dot]northwestern[dot]edu. Results will be announced by late March 2020.

Winners will be responsible for registering to ATHE’s membership and conference on their own starting in May, and we will provide guidance in this process, as needed. Stipends will be given as reimbursement during the conference.

CFP | Theatre Symposium 2020 |Theatre and Race

Dear Colleagues,

I hope that some of you may have heard of Theatre Symposium, the annual scholarly gathering and journal associated with MATC’s sister organization, the Southeastern Theatre Conference. Each year the organizers of the Symposium announce a theme, and those who are interested submit abstracts for inclusion in the April conference. That gathering will be held this year in Decatur, Georgia, just outside of Atlanta. It’s a symposium, so everyone gets to hear everyone else’s papers. We generally accept between 20-30 abstracts, and papers are delivered in panel that last from Friday evening all the way through Saturday to Sunday morning. During that time, we share two meals, one cocktail hour, one afternoon snack, and two morning coffees (all of which is included in the incredibly low conference fee of $150).

Additionally, anyone who presents at the conference can submit an essay-length version of their presentation for possible publication in our annual journal Theatre Symposium.

This year, our topic is “Theatre and Race,” and our keynote speaker will be Dr. Soyica Colbert. I’ve attached a .pdf of this year’s CFP to this email. Please not that the deadline for the submission of single-page abstracts has recently been extended to Monday 20 January. I hope you might consider joining us.

Best wishes for a restful holiday season!

Andrew Gibb

andrew.gibb[at]ttu[dot]edu

 

Call for Applications | Journal of American Drama and Theatre | Book Reviewers

As part of the New Year refresh, the Journal of American Drama and Theatre (JADT) welcomes nominations and submissions for the Book Review Section.

  * We publish reviews on recent scholarly books that contribute to our understanding of theater, drama and performance studies in the Americas, broadly construed.

 

    * Write to me as Book Review Editor to join our roster of prospective book review writers. We welcome seasoned and emergent members of the field, alike, to write 1000-word reviews of recent volumes significant to the field. Identify your areas of expertise; you may also propose a specific publication to review, often from our posted list of recommendations.

   * Members of the American Theatre and Drama Society are especially encouraged to nominate recent books on American theater, drama and performance studies from the past year or two you would nominate for review.

    We actively engage the diversity of the field, and seek to publish about books that excite the membership and contribute to our deeper understanding of theater, performance and the world through them, whether via historical, cultural, artistic, or theoretical lenses.

Happy New Year.

Maya E. Roth [ mer46[at]georgetown[dot]edu ]

Book Review Editor, JADT

CFP| ASA 2020 – Panel Proposal | Insurgent Spaces: Performing Revolt in Public |

CFP: Insurgent Spaces: Performing Revolt in Public

Proposed Panel for the American Studies Association Annual Meeting (Baltimore, November 12-15, 2020):

Everyday life is shaped by how people engage with the spaces they inhabit: the institutions of which they are a part, the national sites of memory that carve out certain histories for remembrance while occluding others, and the public spaces that are open to some but closed to others as a result of their race, ability, gender, or class. Performance offers one way to uncover and challenge the relations of domination embodied by these spatial encounters. Public performances of revolt can reveal how state and private actors manipulate space in order to exert social control; they can also offer creative ways to resist that control, asserting the right to live free from systemic violence. This proposed panel will examine how people perform in public spaces in order to challenge relations of dominance, imagine new futurities, reconceptualize “public” engagement, and express communal resilience to the logics of dehumanization.

Proposals submitted to this interdisciplinary panel might consider: marches and mass demonstrations; “occupy”-style protests; movements to repatriate Indigenous land; reclamations of sites of memory, the Movement for Black Lives and other anti-police brutality movements; performances of fugitivity; practices of sousveillance; or challenges to memorial sites and objects, such as Confederate statuary.

Submit proposals with a title, 250-word abstract and a short biographical statement to Lindsay Livingston (llivingston[at]bowdoin[dot]edu) by January 21, 2020.

(REVISED) CFP: New England Theatre Journal

New England Theatre Journal

 

REVISED

Call for Papers 

New England Theatre Journal (a publication of the New England Theatre Conference) invites submissions for its year 2020 edition. A refereed publication, New England Theatre Journal is concerned with advancing the study and practice of theatre and drama by printing articles of the highest quality on a broad range of subjects, including traditional scholarship, performance theory, pedagogy, and articles on theatre performance, design and technology.

New England Theatre Journal is indexed in the International Index of the Performing Arts and the MLA Bibliography. It can also be found via EBESCO and other sites.

The deadline for submissions is January 31st, 2020. You are, however, encouraged to submit contributions at the earliest possible date so that full consideration may be given to them.

Inquiries and communications regarding the submission of articles are welcome.

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MANUSCRIPTS

All contributions should conform to the following guidelines:

1.  One copy of your article should be submitted, between 15-30 pages in length. Author’s name should not appear on manuscript pages. ALSO, please send this as an email attachment to the address listed below. Contact the Editor if you have any questions about this.

2.  Please do not send this as a PDF but rather as a Word document

3.  The 17^th edition of the Chicago Manual of Style should be followed strictly.

4.  Include a cover sheet with the title of the article, your name, your affiliation, title, mailing address, telephone numbers and email address, a 50-75 word abstract, and a brief biographical paragraph.

5.  Notes, references, charts, or figures should appear at the end of the article on separate pages.

Articles pending disposition by NETJ should not be submitted to another publication unless released by the Editor of NETJ. Manuscripts are juried anonymously in order to assure the highest possible publication standards. If you have any questions please feel free to contact the editor directly.

Manuscripts should be sent by January 31st to:

Stuart J. Hecht, Editor

 

New England Theatre Journal

Email: hecht[at]bc[dot]edu

Call for Submissions (various) | NEW Journal! | Theatre and Performance Notes and Counternotes

I am happy to announce a new theatre and performance studies journal, published by Penn State University Press. Please share widely and I encourage you to submit yourself:

Theatre and Performance Notes and Counternotes (website located here) is the first and only journal in the broadly-conceived field of theatre studies to publish short-to-medium length research articles on any subject, as well as publish discussion and response articles. As such, TPNC is an ambitious journal that provides the field with a uniquely-responsive and organic forum, encouraging and yielding more immediate and direct scholarly exchanges. Placing a premium on clarity, readability, and rigor of thought, TPNC seeks articles that despite their brevity are significant and have wide appeal and applicability in the field. Finally, TPNC welcomes interdisciplinary articles that reach across and/or beyond the field(s) of drama, theatre, and performance studies.

Article Submissions

To submit a manuscript to Theatre and Performance Notes and Counternotes, please visit Editorial Manager. The online system will guide you through the steps to upload your article to the editorial office. Except in response or discussion articles in which the identity of the author is appropriate and/or required, in order to undergo the journal’s double-blind peer-review process, all articles should (1) be anonymized, (2) be between 1,500-4,000 words, and (3) conform to the latest edition of The Chicago Manual of Style.

Research articles

Original research articles can range from focused notes to medium-length articles. Articles can be on any subject(s) in the broadly-defined field of theatre studies, but the scope, ambition, and thesis should be appropriate to the length of the submitted article.

Discussions

Discussion articles can offer proposed solutions and/or problematize specific ideas related to, or emerging from, conversations or debates within the field. Discussions can also serve as a place to crystalize conversations or debates in the field, or to bring seemingly-disparate ideas into a more coherent conversation.

Responses

Response articles are, most often, directed at either the theses of a specific scholar(s) and/or a specific conversation or debate within the field. Often, responses engage directly with the strengths and weaknesses of particular theses or broader ideas in the field in order to either strengthen, modify, or challenge these theses/ideas. The aim of these responses is not to create debates or arguments (and, certainly, never arguments or attacks of a personal nature) but to move the field to a clearer and more accurate understanding of the subject at hand. These response articles can also provide a space to revisit and/or modify one’s own previously-published ideas.

Finally, if you would like to discuss the possibility of proposing and/or curating a “Symposium” consisting of 3-4 related discussion and/or response articles, please send an email to the Editor of Theatre and Performance Notes and Counternotes, Prof. Michael Y. Bennett bennettm[at]uww[dot]edu.

CFP| ATHE 2020 – Theatre History Focus Debut Panel | Deadline 01/17/2020

Note: This conference CFP requests completed paper submissions rather than abstracts.

Theatre History Focus Group DEBUT PANEL | Deadline: 1/17/2020

The Theatre History Focus Group (THFG) of the Association for Theatre in Higher Education (ATHE) invites submissions for its debut panel from scholars who have neither published articles nor previously presented at ATHE. The deadline for submission is Friday January 17, 2020.

Papers must address the history of theatre practice, but the parameters are broad. Active engagement with historiographical methodologies, theory, and/or dramatic literature is encouraged. Papers may engage explicitly the conference theme “DRIVE: Combustion ? Energy ? Resilience ? Drive? Resilience ? Energy ? Combustion” but are not required to do so. We encourage papers incorporating transnational or non-Western perspectives.

Submissions will be evaluated by a jury of theatre scholars. The top three papers will be presented at the national conference in Detroit. The panel will also include a response from a senior scholar in theatre history. Papers should be standard conference length (20 minutes/8-10 double-spaced pages). Those selected should plan to attend the conference in Detroit MI July 29 – August 2, 2020. More information on the conference may be found at this link.

Please send your paper as a .pdf email attachment to THFG Associate Conference Planner Victoria P. Lantz at vicky.lantz[at]gmail[dot]com with “THFG Debut Panel Submission” in the subject line. Please do NOT put your name on the paper. However, in the body of your email message, please indicate: the title of your paper, your name, institution, address, telephone number, and email address.

The selected panelists will be notified by February 1, 2020.
Panelists may receive a small honorarium to help defray the cost of conference attendance.

Call for Papers | The Theological World of Harry Potter | Abstract Deadline 01/15/2020

Call for Papers: The Theological World of Harry Potter

Editors: Taylor J. Ott (Fordham University) and Shaun Brown (Villa Maria College)

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Theology and Pop Culture is currently seeking contributions for an edited volume from Rowman and Littlefield on the intersection of theology and Harry Potter. Essays should prioritize the books but may include or concentrate on the films, Fantastic Beasts, or The Cursed Child if appropriate. Essays should be written for academics, but avoid “jargon” to be accessible for the layperson. Contributions may be written from the perspective of any religious tradition.

With 500 million books sold worldwide, the Harry Potter series has defined a generation. Twelve years after the release of the final installment of the books and nine years after the last film, there is still continued interest in the series, evidenced by the success of the Fantastic Beasts series, productions of The Cursed Child, the History of Magic exhibition, and the Wizarding World of Harry Potter at Universal Studios. Even more profound is the impact of the series’ thematic content in the areas of theology, spirituality, and morality. Despite recurrent controversies over the “danger” of the series, mainly from Christian corners, others continue to find theological meaning in The Boy Who Lived. The popularity of theological analysis underlines a hunger for thoughtful discourse as well as the theological, ethical, and spiritual depths of a series that tackles issues of class, power, sacrifice, the moral status of non-human beings, and evil.

To that end, we seek to bring together a collection of essays that critically engages the ways in which theology and Harry Potter speak to each other. Possible topics for an edited volume might include, but are certainly not limited to:

• • Theological anthropology and magical beings
  • Theological economic ethics and class in the wizarding world
  • Harry and Christology
  • Magical blood status and race
  • Love as the deepest and most ancient magic
  • Depictions of characters’ religious traditions
  • Hermione and feminist theology
  • P.E.W. and a theology of activism
  • The Order of the Phoenix and political resistance
  • A theology of friendship and the D.A.
  • Liberation theologies and house elves
  • Postcolonial analysis and centaurs
  • Historical theology and historical sources in Harry Potter
  • Theology and werewolves
  • Paganism and pagan influences
  • Divergence in the types of evil seen in characters such as Voldemort, Umbridge, Draco
  • Severus Snape and conversion
  • Fawkes, phoenixes and the theological imagination
  • Animal ethics and Care of Magical Creatures

Abstracts of 300-700 words, along with a CV or resume, should be sent to shauncbrown[at]yahoo[dot]com and tott[at]fordham[dot]edu by January 15. Notifications of acceptance will be sent by February 1, with accepted essays due by July 1.