Performance Studies International

REGISTRATION
Please note that all speakers and performers need to register and pay for the conference before August 15, 2008. You can pay on-line or through bank transfer at the website www.interregnum.dk, under the menu “Registration”. It is NOT possible to register and pay at the conference site.

PROGRAMME
The Interregnum organising team has been working on the programme, which is now available in different formats on the conference website www.interregnum.dk. Details and revisions will appear continuously until the conference begins, so keep yourself updated by checking the site regularly.

So far, more than 350 persons from more than 25 countries are scheduled to speak or perform at the conference. Most abstracts and performance descriptions are available on the website – just click on the individual names or titles, and a pdf file will open with detailed text.

If your own is missing, please send us material for upload to info@interregnum.dk
Note that the organising team will be on summer vacation during parts of July, so be prepared for some delay in our response.

CHILDCARE AT THE CONFERENCE
We are working on setting up a kind of childcare facility at the conference where children can be looked after for a couple of hours while their parents join a panel. If you think this could be of interest for you, please send a mail to info@interregnum.dk.

EVENTS
Apart from the presentations and performances in the regular programme, a number of special events will take place:

The highly acclaimed performance duo SIGNA will present their performance installation entitled “The 11th Knife” on the grounds of the conference site; this installation will be open 24 hours from Wednesday August 20 afternoon until Saturday August 23, midnight. Conference participants can visit the site anytime and be part of a ongoing performance. Sunday morning SIGNA will be present for an Artist Talk and talk about past and present works.

The Pioneer Panels Program presents a series of talks with seminal artists and curators from the early Danish scene of Performance Art, Experimental Theatre, Body Art, Actions, Happenings and Events. All of the ‘pioneers’ presented in the program are still active but produced groundbreaking works in the late 1960s, the 1970s and the 1980s. The Pioneer Panels presents and discusses such early events and works, addressing questions concerning art historical context, public reception and institutional support of these works and contributions. Among the Pioneers attending are Kirsten Dehlholm (Hotel Pro Forma), Kirsten Justesen, Trevor Davis, Eric Andersen, and Bjoern Noergaard.

A bus excursion right after the lunch break Friday August 22 will take a limited number of conference participants to Roskilde, about 40 minutes bus ride from the conference site. The bus will first stop at Roskilde University, where the panel “Poetry – Music - Score” will take place, followed by a reception including a light meal. The bus will then visit Museum of Contemporary Art, Roskilde, to get a special introduction to the exhibition “Fluxus Scores and Instructions. The Transformative Years. ’Make a salad.’ Selections from the Gilbert and Lila Silverman Fluxus Collection, Detroit”. The bus will return to Copenhagen around 23:00, as close to participants’ hotels as possible. A limited amount of tickets for the excursion will be available at the conference Intersection at a first-come-first-serve basis.

These and many more events will be announced on the website www.interregnum.dk

INTERREGNUM BULLETIN BOARD
NOTICE 1:

All Dear,

My name is Kinga Araya. I am a Canadian artist and scholar, currently based in Berlin, Germany. I will be one of the speakers at the upcoming psi#14 Conference. I would greatly appreciate if anyone in Copenhagen, or on this list, could help me with the following:

1.To find an affordable accommodation in Copenhagen (how does university guest services work on campus?) 2.Will be willing to share a room with me in a hotel nearby the University – I arrive to Copenhagen in the evening of August 19 and leave on 24th

I will be very grateful and will certainly return your favour!

Thanks for your help,
Kinga Araya
www.kingaaraya.com
ka@kingaaraya.com

If you have a notice or a request concerning the forthcoming Interregnum conference in Copenhagen that you wish to share with others conference participants, please send an e-mail with a short text and your contact information to info@interregnum.dk . We will publish your notice in the next newsletter, which will come out end of July/beginning of August.

hyPERFORM

hyPerform.dk featuring PassingByTheatre
Random Reality
June 4th – July 2nd 2008
Curator Karen Toftegaard/AirPlay

hyPerform.dk is pleased to launch Random Reality an exhibition curated by the art association AirPlay presenting the Danish performance group PassingByTheatre with two video documentations.

PassingbyTheatre actions challenge the framings for how and where theatre can be experienced. It could be seen as theatres version of Street Art. The works are conceptual living pictures and are to be experienced as a free theatre- and art event in public realm.

AirPlay was founded in 2006 as a Copenhagen based outdoor gallery, which presents digital and performative art in the urban public realm. AirPlay will present an event at the conference Thursday evening after the dinner, and there will be events in the city of Copenhagen related to the Interregnum conference.

hyPerform is an online Internet gallery associated the Performance Studies international conference PSi # 14 INTERREGNUM: In Between States.
Be sure to visit hyPerform, the Interregnum web gallery, at www.hyperform.dk

On behalf of the organising committee
Gunhild Borggreen

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2. From PSi #15 in Zagreb

Dear friends and colleagues,

The web site of the 2009 Performance Studies international
conference # 15 in Zagreb is now up and running. Calls for papers, panels and shift proposals have also been released.

Visit us at:
www.psi15.com

The fifteenth PSi conference MISPERFORMANCE: Misfiring, Misfitting, Misreading will take place in Zagreb, Croatia, June 24 – 28 2009. It is being hosted by the Centre for Drama Art as principal organizer, in collaboration with several other research and cultural institutions: the Faculty of Humanities and Social Sciences and the Academy of Drama Arts of the University of Zagreb, Teatar &TD and the Zagreb University Student Centre, alongside the Institute of Ethnology and Folklore Research.
The aim of the fifteenth PSi conference is to study a broad spectrum of cultural, organizational, technological and political performances by focusing on the causes and the problems of performance mistakes, misreadings, misunderstandings and misfittings – i. e., those outcomes of performance that are susceptible to provoking disturbances – even deep alterations – within diverse spheres of life: from the private to the social and political, ranging from slips of tongue, via artistic avant-garde and aborted revolutions, to environmental disasters; from ideological distortions and abuses of power to new perspectives and resistance to authorities of any kind.
The Organizing Committee of PSi # 15 has decided to propose a new conference format, combining both the traditional and various non-conventional, open and flexible models of presenting, discussing and performing. While in the morning and the early afternoon conference participants present their papers in panel discussions, in the evening and late night slots they will be invited to participate in a program of shifts. Shifts are designed to accomplish a higher level of interaction between the participants in the conference, and, more specifically, between artistic and theoretical work.

KEY DATES:
- deadline for sending in paper, panel and shift proposals: November 1, 2008
- all proposals will be evaluated by December 31, 2008.

Looking forward to seeing you in Zagreb,

The Organizing Committee of PSi # 15

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CALLS FOR PAPERS

3. CFP: Russian Theatre Practice, April 19-23 2009, Moscow Arts Theatre School, Russia (no date)

(Arriving on Sunday and departing Thursday morning)
Fee - £550 (Pounds Sterling)

THE CENTRAL SCHOOL OF SPEECH AND DRAMA UNIVERSITY OF LONDON

Keynote Speakers/ Workshops:
Directors: Sergey Zhenovach, Cyrill Serebrennikov and Victor Ryzhakov.
The very famous theatre teacher, actor and Art director of Satiricon theatre: Konstantin Raikin.
Movement: Andrey Droznin and Natalia Fedorova
Voice: Marina Brusnikina.
Art historian: Professor Anatoly Smelyansky.
Leading professors of Acting from MXAT School, GITIS, Schepkin and Vakhtangov Schools.

There may be changes to speakers – these are confirmed at the time of going to press.

The conference builds on the relationship established between MXAT and CSSD through holding the Voice conference that took place in Moscow April 2006 and Movement Conference in 2007. The conference is international whilst still enabling a key focus on Russian physical theatre practice. This allows an introduction of new methodology, shared knowledge and should catalyse reflective thought on your own work.

The aim of the conference is threefold:

1. Knowledge of Russian theatre practice, whilst wide spread in the west, is not always delivered accurately - we will provide a new opportunity for delegates to observe a number of different practitioners and methods.

2. As a direct result of the exposure to Russian methodology delegates will be encouraged to critically reflect upon their own work. Delegates will be invited to present posters of their work in the UK and will have a dedicated round table discussion one evening exploring the Russian influences on our practices.

3. The intercultural opportunities will enable both Russian and visiting practitioners to share ideas through formal and informal activities including demonstrations and participatory workshops.

A number of Russian theatre schools will take part in the conference, which will involve a sharing of ideas, methods and theatre and performance practice. Among these school will be GITIS, Schepkin and Vakhtangov.

Delegates will be able to observe and participate in workshops led by Russian practitioners as appropriate.
Whilst in Moscow, delegates will be taken to see two performances. A coach trip to key attractions will also be included in the programme to enable delegates to see more of the city.

Simultaneous translators will be provided during all sessions and during most free time to enable delegates to get around Moscow as comfortably as possible.

In summary, this conference will develop research in the field, encourage the sharing of practice and enable an exchange of styles of practice through intercultural exchange using the Russian system as a catalyst for reflective practice on the part of academics.
With your application please indicate

Poster – Title and space required. Please write a short synopsis of what it will illustrate. You may include the theoretical or practical focus of the work for example.

In all areas please indicate the key issue pertaining to the scope of the conference.
This information will be published in the conference programme.

You may also attend as an observer-participant if you do not wish to present a poster of your research and/or practice.

Places are limited to 15 only so early booking is advised.
Please send your application to Bruce Wooding Head of the School of Community and Professional Development. b.wooding@cssd.ac.uk
Payments should be sent to the PA to the Head of The School of Professional and Community Development. You can pay by cheque or credit card. Please make it payable to Central School of Speech and Drama.
At this stage we just need the course fee of £550 (Pound Sterling).
On your application please indicate your preferred type of room and we will do our best to meet your requirements. However we can not guarantee that your first choice can be met.
Fees include all conference sessions, letters of invitation, transport to and from the airport in Moscow (if you chose to fly at designated times), 2 trips to the theatre and a coach tour of Moscow to orientate you. A bus will be organised to transport you from the dorms to the School each morning.
Translators will be provided during conference sessions, trips to the theatre and the excursion around Moscow.
They do not include flights, accommodation, food, visas or insurance.
You can book rooms through us that are rooms in the halls of residence with shared facilities for £15(single) and £20 (double) pounds sterling a night. There are limited en suite facilities and such rooms cost £30 per night.
You will pay your accommodation fees when we arrive in Moscow.
If you prefer there are many business class hotels in the locality of MXAT

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4. CFP: Performing Arts Training Today, Oct 24-27 2008, Bovec, Slovenia (no date)

Call for presentations

International Conference
"Performing Arts Training Today"
Bovec, Slovenia
October 24 - 27, 2008

The conference is open to professional performers, performing arts educators and teachers from all over the world interested in the research of topical questions and processes in contemporary performing arts education and training. The main tasks of the conference are to demonstrate various methods and techniques in contemporary performing arts education and training, to open discussions about successful and effective strategies, to establish new contacts, to exchange experiences with colleagues from different countries and to lay the foundation for future networking and collaboration.

The Conference is a wonderful opportunity for performers, performing arts educators and teachers to demonstrate their methods and techniques.

PRESENTATION FORMATS:
. workshop/master class
. work in progress
. performance fragment (not requiring any special technical conditions)
. reading/lecture
. any other way of demonstration to the presenter's discretion

SUBMISSION GUIDELINES & REGISTRATION:
http://www.iugte.com/projects/conf.reg.php

ACCOMODATION & VENUE (Bovec mountain resort):
http://www.iugte.com/projects/Bovec.venue.php

CONFERENCE INFO: http://www.iugte.com/projects/Conference.php

If you are unable to attend the conference there is opportunity to send your promotional materials: booklets or flyers about your company, announcements of workshops, courses, performances and other events. All materials will be displayed at the main information stand and will be available to the delegates during the entire period of the conference.

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5. CFP: International Australian Studies Association Conference, Nov 26-28 2008, Queensland U of Technology, Australia (no date)

The International Australian Studies Association (InASA) Conference will be held in Central Brisbane from 26 to 28 November 2008. Sponsored by Humanities Program at Queensland University of Technology, the conference, titled New Voices, New Visions: Challenging Australian Identities and Legacies will be held at the Gardens Point campus.

This conference invites interdisciplinary explorations of the ways in which ideas, representations, narratives of Australia, Australians and Australian experiences have been challenged in the new millennium.

This can include:
* Popular cultures: Australia in literature, film, television, art and music
* Attitudes to the environment
* Changing political cultures
* Reconsiderations of citizenship and identity
* Australia in the region
* Making and remaking borders
* Constructions and challenges to the national past
* Myths and memories
* Racial power and privilege
* Indigenous sovereignties
* Social Exclusion and Human Rights
* Materialism and consumerism
* Knowledge, Power and Privilege
* Education and Schooling
* Globalization and diaspora
* National, regional, local perspectives of Australia
* Cultures of everyday life
* Bodies, space and place: outback, country towns, cities.
* Culture and technology

We are especially interested in including the work of emerging scholars, and work that is being undertaken in new fields of contemporary interest.

The conference website is at: http://asc.uq.edu.au/inasa/conference/

Contact: Dr Keith Moore, Conference Coordinator, Humanities Program - QUT: k.moore@qut.edu.au

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6. CFP: Power: Forms, Dynamics and Consequences, Sept 22-24 2008, Tampere, Finland (due June 30)

What is power and who has power today? Has power escaped from nation-states to international organizations and the global market? Does power reside in big institutions or is it rooted in micro level interaction? How does power hide from view and therefore become most effective? For social scientists power is in many ways like what St. Augustine said about time: it is central to our investigations and we think we know what it is, but it is hard to explain. By bringing together scholars who approach power from different angles this conference will advance our understanding about power relations in social reality. Keynote speakers will include:

Mitchell Dean
Robert Dingwall
Mark Haugaard
Tuula Juvonen
Lois McNay
Randy Lippert
Leslie Pal
Pekka Sulkunen

If you would like to present a paper, please send an abstract by June 30, 2008. To get more information about the conference and session details, please visit our web pages at http://www.uta.fi/Power2008/ or contact the organisers by email: Power2008@uta.fi.

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7. CFP: Trans-formations of Urban Space: Transgendered and Transsexual Experiences of the City, Women & Environments International Magazine Winter 2009 (due July 1)

WE BUILT THIS CITY ON

Women and Environments International Magazine is seeking submissions for its upcoming issue on trans urban space. The objective of the issue is to critically examine the production of trans urban space in cities of the global north and south through a consideration of the lived embodied experiences of transgendered and transsexual people. International contributions and transnational perspectives are welcome from people who are genderqueer, gender variant, transgender, MTF, FTM, intersexual, and/or omnigender, in addition to those who identify as transvestites, cross-dressers, trans youth, queer activists, and trans allies. Submissions can be in the form of essays, book or film reviews, poetry, photography, and/or visual art.

Contributors are invited to explore:
- Locations that enable, constrain, and commodify trans sexuality and desire (e.g., suburbs, public spaces, cruising areas, bathhouses, play parties, pride festivals, drag shows, bars, bookstores, community centres, homeless shelters, and the Internet);
- Everyday negotiations of sex/gender relations and norms in home, school, work, recreation, and commercial environments;
- Anti-oppression advocacy work by individuals, community-based organizations, and institutions addressing experiences of violence, harassment, discrimination and multiple oppressions in cities;
- Urban policy frameworks that create, maintain or challenge transphobia;
- The inclusiveness/exclusiveness of queer space to gender variant people;
- Trans-formative challenges to heteronormativity and homonormativity in urban space;
- Tensions between cultures of respectability and flamboyance; and
- The fluidity, performativity, and ambiguity of the gender continuum and its materializations in the spaces of the body and the city.

Deadlines: Abstracts or indications of interest are due by July 1, 2008 and final manuscripts by Sept 1, 2008.

Writer's Guidelines: Features should not exceed 2500 words. If you would like to submit an article written in a language other than English, please let us know and WEI will do its best to facilitate translation. All written work must be original and not previously published. Detailed editorial guidelines and information can be found on our website http://www.weimag.com.

Women & Environments International Magazine is a unique Canadian magazine that examines women's relations to their natural, built, and social environments from feminist perspectives. WEI provides a forum for academic research and theory as well as professional and community practices and experiences. Published by a volunteer editorial board since 1976, WEI aims to contribute to feminist social change.

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8. CFP: Interdisciplinary Conference on Fetishism, Nov 26-28 2008, Istanbul, Turkey, (due July 11)

This conference focuses on the three distinct, but connected, ways in which the concept of fetishism has been used: commodity fetishism, sexual fetishism and religious fetishism. For possible topics please visit the web site.

The deadline for abstracts/proposals is 11 July 2008.
Enquiries: tunaerdem@independentscholars.org
Web address: http://www.independentscholars.org
Sponsored by: independentscholars

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9. CFP: Pics and Politics: Representations of Women in Film and Digital Media, Wagadu Journal of Transnational Women’s and Gender Studies (due July 15)

http://wagadu.org

Wagadu is looking for submissions that address the visual work of women who are concerned with gender and change. We welcome discussions of film and media from a variety of perspectives incl. but not limited to film and media studies, ethnology, critical theory, area studies, and art history. We envision an issue located on the interstices of academic, artistic and activist discourse communities. Submissions should be marked by an interest in feminism, a fascination for visionary works, and attentiveness to generative theoretical paradigms. In line with the journal’s focus, we especially welcome submissions critical of globalization and its ongoing shocks upon the subjects of culture.
Your submission may address one of the following topics:
- film and video artists (mainstream, experimental) who represent vantage points in the history of feminism and / or discussions of sexuality, e.g. Tracey Emin, Sadie Benning, Yoko Ono
- film and video artists who foreground (issues related to) race and cultural identity, e.g. Yong Soon Min, Fanta Regina Nacro, Portia Rankoane
- video performance / installation artists, e.g. Kirsten Johannsen, Ingrid Mwangi
- contemporary multimedia and net artists, e.g. Shilpa Gupta
- contemporary media culture dubbed “post-feminist”, e.g. reality-tv “Country XY`s Next Top Model”, “The Real Housewives of Orange County”; representations of career women in film; or portrayals of girls and teenagers in film TV and new media
- computer-based designers such as Brenda Laurel

Formats: Academic articles and analyses; reviews; art; book reviews; festival reports, e.g. Zanzibar, Carthago; etc. (APA style format).

Nota bene: The authors take responsibility for contingent copyright issues of visuals and clips.
Deadline for submissions of abstracts (ca. 250-300 words): July 15, 2008.
Deadline for submissions of finished products: December 15, 2008
Please mail your inquiry and abstract to: Editor: Dr. Nina Zimnik, Zuercher University for Applied Sciences, Switzerland nina.zimnik@phz.ch
Other inquiries: Mecke Nagel, State University of New York at Cortland (Editor-in-Chief of Wagadu)

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10. CFP: Sexualities In and Out of Time, St Andrews Interdisciplinary Sex/ualities Conference, Nov 28-29 2008, Edinburgh, UK (due Aug 15)

Keynote Speakers: Professor Judith Halberstam & Professor Claire Colebrook

Round Table Participants: Professor Lorna Hutson, Professor Laura Marcus, Professor Gill Plain, Dr Sarah Dillon

Conference Focus:
The question of time has become a major concern in critical theory and is proving to be a particularly useful means of approaching gender and sex/uality. Important recent work in the field of gender studies and queer theory has begun to explicitly address and render visible how time comes to structure and determine the meaning of bodily experiences and expressions. Non-normative sex/ualities are commonly delegated out of time, for instance, via the promise of futurity and the negation of historical grounding and traditions. The attempt to locate these very same bodies and their sexual practices in time raises the question whether time can be refigured or manipulated in order to open up the possibility of epistemological and ontological alternatives. This conference aims to explore present and past narratives of sexuality, the various links between heterogeneous temporalities and dissident sex/ualities and to ask what is at stake in the recent turn to time in gender studies and queer theory.

The conference is interdisciplinary and open to all research students and academics. We strongly encourage proposals from doctoral students at any stage of their research and from all disciplines.

Topics for papers can include, but are not limited to:
- Investigating and challenging normative figurations of time and becoming
- Back to the roots: alternative genealogies, queer historiographies and the desire for traditions
- Histories of sex/uality and possible rewritings of the history of sex/uality
- No future, queer future? Queer theory reproductivity and the struggle with futurity
- Queer utopias/dystopias
- Visionary sex: future sex practices and technophilic constructions of sex/uality
- Representing time/sex: temporal erotics in film, literature and modern culture
- Temporalities and sex/ualities in narration
- History and development of gender/sex/ualities studies: where we are now?
- Post-gender: the end of gender and/or gender studies?
- Temporalising sex/ualities: anticipation, identity and desire
- How sexuality can be used to rethink time

Submission Details:
Please send a 300-word abstract for 20-mintue papers along with your name and affiliation to sexualitiesconference2008@hotmail.co.uk by 15th August. The organisers will contact successful applicants by 25th August with full details and registration information. Please indicate in your email if you are an AHRC-funded doctoral student.

The conference is a joint venture between the Universities of St Andrews and Edinburgh and supported by the AHRC.

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11. CFP: Mobility, the City, and STS Workshop, Nov 20-22 2008, Technical U Denmark, Copenhagen, Denmark (due August 31)

The aim of this workshop is to bring together social scientists and other researchers to present and discuss empirical or theoretical work about the relationships between mobility and society from one particular perspective: Science and Technology Studies (STS). In the last two decades STS has grown from being a discipline mainly focused on scientific practice and places to develop a general interest in the interconnections between science, technology and society in an increasing number of highly diverse places. Especially through the development of constructivist and Actor-Network approaches, STS offers a very sophisticated array of theoretical concepts and methodological tools to study contemporary societies. In this workshop the general idea is to present work that apply these concepts and tools to the analysis of the role of mobility in contemporary societies through the presentation of specific case-studies. The papers presented are planned to be compiled, edited and published as a book or a special issue of a relevant, peer-reviewed, journal.

Abstract deadline August 31 2008.

Sebastián Ureta Icaza
Instituto de Sociología
Universidad Católica de Chile
Teléfono: 56-2-6864213
E-mail: sureta@uc.cl

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12. CFP: Coming home? Conflict and return migration in twentieth-century Europe, April 1-3 2009, U of Southampton, UK (due Sept 1)

The question of return has long been thought to be central to an exilic discourse and yet relatively little is known about how return migration is actually experienced and subsequently remembered by exiles and also by migrants more widely. In order to mark the 70th anniversary of the 'official' end of the Spanish Civil War and the start of the Second World War, events which led to the mass displacement of refugees, this conference seeks contributions for papers on the broad theme of conflict and return migration in twentieth-century Europe. We welcome individual papers or panels in English that focus on any exile, refuge or migrant return episode that has Europe as its point of arrival or departure.

A selection of papers will be considered for publication after the conference. Please send abstracts (250 words) before 01/09/08 to:Dr Alicia Pozo Gutiérrez apg@soton.ac.uk / Dr Scott Soo ssoo@soton.ac.uk

For more information, see the conference website: http://www.soton.ac.uk/ml/research/cominghome.html

Dr Scott Soo
Lecturer in French Studies
School of Humanities
University of Southampton

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13. CFP: Legacies 09, Public Memory Research Centre Conference, Feb 13-14 2009, U of Southern Queensland, Toowoomba, Australia (due Sept 30)

KEYNOTE SPEAKERS:
SYLVIA LAWSON, WRITER, HISTORIAN, CULTURAL CRITIC
PROFESSOR MARILYN LAKE, HISTORIAN, LA TROBE UNIVERSITY

According to John Bodnar, ‘Public Memory is a body of beliefs and ideas about the past that help a public or society understand its past, present, and by implication, its future.’ In distinction from conventional history, Public Memory research fashions a relation between past and present which, whether real or imagined, asserts the important shaping spirit of the past and its persistence in everyday life. Public Memory is also concerned with the past as a potential resource for new social directions: every act of scholarly retrieval might contribute to a project of cultural renewal.

Under the general theme of ‘Legacies’, the conference invites submissions for individual papers and proposals for panel sessions or group presentations in the areas of:

- Culture, retrieval and revival
- Memory and the practice of everyday life
- History, ideology and refashioning the past
- Colonialism and its aftermaths
- Indigenous, ethnic and multicultural memories
- Public memory and national identities
- Memory and myth
- Public memory as false consciousness

‘LEGACIES 09’ welcomes papers or presentations in disciplinary and inter-disciplinary fields such as Anthropology, History, Literature, Theatre Studies, Visual and Performing Arts, Multicultural Studies, Indigenous Studies, Whiteness Studies, Gender Studies, Queer Theory, Media and Communications, Sociology and Political Theory. ‘LEGACIES 09’ invites submissions from professional academics, postgraduate students and non-academic cultural practitioners.

PLEASE DIRECT ABSTRACTS (300 WORDS) OR CONFERENCE ENQUIRIES TO
Dr Brian Musgrove musgrove@usq.edu.au
Dr Lara Lamb lamb@usq.edu.au

SUBMISSIONS CLOSE 30 SEPTEMBER 2008
ACCEPTANCES NOTIFIED BY 31 OCTOBER 2008
WEBSITE WITH FULL CONFERENCE DETAILS ACCESSIBLE 1 JULY 2008

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14. CFP: Conflicts of Mobility: Migration, Labour and Political Subjectivities, Special Issue of Subjectivity (due Sept 30)

Guest editors: Dr. Rutvica Andrijasevic & Dr. Bridget Anderson, University of Oxford

Migration has been and continues to be is a constituent force in the production of the modern polity and citizenship. Dynamics of migration exceed the pursuit of visibility and rights and urge us to re-think the modernist dichotomies that still structure the definition and concept of state sovereignty and the political forms of belonging. Against the predominant trend to discuss migration in the language of inclusion vs exclusion; labour as a matter of waged labour vs slavery (free vs forced labour); and migrants in terms of victims vs agents (or aliens vs citizens), this special issue calls for contributions that identify and investigate new forms of subjectivity induced by contemporary forms of mobility and labour.

This issue will open new theoretical and methodological possibilities by shifting the analysis of migration away from subjectivity as a passive discursive construction towards migration as a site of subjectivation understood in terms of a generative/affirmative process of subject's construction. This issue will therefore attempt to theorize on how agency and subjectivity emerge from constraint and to recognize the specificity of particular struggles articulated across both symbolic and material terrains. The authors are invited to address the importance of interrogating the modes of subjectivity engendered by the conditions of transnational mobility as well as discussing the ways in which migrants' practices of mobility reconfigure political space for rethinking of citizenship and sovereignty and for advancing a more nuanced analysis of present configuration of power and its global contestations.

Papers combining theoretical and conceptual work with a more detailed empirical analysis are particularly welcome. Possible topics of interests:

* migration, governmentality and transformation of sovereignty
* borders and conflicts of mobility
* movements of migration and political subjectivities
* history of migratory subjectivity
* racial and gendered making of citizenship
* practices of citizenship
* affective investments and transnational mobility
* issues of intimacy, sexuality and the conditions of citizenship
* genealogies of workers' struggles, global and temporal regimes of labour, and shifting conditions of labour
* migration and the politics of cultural (re)production

Send expressions of interest with short proposal for possible contributions to

Rutvica.Andrijasevic@compas.ox.ac.uk the latest by 30th September 2008. Once a proposal is accepted authors will be asked to submit full papers by 15th January 2009. Full papers will go then through the peer-review process.

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15. CFP: After Effects: Performing the Ends of Memory, Performance Paradigm 5 2009 (due Sept 30)

This issue of Performance Paradigm investigates the role of performance in the lived experiences and discourses of trauma and memory. Alongside trauma studies, Performance studies foregrounds models of witnessing, embodiment and rehearsal to examine why and how trauma is represented and what work these representations do in the world. For some, performance provides a social space in which to act out as well as work through personal trauma. For others, performance facilitates processes of surrogacy and substitution, becoming a place to create prosthetic memories and to produce proxy witnesses.

The editors invite papers that consider the connection between trauma, memory and performance across a range of theatrical, cultural, social and political sites. Some of the questions we are interested in include the following: what can performance studies bring to our understandings of trauma? What can trauma and memory studies bring to the dramaturgies and exigencies of performance? How do particular performances illuminate or complicate the ethics of representing trauma? How can social and political concerns connect with the personal and pathological dimensions of memory and trauma studies?
Topics might include, but are not limited to:

• national apologies;
• ceremonies of reparation and public memorials;
• documentary, verbatim, and testimonial theatres;
• false memory, false witness, perjury and performance;
• witnessing in/as/through performance;
• site-specific performance and ‘traumascapes’;
• mediatised witnessing and global performance;
• acts of surrogacy, substitution and displacement;
• the relation between the archive and repertoire;
• new modes of perception and spectatorship;
• human rights theatre, communities of memory;
• postmemory, prosthetic memory and displaced embodiment;
• the contaminated logics of the postdramatic and posttraumatic;
• the parallel fortunes of performance studies and trauma studies.

Please send proposals by email, including a short abstract or description to:

Dr. Bryoni Trezise
School of English, Media and Performing Arts
University of New South Wales
Sydney, Australia
(b.trezise@unsw.edu.au)

Caroline Wake
School of English, Media and Performing Arts
University of New South Wales 
(cwake@hotmail.com)

The due date for proposals is September 30 2008. Final material will be due by 31 January 2009. Performance Paradigm (#5) will be published in May 2009. Please visit our website for further information and instructions for submission at

www.performanceparadigm.net.

Performance Paradigm is a refereed journal published by the Faculty of Arts and Social Sciences at UNSW and edited by Helena Grehan, Peter Eckersall and Edward Scheer.

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16. CFP: Movements Between Hearing and Seeing: Music, Dance, Theatre, Performance and Film, Nov 19-21 2009, U of Bayreuth, Schloss Thurnau, Germany (due Oct 1)

Based on the idea that in music, dance, theatre, performance and in film aural and visual movements are put into dialogue as well as competition with each other, it is essential to examine these movements with regards to their recognizable exterior i.e. visible presentation as well as to the invisible emotional and imaginary movements which they are based on. Thus the diversity of the dimensions of movements, also beyond clear-cut formats and genre classifications, is to be fanned out exemplarily.

Above all, it is imperative to look for the dynamic interactions between the arts: How does the impact of music change, when its audible movements enter a dialogue with visible movements ranging from simple every-day movements to artistically formed gestures or ³engineered² dance movements, up to choreographed lighting and camera movements? What new creative possibilities do thus emerge for the artist and interpreter? And apart from that: What are the resulting consequences for musical reception? What happens, if the interplay between hearing and seeing in particular evokes a specific meaning requiring both a synaesthetic hearing process, which is linked with a world of images, as well as a kinaesthetic hearing in connection with body movements, physical energies and dynamics due to the central aspect of movement in that interplay?

Against this backdrop emerges a new methodological discussion, which not only tries to come closer to the ³embodiments² of music through interpreters, but also to the physicality of music itself with regards to movement. Here, the audible and visible but also hardly or no longer audible and visible movements make for an ideal reference point in order to juxtapose analytical models of those sciences that examine music, dance, theatre and film and to check them with regard to their transferability to the the great range of forms of the interplay between acoustic and optical movements. This can either happen on a primarily theoretical level (i.e. defining terminology) or can be done analytically on the basis of practical examples (performances or practice based research) in order to move the implicit or explicit performative utterances of music into the centre of the reflections.

The following topics for seminar papers could serve as starting points for the discussion:
€ Movement, Gesture and Figure Transdisciplinary Definition of Terms
€ Rhythms of Movement
€ Moving Bodies on the Movement of the Performer, Actor and Interpreter
€ Movement Techniques Movement and Technique
€ Analytical Models focussing on Musical Choreography
€ Choreographed Camera Movements
€ Borderline Cases, Border Crossings, Bridges and Thresholds
€ Thinking Movements and Thought Processes
€ Embodiment
€ Turning, Walking, Pointing, Tippling
€ Still/Motion Stop
€ Production Processes and Movement Processes

If you are interested, please send in an abstract no longer than one DIN A 4 page (app. 2,000 characters incl. blank spaces) until October 1, 2008 to st.schroedter@ uni-bayreuth.de. At the moment there are still about 20 vacancies. We would also like to encourage post-graduates to participate with their ideas on this spectre of topics.

Conception: Anno Mungen, Camilla Bork, Knut Holtsträtter, David Roesner und Stephanie Schroedter
Management: Stephanie Schroedter

Dr. Stephanie Schroedter
st.schroedter@uni-bayreuth.de

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17. CFP: Symposium on Theatre and Cognitive Studies, Feb 27-28 2009, U of Pittsburgh, US (due Oct 1)

Plenary Speaker:
Mark Johnson, Department of Philosophy, University of Oregon
“Cognition and the Arts”

The University of Pittsburgh’s Symposium on Theatre and Cognitive Studies will feature new work at the intersection of theatre/performance studies and the studies of the mind and brain. We encourage paper proposals from theatre and performance scholars working in the fields of acting, spectatorship, directing, design, playwriting, and theatricality. We also encourage proposals from cognitive literary critics with an interest in drama, including script analysis and dramaturgy.

Topics presented may include (but are not limited to) conceptual integration (“blending”), Theory of Mind, empathy studies, affordances, emotions, memory, and cognition as these relate to the history, theory, and practice of the theatre. Final papers should be twenty minutes long.

Mark Johnson is the Knight Professor of Liberal Arts and Sciences in the Department of Philosophy at the University of Oregon and author of such important works as Metaphors We Live By and Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (both with George Lakoff), and The Meaning of the Body: Aesthetics of Human Understanding (University of Chicago, 2007), in which he claims that all meaning and cognition is intimately tied to our embodiment and what he calls “the pervasive aesthetic characteristics of all experience.”

Symposium Organizers: Bruce McConachie, University of Pittsburgh; Rhonda Blair, Southern Methodist University; F. Elizabeth Hart, University of Connecticut; Pil Hansen, University of Toronto; John Lutterbie, SUNY Stony Brook; and Amy Cook, Indiana University.

Send 200-300 word proposals to Pil Hansen and John Lutterbie by emails only: Hansen.pil@gmail.com and John.Lutterbie@mail.com.

Deadline for all proposals: October 1, 2008

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18. CFP: Patriotic Dissent: Staging Political Protest since 9/11 (due Oct 30)

This anthology attempts to document and analyze activist theatre and political performances directly engaged in protesting neo-conservative US and UK government policies since 9/11. In an age characterized by polarizing political debates and computer-based political organizing, what role has (and can) theatre and live performance play in moving forward a more progressive agenda? What kinds of unifying connections have, or could, be made to undermine the "with us or against us" stance of President Bush's declaration of a "war on terror"? How has the Patriot Act, and other less public methods of censorship, affected the political conversation for activists and artists? How can performance scholars and critics honestly assess, historicize, and also assist playwrights and performers who engage in activist work? How can performance studies scholars further our understanding of political protest as it appears in the media, in political campaign encounters, in individual acts of protest (such as Cindy Sheehan's) or in organized demonstrations? What is uniquely possible, as well as impossible, about "doing politics" through live theatre and performance?

The editor is looking for papers that offer in-depth analysis of plays, productions, or protests that take institutional context and audience reception into account, as well as more theoretical essays that use staged plays or performances as case studies. Preference will be given to essays dealing with theatre and live events, but work on the political impact of particular films, art exhibits, or installations will also be considered, as will papers that deal with unexpected absences of political content in venues otherwise noted for it.

Deadline for papers or detailed abstracts: Oct. 30, 2008. Please include full contact details with your submission and email to jspencer@english.umass.edu.

Jenny Spencer
English Department
University of Massachusetts
Amherst, MA 01003

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19. CFP: Intersections: Art History and its Global Provinces, Association of Art Historians Annual Conference, April 2-4 2009, Manchester Metropolitan U, UK (due Nov 10)

This is a CALL FOR ABSTRACTS for a day-long panel entitled ‘Art History and its Global Provinces’, part of the Association of Art Historians (AAH) 35th Annual Conference 2009, on the theme ‘Intersections’.

Selected and chaired by:
Adele Tan, Courtauld Institute of Art, University of London Wei.tan@courtauld.ac.uk

Leon Wainwright, Lecturer in History of Art and Design, Manchester Metropolitan University
L.Wainwright@mmu.ac.uk

Initiatives to establish a more global understanding of art and its histories have yet to suggest how the discipline might confront certain of its more lasting paradigms of historical and geographical division and difference. Dipesh Chakrabarty has noted that there is an underlying supposition among historians of world history which ‘makes it possible to identify certain elements in the present as "anachronistic"'. This panel will be an occasion to ask whether a related tendency informs the production of art history, by reflecting upon the discipline’s abiding attachment to the idea of reputedly 'leading' centres and 'belated' peripheries. We will ask in what variety of ways art history has narrated histories of art according to spatio-temporal schemes that order the world into 'provinces'. How might we approach the intersecting themes of provincialism and anachronism as a way of problematising and refocusing the global imagination of art history? Could an understanding of the global contexts of art history ever emerge without a provincial baggage tag?

Seeking out responses to this challenge, we welcome descriptive as well as prescriptive papers that explore the first-person experience of writing art history; contributions that face the concrete challenges of the extant field in terms of its provincialisms; papers that examine the global hegemonies and 'inclusionism' of art history and its adjacent spaces of art practice, curating and public remembrance with reference to time as well as space; and papers that tackle psychoanalytical questions about the difficulties of writing about the 'provinces'. We are especially interested in papers that seek to explain why the turn toward diaspora, migration, exile and other postcolonial themes has failed to deliver a fresh framework for thinking about art history in any specifically global, or inter- or transnational way.

Deadline for paper proposals: 10th November.
Please limit your proposal to around 250 words, and be sure to include your name and institutional affiliation.

The conference will be held at Manchester Metropolitan University, UK, on 2 - 4 April 2009. For further details go to:
http://www.aah.org.uk/conference/index.php

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20. CFP: Spilling Over: A Fat, Queer Anthology (due Dec 1)

Editor: Jessica Giusti, Feminist Studies Ph.D. Student, University of Minnesota
Contact: spillingover [at] gmail [dot] com
Submission Deadline: December 1, 2008

Despite the attention given by queer studies to the materiality of bodies and the cultural and social inscriptions that designate them, still a dearth of both scholarship and literature exists around intersections of gender, sexuality, and fatness. As fat studies begins to emerge as a viable academic location of inquiry, questions surface as to how fat bodies, deemed "excessive" in their trespasses of size and space, create even more complex subject positions when compounded by queer desires. This proposed anthology seeks contributions addressing junctions of "fat" /and/ "queer" in pieces that consider the representations and resistances of non-normative corporeality and also writings considering the theoretical conceptions of these intricate subjectivities. /Spilling Over/ will reflect the notions of excess, boundaries, and containment implied by the labels "fat" and "queer" both singularly and collectively. In the form of scholarly writing and creative non-fiction pieces, essay submissions might consider (but are not limited to):

* theorizing the concept of "excess" as it pertains to fatness and queerness
* fat and queer identities; personal narratives; reclaiming "fat" and "queer"
* notions of (in)visibility, hypervisibility, and passing and/or privilege
* intersections of race, class, gender, sexuality, ethnicity, (dis)ability, age, and religion
* the economics of the obesity "epidemic" and the diet industry
* fat, queer art and performance; performativity
* pleasure, sex-positivity, eroticizing non-normative bodies
* acceptance movements, political activism, resistance
* the engagement of feminism with fatness
* global, transnational, transcultural constructions of fat, queer bodies and lives
* critical reflections of fatness and queerness in media, literature, film, music, and visual arts
* the rhetoric of fat oppression, fatphobia, homophobia, transphobia, bigotry, responding to and/or addressing hate speech

By December 1, 2008, please send your 2,000 – 6,000 word submission, along with your complete contact information and a 50-100 word biography, to spillingover [at] gmail [dot] com with the subject line of "Spilling Over – Submission." Submissions must be received in 12 point Times New Roman font and sent in via Word documents (PDFs will not be accepted). Pieces will be reviewed and decisions made by April 2009. Please note that accepted submissions will be approved on a tentative basis, pending editorial board approval once the anthology has secured a publisher.

Questions can be directed to me at spillingover [at] gmail [dot] com or visit the MySpace page at www.myspace.com/spillingoveranthology .

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21. CFP: Creative Practice/Creative Research: Materiality, Process, Performativity, April 15-17 2009, York St John U, UK (due Dec 1)

Conference Theme

In Artforum in April 1970, sculptor Robert Morris noted with regret that creative process held little sway for the meanings imbibed for 'art' by contemporary criticism and the histories of art. His insistence on the imperatives of what he named 'the submerged side of the iceberg' came on the cusp of the 'New Art History.' The advent of post-modern theory and the social history of art located the material production of art at an intersection of history and the social. Practice was thus liberated from the (psycho)biographical expressivity and mastery of the gesture. Hitherto these had been the only means by which making had been thought. And yet the object of critical and historical discourse has remained profoundly visual. Situated in the gallery like so many dead objects 'art's' materiality, the trace of a means to an ends, has remained caught between formalism and semiotics. It is that to which theory has been applied and by which history is index after the fact.

Creative Practice/Creative Research seeks to elucidate and participate in the generation of a body of scholarship written by both critics and practictioners that has begun to transform the theoretical and historical frameworks through which art's making can signify.

To insist upon the work of art as a 'co-poiësis' (Ettinger, 1997) of 'poiëtic revealing' (Bolt, 2007) is to read art production beyond the locus of a discrete subject bound solely to the paradigms of 'representation.' Rather such a shift foreground the 'dialogical' and 'per formative' means through which art's work may lead research. The emergence of this practice led intervention thus transforms the territories by which 'work' and materiality may be encountered by maker and viewer.

This international symposium seeks to creatively draw from emerging and established voices in the practice, criticism, history, and curation of the creative arts. It seeks to explore the particular logic, diversity and implications of the work of art both for its own sake and for the history of art and art criticism, cultural theory, curatorial practice and the pedagogies of art.

Speakers & Contributors

Steve Baker, Independent scholar, UK
Estelle Barrette, Deakin University, AUS
Rosemary Betterton, Lancaster University, UK
Barb Bolt, University of Melbourne, AUS
Vanessa Corby, York St John University, UK
Bracha Ettinger, European Graduate School, Swiss
Paula Farrance, Leeds, UK
Roddy Hunter, York St John University, UK
Pam Longobardi, Georgia State University, USA
Justin McKeown, University of Ulster, Northern Ireland
Alistair Rider, University of York, UK
Linda Weintraub, Independent scholar, USA
Elizabeth Watkins, Bristol University, UK

Proposed Panels

Bodies of Knowledge: Genders, ethnicity, sexuality, class
'Connectiveness' Thinking with-in Making
Eco-Logical Practice
Material Thinking: Practice Led Interventions in the History of Art
Material Thinking: Practice Led Interventions in the Curation of Art
Unruly Objects: Materiality/Process/Performativity
Processing Memory/Psychic Mechanisms
Pedagogy & Practice Led Research

Website @ www.yorksj.ac.uk/creativepractice

Abstracts for papers may be submitted via email by 1st December 2008 to:

James Alexander, Senior Administrative Assistant-Project & Outreach
J.Alexander@yorksj.ac.uk
Faculty of Arts
York St John University
Lord Mayors Walk
York
YO31 7EX

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22. CFP: Islamic Resurgence in the Age of Globalization: Myth, Memory, Emotion, Sept 4-6 2009, Norwegian U of Science and Technology, Trondheim, Norway (due Jan 31 2009)

Organizers: Ulrika Mårtensson, NTNU; Itzchak Weismann, Haifa University; Mark Sedgwick, Aarhus University.

The resurgence of Islamic sentiment starting in the later part of the twentieth century assumed various forms, from moderate da'wa organizations to radical jihad vanguards. This multitude of Islamic and Islamist discourses and modes of collective action are now being integrated, together with the societies in which they are embedded, into the wider process of globalization. The dramatic increase in economic, social, cultural, and political connections across the globe, and the growing awareness that we all live in one world, have deeply affected many Islamists' perceptions of Self and Other, their assessment of the nature of the challenges Islam faces, and their modes of resistance to the hegemonic West and to local Westernized elites.

Existing studies of the contemporary Islamic and Islamist upsurge include social surveys of various movements, analyses of the teachings of ideologues, and sophisticated reflections concerning their meaning and significance. The conference seeks to contribute to this ongoing research by adopting an interdisciplinary approach which combines two complementary perspectives, the historical and the cultural studies approach; the latter has in fact developed in conscious relation to globalization and its concomitant communications revolution.

We invite interdisciplinary paper proposals dealing with the Islamic resurgence in the late 20th and early 21st centuries from the perspective of three key concepts: myth, memory and emotion. Myth is used here especially in Roland Barthes' sense as a form of meta-language in which given symbolical signs are appropriated and stripped of their original contexts, history, and significances only to be infused with new and "mystifying" conceptual content. Examples of myths could be the new significances ascribed to Saladin and the Crusades, Jerusalem and Karbala, the hijâb and the siwâq. This connects to memory (remembering and forgetting), either collective (such as different - liberal, radical, Sufi - "remembrance" of the legacy of al-salaf, of the Ottoman Empire, of the "orthodox" Sultan Awrangzeb, etc.) or private (inspired by childhood experiences, persecution of relatives, etc). Finally, emotion refers to the social and psychological mechanisms which motivate people to adopt religious attitudes, join Islamic organizations and movements of various types and shades, and sometimes even be prepared to sacrifice their lives on the path of God.

Keynote speakers are:

Dale Eickelman, Dartmouth College
Armando Salvatore, Humboldt University
Hakan Yavuz, University of Utah

It is intended that an edited volume will be published, based on the proceedings of the conference.

Traveling expenses and accommodation for paper presenters will be covered by the organizers, as will be an excursion to the fjords and a concluding dinner.

Abstract proposals (maximum 400 words, with a brief CV, maximum two sentences)
should be sent by January 31, 2009 to:

Ulrika Mårtenson (ulrika.martensson@hf.ntnu.no)
Itzchak Weismann (weismann@research.haifa.ac.il)
Mark Sedgwick (mjs@teo.au.dk)

Acceptances and rejections will be notified by April 2, 2009.

We look forward to your abstract proposals!
ulrika.martensson@hf.ntnu.no

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23. CFP: From the Margins to the Center: Feminist Disability Studies and/in Feminist Bioethics, Special Issue of International Journal of Feminist Approaches to Bioethics, Vol 3 No 2 Fall 2010 (due April 30 2009)

Guest Editor, Shelley Tremain

In recent years, work done in mainstream bioethics has been challenged by the emerging field of disability studies.

A growing number of disability theorists and activists point out that the views about disability and disabled people that mainstream bioethicists have articulated on matters such as prenatal testing, stem cell research, and physician-assisted suicide incorporate significant misunderstandings about them and amount to an institutionalized form of their oppression.

While some feminist bioethicists have paid greater attention to the perspectives and arguments of disabled people than other bioethicists, these perspectives and arguments are rarely made central. Feminist disability theory remains marginalized even within feminist bioethics.

This issue of IJFAB will go some distance to move feminist disability studies from the margins to the center of feminist bioethics by highlighting the contributions to and interventions in bioethics that feminist disability studies is uniquely situated to make.

The guest editor seeks contributions to the issue on any topic related to feminist disability studies and bioethics, including (but not limited to):

• Critiques of bioethics by feminist disability theorists from within feminist bioethics
• The relevance of feminist disability studies in developing countries
• What’s still missing from feminist arguments in the debates about stem cell research and other forms of biotechnology
• The importance of perspectives of disabled embodiment in feminist bioethics
• How the critiques of bioethics advanced in disability studies are gendered
• The integration of political analyses of disability into feminist bioethics
• The critique of notions of normalcy embedded in (feminist) bioethics
• The reevaluation of feminist approaches to care from a feminist disability studies perspective

Articles should be 3,000 - 8,000 words in length. Shorter pieces written for the Commentaries section of the issue should be 2,000-3,000 words in length.

All submissions should be double-spaced, prepared for anonymous review (no identifying references in the body of the text or bibliography), accompanied by an abstract of 150 words, and prepared in accordance with the journal’s style guidelines which are posted on the IJFAB website (www.ijfab.org .).

Contact information – email address, street address, and affiliation (if applicable) – should appear on a separate page which also includes a statement verifying that the work has not been previously published and is not under consideration for publication elsewhere.

Submissions should be sent as email attachments in Microsoft Word or rtf to Shelley Tremain at s.tremain@yahoo.ca

The deadline for submissions is April 30, 2009. The guest editor strongly encourages authors to contact her before completing their submissions.

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FORTHCOMING CONFERENCES AND SEMINARS

24. Activating Human Rights and Peace, July 1-4 2008, Byron Bay, Australia\

FULL PROGRAM NOW RELEASED:

July 1-4 2008
Byron Bay Community and Cultural Centre,
Byron Bay NSW, Australia

On the previous Activating Human Rights Conference in 2003:
Professor Monica McWilliams, University of Ulster, and Chief Commissioner for Human Rights in Northern Ireland says: this conference was the best example I have seen anywhere in the world of a conference involving academics, media producers, community and political representatives and local activists.

(AUSLAN interpreters available)

http://www.scu.edu.au/research/cpsj/human_rights/index.html

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25. Performing Science: Drama, Literature, History, July 4 2008, U of Birmingham, UK

Education Building: Brooksbank Centre and Mary Burnie 70/71

Friday

9.30 –10.25 Registration with Coffee/Tea
10.25-10.30 Welcome — Kara Reilly (Birmingham)

10.30-11.30 Keynote Speaker,
Professor Jane Goodall (University of Western Sydney)
“Magnetic Resonances”

11:30-12:45 Lunch

12:45-2:00 Panel I: Performing Science and Spectacle in the Eighteenth Century
Panel Chair: Wendy Perkins (French) Birmingham

Simon Werrett (History, University of Washington)
Science Goes Pyrotechnic: Fireworks as a Resource for Electrical Performance in the Eighteenth Century.

Helen Brooks (English, University of Nottingham)
The Eighteenth-Century Actress, Gender and Rhetorical Performance

Amy Sargeant (Film, Warwick University)
From the Wonders of Darbyshire to Wookey Hole
12:45-2:00 Panel II: Interrogating ‘Science’ in Contemporary Performance and Discourse Panel Chair Helen Gilbert (Drama) Royal Holloway

Prof. Mike Vanden Heuvel (Theatre, University of Wisconsin at Madison)
‘To Infinity and Beyond!’ Can Theatre Play with Science?

Dr John Warrick (Drama, University of Birmingham)
Symptoms of the Suffering Body: Theatricality, Science, and Ethical Legality in Capital Punishment and Euthanasia

Dr Jutka Devenyi (English, University of Auckland)
The Tragicall History of Doctor Dawkins

2:00-3:30 Panel III: Automata, Actor Training and Ritual
Panel Chair TBD

Dr Kara Reilly (Drama, University of Birmingham)
Automata and Eighteenth Century Passions

Dr Victor Holtcamp (Theatre, University of South Carolina)
Sameuel Colt + Francois Delsarte = Steele MacKaye; An Equation for the Roots of Actor Training

Dr Gopan Chitambaran
(Theatre, Sree Sankaracharya University of Sanskrit)
Automatic Docilities: Praying as Ritualised

2:00-3:30 Panel IV: Science and Mathematics On the Contemporary Stage
Panel Chair: Prof. Kate Newey

James Utz (Theatre, Ithaca College)
The Most Dangerous Show on Earth: The Performances of Survival Research Laboratories

Andrew Nason Williams (Birmingham)
Taking for a Walk a Dog with a Tail at Both Ends

Ms. Liliane Campos (Maison Francaise, Oxford; University of Paris-Sorbonne)
The Theatre as a Human Equation: Mathematical Discourse in Three Contemporary British Plays

Coffee/ Tea Break 3:30-4:00

4:00-5:30 Panel V: Russian Actor Training and Science
Panel Chair: TBD

Jonathan Pitches (Leeds University)
Michael Chekhov’s Feeling of the Whole: Holistic Thinking in Chekhov Technique and its place in the Dartington Project

Franc Chamberlain (University College Cork)
Creativity, automata and uber-marionettes

Rose Whyman (Drama, University of Birmingham)
The Science Laboratory and the Creativity of the Actor

4:00-5:30 Panel VI: Nineteenth Century Performance and Science
Chair: Prof. Jane Goodall

Dr. Michael M. Chemers (Theatre, Carnegie Mellon University)
Monster Hunting: Four Case Studies of Darwinism in the American Freak Show

Katherine Angell (Ph.D. Candidate, Queen Mary College, University of London)
Prometheus Unbound: Performance within medical teaching in Nineteenth Century Britain

Dr. Rachel Armstrong (Independent Scholar)
The Spectacle of Medical Science and Freaks of Nature in Performance

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26. Lex of Somatechnics: Bodies, Technologies, Law, July 4 2008, Macquarie U, Australia

The Centre for Somatechnics Research and the Department of Critical and Cultural Studies present a one-day symposium on embodying technologies of law.
Venue: Whiteley Room, U@MQ Building, Macquarie University

Symposium Schedule
9.00-9.30: Welcome and Introduction

9.30-11.30
Denise Ferreira da Silva, “No-Bodies: Law, Raciality, and the Territory of Justice”
Penny Pether, “What Is Due to Others: Speaking and Signifying Subject(s) of Rape Law”
Juliet Rogers, “Psychotic Speech and Political Protest: Fantasies of Non-subjection in Times of Torture and Terror”

11.30-12.00: Morning Tea

12.00-1.30:
David Caudill, “Legal Responses to Body Burdens: Discourses on Low-Toxicity”
Joseph Pugliese, “Biotypologies of Terrorism: ‘Training Keys #581: Suicide (Homicide) Bombers’”
Samar Habib, “Queer-Friendly Islamic Hermeneutics: Discussion Paper”

1.30-2.30: Lunch

2.30-4.30
Maria Giannacopoulos, “’To Bring the First Two Centuries of Our Settled History to a Close’: The Nomos of Apologia”
Gaia Giuliani, “The Double Face of Sovereignty: From Colonial Denial of the Political to the Recovery of the Political Through Anti-Colonial Claims of Sovereignty”
Dinesh Wadiwel, “The War Against Animals or the Companion Animals Act 1998”
4.30-5.00: Conclusion

Admission is FREE, but as seating will be limited please reserve your place by contacting either: Joseph Pugliese or Maria Giannacopoulos
Department of Critical and Cultural Studies
Macquarie University NSW 2109
Joseph.Pugliese@scmp.mq.edu.au or mariagia@optusnet.com.au

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27. ICIA Seminar: Summoning the Past, July 5 2008, U of Bath, UK

2.30-5.30pmSpeakers: Keynote: Brian Dillon, Berit Stumpf & Alison Marchant

This afternoon seminar teases out themes around arts, spatialisation, documentation and historical moment, and marks the opening of Alison Marchant’s exhibition and a performance by Gob Squad later in the evening. Although Alison Marchant's work may at first appear very different from that of Gob Squad, they share a fascination with histories and spaces that are either disappearing or already disappeared. Keynote Speaker Brian Dillon is currently UK editor of Cabinet, a quarterly art and culture magazine based in New York and a contributing editor at Art Review. He regularly writes for Frieze, The London Review of Books, The Dublin Review, The New Statesman, TLS and The Wire and is an award-winning writer of non-fiction. In 2005 he won the Irish Book Award for Non-Fiction for In the Dark Room (Penguin). Brian Dillon, awarded an AHRC grant, returns to the University of Kent's School of English for a research project titled Ruins of the Twentieth Century, which involves a study of the relationship between place, architecture and creative writing, and will result in two books and an exhibition at a major London gallery. This summer, the literary magazine Granta will publish his essay on the remains of the old BP refinery on the Isle of Grain in Kent.

Gob Squad, the award-winning British-German performance collective, presents their latest performance piece Kitchen (you’ve never had it so good) which attempts to re-constructs Andy Warhol's iconic film - despite the fact that none of them have seen it. Kitchen can be seen in ICIA’s Arts Theatre, 7.30pm. Gob Squad have worked in performance, theatre, installation and video since 1994. Based in Nottingham, Berlin and Hamburg the group makes and presents its work in urban sites such as offices, houses, shops, railway stations and hotels as well as in galleries and theatres. Using the language of film, TV and pop music to explore the complexities and absurdities of life today, Gob Squad's work is a search for beauty, meaning and humanity amongst the glittering facades and dark corners of contemporary culture. Sometimes improvised, sometimes strictly choreographed, the work is provocative, entertaining and emotionally charged. Berit Stumpf is a founder member, as well as a theatre and television director in her own right.

Alison Marchant has built a reputation for work that uses historical documentation to create public artwork. She uses archive photography and oral testimonies to investigate working class cultural and domestic life in Britain, making visible hidden lives often in the face of change. Charged Atmospheres is drawn from an archive of deteriorating 1970s photographs of Britain's dilapidated stately homes. Here Marchant’s focus moves away from the family arena to comment on Britain’s aristocratic heritage, implying a tension between Britain’s self-promotion through its heritage, and the reality of homelessness, sleeping rough and squatting. It also raises pertinent questions around issues of ‘found’ photographs and artistic ownership.

All welcome
Venue: Lecture Theatre: 3 West North 2.1, University of Bath
Tickets £6, Concs £5
ICIA Box Office: 01225 386777 www.bath.ac.uk/icia

Associated Events:

EXHIBITION
Alison Marchant: Exhibition Preview
Sat 5 July, 5.30pm-7pm, ICIA Art Space 1, University of Bath
Admission free

PERFORMANCE
Gob Squad’s Kitchen
Sat 5 July, 7.30pm, ICIA Arts Theatre, University of Bath
Followed by a post-show discussion
Performance Ticket: £9, Concs £7
Joint Seminar & Performance Ticket: £14, Concs £11

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28. Literary Managers and Dramaturgs of the Americas, July 8-9 2008, Toronto, Canada

(LMDA) in association with the Theatre Centre, presents the 10th annual Mini-Conference on DRAMATURGY

Bringing together playwrights and dramaturgs with other members of the Canadian theatre community, this conference features two full days devoted to the art of dramaturgy.

Conference Speakers include: (subject to change)

Anita Majumdar on the development process of her latest play, THE MISFIT
Sarah Stanley & Kate Lushington discussing their productions of MY NAME IS RACHEL CORRIE
Bea Pizano & Trevor Schwellnus explore the integration of writing and design in Bea's play MADRE
Michael Trent, Ame Henderson and Jacob Zimmer on the dramaturgy of dance in Dancemakers' recent piece DOUBLE BILL #1
Erica Kopyto on working with exiled playwrights via PEN Canada
Christine Brubaker & Jovanni Sy discuss their role as performers in Newfoundland company Artistic Fraud's FEAR OF FLIGHT

Location -- Theatre Centre (1087 Queen Street West, Toronto)
(enter off Dovercourt Road, just south of Queen Street W.)

Admission is free, but space is limited, so please RSVP. To reserve a seat or for further information, please contact Andrea Romaldi at: andrea@tarragontheatre.com. Conference hours each day are 10am-5pm. The confirmed schedule of speakers will be emailed to attendees in late June.

NOTE: If you book a space for the conference, but are unable to attend, please let us know so that we can offer the space to others. Thank you.

LMDA: http://www.lmda.org
Theatre Centre: http://www.theatrecentre.org

The Mini-Conference on Dramaturgy is generously supported by the Theatre Centre and Playwrights Canada Press.

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29. Visual Methods Symposium, July 10 2008, U of Oxford, UK

A symposium on using visual methods in social research, at Wolfson College,
University of Oxford, 10 July 2008
Featuring discussions and presentations including:
* Marcus Banks on visual anthropology
* Paul Sweetman on ethics in visual research
* David Gauntlett on Web 2.0, and the Lego identity study
* Jon Prosser on participatory visual methods
For information and to book, see
http://www.education.leeds.ac.uk/research/visual-methods/masterclass.php

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30. TaPRA Conference, Sept 3-5 2008, U of Leeds, UK

We are pleased to announce the dates of this year's TaPRA conference, which takes place at the University of Leeds on Wednesday 3 September to Friday 5 September 2008. The conference is jointly hosted by the Workshop Theatre and the School of Performance and Cultural Industries.

Further information is available at http://www.tapra.org/

Conference fees, including one year's membership of TaPRA, will be £135 (waged) and £50 (student/unwaged). It is now possible to book for the conference.
http://www.leeds.ac.uk/paci/TaPRA.html

Presentation of research at the TaPRA conference happens through one of the established working groups within the organisation. For information about currently constituted working groups, and their plans and calls for papers for the TaPRA 2008 conference browse the relevant pages on the TaPRA web-site.
http://www.tapra.org/working-groups-mainmenu-41.html

Many thanks and all best wishes,
Helen Iball, Joslin McKinney and Lourdes Orozco

Enquiries may be made via email to: TAPRA@leeds.ac.uk
The TaPRA@Leeds e-mail address is protected from spambots, you need JavaScript enabled to view it

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31. Place, Writing and Voice Conference, Sept 5-6 2008, U of Plymouth, UK

Speakers include: Nick Groom, Tim Fulford, Richard Kerridge, Heike Roms, Mike Pearson, Brycchan Carey, Philip Schwyzer

This conference presents a series of talks about ‘the local’, through consideration of the written and spoken word. It will consider a range of localities in South West Britain, Italy, Alaska, and India, for example, exploring connections between the local, national, and global environment, as well as between the written and oral. It will bring together scholars from various areas of research, including: English literature, performance studies, oral history, geography, environmental studies, architecture, and music.

For more information e-mail, shelley.trower@plymouth.ac.uk or artsresearch@plymouth.ac.uk

A booking form can be downloaded from: http://www.plymouth.ac.uk/pages/view.asp?page=22979

Booking is also now open for the Hidden City Symposium focusing on mythogeography, writing and site-specific performance, on 4 October 2008, also at the University of Plymouth: www.plymouth.ac.uk/arts/theatre

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32. DRHA 2008: New Communities of Knowledge and Practice, Sept 14-17 2008, Cambridge U, UK

The DRHA (Digital Resources in the Humanities and Arts) conference is held annually at
various academic venues throughout the UK. The conference theme this year is to promote discussion around new collaborative environments, collective knowledge and redefining disciplinary boundaries. The conference, hosted by Cambridge with its
fantastic choice of conference venues will take place from Sunday 14th September to Wednesday 17th September

There will be a variety of sessions concerned with the above but also with a particular emphasis on interdisciplinary collaboration and theorising around practice. There will also be various installations and performances focussing on the same theme. Keynote talks will be given by our plenary speakers who we are pleased to announce are Sher Doruff, Research Fellow (Art, Research and Theory Lectoraat) and Mentor at the Amsterdam School for the Arts, Alan Liu, Professor of English, University of California Santa Barbara and Sally Jane Norman, Director of the Culture Lab, Newcastle University. In addition to this, there will be various round table discussions together with a panel relating to 'Second Life' and a special forum on 'Engaging research and performance through pervasive and locative arts projects' together with an open
discussion led by Steve Benford, Professor of Collaborative Computing, University of Nottingham.

Visit the Conference website at
http://www.rsd.cam.ac.uk/drha08/

for information on registration

Cambridge's venues range from the traditional to the contemporary all situated within walking distance of central departments, museums and galleries. The conference will be based around Cambridge University's Sedgwick Site, particularly the West Road concert hall.

Dr Sue Broadhurst
DRHA Programme Chair
Professor in Performance and Technology,
School of Arts,
Brunel University,
West London,
Email: susan.broadhurst@brunel.ac.uk

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33. Urban Screens Melbourne 08: Mobile Publics Conference, Oct 3-5 2008, Melbourne, Australia

USM08: Mobile Publics is a major international conference that will explore the changing relations between media, culture and cities. Mobile Publics will address the new forms of public participation and interaction created by media-dense environments. By engaging a wide range of stakeholders with distinctive interests in media and public space, the conference will promote new multi-disciplinary frameworks for understanding innovative public uses of technology, media and art in contemporary cities.

Sessions:
Art, Technology and Public Space
Urban Screens and Public Space Broadcasting: A New Public Sphere?
Strategies for Urban Regeneration
Cross-Cultural Public Networks

Confirmed speakers include: Prof. Saskia Sassen (USA) Lynd Professor of Sociology Columbia University; Aaron Tan (HK) Director, Research Architecture Design, Hong Kong; Prof. Ien Ang (AU) University of Western Sydney; Dr. Andreas Broeckmann (D) Independent Curator; Patrick Fox (UK) Manager, tenantspin; Mike Gibbons (UK) Head of Live Sites & UK Co-ordination, London2012; Manray Hsu (Taiwan) Independent Curator; Yann Le Bellégo (AU) Sales Director, Barco Media, Asia-Pacific; Monica Narula (New Dehli) Raqs Media Collective; Dr. Melinda Rackham (AU) Executive Director, ANAT; Jan Schuijren (NI) Curator, Contemporary Arts Screen Zuidas; Mirjam Struppek (D) President, International Urban Screens Association; Prof. Leon van Schaik AO (AU) Professor, Architecture, Innovation Chair, RMIT University; Soh Yeong Roh (SK) Director, Art Center Nabi.

Urban Screens 08: Mobile Publics is convened by the University of Melbourne
and Fed Square PL

Information and registrations: http://www.urbanscreens08.net/
Early bird registrations are available until July 31.

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34. Participation in Culture, Creativity, and Social Change, Nov 12 2008, U of Westminster, UK

Inaugural lecture by David Gauntlett at the University of Westminster,
Regent Street, London, 12 November 2008
Lecture at 6.00pm, followed by wine reception
Sponsored by NESTA, the National Endowment for Science, Technology and the
Arts
Free, but please register at http://www.12november.org.uk
This is my big event of the year and I will be doing an accessible talk,
with lots of pictures (!) and would really like to see you there. See
website above for details.

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ONLINE

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PUBLICATIONS

Books

35. Munsi, Urmimala Sarkar, ed. Dance: Transcending Borders

978-81-89487-38-6, Tulika, 2008

As globalization forces us to revisit the ‘local’ in dance, an examination of the processes of identity formation, generation and affirmation becomes very necessary. The world of dance in today’s context is constantly being shaped by the nature of the state, politicized markets, the dialogues taking place within and between cultures, as well as the growing importance of multimedia skills.

As the identity of dance and of dancers undergoes constant interrogation and reorganization, there is an increasing need to establish dialogues across regions, and to identify and understand the major areas of concern some of which may be common to all, while others may be specific to the social-political-historical conditions of particular countries

This edited volume, a project of the Research and Documentation Network of the World Dance Alliance-Asia Pacific, brings together renowned scholars from the Asia-Pacific region, the Americas and Europe, to discuss issues of global and local importance that are at the center of contemporary research. It hopes to generate a fruitful inter-regional and/or inter-country understanding of the art form, as dance and dancers themselves step out and transcend borders.

Urmimala Sarkar Munsi, the editor of this volume, is Visiting Faculty at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. A trained dancer and choregrapher, she is also a social anthropologist specializing in Dance Studies. She is co-Chair of the Research and Documentation Network of the World Dance Alliance-Asia Pacific.

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Journals

36. Maska Vol XXIII No 113-114 (Spring 2008)

The Passage of the Gaze

CONTENTS
Editorial

PERSPECTIVES
Karla Železnik Carrousel of Slovene Complaints and Praises

Andreja Kopač On Freedom, Values, and Recognition. Looking Through the Eye of an Artist/Performer: “You are your own material”

Katja Praznik “Coordination with the Possibilities of Movement”

PHENOMENON
Mojca Puncer “Female” Creativity In Slovenia: The Case of Contemporary Dance

Blaž Lukan Concealed Movement of the Stage. Theatre of Ivica Buljan

Tomaž Toporišič The Political at the Intersection of the Live and the Mediatized

Bojana Kunst Yet to come? On possibilities and impossibilities of resistance

Marina Gržinić On the Dark Side of the Alps

MANIFESTO SKETCH-BOOK
Karla Železnik Unforgettable and Inspiring Gazes

SCENERAMA
Mojca Kumerdej Eternally Repeatable Chord: Ema Kugler

Rok Vevar Directing Beyond the Stage Cold Wars: Sebastijan Horvat

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37. Performance Paradigm 4 (May 2008)

PERFORMANCE PARADIGM 4 (MAY 2008) EMERGENCES: 21ST CENTURY PERFORMANCE

Edited by Helena Grehan and Peter Eckersall

Articles
Introduction – Performance and Critical Optimism Peter Eckersall, Edward Scheer and Helena Grehan

Terrifying Grief Sam Trubridge

Down and Under, Up and Over: Animalworks by Sun Yuan and Peng Yu Meiling Cheng

Mapping Native Flora in NYC: The Chorography of Collaboration Lise Brenner, Ulrich Lorimer & Katrina Simon

‘Leave No Trace’: The Art of Wasted Space– The People’s Republic of Stokes Croft Pamela Karantonis

The More I Study Nature: Georgiana Molloy and the Code of Modernity Angela Campbell

Optimism and Pessimism: Cynthia Hopkins Returns to the Stage as an Alien Mother Beth Kurkjian

Becoming Human/Artist: Humans Moving in Accord with the Change that Makes the World Elizabeth Ellsworth and Jamie Kruse

‘Mobility is our goal!’: challenging perceptions towards citizenship, migration and asylum seeking through performative interventions Anja Kanngieser

The Augmented Theatre in Virtualised Society: See You in Walhalla Eirini Nedelkopoulou

We Are Cells: BioArt, Semi-Livings, and Visceral Threat Kate Rossmanith

‘Dragging’ Liveness in the Video Art of The Kingpins Diana Smith

Embracing a Mediat[is]ed Modernity: An Approach to Exploring Humanity in Posthuman Music Jeffrey M. Morris

Book Reviews
Judie Christie, Richard Gough, Daniel Watt (eds.), A Performance Cosmology: Testimony from the Future, Evidence of the Past. London & New York: Routledge, published for the Centre for Performance Research, 2006. Peter Eckersall

Another Asia: Rabindranath Tagore and Okakura Tenshin, Rustom Bharucha (New Delhi: Oxford University Press, 2006). Mika Eglinton

“In Comes I”: Performance, Memory and Landscape, Mike Pearson Ian Maxwell
Performance and Place, Leslie Hill and Helen Paris (New York: Palgrave Macmillan, 2006). David Moody

Contemporary Theatres in Europe: A Critical Companion, eds. Joe Kelleher and Nicholas Ridout (London and New York: Routledge, 2006). Meg Mumford

The Male Dancer: Bodies, Spectacle, Sexualities, (Second Edition), Ramsay Burt (London and New York: Routledge, 2007). Maggi Phillips

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38. Research in Dance Education Vol 9 No 2 (July 2008)

Special Issue: TECHNOLOGY AND DANCE

This new issue contains the following articles:

Editorial, Pages 111 - 112
Author: Edward C. Warburton Associate Editor

Digital Dance Literacy: an integrated dance technology curriculum pilot project, Pages 113 - 128
Authors: Doug Risner; Jon Anderson

Technological enhancements in the teaching and learning of reflective and creative practice in dance, Pages 129 - 146
Authors: Sally Doughty; Kerry Francksen; Michael Huxley; Martin Leach

Students’ perspectives on e-learning and the use of a virtual learning environment in dance education, Pages 147 - 162
Authors: Äli Leijen; Wilfried Admiraal; Liesbeth Wildschut; P. Robert-Jan Simons

Traditional dance, pedagogy and technology: an overview of the WebDANCE project, Pages 163 - 186
Authors: Vicky Karkou; Sophia Bakogianni; Evangelia Kavakli

Dancing the distance: iDance Arizona videoconferencing reaches rural communities, Pages 187 - 208
Author: Mila Parrish

BOOK REVIEWS, Pages 209 - 217
Authors: Sarah Rubidge; Kerry Francksen; Sophia Lycouris

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39. TDR: The Drama Review Vol 52 No 2 (T 198) (Summer 2008)

Fathers and Sons
Harry J. Elam
pp. 2-3

TDR Comment
Grotowski and the Grotowskian
Richard Schechner
pp. 7-13

Articles
Re-Reading Grotowski: Guest Editors' Introduction
Kris Salata
Lisa Wolford Wylam
pp. 14-17

Farewell Speech to the Pupils
Jerzy Grotowski
Kris Salata
pp. 18-30

Reply to Stanislavsky
Jerzy Grotowski
Kris Salata
pp. 31-39

On the Genesis of Apocalypsis
Jerzy Grotowski
Kris Salata
pp. 40-51

Returning to the Subject: The Heritage of Reduta in Grotowski's Laboratory Theatre
Zbigniew Osiński
Kris Salata
pp. 52-74

Acta Gnosis
Antonio Attisani
Elisa Poggelli
pp. 75-106

Toward the Non-(Re)presentational Actor: From Grotowski to Richards
Kris Salata
pp. 107-125

Living Tradition: Continuity of Research at the Workcenter of Jerzy Grotowski and Thomas Richards
Lisa Wolford Wylam
pp. 129-149

Meeting at La Sapienza or, On the Cultivation of Onions
Mario Biagini
Lisa Wolford Wylam
pp. 151-177

Books
Postdramatic Theatre (review)
Elinor Fuchs
pp. 178-183

Avant-Garde Performance: Live Events and Electronic Technologies, and: Theatre, Performance, and the Historical Avant-Garde (review)
Arnold Aronson
pp. 183-185

Restaging the Sixties: Radical Theaters and Their Legacies (review)
Kimberly Jannarone
pp. 185-187

Theatre of Movement and Gesture (review)
Jon Sherman
pp. 187-189

Speaking in Tongues: Languages at Play in the Theatre (review)
Emily Sahakian
pp. 189-191

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40. Theater Vol 38 No 2 (2008)

Articles
Tom Sellar
Up Front: Hungarian Mavericks
Theater 38(2): 1-2 (2008);

Anna Lengyel
Up Front: Pink Operettas and Political Games
Theater 38(2): 2-4 (2008);

Matt Cornish
Up Front: Drink Me
Theater 38(2): 5-7 (2008);

Andrea Tompa
Hungarian and Independent: New Artists Bring New Forms of Existence
Theater 38(2): 9-29 (2008);

Árpád Schilling
Notes of an Escapologist
Translated by Gábor Gergely
Theater 38(2): 31-69 (2008);

Directing at the Border
Attila Vidnyánszky, Interviewed and Translated by Nina Király
Theater 38(2): 71-75 (2008);

Productions

Mark Lord
The Screens: A Note on Video
Theater 38(2): 76-80 (2008);

Babak Ebrahimian
Tales of Mice and Men
Theater 38(2): 81-84 (2008);

Rachel Rusch
Fair Worlds
Theater 38(2): 85-91 (2008);

Books

George Hunka
The Evolving Relationship between Artist and Patron
Angels in the American Theater: Patrons, Patronage, and Philanthropy edited with an introduction by Robert A. Schanke 2007: Southern Illinois University Press
Theater 38(2): 92-97 (2008);

Alan Lockwood
Rare Beauty Here: Needcompany at Twenty
No Beauty for Me There Where Human Life Is Rare: On Jan Lauwers' Theatre Work with Needcompany edited by Sigrid Bousset, Frederik Le Roy, and Christel Stalpaert 2007: Academia
Theater 38(2): 98-103 (2008);

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41. Theatre Research International Vol 33 No 2 (July 2008)

Editorial
FREDDIE ROKEM

Theatre Research International, Volume 33, Issue 02, July 2008, pp 115 - 116

On Faithfulness: The Difficulties Experienced by the Text/Performance Couple
PATRICE PAVIS

Space is out of Joint: Experiencing Non-Euclidean Space in Theatre
JERZY LIMON

Calls for Remembrance: At Work with Traditional Chants
CLÁUDIA TATINGE NASCIMENTO

Adelaide Ristori's Tour of the East Mediterranean (1864–1865) and the Discourse on the Formation of Modern Greek Theatre
IOANNA PAPAGEORGIOU

Flagellation of the Son of God and Divine Flagellation: Flagellator Ceremonies and Flagellation Scenes in the Medieval Passion Play
FRIEDEMANN KREUDER

The Word Made Flesh: Staging Pornography in Eighteenth-Century Paris
LAURENCE SENELICK

Unsettling Space: Contestations in Contemporary Australian Theatre. By Joanne Tompkins. London: Palgrave, 2006. Pp. xii. + 204 + 11 illus. £45 Hb.

Unstable Ground: Performance and the Politics of Place. Edited by Gay McAuley. Brussels: P.I.E. Peter Lang, 2006. Pp. 306 + 43 illus. SFR 50/€41.20/£27/$45.95 Pb.

Performance and Cosmopolitics: Cross-Cultural Transactions in Australian Theatre. By Helen Gilbert and Jacqueline Lo. London: Palgrave, 2007. Pp. x + 245 + 12 illus. £45 Hb.
Rachel Fensham

Staging Governance: Theatrical Imperialism in London, 1770–1800. By Daniel O'Quinn. Baltimore: The Johns Hopkins University Press, 2005. Pp. 440 + 40 illus. $60 Hb.
Lisa A. Freeman

Strange Duets: Impresarios and Actresses in the American Theatre, 1865–1914. By Kim Marra. Iowa City: University of Iowa Press, 2006. Pp. xxii + 352 + 40 illus. US$47.95 Hb.
Stacy Wolf

Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. By Tony Howard. Cambridge: Cambridge University Press, 2007. Pp. xi + 329. £50/$90 Hb.
Lisa Jackson-Schebetta

The Cambridge Companion to Shakespeare and Popular Culture. Edited by Robert Shaughnessy. Cambridge: Cambridge University Press, 2007. Pp. i