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DIGEST ARCHIVES |
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PSi Digest 35 (August 2008) |
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PSi and PSi #14 top Conferences top Publications (Items 32 - 40) Books Journals Situations Vacant (Items 41 - 42) 41. Lecturer in Costume Design and Construction, School of Drama and Creative Industries, Queen Margaret U, Edinburgh, UK 42. Assistant or Associate Professor in Women's and Gender Studies, U of Missouri, Columbia, US Postgraduate Opportunities (Items 43 - 44) 43. PhD Scholarship in C20th and C212st Performer Training (Europe and Russia), U of Leeds, UK 44. CFP: Objects of Engagement, Platform Postgraduate eJournal of Theatre & Performing Arts Vol 3 No 2 (due Aug 22) Workshops / Opportunites for Artists (Items 45 - 51) Workshops Events/Exhibitions (Items 52 - 54) Last post before Copenhagen, venue for other great meetings (think Bohr and Many of you are probably already travelling like me so I will be brief. A reminder to please register, if you haven’t already, to save time when you arrive. Everything is in place for an inspiring conference so let me wish you good luck with the final edits of your papers and safe travel. I look forward to meeting with you in just a few weeks. Ed Performance Studies international Seeks Nominations for a Graduate Students Committee Chair PSi is the main professional association in the interdisciplinary field of Performance Studies, founded in 1997 in order to promote communication and research exchange between scholars and practitioners working on and through performance. We have staged numerous international conference and festival gatherings over the last ten years that have moved between the discourse and practice of performance. Events have been held across the U.S.A. and the U.K., in Germany, New Zealand and Singapore. As we approach our fourteenth conference at Copenhagen University, it is possible to reflect on the past decade and more of achievement that has made PSi a unique crucible of ideas and exchange, firmly committed to open international dialogue with a substantial and increasingly diverse membership. In part it is the work of past Presidents, Officers and Board Members that has ensured the organization’s continuity and growth. Performance Studies has now evolved into a unique field of intellectual endeavor bringing together the processes producing art and those of theoretical analysis to reveal how theories arising out of performance can be used to interpret most kinds of social behavior. More details about PSi can be found at <www.psi-web.org> The PSi Board is looking for a new Executive Officer and Board Member to complement its existing team of academics, artists and curators who oversee the organization and administration of PSi. Nominations are sought for the role of Graduate Students Committee Chair. The Chair is a Board Member of PSi and facilitates graduate student participation in the organization by convening discussion among graduate students and representing their interests in conference planning and on the board. More specifically, the Graduate Students committee aims to: • Promote graduate student membership in the organization; The Graduate Students committee chair will: • Make an active contribution to the running of the PSi Board by participating in online discussions, special initiatives, Board voting procedures and related business. The deadline for nominations is Monday 4th August 2008. Nominations should be sent to Paul Rae, Secretary of PSi (ellrpa@nus.edu.sg). Nominees should provide a CV and a one-page statement of intent, outlining their interests and thoughts on the proposed role. PSi Officer positions and Board Membership will be agreed, according to the bylaws of PSi, by majority vote of existing Board members. Candidates will be notified of the result of these deliberations by Monday 11 August 2008. If at all possible, the successful candidate should attend the PSi Board meeting on 19-20 August. However, since they will not officially take up the position until the end of the PSi#14 conference, this is not absolutely necessary. Paul Rae News from the Interregnum conference organisers, August 2008 Now there are only a few weeks left before Interregnum: In Between States, PSi # 14 will open in Copenhagen. The organising team is busy with the final details and we look forward to greeting you all at the University of Copenhagen, Amager Campus. REGISTRATION DEADLINE AUGUST 15, 2008 Please visit our website for practical information of how to get there, including maps and route descriptions, www.interregnum.dk We also feature updated versions of the entire programme, including the many performances and events. Read the latest issue of our newsletter on the website. Note also a number of related events that take place in the city of Copenhagen, arranged specifically in connection with the Interregnum. At the end of this message, there is a list of invited performances and events at the conference as well as performance and events at other venues related to the Interregnum conference. TO PAPER PRESENTERS: We ask of all presenters that you stick to the time frame that you have been given. Most panels are 2 hours, some are 90 minutes, and in general all speakers have maximum 20 minutes for their paper (unless otherwise agreed within your panel). The moderators present will make sure the time is kept in order to allow for discussions after the papers. Equipment: in all lecture rooms there are projectors and VGA cords to connect computers to the projector. All lecture rooms also have video- and DVD players, and these can play most systems. We ask presenters to bring their own labtop (-or share one among members of a panel). If you are a mac user, remember your adaptor for VGA cord. Please remember to bring a European adaptor for your cables. The Danish cables supply 230 Volt, 50 Hz, and use European two-pin plugs. VISIT hyPERFORM: Cont3xt.net is a Vienna-based media collective who has created an alternative exhibitionspace for collaborative, transparent curating and cooperation based upon linking and tagging. On behalf of the conference organising team Gunhild Borggreen INVITED PERFORMANCES AND RELATED EVENTS at INTERREGNUM: SIGNA: THE 11TH KNIFE CLAUS BECK-NIELSEN MEMORIAL CONCERT PIONEER PANELS Bus Tour to Roskilde: POETRY – MUSIC – SCORE AIRPLAY: IN BETWEEN EARTH AND SKY – A SPACE ODYSSEY WITH CONCERT PERFORMANCE AIRPLAY: IN BETWEEN YOU AND ART – VIDEO ART IN PUBLIC REALM Wooloo Productions: NEW LIFE MOVEMENT Søren Dahlgaard: DOUGH PORTRAITS Kyungwoo Chun: BURDEN OR SUPPORT Stuart Lynch: LYNCH CONCERT Stuart Lynch: A READING FROM THE ARTAUD ENGINE Yoshiko Shimada: workshop on BONES IN TANSU – FAMILY SECRETS CONFERENCE RELATED PERFORMANCES AND EVENTS AT OTHER VENUES: Warehouse9: BODY IMAGES – GENDER REALITIES 2008 CampX: CAMP 22:30 LiminalDK: MASTERCOPY IF I CAN’T DANCE… Museum of Contemporary Art, Roskilde: FLUXUS SCORES AND INSTRUCTIONS Other announcements for the PSi Conference 4. Performance and Philosophy Working Group The first meeting of the PSi Performance and Philosophy working group will be held on: Saturday 23rd August, 12.30-2pm
during the forthcoming PSi conference in Copenhagen. All interested delegates are warmly invited to attend. Sandwiches will be provided, so do come and have lunch and join in the discussion about the future of this group. For more information on the group's interests and proposed activity, please see: http://www.psi-web.org/texts/wg_pp.html. And to become a member, please contact Laura Cull, at: lkc202@ex.ac.uk 5. How does Performance Studies international think? Is there a coherent institutional agency in PSi’s performance and its bureaucratic routinisations? Has the time come for PSi to model its own performance? In 1986 Mary Douglas reflected on the question of ‘how institutions think’ in a book by that name. She argued that institutions archive public memory, create and maintain classifications, and determine the parameters of their respective cognitive and social epistemes. Performance Studies also leads to how individual performances are institutionally contextualised, and how institutions performatively constitute agency within their parameters. This roundtable is an opportunity to consider ‘How PSi thinks’, and to engage in a discussion of the past and future of PSi as structure, organisation and performance. This session will present an opportunity to think critically about PSi as organisational structure, as system of agreement, and as performance. The session will not have papers per se. Those interested are invited to join an on-line wiki dialogue at <http://www1.atwiki.com/psi14thinks>. The on-line dialogue and other live dialogues will then lead to a series of provocations to be posed and addressed during the session. To facilitate your contributions, you can sign into the on-line discussion with
Ray Langenbach 6. CFP: The Performances of Power or the Powers of Performance, Nov 21-22 2008, Loughborough U, UK (due Aug 1) This interdisciplinary workshop will discuss the relations between power and the performing arts. The panels will explore how the performing arts are connected with various modalities of power (political, religious, elites, protest movements, etc.) and how these are intertwined with or embedded in the performing arts (memory, identities, etc.). Both empirical and theoretical approaches are invited. The workshop will provide a space for confronting different contexts of the performing arts and inter-connected power relations. These can be seen to be socially and politically constructed, thus differing in specific social and historical contexts. We welcome papers that focus on different ethnic and geographical areas, providing an international arena of comparison. The workshop will explore how the performing arts generate collective identities, feed into national and nationalistic discourses, serve as an instrument of hegemony as well as a means of societal/political protests in different historical and social contexts. We welcome papers focusing on the performing arts in their widest definition such as theatre, dance, music (from opera to street music) as well as the visual arts. We encourage papers from different disciplines and from both post-graduates and established academics. Please submit a 300 word abstract by August 1st 2008 to Raffaella Bianchi (r.bianchi@lboro.ac.uk) stating ‘workshop’ in the subject heading. Proposals should also include institutional affiliation along with a brief biographical note. 7. CFP: Thursday Club Open Call for Projects & Proposals (due Aug 4) The Thursday Club is an open forum discussion group for anyone interestedin the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today’s (and tomorrow’s) cultural landscape(s). The Club is supported by the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School. Originally set up in October 2005 by GDS as a more informal setting for research discussions, it has grown to include 193 members: artists, technologists, scientists – in fact, a growing diversity of people from different communities worldwide, that are connected via a mailing list and online forum. Most importantly, there are regular meetings in ‘real' space at the Ben Pimlott site of Goldsmiths, University of London. Anyone can attend these events. By keeping these meetings free, informal and open to all, we provide a platform for diverse and open ended discourse, for people who perhaps would not have the opportunity to discuss ideas outside of their chosen discipline. The Thursday Club brings together people from diverse fields and degrees of expertise, aiming to initiate discussion and debates among postgraduate students, researchers, academics, artists, theorists, and other cultural practitioners. Since it focuses on interdisciplinary practices, the Club is interested to experiment with innovative formats of presentation that are appropriate to the nature of the subject. We particularly welcome the proposal of round table discussions, panels, screenings, 'hearings', live gigs and performance lectures. We are also interested to platform experimental work-in-progress of both practical and theoretical nature. Submission Materials 1. A Title and 300 word abstract of your proposal 2. A 1,000 word proposal that will substantiate your abstract as well as include information regarding issues of methodologies and format of presentation; also, this should explain why you think that the Thursday Club is an appropriate forum for the presentation of your work. 2. A 200 word biog 3. Your contact details: name, address, email, telephone number 4. Any relevant links to your work 5. A jpg of your work (if relevant)
Please send any submissions by email to Prof. Janis Jefferies <j.jefferies@gold.ac.uk> and Patrick Tresset <ma701pt@gold.ac.uk> writing 'Thursday Club Submission' as a Subject. The deadline for the submission of proposals is 10AM, ON MONDAY 4 AUGUST The submissions will be reviewed by the Thursday Club Board. THURSDAY CLUB BOARD Dr. Tim Blackwell Maria Chatzichristodoulou [aka Maria X] Kelli Dipple Prof. Janis Jefferies, Thursday Club Convener Alex McLean Myrto Karanika Dr. Sarah Kember Nanda Khaorapapong Prof. Carrie Paechter Stanza Patrick Tresset Prof. John Wood Matthew Fuller 8. CFP: Curating Difficult Knowledge, April 16-18 2009, Concordia U, Montreal, Canada (due Aug 31) How are public spaces used to shape memories of systematic mass violence? What unique challenges arise in attempts to deploy narratives and documents of collective suffering for public display? And what innovations in exhibition, museology, and the activation of memorial sites might these challenges inspire? Employing as a point of departure a notion of 'difficult knowledge' as that which challenges or disrupts anticipated experience (and thus potentially induces transformations in understanding or subjectivity), and considering "curation" in its deeper meaning of "taking care of," this conference will provide a venue in which to grapple with these questions as they arise in theory and practice. The Centre for Ethnographic Research and Exhibition in the aftermath of Violence at Concordia University (http://cerev.concordia.ca) is pleased to announce our first international conference, co-sponsored by the Canada Research Chairs in Post-Conflict Studies and Latin American History. Keynote speakers will include Prof. Roger Simon, Faculty Director of the University of Toronto's Centre for Media and Culture in Education and Director of the Testimony and Historical Memory Project at the Ontario Institute for Studies in Education. The specific aims of the conference are: Instructions for submission: We invite 250 word abstracts for 15- or 30-minute presentations that will explore the conference themes outlined above. Since a central goal is to foster conversation among participants, we encourage you to request the shortest time-slot in which you can communicate your key points in your chosen medium (i.e. a spoken conference paper should fit in 15 minutes). We welcome the use of photographs, sound/video clips and other digital media in presentations, and for this reason are offering the option of a 30-minute time slot. Please send abstracts, along with a current CV and a 100-word description of your current area of research/practice to: cerev@alcor.concordia.ca. Deadline for abstract submission: August 31st, 2008. Notification: by September 30th, 2008 Pending funding, we hope to be able to offer some travel subsidies to participants coming from beyond North America. Please indicate in your submission if such funding would be essential for your participation. 9. CFP: Special Issue on Gender, Journal of Jewish Identities (due Sept 1) The Journal of Jewish Identities is an interdisciplinary peer reviewed forum for contesting ideas and debates concerning the formations of, and transformations in, Jewish identities in its various aspects, layers, and manifestations. The aim of this journal is to encourage the development of theory and practice in a wider spread of disciplinary approaches; to promote conceptual innovation and to provide a venue for the entry of new perspectives. Submissions are invited from all fields in the Humanities and Social Sciences and from the full range of methodologies. Diverse theoretical and philosophical approaches and methodologies, interdisciplinary research studies, as well as instructive case studies are particularly welcome. The Journal publishes empirical and theoretical articles, documents, an occasional debate section, as well as review essays and book reviews. The Journal of Jewish Identities is published twice a year. July issues are special issues. Upcoming special issues include gender (July 2009); and the modern Russian-Jewish diaspora (July 2010). Papers should be sent electronically to the editor in chief at hjsinnreich@ysu.edu as Word e-mail attachments, indicating "Journal of Jewish Identities: Call for Papers" in the subject line. Manuscripts should be prepared using the Chicago Manual of Style. The preferred length for article manuscripts is 7,000 – 10,000 words, but shorter or longer submissions will be considered and will be reviewed following the Journals standard process. Please include an abstract of 150 words (or less) and a biographical note. All articles are anonymously reviewed. Submissions must be in the American English and are considered for publication on the understanding that the author(s) offer the Journal of Jewish Identities, the exclusive option to publish and that the paper is not currently under consideration for publication elsewhere. It is the responsibility of the author to obtain permission for using any previously published material. Accepted manuscripts become the permanent property of the journal. Authors may, of course, use the article elsewhere after publication without prior permission from the Journal of Jewish Identities, provided that acknowledgement is given to the Journal as original source of publication, and that the Journal is notified so that our records show that its use is properly authorized. The deadline for January 2009 is September 1, 2008. The deadline for July 2009 (special issue on gender) is January 2009. Helene J. Sinnreich, Ph.D. 10. CFP: Across the Threshold: Creativity, Being and Healing Conference, March 19-22 2009, Duke U, US (due Sept 15) http://www.duke.edu/web/threshold/index.html http://www.duke.edu/web/threshold/call_for_papers.html Across the Threshold: Creativity, Being and Healing Conference, March 19-22, 2009 is a collaborative project hosted by Duke University and University of North Carolina at Chapel Hill faculty across disciplines – Dance, Music, Asian and African Languages and Literature, Medicine, Communication Studies, Religion. The Conference is also supported by The John Hope Franklin Humanities Institute, St. Joseph’s Historic Foundation, and the Rhine Research Center: An Integrative Center for the Study of Consciousness. The Organizing Committee announces the call for papers, panel proposals, lecture-demonstrations and workshops. Proposals will be reviewed by a multi-disciplinary committee for their content relevant to the overall program's thematic intentions as well as for their practicality and suitability to an educational symposium format. The Conference Theme: The Across the Threshold interdisciplinary conference aims at bringing together scholars and practitioners from diverse disciplines in order to explore, from scientific, creative, as well as mystical perspectives, the transformative paths through performance, ritual, discussion and practice. The following questions may be helpful in developing the conference theme: Additional possible sub-topics related to the theme of altered/heightened states of consciousness could include but are not limited to cultural, ethnographic, creative, experiential and theoretical studies pertaining to: * altered or heightened state of consciousness as a psychological phenomenon, hypnosis, dream states Two key note speakers and performers will highlight the conference: Vincent Mantsoe, a South African dancer and choreographer, will present a solo performance on Friday, March 20, 2009 as part of the Conference. Mantsoe merges several movement influences into “Afro-fusion”, drawing on traditional African dance forms with a contemporary approach from modern, ballet and Asian forms such as Tai Chi, Martial Art and traditional Balinese dance. For details please refer to http://www.sekwaman.co.za Deadline: All proposals must be received by September 15, 2008. Click here for submission form: http://threshold.aas.duke.edu/ Submission Guidelines: Individual Papers should not exceed 20 minutes for presentation including audio-visuals. Questions and discussions will be held at the end of each session. Submit a 500 word abstract of the paper in addition to a brief bibliography. Panels consisting of three individual presenters may be proposed. Panel chair will be the contact person who will submit a 250 word description of the panel in addition to 500 word abstracts for the three individual paper proposals—as described above—for each presenter. Lecture-Demonstrations or Workshops may run up to 90 minutes. Submit a 500 word abstract describing the topic and organization of the session. Also, clearly state the requirements for space, time, audio-visual equipment, and/or appropriate attire for participants. For all Proposals Abstract submissions will only be accepted online. Proposals sent via facsimile Queries regarding the submissions may be addressed to the faculty below in their Humanities and General: Integrative Medicine and Medical Sciences: 11. CFP: Special Issue on New Dramaturgies, Contemporary Theatre Review, Issue 4 2009 (due Sept 15) Issue editors: Cathy Turner and Synne Behrndt Deadlines: Proposals (250 word abstract) - September 15th 2008 Full draft (5000-6000 words*) - February 1st 2009 * Contributions to the 'documents' section may be negotiable in terms of length. Please consult the editors. There has been much excitement and debate about the role of the dramaturg in recent years, as evidenced, for example in Mary Luckhurst's recent book (2006) and our own (2008), to cite only UK examples. Not only has there been a need to reassess and analyse historical practices, but the ways in which we understand and apply the term 'dramaturgy' and dramaturgical practice have had to change in response to the changing landscape of contemporary performance practice. This issue proposes that there is a real need to investigate these changes and to bring together different perspectives from a range of countries and contexts, to draw together the threads of debate around dramaturgy and the dramaturg. Dramaturgs and scholars alike have long attempted to free dramaturgy as a discipline, practice and term from its traditional associations with classical theatre processes. Importantly, this endeavour to redefine dramaturgy has arrived out of the proliferation of new forms, working processes and questions facing contemporary performance and theatre practices. In this issue we want to consolidate and examine a number of emerging aspects within contemporary performance from a dramaturgical perspective as well as to discuss a contemporary practice's implications for dramaturgical thinking and process. Peter Eckersall has written about the expansion of the application of dramaturgy and dramaturgical practice across new performance forms and beyond (Eckersall 2006) and in our own book's concluding chapter, we touch on some of the resulting challenges for dramaturgs and dramaturgical practice today, including the emergence of self-reflective 'dramaturgies of process and production'; site-related 'nomadic' dramaturgies and 'interactive' dramaturgies. We would like to invite discussions of the ways in which dramaturgical theory and practice might be applied to an expanded field, exploring its function within theatre that breaks (or dialogues) with the dramatic form, its relevance to devising, dance and dance theatre, live art, curatorial practice and new technologies. We do not propose to exclude a consideration of theatre and performance writing from this discussion of changing practices; on the contrary, we are very interested in contributions which discuss dramaturgical work that is preoccupied with facilitating new approaches to analyzing and writing plays. This could be a discussion of the dramaturg's role in facilitating new approaches to writing, or consideration of the ways in which interdisciplinary approaches to dramaturgical analysis might generate interesting ways of looking at existing theatre texts. We are looking for articles that address a readership of dramaturgs, directors, writers, performers and other artists (some of them also academics) and would welcome proposals from practitioners, academics and those who consider themselves as both. Alongside more 'traditional' academic articles, CTR includes a section entitled 'documents'. In this issue, for example, this might include the following: interviews with and dialogues between practitioners; reports from relevant research centres; documentation of artistic process and performances. We would particularly like articles to address the following areas: 1) Dramaturgy as a term or a concept. How is this changing? Some prefer to reserve the term 'dramaturgy' for its particular application in theatre contexts. For others, the word is broadening out to encompass disciplines and cultural events beyond or 'in proximity of performance' (Goulish 2000). We would welcome articles that focus on concrete examples to discuss whether this gives rise to problems, opportunities or to both. Do we need a different word? Is there a problem with the legacies of theatre and nationalism implicit in the word 'dramaturgy'? Or does the word, together with the modes of practice and analysis associated with it, have something illuminating to bring to the analysis of practices beyond the theatre, encompassed by the broader term 'performance studies'? If the definition of 'dramaturgy' is changing, is a redefinition of the dramaturg emerging from this? 2) The Production of New Dramaturgies a) contexts Art and performance practice is constantly faced with a range of new dramaturgical considerations, particular to their time, place and context. We would therefore like to ask what contexts, circumstances, conditions, questions and politics give rise to new dramaturgies? We would welcome proposals that explore the relationship between a particular cultural context or community and emerging dramaturgies. We are particularly interested in analysis that set out to demonstrate how a given dramaturgy comes into being. We are also interested in considering whether one can describe a 'national', or a 'cultural' dramaturgy any longer, or meaningfully discuss the lack of one. What kinds of coherence or diversity can be found in different countries and continents? We are particularly interested in proposals for articles discussing countries or groups whose practices have been less frequently discussed (or discussed only in broad overview) in debates around dramaturgy and the dramaturg. b) processes Some of these might well be connected to the above and it is not our intention to separate context from process. However, there are a range of emerging processes and media that affect many different contexts, or where the context is not the primary focus of the discussion. For instance, what new dramaturgies are being produced through new technologies? Do these new forms have wider implications in generating new ways of considering dramaturgical structures and approaches? How do new dramaturgies respond to the bombardment of media messages that we experience? And might there be a dramaturgy of stillness and silence (where can this be found?) How do collaborative processes and structures produce new dramaturgies and new dramaturgs? In a cross-disciplinary performance practice, what kinds of dramaturg might we need? Does dance, for example, need a different kind of dramaturg - does the field demand new skills and uses for the role? What about performances beyond established theatre and arts contexts? Does the concept of 'dramaturgy' and the role of the dramaturg remain useful and how does it alter? What role does or might the dramaturg play in relation to live art? How might writing be facilitated and developed across an expanded field? What new dialogues and forms are being produced? Can we begin to apply dramaturgy, and dramaturgical process, to non-theatrical processes, such as the curatorial, or even creative producer, role? What curatorial practices might facilitate new dramaturgies and new audiences? How do the latter produce one another (or not)? 3) Spectatorship We would also like to discuss the role of the audience and the many ways in which one might engage with dramaturgical analysis. What developments might concern the critical practice of dramaturgical analysis? We are interested in articles that discuss modes of experiencing, viewing, writing about, discussing and documenting performance. What might be the consequences for spectatorship in these new dramaturgies? We are interested in examples of redefinitions, or new conceptions of the audience, or spectator, in light of changing practices. Please send abstracts to both the editors at Cathy.Turner@winchester.ac.uk and Synne.Behrndt@winchester.ac.uk. Contributions by post can be sent to Synne Behrndt, Performing Arts, Faculty of Arts, University of Winchester, Hampshire, SO22 4NR. 12. CFP: Crying, International Medieval Congress, May 7-10 2009, Kalamazoo, Michigan, US (due Sept 15) Commenting on the text of Psalm 126.6, an anonymous twelfth-century homily classifies four kinds of tears: tears that are like aqua maris – the salt water of compunction; tears that are like aquae nivis – the snow-water of regret on behalf of the others; tears that are like aquae fontis – the well-water of the worldly contempt; and tears that are like aque roris – the dew water of longing for heaven. The sermon alerts us to the rich world of medieval tears shed in piety, compunction, and, in the later Middle Ages, in affective devotion and spiritual imitation of Christ and the Virgin. Just as tears made such piety visible, so did images visualize theology through introduction of tears – tears represented, implied, shed and elicited. This session invites papers that consider the role of weeping in medieval visual, theological and literary discourses. Among other topics, papers may address tears shed in grief or awe, bewilderment or gladness, contrition or grace; tears as a gift for and from God; tears as an instrument of discipline; tears and other liquids (milk, blood, oil, water); miraculous images that cry; images that figure crying; images meant to elicit crying; lachrymose saints; miracle stories recorded by Gauthier de Coincy and Jean Mielot; weeping in Dante; gestures of lament and implied weeping; Marie d’Oignies; Margery of Kempe; Man of Sorrows and the Bloody Tears; weeping as a sign of internal state; crying as a sign of moral strength or weakness, etc. Please submit your one-page abstract and participant information form (available at http://www.wmich.edu/medieval/congress/submissions.html#PIF ) to Elina Gertsman at gertsman@siu.edu no later than September 15, 2008. 13. CFP: Renaissance Medievalisms in Performance, International Medieval Congress, May 7-10 2009, Kalamazoo, Michigan, US (due Sept 15) As Chris Brooks suggests, the Renaissance inherited the Middle Ages both as a material presence and as a complex of ideas and feelings—both real and imaginary. This panel seeks papers that examine how Renaissance communities constructed, evaluated, mythologized, or re-imagined the Middle Ages through performance. Although dramatic texts offer us evidence of such cultural work, this panel encourages submissions that identify and analyze "medievalisms" in staging practices, patronage, acting styles, design choices, or other theatrical elements. The session organizer hopes to include work from a range of medieval periods and geographic regions. The Medieval and Renaissance Drama Society is sponsoring a panel on this topic at the MLA Convention this coming December. Due to the enthusiastic response to that panel's call for papers, the MRDS is sponsoring this second panel on the same theme. Please submit your one-page abstract and participant information form to Jill Stevenson at jstevenson@mmm.edu no later than September 15, 2008. The participant cover sheet and general information about the Congress are available at: http://www.wmich.edu/medieval/congress/submissions.html#PIF 14. CFP: Tribal Fantasies: Native Americans in the European Imagination 1900-present, Edited Collection (due Sept 29) This collection aims to investigate European re-imaginings of Indigenous American peoples and cultures in the last century. We invite abstracts of 250-350 words on any such re-imagining, including (but by no means restricted to): • Images of the Native in 20th century philosophy Indigenous can be taken as including Native American, First Nations, Native Hawai’ian, Inuit, and South American tribal peoples. The history of European appropriation of Indigenous lands and cultures in the Americas is long and frequently bloody. In the twentieth century, however, as European countries ceased to have formal colonial interests in the Americas, so direct contact between Native and European largely ceased. But the image of the Native American, as much a product of the colonial imagination as any deep understanding of the disparate indigenous cultures of the Americas, has proved enduring. We welcome contributions from all European countries and would be particularly interested in transnational or trans-European articles. Essays will be 6,000-8,000 words, referenced MLA endnote style. Please send abstracts to both David Stirrup at D.F.Stirrup@kent.ac.uk and James Mackay at james.mackay@cytanet.com.cy, by Monday, September 29th, 2008. 15. CFP: Poor Theatre?, Acting and Directing Symposium, 30th Annual Mid-America Theatre Conference, March 5-8 2009, Hyatt Regency Chicago, US (due Oct 15) The Acting and Directing Symposium of the Mid-America Theatre Conference (MATC) is seeking proposals for papers, co-papers, presentations, round-table discussions, organized panels, and visual presentations that can be linked to the notion of “Poor Theatre,” broadly construed. In the 1960s, Jerzy Grotowski’s Polish Laboratory Theatre leveled a set of challenges at the theory and practice of theatre in the face of the shifting aesthetic, political, and economic landscapes of art in the twentieth century. For the Acting and Directing Symposium of the thirtieth-annual MATC conference we seek to examine current and emerging challenges in acting, directing, and the analysis of the creation and reception of theatre. Papers may be either personal explorations and analyses of specific theatrical events or Applicants are asked to email 150-250 word abstracts that include the following information: applicant’s name, applicant’s rank, academic affiliation, address, telephone, email, presentation format (single paper, co-paper or co-presentation, panel presentation, round-table discussion, or other), title of presentation, and a two-three paragraph description of the paper, panel or presentation. Please be sure to include any special technology needs in your abstract, including slides, powerpoint, audio or video. (Please note that technology accommodations are extremely limited during the conference). Individual presentations should not exceed 8 double-spaced pages (approximately 2000 words) and will be limited to a 15 minute maximum. Round table discussions and organized panels will be limited to a 40 minute presentation period followed by a 25 minute audience discussion and question period. Applicants are also asked to indicate whether they would be interested in submitting their presentation for an external peer review; in exchange, applicants may be assigned to review another submission to the symposium. Deadline for submissions: October 15th, 2008 Please send submissions electronically as MS Word or PDF files to BOTH: Peter A. Campbell John C. Soliday 16. CFP: Staging the Middle East in Theatre and Through Performance, April 3-4 2009, U of California, Riverside, US (due Oct 15) Conference Convener: Dr. Erith Jaffe-Berg We are caught in nets of bewildering and puzzling interdependencies.
With this observation Seyla Benhabib begins her book The Claims of Culture: Equality and Diversity in the Global Era. This conference aims to facilitate the conversation by investigating ways in which various performance practices and theatre produced in the Middle East, the US, Canada and other places simulates, represents, recognizes and challenges narratives of the Middle East. The theatre has become an important venue, vying as it does with other media in “staging” the Middle East. The use of the term “staging” suggests a self-awareness on the part of artist or audience about the representation of the Middle East. With its multiple communicative mechanisms, the theatre exploits the spectrum that ranges from the supposed “real” to the “put on.” The very materiality of this representation or “put on” -- bodies and languages -- become central issues in contemporary staging of the Middle East. This conference is aimed at exploring how theatre and other performance contexts, including performance art, spoken word, and digital media have critically engaged in the staging of the Middle East and its peoples, cultures and conflicts. Among the topics that may be addressed in papers proposed for the conference are the following: - Pre and post-9/11 constructions of the Middle East in theatre and drama. Please send an abstract and contact information to the convener no later than October 15, 2008. Proposals will be accepted either through email attachment or post. Notifications of acceptance will be made in November. Dr. Erith Jaffe-Berg 17. CFP: Jews/Theatre/Performance in an Intercultural World, Feb 22-24 2009, Jewish Theological Seminary, New York, US (due Oct 20) Proposals are for lectures of 20 minutes. Queries and proposals can be directed to one of the three co-conveners: The focus of this conference is on drama, theatre, and performance that are of Jewish interest by virtue of their themes, authors, artists, or audiences. We seek to chart and understand the intercultural ties between the theatre that Jews created for themselves and the wider theatrical culture, as well as the impact of Jewish artists on the theatrical culture of their “host” societies. Such questions of interculturality are especially relevant in our multicultural and globalized world, where theatre and performance offer a unique and public forum for negotiating cultural positions. Although we are interested in charting the intersection of multiple cultural influences and confluences within the context of the varieties of Jewish cultures and their performance products, the conference organizers welcome presentations grounded in various models. We are committed to the inclusion of a wide range of performance modes, such as popular, experimental, canonic, as well as stand-up, circus, musical and dance theatre, without geographic, national, or temporal restraints. We encourage scholars from all fields of Theatre, Performance, Jewish Studies, Cultural Studies and other related fields to send proposals in the area of the conference. POSSIBLE TOPICS: There will be a Registration fee of $50 18. CFP: Instruction, Amusement and Spectacle: Popular Shows and Exhibitions 1800-1914, April 16-18 2009, U of Exeter, UK (due Oct 31) Keynote speakers: Prof. Bernard Lightman, Prof. Vanessa Toulmin, Prof. Jon Burrows, Dr. Ann Featherstone, Prof. Martin Hewitt. This conference aims to examine the eclectic range of popular entertainments in the nineteenth and early twentieth century, with a particular focus on exhibition practices. The intention is to provide a forum that brings together the range of research currently being undertaken by different disciplines in this area, including film studies, Victorian studies, history of science, performance studies, English literature, art history and studies of popular culture. Potential topics could include but are not limited to: - The role of visual entertainments (e.g. magic lantern, panoramas, dioramas, photography, peep shows) Please send proposals of no more than 300 words, together with your designation and affiliation to victorianshows@exeter.ac.uk no later than 31st October 2008. Part of the AHRC funded project Moving and Projected Image Entertainment in the South West 1820-1914. Visit the project website at http://www.sall.ex.ac.uk/projects/screenhistorysw 19. CFP: Reconciling Canada: Historical Injustices and the Contemporary Culture of Redress, Edited Collection (due Nov 1) Contributions are invited to the first essay collection to critically analyze and put into dialogue the diverse cases of apology and reparations in Canada. Official gestures of contrition and commemoration have multiplied and accelerated since the 1988 federal apology for the internment of Japanese Canadians during World War II. Some fraught and faltering, some strategic, these gestures reveal the emergence of a complex culture of redress in Canada that is profoundly re-writing official history and re-shaping the contours of national memory. These acts of contrition raise questions about symbolic and performative politics, possibilities and impossibilities of coalitions, hegemonic and counter-hegemonic notions of history and responsibility, public cultures of pain and atonement, connections between identity and injury, and encounters between different cultural logics. Reconciling Canada will make a number of important critical interventions. First, the collection will analyze reconciliation in the particular national context of Canada, as it is shaped by the relations between redress movements, by national myths and ideologies, and by intersections with global processes. Second, the focus will move beyond the actions of the state and its apparatuses to consider a heterogeneous field of actors: Aboriginal and diasporic constituencies, other advocacy groups for minority rights, churches and religious institutions, educational institutions, the media, and cultural producers, to name a few. Third, the collection will frame the culture of reconciliation as a multi-layered and shifting phenomenon that involves not only the machinery of political and legislative institutions but also the intimate, affective, embodied, and gendered dynamics of injury and ‘healing,’ injustice and reparation. Finally, Reconciling Canada will highlight interdisciplinary methodologies as well as approaches that attend to the work performed by various kinds of texts: official documents, fiction and film narratives, media reportage, representations in visual art, museum exhibits, commemorative installations, etc. The collection will also include appendices that reprint key legislation, archival resistance documents, and the text of official government apologies as well as responses from Aboriginal and diasporic advocacy groups, never before published together. We invite essays that contribute cutting-edge research into reconciliation in relation to (but not limited to) the following areas: The State, Citizenship, and Multicultural Civility; Law and Social Justice; Institutions and Discourses of Religion, Spirituality, Health, and Healing; The Intimate Sphere: Bodies, Senses, Affect, Gender, Sexuality, the Family; Diasporic and Aboriginal Redress Movements: Intersections, Coalitions, Conflicts; Local-National-Global Intersections; Reconciliation as Heritage Industry Please send 750 - 1,000 word proposals in electronic format to Jennifer Henderson (jennifer_henderson@carleton.ca) and Pauline Wakeham (pwakeham@uwo.ca) by November 1st, 2008. Subsequent 5,000 – 8,000 word essays will be due on February 15th, 2009. Possible questions to consider: If states can confer recognition, can they also express remorse or show empathy? How has the Canadian state in particular entered the terrain of affect, of interpersonal relations, in new ways? In what ways might diasporic and Aboriginal redress movements differ constitutionally? What strategic alliances might be formed between diasporic and Aboriginal constituencies seeking redress and in what ways might such coalitions compromise or strengthen claims for reparations? What is the relation between redress movements and the wider ‘politics of recognition’ in Canada? How does a culture of reconciliation sit alongside a state initiative like the Royal Commission on Reasonable Accommodation in Quebec? How has reconciliation been articulated with ‘tolerance,’ ‘civility,’ and official multiculturalism? What are some of the tensions between, on the one hand, the legal and political language of individual human rights and, on the other, group demands for recognition, redress, and reconstruction of collective memory? How have these tensions materialized in recent redress cases in Canada? How might one characterize the relationship between a reconciled Canada and state and corporate agendas of implementing and managing neoliberal social and economic relations? What, for instance, is the relation between the culture of redress and the normative model of entrepreneurial selfhood, of the consumer-citizen, or of the ‘community-minded’ citizen? What role does the resurgence of charity in North America play in the construction of Canada’s culture of reconciliation? What are the overlaps as well as the spaces of disjuncture between the Canadian state’s project of reconciliation and minoritized constituencies’ demands for redress? What kinds of analytic approaches may facilitate careful analysis of the negotiations between the hegemonic logic of reconciliation and marginalized groups’ conceptualization of redress as a means of challenging state power? What are the implications of non-monetary forms of remedy and redress for cultural loss such as individual psychological ‘rehabilitation’ and ‘reintegration,’ or community and social ‘development’? What are some of the pre-existent discourses and prior policy ‘problems’ that redress arguments have mobilized? What does it mean that Canada’s culture of redress has rendered sexual abuse a national-historical issue at the same time that the gender-differentiated nature of experiences of injustice seems to be increasingly overwritten in these debates? How might we explain the coincidence of the demise of state-supported feminism and women’s programs with the emergence of an age of reconciliation and human rights? How does Canada’s culture of reconciliation and its associated institutions negotiate the fact that the very projects of international law and settler state nation-building, upon which they stand, were tied to the systematic degradation of Indigenous cultures? How do some aspects of Indigenous arguments for reparation challenge fundamental legal norms and cultural concepts of a European settler-state like Canada? How does the culture of reconciliation developing in Canada legitimize as real forms of capital things that were formerly more ephemeral phenomena: dignity, respect, trust, etc? What kind of politics or critique do we have to meet this new order? To what extent has Canada’s culture of redress become imbricated with the culture of capital through burgeoning heritage industries and the development of museums and cultural sites commemorating historical injustices? How have apologies from church denominations to residential school survivors influenced the Canadian government’s comparatively belated statement of contrition to Aboriginal peoples? How does the culture of reconciliation set in motion a particular politics or political economy of truth—procedures for generating and verifying truths, forms of statements, viable subject positions to inhabit, etc? What particular political economy of truth is being constructed by the Indian Residential Schools Truth and Reconciliation Commission? How have redress and reconciliation—and associated issues of individual and intergenerational trauma, cultural loss, history, memory, and political struggle—been taken up in literature, film, and visual art by cultural producers in Canada? How has the iconography of residential schooling or internment been variously constructed and circulated? Why have these experiences of segregation and incarceration become the key proofs of historical violation for the groups concerned? What are some of the other overdetermined tropes in the representation of injustice for the purposes of redress? How do such representations call upon ideologies of race and gender? How might the case of the Africville redress movement and its advocacy at municipal and provincial levels shed new light on the implications of soliciting apologies from more localized governmental structures as compared to seeking redress at the federal level? In what ways might the recent provincial apology from the British Columbia government and the promised forthcoming apology from the federal government for the Komagata Maru case reveal complex allocations of responsibility and competing strategies of damage control between different levels and apparatuses of governance? Have the Ukrainian-Canadian and Italian-Canadian internment redress movements served to construct these identities as white ethnicities? How might we analyze the relation between the Ukrainian-Canadian and Italian-Canadian calls for reparation in relation to the redress cases of other diasporic communities in Canada that have been stigmatized as visible minorities 20. CFP: The Ethics of Representing Childhood: Popular Culture, Performance, and Pedagogy, March 5-7 2009, Arizona State U, US (due Nov 3) In March of 2009, ASU’s School of Theatre and Film will host an intimate symposium exploring different interpretations of “childhood”. Rather than understanding childhood in the Americas as static and/or natural state of being, this symposium will investigate childhood as a social category. Viewed in this light, the “child” becomes a metaphor—a pattern of meaning—created through culturally specific stories, beliefs, and customs. Given the above understanding, the symposium will unpack and explore the ethics of how adult culture shapes and represents children. In particular, we are interested in how these multiple understandings and shaded meanings influence adult relationships with and responsibilities to actual youth. The symposium’s CENTRAL QUESTION is: “Given that adults create, control, and distribute the vast majority of childhood representations, what are the ethical parameters of adult relationships with and responsibilities to children?” The symposium depends on the term “representation” as a key structuring device allowing multiple perspectives and conversations. Here, we are interested in a broad definition which includes symbolic and metaphoric ideas; the civic and legal act of representing or speaking with authority on behalf of someone else (law, democracy, policy); the creation of a visual or tangible rendering of someone or something (fine art, print art, photography); and theatrical performance (theatre, film, television, advertising). If interested please submit a 300 word abstract of your paper/project proposal including contact information by November 3, 2008 to Stephani Etheridge Woodson, swoodson@asu.edu. Notification will be sent out quickly and full papers are due January 12, 2008. SYMPOSIUM STRUCTURE: • Each of the three strands (pop culture, performance, pedagogy) will have a keynote address. Arizona State Superintendent of Education, Tom Horne and Professor Jack Zipes will be presenting on education and performance respectively. Pop Culture TBA • Each strand will also include interested national or international artists, scholars, industry executives, et cetera and will be limited to a maximum of 8 individuals. These individuals will prepare papers/artworks. With the exception of the keynote speakers, all papers/artworks will be posted online one month prior to the conference. Attendees will be expected to familiarize themselves with the papers. The symposium committee will tease out thematic through-lines, relevant questions, and/or industry models to organize and facilitate conversations/discussions at the symposium itself. As a result of the conversations, organizers expect authors to revise their papers ultimately creating an edited volume of material .• All conversations will be recorded and available as podcasts and/or streaming media. 21. CFP: Visuality/Materiality: Reviewing Theory, Method and Practice, July 15-17 2009, London, UK (due Dec 1) Organizers: Professor Gillian Rose and Dr. Divya P. Tolia-Kelly This conference takes as its starting point the apparent exhaustion in much critical theory of the term 'representation' as a means of grasping the effect of the visual in contemporary times (although, in contrast, ‘representation’ remains a key driver in advertising, geopolitical policy and military practice). Conventionally, critical interpretation has concerned itself with the meaning of images by situating their connections to broader discursive formations, but for many this is now a reductive analytical schema. There are suggestions that these approaches have become formulaic; that they ignore the physical materiality and political and cultural power of visual imagery and visualities; and that this approach can reinstate the power structures it intends to critique. The aim of the conference is to consider where representation and the need for a new interpretive paradigm may coalesce/intersect. Visuality/Materiality attends to the relationship between the visual and the material as a way of approaching both the meaning of visual and its other aspects. The image as sign, metaphor, aesthetics and text has long dominated the realm of visual theory. But the material role of visual praxis in everyday landscapes of seeing has been an emergent area of visual research; visual design, urban visual practice, visual grammars and vocabularies of domestic spaces, including the formation and structuring of social practices of living and political being, are critical to 21st century networks of living. The relationship between Visuality/ Materiality here is about social meaning and practice; where identity, power, space, and geometries of seeing are approached here through a grounded approach to material technologies, design and visual research, everyday embodied seeing, labour, ethics and utility. This conference is aimed at providing a dialogic space where the nature and role of a visual theory can be evaluated, in light of materiality, practice, affect, performativity; and where the methodological encounter informs our intellectual critique. One strand will invite sustained engagements with the theoretical trajectories of the ‘material turn’, the 'emotional/affective turn' and the 'practical turn' away from the 'cultural turn'. Where are these turns taking us, exactly? What are we leaving behind when we turn, and does that matter? The organisers are also keen to encourage contributions based on research experience and practice into specific aspects of visuality and visual critique including: What is the relationship between the material and the visual? We welcome participation from all disciplines and from varying research approaches. To participate in the conference please send a 200 word abstract before December 1st 2008, to: Visuality-Materiality-Conference@open.ac.uk 22. CFP: Research in Drama Education, Relaunched in 2009 (due Dec 31) Following thirteen successful years, the Routledge journal Research in Drama Education will be relaunched in 2009. The new journal will be known as Research in Drama Education: The Journal of Applied Theatre and Performance and will move to four editions each year. The editorial team aims to offer a space for energetic dialogue between scholars and practitioners who are interested in applying drama, theatre and performance practices to cultural engagement, educational innovation and social change. The journal's scope is broad and inclusive, investigating all forms of public engagement in theatre and through performance. It will examine and critique ideas about participation, ethics, democracy, ecologies, citizenship, aesthetics and popular engagement - all of which are shifting in challenging and interesting ways. The journal will be the place to examine and critique the grounds for the application of theatre and performance to social engagement and to education in its broadest sense. By characterising knowledge in this area of dramatic practice as a dynamic and an important series of questions and paradigms, it will open the discipline as a resource for interdisciplinary scholars and practitioners. As RiDE: The Journal of Applied Theatre and Performance, the journal will continue to offer a lively programme of editions that are open to all contributions, as well as themed editions. Call for Contributions Contributions are invited for the open editions that will be published in 2009 and 2010. Papers on all aspects of performance practice within the journal's remit are invited, whether they are from scholars or practitioners who contest the term 'applied theatre' or from those for whom the place of drama and theatre in education is a central concern. To mark the relaunch of the journal, we are looking for contributions to a section of the journal that will debate place of drama education, applied theatre and performance in the past, present and future. We invite scholarly papers, provocations, interviews or scripted conversations to a section called Histories and Manifestos, where we hope to discover a space for a robust dialogue between scholarship and practice. Potential contributors may wish to consider the following intervention: Is the field is dogged by an unreflective repetition of history? Is one of the consequences of application of theatre and performance a lack of time and space for history? Can we discover and remember the provenance of the ideas that became this practice? The different histories of types of engagement, the histories of political movements and their connections with, and development of, applied theatre practices can all be stimulating and may have significance for the future development of applied theatre. Manifestos are a synthesis of a perspective out of disparate elements of personal, professional and scholarly histories. In print, there is a moment of stasis where the manifesto can appear as theory, knowledge or politics. Manifestos are starting points, suggestions and arguments that can both emerge from practice and become practice, but which unproblematically use and absorb theory and context in the framing of the statement. Manifestos provide a useful and provocative tool to move the discipline forward. Contributions of papers of 5000 words or succinct and challenging provocations/ interviews/ conversations should be sent to co-editor Helen Nicholson, h.nicholson@rhul.ac.uk by December 31st 2008 for the 2009 edition, and 1st June 2009 for the 2010 edition. The new journal will continue to be freely available on-line to anyone from a subscribing institution. Details about how to contribute to both open editions and themed editions can be found at www.informaworld.com/RiDE The editors, Joe Winston and Helen Nicholson, invite expressions of interest in the journal, and particularly welcome offers to contribute to the rigorous peer review process. Please contact J.a.winston@warwick or h.nicholson@rhul.ac.uk 23. CF Contributors: Routledge Annotated Bibliography English Studies: Contemporary Literature Section (Drama) (no date) Call for Contributors Routledge Annotated Bibliography of English Studies: Contemporary Literature Section (Drama) Routledge are proud to announce the launch of the Routledge Annotated Bibliography of English Studies (ABES), a unique reference tool for those working in the field of English Literary Studies. Routledge ABES is a specialised online bibliography providing annotated entries on all of the most significant research in literary studies published each year. It contains scholarly annotations on all the best new criticism, from which users can find out about a publication, how it might be of use to them, and whether it would be relevant to their work. The database is organised around eight key sections: Medieval; Renaissance and Early Modern; Eighteenth Century; Romanticism; Nineteenth Century; Modernism; Postcolonial; Contemporary Literature. Routledge are currently inviting applications to contribute to the Contemporary Literature section. The section includes work on both established and up-and-coming authors, and covers all the major genres of contemporary writing, including fiction, poetry, drama, non-fictional prose, travel writing, literary theory and life writing. As a contributor to Routledge ABES you would be called upon to create annotations to some of the best new research in literary studies, helping to provide an indispensable guide for the rest of the literary studies community. Your work would be fully acknowledged, with contributors able to provide a short biography and a link back to their own website or profile. Each section is headed by a dedicated section editor, who edits and oversees the records in that section. If you are interested in becoming a contributor to Routledge ABES, then please contact the Contemporary Literature section editor: Dr Christopher Ringrose Routledge ABES - unlocking the best in English Literary Studies For information about ABES itself, contact Sophia Blackwell at Routledge: Sophia.Blackwell@tandf.co.ukFORTHCOMING CONFERENCES AND SEMINARS24. TaPRA, Sept 3-5 2008, U of Leeds, UK This is a gentle reminder to those of you intending to participate in TaPRA's annual conference for 2008, hosted by the University of Leeds. TaPRA is a membership organisation. Anyone who has offered and had accepted a paper to any of the Working Groups' meetings, or the open Themed Exchanges, must register for the conference, and be a paid up member of TaPRA. Please note that the deadline for the early registration discount has now passed. If you want to attend the Conference Dinner, you will need to send your registration as soon as possible, as there are very few places left. You can download the 2008 Conference registration form, and credit card authorisation form from the TaPRA web-site at Postgraduates who wish to apply for a TaPRA bursary to help with the costs of attending the Leeds Conference have until 28th July to apply. Details are on the TapRA web site. Looking forward to seeing LOTS of you in Leeds in September! Best, Prof. Kate Newey 25. Writing Encounters, Sept 11-13 2008, York St John U, York, UK Curating the encounter between writing and performance - a three day event bringing together artists and writers with critics and producers to debate, present, perform and collaborate. Writing Encounters is an international symposium featuring interdisciplinary artists and scholars working in the expanded field of writing. Opening on Thursday evening with a performance of Lone Twin's Nine Years, the symposium will include Barbara Campbell, curator of the Australian web writing project 1001 Nights Cast York-New York - a series of 5 minute writing commissions for recording technologies Artist publishers Information as Material (Simon Morris and Nick Thurston) with The Perverse library Melbourne based writers Jude Walton and Margaret Cameron on writing dance, and the performed essay. Simon Piasecki's Rich Tea Conversations With further interventions, commissions, presentations and discussions on art, poetics, collage, narrative, the visual books, publishing, the theatrical remix, new dramaturgies, writing networks, art and language, pedagogy, writing's histories, visual textuality, scripts, scores and scribbles from (amongst others) Drunken Chorus, cris cheek, Terry O'Connor, David Richmond, Caroline Bergvall, Alex Kelly, Peter Jaeger, Tony White. Maria Fusco, Simon Zimmerman, Mary Oliver, Niki Woods, Charlotte Vincent, Liz Agiss, Lenora Champagne, Dutton and Swindells, and many more World café events, writing workshops, Saturday Surgery with ACE on writing proposals, roundtables on networks and collaborations, DJ event with Lone Twin, evening soiree, pies and papers. The registration fee includes lunch and refreshments, and informal dinner on 1st and 2nd night as well Lone Twin's performance. You can register for the whole event, or for either of the full days (Friday and Saturday) each of which will include papers, performances and presentations into the evening as workshops by Tony White and Barbara Campbell (Friday) and Margaret Cameron on the performed essay, and Jude Walton on writing dance (Saturday). To register and book your place go to www.yorksj.ac.uk/writingencounters Or contact James Alexander at York St John University: Symposium information and programme can also be found at http://www.thespacebetweenwords.org/ Writing Encounters is curated by Claire Hind and Claire MacDonald and is a partnership production between York St John University and the space between words. Proceedings from the symposium will inform a special issue of the journal of Writing in Creative Practice to be edited by Dr Susan Orr and Claire Hind. For more information on this please go to: http://attainable-utopias.org/tiki/tiki-index.php?page=JournalWritingCreativePractice 26. Buried Treasures, Sept 27 2008, Royal Holloway, U of London and the British Library, UK BURIED TREASURES How many remediated Elizas teetered simultaneously across the breaking ice on London stages? When did the first English boxing champion appear in a pantomime? Why? What had a greater cultural impact – the Crimean War or men in moustaches? Crinolines, bloomers or garroting? Was Elizabeth Braddon’s play really less successful than Lady Audley’s Secret? Who was the great, forgotten dramatist of the middle of the 19th century? These and many other questions are raised – and maybe answered – by the thousands of mid-nineteenth-century plays (1853-1863) from the Lord Chamberlain’s Collection in the British Library, recatalogued and key-worded in the Buried Treasure Project, which ends this year. The Keynote address will be by Prof. Tracy C Davis, who is currently working on bringing the Victorian theatre repertoire back to currency. Prof. Jacky Bratton and Manuscript Curator Kathryn Johnson will introduce the Project, and papers will be given by, amongst others, its two Research Assistants, Dr Laurie Garrison and Dr Caroline Radcliffe. Prof. Jim Davis will sum up the potential of the new catalogue and survey potential uses of this and other newly accessible dramatic materials by scholars of the social and cultural history of the period. BURIED TREASURES is an AHRC funded project. PROGRAMME 9.45-10.15 Coffee in the Drama Department, Rehearsal Room A 10.15 Noh Theatre: Introduction to the Project (Jacky Bratton, Kathryn 10.30 Keynote Address 11.30-12. 30 Panel discussion 1: Texts Kate Mattacks: ‘A Woyage o’ Diskivery’: Moving Targets and the Victorian Caroline Radcliffe: Remediation and Immediacy in the Theatre of Sensation. 12.30 Laurie Garrison: Introduction to the Lord Chamberlain’s Plays 1.00-2.00 Lunch in RRA: catalogue information and the editions will be 2.00-3.30 Panel Discussion 2: Extra-textual Susan Croft: Mediating the British Empire - Elizabeth Phillips’ Life in David Haldane Lawrence: The Ticket of Leave Man’s Sequel. Janice Norwood: Pugilists and Greasepaint: Boxing’s Links with the Theatre 3.30-4.00 Tea 4.00 – 5.30 Jim Davis on future prospects for the study of Victorian Registration and Fees For more information regarding registration and how to get to RHUL please Please email queries to conference administrator Marissia Fragkou 27. Interrupt 2008, Oct 17-19 2008, Brown U, US Interrupt 2008, to be held at Brown University from October 17-19, is a three-day festival of readings, performances, and symposia organized around the theme of "interruption" in digital art and programmable literary practices. Why "Interrupt"? In computing, a hardware interrupt request or IRQ is used to prioritize the execution of certain processes over others. It is a command sent to the processor to get its attention, signaling the need to initiate a new operation. In the context of contemporary art, the act of interruption is a performance that redirects threads of process and lines of thought into fields of new expression. Interrupts trigger the moment when a process of creation yields a public manifestation. The cycle of ongoing work is paused by a challenge, calling for the attention of a provisional community: just as we read ICQ as "I seek you," we can read IRQ as "I argue." In this sense, interrupts articulate critical thresholds at which formal expressions are offered up to (or forced into) new circuits of communication, countering that which came before and making a case for new artistic and political futures. Artists in Residence: Confirmed Headliners: Details and arrangements to be confirmed: Critics, theorists, artists and students who would like to attend are asked to contact John_Cayley (at) brown.edu. We will be organizing two or more round table sessions during the festival, and we invite brief presentations intended to spark critical discussions relating to the work of interruption within the context of digitally mediated language practices. Participants will also be invited to instigate discussion at these round tables. If you would like to attend, and particularly if you have institutional backing, we ask you to consider supporting Interrupt with a registration contribution of $50 (checks only please) made out to 'Brown University' and sent to: Interrupt 2008 For letters of invitation, please contact John_Cayley (at) brown.edu. Register now. To read more about what we mean by Interrupt and for other details about the festival – including the preliminary program, schedule, location, venues, and accommodation information – please refer to our website: Organized and hosted at Brown University and the Rhode Island School of Design by graduates and undergraduates from Literary Arts, Modern Culture and Media, MEME, RISD D+M, and other departments. Funding and support for Interrupt currently includes the following sources: Brown Creative Arts Council, the Literary Arts program, RISD Digital+Media, MEME, the Brown Graduate School, the Comparative Literature department. 28. Permanence in Contemporary Art: Checking Reality, Nov 3-4 2008, Statens Museum for Kunst and the Royal Danish Academy of Fine Arts, Copenhagen, Denmark Statens Museum for Kunst (the Danish National Gallery) and th |