Performance Studies International

I don’t need to tell most of you this but for those who weren’t there PSi 14 Interregnum was one of the largest and most successful conferences in the history of the organization with over 500 delegates attending. It was achieved within budget and without fuss. It was superbly organised in excellent facilities which were accessible and well supported technically. The open spaces with plenty of room for delegates to sit and meet created a real sense of common purpose and enabled many useful conversations to occur and plans to hatch. In a conference of this size there can often be a sense of alienation but the sense of welcome was profound and the professionalism of the support team gave all PSi members a feeling of confidence and purpose.

On behalf of PSi I want to express our gratitude to the team at the University of Copenhagen for making this year’s conference such a fantastic experience for so many of us. The organisers were ably supported by a small army of volunteer staff who ensured everything worked and everyone knew where they were going. They were also supported by Professor Marianne Ping Huang, Head of Department of Arts and Cultural Studies, who was generous in supporting this event and had the vision to develop the research culture of her school in the area of PS. To Dr. Gunhild Borggreen and Dr. Rune Gade, Conference Directors, we owe them a lot but let me thank them again for their skill and purpose as organisers and for their ongoing friendship.

The board was also very busy this year and in our two day planning meeting we agreed on some new directions for our activity as an organisation. This year we saw the first Routledge Prize awarded to Solveiig Gade for the best presentation at the conference by a postgraduate student or emerging scholar from the host nation. The board also made commitments to provide a service at the conference to ensure that new members are welcomed and that the members know about the work that the board carries out on behalf of the membership. There was a further commitment to provide seed funding for projects, meetings or publications that are proposed to the board through the committees. We also agreed to develop PSi Publications including formalizing conference publications and establishing a Psi-badged series of monographs and edited volumes.

You will hear more about this as the board continues to refine the guidelines for these new developments but I also want to thank my fellow board members for making such a huge effort to contribute to PSi in such a positive way. I’ll hand you on now to Marin Blazevic from Zagreb who has some important info about next year.

Best

Edward

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2. From PSi #15 in Zagreb

News from the MISPERFORMANCE conference organizers, September 2008

DEADLINE FOR SENDING IN PROPOSALS:

Dear colleagues and friends,

We would like to remind you that November 1st 2008, the deadline for sending in paper, panel and shift proposals for the PSi # 15 conference is drawing near!

The conference will take place in Zagreb, Croatia, June 24 – 28 2009, its theme being MISPERFORMANCE: Misfiring, Misfitting, Misreading.

The conference 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.

For more info, please visit us at: www.psi15.com

REGISTRATION FEES, TRAVEL AND ACCOMMODATION:

PSi # 15 also invites you to visit our web site (www.psi15.com) and check for updates on registration fees, travel to and around Croatia, as well as updates on accommodation in Zagreb during the conference. Our registration fee categories and detailed information on recommended hotels, conference rates, booking deadlines and other arrangements available via OLYMP TOURS travel agency, PSi # 15’s travel and accommodation partner, will be on-line by October 10.

Looking forward to seeing you in Zagreb!

Best regards,
The Organizing Committee of PSi # 15

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3. PSi Performance & Philosophy Working Group

Dear all 

As I announced at the 1st meeting of the PSi Performance & Philosophy working group meeting in Copenhagen this August, there will be a Performance & Philosophy Symposium for all interested members held in Aberystwyth on Saturday the 31st January 2009. This event is being kindly hosted by the Centre for Theatre, Performance and Philosophy (CTPP), Aberystwyth - which is directed by Prof Adrian Kear and Dr Karoline Gritzner.

I would now like to invite all PPWG members who might be able to attend this symposium to submit suggestions for a possible theme and structure for this event.

*We might simply wish to address the broad theme of the relation between philosophy and performance that constitutes our shared interest as a group - for instance, by inviting responses to the question, "How does performance think?"

*Or we might wish to address a more specific theme.

*We might wish to present research papers, have roundtables, invite a plenary speaker, present practice etc.

*We might also want to consider responding to the event that the CTPP are hosting on the day before the PPWG symposium (Fri 30th Jan) - a guest lecture by Alexander García Düttmann, entitled ‘Quasi. Antonioni and Participation in Art’. For example, Düttmann might be willing to stay on and participate in Saturday's events.

If you would like to make a suggestion, please click on 'reply all' to this email to allow for conversation, or use the forum on the PPWG wiki:
http://psi-ppwg.wikidot.com/forum:start

If you have not yet joined the wiki, please do so - and/or let me know if you need me to send you another email invitation to join.

If you have not yet joined the working group and would like to do so, please email me at: lkc202@ex.ac.uk

I hope to hear soon from those of you based close enough to be able to travel to Wales for this potentially very exciting event.

Bests,
Laura
Laura Cull
PhD Research Student
Performing Presence Project
http://presence.stanford.edu/
School of Performance Arts
Department of Drama
University of Exeter

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CALLS FOR PAPERS (CONFERENCES AND PUBLICATIONS)

4. CFP: ‘On Training,’ Performance Research Vol 14 No 2 June 2009 (due Sept 25)

Issue Editors: Richard Gough and Simon Shepherd

‘Training’ - it’s a word that many university academics learnt early on not to use. They in the university did education while others, somewhere else, somewhere lesser, did – well – the other thing.

For this issue of Performance Research interested specialists – who may of course include university academics – are invited to submit contributions on the matter of training.

In its heyday at the turn into the twentieth century, with the founding of conservatoires and craft schools, training seemed both socially dignified and compatible with university education. From here, over the decades, the word and the activity gradually sank into disrepute within the sector of an education that was self-consciously ‘higher’. Now, however, training is coming to acquire a more serious, and sometimes challenging, nuance. In part this comes from government initiatives in various parts of Europe, with their emphasis on ‘skills’, vocationality and community impact. In part it comes from an intellectual reaction within the ‘higher’ domain against the overly theorised, and polemically print-based, academy of the 1980s.

But most of all, and most provocatively, the fascination with training is prompted by the image which has come to haunt the new millennium – the training camp. It is in the training camp that earnestly dissident citizens become transformed into terrorists. ‘Training’ here is an activity which doesn’t so much equip people with socially useful skills, but instead transforms minds, manufactures identity. If liberal education prides itself on producing citizens capable of debate and dissension, training slides into place as a sort of deliberately illiberal education. And this, some would argue, is what constitutes its potency.

Four general approaches to the matter of training suggest themselves, although these are not prescriptive:

1. as keyword: the term ‘training’ set among other terms, with links and differences noted: for example, calling, craft, discipline, practice, skill, technique, vocation.
2. in history: some account of the emergence of training for performance, within particular national contexts worldwide and within specific cultural/educational moments; some account of the later debates, in different national/cultural contexts, around the institutional positioning of the term.
3. as concept: what is a training? An exploration conducted through contexts and case studies, which might include: the military, religion, sport, terror – but also perhaps the spectator (the audience member who watches kabuki), the observer who acts as witness, the reader.
4. as experience: what is it to be trained? Some accounts from the inside; some science of the brain and body.

Contributors are invited to reflect on one or more of these approaches, or indeed to challenge their assumptions. Contributions can, as usual, take a variety of print-based forms and work in a range of reflective and analytic modes. Visual material could include diagrams of training exercises, photographs of training regimes, their bodies and contexts.

The editors would like there to be a wide spread of disciplinary engagement with training, so that, for example, a reflection on the training of an actor, acrobat or dancer sits alongside a similar reflection on a priest, a soldier, an athlete. And these reflections may then sit alongside accounts of the training experience from a magician to a casualty nurse, a suicide bomber to a holiday rep.

Deadlines are as follows:

Proposals: 25 September 2008
Finalised material: 4 February 2009
Publication date: June 2009

ALL proposals, submissions and general enquiries should be sent direct to:
Sandra Laureri
Administrator - Performance Research
Centre for Performance Research (CPR)
Penglais Campus
Aberystwyth
SY23 3AJ
Wales, UK

Email: performance-research@aber.ac.uk
Web: www.performance-research.net

Issue specific enquiries should be directed to:

Richard Gough: rig@aber.ac.uk
Or
Simon Shepherd: S.Shepherd@cssd.ac.uk

For complete guidelines for submissions please see:
http://www.performance-research.net/pages/guidelines.html

Performance Research is MAC based. Proposals will be accepted by e-mail (MS-Word or RTF).

Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement.

Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research.

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5. CFP: ‘Collective Creativity,’ Sydney German Studies Symposium 2009, July 23-26 2009, U of New South Wales and the Goethe Institute, Australia (due Sept 30)

Gerhard Fischer, University of New South Wales (Convenor) in co-operation with Sabine Rossbach (University of Adelaide), Klaus R. Scherpe (Humboldt-University Berlin) and Florian Vassen (Leibniz-University Hannover)

The Sydney German Studies Symposium 2009 is part of a series of scholarly conferences sponsored by the Department of German Studies at the University of New South Wales since 1980. The symposia are international, interdisciplinary academic conferences devoted to current issues in literary and cultural studies, with a focus on - but not exclusively restricted to – contemporary German literature and culture. Recent symposia have addressed themes such as ‘Writing since The Fall of the Wall’, ‘Adventures of Identity’, ‘The Play within the Play’ or ‘W.G. Sebald and Expatriate Writing’; others were dedicated to a critical analysis of aspects of the work of Walter Benjamin, Hans Magnus Enzensberger or Heiner Müller.

The symposium is traditionally held bi-annually on the last weekend in July and organized in co-operation with the Goethe Institute Sydney which also offers the venue for the event. In 2009, the topic of he Symposium will be ‘Collective Creativity’.

1. Preamble
Is there such a thing as ‘collective creativity? --- Two radical answers seem possible:
YES. All creativity is collective. No creative person exists in isolation; all human beings, artists and scientists in particular, depend in their work and in their creative self-expression on the contribution of others. The original Western philosophical model of creative enquiry is the Socratic Dialogue: without question no answer (which in turn provides a new question). For philosophers like Martin Buber, the creative dimension arises from what lies between I and Thou. In Mikhail Bakhtin’s literary theory, too, the creation of meaning can only proceed in dialogic interaction. Furthermore, all artistic creation aims at outside presentation and recognition in a process of collective reception.
NO. Creativity is always individual. While the social dimension of the Artist’s and the scientist’s work is undeniable, it must nevertheless be stated that the original creative impulse, the intellectual spark that leads to innovation, can only ever be found in the individual mind. The original aesthetic model of this concept is the Romantic Poet: alone and at one with nature. While artists may be surrounded by collaborators and while the technology of some artistic or scientific production requires a highly complex team effort, the final work is always recognizable by the expression that an individual personality has stamped upon it.

2. What do we understand by collective creativity? Does a dialogic process always already imply a collective creation? Does the connection between art and ritual suggest an a priori dimension of collectivity? Can we speak of the notion of Gesamtkunstwerk in terms of collective creation? Does it make sense to discuss certain forms of hybridity (as in recent discussions on postcolonial theory) in terms of collective artistic experiences? In what way do contemporary insights into psychological or neurological aspects of creativity support or dismiss claims of collective influences on individual creative development? Similarly, what can we learn from recent theories of memory (e.g. Maurice Halbwachs and the notion of ‘collective memory’)? Rather than focussing on seemingly irreconcilable concepts phrased in terms of traditional binary opposites, a contemporary discourse on creativity might be more productive if it searches out and questions the borders, intersections or interfaces of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other. A central issue of this debate might be the question of whether a collective creative enterprise can deliver an aesthetic or artistic surplus that exceeds an individual effort. How and where can such a creative surplus be located?

3. Thus, it seems possible to think of a multitude of answers which could apply to various forms of collaborative ventures and relationships: artistic or scientific partnerships, ensembles, Dichterkreise (poetic circles) and/or Dichterschulen, collaborative friendships, artists’ colonies, master workshops, teams, ensembles, etc. One could mention as examples the collectives of muralists (Mexico) or the experiments in communal performances characteristic of the 1960s. Indeed, there seem to be particular historical sites for collective creativity which may offer instances of paradigmatic case studies: Weimar and Jena of German Classicism, Vienna at the turn of the 20th century, Paris of the Surrealists, the Frankfurt School of the 1920s and 30s, the Living Theatre in the 1960s, the ‘Theatre of Development’ of P. Freire or the theatre of Augusto Boal .

4. Historically, the transitional period around 1800 may be of special importance: it is here that we witness the breakthrough of the concept of the modern individual. The disappearance of the old, feudal, rigidly structured society (Ständegesellschaft) gives way to a bourgeois, libertarian society in which a radical new experience of the Self becomes possible. The distinction between collective and individual creativity thus seems a characteristic feature of modernity, and it clearly reflects its historical dialectic: the disappearance of the communal bonds of old and of the coercive tradition of a divine absolute leads to a liberating experience of the Self, yet also brings about new forms of social division, isolation, dissociation and individualism along with the desire for new forms of collective experiences, solidarity, class consciousness, communal and social collectivism. New forms of a secular absolute (nation, class, race) and their respective moral and political legitimation emerge alongside attempts to formulate radical positions of an aesthetic opposition in which moral concept and argument are replaced in favour of an absolute of artistic creation.

5. In the different arts and academic disciplines, the question of collective creativity needs to be considered according to the specificities of the particular media. While it is common to identify collective efforts in areas such as the performing arts, in theatre/opera or film/tv production, and in some sciences (empirical or applied natural sciences, social sciences), it is much less commonly found in areas such the visual arts or in traditional forms of writing, whether scholarly or creative. Is there a “collective novel” or can we speak of “collective writing” in general? Are there “collective musical compositions”? In scholarly writing, are collective research productions more than the sum of individual contributions? How do such collective enterprises function? How do they come about? Where is the collective aspect located? Can collective creativity generate an aesthetic or scientific “surplus” that goes beyond an individual effort?

6. The very notion of collectivity is very often seen as a political/ideological issue, with collectivity assigned to the Left (see for example the 2005 exhibition in the Kunsthalle Friedericianum Kassel, entitled ‘Collective Creativity: Common Ideas for Life and Politics’ which heavily favoured a political notion of collective artistic endeavour as resistance against dominant capitalist art forms and as performative critique of social institutions and political structures). On the other hand, the primacy of the individual is claimed as a domain by the liberal/conservative Right. But are these distinctions necessarily meaningful, particularly in view of the disappearing relevance of traditional systems of political fractionalism in a postmodern cultural environment? More recently, as the first Yearbook for Cultural Studies and Aesthetic Practice (published by the Department of Cultural Studies and Aesthetic Communication at Hildesheim University, Germany) suggests, scholars in cultural studies – at Hildesheim and elsewhere – have focussed on a concept of creative collectivity as an overriding principle of organisation beyond the limiting socio-political perimeters of 20th century discourses. Taking as a cue the “explosive expansion of computer networks” made possible by digital technologies and the internet, the editors of the yearbook note the increasing interest in networking systems on the basis of which “‘individuals‘,‘groups‘,‘projects‘,‘enterprises‘,‘masses‘ and ‘societies‘ organise their thinking and learning as well as their [aesthetic as much as social and cultural] practice”. (Porombka, Stephan, Wolfgang Schneider and Volker Wortmann, eds., “Vorwort der Herausgeber”, Kollektive Kreativität [Jahrbuch für Kulturwissenschaft und ästhetische Praxis, 1. Jg, 2006], Tübingen: Francke Verlag, 2007, pp. 7,9; trans. G.F.).

7. The idea of collective artistic creation invariably raises a number of other questions, equally ethical and political, relating for example to problems of ownership, recognition and acknowledgement, hierarchy and control. Are the notions of collectivity and hierarchy incompatible? Does collective creation always imply democratic participation? Who owns a work of art created by a collective? Is there an inherent contradiction between individual ownership and collective imagination (e.g. in Aboriginal art)? In traditional communal societies the idea of individual artistic creation or authorship may largely be irrelevant; yet the production of such art today must take account of the existing mechanisms of a market economy.

8. How do recent developments in media theory and practice impact on the question of individual versus collective creativity? In what way are modernist concepts such as the ideas of Benjamin (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit) or Brecht (Radio-Theorie) relevant in an age of digital creativity? Who owns a work of art created for the internet? Is digital art or writing inherently monologic or dialogic? How do digital innovations (hypertext, chatting, virtual environments) contribute to the creation of collective consciousness? The openness of the internet seems to transcend in principle the idea of a work of art anchored in artistic individuality. But can participation in internet sites generate a sense of collectivity that transcends the isolation of the individual Self in front of the computer monitor, or does it only create an illusion of communal identity?

9. In contemporary academic work, there seems to be a paradigm change away from individual research to team projects which are often favoured in grant competitions. Similarly, recent academic discourses clearly favour notions such as interculturalism or multiculturalism, interdisciplinarity or transdisciplinarity, which per se appear to require forms of collective practice. Again one could ask where is the surplus generated by such collective enterprises? And why is it that the idea of ‘collective creativity’ does not seem particularly fashionable nor at the forefront of current discourses on today’s creative or artistic avantgardes?

CALL FOR PAPERS. Offers of papers that address the issues and questions suggested above are invited. Papers are to be 30 minutes in length (20 minutes presentation and 10 minutes discussion).

The deadline for submission of proposals is 30 September 2008.

Please send title and a one page abstract (MS-Word) to G.Fischer@unsw.edu.au and Florian.Vassen@germanistik.uni-hannover.de.

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6. CFP: ‘Mother,’ Special Issue Women Studies Quarterly (due Sept 30)

Guest Editors: Nicole Cooley and Pamela Stone

We have entered a motherhood moment--from celebrity mom baby-bump sightings to recent televised debates between "stay at home moms" and "working moms," from ìwelfare mothersî to ìAlpha moms,î images of motherhood are circulating in our culture as never before.

Motherhood demands a new look. As women push motherhood later and later, as a larger share forego it entirely, and as mothering itself takes up a smaller fraction of women's lives, why is the fascination with all things ìmotherî at an all-time high? What does it mean to be a mother when motherhood is increasingly decoupled from biology? At a time when women's reproductive rights are vulnerable and the pro-choice movement on the defensive, why is so much of the discussion about mothering framed in the rhetoric of choice and agency? As the majority of mothers pursue both family and paid employment, the ìcultural contradictionsî of intensive mothering that sociologist Sharon Hays first identified over a decade ago do indeed seem, to paraphrase writer/journalist Judith Warner, an ever more ì[im]perfect madness.î

This WSQ special issue invites feminist work that speaks to our current historical moment in an effort to try to begin to construct a comprehensive and critical overview of mothers, mothering, and motherhood. We welcome academic papers from a variety of perspectives in all disciplines, from theory, qualitative research, and empirical studies to literary studies. We would also be interested in memoir and first-person essays, fiction, poetry, art, and writing which blurs boundaries and crosses genres in its exploration of mothering.

Topics to be explored include:

ï Discourses around motherhood and how they are shaped by race, ethnicity, immigrant status and sexuality
ï Mothers in the workplace: The price of motherhood, ìmommy trackingî and ìmaternal wall,î ìopting outî
ï The ìmommy warsî: Stay-at-home moms vs. working moms
ï The paid and unpaid work of mothering and caregiving; the ìsecond shiftî
ï Motherhood, loss and grief: Infertility, miscarriage, stillbirth and infant and child death
ï Motherhood and disability/special needs
ï Intensive mothering: Ideologies and practices around co-sleeping, breastfeeding, homeschooling and unschooling, toilet-training, tutoring
ï Mothers as consumers: The marketing of motherhood
ï Pregnancy: The medicalization of and birthing practices, representations of the motherís body, assisted reproductive technologies (ART), surrogacy, abortion and reproductive choice
ï New models of motherhood: LGBT moms, young moms, single mothers, stepmothers and blended families
ï Men as moms: Stay-at-home dads, coparenting, single fathers
ï Immigration and motherhood; global labor chains
ï Childcare and domestic labor: Practices, issues and politics
ï Motherhood and ecofeminism, explorations of ìmother natureî
ï Mommy lit as its own brand of chick-lit and the new ìdadî books
ï Mothers and digital media: The role of mommy blogs, list-servs, message boards and social networking sites
ï Adoption: Transnational and domestic, transracial
ï Motherhood and public policy: From debates about FMLA to activist groups such as MomsRising
ï Mothering older children, mothering adult children, grandmothering
ï Motherhood and Third Wave Feminism
ï The experiences of women who choose not to mother
ï Mothering in comparative, global and transnational contexts

If submitting academic work, please send abstracts by September 30, 2008 to the guest editors Pamela Stone and Nicole Cooley at: WSQMotherIssue@gmail.com.

If accepted: Full papers should be no longer than 22 pages, and will be due by January 1, 2009.

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7. CFP: Journalism in the 21st Century: Between Globalization and National Identity, International Communication Association, July 16-17 2008, U of Melbourne, Australia (due Sept 30)

Journalism in the 21st century is transforming rapidly with the globalization of news organisations, convergent digital technologies leading to new audiences and content producers and to a profoundly changed public sphere.

These are the crucial elements of transnational ‘network terrains’ which are shaping new journalistic formats and producers, and also new ways to mediate between ‘the global’ and ‘the local’, and between supra- and subnational spheres. It is therefore timely to address the changing role of national news media in such a landscape and to reposition journalism in the context of such a globalized public space.

Our conference will provide a broad platform for the debate of a variety of emerging issues shaped by these new forms of transnational public communication, forms which affect journalistic practice and the meaning of news and news cultures, in Australia, the Asia-Pacific, and throughout the world.

These new phenomena challenge academic discourses as well as news media, as the enormity of the changes demands fresh analysis. The conference invites academic papers but will also include representatives of leading international and Australian news media. Already confirmed speakers from news media are Malek Triki, Senior Journalist Al Jazeera (formerly BBC), London; Christoph Lanz, Director Television, Deutsche Welle, Berlin; and Christoph Wimmer, SBS, Australia.

This truly international event will enable a much needed discussion of new journalistic forms in the transnational public sphere of the 21st Century.

The conference will host about 300 participants. Key events of the conference will be recorded by SBS (Special Broadcasting Service), Sydney, Australia.

Please submit a 800 word abstract by September 30, 2008. Notification of accepted papers will be sent out by the end of October, 2008. We encourage academic submissions from Australia and all parts of the globe.

We invite your submission in the following broad areas:

Journalism and

* Globalization
* Conflict communication
* The transformation of foreign news
* Media diplomacy
* Democracy
* Ethics
* Technological change
* Social networking technologies
* Convergent and mobile media
* Citizen journalism
* Network Structures
* Youth
* Ownership
* New public service models
* Diaspora, minority media
* Networks, communities, interactive forms
* New Public spheres

Please send your submission to: ivolkmer@unimelb.edu.au

Ingrid Volkmer, University of Melbourne (Conference Chair)

The conference is organized by the Media and Communications Program, School of Culture and Communication, The University of Melbourne, in cooperation with the International Communication Association.

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8. CFP: ‘Glocal Dramatic Theories,’ Journal of Dramatic Theory and Criticism, Spring 2009 (due Oct 15)

The field of performance studies, with its receptivity to non-Western practices and general inclination towards experimental forms, has now inspired several generations of scholarship on how performance practices travel across cultural and political borders. However, the global migration of theatre and performance is also evident within the reception and production of theory itself. One need only think of the extraordinary travels of Aristotle’s Poetics through ancient and early modern Europe and Arabia and of the Sanskrit Natyasastra through pre-modern Asia to recognize the role syncretism (synthesis of disparate cultural elements) and “glocality” (interpenetration of global and local) has played in the history of dramatic theory. While some recent anthologizers (e.g. Sidnell, Brandt) still present dramatic theory as a strictly European discourse, others (e.g. Gerould, Bial) modestly hint at global or glocal frameworks. A handful of major theories (Soyinka, Thiong’o, Boal) have circulated widely, and a growing body of studies (e.g. Balme, Fei, Dharwadker) recognizes theory itself as a fundamental site of glocal negotiation.

For this special section of the Journal of Dramatic Theory and Criticism, we invite essays of 20-25 manuscript pages, exclusive of notes, examining writings produced within glocal or syncretic contexts outside Europe and the United States. These theories may be recent or historical, and need not necessarily be produced within an explicitly theoretical discourse (e.g. theoretical formulations produced within religious, literary, philosophical or other discourses). They may have been shaped through reception of Euro-American dramatic theory, e.g., local versions of Western dramatic aesthetics. They may attempt to recover or modernize pre-colonial aesthetics, or make radical statements seeking to move beyond both Western and local traditions. We seek articulations and treatments of articulations that take the form of theory, rather than of performance, whose intent is to lay out paths for future practice or new understandings of prior models.

Areas of possible concern might include:

• how difference is articulated, and how locality is framed within theory
• the form and desirability of a new “national” drama vis-à-vis other identity claims
• articulation of sub-national particularities through drama
• claims to universality, globality or sameness as distinct from locality
• relation to (local or imported) notions of historicity, periodicity and aesthetic or cultural development
• attempts to reconcile contradictory signifying frameworks

Inquiries may be directed to guest editor Evan Winet at evanwinet@gmail.com.

To submit a manuscript, please send an electronic copy as a Word attachment (including mailing address, email, and phone number in cover message). Manuscripts may also be sent (with personal information indicated above) by mail to:

Evan Darwin Winet, Guest Editor
c/o
Journal of Dramatic Theory and Criticism
Department of English
The University of Kansas
Wescoe Hall, Room 3107
1445 Jayhawk Blvd.
Lawrence, KS 66045
evanwinet@gmail.com

All manuscripts must be received by October 15, 2008 to receive full consideration.

Jocelyn L. Buckner
Managing Editor, Journal of Dramatic Theory and Criticism
Department of Theatre and Film
University of Kansas
jbuckner@ku.edu

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9. CFP: ‘Poor Theatre? Acting and Directing Symposium,’ 30th Annual Mid-America Theatre Conference, March 5-8 2009, 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 theoretical investigations of the work of significant actors and directors. Areas of investigation may include:
• What are the difficulties of producing and teaching theatre in times of economic hardship? • How do you theorize practice or practice theory in your work?
• How do you see your performance work as research?
• With the dark economic forecasts for the national/global economy, what is the state/fate of our University theatre programs? Our productions? Our research? Academic Theatre?
• How do logistical considerations affect your work, for better and for worse?
• How, specifically, has your work as an actor or director related to real economics, and what were the results and conclusions of said work?
• How does theatre relate to other arts, such as film, television, video, web and multimedia? How do these new boundaries and divisions (if there are any) affect your work as a theatre artist?
• How might our work as actors and directors push and expand new visions of the world and its constantly changing political and economic landscape?
• What are the new definitions of “poor” theatre for practitioners? How has the idea of “poor theatre” changed in the last few decades?
• What kind of specific challenges have you experienced or analyzed of site-specific or community-based theatrical creation and production?
• How are actor/director or actor/audience relationships affected by economics?
• How does technology or the lack of technology impact your work as a theatre artist, scholar and/or teacher?

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
School of Contemporary Arts
Ramapo College
pcampbel@ramapo.edu

John C. Soliday
School of Communication
University of Miami
jsoliday@miami.edu

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10. CFP: ‘Sites of Performance: Mapping/Performance/History,’ April 2-4 2009, U of Nottingham, UK  (due Oct 15)

Plenary Speakers:
Mike Pearson, Professor of Performance Studies, University of Aberwystwth
Glen Hart, Ordnance Survey of Great Britain 

Proposals are welcomed for an interdisciplinary conference on Sites of Performance: Mapping/Performance/History. To mark the completion of the AHRC funded project, ‘Mapping Performance Culture: Nottingham 1857-1867’, which has involved a collaboration between theatre history and geography, this conference invites reflections on the multiple ways in which considerations of space, landscape and mapping can inform and offer new methodologies to theatre history and historiography. Moving beyond the idea of mapping as metaphor in creating theatre histories, papers are sought which emphasize spatial and temporal connections between different elements and events, examine ideas of repetition and duration, and highlight the importance of geographical, social and performative landscapes as interactive. We thus aim to bring together academics from a range of disciplines who are interested in the making/writing of theatre and performance histories and cultural geographies, as well as the potential of historical GIS in analyzing spatial-temporal patterns within a community, and to address the potentials and problems in turning to maps rather than narratives in the making of histories. 

Examples of potential areas for proposals might include: 
Maps and performance 
Landscapes of performance 
Spatial histories of performance 
Performance and site 
Repetition and duration in histories of performance 
Techniques for representing patterns in space and time Capturing/representing histories/historical mapping at a local scale 
The potential of digital cartography for cultural geographies/cultural histories

Proposals for both papers and research posters are welcomed. Extended proposals of 1000 words should be addressed to the Conference organisers, Dr Jo Robinson, School of English Studies, University of Nottingham, NG7 2RD, Jo.Robinson@nottingham.ac.uk, and Dr Gary Priestnall, School of Geography, University of Nottingham, NG7 2RD, Gary.Priestnall@nottingham.ac.uk  

Deadline date: 15 October 2008

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11. CFP: ‘Academic Autobiography, Intellectual History, and Cultural Memory in the 20th Century,’ An Interdisciplinary Conference, March 26-28, 2009, Uof Navarra, Pamplona, Spain (due Oct 15)

Plenary Speakers:

Ihab Hassan, University of Winconsin-Milwaukee
Shirley Geok-lin Lim, University of California-Santa Barbara
Nancy K. Miller, City University of New York
Alun Munslow, University of Chichester
Robert A. Rosenstone, California Institute of Technology

Proposals are sought for an Interdisciplinary Conference entitled "Academic Autobiography, Intellectual History, and Cultural Memory in the 20th Century" to be held at the University of Navarra (Pamplona, Spain) on the 26-28 of March, 2009. This conference aims to engage the current paradigms of the debate on autobiographical writing by academics (historians, literary critics, anthropologists, and sociologists, among others) and analyze these in the interdisciplinary context of the consciousness of the ways intellectual history and cultural memory ma be developed, articulated, and promoted in the twentieth century. Autobiographies by academics who have played important public roles and whose scholarship have shaped the ways we think about disciplines, society, culture, or politics-such as Nancy K. Miller, Eric Hobsbawm, Clifford Geertz, Leila Ahmed, Edward Said, Jill Ker Conway, Ihab Hassan, Shirley Geok-Lin Lim, Yi-Fu Tuan, among others-may be explored as new approaches to the discourses of intellectual history and culture in our age. We invite proposals that offer new ways to read these autobiographies and analyze their discursive possibilities in the historical, cultural, and academic contexts in which they were written.

Specific topics may include, but are not limited to: the academic as author/historian; academic life writing as history or cultural discourse; academic autobiography as intellectual history; life writing and the definitions of academic disciplines; the intersection between private and public lives in academic autobiographies; academic autobiography as a literary or historical genre; the ways in which the notion of literary or historical discourse may be rethought in the context of this form of writing; the ways academic autobiographies challenge our notions of historiography or literary analysis.

500-word abstracts and a 1-page CV must be submitted (email submissions preferred) before October 15, 2008 to the Conference Organizers at this address:

Prof. Rocío G. Davis
Modern Languages Department
University of Navarra
Pamplona 31080
SPAIN
Fax: 34-948-425636
Email: acadautobiography@yahoo.com
Conference website: http://www.unav.es/leng_modernas/acadautobiography

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12. CFP: ‘Traditions and Transformations: Tourism, Heritage and Cultural Change in the Middle East and North Africa Region,’ Centre for Tourism and Cultural Change and CBRL, April 4-8 2009, Amman, Jordan (due Oct 17)

In April 2009, the Centre for Tourism and Cultural Change in partnership with the Council for British Research in the Levant (the CBRL is an overseas Institute of the British Academy) will hold a major international conference to explore the changing relationships between tourism, culture and heritage across the Middle East and North Africa Region. Delegates from across the Middle East and the North Africa Region, together with scholars from the rest of the world will assemble to discuss the critical relationships between tourism, heritage and culture.

The Conference is being hosted by the Greater Municipality of Amman in Jordan and will be held in the King Hussein Cultural Centre in the heart of the vibrant downtown area of Jordan’s Capital City. We are delighted that the patron of the Conference will be Her Royal Highness Princess Sumaya Bint Al Hassan.

The aims of this inter-disciplinary conference are: To critically explore the major issues facing the MENA region with regard to the development of tourism and its relationships with heritage and culture; To draw upon ideas, cases and best practice from international scholars and help develop new understandings and research capacities regarding the relationships between tourism, heritage and culture in the MENA Region and; To provide a major networking opportunity for international scholars, policy makers and professionals.

The conference will feature over 150 international academics, policy makers and practitioners and will feature keynote addresses from Dr Taleb Rifai, Deputy Secretary General of the United Nations World Tourism Organisation, Professor Nezar Alsayyad, Director of the Centre for Middle East Studies at University California Berkeley, and Dr Seteney Shami, Programme Director of the Middle East and the North Africa region at the Social Science Research Council.

The conference seeks to promote dialogue across disciplinary boundaries and welcomes papers from all disciplines. Key themes of interest to the conference include:

• Histories, mobilities, and the symbolic / political economies of tourism;
• Tourism in the construction of places / spaces / nations;
• The role of archaeology in contemporary tourism;
• Structures / infrastructures of International tourism - building/architecture/ design for tourism & tourists;
• Tourism and the role of the museum;
• The conservation of heritage for tourism;
• The practices and performances of ‘tradition’;
• Tourist art and art for tourists;
• Intangible heritage and its role in tourism;
• Rural and urban tourism practices.

Members of the Conference Scientific Committee include: Dr Khaled Adham, (United Arab Emirates University), Dr Rami Daher (German Jordanian University), Professor Bill Finlayson (Council for British Research in the Levant), Dr Habib Saidi (University of Laval) and Dr Lina Tahan (Leeds Metropolitan University).

If you wish to submit a 300 word abstract as an electronic file (including title and full contact details) please do so no later than 17th October 2008 to ctcc@leedsmet.ac.uk

To participate in this conference or to learn more please contact: ctcc@leedsmet.ac.uk or visit www.tourism-culture.com or www.cbrl.org

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13. CFP: ‘Web 2.0: before, during and after the event,’ Fibreculture Journal May 2009 (due Oct 31)

An issue of the Fibreculture Journal critically exploring the ontogenesis of Web 2.0
Issue Editors: Anna Munster and Andrew Murphie
Completed papers submitted by October 31, 2008
Publication date: May 1, 2009

Issue Focus:

In 2005 Tim O'Reilly famously used the phrase 'an attitude, not a technology' to describe the burgeoning experience of Web 2.0. After 3 or 4 years, the hype surrounding associated notions of user-generated content, the 'wisdom of crowds', 'the long tail' and social networking both continues and fades. Practices such as collaborative tagging and micro-blogging have become everyday online gestures, while YouTube, Facebook and Bebo comfortably colonise the network horizon as default interfaces. 'Objects', 'subjects' and 'content' are dissappearing on a massive scale – far larger and faster than in their much-touted postmodern demise – and 'environments', 'context' and 'worlds' become the key modes of online generation and production. This suggests that Web 2.0 may be more akin to a topology rather than attitude or technology – one which launches us in(to) the middle of things. If Web 2.0's cartography is topological (repeated production of selfsame space via variation), then its temporality might best be understood through considerations of 'the event'. As Maurizzio Lazzarato has suggested, everyday actions - going to bed, turning on the television, logging on – comprise our contemporary habitual corporeal events, but these are simultaneously and only the punctuation of the more continuous event of informatic flows. If Web 2.0 is an 'event' that somehow semiotically launched itself around 2004-5, its temporality has now become that of an 'always'.

In this issue of the fibreculture journal, however, we invite contributions that critically and creatively rethink the event of Web 2.0. To adlib with Lazzarato, and following Deleuze and Guattari's articulation of the virtualities of events, another possible world/'web' is always there, in potential. Hence Web 2.0 is not simply what it is - attitude, technology or topology - but is still under production, in active ontogenesis and therefore up for grabs. We ask authors to address the actual and potential existence of genealogies, incompatabilities and new modes of making and thinking Web 2.0. For example, should the historical relations between Web 1.0 and Web 2.0 be thought in terms of radical break? Or can we – as Olia Lialina has suggested in her consideration of the recouped aesthetics of old homepages by the templates of MySpace – see Web 2.0 as a freezing of earlier more dynamic flows? What lies outside of Facebook, indeed beyond the additive logic of 'friends'? And after we break up with our 'friends', what other circuits might emerge? A number of key theorists such as Terranova, Lovink and Rossiter, Galloway and Thacker have begun to address the presence of incompatabilities, counterprotocols and conflict as constitutive of the network. We are seeking papers that take these and new concepts that biurficate the 'always' into rethinking the topology of Web 2.0.

Specific Topics for address include:

-ontogenetic approaches to network events
-creative genealogies of Web 2.0
-investigations of 'subnetworks' and alternatives to standardised
templates and interfaces
-investigations of confictual and differential implementations of:
search, APIs, social networking, micro-blogging, collaborative
tagging,vlogging etc
-critical analyses of the relations between social movements and Web
2.0 (note: no simple empirical studies of a social movement's use of
Web 2.0 services or technologies)
-aesthetic analyses and transformations of Web 2.0
-Web 3.0 as ontogenetic event, topological shift or the "network to come".

Articles must be submitted in full fibreculture journal house style.

You must first read the Guidelines for Submission at
http://journal.fibreculture.org/polstyle.html#submit.

You can access information about house style at http://journal.fibreculture.org/polstyle.html#style.

Please note, submissions not in house style will automatically be returned to authors for formatting. You will not be able to have your paper considered for publication unless you have formatted it correctly. The journal is peer reviewed and authors are expected to take readers reports into consideration when finalising their articles for
publication. Negotiation with the editors over potential changes is usual practice.

Please submit articles no later than October 31, 2008 to either Anna Munster, a-dot-munster-at-unsw-dot-edu-dot-au, or Andrew Murphie a-dot-murphie-at-unsw-dot-edu-dot-au. You must use the phrase 'Web 2.0 event issue' in your subject header.

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14. CFP: American Theatre and Drama Society, ATHE, Aug 8-11 2009, New York, US (due Nov 1)

“Risking Innovation: New Questions”

The ATHE/AATE 2009 conference is dedicated to charting new paths, challenging assumptions, and developing new approaches – risking innovation in teaching, production and scholarship. The American Theatre and Drama Society (ATDS) invites papers/panels that outline “new questions” theatre scholars and artists should be asking in American theatre – either about “familiar” topics or those yet to be discovered.

How has American theatre – both historically and on the contemporary stage – provoked new questions or compelled us to reconsider the place of theatre in society?

What new questions in the field demand attention? How might scholars pose, define, or respond to new questions, materials, or challenges?
How might fresh approaches lead to reinterpretations of familiar documents, plays or events?

In what ways has “American” theatre crossed global or disciplinary borders, both historically and in contemporary theatre? How has American theatre been adapted, reinterpreted or reimagined in the exchange? How have these border crossings reached back to and influenced theatre in America?

What cultural, social, or economic conditions have induced revolution, challenged convention, or invoked new questions, forms, or approaches in American theatre and aesthetics?

The American Theatre and Drama Society encourages the submission of papers and panels addressing any of these themes, or – in the spirit of risking innovation – those that deal with other engaging topics in American Theatre. In addition to the “usual” papers and panels addressing these topics, ATDS also welcomes proposals that pose new questions in the form of roundtables, talkbacks, etc.

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

TIPS FOR SUBMITTING PROPOSALS:

1. Completed proposals (with all panel members assembled) may be submitted directly to ATHE at www.athe.org by November 1, 2008. Please forward a copy of your completed proposal to Beth Osborne (bosborne@fsu.edu). PLEASE NOTE THAT ALL TECHNOLOGY REQUESTS MUST BE INCLUDED IN YOUR COMPLETED PROPOSAL. Simply check the relevant box on the proposal form for your AV needs. (ATHE cannot accommodate AV needs submitted after November 1 without substantial cost to the individual presenter.) You will receive a confirmation when your proposal has successfully made it through the process.

2. Individual paper proposals may be submitted to ATDS Conference Planner, Dr. Beth Osborne, at bosborne@fsu.edu. Please note that individual proposals must be submitted by OCTOBER 15, 2008. Abstracts (250 words) must include paper title and contact information, and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website. Full panel proposals are strongly encouraged.

3. Members of ATDS wishing to identify colleagues to create panels prior to the November 1st deadline are encouraged to use the ATDS listserv: ATDS@LISTSERV.COFC.EDU to circulate questions or possible panel topics.

4. Please note that ATHE runs from Saturday-Tuesday in 2009. The majority of the panels will be scheduled on Monday and Tuesday. The application form will not accept scheduling preferences this year.

5. Presenters wishing to create multidisciplinary panels must contact the Focus Group Conference Planners for each of the THREE groups they propose as. Multidisciplinary panels MUST include at least one ATHE Focus Group sponsor AND at least one AATE Network sponsor.

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

7. Grants for AV support are not necessary this year. If you would like to use AV, simply specify it in your online proposal.

8. ATHE will notify ATDS concerning accepted or rejected panels by March 1st. Panelists should expect to hear from the Conference Planner or their Panel Chair by mid-March.

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

Preference will be given to ATDS members. If you are interested in enjoying all of the membership benefits of ATDS, please visit the website (www.athe.org/atds) for an application or contact ATDS Membership Secretary Stuart Hecht (hecht@bc.edu).

Questions? Please contact Dr. Beth Osborne at bosborne@fsu.edu or review the information on the ATHE website at www.athe.org for additional conference information and for submission forms.

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15. CFP: Black Theatre Association, ATHE, Aug 8-11 2009, New York, US (due Nov 1)

The Black Theatre Association (BTA), a Focus Group of the Association for Theatre in Higher Education (ATHE), invites complete panel proposals and individual abstracts for ATHE’s 2008 conference. Although, preference will be given to complete panel proposals. In light of the conference theme, “Risking Innovation,” BTA is particularly interested in panels that consider new teaching and research methodologies for Black theater in the United States and abroad. Possible panel topics include (but are not limited to) the following:

• Teaching Black Drama in the 21st century
• Performance Practices as Pedagogical Strategies
• Diasporic Collaborations in the Theater
• New Conversations in Contemporary Black Performance
• Hip Hop Theater

Complete panel proposals should be submitted online directly to ATHE at http://www.athe.org by 1 November 2008. Individual abstracts should be sent to soyica.colbert_at_dartmouth.edu by 10 October 2008. Please remember to submit requests for anticipated audiovisual needs, conference grants, or guest pass grants with your proposal or abstract.

If you are interested in discussing potential panels with other scholars and artists prior to the submission deadlines, feel free to post an inquiry on the BTA listserv by emailing Beth Schachter, BTA Secretary, at bschacht_at_muhlenberg.edu. BTA Members who already subscribe to the listserv may post messages by sending an email to btanews_at_yahoogroups.com directly.

The Black Theatre Association (BTA) is an organization composed of scholars, graduate students, and theatre artists of differing ages, races, colors,genders, national origins, religious beliefs, shapes, and sizes. Our unified interest in the critical study of Black theatre from a global perspective informs our collective desire to inform and promote the experiences of Black people as expressed in various forms of drama and performance. If you are interested in joining BTA at no cost, please contact Beth Schachter at bschacht_at_muhlenberg.edu. Please visit our websiteat http://www.athe.org/bta/ for more information.

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16. CFP: Latino/a Focus Group, ATHE, Aug 8-11 2009, New York, US (due Nov 1)

The Latino/a Focus Group of the Association of Theatre in Higher Education invites panel proposals or individual paper proposals for the Association for Theatre in Higher Education/American Alliance for Theatre and Education 2009 joint conference in New York City. ³Risking Innovation.² We encourage panels and papers that bring together scholars and artists in dialogue, and alternative and innovative formats. While we welcome all panels and papers that address the conference theme broadly we also encourage submissions that address the following subjects:

€ Practical concerns with the pedagogy of Latina/o and Latin AmericanTheater: Producing, Directing, and Teaching Plays in educational settings. Innovative and risky ideas for expanding the awareness of Latina/o and Latin American Theater and Performance

€ The Future of Research and Methodological Innovations in Latina/o and Latin AmericanTheater and Performance
€ Latinos and Musical Theater: In the Heights and the future of the genre
€ Festivals and the possibility of innovation. How are festivals organized throughout the Americas? What effects can and do festivals achieve?
€ How are Latina/o and Latin American Theater shaped by the current political and economic climates?
€ How does the history of Latina/o and Latin American Theater offer us the possibility of new ways of thinking about innovation?

Panel proposals should be submitted on-line using the ATHE website (http://www.athe.org <http://www.athe.org/> ) by Nov. 1, 2008, but we encourage all individuals who are considering submitting a panel to contact the Latina/o Focus Group Conference Planner, Jon Rossini (jdrossini@ucdavis.edu) well before the deadline so that the efforts of the focus group can be coordinated. Only complete panel proposals will be considered.

Individual paper proposals for consideration for placement on a panel sponsored by the Latina/o Focus Group require a 250-word abstract (along with contact information and AV needs) e-mailed to the Latino Focus Group Conference Planner (jdrossini@ucdavis.edu) by October 15, 2008. Placement on a panel sponsored by the focus group does not guarantee acceptance by the conference.

Unlike recent ATHE conferences, this conference runs from Saturday to Tuesday and many of the panels will be placed on Monday and Tuesday due to greater space availability at the conference site.

Please read the instructions below so as to best prepare your paper or panel proposal.

1. You are encouraged to use the ATHE-LFG listserve (athe-lfg@ucdavis.edu )in order to circulate panel proposals, paper ideas, to ask questions and to brainstorm ideas. If you are not on the list and wish to be added, please contact Patricia Herrera (Patricia.E.Herrera@Dartmouth.Edu) or send a message to listproc@ucdavis.edu. The message should read: sub athe-lfg <last name> <first name> For example, sub athe-lfg Ybarra Patricia

2. Individual paper abstracts submitted to the conference planner must include paper title and contact information, and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website.

3. PLEASE NOTE THAT ALL GRANT REQUESTS MUST ALSO BE SUBMITTED BY NOVEMBER
1. Grants may be requested for day passes for local artists who participate in a panel or to help defray the costs of visitors who might not otherwise be able to afford the conference.

4. Presenters wishing to create multidisciplinary panels must contact the Focus Group Conference Planners and the AATE Network Coordinators for each of the THREE groups they propose as sponsors. Because of the nature of the joint conference this year, a multidisciplinary panel must consist of a total of 3 groups, at least one of which should come from each organization (i.e. 1 Focus Group and 2 Networks, or 2 Focus Groups and 1 Network).

5. Presenters are limited to 2 appearances on the conference program. Exceptions are only made at the discretion of the Conference Committee.

7. Presenters who wish to submit grant requests are encouraged to contact the Focus Group Conference Planner well in advance of the November 1 deadline.

8. ATHE will notify the LFG concerning accepted or rejected panels by mid-February. Panelists should expect to hear from the Conference Planner or their Panel Chair by early March.

Jon D. Rossini
Associate Professor
Department of Theatre and Dance
University of California, Davis
One Shields Ave
Davis, CA 95616
jdrossini@ucdavis.edu
530.754.9212 (office) 530.752.8818 (fax)
http://www.siu.edu/~siupress/Rossinicontemporarylatinatheater.html

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17. CFP: Music Theatre and Dance Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1)

The Music Theatre and Dance Focus Group of the Association of Theatre in Higher Education invites panel proposals or individual paper proposals for the ATHE 2009 conference with the theme “Risking Innovation.” While we welcome all panels and papers that address broad intersections of the theme and musical theatre and dance, we put forth the following topics that were raised at the MTD Business meeting in Denver in August 2008 as possible panel focus areas:
• the musical on film and television
• form & structure of the musical
• dance pedagogy & dance panels
• opera/operetta and/or musicology
• workshops – especially pedagogy of musical theatre performance or adjudicated exercises
• the musical and the American Dream
• collaboration on between departments for musical productions on campus (as a possible roundtable)
• presentations by current NYC Musical Theatre professionals and/or current practices in the profession (headshots, auditions, etc.)
• the 50th anniversary of a particular show from 1959.
• particular composers & lyricists
• musicals and children (with AATE)
• a new musical as part of the ATHE New Play Development workshops

Panel proposals should be submitted on line using the forms that will be posted soon on the ATHE website (www.athe.org). Completed panel proposals are due by November 1, 2008. Since only complete panel proposals will be considered, please e-mail ideas you have for individual papers dealing with these or other topics related to MTD to Conference Planner Ron Gingerich (ronald.gingerich@dickinsonstate.edu) by Oct. 15, 2008 so that he can attempt to match you with other interested parties. Note that if you have never presented on Music Theatre and/or Dance at a national conference before, MTD sponsors a competitive emerging scholars panel. Details regarding that panel will be circulated shortly.

We would encourage those developing panels to stay in touch with MTD Conference Planner Ron Gingerich (ronald.gingerich@dickinsonstate.edu), who can also offer guidance on preparing MTD Paper/Panel submissions. Questions can also be addressed to Mary Jo Lodge, Music Theatre and Dance Focus Group Representative at lodgem@lafayette.edu.

Please note that unlike other recent ATHE conferences, this conference is later in the summer and runs from Saturday to Tuesday. Many of the panels will be placed on Monday and Tuesday due to greater space availability at the conference site on those days.

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18. CFP: Performance Studies Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1)

The Performance Studies Focus Group (PSFG) of the Association for Theatre in Higher Education (ATHE) invites session proposals for the 2009 Conference at the Marriot Marquis in New York City, 8-11 August on the conference theme of "Risking Innovation."

While the Performance Studies field has strived for innovation, we invite submissions that consider more deeply the notion of risk. What currently constitutes risk for us as scholars and as a field? Where does risk appear in our objects of study, methodologies, and personal investment in our work? In what way do institutional and disciplinary notions of power and control impact efforts to continue a legacy of innovation within Performance Studies? How can we apply risk to the presentation of our research at conferences, expanding possibilities for the communication of our discoveries to our broader community? What are the practical and pragmatic implications of our scholarship/practice? To approach these and many other questions, PSFG looks for panel submissions that combine the innovations of many fields and diverse scholars, challenging assumptions and raising awareness of how risk operates.

All session proposals are filed electronically directly to ATHE. The session proposal form, along with full explanations, can be found at www.athe.org. All session proposals have a deadline of 1 November. Please note that this year's conference has some changes in format and scheduling:

• We begin this year on a Saturday, and the conference runs through Tuesday evening.
• This year all sessions will be allowed to choose one complementary AV item, such as an LCD hook-up for a computer generated presentation (note: computers are not provided); choose this item at the time of your submission.
• Also due to the changed conference days, there will be no requesting specific days for presentations, and the majority of panels will be scheduled for Monday and Tuesday. All participants must be willing to attend the entire conference.

ATHE also accepts proposals for Multidisciplinary (MD) sessions. This year's conference is co-convened with the American Alliance for Theatre in Education (AATE). Multidisciplinary panels must be sponsored by three different groups: a combination of ATHE Focus Groups and at least one AATE network (akin to our Focus Groups). All MD session organizers must contact the Conference Planners of all three sponsoring groups before submitting their session directly to ATHE. If you would like to learn more about AATE Networks, go to: http://www.aate.com/networks.asp. If you would like to learn more about ATHE Focus Groups, go to: http://www.athe.org/getinvolved/focusgroups/index. All session proposals are due by 1 November.

While individual papers will receive consideration, submissions that pull together a strong panel of participants are preferred. With individual papers, the Focus Group Conference Planner will curate panels, attempting to match up related papers. In order to facilitate this process, these papers must be received directly by the Conference Planner Peter Civetta at p-civetta@northwestern.edu, by October 15th. Individual paper proposals should include title, contact information, and an abstract of 250 words.

If you have any questions or concerns, feel free to contact:
Peter Civetta
PSFG Conference Planner
Kaplan Institute for the Humanities
Northwestern University
2010 Sheridan Road
Evanston, IL 60208
P: (603) 491-2144
f: (847) 467-3978
e: p-civetta@northwestern.edu

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19. CFP: Women and Theatre Program, ATHE, New York, August 8-11 2009 (due Nov 1)

This past summer, members of the WTP gathered at El Centro Su Teatro in  Denver, Colorado for our 28th annual conference: Confronting the Silence:  Building Bridges of Engagement. Our membership presented papers,  performances, panels, roundtables, and workshops responding and reacting to  this theme at both our own pre-conference, as well as at ATHE. Building on this  collaborative work, the WTP invites session proposals for ATHE’s 2009  conference: Risking Innovation. In keeping with the activist and innovative  nature of our collective work, and with the conference theme, we encourage you  to risk innovation as you conceive of your session. Inventive and ground- breaking new modes of sharing and exchanged information are encouraged!

Some topics suggested by our membership include:  
- the role of feminism as structural innovation
- inter-disciplinarity as a means of scholarly innovation
- questioning the body as contested space
- the risks taken during activist performance
- feminist and activist approaches to pedagogy and performance
- using race, class, gender, sexual orientation to subvert the hegemonic 

SUBMISSION PROCESS:

Submissions for WTP-sponsored sessions should be  made on-line at the ATHE website at www.athe.org by NOVEMBER 1, 2008. Only  complete sessions can be submitted. If you have an individual paper and are  looking to form a panel, please contact Natka at ndb@umd.edu or put a query  out on the WTP listserv. Further information on WTP, its membership and  events, and the listserv, can be accessed at http://www.athe.org/wtp/.  

Please note these important changes: 
1. The conference will commence on Saturday, August 8th and conclude on  Tuesday, August 11th.
2. All sessions may choose one complimentary AV item, please indicate your  request on your session proposal.
3. Due to the change in conference days, you will not have the option to request  a specific date for your session. Presenters are urged to plan to attend the  whole conference.
4. The 2009 conference is co-sponsored by AATE (The American Alliance for  Theatre in Education). Multidisciplinary panel proposals need three sponsors  and must represent at least one ATHE focus group and at least one AATE  network. More information on AATE networks can be found here:  http://www.aate.com/networks.asp. MD panel proposals are also due Nov. 1.
5. Double sessions have been eliminated from the conference program.

Feel free to contact me with any questions,
Natka Bianchini Women and Theatre Program
ATHE Conference Planner
Lecturer, Department of English
University of Maryland, College Park
Lecturer, Department of Theatre
George Mason University, Fairfax VA
ndb@umd.edu

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20. CFP: ‘The American Artists as Collector, from the Enlightenment to the Post-War Era,’ March 6-7 2009, the Frick Collection, New York, US (due Nov 1)

The Center for the History of Collecting in America at The Frick Collection and Art Reference Library is seeking proposals for papers to be presented at a symposium on "The American Artist as Collector, from the Enlightenment to the Post-War Era," scheduled for March 6 and 7, 2009. The purpose of this symposium is twofold: to examine the collecting tastes of specific artists who amassed collections of note, and to explore the impact of artist-advisers on the acquisition patterns of other collectors.

Papers should address the historical context of artists as collectors, while exploring the special contributions made by American painters, sculptors, and architects to the history of collecting. The symposium will examine two broad categories: the artist-collectors, e.g., Benjamin West, Charles Willson Peale, Frederic Church, William Merritt Chase, Stanford White, and Alfred Stieglitz; and the artist-advisers to individual collectors, e.g., Mary Cassatt (Henry O. and Louisine Havemeyer), Joseph Woodwell (Henry Clay Frick), and George Henry Boughton and Julian Alden Weir (Henry G. Marquand).

It is expected that the papers will weave together new material on the motivations for collecting and the cast of mind of individual artists, as they will also offer new scholarly insights into the role artists played as collecting consultants. Papers will be 40 minutes in length. The Center intends to publish the proceedings.

The symposium will take place over two days at The Frick Collection. Speakers will receive a modest honorarium and will be reimbursed for their travel and hotel expenses.

The Center for the History of Collecting in America has hosted three exceptionally successful symposia to date, and plans are in place for a fourth, "Collecting Spanish Art: Spain's Golden Age and America's Gilded Age," which will take place in November 2008. Thus, the symposium on "The American Artist as Collector" will join the distinguished roster of events, which, combined with other programs sponsored by the Center, are reinforcing the history of collecting as a significant area of intellectual inquiry that crosses many disciplinary boundaries.

Please send the title of your paper, an abstract of 600 words, and your
curriculum vitae not later than November 1, 2008, to:

Inge Reist
Director of the Center for the History of Collecting in America
Frick Art Reference Library
10 East 71st Street
New York, NY 10021

Or e-mail to callforpapers@frick.org, with the subject heading "Artist as
Collector symposium"

http://www.frick.org/center/american_artist.htm

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21. CFP: ‘Local Memories in a Nationalizing and Globalizing World,’ Center for Political History, the Centre for Urban History, Oct 15-16 2009, U of Antwerp, Belgium (due Nov 1)

In academic discourse, the concept of 'collective memory' has migrated, since the 1950s from the field of the social to that of the cultural sciences. Maurice Halbwachs' intuition that collective memory was essentially a pre-existing social fact structuring individual past-relationships, gave way to the recognition that social memories are more or less intentionally construed with the aim of creating and consolidating identities. It was in this constructivist vein that the concept became successful among historians, thoroughly influenced by the cultural turn. Their focus was on the way memories were forged through stories, monuments and other cultural artifacts, that came to serve as lieux de mémoire within specific collectivities. Among these collectivities, nations have received the lion's share of the historians' attention. In spite of a recent re-orientation to the memories of other - most often smaller - 'milieux de mémoire', the central premise has remained that intellectual and political elites deliberately produced memories, which were consumed by the masses. Even when it is admitted that 'consumption' can consist of active and creative appropriation, the overall top-down perspective seems to be largely unquestioned.

This conference opts for a more dynamic view of the creation and transmission of memories. It focuses on the ways in which memories were recurred to and used in the everyday discourses and practices of groups at a local level. These groups can be defined along different lines (socio-professional, geographic, generational, religious, ethnic, ...) and have various extensions (a neighborhood, a village, a town, a region); moreover, the discourses and practices can bear upon the most diverse aspects of life and take on the most diverse forms (textual, oral, visual, material). Not the straightforward creation of master narratives about the group's own past will be the main concern of the conference, but the way in which these groups more or less consciously - and more or less successfully - combined diverse, sometimes even conflicting memories. Doing so, the organizers hope fully to re-inscribe the concept of memory into the field of social history. The period that will be investigated - from 1750 until today - is characterized by the rise and the expansion of the nation state, and by the competing process of globalization. The efforts that were made during this period to create homogeneous national memories will serve during this conference as a background to the study of local memories. Did these local memories resist the growing prominence of national memory, did they incorporate aspects of it, or did they exist and develop without any interference of 'the national'? And how did local memories interact with globalizing processes
such as colonization and migration?

Within this general framework, papers should address one of the following themes:
- The deliberate creation of institutions for the preservation and transmission of local memories (local museums, associations, courses in primary schools on local history, citizen initiatives,...).
- Local forms of historiography, without or within the academic sphere.
- The presence of the past in ritualized forms of community building at a local or regional level (celebrations, liturgies, monuments,...).
- The presence of the past in non-ritualized, group-specific practices and discourses (the transmission of professional skills, name-giving, ...).
- The recurrence to the past in conflicts between groups or in acts of local resistance.
- The transmission (and alteration) of traditions as a way of preserving group-specific memories in changing contexts.
- The experience of the local past by individuals, through the study of ordinary writings, oral sources or their material heritage.

Organizing committee:
Marnix Beyen (Center for Political History - Univ. of Antwerp )
Bert De Munck (Center for Urban History - Univ. of Antwerp)
Brecht Deseure (Center for Urban History - Univ. of Antwerp)
Inge Schoups (FelixArchief, Antwerp City Archives)
Carolien Van Loon (Center for Political History - Univ. of Antwerp)
Tom Verschaffel (KULeuven - Subfaculty of Arts Campus Kortrijk)

Contact:
Tel. : ++ 32 (0)3 220 42 68
Email: local.memories@ua.ac.be
Website: www.ua.ac.be/localmemories

PLEASE SEND YOUR ABSTRACT (OF ABOUT 500 WORDS TO local.memories@ua.ac.be BEFORE 1ST NOVEMBER 2008

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22. CFP: ‘Wartime Shakespeare in a Global Context/ Shakespeare au temps de la guerre,’ Sept 18-21, 2009, U of Ottawa, Canada (due Nov 1)

Fought on every continent except Antarctica, the Second World War offers a unique, temporally limited but geographically inclusive period in which to analyse and probe the role and significance of the theatre in times of extreme social duress. As the most frequently performed and translated playwright in the world, Shakespeare is arguably one of the most useful touchstones for examining a range of issues and questions brought to the fore during wartime which this international conference -- coinciding with the 70th anniversary of the declaration of war --- aims to address:

What can the classics and, more broadly, theatre offer people suffering under the horrific conditions of war? How does culture (both as an anthropological and as an aesthetic concept) change in wartime? Are some aesthetic genres and modes more conducive than others in such a period? How effective is the imposition from “above” of aesthetic criteria or of particular works? How do ordinarily benign artistic productions suddenly become usable, even necessary, as political propaganda? How are claims about the universality of authors revised or revisited in wartime when special pressures and demands are placed on literary and dramatic work? How are issues of character and poetic language dealt with in circumstances which require collective, not individualistic, thought? What kind of relationship develops between “world classics” and indigenous canons of theatre and literature in wartime? How do issues of gender, class, or political formation play into these debates? Post-colonialism? Translation? Adaptation? How do terms like “high” and “low” art function in wartime? In periods of post-war reconstruction? Where does the issue of globalization fit? Do answers to any of these questions about the Second World War still hold true today?

The Organizing Committee especially encourages comparative and interdisciplinary submissions. A 250 word abstract of proposed papers, along with a brief curriculum vitae, must be submitted electronically (preferably in Word or Rich Text format) by 1 November 2008 either in English or in French to the Organizing Committee care of Professor Irene (Irena) Makaryk at makaryk@uottawa.ca . Selected conference papers will be published in a special volume. Pending a successful grant application, limited funding will be available for graduate students.

The Organizing Committee:
Irene (Irena) R. Makaryk, Chair of the Organizing Committee, Department of English
Yana Meerzon, Département de théâtre/Department of Theatre
Tibor Egervari, Département de theatre/Department of Theatre
Jeff Keshen, Département d’histoire/Department of History
Annie Brisset, École de traduction et d’ interprétation/Department of Translation and Interpretation
Marissa McHugh, graduate student, Department of English

Yana Meerzon, Ph.D.
Associate Professor, Department of Theatre
University of Ottawa,135 Seraphin-Marion St. Room 304B
Ottawa, ON K1N 6N5 Canada
tel. 613-562-5800 ext.2243; yana.meerzon@uottawa.ca

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23. CFP: ‘Earth Matters: Ecodrama Symposium,’ May 21-31 2009, U of Oregon, US (due Nov 1 / Jan 1)

Dear Friends & Colleagues,

We are delighted also to announce that Una Chaudhuri, author of STAGING PLACE, will give the Keynote for the Symposium.

Please see our website for continuing updates on speakers, performances and travel info: www.uoregon.edu/~ecodrama.

While you have time to muse this summer, please consider giving thought to presenting -- the time is certainly ripe to consider the relationship of our work as scholars and artists to the ecological transitions ahead.

All best, Theresa May

PS -- script submission deadline is Nov. 1, 2008; guidelines are on the website.

~ Earth Matters On Stage ~

Ecodrama Playwrights Festival ~ Symposium on Ecology & Performance

University of Oregon, May 21-31, 2009

Call for Symposium Papers and Proposals

“Ecological victory will require a transvaluation so profound as to be nearly unimaginable at present. And in this the arts and humanities – including the theater – must play a role.” Una Chaudhuri

Ecology is at the heart of burgeoning creativity and interdisciplinary scholarship across the arts and humanities. This Symposium, together with the concurrent Ecodrama Festival, invites artists, scholars and activists to share their work, ideas, and passions. We welcome creative and innovative proposals for workshops, round-tables, panels, working sessions, installations, and/or participatory community gatherings that explore, examine, challenge, articulate, or nourish the possibilities of theatre’s response to the environmental crisis in particular, and our ecological situatedness in general.

We encourage proposals that go beyond a recitation of ideas or positions, and instead bring presenters and participants together as they engage the driving question of how theatre has or might function as part of our multiple reciprocal relationships within ecological communities. We encourage proposals that include more than one presenter; however, single person proposals are accepted and will be combined with others as themes and formats allow.

Possible topics include:
- land and body in performance or performer training;
- representation of/and environmental justice;
-•green theatre production;
- old cultural narratives/new stories;
- indigenous performance;
- community-based performance/ecological communities;
- sensing place/staging place;
- devising from ecology;
- the ecologies of theatrical form and/or space;
- animal representation;
- application of ecocriticism to plays and performance.

Please send a one-page proposal and/or abstract by January 1, 2009 to:

Earth Matters ~ Ecodrama Symposium 2009
Theater Arts, VIL 216, University of Oregon, Eugene, OR 97403

Or by email: Theresa May at ecodrama@uoregon.edu with “symposium” in subject line.

Please include: Type of session & title; preferred space (classroom, theatre, studio, or outdoors);

time-length (60 min; 90 min; 2+ hours; or half-day); ideal/maximum # of participants; bio of presenter/s.

More information is on our website: www.uoregon.edu/~ecodrama.

We look forward to your proposal!

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24. 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:

Designed as an intense two days with a single program track, the symposium's primary goal is to advance understanding and knowledge of the ethical issues involved.

* Each of the three strands (pop culture, performance, pedagogy) will have a keynote address. Arizona State Superintendent of Education Tom Horne, former Executive VP of Walt Disney Entertainment Anne Hamburger, 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.

All the best,

Matt Omasta, M.A.
School of Theatre & Film
Assembly President, GPSA

Herberger College of the Arts
Arizona State University
PO Box 872002
Tempe, AZ 85287-2002

(480) 727-9876 (telephone)
(480) 727-9877 (telefax)

matthew.omasta@asu.edu
http://theatre.asu.edu <http://theatre.asu.edu/>
http://www.asu.edu/gpsa

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25. CFP: ‘Intercultural Dramaturgy,’ Theatre-Art-Culture: Intercultural and Inter-ethnical Approaches, Dec 12-14 2008, U of Theatre, Târgu-Mures. Romania (due Nov 9)

The Târgu-Mures University of Theatre announces the conference entitled Theatre - Art - Culture: Intercultural and Inter-ethnical Approaches.
International Conference of Theatre Studies, December 12- 14, 2008.
The location of the conference is the University of Theatre, Târgu-Mures.
The main theme of the theatre studies section is Intercultural Dramaturgy

Interculturality is the specific modus vivendi of the culture of the 20th century and the contemporary globalized world. The conference intends to explore the phenomenon of intercultural dramaturgy. Concepts proposed for discussion include the intercultural encounter of different dramatic and theatrical languages; hybridity and/or multicultural elements in theatre and drama; the Other of European theatre; power and ideology in intercultural (and inter-ethnical) drama, in post-colonial discourse; the role of the media in intercultural theatre. Special areas of interest are the interactions between Western and Eastern as well as Western-European and Eastern-European theatre, the question of drama and theatre translations and translatability, or the applicability of the elements of post-colonial discourse for the intercultural and inter-ethnical phenomena of the period of communist dictatorships, and after 1990, following the downfall of communist power.

For a minimal methodological coherence and approachability of different traits of ideas you can find a bibliography that may be helpful for a survey of the connecting points of the theme on the web page of the university (www.uat.ro).

Eligible as participants are university lecturers, researchers, postgraduate students. The languages of the conference are English, Romanian and Hungarian. The duration of a presentation should be 15 minutes.

The deadline for application and resumes is 9th of November, 2008. Please e-mail your 200 words resume in English (obligatory) and Hungarian/Romanian to uat@uat.ro. Papers will be proposed by a board of professional editors for publication in SYMBOLON, the theatre studies periodical of the University.
Further information: Zoltán Csép (csep_zoltan@yahoo.com, uat@uat.ro)

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26. CFP: ‘Censorship, Then and Now,’ Theatre Journal (due Nov 15)

Theatre Journal is considering a special issue on the topic, “Censorship, Then and Now.” Censorship has been ubiquitous across time, people, place, genre, and media. Frenzied censors once railed against Corneille’s moral deviants in Le Cid. Today they reserve their fury for YouTube and the anonymous purveyors of Internet pornography. The editors invite full-length essays on topics pertaining to censorship in theatre and performance. Please send inquiries about this sp