A bursary to assist a deserving Early Career Researcher (ECR) to attend and present at the annual ADSA conference.
In 2018 the inaugural Joanne Tompkins Prize for editing was awarded to Gillian Arrighi and Victor Emeljanow for their editorial work on Popular Entertainment Studies. Following the passing of Professor Emeljanow just prior to the award, Gillian Arrighi decided the most appropriate direction of the prize money would be to support an ECR to attend the 2019 ADSA conference. The name of the initial one-off bursary reflects the journal, Popular Entertainment Studies, but is intended to support a researcher working in any field of Drama, Theatre and Performance Studies. Following the 2019 conference, it was decided to continue this gesture, and rename the bursary the Victor Emeljanow Bursary in honour of Professor Emeljanow.
Candidates are recently completed ECRs (within three years of being awarded) and have no institutional funding
Deadline for the submission is 1 September 2020 (tentative date)
Judges: Dr Gillian Arrighi (University of Newcastle), Dr Chris Hay (University of Queensland), Dr Sarah Thomasson (Victoria University of Wellington)
Value of prize: $500 (to be used to support any aspect of conference attendance)
Professor Victor Emeljanow
The late Victor Emeljanow was Emeritus Professor in the School of Creative Industries at the University of Newcastle, Australia, and General Editor of the e-journal Popular Entertainment Studies. He published widely on subjects including the reception of Chekhov in Britain, the career of Theodore Kommisarjevsky, Beerbohm Tree's engagement with Ibsen on the West End, Victorian popular dramatists, and prisoner-of-war entertainments during the First and Second World Wars.
Recipients of the Award
The winner of the 2019 one-off Popular Entertainment Studies prize is Dr Hannah Banks. Dr Banks has been involved with ADSA during her post graduate studies; she completed and successfully defended her PhD in 2018 at Victoria University of Wellington, Aotearoa. Her application, titled: “WTF! The life, death and afterlife of the Women’s Theatre Festival in Wellington, New Zealand” presented a strong argument for support to attend this year’s conference during the sometimes challenging period of career transition following award of PhD. Her paper also offers a productive approach to this year’s conference theme. The judges wish Hannah well for her journey, and for a rich period of intellectual engagement during the conference.