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  • Call for Papers: Walking as applied critical practices: methodologies, pedagogies and performances
  •  Date Posted: Thu, 16 Nov 2023

    Research in Drama Education: 
    The Journal of Applied Theatre and 
    Performance Themed Issue 31,1 (Publication Feb 2026) Call for Proposals


    "Walking as applied critical practices: methodologies, pedagogies and performances"


    Editorial Team: Dee Heddon, Stephanie Springgay, Harry Wilson 


    The dynamic relationships between walking, performance and performativity are long-standing, from psychogeographical drifts, which trace capitalism’s appropriations and productions of place, to protest marches which re-claim the streets as a demonstration of power, from ceremonial walks as memorialisations of place, to (mis)guided tours which rewrite partial histories, from attentive walking as ways to know and feel differently, to technologically-enabled walking performances that take the city as their stage. Walking as a mobile method of applied critical practice - with bodies located in and moving through space – offers a plurality of ways to explore, feel, attend, make, enact, connect, contest and demand. Walking is often simultaneously method (a process of rigorous investigation), pedagogy (a mode of engaged learning), and practice (a way of doing and sharing). 


    For many, COVID-19 and its attendant restrictions focused a spotlight on walking. For some, it became permitted and encouraged as daily exercise or a safe way to travel, while for others, it became out of reach because of policing or total lock downs. Walking was experienced as liberating, boring, necessary, scary, a lifesaver, and forbidden (Rose, Heddon, Law et al., 2022). Practitioners and teachers of drama and performance engaged with walking, some for the first time, as a means to continue their work, finding innovative ways to offer continued access to social, cultural and learning experiences. However, barriers to walking – time, access, confidence, safety – were amplified, including the affordances given to different bodies that walk in different places. Inequalities in the Global North and South were also magnified during this time, including people’s access to walking. This themed edition on walking as a critical applied practice takes its cue from the multiple ways in which walking was oriented during COVID-19, to consider how walking can be harnessed as creative, critical and pedagogical resource in an ongoing/’post’-pandemic world.


    We invite submissions which engage with the diversity of walking as methodology, pedagogy and performance, attentive not just to walking’s potential as a critical applied practice, but also its current exclusions and barriers:  

    • Walking work in and beyond COVID-19 

    • Walking as a creative and investigative practice (Stenna and Marland, 2020, p. 1) – embodied, located, somatic, and affective – and mobile research method (O’Neill and Roberts, 2020) 

    • ‘Walking-with’ as a form of solidarity, unlearning, and critical engagement and a mode of ‘politics-in-movement' (Springgay and Truman, 2019, p. 12)  

    • Walking as protest, resistance and intervention  

    • Walking and transformation 

    • Walking and relationality  

    • Walking, health and wellbeing 

    • Walking and pedestrian in/equity (Heddon, Qualmann, Rose et al., forthcoming) 

    • Walking and presumptions of democracy (Arora, 2019, p. 173) 

    • Walking and the ‘postcolonial body/site dialectic’ (Murali, 2017, p. 86) 

    • Walking and decolonization 

    • Solitary and/or group walking practices 

    • Walking as a socially engaged practice 

    • Virtual walking, remote walking, proxy walking and surrogate walking  

    • Walking facilitated by/with digital technologies 


    Submission Instructions 

    We welcome research articles (c.6,000) and other forms of contributions such as interviews, provocations, practitioner statements and case studies (c.1,500) as well as creative contributions, such as photo essays, walking scores, or online outputs (10-15 minutes). 


    Online outputs could include peripatetic conversations between researchers or practitioners recorded on the move, clips of performances and/or workshops, and more. All submissions will be reviewed by two anonymous referees and by the editors. 


    Please send 300-word proposals for contributions, plus 100-word biographies for each contributor, to 

    • Deadline for proposals: 1 December 2023 

    • Deadline for first full draft: 1 Sept 2024 

    • Deadline for final submissionend Sept 2025 


    Editorial Biographies 

    Professor Dee Heddon holds the James Arnott Chair in Drama at the University of Glasgow and has practiced and published widely on walking as a creative practice. In 2012, she co-founded with Misha Myers, the ongoing creative-research project, The Walking LibraryShe is currently completing an AHRC-funded project, Walking Publics/Walking Arts: Walking, Wellbeing and Community during COVID-19a collaboration with Maggie O’Neill, Morag Rose, Clare Qualmann, and Harry Wilson. 


    Professor Stephanie Springgay is Director of the School of the Arts (SOTA), at McMaster University, Canada. She is a leading scholar of research-creation with a focus on walking, affect, queer theory, and contemporary art as pedagogy. She runs WalkingLab, an SSHRC-funded international research-creation project with a goal to create a collaborative network and partnership between artists, arts organizations, activists, scholars and educators interested in walking, movement, and sensory knowledge. Springgay’s other funded project is The Pedagogical Impulse. She is the author, with Sarah E. Truman, of Walking Methodologies in a More-than-Human World: WalkingLab (2019).  


    Dr Harry Wilson is an Early Career Researcher in Digital Theatre at the University of Bristol. His research focuses on interdisciplinary explorations of live art and performance, photography, documentation, digital art and new media and he has recently been exploring intersections between immersive technologies and intimate performance, including virtual and remote walks. 



    • Arora, Swati, “Walking at Midnight: Women and Danger on Delhi’s Streets”, Journal of Public Pedagogies, Number 4, 2019. 
    • Heddon, Dee, Clare Qualmann, Morag Rose et al., “Just Walking: creative methods towards pedestrian equity”, in Coping Creatively, eds. Victoria Tischler and Karen Gray, Manchester: Manchester University Press (forthcoming). 

    • Murali, Sharanya, “A Manifesto to Decolonise Walking”, Performance Research, 22:3, 2017.  

    • O’Neill, Maggie and Brian Roberts, Walking Methods: Research on the Move, London: Routledge, 2020. 

    • Rose, Morag, Dee Heddon, Matthew Law et al., #WalkCreate: Understanding Walking and Creativity During COVID-19. Walking Publics/Walking Arts Public Report (2022).  

    • Springgay, Stephanie and Sarah E. Truman, Walking Methodologies in a More-than-Human World: WalkingLab, London: Routledge, 2019. 

    • Stenning, Anna and Pippa Marland, “Introduction”, in Walking, Landscape and Environment, eds. David Borthwick, Pippa Marland and Anna Stenning, London: Routledge, 2019. 

    Professor Deirdre Heddon, PhD, FRSE

    James Arnott Chair in Drama & Head of Theatre Studies 

    University of Glasgow 


    PI Walking Publics/Walking Art: Walking, Wellbeing & Community During COVID-19

    CoI, newLEAF

  • Job Opportunity: Assistant Professor in Pasifika Theatre and Performance Studies, UCLA
  •  Date Posted: Fri, 3 Nov 2023

    Job Opportunity: Assistant Professor in Pasifika Theatre and Performance Studies, UCLA

    Details and application link:
    Applications close: Friday 15 December 2023, 11.59pm PT (for full consideration). 

    The University of Califronia, Los Angeles (UCLA) Department of Theater seeks an assistant professor in Theatre and Performance Studies; the position will also be affiliated with the Asian American Studies Center as part of the Native American and Pacific Islander Bruins Rising Initiative. The successful candidate will serve as one of the core faculty supervising UCLA’s PhD in Theater and Performance Studies program, as well as teaching undergraduates and participating fully in a department that serves undergraduate, MFA, and PhD students. The appointment is held in the Department of Theater while service commitments will cross the Department of Theater and the Asian American Studies Center. Duties to commence Academic Year, 2024-25. While a PhD is not required, a terminal degree is. For application help, contact Ryan Hamilton (  

    For the information of ADSA members, an Assistant Professor role is broadly equivalent to a Level B/C role in the Australasian context. 
  • Job Opportunity: Positions in Acting, WAAPA
  •  Date Posted: Fri, 22 Sep 2023


    Job Opportunity: Positions in Acting, WAAPA

    Details and application link:
    Applications close: 13 october 2023, 11.30pm (AWST). 

    The Western Australian Academy of Performing Arts (WAAPA) is seeking skilled and experienced acting teachers to join the creative and forward-looking BA Acting team as we prepare to move into Edith Cowan University's new state of the art City Campus in the heart of Perth.

    Following recent staff retirement the following roles are open: Applicants requiring further information may contact Dr Frances Barbe (Associate Dean - Performance) on +61 8 9370 6161 or  
  • Feb 2024 Hybrid Conference: Performing Care and Carelessness
  •  Date Posted: Thu, 31 Aug 2023

    Performing Care and Carelessness: An interdisciplinary conference delivered in hybrid format

    Hosted by The Performance of the Real Research Theme at the University of Otago, Dunedin, New Zealand
    th 16th February 2024

    Call for Papers

    Care is a topic of enormous complexity that is relevant to all of us. In a turbulent era, scholars from many different fields are returning again and again to consider care, or a lack of care, in political spheres, in relation to the environment, in a globalised world, in everyday life, amidst health crises, and in our mediatised and digital lives.

    Care is both an affective orientation (I.e. ‘caring about’) and a practice (I.e. ‘caring for’, or ‘taking care of’). As such, it is something that is both performed, and performative; attached to embodied subjectivities, in which it takes on polysemic potential as a communicative and symbolic as well as relational act. As intimate and everyday as it can be, it is also recognised as being both political and politicised; entangled with systems of power at both macro and micro/everyday levels. As James Thompson observes, while care was once considered the province of the household, it is now ‘a crucial issue within public policy’ (2020: 41–2). This is perhaps especially true given that 21st century care politics have been deeply concerned with aims such as unmaking racial capitalism, cisheteropatriarchy, the carceral state, and the colonial present (Woodly et al. 2021: 891).

    A lack of care - or a carelessness - can also become routinely embedded in many social institutions. As we acknowledge structures that represent barriers to care/ing, we can also acknowledge that caring despite these can stand as a form of resistance; an articulation of particular ethical commitments, an expression of collective identity, or an act of political imagination. As such, amidst shifting and challenging contemporary contexts, we consider how a call to care (for marginalised groups, for the natural world, for the people around us, and for distant others) can generate tensions and dilemmas. We focus on how both care and carelessness are performed, negotiated, and communicated, in both public and private settings, in response.

    We encourage contributions relating (but not limited) to the following aspects of the performance and performativity of care:

    • -  Landscapes, geographies, and architectures of care: how ways of using and/or designing spaces might express care or carelessness, through inclusion and inclusion, enabling or disabling; care of environment in the context of climate change; multispecies relations of care in a more-than- human world

    • -  Mediatisation and visualisation of care and carelessness: in local and global information circuits; aesthetic, affective, and iconic qualities of images associated with NGOs, news media, or political parties; empathy and response-ability through communication technologies, including screens; performance of group- and self-identity in an era of ‘culture wars’ and the rise of the alt right; ways of responding to hate speech or dangerous speech online; solidarity and collective memorialisation online in responses to major events

    • -  Health/care, and cyborg care infrastructures: The role of technologies and materialities in extending or reconfiguring relations of care , both within and between bodies; the link between health technologies, digital technologies, media technologies, and contemporary biopolitics; formal and informal networks of care, in families and communities, online and offline

    • -  Care practices and the Care Turnin the arts: how care is expressed and performed in and through theatre and other art forms; how representations and practices of embodied care within theatre and other art forms can affirm the value of care, reveal and critique carelessness and unmake inequity; the lack of care for the wellbeing of performing artists within the industry; the unequal power relations within and without the performing arts which dictate whom has the ability and right to create artwork that purports ‘care about’ and ‘take care of’ important issues in society; issues of care when representing real people and events in performance and art

    • -  Workers, institutions, and professional care (and self-care): Institutions performing care or carelessness through specific language, discourse, structures or politics (including educational institutions, academic institutions, healthcare institutions, and other public institutions); care amidst precarity and precariousness; caring identities and professions, how care is performed both ‘front stage’ and ‘backstage’ in institutions; care that occurs within the margins of prescribed roles or practices; commodification and individualisation of notions of care including 'self-care' as part of neoliberal frames for responsibilised citizenship; care as radical political act amidst capitalism; political and politicised dimensions of care in recent social movements (e.g. BLM, Climate protests)

    • -  Care and respect for indigenous peoples, knowledge and culture: the slow move to decolonisation and recognition for the carelessness with which indigenous peoples and their culture knowledge and artefacts have been treated; decolonisation as caring practice ; the transformative power of indigenous models of ethical care relations between people, and with the environment

    • -  Multiple, competing, and pluralistic ethics of care: A variety of frameworks exist to lay out ethical obligations; religious frameworks, feminist frameworks, bioethical frameworks, policy frameworks. Developed in different historical contexts, how are these negotiated, applied and performed as part of the ‘ordinary ethics’ of people's everyday lives? As part of social institutions and/or forms of governance? As part of academic practice?

    Abstracts of 200-250 words due by 31st October 2023.
    Questions and to submit abstracts email:

  • Culture for Climate Symposium: Supporting the transition to sustainability in the performing arts
  •  Date Posted: Mon, 14 Aug 2023
    The Performance and Ecology Research Lab (P+ERL) in association with the Creative Arts Research Institute (CARI), the Climate Action Beacon and Griffith Institute for Educational Research (GIER) at Griffith University invite you to attend the Culture for Climate Symposium: Supporting the transition to sustainability in the performing arts.

    When: Friday 8 September, 9.00am - 5.00pm
    In Person: The Ship Inn Function Room (S06), Level 2, Sidon
    Street, South Brisbane
    Online: Link to be advised on RSVP

     P+ERL are hosting this Culture for Climate Symposium in Brisbane and online on Friday 8 September (9am - 5pm). The day is organised around the three key areas of Programming, Practice and Policy with international key notes and provocations together with more local speakers on the panels.

    As part of your preparation, familiarise yourself with their recent Culture for Climate report
    Link to the registration and brief here
  • Symposium: Precarity, Creative Arts and Wellbeing (Massey U)
  •  Date Posted: Wed, 2 Aug 2023


    Precarity, Creative Arts and Wellbeing

    When: 1 to 2 September 2023
    Where: Massey University, Auckland
    Venue: The Round Room, Atrium Building, Massey University, Albany Campus, East Precinct. Oteha.

    The symposium brings together scholars and arts practitioners to explore the role of the arts in relation to experiences of precarity and in enhancing well-being among precariat communities. Throughout the two-day symposium, we will share and advance creative approaches to working with these communities as well as innovative methods for researching and evaluating the impact of participatory arts on wellbeing. Registrations are now open: please use this link to register your attendance.

    Critical questions to explore:
    • What roles do the arts play in relation to experiences of precarity?
    • How can the creative arts help to communicate the lived experience of precarity?
    • What needs to be considered (ethically) before using the arts to communicate such experiences?
    • What role might the arts play in addressing factors that contribute to precarity and advancing the rights of the precariat?
    • What innovative research methods can be used to understand the contribution of the creative arts to the well-being of precariat communities?

    Keynote Speakers:

    Adrian Jackson (Founder and former director of Carboard Citizens Theatre Company, UK).
    Adrian Jackson is the founder and former director of the theatre company Cardboard Citizens, who produce work made particularly by, with, and for those who have experienced homelessness, inequity, or poverty. He is an experienced theatre maker who has worked across a range of artforms. Adrian Jackson is a specialist in the Theatre of the Oppressed, having translated five books by the Brazilian theatre pioneer Augusto Boal. In 1998, they collaborated on The Art of Legislation, an Artangel-sponsored piece of Legislative Theatre at County Hall in London. Adrian has led master classes in Theatre of the Oppressed in the UK, across Europe, Asia, South America, Australia and Africa. Adrian specialises in participatory arts and the use of arts as an inclusive practice to engage marginalised communities. He is committed to creative work that brings about social change.

    Dr Shiloh Groot (Ngāti Uenukukōpako, Ngāti Pikiao)
    Shiloh is an Associate Professor in Community Psychology at the University of Auckland. They are an interdisciplinary social scientist who works in the domains of Māori/cultural worldviews and wellbeing; sexuality and sex work; relational health and health inequalities; homelessness and urban poverty. Central to their approach to academia is citizenship and service, as is evident in their former role as co-chair to the New Zealand Coalition to End Homelessness (NZCEH) Māori Caucus.

    Fran Kewene (Waikato, Ngati Maniapoto)
    Fran Kewene (Waikato-Maniapoto) identifies themselves as a creative Māori academic and locates their work in the intersections between hauora/health and whakaari Māori/theatre. Fran’s work is wholistic and interdisciplinary using kaupapa Māori informed theatre methodologies and performance to examine equity, colonisation and racism on the health and wellbeing of Māori and Indigenous peoples, and to privilege wairua (spirituality – connections), and non-spoken forms of communication.  Fran in interested in the power-relationships inherent when evaluating community informed creative works operating on government or state funding.

    Ying (Ingrid) Wang (Post-doctoral research fellow at CAST, the University of Auckland)
    Ying is deeply committed to bringing culturally diverse perspectives into clinical practice and academic research. Her dedication stems from her passion for making a meaningful difference in people's health and well-being, and in the pursuit of social justice and equity within communities through the transformative power of arts. Her ground-breaking PhD research delved into the profound impacts of multiple layers of trauma on immigrant identity formation, employing innovative arts-based research methods. Ying's experience as a Chinese immigrant and clinical arts therapist has endowed her with a comprehensive understanding of the challenges faced by Asian immigrants, international students and refugees. Additionally, she holds the distinction of being an ACC ISSC registered arts therapist, specialising in trauma-informed work with survivors of sexual abuse. Ying is currently leading a research project to explore the manner in which New Zealand schools might better support Asian survivors of sexual violence.
  • Call for Papers: The S-Word, 2024
  •  Date Posted: Mon, 26 Jun 2023

    Call for Papers: The S-Word, 2024

    Stand in Place / Stanislavsky and Place

    4 — 6 April 2024
    WAAPA, Edith Cowan University
    Perth/Boorloo, Western Australia

    Submissions due: 15 September 2023.
    Submissions via: email to

    Stanislavsky was clear that the actor must take their place in the theatre. His writings are full of injunctions to reflexively situate oneself with respect to the stage, set, actors, objectives, and so on. Echoing Stanislavski’s conceptual and physical praxis, modernist performance makers such as Meyerhold and Schlemmer went on to postulate that the actor brought their own sense of place onto the stage, shaping the performance space and enabling performers to align themselves, their attention, and their movements to a range of axial placements and combinations, as in Laban’s kinesphere. Later theatre makers as varied as Declan Donnellan and Suzuki Tadashi have suggested that the theatre is a place of life-and-death struggle, a site where a battle for survival is conducted by both characters and the actors themselves.

    The act of the performer taking their place in their body in the theatre developed in parallel to the importance of ‘place’ in the world of the playwright and in the places represented on stage. Stanislavski’s not always happy peer, Anton Chekhov, has been described as the “first environmental playwright,” with scripts such as Uncle Vanya (1898) and The Cherry Orchard (1904) being concerned with the places wherein they are set, with the environmental and socio-political conditions and histories etched across their landscapes. Interestingly, there is a rich tradition of Australian plays which are strongly connected to place, No Sugar (Jack Davis, 1985), Cloudstreet (Nick Enright and Justin Monjo, 1998, after the novel by Tim Winton), When the Rain Stops Falling (Andrew Bovell, 2008), and more recently, City of Gold (Meyne Wyatt, 2019). 

    For the forthcoming Stanislavsky and Place symposium, we call for submissions for academic papers, artist presentations, and panels, which consider the places of theatre arising from or existing alongside Stanislavskian performance and acting praxis. We invite you to Stand in Place with us, on Whadjuk Noongar Boodja/Country, here at the Western Australian Academy of Performing Arts, Edith Cowan University, Perth/Boorloo, and interact with this place, as you tell us about your places.

    Papers will be 20 minutes in length, workshop/artistic presentations 40 minutes and panels a combined total of 60 minutes in length. Selected papers will be considered for publication in our journal, Stanislavski Studies, and material generated by this event will form the basis of a title in the book series, Stanislavsky And... (published by Routledge, Taylor & Francis).

    Topic areas could include (but are not limited to):
    1. Performance and theatre in relation to ideas of being in place and being out of place
    2. Stanislavskian performance in your place (what changes with/in it?) 
    3. Placemaking and theatre making 
    4. Futures of Eco dramaturgy and theatre form
    5. Decolonisation strategies and First Nation knowledge of place and performance 
    6. Beyond Stanislavski, extending his ideas in concepts of place/space 
    7. Training in relation to ideas of place including but not limited to intercultural/transcultural form and practice
    8. Site specific and place specific performance modes in relationship to realism, Stanislavsky and actor and audience relationship
    9. Movement, body weather and other performance modalities and training methodologies.
    We are very excited to announce that Professor Jonathan Pitches from the University of Leeds (UK) will be a keynote speaker presenting on mountainous opportunities: interrogating place in ritual, theatre, and performance training. More announcements on additional keynote presenters to follow.

    Please send an abstract of no more than 250 words, with presentation type, to by 15 September, 2023. Notification of acceptance will be in late October. Early bird registration will be in December 2023 and follow up registration in January 2024. All enquiries to Renee Newman ( or Jonathan W Marshall (
  • Reminder: ADSA 2023 Conference, Call for Papers
  •  Date Posted: Mon, 5 Jun 2023

    2023 ADSA Conference 

    Archives, Artists & Absences

    Kaurna Country, Adelaide
    Monday 27 November – Friday 1 December

    Submissions due: 3 July 2023.
    Submission link:

    Members are reminded that the Call for Papers for the 2023 ADSA Conference is open, and submissions close in two weeks on Monday 3 July. The full text and detail of the Call is available on the ADSA website (, along with details of the six Working Groups who will be meeting as part of this year's trial. 

    We would particularly like to invite members who supervise postgrads or have HDR coordination responsibiltiies to forward it to students who might not have had previous contact with ADSA – to that end, it is also attached as a .pdf. We welcome proposals from artists and scholars at all career stages, and any questions about the Conference or submission process can be directed to Chris Hay ( 

    We look forward to receiving your proposals, and seeing you in Adelaide in November!

    Sarah, Anne, and Chris.
  • Service Opportunity: Reviews Editor, "Performance Research"
  •  Date Posted: Fri, 2 Jun 2023

    Performance Research

    Call for Reviews Edtior

    Submissions due: 30 June 2023.

    About the role
    The Performance Research journal seeks an incoming Reviews Editor, to begin in August/September 2023 for an initial three-year term. This is an opportunity to join a team of committed global scholars and artists invested in innovative and equitable publishing. In particular, we seek a Reviews Editor who will be attentive to new trends in Performance Studies, uplift emergent voices in the field, value a diverse range of scholars, methods and topics and operate with a generously collegial attitude to support contributing scholars.

    While the position is unpaid, it offers the post holder the opportunity to develop editorial skills re the curation and management of published work, to expand international networks of collaboration and collegiality with both select presses and contributing scholars, and to enhance experience for CV purposes. A free subscription to the journal is provided. All are welcome to apply; no prior editorial experience is required as we will work with the new editor to ensure they are supported in the role.

    About Performance Research
    Since 1996, Performance Research has set a precedent that has become standard for thematic and cross-disciplinary ways of bringing together the varied materials of artistic and theoretical research in the expanded field of performance. Working closely with designers, artists, academics, theorists, performance practitioners and writers, Performance Research resists disconnected, disembodied and disinterested forms of scholarship. We prefer instead the possibilities of imagining the journal as a dynamic space of performance that produces inspiring conversations, unlikely connections and curious confluences. Our emphasis on contemporary performance arts within changing cultures and technologies is reflected in the interdisciplinary vision and international scope of the journal. Performance Research continues to combine writings and works for the page in an interplay of analysis, anecdote, polemic and criticism—interweaving the oblique with the conflicting, the pivotal with the resistant and the eclectic with the indispensable.

    Reviews Editor responsibilties
    Performance Research is published eight times annually; for each issue, the Reviews Editor has full responsibility for initiating and curating the Reviews Section. As such, the Reviews Editor:
    • Monitors press catalogues and selects the works to be reviewed
    • Commissions reviewers for each review/receives submissions for reviews
    • Liaises with relevant presses to secure a review copy text for contributing reviewers
    • Supports first-time reviewers in shaping their submissions in terms of content and style
    • Liaises with the designated managing editor to support final revisions
    Performance Research also wishes to take this opportunity to expand the scope of the reviews section to include, for example, performances, conferences and festivals in addition to publications. Mentorship will be provided for those who seek guidance or support when beginning this role and on an ongoing basis.

    Application details
    If you are interested, please email a cover letter expressing your interest and experience, along with a relevant CV, to Deputy Editor Helena Grehan (  by 30 June 2023.  If you have questions about the role prior to submission, please don’t hesitate to reach out to the current Reviews Editor, Anna Jayne Kimmel (
  • Save the Date: 2023 ADSA Conference
  •  Date Posted: Wed, 29 Mar 2023

    2023 Annual Conference


    The 2023 Conference theme, Archives, Artists & Absences, invites ADSA members to reflect on what is remembered and what is forgotten in our discipline, in the work that we study, and in the work that we make. We will also take this opportunity to celebrate AusStage's 21st birthday, as we chart together new courses for the database.

    The 2023 conference will be held in-person on Kaurna land in Adelaide, and the Call for Papers will be issued in April 2023. Stay tuned for more information! 
  • Opportunity: PhD Scholarship, Murdoch U
  •  Date Posted: Fri, 24 Mar 2023

    PhD Scholarship, Murdoch University

     “Life after digitisation: future-proofing WA’s vulnerable cultural heritage”

    The Linkage grant “Life after digitisation: future-proofing WA’s vulnerable cultural heritage”, funded by the Australian Research Council for 4 years (2022-2025), involves researchers from three Western Australian Universities, and one from the University of Queensland. The partners aim to digitise significant cultural collections held across Western Australia, including Aboriginal languages, the WA performing arts collection held by the Perth Theatre Trust, and selected cultural objects of significance from across the State. 

    The Scholarship
    The materials held by the Perth Theatre Trust (The Museum of Performing Arts collection, MOPA) include costumes, programmes, posters, pay bills, photographs, scripts, scores, recordings and other items from thousands of productions performed across WA since colonisation. The collection includes material from ballet, Shakespearean theatre, vaudeville, contemporary dance, opera, drama, stand-up comedy and more. This PhD Scholarship provides the right candidate with an opportunity to delve into the significant archives held by The Perth Theatre Trust (approx. 45,000 items) and to develop their own project, drawing on and utilising these important cultural artefacts. His Majesty’s Theatre, which houses the collection, has hosted performances by actors from across the globe, including: Dame Nellie Melba, Sir John Gielgud, Katharine Hepburn, Vivien Leigh, Sir Robert Helpmann and Geoffrey Rush and Anna Pavlova.

    The successful candidate will work alongside the research team and as well as developing their own important research project, will contribute to the digitisation of this important Western Australian collection. We invite applications from potential candidates interested in performance and theatre studies, archival research, cultural heritage studies and digital humanities. The position is supported by a Murdoch University fee offset PhD scholarship and stipend for 3.5 years.

    For more information on the MOPA collection 
    Please see their website ( 

    For more information on the PhD Scholarship and the broader project
    Please contact Professor Helena Grehan (
  • Deadline extended til 5 April: RiDE (Performing Solidarities)
  •  Date Posted: Tue, 21 Mar 2023

    We have extended the deadline for our special issue at RiDE: Journal of Applied Theatre and Performance on the topic of solidarity by 3 more weeks (April 5); please see call below.

    We invite all forms of contribution, including articles, short reflective essays, interviews or other artistic responses to the topic. We also welcome contributions from PGRs. RiDE: The Journal of Applied Theatre and Performance THEMED ISSUE 29:3 Call for Papers Performing Solidarities or Solidarities performed Edited by Réka Polonyi and Kirsten Sadeghi-Yekta October 17, 2019. Riots broke out in Lebanon in response to heightened economic pressure and corruption scandals surrounding the political elite. Within days, people flooded the streets, repurposed public spaces, organised public debates and mass actions. As a resident at the time, I, Réka, found myself caught up in trying to find my place as both a foreign national and an ally to the struggle of my Lebanese friends and colleagues. Do I stand alongside them, shout the chants in my rusty Arabic, share the face cloth when there’s tear gas? Or do I stand quietly on the side - present, but on the margins? This was not ‘my fight’, I was often reminded; it was clear that I was here to listen, not necessarily to be heard or noticed. I soon found my place: I joined the garbage collective, a group of volunteers who met up every morning to pick up the rubbish on the streets of the protests. Here, in the sleepy hours of the morning, no one questioned who I was, or why I was there: every revolution leaves some rubbish in its wake. The Lebanese riots bring to light various concerns around the idea of solidarity, or the idea of ‘unity (as of a group or class) that produces or is based on community of interests, objectives, and standards’ (Merriam-Webster). When does a ‘quiet’ act of solidarity speak louder than its more directly-recognised, public enactments? How is it performed without necessarily drawing attention to its enactment, and when is this the appropriate response? In the immediacy of an event, how can solidarity be embodied, rather than stated? In this themed issue, we ask, what purpose does solidarity serve in applied theatre and performance? We are particularly interested in capturing the possibly ‘quiet’, micro-practices of solidarity that occur not only within sites of struggle, but also in everyday life. Critical positionality is a feature of solidarity. Many aspects of solidarity are implicit in works of applied theatre and performance, which are deeply embedded in community involvement and rely on one’s critical positionality. Participatory theatre-making often values relationality and involves the creation of meaningful and respectful environments. And yet the word ‘solidarity’ is not commonly referred to within current scholarship in applied theatre arts. Solidarity is articulated as a moment of inter-relational care - of ‘affective solidarity’ (Thompson 2015) - which deliberately counters a ‘careless’ society. Is solidarity, then, an act of attentiveness, kindness and attunement? Or, on the contrary, is it a process of recognising differences and distinctiveness in personal opinions, behaviours and actions, rather than of ‘finding common grounds’ or identifying others ‘like us’ (Walhof 2006)? Diana Taylor (2020) argues for being ‘presente’ with and alongside participants. ‘To be’, she writes, ‘I have to walk and talk with others’ (Taylor 2020, 2). Negotiating the idea of presence enables us to re-examine what she calls a form of ‘cognitive imperialism’ within our artistic practices. In other words, walking and talking alongside others, and at times deliberately choosing to be silent and to listen, can both be forms of solidarity. In Taylor’s work, solidarity is implied in the idea of non-presence or in the act of deliberate silence - and in what silence can signify in applied theatre practices as a way to listen, to hear, and not to interrupt. When is the knowledge of when to stay quiet a form of solidarity (if at all)? Similarly to Diana Taylor’s questioning of ‘cognitive imperialism’ through presence, activist and scholar Harsha Walia calls for replacing a ‘politics of solidarity’ with a ‘practice of decolonisation’. She argues that this involves creating ‘a radical terrain for struggle where our common visions for justice do not erase our different social locations, and similarly, that our differing identities do not prevent us from walking together towards transformation and mutual respect’ (Walia 2012: 254). Is solidarity then - instead of avoiding conflicts of beliefs - a way to engage with a multitude of voices potentially all existing within dissonance? The lack of focused theorisation of solidarity in applied theatre and performance – and the sense that applied theatre assumes it is performing solidarity – asks for this urgent themed issue. The last few years have seen various expressions of solidarity in relation to tragedies around the world. The global COVID-19 pandemic, the killing of George Floyd and the (re)ignited Black Lives Matter movement, the humanitarian crisis in Afghanistan, the war in Ukraine, the women’s movement in Iran, are just a few examples of moments when individuals were engaged in finding their performance(s) of solidarity. Whether it was the act of ‘clapping for the health care workers’ (during lockdown in the UK and Canada), uploading a blank social media profile photo (as a sign of allyship with BLM), or flying kites (see Good Chance Theatre’s Kite Festival for Afghanistan), we have had to locate and navigate our positions as being spectators-in-solidarity, participants-in-solidarity, or marching in solidarity ‘alongside’ others. Some joined mass, performed actions of solidarity - such as protests or on social media - whereas others felt less inclined to join in what could arguably be seen as a spectacle or commodification of solidarity (Nash 2008; Vastergaard 2008). Large, visible enactments of solidarity, although often very effective in inciting mass participation, can also be seen as narcissistic sentimentalism (Nash 2008: 177). Media scholar Lilie Chouliaraki, for instance, extensively writes on the critical emergence of a ‘post-humanitarian’ solidarity, which is made of loud gestures that provide an instant sense of gratification and reveal more about the individual self rather than the cause, or the ‘vulnerable other’ (2011). Chouliaraki believes we are thus becoming ‘ironic spectators’ (Chouliaraki 2013) of things going wrong in the world. Tensions in these ‘louder’ forms can also be noted by expressions of solidarity arising from grassroots and media generated public debates in which ‘everyday people participate in unequal ways in constructing this debate and its parameters’ (Siapera 2019), where solidarity is becoming an expression that is widely accessible, but potentially more equalized in access rather than in nature. Spectacles of solidarity - loud, statement-led - are nuanced in complexity, as intention does not always correlate with best practices. There is a story told by the activist artist Banksy, during his work among many other street artists leaving their marks of solidarity on the West Bank’s Separation Wall in the occupied Palestinian Territories (recounted in Parry 2010: 10): Old Man: You paint the wall, you make it look beautiful. Banksy: Thanks. Old Man: We don’t want it to be beautiful. We hate this wall, go home. The questions this raises for applied theatre and performance are how best practices relate to critical positionality, and how good intentions of ‘performing solidarity’ can potentially harm the people and communities involved. Commonly-recognised forms of solidarity are also visible in the theatre arts industry, as Bree Hadley (2020) points out in her work on allies, ally skills and allyship in disability arts. Performances of solidarity by ‘allies of convenience’ are aimed to benefit the individual and can look like a number of things: ‘be it tokenistic mainstream work, community work facilitated by allies who fail to afford disabled artists control and/or financial benefit, or companies that present disabled artists work but only in tagged ‘disability arts’ programmes separate to their main activities’ (Hadley 2020: 179). The kind of solidarity that valued allies do falls in the skill set described by Hadley as: ‘professional, social, and singular – all allies must remember their privilege, listen, accept the realities oppressed people describe, and allow oppressed colleagues and/or audiences to speak for themselves’ (180). Bradley endorses this form of ‘social allyship’ in disability arts, as it can be a start of outlining the requirements for professional, social and aesthetic support for artworkers (185). Can solidarity be seen as reciprocal co-perception (Walhof 2006) in which teachings of otherness are vital? Our interest in quiet, micro practices of solidarity in applied theatre and performance follows the rationale that these performances often go unnoticed, or do not necessarily enter the scope and language of more commonly recognised acts of solidarity. They are not the loud, deliberate brush strokes on a giant separation wall. They are not always clear, and well-defined forms of expression. Although the editors of this themed issue recognise the significance and importance of acts that catch the public’s and authorities’ attention, what does it look like when, as philosopher Gadamer (2009) proposes, solidarity does not leave the other completely other, nor does it make the other same? Is there even reciprocity in acts (or intention) of solidarity? If not, is this vital for the work that we are undertaking? Format For this special themed issue, we are inviting research articles (6000 words), as well as reflective accounts of artistic works, interviews, and other conceptual explorations of solidarity (1500 words) in relation to the encounters being made in applied theatre and in relation to the positionality of our work. All submissions will be reviewed by the editors and blind peer reviewed at least once prior to final acceptance. Possible topics Small/quiet acts of solidarity in applied theatre and performance Challenges or ethical limitations within acts of solidarity Solidarity as reciprocal Absence (in solidarity) Solidarity as spectacle Embodiment and solidarity Solidarity and decolonialist practices ‘Making’ or ‘doing’ solidarity vs ‘being in’ solidarity Practices/limitations of allyship Nuanced practices of activist presence/co-presence
    Please send your proposed abstract of 300-500 words and 100 words biography to Réka Polonyi (email) and Kirsten Sadeghi-Yekta (email) by 5 April, 2023.

    Full papers will be expected by September 1, 2023 and publication is estimated for summer 2024. Submissions will all go through one or more rounds of blind peer review. Please feel free to get in touch if you have any questions.
    Timeframe Proposal for contributions: April 5, 2023 Final Publication of accepted submissions: Summer 2024 References: Chouliaraki, Lilie. 2013. The ironic spectator: Solidarity in the age of post-humanitarianism. John Wiley & Sons. Chouliaraki, Lilie. 2011. “Improper distance: towards a critical account of solidarity as irony.” International journal of cultural studies 14(4): 363-381. Gadamer, Hans-Georg. 2009. “Friendship and Solidarity.” Research in Phenomenology 39(1): 3–12. Hadley, Bree. 2020. “Allyship in disability arts: roles, relationships, and practices.” Research in Drama Education: The Journal of Applied Theatre and Performance 25(2): 178-194. Nash, Kate. 2008. “Global citizenship as show business: the cultural politics of Make Poverty History.” Media, Culture & Society 30(2): 167–181. Parry, William .2010. Against the Wall: The Art of Resistance in Palestine. London: Pluto Press. Siapira, Eugenia. 2019. “Refugee solidarity in Europe: Shifting the discourse.” European Journal of Cultural Studies 22(2): 245-266. Taylor, Diane. 2020. Presente! The Politics of Presence. Durham: Duke University Press. Thompson, James. 2015. “Towards an aesthetics of care.” Research in Drama Education: Journal of Applied Theatre and Performance 20(4): 430-441. Vestergaard, Anne. 2008. “Humanitarian branding and the media: The case of Amnesty International.” Journal of language and politics 7(3): 471-493. Walhof, Darren R. 2006. “Friendship, Otherness, and Gadamer's Politics of Solidarity.” Political Theory (34)5: 569-593. Walia, Harsha. 2012. “Moving beyond a politics of solidarity toward a practice of decolonization.” In .), Organize!: Building from the local for global justice, edited by Eric Shragge, Jill Hanley, and Aziz Choudry, 240–253. Los Angeles: PM Press.

  • Job Opportunity: Lecturer in Theatre Studies, U of Melbourne
  •  Date Posted: Fri, 17 Mar 2023

    Job Opportunity: Lecturer in Theatre Studies, University of Melbourne

    Job listing:
    Closing date: 11 April 2023.

    The University of Melbourne is seeking an experienced lecturer, specialising in popular and/or contemporary theatre and performance. Applicants with research specialisations in areas that complement existing staff expertise through a focus on Indigenous, culturally diverse or socially engaged performance are particularly encouraged to apply. This is a full-time, ongoing level B (lecturer) position in theatre studies based the University of Melbourne, Parkville. 

    Applications can be submitted through the Univeristy of Melbourne Careers portal here. Applications close at 11.55pm (AEST) on 11 April 2023. Enquiries about the role can be directed to Associate Professor David McInnis ( 
  • Publication: Performance Paradigm 17 (2022)
  •  Date Posted: Mon, 13 Mar 2023



    Performance Paradigm 17 (2022)

    Perform or Else? Revisiting Jon McKenzie's Work in the Post-Pandemic World

    Performance Paradigm 17 is online now!

    This latest issue revisits Jon McKenzie's Perform or Else, reflecting on the book's influence on performance studies and beyond over the last two decades, and thinking about what its insights mean in a post-pandemic era.

    The issue is edited by Emma Willis, Chris Hay and Nien Yuan Cheng and features an interdisciplinary range of long and short articles, as well as interviews with McKenzie and artist pages. 

    Contributors include: Tim Edkins, Ioana B. Jucan, Ali Na, Shuntaro Yoshida, Natsumi Fukasawa, Esther Neff, Nien Yuan Cheng, Chris Hay, Emma Willis, Jon McKenzie, Edward Scheer, Sara Baranzoni, Paolo Vignola,  Helen Dickinson, Fabian Muniesa, Anna Islind, Anthony Gritten, Miško Šuvaković and Goran Sergej Pristaš.
  • PhD scholarship opportunity - please share
  •  Date Posted: Wed, 8 Mar 2023
    ADSA call out - PhD scholarship opportunity - please share

    Area of research: Self-sensing and somatic awarenesses: A movement improvisation study of interoception and physical literacy (a Deakin-Coventry Cotutelle arrangement)

    Dear ADSA colleagues,
    Deakin Theatre and Dance is offering two PhD scholarships in a partnership with C-Dare in Coventry UK. We are seeking applicants who are interested in the intersection of movement and physical literacy with a particular focus on somatic practice and interoception.

    Candidates will commence their studies in Australia and complete their second year in Coventry UK, before concluding in Australia.

    There is more information on the URL
    Questions can be directed to Associate Professor Rea Dennis,
  • Job Opportunity: First Nations Writers' Fellowship, U of Adelaide
  •  Date Posted: Wed, 8 Mar 2023


    Job Opportunity: First Nations Writer's Fellowship, University of Adelaide

    Job listing:
    Closing date: 16 April 2023.

    The JM Coetzee Centre for Creative Practice First Nations Fellowships support the production of new work by First Nations artists, to be awarded to creative writers/storytellers and musicians, beginning with a writer in 2023. The Fellowship comprises $10,000 for creative development of a project, and office space at the Centre.

    Collaborations and dialogue between the Fellow and JMCCCP members will be encouraged, and the successful applicant will be invited to give a masterclass to students in English and Creative Writing. The Fellow will also be free to engage with our neighbours in the North Terrace Cultural Precinct, by exploring or responding to the collections of the South Australian Museum, or by participating in the programs of the Art Gallery of South Australia, particularly those scheduled around Tarnanthi, Reconciliation week and NAIDOC week. 

    Applications close: 11.55pm (ACST), 16 April 2023.

    For more information, or a confidential discussion about the role, please contact Professor Anne Pender, Director JM Coetzee Centre for Creative Practice ( 
  • Call for Proposals: Women's Innovations in Theatre, Dance and Performance, vol. 3
  •  Date Posted: Tue, 28 Feb 2023

    Call for Proposals: Women’s Innovations in Theatre, Dance, and Performance
    Volume 3: Designers & Crafters

    Co-edited by Greer Crawley and Carolina E. Santo

    Proposals due: 15 April 2023

    This volume will focus on the contributions of women to design and stagecraft in general, and in particular to their innovations in the areas of theatrical costume, scenic, sound, lighting, scenography, and media design. Contributors will be encouraged to define the role of designer and stagecrafter expansively and to include innovations by women from eras and contexts in which design specialization had not yet occurred (e.g., contributions and innovations by performers, managers, directors, dramaturgs, writers, or choreographers to stagecraft and design).

    Questions that contributors to this volume should explore include:
    • Who are the women who made significant innovations and contributions as designers and stagecrafters, and what were those innovations? What were the social/political/economic conditions under which they worked? How did their status as women affect their ability to define their status in the field and exercise autonomy as artists? What creative endeavors required the naming/claiming and consolidation of the status of designer?
    • How have design and innovation intersected in women’s stage or performance work, particularly in historical eras or in cultures/theatrical practices in which design, as a subspecialization, did or does not exist? What role have women played in defining design subspecialties or in challenging and changing established conventions? Are there other ways to consider female stagecraft practice beyond the limited constraints on the word and process of creation that upholds a singular, genius model of innovation?
    • How did their work help to shape or change the future of theatre or dance as an art form? Why is the recuperation of their legacies important?

    The Designers & Crafters volume aims to identify voices that are not usually included and to shed light on their unacknowledged contributions to the aesthetics and technologies of design and stagecraft. This recuperation will require the re-examination of the anecdotal and incomplete documentation of the women artists, makers and designers who often work(ed) outside the mainstream theatre industry. A central goal of this volume is to revisit archival materials of theatre history—including sets, costumes, props, workbooks, drawings, models, etc.—so that new and original evidence can be discovered to re-write the historiography of stagecraft from an alternative, feminist point of view. 

    Aspects to be considered might include:
    • The marginalization of women’s craftmanship and aesthetic processes
    • The importance of women as stagecraft educators and mentors
    • The spaces of innovation: the workshop, the studio, the rehearsal room, the home, the classroom
    • Representations of theatre designers and crafters in literature, visual art, film, and photography
    • Innovations in the exhibition of stagecraft
    • Stagecraft and cultural identity

    We seek contributors who can speak to these recurring themes across multiple languages, geographies, cultures, and time periods. We are particularly interested in centering the voices of IBPOC scholars and contributors across career stages.
    We invite critical and creative papers as well as those that present case-studies or deliver in more collaborative formats. Contributions may focus on, but are not limited to, women’s involvement and innovations in the development of design and stagecraft technologies, processes and practices, and design methodologies. 

    The following is an indicative (and by no means exhaustive) list of possible topics:
    • Innovations in artistic practices and design methodologies
    • Innovations in labor and production
    • Innovations in craft knowledge
    • Innovations in sustainability and stagecraft
    • Innovations in digital technologies
    • Innovations in interdisciplinary practices
    • Innovations in theatre technology
    • Innovations in scenic vocabularies and strategies
    • Innovations in making and materiality
    • Innovation in working environments
    • Innovations in experimental practices
    • Innovations in pedagogies
    • Innovations in exhibiting stagecraft

    Contact Greer Crawley ( and Carolina E. Santo ( if you have questions. 

    Abstracts submitted should be 250 words, and include a working title and a description of the methodological approach. Potential contributors should also include a brief (150 word) bio. These should be combined into one MS Word document (Times New Roman, 12-pt, single-spaced) for submission.
    New extended deadline for submission of abstracts is 15 April 2023. Abstracts should be submitted online HERE.
  • Call for Papers: Resilience? Response, Resourcefulness, Recovery, Resistance
  •  Date Posted: Thu, 23 Feb 2023


    Australasian Drama Studies, vol. 83 (Special Edition)


    Resilience? Response, Resourcefulness, Recovery, Resistance

    Call for proposals

    The effects of the Covid pandemic on the field of theatre and performance in Australasia have intensified and, in some cases, refocussed the attention of artists and scholars on issues of resilience, well-being and precarity that have been legitimate preoccupations across academic disciplines since the early 2000’s. As Ames and Greer (2021: 1) point out, however, the resilience so frequently attributed to those who work in creative spheres can also serve “to rationalise and naturalise the redistribution of responsibility for social and systemic problems from the state to communities and individuals” . 

    How is this sustainable? This century we are witnessing the emergence of critique, practices and actions that foreground the value of ‘the arts’ and challenge instrumentalist models, demanding greater emphasis on people-centred and strength-based approaches. In this issue, we aim to interrogate convenient notions of resilience and seek to reiterate Ames and Greer’s salient questions, asking ‘resilience to what?’ and ‘resilience for whom?” (4) in our region. How might the quest for resilience serve the larger agenda of governments and the corporate sector if the resourcefulness attributed to our sector represents what Evans and Reid describe as “deceitful emancipatory claims that force people to embrace their servitude as though it were their liberation” (2015: 154) ? Where do rebellion, resistance and revolution feature in the discourse, aesthetic, and practices of next generation artists? 

    We purposely do not use the term ‘post-pandemic,’ as the pandemic is still with us and our processes, modes and sites of production and learning continue to need to account for this. In a changed landscape, is it resilience that is needed? Can resilience be characterised simply as a ‘bouncing back’ to original shape in this context? Acknowledging the “located, contextual nature of resilience” (Ames and Greer: 3), where, and in what shape, do we find ourselves?

    This issue is, then, intended as a form of health check, examining the state of play in theatre, performance, scholarship and training in Australasia in precarious times. While the Covid pandemic sits within a range of imminent and immediate global crises that both inform and threaten our practices as artists and scholars (if not our existence), its effects have arguably piggy-backed on more persistent problems in relation to making and holding space for diversity, decolonisation, equity and wellbeing. All of these pressing issues point to both individual and collective vulnerabilities and appear in localised formations in our region that can be fragile, at risk of erosion, and in some cases of extinction.
    • Managing precarity and vulnerability: in response to climate crisis, global pandemic, cultural and social and change
    • Australasian innovations in approaches to partnership and collaboration to engender more sustainable approaches to performing arts.
    • Performance practices and training for resilience, cultural safety and well-being
    • Key questions regarding liveness and presence in performance and pedagogy which have arisen (or re-emerged) in relation to the pandemic.
    • Alternatives to current renditions and conceptions of resourcefulness and resilience
    • Government and policy responses to the Covid pandemic and the post-lockdown environment.
    • Alternate economies and the loss of economic certainty for artists and small to medium companies in the performing arts
    • Designing robust strategic change approaches to embed arts and artists in communities
    • Artistic responses to the Covid pandemic, climate emergency, global economic instability, and war
    • The place of care and personal wellbeing within the performing arts
    • Intimacy, institutional and corporate responsibility in the performing arts
    • University responses to the Covid pandemic
      • The changing nature of the Higher Education landscape 
      • Losses to the sector during Covid
      • Strategic rebuilding for a sustainable future
    • Changing aesthetics and production processes in the post-lockdown environment.
    • Economic and social labour in the small to medium and independent artist sectors
    • Holistic working practices and technologies for a sustainable performing arts sector
    • How the industry is contending with with and leading/innovating in policy and procedures embedding First Nations, disability, LGBTQI+ concerns to sustain diverse teams and cultural safety for artists and audiences
    • Imagining the future: practice, training, scholarship

    Send proposals of 300 words to the editors on the emails below by 17 April 2023. If commissioned, full submissions will be due on 25 July 2023.
    Rea Dennis (
    Yoni Prior (
    Sarah Woodland (
    Erica Charalambous (
    Margaret Ames & Stephen Greer (2021) Renegotiating resilience, redefining resourcefulness, Research in Drama Education: The Journal of Applied Theatre and Performance, 26:1, 1-8.
    Brad Evans & Julian Reid (2015) Exhausted by resilience: response to the commentaries, Resilience, 3:2, 154-159.
  • Call for Papers: Green Training
  •  Date Posted: Tue, 21 Feb 2023

    Theatre Dance and Performance Training Journal (TDPT)


    Special issue: Green Trainings to be published in September 2024 (15.3)

    Call for contributions, ideas, proposals and dialogue with the editors

    Jonathan Pitches ( 
    Libby Worth (

    Training Grounds Editor:
    Maria Kapsali ( 
    If not now, when? 

    We are living in a time of an unprecedented global environmental crisis. Scientists have developed a sophisticated understanding of the Earth’s climate system and we know with high confidence that climate change is happening today as a result of greenhouse gas emissions caused by human activity. Negative impacts from climate change, including extreme weather events, the acidification of the oceans, declining glaciers and sea ice, and rising sea temperatures are already being felt and will continue to increase into the future. Radical action to limit future global greenhouse gas emissions is essential if we are to restrict future changes in the climate system. A key target emerging from COP27 (November 2022) is the pressing need to effect the shift from pledging to implementation. In this time of climate emergency we must collectively accelerate, scale up, replicate success stories and bring about transformative action. Conscious of the ubiquitous, and iniquitous acts of greenwashing and virtue signaling, this call for transformative activism must at the same time be expressed honestly with open acknowledgment of the barriers to change, the impediments, and potential failures and the need for persistence - to try and then to try again.

    In the last 20 years, there has been an increase in arts-based training for environmental awareness, and a rich history of practitioners working outside, drawing for instance from paratheatre, somatics and bodyweather. There has been a concomitant process in Fine Art - Suzi Gablik's The Re-enchantment of Art (1991) is a key frame of reference and Natalie Loveless’s How to make Art at the End of the World (2019), has also been very influential more recently. Their focus on pedagogy, responsibility and ethics is instructive for thinking across disciplines. In parallel with this movement there has been a too-late acknowledgement of indigenous/first peoples’ training methods, and the capacity they have to spark new thinking about old training methods, and thus to decolonise the training studio – Te Rākau’s Theatre Marae for instance in Aotearoa/NewZealand (Pearse-Otene, TDPT 12.1) or Cricri Bellerose’s ecosomatic attentiveness through which she becomes an ‘apprentice to the land’ (TDPT 13.2).  

    In the UK and the US, there have been logistical and industrial responses to the crisis, with a focus on finding ways of operating more sustainably and with less waste. The emergence of the Theatre Green Book, now complete at 3 Volumes, provides free guidance for theatre-makers on what everyone can and should be doing to change their practice, and is evidence of the UK theatre sector’s commitment to creating a common standard for sustainable theatre. Similarly, in the US, the Broadway Green Alliance has paved the way for an initiative dedicated to educating and inspiring producing theatres to implement environmentally friendlier practices, with their Green Captain programme providing advocacy and support for professional theatres and college theatre departments. In the UK, some institutions have adopted Green Captains, highlighting their commitment to future sustainable practices. These programmes are, however, almost exclusively focused on theatre production, buildings and operations. If we look to the training methods of performers employed in these contexts, there is scant (published) evidence of sustainable, or ‘green training’ practices.

    Cognisant of the urgent need to address the often problematic issues around responsibility for engagement and action, our discipline is provoking ways to respond. For example, the 9th edition of the International Platform for Performer Training (Chiusi, Italy, January 2023), where this Call for Papers was first developed, included New Creative Ecologies: Non-anthropocentric Spaces, Geopoetics and Climate Change in Performer Training as one of its four key themes for exploration, while RiDE’s forthcoming Special Issue, Confronting the Global Climate Crisis: Responsibility, Agency, and Action, seeks to ‘confront the climate crisis with a revived interest in the diverse pedagogical, ethical, aesthetic, and sensory qualities’ of applied theatre research and practice. 

    In this Special Issue of TDPT we seek to discover green trainings’ roots, to document forms of green training which already exist, and to debate what new forms might emerge. As such, our questions for this special issue may be conceived in three interrelated parts – sources, contemporary practices and imagined futures:

    • How have training regimes and their articulation contributed to the discourse of eco criticism?
    • What historic practices of performance training can we draw on as inspiration for green training today?
    • How have historical training approaches differed in their approach to green training, cross culturally?

    • Which trainers, institutions, networks, models should we be looking to for help in shaping green trainings? 
    • What is the relationship between indigenous and first peoples’ practices and environmentally aware training practice in other cultural contexts today?
    • How have recent statements on the climate crisis (IPCC, COP 26/7) impacted upon approaches to performer training? 
    • Given the known disparity between richer nations that emit the most carbon and poorer nations that suffer the greatest climate change impacts, how does geography impact on training’s reaction to rising temperatures?
    • In work outside of theatres, in site-based practice for instance, how is the training congruent with the performance’s ethics and politics?
    • How are performance-based activists trained and what might be learned from such approaches? 

    • What value and impact might interdisciplinary connections and research have for green trainings?
    • What would a carbon literate curriculum for training include?
    • What are the opportunities and threats associated with digital green trainings?
    • How will training be shaped by factors of climate change in the future? What will rising sea levels, extreme weather, bioodiversity reduction, new energy sources mean for performance training? 
    • What can performer training do to play its part in global adaptation? What small acts can be taken that might excite and motivate others?
    • What training initiatives might be taken to lower our carbon footprint?  

    We welcome submissions from authors both inside and outside academic institutions, from professional practitioners and those who are currently undergoing training or who have experiences to tell from their training histories. 

    To signal your intention to make a contribution to this special issue in any one of the ways identified above please email an abstract (max 250 words) to Jonathan Pitches, University of Leeds  ( and Libby Worth, Royal Holloway, University of London ( Training Grounds proposals are to be made to Maria Kapsali, and copied to Jonathan and Libby. Please state clearly which type of Training Grounds submission you wish to offer.

    Our deadline for these abstracts is 13 June 2023.

    Theatre, Dance and Performance Training has three sections: 
    • 'Articles’ features contributions in a range of critical and scholarly formats (approx. 5,000-6,500 words) 
    • ‘Sources’ provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
    • ‘Training Grounds’ hosts shorter pieces, which are not peer reviewed, including essais (more speculative pieces 750-1250 words); postcards (up to 100 words); visual essays and scores; Speaking Images (short texts responding to a photo, drawing, visual score, etc.); and book or event reviews. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed. 

    Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog:

    About Theatre, Dance and Performance Training (TDPT)
    Special Issues of Theatre, Dance and Performance Training (TDPT) are an essential part of its offer and complement the open issues in each volume. TDPT is an international academic journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. It was founded in 2010 and launched its own blog in 2015. In 2022 we reached the landmark of 50,000 downloads in one year. Our target readership comprises scholars and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance, performance and live art who have an interest in the practices of training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

    Issue Schedule
    • 13 June 2023: proposals to be submitted.
    • Early July 2023: Response from editors and, if successful, invitation to submit contribution
    • Early July to end October 2023: writing/preparation period
    • End October to end December 2023: peer review period
    • January 2024: author revisions post peer review
    • September 2024: publication as Issue 15.3

    Climate Change Committee. 2023. News and Insights. [Online]. [Accessed 16 January 2023]. Available from:
    COP27. 2023. Vision and Mission. [Online]. [Accessed 16 January 2023]. Available from:
    University of Surrey. 2023. Guildford School of Acting (GSA) and its green captains pioneer sustainable theatre production. [Online]. 9 November 2021. [Accessed 16 January 2023]. Available from:
  • Event: Research Based Theatre Symposium (Sydney)
  •  Date Posted: Thu, 2 Feb 2023

    Hosted by the CREATE Centre at the University of Sydney, in collaboration with University of British Columbia Research-based Theatre Lab and in association with the School of Theatre and Performance Studies: a 2-day Symposium on Research-Based Theatre featuring national and international guests, presentations, workshops, and a performance of Empire of the Son by Canadian solo theatre artist Tetsuro Shigematsu.

    Research-Based Theatre (RbT) is a qualitative, arts-based methodology that invites researchers, artists, educators, and research participants to collectively translate and transform research phenomena into theatre. This approach makes use of applied drama and theatre strategies, and at its core rests on two commitments: to honour and ethically explore the research context, and to engage and commit to the art form of theatre.

    Explore a methodology that strives to enliven research, honouring subtilties and complexities while engaging researchers, participants, and audiences in critical and empathetic explorations within live and ephemeral spaces using a host of theatre-based approaches.
  • Event: Panel on Queer Performance, Midsumma Festival (Melbourne)
  •  Date Posted: Tue, 31 Jan 2023

    Dear members, 

    On this coming Saturday 4 February, some of the co-editors and authors of the recent special issue of Australasian Drama Studies on Queer Performance in our region have curated a panel discussion at Melbourne's Midsumma Festival. Although the event is free, booking is required at the link below.

    When: 11.00am - 12.30pm, Saturday 4 February
    Where: The Edge, Federation Square
    Bookings: via the Midsumma website

    Best wishes,
    ADSA Board.
  • Call for Papers: Global Connections in Performance Pedagogy and Practice
  •  Date Posted: Mon, 23 Jan 2023



    International conference jointly hosted by
    LASALLE College of the Arts (Singapore)
    The National University of Theatre and Film I.L Caragiale (Romania)
    Western Australia Academy of Performing Arts (Australia)

    31 May - 3 June 2023

    Proposal submission deadline: 5 February 2023

    The 21st century has brought about critical societal changes that could be argued to put pressure on some of the paramount tenets of performance pedagogy and practice during the 20th century. Transnational connections have enriched our practice with diverse cultural influences and techniques. But they have also shown that what was assumed to be culturally neutral training can have biases and exclusionary practices. Social media has taught us that knowledge is no longer transferred unidirectionally from the teacher/master to the student. Across peer-to-peer networks, students are agents themselves in defining the meaning of knowledge and knowing. And the digital disruption forced by the COVID-19 pandemic has taught us that remoteness and embodiment are not in opposition. 

    These, among other contemporary issues and trends, invite us to re-evaluate the connections we make in and through performance: in professional practice, in our pedagogy, between concepts, objects, locations, and between ourselves. How do we create performance in the 21st century? How do we teach with in-depth training in hybrid and intersectional spaces? How do we continue to diversify and make performance accessible? 

    LASALLE College of the Arts, the National University of Theatre and Film I.L Caragiale, Bucharest, and the Western Australia Academy of Performing Arts invite proposals for our international conference, Global Connections in Performance Pedagogy and Practice. The event will give the space necessary for these and similar questions to be explored collaboratively and interculturally. We wish to gather educators, scholars, and students from across the world to enact and present new connections upon which we can chart the future of our field ahead. 

    We want to open a space that refreshes the experience of an online conference. To that end, panels at the conference will be dedicated to discussing previously circulated papers, sharing live performances or work demonstrations, and delivering workshops. We also welcome proposals for masterclasses or curated panels suitable for an online format (Zoom). The conference will be broadcast online globally and free of charge. 

    This call is open to artists, educators, scholars, and students working in and for the performing arts (Dance, Music, Theatre and adjacent disciplines, such as Film). The list of possible topics that presentations may cover includes but is not limited to the following list. We hope that contributions will advance and challenge current conversations: 
    • New intercultural practices
    • Pedagogic models and values
    • New canons, traditions & lineages
    • Post-pandemic experimental performance
    • Student agency 
    • Technique
    • The normalisation of technologies and media 
    • Telematic music performance and composition 
    • Equity, diversity and inclusion
    • Emerging practices in industry and professional organisations
    • Identity
    • Translation
    • Creative practice research in Higher Education 
    • Consent and safety
    • Matrixes of authority 
    • Ethics in vocational training
    • Citizenry 
    • Listening, empathy & attunement

    Please note that while we welcome contributions in languages other than English, we cannot provide written text or live interpretation translations. Please secure your translation services if you wish to submit/present in another language, and ensure that your materials are circulated in advance. 

    To submit your proposal, please fill in this form. 

    Deadline for submission: 5 February 2023
    Notice of acceptance:  March 2023
    Expected submission and circulation of written contributions: May 2023

    For inquiries:
  • Opportunity: Tokyo - Visiting Professor of Australian Studies 2023-24 and 2024-25
  •  Date Posted: Mon, 23 Jan 2023

    Opportunity-Visiting Professor of Australian Studies (TOKYO)
    2023-24 and 2024-25

    The Centre for Pacific and American Studies at the University of Tokyo is seeking applications for Visiting Professor of Australian Studies for two terms (2023-24 and 2024-25).

    Position title: Visiting Professor of Australian Studies

    Open to: Australian citizens and permanent residents

    Location: Centre for Pacific and American Studies, University of Tokyo, Komaba Campus

    Salary: Starting salary ¥600,000 per month (before tax). See position description for further details.

    Duration: Approximately 10 months

    Commencement of position: Late September 2023 or late September 2024. Applicants may apply to be considered for a specific term only or for either term. This must be indicated clearly on your application.

    Closing date for applications: 1 February 2023

    For the recruitment call and more information about the opportunity see the attached PDF or go online to the link provided.

  • Recruitment: Editor, Australasian Drama Studies
  •  Date Posted: Tue, 20 Dec 2022

    Dear members,

    We hope this email finds you well and enjoying a relaxing end to the year.

    As telegraphed at our recent Annual General Meeting, the current Editor of Australasian Drama Studies Dr Yoni Prior will conclude her term as Editor at the end of 2023. We will celebrate Yoni's achievements as Editor across the next year, and formally commend her work at the 2023 AGM; in the meantime, we thank Yoni on behalf of the membership for all that she has done to modernise and streamline the journal's activities.

    The ADSA Board has opened applications for the role of ADS Editor, with a closing date of 3 February 2023 at 11.,59pm AEDT. This will allow for a substantial handover period across 2023. Details of the application procedure can be found in the attached Position Description. As is noted there, the Board strongly encourages applications from both individual members, and from pairs of applicants who would like to be considered as co-Editors. 

    Informal questions about the role can be directed to Yoni ( For any other questions about the wider recruitment process, please contact the ADSA Board via Rea ( and Chris (

    Best wishes,
    Rea, for the ADSA Board.


  • CfP: RiDE - Confronting the Global Climate Crisis: Responsibility, Agency, and Action
  •  Date Posted: Thu, 8 Dec 2022

    Call for papers: Confronting the Global Climate Crisis: Responsibility, Agency, and Action

    Research in Drama Education The Journal of Applied Theatre and Performance

    Guest Editors: Rachel Turner-King (University of Warwick) and Bobby Smith (University of Warwick)

    In 2012, Deirdre Heddon and Sally Mackey’s themed issue of RiDE made an explicit plea for a deeper ‘critical engagement’ with environmentalism, education and applied drama, theatre, and performance. In the decade since, the discourse around climate change has shifted to reflect the immediacy of rising temperatures and ecological catastrophes: a climate crisis and emergency that requires urgent action (IPCC 2022). This necessitates a reengagement with the challenge of exploring, understanding, and representing the crisis in our field and, particularly, how the idea of responsibility underpins or complicates such work and related action. This issue invites researchers, educators, and practitioners to confront the climate crisis with a revived interest in the diverse pedagogical, ethical, aesthetic, and sensory qualities of our work.

    For more information, the full call is attached.

    300-word proposals for contributions, plus 100-word biographies for each contributor due by 31st January 2023
    To Rachel Turner-King [] and Bobby Smith [].

  • Job Posting: Technical Officer (Performance), UTas
  •  Date Posted: Thu, 24 Nov 2022

    Dear colleagues,

    The University of Tasmania is currently recruiting for a full-time, ongoing Technical Officer (Performance) to support the activites of the Theatre and Performance program, based in Launceston. Full details and the application link can be found via the UTas Careers site ( — please note the deadline for applications is rapidly approaching: Monday 28 November, 11.55pm (AEDT)

    Best wishes.

  • Position: Kaihautū Toi - Artistic Director, closing Dec 2
  •  Date Posted: Tue, 22 Nov 2022
    Kaihautū Toi - Artistic Director (Theta)
    Applications close Friday 2 December 2022

    To apply: CV and covering letter outlining your background and interest in this role via
    Contact: Vanessa Barker +64 3 474 9717 or

    About THETA - visit

    About the Position:
    using applied theatre to empower rangatahi (youth) and other groups to tackle issues of concern and take charge of their well-being inspire you?

    Are you looking for the challenge of growing a proven rangatahi well-being programme, and to develop new programmes?

    Theatre in Health Education Trust (THETA) works nationally, specialising in delivering applied
    heatre-based programmes on well-being issues to rangatahi in mainstream schools and alternative
    in Aotearoa. THETA has been expanding its operations to include programmes for a variety
    community groups and organisations.

    Our interactive programmes use applied theatre practices including forum theatre, educational drama,
    structured role-play and decision-making activities to engage participants in the safe exploration of
    issues relevant to their lives.

    have an exciting and rewarding opportunity to support the Trust’s work by managing and growing
    successful rangatahi well-being programme as well as developing new programmes that promote
    -being and foster new perspectives and understandings.

    this role, you will:
    • Devise and deliver the existing Sexwise programme in line with Manatū Hauora Ministry of Health guidelines and current best practice.
    • Identify and secure funding for new programmes through applications to funding bodies and liaison with community groups and other current and potential stakeholders.
    • Devise and deliver new programmes in accordance with the needs of the stakeholder/clients while upholding the principles and mana of Te Tiriti o Waitangi.
    • You will devise, direct, and supervise interactive applied theatre programmes and work in ways that respect and accommodate gender and cultural diversity. You will be able to tailor programmes to fit the needs of specific communities and groups, Māori and Pacific, rural and more.
    • You will liaise with the THETA Board on the strategic direction of the organisation, and with the THETA Manager/Coordinator in the production of reports to the Board and stakeholder organisations.
    • You will be responsible for budget creation and administrative oversight of the programmes.
    The ideal candidate will have 5 years+ experience in devising and delivering applied theatre programmes that work to foster new perspectives, promote self-determination and inspire participants. This is a mostly autonomous role, so it is imperative that you are entrepreneurial and have a high energy level with drive and enthusiasm. Supporting touring programmes will involve some travel.

    is a full time, permanent role based in Dunedin. If you think you possess the passion to add value
    this key role, and the work THETA undertakes, we would love to hear from you.
  • Conference CfP: 6th annual Dance and Somatic Practices
  •  Date Posted: Tue, 22 Nov 2022

    Reconnections: Looking back, moving forward, enacting change
    2023 Dance & Somatic Practices Conference

    Deadline for the submissions: 30th November 2022.
    Proposals should be submitted online via Google Forms please follow this

    Confernce dates: Friday 14th to Sunday 16th July 2023
    Centre for Dance Research (C-DaRE), Coventry University, Coventry, UK.
    To be held at the ICC Building, Coventry University, Parkside, Coventry, CV1 2NE, UK.

    Call for Papers
    The Dance & Somatic Practices Conference invites practitioners, dance artists and scholars from a range of somatic practices and disciplines to debate and share investigations in the field of somatic informed movement practices.
    The conference will take place in-person with the opportunity to present online.

    The conference – Reconnections: Looking back, moving forward, enacting change – will offer a space to collectively engage with themes pertinent to the field of somatic practices internationally and to consider recent world events and concerns such as COVID-19, social justice and the climate emergency. Historically, the Dance & Somatic Practices Conference has been a moment for all areas of somatic practice, research and other modes of somatic enquiry to meet and share experience, knowledge and
    connection. This year we have recognized a need and desire in the wider somatic community to gather together in this way again. Welcoming different perspectives from the ever-enrichening field, we also want to acknowledge, celebrate and honour who and what has come before, to reflect on what has happened in recent years and to collectively explore current and future priorities for our community.
    We invite proposals for papers, panels, workshops, presentations and other formats that we may not have thought of that, through somatic movement and enquiry, engage with the following questions:
    • What do you consider are key topics of enquiry in the field today?
    • What do you consider are the pressing questions that will need to be
    addressed into the future?
    • What do you consider are the emerging topics of enquiry and how are
    these supported by the legacies in the field?
    • How do you imagine we might continue to develop sustainable formats
    for somatic practice and research, whether through conference, journals or
    other modalities?
    • What, in your opinion, has been missed in our explorations of somatics
    so far?

    The call is open to themes and perspectives such as but not limited to: screendance; dance science; spirituality; body and environment; social justice; climate emergency; pedagogy and performance; politics and trauma; embodiment; ethics; care; technology; and non-Western perspectives.

    We are accepting proposal submissions via Google Forms, you will be asked to include the following:
    • Your proposal (max 500) words including the key theme(s) you will be examining please leave out any personal details as the proposals will be reviewed anonymously by the conference committee.
    • Details of any collaborators
    • Biographies
    • Your preference for presenting in person or online
    • Technical requirements - noting that only low-level technical requirements can be accommodated. Unfortunately, we cannot provide performance level technical support.
    If you have any issues with the form or need any additional support with the form please contact
  •  Date Posted: Fri, 28 Oct 2022

    CLOSES 31 Oct 2022

    Two (2) prestigious 18 month fellowships designed to create a new pathway to nurture creative talents and research leadership skills of those working in the creative and performing arts sector.

    Open to candidates of any nationality in the creative and performing arts sector. You will require an out-standing academic track record (minimum GPA of 3.8/4.0), be a creative thinker, excellent communica-tor, passionate researcher and wish to join this elite group of exceptional Forrest Scholars.

    Applications must be submitted via the online portal by 31 October 2022.
    Shortlisted candidates will be interviewed in December 2022.
    Fellowships must commence between January and August 2023.
  • Lecturer, English and Theatre. Murdoch University - Closes Friday
  •  Date Posted: Tue, 18 Oct 2022

    Lecturer, English and Theatre. Murdoch University

    Murdoch is seeking a Lecturer Level B colleague to start in the new year. The position includes expectations that the appointee willl develop scholarly research outputs and professional activities relevant to the discipline.  This position contributes to the teaching effort of the Discipline through the preparation and delivery of lectures, tutorials, other types of teaching activities, and supervision of honours and postgraduate students, and is expected to perform a range of administrative and service functions within the College and across the University.  For more information:

  • CFP: Critical Stages, Special issue on Post-millennial Australasian Dramaturgy
  •  Date Posted: Mon, 26 Sep 2022

    Critical Stages CFP: Post-millennial Australasian Dramaturgy
    (Eds) Kathryn Kelly, Julian Meyrick, Fiona Graham, Moana Nepia & Emily Coleman

    This special edition aims to build on scattered accounts of Australasian dramaturgy in national and international publications over recent decades to provide a timely focus on the field now.

    Send 300-word abstract to
    Due 30 October 2022

    Call for Papers: Post-millennial Australasian Dramaturgy
    Adopting a place-based curation outlook, this edition embraces the full spectrum of Australian and Aotearora/New Zealand theatre culture, incorporating First Nations and Māori live performance practices, and the modern settler, post-colonial drama of both nations. Within this complex narrative, Australasian dramaturgy has a history filled with contention, paradox, improvisation and passionate practice.

    The centrality of place in this edition seeks to honour the distinctive nature and primacy of First Nations and Māori cultural practices and scholarship. This will be supported by the appointment of cultural consultants to ensure the agency of First Nations and Māori perspectives in the curatorial process.

    As Turner and Behrndt note in their seminal work, Dramaturgy and Performance (2016), “dramaturgy is as diverse as performance-making itself”. We offer an inclusive conception of dramaturgy drawn from existing Australasian scholarship and the global dramaturgical research that has most impacted the local field.

    We recognise dramaturgy as a specialised field of professional knowledge, with shared approaches and objectives that sit alongside distinctive patterns of work. Our broad church outlook allows for different currents of dramaturgical theory and practice to exist in their contradictions and challenges without invalidating potential commonalities arising from their distinctive Australasian context.

    To encourage a wide range of submissions, we welcome traditional research articles on the last ten years of dramaturgical practice and theory, case studies, interviews and panel discussions in video or text form, diagrammatic representations, models and theorisations, and innovative proposals that value oral traditions, or capture other dramaturgical practices in culturally appropriate ways.

    We welcome submissions that relate to or engage with the following:
    • The traditions and current practices of First Nations and Māori dramaturgy, decolonial and decentring dramaturgy, allyship in dramaturgy, intercultural, transcultural and relational dramaturgy, and the incorporation of First Nations, Māori or Indigenous perspectives into cultural resurgence in Australasian dramaturgy.
    • New play development, production dramaturgy, institutional dramaturgy, literary dramaturgy, translation, theatre criticism and adaptation.
    • New dramaturgies, New Materialist Dramaturgy, Expanded Dramaturgy, Slow dramaturgy, Porous dramaturgy, Spatial dramaturgy, Archipelago dramaturgies, Heterarchical Dramaturgies and Saltwater dramaturgy.
    • New media dramaturgy, digital dramaturgy and the confluence of scenography and dramaturgy, particularly ecoscenography, eco-dramaturgy and visual dramaturgy.
    • Dance dramaturgy, choreo-turgy, curation and dramaturgy, co-dramaturgy and devising dramaturgy.
    • Dramaturgy of Belonging, Divisive Dramaturgy, Dramaturgy of Mobility, Unresolvable Dramaturgy, Viral Dramaturgies and dramaturgy as cultural intervention.

    Critical Stages has made the generous offer of potentially including the publication of a new Australasian play/theatrical text.

    About your Abstract
    The abstract should outline the planned submission, indicate the format of submission and also include a 50-word biography identifying all collaborating authors.

    Proposals (Abstracts of 300 words, including a short biography): 30 October 2022

    Selection:     15 December 2022
    First drafts:  30 June 2023
    Final drafts: 15 September 2023
    Publication: 30 December 2023

  • CFP: 2024 issue of Performance Paradigm
  •  Date Posted: Mon, 26 Sep 2022

    Abstracts are being accepted for the 2024 issue of Performance Paradigm on Moving South - The Reconceptualisation of Dance Research in the 2020s

    Co-editors: Erin Brannigan, Tia Reihana, Siobhan Murphy, Emma Willis 

    This issue of Performance Paradigm begins a special focus on dance and choreography, which is to continue, after this issue, as a special ongoing section in the journal. This inaugural and full issue aims to broadly track the state-of-the-field in our local region, encompassing Australia, Aotearoa New Zealand, Asia and the Pacific and is edited by members of the Dance Research Australia network. There has been a paucity of coverage of local dance artists in academic work to date, with the exception of contributions by various guest editors’ work on Brolga, Dance Research Aotearoa, the important work of Sally Gardner and Elizabeth Dempster's co-edited Writings on Dance (1985-) historically, and some monographs on specific artists and anthologies responsive to place-based storylines such as Rachael Swain’s Dance in Contested Lands (2021) and Bodies of Thought: 12 Australian Choreographers (Eds. Baxter and Brannigan, 2014).

    Dance platforms for sharing work local to the region have also been sparse. The Undisciplining Dance conference in Auckland in 2016 was an important recent milestone with the last Australian dance conference occurring in 2004 (Dance Rebooted: Initializing the Grid). The anthology issuing from the 2016 event, Undisciplining Dance in Nine Movements and Eight Stumbles (2018, Editors Carol Brown and Alys Longley), picked up on Elizabeth's Dempster's provocations in that 2004 event around “undisciplining” the art form, and this special edition continues the conversation.

    Importantly, the scope of work in the field of Dance Studies in our regions has historically had a narrow cultural profile with much work still to be done on non-Western practices, traditions, and contemporary work. Moreover, expansion to include the professional dance and choreography of First Peoples and diasporic communities is essential. It is also a field dominated by artist-theorists, not just locally but internationally, and the shift towards redefining and deploying disciplinary tools (for example the newly expanded notion of “choreography”) unsettles and re-envisions how we embody our interdisciplinary knowledge.

    So, this inaugural section asks: what model of Dance Studies might be relevant in our local context in the 2020 s and what are the points of convergence and distinction with allied fields such as theatre, performance, live arts and increasingly, visual arts? Themes may include:

    • Intercultural dance practices
    • Place/space
    • Dance history
    • Uneven modernities
    • New dance dramaturgies
    • Techniques, scores, practices
    • National identities
    • Dance diasporas
    • Methods of practice-led research in dance
    • Dance and activism
    • Modes of creative composition and production
    • Dance and archival practices
    • Dance and screens
    • Dance pedagogy
    • Popular dance forms
    • Politics of dance production

    We welcome contributions in a variety of forms including critical essays, artists pages, accounts of creative practice as research and historical studies.

    Please send proposals of approximately 300 words to by 1 May 2023.

    If successful, full articles will be due on 1 December 2023 for publication in Performance Paradigm 18, August 2024.

    Dance Research Australia is a community initially established with 70 members which had its inaugural meeting in 2020. It is focused on Australian scholars, writers and artist-researchers working in the field of dance and allied fields both inside and outside the institution, and both locally and internationally. The working party currently consists of Associate Professor Erin Brannigan, Dr. Siobhan Murphy, Dalisa Pigram, Dr. Jo Pollitt (convenor 2022-2023), Shinjita Roy (PG rep), Dr. Tia Reihana, and Dr. Rachael Swain.

    More information and journal contact details are available here:

  • PhD Scholarship Opportunity - Murdoch University WA
  •  Date Posted: Mon, 26 Sep 2022

    PhD in theatre/performance with archival studies, cultural heritage, digital humanities with a 3.5 year PhD scholarship (offset and stipend) with Murdocuh University in partnership with the Digitisation Centre of WA.

    PhD Scholarship and Supervision

    A 3.5 year fee offset scholarship and stipend is available for a PhD commencing in 2023 at Murdoch University under the supervision of Professor Helena Grehan, Law, Arts and Social Sciences, Murdoch University.

    For more information on the PhD Scholarship and the broader project please contact:


    The Linkage grant “Life after digitisation: future-proofing WA’s vulnerable cultural heritage”, funded by the Australian Research Council for 4 years (2022-2025), involves researchers from three Western Australian Universities, and one from the University of Queensland (see below). The partners aim to digitise significant cultural collections held across Western Australia, including Aboriginal languages, the WA performing arts collection held by the Perth Theatre Trust, and selected cultural objects of significance from across the State.

    The Scholarship

    The materials held by the Perth Theatre Trust (The Museum of Performing Arts collection MOPA) include costumes, programmes, posters, pay bills, photographs, scripts, scores, recordings and other items from thousands of productions performed across WA since colonisation. The collection includes material from ballet, Shakespearean theatre, vaudeville, contemporary dance, opera, drama, stand-up comedy and more. This PhD Scholarship provides the right candidate with an opportunity to delve into the significant archives held by The Perth Theatre Trust (approx. 45,000 items) and to develop their own project, drawing on and utilising these important cultural artefacts. His Majesty’s Theatre, which houses the collection, has hosted performances by actors from across the globe, including: Dame Nellie Melba, Sir John Gielgud, Katharine Hepburn, Vivien Leigh, Sir Robert Helpmann and Geoffrey Rush and Anna Pavlova.

    The successful candidate will work alongside the research team and as well as developing their own important research project, will contribute to the digitisation of this important Western Australian collection. We invite applications from potential candidates interested in performance and theatre studies, archival research, cultural heritage studies and digital humanities. The position is supported by a Murdoch University fee offset PhD scholarship and stipend for 3.5 years.

    Institutions and partners
    Murdoch University, Edith Cowan University, University of Queensland and University of Western Australia
    Western Australian Museum
    The Perth Theatre Trust
    Kimberley Language Resource Centre (Aboriginal Corporation)
    Wangka Maya Pilbara Aboriginal Language Centre (Aboriginal Corporation)
    Mirima Dawang Woorlab-Gerring Language And Culture Centre
    Bundiyarra Aboriginal Community Aboriginal Corporation
    Goldfields Aboriginal Language Centre

    More informaiton attached.

  • A public lecture by Professor Jennifer Parker-Starbuck (Royal Holloway, University of London)
  •  Date Posted: Tue, 13 Sep 2022

    The Sea is on Fire: Machinic Crustaceans and Ecological Promises
    A public lecture by Professor Jennifer Parker-Starbuck (Royal Holloway, University of London)

    29 September 2022 
    6:00pm 7:30pm
    Forum Theatre (153), Arts West - North Wing (148A)

    The Future Scenarios: Performance, Climate, Ecology series in the School of Culture & Communication is proud to present a public lecture by visiting scholar Professor Jennifer Parker-Starbuck. Focusing largely on Les Machines des L’ȋle in Nantes, France, a “theme park” of mechanical animals and sea creatures, this public lecture reflects on the power of machinic or substitute creatures to both point to and at the same time override environmental concerns. Will riding on a giant manta ray increase awareness later in life toward the environmental challenges the seas will face? Can embodiment shift the human-animal-technological balance?

    Professor Jennifer Parker-Starbuck is an internationally renowned expert in theatre history and theory. She has recently served as Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London, and is the author of a number of books on multimedia performance including Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance (2011); Performance and Media: Taxonomies for a Changing Field (co-authored with S. Bay-Cheng and D. Saltz, 2015), and co-editor of Performing Animality: Animals in Performance Practices (2015). Professor Parker-Starbuck has served as editor of Theatre Journal, a contributing editor for PAJ: A Journal of Art and Performance, and an editorial board member of the International Journal of Performance Arts and Digital Media. Currently, she is a co-Theme Leader of the Arts and Humanities Research Council Creative Industries Cluster Grant and International Centre of Excellence Grant, a £9.5 million project based at Royal Holloway, University of London, for which she is a theme leader for StoryLab, a center for immersive storytelling. Jennifer is also involved as a Partner Investigator with the Australian Research Council-funded project Towards an Australian Ecological Theatre, based at The University of Melbourne.

    This event is sponsored by the School of Culture and Communication at The University of Melbourne and the Macgeorge Bequest.
    This is a free event, and registration is essential.

    Please note: This is a mask-friendly event. As it is held indoors, the University of Melbourne’s current advice strongly recommends mask use in indoor settings. See the University’s current COVID Safe guidelines here:
  • Public Symposium (Melbourne): Climate Collaborations: Art, Science and Future Scenarios
  •  Date Posted: Tue, 13 Sep 2022

    Climate Collaborations: Art, Science and Future Scenarios
    A public symposium to be held at the University of Melbourne and Keynote address by special guest Professor Peter Eckersall, City University of New York.

    Tuesday 27 September 2022 
    9:00 – 5:00
    Discursive Space (553), Arts West - North Wing (148A)

    Climate Collaborations interrogates urgent questions for our time: what causes eco-anxiety and fear? What offers hope and enchantment? And what can art do in a climate emergency? Bringing together artists, activists, scientists, academics and curators, the symposium explores the relations between knowledge, aesthetics and culture in a climate emergency and beyond.

    The symposium is sponsored by the Australian Research Council, the School of Culture and Communication at The University of Melbourne, and the Macgeorge Visiting Speaker Award.
    Part of the The FUTURE SCENARIOS – PERFORMANCE, CLIMATE, ECOLOGY series at the University of Melbourne

    Please note: This is a mask-friendly event. As it is held indoors, the University of Melbourne’s current advice strongly recommends mask use in indoor settings. See the University’s current COVID Safe guidelines here:

  • Book Launch, Sept 1, Melbourne
  •  Date Posted: Thu, 25 Aug 2022
    We are pleased to annouce the launch of two new books from long term ADSA colleagues Professor Peta Tait and Professor Rachel Fensham.

    From the Bloomsbury Methuen Theatre Studies series on Movement and Emotion the launch will be hosted by Chris Mead, Head of Theatre, Victorian College of the Arts on Thursday 1 September 5.00 (for 5.30) to 6.30 p.m in the Melbourne Theatre Company Foyer, 140 Southbank Boulevard, Southbank

  • Conference: Call for Papers - The Colour of Fire: Sinophone Performance across Australia and Cultural Exchange
  •  Date Posted: Sat, 16 Jul 2022
    Conference: Call for Papers   The Colour of Fire: Sinophone Performance across Australia and Cultural Exchange   Host: JM Coetzee Centre for Creative Practice, University of Adelaide   Date: 3-4 November 2022   Organising Committee: Jonathan Bollen, Tsan-Huang Tsai, Anne Pender   Sinophone performance across Australia has a rich history and cultural significance that has not been fully documented or widely appreciated. We seek to explore the reach of Sinophone performance across our region, its many forms, long history and contemporary expression. We welcome papers from a multidisciplinary frame of reference.   We invite proposals for papers that explore any aspects of what might be called Sinophone performance across Australia from contact times to the present, with interest in diasporic experiences, migration networks, identity formation, sensory adaptation, community engagement, creativity and traditionalization, regional touring circuits, regional politics, international and cultural relations, diplomacy, exchange, collaboration, trade, globalisation, training, audiences, theatre ecologies, ritual and daily life, as well as all forms of performing arts, music, opera, music theatre, cabaret, ballet, dance, circus, revue, spoken word theatre, works in translation, puppet theatre, devised work and hybrid contemporary forms.  Consideration of the performance archive and analysis of the curatorial afterlife of performance cultures are also of interest.   Abstracts are invited for papers of 20 minutes duration or panels of 90 minutes on any of the topics listed above that examine performance and performance cultures from Sinophone contexts or inspired by Sinophone cultures. Works in English deriving from or inspired by Sinophone sources are included in this enquiry.   Please indicate your preference for attending in person or online. Please send proposals for abstracts of approximately 250 words to the emails below by 1 October 2022.   The conference is scheduled to coincide with the OzAsia Festival in Adelaide, 20 October – 6 November 2022.   Please feel free to contact the organising committee members with any questions.  
    Anne Pender  Jonathan Bollen   Tsan-Huang Tsai   
    Jonathan Bollen Associate Professor
    Theatre and Performance Studies School of the Arts and Media, UNSW Sydney
  • Call for Papers - Performing Global Crises
  •  Date Posted: Sat, 16 Jul 2022

    Call for Papers - Performing Global Crises

    An interdisciplinary conference hosted by The Performance of the Real Research Theme at the University of Otago, Dunedin, New Zealand
    30th November-2nd December 2022

    Crisis has characterised contemporary lives in many ways –as we witness, experience, perform, and respond to entangled health, political, social, and environmental disasters. For example, in the past few years, the Covid-19 pandemic has affected virtually every area of our lives. Individual, local, national, and global responses have been played out and performed in the media, on social media, and in embodied social landscapes. Scientists have become the new celebrities, and politicians have risen and fallen according to their Covid management performances. The virus itself has also performed, taking on different guises as it mutates to extend its life and efficacy. Zoom and other similar platforms have become the new mode of communication for many, generating new forms of visibility, intimate digital surveillance, and networked sociality. Many people have been marginalised or further marginalised by the pandemic, by inequalities in access to digital technologies as well as health technologies. At the same time there has never been a time when communication, miscommunication, disinformation –about vaccines, mandates, and more –have been so fraught and politicised. As all-encompassing as the pandemic has seemed at times, it has been eclipsed in some respects, more recently, by public attention to the Russian invasion of Ukraine, which is emerging as the most visible war in history. With visibility comes multiple modes of performance and performativity, including competing deep fakes, and another arena for the performance of global leaders, politicians, and the public. Meanwhile, the slow violence of Climate Change continues to devastate communities, nations, and species. The Climate itself, specific ecosystems and landscapes, and non-human creatures, have be enacting as key performers in diverse scientific, popular, and media-scapes, garnering global attention as harbingers for a harrowing future, even amidst those who doubt its existence.This conference will explore the way that these multi-layered global crises have been and continue to be performed, contested, and mediated across all strata of communication and society.

    We encourage contributions relating (but not limited) to the following topics and issues connected to the performance and performativity of crises:
    -The Climate Emergency and public performances of responsibility
    -Protest action and the performance of dissent-Digital technologies of visibility and surveillance
    -News, information, and the politics of truth
    -Precarity, marginalization, and inequality in times of crises
    -Art, literature, and creativity for wellbeing and resilience amidst crises
    -Leadership, celebrity, and the public performance of power and trust amidst crises
    -Public communication of science (virology, climatology, etc.)
    -Spectacularisation of war, violence, and the military
    -Participatory/symbolic performances of political relations: allyship, solidarity, fear, or threat
    -Decolonisation and indigeneity in responses to crises
    -Empathy, care, and witnessing: mediated responses to the suffering of others
    -Gendered experiences of/in crises: labour, feminism, care ethics
    -Politicised bodies/selves: intersectional views of gender, disability, race, and the good life
    -Racialised and spatialised performances -mapping and tracing crises through bodies
    -Multispecies, posthuman, and more-than-human worlds: living with ‘others’ through crises-Wellbeing and affect amidst crises: hypervigilance, anxiety, apathy, compassion fatigue
    -Social imaginations of the future: hope, optimism, connection and connectivity, the utopian/dystopian, apocalyptic visions, and ‘doom’Conference and Paper

    Format: This will be a hybrid conference that allows people placed in Aotearoa New Zealand and nearby to attend in person, and for internationals -if they cannot travel -to attend online via Zoom.

    Submitting an Abstract:
    Please submit a 200-250 word abstract of your contribution and a 100-word biography for each presenter by 16 September 2022. Please send us your abstract as a Word document. Use your surname in the document title. Please clearly indicate the title of your presentation, the nature and timing of your presentation e.g. 20 minute spoken paper with Powerpoint, as well as your full name (first name, surname) and institutional affiliation (if relevant).

    Please send your abstracts or any enquiries to the Theme administrator at In addition to conventional 20-minute papers, we also invite presentations with a performance or creative or workshop component. Accepted delegates must confirm their attendance by completing registration and payment by October 31, 2022.

    Travel bursaries for Postgraduate Students:There are also a limited number of small travel bursaries available for attending the conference.
    Please contact the Theme administrator at more details.
    About the Performance of the Real Research ThemeThe Performance of the Real is aUniversity of Otago funded interdisciplinary Research Theme. The project investigates what it is about representations and performances of the real that make them particularly compelling and pervasive in our current age. At its core is the study of how performance/performativity, in its many cultural, aesthetic, political and social forms and discourses, represents, critiques, stages, and constructs/reconstructs the real, as well as the ethical, social, and form-related issues involved in such acts.
  • Call for Papers: On Invasion, Performance Research 28(2)
  •  Date Posted: Mon, 16 May 2022

    Call for Papers

    Performance Research, vol. 28, no. 2, 2023

    "On Invasion"

    Proposal Deadline: 27 June 2022
    Issue Editors: Helena Grehan (Murdoch U) and Miriam Haughton (NUI Galway)

    We live in a world of unpredictability, fracture and powerlessness. Acts of violence, invasion and oppression, both seen and unseen, pervade all aspects of life and threaten the viability of the planet. Yet, perhaps because of this powerlessness and fracture, this is also a time of solidarity, of acts of resistance both large and small, and of friendship, love and bravery. It is a confusing and confounding time and one in which we must yet again consider the role, value and power of art to intervene, to destabilize, to disrupt and to question. As Hannah Arendt points out:
    Never has our future been more unpredictable, never have we depended so much on political forces that cannot be trusted to follow the rules of common sense and self-interest—forces that look like sheer insanity, if judged by the standards of other centuries. It is as though mankind [sic] had divided itself between those who believe in human omnipotence… and those for whom powerlessness has become the major experience of their lives. (Arendt 1951: vii)
    Arendt wrote the lines above in the Preface to the first edition of The Origins of Totalitarianismin 1951, which resonates strongly with the crises of today. However, let us also reflect on Seamus Heaney’s verse adaption of Sophocles’ play Philoctetes, first published in the early 1990s as sectarian violence in the north of Ireland seemed beyond hope. 

    History says, Don’t hope 

    On this side of the grave… 
    But then, once in a lifetime
    The longed-for tidal wave 
    Of justice can rise up, 
    And hope and history rhyme. (Heaney 1990)
    We draw from them now to acknowledge the powerlessness of so many, while hoping for a ‘longed-for tidal wave/Of justice…’ The topic of ‘invasion’, in the context of the current world order, is an apt topic for an issue of Performance Research. We call for submissions to ‘On Invasion’ to consider the idea and reality of invasions – of communities and nations, of the body, the imagination and the environment, and of artistic response. 

    What does and might invasion mean in the current tumultuous world? How indeed might performance and artistic practice more broadly respond to or enact this concept? We may, for example, understand the theatre as an invasive force, following Antonin Artaud, one that seeps into the body of the performer and/or spectator—one that infiltrates slyly, demands an audience or bombards sonically; think of the work of Romeo Castellucci, Sarah Vanhee, Tania Bruguera, 
    Milo Rau, Bashar Murkus, ANU Productions, or Back to Back Theatre, for example. 

    In what ways might performance equip us to withstand these and other kinds of invasions – outside and beyond the performance space? How might it operate to alter this status quo of fear, fracture and disruption? When we think of invasion as a concept and a reality, we conjure up images of war, isolation, refugees, climate destruction, the Anthropocene, racial division and oppression, ecological devastation and infiltration, political rupture, technological interference and surveillance, medical procedures and immersive dramaturgies, among myriad others. But what is the value in an issue on this fraught and huge topic? What might artists and scholars make of it? What examples can they draw on to flesh out this pervasive reality? Whose voices do we most need to hear from on this theme?

    We invite essays, manifestos, artists pages and other meditations on the topic that consider ‘On Invasion’ in the broadest possible terms. 
    Submissions might consider, but are not limited to, the following areas:
    • Theatres and performances of invasion, of resistance.
    • Disciplinary invasions: borrowing or stealing perhaps, from theatre to elucidate other arguments or fields, and what of performance’s disciplinary invasions or incursions?
    • How do we negotiate in performative terms invasions of bodies, minds, through persecution and war and/or the drive for geo-political expansion?
    • What are the contemporary artistic strategies that invade social space?
    • How does theatre and performance alter the status quo?
    • What of ecological invasion? Rising sea levels, species decline, fire, drought, pestilence, flood?
    • Bombing, loss of life, dislocation and fear in the face of military oppression.
    • Resistance, refusal, solidarity and stealth.
    • Hope and renewal; can signs of resolution or peace be found among the wreckage of tragedy?
    • Increasing surveillance and control via digital platforms and media and our willingness to participate, despite the risks. How much is one’s identity worth these days?
    • Controlling viruses and the associated impacts on the arts sector. How much is too much? 
    • Saving lives and economic viability at what social cost?
    • Do sanctions and boycotts seem useful strategies to halt invasion?
    • What role might hacking and resistance, fighting back against ‘oppressors’ play?
    Arendt, Hannah (1951) The Origins of Totalitarianism, Berlin: Shocken Books.
    Heaney, Seamus (1990) The Cure at Troy: A version of Sophocles' Philoctetes, London: Faber in association with Field Day.
    Proposals: 27 June 2022
    First Drafts: October 2022
    Final Drafts: January 2023
    Publication: March 2023
    Alongside long-form articles, we encourage short articles and provocations. As with other editions of Performance Research, we welcome artist(s)’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.
    Issue contacts
    All proposals, submissions and general enquiries should be sent direct to Performance Research at:
    Issue-related enquiries should be directed to the issue editors:
    Helena Grehan:
    Miriam Haughton:
    General guidelines for submissions:
    • Before submitting a proposal, we encourage you to visit our website ( ) and familiarize yourself with the journal.
    • Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)).
    • Proposals should not exceed one A4 side.
    • Please include your surname in the file name of the document you send.
    • Please include the issue title and issue number in the subject line of your email.
    • Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images.
    • Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
    If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article, you will be asked to sign an author agreement for your work to be published in Performance Research.
  • Job Posting: Research Associate, University of Manchester
  •  Date Posted: Sat, 7 May 2022

    Dear colleagues,

    The University of Manchester (UK) is currently recruiting for a fixed-term Research Associate to join the interdisciplinary AHRC-funded Care Aesthetics: Research Exploration (CARE) project. The opportunity is particularly suitable for those with recently-completed PhDs, which are defined here as "awarded, submitted, or soon to submit". Further details, and the link to apply, are available on the University of Manchester Jobs page. Applications close on 17 May 2022 at midnight (BST). 

    Best wishes,


  • 2022 ADSA Conference — Call for Papers extended
  •  Date Posted: Fri, 22 Apr 2022

    Dear members,

    This is a quick note to let you know that the deadline for submissions to present at ADSA 2022: Travelling Together, Waipapa Taumata Rau | The University of Auckland is almost upon us – submissions are due by the end of tomorrow, Monday 9 May. Abstracts and queries can be directed to Emma Willis ( (Please note this email address was mis-typed in the previous circulation). 

    If you're looking for any last-minute guidance while putting your abstract together, you might like to consult the recording of our recent session on The Art of the Abstract, convened by the Postgraduate Committee. You can find the recording in the ADSA Members-Only area by clicking on the "Postgrad and ECR" link.

    Best wishes,

  • The International Ibsen Award: Back to Back Theatre
  •  Date Posted: Thu, 14 Apr 2022


    International Ibsen Prize 2022

    Back to Back Theatre

    ADSA warmly congratulates Back to Back Theatre, and recognises their extraordinary achievement in winning the 2022 International Ibsen Prize, awarded biennially by Norway's Nationaltheatret to an individual, institution or organisation that has brought new artistic dimensions to the world of drama or theatre. This award places Back to Back in exalted company: previous winners of the award include Taylor Mac, Christoph Marthaler, Forced Entertainment, Heiner Goebbels, Jon Fosse, Ariane Mnouchkine, and Peter Brook. This is not only a ringing endorsement of Back to Back's international reach, but also a victory for the visibility of Australian and neurodiverse artists on the global stage.

    Many ADSA members have deep intellectual and professional links with Back to Back, and members of the company joined us in conversation at our 2018 Conference at the Victorian College of the Arts, University of Melbourne. In the Committee Statement that accompanied the award, the judges even cite long-time ADSA members Helena Grehan and Peter Eckersall and their edited collection We're People Who Do Shows: Back to Back Theatre — Performance, Politics, Visbility. The Statement reads:

    Back to Back have consistently and defiantly challenged social and cultural perceptions and constructs. They have unsettled the politics of normalisation by making uncompromising work that stimulates, contests, entertains and engages, challening the interdependence of myth and history and the grand narratives that ground Western culture, as well as those stories that have been repressed, forgotten, or erased. 

    On behalf of the membership of ADSA, the Board toasts the success of this most remarkable company. If you haven't had the chance to experience their work yet, The Shadow Whose Prey the Hunter Becomes is currently on tour, with upcoming dates in Melbourne, Canberra, Vienna, Brussels, and (fittingly) Oslo. 
  • 2022 ADSA Conference — Abstract Submission Reminder
  •  Date Posted: Thu, 14 Apr 2022

    Kia ora colleagues,

    A warm reminder that abstracts for ADSA 2022: Travelling Together, Waipapa Taumata Rau | The University of Auckland, 6 to 9 December, are due on Monday 25 April. Conference registration will also open on that date. For conference information, please see the conference website at Abstracts and queries can be submitted to The ADSA 2022 team at Waipapa Taumata Rau can't wait to see you in December!

    To that end, ADSA is also offering an abstract writing workshop in advance of the submission deadline:

    The Art of the Abstract
    Wednesday 20 April, 10am AEST, via Zoom

    Please join us for a professional development session organised by the Postgraduate Committee on the Art of the Abstract. Our expert panel, which includes Dr Emma Willis (one of the convenors of the 2022 ADSA Conference), will share their tips and tricks on crafting an effective abstract, speaking to a call for papers, and how to balance specific detail and overall shape in 300 words or fewer. There will be some time to workshop your ideas with other attendees, and get advice on your abstracts from the panellists. All ADSA members are welcome to join us, regardless of career stage; if you have any questions, please reach out to our PG/ECR reps, Anita ( and Gareth ( 

    If you are unable to attend the event, the advice section will be recorded, and made available in the Postgrad and ECR section of the ADSA Members-Only Area, where you can also find a record of our recent session on Peer Review 101.

    Best wishes,
    Chris, for the ADSA Board.

  • Job Posting: Lecturer in Drama (0.5 FTE), UQ
  •  Date Posted: Wed, 30 Mar 2022

    Dear colleagues,

    The University of Queensland is currently recruiting for a teaching-focussed Lecturer in Drama (0.5 FTE), a fixed-term position until 4 August 2023. Details of the job can be found on the UQ Careers website (, where applications can also be submitted. The posting closes at 11.00pm (AEST) on Sunday 10 April

    Best wishes,
  • PhD Scholarship: 'Actor Training and Physical Literary', Deakin University
  •  Date Posted: Fri, 25 Mar 2022

    Call for PhD Candidate: 'Actor Training and Physical Literacy'

    School of Communication & Creative Arts, Deakin University

    This research project is part of the Makers, Performers, Practices Research Network, and will examine acting practices as an alternate site for physical literacy in adolescents. Physical literacy refers to a framework of learning at the intersection of the fields of health, sport and education spanning core concepts: physical, psychological, social and cognitive. The project is part of the interdisciplinary research project 'When Art Meets Sport' (led by Rea Dennis, Kate Hunter and Lisa Barnett). Focusing on the way in which technical and practical actor training activities enable affective and embodied knowledges, the research will explore what these practices have to offer and how they augment and extend our understanding of physical literacies in adolescents.

    We expect the research will add to actor training knowledges and practices, and also innovate our understanding of how the kinaesthetic, imaginative and perceptive practices are developed and generated through consistent actor training practices and as such offer sustainable approach to obtaining and sustaining physical literacy for young people and across the lifespan.

    The project is attached to a competitive scholarship round through Deakin’s School of Communication and Creative Arts. If you’d like more information or if you have any questions, please contact (until 15 April):
    A/Prof Rea Dennis (
    Dr Kate Hunter (

    You can also read more about the direction of the research here: 

    Complete an Expression of Interest here:

    Expressions of Interest are due 29 April 2022.
  • Publication: "Performing Theatrical Jurisprudence"
  •  Date Posted: Wed, 16 Mar 2022

    Law Text Culture

    Volume 25 (2021), "Performing Theatrical Jurisprudence"

    A special issue of the journal Law Text Culture on "Performing Theatrical Jurisprudence", guest edited by Sean Mulcahy and Marett Leiboff, has been released and published. The special issue brings together distinctive and innovative research in the interdisciplinary field of law and performance, and highlights the diverse and valuable work on the intersections of law and theatre.

    The special issue can be found online and open access — with a special note from legal scholar and playwright Desmond Manderson — at this link:
  • Call for Papers: 2022 ADSA Conference
  •  Date Posted: Fri, 11 Mar 2022


    Travelling Together: ADSA 2022, December 6—9

    Waipapa Taumata Rau | The University of Auckland


    In July 2021, The University of Auckland was gifted a new Māori name, Waipapa Taumata Rau, by the people of Ngāti Whātua Ōrakei, the hapu on whose lands many of the University’s campuses are located. Waipapa refers to the shoreline, the landing place of Māori waka, a destination, place of arrival, connections between people, an exchange of knowledge and teaching. Taumata, refers to the peaks where land meets the sky, places of challenge, achievement and revelation. Ihonuku Pro Vice-Chancellor Māori, Associate Professor Te Kawehau Hoskins (Ngāti Hau, Ngāpuhi), said that the new name better connects the University to where it is located and highlights the significant partnership with Ngāti Whātua iwi. She proposed, “This new name underpins a new strategic direction. It is one that champions building respect for Māori knowledge and challenges us to understand that we are part of a whakapapa of historic and current relationships.”

    This new name, Waipapa Taumata Rau, its gifting and the reflections of reciprocity of place and people provide the direction for the ADSA conference 2022. The theme for our conference: Travelling Together considers how the broad field of performing arts can facilitate meeting places that are culturally centred, inclusive and responsive to landscape which its practitioners and audience members co-inhabit.

    We invite contributors to consider how they might respond to this theme, to attend to where we/you have come from, your personal and professional genealogies, past relationships, to look up to the peaks, places of challenge, achievement and revelation we/you have reached on our journeys as performance scholars and makers, to imagine and find places of arrival, connection, exchange, and to think about what we will carry forward together in future journeys and actions.

    ADSA 2022: Travelling Together embraces interdisciplinary intersections and invites artists and scholars from fields of theatre, dance, visual arts, writing and performance as expanded fields. We invite contributors to think both critically and creatively about how to respond to the call for papers and welcome proposals for 20-minute paper presentations, artistic research presentations, workshops and roundtable discussions. We encourage collaborative proposals and are also open to discussing alternative formats that participants may want to propose.

    For those interested in performative/creative presentations or workshops: the University has a small black box theatre and small dance studios that may be used for workshops and presentations. Presenters should be aware that we will have limited technical support and rehearsal capacity for this space. Please indicate on your abstract any specific technical requirements so that we can let you know whether what you want to do is possible. It may also be possible to pre-record a digital performative presentation, which we will host in an online context. Please let us know if you are interested in this option.

    We offer the following prompts and possibilities as starting points for responding to the conference theme:
    • Journeys, wayfinding, lines of flights
    • Arrivals and new beginnings
    • Connection and exchange
    • What are our mooring posts?
    • Presence – what happens when we are present together? How does performance allow us to ‘travel together’?
    • What might our experiences of the last period contribute to our disciplinary understanding of presence?
    • What does our discipline have to contribute to wider discourse about the role of presence in a (we hope) post-pandemic era? Where have we come from as a discipline and where are we moving to? What are the peaks that we aspire to?
    • How do we move, dance, sing, act, together through change?
    • In an article for Performance Paradigm in 2021, Lisa Samuels wrote of the critical practice of ‘withness,’ a stance that turns ‘towards a standing with the engaged object/event, an attention that does not turn away, that does not seek to be somewhere other than in relation.’ How might we foster such a stance in our own practices?
    • The Tongan whakataukī (proverb) ‘pikipiki hama kae vaevae manava’, an expression of lashing together canoes to preserve life, provides us with an image coming together to share knowledge. How might we better share and connect our knowledges?
    • In Imagining Decolonization, Ocean Ripeka Mercier writes, ‘To see a truly decolonized Aotearoa […] decolonizing actions will […] have to transform the European systems and frameworks that are the deep institutions of colonization.’ How do we practice such decolonization within our own institutions, research and creative practices?
    • What does it mean to travel with our students? What kind of journey is this? How have our students travelled together during this period of distance and isolation? What contribution does performance pedagogy have to make to these wider sector challenges?
    • Theatre and performance studies has long engaged in discourses related to site and place, to travel and tourism, what more might we now have to say about these intersections?
    We ask that attendees submit their abstracts to Emma Willis ( by Monday 25 April.

    We appreciate the degree of uncertainty for most of us around travel at present. While we are currently working towards an in-person conference with some elements available online, we recognize the need to be fluid in our planning. We remain optimistic, however, and strongly encourage members to submit abstracts while we work to deliver the conference in a format that allows as many members as possible to participate. To that end, please indicate on your abstract whether:
    • You plan to attend in person
    • You are unsure yet whether you will be able to attend in person
    • You will only be able to engage with the online components of the conference.
    Conference organisers: Emma Willis, Molly Mullen, Tia Reihana, Alys Longley, Michelle Johansson, Peter O’Connor, Tahnee Vo. For more information, please contact Emma (

    The conference is kindly hosted by Te Kura Tangata, Faculty of Arts; Te Puna Aronui, School of Humanities; the Centre for Arts and Social Transformation, Faculty of Education and Social Work; and Dance Studies, Faculty of Creative Arts and Industries at Waipapa Taumata Rau | The University of Auckland.
  • Call for Papers: Touch and Training (TDPT 14.2)
  •  Date Posted: Wed, 23 Feb 2022

    Theatre, Dance and Performance Training 
    Special Issue: Touch and Training, to be published in June 2023 as TDPT 14.2

    Global happenings throughout this past decade, such as #MeToo, #blacklivesmatter, Asian Spring, Arab Spring, the Marriage Act (2013 UK) and Russia’s “Gay Propaganda” law (2013), and COVID-19, have radically repositioned touch in performance and performer training. Touch is a socio-cultural event, a political act between two people as well as a network of power positions and layers of institutional infrastructure: who touches, how does/should one touch, why and when can/should touch occur? These questions when raised within performance traditions, theatre, film and television rehearsal and performance spaces and performer training studios ask creative artists to (re)consider the ways we think about, talk about and stage touch: for instance, the rise of the “intimacy coordinator” in response to concerns about the inequitability of touch during re-enactments of intimacy is only one of a number of recent developments in performance-related fields (re)considering the role of touch during the creative process.

    The aim of this issue is to look at the different ways performers and performer trainers across the globe have responded to issues of touch as a socio-cultural and political event within creative processes. The special issue will:
    • (re)consider the role of touch in training in which race, gender, dis/ability, and health have a significant place in shifting understandings of why/when/where and who can/should touch.
    • examine the power relationships during touch between teacher/student; performer/audience; between performers in rehearsal rooms.
    • critically examine the ways in which touch is (re)framed and negotiated through policy-making and revolutionary protest in drama schools, rehearsal rooms and training studios.
    • Address questions such as ‘How do these movements influence and cross-fertilize each other?’
    Contributors are invited to (re)consider:
    • Touch and gender
    • Touch and race
    • Touch as and/or despite contagion/infection
    • the value of touch to wellbeing and the impacts of being deprived of that contact
    • Touch as violence
    • Touch as revolution
    • Touch in training the actor’s body and voice in various training traditions.
    • What are the benefits and drawbacks of touch in training and in rehearsal, between teacher/student, between performers, between performers and audience?  
    • When performers in rehearsal and actors-in-training cannot touch or do not want to touch during the creative process, how does this change creative processes in different ways? How does it change student actors, actor trainers and performers?
    • In what ways have performers and performer trainers (re)negotiated touch in their work?

    Proposals are encouraged to look across disciplines, for instance between performance and Post Colonial studies, Queer studies, dis/Ability studies, to critically consider the ways touch has been framed by mainstream rehearsal and training traditions to the exclusion of other ways of working. This issue welcomes critical approaches to new forms of training and rehearsal processes.

    Expressions of Interest
    We welcome submissions from authors both inside and outside academic institutions and from those who are currently undergoing training or who have experiences to tell from their training histories. To signal your interest and intention to make a contribution to this special issue in any one of the ways identified please email an abstract (max 250 words) to Ha Young Hwang (, Tara McAllister-Viel (, and Liz Mills ( Our deadline for these abstracts is 8 April 2022.

    Theatre, Dance and Performance Training has three sections for which we accept proposals:
    • Articles features contributions in a range of critical and scholarly formats (approx. 5000-7000 words).
    • Sources provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
    • Training Grounds hosts shorter pieces, which are not peer reviewed, including essais, postcards (up to 100 words), speaking images (one page of image and text response), visual essays and book or event reviews. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed. For further advice on these please contact: Sara Reed (

    Issue Schedule

    • 8 April 2022: 250-word proposals submitted to Ha Young Hwang (, Tara McAllister-Viel (, and Liz Mills (
    • 9 May 2022: Response from editors and, if successful, invitation to submit contribution.
    • May to 12 August 2022: Writing/preparation period.
    • August to October 2022: Peer review period.
    • October 2022 to January 2023: Author revisions post peer review.
    • June 2023: Publication as TDPT 14.2.
  • Call for Papers EXTENDED: Performance Paradigm 18 (2023)
  •  Date Posted: Mon, 21 Feb 2022

    The Art of Subsidy / The Subsidy of Art
    Performance Paradigm 18 (2023) — Call for Papers


    Throughout the ongoing Covid-19 pandemic, artists around the world have imagined new, better futures for subsidy: in America, Jeremy O. Harris invoked the Federal Theatre Project; the third edition of the UNESCO report Reshaping Policies for Creativity in 2022 recommended minimum wages and labour protections; and in Aotearoa New Zealand, artist Nisha Madhan wondered “what the long-term game plan is. Is it just to survive a few weeks? Or to take a moment to think about what might be possible that hasn’t already happened? Is this the moment, when physical access to live performance is cut off to the privileged, that we finally figure out how to open the arts up to everyone?”. As parts of the world begin to adjust to Covid-normal, how might we keep hold of this spirit of reimagination and possibility? This issue seeks to examine both the impact of Covid 19 on funding for the arts and what this ‘break’ in status quo reveals about the nature of the relationship between artists and not just governments but also other funding mechanisms.

    Our starting point here follows Julian Meyrick, who declares “it is the fact of funding that demands attention” (139). Certainly, economic subsidy is one of the core points of imbrication between artists and the state. As Jen Harvie points out, in the United Kingdom and current and former Commonwealth nations, this link historically “marks an economic relationship, but it also articulates state and social attitudes to the importance of the arts, to social responsibility for the arts, to social relations and to society itself” (150). In this issue, we hope to curate a documentation of subsidy’s effects and operations, the specific challenges that come from funding live performance, and subsidy’s hermeneutic relationship with arts policy and cultural capital, recognising

    what is missing is a study not of institutional change . . . or of culture’s social and economic entanglements (which are endless, culture being simultaneously everywhere and infused into particular forms), but an analysis of the bureaucratic regulation of artistic practice: of the logic of culture as it applies in a time of democratic provision. (Meyrick, 142)

    We ask how value and benefit are defined in this context, and what government responses to crisis in the performing arts sector tells us about this. While artists have always been attuned to the shifting sands of government arts funding – even small changes can have a seismic impact on career progression and work development –the wholesale suspension of live performance due to public health orders magnified these industrial concerns to existential threats. In the Anglosphere, the motley collection of ad hoc initiatives to support arts companies and arts workers throughout the Covid-crisis has to some extent exposed the priorities of the neoliberal state, within which the creative industries remain radically under-funded. Indeed, as Miriam Haughton wrote of the Irish context, “Covid-19 is not only a sectoral emergency, it’s the latest sectoral emergency” (2021, 51). This is a particularly apposite moment to consider both government subsidy and broader funding mechanisms; as Haughton remarks, “Covid-19 has brought the economic livelihood of the state and the arts sector to the cliff edge at the same time, forcing a conversation regarding survival and sustainability” (50).

    In this issue of Performance Paradigm, then, we seek to capitalise on this moment to reflect on the art of subsidy, and on the subsidy of art. We invite contributions that expand the frame of reference beyond the Anglosphere to other national models of live performance subsidy. Across academic pieces, artist responses, interviews, and other performance documentation, we envisage potential contributions might address:

    • Historiographies of subsidy across performance forms and national traditions, particularly attending to subsidy in its historical context and between government-led and patronage-led models;
    • The resistant potential of private subsidy in forms old (sponsorship, patronage) and new (crowd funding);
    • Historical accounts of particular funding agencies or subsidy schemes that trace and reveal the impact of the subsidy in the art that they funded;
    • Subsidy of First Nations and Indigenous performance around the world as a policy priority, and the (inter)national priorities these programs reveal;
    • The role of subsidised performance in legitimising the neoliberal state, including queer strategies for subversion and re-visioning of subsidy;
    • Subsidy as a marker of national distinction and cultural capital;
    • The role of subsidy in the lived experience of arts practitioners, including artists’ wellbeing and proposals such as the living wage for artists;
    • Polemical re-imaginings of subsidy’s form and function;
    • Subsidy’s hermeneutic relationship with arts policy across time and different models of arms-length and in-house government funding;
    • Subsidy across and beyond the Anglosphere, including comparative studies across different national and continental traditions; and
    • The dramaturgy of subsidy.
    Please send proposals of approximately 300 words to Chris Hay ( by 3 June 2022. If successful, full articles will be due on 1 December 2022 for publication in Performance Paradigm 18, August 2023.

    Issue Editors
    Chris Hay, University of Queensland
    Lawrence Ashford, University of Sydney
    Izabella Nantsou, University of Sydney

    Harris, Jeremy O. “American theatre may not survive the coronavirus. We need help now.” The Guardian, 25 Jan. 2021.
    Harvie, Jen. “Public/Private Capital: Arts Funding Cuts and Mixed Economies.” Fair Play: Art, Performance and Neoliberalism. Palgrave Macmillan, 2013, pp. 150-91.
    Haughton, Miriam. “As much graft as there is craft: Refusal, Value and the Affective Economy of the Irish Arts Sector.” Performance Paradigm 16, 2021, pp. 40-58.
    Madhan, Nisha. “Live (Why I’m Not in a Hurry).” Words By Nisha Madhan, 1 Apr. 2020.
    Meyrick, Julian. “The Logic of Culture: The Fate of Alternative Theatre in the Post-Whitlam Period.” Australasian Drama Studies, vol. 64, 2014, pp. 133-54.
    UNESCO. Re-shaping Policies for Creativity: Addressing Culture as a Public Good. Third Edition, United Nations Educational, Scientific and Cultural Organisation (UNESCO), 2022.
  • Call for Proposals: MLA panels on Humour & Humourlessness
  •  Date Posted: Mon, 14 Feb 2022

    The Drama and Performance Forum of the Modern Language Association is sponsoring two guaranteed panels on "humor and humorlessness" (one pre-1900, one post-1900): 

    Humor and Humorlessness before 1900

    The Drama and Performance Forum of the Modern Language Association (MLA) announces a sponsored session entitled “Humor and Humorlessness before 1900” to be held at the MLA Convention in San Francisco, CA from January 5-8, 2023.

    From the medieval period to the nineteenth century the concept of humor shifted from an aspect of human physiology, to the eccentric qualities of individuals or comic characters, to a mode of seeing that was also a cultural sensibility (Daniel Wickberg, The Senses of Humor). That the modern “sense of humor” emerged during the nineteenth century, a period better known for its moral seriousness, suggests the dialectical relation of humor and its opposites. We welcome proposals on humor and humorlessness in drama and performance prior to 1900. We are especially interested in papers that foreground sites outside of the U.S. and Britain or that explore understudied subjects in our field. Some possible questions: How did theatre genres and performance traditions present humor and its opposites? How do performed humor and humorlessness intersect cultural histories of race, class, gender, and sexuality? When and why did humorlessness become a performance?

    Please submit brief bios and 250-word abstracts by March 15, 2021 to Sarah Balkin and Darren Gobert

    Humor and Humorlessness after 1900

    The Drama and Performance Forum of the Modern Language Association (MLA) announces a sponsored session entitled “Humor and Humorlessness after 1900” to be held at the MLA Convention in San Francisco, CA from January 5-8, 2023.

    Humor denotes the capacity to appreciate or express what is funny; it is an index of shared feeling. Humorlessness lacks or refuses this sharing; it often pejoratively describes people or groups who object to jokes at their expense. We welcome proposals on humor and humorlessness in drama and performance after 1900. We are especially interested in papers that foreground sites outside of the U.S. and Britain or that explore understudied subjects in our field. Some possible questions: How have twentieth and twenty-first-century plays and performances deployed humor and humorlessness as modes of belonging, exclusion, resistance, and refusal? How have comedians and other performance makers navigated shifts in what audiences understand to be funny? What can drama and performance contribute to contemporary debates about political correctness and taking a joke?

    Please submit brief bios and 250-word abstracts by March 15, 2021 to Sarah Balkin and Darren Gobert
  • Online Event: Rafael Lozano-Hemmer in conversation
  •  Date Posted: Mon, 7 Feb 2022

    Rafael Lozano-Hemmer in conversation with Barbara London
    Friday February 11, 6.00am (AEDT)
    Online, via Zoom

    The CUNY Graduate Center’s Art Science Connect is delighted to host curator and writer Barbara London in conversation with Rafael Lozano-Hemmer, the celebrated media artist working at the intersection of architecture and performance art. Lozano-Hemmer creates platforms for public participation using technologies such as robotic lights, digital fountains, computerized surveillance, media walls, and telematic networks. Inspired by phantasmagoria, carnival, and animatronics, his light and shadow works are “anti-monuments for alien agency”. London and Lozano-Hemmer will discuss the artist’s latest work, “Atmospheric Memory,” a hybrid exhibition-performance encompassing soundscapes, kinetic sculptures, immersive environments and interactive light installations, all exhibited together with original 19th-century artifacts.

    The conversation will be on Zoom: please register at CUNY's website

  • Call for Papers: Contemporary Directions in Director Training (TDPT 14.3)
  •  Date Posted: Thu, 13 Jan 2022

    Theatre, Dance and Performance Training 
    Special Issue: Contemporary Directions in Director Training, to be published in September 2023 as TDPT 14.3

    How does a director train? 
    This issue invites a broad range of contributions from scholars and artists globally, in order to offer a contemporary consideration of training for directing. We invite longer articles or ‘Sources’, each interrogating director training as it appears in a contemporary context; shorter ‘Essais’, inviting more personal reflections; and quick-fire ‘Postcards’ responding to a question or illuminating a moment of practice. We are especially keen to receive material that can host audiovisual contributions on the popular ‘TDPT blog’, integrated with the journal. See below for the full range of potential formats.

    The figure of the director and the practice of directing seems to enjoy a kind of elusiveness of definition. In contrast to the long history of shared knowledge of acting technique and performer training, how the work of the director might be defined seems challenging. And where the director spends most of their time, rehearsal, has also been considered a ‘hidden world’ (Letzler Cole, 1992). Direction goes on behind closed doors and is made up of a combination of, perhaps, dramaturgical, literary, acting, collaborative, scenographic, stage-management, and financial concerns. 

    Given the ambiguity around what directing might be, the training of directors seems even more obscure. How do they know what to do? Does ‘training’ shift according to the contexts and needs of performance making? Whilst there is burgeoning publication on theatre directing, comprising scholarly work, practical guides and books by directors themselves (recently, for example, the Great European Theatre Directors series (Bloomsbury Methuen); Boenisch, 2015; Dunderdale, 2021; Simonsen, 2017; and by us: Ledger, 2019; Sidiropoulou, 2018), director training as a topic appears neglected and often dealt with as uncritically accepted directorial technique(s), methodology, and a discussion of productions.

    Director training is certainly institutionalised: the most well-known European examples of schools being, for instance, the Ernst Busch Hochschule, Berlin, and the Russian Institute of Theatre Arts; in the USA, university-level, professional directing programmes have long existed, and there has been a noticeable growth in recent years in academic and conservatoire director training courses elsewhere. These models have, to an extent, been adopted by other institutions globally, though some major schools have opened branches in other countries; on the one hand, localised theatre traditions may benefit, but, on the other, a kind of colonisation of practice via imported Euro-American theatre methods predominates. This special issue might offer space to consider, instead, how a director can train in geographically and culturally specific practices.
    Some directors have not explicitly trained in directing, but emerged from educational backgrounds other than theatre, or shifted from other roles. Normalised or institutionalised training for direction might also be set against more inclusive, experiential opportunities; for instance, the well-established Regional Theatre Young Directors Scheme (UK) now explicitly seeks applications from emerging directors of historically excluded backgrounds, and the many artist development schemes in specific theatre organisations (the Directors Lab in New York, for example; see too the report ‘The Director’s Voice’ [2018]). In the context of the ongoing pandemic and the emergence of hybridised theatre forms, training has now moved online (for instance, the NIPAI organisation, but also within academic or conservatoire curricula), to be delivered at a distance. 

    Finally, training might exist in-between performance preparation, or exist in rehearsal itself. We invite reflections on where and how ‘training’ might be considered ongoing professional development.

    This special edition on contemporary director training aims to collect together productive examples that:

    • ask what directing training ‘is’, and, crucially, how its development can best serve contemporary concerns in theatre practice
    • invite an investigation and theorisation of the field, including how historical practices can be interrogated, reimagined and applied from a contemporary perspective
    • internationalise and diversify perspectives, including through a variety of submission formats

    In remaining contemporary in our focus, we want to open new conversations about a clearly complex and under-theorised field and to examine the current moment from a broad, inclusive and international perspective. Contributions might consider, but are not limited to: contexts of training; the ‘validity’ of director training; canonicities; communities of practice; inclusivity; interdisciplinarity and hybridity.

    Possible questions and topics might include:

    • how and on what terms do institutions offer director training? 
    • are there ‘methodologies’ or lineages of directing? How are these taught, learned and challenged now, and who by?
    • what models of director training exist beyond the Global North and Anglo-American traditions and are underrepresented in current scholarship?
    • are there modes of directing/theatre-making that require certain types of training? Does the director need choreographic, musical or scenographic skills? How can directors ‘learn’ to direct collaboratively?
    • where and what is the place for continuing professional development, intensives and workshops, and the rehearsal room as a laboratory for ongoing directing training?
    • how can director training attend to issues including, but not restricted to, ethnicity, disability, gender, and socio-cultural background? How do economic considerations impact upon the training of directors and what models or provocations might help ensure the role is not elite or privileged? 
    • what is director training in the (post)-‘COVID age’ and does the current situation change the director’s training, identity and role?

    To signal your interest and intention to make a contribution to this special issue in any one of the ways identified above please email an abstract (max 250 words) to Adam J. Ledger ( and Avra Sidiropoulou ( Training Grounds proposals are to be made to Thomas Wilson ( with copies to Adam and Avra. Firm proposals across all areas must be received by 16 June 2022 at the latest.

    Special Issues of Theatre, Dance and Performance Training (TDPT) are an essential part of its offer and complement the open issues in each volume. TDPT is an international academic journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. It was founded in 2010 and launched its blog in 2015. Our target readership comprises scholars and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance, performance and live art who have an interest in the practices of training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

    Please consider the range of possibilities available within TDPT: Essays and Sources between 4000 and 6500 words; photo essays; shorter, more speculative, essais up to 1500 words; Postcards (up to 100 words); Speaking Images (short text responding to a photo, drawing, visual score, etc.); book and event reviews. All contributors could extend their work through links to blog materials (including, for example, film footage or interviews). Questions about purely digital propositions can be sent directly to James McLaughlin at along with ideas for the blog.

    Issue Schedule

    • 16 June 2022: 250 word proposals to be submitted Adam J. Ledger ( and Avra Sidiropoulou (
    • Early July 2022: Response from editors and, if successful, invitation to submit contribution.
    • Early July 2022 to end October 2022: Writing/preparation period and submission of first drafts.
    • End October-End of December 2022: Peer review period.
    • January 2023: Author revisions, post peer review.
    • September 2023: publication as Vol. 14, Issue 3.
  • Publication: Australasian Drama Studies 79
  •  Date Posted: Tue, 21 Dec 2021

    Dear members,

    Just in time to be added to your summer reading pile, Australasian Drama Studies 79 (December 2021) has been published. Our warmest congratulations to Guest Editors Pia Johnson and Miles O'Neil, ADS Editor Yoni Prior, and all of their contributors. Members can access the issue here, by logging in with their ADSA details. To whet your appetite, a Table of Contents appears below.

    Best wishes,
    Chris, for the ADSA Board.


    • Editorial Pia Johnson and Miles O’Neil
    • A Conversation Between Performance Photographers Brett Boardman and Jeff Busby, with Notes by Heidrun Lohr Pia Johnson
    • The Intimate and the Epic in Plunge: A Writer-Director’s Approach to Heterarchical Composition  Kate Shearer
    • A Performative Investigation of the Agency of Sound: Mapping the Sound/ Soundscape Portrait  Angela Viora
    • Where’s the AV Guy?’: A Conversation with Rhian Hinkley, Margie Medlin and Nick Roux  Yoni Prior
    • Seed Value: Collaboration and Creative Development in Composed Theatre  David Megarrity 
    • Siren Song: Strengthening Community through Sonic Insurgency  Miles O’Neil
    • Towards a Post-Pandemics of Sound in Performance  Chris Wenn
    • Liveness in the Digital Age: Performance Case Studies  Russell Fewster, Geordie Brookman and Richard Chew
    • Authenticity within Digital Performance: A New Framework to Understand the Relationship between Audience, Vision Technology and Scenography  Tessa Rixon, Gene Moyle, Steph Hutchison and Joslin McKinney
    • A Feminist Lens in the Rehearsal Room: On the Bodily Education of Young Girls  Pia Johnson in conversation with Adena Jacobs
    • Genealogies of Darkness  Paul Jackson 
    • A Sound Conversation: Performance-Makers and Sound Practices with Roslyn Oades, Madeleine Flynn and Tamara Saulwick  Kate Hunter
  • Job Posting: Indigenous positions, University of Melbourne
  •  Date Posted: Mon, 20 Dec 2021

    Dear Colleagues, 

    The Faculty of Arts at the University of Melbourne has an open call for identified Indigenous positions as follows:

    Please consider sharing this with your networks, and with individuals you think may be interested. While the Research Fellow positions have a closing date of 31 January 2022, the Faculty-wide positions appear to be an open call with reviews of EOIs at the end of February, June, and October 2022. 

    Best wishes,

  • PhD Scholarship: Audience diversification, Deakin University
  •  Date Posted: Mon, 20 Dec 2021

    Dear colleagues, 

    A team at Deakin University, led by Professor Hilary Glow and Professor Katja Johanson, is currently recruiting for a full-time, funded PhD candidate on their project on organisational change in the arts and cultural sector to diversify arts audiences. Full details on the scholarship, and the link to apply via Expression of Interest, can be found here:

    Please circulate this email to any students or colleagues you think might be interested — the candidate must meet Deakin's PhD entrance requirements, which include an Honours degree (first class) or an equivalent Masters degree with a substantial research component. The position is open to domestic (Australian citizenship, permanent residence, or New Zealand citizenship) and international candidates, and applications close at 5pm (AEDT) Monday 7 February

    Best wishes,

  • Job Posting: Professor (Drama), Flinders University
  •  Date Posted: Mon, 20 Dec 2021

    Dear colleagues, 

    Flinders University are currently advertising for a Professor, Teaching & Research, in Drama. Details of the job can be found on the Seek listing: Applications are to be submitted through the Jobs at Flinders website, by 11.59pm (ACDT) on 12 January 2022. Application enquiries can be directed to Alex Vickery-Howe

    Best wishes,

  • Call for Papers: 2022 CCCW Symposium, UQ
  •  Date Posted: Fri, 3 Dec 2021

    The Centre for Critical and Creative Writing (CCCW) presents a symposium on

    Wicked Problems and Speculative Futures: Writing the Anthropocene

    22-23 June, 2022
    Hosted at St Lucia campus Brisbane/Meanjin and online by the University of Queensland (UQ)

    Timothy Morton has termed global warming a wicked problem, ‘one you can rationally diagnose but to which there is no feasible rational solution’ (36). For Morton, living in the Anthropocene comes with an uncanny knowing – a ‘weird weirdness’ – underpinning our awareness that this wicked problem is one of our own making. Theatre scholars Carl Lavery and Clare Finburgh have gone so far as to suggest that this wicked problem is an Absurd one – ‘Absurd’ with a capital ‘A’ – calling for a rethinking and a ‘greening’ of the Theatre of the Absurd. According to their analysis, we are once again, like our post-war forebears, living in existential times, and need to re-read that movement through the eco-critical lens of the present. Morton’s sense that we are living in uncanny times  of weather, indeed of a planet and its behaviour that is at once deeply familiar but behaving deeply strangely lends itself also to a Gothic reading of literature, theatre, film, and visual art depicting the Anthropocene. After all, we are living in a period where we are reaping what we have sown since we first started pumping carbon into our atmosphere. The return of the repressed is erupting into the present with violent force in the form of climate catastrophe. So how are our artists and critical theorists engaging with the climate change and its material effects? What are the most appropriate literary forms and genres to be tackling the issue, and how are artists bending them to their own needs in the twenty-first century? In short, how do we write the Anthropocene?

    The CCCW is very proud to announce that keynote speeches will be provided by international climate fiction theorist Professor Adeline Johns-Putra (Xi’an Jiaotong-Liverpool University, Suzhou, China) and internationally-acclaimed Australian novelist James Bradley. We will also host a special in-conversation-with session between Noongar speculative writer Claire G. Coleman and UQ’s Professor Kim Wilkins, and another with journalist-activists Garry and Anne Charnock and UQ’s Dr Helen Marshall.

    Questions that arise here include: How do we portray or speculate about the future in literature, theatre, film and visual art in uncanny times, where the present is more alarming than some of the direst of future predictions have been? Are we living in a futuristic Gothic dystopia, or is there hope that this is a wicked problem that we can fix? How do we solve it through art? How do we map the ways in which the Anthropocene has been portrayed in cli fi across the twenty first century? As we move from Kyoto to the Paris Agreement to the Glasgow Climate Pact, how is the artistic response to the Anthropocene tracking? Towards ever-more dystopic depictions of doom, or to cautious narratives of hope? Is there a pragmatic in-between?

    We invite individual proposals from critical and creative writers for 20 minute papers that address the following themes, topics and questions as they pertain to the wicked problem of writing the Anthropocene:

    • Droughts and floods: the absence and/or the omnipresence of cli-fi narratives on page, stage, screen and gallery
    • Narratives of hope vs narratives of doom
    • Dystopia/Armageddon fatigue
    • Environmental rhetoric in the Anthropocene
    • Technical communication and wicked problems
    • The ethics of speculation in an age of fake news
    • The limits, opportunities and obligations of naturalism
    • Writing speculative futures in a time where ‘the future’ is intruding into/become the present 
    • World building and techniques for describing the future
    • Science writing on the Anthropocene
    • The Anthropocene and colonialism
    • The Anthropocene and race
    • Art and the real world: collaborations between artists, scientists and activists
    • The cottagecore movement and the aesthetics/ethics of everyday living 
    • Gothic pasts and futures

    ​​​​​​​Abstracts due by: 31 January 2022.
    Acceptances issued by: 28 February 2022.
    Cost: Free. 

    The Centre for Critical and Creative Writing aims not only to champion and celebrate Australian writing in all of its many forms, but also to lead important national debate around questions of representation, opportunity, and identity. We particularly welcome applications from scholars and practitioners traditionally under-represented in higher education, or whose voices are under-represented amongst the range of those we have identified in the above symposium description.

    Send proposals and queries in the first instance to Associate Professor Stephen Carleton, Director of the Centre for Critical and Creative Writing, on

    Indicative Reading List:

    Bradley, James. Ghost Species. Hamish Hamilton, 2020.

    Coleman, Claire G. Terra Nullius. Hachette, 2017.
    Freestone, Elizabeth and Jeanie O’Hare. 100 Plays to Save the World. Nick Hern Books, 2021.
    Johns-Putra, Adeline, ed. Climate and Literature. Cambridge UP, 2019.
    Lavery, Carl and Finburgh, Clare, eds. Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage. Bloomsbury, 2015.
    Morton, Timothy. Dark Ecology: For a Logic of Future Coexistence. Columbia UP, 2016.
    Scranton, Roy. Learning to Die in the Anthropocene: Reflections on the End of a Civilisation. City Lights Publishers, 2015.
    Taylor, Melanie Benson. “Indigenous Interruptions in the Anthropocene.” PMLA, vol. 136, no. 1, 2021, pp. 9-16.
    Todd, Zoe. “Indigenizing the Anthropocene.” Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies. Edited by Heather Davis and Etienne Turpin, Open Humanities Press, 2015, pp. 241-254.

  • Job Listing: New Positions at Flinders University
  •  Date Posted: Wed, 1 Dec 2021

    Dear members, 

    I hope you are well, and enjoying your time at the annual conference. 

    Flinders University have recently listed two new positions in which members might be interested:

    Details on each position can be found by following the above links; applications are to be submitted through the Jobs at Flinders site. I would draw your attention in particular to the closing date for the Drama position, which is 11.59pm (ACDT) this Sunday December 5

    Best wishes,

  • Veronica Kelly Prize: Nominations open
  •  Date Posted: Wed, 17 Nov 2021

    Dear members,

    I am writing to you to encourage you to nominate yourself, or a postgraduate student you supervise, for the Veronica Kelly Prize. The only thing that nominees need to do right now is to e-mail their nomination along with their abstract to Hilary Halba on contact details below; they don’t have to send their completed paper yet.

    This award is designed to recognise research excellence in postgraduate studies, and is awarded to the best postgraduate paper delivered at the ADSA conference. 
    To be eligible for the award candidates must:

    • nominate themselves for consideration to the prize convenor prior to the conference;
    • submit a draft of the paper in conference presentation format (it is understood it will not yet be in publication ready format) to the prize convenor by Wednesday 1st December 2021;
    • be a currently enrolled postgraduate student;
    • present an original paper at the conference;
    • be a current student member of ADSA at the time of application;
    • not hold a tenured (that is ongoing or continuing contract) position at a university or other tertiary institution; and
    • not have previously been awarded the prize.

    The criteria for shortlisting and selecting the most excellent paper is:

    • the paper is nominated for the prize before the conference commences;
    • the paper engagingly and effectively addresses the conference theme;
    • the paper presents a clear, complete, well-researched argument about an element of drama, theatre or performance studies which is of interest to the field at large, and original or innovative in its content or its conceptualisation;
    • the paper is suitable for publication in ADS within 3 months of presentation.

    Each year’s winner is announced in a special session at the conclusion of the ADSA conference. The Prize consists of $500 from ADSA, and mentoring towards publication of the winning paper in Australasian Drama StudiesFor further information, or to nominate yourself, please contact Hilary Halba on deadline for nominations for the Veronica Kelly Prize is 1 December 2021, at the conclusion of the pre-conference PG/ECR Day. 

    Warm regards,
    Hilary Halba.
    Panel chair – Veronica Kelly Prize

  • 2021 ADSA Conference: Program available
  •  Date Posted: Tue, 9 Nov 2021

    Dear members,

    We are pleased to invite you to the 2021 ADSA Conference:
    Performers, Makers, Methodologies —
    Crafting Conditions for Decentring Scholarship and Pedagogy in Drama, Theatre, Performance Studies, and Dance
    The program is a rich collection of keynote events, plenaries, paper presentations, panels, book launches, and performances. To browse the full Conference program, and to register to attend, go to You can also follow us on Twitter @ADSAConf2021.

    This year, the Conference once again gives us an opportunity to gather remotely as a community of scholars, teachers, practitioners, and artists. Times are demanding, and our field is under substantial pressure to reinvent itself and to work together as our sector. 

    We welcome you with hope and gratitude. 

    Rea, Kate, Miles, Katya, and Ashlee
    2021 ADSA Conference organising committee

    We recognise and thank the traditional owners of the lands on which we work and live.
    Deakin campuses are on Gunditjmara, Wurundjeri, and Wadawurrung lands.
    We acknowledge the absence of a treaty that recognises these lands were never ceded.
  • 2021 ADSA Conference: Registrations open
  •  Date Posted: Tue, 12 Oct 2021

    Dear members,

    PERFORMERS, MAKERS, METHODOLOGIES: Crafting Conditions for Decentring Scholarship and Pedagogy in Drama, Theatre, Performance Studies, and Dance
    The 2021 ADSA Conference website is live, and registrations are now open.

    We are very excited to be able to share the 2021 ADSA Conference website and program with you. Thank you for your patience as we revised the program and moved the event online. We invite you to share the news with post-grads and colleagues, and to encourage your industry peers and friends to join us if they can. 

    Attendees can register on the Conference website, where you can also find session access and conference updates. We have recommended Full, Student, and Artist fees, and have included a pay what you can afford option to acknowledge the various financial hardships that have emerged from the pandemic (including the lack of insitutional funding from universities). Please remember to renew your ADSA membership as well. 

    We are looking forward to gathering online in December.

    Best wishes,
    Rea, Kate, Miles, and Ashlee.
    2021 ADSA Conference Committee
  • Performance Paradigm 16, Performance and Radical Kindness - now out
  •  Date Posted: Tue, 12 Oct 2021

    The new issue of Performance Paradigm is out now.

    No 16 (2021): Performance and Radical Kindness

    Edited by Emma Willis, Alys Longley and Victoria Wynne-Jones 

    Inspired by the Universtiy of Auckland research initiative 'Agencies of Kindness', this issue of Performance Paradigm investigates what it means to “do” radical kindness. The editors have curated 17 distinctive research articles cohered around 'how kindness performed goes beyond 'simply ameliorating suffering' to 'challend the very structures that presage unkindness' (Willis 2021: 1).

    Authors include: Sarah Burton, Miriam Haughton, Lisa Samuels, Erik Ehn, Astrid N. Korporaal, Daniel Johnston, Elena García-Martín, Katharine E. Low, Sue Mayo, Alys Longley, Paula Guzzanti, Renée Newman, Sarah Harper, Rea Dennis, Kate Hunter

    A full table of contents can be viewed here:

    Performance Paradigm promotes discussion among scholars, curators and practitioners of performance in the Asia-Pacific region and beyond. Founded in 2005, it is one of the field’s first open access, peer-reviewed journals.


  • CFP Special issue of Australasian Drama Studies on Queer Performance
  •  Date Posted: Tue, 5 Oct 2021
    CFP Special issue of Australasian Drama Studies on Queer Performance, Issue 81, October 2022. 
    Edited by Jacob Boehme, Jonathan Bollen, Alyson Campbell and Liza-Mare Syron.

    It is time to pay attention to queer performance across Aotearoa, Australia, Pasifika and the Asia Pacific.

    We have rich histories and thriving cultures of LGBTQI+ performance, including an explosion of queer performance from First Nations artists across our regions. Queer performance is eclectic and tenacious, persisting as a field of innovation and continuing to sustain LGBTQI+ artists and their audiences despite contexts of ongoing homophobia, transphobia and criminalisation.

    Much queer performance, however, goes undocumented, overlooked in mainstream reviews, unrecorded in formal archives, or given scant scholarly attention. As such, we are calling for contributions to a long-overdue collection of critical thinking about this body of work. We envisage an intersectional collection of essays, interviews, recollection-reflections and performances-as-publications, and other forms that emerge.

    Wherever we find them, however we’re making them – at the party, on your screen, in the studio, on our stages, in the clubs, on our streets ­– how do queer practices in performance proliferate diversity in our ecologies, sustain us as communities, invigorate creativity for our survival and generate lifeworlds of transformation?

    We hope through the collection to trace the LGBTQI+ desire-lines linking artists and audiences – crossing social, cultural, political and regional boundaries and reaching out queerly across time and place. We want to remember, record and grapple with what emerges in intersectional-queer dance, theatre and performance that transforms us and envisions new worlds.

    Send proposals (300 words) to the editors by 10 December 2021. Please include a brief biography and set of key words. Full submissions due 30 April 2022. Essay length is a maximum of 6,000 words including bibliography. As the journal is now published online, we welcome the integration of rich digital format such as images, video footage, sound files and the like.

    Jacob Boehme,
    Jonathan Bollen,
    Alyson Campbell,
    Liza-Mare Syron,
  • Call for Papers: Harnessing a 21st Century approach to Performing Arts, HKAPA
  •  Date Posted: Fri, 1 Oct 2021

    HKAPA Virtual Conference
    Harnessing a 21st Century approach to Performing Arts: Technology, Practice, Education and Research

    Date: 20 - 22 January, 2022
    Host: Hong Kong Academy of Performing Arts

    The past two years have been filled with an unprecedented scope of complexities. Universities and Conservatories in Performing Arts had to take a more proactive and agile role in shifting into newer learning modes and teaching under the pandemic. These paradigm shifts required new ways of encounters and approaches as universities and conservatories (re)think how the new normal in living, performance, learning and teaching under the pandemic required a (re)invention of existence, values, and ways of doing. As we approach a new era of (re)thinking, universities and conservatories must now reflect on their practices and generate innovative strategies and insights to overcome the new challenges, and ask how technologies and 21st Century competencies are reshaping performing arts in performance, curriculum design, teaching and learning and research.

    We invite students, educators, researchers, and practitioners to submit a 250 to 300 word abstract for a paper presentation, roundtable discussion, lecture-demonstration /workshop, or performance lecture. The abstract should clearly state the aim/objective, the issues/questions addressed, the research design and methodology, the findings and the implications addressing these topics broadly within these themes:

    • Digital pedagogies and educational technology
    • Online, mobile, flexible, and blended learning
    • 21st Century competencies and curriculum in performing arts pedagogy
    • Digital performance and live streaming
    • Telematic performance
    • Experimental theatre
    • Transmedia storytelling
    • Innovation in Practice as Research (PaR)/Applied practice/Community of practice.
    Possible topics — for presentation as standard papers, roundtables, lecture-demonstrations and workshops — include:
    • What are the various creative innovations and technologies emerging in performing arts, practice, performance, and art pedagogy in this new normal?
    • What are the ways in which both academics, practitioners and arts educators articulate and evolve these (re)new approaches within the field of performing arts?
    • What are the philosophical underpinnings?
    • What are the issues and challenges (re)emerging that need confronting as artists, performers, academics, educators, researchers, performers, and spectators?
    Proposals are due on 18 October 2021. Please submit abstracts of 250-300 words via the HKAPA Digital Conference website. Written papers from the conference would be considered for being published in the APA second issues of PA: PER.


  • Job Listing: Professional Teaching Fellow, VUW
  •  Date Posted: Wed, 29 Sep 2021
    Kōrero mō te tūranga - About the role 
    Te Herenga Waka - Victoria University of Wellington is currently recruiting a 0.5 Professional Teaching Fellow to join the Theatre Programme on a permanent contract in 2022.  This role is for a Permanent 0.5 Professional Teaching Fellow. The position will teach specifically into our MFA (CP) programme, as lecturer, workshop leader, course-co-ordinator and Festival Producer. The workload for this position will comprise 80% teaching and teaching-related responsibilities and 20% administration. It is expected that the appointee will contribute to teaching across three trimesters.  
    Mōu - About you 
    You will be an experienced tertiary educator with a sound understanding of the live performance sector in Aotearoa New Zealand and in the global context, as well as value for scholarship in the making and analysis of practical work. You will have experience in arts management and producing theatre productions. You will have the confidence to communicate ideas to a varied, cross-disciplinary community of recent graduates and professionals. You will have exemplary organisation and problem-solving skills, flexibility and a positive outlook. You will have an understanding of the relevance of Te Tiriti o Waitangi to the making of theatrical productions, in forging relationships, and within the teaching and learning environment.  
    Key Requirements:   
    • a postgraduate qualification in Theatre or a related field 
    • an understanding of and experience working in the professional theatre industry 
    • experience in teaching at a Tertiary level  
    • outstanding organisation skills, creativity, and adeptness to think on the floor 
    • ability to build strong working relationships with a variety of colleagues, students and stakeholders.  

    Why you should join our team 
    The appointee will have the opportunity to contribute to a vibrant, positive, and unique programme in Theatre at Victoria, and to other academic and creative communities in Wellington, Aotearoa/New Zealand. 

    Any questions?
    Please contact

    Closing date
    Applications close on 22 October 2021, via the VUW job site.

  • Job Listing: Lecturer in Theatre, I
  •  Date Posted: Wed, 29 Sep 2021

    The Univeristy of Tasmania is seeking to appoint a Lecturer in Theatre based in Hobart in the School of Creative Arts and Media (CAM) which is part of the College of Arts, Law and Education. This position is a teaching intensive role with an expected 60% teaching allocation in a full time equivalent workload.

    The Lecturer in Theatre will join the Theatre and Performance team to deliver the Theatre and Performance major as well as contribute to cross disciplinary Creative Curriculum units in the School of Creative Arts and Media. The Creative Curriculum units provide frameworks for students to build their interdisciplinary expertise through collaboration and work-integrated learning, as well as providing a place-based, collaborative, and responsive environment for new practice.

    To be successful, you will be a dynamic academic with knowledge and experience in the delivery of contemporary theatre and performance pedagogies. The Lecturer in Theatre will contribute to academic programs and operations in Hobart and other campuses as required and will have expertise in teaching and curriculum design; delivery of interdisciplinary creative arts units; and experience in blended learning and online teaching.

    The Lecturer will also contribute to the strategic research, impact and engagement agendas of the School, College and broader University. A strategic priority for the School of Creative Arts and Media is to increase participation in, and contribution to, cultural activities across the state as well as engage with the artistic and cultural fabric of Tasmania, and the potential for creative arts pedagogy to address social, environmental, and cultural challenges. To support this priority, the Lecturer in Theatre will initiate and develop a network of partnerships with organisations, professional bodies – including the festival industry and theatre sector – and the creative arts and local community, through their research, teaching and community engagement activity.

    Through the Southern Transformation Project (Hobart) and the new Hedberg building, the University of Tasmania is making a significant investment in the creative arts, as part of a vision for the University as a site for collaboration between community, industry and the University via creative projects. In 2020 the School of Creative Arts and Media refined and enriched our creative arts program through the 2020 Curriculum Renewal project. The University’s commitment to contemporary arts practice and scholarship continues through the appointment of exceptional creative practitioners and scholars.

    For more details, and to apply: please visit the UTas Careers site
    Applications close: 17 October 2021. 
  • Job Listing: Lecturer (Performing Arts), WAAPA
  •  Date Posted: Tue, 28 Sep 2021
    WAAPA is hiring! We are currently looking for a Course Coordinator for our BPA Performance Making course.

    It’s a rare opportunity: being in the BPA Performance Making course represents a chance to shape a course that allows new, innovative artists to develop their unique voice in the performing arts. The opportunity has come up due to current staff moving on to new roles in the organisation. With WAAPA moving into a new CBD building with new venues and studios in 2025, it’s a particularly exciting time to join our faculty at WAAPA.

    Please feel free to share with your networks.

    The link to the advert and the submission portal is now live at ECU employment opportunities: 220/2021 — Lecturer (Performing Arts). It is also visible on the following job sites: SeekLinkedIn; and UniJobs
    The advert is set to close on Wednesday 27 October 2021 at 5.00pm (AWST)
  • ADSA 2021 Conference Update
  •  Date Posted: Thu, 23 Sep 2021
    Dear members, 
    ADSA Conference 2021
    Performers, Makers, Methdologies – Crafting conditions for decentring scholarship and pedagogy
    30 November to 3 December, Deakin University, Geelong, Victoria

    As you know, we are based in regional Victoria so have been monitoring the current national and local health orders regarding pandemic management. Currently across Australia there are lockdowns in the Melbourne, Sydney, and Canberra metropolitan areas, as well as lockdowns in various regional centres across these states. There is also an ongoing lockdown in Auckland. Mostly, Australian states in which there is no Covid detected have their borders closed to anyone from other states, and also have quite stringent policies in regard to residents returning from other states.

    While there is an Australian national program of opening when 80% of the population have their first vaccine dose, this is not tested and is likely to allow freedom of movement in local areas, or intrastate, but does not give us any optimism that interstate travel will be simple. When taking the precarious nature of these projections into account, we have made the call to move the 2021 ADSA conference fully online.

    We have now met with our venue partner and can move ahead with the changed delivery mode. We are currently updating the website and finalising the program to accommodate this adjustment. We are disappointed as we had retained our determination to host you here at Deakin's Waterfront campus in Geelong. However, we know you will understand and will join us online in December.

    Thank you for your continued support and understanding.
    Rea, Kate, Miles, and Ashlee.
    2021 ADSA Conference Committee
  • CfP: Changing Perspectives on Live Performance: Interrogating digital dimensions and new modes of engagement
  •  Date Posted: Mon, 23 Aug 2021

    CfP: Changing Perspectives on Live Performance: Interrogating digital dimensions and new modes of engagement

    8-9 October 2021
    Anglia Ruskin University
    An online international symposium for academics and practitioners

    The past year has brought changing circumstances to the performance scene. The impossibility of rehearsing and performing to live audiences has forced artists to investigate new alternatives. This has affected both the aesthetics of performance-making and the professional practices of performance-makers. Changes in formats have created new ways of reaching audiences which have more fully exploited an ever-increasing engagement with a wide variety of screen-based technology and digital platforms.

    This has significantly transformed live performances which have adapted to new ways of working and resulted in resourceful and imaginative alternatives and variations. Identifying the features of these changes will highlight pioneering directions for the future of live performance. This involves developments in the relationship between dance, theatre and film, offering digital innovations within liveness that this symposium wishes to identify and analyse.
    We welcome presentations, provocations, workshops, and performances as part of the proposals for participating in the symposium. The aim is to identify and analyse the transformations and generate new conversations among artists and theoreticians.

    Keynote speakers include:
    Anne Bogart (theatre director, SITI Company, USA)
    Prof Maria Shevtsova (Goldsmiths, University of London, UK)
    Dr Mark Nicholls (University of Melbourne, Australia)

    Roundtable discussion includes:
    Charlotte Vincent (choreographer/director, Vincent Dance Theatre, UK)

    Workshop by:

    Parliament of Practices

    The symposium will cover but is not limited to the following themes:

    • integrating screen-based technology and practices into live performance

    • blurring the boundaries between the stage and the screen

    • preserving, enhancing, or degrading the actor’s performance via screen-based technology

    • delivering virtual performances - platforms and best practice

    • the role of recording live performances

    • theatrical adaptations of cinematography

    • choreographing the camera when recording live performances

    • streaming performance or recording performance

    • site-specific as the new theatre

    • evolving and enduring innovations

    • theatre developing its own cinematic language

    • expanding and diminishing theatrical markets

    • changing patterns in audience engagement and spectatorship

    • cognitive dimensions of engaging with emerging forms

    • impact on emerging artists and pathways into production

    • re-thinking notions of live performance

    • the digital hiatus altering the experience of live performance

    • the experience of the liveness in a digital context

    • digital dramaturgies within live performance

    • the gendered nature of the impact of digital and technological innovations

    • definitions of digital theatre

    • blended and hybrid modes in transmission of meaning

    Please email all abstracts (no more than 300 words in length), an additional brief biographical information (no more than 50 words) as well as the precise details of the audio-visual technology you will need to make your presentation.

    Proposals must be submitted to by 31 August 2021

    Theatre-maker, Movement Practitioner, Researcher, Lecturer (UK)
    Senior Lecturer of Dance, Cambridge School of Creative Industries,
    Anglia Ruskin University (UK)
    Lecturer in Media, Screen Studies and Journalism,
    Monash College (Monash University, Australia)
    Research Fellow in Theatre and Performing Arts,
    The Federal University of Bahia (UFBA), (Brazil, CAPES-Print funding programme)

  • New Publication from Gillian Arrighi and Jim Davis: Cambridge Companion to the Circus
  •  Date Posted: Fri, 23 Jul 2021

    New Publication, Out now

    The Cambridge Companion to the Circus, edited by Gillian Arrighi and Jim Davis

    A terrific volume with 16 chapters over 2 parts. Gillian has shared the Cambridge 20% discount flyer, see attached.

    From the back cover:

    The Cambridge Companion to the Circus provides a complete guide for students, scholars, teachers, researchers, and practitioners who are seeking perspectives on the foundations and evolution of the modern circus, the contemporary extent of circus studies, and the specialised literature available to support further enquiries. The volume brings together an international group of established and emerging scholars working across the multi-disciplinary domain of circus studies to present a clear overview of the specialised histories, aesthetics and distinctive performances of the modern circus. In sixteen commissioned essays, it covers the origins in commercial equestrian performance during the late-eighteenth century to contemporary inflections of circus arts in major international festivals, educational environments, and social justice settings.

    Table of Contents

    Timeline            timeline of the circus, 1537-2018 (16 pages)                                                                                                            

    Introduction       Gillian Arrighi and Jim Davis
    The Circus: reflecting and mediating the world                                                        

    Part One: Trans-national Geographies of the Modern Circus

    1          Matthew Wittmann                                 
    The Origins and Growth of the Modern Circus                                                         

    2          Sakina Hughes   
    Reconstruction, Railroads, and Race: The American Circus in the Gilded Age and Progressive Era                                                                                                

    3          Gillian Arrighi               
    Circus, Colonialism and Empire: the circus in Australasia and Asia                             

    4          Julieta Infantino             
    The Criollo Circus (Circus Theatre) in Argentina: the emergence of a unique circus
    form in connection with the consolidation of the Argentine nation state            
    5          Hanuš Jordan and Veronika Štefanová                   
    The Past and Present of Czech Circus                                                                     

    Rosemary Farrell

    Catching On: Chinese Acrobatics from China to the West in the Twenty-First Century                                                                                                            

    Part Two: Circus Acts and Aesthetics

    7          Kim Baston                   
    The Equestrian Circus                                                                                         

    8          Peta Tait                       
    Animals, Circus and War Re-enactment: Military Action to Colonial Wars                   

    9          Louise Peacock              
    Circus Clowns                                                                                                   

    10         Kate Holmes      
    Aerial Performance: Aerial Aesthetics                                                                    

    Part Three: Circus: A Constantly Evolving Form

    11         Catherine M. Young        
    Circus and Somatic Spectacularity on Stage in the Variety Era                        

    12         Agathe Dumont              
    Becoming an Art Form: from ‘Nouveau Cirque’ to contemporary circus in Europe         

    13         Alisan Funk                   
    Risky Play and the Global Rise in Youth Circus                                                       

    14         Jennifer Beth Spiegel                  
    Social Circus: The rise of an ‘inclusive’ movement for collective creativity                   

    Part Four, Circus Studies Scholarship

    15         Charles R. Batson and Karen Fricker                     
    Methodologies in circus scholarship                                                                       

    16         Anna-Sophie Jürgens                  
    Through the Looking Glass: multi-disciplinary perspectives in Circus              

    Works Cited                                                                                                                              


  • Australasian Drama Studies Journal (ADS) Call For Reviewers
  •  Date Posted: Fri, 23 Jul 2021

    Australasian Drama Studies Journal (ADS) Call For Reviewers

    ADS is looking to expand its database of peer and book reviewers. If you would be interested in reviewing and providing expert feedback on articles submitted for publication in Australasian Drama Studies, or reviewing recently published books on Theatre and Performance, send your contact details and nominate your area/s of interest and expertise to:

    The Editor, Dr Yoni Prior by email
    Copy in Assistant Editor, Dr Sarah Woodland,

  • CfP: ADS General Issue (80), April 2022
  •  Date Posted: Fri, 23 Jul 2021

    CfP: ADSA General Issue (80), April 2022

    Edited by Yoni Prior

    We invite submissions for the general issue of Australasian Drama Studies, Issue 80, April 2022. Submissions may be in the form of an abstract or a full draft. A full draft or substantial example of academic writing is preferred from emerging or unpublished researchers. Essay abstracts should be no more than 400 words, stating the title and author/s, and should give a clear sense of the proposed argument or investigation.  Essay length is a maximum of 6,000 words including bibliography. Please also submit a brief biography and set of key words.

    Abstracts should be submitted by 3rd September, 2021.

    Contributors will receive notification about acceptance by early October and drafts should be submitted by November 30th. Peer review will take place through December 2021 and January 2022.

    The deadline for final essays is 31st March, 2022 and the journal issue will be published in April 2022.

    Please note that the journal is now published online, so we welcome the integration of rich digital format such as images, video footage, sound files, performance texts etc.

    Please send enquiries, or essay abstracts and drafts, to Dr Yoni Prior at

  • Call for Papers: Simon Stone & Company
  •  Date Posted: Thu, 22 Jul 2021
    Contemporary Theatre Review Special Issue
    Simon Stone & Company

    Guest Editors
    Emma Cole (University of Bristol)
    Chris Hay (University of Queensland)

    Ticket holders to a new production of The Good Hope at Internationaal Theater Amsterdam (ITA), to be directed by the iconoclastic Australian-Swiss director Simon Stone, received an unusual email in September 2020:

    We would like to inform you that the title The Good Hope has been changed to Flight 49. When writing his new play, Simon Stone drew inspiration from the motives presented in the Dutch theatre classic The Good Hope. Stone, however, writes lines for his plays during rehearsals, and created an entirely new and contemporary version of the classic. […] The play still deals with the central themes from Heijermans’ original piece, but Stone’s characters and the character developments in the plot are new. Considering this, Internationaal Theater Amsterdam has decided to change the title of the play.

    Perhaps the title change was prompted by memories of the heated commentary around Stone’s 2012 production of Death of a Salesman in Sydney and its abbreviated ending, or the war of words prompted by his 2013 Melbourne production of The Cherry Orchard, which was accused variously of arrogance, disrespect, and offence against the art of playwriting. The production of Flight 49 — which eventually opened under its new title on 26 September — was part of a banner year for Stone, which included a new production of his version of Medea showing at the Brooklyn Academy of Music (BAM), a new production of his version of Yerma at the Schaubühne Berlin, and a planned début at National Theatre, London, with a new version of Phaedra (although this last was a victim of COVID-cancellation).

    Stone’s career began in Australia with the success of independent company The Hayloft Project, of which he was Artistic Director from 2007-2010, before he graduated to the mainstage and then pivoted towards Europe with the 2013 appearance of his version of The Wild Duck at the Holland Festival. This same text was later directed by Stone in a film version titled The Daughter (2015), and his second film, The Dig, débuted on Netflix to positive notices in 2021. The template provided by other Australian auteur-directors such as Barrie Kosky and Benedict Andrews is clear – indeed, Stone has worked with many of Kosky’s key collaborators including Tom Wright on Baal (2011), and acted in Andrews’s seminal production of Who’s Afraid of Virginia Woolf (2007) – but it is a career profile Stone has made all his own. Stone’s work has crossed national and linguistic boundaries; as well as ITA, he has made work for Odéon-Théâtre de l’Europe with Three Sisters (2017) and Trilogy of Vengeance (2019), the Berliner Ensemble with A Greek Trilogy (2018), the Young Vic and the Schaubühne with Yerma (2016/2020), and more across the theatres and opera houses of Europe. This mapping of Stone’s trajectory highlights the role of networks in his professional profile: he is linked backwards to Kosky and Andrews, and forwards to the other artists who have worked with him repeatedly across companies, countries, and mediums.

    In curating this Special Issue of Contemporary Theatre Review, we are seeking a way to apprehend the work of the iconoclastic director that includes and highlights the network of collaborators, in terms of both individuals and institutions, who develop, facilitate, and assist their work. We are thereby attempting to build a body of scholarly work that addresses the work of a director on the rise by demonstrating and interrogating the multiple networks in which that director is suspended. We contest the idea that the auteur-director is a lone artist with a singular ‘brand’; while their name may well be alone on the marquee, or they alone may lead the company, the rise of an iconoclastic director is facilitated by those around them, many of whom go on to build significant careers or whose venues symbolise a particular politics of practice in themselves.

    This Special Issue of Contemporary Theatre Review has two key aims. Firstly, it looks to situate Stone within a wider creative ecology, particularly of mid-career artists such as Alice Babidge and Anne-Louise Sarks who are rising in prominence as leading figures within the international theatre industry. We aim to showcase how repeat collaboration and a shared approach to practice, which is in part defined by blurring the boundaries between adaptation and new writing and between the categorisation of artistic role (the multi-hyphenate or ‘slashy’ artist), has been integral to the career trajectories of this new generation of theatrical heavyweights. In so doing, the Special Issue seeks to provide the first large-scale documentation of Stone and Company’s theatrical practice. Despite Stone’s career span, the significance of his collaborators, and the global prominence of his productions, he is yet to receive substantial scholarly attention.

    Contributions might approach questions including but by no  means limited to:
    • Stone & Company, the international festival circuit, and theatrical institutions (especially pre- and post-COVID);
    • Stone & Company and the Australian ‘cultural cringe’;
    • The representational practices of Stone & Company, especially regarding issues of gender and race;
    • Theatrical networks of practice and mapping tools;
    • Stone & Company and the multi-hyphenate artist;
    • Stone & Company and authorship/auteurship; and
    • Stone & Company and the classical tradition;
    For Backpages, we seek accounts of practice, both from within Stone & Company’s orbit and from outside. Stone is an unabashedly polemical artist — and we invite other practitioner/scholars to take up similarly polemical positions in creative responses. We particularly welcome any ‘insider’ accounts of Stone & Company’s rehearsal room practice, including rehearsal ethnographies, as well as interviews and other collaborations with the network.

    Please submit 300-word proposals by Monday 4 October 2021 to the Speical Issue editors on: and If successful, full articles will be due in April 2022.
  • Abstract Writing Workshop for 2021 ADSA Conference
  •  Date Posted: Tue, 13 Jul 2021
    PG/ECR PD Event

    Abstract Writing Workshop for 2021 ADSA Conference
    Monday 19th July
    10:00am – 12:00pm

    About the workshop
    This workshop aims to support you to develop your abstract for the upcoming conference. Given the way the opportunities to present and network have been impacted by covid-19 over the past 18 months we hope this workshop will give the confidence and impetus to get out there present your research. This workshop is for any ECRs/PG students who wants to present and this year’s conference and would like some additional support to get there. Writing mentors include Emma Willis, Chris Hay, and Yoni Prior.

    Organised by Kathryn Roberts-Parker and Anita Hallewas (ADSA PG/ECR reps)

    To confirm attendance or if you have any questions please email and

    Join Zoom Meeting using this link:

    Meeting ID: 986 0964 2285
    Passcode: ADSA21

    We have two writing mentors confirmed. We hope to also include a writing mentor from AotearoaNZ.

    About the Writing Mentors

    Dr Chris Hay - Chris is an ARC DECRA Senior Research Fellow and Senior Lecturer in Theatre History at the University of Queensland. In his research, Chris is particularly interested in what funded cultural output can tell us about national pre-occupations and anxieties. He is Deputy Editor of Performance Paradigm, and an Associate Editor of the journal Theatre, Dance and Performance Training for which he is currently co-editing a Special Issue on Performer Training in Australia.

    Dr Yoni Prior - Yoni Prior has worked as a performer, animateur, director, dramaturg, translator and writer with theatre and dance companies in Australia, the Middle East and Europe. She served on the Australia Council Theatre Board, was Chair of the Big West Festival, and is currently on the Board of Back to Back Theatre. She is Associate Professor in the Faculty of Fine Arts and Music, The University of Melbourne. Between 1991 and 2019 she was a Senior Lecturer and Course Director of Drama (1997 - 2017) at Deakin University. 

    Her doctoral research focused on contemporary Australian rehearsal processes, and she has created digital theatre collaborations between Deakin University, the University of Amsterdam, the British Museum and Cambridge University. She has published on contemporary performance practice, practice as research, dramaturgy in dance and theatre, rehearsal practice, performance and disability, intercultural performance, intermediate theatre, performer training and repertoire development. Yoni is the journal editor of Australasian Drama Studies

  • Call for Proposals – Brill’s book series on Australian Playwrights and Australian Drama, Theatre and Performance
  •  Date Posted: Tue, 13 Jul 2021
    Jonathan Bollen is inviting proposals for Brill’s book series on Australian Playwrights and Australian Drama, Theatre and Performance. 
    The series aims to publish scholarship on Australian drama, theatre and performance, both authored books and edited anthologies, including:
    • critical studies of a particular playwright, director or company and their plays, productions and/or performances; 
    • thematic studies exploring the work of a group of Australian playwrights, theatre companies and/or performance makers; and 
    • scholarly books investigating a period, topic or approach in Australian drama, theatre or performance. 
    Contact Jonathan Bollen,, if you have a proposal in mind. Further details on the series is available at
  • Drama Lecturer - 2 positions - Flinders University
  •  Date Posted: Mon, 12 Jul 2021

    2 Level B Positions in Drama - Flinders University
    We would like to bring your attention to two new Drama positions at Flinders University. Situated in the College of Humanities, Arts and Social Sciences, these roles will contribute to quality research and/or evaluation activities and the planning and delivery of topics within the suite of undergraduate and/or postgraduate topics/courses in Drama in the College of Humanities, Arts and Social Sciences. Applications close 29 July.

    Key Position Capabilities

    • Completion of a PhD or equivalent qualification in a relevant area.
    • Significant professional experience as a performer/director, in order to teach physical and vocal skills to students, for them to be work-ready for employment in live, screen and digital productions.
    • Ability to contribute to teaching conceptual and interpretive skill topics.
    • Evidence of excellence in teaching and learning at a tertiary level, in a relevant field.
    • Evidence of successful and independent innovation in learning and teaching delivery or design, including use of e-learning technologies. 
    • Demonstrated evidence of a research track record (for career stage) in an area of focus for the College, including evidence of quality publications and/or non-traditional research outputs; the attraction of competitive grants is desirable.
    • Demonstrated knowledge and experience in applying policies and procedures related to student welfare.
    • Demonstrated understanding of the nexus between teaching and learning, research, and scholarship.
    • Experience in coordinating and/or leading the activities of other staff.
    • Demonstrated excellent interpersonal, collaborative and communication skills, including the ability to establish and maintain effective relationships with staff, students, and industry.

    For application enquiries please contact: Dr Alex Vickery-Howe -

    Jobs at Flinders:
  •  Date Posted: Wed, 16 Jun 2021

    Dear members,
    we urge the ADSA membership to sign the open letter and support our colleagues at Universtiy of Sydney who are in a fight to save their program


    ADSA and the Australian arts community are outraged about the potential closure of University of Sydney Theatre & Performance Studies. Add your name as a supporter of the arts to the growing list of artists, academics and creatives who are uniting to fight back!

    Sign it, share it, shout it!

  • Expressions of interest: Editor and Editorial Board_ Journal of Arts and Communities
  •  Date Posted: Wed, 9 Jun 2021

    Expressions of interest: Editor and Editorial Board

    Journal of Arts & Communities
    2 issues per volume | First published in 2009 ISSN 1757-1936 | Online ISSN 1757-1944

    The Editorial Board and Intellect are seeking expressions of interest for a new Editor and Board Members for the Journal. As you may know Stephanie Knight stepped down after many pioneering years of leading the Journal and we are now looking for new and experienced researchers, practitioners and academics to get involved in the journal.

    About the journal
    The Journal of Arts & Communities is a double-blind peer-reviewed journal that seeks to provide a critical examination of the practices known as community or participatory arts, encompassing a field of work defined for this purpose as incorporating active, creative collaboration between artists and people in a range of communities. The journal takes a cross-artform and interdisciplinary approach, including work happening in performance, visual arts and media, writing, multimedia and collaboration involving digital technology and associated forms.
    The Journal of Arts & Communities seeks to provide a critical examination of creative collaboration between artists and people from a range of communities of place and interest. Interdisciplinary in approach, the peer- reviewed journal focuses on practice, policy and research related to issues arising from artist/community engagement.

    Current status
    The journal is currently published once a year, with an option to increase to two or three issues a year once the new Editorial team are in place.

    We are open to expressions of interest from dedicated individuals, co-editors, or co-operative teams.

    The role
    Editors are key to driving the vision and scope of the Journal. We are looking for individuals or co-editors who can renew and take forward the ideals and commitments of the Journal. As Editor(s) you will be expected to:
    • Provide overall vision and leadership of the journal.

    • Evaluate all manuscripts that are submitted to the journal.
    • Select articles that are suitable for the journal for peer review.
    • Encourage usage and subscriptions to the journal.
    • Consider peer reviewers’ advice to make a final decision about what

    gets published.
    • Work with the Editorial Board to identify new writers or develop ideas for

    Special Issues.

    Editorial Board
    • We are looking to expand and welcome new members to
    the Editorial Board. As a board member you will be expected to:
    • Review submitted manuscripts.
    • Advise on journal policy and scope.
    • Identify topics for special issues
    • Attract new authors and submissions.
    • Promote the journal to their colleagues and peers.
    • Encourage usage of the journal.
    • Assist the editor(s) in decision making over issues such as plagiarism claims and submissions where reviewers can’t agree on a decision.
    Expressions of interest process
    For questions or enquiries please write to the Intellect Journals Manager:

    If you are interested in joining the Editorial Board, or being considered for the position of Editor, please provide a cover email outlining your specific interests and reasons for wanting to join the Journal of Arts & Communities team. Please also attach a CV.

    Monday 2 August 2021

  • Call for Papers EXTENDED: Performance Paradigm 17 (2022)
  •  Date Posted: Tue, 11 May 2021
    Call for Papers EXTENDED: Performance Paradigm 17 (2022)

    Perform or Else? Surveying the state of the discipline for the post-pandemic world

    Edited by Emma Willis (University of Auckland), Chris Hay (University of Queensland), and Nien Yuan Cheng (University of Sydney)



    In Perform or Else (2001)Jon McKenzie outlined three performance paradigms – the cultural, the organisational and the technological – to argue that the imperative to perform had replaced Foucault’s description of discipline, hence the book’s subtitle: “from discipline to performance.” McKenzie’s insights partially inspired the name of this journal and our first issue “Performance in the Information Age” (2005) featured his work. This issue returns to McKenzie’s seminal text to ask what the imperative to perform looks like when performance is thwarted – for many, 2020 was marked by a “hyper-stasis” (Reynolds 2011, 516), with change happening all around us as we were (and continue to be) stuck in place. To do this, we take each of McKenzie’s three paradigms in turn, asking how they might be interpreted in the time of COVID-19.


    Firstly, how is the playbook of performance management being mobilised at this time? University staff, for example, are currently being asked to consider ‘enhanced leaving,’ or ‘voluntary separation.’ What happens when the paradigm of performance measurement is mobilised against scholars and practitioners of performance, as we’re told “you’re obsolete, liable to be defunded, junkpiled, or dumped” (McKenzie 2001, 15)? How might we reclaim performance as a discipline, a mode of measurement, an act of political resistance? While performance has been defined as “restored behaviour,” Colbert, Jones and Vogel argue that formula can also be reversed. In other words, it can also be a mode of “behaved restoration”, repair, meaning, and becoming (Colbert, Jones, and Vogel 2020, 13)?


    Secondly, how have “the worldwide circuits of performative power and knowledge” (McKenzie 2001, 25) aligned to techno-performance been amplified by COVID-19 and what does this amplification tell us about the distribution of such power? For artistic works, how has techno-performance itself performed? What happens when software programs made for business conferences and webinars become the performance spaces of the many artists forced to adapt to these new circumstances? In addition, techno-performance has also brought about new practices in documentation and archiving. What will be the “performance remains” (Schneider  2011, 100) of the pandemic — and, given the imbrication of performance space and commercial product, to whom will these remains belong?


    Thirdly, performance studies, like many other disciplines, was facing demands for paradigm shifts in both teaching and research — even before the pandemic. In Perform or Else, McKenzie rehearses the “intellectual history” (2001, 33) of performance studies as located in its relationship with anthropology without fully critically acknowledging anthropology’s violent legacies of cultural and political imperialism. Twenty years on, “decolonisation” has become a buzzword within and beyond the university––but have things really changed? As Bhakti Shringarpure asks, “what counts as ‘authentic’ decolonisation in 2020?” (2020). As a journal with a focus on the Australasian and Oceanic region, we are particularly interested in how this question bears out in this part of the world.


    Lastly, and more recently, McKenzie sketches another three “additional paradigms of performance research”: government performance, financial or economic performance, and environmental performance (2006, 37-38). Each of these paradigms has been implicated by the COVID-19 crisis, which has brought with it comparison graphs on national infection rates, vaccination performance reports, and so on. Could we even suggest that pandemic performance might soon form a paradigm of its own?


    The above lines of inquiry proposed by this issue are far-ranging; nonetheless, they resonate with one another, bound together by an interest in revisiting and advancing the ideas explored by McKenzie 20 years ago. We ask not only what it means to “perform” in the shadow of a global pandemic, but also what is its “or else?” (McKenzie 2001, 5). This issue therefore seeks essays or interviews in response to the four areas sketched above:

    1. the mobilisation of our field for neoliberal measurement purposes;
    2. the impacts of techno-performance on our work and our experience as scholars, artists and citizens;
    3. the question of how to decolonise performance studies and what that might look like; and
    4. the rising paradigms of governmental, financial and environmental performance.


    Please send proposals of approximately 300 words to Dr Emma Willis ( by 10 May 2021. Full articles will be due on 1 November 2021 for publication in Performance Paradigm 17, July 2022.

    Please feel free to contact the issue editors with any questions. For more information about them, see here:

    Dr Emma Willis,

    Dr Chris Hay,,

    Dr Nien Yuan Cheng,



    Works Cited:

    Colbert, S., Jones, D., & Vogel, S. (Eds.). (2020). Race and Performance after Repetition. Durham, London: Duke University Press.

    McKenzie, J. (2001). Perform or Else: From Discipline to Performance, London: Routledge, 2001.

    ---- (2006). “Performance and globalization.” In The SAGE handbook of performance studies, edited by D. S. Madison and J. Hamera, 33-45. Thousand Oaks, CA: Sage Publications.

    Reynolds, S. (2011). Retromania: Pop Culture’s Addition to its Own Past. London: Faber & Faber.

    Schneider, R. (2011). Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.

    Shringarpure, B. (2020). “Notes on fake decolonization. “Africa is a Country, 18 December.

  •  Date Posted: Tue, 4 May 2021
    The VCA Theatre program is seeking an outstanding and well-respected theatre professional and experienced academic with the vision and capacity to shape and build the teaching, learning and research within VCA Theatre.

    Based on Southbank Campus of The University of Melbourne.

    Doctoral qualification (or equivalent experience) required.

    Candidate must demonstrate an established reputation in the field of actor training for theatre and screen and significant teaching experience in higher education. You will demonstrate excellence in academic leadership and management and be able to lead people. Interpersonal skills and the ability to contribute to the strategic development of the Theatre program is essential.

    More information here:
  • Update 18 June - 2021 ADSA conference CfP
  •  Date Posted: Tue, 13 Apr 2021
    Next ADSA Conference. Deakin University, Geelong
    30 Nov - 3  Dec 2021

    Revised Call for Papers

    Performers, Makers, Methodologies – Crafting conditions for Decentring Scholarship and Pedagogy in Drama, Theatre, Performance Studies and Dance

    Extended deadline: 21 July

    Thanks to all who have already sent in proposals for ADSA2021.

    We are re-circulating the CfP with some revisions, thanks to guidance and feedback from ADSA colleagues. In the revised call, we seek to better differentiate between decolonising practices and decentring practices. We re-share the call in this amended form and acknowledge the way in which members of ADSA have engaged with us to help us to better understand this distinction. The revised call also seeks to better scaffold how you might go about what you can propose and to integrate insightful feedback we have received.

    The field itself is under pressure, and that pressure itself brings to the fore these concerns. 

    As convenors of  the 2021 conference we invite you to engage with the precarity of the times in which we are researching and teaching. Across Australasia there are university programs under pressure of review, while others are being cancelled altogether. It is a good time to examine our assumptions and past practices in scholarship and pedagogy.

    Our intention in convening the conference on this theme is to engage us all in examining assumptions, behaviours, and processes that claim authority. In amending the CfP, the subject of decolonisation is not being pushed off the agenda, rather we invite you to investigate a range of practices within the broader remit of decentring and to engage in self-examination within a spirit of solidarity.

    We urge you to locate your proposals in the region, to cast an eye over your own local context/s, within the Australasian region. How do these concerns relate more specifically to Aotearoa NZ and Australia?

    Rea, Kate and Miles, ADSA 2021 conference organising committee

    Call for Papers (with revisions)

    We invite submissions for the 2021 ADSA conference.

    ADSA 2021 invites you to go beyond the instrumental objectives within your research reporting toward an intersectional discussion of the processes, forms, and materials of making and performing.

    As an analytical tool, intersectionality views categories of race, class, gender, sexuality, nation, ability, ethnicity, and age – among others – as interrelated and mutually shaping one another (Patricia Hill Collins 2).

    Aligning with Collins’ theory of intersectionality as a way of explaining complexity in the world, the conference seeks to tell stories that embody the many specificities of the Australasian experience.

    ADSA2021 asks us to frame our methods, habits, and practices through this intersectional lens and to analyse key aspects of the Australasian performing arts ecology. The conference leverages science philosopher Isabelle Stenger’s take on ecology as a question of habitat, that is, the context in which we undertake our labour, and the habits that inform our methodologies. Stenger (2005) argues that through practice, by its very nature, we must feel out its edges, acknowledge its limits, and also push against these limits to (re) establish them over and over again.

    Conference discussions will sit within the intersection of these propositions by Collins and Stengers.
    • We are interested in experience and testimony. For example, tell us what you are doing – in pedagogy, in research teams and methodology, in community engagement and professional development.
    • We are interested in case study and critique. For example, focus on what does happen and can happen rather than the enormity of what isn’t happening.
    • Share details of practice – for example, foreground how and where decentring or decolonisation is happening in the practice context, the practice community, and in the art itself. Find a way of speaking in partnership with the artists.
    • Draw attention to practice approaches that are based on intentions to build better relationship with artists and communities - going forward, 
    • Share your experiences of applying a practice of decentring or decolonisation in pedagogy. How are your institutions are doing it?
    In this way, the function of a conference in 2021 is to undertake some critical interrogation and strengthen the bonds of solidarity in a viability and sustainable way going forward.

    While we retain these broad questions:
    How is our research critiquing singular ideas and understandings and tipping perspectives on their head?

    How is our research testing conserved ways of thinking and knowing?

    How might we reveal stories and disrupt conventions through practice?

    What are the methodological nuances that are forged, and that are contingent on our unique research cultures/ecologies?

    We invite you to craft the questions so that we add specificity and detail to this list. What questions serve your self-examination/reflection?

    When proposing your paper or panel we ask that you resist binaries and consider how the inquiry is of this place and time. Conference keywords – Intersectionality, Queering, and Ecology – denote our deliberate purpose to begin to decentre our scholarship and pedagogy, ways of knowing, and modes of inquiry.

    Decentring is about intersectionality. We add additional indicative references recommended by colleagues:

    Indicative references
    Ahmed, Sara (2006) Queer Phenomenology: Orientations, Objects, Others. Duke University Press, Durham.
    Arora, Swati (2021) A Manifesto to Decentre Theatre and Performance Studies,  Studies in Theatre and Performance, 41:1, 12-20, DOI: 10.1080/14682761.2021.1881730
    Collins, Patricia Hill and Sirma Bilge (2016) Intersectionality. Polity Press, Cambridge.
    Bianca Elkington et. al. (2020) Imagining Decolonisation. BWB Texts: Wellington, NZ.
    Stengers, Isabelle (2005) Introductory Notes on an Ecology of Practices, Cultural Studies Review, 1 (11) 183-196.

    We invite presentations (20 minutes), panels (90 minutes), performative proposals (30-90 minutes, live) and/or performative audio (5-20 minutes, recorded) for the 2021 ADSA conference, convened by Drama and Dance in the School of Communication and Creative Arts at Deakin University, Geelong Australia, 30 Nov – 3 December 2021.

    Please send proposal abstracts of approximately 250 words to Dr Rea Dennis ( by extended due date 21 July 2021.

    Please feel free to contact the conference organisers with any questions.

    Rea Dennis
    Kate Hunter
    Miles O’Neil

  • Adaptation and the Australian Novel Symposium - 6 & 7 April (online)
  •  Date Posted: Tue, 23 Mar 2021

    Online Symposium: Adaptation and the Australian Novel
    Centre for Critical and Creative Writing, University of Queensland

    Tuesday 6 and Wednesday 7 April 2021

    Landmark Australian novels are being adapted for the stage and screen at a rate we’ve not seen for many decades. In the 2015 to 2020 period alone, what was previously a steady trickle has become a flood as the nation’s various mediums of cultural transmission have offered reimagined versions of much-loved novels, including: Ruth Park’s The Harp in the South, Kenneth Cooke’s Wake in Fright, Tim Winton’s Cloudstreet, Joan Lindsay’s Picnic at Hanging Rock, Craig Silvey’s Jasper Jones,  Colin Thiele’s Storm Boy, Christos Tsiolkas’s Loaded, The Slap, and Barracuda, Madeleine St John’s The Women in Black, and Liane Moriarty’s Big Little Lies. This trend has continued into 2021, with screen adaptations including The Dry from Jane Harper’s novel, and stage premières including Trent Dalton’s Boy Swallows Universe (QT/MTC) and Ruth Park’s Playing Beattie Bow (STC). Meanwhile Andrew Bovell’s adaptation of Kate Grenville’s contentious classic The Secret River has toured to the heart of the former empire whose violent colonisation of Australia it depicts, playing to broad acclaim in both Edinburgh and at London’s National Theatre.

    Questions that arise here include: Why the rush on Australian adaptation now? What’s fuelling the appetite for this locally themed work, and why is it being distributed internationally via digital platforms such as Amazon and Netflix? Is there a ‘house style’ emerging either at particular theatre companies or television production houses who are leading this push? Whose stories are being canonised in this tranche of largely Anglo-Celtic authored works, and whose voices are doing the adapting? What version of Australian national identity becomes enshrined in this process, and whose perspectives are elided or omitted? We are pleased to invite ADSA members to join UQ’s Centre for Critical and Creative Writing for a two-day online symposium that interrogates  adaptation, the Australian novel, and what it means to perform the canon in the 2010s and 2020s. Attendance at the Symposium is free, and all sessions will be presented via Zoom. We also seek to elevate practitioner perspectives alongside academic ones; the Symposium programme features paper panels and keynotes, as well as ‘in conversation’ sessions with leading adaptors.

    Please register for the Symposium at this link. This will give you access to the Zoom links for all of the panel sessions, the keynotes by Andrew Bovell (on The Secret River) and Professor Frances Babbage, and the in conversation sessions with Anita Heiss (on Tiddas), and Andrew Bovell and Dan Giovannoni (on Loaded). The full program for the Symposium is available here. Any questions can be directed to Stephen Carleton on

  • Scene (Australian Scenography) - Extended deadline for full paper submissions – 30th April 2021
  •  Date Posted: Tue, 9 Mar 2021

    Please see below an alert from Tessa Rixon who is the guest editor of the upcoming Special issue of Scene Journal on Australian Scenography.


    **New extended deadline for full paper submissions – 30th April 2021**

    Please direct any queries about submission ideas to Tessa Rixon . Please submit final papers to Christine White  and Tessa Rixon .


    This special issue aims to provide space to consider the state of scenography and performance design within Australia, ranging across creative practice, pedagogical approaches and evolutions, and research inquiry. On the cusp of a new decade, Australian performance finds itself within the context of a turbulent political landscape, which has seen the devaluation of the arts at a federal level and instability in the funding landscape, as well as ecological disasters from fires, floods and drought; persistent humanitarian crises and an inability to reach humane solutions for those seeking asylum in our country; and finally, the pernicious impact of European settlement and the marginalisation of First Nations and indigenous voices.

    Against this backdrop, this special issue welcomes contributions on the state of Australian performance and their scenographies. It presents perspectives on the evolution and diversification of design practices and philosophies tied to the unique Australian experience, across a range of performance genres including dance, theatre, opera and inter- and transdisciplinary practices. Submissions could address the following points:

    • Aboriginal and Torres Strait Islander peoples’ scenographic practice and approaches
    • Scenography and pedagogy within the Australian academy
    • Scenography as politics/politics as scenography within Australia
    • Critical considerations of diversity and representation within Australian performance design
    • Researching on and through scenography
    • Critical reflections on the history and development of Australian scenography
    • The influence of Australia’s climate disasters on the creation of the scene, as well as responses to Tanya Beer’s notion of ecoscenography (Beer, 2016)
    • Aural scenography and designing the sound of Australian theatre
    • The function of ‘new media’ technologies within Australian scenographies and the impact of emergent tech on design, space, audiences and performers within digital performance
    • Australian approaches to space including site-specific and immersive performance design
    • Costume and Australian scenography
    • Lighting Australian performance


    Submissions could be in the form of essays, case studies of practice, interviews and roundtables capturing diverse perceptions on Australian design.

    Guest editor: Tessa Rixon. Journal Co-editors: Christine White and Alison Oddey.

    Guest edited by Tessa Rixon Please submit final papers to Christine White  and Tessa Rixon Download the Call for Papers here:

  • CfP ADS: New Dramaturgies of Sound and Vision
  •  Date Posted: Thu, 25 Feb 2021

    CfP Australasian Drama Studies  Focus Issue: New Dramaturgies of Sound and Vision

    We invite submissions for this special issue of Australasian Drama Studies, Issue 79, October 2021.

    ADS Sound and Vision, guest edited by Pia Johnson and Miles O’Neil, is a special issue focusing on the nexus of theatre and technology. At the sharp end of 2020, it was only natural for a confrontation between theatre and technology to arise. The pandemic has forced the technological hand, as theatre artists have navigated the performative possibilities of the internet, both professionally and pedagogically. While acknowledging the pandemic, this issue is not exclusively focused on pandemic or Zoom performance, but takes this histori-cultural moment as a pivot point that prompts a wider interrogation of the relationship between performance and technology.

    New Dramaturgies of Sound and Vision examines contemporary dramaturgies of the aural and visual in performance. As narratives of sound and vision become increasingly technologically embedded within theatre and live performance, the issue aims to render these developments and mechanisms visible and audible. We argue that the pandemic has accelerated an existing movement towards the digitised, connected and recorded in performance, but that these concerns sit within a broader landscape of persistent but shifting artistic practices of sound and vision through time.

    The issue will actively pursue practitioners and people interested in expanding the journal article form, aiming to prioritise innovation in form and content that may incorporate new ways to present, analyse and critique sound and vision in performance. 


    Contributions to the issue may address the following topics:

    Technological innovation in contemporary Australian performance

    Merging of technologies – sound, vision, performance

    Sound as presence or character

    Internet as performance space

    Technodrama and mixed reality

    Virtual actors and digital scenery

    Creative form and its ghosts, its evidence / residue

    Dramaturgies in vision and sound 

    Social media and/as performance

    Performance in the digital age

    Revealing the mechanisms behind the form (technician, camera, creative)

    Visual documentation and its value

    Pandemic constructs of performance and presentation


    Submissions may be in the form of an abstract or a full draft. Full drafts are preferred from emerging scholars. Essay abstracts should be no more than 400 words, stating the title and author/s, and should give a clear sense of the proposed argument or investigation. Essay length is a maximum of 6,000 words including bibliography. Please also submit a brief biography and set of key words.

    We also welcome shorter pieces, reflections and notes from the field (2000 word maximum). Please note that the journal is now published online, so we welcome the integration of rich digital format such as images, video footage, or sound files.


    Submission of abstracts/drafts: Friday March 19th to

    Authors will be advised whether their submission has been successful by the end of April, and full drafts are due by Friday August 6th, 2021. The issue will be published in October, 2021.


    Dr Yoni Prior, Editor: Australasian Drama Studies 

  • CfP Performance Paradigm 17: Perform or Else? Surveying the state of the discipline for the post-pandemic world
  •  Date Posted: Tue, 23 Feb 2021
    Call for Papers: Performance Paradigm 17 (2022)
    Perform or Else? Surveying the state of the discipline for the post-pandemic world

    Edited by Emma Willis (University of Auckland), Chris Hay (University of Queensland), and Nien Yuan Cheng (University of Sydney)

    Proposals of approximately 300 words due 11 April 2021.

    In Perform or Else (2001)Jon McKenzie outlined three performance paradigms – the cultural, the organisational and the technological – to argue that the imperative to perform had replaced Foucault’s description of discipline, hence the book’s subtitle: “from discipline to performance.” McKenzie’s insights partially inspired the name of this journal and our first issue “Performance in the Information Age” (2005) featured his work. This issue returns to McKenzie’s seminal text to ask what the imperative to perform looks like when performance is thwarted – for many, 2020 was marked by a “hyper-stasis” (Reynolds 2011, 516), with change happening all around us as we were (and continue to be) stuck in place. To do this, we take each of McKenzie’s three paradigms in turn, asking how they might be interpreted in the time of COVID-19.
    Firstly, how is the playbook of performance management being mobilised at this time? University staff, for example, are currently being asked to consider ‘enhanced leaving,’ or ‘voluntary separation.’ What happens when the paradigm of performance measurement is mobilised against scholars and practitioners of performance, as we’re told “you’re obsolete, liable to be defunded, junkpiled, or dumped” (McKenzie 2001, 15)? How might we reclaim performance as a discipline, a mode of measurement, an act of political resistance? While performance has been defined as “restored behaviour,” Colbert, Jones and Vogel argue that formula can also be reversed. In other words, it can also be a mode of “behaved restoration”, repair, meaning, and becoming (Colbert, Jones, and Vogel 2020, 13)?
    Secondly, how have “the worldwide circuits of performative power and knowledge” (McKenzie 2001, 25) aligned to techno-performance been amplified by COVID-19 and what does this amplification tell us about the distribution of such power? For artistic works, how has techno-performance itself performed? What happens when software programs made for business conferences and webinars become the performance spaces of the many artists forced to adapt to these new circumstances? In addition, techno-performance has also brought about new practices in documentation and archiving. What will be the “performance remains” (Schneider  2011, 100) of the pandemic — and, given the imbrication of performance space and commercial product, to whom will these remains belong?
    Thirdly, performance studies, like many other disciplines, was facing demands for paradigm shifts in both teaching and research — even before the pandemic. In Perform or Else, McKenzie rehearses the “intellectual history” (2001, 33) of performance studies as located in its relationship with anthropology without fully critically acknowledging anthropology’s violent legacies of cultural and political imperialism. Twenty years on, “decolonisation” has become a buzzword within and beyond the university––but have things really changed? As Bhakti Shringarpure asks, “what counts as ‘authentic’ decolonisation in 2020?” (2020). As a journal with a focus on the Australasian and Oceanic region, we are particularly interested in how this question bears out in this part of the world.
    Lastly, and more recently, McKenzie sketches another three “additional paradigms of performance research”: government performance, financial or economic performance, and environmental performance (2006, 37-38). Each of these paradigms has been implicated by the COVID-19 crisis, which has brought with it comparison graphs on national infection rates, vaccination performance reports, and so on. Could we even suggest that pandemic performance might soon form a paradigm of its own?
    The above lines of inquiry proposed by this issue are far-ranging; nonetheless, they resonate with one another, bound together by an interest in revisiting and advancing the ideas explored by McKenzie 20 years ago. We ask not only what it means to “perform” in the shadow of a global pandemic, but also what is its “or else?” (McKenzie 2001, 5). This issue therefore seeks essays or interviews in response to the four areas sketched above:
    1) the mobilisation of our field for neoliberal measurement purposes;
    2) the impacts of techno-performance on our work and our experience as scholars, artists and citizens;
    3) the question of how to decolonise performance studies and what that might look like; and
    4) the rising paradigms of governmental, financial and environmental performance.
    Please send proposals of approximately 300 words to Dr Emma Willis ( by 11 April 2021. Full articles will be due on 1 November 2021 for publication in Performance Paradigm 17, July 2022.

    Please feel free to contact the issue editors with any questions. For more information about them, see here:
    Dr Emma Willis,
    Dr Chris Hay,,
    Dr Nien Yuan Cheng,

    Works Cited:
    Colbert, S., Jones, D., & Vogel, S. (Eds.). (2020). Race and Performance after Repetition. Durham, London: Duke University Press.
    McKenzie, J. (2001). Perform or Else: From Discipline to Performance, London: Routledge, 2001.
    ---- (2006). “Performance and globalization.” In The SAGE handbook of performance studies, edited by D. S. Madison and J. Hamera, 33-45. Thousand Oaks, CA: Sage Publications.
    Reynolds, S. (2011). Retromania: Pop Culture’s Addition to its Own Past. London: Faber & Faber.
    Schneider, R. (2011). Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.
    Shringarpure, B. (2020). “Notes on fake decolonization. “Africa is a Country, 18 December.
  • Australasian Drama Studies Issue 77 now available
  •  Date Posted: Tue, 23 Feb 2021
    The latest Issue (77) of Australasian Drama Studies is published and now available on the ADS website. Edited by Jennifer Beckett, Rachel Fensham and Paul Rae, this focus issue examines cultural activity in regional, rural and remote Australasia.

    Diverse contributors include:

    Article authors

    Asher Warren and JaneWoollard
    Ailsa Brackley du Bois
    Miles O’Neil,
    Anna Loewendahl
    Ariel Songs
    Angela Campbell, Tanja Beer, Richard Chew and Kim Durban
    Abbie Victoria Trott
    Sarah Woodland Brydie-Leigh Bartleet

    Interviews with
    Chloe Flockhart and Paul McPhail
    Elena Carapetis and Anthony Peluso
    Jude Anderson and Joe Toohey
    Ros Abercrombie, Paul McPhail, Anthony Peluso and Joe Toohey

    Edwin Lee Mulligan and Dalisa Pigram Ross

    Review essay Angela Conquet
  • Editorial team roles: Theatre, Dance and Performance Training journal
  •  Date Posted: Tue, 23 Feb 2021

    Dear colleagues,

    The international journal Theatre, Dance and Performance Training is seeking two new colleagues to join its editorial team, a Co-Editor and a Peer Reviews Associate Editor. This is an opportunity to join a rapidly growing journal, which now produces four issues a year, and to work with an international network of editors. The journal is particularly seeking applications from candidates who have been historically under-represented both the journal and in the field more broadly. Applications for both close on 31 March 2021.

    If you would like more information on the positions, please feel free to reach out using the contact details on the attached advertisements. You might also like to contact some of the ADSA members on the journal’s Editorial Board, including Rachel Fensham (, Hilary Halba (, Chris Hay (, and David Shirley ( More information about the journal is available here:

  • 2020 Vision? What Worked in the Performing Arts, What Didn’t, Where Next.
  •  Date Posted: Fri, 11 Dec 2020

    Tuesday 15 December 1.30-4.00pm

    Hindsight is a wonderful thing! 

    In this Zoom round-robin, a diverse range of performing arts movers and shakers put their heads together to tell a braided story of 2020 and beckon a 2021 that cannot come soon enough. They’ll be explaining all the things they did right and how they did them, what bombed and why, and how to get from here to the future without tears. 

    If you work in, study or simply love the performing arts, come along, get some perspective, and share your own.


    • Jacob Boehme, Independent artist; First Nations Lecturer, MFA Cultural Leadership, NIDA
    • Chris Mead, Literary Director, Melbourne Theatre Company
    • Adele Schonhardt, Co-Director, Melbourne Digital Concert Hall
    • Sonya Suares, Performer, director, artistic director, activist
    • Latai Taumoepeau, Independent performance artist and choreographer
    • Dianne Toulson, General Manager, Theatre Works

    Hosted by Alyson Campbell and Paul Rae, University of Melbourne

    For the Zoom link, register at:

    ‘2020 Vision?’ emerges out of the research project ‘Together Again? Performing Arts Pathways from Lockdown to Recovery’, conducted by Alyson Campbell, Paul Rae and Caitlin Vincent (all University of Melbourne) and Caroline Wake (UNSW) with the assistance of Rachael Stevens and Sonya Suares. The project is supported by the Faculty of Arts and the VCA at the University of Melbourne, and the Faculty of Arts & Social Sciences at UNSW.

  • CFP: Australian Playwrights series, Brill
  •  Date Posted: Tue, 24 Nov 2020

    Australian Playwrights
    And Australian Drama, Theatre and Performance

    Editor: Denise Varney

    Brill gladly invites authors to contribute to their book series Australian Playwrights . This series aims:
     i) to contribute to the interpretation, critical analysis, promotion, and wider understanding of Australian drama, theatre and performance in Australia and overseas;
    ii) to pursue a scholarly investigation through monographs which could include either an overview of a particular playwright, director or company and a critical analysis of his/her/its plays or performances or a study of a grouping in drama and theatre including writers for performance and theatre makers within a unifying framework;
    iii) to enliven, enrich and illustrate the study of drama, theatre and performance within Australia and overseas, especially for scholars, artists and students. 

    Each monograph provides an in-depth study aimed at furthering knowledge of Australian drama, theatre and performance and therefore Australian culture with reference to primary and secondary sources. 

    Interested or want to learn more? Contact Masja Horn, Acquisitions Editor (
  • CFP: Theatre, Dance and Performance Training (TDPT)
  •  Date Posted: Mon, 16 Nov 2020
    Special issue Performance Training and Well-Being to be published June 2022

    Call for contributions, ideas, proposals and dialogue with the editors

    Guest editors: Dr. Virginie Magnat, University of British Columbia, Canada ( and Dr. Nathalie Gauthard, Université d’Artois, France (

    Performance Training and Well-Being (Issue 13.2)

    Conceived as a way of foregrounding the relevance of performance-based artistic practices in response to the current health crisis caused by the global pandemic, as well as a way of challenging neoliberal conceptions of creativity and performance as hallmarks of capitalist productivity, adaptability, and efficacy, this special issue will explore the relationship between performance training and the notion of well-being, broadly conceived, to reignite, reconfigure, revitalize, renew and/or reimagine their inter- and/or intra-action.

    We seek contributions by performance and theatre studies scholar-practitioners, artists, educators, and activists committed to critically and reflexively investigating the cultural, social, political, ecological, and spiritual dimensions of performance training modalities that have the potential to promote, enhance, restore, and sustain the well-being of practitioners, audiences, and other/more-than-human participants and collaborators.

    We are committed to integrating the perspectives of non-Western and Indigenous scholars and artists, and welcome contributions examining the ethical implications of conducting research on performance and well-being in the neoliberal academy, as well as decolonizing approaches to performance training that take into account the well-being of culturally diverse communities.

    This special issue will therefore respond to the urgent need to acknowledge and to include multiple ways of knowing and being within Eurocentric paradigms that still inform dominant knowledge systems.

    The contested termwell-beingis intended as a generative provocation. In this light, potential contributors are invited to engage with topics and questions such as:
    • Performance Training and Well-Being:
      • What approaches to performance training and well-being are currently in the making?
      • How do they depart from or extend dominant conceptualizations? Which performance contexts are they designed for?
      • How is the relationship between performance training and well-being investigated beyond the studio, via Skype/Zoom, MOOCs and other interactive platforms in the global pandemic era?
      • What is the impact of neoliberal economics on this relationship in the context of the current health crisis?
    • Intersectionality and Interdisciplinarity:
      • How do performance training modalities that have the potential to promote, enhance, restore, and sustain well-being take into consideration gender, sexuality, ability, class, race and ethnicity?
      • How do they respond to neurodiverse trainees?
      • How are interdisciplinary performers, such as dance-theatre practitioners or intermedia artists, exploring the relationship between performance and well-being?
      • How has training that was originally developed to foster well-being within the context of artistic performance been adapted by qualitative researchers and educators for the purpose of arts-based inquiry, pedagogy, activism, community or health work?
    • Bridging Practice and Theory:
      • Which emergent critical methodologies can we deploy to investigate the relationship between performance training and well-being?
      • How do relatively new paradigms such as ecocriticism, new materialism, posthumanism, affect theory, and neuroscience influence scholarly and artistic explorations of the relationship between performance training and well-being?
    • Documentation and Dissemination:
      • Which practices of performance training that value and promote well-being have not been systematically documented and disseminated?
      • Which non-Anglophone practices have received less critical attention and how can new translations or archives engage us in dialogue with them?
      • What is the place of documentation in practice-as-research approaches to performance pedagogy and well-being?
    • Histories and Lineages:
      • What does archival research reveal about the lineages and historic practices exploring the relationship between well-being and performance training?
      • How are non-Western and Indigenous appoaches to the relationship between cultural practice and well-being decolonized, reclaimed, and revitalised in contemporary performer training?
    • Re-newing Performance Training:
      • How can existing systems, exercises and practices be reconfigured in ways that value and foster well-being?
      • How can we re-evaluate the foundational premises of performance training through current interdisciplinary research on the relationship between artistic practice and well-being? What are the implications for transmission processes and how might a focus on well-being inform pedagogical innovations?

    To signal your interest and intention to make a contribution to this special issue please contact Virginie Magnat ( and Nathalie Gauthard ( for an initial exchange of ideas/thoughts or email us an abstract or proposal (max 300 words). Please consider the range of possibilities available within TDPT: Essays and Sources up to 6500 words; photo essays; shorter, more speculative, essais up to 3000 words and postcards (up to 200 words). All contributors could extend their work through links to blog materials (including, for example, film footage or interviews). Questions about purely digital propositions can be sent directly to James McLaughlin at along with ideas for the blog. Firm proposals across all areas must be received by 1st March 2021 at the latest. We look forward to hearing from you.

    Theatre, Dance and Performance Training has a number of formats:
    • “Articles” features contributions in a range of critical and scholarly formats (approx. 5,000-6,500 words)
    • “Sources” provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
    • “Training Grounds” hosts shorter pieces, which are not peer reviewed, including essais, postcards, visual essays, book or event reviews and the new format, Speaking Image. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed.

    Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog:

    Issue Schedule:

    1 March 2021: proposals to be submitted to Virginie Magnat ( and Nathalie Gauthard (
    31 March 2021: Response from editors and, if successful, invitation to submit contribution
    April to End August 2021: writing/preparation period
    Start Sept to end October 2021: peer review period
    November 2021 – end January 2021: author revisions post peer review
    June 2022: publication as Issue 13.2

  • CFP: ADS General Issue (78), April 2021
  •  Date Posted: Sat, 17 Oct 2020

    Edited by Yoni Prior
    We invite submissions for the general issue of Australasian Drama Studies, Issue 78, April 2021.
    Submissions may be in the form of an abstract or a full draft. 

    A full draft or substantial example of academic writing is preferred from emerging researchers.
    Essay abstracts should be no more than 400 words, stating the title and author/s, and should give a clear sense of the proposed argument or investigation. 

    Essay length is a maximum of 6,000 words including bibliography. Please also submit a brief biography and set of key words.

    Please note that the timeline is fairly tight this year.
    Abstracts should be submitted by 30th October, 2020. 
    Contributors will receive notification about acceptance by mid- December and drafts should be submitted by end January. Peer review will take place through February. The deadline for final essays is 31st March, 2020 and the journal will be published in April 2021. 
    Please note that the journal is now published online, so we welcome the integration of rich digital format such as images, video footage, sound files etc.
    Please send enquiries or essay abstracts and drafts to Dr Yoni Prior at
    Call For Reviewers
    ADS is looking to expand its database of peer and book reviewers. If you would be interested in reviewing and providing expert feedback on articles submitted for publication in Australasian Drama Studies, or reviewing recently published books on Theatre and Performance, please contact the Assistant Editor, Dr Natalie Lazaroo by email providing contact details and nominating area/s of interest and expertise.
  • CFP: Special issue of Research in Drama Education: Performance and Policy
  •  Date Posted: Wed, 14 Oct 2020
    Proposal deadline 13th November 2020 (for publication in August 2022, 27.3)

    Co-editors: Molly Mullen (University of Auckland) and Kelly Freebody (University of Sydney)

    This themed issue brings a focus to the relationship between applied theatre, applied performance, drama education and policy, seeking new perspectives on this topic. In these fields there has been a longstanding concern with understanding the relationships between policy, funding and practice within institutions and communities, and with the implications of these relationships (Kershaw 1999, Jackson 1993, Neelands 2007 Hughes and Ruding 2009; Mullen 2019). It is evident that this relationship has implications for political, pedagogic, aesthetic and ethical values, approaches and outcomes. This themed issue is interested in profiling diverse and emerging approaches to conceptualising and researching policy and its relationship with practice.

    In the broadest sense, policy establishes ‘goals, values and practices’ as the basis for a particular process or programme of action (Laswell and Kaplan 1950, cited in Rosenstein 2018, 13).  Policy is typically ‘orientated toward a problem or set of problems’ (Rosenstein 2018, 13). There is debate, however, about whether policy is a pragmatic response to the need to solve objectively identifiable problems or whether problems are produced or ‘constituted’ via policy (Bacchi 2014). From the latter perspective, policy is treated as a form of governmentality. Understandings of society as governed in ways that go beyond the government open up the scope of what might count as policy. Performance studies scholar Paul Bonin Rodriguez (2014), for example, defines cultural policy as ‘[a]s a set of ‘decisions (by both private and public entities) that either directly or indirectly shape the environment in which the arts are created, disseminated, and consumed, … an admixture of ongoing political, social, and economic projects’ (p. 2). Policies try to ‘get something done’ (Rosenstein 2018, 14). But, their capacity to do so depends, in part, on their legitimisation by a recognised authority. Education scholar, Stephen Ball (1993), makes the important argument that policies are still always open to being de-legitimised or undermined. 

    Considering the various perspectives on policy outlined above, one can make clear connections to work in applied theatre, drama education and community theatre. These fields are often oriented to a series of social or policy ‘problems’, whether it be a problematisation of the participants themselves (as marginalised, as silenced, as in need of education) or with less tangible social problems (such as violence, drug addiction, unsafe partying practices and so on). There are examples or traditions of applied theatre and performance with explicit intentions to develop and inform policy, including Boal’s Legislative Theatre. Other practices are directly engaged with challenging or resisting particular policies and their effects. Further, as transdisciplinary practices, drama education and applied theatre often happen in places governed by policy (public and institutional) and operate to bring policy-infused messages to participants, communities, and audiences. Recent scholarship has sought to understand these connections, both implicitly through an exploration of how applied theatre works in societies and institutions (Balfour 2009), and explicitly, through critical analyses of the intersection between theatre, policy, and funding (Mullen 2019). There is a growing recognition that the context work takes place in can have effects on intentions, approach and outcomes. Tensions arise when policy-infused agendas conflict with the needs or desires of participants or key partners. Complicated negotiations are required between competing notions of what is valuable, ‘effective’ or ‘successful’. Policy and funding relationships affect participants, their experience of the work and the terms of their engagement with it. Policy can also impact the nature of facilitators’ labour and positionality. In practice, therefore, policy has profound effects on applied theatre, applied performance, and drama education practitioners. This volume seeks to expand our current thinking about these effects and how they might be negotiated.

    We invite papers that consider:
    • Historical and/or critical perspectives on the ways applied theatre is situated in relation to particular policy projects.
    • New theoretical perspectives on the relationships between policy and practice and the impacts or implications of that relationship for participants, partners and practitioners.
    • Scholarship in applied theatre, performance or drama education that is working with new, emerging conceptions of policy or methods for researching policy.
    • Examples of the different ways in which applied theatre, performance and drama education practice is involved in making, enacting, sustaining, subverting, resisting, remaking, re-reading or challenging policy initiatives.
    • Participatory theatre or performance-based policy-making processes, particularly those that serve as an alternative to dominant paradigms of consultation and communication.

    We are seeking contributions that consider these topics from a range of levels: micro through to macro, local through to global. We are looking for diverse theoretical and geographical perspectives. We are seeking research-based articles (6-8,000 words), including: case studies, historical studies, theoretical or philosophical approaches, practice-based/led methodologies. We will also consider shorter submissions in the form of interviews or accounts of relevant practice examples (approximately 1,500 words).  

    Please send initial proposals of approximately 300 words for articles, interviews and accounts of practice by 13thNovember to the issue guest editors: Molly Mullen ( and Kelly Freebody ( for consideration and feedback. Full articles will be due mid-2021 (please note, full articles will undergo anonymous peer review prior to final acceptance). Final publication for volume 27, issue 3 is expected to be August 2022.
  • CFP: Humanities Special Issue title: Acts of Liberation
  •  Date Posted: Fri, 11 Sep 2020

    Further Update


    This Open Access journal is free for readers, with an article processing charges (APC) paid by authors or their institutions.

    Given the impact of COVID and the lack of financial support for many scholars, the journal has confirmed it will be offering 90% discount on this fee for authors who submit to this special issue.

    Abstract [300 words] Submission Deadline: 31 October 2020. Final Manuscript Submission Deadline: 31 March 2021
    Guest Editor: Dr. Rand T. Hazou
    Senior Lecturer in Theatre, Massey University

    Massey Profile| LinkedIn ||
    Interests: Theatre and social justice, Prison Theatre, Applied Theatre, Arab and Palestinian Theatre, Decolonial Theatre.


    On the 15th of June in Albuquerque, New Mexico, protestors attempted to pull down a statue of the Spanish conquistador Juan de Oñate. Oñate is controversial figure who is celebrated as the founding father of the Spanish colony in New Mexico despite being convicted by the Spanish crown for crimes against the Native American inhabitants of the Acoma Pueblo. During the demonstration to tear down the statue, an activist shouted ‘This is an act of decolonisation! This is an act of liberation!’ (Mars and Alcorn, 2020). Similar ‘acts of liberation’ have been staged around the globe in the wake of the murder of George Floyd in Minneapolis and the resurgence of the Black Lives Matter protests, with demonstrators tearing down monuments, contesting narratives of shared history, and challenging perceived white and Eurocentric commemorative practices. Taking inspiration from the urgent cry of a black lives matter activist, this is a call for papers that engages with recent ideas, theory, and practices of liberation.

    The Black Lives Matter movement has been accompanied by a renewed interest in Black feminist thinkers such as Angela Davis (2003) and bell hooks (1981), black scholars such as W.E.B. Du Bois, writers such as James Baldwin (1963), and the philosophy of self-determination as expressed in Stokely and Hamilton’s Black Power: The Politics of Liberation in America (1967).

    This Special Issue seeks to advance the practice and theory of liberation that builds on a diverse and interdisciplinary body of literature, ranging from the psychology of liberation as expressed in the writings of Erich Fromm (1942) to the pedagogy of liberation as articulated by Paulo Freire (1972). Contributions in the field also include the liberation psychology of Frantz Fanon (1967), who articulated the liberation of the colonial mind as a key site for the struggle for freedom, as well as the liberation philosophy of Enrique Dussel (1985), which provides a critique of modernity and oppressive rationalisation.

    The current political upheavals draw attention to the need to explore with renewed critical vigour decolonial approaches to practice, theory, and teaching. Decoloniality proposes that the "coloniality of power" (Quijano, 2000) did not end with colonialism, and that the modern capitalist world-system imposes a racial/ethnic classification of people as a basis for global exploitative and extractive power-structures. According to Walter Mignolo, decoloniality involves “delinking” from Eurocentric categories of thought to “change the terms and not just the content of the conversation” (2007, 459). For Nelson Maldonado-Torres, decoloniality involves the production of “counter-discourses, counter-knowledges, counter-creative acts” aimed at breaking down “hierarchies of difference that dehumanise subjects and communities and that destroy nature” (2016,10).

    This Special Issue of the Humanities journal will consider the emancipatory role of culture and the role of the arts in humanising subjects and communities impacted by colonial hierarchies of difference.

    This call for papers invites submissions from decolonial and indigenous scholars, practitioners, and activists involved in the production of counter-knowledges and counter-creative acts that challenge the privileging of Western- and European-centric ways of being and knowing.

    We hope that authors will engage with conceptions of liberation as explored through the arts and cultural production in general and in the fields of theatre and performance specifically. Contributions are invited that consider the embodied and performative aspects of liberation and how liberation acts, is acted on, or is acted out.


    Please send an abstract of 300 words and short bio by 31 October 2020 to: Notifications of acceptance will be sent by 30 November 2020. Full manuscripts are due 31 March 2021.


    § theatre and liberation;
    § decolonial theatre and performing arts; § arts and humanization.

    About the Journal

    Humanities is an international peer-reviewed open access quarterly journal published by MDPI. Humanities is an international, peer-reviewed, and open access scholarly journal (free for readers). The central concern of this journal pertains to the core values of the Humanities, i.e., focusing on the ideals of human existence, seen through many different lenses. Humanities is a member of the Committee on Publication Ethics (COPE), and, accordingly, submissions are peer reviewed rigorously to ensure that they conform to the highest standards in their field. Key benefits from publishing with the journal include:

    • §  Open Access: This journal is free for readers, with article processing charges (APC) paid by authors or their institutions. This ensures the dissemination of new knowledge to various communities of concern. An article processing charge (APC) of 1000 CHF (Swiss Francs), approximately $169 NZD or $110 USD applies to papers accepted after peer review.

    • §  Rapid Publication: Manuscripts are peer-reviewed and a first decision provided to authors approximately 21 days after submission; acceptance to publication is undertaken in around 6 days. This quick turnaround means that current research can be published that speaks directly and urgently to pressing issues.

    §  High Visibility: Indexed in ERIH Plus.

    ​​​​Manuscript Submission Information

    Manuscripts should be submitted online at by registering and logging in to this website. Manuscripts can be submitted until the deadline. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. Please visit the Instructions for Authors page before submitting a manuscript. Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

  • AusAct 2020 Dec 8 - Dec 9 - Call for Proposals
  •  Date Posted: Wed, 9 Sep 2020
    The performing arts sector has been significantly hit by the impact of COVID-19. In 2020, we have seen theatres close, productions cancelled and many arts practitioners losing jobs. In addition to this, acting teachers in institutions and the private sector moved swiftly to online learning; some even transitioning to rehearsing and performing productions online. Online coaching is not a new phenomenon, as teachers have been coaching actors using video conferencing tools for most part of the decade, however, this pandemic has highlighted the advantages and disadvantages of learning in this way. Actors, while in isolation, need to maintain their skills and keep active. They are also looking at different ways in which they can keep connected with other performers. This crisis has reawakened actor training, inspiring communities and theatre companies to work on the sustained wellbeing of all actors who wish to perform and train. These teachers and artists have rapidly adapted their arts practice with new ways of working.

    Overall, questions may stem from, but not limited to, the following points concerning new developments in Australian performance pedagogies:

    • How are we teaching acting to the current digital generation?
    • What methods have actors been working on during this time of isolation to maintain their skills?
    • What new methods and practices have been developed by teaching acting online?
    • What are the advantages and disadvantages of teaching acting online?
    • What adjustments have acting teachers made adjusting in this new environment?
    • How have rehearsals and performances adjusted in this new environment?
    • Are there are gaps recognised in training and process, and what would be helpful to fill those gaps?
    • What are some new developments in Australian actor training that have surfaced this year in response to the ever-changing world?
    • How are we adapting actor training due to financial pressures facing the tertiary sector?
    • What does the post COVID-19 landscape look like for actor training?

    Participants who are interested in presenting a paper and/or conducting a workshop must submit an abstract up to 250 words to Dr Robert Lewis: Applicants who are interested in submitting an abstract for a workshop must clearly state the level of participation, e.g., beginners, intermediate or advanced, the aims and objectives of the workshop, influences/inspiration behind the work, and any other requirements needed. Applicants who are interested in staging a performance must indicate cast size, length of performance and any other helpful information. Technical requirements must be kept to a minimum. Abstract for papers, panel presentations and workshops due Friday October 2.

    Presenters have the option to submit their papers to be considered for the peer reviewed International Journal of Practice Based Humanities (IJPBH). Presenters will be invited to submit an article version of their conference paper for inclusion early 2021. This edition of the IJPBH aims to make a contribution to the field offering new insights into Australian acting pedagogies in the past and in the present. It will consist of a selected number of essays from submissions drawing on papers presented at AusAct 2020 Conference. This volume will aim to engage with national and international debates on the nature and practices of Australian actor training as research as a scholarly methodology and/or as pedagogical practice. An expression of interest form will be available through the conference website: Every contributor must also fill out a ‘Publication Expression of Interest’ form in order to indicate whether or not they would like to: have their paper published in the special edition of IJPBH without being double blind peer reviewed; have their paper double blind peer reviewed to be considered for publication in the special edition of IJPBH; submit creative works and or other projects of equivalent scope; only attend the conference and present without any publication outcome. Timelines, important dates and other information relating to the publication are listed in the ‘Publication Expression of Interest’ form at:

    • Call for proposals: Monday September 7
    • Friday October 2: Abstracts for papers due
    • Friday October 16: Notification of acceptance
    • Early Bird registrations close: Friday November 6
    • Full Registration: Saturday November 7
    • Registration close: Thursday December 1
    • Conference: Tuesday Dec 8 (half day) and Wednesday Dec 9 (half day)

    Early Bird: $55
    Full: $90
    Student/Concession: $20
    Click here to register

    The conference will be held via Zoom, and all details regarding schedules, zoom link and structure will be forthcoming. 

  • Call for board members and reviewers for RiDE
  •  Date Posted: Thu, 30 Jul 2020
    RiDE: The Journal of Applied Theatre and Performance

    RiDE is an international refereed journal aimed at those who are interested in applying performance practices to cultural engagement, educational innovation and social change. It provides a forum for research into drama and theatre conducted in community, educational, developmental and therapeutic contexts.
    RiDE is looking to expand its pool of reviews, guest editors, and editorial board members. 

    ·         If you are interested in reviewing for RiDE, we would like to hear from you. We are particularly keen to have reviewers from different stages of their careers and from a diversity of backgrounds and international contexts. While we are looking for those experienced in Drama Education in particular, we would like to hear from anyone in the field of applied theatre and performance. If interested, please contact

    ·         RiDE publishes two Open Issues and Two themed issues per year. We would like to hear from colleagues who are interested in editing a themed issue or proposing a topic for a themed issue. This can be done in collaboration with another colleague – themed issues are often jointly edited. If you are interested in editing, proposing a theme, or would like to discuss this further please contact

    ·         For those colleagues who are familiar with RiDE and have reviewed for us already, we are seeking new members for our Editorial Board. Our board will be improved by diversifying in terms of members’ geographical location, career stage, gender, race, disability and sexual orientation. If you have questions about this role, please contact or send a short CV to
  • CFP: Performance Research 26.4; On Repair (June 2021)
  •  Date Posted: Fri, 26 Jun 2020
    Volume 26, No. 4, ‘On Repair’ (June 2021)  

    Issue Editors
    Helena Grehan (Murdoch University) and Peter Eckersall (The Graduate Center, City University of New York (CUNY))

    Proposal deadline: 31 July 2020
    The year 2020 should be seen as the year when human history dissolved—not because human beings disappear from planet Earth, but because planet Earth, tired of their arrogance, launched a micro-campaign to destroy their Will zur Macht (Will to power).

    The Earth is rebelling against the world, and the agents of planet Earth are floods, fires, and most of all critters. (Berardi 2020)

    Drawing on Donna Haraway’s Staying with the Trouble the critters Berardi refers to here are ‘small playful creatures who do strange things, like provoking mutation. Well: the virus’ (Berardi 2020).

    In this issue we contemplate what comes after the year 2020 and its critters. We find that we inhabit a landscape that is scorched, parched, drowned and infected. One that is perhaps, if we concur with Berardi, fed up of us and beginning to fight back. What might the value be, if indeed there is any value, in repairing things in this context? What could we humans do to ‘repair’ the world? 
    Stay-at-home directives in so many places around the world have shown us a reality of what less human intervention looks like. This led to some improvements—cleaner air, more space for animals, daily walks, less vacuous consumption—but this reality and its consequences has not been shared equally among us. COVID-19 made starkly visible the underlying conditions of structural precarity. How do we think about ideas of repair in light of this? Specifically, can creative practices and the imagination do something? Berardi (2020) calls for ‘[t]hought, art, and politics… no longer… as projects of totalization [but] of proliferation without totality’. How might we, as performance scholars and practitioners, make sense of this idea? What kinds of work should we make, respond to, or perhaps avoid if we are to activate Berardi’s call for ‘thought, art and politics’?
    According to the Oxford English Dictionary (OED), ‘repair’ means ‘the action of repairing a damaged, worn, or faulty object or structure by replacing or fixing parts. Also: the fact or process of keeping something in good condition in this way; maintenance, upkeep’. If we take the second part of the meaning here, then we have already failed it seems. We have failed to keep anything ‘in good condition’ to carry out the regular ‘maintenance’ that is needed to ensure that things work properly, to keep things in ‘good’ repair, to the extent that now perhaps the act of repairing would be futile. Have we gone beyond repair? Repairing was, or so it seems, something we should have been doing all along—if we are now inhabiting a broken planet that was rendered so by our inaction and by—some would argue—a form of capitalism gone feral. If the end stage of capitalism is, as Jodi Dean (2020) states, a condition of ‘neofeudalism’, then what is there left to do? Even if we could repair, would we want to? What is there to fix? 
    We could argue that it is crucial to fix the planet, the geological and ecological structure on which life rests. In doing so we might stake a claim for humanity and refuse the dissolving that Berardi argues is underway. We could try to calm the fires, to eradicate the virus and to stop the floods, but if we were to do this would it require a radical rethinking of the very fabric that is worn? Can we repair the planet and at the same time return to the capitalist status quo? Or, is it only by jettisoning that system that we might be able to engage in any meaningful acts of repair? Is there something in-between or are these options our only ones? And, again, can we expect any meaningful interventions from performance and performance studies? Timothy Morton argues, ‘art is thought from the future’ (2016: 1) but what kinds of artistic thinking should this be and what kinds of artistic thinking should be resisted?
    We invite essays, manifestos, theoretical and critical reflections, images, documents and creative works that respond to this uncomfortable status quo of our own making. Topics might include but are not limited to: 
    • The futility of return, imagining new futures
    • Kintsugi—the art of repairing broken objects with filaments of precious metals
    • Digital salve for the scorched soul: acts of performative care as a way of repair
    • Mending things
    • Creative acts that do nothing or displace human activity 
    • Aesthetics of/and emptiness 
    • Repairing the arts 
    • Bodies, senses and sensualities as repair 
    • Repair for whom? Class, identity and repair 
    • Repairing collective action and solidarity 
    • Thinking about obsolescence
    • Tragedy as repair
    • Countercultures and performance 
    • Environmental restoration: being different with the planet
    • Beyond repair: necropolitics and herd immunity

    Performance Research also invites short reviews (approximately 750 words) of recent books, performances, conferences or other forms related to the theme. For title proposals and suggestions related to ‘On Repair’, contact our Reviews Editor, Anna Jayne Kimmel, at
    Proposals: 31 July 2020
    First Drafts: 1 November 2020
    Final Drafts: January 2021
    Publication: June 2021

    Alongside long-form articles, we encourage short articles and provocations. As with other editions of Performance Research, we welcome artist(s)’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.
    Issue Contacts
    All proposals, submissions and general enquiries should be sent direct to Performance Research at:
    Issue-related enquiries should be directed to the issue editors:
    Helena Grehan:
    Peter Eckersall:

    General guidelines for submissions:
     Before submitting a proposal, we encourage you to visit our website ( ) and familiarize yourself with the journal.
    • Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)).
    • Proposals should not exceed one A4 side.
    • Please include your surname in the file name of the document you send.
    • Please include the issue title and issue number in the subject line of your email.
    • Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images.
    • Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
    • If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.

  • Issue 76 of Australasian Drama Studies is now published on the ADS website
  •  Date Posted: Thu, 4 Jun 2020
    Dancing, Marching and Baton Twirling with the Virgin: Performing Community at the Peñafrancia Festival in the Philippines, by William Peterson
    Festivals, Funerals and Circuses: The Impact of Space and Design in the Construction of Meaning and Audience Experience, by Natalie Lazaroo and Jennifer Penton
    Polyfest Postponed: Performing ‘Us’ in Christchurch in 2019? by Tony McCaffrey
    Disciplined Subjects and Social Performance: Entertainments at the Fremantle Lunatic Asylum, 1873–1906, by Jonathan W. Marshall
    Wassailing and Festive Music in Shakespeare’s Twelfth Night, by Kathryn Roberts Parker
    Local Archive, Distant Reading: Performance Space at Cleveland Street and Carriageworks, by Caroline Wake and Boni Cairncross
    Enacting Restorative Justice: Shakespeare and Tikanga Māori in Cellfish (2017), by Rand Hazou
    Hold On: Australian Innovations in Access Aesthetics, by Madeleine Little, Sarah Austin and Eddie Paterson
    Contemporary Performance and Climate Change: Re-defining the Australian Landscape Narrative, by Linda Hassall
    Celebrating Fifty Years in Prague: Reflections on Australian Scenographic Identity through the Prague Quadrennial of Performance Design and Space, by Tessa Rixon and Sarah Winter
    Entanglements with Time: Staging Duration and Repetition in the Theatre, by Deborah Pollard
    An Actress Weeps: Corporeal Dissonance in the Actor’s Experience of Performing Testimony in Eduardo Coutinho’s Jogo de Cena, by Rea Dennis
    Shifting Hybridity: An Intercultural Arab–Australian Shadow Theatre Performance, by Lynne Kent

    In addition, the entire archive of Australasian Drama Studies has been digitized and archived, and will be uploaded to the ADS home site over the next month.
  • CFP: TDPT Special Issue on Performer Training in Australia
  •  Date Posted: Wed, 27 May 2020

    Theatre Dance and Performance Training Journal (TDPT)

    Special issue on Performer Training in Australia to be 
    published as TDPT Vol 12.3 (September 2021)

    Call for contributions, ideas, proposals and dialogue with the editors 

    Guest editors: 
    Dr Chris Hay, University of Queensland (
    Professor David Shirley, Western Australian Academy of Performing Arts, Edith Cowan University (
    Dr Sarah Peters, Flinders University (

    Training Grounds editor:
    Dr Soseh Yekanians, Charles Sturt University (

    Conjoined with blood and tears, the axiomatic price of supreme rigour and achievement. Sweat (water, ammonia, salt, sugar) is deemed a noble and miraculous secretion, yet we habitually strive to disguise it. […] In the unapologetic seclusion of the training space, it becomes the proof of our proud status as grafters, as corporeal, visceral, present, working.

    As described in Theatre, Dance and Performance Training’s “A Lexicon of Training Terms” (3.1), sweat is a constituent part of training — a synecdoche for the tension and effort that underpin it. Sweat is also a precondition of living and training in Australia, from our corporeal engagement with a heating continent to the metaphorical ‘she’ll be right, mate’. This no sweat, laissez-faireacceptance of the status quo finds its way into training through “a willingness to ‘have a go’; a refusal to be cowed by received authority […] a characteristically Australian suspicion of influence” (Maxwell 2017, p. 326).

    The image of sweat also brings with it metaphors of fear, tension and anxiety, often drawn out or extended. This sense of determination over time pushes back against a conception of Australia as the rushed continent, whose artists seek to take short cuts to success. Hugh Hunt, the inaugural director of the Australian Elizabethan Theatre Trust, cautioned as much in a 1959 public lecture:

    We sometimes expect theatre to be made too quickly. Australians are impatient people, who would like their theatre to be made as quickly as wool grows on a sheep’s back. It takes many years to make it; it takes time to train and develop actors and producers. (Hunt 1960, p. 4)

    What has changed since Hunt’s proclamations? What is the labour of training in Australia, and how do we train an “impatient people”? In a country where sweat comes easily, do we mistake the by-product of hard work for the work itself? Hunt, like many others in Australian performance history, speaks only for white Australians: how do (or might?) the distinctive temporalities, collaborative modalities, and lineages of practice of First Nations training and performance inflect performer training in Australia? 

    Despite the diversity and range of its performance ecology and the prestige in which its major training institutions are held, Australia’s influence in and contribution to key debates has, until fairly recently, remained surprisingly marginal. While much doctoral-level work has considered training in Australia, there is no authoritative, published history of Australian performer training. The history of training is thus another iteration of what Ian Maxwell terms “Australian theatrical bricolage” (2017, p. 338), its history an assemblage of sometimes contradictory facts, uncertain pathways, and unsubstantiated anecdote. In this special issue of TDPT, we endeavour to provide an update to Meredith Rogers and Elizabeth Schafer’s special issue of Australasian Drama Studies“Lineages, Techniques, Training and Tradition” (vol. 53, 2008). We also seek to curate a companion to the roundtable discussion “Training in a Cold Climate”, published in Theatre, Dance and Performance Training 5.2, by considering training in a hot climate. 

    As we are reminded all too frequently, Australia is at the forefront of the climate emergency. Australia’s wide skies and open spaces have always proven a challenge and a stimulus to artists: playwright Louis Esson insisted in 1914 that “in an authentic Australian play, there should be a real atmosphere — some space and sunshine” (quoted in Fitzpatrick 1995, p. 117), while decades later legendary critic H. G. Kippax wondered “realistic drama makes much of scene; but what stage could hold the Australian bush and plains?” (1963, p. 13). In our new ecological epoch “marked by unprecedented human disturbances of the earth’s ecosystems” (Gilbert 2019, p. 220), how do we train performers to hold the burning Australian bush and plains on stage? What kinds of training philosophies and regimes might be required in the Anthropocene? How might training intersect with or even encourage sustainability in performance practice? 

    In this special issue of Theatre, Dance and Performance Training, we want to use the sweat of training in the heat of a crucible to think through performer training in Australia. To do so, we welcome proposals that consider topics including:

    • Training, fear, and the negative imagination; 
    • Anxiety as an affect of training; 
    • Impatience and speed in training; 
    • Tensions between First Nations and settler ways of knowing in training; 
    • Lineages of practice in Australian training;
    • Training beyond the centre and in the regions;
    • Tension and/in collaborative training practices; 
    • Heat, humidity, and training in the tropics; 
    • Training in the Anthropocene; 
    • Sustainable training practices; 
    • The ‘cultural cringe’ in training; and
    • Training and the ‘Tall Poppy Syndrome’.

    Other topics that are broadly sparked by the consideration of sweat in Australian training are also welcomed. We particularly encourage proposals from scholars and practitioners whose voices are traditionally under-represented in higher education, as well as collaborations between scholars and artists that seek to amplify practice from the margins. 


                We are seeking proposals in three distinct categories, and authors are invited to indicate which category they feel best suits their work: 

    • Articles in a range of critical and scholarly formats, of between 5 500 and 7 000 words;
    • Sources that document and analyse the primary materials of performer trainingWe are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme; and
    • Training Grounds, shorter pieces that are not peer reviewed, including biographical and autobiographical sketches, postcards, visual essays and book or event reviews.  

    We welcome a wide range of proposals for contributions including edited interviews. 

    Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog. The editors will correspond with authors about the most appropriate category for their work, and can happily provide guidance before a proposal is submitted. Prospective authors are encouraged to familiarise themselves with TDPT’s Scope & Aims, as well as with the Instructions for Authors for guidance on formatting.  

    Issue Schedule

    • 29 June 2020: 300-word proposals submitted via email to Chris Hay ( and David Shirley (
    • 31 July 2020: Response from editors and, if successful, invitation to submit contribution.
    • 30 November 2020: Submission of first drafts. 
    • February 2021: Author revisions post peer-review. 
    • September 2021: Publication as TDPTVolume 12, Issue 3. 


  • ADSA Submission to Senate Select Committee Inquiry into the Government's response to the COVID-19 pandemic
  •  Date Posted: Wed, 27 May 2020
    ADSA has made a submission to the above inquiry.  In our submission we argue that:

    • The Australian government’s response to the impact of COVID-19 on the arts sector has done very little to mitigate it; and in a related matter,
    • The government must develop an adequate arts and culture policy for post-COVID-19 and beyond.

    Since making our submisson, we are pleased that the NSW State Government has pledged $50 million to support the state's arts and cultural organisations.

    Our submission has been published and can be read on the link below (submission No. 39).

    Glen McGillivray
    President, ADSA
  • Call for chapters: Creative Activism
  •  Date Posted: Mon, 4 May 2020

    Book Title: Creative Activism: Research, Pedagogy and Practice.

    This multidisciplinary collection speaks to growing global recognition of creativity and the arts as vital to social movements and change. Bringing together diverse perspectives from leading academics and practitioners who investigate how creative activism is deployed, taught, evaluated, theorised, and critically analysed, the collection provides a home for relevant approaches right across the arts, humanities and social sciences spectrum. Evidence, critique and case study examples are juxtaposed to illuminate the what, how, where and why of creative activism from multiple perspectives.

    Who can contribute:
    Whether you’re from theatre, media studies, creative writing, performance, fine arts, psychology, communication, ethics, social movement studies, creativity studies, comedy studies, creativity studies, arts-based research, education, or more, if you have a scholarly perspective on creative activism, please consider submitting a chapter to this call. We are hoping for a wonderfully eclectic mix in order to help us all spot and spark transdisciplinary links.

    Topic parameters:
    Our working definition of creative activism is inclusive (or perhaps that should be elusive - part of the point of the book is to help hone some of the murky definitional issues) and so whether you call it socially engaged art, political art, protest art, artivism, performative activism, participatory community art, social justice art, artistic activism, or something else, we are keen to hear about your work and encourage you to submit your chapter/s.

    Suggested topics might include (but are certainly not limited to these areas – this collection is intended to provide a wide-ranging survey):

    • Arts-based social issue engagement in the classroom – primary, secondary and tertiary

      examples of curricular innovation

    • Pandemic shock, climate grief and compassion fatigue – the role of creative practice

      and artistic responses in making sense of overwhelming topics

    • Creative activism as problem solving: the role of imagination in accelerating social

      change and generating solutions

    • Creative activism evaluation – approaches and tools for determining outcomes and


    • Creative activism safe practice: embedding self-care and other care

    • Critically analysing the forms, claims and creative processes of artistic activism:

      avoiding art-washing, and challenging assumptions about what works, what has value, and why

    • Decolonisation, anti-capitalism and the role of creative activism in systemic resistance or transformation

    • Defining the creative activism disciplinary field

    • Global citizenship and planetary issues - exploring creative activism as cross-cultural


    • Humour, satire, parody and their role in contemporary cultural subversion

    • Identity, culture, gender - creative activism as agent of personal and social evolution

    • Participatory ethics, sustainability, disruption and the civic responsibilities of creative


    • Performance, ritual, spectacle and carnival in the Anthropocene

    • Social movements and creativity case studies – methods, opportunities and challenges

    • Working together: building communities of interest and practice through collaborative

      creative activism

      Chapter guidelines:
      A chapter should normally be no longer than 6000 words, and should be original and previously unpublished. If the work has already been published (as a journal article, or in conference proceedings, for example), the publisher will require evidence that permission to be re-published has been granted.

      The referencing should use Chicago Notes & Bibliography style: see more here

      At this time, we do not have any deadlines for the submission of contributions – though this may change as circumstances develop. Please fill out and submit the contribution form if you intend to submit a chapter, even if you do not have it ready at present, and that way the publisher can keep you informed of developments.

      About the editor:
      Dr Elspeth Tilley teaches theatre and creative activism at Massey University in New Zealand, and is a multi-award-winning playwright, researcher and educator. She has led numerous performative social change projects including on youth incarceration, sexual consent and homelessness. Elspeth produces Climate Change Theatre Action Aotearoa and founded Create1World, a creative activism youth conference, in 2016. You can see more about Elspeth at her Massey University staff page, here:

      Why join this collection?
      While there are some monographs and within-discipline collections that usefully look at specific aspects of creative activism, there is nothing that expansively pulls together viewpoints across disciplines so that we might start to spot commonalities and transdisciplinary linkages that will help us join up the multiple ways of seeing this nascent field.

      Cambridge Scholars Press is a small but well-regarded press started by (as the name references) a group of former and current Cambridge University scholars. Elspeth investigated a number of publishing options before choosing CSP for this collection because of their:

    • Speed to press. The world, and this field in particular, are rapidly changing and getting work published while fresh is vital

    • Accessibility and wide distribution. From Elspeth’s experience publishing with CSP previously, she found the work was made more accessible than with some other publishers, with access either as a whole collection or individual chapters by both hard copy and e-book to a diverse range of libraries worldwide, at very reasonable prices for those libraries which encouraged uptake. For a collection that aims to be a useful resource not only to scholars but also to educators and practitioners, accessibility was important.

    • Quality standards. CSP has a zero-tolerance policy for plagiarism and excellent editing standards. This will be a collection we can all be proud of.

    • Existing list of relevant work. CSP publishes original, innovative works and in her own research and teaching on creative activism Elspeth found herself often consulting and citing CSP texts. While the creative activism field itself is still being defined, this book will join a solid base of CSP publications related to this field.

      For a publisher’s submission form, please see the attached Word document, or if you did not receive the attachment, please click here to download the submission form directly from the Publisher’s website submission.docx.

      Chapters should be submitted, along with the completed submission form, to

      We look forward to hearing about your work. Please feel free to contact Elspeth if you have any questions about this call.

  • CFP: TDR Consortium Special Issue: PERIPETEIA
  •  Date Posted: Mon, 4 May 2020

    Stanford University
    Branislav Jakovljević, Consortium Editor; Diana Looser, Coeditor

    As it turned out, last fall, when we sent out the call for papers for the TDR special issue on “Peripeteia,” we were on the cusp of a global pandemic. Little did we know that, by the time of our initial deadline (June 1), the topic of our special issue would have taken on a whole new dimension of urgency we could hardly imagine. And here we are: in the middle of an event that is most definitively a turn of fortunes of extraordinary proportions, and that could be a turning point in the way in which we think about our global community, solidarity, climate, and most definitively, how we make and receive performance. Our topic now seems more relevant than ever. Recognizing that the COVID-19 pandemic has been a major disruption for artists and scholars, we have decided to extend our deadline to September 1. We hope that will give our potential contributors time to reflect on the major sea-change we are going through, and to return to their libraries and studios to develop and complete their submissions. 

    In classical dramatic theory, peripeteia designates a turning point from prosperity to downfall. This reversal of fortunes often marks a transformation of the entire outlook of the protagonist: from ignorance to knowledge, and from resignation to action. Peripeteia is the moment when opposing forces powerfully drag the world in opposite directions. This rending of the world as we know it may open new paths or close them forever. We are now at such a decisive point. The intensity of this current moment is clearly expressed in the rising temperature of the protagonist, the planet. The choice the world is facing is not only between dirty and clean technologies, but also between accumulation and sharing, exploitation and social justice, unabashed capitalism and radical democracy, Western exceptionalism and global awareness. And concerning this last point, this may be the last moment in which the categories of classical dramatic theory are still operative: we are experiencing a turning point in the very idea of crisis and its representation in live performance.

    The current moment presents humanity with a unique and multiscalar set of challenges that will require an essential reorganization of society, economics, and politics to address.

    As the 12-year timeline for action in the US Green New Deal makes clear, there’s a specific urgency, a deadline, that – in the West, at least – arguably differentiates this moment from other historical periods that have been identified as crisis-ridden. This moment is characterized by a particular mode of uncertainty regarding the future, exacerbated by the fact that many contributing factors to this “crisis” are pervasive yet intangible, omnipresent yet strangely distant, and ostensibly divorced from individual action and solutions, even if discussions of the crisis tend to revert to individual, moral stances. At the same time, we are mindful that different communities approach this situation from varying historical and epistemological standpoints. A strain of Indigenous climate-change studies, for instance, understands the Anthropocene not as a hitherto unanticipated occurrence but as an extension of a violent and unresolved historical past that renders the present moment already post-apocalyptic.

    This ephemerality, spectrality, and magnitude pose special challenges to representation in its many senses: aesthetic, social, and political. The planet is under siege, and performance is not there to witness, issue warnings, calls for action, or drop dead like that proverbial canary. Like all other spheres of human activity, art forms, and academic fields it has to transform itself in order to stage a redress in this social drama of planetary proportions. We invite scholars, artists, and activists to submit papers that address issues that include, but are not limited to:

    • Performance and the new planetary paradigm
    • Social drama and “slow violence”
    • Scale of crisis and representation
    • Accumulation vs. expenditure
    • First and second New Deal and performance
    • Different global versions of the Green New Deal in performance
    • Responses from Indigenous perspectives and/or from the vantage of the Global South
    • Futurity and its representation
    • The role of the collective
    • Performance principle and the new economy
    • Catastrophe without recognition

    6,000-word submissions are due September 1, 2020. Please submit essays and direct any relevant queries to Rishika Mehrishi at

  • CFP: Imagined Theatres Emergency Issue
  •  Date Posted: Mon, 30 Mar 2020
    Theatres and arts institutions around the world have closed their doors and shuttered lights, interrupting premieres, runs, and rehearsal processes. Festivals are postponed, seasons suspended. Courses and workshops reliant on intimate, immediate contact must navigate remote access and exchange.
    The theatre is closed, yet the theatre keeps performing. Performances work their way out in our private thoughts or distanced conversations, in makeshift configurations across media.
    As communities fragment into socially distant parts, we propose a festival of imagined theatres alive to this state of emergency. Imagined Theatres began as a platform for artists and thinkers of the stage to explore acts that resources, conventions, or the contours of reality deemed impossible or impractical; that landscape has shifted drastically over the last months. Imagined Theatres also originated out of a need to experience performance while living far from the people who make it; we are all living in that place now. Share your performances with us and we will together stage an impossible gathering.
    This special issue of Imagined Theatres will be released on a rolling basis over the coming months of our common crisis. Submissions will be reviewed by our editorial team as they come in, and published on an accelerated schedule every few weeks as long as necessary. This ongoing issue will not interfere with the publication schedule of future editions of the journal, including a forthcoming issue devoted to performance curation (co-edited by Ron Berry and Anna Gallagher-Ross) and Chile (co-edited by Alexandra Ripp, Adam Versenyi, Anne García-Romero, Pía Gutiérrez Díaz, and Mauricio Barría Jara). Published work may engage with the current emergency directly or it may not—our purpose is to present a space for performance.
    Who We Are
    Imagined Theatres is an international, peer-reviewed, open access journal and archive dedicated to imagining what might be possible and impossible in the theatre. We publish scripts, scores, stories, manifestoes, and essays, in prose, in verse, and in other media. These texts are paired with a critical response, or “gloss,” extending the argument or view of each imagined theatre in new directions. Imagined Theatres supports creative criticism, meaning creative work that acts critically and criticism that acts creatively. 
    Who Can Submit?
    We encourage submissions from artists, scholars, writers, performers, directors, choreographers, musicians, designers, students, teachers, programmers, and spectators. You need not have a publication record. Authors who have published with us in the past are also welcome to share their work again.
    What Should A Submission Look Like?
    We encourage the publication of short works (a page or less), though there is no prescribed word limit. Prospective authors are encouraged to explore the website, as well as the book Imagined Theatres: writing for a theoretical stage, for a sense of possible approaches, bearing in mind that these are merely suggestions. We emphasize the written word, but are open to submissions that take advantage of the digital form in interesting ways.
    As mentioned above, each text is paired with a critical response, or “gloss,” extending the argument or view of each imagined theatre in new directions. You are welcome to submit both a theatre and its gloss if you would like. You are also welcome to submit independent glosses that respond to previously published texts; in this instance, please let us know which text you are referencing. Otherwise, once a theatre is accepted the IT editorial team will help you find a gloss writer to respond to your work.
    How to Submit 
    We accept submissions via email at All submissions should include contact information, a brief contributor’s bio, and the word “submission” in the title of the email.
    Please send your work as an attachment in one of the following formats:
    ·       Word document (.doc) files
    ·       Rich Text Format (.rtf) files
    ·       Text (.txt) files
    ·       Portable Document Format (.pdf) files
    ·       JPEG, TIFF, PNG for image files
    There are no submission fees, publication fees, or page charges for this journal. All work must be original; copyrighted images or media will not be published.
    For more information, please write
  • CFP: Performance Paradigm 16: Performance and Radical Kindness
  •  Date Posted: Thu, 19 Mar 2020
    Edited by Emma Willis (University of Auckland) and Alys Longley (University of Auckland)

    Kindness as a radical act is not just ‘being nice’ to one another; it is the core of articulating, recognising, and valuing the complexity and beauty of the human condition, and putting this into practice in order to dismantle harmful systems of oppression and subjugation. Radical kindness is the creation of space for vulnerability. (Burton and Turbine 2019)

    In an era where political and civil discourses are marred by populist politics of division and exclusion, kindness may seem to be in short supply. When it does appear, it is perceived as soft, uncritical and feminized. Alternatively, it is critiqued as inherently biased and/or dependent on differences in subject position and power (Clegg and Rowland 2020). Yet kindness has its champions. In performance, the fields of applied theatre as well as socially engaged and relationally oriented modes of performance often express an ethos of kindness through their aim towards, justice, social coherence, and transformation. In the scholarly and popular psychology, researchers have heralded the benefit of kindness to personal happiness and wellbeing. At a political level, current New Zealand Prime Minister Jacinda Ardern has attracted global attention for her politics and practices of kindness. However, ‘Kindness in the contemporary moment continues to be an under-researched emotion even in the midst of a surge of work in emotion and affect theory’ (Magnet at al 2014). This issue of Performance Paradigm ( seeks to respond to this gap in the literature, focusing on performance-based instantiations of kindness, and performance-led analyses of political and civil discourses that extend our understanding of its radical potential. Through discussion of a broad range of performance examples, we are seeking to redefine the performative potential of kindness, reinvesting it with the political power needed to counter prevailing political dispositions.

    In considering the relationship between performance and kindness, we encourage a broad range of approaches. Kindness may be framed as a politically aspirational ethic that underlies or motivates performance – Petra Kuppers’ and Neil Marcus’s practice of ‘Helping Dances,’ for example, of which Kuppers writes: ‘All of us acknowledge living inter dependent lives, intersected and enabled by many, carried on the backs of infrastructural laborers of all kinds and touched by the kindnesses of strangers’ (Kuppers 2014). Kindness may also constitute an act of political and aesthetic refusal. Reflecting on a series of feminist performance works in Australia, Jana Perkovic remarks that the artists ‘found their strength not in attacking the enemy, but in standing their own ground. They were friendly works, non-combative – but through them, the artists claimed the right to exist for a universe full of dress-ups, kindness, self-reflection, freedom, and femininity’ (2014). Writing of Back to Back Theatre’s work, Super Discount, Helena Grehan and Peter Eckersall remark that ‘The juxtaposition between dark and light, vulnerability and superpower, and acting and performance remind us that it is not the epic encounter that is of significance. Instead, as the artifice of acting is banished from this work, we are left with moments of human kindness and a series of questions about where we go from here’ (2013).

    Kindness may also feature as a subject of thematic consideration. Lydia Adetunji’s 2019 play Calculating Kindness, for example, explores the life of George Price, best known for formulating an equation explaining altruism. Kindness may also inform the creative process. Sandra Reeve, for example, writes of what she calls ‘regenerative choreography’ which incorporates ‘loving kindness’ into its methodology (2018, 78). Performance strategies discussed may involve creating enabling disruptions or, as anthropologists Alison Phipps and Lesley Saunders describe, ‘poetry for the sake of gentling the space where violence is writ large and ugly’ (2009). Finally, a performance-based analysis might be applied to the discourse of kindness in political rhetoric. For example, in the same way that Denise Varney applies a performance studies framework to scrutinise the ‘affective power of misogyny’ (2017) in attacks on Australian Prime Minister Julia Gillard, such an approach might be used to assess the rhetoric of kindness in the discourse of leaders such as Ardern.

    Through considering performances that variously enact, contemplate or promote kindness, we invite authors to challenge some of the prevailing beliefs and assumptions about what constitutes kindness. We therefore invite authors to consider not only performances that enhance our understanding of both the radical potential of kindness but also those that draw attention to its misuses.

    Topics may include but are not limited to:
    • What is the role of kindness in creative pedagogies and creative practices? What is the relationship between discipline, disciplinarity and kindness in classrooms and rehearsal rooms?
    • How might the poetics of kindness inflect creative research methodologies, such as studio practices of performance writing?
    • How is kindness both performed and understood differently in distinct cultural contexts? How do these culturally specific articulations of kindness expand our understanding of kindness as praxis?
    • How does kindness figure in performances concerned with the politics of race and gender?
    • How, as Burton and Turbine explain, do various social and political biases undermine the legitimacy afforded to kindness? How has kindness, as they suggest, been ‘weaponized,’ and how can performance effectively challenge such bias?
    • How might performance-based analysis be applied to the discourse of kindness in political rhetoric?
    • How might kindness be applied beyond the human? For example, how might the radical potential of kindness be conceived of in relation to ecological crisis?
    • How do performances of kindness emphasize notions of interdependence and reciprocity?
    • How might kindness be conceived of as radical action? In what sense might it, as Magnet et al. write, function in performance as a ‘technology of social transformation’ and a ‘microtechnique for both resisting and shaping power relations’ (2014)?
    • How might kindness be framed as a principle for convening community in both performance contexts and civil society, building what Hall and Smith call networks of ‘flexible resilience’ (2015)?
    • How might we critique the capture by capital markets of kindness as an affective currency? What does this ‘mainstreaming’ of kindness tell us about its instrumentality?

    Please send proposals of approximately 300 words to Dr Emma Willis ( and Dr Alys Longley ( by 8 May 2020. Full articles will be due on 1 November 2020 for publication in Performance Paradigm, July 2021.

    Please feel free to contact the issue editors with any questions. For more information about them, see here:
    • Dr Emma Willis, Senior Lecturer in Drama:
    • Dr Alys Longley, Associate Professor in Dance:

    Works Cited

    Burton, Sarah and Vikki Turbine (2019) “‘We’re Not Asking for the Moon on a Stick’: Kindness and Generosity in the Academy.” Discoversociety July 03,
    Clegg, Sue and Stephen Rowland (2010) “Kindness in pedagogical practice and academic life”, British Journal of Sociology of Education, 31:6, 719-735.
    Grehan, Helena and Peter Eckersall (2013) “Review: Super Discount by Back to Back Theatre”, The Theatre Times, 20 November,
    Habibis, Daphne, Nicholas Hookway and Anthea Vreugdenhil (2016) “Kindness in Australia: An Empirical Critique of Moral Decline Sociology.” The British Journal of Sociology, 67(3), 395-413.
    Hall, Tom and Robin James Smith (2015) “Care and Repair and the Politics of Urban Kindness.” Sociology 49(1) 3–18.
    Hazou, Rand (2018) “Performing Manaaki and New Zealand Refugee Theatre.” Research in Drama Education: The Journal of Applied Theatre and Performance, 23(2), 228-241.
    Kuppers, Petra (2014) “Crip Time.” Tikkun, 29 (4), 29-30.
    Magnet, Shoshana, Corinne Lysandra Mason and Kathryn Trevenen (2014) “Feminism, Pedagogy, and the Politics of Kindness.” Feminist Teacher 25 (4), 1-22.
    Perkovic, Jana (2014) “Performance: Dying on stage: Feminism 4.0.” The Lifted Brow, 23, 34.
    Phipps, Alison and Lesley Saunders (2009) “The Sound of Violets: the Ethnographic Potency of Poetry?” Ethnography and Education 4 (3), 357-387.
    Reeve, Sandra (2018) “On the Way to Regenerative Choreography.” Choreographic Practices 9 (1), 75-80.
    Shklar, Judith N. (1989) “The Liberalism of Fear.” Pp. 21–37 in Liberalism and the Moral Life, edited by Nancy L. Rosenblum. Cambridge, MA: Harvard University Press.
    Varney, Denise (2017) “‘Not Now, Not Ever’: Julia Gillard and the Performative Power of Affect” in E. Diamond et al. (eds.), Performance, Feminism and Affect in Neoliberal Times, Palgrave Macmillan, 25-38.

  • CFP: Theatre Dance and Performance Training Journal (TDPT)
  •  Date Posted: Thu, 12 Mar 2020