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  • CFP: Popular Entertainments Working Group, IFTR 9-13 July 2018
  •  Wed, 13 Dec 2017

    The Popular Entertainments Working Group will be meeting again during the next conference of the International Federation for Theatre Research, 9-13 July, at the University of Arts, Belgrade, Serbia, and invites proposals from scholars, scholar-practitioners, emerging researchers, and those joining the Working Group for the first time. Occasional attendees and members who are not presenting are also welcome to participate.

    Call for papers

    The Popular Entertainments Working Group invites papers that either engage with the conference theme, or that explore areas of ongoing interest in the study of popular entertainments. In 2018 the Popular Entertainments Working Group is particularly interested in papers which address:

    a) popular entertainments as part of the wider ecology of theatre;

    b) methodologies used by researchers in the field of popular entertainments; 

    c) papers that span a combination of these two;

    d) and papers that address the main theme of the 2018 IFTR conference.


    Popular entertainments within the ‘legitimate’ theatre ecology

    Over its ten-year history the working group has largely been engaged in a project of recuperation, of uncovering varieties of popular entertainment, and of giving them a place ‘at the academic table’, so to speak. As many of the papers presented in the working group indicate, however, popular entertainments are an integral part of theatre ecology.  The working group is interested in papers that bring to light the importance of the popular within ‘high’ art practices, or that provide links between the ‘legitimate’ and the ‘illegitimate’. Topics might include, for example:

    • Transfer of practices between ‘high’ and ‘low’;
    • Performers who work/ed across genres;
    • Technological advances stemming from popular entertainments;
    • The changing status of entertainment/art forms e.g. contemporary circus


    The working group is also interested in papers concerning the following:

    • What are appropriate methodologies for research in popular entertainments, given the often highly ephemeral nature of performances and the often limited archival record of them? 
    • What are the common sources/methods used, and what difficulties do these present to the researcher? 
    • What is the ‘archive’?   What are the sources commonly being used within our

    practice, and what are the possibilities and limitations?

    • Alternative ‘archives’: what are they, what these might consist of?
    • Approaches to reconstruction of an ephemeral performance practice;
    • Oral histories: possibilities and limitations;
    • ‘Accidental research’: into what strange byways do the limitations of the archive send (or lead) the researcher working in the field of popular entertainments?   

    Submission of Abstracts
    Abstracts of 250-300 words should be submitted no later than 15 January 2018. Please specify ‘Popular Entertainments’ working group when submitting your abstract at:
    The full text of participants’ papers (no more than 5000 words) should be emailed to the convenors as a Word attachment by 10 June 2017. Papers will then be distributed to members of the group for reading and a discussant will be allocated to each.
    Structure of Working Group Meetings
    The Popular Entertainments Working Group operates by circulating members’ draft papers (up to 5000 words in length) in advance of the conference, enabling a more focused discussion at our meetings. Once papers are circulated (usually a month prior to the conference), participants are then asked to nominate another paper they’d like to moderate. At our meetings during the conference, we allocate approximately twenty minutes for discussion of each paper. Members are asked to speak about their research for ten minutes; visual or AV material that amplifies or supports their paper in some way is encouraged. (As all papers are read in advance, presenters are not required to provide an oral summary of their paper.) The moderator previously assigned to the paper will then lead the remaining ten minutes of discussion.

    The joint convenors of the Popular Entertainments Working Group are Dr Gillian Arrighi, Senior Lecturer, School of Creative Industries, University of Newcastle, Australia and

    Dr Mikael Strömberg, University of Gothenburg, Sweden


  • CFP: Theatre and Architecture Working Group, IFTR 9-13 July 2018
  •  Fri, 8 Dec 2017

    Theatre, nation and identity: between migration and stasis

    The Theatre Architecture Working Group invites proposals from new and existing members for the 2018 IFTR World Congress

    Deadline for bursary applications: 10 December 2017

    Deadline for proposals: 15 January 2018

    The purpose of the Theatre Architecture Working Group is to explore all that theatre architecture has been historically, is at present, and might be in the future, while also asking how else the disciplines of theatre and architecture intersect. For our forthcoming meeting during the IFTR World Congress in Belgrade, Serbia, we invite proposals which engage with the main conference theme: ‘Theatre, nation and identity: between migration and stasis’. Focused on the term migration, this theme poses the question, ‘how have theatre and performance responded to issues of exile, displacement and Otherness?’ It also asks how the notion of migration might be used to think about the mobility of bodies and the mixing and cross-fertilization of forms, practices and ideas.

    For our meeting in Belgrade we invite new and existing members from diverse disciplinary backgrounds to submit proposals which investigate how theatre architecture and/or the relationship between theatre and architecture might be understood through the associated concepts of migration, mobility and stasis.

    Proposals may address (but are not limited to):

    • Spatial performativity and architecture/theatre architecture
    • Open, closed, mobile, or nomadic theatres
    • Impermanent, transient or porous spaces of performance
    • The mixing and remixing of concepts and practices between theatre and architecture
    • The migration of architectural and/or theatrical conventions and styles across nations and cultures
    • Choric spaces: dynamic, choreographic spaces of performance
    • Borders as theatrical spaces and sites of performance (see Nield 2006)
    • Issues of exclusion, containment and restriction
    • Theatres and other sites of performance in times of war and geopolitical and/or cultural upheaval
    • The encounter of mobile, moving bodies and architecture/theatre architecture
    • Theatre architecture and the construction/contestation of community and identity
    • Theatre architecture and processes of political, social and cultural change
    • Theatres as places of stasis in a dizzyingly mobile world
    • The appropriation and/or détournement of monumental architectures/theatre architectures
    • Artist-led approaches to the design of new theatres and spaces of performance
    • Empty and abandoned theatres
    • Temporality, materiality and theatre architecture
    • Speculative, imagined and unbuilt theatre architectures
    • Theatre architecture and ecological aesthetics

    During the IFTR World Congress in Belgrade we also warmly welcome new members who wish to take part in the group's discussions, but who do not want to submit a paper.

    Submission Procedures

    Abstracts should be submitted through the Cambridge Core website where you can also find information on membership and a link to the conference website. When you submit your abstract please make sure that you indicate that you are submitting to the Theatre Architecture Working Group. Please also send a copy of your abstract to the Working Group conveners via email. The deadline for submission of abstracts is 15 January 2018.

    Our Process

    The Theatre Architecture Working Group works by circulating papers (of approximately 3,000 words) to members in advance of the conference. For our meeting during the IFTR conference in Belgrade speakers will be invited to speak for no more than fifteen minutes and will be paired with a respondent from the group who will offer a brief response. This presentation and response format will then be followed by further discussion by the group. This format is structured to encourage more in-depth exchange and a constructive and supportive ‘workshopping’ of members’ papers than is normally the case with standard conference panels.

    We ask that speakers email copies of their papers to the conveners by July 1, 2018, for uploading to the group’s shared Dropbox. We also strongly encourage members to attend every session of the Working Group during the conference so as to contribute to discussion throughout.

    Further Information about the Theatre Architecture Working Group


    In its aim to foster international exchange, the IFTR offers financial aid to scholars wishing to participate in its Annual Conference. These bursaries are awarded on the basis of merit, relevance to the conference or Working Group theme, and financial need. For information and instructions about bursaries, and to download the application form, please visit:

    Working Group Conveners

    Dr. Andrew Filmer:

    Dr. Juliet Rufford:
  •  Mon, 4 Dec 2017
    We would like to invite researchers to submit their work for discussion at the Political Performances Working Group meeting at the 2018 IFTR conference, which will take place on 9-13 July in Belgrade, Serbia.
    Presentation formats

    For IFTR 2018 we plan to curate presentations in a variety of formats, including 15/20 min papers, performance presentations, shorter provocations, and round tables. If you have a preference for a particular presentation format or would like to team up with other colleagues for a panel, please indicate so in your abstract submission. Depending on the type of presentation, colleagues may be asked to share their work with other members in advance of the conference to facilitate deeper and longer discussions at the conference.

    IFTR 2018: Call for Papers

    The theme of this year’s conference is ‘Theatre and Migration’, a pressing area of enquiry that directly relates to the preoccupations of the Political Performances Working Group. As such, we encourage colleagues to address the general CFP for specialist discussion within the Working Group meetings. As noted in the CFP, possible topics include but are not limited to:

    ·       Migration/ national identity/ national theatre
    ·       Performing borders
    ·       Access and mobility
    ·       Theatre history and historiography of migration
    ·       Migrating histories
    ·       The nascence and consequences of stasis
    ·       Creating and deconstructing stasis
    ·       Identity politics and the ‘humanism of the other’
    ·       Gender, race, ethnicity, and performances of belonging
    ·       Language and translation
    ·       Performing migratory geographies
    ·       Stasis as a counterpoint in a world of velocity and constant movement
    ·       Staging the paradox of hospitality
    ·       Theatres of migration, mobility, and citizenship
    ·       Performing stasis
    ·       Stasis as a possible solution to the postmodern state
    ·       Postmodern stasis as vacuum filled with or without meaning
    ·       Political theatre and migration
    ·       Performing community and displacement
    ·       Theatre of migrants/theatre for migrants
    ·       Ethics and agency of staging the Other
    ·       Open, closed and mobile spaces of performance
    ·       Migrating aesthetics
    ·       Theatre, migration & spectatorship
    ·       Migrating audiences
    ·       Migration, mutation, appropriation
    ·       Migration as the release of tensions
    ·       Performances of inclusion—migration and cultural policy
    ·       Migration, participation and delegated performance
    ·       Media, migration, theatre
    ·       Affect and efficacy
    ·       Theorizing migration and theatre
    ·       Ecologies of theatre and migration

    The Political Performances Working Group welcomes new members and is keen to hear from academics across all career stages and geographical locations.

    Submitting your abstract

    Abstracts for the Political Performances Working Group should be submitted through Cambridge Core by 15th January 2018.

    In order to make a submission, you will need to become a member of IFTR first. If you already have a Cambridge Core account, you can download instructions on how to join IFTR here. If you do not have a Cambridge Core account, you can download instructions on how to join IFTR here.
  • CFP: Performance Paradigm 14, Performance, Politics and Non-Participation
  •  Thu, 30 Nov 2017

    Co-editors: Caroline Wake (UNSW, Sydney) and Emma Willis (University of Auckland)

    I would prefer not to. —Bartleby, the Scrivener (1853)

    Like Bartleby, the legal clerk who famously decides that he would prefer not to, this issue of Performance Paradigm—an open-access, peer-reviewed journal now in its 14th year—investigates the politics and performance of non-participation. The figure of Bartleby appears everywhere in political theory and philosophy: in Gilles Deleuze’s “Bartleby, ou la formule” (1989); in Giorgio Agamben’s companion piece (1993; published in English 1999); in Michael Hardt and Antonio Negri’s Empire (2000); and in Slavoj Žižek’s The Parallax View (2010). In performance, his spirit manifests in Noor Afshan Mirza and Brad Butler’s project Museum of Non-Participation (from 2007). In performance scholarship, he recently appeared in Daniel Sack’s After Live: Possibility, Potentiality and the Future of Performance (2015). Perhaps we hear him in phrases such as “don’t do it on my account” and catchphrases such as “computer says no”. We might even see him, his slogan printed on a bag or a t-shirt. What are we to make of the fact that more than 160 years after Bartleby first appeared, both pizza ads and productivity coaches proclaim: “No is the new yes” (Huffington Post 2012; Kellaway 2017; Schwartz 2012)? And what is the difference between the “no” and the “non” when it comes to participation? One can choose not to participate (refuse) or one may be excluded from participation, which is altogether different. Is to refuse important in and of itself or should it build towards action; is it, in fact, more a type of action—a striking against—than non-participation?

    Participation and performance have been well theorised by Jen Harvie (2013), Josephine Machon (2013), and Adam Alston (2016), among others. This journal issue extends that work by examining participation’s silent siblings: withdrawals, refusals, boycotts, strikes, and even the occasional sulk in the corner. So many participatory performances rely on a mode of compulsory conviviality that eventually becomes coercive. In Helen Iball’s memorable phrase, spectators generally want to “give good audience” so that the artist’s work may “work” (Heddon, Iball and Zerihan 2012: 124). Except when they don’t. Sometimes audiences don’t feel like swallowing the strawberry (Heddon, Iball and Zerihan 124) or tipping the bucket icy water over the performer (Cairns 366). Or, having done so, they feel remorse not only at their actions but at doing the artist’s bidding so easily (Cairns 366). On other occasions, audiences do want to participate but find themselves excluded because an artist has not factored in different regimes of the senses and their associated accessibility needs. On still other occasions, artists and audiences have conscientious objections—to structures, to sponsors, to subject matter—in which case they might boycott the event (Warsza 2017). In these instances, the artist never arrives at the scene of the performance and this becomes, in turn, the artwork.

    The irony of inviting you to participate in this issue of Performance Paradigm is not lost on us. Nevertheless, we seek papers on any of the following topics listed below. We also welcome other provocations, suggestions and replies:

    • Non-participation versus refusal and the question of volition
    • Suspension, inaction, non-production, inoperability
    • Withdrawals, boycotts, strikes, and strike-breaking
    • Voting and abstaining
    • Interactivity, unhappy compliance, and cheery refusals
    • Diversity, access, and “differential inclusion” (Mezzadra and Neilson 2013)
    • Uninviting aesthetics (to rewrite White 2013)
    • The operations of consent in theatre and performance (see LaFrance 2013)
    • Permissions, waivers, and disclaimers
    • Curfews, bans, and censorship
    • “I can’t work under these conditions!”
    • Humour as refusal
    • On “slow scholarship” (Mountz et al 2015) and other academic subversions of the participatory imperative

    Please send proposals of approximately 300 words to Caroline Wake ( and Emma Willis ( by Monday 15 January 2018. Full articles will be due on 31 May 2018 for publication in December 2018.

  • CFP: WHY DEVISE? [working title]
  •  Mon, 13 Nov 2017

    Volume editors Heather Fitzsimmons-Frey & James McKinnon

    Devised theatre, performance creation, collective creation, performer-created theatre – by these or many other names, “devising” is increasingly visible in the global theatre industry, and as such it invites attention in post-secondary theatre studies and training contexts. How and why is devising embraced (or not) in advanced training centres, universities, and colleges? What are the perceived risks and rewards? While there are many collections suggesting techniques for devising, or analysing devised practices and projects (Barton 2008; Bicat and Baldwin 2002; Milling and Heddon 2005; Oddey 1994), this collection seeks contributions examining devising and performance creation in the contexts of post-secondary teaching, training, and research. Editors Heather Fitzsimmons Frey and James McKinnon are looking for essays investigating the purposes, practices, and outcomes of devised theatre projects in institutions of higher learning and/or advanced training.

    This book is geared toward practitioners, students, scholars, and anyone with a stake in the issue of what post-secondary drama, theatre, and performance programs do—and for whom. We invite practice-based approaches reflecting current research, and/or case studies focusing on how devising aligns with or challenges the traditional disciplinary boundaries, praxes, and policies. Acknowledging that our curricula and practices vary enormously worldwide, we seek contributions representing a range of perspectives (including students, alumni, industry professionals, scholars, scholar-artists, and others) on “devising” in a variety of post-secondary educational contexts, including (but not limited to): liberal arts, drama in education, applied theatre, and conservatory training programs. Essays might explore any of the following areas:
    • Pedagogy: What do we learn from devising? How does this learning prepare students for life after study, either in or out of the professional theatre contexts? How are outcomes (for both faculty and students) defined and evaluated?  How does devising align with—or how can it be aligned with—evidence-based theories of teaching and learning? What special risks or rewards does it offer? What assumptions about student learning and devised projects do educators need to reconsider?
    • Inquiry: How does devising present or catalyze unique opportunities for participants to practice and/or participate in inquiry, investigation, and dissemination, or interdisciplinary scholarship?
    • Diversity: How do devising projects address local contexts, cultural difference, language, previous theatrical skill training and performance traditions? How, for example do potential identity markers like racial constructs, gender, sexuality, ability and disability, age, religious affiliation, or language knowledge influence planning, process, and reception of the projects?
    • Tradition, lineage, and methodology: Through what channels do knowledge and techne of devising and performance creation—including well-known systems such as the RSVP Cycles—flow between training institutions and practitioners?
    • Devising and Campus Theatre Production: How do theatre and performance training programs position student-devised new work in their public performance mandates? When (and why) is this work featured, or marginalized?
    • Devising’s mantras and myths: What clichés, truisms, and assumptions need to be carefully examined and re-evaluated when placed in post-secondary/tertiary training and education contexts?
    • Disciplinary division: Embracing devising implies moving away from traditional models of drama studies and theatre production; how do practitioners, students, scholars, and programs perceive and address this implication?
    • Industry and stakeholders: How does training in performance-making and devising align with our perceptions of what the theatre industry needs, and what graduates need to succeed in it? Contributors may also want consider professional contexts like drama therapy, drama educator, community facilitator, cultural venue animator, etc.
    Submission guidelines:
    • Email a 300-500 word abstract to both editors: James McKinnon ( and Heather Fitzsimmons Frey (
    • Please include a 150 word bio and/or 2 page CV highlighting your creative & scholarly contributions.
    • Final length of accepted essays will be 4000-6000 words
    • Illustrations welcome, 300dpi
    • Queries welcome!

    The deadline for proposals is 15 January 2018
  • New Publication: Australian Theatre After the New Wave: Policy, Subsidy and the Alternative Artist by Julian Meyrick, Brill Rodopi, Oct 2017
  •  Tue, 31 Oct 2017
    In Australian Theatre after the New Wave, Julian Meyrick charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94). In the years following the
    controversial dismissal of Gough Whitlam’s Labor government in 1975, these ‘alternative’theatres struggled to survive in an increasingly adverse economic environment. Drawing on interviews and archival sources, including Australia Council files and correspondence, the book examines the funding structures in which the companies operated, and the impact of the cultural policies of the period. It analyses the changing relationship between the artist and the State, the rise of a managerial ethos of ‘accountability’, and the growing dominance of government in the fate of the nation’s theatre. In doing so, it shows the historical roots of many of the problems facing Australian theatre today.

    “This is an exceptionally timely book... In giving a history of Australian independent theatre it not only charts the amazing rise and strange disappearance of an energetic, radical and dynamically democratic artistic movement, but also tries to explain that rise and fall, and how we should relate to it now.”
    — Prof. Justin O’Connor, Monash University

    “This study makes a significant contribution to scholarship on Australian theatre and, more broadly… to the global discussion about the vexed relationship between artists, creativity, government funding for the arts and cultural policy.”
    — Dr. Gillian Arrighi, The University of Newcastle, Australia

    For more information see
  • How Can the Show Go On? Performing Arts Wellbeing summit (Sydney) 13 Nov 2017
  •  Tue, 31 Oct 2017
    How Can the Show Go On? Performing Arts Wellbeing summit (Sydney)
    Monday, 13 Nov 2017 9.00am - 5.30pm
    The Studio, Sydney Opera House

    The summit has been developed by the NSW Performing Arts and Screen Working Group with support from Create NSW and industry.

    In early 2016, Entertainment Assist released significant research findings on the high rates of mental illness and suicide for workers in the Australian entertainment industry. Sadly, this report reflected other research findings and what many working in the industry already knew from personal experience.

    We can do better, says Deborah Mailman who commits not just to getting on with the show but to getting our performing arts and screen industry better.”

    The award-winning Australian television and film actress has recorded a special video message in support of the event. Other speakers involved in the conference include Fay Jackson, Deputy Commissioner of NSW Mental Health, Marie Jepson of the Jepson Foundation, and Susan Cooper from Entertainment Assist who will speak about the new national initiative Australian Alliance for Wellness in Entertainment (AAWE).

    Lex Marinos will MC the day’s program that includes a NSW sector roundtable led by Entertainment Assist and Everymind to identify AAWE priorities. The summit also includes panels, workshops, as well as practical and inspiring examples of industry and individual approaches to improving wellbeing. It’s a day designed for the sector and those who support them to come together, learn from one another and determine a better future.

    “The tyranny of production schedules, low incomes and job security, limited access to support resources, drug and alcohol abuse, isolation and intense competition are aspects of our ‘glamorous industry’ that are often endured in silence and even secrecy,” concludes Mailman. “We can no longer ignore the cost.”

    Deborah Mailman has also recorded a Youtube message of support
    Tickets for the summit are $35 and include morning/afternoon tea & lunch. They are on sale at:
  • CFP: Theatre Dance and Performance Training Journal (TDPT)
  •  Mon, 16 Oct 2017

    Special issue entitled What is New in Voice Training? To be published in TDPT Vol 10.3 (September 2019)

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

    Guest edited by Konstantinos Thomaidis, University of Exeter (

    Background and context

    This will be the 11th Special Issue of Theatre, Dance and Performance Training (TDPT) following issues on a range of topics including sport, politics, Feldenkrais, writing training, interculturalism and digital training. TDPT is an international journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. The journal was founded in 2010 and launched its own blog in 2015. Our target readership is both academic and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance and live art who have an interest in and curiosity for reflecting on their practices and their training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

    Call Outline: What is New in Voice Training?

    Voice has returned to academic discourse with renewed force. 20th-century philosophical and critical debates may have generated important questions around speech, vocality and listening (particularly through the works of Lacan, Derrida, Merleau-Ponty, Ihde, Barthes and Kristeva), but the first two decades of the 21st century have witnessed an unprecedented proliferation of publications taking voice as their main area of enquiry (see Connor, Cavarero, Dolar, Neumark, among others). In the same period, a similar plurality marked the way voice is practised in performance, particularly in its entanglement with new media, new scenic and everyday architectures as well as new hybrid genres and aesthetics. The emergent field of voice studies situates itself at the juncture of these practical and theoretical advances and advocates for research in and through voice that is markedly praxical, international and interdisciplinary in scope.

    In bringing the concerns of this new inter-discipline to bear on performance studies, this issue of Theatre, Dance and Performance Training proposes a timely re-examination of voice in performer training. The literature on voice and the pedagogy of performance is, of course, vast. In the case of singing, it is largely dominated by paradigms appropriate for operatic and musical theatre performance. In the case of speech training, areas that have been systematically explored include the pedagogies developed by an influential generation of mid-twentieth-century, UK- and US-based speech trainers—and, to a lesser extent, the voice practices pertaining to (post)Grotowskian lineages or integrating first-wave somatics into voice work. While drawing impetus from these significant insights, the purpose of this special issue is to lend an attentive ear to emergent or less widely circulated training methodologies and to chart the rapidly shifting landscape of voice training.

    In other words, it wishes to ask: What is new in voice training?

    The term ‘new’ is not taken here as an exclusively present-orientated delineation; rather, it is intended as a generative provocation. In this light, potential contributors are invited to engage with topics and questions such as:

    • New practices: What are the new approaches to voice, speech and singing training currently in the making? How do they depart from or extend current conceptualisations of voicing? Which performance contexts are they designed for? How are they taught, recorded, written about and transmitted?

    • New documents: Which practices of voice training 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 the ‘document’ in practice-as-research approaches to voice pedagogy?

    • The new voice coach: Which are the new exigencies placed on coaches today? What challenges do they face? Which methodologies have been developed in response? How is voice training conducted beyond the studio, through Skype lessons, MOOCs and other interactive platforms? What is the impact of neoliberal economics on the way voice training is currently conducted?

    • New contexts: How is voice training taking into consideration gender, class and ethnic diversity? How is the pedagogy of speech and song responding to neurodiverse trainees? How are interdisciplinary performers, such as speaking dancers or intermedia artists, trained in voice work? How is training originally developed for artistic performance adapted in contemporary oratory, advertising, sport, teaching, community or health work?

    • New criticalities: Which emergent critical methodologies can we deploy to critique voice training or to generate new approaches? How can voice training embrace ecocritical or new materialist strategies? What is the place of the expanding corpus of vocal philosophy in the studio?

    • New histories, new lineages: What does new archival research reveal about the lineages and historic practices of voice training? How is the history of voice training rewritten? How are premodern forms of voice training revitalised in contemporary performer training?

    • Re-newing voice training: How are existing systems, exercises and practices reconfigured in new settings? How can we re-evaluate the foundational premises of voice training through recent discoveries in physiology and advances in critical theory? In what ways are such methods hybridised, repurposed, recycled, rethought?

    To signal your interest and intention to make a contribution to this special issue please contact Konstantinos Thomaidis for an initial exchange of ideas/thoughts or email an abstract or proposal (max 300 words) at 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 Konstantinos Thomaidis by 30 January 2018 at the latest.

    The issue schedule is as follows:

    Autumn 2017: Call for papers published

    30 January 2018: abstracts and proposals sent to Konstantinos Thomaidis

    May 2018: Response from editor and, if successful, invitation to submit contribution

    June to End October 2018: writing/preparation period for writers, artists etc.

    Start November to end January 2019: peer review period

    January 2019 – end May 2019: author revisions post peer review

    End June 2019: All articles into production with Routledge

    July-August 2019: typesetting, proofing, revises, editorial etc.

    September 2019: publication as Issue 10.3.
  • Research participants wanted
  •  Mon, 9 Oct 2017

    Expressions of Interest

    Are you an independent theatre maker who often works on multiple projects simultaneously and across extended time frames?
    Have you been engaged and active in building a practice for 15 years or more?
    Would you be interested in participating in a research project exploring sustainability for creative practitioners in the contemporary theatre sector?

    Are you in Brisbane Sydney or Melbourne at the following times and available to meet?
    Brisbane: 12 - 16 October 2017
    Sydney 2-6 November 2017
    Melbourne 20 - 24 November 2017

    Entitled Creative Sustainability and Distraction Strategies within the practices of Contemporary Theatre Artists, the main aim of the project is to investigate the way in which mid-career artists sustain their professional practice.
    For more information and to Express Interest in participating email Dr Rea Dennis at Deakin University for Participants Pack.
  • CFP: Popular Entertainment Studies Volume 9, no. 1 (March 2018) Volume 9, no. 2 (September 2018)
  •  Tue, 3 Oct 2017
    Expressions of interest are invited from scholars and scholar/practitioners for the next issues of the international, peer-reviewed e-journal Popular Entertainment Studies. We would like to encourage all those interested in the history and practices of popular entertainments to submit a proposal for inclusion in our next two issues. The interests of the journal are diverse and wide-ranging and have included such areas as popular entertainments in the context of a mediatised culture, street performances, music theatre, vaudeville, minstrelsy, and professional wrestling.

    However, the September 2018 issue has a special focus:

    250 Years of the Modern Circus

    In 2018 we will commemorate the establishment of the modern circus with a special focus issue. The interdisciplinary domain of Circus Studies has gained academic traction in numerous countries over recent years and for this special focus issue we welcome submissions from scholars around the globe that will contribute to this growing academic field. Critical research essays that address topics ranging across the past 250 years of circus activity, from Philip Astley’s earliest shows in 1768 up to the present day, are encouraged. The editors welcome the opportunity to discuss scholars’ ideas prior to submission. For this special focus issue the due deadline for full submission is June 1 2018.

    The journal has now been operating for eight years, now in its ninth year, and its contents are indexed and abstracted by the Thomson-Reuters organisation for inclusion in its Arts and Humanities Citation Index and Current Contents/Arts and Humanities. The journal is an open access one and can be viewed for further information at:

    Expressions of interest should be forwarded as soon as possible to the General Editor, Victor Emeljanow at or the Associate Editor, Gillian Arrighi at  The deadline for final paper submissions is January 12 2018 for the March 2018 issue, June 1 2018 for the September 2018 issue.

  • CFP: Behind the Scenes: Journal of Theatre Production Practice
  •  Fri, 22 Sep 2017

    The Editorial Team of Behind the Scenes: Journal of Theatre Production Practice invites submissions for its second Issue, scheduled for publication in 2018. Please submit articles online at:
    We look forward to submissions by 1 December 2017.

    Behind the Scenes: Journal of Theatre Production Practice is a peer-reviewed, open access journal focusing on the technical and production aspects of live performance.

    Submissions: Papers should be at least 3000 words and not more than 6000 words in length, excluding references. All articles should follow the APA style and referencing guide, with all illustrations, figures and tables placed within the text at appropriate points, rather than at the end. Authors are required to register as a user on the registration page to create a username and password before submitting a manuscript.

    Issue 1:

    For further information, please contact Sue Fenty Studham:
  • CFP: Two Special Issues of Theatre Journal
  •  Thu, 21 Sep 2017
    Special Issue for September 2018:

    “You don’t need a weatherman to know which way the wind blows”: Bob Dylan’s lyrics to the 1965 “Subterranean Homesick Blues” call into question how we understand a contemporary moment and its directionality. Yet, in the challenging politics of the current global moment, from climate change to renewed populisms, often the signs are not clear or direct. The age of GPS has produced a shift from the earlier skill of map reading, now directing our focus only to the immediate next turn rather than the landscape around us or an individual’s sense of direction. The theatre has the potential to remind us of the importance of directions, from the Althusserian hail of “Hey you there” that interpellates the subject and calls her into an ideological sphere (that in the age of #BlackLivesMatter remains ever more crucially politically loaded) to re/directed theatrical encounters with directors and directing to explicit stage directions.
    In a time when Brandon Jacobs-Jenkins has redirected Boucicault’s The Octoroon to a politically potent An Octoroon pointing to questions of racial injustice, memory, and technological evidence, and when plays like Paula Vogel’s Indecent and Lynn Nottage’s Sweat have broken glass ceilings for women playwrights and directors even as their closing notices were announced, the idea of what directions we take reminds scholars and artists that we must always remember the past as we create the future.
    This Special Issue invites essays around the theme of “Directions”—from the comings and goings within the field of theatre and performance to investigations of theatrical trajectories and routes; from directions such as “hailing” or “call and response” to theatrical forms such as stage directions.

    This special issue will be edited by Theatre Journal editor Jen Parker-Starbuck. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany ( no later than 6 January 2018.


    Special Issue for December 2018:

    Post-fact Performance

    After the 2016 presidential election, Diane Rehm hosted a discussion on the reflective mood in journalism following the surprise upset of Donald Trump over Hillary Clinton. After other guests pondered ways of getting the truth out over the din of Trump fabrications, one journalist, Trump supporter Scottie Nell Hughes, declared "There's no such thing, unfortunately, anymore of facts." Hughes went on to explain that Trump's tweets were true for Trump supporters and "people that say facts are facts, they’re not really facts.”


    Indeed, one thing that the past election cycle has revealed is the widespread mistrust for the discourse of the perceived elite (the state, the wealthy, and intellectuals). First theorized by Francois Lyotard in The Postmodern Condition, the incredulity toward metanarratives arose as a result of the epistemological crisis created by the paradox of scientific knowledge having to rely upon narrative for its own legitimation. While potentially liberating in terms of resisting regulation of gender, race, and sexuality, this incredulity can also result in the creation of alternative narratives by anti-science and anti-democratic crusades. In the age of Trump, the "post-fact" era has been accelerated by information siloing vis-à-vis social media. As Hannah Arendt notes: "Philosophical truth, when it enters the market place, changes its nature and becomes opinion."


    For this special issue, essays might take up the discussion of performance in a "post-fact" political climate. Essays might address simulacra, siloing, along with examinations of social media, political rhetoric, and fact-checking as performance, performances of "truthiness" (parody of truth), and representations of incredulities toward scientific knowledge narratives of climate change, vaccinations, or evolution. How might theatres respond? What performance practices contribute to incredulity in either liberating or oppressive ways? To return to Arendt, what kinds of truth testimony can artists and scholars create, and who are the "reliable witnesses" that Arendt requires?


    This special issue will be edited by Theatre Journal co-editor EJ Westlake. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany ( no later than 28 February 2018.

    Please Note: Theatre Journal tends not to publish essays that focus predominantly on one play or production.

  • CFP: Costume Research in Australasia
  •  Thu, 21 Sep 2017

    NIDA Graduate School Centre for Contemporary Performance Ideas
    9 – 5 pm, November 14
    th & 15th, 2017.

    Peter Ivany Reception Room, Level 3, Graduate School National Institute of Dramatic Art
    215 Anzac Parade, Kensington, NSW.

    The Costume Research in Australasia seminar will offer an opportunity for mentoring and feedback to postgraduate research candidates, early career researchers and academics conducting research in the emerging field of performance costume studies, or in related artistic fields involving dress and performance.

    NIDA is pleased to host this inaugural seminar which will take place over two days on Tuesday 14
    th and Wednesday 15th November.  The two day long event will involve
    short presentations by researchers on their work in progress. Following each paper researchers will receive feedback from a panel lead by Key Respondent Professor Sofia Pantouvaki from Aalto University, Helsinki.

    The event will include an informal social gathering on Tuesday night at a nearby restaurant at participants’ own cost. There will also be an opportunity to view NIDA’s graduating courses exhibition and tour the NIDA costume production facilities.

    Lunch, coffee and morning tea is available at participant’s own cost at the NIDA Café, the nearby University of NSW Kensington campus, or bring your own.

    Metered parking is available adjacent to NIDA in the UNSW car park (entry via Day Ave) or limited street parking is available around the area.

    Frequent buses operate to NIDA.

    Presentation Submissions DeadlineOctober 29th

    If you are interested in presenting please register, pay and provide your title, abstract (200 words) and biography (150 words) by Friday 29th October.

    It is intended that submissions for presentations should come from either Doctoral or Masters by Research candidates, early career researchers, designers engaged in scholarly research, as well as scholars engaged in post-doctoral research projects. The focus is on research in progress rather than on completed conference papers, though we welcome presentations that are being developed for presentation at other conferences and events, or for publication.  We are limited to 20 presentations over the two days, so please get in quick to make sure yours is included.

    Presentations should be 20 minutes in length and AV projection will be provided.

    Seminar Registration DeadlineNovember 8

    Attendees are welcome to come and hear the presentations and take part in the seminar activities. There are only 40 places available for attendees.

    Registration for both presenters and attendees includes attendance at any or all of the presentations, a booklet of abstracts, a guided tour of the NIDA Graduation Exhibition EXPONIDA and the NIDA costume production facilities.

    Early Bird (to 15 September)               $35 Regular (closes 8 November)     $40

    Presenter and attendee registration and payment is available through the NIDA events page at:

    For further information contact seminar convener, Dr Suzanne Osmond at

  • CFP: Performance and Culture: Cities, Embodiments, Technologies
  •  Tue, 19 Sep 2017

    Annual Conference hosted by

    The School of Performing Arts (University of Malta)

    7, 8, 9 March 2018

    Keynote Speakers:

    Sir Jonathan Mills, Programme Director of 2018 Edinburgh International Culture Summit

    Prof. Maria Delgado, Royal Central School of Speech and Drama, University of London

    Prof. Ann Cooper Albright, Department of Dance, Oberlin College and Conservatory, Ohio, US

    The fifth Annual Conference of the School of Performing Arts (University of Malta) aims to generate debate on possible ways of articulating the relationship between Performance and Culture. Two inherently fluid phenomena, Performance and Culture resist fixity and limiting definitions when treated separately, and even more so when considered in tandem.  Instead of looking at definitions, contemporary thinking about Performance and Culture might be better served through the application of critical and conceptual frames, which offer a clear focal point while allowing for the integration of multiple perspectives, approaches, and understandings.

    The conference in Malta invites scholars, practitioners, and cultural theorists to consider three such critical frames around which to reflect on Performance and Culture, namely Cities, Embodiments, and Technologies. Its aims are partly fueled by the 2018 European Capital of Culture, which next year will be held in Valletta, the capital city of Malta, and Leeuwarden, in the Netherlands. Capitals of Culture attract international attention to the way a particular city defines its identity, also within the framework of performance.

    Presentations exploring (but not limited to) the following questions and themes are, therefore, welcome:

    • How do the suggested three frames inform our understanding of performance and culture?
    • In what ways do these frames interact together?
    • How do institutional standards relate to artistic creativity and production?
    • What possible historical approaches define interaction between performance and cultural practice and discourse? How are they relevant to contemporary performative initiatives in the public sphere?
    • Which other frames invoke a relationship between performance and culture? How do these dialogue with cities, embodiments, and technologies?

    Abstracts of a maximum of 300 words should be submitted by 7 December 2017 to the conference conveners, Dr Stefan Aquilina ( and Prof Vicki Ann Cremona ( Acceptance will be confirmed by the end of the year. Kindly include a brief bionote and any technical equipment you might need. Primarily, the conference will take the form of conventional 15-20 minute presentations, but presenters wishing to suggest other forms of presentation are also encouraged to contact the conference conveners. 

  • Creative Ageing Symposium
  •  Wed, 6 Sep 2017

    Two Day Event: Wednesday 25 October + Thursday 26 October 2017

    Join leading international arts practitioners to explore how engaging with the arts can maintain and improve health and wellbeing as we age, and also support people with chronic conditions, such as dementia and Parkinson’s disease. This special symposium and workshop aims to support professional development across disciplines and occupations in creative aging that produces an innovative and robust workforce of artists, educators and advocates. For more information please contact Professor Michael Balfour

    Presenters will include:

    • David Savill, Artistic Director, Age Exchange (London, UK)
    • Andrea Creach, Music and Creative Ageing (Chair of Music, University of Laval, Quebec)
    • Queensland Ballet
    • Queensland Conservatorium
    • Opera Queensland
    • Playful Engagement and Dementia
    • Representatives from SE Queensland aged care providers


    • $60 attend both days (+$6 GST)
    • $40 attend one of the days (+$4 GST)

    This event will cater for a maximum of 60 attendees so please register early to ensure your place. 

    For more information please check out our Facebook event page and our Twitter event page

    This might interest

    • Professionals working in aged care
    • Arts Practitioners 
    • Arts and Health Researchers
    • Academics
    • Students
    • General Community
  • New Journal: Behind The Scenes: Journal of Theatre Production Practice Vol 1, No 1 (2017
  •  Tue, 29 Aug 2017
    The inaugural issue of Behind the Scenes: Journal of Theatre Production Practice has just been published. It a welcome addition to  Australian performance research.

    Behind the Scenes: Journal of Theatre Production Practice is a peer-reviewed, open-access journal focusing on the technical and production aspects of live performance. This journal aims to encourage the advancement of research into performing arts production processes. We actively invite discourse from researchers and practitioners with an academic interest in the theory of production practice.
  • Opening Soon: Miss W Treads by Jane Woollard
  •  Mon, 14 Aug 2017

    Miss W Treads is a new work by award-winning writer and director Jane Woollard. It celebrates one of the first stars of the Sydney stage, Eliza Winstanley. Weathering the rough and ready days of Sydney theatre in the 1840s, Eliza became the first Australian-trained performer to achieve international success.

    In the play, Imogene, a youthful contemporary theatre maker resurrects the phantoms of her too-long forgotten theatrical ancestors. As she encounters obsolete technologies and outmoded acting techniques, she becomes addicted to conjuring up her subject. Her yearning to fill in the historical gaps leads to obsessive imaginings, wild abstractions and fanciful wonderings.

     Miss W Treads bristles with ghosts and sword fights. It revives the archaic languages of melodrama, and calls up long dead theatrical ambitions. In this work, Australia’s fledgling theatre traditions collide with contemporary arts practice to produce an unexpected cross-century collaboration that reveals shared histories and desires.

    In Miss W Treads Jane Woollard continues her exploration of the lives and creative work of past female artists. Actors, Fanny Hanusin (True Adventures of a Soul Lost at Sea, Asylum, Bogan Pride, Bright Shiny & Green Night) and Nicholas Kato (Play It Safe, Bright Shiny & Green Night) return to work with Jane alongside new comer Ruby Johnston.

    An outstanding creative team including dramaturg Melanie Beddie, (Sisters of Gelam, Aviary, Hammer of Devotion); composer Peter Farnan (Boom Crash Opera, Asylum, Hitchcock Blonde, Sleeping Beauty); designer Amanda Johnson (Hammer of Devotion, Aelfgyva, Letters from Animals, Asylum); and lighting designer Bronwyn Pringle (Letters from Animals, Alias Grace, The Realistic Joneses) continue their collaboration with Jane Woollard to create this witty and intricate theatrical work.

    Performers: Fanny Hanusin, Ruby Johnston, Nicholas Kato
    Written & Directed by Jane Woollard

    Dramaturgy: Melanie Beddie

    Designed by Amanda Johnson

    Sound design & composition by Peter Farnan

    Lighting design by Bronwyn Pringle

    Stage management by Imogen Titmarsh

    Season:            6 – 17 September

    Preview           Wednesday 6 September, 6:30

                            Thursday, Friday, Saturday 7:30pm

                            Sunday 4:00pm

    Venue:             La Mama Theatre, 205 Faraday Street, Carlton

    Bookings: or (03) 9347 6142


  • New Book: Ethical Exchanges in Translation, Adaptation and Dramaturgy, Brill/Rodopi, 2017
  •  Thu, 10 Aug 2017

    Edited by Emer O'Toole, Concordia University, Andrea Pelegrí Kristi?, Pontificia Universidad Católica de Chile / Paris Ouest Nanterre la Défense and Stuart Young, University of Otago

    Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre.

    In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.

    For More information: Link

  • CFP:Bodies in/and Asian Theatre
  •  Mon, 24 Jul 2017

    A Joint Asian Theatre Working Group International Colloquium and International Federation for Theatre Research Regional Conference 2018

     University of the Philippines Diliman, 20 – 23 February 2018

    A growing interest on the body as a starting point of discourse is seen in the past decades. Even theatre studies has been involved on scrutinizing the body as an important performance aspect. In Western theatre practice, physical theatre is a well-articulated practical approach for understanding the body vis-à-vis theatre and performance. However, the increasing number of the most influential theorizations and conceptualizations has primarily, if not exclusively, focused on how the cultures in the West (Europe and the Americas) conceive it.

    Taking cue from Bryan Turner and Zheng Yangwen, it is important to note that peoples in Asia have experienced colonization, decolonization and now globalization albeit different modalities. These contexts, as suggested by Turner and Zheng, are important socio-political and historical factors for understanding the Asian body. With this, Bodies in/and Asian Theatres is envisioned to contribute to the study of the body, particularly its functions and placements in the different performances in the Asian region.

    On the occasion of Katha-wan [a contraction of katha (creative creation) and katawan (body)] or the celebration of the UP Diliman Month 2018 vis-à-vis the National Arts Month in the Philippines, Bodies in/and Asian Theatres invokes the Asian bodies as creative and critical entities.

    The Joint 2018 Asian Theatre Working Group Colloquium and International Federation for Theatre Research Regional Conference (IFTR-Asia) attempts to answer these general questions: what do we mean when we talk about bodies in Asian theatres and performances? What do we mean when we talk about Asian bodies in different performances outside the region? How does theatre affect the way we think about the bodies of Asians?

    Possible sub-themes include but not limited to the following:

    ·      The Spectacularization of the Body in Asia (What does it mean when we think of the acrobatics in China, the thaipusam devotees in Malaysia and Singapore, ta’ziyeh devotees in the Middle East, the magdarame or self-flagellants in the Philippines as actors/performers? What is the implication of associating Asian rituals involving bodily spectacles or self-inflicted pains as theatre and performance?)

    ·      Performing Queer Asian Bodies (What does it mean to be an Asian Queer vis-à-vis theatre and performance? What is the relationship of the queer and body in Asian performances?)

    ·      Performing Displaced Bodies (Issues on representing the Asian immigrant / emigrant in theatre and performance. What is the implication of being Asian in Euro-American theatre?)

    ·      Gendered Bodies (What are the representation and ideologies of the masculine and feminine bodies in Asian Theatre and Performance? What does it mean when the masculine body is performed by a female body or vice versa?)

    ·      Asian Bodies Recuperated (many theorizations in theatre, performance and cultural studies took inspiration from performing bodies of Asians, issues and implications  of such theories in general critical thinking)

    ·      Disembodiments (What does it mean when a body is treated as a formless creature in Asian societies?)

    ·      The Body as Medium (When the body is treated as a medium in theatre and performance, what does it mediate?)

    ·      Asian Corporeality and/in Choreography (Body-centered performance practices in Asia also provide a vital site for exploring the convergence of thought and action)

    ·      The Asian Body as Method (Exploring the possibility of the body – the Asian body – in performance as a starting point of philosophizing and intellectualizing)

    Submission of Abstract 15 August 2017 to 15 September 2017.

    Notification of acceptance begins on 2 October 2017.

    Registration opens on 1 November 2017.

    Abstract Submission:

    Before submitting your abstract, you have to become a member or renew your International Federation for Theatre Research (IFTR) membership.
    Your abstract submission will NOT be entertained until you become an IFTR member.

    To register, please visit Cambridge Journals Online.
  • CFP: The Literary Interface
  •  Tue, 13 Jun 2017

    2018 Literary Studies Conventio4-7 July, 2018

        Australian National University, Canberra.

    Jointly held by the Associa1on for the Study of Australian Literature, the Australasian Associa1on for Literature, the Australasian Universi1es Languages and Literature Associa1on, and the Australian University Heads of English.

    Submissions due 1 July, 2017.

    Abstract of 150 words Biographical note of 100 words to:

    An interface describes a surface or plane that lies between or joins two points in space, but it also refers to ‘a means or place of interaction between two systems’ and ‘an apparatus designed to connect two scientific instruments so that they can be operated jointly’ (OED).

    This convention will bring together scholars working across the broad field of literary studies to discuss the literary as an interface between different forms of knowledge and processes of knowledge formation, looking at questions of how and through what means the literary is communicated, represented, negotiated, and remade. By placing the concept of the literary centre-stage while at the same time interrogating its role as an interface, we wish to open up for discussion questions about the role, dynamism, and value of the literary in a time of institutional change and ongoing disciplinary formation. We would also like to debate the role of the literary text - and literary studies as a discipline - as a site of encounter between diverse languages and potentially alien modes of reading and writing.

    We invite papers and panel proposals, including but not limited to the following topics:

    • Mediation, remediation, and transmediation
    • Literary Formalism - its past, present and/or future
    • Multimedia forms as interfaces
    • The relationship between forms, networks, and hierarchies
    • Encounters between readers and modes of reading
    • Translation
    • The relationship between literary studies and other disciplines, e.g., environmental studies, maths, ethnography, science
    • The interface between academic and public critical cultures
    • Spaces of reading (online and otherwise)
    • The negotiation of literary value
    • The classroom as literary interface
    • Literary objects as interfaces: circulation, reception, paratexts
    • The stage and other spaces of performance as interface between temporalities, bodies, performers, writers and audiences
    • Cultural interfaces
    • Languages of colonialists/ postcoloniality
    • Transnationalism and minor transnationalism.
  • UNSW Sydney Scientia PhD Scholarship 2018: Theatre of the Real
  •  Fri, 2 Jun 2017
    Theatre and Performance at UNSW Sydney invites Expressions of Interest for a UNSW Scientia PhD Scholarship project on ‘theatre of the real’, as Carol Martin calls it in her book by the same title (2013). The joint supervisors are Dr Meg Mumford and Dr Caroline Wake; the secondary supervisor is Dr Theron Schmidt.
    Theatre of the Real
    This project explores the politics of participation and representation in theatre of the real, an increasingly prominent form of performance internationally. Such theatre explicitly cites or summons the world outside the theatre. It includes, for example, autobiographical, community-based, documentary, participatory, relational, re-enactment, testimonial and participatory practices. Often involving vulnerable or marginalised people, theatre of the real casts these participants as “everyday experts” with valuable knowledge derived from their lived experience. This project investigates what happens when such experts meet theatre professionals and spectators. To this end it explores the complex politics and ethics that surround the process of representing and empowering real people through theatre.
    UNSW Scientia Scholarship Scheme
    Scientia scholars will have a strong commitment to making a difference in the world, with demonstrated potential for contributing to the social engagement or global impact pillars of the UNSW 2025 Strategy. Candidates are matched with researchers who have demonstrated excellence in supervision, and are provided with career coaching, mentoring and access to a series of professional development activities. The scheme offers a prestigious scholarship package of $AUD 50,000 per annum (approximately 29,000 GBP or $US 37,000 at current exchange rates). This comprises a tax-free living allowance of $AUD 40,000 per annum for 4 years, and a support package of up to $AUD 10,000 per annum to provide financial support for career development activities. International students also receive a tuition fee scholarship. The minimum qualification is: (i) an upper second class Honours degree; or (ii) Masters by Research degree; or the equivalent of (i) or (ii). All applicants must satisfy the university’s English-language proficiency requirement. The scheme is looking for strong research potential and research background (including publications, research assistance and related work, previous research degrees, industry experience, exhibitions etc.).
    • Expressions of Interest open: 26 May 2017
    • Expressions of Interest close: 21 July 2017
    • UNSW invites nominated applicants to lodge full applications: 4 August 2017
    • Full applications close: 1 September 2017
    • Offers to successful applicants: 6 November 2017
    • Successful candidate(s) commence in early or mid 2018
    Application Process
    Applicants must use the Apply Online system:
    Click on the ‘Apply’ button in the top section of the page. On the left-hand side of the next page you will see ‘700 Scientia PhD Scholarships’. Click on ‘View all Scholarships’, then ‘Contemporary Humanities and Creative Arts’, then ‘Theatre of the Real’.
    To submit an Expression of Interest, please complete the self-assessment form online and submit an Expression of Interest (EOI) to the supervisory team via the website. Supervisors will then contact suitable applicants to discuss the project and the next steps to take.
    For further timeline and process information see:
    Immediate Next Step
    If you are interested in applying for this exciting scholarship, please contact both Meg Mumford ( and Caroline Wake ( for further advice.  You will need to do so before 21 July 2017 and preferably by 30 June 2017.
  • New position: Krishna Somers Lecturer in English and Postcolonial Literature, School of Arts, Murdoch University
  •  Fri, 2 Jun 2017
    Continuous role commencing January 2018
    ACLEB |  $92K to $109K  plus 17% employer superannuation contributions
    Salary Packaging opportunities

    The School of Arts plays an important role in the academic life and campus culture of Murdoch University, delivering world-class research across a broad range of disciplines and contributing to a range of undergraduate and postgraduate courses. We teach undergraduate and postgraduate courses in creative arts and media, languages, humanities and social sciences. A number of these courses are taught in offshore mode through long-standing partnerships in Singapore and Dubai, and online through Open Universities Australia. Murdoch is particularly proud of its strong expertise in literary and cultural studies, creative writing, theatre and performance, philosophy and media studies.
    The undergraduate English and Creative Writing major is based around an integrated program of study. Students engage with a cosmopolitan range of canonical and non-canonical fiction, drama and poetry from the Anglophone world, from the Renaissance to the present day, learning to hone their capacity for close reading, reflection, commentary and critique. Through creative and professional writing units they also develop the ability to write a diverse range of literary and other genres. Upon completion of the Major, our graduates are skilled in methods of critical analysis and argument, fluent in oral and written expression and confident in their ability to undertake critical and creative work.
    For more information or to apply:
    Please visit to view the Guide for Applicants and Position Description, here you will also find the online form to submit your application. Please note that emailed applications will not be accepted.
    We request that international applicants check their eligibility for Australian sponsorship/visa.
    Closing date:  22 June 2017 (11:59pm)
  • New Publication: Stanislavsky in the World: The System and its Transformation across Continents.
  •  Fri, 26 May 2017

    Eds: Jonathan Pitches and Stefan Aquilina (Bloomsbury, 2017)

    Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

    Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

    This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

    This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before. - See more at:
    Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

    Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

    This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

    This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before. - See more at:
    Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

    Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

    This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

    This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before. - See more at:

    Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

    Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

    This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

    This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.

    Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices.

    Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance.

    This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies.

    This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before. - See more at:

    Although theatre is the most local of art forms, this important collection documents how the Stanislavsky system became a major force in theatrical globalization in the 20th century. From Malta to Bangladesh to China it shows how actors and pedagogues came to share a common artistic vocabulary.  (Prof. Christopher Balme, current Chair in Theatre Studies at the University of Munich)

    Contributions include:

    • Ian Maxwell’s discussion of a ‘received Stanislavsky’ and the tyranny of distance in Australian actor training;
    • Peta Tait’s analysis of acting idealism and emotions as mobilised by Hayes Gordon and The Ensemble Theatre in Sydney;
    • Hilary Halba’s account on the System experienced through the Maori World in New Zealand;
    • Marie-Christine Autant-Mathieu’s discussion of selected affinities between Stanislavsky and the French Theatre Tradition;
    • Siyuan Liu’s analysis of Stanislavsky’s impact on a Chinese School of Performance and Directing;
    • Raúl Serrano’s teacher-perspective on current Stanislavskian teaching at the Escuela de Teatro de Buenos Aires in Argentina;
    • Moez Mrabet’s discussion of Stanislavsky’s impact on both modern theatre and contemporary actor training in Tunisia;
    • Syed Jamil Ahmed’s articulation of the System as postcolonial appropriation and assimilation in Bangladesh.

    The book’s official launch will be held as follows:

    Date:                5th June 2017

    Time:               17:00

    Venue:             Alec Clegg Studio, stage@leeds building, University of Leeds

    For full details visit or contact us on or
  • CFP: Mediating the Real 2: Mediations in a 'Post Truth' Era
  •  Thu, 27 Apr 2017
    A conference at the University of Otago 22nd – 25th November 2017
    Presented by The Performance of the Real Research Theme and the Department of Media, Film and Communication
    Keynote speakers:
    Dr Kim Toffoletti (Deakin University) & Dr Laurie J. Ouellette (University of Minnesota)

    ‘Post-truth’ has become a buzzword in the last year generating think-pieces and SNS chatter lamenting 'truth' as a lost object that has enabled and / or smuggled in events like Brexit and the election of Donald Trump. With this discussion, comes a broader demonstration of anxiety that a true 'real' (world, political sphere, social …) has been either lost or obscured. The responsibility for this loss or obscurance has fallen firmly at the feet of 'the media' (as well as the so-called postmodernists).
    This conference asks and unpacks the interactions of (post) truth, the 'real' and contemporary media.
    Building on and following from the success of Mediating the Real ‘1’, we encourage critically informed approaches – particularly drawing from the work of Lacan. However, this time too, we invite scholars engaged with Jean Baudrillard's prolific engagement in these matters.
    Papers might ask but are not limited to:
    What does post-truth mean in the contemporary media saturated context?
    A consideration of the increasingly banal use of ‘post-truth’ (as OED word of the year 2016) in news chatter and the implications of this for understandings of 'truthful’ media
    Where is the real located in this context? This might be through considerations of the Lacanian real and the possibilities for subjectivity and sociality – particularly in terms of the potential to build social bonds within the ‘discourse of capitalism’
    What does the anguished / anxious response to 'post truth', particularly in popular and social media, tell us about contemporary subjectivity and sociality?
    What do Baudrillard’s critical interventions tell us about the contemporary production of reality?
    Postgraduate bursary:
    A number of travel and registration bursaries will be available for postgraduate students of around $250 per student. These will be allocated on the basis of the merit of submitted abstracts. We highly encourage postgraduate researchers to submit their work for consideration.
    Key information:
    Organisers and contacts: Dr Brett Nicholls ( and Dr Rosemary Overell (
    Abstract information: please email a 250-500 word abstract and 150 word biography by June 15th 2017.
    Registration: $95 (casual / sessional workers and postgraduates) and $225 (academic and waged workers) – includes cocktail function, lunches and teas
    Dinner:  $60

    Venue: Richardson, 6th floor, Room 4 North
    More info:
  • Masterclass with David Diamond: Theatre for Living Saturday 24 and Sunday 25 June 2017 9.00am - 5.00pm Theatre Lab, Massey University, Auckland campus
  •  Thu, 6 Apr 2017
    Theatre for Living has evolved from Brazilian Director Augusto Boal's ‘Theatre of the Oppressed’. It is a way of communicating and working with people so that the 'living community' can tell its stories. Theatre for Living techniques have been applied to mainstream theatre, interdisciplinary work, personal, community and team development, anti-racism and violence prevention, environmental action, education and counselling. Using a symbolic language, participants develop ‘emotional intelligence’, move towards open communication and begin to create their desired realities in an active and entertaining way.

    This workshop is specifically designed for theatre-makers and community workers. The two-day workshop will explore Image Theatre and the evolution of Rainbow of Desire and their applicability in reconciliation issues and as tools to foster dialogue and interaction between disparate groups of people.
    This training will be invaluable for anyone who seeks skills and techniques to use theatrical language to explore community dialogue.
    Cost: $200 for two days
    Register Online via the Massey University Webpage:

    For More Information Please Contact:
    Dr. Rand T. Hazou - Senior Lecturer in Theatre
    School of English and Media Studies | Massey University
    T: +64 9 414 0800 | Ext. 43342 | E:

  • CFP: The Performance and Performativity of Violence
  •  Tue, 4 Apr 2017

    An interdisciplinary conference hosted by The Performance of the Real Research Theme

    The University of Otago, Dunedin, New Zealand, 19-21 June, 2017


    Professor Bruce Johnson (Macquarie University, Australia and University of Turku, Finland)

    Dr Lisa Fitzpatrick (University of Ulster, Ireland)

    While violence has always permeated society, today it is expressed and constructed in an ever-greater variety of ways. Due to globalization and technological advances during the twentieth and twenty-first centuries, performative violence now has an unprecedented range and effect. Jeffrey S. Juris argues that where direct political violence is meant to cause death or injury to human beings, performative violence involves ‘symbolic ritual enactments of violent interaction with a predominant emphasis on communication and cultural expression’ (2005: 415). Thus, protest violence or terrorist acts are often staged in part with an aim to capture media attention (ibid), and may involve further aims such as intimidation and gaining ‘compliance from adversaries’ (Zech and Kelly 2015: 85). At the same time, the potential for artistically bounded performance to be used in more brutalizing ways, or to depict increasing levels of violence has increased. With this come questions of ethics and spectatorship. The performance and performativity of violence is thus of pressing concern.

    This interdisciplinary conference aims to draw together scholars from a wide variety of fields to examine the ethics, politics and nature of representations/orchestrations of violence, as well as what makes the performance and performativity of violence particularly compelling,

    pervasive and or problematic in the current age.

    In addition to conventional paper presentations, we also invite papers on the theme with a performance or creative component. We encourage papers relating but not limited to the following topics and questions:

    • Violence performance and spectatorship

    • Performative violence used to serve political or terrorists ends

    • Is there an actual cause-effect relationship between performance and violence? Do performances cause violence? Are they an instrument or tool of violence?

    • When performance has violent effects, is any form of reparation due to the victims ofsuch violence? If so, who should assume responsibility (users, performers, the creative industries, the mass media)? What are (or should be) the rights of victims of performative assault?

    • The performativity of institutional or structural violence

    • What are the causes of performance’s violent/pacifying effects? How many of these

    effects are due to the performance’s volume, to aesthetic considerations, to content


    • Do different people experience violence in relation to performance differently? If so,

    how and why?

    • How effective is performative violence? Does it achieve its desired results? Does it

    have unintended and perhaps undesirable consequences?

    • Performative violence related to

    • The ethics and politics of representations/stagings

    • Culturally codified or expected performances/behaviours

    We welcome abstracts for papers, performances, panels or other presentation formats. Please submit a 300-word abstract of your presentation and a 150-word biography for each presenter by May 3, 2017. Please send us your abstract as a Word document, and use your surname as the document title. Please clearly indicate the title of your presentation, 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, Massi, at There are a few small travel bursaries available for postgrad

    students coming from overseas. Please contact the theme administrator for details.

    The Performance of the Real is a University of Otago funded interdisciplinary Research Theme. The project is to investigate 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.


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  • Book Launch and New Publication: Staging Queer Feminisms: Sexuality and Gender in Australian Performance, 2005-2015 by Sarah French (Palgrave Macmillan, 2017)
  •  Tue, 4 Apr 2017
    Staging Queer Feminisms examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture. It analyses selected feminist and queer performances that interrogate the cultural construction of identity, challenge the normative trends of mainstream Australian society and culture and open up spaces for alternative representations of gender identity and sexual expression. Offering the first full-length study on sexuality and gender in Australian theatre since 2005, the book reveals a resurgence of feminist themes in independent performance and explores the intersection of feminist and queer politics. Ranging across drag, burlesque, cabaret, theatre and performance art, this book provides an accessible and engaging account of some of the most innovative, entertaining and politically subversive Australian theatrical works from the past decade.

    “Sarah French’s landmark book astutely frames twenty-first-century performance considered queer and feminist within an artistic category in its own right. It is very exciting to read about these theatrically accomplished but challenging innovative performances, and the complex ways in which they are meaningful. Just as these performances merit thorough investigation, this important book equally deserves the serious attention of a wide readership.” Peta Tait, La Trobe University, Australia

    “Sarah French’s book provides a compelling insight into ten years of vital, subversive, genre-defying Australian performance. She brings the anarchic energy of the performances alive and frames her persuasive analysis within appropriate intersectional feminist and postcolonial frameworks.” Sarah Gorman, University of Roehampton, UK

    Copies can be ordered at:
    The book will be launched on Sunday, 23rd April 2017 by Professor Peta Tait FAHA, La Trobe University.
    At fortyfivedownstairs, 45 Flinders Lane, Melbourne, from 4pm.

    RSVP’s essential to: Sarah French at by Wednesday 12th April
  • CFP: Popular Entertainment Studies Volume 8, no.2 (September 2017)
  •  Tue, 4 Apr 2017
    Expressions of interest are invited from scholars and scholar/practitioners for the next issues of the international, peer-reviewed e-journal. We would like to encourage all those interested in the history and practices of popular entertainments to submit a proposal for inclusion in our next two issues. The interests of the journal are diverse and wide-ranging and have included such areas as popular entertainments in the context of a mediatised culture, street performances, music theatre, vaudeville, minstrelsy, professional wrestling and circus performers.

    The journal has now been operating for eight years and its contents are indexed and abstracted by the Thomson-Reuters organisation for inclusion in its Arts and Humanities Citation Index and Current Contents/Arts and Humanities. The journal is an open access one and can be viewed for further information at:
    Expressions of interest should be forwarded as soon as possible to the General Editor, Victor Emeljanow at or the Associate Editor, Gillian Arrighi at  The deadline for final paper submissions is July 7 2017 for the September 2017 issue, January 12 2018 for the March 2018 issue.
  • CFP: Performing Care
  •  Fri, 10 Mar 2017
    An edited collection of essays: Amanda Stuart Fisher (Royal Central School of Speech and Drama) and James Thompson (University of Manchester) (eds)
    This edited collection aims to bring together a range of essays that stage an interdisciplinary dialogue between theatre and performance scholarship and research and practice in the fields of care ethics, care studies and health and social care. The book will examine the boundaries between theories of care practice and performance, re-thinking the encounter between the caregiver and cared for. Through an examination of a wide range of different care performances drawn from interdisciplinary and international settings, this book interrogates how performance might be understood as caring or uncaring, careless or careful and correlatively how care can be conceptualised as artful, aesthetic, authentic  or even ‘fake’ and ‘staged’. Through a dialogic engagement between care and performance, the book considers how the field of performance can be challenged by an examination of the difficulties of inter-human care and examines how a dialogue between performance, practitioners of care and care ethicists might foster a greater understanding of the caring encounter.
    This call for contributions invites proposals for chapters ( 6000 words)  from academics, practitioners, artists who are working in the field of performance and theatre studies, nursing, social work, education and other disciplinary contexts who are interested in exploring the relationship between performance and care. In these proposals, we encourage authors to consider how performance and care operate together within their research and how this might offer new ways of understanding the relation between performance and care. While we are interested in a wide range of different articulations of care, we are particularly interested in essays that draw on performance to offer a renewed engagement with the field of care ethics as developed by feminist care ethicists such as Nel Noddings  (1986) Carol Gilligan (1982), Eva Kittay (1991), Joan Tronto (1993), Virginia Held (1993).
    We welcome proposals that address a wide range of different perspectives and areas of interest and in particular are interested in essays that address some of the following questions:
    • How does performance offer new ways of understanding the caring encounter?
    • How do the concepts of care and justice challenge contemporary performance practice and vice versa?
    • How might an aesthetics of care redefine performance or the caring encounter in a social or health setting?
    • Can performance re-imagine the relationship between the carer and the cared-for?
    • How might performance offer a critical perspective on the politics of care?
    • To what extent can performance enhance the quality of care provided in health and social care settings?
    Abstracts (500 words) should clearly indicate how performance and care will be positioned within the proposed essay, please also submit a short biography (100 words)
    Please submit abstracts email to by 5pm 7th April 2017.
  • CFP: RiDE: The Journal of Applied Theatre and Performance
  •  Fri, 10 Feb 2017

    Please note - the closing date for EoIs closes on 5 June.

    Themed Issue: Theatre, Dementia and Relationality
     (24, 1. February 2019).


    Guest Editors: Nicky Hatton, University of Winchester UK, Michael Balfour and Julie Dunn, Griffith University, Australia.


    Over the last two decades, the arts have been increasingly applied in response to the challenges of rising rates of dementia. This growth in practice derives from recognition that, in the absence of a cure, there is a need to develop approaches that address its key impacts of social isolation, depression, and quality of life (QOL). As such, the majority of research that has been conducted about arts and dementia is science-based, with an emphasis on improving the wellbeing of participants.


    Arts researchers and practitioners have become increasingly interested in the aesthetic possibilities of arts practices which are created with, for, or inspired by, people with dementia. Theatre research and practice has developed significantly in the last decade, with theatre productions about dementia, creative and participatory work, specially organised theatre visits, theatre projects with a strong inter-generational component, professional theatre companies of older people, multisensory programmes, play readings, and other forms of dementia-friendly theatre movements. Concurrently, there has been a shift in dementia research, from a person-centred approach to care, to one which recognises caregiving as a relational process. Gerontologist Mike Nolan and colleagues argue that dementia care should be defined as ‘a network of social relationships… which are deeply connected and independent (Nolan et al, 2004: 47). The notion of relational care is also being considered by theatre researchers who are interested in the aesthetic connections between care and performance. In his article Towards an aesthetics of care (2015), James Thompson considers the ‘radical potential’ of placing ‘community-engaged arts work within the framework of care’ (432). He suggests that an aesthetics of care ‘seeks to focus upon how the sensory and affective are realised in human relations fostered in art projects’ (436). This research raises new questions about the role of the arts in dementia care, and the relationships between creativity, participation, and care.


    In response to this growing area of praxis, this themed edition will explore, critique and document a range of work in this emerging field. We invite proposals from academics, practitioners who are working in the field of theatre and performance studies, social work, critical disability studies, and other related contexts. Contributors may wish to consider, but are by no means restricted to, the following themes: representations of dementia in theatre and performance, multisensory practices, performers with dementia, theatre in care homes, theatre and caregiving, dementia-friendly theatre buildings, engaging care staff and families, and the role of arts-based methodologies. We are interested in submissions in a range of formats, including:

    - video and sound file

    - research essays (6-8K words)

    - interviews, dialogues, and scripts

    - practitioner statements

    - performance and book reviews




    Expressions of interest: 5 June 2017

    First drafts: 3 January 2018

    Final drafts: July 2018

    Final copy deadline: 20 November 2018

    Publication: February 2019


    Expressions of interest should be 500 words long and submitted by email to


    For information about RiDE: The Journal of Applied Theatre and Performance and its remit please visit: 



  • CFP: Performance Paradigm 13 (2017)
  •  Fri, 10 Feb 2017

    Performance, Choreography, and the Gallery

    Edited by Erin Brannigan (UNSW Australia), Hannah Mathews (Monash University Museum of Art), and Caroline Wake (UNSW Australia)

    This issue of Performance Paradigm takes the 2016 Biennale of Sydney as a starting point for a broader discussion about the relations between performance, choreography and the gallery. Of course, the appearance of performance in the gallery and in the GLAM—galleries, libraries, archives and museums—sector more broadly is not new. Indeed, the Biennale’s artistic director Stephanie Rosenthal and two of her ‘curatorial attachés’, Adrian Heathfield and André Lepecki, have been working at this intersection for years. So too have scholars such as Claire Bishop (2012; 2014), Shannon Jackson (2011), and Susan Bennett (2009). What is new, perhaps, is the visibility of artists, art works and institutions from the Global South. The Biennale featured scores of performances that ranged across of a variety of genres (one-to-one, live art, theatre, dance, opera, installations, walks, talks, and tours) and a variety of sites (libraries, galleries, post-industrial halls, inner city streets, and harbour islands). We invite papers from artists, curators and academics that investigate all of these genres and more, across these three themes:

    • Performance: Performances in galleries, libraries and art museums; Black boxes, white cubes, grey spaces, and green rooms; The theatricality of exhibition and display (Guy 2016); The twin, yet distinct, anti-theatricalities of visual art and performance studies (Jackson 2005); How does moving a live work from one locale to another change it and what are the problems and possibilities for the work, its analysis and its audiences?
    • Choreography: Why do museums seem to prefer dance to performance? Is it only to do with the silence, or is there more to it? How does the gallery reconfigure relations between dance and performance (studies)? What do we gain and lose in expanding ‘choreography’ towards the visual arts (Brannigan 2015)? How does the dance-museum relationship navigate the problematic power relations surrounding the choreography of institutionalisation?
    • Gallery (Libraries, Archives, and Museums): How do dance and performance alter the terms of spectatorship in the gallery and vice versa? If ‘choreography’ and ‘performance’ are mobile frames for making and experiencing art, how does ‘gallery’ circulate as a frame beyond its recognisable sites? How do GLAM institutions bring themselves into being via the ‘choreography of bureaucracy’ and the associated genres of grant applications, sponsor events, and collaborations with other institutions such as universities?

    Please send proposals of approximately 300 words to Erin Brannigan (, Hannah Mathews ( and Caroline Wake ( by Friday, 24 February 2017. Full articles will be due on 16 June 2017 for publication in December 2017. Last but not least, please note that the website is currently being upgraded so you can plan to embed images, videos, and other materials.

    Works Cited

    Bennett, Susan. Theatre & Museums (Basingstoke: Palgrave Macmillan, 2013)

    Bishop, Claire. “The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney.” Dance Research Journal 46.3 (2014): 63–76.

    ———. Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012)

    Brannigan, Erin. “Dance and the Gallery: Curation as Revision.” Dance Research Journal 47.1 (2015): 5–25.

    Guy, Georgina. Theatre, Exhibition and Curation: Displayed and Performance (London: Routledge, 2016).

    Jackson, Shannon. “Performing Show and Tell: Disciplines of Visual Culture and Performance Studies.” Journal of Visual Culture 4.2 (2005): 163–77.

    ———. Social Works: Performing Art, Supporting Publics (London: Routledge, 2011).

  • Presentation: National Library Fellow, Dr Gillian Arrighi’s public talk, Pinafores, Prodigies and Precocities, about her research into professional child actors in Australia from 1880-1920
  •  Mon, 30 Jan 2017

    7 February at 5.30pm in the Conference Room at the National Library,  Canberra.

    Pinafores, Prodigies and Precocities 
    Discovering Australia’s Professional Child Actors in the Library Collections
    Professional child performers were immensely popular with Australian audiences from 1880 to 1920, starring in pantomimes, comic opera, circus, variety and dramas.  Large troupes of child actors toured internationally throughout southern Asia, while some of Australia’s leading child stars also appeared in the United States and Britain. Surprisingly, very little is known about the significant contribution made by child actors to Australia’s vibrant theatre industry of this era. Cultural historian Gillian Arrighi will reveal how the ephemera, manuscript, music and pictures collections are enabling her to piece together this fascinating history, providing new insights into childhood, and Australia’s theatre industry.
    Dr Gillian Arrighi is Senior Lecturer in Creative and Performing Arts at the University of Newcastle. Her research on circus, actors and child performers has been published nationally and internationally in books and essays.

    Tuesday 7 February, 5.30pm
    Conference Room, free
    Bookings essential
    Book here or 02 6262 1111
  • New Book: Japanese Robot Culture: Performance, Imagination, and Modernity by Yuji Sone (Palgrave Macmillan, 2017)
  •  Tue, 17 Jan 2017

    Japanese Robot Culture examines social robots in Japan, those in public, domestic, and artistic contexts. Unlike other studies, this book sees the robot in relation to Japanese popular culture, and argues that the Japanese ‘affinity’ for robots is the outcome of a complex loop of representation and social expectation in the context of Japan’s continuing struggle with modernity. Considering Japanese robot culture from the critical perspectives afforded by theatre and performance studies, this book is concerned with representations of robots and their inclusion in social and cultural contexts, which science and engineering studies do not address. The robot as a performing object generates meaning in staged events and situations that make sense for its Japanese observers and participants. This book examines how specific modes of encounter with robots in carefully constructed mises en scène can trigger reflexive, culturally specific, and often ideologically-inflected responses.

    “Written in lucid prose Sone’s study is essential for theorists working on robotics in social and artistic contexts, arts and performance studies, and Japanese Studies.” Peter Eckersall, Professor, Theatre Program, The Graduate Center, The City University of New York

    Sone gives a fresh and critically incisive performance studies approach to examine robotics in Japan. It neither essentializes Japanese culture nor trivializes the impact of this industry.” - M. Cody Poulton, Professor, Department of Pacific and Asian Studies, University of Victoria

     For more detail:

  • Assistant Professor in Theater Studies: Asian Theater and Performance Studies
  •  Thu, 8 Dec 2016

    The Department of Theater and Dance, University of California, Santa Barbara, seeks to fill a full-time, tenure-track position at the Assistant Professor level, in Asian Theater and Performance Studies, effective July 1, 2017. The Department of Theater and Dance offers the BA, BFA, MA and PhD degrees. The Theater Studies faculty and PhD program emphasize studying theater, dance, and performance from a global perspective. (See for the curriculum).

    Candidates should have scholarly expertise in one or more Asian traditions, as well as the ability to teach the broad field comparatively. A strong secondary area of research and methodology is important, such as cognitive, gender or media studies and new historiographies.

    Doctoral degree required at the time of appointment. The department is especially interested in candidates who can contribute to the diversity and excellence of the academic community through research, teaching and service. The department seeks candidates who are on the way to developing a national profile in their research; clear evidence of teaching ability is also required, and evidence showing ability to work with students from diverse backgrounds is desirable.

    The application includes cover letter summarizing qualifications and approach to teaching, a current CV, contact information for three references to write letters of recommendation, and a scholarly writing sample. Applications must be submitted online for consideration at Deadline to apply, January 1, 2017; employment begins on July 1, 2017.
    The University of California is an Equal Opportunity/Affirmative Action Employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability status, protected veteran status, or any other characteristic protected by law.

  • Call for Papers Theatre Research in Canada/Recherches théâtrales au Canada Special Issue on Festivals
  •  Thu, 8 Dec 2016

    It has been thirteen years since the last special issue of a journal was produced on the topic of Festivals (Contemporary Theatre Review 13.4, in 2003). Yet it remains true that, as Karen Fricker argued in that issue, ““Festivals are a complex, and undertheorized, field within theatre studies. They are a crucially important site for the production, distribution and reception of theatre productions on local, national and international levels, and yet little work has been done within the academy to analyze the ways that contemporary festivals function, and the meanings they contain and disseminate.”

    In that time the numbers and kinds of festivals within Canada and internationally has increased exponentially, and events that used merely to be events have become “festivalized”—structured, marketed, and promoted in ways that stress brand identities, urban centres as tourist destinations, and the corporate attractiveness of “creative cities,” all participating in the “eventification” of culture. These corporate, municipal, and state practices and the critical literature supporting them have paid less attention to the actual content and impact of international festivals that draw from and represent multiple cultures and cultural forms, or to what roles festivals play in one of the most urgent processes of our times: intercultural communication and exchange.

    Meanwhile, a new kind of festival has emerged, in which small intercultural theatre and performance companies such as Aluna Theatre in Toronto, MT Space Theatre in Kitchener, and the Prismatic Festival in Halifax, largely bypass diplomatic brokerage and stage festivals that are explicitly focused on the intercultural, and in the relationships among the local and the transnational. Such festivals avoid the large festival phenomenon in which participants arrive, mount their own shows, and leave, often without even seeing anyone else’s work much less engaging in cross-cultural dialogue. At small-scale, ground-up events such as Aluna’s Panamerican Routes/RUTAS panamericanas and MT Space’s IMPACT, the conferences, colloquia, and workshops, as sites of intercultural negotiation and exchange, are at least as important as the shows.

    Submissions are invited in English or French for a special issue of Theatre Research in Canada/Recherches théâtrales au Canada that focus on festivals, “festivalization,” and their roles in relationship to inter- and intracultural as well as interdisciplinary and aesthetic exchange. Submissions are welcome on individual festivals such as Vancouver’s PuSH, or Talking Stick; Calgary’s High Performance Rodeo; Kitchener’s IMPACT; Toronto’s Panamerican Routes/RUTAS Panamericanas, Summerworks, Nuit Blanche, or Luminato; Montreal’s Festival TransAmérique or Montréal Complètement Cirque; Halifax’s Prismatic; St. John’s’ Sound Symposium, or any others. Submissions would also be welcome on local small and emergent festivals, on fringe festivals, or on festival circuits or individual artists or productions working those circuits, as would submissions taking a comparative approach.

    Possible topics might include, but are not limited to:

    • Festivals as sites of tension between the local and global and sites of (unequal?) negotiation between cultures and cultural forms
    • The impact of globalization, urban promotional discourses such as “creative city” theory, and branding on the ways in which trans- and intercultural negotiations are framed and practiced at festivals
    • The phenomenon of “the festival city”
    • New play development festivals
    • Canadian participation at festivals internationally
    • Festivals and Indigenous performance
    • Festivals, gender, and sexuality
    • Festivals and municipal governance and promotion
    • Festivals and urban or rural space
    • Festivals as tourist destinations
    • Festivals and “Place Myths”
    • “Festivalization” and the “eventification” of culture
    • Festivals as sites of aesthetic and (inter)disciplinary experimentation
    • The funding and sponsorship of festivals

    Submissions of up to 7000 words, using the third edition of the MLA Style Manual and including an abstract and brief biographical note should be sent by 1 November 2017, by email attachment, to:

    Ric Knowles, guest editor, at, copied to the TRiC editorial office at

    (For details submission guidelines see )

    The issue is scheduled to appear in May 2019.

  • Book Launch and New Publication: The Mill: Experiments in Theatre and Community by Meredith Rogers (Australian Scholarly Publishing, 2016)
  •  Thu, 8 Dec 2016

    The Mill Community Theatre Project embraced the civic and cultural expansiveness of the 1970s and early 1980s to re-imagine the relationship between theatre audiences and performers. National and international movements of the era saw art as generative of social change, and art and artists as agents of cultural transformation. The project’s Artistic Director, James McCaughey, envisaged a program of work in which formal innovation, artistic excellence and community engagement could go hand in hand.

    The Mill Theatre’s life was short, but its legacy—and that of Deakin University’s Performing Arts course, simultaneously founded by McCaughey—has been substantial. This book brings to light the work of a company largely ignored in broad-brush histories, and the profound impact it had on theatre workers and students who were touched by it.

    ‘Time after time … one is struck by the boldness of imagination, the blue-sky dreaming of great skills in practice, the exploration of form and content, the sheer innovation and brilliance of the artists.’
    Andrea Hull

    Copies can be ordered at:

    The book will be launched on 20 December 2016 by Professor Rachel Fensham

    Where: Linkway Meeting Room, Level 4, John Medley Building University of Melbourne, Parkville

    Time: 6.00-7.00pm

  • Society for Theatre Research: Paul Iles Bequest
  •  Thu, 6 Oct 2016

    In addition to the Research Awards, which are wholly and exclusively for research into aspects of the British Theatre, the Society has received a substantial bequest from the late Paul Iles. The terms of the bequest state only that it is to be used “specifically for research awards in the area of Australian theatre”. Initial declarations of interest and outline proposals are invited from interested persons.

    Although it is imagined that projects dealing with Paul Iles’ own interests (such as post-colonial/post-British dominated theatre in Australia, and in particular those companies he was closely associated with – the State Theatre Co at the Adelaide Festival, the Nimrod Theatre of Sydney and the North Queensland Theatre Co.) would be favourably considered, the field is wide open.

    There is more than £1000 available, but individual awards will depend on the number and quality of the projects submitted. This is a one-off event, so there is likely to be more discussion possible around the development of the chosen projects than there can be over the normal Awards projects.

    There is no application form for awards from this Bequest and there is no specific closing date for these awards: applicants are encouraged to send in outline proposals as soon as may be convenient, after which there may be further discussion and development with the committee (via email). Announcements of successful proposals will be made at intervals. For more information please write to

  • CFP: New Directions in Teaching Theatre Arts [tentative title] Volume editors Anne Fliotsos & Gail S. Medford
  •  Thu, 15 Sep 2016

    Editors Anne Fliotsos and Gail Medford (Teaching Theatre Today: Pedagogical Views of Theatre in Higher Education, Palgrave Macmillan, 2nd. ed. 2009) seek essays addressing the many changes we face in teaching theatre in higher education in the 21st century. Geared toward university students preparing to teach as well as current faculty and administrators, we seek a firm practice-based approach that also reflects current research and/or case studies. Although we welcome historical context in the introduction to each essay, our focus is on new and proven methods that theatre educators may use to engage and encourage student success. We welcome essays from Australia, Canada, New Zealand, and the U.K, as well as the U.S. In addition to the standard areas of introduction to theatre, theatre history, acting, directing, musical theatre, dramaturgy, and playwriting, subjects may include but are not limited to:

    • Educating Theatre Artists as Entrepreneurs: How can theatre training best prepares students for jobs tangential to or outside of theatre? How can we teach theatre artists to self-market or develop theatre companies?
    • Theatre Administration: Teaching the business aspects of theatre.
    • Applied Theatre: Teaching theatre-in-education (theatre as a pedagogical tool) and as an agent for social change.
    • Children’s or Youth Theatre & Drama: How do we teach perspective theatre artist/teachers to reach the new generation of children and youth? Which approaches are most effective?
    • Theatre Beyond the "Traditional": May apply to conceptions of theatre, theatre practice, and teaching methods that address contemporary structures such as Hip-Hop theatre, Spoken Word, devised theatre, etc.
    • Assessment of Teaching Effectiveness: How do we know our students are learning and practicing what we are teaching? How do we use assessment data (i.e., from rubrics, performance evaluations) to inform improvement of our teaching? What are the goals of courses/programs, and how do we best assess our educational outcomes to meet administrative demands?
    • Online, Hybrid & Flipped classes: How does the move away from live lecture—especially in large introductory classes—alter our goals, methods, assessments, andoutcomes? Are there also drawbacks? How does technology change the way we teach and the way students learn, and what are some broad strategies in using technology in innovative ways?
    • Theatre as the Great Collaborator: Positioning theatre strongly within the academy (i.e., STEAM v. STEM, linking theatre with other areas on campus, such as bridge programs, faculty development) without becoming subservient.
    • The Implications of Neurological Studies on Teaching Theatre

    Submission Guidelines:

    • Email an abstract of 400-600 words to both editors: and
    • Include a short bio of 50-60 words at the end of the abstract
    • Include a two-page CV highlighting your artistry/research and publication
    • Please use Chicago Manual of Style, Times New Roman 12 pt. font, 1.5 space
    • Illustrations welcome, 300 dpi (permission forms required for publication)
    • Final length of accepted essays will be 4-6,000 words
    • Queries are welcome

    The preferential deadline for proposals is November 1, 2016.

  • PhD Scholarships in Performance and Disability, and in Theatre for Young People
  •  Thu, 15 Sep 2016

    The School of Culture and Communication at the University of Melbourne is seeking outstanding candidates for doctoral study connected with two exciting new collaborative research projects, one in Performance and Disability in Australia, and the other in Transmedia Performance for Young People in Regional Victoria. Both successful candidates will develop their research project as members of dynamic inter-disciplinary teams, working in partnership with theatre artists and cultural organisations. Details of these two ‘Linkage Projects’ are as follows:

    1) ‘Disability and the Performing Arts in Australia: Beyond the Social Model’

    Investigators: Dr Eddie Paterson, Dr Lachlan MacDowall, Prof Gerard Goggin, Ms Veronica Pardo.

    In partnership with Arts Access Victoria, this project aims to explore the creative and aesthetic value of contemporary Australian disability theatre, dance and live performance. The project seeks to develop inclusive models for collaborating with artists with a disability and to map the field of current practice through investigation of arts and disability companies such as rawcus, Back to Back, Restless Dance, The Delta Project and others. The successful candidate will work with the research team on the topic of ‘Disability and the Performing Arts in Australia: The Last Avant-garde?’ and investigate the innovations of contemporary artists with a disability and their impact on Australian cultural life. Lived experience of disability, and knowledge of disability theory, performance practice and performance studies, would enhance an application. People with disability are encouraged to apply.

    2) ‘Creative Convergence: Enhancing Impact in Regional Theatre for Young People’

    Investigators:  Dr Jennifer Beckett, Prof Rachel Fensham, Associate Prof Paul Rae, Mr Jeremy Rice.

    In collaboration with a variety of theatre companies and cultural institutions working in regional Victoria (Arena, Arthur, Bell Shakespeare, Hothouse, Melbourne Theatre Company, Creative Victoria, GPAC and Theatre Network Victoria), this project seeks to understand and enhance the personal, affective and social impact of contemporary theatre for youth audiences by developing social media strategies and knowledge networks. The successful candidate will work with the research team to analyse the conceptual requirements for impactful audience engagement, establish how online spaces can serve as sites of creative interaction and theatrical remix, and work with partner organisations on practical implementation of the resulting insights. Knowledge of theatre for young people, audience research and/or technical skills in social media use and transmedia storytelling would strengthen an application.

    Applicants should have a strong Honours and/or Master’s Degree. A research background and/or practical experience in relevant areas will also be beneficial. The final deadline for applications to the university is 31 October, and further information can be found at In the first instance, however, interested candidates should send a CV and covering letter outlining their suitability for the relevant research project by Friday 7 October to Eddie Paterson ( for ‘Disability and the Performing Arts in Australia’, or Paul Rae ( for ‘Creative Convergence’

  • New Publication: Performing Neurology (Palgrave Macmillan, Sept 2016), by Jonathan W. Marshall
  •  Thu, 8 Sep 2016

    Performing Neurology provides an interdisciplinary analysis of the work of Jean-Martin Charcot, a founding figure in the history of neurology as a discipline (and with whom Freud studied). The author argues that Charcot’s diagnostic model (how disease is recognized and described) and his pedagogic framework (how one teaches the act of neurological diagnosis) should be seen as in theatrical terms. These theatrical concepts and methods were both part of his genius, as well as his Achilles heel, Charcot often being unfavorably compared to directors such as Wagner. In seeing the constitution of the living, moving body in terms of performance, Charcot created a situation whereby deceptive acting as distinct from real pathology, scientific accuracy versus creative falsehood, and indeed between health and unhealth, became confused. Charcot’s language and practice meant that the physician became a medical subject in his or her own display, transforming medicine into a potentially destabilizing, even grand guignolesque, discourse.

    Jonathan W. Marshall is an interdisciplinary scholar who has published on the relationship between neurology and the arts, as well as photomedia, sound art, butoh dance, Australian painting and choreography, and other topics. Marshall is a freelance critic and reviewer of contemporary arts. In 2016, he moved from the University of Otago in New Zealand, to a position at the West Australian Academy of Performing Arts, Edith Cowan University.

    “This work makes an important contribution to our understanding of the place of the Salpêtrière in the larger cultural setting of theatrical performance and dramaturgy and to Charcot’s own role in both borrowing from this world and contributing to it. Marshall demonstrates how an iconography of art, photographs and performance undermined the authority of the clinicians who used it by breaking down old epistemic boundaries and creating new aesthetic alliances, which in turn invited criticism from journalists, artists, and culture critics whose own domains were now more related to clinical method.”

    Professor Robert Nye, Oregon State University

    “From the Grand Guignol to recent studies of neuro-aesthetics, this book provides a compelling analysis of Charcot’s influence upon our corporeal understandings of performance, hysteria and theatricality. Importantly, it also reveals how visualization and dramaturgical devices in medicine and art have sought to persuade audiences of their symbolic power.”

    Professor Rachel Fensham, University of Melbourne

    “Jonathan Marshall’s work offers significant new insight into hysteria through his innovative analysis of Jean-Martin Charcot. He shifts the perspective on Charcot from sterile debates about the adequacy of Charcot’s aetiologies of hysteria to analyses of his presentation of hysteria in theatrical terms. Charcot directed performances, and both patients and audience members were incorporated in the performance. Marshall transforms our approach to Charcot.”

    Professor Charles Sowerwine, University of Melbourne

  • CFP: Performance & Challenging Stigma
  •  Thu, 8 Sep 2016

    Symposium directors: Professor Mary Luckhurst, Associate Director Research VCA with Dr Matt Delbridge, Head of Theatre VCA

    Theatre and performance are increasingly important vehicles of challenging stigma, saying the unsayable, and of advocating for reform. We invite you to submit abstracts for 20 minute presentations/papers. Topics might include - but are not restricted to - performances addressing health, disability, body image, the justice system, torture, ageing, sexuality, refugee rights, racism, equality.

    Symposium Speakers

    Friday 21 October 2016 (9am - 6pm) Victorian College of the Arts, University of Melbourne

    Art Lecture Theatre, Building 877


    • Professor Michael Balfour, Griffith University
      Stigma, returning military personnel and social health
    • Associate Professor Bree Hadley, Queensland Institute of Technology
      The Social Experiment – Pranks, Political Activism, and Performing Stigma
    • Professor Stacy Holman Jones and Dr Anne Harris, Monash University ‘Heavier than Air’: Queer Teachers, Performance and Challenging Stigma and Invisibility
    • Dr Sarah Woodland, Griffith University
      Beyond the ‘Aboriginal Reality Show’?: Participatory radio drama with Indigenous women prisoners


    • Professor Maria Delgado, Director of Research, Royal Central School of Speech and Drama, University of London

    CFP submissions (deadline 19 September 2016)

    Please email your title, abstract, short bio and a liation (with ‘stigma CFP’ in subject line) to

  • CFP: New Stage Idioms: South African Drama, Theatre And Performance In The Twenty-First Century
  •  Thu, 8 Sep 2016

    An international conference organized by the Université Libre de Bruxelles (ULB)
    May 11-13, 2017

    In the years that followed the end of Apartheid, South African drama, theatre and performance were characterized by a remarkable productivity, which entailed a process of constant aesthetic reinvention. In the post-apartheid period, South African playwrights and theatre makers sought to come to terms with the traumatic legacy of the pre-democratic past. Witness thereof are performance works documenting the Truth and Reconciliation Commission hearings. After 1994, the “protest” theatre template of the apartheid years morphed into increasingly more diverse forms of stage expressions, detectable in the works of Mike van Graan, Craig Higginson, Zakes Mda, Lara Foot, Paul Grootboom, Omphile Molusi, Fatima Dike, Nadia Davids, Aubrey Sekhabi, Magnet Theatre, Yael Farber, and Neil Coppen to name only a few. This conference will seek to document the various ways in which the “rainbow” nation has forged these new stage idioms, inviting contributions about different forms of performance modes. In order to foreground theatre, the keynote speakers will be active figures from the contemporary post-apartheid stage: Mike van Graan, Craig Higginson, Greg Homann, Nadia Davids, and Omphile Molusi. Here is a list of potential topics for consideration:
    --Contemporary theatre makers working in English, Afrikaans, Zulu, Xhosa, and/or other African languages. How can Indigenous playwriting be defined?
    -- New thematic and aesthetic trends in playwriting.
    -- Impact of globalization on South African playwriting and stage practices.
    -- Theatre making from marginalised voices (expressing gender, social or ethnic differences; LBGT voices on the stage; playwriting by women) and other issues of identity representation.
    -- Contemporary township and community theatre.
    -- Reinterpretations of European classics for the South African stage;
    -- How are of issues of trauma, violence and cultural memory/amnesia enacted on the contemporary stage?
    -- New forms of political theatre.
    -- Alternative dramaturgies (installation art, site-specific performance, contemporary dance).
    -- The politics of festivals; politics of funding.
    A selection of conference presentations will be considered for publication. 

    Prospective participants should send a short proposal and a brief vita to the convenor, Professor Marc Maufort, Université Libre de Bruxelles, by 26 September 2016 ( Notifications of acceptance will be sent in late October 2016.

    Confirmed keynote speakers: Mike van Graan, Craig Higginson, Greg Homann, Nadia Davids, and Omphile Molusi.
    An evening of readings from these playwrights' and theatre practitioners’ works will be held during the conference.