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  • 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

    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:

    For more information, see:
  • 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.