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

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

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

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

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

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

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

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

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

    Works Cited

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

  • CFP: Theatre Dance and Performance Training Journal (TDPT)
  •  Date Posted: Thu, 12 Mar 2020
    Special issue on Performer Training in Australia to be
    published as TDPT Vol 12.3 (September 2021)

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

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

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

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

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

                The image of sweat also brings with it metaphors of fear, tension and anxiety, often drawn out or extended. This sense of determination over time pushes back against a conception of Australia as the rushed continent, whose artists seek to take short cuts to success. Hugh Hunt, the inaugural director of the Australian Elizabethan Theatre Trust, cautioned as much in a 1959 public lecture:
    We sometimes expect theatre to be made too quickly. Australians are impatient people, who would like their theatre to be made as quickly as wool grows on a sheep’s back. It takes many years to make it; it takes time to train and develop actors and producers. (Hunt 1960, p. 4)

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

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

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

    In this special issue of Theatre, Dance and Performance Training, we want to use the sweat of training in the heat of a crucible to think through performer training in Australia. To do so, we welcome proposals that consider topics including:
    • Training, fear, and the negative imagination;
    • Anxiety as an affect of training;
    • Impatience and speed in training;
    • Tensions between First Nations and settler ways of knowing in training;
    • Lineages of practice in Australian training;
    • Training beyond the centre and in the regions;
    • Tension and/in collaborative training practices;
    • Heat, humidity, and training in the tropics;
    • Training in the Anthropocene;
    • Sustainable training practices;
    • The ‘cultural cringe’ in training; and
    • Training and the ‘Tall Poppy Syndrome’.
    Other topics that are broadly sparked by the consideration of sweat in Australian training are also welcomed. We particularly encourage proposals from scholars and practitioners whose voices are traditionally under-represented in higher education, as well as collaborations between scholars and artists that seek to amplify practice from the margins.
                We are seeking proposals in three distinct categories, and authors are invited to indicate which category they feel best suits their work:
    • Articles in a range of critical and scholarly formats, of between 5 500 and 7 000 words;
    • Sources that document and analyse the primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme; and
    • Training Grounds, shorter pieces that are not peer reviewed, including biographical and autobiographical sketches, postcards, visual essays and book or event reviews. We welcome a wide range of proposals for contributions including edited interviews.
    Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog. The editors will correspond with authors about the most appropriate category for their work, and can happily provide guidance before a proposal is submitted. Prospective authors are encouraged to familiarise themselves with TDPT’s Scope & Aims, as well as with the Instructions for Authors for guidance on formatting.  

    Issue Schedule
    • 29 May 2020: 300-word proposals submitted via email to Chris Hay ( and David Shirley (
    • 26 June 2020: Response from editors and, if successful, invitation to submit contribution.
    • 30 October 2020: Submission of first drafts.
    • January 2021: Author revisions post peer-review.
    • September 2021: Publication as TDPT Volume 12, Issue 3.


    Duffy, C., et al., 2012. A Lexicon of Training Terms. Theatre, Dance and Performance Training, 3 (1), 129-130.
    Fitzpatrick, P., 1995. Pioneer Players: The Lives of Louis and Hilda Esson. Cambridge: Cambridge University Press.
    Gilbert, H., 2019. Performing the Anthropocene: Marrugeku’s Cut the Sky. In: B. Neumeier and H. Tiffin, eds., Ecocritical Concerns and the Australian Continent. London: Rowman & Littlefield, 219-233.
    Hunt, H., 1960. The Making of Australian Theatre. Melbourne: F. W. Cheshire.
    Kippax, H. G., ed., 1963. Three Australian Plays. Ringwood, Vic: Penguin.
    Maxwell, I., 2017. Theatrical Bowerbirds: Received Stanislavsky and the Tyranny of Distance. In: J. Pitches and S. Aquilina, eds., Stanislavsky in the World: The System and its Transformations across Continents. London: Bloomsbury, 325-346.
  • CFP: Australian Scenography
  •  Date Posted: Mon, 2 Mar 2020
    Special issue of Scene.
    Co-edited by Christine White and Alison Oddey. Guest edited by Tessa Rixon.

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

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

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

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

    Deadline for full paper submissions 31 January 2021
    Guest edited by Tessa Rixon submit final papers to Christine White:
    Download the Call for Papers here:

    About Scene:
    Scene is dedicated to a critical examination of space and scenic production. This double-blind peer-reviewed journal provides an opportunity for dynamic debate, reflection, and criticism. With a strong interdisciplinary focus, Scene welcomes articles, interviews, visual essays, and reports from conferences and festivals. The journal incorporates investigations into the development of new technologies and modes of operating, distribution of content and profiles of design for film, television, theatre and events, as well as new platforms such as gaming and virtual environment design. Scene aims to examine new critical frameworks for the scholarship of creating a scene.
  • ARC Strategic Research Initiative (SRI) for Australian Society, History and Culture
  •  Date Posted: Fri, 28 Feb 2020
    There will be two information sessions for the ARC Strategic Research Initiative (SRI) for Australian Society, History and Culture. Details about further information sessions outside Sydney in the attached document

    The ARC Strategic Research Initiative (SRI) for Australian Society, History and Culture is set to open at the end of February with applications closing on 22 April 2020. Dr Robert Mun, Executive Director with the Australian Research Council is planning to present an information session at two locations in Sydney in March. These sessions will identical in content and offered in the morning and afternoon of 10 March. The morning session will be hosted at UTS, and the afternoon, repeat session, will be hosted by the University of Sydney. There will be opportunities to ask questions.
    Morning Session
    Event: ARC Presentation and Q&A on the ARC Strategic Research Initiative (SRI) for Australian Society, History and Culture
    Location: University of Technology Sydney, Building 2, Level 6, Room 290
    Date: 10 March 2020             
    Time: 10:00am – 11:30am
    Zoom connection: Join from PC, Mac, Linux, iOS or Android:
    Directions: See Enter Building 2 from Broadway and take escalator to the 6th floor, Room 290
    Afternoon Session
    Event: ARC Presentation and Q&A on the ARC Strategic Research Initiative (SRI) for Australian Society, History and Culture
    Location: The University of Sydney, Institute Lecture Room 2, Institute Building (H03), City Road
    Date: 10 March 2020             
    Time: 1:30pm – 3:00pm
    Directions: See Enter via main entrance to Institute Building (US Studies Centre entrance) on City Road. Walk straight ahead through the hall to the other side of the building and turn left. Once outside in front of the Storey Dixon Building, follow signs to Lecture Room 2.
    No registrations are required.
  • CFP: Performing Plants
  •  Date Posted: Tue, 11 Feb 2020
    Special issue of Performance Philosophy
    Edited by Prudence Gibson and Catriona Sandilands             

    In the midst of accelerating interest in the importance, agency, and intelligence of the vegetal world, the editors of this issue ofPerformance Philosophy aim both to raise awareness of plant life in Performance Studies and to develop conversations between this field and Critical Plant Studies. Advances in botanical science, combined with increasingly urgent political concerns about the present and future conditions of plants and plant-human relationships, have resulted in a desire in and across scientific and arts/humanities communities to better understand, communicate, and value plant life and lives. For example, if we can witness the performative role of plants as multiple subjects within a given ecosystem, alongside all other forms of life (to the point that there is no ‘other’), is it possible to progress this new interpretation of vegetal behaviour into new realms of imaginative possibility? If we understand plants as performing subjects, how will this insight change our understanding of, and performativities in, ecosystems? This special issue will include essays from the fields of narrative and creative writing, visual art and performance, media and technology studies, and social/political ecology. It will incorporate such issues as anthro-decentrism and decolonisation, re-presentation and flat ontology, wilding and activism, identity and political violence, and everyday plant-human interactions. Intentionally broad in scope, it will highlight the multiple ways in which performance and performativity are enmeshed in vegetal relationships, and vice versa.

    Critical Plant Studies (CPS), the field in which plants meet the humanities and social sciences, is an emergent and efflorescent project (Irigaray). CPS has the capacity to entwine narrative and plants, the arts and plants, and technology and plants in performative ways. Plants are critical to all ecosystems and all life; they are respected kin in many cultural traditions (Geniusz, Kimmerer). Now that western scientific communities are increasingly sympathetic to questions of plant intelligence and communication (Chamovitz, Gagliano, Simard), what is the a/effect on disciplines in the arts and humanities? What does the widespread re-valuation of plants as agents mean for how humans respond to diminishing habitats, decreased biodiversity, ecological conservation, and plant extinction?

    Recent works in environmental philosophy, aesthetics, art, writing, performance, and other fields have been informed by these developments. In addition to a veritable explosion of creative works concerned with vegetal communities and relationships (e.g., Powers, Van Neerven, VanderMeer), these include significant plant-related texts in extinction studies (Van Dooren), philosophy (Irigaray, Marder, Ryan), history (Kelley, Scott), science studies (Endersby), aesthetics (Colebrook), political theory (Nealon), human geography (Head, Atchison, Neale), anthropology (Rose, Kohn, Myers), literary criticism (Gerhardt, Laist, Nardizzi), poetics (Jacobs, L’Abbé), feminist and queer theory (Sandilands), and visual art (Aloi, Gibson). In addition, there is a cohort of performance, video, bio, sonic, environmental, installation and social-engagement artists who are interpreting and experimenting with plant information in their artworks (Gibson).

    Plant-oriented arts and humanities productions express the unknowable time scales and inaccessible points of view of plant life, even as they also respond to the very embodied everyday interactions between plants and people in our shared times and spaces. These productions constitute efforts to create mediation, communication, and expression of vegetal thought and practice. They explore connections between plants and humans that might be called a plant contract (Gibson), a new deal for the vegetal world: a means of altering our perception of nature by attempting to see all the parts, as well as the overall sum, of plant art and plant life. In addition, they explore what it means to think about plants as embroiled, along with people and animals, in multispecies entanglements in these biopolitical times (Sandilands): how are our interactions with plants, historically and in the present, shaping and shaped, in racialized and gendered ways, capitalism and colonialism?

    This issue of Performance Philosophy is dedicated to redefining the way plant qualities are understood and valued. It celebrates and interrogates the agency, in/inter-dependence and performing subjectivities of plants. We ask: what if plants have a unique set of existential processes, from which we are excluded? These relations between plants and environment, and plants and humans, are entangled and material. Vegetal performativity refers to the way the arts and humanities can respond to the growth patterns, time frames and responsive abilities and qualities of plants. The issue delves into discourse around how real plant entanglements and materialities may create new narratives. It provokes thought about what kinds of expressions of vegetal life can afford plants their multiple capacities without merely representing them as flat, static or inert. What kind of thinking can shift our anthropocentrism toward the experience of the plant, and toward experiencing with plants? What kind of writing, theorising, art-making and storytelling is best suited to the distributed lives of plants? To understanding the involvement of plants in the Anthropocene?

    We invite proposals for papers on these, but not only these, topics:
    • performance in/with botanical science
    • Indigenous plant knowledges/respectful cross-cultural plant relationships
    • aesthetic categories of the vegetal/vegetal aesthetics
    • plant communication as performative ecology: pollination, predation, morphology, mimicry, impersonation, evolution, symbiosis, parasitism
    • plant-based performance art, dance, land art, film, music, theatre
    • botanical porn, drag, burlesque; plant-based ecosexual performance
    • botanical decolonisation; herbaria; Wunderkammer and the paradox of collecting
    • performative plant writing: narrative, poetry, nonfiction, garden writing; agri/cultural performance 
    • plants in political theatre, protest; performative botanical, forest, garden politics
    • performing with/as/for plants: creating plant-based performative communities
    • plants and/in performative identities: gender, class, race, sexuality, disability  
    • gardening, horticulture, forestry, botanical display, flower shows, floristry, flower arranging as botanical performance
    • charismatic megaflora in botanical history: performing botanical imperialism, colonialism, conservation, resistance
    • monstrous plants, performing plant horror
    • marine plant ecologies, "blue-green" performance
    • plant restoration as performative utopia
    • plants and cultural policy
    Queries about suitability of topic or approach are welcome: email Prudence Gibson at  or Catriona Sandilands at  

    About Performance Philosophy

    Performance Philosophy is an emerging interdisciplinary field of thought, creative practice and scholarship, supported by an international network of over 2000 scholars and artists. As an international, peer-reviewed, open access journal, Performance Philosophy publishes articles that interrogate what this field might be, and that test the relationship between performance and philosophy in all its possible configurations, including the philosophy of performance as well as performance-as-philosophy and philosophy-as-performance. 
    We are interested in scholarship that draws on a broad range of philosophical traditions, concerned with any aspect of philosophy, whether from Continental or Analytic traditions or beyond, and with any discipline or definition of performance, including but not limited to drama, theatre, dance, performance art, live art, and music.


    Abstracts and one-page CVs due (300 words): 30 June 2020
    Papers due (6000–8000 words): 20 December 2020
    Publication: October 2021

    General Guidelines for Submissions:

    Before submitting an article we encourage you to visit our website and familiarize yourself with the journal:  
    Performance Philosophy only considers submissions that have not been previously published, and are not under consideration for publication with another journal. A typical article will be 6000-8000 words including notes.
    We are able to embed video and other media (where appropriate permissions have been obtained) in our online edition, and we welcome creative, non-standard approaches to writing in our [Margins] section;  
    Abstracts and one-page CVs to be emailed to Prudence Gibson  or Catriona Sandilands at   
    See guidelines on formatting and references at the link below:

    Peer-Review Process

    Performance Philosophy operates a system of double-blind peer review. Every article that is accepted for consideration will be evaluated by two external referees, selected by the Editors based on their areas of expertise. The Editors will make the final decision about publication or assess the need for further revision.

    Open Access Policy

    This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. We do not charge fees for accessing articles, nor for publishing or processing submissions.

    Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial-ShareAlike License that allows others to share the work with an acknowledgement of the work’s authorship and initial publication in this journal, provided it is for non-commercial uses; and that lets others excerpt, translate, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms.
    Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal’s published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
    Performance Philosophy has earned the Seal of Approval for Open Access Journals from the Directory of Open Access Journals, awarded to journals that achieve a high level of openness, adhere to best practice, and maintain high publishing standards. See

  • Register of Doctoral Projects in Progress in Theatre Arts, 2020
  •  Date Posted: Wed, 29 Jan 2020
    Greetings from Humboldt State University. 
    This is the annual request for your assistance in compiling a list of dissertations in progress, in drama and theatre, for the upcoming “Doctoral Projects in Progress in Theatre Arts, 2020” publication that will now appear on the Association for Theatre in Higher Education (ATHE) website. 
    I hope that we can again count on your cooperation with this important work which aims to share research pursuits with the greater theatre community. 
    Please respond by February 14, 2020.   
    To submit a doctoral candidate and their respective research, please email the listing directly to <>.  All submissions will receive a confirmation. 
    You may simply wish to include all of the following information directly in the body of the email or you may complete the enclosed submission form and attach it to your reply. 
    Most importantly, please be sure to provide all of the necessary information including:
    ·         Researcher/Doctoral Candidate's Name
    ·         Title of Dissertation
    ·         Institution
    ·         Department
    ·         Faculty Supervisor
    ·         Projected Year of Completion
    ·         Geographical Area(s) of Study
    ·         Chronology
    ·         Category
    The following are some friendly reminders regarding submissions:
    ·         Please have a faculty or staff member submit this information. Doctoral Candidates should not be submitting themselves.
    ·         Please submit only approved topics and work in progress as of May 2020.  Projects already completed will not be published.
    ·         Please do not submit entries previously published unless there has been a major change in the subject. As we will only publish each project once, it is incumbent upon the researcher and the faculty supervisor to decide when is the best time to list. If a project will likely not be finished in 2020, it might be best not to list it this year.
    Please ensure that all entries are complete and accurate. It may be difficult to make changes later due to publication deadlines. 
    Remember, the deadline for submissions is February 14, 2020.
    Thank you very much for your time and cooperation.
    Troy Lescher
    Troy Matthew Lescher, Ph.D.
       Assistant Professor - Department of Theatre, Film & Dance 
        Ancestral Homeland of the Wiyot Tribe
  • Call for Performance Paradigm Journal Editor Positions: Deputy Editor, Book Review Editor, Performance Review Editor
  •  Date Posted: Fri, 6 Dec 2019
    Call for Performance Paradigm Journal Editor Positions: Deputy Editor, Book Review Editor, Performance Review Editor

    Performance Paradigm is an open-access, peer-reviewed journal—now in its 15th year—that focuses on the theatre, performance and visual art, with a particular interest in work from the Asia-Pacific region. The journal spotlights new paradigms in performance and performance research through articles, interviews and reviews. It is published annually in themed issues.

    Founded in 2005, the journal has published issues on everything from trauma (2009) to happiness (2011), Singapore (2012) to Japan (2006). More recently, it has published issues on “Performance, Politics, and Non-Participation” (2018), “Performance, Choreography and the Gallery” (2017, with guest editors Erin Brannigan and Hannah Mathews), “Performance, Technology, and Intimacy” (2016, with guest editor Anna Scheer), and “Staging Real People” (2015, guest-edited by Ulrike Garde and Meg Mumford). Currently edited by Caroline Wake (University of New South Wales) and Emma Willis (University of Auckland), we are looking for people who want to make an important contribution to theatre and performance studies, help to upgrade the website, and increase the impact of the journal.

    Deputy Editor
    Nominations and applications are invited for the position of Deputy Editor of Performance Paradigm. Ideally, this will be a four-year appointment: the Deputy Editor will serve a two-year term beginning March 2020, followed by a two-year term as Editor from March 2022 to March 2024.

    Duties of the Performance Paradigm Deputy Editor include: preparing at least one issue for publication each year (in collaboration with the Editors); the close reading and reviewing of manuscripts (again, with the Editors); corresponding with authors; facilitating peer reviews; editing submissions; and promoting the journal via conferences, social media, and other networks.

    If you are interested, please contact the current Editors, Caroline Wake and Emma Willis

    To apply, please send a cover letter (outlining your qualifications and vision for Performance Paradigm), a current CV, and the name and contact information for one referee to and Emma Willis The deadline is 31 January 2020
  • CFP: Adaptation and the Australian Novel.
  •  Date Posted: Wed, 4 Dec 2019

    The Centre for Critical and Creative Writing presents a symposium on 
    Adaptation and the Australian Novel.

    Wednesday June 24 to Friday June 26 2020 
    The University of Queensland, St Lucia campus, Brisbane.

    Landmark Australian novels are being adapted for the stage and screen at a rate we’ve not seen for many decades. In the 2015 to 2020 period alone, what was previously a steady trickle has become a flood as the nation’s various mediums of cultural transmission have offered reimagined versions of much-loved novels, including: Ruth Park’sThe Harp in the South, Kenneth Cooke’s Wake in Fright, Tim Winton’s Cloudstreet, Joan Lindsay’s Picnic at Hanging Rock, Peter Carey’s Bliss, Craig Silvey’s Jasper Jones,  Colin Thiele’s Storm Boy, Christos Tsiolkas’s LoadedThe Slap, and Barracuda, Trent Dalton’s Boy Swallows Universe, Miles Franklin’s My Brilliant Career, Tim Conigrave’s Holding the Man, Madeleine St John’s The Women in Black, Liane Moriarty’s Big Little Lies, and Helen Fitzgerald’s The Cry.

    Meanwhile Andrew Bovell’s adaptation of Kate Grenville’s contentious classic The Secret River has toured to the heart of the former empire whose violent colonisation of Australia it depicts, playing to broad acclaim in both Edinburgh and at London’s National Theatre. This builds on Bovell’s body of work adapted from novels, including Head On and A Most Wanted Man

    The CCCW is very proud to announce that keynote speeches will be provided by international critical adaptation theorist Frances Babbage (University of Sheffield, and UQ’s 2020 S.W. Brooks Fellow) and internationally-acclaimed stage and screen writer, and adaptor of the landmark The Secret River text, Andrew Bovell. We will also host a special in-conversation-with session between novelist Christos Tsiolkas and Andrew Bovell, discussing Bovell’s adaptation of Tsiolkas’s iconic novel Loaded to the screen.

    Questions that arise here include: Why the rush on Australian adaptation now? What’s fuelling the appetite for this locally themed work, and why is it being distributed internationally via digital platforms such as Amazon and Netflix? Is there a ‘house style’ emerging either at particular theatre companies or television production houses who are leading this push? Whose stories are being canonised in this tranche of largely Anglo-Celtic authored works, and whose voices are doing the adapting? What version of Australian national identity becomes enshrined in this process, and whose perspectives are elided or omitted?

    We invite individual proposals from critical and creative writers for 20 minute papers that address the following themes, topics and questions as they pertain to the current state of Australian writing, publishing, production and performance:
    -          Adaptation as an act of creative writing
    -          Adaptation and the Australian literary canon
    -          Adaptation and the popular novel
    -          Adaptation and Indigeneity, race and ethnicity
    -          Adaptation and gender
    -          Adaptation and landscape
    -          Adaptation across mediums and social platforms
    -          Adaptation in the digital era
    -          Adaptation and the international
    -          Adaptation and young audiences
    -          Theatre companies and adaptations

    Abstracts due by              14 February 2020.
    Acceptances issued by   28 February 2020.
    Cost of symposium         Free.

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

    Send proposals and queries in the first instance to: Associate Professor Stephen Carleton, Director of the Centre for Critical and Creative Writing, on
  • CFP: TDR Consortium Special Issue
  •  Date Posted: Thu, 28 Nov 2019
    Stanford University
    Branislav Jakovljević, Consortium Editor; Diana Looser, Coeditor


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

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

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

    This ephemerality, spectrality, and magnitude pose special challenges to representation in its many senses: aesthetic, social, and political. The planet is under siege, and performance is not there to witness, issue warnings, calls for action, or drop dead like that proverbial canary. Like all other spheres of human activity, art forms, and academic fields it has to transform itself in order to stage a redress in this social drama of planetary proportions. We invite scholars, artists, and activists to submit papers that address issues that include, but are not limited to:
    • Performance and the new planetary paradigm
    • Social drama and “slow violence”
    • Scale of crisis and representation
    • Accumulation vs. expenditure
    • First and second New Deal and performance
    • Different global versions of the Green New Deal in performance
    • Responses from Indigenous perspectives and/or from the vantage of the Global South
    • Futurity and its representation
    • The role of the collective
    • Performance principle and the new economy
    • Catastrophe without recognition
    6,000-word submissions are due June 1, 2020. Please submit essays and direct any relevant queries to Rishika Mehrishi at
  • CFP: 2020 Translation, Adaptation, and Dramaturgy Working Group, IFTR
  •  Date Posted: Thu, 21 Nov 2019
    The IFTR Translation, Adaptation and Dramaturgy (TAD) Working Group will be meeting at the IFTR conference in Galway, Ireland, 13-17 July 2020.


    Translation, Adaptation and Dramaturgy (TAD) is an interdisciplinary Working Group whose members research within the respective fields of theatre translation, adaptation and dramaturgy and, more interestingly, at the intersections of those, combining interests in the local and the global, historical and contemporary, text and performance, theory and practice, critical theory, cultural studies, ethics, politics and aesthetics. The group works towards both individual and shared outputs and involves short and long-term collaborations, as well as an ongoing commitment to rigour, curiosity and new ideas.

    For more information about the Translation, Adaptation and Dramaturgy WG, please visit


    In response to the theme of the Galway 2020 conference – ‘Theatre Ecologies: Environment, Sustainability and Politics’ – we propose the following topics:

    ·       Ecologies of Translation, Adaptation and Dramaturgy
    ·       Translation, Adaptation, Dramaturgy and the Anthropocene
    ·       Globalisation, ethics and theatre-making via Translation
    ·       Politics: Changing Landscapes of Adaptation
    ·       Sustainable Dramaturgies

     *   Open call: We encourage other submissions that address translation, adaptation and dramaturgy, including those that do not directly refer to the conference theme.


    The co-conveners will arrange abstracts into panels grouped by connected topics. 
    Papers (up to 3000 words) are pre-circulated four weeks before the conference, followed by brief (up to 10 minutes) verbal presentations at the conference to ensure time for discussion and exchange. We are open to proposals featuring other presentation formats that fit the allocated timeframe. 

    WG members are currently working on a book project on politics of translation adaptation and dramaturgy, but we are open to starting new initiatives, collaborations and projects too. 


    Abstracts should be no more than 300 words and are due 31 January 2020.

    We welcome existing and new working group members, at all career stages and form anywhere in the world, to submit papers on any aspect of translation, adaptation and dramaturgy. The WG exists to encourage debate and exchange of ideas, and we are open to interested observers to attend and participate in our discussions.

    All abstract submissions are made through the Cambridge Core website. However, in order to make a submission you will need to become a member of IFTR first.

    If you have already have a Cambridge Core account, you can download instructions
    on how to join IFTR:

    If you do not have a Cambridge Core account, you can download instructions on how
    to join IFTR:

    Please direct all questions about #IFTR2020 to:

    Applicants will be informed of acceptance by late February/early March 2020.

    IFTR offers financial assistance to scholars wishing to participate in its Annual Conference. Bursaries are awarded on the basis of merit, relevance to the conference or Working Group theme and financial need. Please note that the deadline for bursary applications significantly predates the deadline for abstract submission (Deadline: 15 December 2019). For information and instructions about bursaries, and to download the application form, please visit For bursary-related queries, please email>.

    More information about the conference can be found at the IFTR website:

    Please feel free to contact us with any questions regarding the WG and/or your abstract submission.

    Best wishes,
    Dr Duska Radosavljevic (
    Dr Katja Krebs (

  • Performance Studies international 2020 Conference. ‘Crises of Care: Act, Respond, Engage’ to be held in Rijeka, European City of Culture 2020, July 7-11.
  •  Date Posted: Thu, 24 Oct 2019
    Performance Studies international, PSi# 26 on the theme of ‘Crises of Care: act respond engage’ will be held in Rijeka, Croatia, 7-11 July, 2020.

    Crises of Care will take the form of six interweaving streams of research (sort of conferences-within-conference) and responses to contemporary issues.

    1. Listening
    2. Ends
    3. Materiality and Corporeality
    4. Neighborhoods
    5. Editing, Curating, Publishing
    6. Times of Power, Historical Paradigms

    These will be curated by teams and feature presentations, break-out sessions, performances, discussions and other activities as organized by the curators of each stream.

    Each day will feature the work of two streams along with sessions that bring the whole conference together.  Morning sessions will take place on the campus of the University of Rijeka and afternoon and evening sessions will take place downtown in theatre spaces, galleries and outdoor.  A focus in distributed knowledge and collective sharing of our work in and between streams will be a feature of the gathering.

    PSi# 26: Crisis of Care Conference Committee members: Eylül Fidan Akinci, Sebastian Calderón Bentín, Marin Blaževi?, Felipe Cervera, Lada ?ale Feldman, Tracy Davis, Peter Eckersal, Richard Gough, Helena Grehan, Eero Laine, Jazmin Llana, Sean Metzger, Heike Roms, Kristof van Baarle, and The Future Advisory Board.


    A PSi# 26 website is also in development. Information about FAB and working groups will also be forthcoming.

    PSi# 26: Crises of Care is hosted by Performance Studies international in partnership with the Croatian National Theatre, Rijeka, the University of Rijeka and Rijeka 2020 – European Capital of Culture 2020.

  • Call for Proposals: edited book on actor training, voice, movement, education and learning differences /disabilities.
  •  Date Posted: Mon, 14 Oct 2019
    Editor: Dr Petronilla Whitfield, Associate Professor, Arts University Bournemouth UK)

    Call outline

    This is a call for expressions of interest and proposals for chapter contributors in an edited book on actor training, voice, movement, education and learning differences /disabilities.

    Following the recent publication of my book ‘Teaching Strategies for Neurodiversity and Dyslexia in Actor Training’ (Routledge 2019), I am now seeking ideas for potential chapters from teachers/ practitioners/authors regarding the development of their teaching in the support of Acting and Performance students/individuals with Specific Learning Differences/Disabilities.  In particular, dissemination of practice is sought where the teaching directions are underpinned by research, theory, and scholarly investigation. It is important that Specific Learning Differences/Disabilities are not generalised, but detailed with specificity of their characteristics.  Early researchers in this field are also invited to submit a proposal, as they are potentially important contributors to emerging pedagogical discussions and approaches.

    Themes could include, (but are not limited to):  
    • Descriptions of teaching interventions, rationale, process and outcomes, where teachers have recognised a problem or challenge and have carried out research, trials and transformation of their practice to  support the neurodiverse, SpLD student’s/individual’s needs. (Descriptions of perceived failures are as valuable as successes).
    • Critical analysis of  pedagogy in actor training environments, historical and cultural contexts of actor training, and how Specific Learning  Differences and neurodiversity is situated within that context
    • An in-depth analysis of the arts-based discipline involved,  and how the learning difference/style/disability  can impact on embedded or adapted  practice in that discipline  
    • The ethical and political concerns regarding  the labelling of an individual with a SpLD, and how this might influence your practice/approach
    • The foregrounding of the student voice and experience  of those with SpLD, platforming  student-led methods, autonomy,  research and student- led  teaching practices
    • If you  are  a teacher with SpLD, (such as being dyslexic for example) , how  that might inform/affect your teaching and your understanding for the individual student with learning challenges
    • Development of inclusive assessment strategies, that do not unfairly disadvantage  those with SpLD/neurodiversity and differing modes of learning
    • The  experience of Learning Support teachers/staff who have been involved in the teaching of acting performance students with SpLD and are researching and developing new practices in their field
    • The experiences of coaches/teachers working with  professional actors with SpLD and a dissemination of developing methods and reflection on endeavours to support those actors

    Submitting a proposal

    Preliminary conversations with potential contributors will help to develop the contents of the book, to submit to the publisher for review. To signal your interest in making a contribution please contact Petronilla Whitfield for an initial exchange of ideas/thoughts, or email a proposal of 500-  1, 000 words in length.

    Firm proposals must be received no later than the 30th November 2019 and sent, with a brief author biography, to the book’s editor, Dr Petronilla Whitfield (
  • Call for Abstracts: ADS Focus Issue: Theatre in Regional Australasia
  •  Date Posted: Wed, 9 Oct 2019
    A Focus Issue of Australasian Drama Studies for October 2020.
    Edited by Jen Beckett, Rachel Fensham and Paul Rae (University of Melbourne), in collaboration with Regional Arts Victoria.

    What forms of theatre are being presented in regional Australasia today? How are theatre-makers responding with innovation to regional issues or locations? Where do these developments come from – and who is watching?

    Cultural life in regional Australasia is dynamic and fast-changing. The Australia Council reports that “residents of regional Australia are as likely to creatively participate in the arts as residents of metropolitan Australia” (2017), and it is clear that regional, rural and remote cultural activity punches above its weight in finding new modes of expression, fostering community, and contributing to the local economy. Meanwhile, significant policy and funding commitments have been made by the Australian government at all levels to enhance regional arts infrastructure and develop cultural capacity.

    Challenges nevertheless remain, including the lure of the city for ambitious young artists, the practical challenges of distance and relative remoteness, and funding models that continue to skew metropolitan.

    This focus issue of ADS will examine how theatre and its creative artists reflect these conditions in their work, and what these productions mean both for local audiences, as well as for the nations as a whole. ‘Regional Australasia’ is of course vast and diverse in itself, and this should be reflected in the contributions to the issue, both in terms of geographical and cultural coverage, as well as in the kinds of practices analysed.

    As such, contributions to the issue may cover the following topics:

    • Histories of regional theatre practices and venues in Australasia
    • The role of indigenous practices in regional conceptions of theatre and performance
    • Performance practices that relate in distinctive ways to regional locations and/or ways of life
    • Representations of regional Australian life in theatre
    • Critical assessments of regional artistic figures, organisations and performance genres
    • Theatre as a vehicle for community formation and as a means of addressing social challenges
    • The place of theatre in regional cultural ecologies
    • The relationship between funding, local economies, and artistic creation
    • The use of new technologies to address the conditions of regional life, including the challenges of distance
    • The role, function and design of regional performance venues
    • Regional networks and touring circuits
    • Theatre’s contribution, historically and today, in shaping and interpreting the discursive formation of the regional, along with related terms, such as rural, remote, country, bush, outback and, conversely, city, metropolis and suburb.

    Australia Council (2017) ‘The Arts in Regional Australia: A Research Summary,’ 29 November. Available at

    How to Submit
    Essay abstracts should be no more than 400 words and clearly state the title, author/s and give a clear sense of what the argument or investigation will be. Essay length is a maximum of 6,000 words including bibliography. The deadline for essay abstracts is 20th January, 2020, and should be submitted to Dr Lynne Kent at . Contributors will receive notification about acceptance by the end of March. The deadline for final essays is 30 May 2020 and the journal will be published in October 2020.

    For enquiries, please contact Paul Rae on
    This focus issue of ADS has been developed in association with the ARC Linkage Project Creative Convergence: Enhancing Impact in Regional Theatre for Young People (LP160100047).
  • PhD Opportunity: Devising and Communities: Theatre making and socially engaged practice
  •  Date Posted: Wed, 9 Oct 2019
    Closing Date

    31st October 2019

    Applicants should contact the primary supervisor, and submit their Expression of Interest (EOI) and Application as soon as possible.

    The Research Project

    This practice as research doctoral project explores the processes of devising theatre in the context of socially engaged theatre and performance. The project aims to investigate methodologies and lineages in Australian theatre practice, and to describe and propose new processes for making contemporary performance events that respond to place and communities.

    We are seeking a PhD candidate who has the capacity to engage with various appropriate methodologies including processes of devised, generative theatre-making to produce outstanding academic and artistic work. The candidate will be a part of a small team of leading researchers at UTas and will have the opportunity to establish an invaluable academic network with world-class researchers and practitioners during the candidature.


    Applicants from the following disciplines are eligible to apply:

    • Theatre and Performance

    See the following web page for entry requirements:

    Application Process

    Applicants who require more information or are interested in this specific project should first contact the listed Supervisor. Information and guidance on the application process can be found on the Apply Now website.

    Information about scholarships is available on the Scholarships webpage.

    More Information

    Please contact, Jane Woollard for further information.

  • Ten Days on the Island PhD Projects
  •  Date Posted: Wed, 18 Sep 2019

    Social Impact of Ten Days on the Island Festival in Regional Tasmanian Communities or Practice-based Place-Based Events or Practice
    The School of Creative Arts and Media, University of Tasmania and Ten Days on the Island are offering fixed-term scholarships for up to 3.5 years for placed based higher degree research (HDR) projects. The PhD or Masters by research projects will be co-designed with Ten Days on The Island’s CEO and Artistic Director to align with the 2021 Festival.

    Ten Days on the Island is Tasmania’s state-wide arts festival with headquarters in Burnie, in Tasmania’s north west. focus on First Nations’ arts and culture, families and young people, and socially engaged arts practice. The successful candidates will work closely with the Festival’s executive team and be available to work and connect with communities in regional Tasmania.

    We are seeking expressions of interest from applicants with a background in community and cultural development, cultural policy and tourism, to undertake a study of the impact of the Festival in regional Tasmanian communities or from applicants with a professional creative practice in site-specific and place-based events to undertake a practice-based research project.

    Expression of Interest Process
    Applications are open – closing 31 October, 2019

    Step 1: Visit to to submit an expression of interest form.

    Visit projects#College_of_Arts_Law_and_Education to view current HDR projects and project criteria

    Step 2: Develop a research proposal

    You are required to write a concise 1200-1500-word proposal that clearly outlines the research project that you will be undertaking. This should be done in response to the terms outlined for the project, and in consultation with either the Graduate Research Coordinator or potential supervisors. See contact details below.

    Step 3: Discuss your intention to apply with the Graduate Research Coordinator or potential supervisors.

    Step 4: Contact 2 referees. You are asked to submit 2 names that will act as confidential referees with your application. Ideally these referees will be able to comment on your research ability. It is advised that you forward on a copy of your research proposal to the referee so that they are aware of your proposed project.

    Referees will be notified through the automated online application process to submit their reports. Please make sure that your referee is aware that an automatically generated email will be used to notify them of the process.

    Step 5: Complete the application process online. Register and return to the application form at

    Further Information and guidelines about developing the Research Proposal Contact:

    Dr Steven Carson, Graduate Research Coordinator –School of Creative Arts and Media. or
    Dr Jane Woollard, Head of Theatre - School of Creative Arts and Media.

    To be eligible for this scholarship, the successful candidate must commence study in 2019.

  • Vale: Professor Rob Jordan
  •  Date Posted: Tue, 10 Sep 2019
    The ADSA executive, on behalf of the membership at large, recognises the recent passing of Emeritus Professor Robert Jordan, and offers these few words in acknowledgement of the profound impact Professor Jordan had on the study of drama in Australia.

    After taking his BA and MA at the University of Queensland, Professor Jordan was awarded his PhD at King's College London in 1964-65, with a thesis entitled “The Libertine Gentlemen in Restoration Comedy”. Much of Professor Jordan's early scholarly and practical work is dedicated to the Restoration period, especially the work of George Farquhar and Thomas Southerne, and has been recognised as recently as 2018 as “meticulous” (David Roberts, George Farquhar: A Migrant Life Reversed).
    Returning to Australia, Professor Jordan was appointed to the English staff of the University of Queensland in the mid-1960s at a time when dramatic literature was becoming the backbone of the program, joining Eunice Hangar and Alrene Sykes in advancing the cause of practical drama. Some forty years after being taught by Professor Jordan, Geoffrey Rush described him as having “a great passion for the history of drama... He looked and sounded like George Martin. We felt we were being mentored by somebody who ran The Beatles”. He was held in such high regard by his students that shortly after his arrival, Professor Jordan was recognised as a Patron of the student drama society.

    Across the early 1970s, Professor Jordan was instrumental in promoting a redesigned Drama program at UQ, and in 1974 his efforts resulted in the formal recognition and founding of a distinct Drama major with the BA. As it happened, it was a department of which Professor Jordan would not be a part, having that year been appointed to the role of foundation Professor of Creative Arts, specialising in Drama, at the University of Newcastle.

    After laying the foundations for the distinctive department at Newcastle, Professor Jordan took up a position in the Theatre Studies program at the University of New South Wales (UNSW) in 1981. It was there he completed his outstanding scholarly achievement, The Convict Theatres of Early Australia, 1788–1840, published by Currency House in 2002. The book was praised by reviewers as “truly path-breaking”: Jordan's “minute and authoritative exploration of the unique social relations and geographical spaces of convict Australia, as figured in the contested 'spaces' of its early theatres, makes this landmark account of the Australian experience of major significance to international studies of the translocation of cultural forms” (Veronica Kelly, Australian Literary Studies, 2005).

    Professor Jordan's extraordinary contribution to the study of drama in Australia, in both his scholarly and service achievements, is recognised by ADSA's biennial award of the Rob Jordan Prize for Best Book. In this small way, Professor Jordan's legacy continues in the work of the outstanding scholars who his named prize recognises. Along with the academic community of drama, theatre and performance studies in Australia, ADSA extends our condolences to Professor Jordan's family and gratefully acknowledges the extraordinary contributions he made to shaping our field.
  • CFP: Reimagining Theatre Pedagogy in the Era of Climate Crisis, or, Greta Thunberg Goes to Theatre School
  •  Date Posted: Wed, 7 Aug 2019
    What might we teach Swedish student activist Greta Thunberg if she were to choose post-secondary education in theatre? As she says, she has no reason to fear speaking the truth: what approach to acting and theatre-making might we take with someone who declares to an international assembly, “You are not mature enough to tell it like it is; even that burden is left to us children”? We doubt that Thunberg would decide to embark on a program of actor training as part of her university education—she seems headed for a career in politics—but by the law of averages many millions of teenagers who are participating in the world-wide movement of school strikes for climate action will decide to do so. What will we contrive to teach them that will be worthy of the predicament we are in, and the needs they will have in the face of it?

    What is the theatre pedagogy of a global emergency? Is there such a thing? How does the point of intersection between theatre pedagogy and practice engage the ‘hyperobject’ (Morton) that is climate change? One must also ask: does the transformation of planet earth by anthropogenic global warming foreclose all meaningful representation of it, artistic or otherwise? Putting this reasonable objection aside for the moment, co-editors Conrad Alexandrowicz (University of Victoria) and Dr. David Fancy (Brock University) invite proposals from a variety of disciplines that have bearing on this all-encompassing subject for a co-edited collection of essays, provocations, workbooks, formulae and other interventions. This might include inputs from curriculum studies, performance studies, environmental studies, philosophy and aesthetics, psychology and applied theatre, in addition to studies in acting pedagogy, stage design, theory and criticism. (Please note that we have initial interest from a major academic publisher.)

    What would it mean in theoretical and practical terms to reimagine and reconfigure the entire ecology of theatre education through the lens forced upon us by the rapid heating of the planet?
    Topic areas might include, but are not limited to, the following:
    • Playing the other-than-human as a way to model a transformed relationship to ‘Nature’: what might this mean? What pedagogical and creative lineages support this approach?
    • As Canadian climate activist Naomi Klein argues in This Changes Everything indigenous peoples are on the front lines of the fight against climate change: "some of the most marginalized people in my country … are taking on some of the wealthiest and most powerful forces on the planet" (379). Are there specific insights, practices, philosophies available in global indigenous communities that may be brought into further conversation with ‘Western’ theatre pedagogies?
    • Climate theatre and/as activism: does the sole remaining respectable function for theatre lie in training to create and perform events such as those staged by the Extinction Rebellion? protesters? Would these approaches—and only these—satisfy Greta Thunberg and others with her understandably urgent convictions? What are the potentials of theatre as “agitprop” in the third decade of the 21st Century? Alan Filewod writes in the Routledge Encyclopedia of Modernism: “Now widely used as a catchall term to describe politically combative or oppositional art, ‘agitprop’ originated from the early Soviet conjunction of propaganda (raising awareness of an issue) and agitation (exciting an emotional response to the issue), as theorized by Lenin in What Is To Be Done (1902) and institutionalized in the many departments and commissions of Agitation and Propaganda in the USSR and the Comintern after the Russian Revolution.”
    • Climate theatre and/as therapeutic intervention: Students of all ages are experiencing increasing anxiety and depression as a result of the knowledge that their generation will face particularly worsening effects of climate change. Many of the arts are used in therapeutic contexts, such as art therapy and dance therapy. Does this mean acting instructors themselves need new forms of training?
    • Curriculum design: most post-secondary actor training includes at least some devising, even in conservatory settings, including monologues in text-based acting classes, and collaborative pieces arising from movement work. Does the climate crisis necessitate a new ratio of skills acquisition to creative endeavour in order to satisfy the need that theatre serve interventionist aims?
    • The implications for community engagement: how does adapting theatre education for climate action prompt a new notion of outreach on the part of post-secondary institutions into various communities?
    • Aesthetic considerations: politicizing the aesthetic frequently results in art practices marked by didactic qualities or even pedantic dead ends. In what ways can traditional and non-traditional embraces of aesthetic experience at the point of theatre training contribute to more vibrant theatrical practices better able to withstand, as well as guide us through, the emergent crisis of anthropogenic climate change?
    • Indigeneity and creative theatrical practice: are there specific insights, practices, philosophies available in global indigenous communities—from shamanic work to the more traditionally representational work of storytelling and theatre creation—that may be brought into conversation with ‘Western’ theatre pedagogies?
    Prospective contributors are asked to submit a 500-word abstract as well as a brief bio—no more than 200 words—to  both co-editors no later than September 15, 2019:
    Conrad Alexandrowicz (University of Victoria): 
    David Fancy (Brock University):

  • New position: Professor of Creative Arts, Flinders University of South Australia
  •  Date Posted: Tue, 2 Jul 2019

    The Professor of Creative Arts will be a senior member of the academic staff of the Creative Arts teaching program and research section in the College of Humanities, Arts and Social Sciences. In conjunction with the above, the Professor will make significant contributions to the growth and transformation of Creative Arts at Flinders and will provide academic leadership in creative practice and research, community and industry engagement, and curriculum development. The position will provide leadership and vision in one of the key areas of research and teaching excellence in the College and will be responsible for strengthening research and teaching collaborations externally and internally. The position will be responsible for engaging with industry, government and other external organisations, strengthening research collaborations internally and externally and supporting recruitment of international and domestic higher degree research students and externally funded research fellows.

    Please see link below and attached position description for more information.

    Please Direct Application Enquiries to:

    Mrs Anita Abraham (

    Closing date:

    Monday, 29 July 2019 11am

  • CFP: Australasian Drama Studies
  •  Date Posted: Mon, 1 Jul 2019
    Edited by Yoni Prior

    We invite submissions for the general issue of Australasian Drama Studies, Issue 76, April 2020.
    Submissions may be in the form of an abstract or a full draft. Essay abstracts should be no more than 400 words, stating the title and author/s, and should give a clear sense of the proposed argument or investigation.

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

    The deadline for essay abstracts is 30th September, 2019. Contributors will receive notification about acceptance by late October. Peer review will take place through November. The deadline for final essays is 31st January, 2020 and the journal will be published in April 2020.

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

    Please send enquiries or essay abstracts to Dr Yoni Prior at
  • CFP: special issue on Barrie Kosky for the Journal of Australian Studies
  •  Date Posted: Tue, 25 Jun 2019
    We invite abstracts for a proposed special issue on Barrie Kosky for the Journal of Australian Studies, for likely publication in 2022. Articles for the issue may be on any aspect or period of Kosky’s career – as director, performer, librettist, theorist, adaptor, administrator, manager, etc., in Australia, in Europe and elsewhere – and may focus on any or all of the art forms he has worked in – spoken theatre, opera, operetta, musicals, etc. As Kosky’s career is multifaceted, we hope that the issue will contain articles approaching Kosky from a wide range of disciplinary backgrounds.

    As an expression of interest, please send an abstract of about 250-300 words for a proposed article and a biographical note of similar length or less to both James Phillips, University of New South Wales ( and John Severn, Macquarie University ( by 15 August. If accepted, articles should be between 6,000-8,000 words including footnotes, etc., and first drafts are likely to be due by mid-2020.
  • Re: Tapu Te Ranga Marae fire appeal
  •  Date Posted: Wed, 12 Jun 2019
    Dear colleagues,

    It is with sadness that the Aotearoa New Zealand members of ADSA are writing to let you know that Tapu Re Ranga Marae was lost in a fire this past weekend.  For those of you who attended the 2014 ADSA conference in Wellington, you will remember visiting the Marae where we were very warmly welcomed and stayed for a day.  David O’Donnell briefly describes the significance of the marae below”

    “Tapu Te Ranga has been a centre for social development of urban Maori for decades but it has also been a centre for the arts & theatre in particular. The vision of Tapu Te Ranga founder Bruce Stewart was ahead of its time & needed even more relevant now as the issues of homelessness, poverty & decline of community have got worse since the 1970s. Bruce was a respected actor & his play Broken Arse, based on his own experiences in prison, is an early landmark in Maori theatre. Tapu Te Ranga was often used for rehearsals & sometimes performances in the early years of The Depot/ Taki Rua, and practitioners who were particularly close to Tapu Te Ranga include Jim Moriarty, Apirana Taylor, Roma Potiki & Paul Maunder. I remember seeing a full production of one of Paul Maunder’s bi-cultural productions for Theatre of the 8th Day at Tapu Te Ranga sometime in the 1980s. Paul rehearsed his play Death in Gaza there much more recently & Bruce Stewart remained a staunch friend and supporter of theatre until he passed away.”

    The marae whanau are in the process of beginning to think about how to rebuild.  If you would like to follow progress or make a donation, please link to  ( You can find more information about the fire itself on the Radio New Zealand website:

    Ng? mihi,

    Dr Emma Willis
    Senior Lecturer in Drama
    English, Drama and Writing Studies
    School of Humanities,
    University of Auckland
    Private Bag 92019, Auckland 1142
    New Zealand
    Tel: +64 9 373 7599 (ext 82254)
  • CFP: AMAGA Performing Arts Heritage Network 2019 Conference
  •  Date Posted: Fri, 31 May 2019
    The Performing Arts Heritage Network (PAHN) is distinguished by the involvement of a broad range of collecting institutions. Museums, libraries, archives, galleries and tertiary educational institutions at state and national levels come together in the interests of collecting, preserving and making accessible Australia's performing arts heritage.

    PAHN is driven by an enthusiasm for Australia's performing arts that is inclusive of our unique indigenous heritage and our multicultural influences, as well as the traditions of English, European and American theatre.
    The 2019 PAHN Conference is being held this November in Geelong in the Western Beach Room at Deakin University’s Waterfront Campus. The conference will be held over 3 days - Wednesday 6th to Friday 8th November.

    This year the conference will include an additional day (Friday 8th) to allow a walking tour of Geelong’s Performing Arts sites.

    Our program is beginning to take shape and looks as interesting as ever! Do you have research currently underway you'd like to share? Do you have an area of interest in performing arts heritage that we would all like to hear about?  Researchers, collectors and practitioners are invited to submit proposals for inclusion in the next PAHN Conference in Geelong. Please send your proposal for inclusion to PAHN Secretary Jenny Fewster at 

    Come and join the discussion and help celebrate Australia's performing arts past and prepare for its vibrant future.

  • CFP: AusAct 2019: BEING RELEVANT
  •  Date Posted: Wed, 17 Apr 2019
    Charles Sturt University and Queensland University of Technology Present

    AusAct 2019: BEING RELEVANT


    Queensland University of Technology are hosting the 2019 AusAct: Australian Actor Training Conference on Friday August 9 to Sunday August 11. This three-day conference, training and performance event is a presentation of actor training scholarship by researchers, practitioners and pedagogues working with original performer training methods developed within the Australian context. It is an event focusing on Australian actor training pedagogies and research and its relationship to place, space, land, environment, culture and technologies. The conference will provide an avenue for the sharing of original materials and knowledge in dialogue within the Australian performer training context. The conference aims to celebrate, interrogate and showcase actor training methods that have been created and developed in Australia. We invite individual papers (20 minutes duration), workshop sessions (up to 90 minutes duration) and panel presentations (60 minute duration).

    The conference will have three main parts: ConferenceTraining and Performance.

    In response to this theme, the 2019 AusAct conference calls for papers that consider how actor training can maintain its relevance in Australia, as well as drawing upon relevant methods, approaches and aesthetics that reflect contemporary and future Australian actors. Not only do we need relevant content material to reflect the ever-changing social climate, we need relevant artists who create works through which they can better connect to the world around them.

    What do we gain for moving beyond the conventional methods and focusing on more relevant forms of training, and what is to gain or lose in ‘being relevant’?

    Questions may stem from, but not limited to, the following points concerning being relevant in light of Australian performance pedagogies:
    • Relevance of Australian actor training
    • The relevance of training for performance
    • Relevance of international actor training methods in Australian performance practice
    • The development of relevant performance training in Australia
    • The relevance of place, space and environment in Australian actor training
    • The relevance of technology in performance training
    • The relevance of health and wellbeing in actor training
    Professionals will be invited to propose workshops based on their research and practice. The material must be original and align with the conference themes.
    Public performances by performance practitioners who identify as having a unique place in Australian performing arts industry through their development of new, original work, or original processes.

    Performance practitioners, directors, teachers, academics, postgraduate students and performers are invited to attend to discuss and demonstrate their original pedagogies and methodologies that have been developed in Australia that have been inspired by the environment, land, the Australian performing arts industry, the Australian values and culture. This is also an opportunity to propose futures for Australian performer training methods.

    Participants who are interested in presenting a paper, conducting a workshop or staging a performance must submit an abstract up to 250 words to both Robert Lewis: and Andrea Moor: Applicants who are interested in submitting an abstract for a workshop must clearly state the level of participation, e.g., beginners, intermediate or advanced, the aims and objectives of the workshop, influences/inspiration behind the work, and any other requirements needed. Applicants who are interested in staging a performance must indicate cast size, length of performance and any other helpful information. Technical requirements must be kept to a minimum. Abstract for papers, panel presentations and workshops due Friday April 5.

    Presenters have the option to submit their papers to be considered for the peer reviewed Fusion Journal. Presenters will be invited to submit an article version of their conference paper for inclusion late 2019. This edition of the Fusion Journal aims to make a contribution to the field offering new insights into Australian acting pedagogies in the past and in the present. It will consist of a selected number of essays from submissions drawing on papers presented at AusAct 2019: BEING RELEVANT. This volume will aim to engage with national and international debates on the nature and practices of Australian actor training as research as a scholarly methodology and/or as pedagogical practice. An expression of interest form will be available through the conference website: Every contributor must also fill out a ‘Publication Expression of Interest’ form in order to indicate whether or not they would like to: have their paper published in the special edition of Fusion Journal without being double blind peer reviewed; have their paper double blind peer reviewed to be considered for publication in the special edition of Fusion Journal; submit creative works and or other projects of equivalent scope; only attend the conference and present without any publication outcome. Timelines, important dates and other information relating to the publication are listed in the ‘Publication Expression of Interest’ form at:

    Call for proposals: Friday April 5
    Monday May 13: Abstracts for papers, performances and workshops due
    Monday May 27: Notification of acceptance
    Early Bird Registrations Close: Sunday July 14
    Full Registration: Monday July 15
    Registrations close: Thursday August 1
    Conference: August 9 – 11

    September 6: Final papers submitted for publication

    Early Bird: $340
    Full: $420
    Student/Concession: $280

    For further information, please contact:

    Dr Robert Lewis (Charles Sturt University)

    Dr Andrea Moor (Queensland University of Technology)
  • CFP: Theatre, Dance and Performance Training
  •  Date Posted: Wed, 10 Apr 2019
    Call for contributions to Special Issue: Training for Performance Art and Live Art

    Guest edited by Professor Heike Roms (University of Exeter)

    Call Outline

    This special issue of Theatre, Dance and Performance Training (TDPT) is interested in the training of performance and live artists – its forms, histories, pedagogies, geographies, institutions and anti-institutions, and its legacies. To speak of ‘training’ in this context may seem surprising as the term evokes notions of tradition, technique and canon that performance and live art have frequently challenged or abandoned altogether. And biographies of performance and live artists often imply that their artistic formation occurred despite rather than because of the formal training they received at art colleges and universities. Yet, the making of performance and live art requires many skills and knowledges, whether embodied or conceptual, compositional or professional, and such skills and knowledges have been the subject of a multiplicity of approaches to their nurture and development.

    “Training for Performance Art and Live Art” is interested in tracking the approaches to training in performance and live art as they have emerged both within and outside the contexts of formal education. The histories of performance art and live art are deeply imbricated with those of education and its institutions. Many artists who have shaped performance and live art have also been committed teachers and activists educators; pedagogical approaches to their teaching emerged alongside the performance practices themselves; educational institutions offered material support for the making of performance works and provided a living for its artists; and the integration of performance into their provision has led to changes to the organisational structures and procedures of art schools and universities. At the same time, performance and live artists have devised radical artist-led models of anti-training, created non-institutional spaces of learning and adopted events and publications as alternative forms of curricula.

    This call for contributions invites textual, visual or performative submissions (see below) that examine the role that training and education have played for performance and live art. We are particularly keen to receive proposals that explore the theme from an historical perspective; and those that discuss local, translocal, national or transnational contexts for the pedagogical and training histories of performance and live art. We also encourage contributions that evaluate the legacies of these histories, and that assess their continuing relevance and potential for re-activation in the context of today’s predominantly normative, market-driven educational provision. Contributions that explore the methodological implications of documenting and researching what has gone on in the training spaces of performance and live art are also welcome.

    The Theatre, Dance and Performance Training journal has three sections:

    - “Articles” features contributions in a range of critical and scholarly formats (approx. 5,000-7,000 words)

    - “Sources” provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories of performance and live art training in classrooms and studios; or that engages with alternative platforms for training, such as artist’s books, games or kits, festivals or residencies.

    - “Training Grounds” hosts shorter pieces, which are not peer reviewed, including essais, postcards, visual essays and book or event reviews. We especially encourage contributions from performance and live art makers, scholars and students that document and reflect on the histories and practices of their training.
    We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts on the topic of performance and live art training to be re-reviewed.

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

    Areas of interest for the Special Issue include (but are not limited to):

    • distinct pedagogical approaches to the teaching of performance and live artists
    • experimental and alternative modes of training in performance and live art
    • models of anti-training in performance
    the role of educational institutions in the emergence of performance art and live art
    the role of anti-institutional, counter-educational or deschooling initiatives in the emergence of performance art and live art (eg. anti-universities; artist-run schools; cooperatives; workshops; laboratories)
    • approaches to learning and ’unlearning’ in performance training
    • models of the ‘self-taught’ performance artist
    • training as continuing artistic practice
    translocal or transnational exchanges and collaborations (eg. festivals; residencies; magazines; mail art) and their impact on the pedagogies of performance and live art
    • the impact of key teachers on the development of performance and live art (eg. John Cage; Joseph Beuys; Allan Kaprow; Suzanne Lacy; Alastair MacLennan; Marina Abramovi?; Anthony Howell; Alanna O’Kelly; Doris Stauffer; Roy Ascott; Rose Finn-Kelcey; etc)
    • publications on the pedagogy and training of performance and live art (eg. Anthony Howell; Charles Garioan; Marilyn Arsem) and their impact
    • artists books; charts; games or kits as alternative curriculum models for performance and live art
    • alternative spaces and models for intergenerational exchanges in the framework of teaching and learning performance and live art
    • the documentation of teaching practices in the field of performance and live art
    • research approaches to the histories of training in performance and live art
    • the impact of the ‘pedagogization’ of performance and live art on artistic development
    • institutional legacies of performance art training
    • strategies for the re-activation of past pedagogies for the future of performance and live art

    About Theatre, Dance and Performance Training (TDPT)

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

    Submitting a proposal:

    To signal your interest and intention to make a contribution to this special issue please contact Heike Roms for an initial exchange of ideas/thoughts or email a proposal (max 300 words) to Heike Roms at
    Firm proposals for all three sections must be received by 1 May 2019 at the latest.
    Please identify the intended format for your proposed contribution; and whether you would like it to be considered for the “Articles”, “Sources” or “Training Ground” section and/or the blog.

    Issue Schedule:

    1 May 2019: proposals to be submitted to Heike Roms
    31 May 2019: Response from editor and, if successful, invitation to submit contribution
    June to End August 2019: writing/preparation period
    Start Sept to end October 2019: peer review period
    November 2019 – end January 2020: author revisions post peer review
    June 2020: publication as Issue 11.2
  • John Truscott Fellowship
  •  Date Posted: Fri, 5 Apr 2019
    John Truscott Design Foundation and University of Melbourne
    Fellowship to prepare a manuscript biography of John Truscott

    This proposal results from the partnership of the Trustees of the John Truscott Design Foundation (JTDF)
    and the University of Melbourne to commission a manuscript celebrating John Truscott (1936–1993).
    Fellowship sum: $25,000.

    The Project
    The John Truscott Design Foundation and the University of Melbourne wish to celebrate the life and
    contribution of John Truscott in a biography that brings to life his energy and skill. The manuscript should
    inspire others with creative talent to pursue careers that can make a difference. It needs to capture the
    skilful way that Truscott managed his many projects, and the political interests that surrounded them, most
    of which would have proved too daunting for other designers and directors.

    While JTDF wishes the project to celebrate the life and contribution of John Truscott, by looking back, it is
    essential that the project is not simply a retrospective ‘remember when’ manuscript. It is important to
    place Truscott’s contributions in an historical context, a contemporary context and demonstrate how they
    continue to resonate and influence the cultural life of Melbourne.

    Key themes include:
    • the historical context in which Truscott was living and working and how this has evolved to the
    present day, e.g. community, government/institutional attitudes, appetite, support for arts and
    • a multi-faceted career covering numerous creative disciplines;
    • a multi-disciplinary approach;
    • creative entrepreneurship and the ability to realise ambitious and complex goals;
    • acting as a creative catalyst, identifying and developing creative talent;
    • making arts accessible to broader public;
    • creating social environments celebrating arts/creativity; and
    • an enduring legacy of creative and cultural influence and inspiration, e.g. descendant activities
    including M Pavilion, White Night, etc.

    The Fellowship
    To prepare a manuscript the Fellow will be based at the University of Melbourne. A selection panel
    including two members of the Board of Trustees of the John Truscott Design Foundation would choose the
    Fellow from the field of applicants. The period of the Fellowship would be approximately six months from
    the date of appointment.

    The University of Melbourne will provide the Fellow with full borrowing rights, access to online resources
    and facilitate access to records and archives held by other institutions, in particular the Victorian Arts
    Centre Performing Arts Collection, and the State Library of Victoria.

    Further information:
    See attached pdf or contact:
    Susie Shears
    Cultural Collections Co-ordinator
    University of Melbourne
    Telephone +61 3 8344 0269
  • Fellowship opportunity, University of Melbourne
  •  Date Posted: Fri, 22 Mar 2019
    The S. Ernest Sprott Fellowship, worth approximately $46,400, is available for Australian scholars under 45 years of age. It supports a programme of study outside of Australia that will lead to a book relating to dramatic or non-dramatic English literature of the sixteenth or seventeenth centuries. 

    Applications close 29 April. For more information on how to apply, see below
  • CFP: Performing Artefacts An interdisciplinary conference hosted by The Performance of the Real Research Theme The University of Otago, ?tepoti/Dunedin, New Zealand 18-19 November 2019
  •  Date Posted: Mon, 11 Mar 2019

    As our world becomes increasingly digitised, we ask ‘what role do physical objects continue to play in our lived realities?’ This conference considers how peoples’ experiences and knowledges of ‘the real’ are communicated via performances involving artefacts – performances of the everyday, as well as activities explicitly labelled ‘performances.’ It looks at how ‘performance’ and ‘the real’ are understood with respect to artefacts, as well as at how and why peoples’ realities are communicated performatively using artefacts. 


    Some specific provocations to consider include: 

    ·      How are artefacts used performatively to represent or reframe various kinds of realities?

    ·      Can or should virtual artefacts replace physical ones during performances? What are the affects/effects of doing so?

    ·      How are artefacts used to blur how people perceive/conceive ‘the real’?

    ·      What is the importance of artefacts’ objectivity or subjectivity when they are used performatively?

    ·      How are peoples’ pasts, presents and futures represented, communicated and understood via performances utilising artefacts? 

    ·      What are the socio-political and cultural realities of performing with particular kinds of artefacts? Are certain ontologies and epistemologies privileged or marginalised in such performances?


    We welcome abstracts for papers, performances, panels or other presentation formats, such as installations. Please submit a 250-300-word abstract of your presentation and a 150-word biography for each presenter by July 31, 2019. 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, Alex, at There are a limited number of travel bursaries available for postgrad students. 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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  • Symposium: Power and Performance: Revaluing Theatre in the 21st Century Murdoch University, April 23-24, 2019
  •  Date Posted: Mon, 4 Mar 2019
    We are delighted to invite you to attend the Power and Performance in the 21st Century Symposium to be held at Murdoch University on 23 and 24 April 2019.  Please find attached a detailed program to explain the framing, the key provocations and the key ideas to be addressed.  This is the final public event for the ARC Discovery on this topic.  The event is supported by the ARC and Murdoch University and the hosts are Helena Grehan and Peter Eckersall.  Please do circulate this invitation widely to colleagues, students and friends in the arts and beyond, and do come along if you can.
    We are really pleased to have gathered together a stellar line up of participants including a Keynote by Professor Janelle Reinelt entitled:
    The Power of Performance: Retrieval, Recuperation, Transformation.
    And presentations by: Asher Warren, Alexa Taylor, Eddie Paterson, Lara Stevens, Carissa Lee Godwin, Josephine Wilson, Paul Rae, Glenn D’Cruz, Janelle Reinelt, Peter Eckersall, Reneé Newman, Helena Grehan (Caroline Wake and Ed Scheer via Skype).
    Please do join us to help celebrate the end of this major research project by contributing to and continuing the discussion.

    All those interested are welcome to attend. To register please email: with the Symposium title in the subject line.

  • University of QLD Creative Fellow Announced
  •  Date Posted: Tue, 26 Feb 2019
    The University of Queensland are pleased to announce that the 2019 UQ Drama Creative Fellow will be celebrated dramaturg Katalin Trencsényi. Katalin is the author of Dramaturgy in the Making: a User’s Guide for Theatre Practitioners (Bloomsbury Methuen Drama, 2015), editor of Bandoneon: Working with Pina Bausch (Oberon Books, 2016), and co-editor with Bernadette Cochrane of New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury Methuen Drama, 2014).

    During her fellowship, Katalin will be collaborating with staff and students at the University of Queensland, and also at the Victorian College of the Arts, University of Melbourne. A number of her engagements are open to the public, and we warmly invite members of the ADSA community to join us at the following events:

    Public Lecture: “Theatre-Making — Dramaturgy in the Age of Big Data”
    Contemporary Western societies feed on overflow: burgeoning populations, mass production, a multiplicity of information, data, and news. For us individuals, as well as communities, in order to be able to manage and process this deluge, it needs to be contained and organised into some sort of order. So, patterns are recognised and created, details are omitted, and others are emphasised until an abundance of occurrences gains shape, meaning, and value. Stories are formed, narratives emerge, emotions are evoked. What is the difference between manipulating and emphasising truthful meaning? How can dramaturgy, the art of recognising patterns and thus creating meaning respond to this challenge? Since its inception as a separate profession, dramaturgy has been championing critical thinking in theatre-making. What is the role of dramaturgy in a post-truth society? This lecture will also attempt to answer the question: what is the ethical responsibility of dramaturgs and theatre-makers in the creative process in contemporary theatre and performance?
    Wednesday 20 March, 6.00pm — 7.30pm
    University of Queensland, St Lucia Campus

    More information and RSVP

    Research Roundtables: “On New Dramaturgy”
    In 1993 in Amsterdam a landmark symposium, ‘Context 01: Active Pooling, the New Theatre’s Word-Perfect’, took place focusing on the theory and practice of contemporary theatre. The initiators of this conference started out with the recognition of a fundamental shift in the dramaturgical landscape: that “in many countries a form of theatre is being produced which answers to paradigms other than the traditional (reflected significantly in the play’s dramaturgy), and the realisation that there is currently no terminology available to describe those paradigms in all their aspects“ (Van Kerkhoven: 1995). Through the pioneering work of Marianne Van Kerkhoven and her colleagues, this new paradigm, new dramaturgy, a process-oriented way of working, gained not only a name, but a growing terminology, case studies of its processes, and explorations of the questions it posed. This Roundtable event will be held in both Melbourne and Brisbane on the dates below, bringing together the editors of New Dramaturgy: International Perspectives on Theory and Practice with local panellists. The details of each are:
    Thursday 14 March, 6.00pm — 8.00pm

    Dr Phillip Law Room, Elisabeth Murdoch Building, Victorian College of the Arts

    Panellists: Katalin Trencsényi, Bernadette Cochrane, Alyson Campbell, and Marcel Dorney.
    More information and RSVP

    Friday 22 March, 4.30pm — 6.30pm
    University of Queensland, St Lucia Campus

    Panellists: Katalin Trencsényi, Bernadette Cochrane, Stephen Carleton and Kathryn Kelly.
    More information and RSVP

    We hope to welcome you to one (or more!) of these fascinating sessions, celebrating the work of one of the world’s leading dramaturgs. For any questions about the events or Katalin’s visit, please contact Dr Bernadette Cochrane on
  • CFP International Interdisciplinary conference: INDELIBLE (Eng) / INDELEBILE (It)
  •  Date Posted: Fri, 22 Feb 2019
    Representation in the arts of (in)visible violence against women and their resistance
    23-25 October 2019 – Adelaide (South Australia)
    Visual arts, performing arts and literature are instrumental in exposing the complexity of the numerous forms that violence against women and girls can take in the contemporary world, as well as exploring new and old forms of resistance. 

    Our interdisciplinary conference aims to contribute to the ‘glocal’ conversation on the topic of gendered violence and at the same time raise awareness of the global extent of the problem, by analysing ways in which both such violence and resistance to it are represented in the arts. While a key strand of the conference will concern the arts in contemporary Italy, its scope will be broad, encouraging comparison with other societies across space and time.

    In line with this aim, we welcome papers engaging with any of the following (and associated) topics, in relation to poetry, literature, theatre, opera, music, cinema or other visual arts:
    Family violence
    Places and sites of violence
    War, conflict and violence
    Migration, diaspora and violence
    Resistance vs politics
    Language and images of violence and resistance
    Myth in representations of violence
    Historical developments and representations viewed through a contemporary lens
    Activism and international campaigns (including #MeToo / #wetoogether / #TimesUp / Se non ora quando / Non una di meno / La violenza non è amore / Panchine rosse)
    Key-note speaker: Dacia Maraini (writer, dramaturg, screenwriter)
    Please send a 250-300 word abstract (in Italian or English) and a short bio to Luciana d’Arcangeli,, in an email titled “ACIS 2019 INDELIBLE-INDELEBILE”, by 15 March 2019. A selection of papers will be published in a special issue of a highly ranked journal or dedicated volume.

    This conference is supported by the Australasian Centre for Italian Studies (ACIS) and is part of the ACIS Visual and Performing Arts Research Group project

  • CFP: Imagined Theatres No. 3
  •  Date Posted: Thu, 14 Feb 2019

    Deadline: 1 March 2019 
    is an international, peer-reviewed, open access journal and archive, dedicated to imagining what might be possible and impossible in the theatre. We publish microdramas, scores, stories, manifestoes, and essays, in prose and in verse. These short texts are paired with a critical response, or “gloss,” extending the argument or view of each imagined theatre in new directions. supports creative criticism--creative work that acts critically and criticism that acts creatively. The journal releases issues annually, with thematic issues comprised of entries solicited from guest editors and un-themed issues devoted to user submissions. 

    The journal is an online extension of the book Imagined Theatres: Writing for a Theoretical Stage (Routledge, 2017), winner of the 2018 Excellence in Editing Award from the Association for Theatre in Higher Education.
    Prospective authors are encouraged to explore the website, as well as the book Imagined Theatres, for a sense of possible approaches. We emphasize the written word, but are open to submissions that take advantage of the digital form in interesting ways.

    We encourage the publication of shorter work, though there is not a prescribed word limit. While the themed issues pair each theatre with a response (or “gloss”), open submissions do not need to include glosses. Of course, you are welcome to submit both a theatre and its gloss if you would like. You are also welcome to submit independent glosses that respond to previously published texts; in this instance, please let us know which text you are referencing. 
    We accept submissions via email at Submissions should be sent as attachment in a recognizable format (doc, txt, pdf, jpeg, etc), with the word “Submission” in the title, and should include a brief contributor’s bio alongside contact information. Please visit the website for guidelines. For more info or to contact the editor, write
    Peer Review Policy is a peer-reviewed publication. Submissions will be read by the Editor and at least one member of the Editorial Board. Any revision may be overseen by either the Board or the Editor. 
    Please note that all submissions must be previously unpublished, though they may have existed in other formats prior to publication. Following publication, authors are welcome to use their material as they wish, but we ask that any future re-publication acknowledge this journal.
    This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. We do not charge fees for accessing articles, nor for publishing or processing submissions.

  • SAVE THE DATE: Performing Arts and Justice Symposium.  5-6 September 2019. Massey University, Auckland.
  •  Date Posted: Thu, 14 Feb 2019
    Performing Arts and Justice Symposium. 
    5-6 September 2019.
    Massey University
    , Auckland.

    Bringing together performers, arts practitioners, researchers and 
    justice professionals to explore the role of theatre and performing arts within criminal justice in Aotearoa New Zealand and the world.
  • October Issue of ADS now available on line (No. 73)
  •  Date Posted: Mon, 4 Feb 2019
    ADS 73  now available online

    a big shout-out to ADS editor Yoni Pryor for getting the second issue onliine issue of ADS up! We realise it's late, but the process has been technically complex as she has had to deal with several "back end" issues.  Moving the journal online is an ongoing process. but we expect it to become easier as various systems are put into place.

    The journal is available to all current members - just go to the ADS Journal tab at the top of the ADSA website and click on "Current and Complete Issues".

    Happy new year everyone!
  • CFP Performance Paradigm 15, Performing Southern Feminisms
  •  Date Posted: Mon, 4 Feb 2019
    Co-editors: Caroline Wake (University of New South Wales) and Emma Willis (University of Auckland), and section editors (TBC)

    From Prime Minister Jacinda Ardern at the United Nations to comedian Hannah Gadsby on Netflix—the women of Aotearoa New Zealand and Australia have rarely been more visible on the international stage. Like their sisters around the world, the women of the Asia-Pacific raised their hands and voices in 2017 to say #metoo. However, regional differences mean that the movement has unfolded differently here. In Australia, strict defamation laws have stymied the naming of perpetrators and instead facilitated the effective “weaponisation” of the #metoo movement (Maley 2018). In China, women were using the hashtags #??? (#IAmAlso) and #MeToo??? (#MeTooInChina) until the tags were banned, at which pointed they switched to the user-generated nickname for the movement, ??, which translates as “rice bunny” but is pronounced as “mi tu” (Zeng 2018). [I apologise that the eurocentric operating system won't import Chinese characters - Prez] In other instances, the movement served to reanimate previous efforts, for example the Australia Council of the Arts’ report Women in Theatre (Lally and Miller 2012) and in the Republic of Korea, Seo Ji-hyun’s complaint against her senior colleague in 2010 (Haynes and Chen 2018). Now, twelve years after Tarana Burke first tweeted #metoo, and one year after it went viral, women are also asking themselves—what next?

    The aim of this issue of Performance Paradigm—an open-access, peer-reviewed journal now in its 15th year—is twofold. Firstly, to document and analyse the theatre, performance, dance and live art being made by and with cis- and trans-women across the Asia-Pacific. Secondly, and more ambitiously, to develop a theory and vocabulary of “Southern feminisms” for theatre and performance studies. In their recent issue on “Feminisms Now,” Sarah Gorman, Geraldine Harris and Jen Harvie remark on “the inadequacy of the term ‘feminist’ for non-white artists and scholars” (2018, 280). This “inadequacy” has particular regional resonances. For example, on the experiences of Pacific women, artists Lana Lopesi and Louisa Afoa write that, “The liberal feminist idea of a universal women’s experience can be unrelatable for women from cultures who have been victim to colonisation” (2015). Similarly, in her analysis of Hot Brown Honey, Sarah French draws on the work of Aileen Moreton-Robinson, a Goenpul woman of the Quandamooka nation, to argue that “Australian feminism has consistently excluded Indigenous women and … there are necessarily limitations to Indigenous women’s involvement with white feminists” (Moreton-Robinson 2000, cited by French 2018, 322).

    These remarks reiterate the argument Celia Roberts and Raewyn Connell make in the introduction to their special issue on “Southern Feminism” (2016). Drawing on Beninese philosopher Paulin Hountondji (1997), they point out that: “Theory is normally produced in the metropole and exported to the periphery, while the periphery normally produces data and exports this raw material to the metropole. All academic disciplines show these patterns; viewed as a whole, feminist, women’s and gender studies are no exception” (Roberts and Connell 2016, 135–36). Neither are theatre and performance studies, both historically dominated by North American and European scholars. Rather than solely seeking to add some Asia-Pacific data to feminist theatre and performance studies, this issue sets out to develop a theory. It asks: what might Southern feminist performance—and performance theory—look like if we were start with our own “peripheral” selves?

    We therefore invite contributions that problematise, extend and challenge what Southern feminism means in a wide variety of performance contexts including theatre, dance, performance and live art, ritual, activism, burlesque and voguing. Here we are thinking of everything from Arden’s diplomacy and Gadsby’s comedy to anything in between. We are interested in ensembles, solo artists, choreographers, company leaders, and community workers. Moreover, we invite appraisals of both feminist-identified performances and works that may not identify as “feminist” but that engage with the relationship between gender and power by way of their own cultural and aesthetic frameworks. While we do not wish to “colonise” artists who do not identify as feminist by naming them so, we do wish to broaden the parameters of the discussion in order to enrich the critical discourse. 

    Topics may include but are not limited to:
    • Pacific feminisms, mana wahine
    • Aboriginal and Torres Strait Islander feminisms, Indigenous/indigenous feminisms
    • Feminism, allyship, and “decolonising solidarity” (Land 2015)
    • Queer, trans and non-binary feminisms
    • Cultural paradigms that provide their own matrices for articulating the relationship between gender, power and cultural expression in performance
    • Feminism and religious identities
    • Feminism, migration and performance
    • Feminist epistemologies and dramaturgies
    • Feminist performance on Instagram, Twitter, Facebook and beyond
    • Pink/pynk aesthetics
    • Intergenerational feminist performance
    • Ecofeminism and performance
    • Xenofeminism and performance
    • Postfeminism
    • Issues of industry, participation and representation

    Please send proposals of approximately 300 words to Caroline Wake ( and Emma Willis ( by Monday 18 February 2019. Full articles will be due on 31 May 2019 for publication in December 2019.

    Works Cited

    French, Sarah. 2018. “‘Talkin’ Up to the White Woman’: Intersections of Race and Gender in Hot Brown Honey.” Contemporary Theatre Review 28 (3): 320–331.

    Gorman, Sarah, Geraldine Harris and Jen Harvie. 2018. “Introduction: Feminisms Now.”
    Contemporary Theatre Review 28 (3): 278–284.

    Hountondji, Paulin J. 1997. “Introduction: Recentring Africa.” In Endogenous Knowledge: Research Trails, edited by Paulin J. Hountondji, 1–39. Dakar: CODESRIA.

    Land, Clare. 2015. Decolonizing Solidarity: Dilemmas and Directions for Supporters of Indigenous Struggles. London: Zed Books.

    Lopesi, Lana, and Louisa Afoa. 2015. “Body Language.” The Occassional Journal 2015 (“Love Feminisms”).

    Moreton-Robinson, Aileen. 2000. Talkin’ Up to the White Woman: Aboriginal Women and Feminism. St Lucia: University of Queensland Press.

    Roberts, Celia, and Raewyn Connell. 2016. “Feminist theory and the global South.” Feminist Theory 17(2): 135–140.

  • About Performance 16: Fashioning Performance/Performing Dress
  •  Date Posted: Mon, 4 Feb 2019
    The latest issue of About Performance is now available online, as digital copies or in print:

    About Performance 16: Fashioning Performance/Performing Dress 
    Editors: Rosie Findlay and Amanda Card 
    University of Sydney Dept of Performance Studies 
    ISSN: 1324-6089

    The mutual resonances accommodated by performance and fashion – and the respective fields of scholarship devoted to their critique and analysis, performance studies and fashion studies – provide a rich theoretical ground from which the articles in this volume have emerged. Their range and breadth mirror the parallel interests of performance studies and fashion studies in the historical and the contemporary, the political and the decorative, in texts and practices, and in the professional and the everyday. However, at the same time, we encourage readers to attend to the ways in which these concepts merge and flow into one another in these works, indicating towards the messiness and capaciousness of both performance, and fashion and dress. Here we encounter everyday dress as political, fashion shows as anti-Western, fashion images as live performance, costume as material memories of performances past, and an ongoing oscillation between text and self, cloth and body, surface and depth.


    • Introduction, Rosie Findlay and Amanda Card
    • Tilda Swinton: Performing Fashion, Karen de Perthuis
    • Fashioning Protest: Suffrage as Dressed Performance in New Zealand and the United Kingdom, Harriette Richards
    • Model Tote Bag: Advice on How to Perform the Fashionable Self in Post-war Fashion Modelling Literature, Felice McDowell
    • The Feeling of the Fake: Antonio Syxty’s Fashion Works in 1980s Milan, Flora Pitrolo
    • The Anti-Western Fashion Show: Redressing the Indian Catwalk, Arti Sandhu
    • Dressing to Delight: The Spectacle of Costume and the Character of the Fop on the Restoration Stage, 1660-1714, Lyndsey Bakewell
    • Sartorial Remembrance: Exploring the Weave Between Costume, Memory, and the Performing Self, Rosie Findlay and Natalia Romagosa
  • CFP Special Issue: Carcerality, Theatre, Rights. Research in Drama Education
  •  Date Posted: Wed, 9 Jan 2019
    Abstract due: 30 September 2019.
    Notification of Acceptance: 31 October 2019.
    First drafts due: 31 January 2020.
    Final copy: February 2021.
    Publication: Aug 2021, 26.3

    This special issue on Carcerality, Theatre, Rights invites submissions exploring the role of theatre and performance in challenging and resisting incarceration in its various forms. In particular, this issue is interested in practice and scholarship that engages with rights discourse in order to highlight the role of theatre and performance in resisting pervasive logics and technologies of carcerality. What role can theatre and performance play in highlighting the rights of those experiencing state sponsored marginalisation, control and imprisonment? And what role can theatre and performance play in challenging the exclusionary structures of carcerality?

    Within the context of mass incarceration and surveillance, carcerality is becoming an increasingly urgent interdisciplinary field of research and praxis. With etymological origins to the Latin ‘carcer’ for ‘prison’, carcerality today covers a wide range of ‘spaces’, from missions, reserves and residential schools established to contain Indigenous peoples, to immigration detention centres, and the use of ‘black sites’ or secret prison facilities used to detain enemy combatants in the global war on terror. Carcerality also involves considering how surveillance and incarceration are connected to issues of race, class and gender. Currently more than 10.35 million people are held in penal institutions throughout the world, and since 2000 the world prison population has grown by almost 20% (Walmsley, 2016). This global trend, coupled with the increasing privatisation of justice, raises concerns about the potential negative impact of commercial interests on prison populations as well as concerns about the long-term sustainability of prison institutions and facilities (Jacobson, Heard, & Fair, 2017). Moreover, the colonial legacy of disadvantage, over-policing and over-incarceration continues to disproportionately affect Indigenous peoples in settler-colonial nations such as Canada, the USA, Australia, and New Zealand (Cunneen & Tauri, 2016; Webb, 2011). From the world’s largest open-air prisons of Gaza and the Occupied Palestinian Territories, to the refugee camps in Europe and the Pacific, to the immigration detention centres in the US, we are locking up and controlling more people than ever before.

    Theatre and Incarceration
    The ability of theatre to imagine new futures for incarcerated communities was documented in James Thompson’s seminal publication Prison Theatre (1998). Michael Balfour’s Theatre in Prison: Theory and Practice (2004) recorded developments in the field since Thompson’s publication. Certain recurring themes are present within this field: how practitioners frame theatre projects with incarcerated communities; the privileging of transferrable skills and therapeutic benefits that come from participating in performance; and the need for critical and methodological models to help evaluate these benefits to promote the use of theatre and performance within criminal justice. It is now 20 years since Thompson’s publication first questioned whether theatre in prisons is about humanising the system or about transforming it (Thompson, 1998, p. 16). Yet much scholarship and practice is still preoccupied with notions of utility. While this special issue does not seek to question the validity or benefits of theatre and creativity to incarcerated communities, we seek contributions that shift the discussion from considerations of ‘use’ to arguments that highlight the importance of art as a fundamental human right, and a potent form of resistance. We seek contributions exploring forms of socially engaged performance that are informed by activism and rights discourse. We also welcome contributions that embrace Indigenous, non-Western or de-colonising approaches to theorising the practice.

    Article 27 of the Universal Declaration of Human Rights (UDHR) states that “everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits” (UN General Assembly, 1948). Cultural rights are inseparable from human rights, as recognized in Article 5 of the 2001 UNESCO Declaration on Cultural Diversity, and can be defined as the right of access to, participation in and enjoyment of culture (UNESCO, 2001). Moreover, the rights of Indigenous peoples to their culture and intellectual and cultural property has been recognised by the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) (UN General Assembly, 2007). Despite their recognition within international law, individuals, groups and communities continue to be denied their cultural and artistic rights. Moreover, a recent report assessing the global state of artistic freedom warns of the emergence of a new global culture of silencing others (Freemuse 2018). According to this report, in 2017, on average one person every week was prosecuted for expressing themselves artistically, while thousands of pieces of visual art, music, theatre, dance and literature were censored, vandalised or destroyed (Freemuse, 2018, p.6). Further, authorities might silence cultural expression within sites of confinement as a strategy for removing identity and agency, or use access to arts experiences as a form of leverage to encourage good behaviour and impose discipline.

    We invite artists, scholars, activists and community workers to submit abstracts for proposed articles that engage with the three key terms of this special issue: ‘carcerality’, ‘theatre’, and ‘rights’. We are particularly keen to hear from practitioners and scholars exploring theatre in prison. Possible areas of focus include:
    • Theatre and decolonising corrections.
    • Performance, incarceration, control and disobedience.
    • Performance and arrest as civil disobedience.
    • Theatre, incarceration and structures of exclusion.
    • Theatre, incarceration, participation and inclusion.
    • Performance, incarceration and the ethics of representation.
    • Performance in confined spaces and notions of immersive theatre.
    • Theatre and performance that resist cultures of mass incarceration.
    • Theatre and performance that resist cultures of surveillance and control.

    This special issue will be co-edited by Dr. Rand Hazou (Massey University) and Dr. Sarah Woodland (Griffith University). Abstracts should be submitted by 30 September 2019 to and

    Dr. Rand T. Hazou – Senior Lecturer in Theatre
    School of English and Media Studies, Massey University.
    Rand is a theatre academic and facilitator with experience working across a variety of creative and community contexts. In 2004, he was commissioned by the UNDP to travel to the Occupied Territories in Palestine to work as a theatre consultant running workshops for Palestinian youths. He is currently a Senior Lecturer in Theatre in the School of English and Media Studies at Massey University. His research explores theatre that engages with issues of social justice. His research on Asylum Seeker and Refugee Theatre has been published in a series of international journal articles. In Aotearoa he has recently led teaching and creative projects engaging with both prison and aged-care communities.

    Dr Sarah Woodland- Research Fellow
    Queensland Conservatorium Research Centre, Griffith University
    Sarah is a researcher, practitioner and educator in arts, theatre and performance, with over 20 years' experience in the arts and cultural sectors in Australia and the UK. Sarah has facilitated projects with a number of community groups, including Daughters of the Floating Brothel (Brisbane Women’s Correctional Centre 2015), a participatory radio drama exploring the history of female incarceration in Australia. Sarah is currently leading the project Listening to Country, a collaboration with incarcerated Aboriginal and Torres Strait Islander women to create an immersive audio work for the purpose of stress relief and cultural connection. Sarah's research interests are in Participatory Arts, Socially Engaged Arts, Community Arts and Cultural Development, Applied Theatre, and Prison Theatre.

    Balfour, M. (Ed.) (2004). Theatre in prison: Theory and practice: Intellect Books.
    Cunneen, C., & Tauri, J. (2016). Indigenous criminology. Bristol: Polity Press.
    Freemuse. (2018). The State Of Artistic Freedom Retrieved from
    Jacobson, A., Heard, C., & Fair, H. (2017). Prison: Evidence of its use and over-use from around the world. Retrieved from
    Thompson, J. (Ed.) (1998). Prison theatre: Perspectives and practices. London: Jessica Kingsley Publishers.
    UN General Assembly. (1948). Universal declaration of human rights. Paris: United Nations. Retrieved from
    UN General Assembly. (2007). United Nations Declaration on the Rights of Indigenous Peoples. New York: United Nations. Retrieved from
    UNESCO. (2001). UNESCO Universal Declaration on Cultural Diversity. Paris: United Nations Educational, Scientific and Cultural Organization. Retrieved from
    Walmsley, R. (2016). World prison population list(Eleventh edition). Retrieved from
    Webb, R. (2011). Incarceration. In T. McIntosh & M. Mulholland (Eds.), Ma?ori and Social Issues (pp. 249–262). Wellington: Huia Publishers.
    Williams, F. C. (2013). The embodiment of social dynamics: a phenomenon of Western pop dance within a Filipino prison. Research in Dance Education14(1), 39-56
  • CFP: Theatre & Performance Design. 'Theatre Architectures'
  •  Date Posted: Fri, 21 Dec 2018
    Editors Arnold Aronson and Jane Collins are pleased to announce that Dr Andrew Filmer, Aberystwyth University, has agreed to guest edit a special issue of the journal Theatre & Performance Design on 'Theatre Architectures' (Autumn 2019; Vol. 5 No. 3) and we are now seeking proposals for submissions.

    This special issue on ‘theatre architectures’ proposes an examination of the relationship between theatre and architecture that focuses on the work of scenographers, performance designers, and interdisciplinary spatial artists. Theatre and performance design is a field concerned as much with the authoring of social space and experience as it is about the specifics of design for theatrical performance. Scenography’s expanded and inclusive critical remit embraces a wide range of spatial practices and new media as well as exploring the agency and performativity of objects and materials. So, how are theatre and performance designers engaging with and re-authoring architecture, and what are the implications of this for the design of theatres and performance spaces? How are these artists’ projects redefining the possibilities of contemporary performance space?

    This issue invites contributions that explore how expanded practices of theatre and performance design can shift our understanding of theatre architecture and performance space and open up new possibilities for social exchange and interaction. Looking beyond the theatre building as historic artefact, this issue will consider how designers are exploring and exploiting the performativity of architecture and challenging its presumed fixity. Recognizing that site-specific, relational, and spatially inventive modes of working have in many respects rejected traditional theatre architecture, this issue will also explore how these practices can also re-enable theatres and performance spaces to perform valuable roles as dynamic sites of artistic production, communal gathering, and social expression.
    This special issue of Theatre and Performance Design, ‘Theatre Architectures’, invites contributions from scholars and practitioners in the form of scholarly articles, visual or photographic essays, interviews and dialogues/conversations.
    Possible topics include but are not limited to:
    • Interdisciplinary encounters between performance, scenography, and architecture
    • Artist-led approaches to the design of theatres and performance spaces
    • Projects and practices by architect-scenographers
    • The appropriation, occupation and/or de?tournement of theatre architecture
    • Critical and creative re-appraisals of existing theatre typologies
    • The spatial performativity of theatre buildings.
    • Performative relations between theatre architecture and urban space
    • Performance Architecture
    • Imagined and unbuilt theatre architectures
    • Theatre architecture and the construction/contestation of community and identity
    • Performance space at and beyond the edges of the urban
    In the first instance proposals should take the form of a 300 word abstract to be submitted to editorial associate Nick Tatchell at by January 17th 2019.

    For accepted proposals the deadline for full articles, 6.000-8.000 words, or alternative forms of submission is June 24th 2019.
  • Shakespeare FuturEd Conference
  •  Date Posted: Thu, 29 Nov 2018

    Shakespeare FuturEd is an international conference exploring the nexus of Shakespeare Studies and Education to be held at the University of Sydney on Friday 1 - Saturday 2 February 2019. 


    Check out some of our accepted papers and workshops:
    • Talking about my Country – Connecting Shakespeare’s Tempest to questions of land, place, culture and identity in the middle school English classroom (Sarah Coleman, Trinity Anglican School, Cairns)
    • Slow Shakespeare (Rob Conkie, La Trobe University)
    • Shakespeare 4.0: Exploring the Bard in New Digital Media (Hannes Rall, Nanyang Technological University Singapore)
    • The Shakespeare Project - Be Fearless (Monique Johnson, Keebra Park State High School)
    • Bard 101X Reloaded: Student Driven Shakespeare (Lucy Potter and Dalestair Kidd, University of Adelaide)
    • Workshops by Tim Fitzpatrick, the Australian Shakespeare Company, Charlie Thomson (All Souls St Gabriels School), Gillian Neumann and Natalie Scott (Melbourne Girls' Grammar), Bell Shakespeare - with workshop topics including historical theatrical space, hip hop, grammar, Macbeth as a mean girl, and more!

    Shakespeare FuturEd CFP deadline extended to Friday 7 December 2018. We are still inviting submissions of 20 minute papers or 5 minute 'lightning talks'. 

    Find out more about the CFP here.

    We are seeking proposals for papers, panels and workshops that interrogate and experiment with new directions in Shakespeare pedagogy in theory and practice. We welcome proposals from primary and secondary teachers, tertiary educators, researchers, theatre practitioners, and anyone with an interest in Shakespeare and education.

    What does Shakespeare education look like now? Where is it headed? What are its accepted norms and critical problems? How is it theorised? How does Shakespeare education manifest in institutions such as schools and universities? How is it performed by theatre companies and community organisations? How is it affected and transformed by digital, virtual and blended learning initiatives and contexts? What is the role played by collaborative educational projects and informal learning environments? How does present Shakespeare education—its theory, practice and needs—relate to imagined or experimental futures for education?

    Ready to register? Registration is free and available via this link.


    Catherine Beavis, Professor, Curriculum, Pedagogy, Assessment and Digital Learning, and Deputy Director, REDI: Research for Educational Impact, Deakin University

    Joanna Erskine, Head of Education, Bell Shakespeare

    Laura Turchi, Assistant Professor of Education, University of Houston

    More about the Keynote Speakers

  • ADSA Statement on Ministerial Intervention in ARC Processes
  •  Date Posted: Fri, 2 Nov 2018
    ADSA, Australia’s peak body for theatre, drama and performance studies scholars, is deeply concerned and outraged over Senator Simon Birmingham’s vetoing of eleven Australian Research Council projects that had passed the rigorous assessment process, and were recommended for funding.

    It appears Senator Birmingham based his decisions to reject these projects on a very narrow interpretation of what’s good for Australia. However, Senator Birmingham does not have the expertise to assess the impact of these projects on Australia. Rather, he has speciously judged that the rejected projects focussed on the “wrong priorities” and were “out of step” with what most Australians would deem as important.  

    We understand that the projects may not be to Senator Birmingham’s taste, but his role was not to be a taste maker. Common sense is best applied to common problems; complex thinking, as reflected by these projects, is what’s needed for thoughtful and nuanced responses to complex problems.

    As an organisation that takes seriously the nurturing of junior academics, ADSA is particular disheartened that two of the rejected projects were for early career research scholarships. To have passed expert peer assessment is a testament to the talent of these two scholars, and their rejection by Senator Birmingham has not only stymied their personal career development, but is counter to the government’s ambition to reward ability and hard work.

    Our universities' international reputations stand or fall on the quality of our research performance. In order to maintain the integrity of the Australian Research Council grants processes, ADSA calls on Senator Birmingham to apologise to the affected researchers and for the Minister of Education, Dan Tehan, to immediately reverse the government’s decision and fund these projects.
  • Two Training Grounds Editors: Journal of Theatre, Dance and Performance Training
  •  Date Posted: Wed, 31 Oct 2018
    Now in its 9th year, the Journal of Theatre, Dance and Performance Training runs to 3 issues annually and attracts contributions from scholars and practitioners across the globe. As part of our tenth birthday celebrations, we are planning to grow to four issues per year and these two appointments reflect our expansion both in ambition and audience reach. The journal’s co-editors Professor Jonathan Pitches (University of Leeds) and Dr Libby Worth (Royal Holloway, University of London) are seeking to recruit two Training Grounds Editors to work closely with them and with the rest of the Training Grounds (TG) editorial team, on this very successful journal, published by Routledge. 

    We seek two highly creative, motivated, organised and collegiate individuals with demonstrable specialisms in theatre, dance and/or performer training to join the rest of the TG team at this exciting moment in the journal’s growth. For the last nine years, we have been proud of the diversity of materials and innovation of writing forms offered within the pages of Training Grounds and with this set of appointments we hope to build on this track record, taking the spirit of the experimental backpages section into the journal’s main body.

    The new TG editors will work as part of a team, seeking out materials for the longstanding sections of Essais, Postcards and Visual Essays and adding to this provision with suggestions of new sections. They will also work alongside the revised Reviews section and with the two TG editors tasked with curating this material.  They may in addition feed into the operations of the TDPT Blog team, another important vehicle to attract practitioner voices to the journal.  

    In addition to the opportunities to shape the development of TG, working on TDPT will offer you unique insights into academic publication and provide you with opportunities to develop your own networks with scholars and practitioners, as well as to contribute to wider discussions about the content and continued development of the journal.

    You should be:
    • An active researcher of performer training with a good knowledge base of current published work in the field.
    • Networked nationally and/or internationally in performer training circles. 
    • An individual with some experience of editing and/or curating theatre related written work.
    • Interested and embedded in the contemporary debates concerning training and performance and committed to the principles of ethical research.
    • Highly organised, efficient with excellent communication skills.

    TG Editor’s responsibilities include:
    • Contributing to the development of an internationally ambitious Training Grounds identity within TDPT.
    • Establishing relationships with appropriate practitioners and scholars and encouraging high quality, vibrant content as submissions.
    • Working closely with the other TG and Review editors to ensure a fit with the TDPT ethos and style.
    • Liaising with the Journal’s co-editors and Special Issue guest editors to provide regular updates on the status and content of TG materials.
    • Acting as an advocate for the journal at conferences and symposia.
    • Attending where possible the Associate Editors’ Spring AGM (either in person or by Skype).
    • Attending the TG Editors’ Annual meeting, in Autumn each year.
    • Liaising with publishing staff at Routledge, Taylor and Francis as required.

    In keeping with the rest of the roles in the TDPT team, the post is unpaid but all travel and expenses will be paid.

    To apply please send a CV and a one-page statement of your relevant skills, and interests including your aspirations for Training Grounds’ future development to Thomas Wilson, Jonathan Pitches and Libby Worth

    For more information and an informal discussion please contact: Thomas Wilson; Jonathan Pitches and/or Libby Worth

    Deadline for applications is 5pm (GMT), November 9th 2018
  • CFP: About Performance #18: Perform | Health | Care
  •  Date Posted: Thu, 4 Oct 2018

    For this issue of About Performance, we invite submissions dealing with aesthetic and social performance practices in contexts where the fields of arts and health collide or coalesce.

    Artists and healers have long had an interest in each other’s affairs — the connections run as wide as the figure of the shaman across so many of the world’s cultures and at least as far back as Aristotle when he cites the medicinal effect of certain melodies as an analogue to the cathartic effect of tragedy. Today, increasingly, we see health professionals turning towards performance-makers and other creative artists for support with a myriad of tasks: improving the amenity of hospitals and other health workplaces; enhancing our understanding of, and respect for, the patient experience; promoting better health and wellbeing in the wider community; helping to train health professionals in the supposedly ‘softer’ skills of their craft (ethical practice, teamwork, inter-professionalism, ‘sympathetic presence’ and empathy).

    Broadly speaking, the agenda here is one of ‘re-humanising’ the practice of healthcare, of re-evaluating skills and recommitting to values that seem under threat in many health systems. At the same time, many artists, including artist-patients, as well as scholars in health humanities and related disciplines, would want to extend this agenda to include a more rigorous critique of the underlying factors that place at risk a society’s capacity to care: the barriers of prejudice, discrimination, poverty and other social determinants of health; the rise of managerialism with its constant demands for ‘efficiency dividends’; the increasing specialisation within health professions; the hierarchical culture of health workplaces and the attendant bullying and harassment experienced by many workers; the particular challenges of caring for an ageing population, and so on.

    The arts in health are important therefore not just as an aesthetic supplement to the core business of healthcare or even as a model of the ‘care-full’ social performances we would hope to see more regularly and successfully enacted between health professionals, patients, their families and communities. Aesthetic performance practices might also offer the necessary distance for health professionals and health consumers to become critically reflexive—to see more clearly what values and identities are (re)produced by the performativity of health systems—and to intervene in processes of systemic change.

    Authors are invited to propose an article for this issue of About Performance which may wish to consider, but need not be restricted to, questions such as the following:

    Innovation and risk in arts-in-health practice
    Arguably, the early development of health humanities bought into the notion that lessons in empathy could be learned from exposure to a canon of ‘great’ artworks, as if by osmosis, without bothering to critique the assumptions underpinning this canon. How have these assumptions been challenged in contemporary arts-in-health practice? How are artists engaging with the interests and experience of people whose lives were never well represented in the canon: people of colour, women, LGBTQI people, differently-abled people, people living lives marked by deprivation and precarity? What new genres of arts-in-health practice are emerging? Where are the influences coming from? What are the ‘affordances’ of different genres? The default assumption seems to be that the arts are a safe way of dealing with difficult issues but the arts in health can also be very invasive—what is at stake and what is there to gain in these interdisciplinary dialogues?

    Art or instrument?
    Despite the openness of health professionals towards arts-in-health practices, the blunt realities of health funding require that they be able to prove the arts provide good ‘bang for buck’. What claims to efficacy are being made on behalf of ‘applied theatre’ or other arts-in-health practices? How are such claims evaluated and how robust are the findings? What matters of substance fall below the radar when discussion of arts-in-health practice must be shaped to match the distinctive disciplinary norms of arts/humanities and health scholarship, respectively? What do the encounters between arts practitioners and health professionals reveal about the logics of practice in these fields?

    Affect, Embodiment and Agency
    If, as James Thompson and others have argued, the affective dimensions of performance are every bit as important as any instrumental efficacy, what do we know about the ways in which these affective relations between performers and audiences work? What would a Geertzian ‘thick description’ of the processes by which an arts-in-health project unfolds look like? How do modes of embodied, inter-corporeal engagement between participants in an arts-in-health project compare to the everyday social performances within health settings? What sort of agency is involved when health consumers, including artist-patients, are using the arts to interrogate their experiences within health systems, reappropriating, for instance, the technologies of medicine and recycling its products in artistic projects that don’t always have neat and predictable objectives?

    Questions of culture
    How do patients, family members, nurses, doctors and allied health workers learn to play their respective roles within health settings? How are their interactions potentially influenced by representations of health practices in art and popular culture? Where and how does performance explicitly come into the training of health professionals? How is the potential of arts-in-health practice constrained or enabled in different ways in particular cultural contexts? How well do the assumptions underpinning various arts-in-health practices travel between different cultures?

    Submission Details and Information about the Journal
    In the first instance please send proposals/abstracts (200-300 words) by 15 December 2018 to the Issue Editors of About Performance #18:

    Dr Paul Dwyer (
    Mr James Dalton (
    Department of Theatre and Performance Studies
    Woolley Building (A20), Manning Road
    The University of Sydney, NSW, 2006
    Please include a brief outline of your institutional affiliation, recent publications or creative work, your postal and email addresses. We will notify you within a month as to whether your proposal has been accepted.

    The deadline for completed articles (normally between 6000 to 8000 words in length) is 30 June 2019. Articles are then submitted to a peer review process and any suggested revisions are to be completed by 30 November 2019. This issue of the journal will be published in June 2020.

    About Performance is published by Sydney University Press and the Department of Theatre and Performance Studies at the University of Sydney. The journal is available in print and online. Articles are peer reviewed in accordance with guidelines of the federal Department of Education and Training and the Australian Research Council.

    For more information, including the contents of previous issues, please go to:
  • CFP: ADS Special Issue: The Actress in 21st Century Australasia
  •  Date Posted: Thu, 20 Sep 2018
    Edited by Mary Luckhurst

    This edition of Australasian Drama Studies (ADS) celebrates the wealth and diversity of extraordinary actresses in Australasian theatres and performance and investigates how their work challenges, enriches and advances the theatre industry and debates about acting. Authors are asked to consider the implications of the bigger picture of their argument as well as the specifics of their focus.

    Subjects for essays might include:
    • Actresses and the negotiation of celebrity
    • The representation of actresses in the media/by critics/in academe
    • Female roles on the 21st century stage
    • Actresses and indigeneity
    • Constructions of the female on stage
    • Working processes and the actresss
    • Actresses and independent/underground theatre
    • Resistive stage constructions and the actress
    • Actresses and mainstream stages
    • Actresses and their audiences/fans
    • Actresses, voice and accents
    • The actress/director
    • Actresses and musical theatre
    • Age and the actress
    • The female body on stage
    • The actress and star studies
    • The actress and the archive  
    • National stereotypes, nationalism and the actress
    • Actresses and hierarchies of power in the acting industry
    • The acting industry, ethics and the actress
    • Formally trained and untrained actresses
    • Comediennes and their craft/burlesque and the actress
    • Technology and the actress
    • Actresses, costume and fashion

    Essay abstracts should be no more than 400 words and clearly state the title, author/s and give a clear sense of what the argument or investigation will be. Essay length is a maximum of 6,000 words including bibliography. The deadline for essay abstracts 1 November 2018. Contributors will receive notification about acceptance by mid November. The deadline for final essays is 30 April 2019 and the journal will be published in October 2019. Please send essay abstracts to Mary Luckhurst

  • New publication: Australian Theatre, Modernism and Patrick White: Governing Culture by Denise Varney and Sandra D'Urso
  •  Date Posted: Tue, 18 Sep 2018
    Anthem Press

    Book Summary

    In the early 1960s the board of governors of the Adelaide Festival of Arts in Australia rejected two Patrick White plays, The Ham Funeral in 1962 and Night on Bald Mountain in 1964. Australian Theatre, Modernism and Patrick White documents the scandal that followed the board’s rejections of White’s plays, especially as it acted against the advice of its own drama committee and artistic director on both occasions. Denise Varney and Sandra D’Urso analyze the two events by drawing on the performative behaviour of the board of governors to focus on the question of governance. They shed new light on the cultural politics that surrounded the rejections, arguing that it represents an instance of executive governance of cultural production, in this case theatre and performance. The central argument of the book is that aesthetic modernism in theatre and drama struggled to achieve visibility and acceptability, and posed a threat to the norms and values of early to mid-twentieth-century Australia. The recent productions indicate that despite the Adelaide Festival’s early hostile rejections, White’s plays endure.
    Advance Praise for Australian Theatre, Modernism and Patrick White
    ‘This timely book emphasizes the vitality of Patrick White’s plays and his contribution to current Australian theatre. Although White’s 1973 Nobel Prize was for his novels, Denise Varney and Sandra D’Urso present a compelling and detailed case for the drama’s enduring status. Their thoughtful exploration of the 1960s rejection of White’s drama reveals a radical challenge to types of modernist governance and sovereignty including the Australian separation from British culture.’ —Peta Tait FAHA, Emeritus Professor, Theatre and Drama, HUSS, La Trobe University, Australia

    About the Authors
    Denise Varney is professor of theatre studies and co-director of the Australian Centre in the School of Culture and Communication, University of Melbourne, Australia. She publishes on Australian theatre, feminist and women’s theatre, theatrical modernism, and theatre and ecology.
    Sandra D’Urso holds a PhD in performance studies and is currently a researcher at the Australian Centre in the School of Culture and Communication, University of Melbourne, Australia. D’Urso has published in the areas of theatre and politics, performance art in the twenty-first century, Australian aesthetic modernism and the plays of Patrick White, as well as in contemporary Australian poetry.

  • CFP:Hybrid Practices: Methodologies, Histories, and Performance
  •  Date Posted: Wed, 12 Sep 2018
    Annual Conference hosted by the School of Performing Arts at the University of Malta

    13, 14, 15 March 2019

    Keynote Speakers
    Anne Bogart (Co-founder and Artistic Director – SITI Company)
    Nicola Dibben (Department of Music, University of Sheffield)
    Royona Mitra (Dance and Theatre, Brunel University London)

    Frank Camilleri (University of Malta)
    Paul Allain (University of Kent)

    The sixth Annual Conference of the School of Performing Arts (University of Malta) considers hybridity in relation to performance, in particular the making, reception, and study of performance as practices emergent from heterogeneous sources. 

    In its most fundamental sense, hybridity refers to mixture and fusion, of species, races, plants, or cultures. The contemporary application of the term can be traced across various disciplines, from biology and chemistry, to linguistics, politics, racial theory, and popular culture. Developed from its roots as a biological term, hybridity is invoked in discourses about identity, multiculturalism, and globalisation. 

    The conference explores hybridity in an expanded sense that marks the coming together of performer and environment, materials and practitioners (including directors, designers, and technicians), performance and reception, event and analysis. Hybridity, therefore, as encounter, fusion, or grafting that informs and forms performance: as compositional and production strategy, as ensemble and assembly, as inter- and intradisciplinary endeavour, as inter- and intracultural phenomenon. 

    We call for presentations that investigate the ways in which performance and its study is bound up with questions of environment, encounter, and evolution that the concept of hybridity entails. We welcome case studies and conceptualisations that address these issues, whether or not they come from the performing arts. We are particularly interested in hybridity as it cuts across various aspects of performance, including the methodologies and processes that go into its production as well as the historical (analytical and archival) accounts of performance. 

    Presentation topics might include, but are in no way limited to, issues and themes of hybridity in relation to practice, methodology, technology, spaces/sites, and fluid identities. For example:

    •    the hybridisation of physical and digital elements in performance (intermediality, multimedia, mixed media, MOOCs, use of mobile apps) 
    •    inter/multicultural performance 
    •    analytical frameworks like postcolonialism, postphenomenology, sociomaterialism, and interdisciplinarity in performance
    •    historiography and ethnography as hybrid and evolving practices that involve diverse methodologies and technologies from various sources
    •    training processes and compositional strategies like devising, choreography, and ensemble work
    •    practice as research case studies and applied performance as hybrid methodologies and practices
    •    issues related to genre, including performance art, ‘total theatre’, opera, and other forms like music theatre, mime, and dance that can be conceived in hybrid terms

    Abstracts of a maximum of 300 words should be submitted in Word doc by 17 December 2018 to the conference convenors, Prof. Frank Camilleri (University of Malta) and Prof. Paul Allain (University of Kent), on this address: Acceptance will be confirmed in early January 2019. If an official invitation is required earlier for research funding purposes, please contact the convenors and ensure that you submit your abstract as early as possible. Abstracts should also 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 are also encouraged to contact the conference convenors.

    The conference is organised under the auspices of Performance 21: Twenty-First Century Studies in Performance – one of the research groupings within the School of Performing Arts. P21 is committed to studying the twenty-first century through performance, to seeking new means and new meanings in the dynamic collisions of twenty-first-century practices, technologies, and theories, with the emerging knowledge benefiting practitioners and scholars across its transdisciplinary boundaries.

    The conference is supported by the European Theatre Research Network (ETRN) of the School of Arts at the University of Kent (UK).
  • CFP: Special Issues of Theatre Journal
  •  Date Posted: Tue, 4 Sep 2018

    Special Issue for September 2019: "Theatre and the Nonhuman"

    As terms continue to pile up to describe a condition, a time, or a mode of thought that must begin to acknowledge the nonhuman elements in a decidedly anthropocentric world--"becomings-," "post-human," "Anthropocene," or Donna Haraway's latest, "Chthulucene" (the tentacular or weblike series of interrelations with other species or "things," as Jane Bennett might put it)--Theatre Journal proposes a special issue devoted to considering the nonhuman in theatre and performance. This special issue turns to the nonhuman not as a turn away from the ongoing human concerns, indignities, and inequalities in the current global climate, but rather to suggest that a "nonhuman turn" might make us, as humans, more attuned and responsive to our reliance on nonhuman "others."

    Expanding the issues raised in Ric Knowles's 2013 Special Issue "Interspecies Performance," where "interspecies" emerged from intercultural and interdisciplinary concerns, this issue aims to examine and encounter nonhuman figures themselves within theatre and performance practices. In his edited collection The Nonhuman Turn, Richard Grusin proposes that: "To turn toward the nonhuman is not only to confront the nonhuman but to lose the traditional way of the human, to move aside so that other nonhumans--animate and less animate--can make their way, turn towards movement themselves." (Grusin, xxi) How nonhuman forms and figures move through theatre and performance is the focus of this issue.

    Theatre and performance have always relied on nonhuman forces--from stage spectacle to animals (live, pantomimed, imitated, or metaphorical), from technologies to environmental or site-based scenarios, from the chimeric figure to the mechanical robot. Nonhuman figures historically have populated texts and stages: from the Dog of Montargis to the robots of R.U.R; Actors "exit, pursued by a bear," and co-create figures with masks or puppets. Animals, chimeras, and spirits have also been central to ritual and religious performances. More recently practitioners have turned to bio-art, to cyborg figures, to environments devoid of human actors in an attempt to relate to or evoke the nonhuman. This issue then invites essays that encounter, analyse, and/or historicize nonhumans in theatre and performance, broadly understood. How and why has theatre traditionally addressed the nonhuman? How has the nonhuman been represented historically or in contemporary performance? How might the nonhuman begin to shift theatrical forms, texts, futures? 

    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 (bobkowkabany@me.comno later than 6 January, 2019  

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


    Theatre Journal

    Call for Papers

    Special Issue for December 2019: “Water”


    The 2011 appointment of an emergency manager to take over the city of Flint, under Michigan's controversial "Emergency Manager" law had disastrous consequences for the safety of Flint's water and the health of Flint's residents. The water crisis reverberated through the state, as water shut-offs began in Detroit, and protestors sought to block the state from allowing Nestlé to withdraw more water from its well in central Michigan. At the same time, climate change has brought about an increase in extreme weather patterns, leading to more frequent and more intense hurricanes and longer and more severe droughts. It also brings a rise in sea level, that threatens archives and architecture in Venice, and devastates communities such as the Ninth Ward in New Orleans. While water covers three-quarters of the planet, less than 1% is available for use. The United Nations predicts that by 2025, nearly two billion people will not have access to clean water.


    We invite scholars to submit essays that examine the relationship between water and performance, broadly defined. Essays might cover a wide range of water topics, including: Desiree Duell's A Body of WaterFire on the Water by the Cleveland Public Theatre, plays on water rights in the Global South such as Water! by Komal Swaminathan, Mary Zimmerman's Metamorphoses, the Vesturport Theatre's underwater finale to their production of Woyzeck, Juliana Snapper's performance in the underwater opera You Who Will Emerge from the Flood, drama-in-education and Theatre for Development water projects, creative protests for clean water, the act of water boarding, and water performance as a representation of community identity. What is an ethical use of water in performance and in spectacle? How might theatre be used as a tool for agitating for water justice? What is our relationship to water as artists, theatre scholars, and as human beings?


    This special issue will be edited by Theatre Journal co-editor E.J. Westlake (

    Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany ( no later than 1 February 2019.

  • New publication:What Matters? Talking Value in Australian Culture
  •  Date Posted: Fri, 24 Aug 2018
    Julian Meyrick, Robert Phiddian and Tully Barnett, with contributions from Heather Robinson and Fiona Sprott.  
    Monash University Press, 2018

    For authors Julian Meyrick, Robert Phiddian and Tully Barnett, cultural leaders and policy makers too often chase the perfect metric for activities whose real worth lies in our own personal experience.  When, they ask, did culture become a number and experience become data?

    The authors, now four years working collectively as Laboratory Adelaide, have researched the main challenge facing Australian culture today – how to demonstrate its value to governments, business and the public.  

    What Matters? charts a new way through an important debate stranded between the hard heads (for whom the arts are just another industry) and the soft hearts (for whom they are too precious for dispassionate analysis).

    As other sectors from sports to banks, churches to media platforms, reappraise their core purpose, this book argues our cultural values have likewise been distorted by political forces, the empty language of ‘function’ and methodological confusions.  For artists, managers, policy makers and board members, here are practical solutions to the current metric madness.  Say the authors,

     “The aim of the book is to rescue discussion about the value of culture from three flawed approaches – the bland but deadly platitudes of policy-speak; the obscure locutions of cultural theory; and the elitist ‘club’ talk that gathers around particularly high art forms. 

    As citizens of a multicultural, pluralistic democracy, we must be able to talk about the value and purpose of cultural activities in a way that makes sense both to artists and the public.

    Theatre director and Strategic Professor of Creative Arts, Julian Meyrick; Professor of English, political satire scholar and co-founder of the Adelaide Festival of Ideas, Robert Phiddian; and English lecturer and digital humanities expert, Dr Tully Barnett, reject the bogus idea that it is possible to measure the value of arts and culture without knowing anything about them.

    “There is no algorithm that will objectively rank an art gallery against a publishing house or a computer game company.  We have to acknowledge that culture only has value through direct, meaningful human experience. This is why What Matters? is full of actual examples.”

    The time is ripe to find a better way to value our culture – by finding a better way to talk about it.

  • New Journal: Imagined Theatres Australia
  •  Date Posted: Tue, 14 Aug 2018
    Imagined Theatres Australia  is a collection of material from artists, writers, performers and directors/producers on their idea of an ‘imagined’ theatre if there were no budgetary or other constraints.  The project links to Daniel Sack’s book Imagined Theatres and Australia is the second site for the online version – the first being South Africa. It will operate, from now on, as a peer reviewed open-access online journal for artists and scholars. Submissions welcome (see flyer, attached).
  • CFP: Theatre and Internationalisation and Barrie Kosky: Past, Present, Future
  •  Date Posted: Mon, 30 Jul 2018
    The Department of International Studies: Languages and Cultures, Faculty of Arts, Macquarie University, in co-operation with the Goethe-Institut invites abstracts for a joint conference in Sydney on 26-27 April 2019:

    Theatre and Internationalisation


    Barrie Kosky: Past, Present, Future

    The conference will consist of parallel streams, joint sessions and a panel discussion at the Goethe-Institut on the above topics. 250-word proposals for 20-minute papers on any aspect of Theatre and Internationalisation in the contexts of Australia and/or Germany, Austria and Switzerland and/or any aspect of the work and influence of Barrie Kosky (the Australian Intendant of the Komische Oper Berlin) should be submitted by e-mail to both Ulrike Garde ( and John Severn ( by 17 September 2018.

    Registration costs of $100 full price and $75 concessions include a light lunch on both days.

    This conference is supported by the “Staging Migration in Berlin: Opera, Theatre, Performance, Film” research cluster in the Department of International Studies: Languages and Cultures, Macquarie University.

  • CFP: Australasian Drama Studies Journal, General Issue (74), April 2019
  •  Date Posted: Fri, 20 Jul 2018
    Edited by Yoni Prior

    We invite submissions for the general issue of Australasian Drama Studies, Issue 74, April 2019.
    Essay abstracts should be no more than 400 words ,stating the title and author/s, and should give a clear sense of the proposed argument or investigation. Essay length is a maximum of 6,000 words including bibliography. Please also submit a brief biography and set of key words.

    The deadline for essay abstracts is 30th September, 2018. Contributors will receive notification about acceptance by late October. Peer review will take place through November. The deadline for final essays is 31st January, 2019 and the journal will be published in April 2019.
    Please note that the journal is now published online, so we welcome the integration of rich digital format such as images, video footage, sound files etc.

    Please send enquiries or essay abstracts to Yoni Prior at

  • CFP: Performing Ecologies
  •  Date Posted: Tue, 17 Jul 2018

    Please note: the deadline for abstracts has been extended to 31 August 2018

    An interdisciplinary conference hosted by

    The Performance of the Real Research Theme

    The University of Otago, Otepoti/Dunedin, New Zealand

    21 – 23 November 2018


    Keynote presenters: 

    Emeritus Professor Baz Kershaw* (School of Theatre & Performance Studies and Cultural & Media Policy Studies, University of Warwick, United Kingdom)

    Louise Potiki-Bryant* (Ngai Tahu Choreographer - Dancer - Video Artist)


    The current “ecological crisis” has become a major contention, forming a variety of compelling performances which mediate and serve a complex nexus of political, ethical and social agendas. Indeed, many writers on ecology are increasingly arguing that we have to face the fact that the world is, so to speak, “in the shit”, and that, somehow, we have to learn to live with/in it. Besides attracting considerable media attention, there are questions raised around how performance – in a broad sense –might contribute to the discussion and work towards a more promising ecological future. By drawing together scholars and creative practitioners from a variety of fields to focus on the subject of ‘performing ecologies’, this interdisciplinary conference thus aims to provoke consideration of the role that performance and creative practice can and does play in our ‘learning to live with/in’ this “ecological crisis”.

    We invite interdisciplinary and discipline –specific responses to any of the following provocations:

    ·      Ecocritical research of and through performance

    ·      Media framings and performances of ecology, the “ecological crisis” and climate change (post-truth)

    ·      The performance of “nature” and particular environments

    ·      Ecomimesis (Timothy Morton, 2007)

    ·      The efficacy of performing ecologies; what performance might ‘do’

    ·      The use of the environment in performance – such as site-specific theatre

    ·      Dark ecology

    ·      Performances of apocalypse / dystopic future

    ·      Affective ecologies

    ·      ‘Morality’ performances and mediations

    ·      The performance of environmental activism/ protest

    ·      Performances of ecology in/for tourism

    ·      Ecologies in indigenous paradigms

    ·      Performances of the Anthropocene 

    ·      The performance of posthumanism and the environment

    We welcome abstracts for papers, performances, panels or other presentation formats, such as installations. Please submit a 250-300-word abstract of your presentation and a 150-word biography for each presenter by August 31, 2018. 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, Alex, at 

    There are a limited number of travel bursaries available for postgrad students. 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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    *Louise Potiki-Bryant is a Ngai Tahu choreographer, dancer, and video artist. With her artistic practice Louise aims to honour her whakapapa (genealogy), and relationship to the whenua (land). Louise is a founding member and choreographer of Atamira. She has also choreographed for companies such as Black Grace Dance Company, The New Zealand Dance Company and ?rotokare, Art, Story, Motion.


    *Emeritus Professor Baz Kershaw is at the School of Theatre & Performance Studies and Cultural & Media Policy Studies, University of Warwick, United Kingdom, and is author of Theatre Ecology (2007). Baz has directed PARIP (2000-06) investigating performance as research. His projects in experimental/community/radical theatre include shows at London’s Drury Lane Arts Lab, with Welfare State International, and since 2000 several eco-specific events in southwest England. Publications include Politics of Performance (1992), Radical in Performance (1999), Theatre Ecology (2007) and Research Methods in Theatre and Performance (2011: with Helen Nicholson

  • CFP: The S Word: Stanislavski in Context Symposium
  •  Date Posted: Mon, 16 Jul 2018
    Annual Symposium organised by The Stanislavski Centre and The Department of Theatre Studies (University of Malta) in collaboration with The University of California Riverside.
    5th, 6th, 7th April 2019
    Venue:                        The Valletta Campus of the University of Malta, Valletta, Malta

    Keynote speakers:       Prof. Laurence Senelick (Tufts University)
                                        Prof. Vicki Ann Cremona (University of Malta)

    Co-conveners:             Prof. Paul Fryer (The Stanislavski Centre)
                                        Dr Stefan Aquilina (University of Malta)

    Creative Adviser:        Prof. Bella Merlin (University of California Riverside)

    Following on from the past three successful editions of the Symposium, we are very pleased to announce the Call for Papers/Presentations for the fourth major event of The S Word project.
    In choosing ‘Stanislavski in Context’ as its title, the 2019 edition of The S Word Symposium shows a dual ambition. It invites proposals that reflect on Stanislavski’s work within the social, cultural, and political milieus in which it developed without however forgetting the ways in which this work was transmitted, adapted, and appropriated within recent and current theatre contexts. The Symposium’s reach, therefore, is both historical as well as contemporary, and participants are encouraged to think of Stanislavski both as an instigator of modern theatre as well as a paradigm for performance practices within twenty-first-century training and performance scenarios. 
    We invite proposals for contributions in the following formats:
    • an individual conventional paper (20 minutes);
    • practical/workshop sessions (40 minutes);
    • panel presentations (a minimum of three participants) (60 minutes);
    • and, for the first time this year, practice-as-research sessions/practical presentations (20 minutes).

    In the first instance please send a short written proposal (no more than 300 words) to Prof. Paul Fryer ( and Dr Stefan Aquilina (, to arrive no later than 30th November 2018. Please include a short bionote.

    Booking for this event will open on 1st September 2018.

    This event is generously supported by the School of Performing Arts of the University of Malta, and presented in association with Rose Bruford College of Theatre and Performance (UK).
  • New publication: Interdisciplinarity in the Performing Arts: Contemporary Perspectives
  •  Date Posted: Mon, 16 Jul 2018
    Dr Stefan Aquilina (Theatre Studies) and Dr Malaika Sarco-Thomas (Dance Studies), both of the School of Performing Arts of the University of Malta, have recently co-edited the publication Interdisciplinarity in the Performing Arts: Contemporary Perspectives (Malta University Press). The volume contributes to current discussion about the intrinsic interdisciplinary nature of the performing arts, while also identifying the potential which theatre, dance, and music have in creating bridges with other disciplines like neuroscience, social sciences, philosophy, pedagogy, and therapy.
    Featuring contributions from KU Leuven (Belgium), Royal Holloway (London), Ghent University, Universidade Estadual de Campinas (Brazil), Vrije Universiteit Brussel, the University of Malta, and Adam Mickiewicz University (Poland), Interdisciplinarity in the Performing Arts explores questions brought forward by approaches to performance that interweave theory and practice, through examples of methodologies, philosophies, interpretations, and applications of interdisciplinarity today. It should be of interest to scholars, practitioners, and students engaged in advancing practice and knowledge beyond the safety of segregated and well-trodden academic pathways.

    In this pertinent new volume, Aquilina and Sarco-Thomas bring together a timely collection of essays that articulate the potential, the potency, and the problem solving encountered in interdisciplinary research across the performing arts. Sharing methodological findings across a range of projects intersecting with neuroscience, philosophy, and the social sciences, this is a wide-ranging and persuasively argued book that engages with the practices and pedagogies of interdisciplinarity across both creative and academic arenas.
    -- Professor Maria M. Delgado, Director of Research of The Royal Central School of Speech and Drama (University of London)?

    This is an immensely valuable collection that provides a much-needed contribution to understanding the nature of interdisciplinarity in the performing arts. Aquilina and Sarco-Thomas have selected and carefully structured a diverse range of case studies, rooted in historical, philosophical, and critical discourses, bringing welcomed attention to a broad spectrum of interdisciplinary practices and scholarly enquiries. Accessible, engaging, and occasionally provocative, the book will be an important reference point.
    -- Professor Sarah Whatley, Director of the Centre for Dance Research (C-DaRE) at the University of Coventry

    For more information about the book, including details on how to purchase it, please visit:

    The editors can be reached on or
  • CFP: Behind the Scenes: Journal of Theatre Production Practice (BTS) invites submissions for Volume 2.
  •  Date Posted: Tue, 5 Jun 2018
    This issue will allow for a broad range of papers in response to the growing number of researchers in the production disciplines of theatre.

    BTS is a peer-reviewed, open-access journal focusing on the technical and production aspects of live performance that 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.

    General submission guidelines: Papers should be 3000 - 6000 words, excluding references, with illustrations, figures and tables included in the body of the document. APA is the preferred style and referencing guide for submissions.

    Papers may be submitted online at:
    or emailed directly to Managing Editor, Dr Sue Fenty Studham at

    Submission Deadline: 1 August 2018
  • CFP: Performing #MeToo: How Not to Look Away
  •  Date Posted: Tue, 15 May 2018

    Editor: Judith Rudakoff

    “Suggested by a friend: ‘If all the women who have been sexually harassed or assaulted wrote ‘Me too.’ as a status, we might give people a sense of the magnitude of the problem.”

    This tweet by Alyssa Milano, sent on October 15, 2017, opened the flood gates to an outpouring of testimony and witnessing across the Twitterverse that subsequently reverberated throughout social media. Facebook status lines quickly began to read “Me too,” and the hashtag #MeToo was trending. Abby Ohlheiser wrote in The Washington Post on October 19, 2017, “#MeToo has produced a kind of unity by volume, but when you speak to individual women about it, you find a wide range of responses — empowerment, exhaustion, solidarity, trauma.”

    The original MeToo movement began a decade earlier, in 2006, when African American activist Tarana Burke adopted the phrase as part of her campaign to raise awareness of sexual violence against women. Today’s provocative campaign has inspired not only awareness, testimony, and witnessing, but also artistic response.

    This CFP invites the international community of scholars and artists to contribute essays to a book that will focus on the diversity of responses to and critical engagement with live performance emanating from or dramatizing issues and experiences central to the #MeToo movement.

    Essays might examine contemporary work, or adaptations of works from other eras, re-imagined in a #MeToo context. A wide range of cultural voices reflecting a diversity of perspectives is encouraged.

    Critical engagement with live performance that blurs boundaries between genres or is outside of conventional theatre form is also encouraged. (For example, discussion and close reading of Kesha’s moving #MeToo performance of “Praying” at the 2018 Grammy Awards.)

    Essays should document, analyze, and interrogate specific performances and the contexts that inspired them.
    Abstracts of up to 500 words should be submitted on or before June 30, 2018 (to with the subject line #MeToo: your surname) as a double-spaced MS Word file attachment and should include a brief biographical note and indication of professional affiliation.

    Anticipated production schedule (subject to change)
    1. Abstracts due June 30 2018
    2. Papers due December 30 2018
    3. Revised papers due May 1 2019
    4. Manuscript submitted to publisher (Intellect Books UK) June 30 2019

    Full articles will be due on or before December 30, 2018, and should be submitted (to with the subject line #MeToo: your surname) as a double-spaced MS Word file email attachment following the editorial style of Chicago Manual of Style 16th Edition. Articles should be written in English and 5,000-7,000 words in length (including notes), although shorter pieces will be considered. Please include a brief biographical note with the final submission of up to 500 words that includes your affiliation.
    Please address any questions to:
    Dr Judith Rudakoff
    Theatre Department
    Centre for Film & Theatre
    York University
    Toronto, Ontario, Canada
  • book launch: Feminist Ecologies: Changing Environments in the Anthropocene
  •  Date Posted: Mon, 30 Apr 2018
    Edited by Lara Stevens, Peta Tait and Denise Varney

    This new volume critically engages with ecofeminist scholarship and defines ecofeminism as a multidisciplinary project.

    Feminist Ecologies: Changing Environments
    in the Anthropocene (Palgrave Macmillan, 2018) explores a variety of perspectives on ecofeminism through case studies in diverse areas, such as the arts, politics, and the economics of the mining industry.

    'As this extraordinary collection of writings decisively demonstrates, feminist theory’s fundamental commitment to equality and justice make ecofeminism the most powerful intellectual framework for tackling the increasingly complex and urgent manifestations of the global environmental crisis... Feminist Ecologies will be an invaluable resource for thinking, teaching, and acting responsibly in and about the Anthropocene.’
    —Una Chaudhuri, Professor of English, Drama
    and Environment Studies at New York University, USA

    Event Details
    6.30 - 7.30pm
    Wednesday 2 May
    4th Floor Linkway John Medley Building
    University of Melbourne Parkville VIC 3010
    Admission is free. Bookings are required.
  • CFP: Australasian Drama Studies (ADS) Special Issue:Turangawaewae/A Place to Stand: Situating Contemporary Indigenous Performance in Australasia (and beyond)
  •  Date Posted: Mon, 12 Mar 2018
    Turangawaewae is a term from Te Ao Maori (the Maori world) which is often translated as 'A Place to Stand', but refers to the concept of home, or traditional grounds/whenua. It is explained by Te Ahukaramu Charles Royal as “places where we feel especially empowered and connected. They are our foundation, our place in the world, our home.[1]
    Turangawaewae draws on the representation of home/place/culture/identity from inside and outside traditional landscapes, as well as connecting with the provocations of 'standing ground' or standing up. Prioritising the work and voices of First Peoples, this Special Issue will explore how Indigenous performances in Australasia assert, negotiate, share and challenge distinct places to stand’.

    Submissions might explore topics such as:

    The distinct ways indigenous performances are made and/or received, at ‘Home’ and ‘Away’;
    • Ways of reading and seeing indigenous performance in indigenous contexts
    • How to engage indigenous audiences locally, nationally and internationally
    • Challenges of working on and off country

    How indigenous performance negotiates cultural and artistic exchange on many platforms;
    • Trans-indigenous collaboration between artists across nations, and between artists and activists
    • Funding and Festivals: how indigenous performance is ‘placed’ and curated in a national and/or global framework
    • Negotiations between local and global, between the traditional and the contemporary

    How indigenous performances assert ‘place’;
    • The interweaving whakapapa (genealogy)of contemporary indigenous performance
    • Ecocentric representations of land and place
    • Themes of Kaitiakitanga (caretakership)

    The issue will be co-curated by Dr Nicola Hyland, Dr Liza-Mare Syron and Associate Professor Maryrose Casey. We are looking for a variety of submissions (max 6000 words), both critical and creative, which speak to these ideas. Please contact us for more information, or to send an expression of interest and abstract.

    Submission drafts are due by August 1, 2018.

    [1] Te Ahukaram? Charles Royal, 'Papat??nuku – the land - T?rangawaewae – a place to stand', Te Ara - the Encyclopedia of New Zealand, (accessed 12 March 2018)
  • CFP: Colloquium on the Work of John M. Clarke Massey University, Palmerston North, 25-26 May 2018
  •  Date Posted: Mon, 12 Mar 2018
    John Clarke (1948-2017) was one of Australia’s and New Zealand’s most accomplished and most celebrated humourists. From his early performances as the iconic character, Fred Dagg, to his creation of one of Australia’s most acclaimed screen comedies, The Games (1998-2000), and through his three decades of incisive comic interviews alongside Bryan Dawe, Clarke emerged as the pre-eminent antipodean political satirist, working across multiple media and formats. His influence was such that he did not simply embody the comic traditions of two nations but transformed and extended them. Clarke’s comedy occupies a central place in the cultural landscape of both countries that he called home.

    One year after his untimely death in 2017, contributors are invited to propose papers for a colloquium that will critically examine his life and work. The event will be held at Massey University, Palmerston North—the city of Clarke’s birth and childhood—from May 25-26. The academic program is planned to accompany several other events remembering Clarke’s life and work.

    Papers are welcome on any aspect of Clarke’s life and work, his relationship to comic and national traditions, his work across different media, and his role as a satirist, commentator and public figure. A limited number of papers may be selected for inclusion in a forthcoming 2019 special issue of the Journal of Comedy Studies [] dedicated to Clarke’s comedy.

    Submission of Abstracts and Bionotes

    Abstracts should be no more than 500 words, including a title and any essential references.  Please prepare a word-document using Times New Roman 12 pt font and double spacing. The Call will close on 18 March 2018. Submit your abstract, accompanied by a 150 word bio-note that includes your affiliation and contact details, by email to:
    Dr Nicholas Holm
    English and Media Studies
    Massey University, Wellington

    Review Procedure
    Abstracts will be independently reviewed in the order received by at least two members of the Colloquium Scientific Panel, comprising:
    Nicholas Holm, Massey University, Wellington
    Robert Phiddian, Flinders University, Adelaide
    Jessica Milner Davis, Sydney University, Sydney
    Anne Pender, University of New England, Armidale
    Mark Rolfe, University of New South Wales, Sydney

    Correspondence about the Colloquium should be addressed to Nicholas Holm (see details above).
  • CFP: Performing the University (working title) an anthology about the concept of the university as performance
  •  Date Posted: Tue, 6 Mar 2018
    Volume Editors:
    James Arvanitakis (Western Sydney University)
    Peter Copeman (University of Canberra)
    Amanda Burrell (Western Sydney University)

    Universities are cultural entities, fashioned, refashioned and contextualised in specific social and historical circumstances, in elaborate and protracted processes. As such, they are constituted by behaviours that are learned, rehearsed, presented and re-presented over time as a series of performances.

    We can see parallels between performance events and the idea of the university. Performance events seek the productive immersion both of performers and of audiences in a co-constructed present experience of meaning-making, in a way where something significant happens to them, where they contribute to and shape what is happening, and where they are also conscious of the experience in a way that takes them into and beyond the present moment. Similarly, in the university, we search for ways to promote the productive involvement both of educators and of students in co-constructed experiences of meaning-making. This happens in a way where something significant happens to both, where they contribute to what is happening, and where they are conscious of the experience in a way that takes them into and beyond it.

    The vein is richer if we widen the scope to embrace the wider shades of meaning of performance, around notions of identity, agency, influence and efficacy.

    This book is primarily geared toward university administrators, academics, students, government education bureaucrats, politicians, and anyone else with a stake in the tertiary education sector and an interest in what universities are and do. It should also be of interest to the performance studies community.

    We invite chapter proposals for contributions representing a range of perspectives from performance scholars and practitioners, academics and researchers in other disciplines, students, university leaders and administrators, and others. Contributions might explore the broad notion of the university as performance as touched on above, but might also apply a more specific performance studies lens to themes such as:
    • The university as a site of improvisation.
    • Assessment of institutional, team and individual staff achievement, efficacy and impact, against predetermined criteria such as key performance indicators, including notions of the performative university where performative has a narrow meaning around measurements of efficiency, accountability, and meeting the demands of the market.
    • Outward-facing front stage impression management by universities via branding artefacts such as websites, social media, strategic plans and so on, compared with actual back stage experiences for staff, students and other stakeholders.
    • Gamification of university staff performance management, recognition and reward.
    • The dramaturgy of curriculum design and delivery, research and publication, academic career-building.
    • Student liminality, identity-building and becoming.
    • Masking and unmasking in teaching, research, and university administration.
    • The performance of academic expertise and credibility in a post-truth era.
    • Celebritisation of academic rockstars.
    • Universities as gendered organisations.
    • Metaphors of teaching, learning and assessment as performance.
    • The explicit adaptation and application of performance techniques in university teaching and learning contexts (e.g. public speaking and presentation, language learning, clinical simulation).  
    • University ceremonies, rituals and costumes, whether formal or informal.
    • The representation of universities, academics and students in theatre, film, television, song, music, dance or other performance events.
    • The status of explicit performance schools within universities, and the influence of the presence of such schools on overall institutional performance.
    This list is not exhaustive. We invite other interpretations that assert a good fit with the book concept. Please feel free to contact Peter Copeman for an initial discussion to help determine likely suitability.

    We also propose to include a bibliography of previously publications that could otherwise have been eligible for consideration for this book, and so invite submissions either of copies of such publications or links to them, together with a paragraph or so for each outlining a case for why they should be considered.

    The deadline for proposals is Tuesday 3 April 2018.

    Proposal Guidelines
    Email a 300-400 word abstract to Peter Copeman (
    Please include a 150-200 word bio highlighting your performance/performance studies or related credentials.
    Final length of accepted manuscripts will be 4000-6000 words.
  • New publication: Elfriede Jelinek Goes Australia: Indigenising an Austrian Nobel Prize Winner (2017); edited by Andre Bastian
  •  Date Posted: Mon, 26 Feb 2018
    Austrian writer and 2004 Nobel Prize in Literature winner Elfriede Jelinek has never shied away from bringing up painful issues within the discourse of modernity. In her oeuvre of over sixty plays and novels she has worked time and again on a vast variety of related topics spanning from the repression of the weak to the fascisms of everyday life in consumerist societies.

    Elfriede Jelinek Goes Australia: Indigenising an Austrian Nobel Prize Winner is the first volume entirely published on Jelinek’s work in Australia and gathers a series of analyses around Princess Dramas at Red Stitch Actors Theatre—the first-ever production of one of her plays on an Australian stage, in Melbourne, 2011. It discusses questions of the Austrian writer’s complex writing strategies, potential problems of cultural transfer, the international reception of Jelinek’s work, and the contribution her work for theatre can make to a series of fundamental aspects of the global discourse of current times: feminism, sports and racism.

    ISBN: 9781925588514

    North Melbourne: Australian Scholarly Publishing

    Further Information:
  • CFP: Popular Entertainments Working Group, IFTR 9-13 July 2018
  •  Date Posted: 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
  •  Date Posted: 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:
  •  Date Posted: 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
  •  Date Posted: 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]
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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.
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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)
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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
  •  Date Posted: 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.

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