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ADSA 2016 Resilience: Revive, Restore, Reconnect.

Depending upon whether you are thinking of the Borg from Star Trek or the Vogon from the Hitchhiker's Guide to the Galaxy, the old saying goes ‘Resistance is futile/useless'. Sometimes it is best to adapt, revise, regroup, move, bend, or change rather than resist. To remain relevant, vital and strong resilience is important. Resilience enables us to hang in there, to recover quickly, to rebuild and thrive. Sometimes the focus of our art/research/educational practices/sector is building resilience in others. Sometimes it is important to focus on building resilience within ourselves as individuals or in our communities of practice. Resilience implies a source of compression, a passage of time, and a process (or an innate ability) to spring back to a (positive) “normal” state. The norm may now be at a point further along in our development or could be from times past when the trend cycle returns us to once-popular ideas, places, artworks and artists ready for restoration and/or reconnection. This theme complements that of ADSA's 2014 Conference: “Restoring Balance” offering those that wish to a chance to revive, restore, and reconnect with those conversations. It is also hoped that the Resilience theme provides new scope to be interpreted afresh and ADSA members are invited to respond to the theme in relation to theatre, drama and performance broadly.
ADSA 2015 Revisiting The Player's Passion: the Science(s) of Acting in 2015

University of Sydney, 23-26 June 2015 The ADSA Conference in 2015 will be ‘Revisiting The Player's Passion: the Science(s) of Acting in 2015', 23-26 June 2015, at the University of Sydney. Coinciding with the 30th anniversary of Joseph Roach's landmark contribution to the field, the conference will include a lecture from Roach himself, and will invite academics, artists, students and other members of ADSA to consider acting in the broadest sense, as we use it today, to include all genres of aesthetic acting and performing (such as dance, singing, physical theatre, circus, puppetry and objects), as well as social, human and non-human actors and performers.