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

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

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

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

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

Contributions to the issue may address the following topics:

Technological innovation in contemporary Australian performance

Merging of technologies – sound, vision, performance

Sound as presence or character

Internet as performance space

Technodrama and mixed reality

Virtual actors and digital scenery

Creative form and its ghosts, its evidence / residue

Dramaturgies in vision and sound 

Social media and/as performance

Performance in the digital age

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

Visual documentation and its value

Pandemic constructs of performance and presentation

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

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

Submission of abstracts/drafts: Friday March 19^th to guesteditor.ads@adsa.edu.au

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

Dr Yoni Prior, Editor: Australasian Drama Studies 

• Actresses and the negotiation of celebrity
• The representation of actresses in the media/by critics/in academe
• Female roles on the 21^st 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

Call for Papers

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

"On Invasion"

• Theatres and performances of invasion, of resistance.
• Disciplinary invasions: borrowing or stealing perhaps, from theatre to elucidate other arguments or fields, and what of performance’s disciplinary invasions or incursions?
• How do we negotiate in performative terms invasions of bodies, minds, through persecution and war and/or the drive for geo-political expansion?
• What are the contemporary artistic strategies that invade social space?
• How does theatre and performance alter the status quo?
• What of ecological invasion? Rising sea levels, species decline, fire, drought, pestilence, flood?
• Bombing, loss of life, dislocation and fear in the face of military oppression.
• Resistance, refusal, solidarity and stealth.
• Hope and renewal; can signs of resolution or peace be found among the wreckage of tragedy?
• Increasing surveillance and control via digital platforms and media and our willingness to participate, despite the risks. How much is one’s identity worth these days?
• Controlling viruses and the associated impacts on the arts sector. How much is too much? 
• Saving lives and economic viability at what social cost?
• Do sanctions and boycotts seem useful strategies to halt invasion?
• What role might hacking and resistance, fighting back against ‘oppressors’ play?

• Before submitting a proposal, we encourage you to visit our website (www.performance-research.org ) and familiarize yourself with the journal.
• Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)).
• Proposals should not exceed one A4 side.
• Please include your surname in the file name of the document you send.
• Please include the issue title and issue number in the subject line of your email.
• Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images.
• Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.

• 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 21^st 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?

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

Tuesday 6 and Wednesday 7 April 2021

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

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

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

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

Wicked Problems and Speculative Futures: Writing the Anthropocene

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

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

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

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

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

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

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

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

Send proposals and queries in the first instance to Associate Professor Stephen Carleton, Director of the Centre for Critical and Creative Writing, on cccw@uq.edu.au.


Indicative Reading List:
Bradley, James. Ghost Species. Hamish Hamilton, 2020.
Coleman, Claire G. Terra Nullius. Hachette, 2017.
Freestone, Elizabeth and Jeanie O’Hare. 100 Plays to Save the World. Nick Hern Books, 2021.
Johns-Putra, Adeline, ed. Climate and Literature. Cambridge UP, 2019.
Lavery, Carl and Finburgh, Clare, eds. Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage. Bloomsbury, 2015.
Morton, Timothy. Dark Ecology: For a Logic of Future Coexistence. Columbia UP, 2016.
Scranton, Roy. Learning to Die in the Anthropocene: Reflections on the End of a Civilisation. City Lights Publishers, 2015.
Taylor, Melanie Benson. “Indigenous Interruptions in the Anthropocene.” PMLA, vol. 136, no. 1, 2021, pp. 9-16.
Todd, Zoe. “Indigenizing the Anthropocene.” Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies. Edited by Heather Davis and Etienne Turpin, Open Humanities Press, 2015, pp. 241-254.

• 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.

• 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

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 (mmaufort@ulb.ac.be). 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.

Performance Paradigm 17 (2022)

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

New Publication, Out now

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

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

From the back cover:

Part One: Trans-national Geographies of the Modern Circus

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

Part Two: Circus Acts and Aesthetics

Job Opportunity: Lecturer in Theatre Studies, University of Melbourne

2023 Annual Conference

SAVE THE DATE: 27 NOVEMBER — 1 DECEMBER

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

• 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

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

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

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

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

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

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

Job Opportunity: Positions in Acting, WAAPA

• Senior Lecturer (Acting), the Course Coordinator role; and
• Lecturer (Acting), the core acting skills teacher in the team. 

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

Dear colleagues,

The University of Tasmania is currently recruiting for a full-time, ongoing Technical Officer (Performance) to support the activites of the Theatre and Performance program, based in Launceston. Full details and the application link can be found via the UTas Careers site (https://careers.utas.edu.au/en/job/498111/technical-officer-performance) — please note the deadline for applications is rapidly approaching: Monday 28 November, 11.55pm (AEDT). 

Best wishes.
Chris.

• Celeste Rodrigues Luoro (The University of Western Australia) and Glenys Collard (Mallee Aboriginal Corporation): Sharing their journey through their First Nations-le collaboration to study Australian Aboriginal English, an Indigenised variety of English spoken by approximately 80% of First Nations people in Australia (Rodríguez Louro & Collard, 2020,2021a,b). Their sociolinguistic research into Aboriginal English as spoken in Nyungar country, Southwest Western Australia, has allowed them to record and analyse the way that people use language in everyday contexts.
• Daz Chandler, creative producer and interdisciplinary storyteller: Speaking from their background in documentary filmmaking, broadcast journalism and media and human rights advocacy, Daz shares their work exploring the intersections of philosophy, ethics, history, technology and parallel worlding frameworks. They will speak on their current practice steering into immersive, experiential spaces using quantum mechanics and ‘parallel futuring’ frameworks, and the role AI and technological advances play in capturing - and sharing - our voices and stories.
• Nazaree (Naz) Dickerson, Actor/Writer/Director and Associate Lecturer at VCA: Naz is a Wardandi/Bibbulman Noongar and Burmese person from Boorloo (Perth), whose work explores themes of experiencing the world as a neuro-divergent, queer, First Nations woman. She will unpack the complexities of ‘Voice’ through a First Nations perspective and share moments where ‘Voice’ has played a pivotal role in affecting change for individuals and community.
• Philip-Michael Pandongan, aka Yung Philly, freestyle rap artist: Yung Philly bring his stagecraft, wit, and panache off the stage and into community spaces in his Rap workshops. Informed by his work with various community arts practitioners, as well as his mentoring of young people from Melbourne’s outer north, Yung Philly has developed Rap workshops that help undergraduate Theatre students connect to heightened language. Explore using rap to organically stimulate the articulators, exercise wit and wordplay, and take a deep dive into mood and feeling. Yung Philly’s workshops offer an engaging, contemporary approach to exploring rhythm, flow, sense and meaning.

• maximum 6,000 words.
• maximum 4,000 words.

• short provocations or reflections of maximum 1,500 words.

• Proposals/first drafts: Monday 19th August 2024.
• Notification of acceptance: Friday 30th August 2024.
• Full drafts: Friday 25th October 2024.
• Peer review: October – December 2024.
• Final deadline for papers: Friday 21st February 2025.
• Publication: April 2025.