|Type of event:||Annual Conference|
|Venue:||University of Tasmania, School of Creative Arts|
The Festival is, arguably, the dominant contemporary form of encounter with theatre and performance; if not aesthetic experience in general. As a form, the festival is a flexible container: for art, theatre, dance and music, but also food and wine, sustainability, and even dangerous ideas.
The festival is particularly important, then, for theatre and performance studies, as it is the place where we experience much theatre and performance. Festivals not only include theatre but are inherently performative: reliant on the same durational scarcity of experience to create their cultural capital. Does the festival, as a medium or container for experience (like the smartphone, or the web-browser), lend certain values, ideologies, or constraints on our experience? What kinds of art-going cultures are festivals creating, and what kinds of histories, traditions, and beliefs might they draw on? As inherently social events, festivals provide a different frame of reference to think about the social (and political) nature of these experiences; as sites of resistance, or perhaps just the backdrops to our selfies. How has the festival been historically positioned, and does this history inform contemporary practices?
In response to this theme, the 2019 ADSA conference calls for papers that consider how Theatre and Performance exist within the cultural paradigm of the festival. What do we gain for moving beyond the ‘theatre’ and into the ‘festival’, and what might we lose? following:
Jane Woollard -
Asher Warren -