Society for Theatre Research Annual Conference*
29thand 30th, 2020*
Graft: Performance, Labour and Value*
annual conference of the Irish Society for Theatre Research invites
and performance presentations that consider the intersection of
labour and value. How is labour valued in theatre and
scholarship and practice? Whose labour gets recognised, and
labour remains invisible? The conference considers these questions
two interrelated tracks: the external, societal/institutional values
on performance practices, texts, artists and research; and the value
in operation within theatre and performance practice and
the ongoing context of diminishing support for the arts and humanities
pressure continues to be placed on those working in
scholarship and practice to defend the importance and value of
labour. Simultaneously, the “creative industries” continue to be
as an area of exciting potential, and as Jen Harvie highlights, in
contemporary global, neoliberal world order, ‘artists, arts and culture
currently being instrumentalized as economically important’ (*Fair
Art, Performance and Neoliberalism, *(2013), p.64). This importance
translates into increased economic support for arts workers, who are
viewed as perfect examples of “model” entrepreneurs and autonomous,
labourers (Rosalind Gill and Andy Pratt, 2008). In the editorial
a 2013 special issue of *Performance Research*“On Value”, Joslin
and Mick Wallis frame their discussion of the cultural value of
within the context of funding cuts to the arts and the
necessity for artworks to provide “value for money” (McKinney
Wallis, 2013). Alongside other contributors to the debate, they also
the gulf between how arts practices are valued externally by
bodies and institutions, and the difficulty of tackling the messy
and immeasurability of “intrinsic” values, such as the social,
and inter-relational aspects (Ibid). Little can be seen
have changed in the prevailing socio-economic context of subsequent
and the question remains as to how research in the performing arts
provide productive ways to think differently about how labour in the
is measured and valued?
an article on ‘Stealth Pedagogies’, Bryony Trezise questions how
labour can keep the “radical disciplinary intentions” and the
of thought” (Sarah Ahmed, 2017) of performance alive within
hierarchies that ‘value certain (dis)embodiments of thought
others’ (Trezise, 2019). What advantages or disadvantages does the
of creative energies, modes of thought, and affective labour in
arts for *other *fields of research have on how performing arts
perceive their own labour? How is immaterial labour valued in
fields of theatre and performance scholarship? Grass roots feminist
such as Waking The Feminists have brought awareness to the gender
in the Irish theatre industry in the realm of the visible,
the representation in funded institutions of male versus female
directors and designers, for example. This important work
the question of what invisible labour is supporting current
and industry hierarchies? What falls outside of current
of evaluation and record keeping? As Susan Leigh Foster highlights
her study of value in dance, ‘[v]alue accrues through individual choices
that people make and is often established through the practices and
institutions that assign significance to various kinds of objects and
events’ (*Valuing Dance*, 2019, p.1). How might theatre and performance
scholarship and practice harness this agency for action through the labour
of individual choice, and how might this affect the accrual of value?
Proposals for paper and performance presentations are invited to address
the following questions, or any other related aspect of the conference
– How is time valued in theatre and performance practice and research?
– What is the relationship between authenticity and value in theatre?
– What “invisible” labour exists in performance practice and research?
And who performs it?
– What performance texts, practices or corporealities remain
unacknowledged and/or undervalued within theatre research?
– How do institutions bestow value on theatre and performance
– What happens when performances and/or performance texts reference
the labour that has gone into producing them?
– How does a knowledge of the labour that has produced a performance
element alter its perceived value?
– What alternative models of value can be found in operation in
theatre and performance practices and/or research?
– Are there associations that de-value performance
– How is the value of liveness in performance transforming in an age
of social media?
– How does theatre performance and scholarship allow for a valuing of
unproductivity, of failure, or of a lack of resilience?
– What are the advantages and/or dangers of considering invisible
labour outside of economic terms?
Dr Aoife Monks (Queen Mary University of London) is a confirmed keynote
speaker, and the conference will close with a plenary roundtable bringing
together invited speakers from industry and research. Further details will
be announced on the ISTR website as they are confirmed.
Proposals are very welcome from researchers at every career stage and from
researchers working in any discipline related to theatre and performance
studies. We invite proposals for papers, panel discussions, artist talks,
workshops, and short performance demonstrations. Proposals that engage with
the conference theme in both an Irish and/or an international context are
welcome. Proposals outside of the conference theme, but that are related to
theatre and performance on the island of Ireland will also be considered.
The conference welcomes all corporealities and the conference facilities
are fully accessible. All accompanying children are very welcome but must
be supervised by a parent or guardian at all times. There will be a
dedicated breastfeeding room that parents with babies or toddlers can use
as a quiet space.
*Format for submissions:*
Papers, artist talks, and practice demonstrations should be of maximum 20
minutes duration. Proposals for workshops and performances must specify
activity length (a maximum of 1hour duration is recommended). Proposals for
other, non-standard presentation formats are also encouraged.
Please include the following in your proposal:
· Names of presenter/s and organisational/institutional affiliation/s
· Title and type of submission (e.g. paper, artist talk, panel,
· Technical, spatial and duration requirements;
· Biography of each presenter (max 150 words);
· 300-word abstract/description.
*Submission and Deadline:*
Proposals should be submitted to: firstname.lastname@example.org
On or before *14th February 2020*
Decisions will be communicated by *March 2020.*
Full Fee (including ISTR Membership): £100
Student/Unwaged Fee (including ISTR Membership): £40
A limited number of small bursaries will be available to support
postgraduate students who wish to present at the conference. If you wish to
be considered for a postgraduate bursary, please indicate this in your
proposal. Bursaries will be awarded competitively, based on the quality of
proposals received. These bursaries are sponsored by the School of Arts,
English and Languages, Queen’s University Belfast, last year’s host
institution, Mary Immaculate College, Limerick, and ISTR.
Please contact the conference convenor, Dr Aoife McGrath, with any queries:
Dr Aoife McGrath
Subject Lead, Drama
Brian Friel Centre
School of Arts, English and Languages
Queen’s University Belfast
I am writing on behalf of Professor Nicola Shaughnessy and the Playing A/Part team to make you aware of a conference exploring creative practices with autistic girls from the AHRC funded project "Playing A/Part<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fplayingapartautisticgirls.org%2F&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7C89efe1c6f4074dc0400608d772cd5493%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C1%7C637104098524325426&sdata=LPvu4n7xoxTpOza2ZEv3hleyKGJ3O03Xov3OAa8jW1I%3D&reserved=0>: exploring the experiences and identities of autistic girls through drama, interactive media and participatory arts" (Universities of Kent and Surrey). This is the second conference in a three year programme. To see highlights from our first event, click here<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DHDcogcB5qXg%26t%3D1s&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7C89efe1c6f4074dc0400608d772cd5493%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637104098524325426&sdata=DxzuB5nhB%2FPqQozzsgXEvTgURFzJPBKrnvuvLYVL3lc%3D&reserved=0>.
The call for paper includes posters and workshops and we would encourage anyone with suggestions for performance events appropriate to the programme to please get in touch.
Beyond the stereotypes: enhancing the recognition and education of autistic girls to improve their future quality of life
7th – 9th September 2020, University of Surrey
The conference aims to bring together academics, autistic people, medical practitioners, psychologists, teachers and artists to share and discuss both theoretical and practical knowledge relating to the recognition, education and future lives of autistic girls. Each day will address a different theme of importance for enhancing and empowering the lives of autistic girls, women and marginalised gender identities.
We invite proposals for papers, workshops, symposia and posters from academics, professionals, researchers, students, artists and anyone with lived experience or an interest in the topic. Submissions should address in some way the theme of the relevant day (see below) and might include, but are not confined to the following:
Day 1: Recognition of autistic girls
* Improving diagnostic recognition for autistic girls, women and marginalised genders
* Addressing the under representation/under-ascertainment of autistic girls and women, including bias against receiving assessment and bias against meeting diagnostic criteria
* Identifying and describing the lived experiences and characteristics of autistic girls
* Evidence based gender (in a non-binary sense) differences in autism, including gender-specific patterns in mental health for autistic girls, women and marginalised genders
Day 2: Issues around the education of autistic girls
* Identifying the educational needs of autistic girls
* Issues relating to the educational environment of autistic girls
* Supporting the wellbeing of autistic girls in educational contexts
* Consideration of alternative methods of education
Day 3: Futures of autistic girls
* Futures for autistic girls as adults
* Futures for participatory autism and gender research
* New voices in Autism Research (includes keynote panel of early career researchers)
* Key issues and priorities for future research (e.g. mental health across the life course, interest led learning, autism and menopause, representing autistic girls with learning disabilities)
Please note that the preferred language for this event is identity first (i.e. autistic person).
Please submit your proposal via this form<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fplayingapartsurreyconference.files.wordpress.com%2F2019%2F11%2Fsurrey-2020-submission-form.docx&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7C89efe1c6f4074dc0400608d772cd5493%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C1%7C637104098524325426&sdata=Mp7gOryMSaOIKNG1f2kgIvxJhnTa63L%2F5EfQ08%2FBO3A%3D&reserved=0> to email@example.com<mailto:firstname.lastname@example.org> with the subject line "Abstract Submission". Call for papers close Friday 20th December 2019 and presenters will be notified by Friday 28th February 2020.
For further details on the conference please click here<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fplayingapartsurreyconference.wordpress.com%2F&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7C89efe1c6f4074dc0400608d772cd5493%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C1%7C637104098524325426&sdata=%2BZdY3fKIA68cFeFt9CpZvz50DUJ0w%2FKLPBAZdHPatyw%3D&reserved=0> and for any enquiries please email email@example.com<mailto:firstname.lastname@example.org>
*TDR Consortium Special Issue*
*Branislav Jakovlevi, 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,
theres 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 email@example.com
ISSN 2044-3714 | Online ISSN 2044-3722
2 issues per volume | First published 2013
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, we welcome articles, interviews, visual essays,
reports from conferences and festivals. We want to explore new critical
frameworks for the scholarship of creating a scene.
*Scene invites submissions for its special issue on: Creative and
Performing Arts Health and Wellbeing. *
Arts in health programmes across the country, indeed across the world, are
using diverse and dynamic disciplines in a variety of health, care and
community settings for expressive, restorative, educational and therapeutic
purposes. Some work preventively, some enhance recovery, others improve the
quality of life for people with long-term or terminal conditions. The
creative arts help make sense of our human condition, making room for the
heart and soul to be heard. They encourage active engagement with the world
around us, help people to keep learning, connect with each other and
contribute to their communities.
*Topics of interest might be:*
Heritage, Health and Wellbeing
Young People’s Mental Health
Critically Visual Artistic Interventions for the Critically Ill
*Submissions sent to: firstname.lastname@example.org
*Deadline: 30th September 2020*
Download the full CFP here >>
Proposals are invited for Talking TYA, a two-day international conference to be held as part of Galway’s celebration of its year as European Capital of Culture in 2020.
Organised as a collaboration between staff from Ulster University, Mary Immaculate College, Limerick and NUI Galway, the conference is supported by Galway 2020 and will be held in a partnership with Branar Téatar do Pháistí, O’Donoghue Centre for Drama, Theatre and Performance and the Baboró International Arts Festival for Children which begins on 12th October 2020. The conference itself will run from Friday 9th- Saturday 10th October at the O Donoghue Centre, NUI Galway Ireland.
Conference Theme: Participation in TYA
Theatrical performances for young audiences (TYA) is far from a new phenomenon, yet the emergence of a distinctive professional sector has accelerated over the last thirty years in Ireland, the United Kingdom, and globally. Although informed by and occasionally intersecting with other fields of practice including Theatre for Youth and Theatre-in-Education, it is characterised primarily by the work of adults who make and perform work for children and young adults. As Shifra Schonmann puts it, it is adults who “write the plays, who act and direct performances, and who choose the plays to be watched by the young audiences” (2006: 20). This defining characteristic has come under pressure more recently from a number of sources, at the level of public policy in some contexts, through innovations in performance practice, and in the processes by which performances are made. The reception of performance work has also been opened up to children and young adults through the development of opportunities for them to act as critics of the work. These developments notwithstanding, there is a significant gap in the field in relation to evidence of the efficacy or impact of the practices adopted in increasing the agency of young people in shaping the field of practices created specifically for them.
This conference aims to bring together scholars from across the island of Ireland and internationally to address this gap. We invite presentations that engage with the theme of participation in all forms of TYA performance, process, policy, training and engagement. The conference will include keynote presentations, workshops and panel discussions.
Proposals are invited for 20 minute presentations on a range of topics and from diverse perspectives. These might include but are not limited to discussions around the following dimensions of participation:
* Performance forms
* The evaluation and critical reception of TYA
* Policy frameworks
* Theories and models
* Processes for developing work
* The implications of inclusive practice
The organisers are exploring currently the opportunities for the inclusion of a selection of papers for publication following editorial and peer-reviewed feedback.
To submit a proposal:
* Submit a single document (either Word or PDF) containing a 500 word abstract and bibliography; identifying up to 4 keywords, and a short biography (200 words maximum) by 12 noon on Friday 10th January 2019 to email@example.com
* Those wishing to engage with alternative approaches to presenting research, such as performance-papers, are asked to include an additional 100-word statement detailing the intended format.
* Your proposal must include your name, institutional affiliation and email address on the top left of the first page.
* Proposals will be reviewed by the Organising Committee and decisions will be communicated by Friday 7th February 2020.
The Organising Committee members are:
Dr Tom Maguire (Ulster University), Dr Fiona McDonagh, Dr Dorothy Morrissey (Mary Immaculate College, University of Limerick), Marc Mac Lochlainn (Branar), Marianne Ní Chinnéide (NUI Galway).
Dr Tom Maguire
Head of the School of Arts & Humanities
Call for Proposals
Performance Studies international Annual Conference
PSi2020 Crises of Care: Act, Respond, Engage
July 7-11, 2020 – Rijeka, Croatia
Deadline for proposals: December 31, 2019
The curators of the Ends stream at PSi2020 are pleased to announce that the calls for proposals for PSi’s annual conference is now open. The theme for the conference this year is Crisis of Care: Act, Respond, Engage.
Ends is one of the six interweaving streams of research (sort of conferences-within-conference) that responds to contemporary issues. The other five streams are: Listening; Materiality and Corporeality; Neighborhoods; Editing, Curating, Publishing; and, Times of Power, Historical Paradigms.
You can read more about our stream on the website: https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fpsi2020rijeka.com%2Fthe-streams%2Fends%2F&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cacb51fbce47d4727b48b08d76703c5ac%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637091138224927618&sdata=9gXer0M5uQFzen5f8s6J0cmSfN8sFzflaFlF4E5LlCE%3D&reserved=0
The international curators of the Ends stream, Kristof van Baarle (University of Antwerp, Belgium), Felipe Cervera (LASALLE College of the Arts, Singapore), Rayya El Zein (Wesleyan University, USA), Kyoko Iwaki (Waseda University, Japan) and Eero Laine (University at Buffalo State University of New York, USA), are looking forward to receiving your proposals.
Call for Proposals
Eventually, all ends. Ends are biological as much as they are political; phenomenological as much as metaphysical; embodied as much as intangible. Yet, in contrast to the omnipresence of narratives reflecting the ends of the human, the planet, and democracy (among others), we find the ends declared in dystopic, utopic, and other visions in between do not arrive. Like Beckett’s Didi and Gogo, we are perpetually waiting, ending, but never quite so. The ends have been unmoored from a chronological timeline and have transformed into a chronic condition of mourning.
In performance studies and in contemporary performance practices, theorists, and practitioners have explored the affective, aesthetic, and political resonances of these ends in different ways. These approaches to impending ends show a certain cyclicality and intellectual inclination towards the hopes for a “post-” that is, in consequence, never quite it. Although the ends are upon us together, they are always delayed, in the durational now—both in the world and in the theory we produce. Ends proposes to take the ends as multiple, as an ontological overlap of finitudes and to develop collective epistemes of the end. This conference stream will therefore experiment with distributed authorship and research as the methodology for the ends. What is the performance theory of our ends? And beyond, how might we push performance theories to consider the ends of performance beyond the potency of the ephemeral and the production of alternatives? What is performance (theory) as a means without ends?
Ends will be a stream committed to collective writing, shared knowledge, and an intellectual commons. It is an attempt to reshape and overwrite notions of singular authorship and creation that remain pervasive in performance studies and affiliated disciplines, even as such ways of making often sit in opposition to the political and artistic work to which we aspire.
Rationale and Structure
The collaboration of Ends will extend beyond the local time of the PSi conference. The curators of this stream plan to devise practices of transindividual writing that work across either physical or digital platforms to explore the processes of collective research and creation. In their submissions, participants are asked to articulate a vision of ends and express a willingness to work between the individual and the collective author. Beginning in early 2020, stream curators will facilitate a process that will culminate in shared writing, exchanges, and performance installations during the PSi Conference in Rijeka.
During the conference, the stream will convene at the University of Rijeka in the morning for panels, roundtables, workshops, and in person meetings that stem from the work prior to the conference. Additional workshops and discussions will take place during the early afternoon as part of the conference-wide Intensive Care and Institutional Critique programs. In the late afternoon, the stream will convene and use the stage, auditorium, and boxes of the National Theatre of Croatia in Rijeka to put the ideas, thoughts, and performances discussed into praxis. Members of the stream will create and take part in the interactive performance installation, which will evolve from the collective work leading up to the conference and that will be open to all conference attendees. At the moment, the afternoon session is still open to new ideas, and the members of the stream are willing to collectively develop the precise format of the event in the upcoming months.
We invite interested parties (individuals or collectives) to submit proposals via the application form. Feel free to indicate a type of presentation with the understanding that it may change through the collaborative process.
In the brief biographical statement, please describe your (in)experience with collaborative writing.
How to Apply
To submit a proposal for the stream Ends, please fill out the online application form, which can be found here<https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdocs.google.com%2Fforms%2Fd%2Fe%2F1FAIpQLSfZByKhAaxtRerzoyhEI6MznWU-QN4UeAbSa5GxSasOE48Y8Q%2Fviewform&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cacb51fbce47d4727b48b08d76703c5ac%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637091138224927618&sdata=DHCghc0hrsrU8JUR2IHOU%2BZdHUXnZA4rc4FJ048KEaE%3D&reserved=0>: https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fpsi2020rijeka.com%2Fconference%2Fapplication-form%2F&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cacb51fbce47d4727b48b08d76703c5ac%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637091138224927618&sdata=UnrlXPnU6zWKQVAY2arlvW2Xz953lLkPOAGQCNkRJsY%3D&reserved=0
Also provide an image or audio that complements or interacts with your abstract—this might be of your own work as an artist or other material. (This is a special requirement for this stream and should be sent directly to the stream contact: firstname.lastname@example.org)
The deadline to submit a proposal is December 31, 2019.
All other conference dates and deadlines can be found on the conference timeline<https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fpsi2020rijeka.com%2Fconference%2Ftimeline%2F&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cacb51fbce47d4727b48b08d76703c5ac%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637091138224927618&sdata=40xGzQ8r%2Fi9ljyIbar96YMc2cJR52mBVhdsQW%2BhbIl4%3D&reserved=0>.
Please direct any questions regarding your application to email@example.com<mailto:firstname.lastname@example.org>