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News

CFP: Applied Arts and Health

21 September, 2020 | by SCUDD Administrator

{category cfp]

ADVANCE CALL FOR CONTRIBUTIONS

Journal of Applied Arts and Health (intellect)

Special Issue: ‘Art-based Research in Health and Well-being During the Pandemic’, Volume 12:3 (Autumn 2021).

This special issue aims to explore the considered effects of COVID-19 on the field of applied arts and health. We welcome contributions from a variety of countries and contexts. Related topics may include, but not limited to:

• Mental health in lockdown
• Connecting with communities
• Art-based research in lockdown
• ‘Doing’ art(s) online
• Examples of innovative, inspired, and/or ingenious practice
• Implications for practice
• Post COVID-19 care

The journal invites contributions from artists, researchers, healthcare professionals, educators, therapists and programme administrators throughout the world seeking to broaden understandings in the application of arts to well-being, health and healthcare practices. JAAH encourages the use of art (all art forms) as research in providing evidence and discourages research studies that are predominantly non-artistic in nature.

JAAH publishes:

• Peer-reviewed research articles
• Peer-reviewed ‘Notes from the field’ discussions
• Interviews
• Book reviews
• Conference reports

Submissions should be sent to: jaah.submissions@yahoo.com<about:blank> by 1 June 2021.

To propose a book review or conference report, contact the Reviews Editor at jaah.reviews@yahoo.com<mailto:jaah.reviews@yahoo.com>

Before submitting, authors should carefully review and follow the notes for contributors found on our website. Submissions that do not follow our formatting will be returned to the authors.

The peer review process takes approximately 10–16 weeks, depending on a number of factors. The given deadline is for articles that are accepted or accepted with minor changes. Articles which need major revision and/or a second round of reviews will require additional time and will be considered for a later issue.

All articles submitted should be original work and must not be under consideration by other publications.
Journal website: https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.intellectbooks.com%2Fjournal-of-applied-arts-health&amp;data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cfa0b8032f24e4c8cb4ef08d85db946b8%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C0%7C637362397673544561&amp;sdata=cGaYtBQMzzjQOjop7%2FeuWYFxYIXmIHKKDCb8WvPeIU8%3D&amp;reserved=0

SCUDD CONFERENCE

18 June, 2020 | by Glenn Odom

SCUDD Conference Online

June 25-6, 2020

 

 

Registration is now open for SCUDD 2020 Online.  Tickets are free and the event is open to all but places are limited.  Please register by Eventbright here: https://www.eventbrite.co.uk/e/scudd-2020-tickets-109811412892

 

Day 1 (25 June)

 

1:-2:30 pm Plenary: Teaching Online in the Performing Arts: Dr Karen Morash, Rose Bruford,’Devising in an Online Space’  and Dr Tom Gorman, University of Coventry and Dr Tiina Syrjä, Tampere University ‘Immersive Telepresence in Theatre

 

3pm – 3:30 pm Breakout groups – coffee

 

3:30-4: 30 pm Plenary: SCUDD survey of online teaching  – Dr. Robert Dean, University of Lincoln.  Respondent  Dr Cato Marks, Oxford Brookes University.

 

 

 

 

7pm: Evening performance Mandala Theatre Company’s Night Light

 

 

written by Nadia Davids, directed by Yasmin Sidhwa with Aimee Powell, Zak Douglas and Oliver Davis. Streaming of the filmed version of the live show.

8:15 Post show Q and A with director Yasmin Sidwha

 

 

 

Day 2 (26 June)

1pm-1:45 Plenary: David Kernohan, WONKHE. ‘sTEF Upper Lips?  Towards a Covid-Proof University’

 

2-4pm SCUDD AGM

 

4pm: Post AGM BYO drinks

 

 

 

 

Conference organized by the SCUDD Executive

 

 

 

CFP London Postgrad Conference

22 January, 2020 | by SCUDD Administrator

London Postgraduate Theatre & Performance Conference

23rd April 2020, King’s College London

Performance + Transition

Keynote lecture: Professor Nadine Holdsworth

Performance is always a process of transition: from text to stage, from actor to character, civilian to spectator. The performance space therefore becomes one of transformation, both of the individuals who enter it and of itself. How can we, as performers and researchers, understand these changes? What does it mean for a performance to be in transition: to be translated, transnational, transgender, transformative? What are the political, ethical, and aesthetic implications of these transitions? How are older texts transformed as they are retranslated, restaged, reborn?

Topics may include, but are certainly not limited to:

* Theatre translation
* Performing the body/the performative body
* The (changing) role of the ‘spectator’
* Performance in a time of transition
* Staging political transformation
* Gender and performance
* Transnational theatre
* The production of space
* ‘Queering’ performance/the institution
* “Interweaving performance cultures”
* Institutional dramaturgy/the institution on stage

We invite speakers to interpret the idea of a paper as broadly as possible, as loosely as they like, to examine the theme of transition through traditional academic presentations or through performance, with multimedia presentations or with their own bodies.

This conference will be the first of its kind in London. We invite responses from postgraduates, early career researchers, and theatre and performance practitioners working in any discipline to submit abstracts/proposals of no more than 250 words for 20-minute papers/performances to lptpctransition@gmail.com<mailto:lptpctransition@gmail.com> by 6pm on Friday 29th February 2020. Please also provide a short biography of no more than 100 words.

Please do pass this on to postgraduate students who may not have access to this list.

All best wishes,

Joseph & Molly

CFP Irish Society for Theatre Research Annual Conference

10 December, 2019 | by SCUDD Administrator

[Category CFP}

*Call
for Papers*




*Irish
Society for Theatre Research Annual Conference*




*Queen’s
University Belfast*




*May
29thand 30th, 2020*








*Hard
Graft: Performance, Labour and Value*








The
annual conference of the Irish Society for Theatre Research invites


papers
and performance presentations that consider the intersection of


performance,
labour and value. How is labour valued in theatre and


performance
scholarship and practice? Whose labour gets recognised, and


whose
labour remains invisible? The conference considers these questions


along
two interrelated tracks: the external, societal/institutional values


placed
on performance practices, texts, artists and research; and the value


systems
in operation within theatre and performance practice and


scholarship.







*Outside
In*




In
the ongoing context of diminishing support for the arts and humanities


internationally,
pressure continues to be placed on those working in


theatre
scholarship and practice to defend the importance and value of


their
labour. Simultaneously, the “creative industries” continue to be


viewed
as an area of exciting potential, and as Jen Harvie highlights, in


the
contemporary global, neoliberal world order, ‘artists, arts and culture


are
currently being instrumentalized as economically important’ (*Fair


Play:
Art, Performance and Neoliberalism, *(2013), p.64). This importance


rarely
translates into increased economic support for arts workers, who are


often
viewed as perfect examples of “model” entrepreneurs and autonomous,


precarious
labourers (Rosalind Gill and Andy Pratt, 2008). In the editorial


of
a 2013 special issue of *Performance Research*“On Value”, Joslin


McKinney
and Mick Wallis frame their discussion of the cultural value of


performance
within the context of funding cuts to the arts and the


problematic
necessity for artworks to provide “value for money” (McKinney


and
Wallis, 2013). Alongside other contributors to the debate, they also


highlight
the gulf between how arts practices are valued externally by


funding
bodies and institutions, and the difficulty of tackling the messy


excess
and immeasurability of “intrinsic” values, such as the social,


community-building,
and inter-relational aspects (Ibid). Little can be seen


to
have changed in the prevailing socio-economic context of subsequent


years,
and the question remains as to how research in the performing arts


might
provide productive ways to think differently about how labour in the


arts
is measured and valued?








*Inside
Out*




In
an article on ‘Stealth Pedagogies’, Bryony Trezise questions how


scholarly
labour can keep the “radical disciplinary intentions” and the


“shudder
of thought” (Sarah Ahmed, 2017) of performance alive within


institutional
hierarchies that ‘value certain (dis)embodiments of thought


over
others’ (Trezise, 2019). What advantages or disadvantages does the


harnessing
of creative energies, modes of thought, and affective labour in


the
arts for *other *fields of research have on how performing arts


disciplines
perceive their own labour? How is immaterial labour valued in


the
fields of theatre and performance scholarship? Grass roots feminist


movements
such as Waking The Feminists have brought awareness to the gender


imbalances
in the Irish theatre industry in the realm of the visible,


charting
the representation in funded institutions of male versus female


playwrights,
directors and designers, for example. This important work


raises
the question of what invisible labour is supporting current


institutional
and industry hierarchies? What falls outside of current


methods
of evaluation and record keeping? As Susan Leigh Foster highlights


in
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
theme:

– 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
texts/events/authors/performers/researchers?

– 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
texts/authors/performers?

– 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
(if any);

· Title and type of submission (e.g. paper, artist talk, panel,
performance);

· Technical, spatial and duration requirements;

· Biography of each presenter (max 150 words);

· 300-word abstract/description.

*Submission and Deadline:*

Proposals should be submitted to: istr2020@gmail.com

On or before *14th February 2020*

Decisions will be communicated by *March 2020.*

*Conference Fees:*

Full Fee (including ISTR Membership): £100
Student/Unwaged Fee (including ISTR Membership): £40

*Bursaries:*

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.

*Further information:*

Please contact the conference convenor, Dr Aoife McGrath, with any queries:
istr2020@gmail.com

—
Dr Aoife McGrath
Subject Lead, Drama
Brian Friel Centre
School of Arts, English and Languages
Queen’s University Belfast

cfp: TDR Consortium Special Issue

22 November, 2019 | by SCUDD Administrator

*TDR Consortium Special Issue*

*Stanford University*

*Branislav Jakovlevi, Consortium Editor; Diana Looser, Coeditor*

*Peripeteia*

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 tdrstanford@gmail.com

CFP: Victorian Blockbusters – chapter proposals.

25 July, 2019 | by SCUDD Administrator

*CFP*

*???Victorian Blockbusters???: box office hits of the late 19^th and early
20^th centuries.*

The phenomenal box-office hits of the Broadway and West End stages did
not begin with /Les Mis??rables/, /Phantom of the Opera/ and /Miss Saigon./

The Victorian and Edwardian theatre staged sensational and spectacular
successes which would challenge the popularity of even contemporary
productions such as /Harry Potter and the Cursed Child/ (which has
resurrected and updated numerous special effects and aspects of stage
technology originating in the 19^th century).

These ???blockbusters??? might include such productions as:

Klaw and Erlanger???s spectacular adaptation of /Ben Hur/ (1899)

The Drury Lane production of /The Whip/ (1909)

Irving???s productions at the Lyceum of plays such as /The Bells/ (in
which he starred numerous times between 1871 and 1905) and /Faust/ (1886).

James O???Neill in the stage adaptation of /The Count of Monte Cristo/
(which he played over 6000 times!)

The many successes of Dion Boucicault, including /The Corsican Brothers/
(originally staged by Charles Kean in 1852).

George Aiken???s adaptation of /Uncle Tim???s Cabin/ (originating in 1852)
which dominated theatre listings for over half a century.

I am now seeking proposals from authors for inclusion in a new
collection of essays, provisionally titled /Victorian Blockbusters: box
office hits of the late 19^th and early 20^th centuries/.

Each essay (of approximately 5000/6000 words length) should concentrate
primarily on one specific play (musical theatre will also be included),
originally produced between 1850 and 1910. The deadline for submission
is yet to be established, but will likely be late 2020/early 2021.

Proposals should include a short abstract (300 words) and a brief
biographical note, and should be sent to the editor, Paul Fryer
(paul@paulfryer.me.uk <mailto:paul>) to arrive by
_Monday 16^th September_.

—
Prof. Paul Fryer PhD, FRSA, FHEA.
Visiting Professor, School of Performance and Creative Industies, University of Leeds.
Visiting Professor, School of Arts and Creative Industries, London South Bank University.
Hon. Visiting Professor, School of Arts and Digital Industries, University of East London.
Director, The Stanislavsky Research Centre.
Editor-in-Chief, Stanislavski Studies (Taylor & Francis).

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