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ATDS First Book Bootcamp at ATHE 2020

CALL FOR PROPOSALS 

FIRST BOOK BOOTCAMP

Hosted by the American Theatre & Drama Society

to be held at the

ASSOCIATION FOR THEATRE IN HIGHER EDUCATION (ATHE) CONFERENCE

DETROIT MARRIOTT AT THE RENAISSANCE CENTER, DETROIT, MI

JULY 29-30, 2020

 

Submission Deadline:

February 15, 2020

This intensive two-day First Book Bootcamp offers contingent and tenure-stream faculty the opportunity to develop their book proposals and manuscripts alongside seasoned authors and editors. 

Hands-on workshops will focus on topics such as crafting effective book proposals, responding to reader reports, and demystifying the publication process from contracts to final proofs. 

Mentoring faculty will have read participants’ materials in advance and will meet in one-on-one sessions to discuss their works-in-progress. 

Participants will also gather in small break-out groups to share the results of the Bootcamp, including discoveries, questions, or challenges in their writing. 

After the conference, participants will attend a “virtual reunion” to update mentors on their progress, solicit advice, and sustain this supportive community of scholars. 

To assist with conference expenses, selected participants will receive a First Book Development Grant of $150 from the American Theatre & Drama Society. 

Participants will also receive coffee/refreshment vouchers to support their on-site meetings with writing mentors.

Submission Information:

To apply to the First Book Bootcamp, fill out the form below by February 15, 2020. 

Proposals should include a book project title, 150-word abstract, status of manuscript, goals for the First Book Bootcamp

(i.e. developing a book proposal for a university press, completing a section of a 

manuscript in progress), a short bio, contact information, and whether you have applied to other ATHE sessions. 

For further inquiries, e-mail Heather Nathans at firstbookbootcamp@gmail.com.

Eligibility:

Members of any ATHE Focus Group are eligible to apply, but they must be working on a research monograph. 

The First Book Bootcamp is not intended for students who are still completing their PhDs.

Schedule:

The Bootcamp will run concurrently with the annual ATHE conference from the afternoon of Wednesday, July 29 to the evening of Thursday, July 30. 

Accepted participants are expected to attend all the scheduled sessions. 

There will be three Bootcamp sessions per day in assigned conference rooms and/or public spaces at the conference hotel. 

Participants will still be able to attend multiple panel/roundtable sessions throughout the conference. 

At the conclusion of the conference, the participants will have engaged in a minimum of 10 hours of intensive mentorship, workshopping of their research materials, and conversations with professionals in the field.

————————————————————————————————————————————————–

Application for the

First Book Bootcamp

hosted by the American Theatre & Drama Society

at ATHE 2020

 

Name/email contact/cell:

 

Date MFA or PhD received/Institution:

 

Project title:

 

Abstract of project (150 words):

 

Status of manuscript:

 

Goals for the First Book Bootcamp (i.e. developing a book proposal for a university press, completing a section of a manuscript in progress):

 

Bio (150 words):

 

Have you applied to other ATHE sessions/working groups?

 

__YES  (if so, which Focus Group?)             __NO

SUBMIT to: firstbookbootcamp@gmail.com by February 15, 2020

 

SETC Theatre Symposium – Theatre and Race

Call for Papers
: 
SETC Theatre Symposium Volume 29 “Theatre and Race”

DEADLINE: Monday 20 January 2020

DATES: April 3-5, 2020

LOCATION: Agnes Scott College, Decatur, GA

The performative nature of political and cultural discourse about race has recently been highlighted, both in the U.S. and around the world, by tweets and talk shows, parades and protests, movements and mass shootings, comedy routines and court decisions. These events and expressions invite a scholarly exploration of the histories, legacies, and responsibilities of theatre’s long engagement with race.

What is the historical and ongoing role of theatre in framing our ideas and conversations about race? How is current theatre practice challenging established paradigms, if at all? The organizers of the 2020 Southeastern Theatre Conference (SETC) Theatre Symposium invite the contributions of scholars, artists, and educators from a wide range of fields who wish to address the intersection of race and theatre. Those whose proposals are accepted will gather to collectively hear and comment upon each others’ work. Subsequent submissions of essay-length versions of conference presentations will be peer reviewed, and if selected will be published in Volume 29 of SETC’s annual Theatre Symposium journal. The conference fee of $150 includes registration, conference materials, and selected meals at the event.

Possible topics include, but are not limited to:

  • Historical dramas or theatrical productions that have reflected and shaped constructions of race 

  • Theatre’s role, historically and presently, in the formation and perpetuation of racial hierarchies 

  • Current plays and productions aimed at challenging audiences’ perceptions of race 

  • Theatrical and performative fomentations of, and responses to, racialized violence 

  • Theatrical work that seeks to link race to gender, class, sexuality, nationality, or religion 

  • Drama or theatrical practice that posits a “post-racial” world 


Keynote speaker Dr. Soyica Colbert of Georgetown University will present an address on this year’s topic, and will provide a concluding response. Dr. Colbert is the Idol Family Professor of Georgetown College of Arts and Sciences, Director of Theater and Performance Studies in the Department of Performing Arts, and a Professor of African American Studies. She is the author of The African American Theatrical Body: Reception, Performance and the Stage and Black Movements: Performance and Cultural Politics, and the co-editor of The Psychic Hold of Slavery. Her work has appeared in multiple journals and edited collections. Her research interests span the 19th-21st centuries, from Harriet Tubman to Beyoncé, and from poetics to performance.

On or before Monday 20 January 2020, please send abstracts of no more than a single page to Andrew Gibb, Editor, at andrew.gibb@ttu.edu. Please use “LastName TS Abstract” as your subject line. Abstracts should include complete contact information (email, phone, postal address).

Theatrical Works and Fandom – Jan 15 Deadline

Transformative Works and Cultures, a peer reviewed, open-access fan studies journal, is soliciting papers for its special issue on theatre and fandom. 
 
This special issue of TWC explores intersections between theatrical performance and fandom. Though ephemeral, theatre creates an affective experience known as “ghosting,” where fan memory is embedded and encoded in the objects of performance: actors, roles, scripts, costumes, productions, and props. The process of sustaining such fan memory recognizes the participatory and playful impulses that categorize fandom and fan culture as fans travel from one performance to the next carrying these ghosts along with them.

Theatres and their spaces encompass a wide variety of fandoms: celebrity performers, writers, particular plays, and even theatre companies cultivate loyal fan bases who support their work. Theatre engenders rich crossovers and transformations, as screen actors, musicians, and other celebrities bring their fandoms to playhouses, stages, and auditoriums. Interactive theatrical experiences like Sleep No More permit fans to become part of the performance itself, while technology, such as live-streaming, and paratexts, such as the cast album, allow for theatrical fandoms to include participants who have yet to set foot in the theatre itself.

In fact, performance is increasingly recognized as something manifest outside of playhouses. Fannish cosplay offers an opportunity to perform fandom. Fan auteurs, such as Kenneth Branagh, or Lin Manuel Miranda, create both their celebrity identity and their cultural output. YouTube celebrities perform their identities and lives for a viewing audience. Social media encourages a performance of spectatorship, such as acts of live-tweeting events. Thinking of fandom in the context of the theatre challenges us to rethink fundamental assumptions of affective fandom to incorporate and think more critically about ritualized fan practices that manifest themselves in acts of shipping, activism and the assemblage of fan communities.

This issue welcomes papers that examine the relationship between fandom and theatrical performance. Topics might include but are not limited to:

  • Broadway
  • Shakespeare
  • Cabaret
  • Musical theatre
  • Hamilton
  • Cosplay
  • Disney plays
  • Fans as performers
  • YouTube fandom
  • Theatrical adaptations
  • Racebent and/or genderbent casting
  • Playhouses and companies
  • Theatrical memorabilia
  • Actor/Musician RPF & shipping
  • Performing race and gender in fan communities

Submission guidelines Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing.

Theory: Conceptual essays. Peer review, 6,000–8,000 words.

Praxis: Case study essays. Peer review, 5,000–7,000 words.

Symposium: Short commentary. Editorial review, 1,500–2,500 words. 

Please visit TWC’s Web site (http://journal.transformativeworks.org/) for complete submission guidelines, or e-mail the TWC Editor (editor AT transformativeworks.org).

Contact—Contact guest editors Balaka Basu (bbasu AT uncc.edu) and Louise Geddes (lgeddes AT adelphi.edu).

Due date—January 15, 2020, for estimated March 15, 2021 publication.

New England Theatre Journal – Revised CFP

New England Theatre Journal

REVISED

Call for Papers

 New England Theatre Journal (a publication of the New England Theatre Conference) invites submissions for its year 2020 edition. A refereed publication, New England Theatre Journal is concerned with advancing the study and practice of theatre and drama by printing articles of the highest quality on a broad range of subjects, including traditional scholarship, performance theory, pedagogy, and articles on theatre performance, design and technology.

New England Theatre Journal is indexed in the International Index of the Performing Arts and the MLA Bibliography. It can also be found via EBESCO and other sites.

The deadline for submissions is January 31st, 2020. You are, however, encouraged to submit contributions at the earliest possible date so that full consideration may be given to them.

Inquiries and communications regarding the submission of articles are welcome.

MANUSCRIPTS

All contributions should conform to the following guidelines:

  1. One copy of your article should be submitted, between 15-30 pages in length. Author’s name should not appear on manuscript pages. ALSO, please send this as an email attachment to the address listed below. Contact the Editor if you have any questions about this.
  2. Please do not send this as a PDF but rather as a Word document
  3. The 17th edition of the Chicago Manual of Style should be followed strictly.
  4. Include a cover sheet with the title of the article, your name, your affiliation, title, mailing address, telephone numbers and email address, a 50-75 word abstract, and a brief biographical paragraph.
  5. Notes, references, charts, or figures should appear at the end of the article on separate pages.

Articles pending disposition by NETJ should not be submitted to another publication unless released by the Editor of NETJ. Manuscripts are juried anonymously in order to assure the highest possible publication standards.

If you have any questions please feel free to contact the editor directly.

Manuscripts should be sent by January 31st to:

Stuart J. Hecht, Editor
New England Theatre Journal
Email: hecht@bc.edu



New Journal: Theatre and Performance Notes and Counternotes

Theatre and Performance Notes and Counternotes

 
Theatre and Performance Notes and Counternotes is the first and only journal in the broadly-conceived field of theatre studies to publish short-to-medium length research articles on any subject, as well as publish discussion and response articles. As such, TPNC is an ambitious journal that provides the field with a uniquely-responsive and organic forum, encouraging and yielding more immediate and direct scholarly exchanges. Placing a premium on clarity, readability, and rigor of thought, TPNC seeks articles that despite their brevity are significant and have wide appeal and applicability in the field. Finally, TPNC welcomes interdisciplinary articles that reach across and/or beyond the field(s) of drama, theatre, and performance studies.
 
Article Submissions
 
To submit a manuscript to Theatre and Performance Notes and Counternotes, please visit Editorial Manager. The online system will guide you through the steps to upload your article to the editorial office. Except in response or discussion articles in which the identity of the author is appropriate and/or required, in order to undergo the journal’s double-blind peer-review process, all articles should (1) be anonymized, (2) be between 1,500-4,000 words, and (3) conform to the latest edition of The Chicago Manual of Style.
 
Research articles
 
Original research articles can range from focused notes to medium-length articles. Articles can be on any subject(s) in the broadly-defined field of theatre studies, but the scope, ambition, and thesis should be appropriate to the length of the submitted article.
 
Discussions
 
Discussion articles can offer proposed solutions and/or problematize specific ideas related to, or emerging from, conversations or debates within the field. Discussions can also serve as a place to crystalize conversations or debates in the field, or to bring seemingly-disparate ideas into a more coherent conversation.
 
Responses
 
Response articles are, most often, directed at either the theses of a specific scholar(s) and/or a specific conversation or debate within the field. Often, responses engage directly with the strengths and weaknesses of particular theses or broader ideas in the field in order to either strengthen, modify, or challenge these theses/ideas. The aim of these responses is not to create debates or arguments (and, certainly, never arguments or attacks of a personal nature) but to move the field to a clearer and more accurate understanding of the subject at hand. These response articles can also provide a space to revisit and/or modify one’s own previously-published ideas.
 
Finally, if you would like to discuss the possibility of proposing and/or curating a “Symposium” consisting of 3-4 related discussion and/or response articles, please send an email to the Editor of Theatre and Performance Notes and Counternotes, Prof. Michael Y. Bennett bennettm@uww.edu.
 
Website for Theatre and Performance Notes and Counternotes:
 
Website to submit articles to TPNC:
 
 
Advisory Board
Marvin Carlson, The Graduate Center, City University of New York
Matthew Causey, Trinity College Dublin
John M. Clum, Duke University
William W. Demastes, Louisiana State University, Baton Rouge
Penny Farfan, University of Calgary
David Krasner, Five Towns College
Eero Laine, University at Buffalo, State University of New York
Esther Kim Lee, Duke University
Sean Metzger, University of California, Los Angeles
Peggy Phelan, Stanford University
Daniel Sack, University of Massachusetts, Amherst
Stephen Scott-Bottoms, University of Manchester
Kirsten E. Shepherd-Barr, University of Oxford
Peta Tait, La Trobe University

Insurgent Spaces: Performing Revolt in Public

Insurgent Spaces: Performing Revolt in Public

Proposed Panel for the American Studies Association Annual Meeting

(Baltimore, November 12-15, 2020):

Everyday life is shaped by how people engage with the spaces they inhabit: the institutions of which they are a part, the national sites of memory that carve out certain histories for remembrance while occluding others, and the public spaces that are open to some but closed to others as a result of their race, ability, gender, or class. Performance offers one way to uncover and challenge the relations of domination embodied by these spatial encounters. Public performances of revolt can reveal how state and private actors manipulate space in order to exert social control; they can also offer creative ways to resist that control, asserting the right to live free from systemic violence. This proposed panel will examine how people perform in public spaces in order to challenge relations of dominance, imagine new futurities, reconceptualize “public” engagement, and express communal resilience to the logics of dehumanization.
 
Proposals submitted to this interdisciplinary panel might consider: marches and mass demonstrations; “occupy”-style protests; movements to repatriate Indigenous land; reclamations of sites of memory, the Movement for Black Lives and other anti-police brutality movements; performances of fugitivity; practices of sousveillance; or challenges to memorial sites and objects, such as Confederate statuary.
 
Submit proposals with a title, 250-word abstract and a short biographical statement to Lindsay Livingston (llivingston@bowdoin.edu) by January 21, 2020.
 

Thornton Wilder for 2020 ALA in San Diego, CA

The Thornton Wilder Society invites papers on any aspect of the author’s career (playwright, novelist, essayist, screenwriter, teacher) to be presented at the American Literature Association Annual Conference (21-24 May 2020) in San Diego, CA.  We particularly welcome papers on gender/sexuality and/or ethnicity but are open to all topics involving Wilder’s work and life.

For information about the author’s works and available editions, as well as published Wilder scholarship, go to: 

www.twildersociety.org/works/

 and 

www.twildersociety.org/education/bibliography/

The Society encourages graduate students as well as established scholars to submit 500‑word proposals and C.V.s to Park Bucker at psbucke@uscsumter.edu by January 15, 2020.

Publication Development Forum – Works-in-Progress from Contingent Faculty

Call for Works-in-Progress from

Contingent Faculty Colleagues

Publication Development Forum

hosted by Tufts University

February 7, 2020 – 10:00 a.m. – 5:00 p.m.

 

Invitation

The Department of Theatre, Dance, and Performance Studies at Tufts University announces a one-day Works-in-Progress Publication Development Forum for contingent faculty colleagues in the Greater New England area.  Specifically designed to support faculty in contingent to positions, this forum invites them to share their current research at a no-cost regional event, sponsored by Tufts University, the Association for Theatre in Higher Education and the American Theatre and Drama Society.

Overview & On-site Hosts

Participants will have the opportunity to discuss their current research with faculty colleagues and to meet with journal and book series editors.  On-site hosts and mentors include Professor Barbara Wallace Grossman (former Vice Chair of the Massachusetts Cultural Council), Mellon Bridge Assistant Professor, Kareem Khubchandani, Fletcher Foundation Assistant Professor of Dramatic Literature, Lilian Mengesha, Associate Professor Noe Montez (Vice President for Professional Development at ATHE and Editor of Theatre Topics) and Professor Heather Nathans (past President of ASTR and current Editor of the Studies in Theatre History and Culture series for Iowa).  

Guest Speakers

We are delighted to announce that Robin Bernstein (award-winning author, Professor at Harvard University, and Editor of the Performance and American Culture series for NYU Press); Andrew Sofer (award-winning author and Professor at Boston College); and Harvey Young (award-winning author, Dean of the College of Fine Arts at Boston University, and Editor of Theater: Text, Theory, Performance book series at The University of Michigan Press) will join us for conversations about the publication process.

Event Details

The conference will be Friday, February 7, 2019 from 10:00-5:00.  It includes topical workshops or discussions on various facets of professional development; 10-minute overviews of participants’ work presented to the assembled group; and one-on-one sessions with faculty mentors.  Informational sessions will be in the morning, followed by a group lunch (hosted by Tufts).  During the afternoon sessions participants will share their current scholarship and receive one-on-one mentorship.

The sharing of current research projects is not intended to be a series of formal paper presentations.  Instead we hope colleagues will use these sessions to brainstorm, seek advice, and push their work forward.  Colleagues maychoose to use their 10 minutes to share portions of conference papers in progress, sections of book chapters, drafts of book proposals, etc.

How to apply/Eligibility

Individuals holding PhDs in the fields of theatre, performance, dance, or related specialties and who are working part-time or fulltime while seeking permanent academic positions will bring work-in-progress to the meeting to share with a faculty mentor/host. The goal is to advance draft writing towards publication/submission.

Each participant will commit to a mentoring relationship with a tenure-line or emeritus faculty member who will serve as commentator on the writing and mentor on career-related questions. Mentees will commit to developing their writing projects and mentors will work with the mentee until the writing is ready to submit for publication.

To make it possible for the maximum number of colleagues to join us, we will offer a small stipend to offset any gas/subway/bus costs.  Lunch and other refreshments will be provided throughout the day.  Tufts University will purchase one-day parking passes for participants arriving by car.

To apply, please submit the application form below to pdcontingent2020@gmail.com. The application asks you to provide the title and status of your current project to assist in pairing participants with prospective mentors.  Applications should be received no later than December 20, 2019.  Please note that space is limited.  Applicants will be notified by December 30, 2019 if they are accepted.  Participants must submit drafts of their materials no later than January 5, 2020 to allow mentors time to review their works in progress. 

 

Support and Sponsorship

This event owes much to the generous support of the Association for Theatre in Higher Education and the American Theatre and Drama Society.  These organizations recognize the challenges non-tenure stream and contingent faculty may face in participating in annual national conferences due to travel costs.  They also recognize the challenges many contingent faculty members encounter in terms of ongoing mentorship towards publication. 

 

Please contact Heather Nathans, Chair of Theatre, Dance, and Performance Studies, Tufts University at pdcontingent2020@gmail.com with any questions.

ATDS Panel at American Literature Association 2020

Staging Democracy: Politics and Political Figures in 20th/21st century American Drama

American Theatre & Drama Society Panel
at the American Literature Association
31st Annual Conference May 21-24 2020 San Diego CA

The American Literature Association is a coalition of literary and drama societies devoted to the study of American authors. Since 1989, ALA’s annual conferences have provided scholars and artists from around the world a space in which to interact and to explore the richness and diversity of American writing. The American Theatre & Drama Society is dedicated to the study of theatre and drama in and of the Americas, its varied histories, traditions, literatures, identities, and performances within its cultural contexts. In furtherance of this goal, ATDS solicits proposals for its guaranteed panel at the American Literature Association Annual Conference in May 2020.

In view of the current political climate – campaigns, controversies, party polarization, and increased engagement by concerned citizens, ATDS proposes a panel focusing on dramatizations by American playwrights of America’s political systems and political leaders. Throughout the twentieth and twenty-first centuries American playwrights have increasingly explored these topics, including our democratic ideals and struggles for the realization of those ideals. From Maxwell Anderson’s Both Your Houses (1934) to Katori Hall’s The Mountaintop (2009) and Robert Schenkkan’sAll the Way (2012) to 2019 Pulitzer finalist Heidi Schreck’s What the Constitution Means to Me, American playwrights have used the stage to investigate political issues including courage, corruption, power, compromise, inclusion and exclusion in America’s social, cultural, and political life. We invite proposals that consider plays and performances that address these and related issues. We welcome analytical papers employing any theoretical/critical approach as well as analyses of plays in production.

Please submit a 250-word abstract by December 31, 2019 to Al Dabiri, mdabiri@mail.missouri.edu. Panelists will be notified by January 31, 2020. Panelists are expected to be or to become ATDS members.  For more information on ATDS, or to join or renew, please visit https://www.atds.org/

The 2020 ALA conference will be held in San Diego CA from May 21st-24th . Panelists are expected to pre-register by April 15 2020.  Those who do not register by May 1 will be dropped from the program.

Please note that the conference has an admission fee of $125 dollars ($100 for Graduate Students, Independent Scholars, and Retired Faculty).

For more information on ALA, please visit:

http://americanliteratureassociation.org/ala-conferences/ala-annual-conference/

SETC Theatre Symposium – Theatre and Race

SETC Theatre Symposium Volume 29

“Theatre and Race”

DATES: April 3-5, 2020 LOCATION: Agnes Scott College, Decatur, GA

The performative nature of political and cultural discourse about race has recently been highlighted, both in the U.S. and around the world, by tweets and talk shows, parades and protests, movements and mass shootings, comedy routines and court decisions. These events and expressions invite a scholarly exploration of the histories, legacies, and responsibilities of theatre’s long engagement with race.

What is the historical and ongoing role of theatre in framing our ideas and conversations about race? How is current theatre practice challenging established paradigms, if at all? The organizers of the 2020 Southeastern Theatre Conference (SETC) Theatre Symposium invite the contributions of scholars, artists, and educators from a wide range of fields who wish to address the intersection of race and theatre. Those whose proposals are accepted will gather to collectively listen and comment upon each others’ work. Subsequent submissions of essay-length versions of conference presentations will be peer reviewed, and if selected will be published in Volume 29 of SETC’s annual Theatre Symposium journal. The conference fee of $150 includes registration, conference materials, and selected meals at the event.

Possible topics include, but are not limited to:

• Historical dramas or theatrical productions that reflected and shaped constructions of race

• Theatre’s role, historically and presently, in the formation and perpetuation of racial hierarchies

• Current plays and productions aimed at challenging audiences’ perceptions of race

• Theatrical and performative fomentations of, and responses to, racialized violence

• Theatrical work that seeks to link race to gender, class, sexuality, nationality, or religion

• Drama or theatrical practice that posits a “post-racial” world

Keynote speaker Dr. Soyica Colbert of Georgetown University will present an address on this year’s topic, and will provide a concluding response. Dr. Colbert is the Idol Family Professor of Georgetown College of Arts and Sciences, Director of Theater and Performance Studies in the Department of Performing Arts, and a Professor of African American Studies. She is the author of The African American Theatrical Body: Reception, Performance and the Stage and Black Movements: Performance and Cultural Politics, and the co-editor of The Psychic Hold of Slavery. Her work has appeared in multiple journals and edited collections. Her research interests span the 19th-21st centuries, from Harriet Tubman to Beyoncé, and from poetics to performance.

On or before 6 January 2020, please send abstracts of no more than a single page to Andrew Gibb, Editor, at andrew.gibb@ttu.edu. Please use “LastName TS Abstract” as your subject line. Abstracts should include complete contact information (email, phone, postal address).

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