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JADT Calls for Editors and Submissions

Call for JADT Performance Review Editor (2024-2026)

The Journal of American Drama and Theatre is now accepting applications for the position of Performance Review Editor. Responsibilities include: commissioning reviews of theatre and performance in the Americas, broadly defined; answering queries about conducting reviews; and editing reviews for publication. The Performance Review Editor will serve a two-year term (with the possibility of renewal for two more years) beginning June 1, 2024 and ending May 31, 2026.

To apply, please email a letter of interest outlining your qualifications along with a current CV to jadtjournal@gmail.com. Applications are due by April 15, 2024.

Call for JADT Book Review Editor (2024-2026)

The Journal of American Drama and Theatre (JADT) is also accepting applications for the position of Book Review Editor. Responsibilities include: commissioning reviews of books relating to theatre and performance in/of the Americas, broadly defined; editing reviews; and establishing and maintaining relationships with book publishers. The Book Review Editor will serve a two-year term (with the possibility of renewal for two more years) beginning in June 1, 2024 and ending May 31, 2026.

JADT is peer-reviewed and published twice a year and affiliated with the American Theatre and Drama Society and The Martin E. Segal Theatre Center.

To apply, please email a letter of interest outlining your qualifications along with a current CV to jadtjournal@gmail.com. Applications are due by April 15, 2024.

Call for Papers, Book Reviews, and Performance Reviews

The editors of the Journal of American Drama and Theatre are now accepting submissions for essays on any topics relating to theatre, drama, and popular entertainments of the Americas for consideration. Please submit completed articles to jadtjournal@gmail.com by May 15, 2024 for consideration in the Fall 2024/Spring 2025 issues.

*NEW: Starting with our Spring 2024 issue, JADT will now be publishing performance reviews. If you are interested in publishing a performance review, please send a query email to the editors at jadtjournal@gmail.com.

To propose a book review, please email Book Review Editor Maya Roth at jadtbookreviews@gmail.com.

JADT’s aim is to promote research on theatre of the Americas and to encourage historical and theoretical approaches to plays, playwrights, performances, and popular theatre traditions. Studies of dramatic texts from a purely literary perspective are outside the scope of the journal. Manuscripts should be 6,000 to 8,000 words in length and prepared in conformity with the Chicago Manual of Style, using footnotes. Completed manuscripts should be submitted as Microsoft Word attachments via e-mail to jadtjournal@gmail.com using Microsoft Word. Articles will be peer reviewed, so please allow 3 to 4 months for a decision. If you are using images, please provide the images and captions with your submission. (Please Note: images should be at least 300dpi and authors are responsible for securing permissions before submission)

ABOUT JADT
Founded in 1989, JADT is a widely acclaimed peer-reviewed journal publishing thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas—past and present. The journal’s provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. JADT is fully online and freely accessible. https://www.thesegalcenter.org/jadt

Transnational Theatre Histories Book Series

Transnational Theatre Histories (Palgrave) illuminates vectors of cultural exchange, migration, appropriation, and circulation that long predate the more recent trends of neoliberal globalization. Books in the series document and theorize the emergence of theatre, opera, dance, and performance against backgrounds such as imperial expansion, technological development, modernity, industrialization, colonization, diplomacy, and cultural self-determination. Proposals are invited on topics such as: theatrical trade routes; public spheres through cross-cultural contact; the role of multi-ethnic metropolitan centers and port cities; modernization and modernity experienced in transnational contexts; new materialism: objects moving across borders and regions; migration and recombination of aesthetics and forms; colonization and decolonization as transnational projects; performance histories of cross- or inter-cultural contact; festivals, exchanges, partnerships, collaborations, and co-productions; diplomacy, state and extra-governmental involvement, support, or subversion; historical perspectives on capital, finance, and administration; processes of linguistic and institutional translation; translocality, glocality, transregional and omnilocal vectors; developing new forms of collaborative authorship.

Prospective authors are encouraged to reach out to any of the editors: Leo Cabranes-Grant; Christopher Balme; Tracy C. Davis; Marlis Schweitzer

Philadelphia Theatre Research Symposium 2024

Philadelphia Theatre Research Symposium 2024

Theatre as Catalyst for Liberation: Creativity Within Constraints Friday, May 3, 2024

The Philadelphia Theatre Research Symposium (PTRS) is seeking abstracts for the 2024 gathering of theater scholars and practitioners. We invite proposals for panels and roundtables for our in-person conference at Villanova University this May. This year’s theme is “Theatre as Catalyst for Liberation: Creativity Within Constraints,” which asks us to think about how theatre practice and non-traditional storytelling forms are connected to liberation – (Black Liberation specifically in the case of NBT), freeing ourselves, our ideas, and others. Theatre as a form and craft teaches us how to be creative within constraints, inviting discussions of not only what our narratives are, but also how the processes by which they are created are honed and crystalized for impact. This becomes even more important when ideological, aesthetic, political, and financial limitations are continual pressures that center “traditional” western ideology (inclusive of colonialism, capitalism and co-option/appropriation) in the current global theatre landscape. These topics will be explored in a keynote address by National Black Theatre’s (NBT) Chief Executive Officer, Sade Lythcott, and Executive Artistic Director, Jonathan McCrory, as well as in their workshop on Holistic Producing: Decolonizing the Western Frame.

We invite proposals for individual papers or roundtables on topics that could include, but are not limited to:

  • Artivism: Artists & Art making and fighting for social change
  • Applied Indigenous practices in theatre making
  • Applied theatre
  • Community theatre (as in theatre for community-building)
  • Diversity, Equity, Inclusion, and Accessibility models
  • Experimental / Avant Garde theatre and/or producing
  • Liberatory theatre making (playwrights, companies, productions that liberate)
  • Storytelling for new audiences
  • Teaching methods for liberation
  • Theatre of and for the Global Majority
  • Theatre of the Oppressed (as a tool for teaching, making performance, community organizing)

How to Submit:

Please submit a 250-word abstract for a 15-minute presentation to Bess Rowen at bess.rowen@villanova.edu along with a 100-word biography, including your current affiliation, by March 3, 2024. Please also include: the paper’s title, the presenter’s name, affiliation, and email address.

Revenge is Mad Hard: Fat Ham and the Question of Cultural Reclamation

Revenge is Mad Hard:
Fat Ham and the Question of Cultural Reclamation

Since its digital debut in April of 2021, subsequent Pulitzer win, off-Broadway run, Broadway run, and recent flurry of regional productions, Fat Ham has taken North America by storm. In re-framing the story of Hamlet from within a Black, southern family barbeque, playwright James Ijames has opened the door for questions about cultural authority, the exchange of cultural capital, mediation, storytelling and adaptation methods, the need for increased representation in canonical stories, the methods through which marginalized voices might reclaim cultural capital, and more.

This essay collection will explore these timely questions. We seek short, thesis-driven essays that consider Fat Ham’s early life (from its Spring 2021 digital debut at the Wilma, to its present regional run). Essays may address a broad range of topics including, but not limited to: Fat Ham as a performance phenomenon, adaptation/appropriation, language, Black storytelling, queerness, mediation, cultural capital, canon, contemporary Shakespeare studies, etc.

To submit, please send a 250-word abstract and your bio to the editors by March 1. Because the topic of this collection is timely, we will be working on a collapsed timeline. We hope that authors will consider this when submitting. Chapters will be 5,000 – 6,000 words in length, with first drafts due by June 1. The editors welcome any questions or queries authors might have; please contact us: Valerie.Pye@liu.edu , drosvall@buffalo.edu

Valerie Clayman Pye is an Associate Professor of Theatre and Chair of the Department of Theatre, Dance, and Arts Management at Long Island University, Post. Valerie’s research focuses on actor training pedagogy, Shakespeare’s Globe, Shakespeare tourism, and on practice-as-research (PaR). Her book, Unearthing Shakespeare: Embodied Performance and the Globe (Routledge) considers how the reconstruction of Shakespeare’s theatre contributes to actor training and the performances of Shakespeare’s plays. She is the co-editor of Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor (with Hillary Haft Bucs), and Shakespeare and Tourism (with Robert Ormsby). Her essays have appeared in Shakespeare, Teaching Shakespeare, PARtake: The Journal of Performance as Research, New England Theatre Journal, Theatre Topics, and several essay collections. Her latest book is Innovation & Digital Theatremaking: Rethinking Theatre with ‘The Show Must Go Online’ (with co-author Robert Myles) (Routledge 2023). 

Danielle Rosvally is an assistant professor of theatre at the University at Buffalo. Her forthcoming monograph (Theatres of Value: Buying and Selling Shakespeare in Nineteenth-Century New York City, State University of New York Press, 2024) considers the commodification and economization of Shakespeare’s work in America’s nineteenth century. Danielle’s interest in the digital has fueled past work on database methodologies in humanist text, social media, and the personification of Shakespeare by performers/users. Her next project, Yassified Shakespeare (co-authored with Trevor Boffone), is a multimedia exploration of how iterations of Shakespearean performance and Shakespeare’s cultural capital critically intersect with drag and drag aesthetics. She is a dramaturge, actor, director, and fight director.

Black Theatre Review Submissions for July 2024

the Black Theatre Review (tBTR) is now accepting submissions for our fifth publication, 
Vol. 2 No. 2, to be published in July 2024.
 
“They didn’t bring the hum; they didn’t bring the leader-call, they didn’t bring the field hollers, because they didn’t know them…. the hum, the holler, the leader-call are women things.” Nikki Giovanni,, Black Women Writers at Work


tBTR is pleased to accept submissions for its fifth publication, Vol. 3 No. 1, to be published July 2024 online. We invite authors to reflect on the theme of nurturing.

On January 11th I learned of the tragic death of Dr. Antoinette “Bonnie” Candia-Bailey on January 8, 2024, nine months after assuming the role of VP of Student Affairs at Lincoln University of Missouri. The self-reported causes of her death were employment-related “harm and mental damage” and being “intentionally harassed and bullied”. News of her loss comes days after Dr. Claudine Gay resigned from Harvard University on January 2, 2024. In her resignation letter Dr. Gay writes, “These last weeks have helped make clear the work we need to do to build that future — to combat bias and hate in all its forms, to create a learning environment in which we respect each other’s dignity and treat one another with compassion, and to affirm our enduring commitment to open inquiry and free expression in the pursuit of truth.”

The day following the news of Dr. Candia-Bailey, like many mornings before, I heard the reveille heralding from the nearby air base as I worked. Work is often how I navigate grief and I was grieving for her family and for those in the world who would never get to hear her, metaphorical, finished song. I did not know her personally, but I recognized her disregarded cries for help in addressing workplace discrimination. In the middle of this work-grief continuum, I am reflecting on what Black women often experience in Higher Education in terms of the lack of compassion and respect, and bias and hate from the classroom to the boardroom. How do we stay on our respective paths forward in the academy (or carve new paths) with joy in the face of these circumstances? In When Will the Joy Come: Black Women in the Ivory Tower (2023) editors Chapdelaine, Thompson, and Asare argue that it is through the potential of joy, writing that:

“Joy is a matter of autonomy, agency, and community…found in moments of connection, and reclamation that each scholar seeks, still, despite the alienating systems through which [Black women] journey…it is [our] well-being and thriving…and it is not something we are willing to relinquish despite the context of our lives and labor” (14-15).

In this precarious moment, my own search for joy led me to the above epithet of Nikki Giovanni and the image of Baby Suggs holy ministering to the people through her services in the woods in Toni Morrison’s Beloved. In both examples, the weeping of our eyes, the laugh in our throat, the song in our blood, the dance of our limbs, and the drum in our hearts were the curative and nourishing response to the weight of dehumanization and death. Here and elsewhere, Black women lead the call for the expressivity which nurtures, enlivens, and brings joy to the people in times of need.
 
Vol. 3 No.1 is a Reveille, or “the hum, the holler, [and] the leader-call” which asks scholars, artists, and lovers of Black theatre and Black expressivity to identify, interrogate, and investigate elements of nurturing among Black women in Black and African Diasporic theatre history, dramatic literature, performance and production, digital art, artistic leadership, pedagogy, and praxis. We invite authors to investigate, reflect on, and illuminate:
  • Theory and practice-based approaches to theatre making, artistic leadership, theatre pedagogy, and theatrical developments by, for, and about Black women that reflect an ethic of care and engender joy.
  • Elements and rituals within Black theatre and Black expressivity that can nourish, sustain, buoy, and uplift Black women.
  • Strategies and practices for monitoring and navigating emotional wellbeing, maintaining agency and authenticity, and emboldening and supporting Black women theatre artists, faculty, and administrators in maneuvering difficult matters in learning environments.
  • Contemporary profiles of Black women leaders and art makers in the field of Black theatre or Black expressivity that hear the Reveille and through their work inspire us to exist with joy and give us life for the work ahead.
  • Digital art and/or performance about how Black women nurture themselves and others.
  • Africana womanism, Black feminism, and/or epistemologies of Black womanness in Black theatre or Black expressivity.

The last date for submissions is March 1, 2024. Early submissions will, however, receive preference in the review and publication process. Revision or Acceptance Notification is April 5, 2024 (with any subsequent revisions due by May 3, 2024). Please upload your full manuscript on our website. 

Omiyẹmi (Artisia) Green, MFA
Editor-In-Chief
 
Michelle Cowin Gibbs, PhD
Managing Editor

Journal of Consent-Based Performance Special Issue

The Journal of Consent-Based Performance is calling for papers for the upcoming special issue “Consent is an Access Issue: Rethinking Disability, Accessibility, and Consent-Based Theatre Practices.” This issue is guest edited by Dr. Catherine (Katya) Vrtis, scholar of disability and theatre, current Accessibility Officer for the Mid-America Theatre Festival, and the Co-Founder and inaugural Chair of the Disability, Theatre, and Performance Focus Group for the Association for Theatre in Higher Education.
 
We highly encourage all artists, educators, and researchers working at the intersection of disability studies, crip theory, and theatre and performance to submit papers for this special issue.
 
JCBP is accepting submissions through March 31, 2024. The full text of the CFP and directions for submission can be found here: https://journals.calstate.edu/jcbp/announcement/view/34.

TDR Special Issue – Performance, Possession and Automation

Call for Papers: Performance, Possession and Automation
Deadline: Wednesday, February 1, 2024 

Proposals for articles should be no more than 300 words 

For a special issue of TDR: The Drama Review, co-editors Rebecca Schneider, Dhanveer Singh Brar and Nicholas Ridout seek submissions which consider performances as social and aesthetic practices that potentially work in opposition to the order imposed on human subjects by capitalist automation, and which might thereby open up spaces for experiences of ecstasy, personhood, possession, or gathering not legible within colonial-capitalist aesthetic regimes. 

Today we are used to historicising automation through both the Fordist assembly line and the deindustrialisation of European and North American economies from the 1970s onwards. As a result of this received history of automation, in contemporary discourse it appears in three contrasting registers: as the harbinger of a capitalist utopia in the rhetoric of Silicon Valley; as an historic challenge to working class solidarity and left political struggle; and as a process that can be seized upon by the left to rethink political futurity by embracing an egalitarian capture of automation. 

With this call for papers, we seek submissions which embrace a different perspective. We propose that the historical account of automation needs to go back at least 500 years, and take as its units of analysis not state, factory and worker, but empire, plantation and slave. As a result, we also consider automation not just as a process in which humans are replaced, but as something that happens to human subjects, in their entanglement with machines and systems. In other words, under capitalism human subjects always risk becoming automated, and are constantly involved in resistance to the threat of automation. This was as true in the plantation as it is today in the Amazon fulfilment warehouse. These situations are different, but they participate in the same logic of production, of goods, services and subjectivities, alongside the refusal to allow this logic to run efficiently. 

Our sense that performance might contribute to such a refusal draws inspiration from the thought of Sylvia Wynter, who articulated the historical continuity of its political charge in a 1977 essay:        

While if in the rituals it was the techniques of possession which breached the iron walls of the prison of their everyday slave plantation existence, black music, from the spirituals to the blues to jazz and all its variants, and now to Marley and Reggae, secularized the formerly spiritual religious ecstasy, displaced it into an aesthetic space, where it made the ultimate revolutionary demand, the demand for happiness/fulfilment now. 

Sylvia Wynter ‘”We Know Where We Are From”: The Politics of Black Culture from Myal to Marley’ 

This ecstasy is, literally, the condition of being beside oneself, an experience of self-displacement that might open up, through the practice of performance, a sociality grounded in an altered self-consciousness and in which flight from automation becomes possible. In this ecstasy is secreted a potential to exceed the categories under which normal (automated) life is supposed to be lived.    

We are especially concerned with styles of performance and cultural assemblages from across this 500-year history which animate this potential so as to reorder, confuse, and dissolve the terms of automation and the cultures in which it operates. We imagine that many examples of such performance will emphasise spontaneity, sociality and the expansion of human bodily and spiritual capacities. We are particularly interested in submissions which explore performances that take on external appearances of disorder and mismanagement in order to mask internally composed modalities of value and intention, or that propose alternate logics of organisation.  

For further information, please contact: 

Professor Rebecca Schneider       rebecca.schneider@brown.edu 
Dr Dhanveer Singh Brar                  d.s.brar@leeds.ac.uk 
Professor Nicholas Ridout             n.p.ridout@qmul.ac.uk 

Please send proposals (maximum 300 words) for articles by Wednesday, February 1, 2024, to: possession.automation@gmail.com 

ATDS at MLA – Update

ATDS held two sponsored panels at this year’s annual conference for the Modern Language Association in Philadelphia, Pennsylvania. The first panel was “Theater in or of Joy and Sorrow: Representation of Marginalized Communities in the Americans.” This panel, chaired by Bess Rowen, featured work by Christina Baker (Temple University) about a performance that revolves around a Mexican mother’s attempt to memorialize and make sense of her tween daughter’s disappearance, a joint presentation from Kelly Aliano (LaGuardia Community College, CUNY) and Dongshin Chang (Hunter College, CUNY) about their experiences empowering students through devised, identity-based work during Covid, and a part of Teya Juarez’s (University of Buffalo) work on the way contemporary plays consistently tie fat representation to sorrowful narratives. The joy that can be found in representation was a clear theme throughout this panel.
 
Our second panel was titled “Theater in Joy and Sorrow, Theatre of Joy and Sorrow: Performance and Embodiment of Marginalized Communities in the Americas,” and was chaired by Louise Geddes (Adelphi University). It included Jason Fitzgerald’s (University of Michigan) paper about the connection between Suzan Lori-Parks’s 365 Plays / 365 Days and the Iraq war, Eh-Den Perlove’s (University of Manchester) study of how the pandemic changed the context and resonances of Elinor T. Vaderburg’s play Bloodshot, Valerie Joyce’s (Villanova University) research on how living historiography can be used to reinscribe Black women into the narrative of history through performance, and Louise Geddes’s own work on the camp cabaret performances of Salty Brine. Here, the theme often returned to how performing sorrow could be a way to find moments of joy in both expression and representation.
 
Thanks to all for sharing their fascinating work!

The Legacy of Robert Wilson

CALL FOR PAPERS
Conference “The Legacy of Robert Wilson”
August 5–9, 2024
The Martin E. Segal Theatre Center, The Watermill Center


We are pleased to announce an upcoming conference exploring the work of
renowned American theatre director and visual artist, Robert Wilson, and its
legacy for contemporary visual and performing arts and future artistic
production. In celebration of Wilson’s extraordinary career, we invite
scholars, critics, and practitioners to contribute to a conference exploring
the diverse aspects of his transformative vision and artistic practice. The
conference will take place on August 5, 6, 7, and 9, 2024 at The Martin E.
Segal Theatre Center at the Graduate Center of CUNY, and on August 8 at The Watermill Center on Long Island. The symposium will involve a hybrid
combination of in-person and virtual keynotes, paper presentations, and panel discussions.

We are seeking original research papers and presentations that critically
engage with the work and impact of Robert Wilson across various contexts,
including but not limited to:

  1. Aesthetic Innovations: Examining the unique visual and auditory elements in Wilson’s stagecraft, his use of light, sound, movement, and non-verbal communication to create immersive theatrical experiences.
  2. Dramaturgy and Collaboration: Investigating Wilson’s collaborative process with playwrights, composers, designers, and performers, and exploring the role of dramaturgy in shaping his productions.
  3. The Theatrical Experience: Analyzing the audience’s encounter with Wilson’s productions, the immersive nature of his staging, and its influence on the audience’s perception, engagement, and interpretation of the work.
  4. Design, Video, Installation, Architecture: Examining the use of form,
    space, composition, color, and sound in Wilson’s non-theatrical artistic work.
  5. Socio-political Relevance: Assessing how Wilson’s work engages with social, political, and cultural issues, exploring its potential to create dialogue, challenge norms, and inspire change, and relating it to BIPOC and LGBTQIA+ communities and concerns as well as disability studies.
  6. Cross-cultural and Interdisciplinary Perspectives: Exploring the cross-
    cultural influences on Wilson’s work, his collaborations with artists from diverse backgrounds, and the interplay between theatre, music, visual arts, and dance within his productions.
  7. Wilson’s Influence on Contemporary Theatre: Investigating the lasting
    impact and influence of Wilson’s unique style and approach on contemporary theatre practices, aesthetics, and directorial strategies globally.
  8. Analyzing Specific Works: Presentations focused on in-depth analysis of
    specific works by Wilson, encompassing themes, techniques, historical context, and their significance within his oeuvre.

Submission Guidelines:

  • Abstracts of no more than 250 words should be submitted along with a
    short biographical note and institutional affiliation (if applicable).
  • Submissions should align with one or more of the symposium topics
    outlined above.
  • All submissions should be in English.
  • Submission Due Date: Monday, February 26, 2024

The Segal Center will award $500 each towards the best new essay from
undergraduate, MA/MFA, and PhD students. We are planning to feature selected proceedings of the symposium in the inaugural issue of the online Robert Wilson Yearbook, which will be published by the Martin E. Segal Theatre Center.

The symposium will be free and open to the public. (There may be charges,
however, for transportation to The Watermill Center and for conference snacks and refreshments.)

Details regarding the venue, format, and registration process will be shared
at a later date.

We look forward to receiving insightful and engaging contributions that shed
light on the artistic genius of Robert Wilson, his impact on the world of
theatre and the arts, and the enduring legacy of his innovative approach to
stagecraft and artistic practice.

All abstracts, biographical notes, and general inquiries should be sent
directly to the symposium organizers: Frank Hentschker (Director, Martin E.
Segal Theatre Center at the Graduate Center CUNY), Markus Wessendorf (Chair, Department of Theatre and Dance, University of Hawaiʻi at Mānoa), and Viola Kántor (Eötvös Loránd University, Faculty of Humanities, Doctoral School of Philosophy, Art History Program) at robertwilsonconference24@gmail.com.

ATDS at ATHE 2024

ATDS CALL FOR PROPOSALS:

American Theatre and Drama Society (ATDS) Sessions at the Association for Theatre in Higher Education (ATHE) 2024 Conference: Revisioning the Story

Atlanta, Georgia, August 1–4, 2024

“Show me what democracy looks like”

ATHE’s 2024 call asks us to revise or re-vision in an effort to transform both theatre practice and theatre education. Revising and re-visioning share the same goal but are different methodological processes. To revise compels us to examine what works and what areas can be improved—to clarify intent and implement accordant changes. To re-vision demands that we unflinchingly perceive the status quo and then articulate an intent to change through a process that communicates our values and community. Accordingly, ATDS will use ATHE 2024 to engage with the challenges and opportunities of revision as a method and envision possible futures for the study and practice of theatre and performance in North America, the Caribbean, the Pacific Islands, Central and South America.

ATHE 2024 will convene in Atlanta, Georgia in August. As ATDS membership meets in this space, we’re mindful of the state’s recent legislation that discriminates against trans people, prohibits discussions of critical race theory in schools, and poses new challenges to voting. At the same time, we recognize important interventions, from Black theatre on the city’s stages to protests of Cop City. We’re also mindful of the impact of recent and upcoming elections in the Americas, such as the October 2023 general election in Argentina and the impending 2024 U.S. presidential election. As we consider what possibilities re-visioning holds, we want to consider: What impacts does revision have on notions of and practices in democracy? What happens when (hi)stories are revised in ways that distort/obscure/erase past realities for groups, especially those who have fought for their histories to be recognized/acknowledged/included in classrooms, theatre and performance spaces, and within our discipline? How can academics, artists, educators, and activists (re)(en)vision equitable participation within and beyond nation-states and stages?

Expanding upon the ATHE 2024 conference call, we’re asking membership to help us examine ATDS’s role in our field and how our work engages society beyond academic spheres. Organizationally, we ask:

  • How might ATDS envision its future?
  • What might ATDS’s role in this changing landscape be? How can ATDS continue to serve the field?
  • How do we continue to re-envision stories of “American” theatre and performance that is inclusive of the Americas beyond US-centric contexts?

We’re particularly interested in sessions that consider the ethical imperatives and implications attendant to the process of revisioning, including:

  • Impacts on Democracy / Democratization
  • Censorship of Civic Discourse and Encroaching Authoritarianism
  • Legislation on Education and/or Performance
  • Erasures born from Revising in the Digital Realm
  • Articulations of Revision as a Method for Restitution, Reparations, and Transitional Justice

PROPOSAL SUBMISSION INFORMATION

ATHE’s web portal is now open for submissions. Proposals are due January 16th, 2024 by 11:59pm ET. Please see the web portal page for submission requirements.

To submit a proposal for a panel, roundtable, workshop, or other session type, please complete the form on ATHE’s web portal (Pheedloop) and select ATDS as a sponsoring focus group. ATDS members are encouraged to submit, but you need not be a member to submit a proposal under ATDS. Please see the ATDS website for information on membership (including pay-whatyou-can memberships) and a link to join.

If you have an idea for a session that would need additional participants, you can propose a session that would re-open for applicants in the spring. Sessions that are selected and request a second round for applicant proposals will re-open for submissions on March 4th. ATDS will circulate announcements and reminders about this second call. Submitters who are interested in proposing individual work to be part of a larger session may apply during this second call.

For additional details on proposal submissions visit ATHE’s website here: ATHE 2024 Conference: Proposal FAQ.

If you have questions please reach out to ATDS conference planners Heidi Nees (hlnees@bgsu.edu), Amy Meyer (meyer.amy.e@gmail.com), and Samuel Yates (yates@psu.edu).

NOTE: In addition to ATDS’s programming at ATHE, there will be a forthcoming call for a free, online ATDS symposium during Summer 2024.

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