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Dancing In Common

Dancing in Common

Dance Studies Association, August 8-11, 2019

Northwestern University, Evanston Illinois

Kate Elswit and Melissa Blanco Borelli, program co-chairs

Susan Manning, local arrangements chair

What might it mean to speak about “the common” or “the commons” in relation to dancing bodies? How do long-standing ideas about the common good and common property inflect past and present practices? What opportunities might dance and its concomitant registers of embodied exchange offer to bodies on the margins of or outside the common?

Writing about alternative forms of ownership, Lewis Hyde reminds us Thomas Jefferson regarded knowledge itself as “common property” (2010). The commons might refer to practices in the public sphere, as Elizabeth Dillon (2014) describes a performative commons that circulates throughout the Atlantic World and created new publics in the 18th century. However participation in such a commons is politically charged, as Fred Moten and Stephen Harney underscore in describing the futurity of the black radical tradition as located in the undercommons condition of being in but not of (2013). Chandra Mohanty and Ann Russo discuss power differentials of intersectionality in terms of the need to deal with “common differences” in feminist praxis (1983). Lauren Berlant (2016) and Leela Gandhi (2011,2014) imagine the commons as a space that, although marred by our “broken world,” can create a new and possibly better way of being in the world through action. Dance as a form of action activates the social in many spaces, from clubs to classrooms to stages. In these geopolitical spaces, dance and dancing bodies move us to find common ground. Given the long-standing interconnections between colonialism, racism, and capitalism that warrant the radical reconfiguration of dance’s historiographies and futurities, we look to disrupt our different experiences and understandings of “the/a common(s)” and to produce alternative spaces for thinking and collaborating in common.

Thinking about these and so many other different experiences and understandings of the common, we gather near Chicago to reflect, move, and create. Chicago is a city of the common—from a labor union history that appealed to the commonality of worker causes, to its status as a transit hub where the passenger rail trains to East and West of the country interchange from the mid-19th century to today, as well as its place in the Great Migration North for African American communities—and also of the uncommon, including the turn of the century feat of engineering that reversed the flow of the Chicago River. “Dancing in Common” meets on the campus of Northwestern University on the shore of Lake Michigan. The Hotel Orrington and other conference hotels are just a few blocks away in Evanston, near public transportation to downtown Chicago and airports. Film screenings, club outings, and performances at Links Hall complement the wide range of panels, workshops, and plenaries planned for DSA 2019.

Presentations may address, but are not limited to, the following topics and questions:

  • Commons and canons: “Common knowledge” and “common practices,” including studio practice, historiography, repertory work, reconstruction, and pedagogy
  • Cultural commons and the public sphere: How might we think about the commons across time and space, for example in relation to past and present (g)localities? What is dance’s responsibility to and role within the environment as common site?
  • Intellectual property and the commons: Copyright and power versus common property, as well as the value of movement as part of a cultural commons associated with both heritage and innovation
  • Media and the commons: What is the role of the (popular) screen as a site of global production and distribution for an affective commons? What kinds of appropriations, intercultural practices, and commodifications could be (counter)productive to neoliberal approaches to the “cultural commons”?
  • Relationships between the commons and institutions: From funding dance with claims for the common good, to the limits of institutional belonging
  • Ethics of difference, belonging, and solidarity: How do we support an undercommons; a queer commons; a brown commons? How do we engage with institutional practices of intersectionality, including finding common ground between multiple disciplines or causes, without devaluing their particularity or presuming shared experience? How does dance practice solidarity and alliance?
  • Theorizing the (un)common: What are the tensions in dance making and scholarship between the unique or exemplary and the claim to speak for what is taken for granted as “common sense”?

We invite proposals from those situated in academic and professional practices to engage in conversations around the ways in which the practice and politics of dance and/or choreography offer critical and creative spaces of reflection on our embodied relationships to the multiple concepts of “the/a commons.” Proposed presentations may take the form of papers, panels, roundtable discussions, lecture-demonstrations, movement workshops, dance works using outdoor or indoor sites, and screendances that address our theme. Papers that are already grouped into panels have a higher likelihood of acceptance and are encouraged; individual papers will be grouped into panels by the program committee.

In addition, in the spirit of the conference theme and looking toward how we ourselves might engage in a “practice of commons,” we also invite proposals from teams of facilitators for a special presentation format: Gatherings for Common Practices. These will take a dialogical approach to share thinking and tools for creative scholarship and pedagogy among attendees, which might center around topics such as “Pedagogies for Un/Common Bodies,” “Syllabi for a 21st Century Dance Commons,” or “Strategies for Survival in Institutional Commons.”

Submit your proposals by 15 January 2019. The online conference site will accept proposals after 15 August 2018. See https://dancestudiesassociation.org/conferences

DSA presents up to six awards each year to graduate students. The Selma Jeanne Cohen Award is for conference presentation; the graduate travel award is for participation or presentation. It is not possible to win both the same year. The deadline for both awards is the same as for proposals, 15 January 2019. For details on both awards, see:

https://dancestudiesassociation.org/awards/selma-jeanne-cohen-award

https://dancestudiesassociation.org/awards/graduate-student-travel-award-grants

All questions, including regarding access, should be sent to info@dancestudiesassociation.org

2019 Conference Program Committee: Anurima Banerji, Sherril Dodds, Imani K Johnson, Einav Katan-Schmid, Kareem Khubchandani, Lorenzo Perillo, Crystal Michelle Perkins, VK Preston, Chiayi Seetoo, Arabella Stanger

Special Issue of Studies in Musical Theatre: Ethnography and Musical Theatre

Special Issue of Studies in Musical Theatre:

Ethnography and Musical Theatre

Guest Editors: Judah M. Cohen (Indiana University) and Jake Johnson (Oklahoma City University)
Deadline: October 1, 2018
With Musical Theatre studies now thriving in the fields of musicology, theatre, and literature, the time is right to expand into a more ethnographic mode that explores the broader musical theatre ecosystem. Musical theatre, after all, extends well beyond Times Square through an astonishingly rich variety of musical networks. From national tours, cruise ships, films, ‘live’ television and theme parks, to amateur venues including high schools, summer camps, community theatres, and regional pageants, to widely flung developmental networks highlighted through such entities as the BMI workshop and college musical theatre programs, musicals are an everywhere phenomenon. In broadening the focus of Musical Theatre studies to include the everyday, lived experiences with and of musicals, this special issue promotes ethnographic methodologies as a means to investigate the genre more readily and robustly, illuminating such areas as social function, community, and indigenous theory. By acknowledging the important yet understudied role by which communities large and small practice musical theatre—and choose what stories to tell—the essays in this issue will provide a meaningful context for understanding both canonical and non-canonical works from the point of view of the people who create them.
We welcome performers and scholars from all disciplines to consider musical theatre ethnographically. Topics might include:
  • Methods and ethics in researching musicals through an ethnographic lens
  • Musical theatre as a facilitator of temporary (or long-term) community
  • Musicals in under-studied places
  • Discursive networks in musical theatre
  • Local pageants and the making of place
  • Musicals in education and professional training programmes
  • The musical as a live (and lived) entity
  • Global practices of musical theatre
  • The process(es) of making musical theatre
Please submit abstracts of c. 500 words to cohenjm@indiana.edu and jvjohnson@okcu.edu by 1 October 2018.  Selected abstracts will be invited to be developed into articles of 5000-6000 words, due by May 2019 for a projected publication date of January 2020. Submissions will undergo a full blind peer review, which will determine final selection.

Albee’s Influence on American Drama

New Perspectives in Edward Albee Studies, Volume Four:
Albee’s Influence on American Drama

New Perspectives in Edward Albee Studies is the official publication of the Edward Albee Society, published annually by Brill.

(Volume One, Edward Albee and Absurdism, published January 2017, Volume Two, Sex, Gender and Sexualities in Edward Albee’s Plays forthcoming, March 2018.)

Volume Four: Edward Albee’s Influence on American Drama

We are seeking essays that explore Albee’s influence and reach in the American theatre.  This could include playwrights whom he mentored directly, playwrights who were inspired by him, his role as director of both his own and others’ work, collaborators who worked with him, and artists whose own careers were in some way shaped by him.

In particular, we are interested in essays on any or all of the following topics:

  • The work of the Playwrights Unit, part of Albarwild Theatre Arts, Inc.
  • Albee’s mentorship of playwrights such as Adrienne Kennedy, Lanford Wilson, Amiri Baraka, Terrence McNally, Megan Terry, John Guare, A.R. Gurney, Sam Shepard, and others
  • Albee’s partnership with the Cherry Lane theatre and his contributions to off-Broadway theatre
  • Imitators of Albee’s Style
  • Albee as professor and his work in the academy
  • Albee’s influence on LGBTQ theatre

We encourage submissions from graduate students as well as established scholars or theatre professionals from any approach (e.g., theatre history, performance studies, literary theory and criticism), as well as those who have worked with Mr. Albee in any of the above activities.

Please contact volume editor Natka Bianchini (nbianchini@loyola.edu) for queries, proposals, and/or submissions.  For submission guidelines, please see the general call for submissions on the Edward Albee Society website.

Submission deadline for completed manuscripts: November 15, 2018

ATDS Member Mark Cosdon

This past May/June Mark led his ninth study travel course for Allegheny College students, focusing on colonies in Southern Italy founded by the Greeks in Campania, Basilicata, and Puglia. 

Mark Cosdon has also been promoted to full professor at Allegheny College.

Mark Cosdon and Allegheny College Students at the Metaponto Greek Theatre
Mark and Allegheny College Students Lament Their Fate

Call for Nominations – August Wilson Society Executive Board

The Nominations and Elections Committee of the August Wilson Society calls for the nomination of eligible officers on its executive board to serve a two-year term beginning August 2018. Candidates are eligible for nomination if a) their AWS membership is current and b) they meet the qualifications of their office of interest. The August Wilson Society is particularly interested in nominees with a keen interest in the work of AWS, demonstrated leadership experience, and strong professional standing.

A description of each office is below.

Please consider self-nominating and/or assist us by encouraging other excellent candidates to self-nominate. All viable candidates should email Artisia Green (avgreen@wm.edu) on or before June 30 with an expression of interest (250 words or less) and an abbreviated CV.

VICE PRESIDENT:
Duties: Work closely with the President in upholding AWS’s mission, sustaining its financial stability, determining the direction of the organization, and assuring its long-term stability. The VP can speak on behalf of the AWS President in the event of his or her absence.
Minimum Requirements: Current AWS membership. Familiarity with AWS’s mission. Knowledge of August Wilson’s body of work. Organizational skills. Institutional support. Proven skills at organization and accountability. Ability to work well with others.

COMMUNICATIONS DIRECTOR:

Duties: Work closely with the President and Social Media Coordinator to sustain AWS’s public branding. Manage and direct AWS’s

Minimum Requirements: Familiar with current trends in communications. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Skilled at verbal and written communication. Institutional support. Ability to work well with others.

SOCIAL MEDIA COORDINATOR:

Duties: Develop and execute new and imaginative ways of promoting the work of AWS via Social Media and enhancing its presence. Keep AWS President apprised of these plans at every level; Manage and continually update AWS’s content on its Facebook and Twitter accounts. Determine the form, content, quality and appropriateness of any newsworthy information to be posted on these platforms. Identify and share timely and relevant newsworthy information—such as Press Releases, web links or fliers announcing conferences, lectures, or an August Wilson-related activity hosted by other organizations— with AWS Website Director for posting. Publicize current productions of August Wilson’s plays performed at any AWS Organization Member theatre.

Minimum Requirements: Skill and hands-on experience with various social media platforms. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

WEBSITE MANAGER:

Duties: Create and maintain an aesthetically pleasing, fully functional, and current website. Work closely with the Communications Director and Social Media Coordinator in determining appropriate materials for possible cross posting on these three outlets. Post links to current productions of August Wilson’s plays performed at any AWS Organization Member theatre. Screen and oversee the input of timely and relevant information. Perform routine quality control checks. Report, at intervals, directly to the President an all matters pertaining to the site.

Minimum Requirements: Skill and hands-on experience with various website platforms. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

CONFERENCE PLANNER:

Duties: Oversee all aspects of AWS conference planning and execution. This includes—but is not limited to—being the major point of contact for all conference-related details; setting and adhering to a budget; composing and disseminating the CFP and vetting proposal submissions; securing an appropriate conference venue; identifying and inviting appropriate plenary speakers (if needed); arranging guest transportation (if needed); securing and working with a reputable food supplier; designating rooms for various events; designing and printing conference program (if needed), etc. Minimum Requirements: Skill at event planning. Savvy at interpersonal communications. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

MEMBERSHIP COORDINATOR

Duties: Receive and keep an accurate record of incoming AWS memberships. Host and manage at least one major AWS membership drive per year in collaboration with AWS Communications Director and Social Media Coordinator. Devise other creative ways to get the word out about AWS and increase its membership roster. Design membership promotional materials that list the benefits of an AWS membership. Target theatres and other institutions as potential AWS members.

Minimum Requirements: Savvy at marketing and interpersonal communications. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

FUNDRAISING COORDINATOR
Duties: Identify, pursue, and secure significant funding from donors and sponsors to support the ongoing work of AWS. Design public relations fundraising blitz for immediate execution. Devise and execute ongoing creative fundraising strategies. Put together and execute a 5-year AWS fundraising goal. Identify and apply for potential grant opportunities relevant to AWS’s mission.
Minimum requirements: Proven record of fundraising. Well connected with major corporations, theatre programs, and universities, and other potential funders. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

EDUCATIONAL COORDINATOR:

Duties: Identify opportunities for AWS to serve as an educational resource. Produce educational material—such as innovative Study Guides, current theatre reviews, and a constantly updated annotated bibliography of Wilson scholarship—for web posting. Create and manage an interactive FAQ webpage about August Wilson and his American Century Cycle. Create and post educational videos, blogs, etc. on Wilson’s plays. Organize and coordinate webinars. Highlight various research ports on Wilson’s work. Serve as a resource for high school and university classrooms seeking various approaches to teaching Wilson’s plays; etc.

Minimum requirements: Currently employed at an educational institution. Evidence of having taught, directed, performed, or written about one or more of Wilson’s plays. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

TREASURER:

Duties: Work closely with AWS President in all financial matters. Keep up to date financial records of deposits and withdrawals to AWS accounts. Work closely with Fundraising Coordinator to identify and solicit sponsors, donors and other sources of funding; Prepare and present Treasurer’s report to be given during AWS’s monthly conference calls.

Minimum requirements: Experience with managing funds and keeping good financial records. Two brief letters of recommendation attesting to the candidate’s trustworthiness and experience with handling finances. Current AWS membership. Familiarity with AWS’s mission and knowledge of August Wilson’s body of work. Proven skills at organization and accountability. Institutional support. Ability to work well with others.

The August Wilson Society (AWS) was founded within Howard University’s College of Arts and Sciences in spring 2006, shortly after the passing of August Wilson at age 60. This group defines itself as an interdisciplinary learning community

of instructors, students, and theatre lovers who remain dedicated to commemorating August Wilson’s legacy by promoting the studying, teaching, researching, performing, and ultimately the safeguarding of the rich narrative of the African American past that Wilson has bequeathed to us in the form of 10 plays that chronicle the stories of African Americans from 1904 to 1997.

JADT Special Issue – The Embodied Arts

The American Theatre and Drama Society invites submissions for the Spring 2019 issue of

The Journal of American Drama and Theatre

The Embodied Arts

Submission Deadline: 15 Oct. 2018

 

From the earliest examples of embodied art, theatre and dance have been intertwined. Witness the dual meaning of the ancient Hindu term “Nāṭya” as dance-theatre or the dithyrambic performances of the City Dionysia.  However, within theatre, dance, and performance studies today, disciplinary divides remain that may not reflect the actualities of artistic practices historically or in our contemporary moment. Many artists operate across the embodied arts and are uninterested in defining their works within any particular disciplinary genre. As Kate Elswit argues in Theatre & Dance (2018) “The artificial divisions between the thing most often called ‘theatre’ and the thing most often called ‘dance’ in both academic and artistic spheres have overshadowed their interdependence” (2).

Inspired by Nadine George-Graves’s proposal in The Oxford Handbook of Dance and Theater (2015) that we unify these connected fields under the rubric of “performative embodiment”(5), this special issue of JADT invites essays that attend to the intradisciplinary dynamics of the embodied arts. Within this call, the embodied arts are understood as complementary modes of discourse and practice, which trouble disciplinary boundaries and encourage broad scholarly inquiry.

Submissions might engage any of the questions below, though are not limited to them:

  • How do we consider the aesthetics and politics of bodies moving through space and time?
  • How are gesture, choreography, and movement meaning-makers in performance?
  • How do artists, works, genres, and/or audiences enact or theorize relationships between corporeality and language?
  • How do developing artistic practices, such as dance dramaturgy, invite an interdisciplinary toolbox encompassing both choreographic and linguistic communication?

Submissions that focus on the embodied arts — dance, theatre, performance art, or any hybrid form therein — across American geographies and historical moments are welcome. ATDS recognizes that notions of America encompass migrations of peoples and cultures that overlap and influence one another.

Manuscripts of up to 6000 words should be prepared in conformity with the Chicago Manual of Style, using endnotes, and submitted as attachments in Microsoft Word format. All correspondence will be conducted by e-mail. Submissions must be received no later than 15 October 2018; please e-mail queries and articles to Lezlie Cross (lezlie.cross@unlv.edu) and Ariel Nereson (anereson@buffalo.edu), guest editors of this special issue.

Authors need not be members of the American Theatre and Drama Society but submissions from members are especially encouraged.

For more information about JADT, see http://jadtjournal.org

Puppetry International #44

Call for Papers: Puppetry International #44: Puppetry Social Action/Social Justice

 

PUPPETRY INTERNATIONAL seeks brief articles (max. 2000 words) for its “Puppetry in Social Action/Social Justice” issue. We intend a broad interpretation of the topic and a style that will appeal to general readers with a strong interest in any aspect of the theme.

Possible topics might include, but are not limited to:

  • An analytical profile of a specific artist, theater company or institution engaged in work that addresses social injustice, or “speaks truth to power.”
  • A personal essay on the importance of puppetry in the author’s life as it helped to address an issue of fairness, equality, legal representation, or other social challenge
  • A historical examination of a puppet-related movement in social justice
  • A consideration of the differences of puppetry’s social significance as found in differentcountries or cultures
  • Instances of international collaborations between puppet companies in order to address issues of oppression, trafficking, forced migration, curtailment of civil rights, freedom, religion, abridgement of free speech, racism, ethnic cleansing or other social ills.
  • Interviews with prominent practitioners concerned with issues of social justice.
  • Reviews of books, films, or performances related to the subject of puppetry social action/social justice (see Book and Performance Reviews below).

If interested please send a proposal or query email to aperiale@gmail.com

Deadline for editor-reviewed submissions: August 1, 2018

 

Submissions for Peer Review

We strive to publish at least one double-blind peer-reviewed article per issue. These do not necessarily need to be on the theme of the issue. The peer-reviewed section of Puppetry International aims to explore how the puppet functions dramaturgically, to investigate larger philosophical questions generated in response to puppets and performing objects, and to trace the integral place of puppetry in world performance culture. We especially seek work by scholars who are pioneering new discoveries based on archival, field, or practice-based research and/or who aim to generate fresh theoretical perspectives on how humans interact with objects in performance. Submissions for peer review should follow the same length (2,000 words, including notes and bibliography) and style restrictions (MLA) as all other articles, but should demonstrate scholarly rigor and original research while remaining accessible to a broad readership. Longer versions of these articles can be published on our website.

 

Peer review submissions should be emailed to peer-review editors Dawn Tracy Brandes Dawn.Brandes@ukings.ca) and Dassia Posner (dassia2@gmail.com) as well as to general editor Andrew Periale (aperiale@gmail.com).

Deadline for peer-reviewed submissions: June 15, 2018.

 

Book and Performance Reviews

We also seek BOOK reviews (500 words max.) and PERFORMANCE reviews (1, 000 words max.)

Performance reviews to editor Andrew Periale: aperiale@gmail.com.

Book reviews to John Bell john.bell.puppeteer@gmail.com. Word documents preferred.

Deadline for book and performance review submissions: August 1, 2018

 

For All Submissions – PLEASE READ!

Subject line on email:

PI 44, author’s last name, key word(s) from title (e.g. PI 44 Bell interview PSchumann)

NO FORMATTING (no columns, embedded images, exotic fonts, different sizes of text,

etc.), please.

 

Please note: While we generally publish new, original writing, we occasionally accept translations of previously published articles if they have not yet appeared in English. Images should be sent, preferably as jpegs, at 300dpi at size to be printed. Larger is fine.

 

2018 ATDS Award Winners

ATDS 2018 Award Winners

 

Publication Subvention

No applications

Emerging Scholar Award

Amy B. Huang, Brown University, for “Spectacular Secrecy: Privacy, Race and Nineteenth-Century Theatre.”

Vera Mowry Roberts Award

Sebastián Calderón Bentin, Assistant Professor, NYU Department of Drama, for “The Politics of Illusion: The Collapse of the Fujimori Regime in Peru.” Theatre Survey Jan. 2018.

Graduate Student Travel Award

Elyse Singer for “‘Ah, qué muchacha!’: Cross-dressing and Yiddish Identity in Molly Picon’s 1932 Latin American Tour,” accepted to the 5th International Conference on American Drama and Theatre: “Migrations in American Drama and Theater” at the Université de Lorraine.

Faculty Research/Travel Award

Dr. Sarah Orem, postdoctoral fellow and lecturer at Smith College, for a research trip to Pennsylvania’s Pennhurst Haunted Asylum to support writing “The Asylum as Playground: Staging Bodily Difference in the Haunted Mental Hospital.”

Contingent Faculty (New) Award

Catherine Young, adjunct in NYU’s Drama Department, for both research in and travel to a conference in Boston—ATHE 2018—where she will present “Protesting Animal Presence and Performance on the Variety Stage” as part of the ATDS panel “Nationalism, Xenophobia, and White Supremacy on the U.S. Stage.”

John Frick Book Award

Heather Nathans, for Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage (University of Michigan Press, 2017).

Betty Jean Jones Award

Heather Nathans

Abstracts Due June 30 for Performing #MeToo: How Not to Look Away

 CALL FOR PROPOSALS (BOOK)

Performing #MeToo: How Not to Look Away

Editor: Judith Rudakoff

Abstracts Due June 30

 

“Suggested by a friend: ‘If all the women who have been sexually harassed or assaulted wrote ‘Me too.’ as a status, we might give people a sense of the magnitude of the problem.”

This tweet by Alyssa Milano, sent on October 15, 2017, opened the flood gates to an outpouring of testimony and witnessing across the Twitterverse that subsequently reverberated throughout social media. Facebook status lines quickly began to read “Me too,” and the hashtag #MeToo was trending. Abby Ohlheiser wrote in The Washington Post on October 19, 2017, “#MeToo has produced a kind of unity by volume, but when you speak to individual women about it, you find a wide range of responses — empowerment, exhaustion, solidarity, trauma.”

The original MeToo movement began a decade earlier, in 2006, when African American activist Tarana Burke adopted the phrase as part of her campaign to raise awareness of sexual violence against women. Today’s provocative campaign has inspired not only awareness, testimony, and witnessing, but also artistic response.

This CFP invites the international community of scholars and artists to contribute essays to a book that will focus on the diversity of responses to and critical engagement with live performance emanating from or dramatizing issues and experiences central to the #MeToo movement.

Essays might examine contemporary work, or adaptations of works from other eras, re-imagined in a #MeToo context. A wide range of cultural voices reflecting a diversity of perspectives is encouraged.

Critical engagement with live performance that blurs boundaries between genres or is outside of conventional theatre form is also encouraged. (For example, discussion and close reading of Kesha’s moving #MeToo performance of “Praying” at the 2018 Grammy Awards.)

Essays should document, analyze, and interrogate specific performances and the contexts that inspired them.

Abstracts of up to 500 words should be submitted on or before June 30, 2018 (to rudakoff@yorku.ca with the subject line #MeToo: your surname) as a double-spaced MS Word file attachment and should include a brief biographical note and indication of professional affiliation.

Anticipated production schedule (subject to change)

Abstracts due June 30 2018

Papers due December 30 2018

Revised papers due May 1 2019

Manuscript submitted to publisher (Intellect Books UK) June 30 2019

 

Full articles will be due on or before December 30, 2018, and should be submitted (to rudakoff@yorku.ca with the subject line #MeToo: your surname) as a double-spaced MS Word file email attachment following the editorial style of Chicago Manual of Style 16th Edition. Articles should be written in English and 5,000-7,000 words in length (including notes), although shorter pieces will be considered. Please include a brief biographical note with the final submission of up to 500 words that includes your affiliation.

 

Please address any questions to:

rudakoff@yorku.ca

Judith Rudakoff (Dr.)

Professor

Theatre Department

Centre for Film & Theatre

York University

Toronto, Ontario, Canada

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