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Posts by Pria Williams:

Member News – Mark Cosdon

Mark Cosdon directed a Broadway Musical Revue with students at Sicily’s University of Palermo.  He continues as Professor of Theatre and Performance Studies at Allegheny College and as managing director of the college’s Playshop Theatre.  This past February, Cosdon directed Proof in the Playshop Theatre and in September 2021 Cosdon remounted Bikeman, Peabody-winning journalist Tom Flynn’s rumination on September 11.  In May/June Cosdon led his tenth travel course to Italy, a month-long investigation into renaissance art, culture, and theatricality.  As a former president of the American Theatre and Drama Society, Cosdon joined past-presidents at ATHE-Detroit in reflecting on the organization’s 35th anniversary.  This coming fall, Cosdon will return to the University of Palermo for a semester-long teaching appointment.

Cosdon, in a flannel shirt, black ski hat, and KN95 mask, stands pointing next to a mustachioed Sicilian performer. Behind the two men is a wall crowded with late 19th and early 20th century marionettes, drawn principally from Orlando Innamorato, Orlando Furioso, and Gerusalemme Liberata. The photo was shot in Palermo, Sicily's Antonio Pasqualino International Puppet Museum.

Applied Theatre and Gender Justice – Dec 9 Deadline

Applied Theatre and Gender Justice
(to be published by Routledge in 2024).

This collection of essays seeks to highlight the value and efficacy of applied theatre–both in the US and internationally–to address issues of concern for gender marginalized groups: cis-women and girls, trans people, non-binary folx, and, those who identity as female regardless of their assigned gender at birth. Performance provides a unique opportunity to work across institutions, disciplines, and communities to promote collective imagination, foster dialogue, generate knowledge-making, and prompt civic action. While the book focuses specifically on gender justice, we recognize that efforts are intersectional, such as race, disability rights or LGBTQ2S+ rights. In addition, we will consider how topics intersect with notions of masculinity. This book will document, amplify, and share lessons from practitioners and scholars who use performance (e.g., theatre, hip hop, dance, music, spoken word, ritual, performance art) to create models of collective solidarity, strengthen communities, and advocate for justice and equity. In keeping with adrienne maree brown’s concept of “pleasure activism,” we are especially interested in practices that embrace humor, playfulness, and joy.

Possible section topics include:

  • Gender and climate justice
  • Gender, healthcare, wellness, and reproductive rights
  • Gender and education
  • Gender in the workplace
  • LGBTQ2S+ identity and rights
  • Gender and racial justice
  • Gender and economic equity
  • Gender and peace efforts/conflict resolution Gender and religion

Some questions this manuscript examines include:

  • What is the benefit for participants of applied performance (artistically, socially, intellectually, emotionally)?
  • What are some of the key challenges of doing this work (building trust with community, centering community voice, overcoming institutional barriers or marginalization within the university), and how to overcome them?
  • What are key philosophical values or commitments that underpin the work?
  • What ethical values are important? What are the ethical dilemmas?
  • What alternative models for collaboration exist, whether among team leaders, community partners, or across different institutions?

Applied Theatre and Gender Justice follows a unique, interactive format that expands the discourse. The book is divided into thematic sections. Each section has a series of essays that prompts a conversation around a central topic, culminating with a round table discussion. Word count ranges from 2,500-4,500. Applied Theatre and Gender Justice is the third offering in the series Applied Theatre in Context; previous books in this series are Applied Theatre with Youth: Education, Engagement, Activism (2021) edited by Brenner, Ceraso, and Cruz and the forthcoming Applied Theatre & Racial Justice: Radical Imaginings for Just Communities edited by Eunice Ferreira and Lisa Biggs.

Please submit an abstract of 250 words maximum and a bio of 200 words maximum by December 9, 2022 to AT.GenderJustice@gmail.com. For further information, email editors Lisa S. Brenner and Evelyn Diaz Cruz.

Theatre Annual – 2023

The Theatre Annual editorial team is pleased to invite article submissions for its 75th volume.  We welcome submissions from scholars at any career stage, and especially encourage submissions from graduate students and early career scholars.  

  • Have something ready to go? Get it off your desktop. We love an early submission.
  • Have something in the hopper? You still have time. The deadline is January 15th. 
  • Have questions? ContactTheatre Annual editor Ann Folino White whitea38@msu.edu. 

We look forward to working with you.

Deadline for article submissions: January 15, 2023

THEATRE ANNUAL
Call for Articles
2023 Issue

Theatre Annual is the oldest theatre periodical continuously published in the United States. It is dedicated to examining theatre and performance of the Americas. We construe “America” broadly to include North, Central, and South America and the Caribbean Islands. Articles may treat work in these geographic areas or work from these areas that is presented elsewhere in the world. We welcome articles on the history and ethnography of performance, drawing from such areas as theatre studies, performance studies, popular culture, music, anthropology, dance, communication, philosophy, folklore, history, and areas of interest that cross disciplinary lines.

Submissions should follow the guidelines in The Chicago Manual of Style, 17th edition (endnotes, no Works Cited list). Authors should submit articles as Word attachments to the editor, Ann Folino White, Department of Theatre, Michigan State University (whitea38@msu.edu). In order to assist in the anonymous peer review process, the author’s identity should not be revealed in the manuscript except on a separate title page that should also include full contact information (academic affiliation, mailing address, home, cell, and work telephone numbers, and email address). Articles should be 5,000 to 6,500 words long including notes. Illustrations are highly desirable; authors are responsible for securing rights. Submission deadline is January 15, 2023. Please allow at least eight weeks after the deadline for a response.

Scholars wishing to write book reviews for Theatre Annual are invited to send an inquiry to the book review editor, Daniel Ciba (danielciba01@gmail.com). If accepted, reviewers are asked to prepare their manuscripts in conformity with the guidelines in The Chicago Manual of Style without footnotes and submit them as a Word attachment.  Reviews should be 750 to 800 words for a review of a single book, 1,000 to 1,200 words for a two-book review, and 2,500 words for a five- or six-book review essay. Submission deadline is April 1, 2023. If publishers would like to send review copies, they should contact Daniel via email to make arrangements.

Theatre Annual, founded in 1942 by the Theatre Library Association, is now published in the fall of each year by The College of William and Mary in Virginia, in association with the American Theatre and Drama Society. For more information on TA, see http://theatreannual.atds.org/.



ATHE 2023 – ATDS Call to Action

CALL TO ACTION
American Theatre and Drama Society (ATDS) Sessions at the Association for Theatre in Higher Education (ATHE) Conference, Austin, TX, August 3–6, 2023 ATHE 2023 –– BUILDING FROM THE RUBBLE: CENTERING CARE

ATHE’s 2023 Call to Action urges us to build anew to initiate transformative change across our field. For ATHE 2023, we will develop the work begun through discussions and programming during ATDS’s 2022 anniversary year. We will (re)orient ourselves, the organization, and the field to actionable care and empathy. Through critical examination of our current state amidst the debris of inequitable, exploitative, unsustainable, and harmful practices and systems long considered “the norm,” we can continue to break down these structures, thus opening space to strategize actions that will help us rebuild in ways that center care, empathy, respect, humanity and community. We invite submissions that identify and redress systemic inequalities and injustices within drama, theatre, and performance across the Americas, broadly conceived. How have the academy; classrooms; theatre; production practices; archives; research conventions; publication processes; etc. contributed to the normalization of white supremacy, cisnormativity, and heteropatriarchy that infuses our systems of being, acting, and working? What actions can we take to rebuild in ways that frame our work as transformational as opposed to transactional?

Building anew often relies on thinking anew. We welcome ideas for novel approaches to conference sessions in addition to proposals informed by more traditional formats such as individual proposals, panels/roundtables, and working groups. We’ve designated two priority areas for our sessions at ATHE 2023:

1) Looking Inward

Proposals within this category might address:

  • Being in, or of, the Americas is just one facet of the identities some people hold. How might we incorporate multiple perspectives and/or intersectionality into our scholarship and practice on theatre, performance, and drama across the Americas?
  • The year-long anniversary celebration of ATDS offered valuable reflections on the organization, its values, and ways to carry out those values. How might ATDS continue these conversations as the world around us continually changes?
  • What do we mean and what do we include when we call upon “American” Theatre & Drama?
  • How might ATDS keep building our antiracism initiatives?
  • How can the organization further support, expand, and diversify ATDS membership?

2) Networks of Care: Advancing Support Within & Across ATDS, ATHE, and the Academy

Proposals within this category might address:

  • ATHE has stated that this will be the final year the conference is committed to convening at an exclusive conference hotel. The opportunity is therefore ripe to consider the historic (in)accessibility of conferences on multiple levels. This might include the physical space of the conference site, financial resources, caregiving responsibilities at home, past harms that conferences have inflicted, amongst others. How can ATDS help build a new conference model that is truly accessible for scholars and artists coming from a multiplicity of backgrounds and at varied stages of their careers?
  • Access to conferences often connects to access to institutional resources. What does this mean for our colleagues in tenuous positions, such as adjunct faculty, and who may feel untethered from a “home” institution? How might ATDS redistribute resources to advocate for and support those whose positions are often marked by uncertainty and exploitation?
  • How do we prioritize and actively value collaboration––within ATDS; within and across ATHE Focus Groups; within institutions; within the field?
  • What does support look like within and across the academy and communities of theatremakers in the Americas? What might seem like support, but instead results in ineffectual outcomes? Or, even worse, inadvertently replicates harm? In what ways do we sometimes encounter slippage between intent and impact when endeavoring to support? How can the field address well-intentioned actions that cause harm?
  • What does decentering one’s self in service and in support look like? How might we with privileges in the field of theatre and performance actively de-center ourselves in the pursuit of service and support? What are some systemic mechanisms that make this difficult?

PROPOSAL SUBMISSION INFORMATION

Proposals are welcome from all colleagues––ATDS members are encouraged to submit, but you need not be a member to submit a proposal. Individual proposals should be submitted to the ATDS Conference Planners, Heidi Nees (hlnees@bgsu.edu) and Amy Meyer (meyer.amy.e@gmail.com), who will group submissions with similar themes to form full sessions for consideration by ATHE.

In your proposal please include:

  • Title of session you’re proposing and/or title of the work you would like to share
  • Session format (1. Individual proposal, 2. Panel/roundtable, 3. Working group, or 4. Something brand new!) This year’s conference will include both in-person and virtual sessions––please specify in-person or virtual if you have a preference
  • An abstract of 150-250 words describing topic(s), goals, and guiding questions
  • A short bio (50 words) and your contact information including email and phone number

Individual proposals must be submitted to Heidi Nees and Amy Meyer by DECEMBER 4, 2022. (ATHE does not accept individual paper submissions, please do not submit an individual proposal through the ATHE portal.)

Group session proposals (with all participating members assembled) must be submitted directly to ATHE (using this link) by DECEMBER 12, 2022. Please forward a copy of your completed proposal to Heidi Nees (hlnees@bgsu.edu) and Amy Meyer (meyer.amy.e@gmail.com).

We welcome opportunities to co-sponsor session proposals with other focus groups. Multidisciplinary session proposals must be sponsored by a minimum of two (2) ATHE Focus Groups and/or Committees. It is your responsibility to contact each Focus Group Conference Planner or Committee Chair prior to the submission deadline to gain approval of all sponsoring groups (focus and other group contact information here). For additional details on proposal submissions visit ATHE’s website here: What to Know About Proposing a Panel for ATHE. Unlike multidisciplinary sessions, single focus group session proposals do not require focus group approval before submission.

The conference planners will evaluate proposals for relevance to ATDS’s Call to Action, clarity of topic(s) and goals, and potential for collaborations with other focus groups. See ATHE’s Session Submission Guidelines here.

Please note that ATHE will open a second round of submissions in March 2023. This call will be for people to collaborate and develop new all-conference programming, including larger format sessions. Submitters who were not accepted during the first round may apply to these opportunities. ATDS will circulate announcements and reminders about this second call.

Thank you for joining us in making a more responsive ATDS.

Member News – Donatella Galella

Donatella Galella smiles at the camera wearing a blue blazer over a black shirt with blue stripes. Donatella Galella received the 2022-2023 Visiting Research Fellowship from the Asian American Studies Center at UCLA. She is working on a book about how yellowface persists in twenty-first century musical theatre, and how Asian Americans labor to counter yellowface.

Tennessee Williams Scholars Conference

Tennessee Williams Scholars Conference
New Orleans, LA
Friday, March 24, 2023

presenters will be compensated for their participation

http://www.tennesseewilliamsstudies.org/conference/

Deadline for submissions:
November 15, 2022


Sessions at this one-day event do not consist of traditional conference papers. Instead, panels feature scholarly conversations that spring from Williams’s work and its many contexts and futures. We invite brief proposals for topics related to Tennessee Williams writ large.

Topics might include, but are not limited to:

  • conceptual casting in productions of Williams’s plays
  • non-US-based productions, films, and contexts
  • production history and 21st-century dramaturgy
  • BIPOC representation in text and productions
  • connections between Williams and the work of other artists and creative professionals, including playwrights, poets, novelists, actors, and directors
  • how Williams fits into LGBTQ+ history and the present
  • intersectional feminist critiques
  • disability in Williams’s texts and productions
  • directing and adapting Williams in the 21st century
  • Williams’s influence on the cinema in the US and abroad

All sessions but one will be held in person in New Orleans; there are no hybrid in-person and virtual sessions. There is one designated virtual session, which has a specific lightning-round format: each participant in the virtual session will show one image (two at most) and talk conversationally for 5 to 10 minutes about what they find compelling about the image and its relation to Williams.

Proposals should include your name, affiliation (if applicable), contact information (including phone number and email), an abstract of 250 words about a proposed topic, and a 100-word bio. Submissions for in-person panels should specify any A/V needs. If you are submitting for the virtual panel, please write “Submission for virtual panel” in the proposal and attach the image you will discuss.

Speakers invited to attend in person will not have a virtual option if their travel plans change. If there is a good chance you will be unable to travel to New Orleans, we ask that you please submit for the virtual session only, following the instructions above.

Deadline:  Please email proposals to margit.longbrake@hnoc.org by  Tuesday, November 15, 2022.

Stipends of $200 will be offered to panelists who attend in person; panelists on the virtual session will be offered stipends of $75. Panelists interested in submitting an essay on their topic to the Tennessee Williams Annual Review will be invited to schedule a virtual meeting with the managing editor of the Review, to discuss possibilities.

The conference organizers and the Tennessee Williams Annual Review are committed to reflecting a wide range of experience of race, ethnicity, gender, sexuality, and physical ability. Scholars of the global majority are especially encouraged to submit proposals.

Black Theatre Review – Extended

The Black Theatre Review (tBTR) has extended its deadline for submissions to its second publication, Vol. 1 No. 2, to be published in early winter of 2023. The deadline is now October 31, 2022.

We are pleased to invite submissions that respond to and interrogate the beauty and performativity of Representation in Black theatre history, performance, literature, artistic leadership, pedagogy, and praxis:

Representation

Representation is an act of inclusion that responds to the implicit/explicit questions of who and what should be seen. Representation is often a responsible intervention, yet in some cases we don’t know something is being represented unless or until it is named. In the pursuit of economic viability, representation can exploit artists and audiences, telling stories particular only to a contemporary cultural mood or moment. Is it (representation) a tool of respectability politics? If so, does it run the risk of overlooking the duality and nuance that can exist within all of us at any moment in time? Representation can look like diversity with questionable intentions: no funding, no equity, no justice, and no subverting or dismantling of hegemonic systems. Tokenism and pioneerism are also forms of representation: overused and often enacted with people who are undercompensated and highly taxed. What are the metrics of representation and who determines what deserves to be represented?

tBTR seeks to publish original papers, book and performance reviews, technical and design notes, theoretical frameworks and perspectives, case studies, and works of multimedia. All issues will be centered on specific themes (as in the case of Representation above). Special issues devoted to performance pieces and particular artists will occasionally be published as well.

The deadline for submissions to all sections of tBTR is October 31, 2022. Early submissions will, however, receive preference in the review and publication process.

ATDS at CDC Panels

ATDS at CDC 

Submission Deadline: October 3, 2022 

The American Theatre and Drama Society is seeking papers for two pre-constructed panels to be presented at the 45th Comparative Drama Conference.  

Conference Details: 

Orlando, Florida 
March 30 – April 1, 2023 
Website: https://blogs.rollins.edu/drama/ 

Panel 1: Reimagined American Theaters 

The pandemic had a crushing effect on American Theater, and plays are only haltingly coming back to the stage. Early in the pandemic, many practitioners hoped that the enforced break would lead to changes in the way we tell stories and in what stories are being told.  Movements like “We See You White American Theatre” and Not In Our House have agitated for a change in the way theaters are run, from the back office to the rehearsal room, as well as in the kinds of plays programmed for “post-pandemic” seasons.  In the last year, theater has begun to come back.  This panel seeks papers that examine the ways in which that hope has been (or has not been) fulfilled.   

Panel 2: American Oppressions 

The theatre is one venue through which we can come to terms with the systems under which we struggle.  Some playwrights dig more deeply or more often into our nation’s structures of oppression; from Redlining to the Prison-industrial complex, from historical plays about slavery to contemporary ones about immigration or racial profiling. Productions can also choose to use plays that might have been written about other issues to thematize these systems, often bringing new life to old works.  Papers may address any aspect of particularly American oppressions, as thematized by American plays or productions.  Equally welcome would be papers about plays written or produced in other countries but which explore particularly American issues. 

Submission Instructions: 

Papers should be 15 minutes in length, written for oral presentation, and accessible to a multi-disciplinary audience. Please send a 250-word abstract to Dr. Richard Gilbert at rgilbert1@luc.edu by October 3, 2022.  Please include your paper’s title, your name, your status (faculty, graduate student, independent scholar, theater artist, other), your institutional affiliation if any, and your email and postal addresses.   



45th Comparative Drama Conference

45th Comparative Drama Conference
March 30-April 1, 2022
Orlando, Florida


The Comparative Drama Conference is looking forward to scholars and theater practitioners gathering together in person in Orlando to share our research and enjoy each other’s company.

However, recognizing that there are still lasting ramifications from the pandemic that continue to affect our colleagues at colleges and universities around the world, the Comparative Drama Conference will offer a limited number of daily panels that will be exclusively virtual.

These panels will be available to in person and virtual participants.

When submitting your abstract (see information below), please indicate that you want to be considered for one of the virtual panels.

Abstract Submission Deadline: 15 October 2022

Papers reporting on original investigations and critical analysis of research and developments in the field of drama and theatre are invited for the 45th Comparative Drama Conference, hosted by Rollins College in Orlando, Florida, to be held March 30-April 1, 2023 . Papers may be comparative across nationalities, periods and disciplines; and may deal with any issue in dramatic literature, criticism, theory, and performance, or any method of historiography, translation, or production. Papers should be 15 minutes in length, written for oral presentation, and accessible to a multi-disciplinary audience. Scholars and artists in all languages and literatures are invited to email a 250 word abstract in English to William C. Boles at compdrama@rollins.edu by 15 October 2022.

Please include paper title, author’s name, status (faculty, graduate student, other/scholar-at-large), institutional affiliation, and postal address at top left. Abstracts must present a clear argument and have an appropriate scope (usually two or fewer works). Please send your abstract in .docx, .txt, or .rtf format. If possible, please avoid sending a .pdf. (PLEASE be sure to add compdrama@rollins.edu to your accepted email list so that conference emails will not be rejected by your server. Ask your IT administrator how to do so.) If you do not receive e-mail confirmation that we received your abstract/submission within 14 days, we did not receive your submission. Please contact us immediately at wboles@rollins.edu. Due to the number of submissions, the adjudicators are unable to offer specific feedback on panels, abstracts, or scripts. Abstracts will be printed in the conference program.


Pre-organized Panels

Pre-organized Panels and Roundtables will also be considered. A pre-organized panel should include three papers. Each paper should be 15 minutes in length. Panel proposals should include (1) a copy of each panelist’s 250 word abstract with paper title, author’s name, institutional affiliation, status, postal address and email address at top left, and (2) a succinct, 50-word rationale for the grouping of the papers. The panel organizer should email the abstracts and rationale to compdrama@rollins.edu by 15 October 2022. Please send your abstract in .docx, .txt, or .rtf format. If possible, avoid sending a .pdf.

A pre-organized round table should include at least four participants. Round table proposals should include (1) a succinct, 50 word explanation of and rationale for the round table topic, (2) a timeline of the program, including time for audience interaction and Q & A, and (3) clear evidence of each participant’s expertise in the topic area. Do not send entire vitae. Include only evidence applicable to the round table topic. The panel or round table organizer should email the abstracts and rationale to compdrama@rollins.edu by 15 October 2022. Please send your abstract in .docx, .txt, or .rtf format. Please avoid sending a .pdf file.

If you would like to advertise a pre-organized panel on the CDC website, please send the panel title, organizer contact information, deadline, and description to compdrama@rollins.edu immediately. Please send your abstract in .docx, .txt, or .rtf format.To see the call for pre-organized panels, visit our Pre-organized Panels page.

Body, Space, & Technology

CALL FOR ARTICLES, PERSPECTIVES, PERFORMANCES AND REVIEWS

Body, Space & Technology, now in its twenty-second year of publication, is a leading online interdisciplinary journal, publishing on all aspects of contemporary arts practice.  

 

The EBSCO indexed journal publishes non-themed refereed articles, artist-led perspectives on their practice, together with a wide range of reviews of books, performances, installations, design, as well as visual and sonic art. It also reports on related conferences, symposia and other arts-based events.  BST recently moved to a new platform at the Open Library of the Humanities and the latest issue together with all material from previous issues is available on the Journal’s website here: www.bstjournal.com 

Initial proposals need to be approximately 300 words. The Journal supports interactive sound and visual media.

 Deadline for paper proposals – Friday 23 September

Deadline for finalised material – Monday 24 October

Deadline for perspectives, reviews and performance proposals – Friday 30 September

Deadline for finalised material – Monday 24 October

Publication due January/February 2023

All proposals to be submitted to:

 Finalised Perspectives, Reviews and Performance and all Finalised Papers: www.bstjournal.com/submit/start

 

 

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