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Posts by Pria Williams:

Applied Theatre and Gender Justice 

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 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. 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 Oct. 15, 2022 to AT.GenderJustice@gmail.com. For further information, email editors Lisa S. Brenner and Evelyn Diaz Cruz.

Excavating New Critical Landscapes – August Wilson

Excavating New Critical Landscapes: The August Wilson Archive, The Writer’s Landscape, and the August Wilson House Renovation Project

The August Wilson Society seeks proposals for individual papers, panels, or workshops for its March 2 nd – 4 th 2023 Biennial Colloquium that assess the current and future impact that the work being done by three Pittsburgh institutions has or will have in forging “new critical landscapes.” Timed in conjunction with the Spring 2023 opening celebration of the August Wilson Archive at the University of Pittsburgh Library System (ULS), this national gathering will convene artists, educators, theater practitioners, archivists, museum curators, theater scholars, and students, among a huge fan base of the late playwright and his work.

This interdisciplinary conference aims to highlight the significance of the August Wilson Archive while also drawing attention to two other Pittsburgh landscapes whose projects to preserve various aspects of Wilson’s legacy are certain to significantly enhance scholarship in theater studies, black studies, and August Wilson studies. For more information, visit the August Wilson Archive – https://augustwilson.library.pitt.edu/.

We welcome abstracts for papers that address the following broad questions:

• Why are archives relevant to black theater studies?

  • What is the importance of creating, maintaining, or ultimately bequeathing archival materials of living artists?
  • What is the relationship between August Wilson’s legacy/black theater and Pittsburgh culture?
  • What are the ethics and methodologies involved in archival research in the contemporary era?
  • In addition to University of Pittsburgh Library System’s acquisition of the Wilson Archive, the August Wilson African American Cultural Center has just completed August Wilson: The Writer’s Landscape, a 3600 square foot major interactive exhibit. Less than 2 miles from AWAACC, August Wilson’s boyhood home at 1727 Bedford Avenue has been named an historical site and received funding to renovate and transform this space to a writer’s hub set to open to the public in August 2023.
  • What is the cumulative impact of these three Pittsburgh institutions’ efforts to create monuments to August Wilson?

Abstracts of no more than 150 words should be uploaded to our Google form by September 15, 2022. The link to the form can be found here:

2023 Biennial Colloquium Call for Papers – https://forms.gle/v3VRwCG2PEiWb5jc7

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The August Wilson Society also calls for proposals from scholars to visit the August Wilson Archive at the University of Pittsburgh. The newly acquired collection— set to open to selected scholars in January 2023—features several unseen texts from Wilson’s personal archive, including rough drafts of his Century Cycle plays, unpublished drafts of non-Century Cycle plays, correspondence between Wilson and several of his contemporaries, and journals of his personal writing. Generous funding from the University of Pittsburgh will support travel to the collection for 5-7 scholars, artists, educators, or students who will then form a panel that reflects on the personal, intellectual, and artistic import of the collection. Researchers might choose a single artifact in the Wilson archive to respond to or a key theme that invokes several artifacts that deepen our understanding of Wilson’s life and work and/or its relation to the larger socio-historical record to which the artifact(s) and Wilson respond.

The proposal must incorporate some aspect of archival research into discussions of Wilson and the items archived from his creative universe. Researchers might consider the following broad questions:

  • How might texts from this collection complicate existing critical discourse in Wilson studies/black theater studies?
  • What does the Wilson archive reveal uniquely about August Wilson, black theater studies, performance matters, and the politics of production (theater, film, textual, and otherwise)?
  • In ways does the Wilson archive reflect his awareness of archive as a practice of preservation and creation?
  • How does Wilson’s correspondence bring to light the influence of his peers on the production of his plays?

Abstracts of no more than 150 words should be uploaded to our Google form by September 15, 2022. The link to the form can be found here:

January 2023 August Wilson Archive Field Visit – https://forms.gle/UKeeUchmkoBNTQhL9

Inessential Shakespeares

Inessential Shakespeares:  
Contingency, Necessity, and Marginalization in Early Modern Drama 

Editors of a special issue of Shakespeare edited by Danielle Rosvally (University at Buffalo) and Sarah Neville (Ohio State University) scheduled for Fall 2024 seek papers of 4,000-6,000 words on the topic of “Inessential Shakespeare: Contingency, Necessity, and Marginalization in Early Modern Drama.”  

What works of Shakespeare – and which Shakespearearans – are considered “essential”? Who gets to count? What gets to count? And who gets to do the counting? Shakespeare is an omnipresent and overdetermined figure in Western drama, but the COVID-19 pandemic has given many – theatre companies, academic organizations, curricular overseers – the opportunity to re-engage with questions of essentialism that have structured the study of his plays from the very beginning. Since the publication of the first folio in 1623, Shakespeare’s editors have made self-perpetuating judgment calls determining which of his plays are authoritative which are not. Such judgments have since been endorsed by editors who have further winnowed collected works editions down to a selection of most “important,” “significant,” or “popular” plays, limiting how audiences read and experience Shakespeare. Taking their cue from these edited collections, Shakespeare pedagogues, performers, and scholars generally follow suit, allowing a few chosen plays to dominate our understanding of the canon and flagrantly ignoring others. What do we lose when we attend only to narrow swathes of the canon? How can expanding the canon to include marginalized Shakespeare help us think through our current casualization of marginalized Shakespeareans? This special issue of Shakespeare will explore Shakespeare on the edge by reexamining what is considered essential as well as how it came to be that way. We are interested in papers of 4,000-6,000 words considering teaching, performance, editing, publication, and the digital humanities alongside academic labour practices, the early modern literature classroom, and/or considerations of canonicity to ultimately trouble our notions of what – and who – constitutes “essential” Shakespeare.  

Please submit via the journal’s web portal (https://think.taylorandfrancis.com/special_issues/shakespeare-inessential-drama/ ) and note that the submission is for the “Inessential Shakespeares” special issue. Early and immediate submissions welcome; deadline for full consideration is March 31, 2023. To discuss potential paper ideas, please contact both editors: drosvall@buffalo.edu and neville.67@osu.edu. 

 

Sarah Neville is a specialist in the fields of book history, textual editing, and Shakespeare in performance. She is an associate professor of English at the Ohio State University, where she also holds an appointment in the department of Theatre, Film, and Media Arts. She is an assistant editor of the New Oxford Shakespeare, associate coordinating editor of the Digital Renaissance Editions, founder and creative director of Lord Denney’s Players, and author of Early Modern Herbals and the Book Trade: English Stationers and the Commodification of Botany (Cambridge, 2022).  

Danielle Rosvally works at the intersection between Shakespeare, performance, and theatrical labor as a historical phenomenon. She is a clinical assistant professor of theatre at the University at Buffalo, an actor, dramaturge, director, and fight director. Her book Value and Worth: Buying and Selling Shakespeare in New York’s Nineteenth Century is forthcoming. She is the editor, along with Donovan Sherman, of the forthcoming Arden Shakespeare volume Early Modern Liveness: Immediacy and Presence in Text, Stage, and Screen (Bloomsbury, 2023).  

ATDS Panels at 45th CDC Conference

The American Theatre and Drama Society is sponsoring two pre-constructed panels to be presented at the 45th Comparative Drama Conference.  The CDC is a really lovely conference.  It is relatively small, with plenty of time for discussion and getting to know people.  Each year the keynote is delivered by a guest playwright.  This year’s guest is Lucas Hnath (Doll’s House 2, Red Speedo, Hillary and Clinton).  

Conference Details: 
Orlando, Florida 
March 30 – April 1, 2023 

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 7, 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.   

JADT Special Issue – Revolutions in New Work Development

The Journal of American Drama and Theatre

Special Issue: Revolutions in New Work Development

Spring 2023 Call for Submissions Deadline: November 1, 2022

“Theater is a verb before it is a noun, an act before it is a place.” -Martha Graham The American Theatre and Drama Society’s 2023 special issue on Revolutions in New Work Development will document, explore, and expand upon new work development techniques we created, refined, and experimented with during the ongoing pandemic.

In addition, it will embrace vigorous conversations of how we can use what we’ve learned during COVID to reimagine new work development in inclusive and intersectional ways.

All theatre artists, dramaturgs, literary managers, and academicians are welcome to submit articles, interviews, and case studies on processes and productions shaped by the pandemic, including virtual and in-person performance, theatre via mail, theatre in the streets, circus theatre in the parks, cabaret co-ops, shifts in pedagogy, and more.

The goal is to create an archival document of pandemic theatre practice as well as share new practices which theatre makers can take with them into the future.

Submissions may take up subjects such as:

  • Case studies of performances specifically created for Zoom and other online tools
  • New work development which centers marginalized communities
  • Interviews with disabled artists about how they can engage more deeply with development and performance online
  • Documentation of a theatre via mail event and corresponding process essay
  • Contextualized transcript of a roundtable with artists working in new ways
  • Lesson plans paired with a short essay on the thought behind the plan
  • The evolution of live performance in public places like at LGBTQIA+ Pride Parades
  • Documentation of indoor processes and performances moved outdoors due to COVID

Since JADT is an online, free, open-source journal, essays can link to additional resources, online archived performances, and other materials which might enrich readers’ knowledge of the subject: https://jadtjournal.org

Inspired by the 2016 “Audience Revolution: Dispatches from the Field” TCG essay collection edited by Caridad Svich, we welcome short submissions in a variety of formats rather than

1 standard-length articles to include more voices and challenge the typical academic journal template.

Authors may submit interviews, manifestos, dramaturgs’ notes, and short essays ranging from 800-2500 words as well as roundtables up to 5000 words in length.

Manuscripts should conform to the Chicago Manual of Style, use endnotes, and be submitted as an attachment in Microsoft Word format. We will convert the Word Doc to a Google Doc so that we can make comments, and easily return it to you with thoughts.

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

For more information about ATDS and to join the Society, see www.atds.org.

Please direct submissions and questions to Guest Editor Jacqueline Goldfinger at jacqueline.goldfinger@gmail.com. The deadline for submissions is November 1, 2022.

The Black Theatre Review

The Black Theatre Review (tBTR) will be accepting submissions for its second publication, Vol. 1 No. 2, to be published in January of 2023.

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 July 31, 2022. Early submissions will, however, receive preference in the review and publication process.

For more information on author guidelines, please click here.
To start submission, please follow this link.

 

Call for Theatre Annual Editors

Calls for Theatre Annual Editor & Theatre Annual Book Review Editor

The American Theatre & Drama Society seeks applications for Editor and Book Review Editor for Theatre Annual, ATDS’s peer-reviewed journal. Both positions have four-year terms that include a training/learning period to make these positions more accessible and to maintain institutional memory.

Description of the Journal: 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. Please find additional information on the Theatre Annual website: https://theatreannual.atds.org.

Editor Job Description: The successful applicant will join the editorial team as Associate Editor in August 2022 (for the 2023 issue), working closely with the Editor in preparing issues for publication and learning the process. They will transition to Editor in August 2024 (for the 2025 issue) for the remaining two years of their term, when they will also begin the process of training the incoming Associate Editor. The Editor is responsible for preparing one issue a year. This includes distributing a call for submissions; conducting anonymous peer review; carrying out production work; and liaising with contributors, the Associate Editor, the editorial board, the Book Review Editor, the Managing Editor, and the publisher, the College of William & Mary. The Editor provides an annual report to ATDS at its ATHE Business Meeting that includes information from the College of William & Mary on the journal’s finances, subscriptions, and marketing, as well as numbers of received submissions and accepted articles, updates on special issues, and so forth). The Associate Editor will assist with these duties and copy editing. Both Editor and Associate Editor are encouraged to be active and visible scholars in the field. Workload varies throughout the year, but the Editor should expect to devote approximately 80 hours to each issue, with more labor-intensive periods during peak submissions times, around major conferences, and amidst copy editing and production weeks. The Associate Editor should expect to devote 30-40 hours to each issue. The Associate Editor receives an annual stipend of $500; the Editor receives an annual stipend of $1500.

Book Review Editor Job Description: The successful applicant will join the editorial team as Associate Book Review Editor in August 2022 (for the 2023 issue), when they will work closely with the current Book Review Editor in preparing the review section for publication and learn the process. They will transition to Book Review Editor in August 2023 (for the 2024 issue) for the remaining three years of their term. In the final year, they will train the incoming Associate Book Review Editor. The Book Review Editor is responsible for maintaining up-to-date lists of books available for review; fielding inquiries for reviews; commissioning reviews; editing reviews; coordinating with the Editor and Associate Editor; meeting deadlines for publication; and establishing and maintaining relationships with book publishers. The Book Review editor should expect to devote approximately 60 hours to each issue, with an estimated 30 hours during their year as Associate Book Review Editor.

Though the application process is open to all interested individuals, it is expected that the Editor and Book Review Editor will maintain an ATDS membership in good standing while serving. ATDS currently offers Pay What You Can membership: https://www.atds.org/membership-shop/.

Please send a cover letter describing your interest and experience (1 page) and a shortened CV (2 pages)—or any questions—to Beth Osborne, Chair of the Theatre Annual Editor & Book Review Editor Search Committees, at BethOsborne@gmail.com by April 22, 2022. Search committee members include Naomi Stubbs, Derek Miller, Isaiah Wooden, and Ann Folino White.

JADT Guest Editor Call

Call for the Journal of American Drama and Theatre

Spring 2023 Special Issue Guest Editor

The American Theatre & Drama Society seeks applications for Guest Editor of the Spring 2023 Special Issue of the Journal of American Drama and Theatre, a peer-reviewed online journal.

Description of the Journal: Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer-reviewed journal is now edited by Professors Naomi J. Stubbs and James F. Wilson. JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. 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. Please find additional information on the JADT website: https://jadtjournal.org/.

Guest Editor Job Description: The successful applicant will begin work in the summer of 2022, when they will craft and circulate a Call for Papers for the special issue in time for the Association for Theatre in Higher Education conference at the end of July. (For the most recent special issue CFP, see https://www.atds.org/jadt-special-issue-asian-american-dramaturgies/.) The Guest Editor is responsible for editing this single issue. They will keep track of submissions, develop and implement their review procedures such as the review form, curate a guest editorial board to review articles, and correspond with authors. JADT’s Editors will offer guidance on matters like the typical number of pieces in an issue and the production timeline. Managing Editors based at The Graduate Center, City University of New York will carry out copy editing, formatting, and ultimately publishing. The Guest Editor will provide a report to ATDS at its 2023 ATHE Business Meeting that includes the number of received submissions and accepted articles. Workload varies throughout the year, but the Guest Editor should expect to devote up to 10 hours per week to the issue during peak times (following the fall submission deadline, collating reviews and submitting additional edits in the winter, and copy editing and production weeks). The Guest Editor will receive a $250 honorarium for their work.

Applications should include a pitch for the special issue’s topic. Proposals from potential co-editors are welcome. Although the application process is open to all interested individuals, it is expected that the Guest Editor will maintain an ATDS membership in good standing while serving. ATDS currently offers Pay What You Can membership: https://www.atds.org/membership-shop/.

Please send a cover letter describing your interest, experience, and proposed special issue topic (1 page) and a shortened CV (2 pages)—or any questions—to Donatella Galella, Chair of the JADT Guest Editor Search Committee, at Galella@ucr.edu by April 22, 2022. Search committee members include Naomi Stubbs, Derek Miller, Beth Osborne, and Isaiah M. Wooden.

Eugene O’Neill Society – MLA 2023

The Eugene O’Neill Society
Modern Language Association Convention
San Francisco, January 5-8, 2023

 

The Duality of Eugene O’Neill on Race

Please submit proposals to the O’Neill Society

by March 9, 2022

What can we learn about race and inclusion in America today by reflecting on Eugene O’Neill’s plays? At first glance, O’Neill may not be the most likely playwright to turn to in examining issues of racial tensions. And yet, his plays repeatedly broke color lines on stages around the world for decades.

This panel examines the legacy of O’Neill in light of vital conversations regarding race, diversity, and equity today. Eugene O’Neill’s emphasis on racial themes and conflicts, especially in his early dramas, opened up extraordinary opportunities for Black artists to challenge racist structures in modern theatre and cinema. By changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism, theatre artists of color used O’Neill’s dramatic texts to subvert barriers in American and transatlantic theatre.

Despite the innovations his work inspired, Eugene O’Neill is not an unproblematic figure in the history of racism in modern theatre. While O’Neill was the first major American playwright to write Black characters with complexity, he also relied upon stereotypes and forms of primitivism that continue to provoke criticism. And yet, recent productions around the world (from revivals of The Emperor Jones by the Irish Repertory Theater to The Iceman Cometh with Denzel Washington, directed by George C. Wolfe) demonstrate the power of O’Neill’s plays for examining the enduring questions of race and racism. This panel explores the complexities of that duality in our scholarly and artistic approaches towards O’Neill’s plays and various productions and considers what we can learn about racism and inclusion today from studying O’Neill.

This will be a 75-minute session at the MLA convention. We hope that half of that time can be devoted to discussion with the audience. The O’Neill Society seeks papers that can be presented in roughly twelve minutes either directly on O’Neill’s work or on issues of inclusion today that then can be applied to O’Neill’s work during the discussion. Please email proposals for presentations to David Palmer (dpalmer@maritime.edu) by March 9, 2022. That will allow the O’Neill Society sufficient time to review all proposals properly before submitting the Society’s session proposal to the MLA administrators by their deadline of April 1. Please note that to present a paper at the MLA 2023 convention the presenter must be a member of the MLA by April 7, 2022. Here is a link to information about membership fees and guidelines.

The Eugene O’Neill Society is an Allied Organization of the MLA. Our session is guaranteed a place at the convention each year.

Thank you for considering this call for papers.

Fall 2021 President’s Message

Fall 2021 President’s Message

Welcome to the American Theatre and Drama Society website. As we continue to engage in remote and hybrid ways, I hope you experience ATDS as a scholarly community of support, inspiration, and encouragement.

ATDS 2021 Awards Winners:

Congratulations once again to the 2021 ATDS awards winners! We look forward to congratulating you again in person in 2022. Thank you for the privilege of recognizing your work and thank you to the committees and chairs responsible for choosing these distinguished honorees.

Betty Jean Jones Award

Cheryl Black
Curators Distinguished Professor of Theatre Emerita
University of Missouri

John W. Frick Book Award

Sean Metzger, THE CHINESE ATLANTIC: SEASCAPES AND THE THEATRICALITY OF GLOBALIZATION (Indiana University Press)

Honorable Mention
Virginie Magnat, THE PERFORMATIVE POWER OF VOCALITY (Routledge)

Vera Mowry Roberts Award

Catherine M. Young, “The Performance and Politics of Concurrent Temporalities in George C. Wolfe’s Shuffle Along.”

Honorable Mention
Bethany Hughes, “Oka Apesvchi: Indigenous Feminism, Performance, and Protest”

Honorable Mention
Heidi Carolyn Feldman, “Staging Public Blackness in Peru: The Repertoires of Pancho Fierro and Cumanana.”

Publication Subvention Award

Ariel Nereson, DEMOCRACY MOVING: BILL T. JONES, CONTEMPORARY AMERICAN PERFORMANCE, AND THE RACIAL PAST

Honorable Mention
David Bisaha, AMERICAN SCENIC DESIGN AND FREELANCE PROFESSIONALISM

Faculty Travel/Research Award

Kate Buselle, to present “Gender and Violence in Marisa Wegrzyn’s KILLING WOMEN,” at the Comparative Drama Conference, 2021

Contingent Faculty Travel/Research Award

Beto O’Byrne, “Pedagogical Applications of El Teatro Campesino’s newly codified acting practice, ‘Theatre of the Sphere’”

Graduate Student Travel/Research Award

Stephanie Lim, “Deaf Music-Making: Performing National Identity and Decolonizing the Musical World”

ATDS Emerging Scholar Awards

Evan Duncan, “An (Un)abashed Exercise in Overthinking: Practice, Second Nature, and Double Consciousness”

Jay Kimberley, “Trauma, Theatre, and the Power of Community: Re-Imagining Therapeutic Intervention for Foster Youth”

Spotlight on New Works:

The ATDS/BTA/LIA Spotlight on New Works session highlighted the following new works which are already making a tremendous impact in our field. I encourage you to engage with these titles, and to add them to your syllabi as well as personal and institutional libraries.

Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces
By Jaye T. Darby, Courtney Elkin Mohler, and Christy Stanlake

Breaking It Down: Audition Techniques for Actors of the Global Majority
By Nicole Hodges Persley & Monica White Ndounou

The Performative Power of Vocality
By Virginie Magnat

The Chinese Atlantic: Seascapes and the Theatricality of Globalization
By Sean Metzger

Casting a Movement: The Welcome Table Initiative
By Claire Syler & Daniel Banks

Cracking Up: Black Feminist Comedy in the Twentieth and Twenty-first Century United States
By Katelyn Hale Wood

As the new academic year starts, ATDS’s programming begins again with a renewed commitment to our current ongoing initiatives: mentoring and supporting the development of new works by scholars at all stages of their careers, and continuing to offer anti-racism programming that works to dismantle systems of oppression within our field. I invite you to take this moment to consider how your own creative/scholarly work aligns with ATDS’s offerings, and ways you might wish to become further involved with the workings of the organization.

There are many ways to take part in our endeavors, including:

Submitting your work to one of our journals or awards committees. In particular, please see the CFP for the spring 2022 ATDS special issue of JADT, “Asian American Dramaturgies,” edited by ATDS Vice President Dr. Donatella Galella.

Participating in our anti-racism programming. Planning is underway for this year’s sessions, so stay tuned!

Applying for the First Book Bootcamp. 2022 will be the third year of the FBB, which is focused on supporting the development of new publications in our field through guided workshops, mentoring from experienced authors and editors in the field, and pitch-your-book sessions with series acquisitions editors. Be on the lookout for the call for proposals!

Attending ATHE/ATDS in Detroit, MI, July 28-21, 2022. The ATDS call for papers is now available, and we welcome individual paper and panel submissions.

Celebrating ATDS’s 35th anniversary during next year’s conference. If you are interested in serving on the anniversary planning committee, please reach out to me.

Not sure how you’d like to get involved? Complete our volunteer formand we will connect you with opportunities that align with your interests. To receive news and updates from ATDS throughout the year, please join our listserv.

Finally, if you have not already done so, please join or renew your membership to ATDS, and invite a colleague or friend to join with you! We offer memberships at all levels, including a pay-what-you-can option as well as a lifetime membership that guarantees you member benefits, well, for a lifetime! Memberships and donations sustain the vital work of our organization, and we are grateful for your engagement and support.

Please contact me if you have ideas for ways ATDS can further serve our field. I wish you a productive, healthy, and happy fall.

Jocelyn L. Buckner
President, American Theatre and Drama Society

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