CALL FOR PAPERS
Theatre Conference (http://matc.us)
March 6-9, 2014
We seek high stakes choices in theatre
production. For MATC’s 2014 Theatre History Symposium we ask participants to
engage the question: What might high stakes history look like and what roles
might "revision” play in that process?
‘Revision’ conjures multiple meanings:
crisis, rebirth, renaissance, struggle, restoration. For the historian, the
question of ‘revision’ brings to the fore acutely challenging questions: whose
stories get told? How? When? By whom, for whom and to what ends? Stephanie
Leigh Batiste writes, "The performance acts as an embodied commitment to a
hypothetical present and a possible future,” suggesting a certain contingency
between performance and revision.
Where or how does history figure in such a formulation?
Historian Sam Wineburg cautions, "the relevance of
the past may lie precisely in what strikes us as its initial irrelevance,”
while Anais Nin astutely reminds us, "It is the function of art to renew our
perception. What we are familiar with, we cease to see. The writer shakes up
the familiar scene, and, as if by magic, we see a new meaning in it.” As
historians, how do ideas of revision challenge our relationship to geographical,
cultural, and temporal sites beyond our own? To the ‘seemingness’ of sites we
presume to be our own? How do Wineburg, Batiste, and Nin dare us to look anew—perhaps
revise—our interpretations not only of the theatrical past, but also of the
present and future of our field?
Possible topics might address the above questions or explore one
or more of the following:
does one lose and what does one gain through revision?
is the labor or process of revision made visible in our historiography?
roles does revision play in how we commit to and formulate projects of theatre
is the relationship between political imperatives, the moment of the event, and
the way the event is historicized over time?
are the opportunities and challenges of categorical reconfigurations of space
(i.e., "global,” "world”, "transatlantic,” "Americas”)?
Please direct proposals and
queries to the Theatre History Symposium co-chairs:
Dr. Lisa Jackson-Schebetta Dr. Chrystyna Dail
University of Pittsburgh Ithaca
submit proposals via email in Word or PDF Format to the gmail account above, including the following:
name, title (student, faculty, independent
scholar), academic affiliation, and
a brief biography.
contact information (particularly email).
title and abstract for your paper. Please limit abstracts to 250
audiovisual elements you request for you presentation. We cannot always
guarantee audiovisual support, but will endeavor to take requests into account.
Late requests may not be honored.
also welcome proposals for full panels. Contact the co-chairs for more
All proposals must be received by October 15, 2013
Robert A. Schanke Award
The Robert A. Schanke Research Award is given annually
to an untenured faculty presenter of the Theatre History Symposium and carries
a cash award of $500 as well as consideration for publication in Theatre
History Studies, the journal of the Mid-America Theatre Conference. To be
eligible for the Schanke Award, candidates must submit full, conference-length
versions of their paper to the co-chairs at the addresses above by February 15,