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November 3 - 6, 2016

Proposal Deadline for Plenary Papers, Working Sessions, and Curated Panels – February 1, 2016

Minneapolis Marriott City Center
30 S 7th St
Minneapolis, MN 55402

Trans-

Theatre and Performance have always been concerned with questions of crossing and questions of mobility. Astride of a grave, as the late Herbert Blau reminded us, theatre takes place across the abyss that separates the dead from the living. The OED defines trans- as “across, through, over, to, or on the other side of, beyond, outside of, from one place, person, thing, or state to another.” From Rosi Braidotti’s “transpositions” to an increased focus on transgender politics and representation—what Time Magazine termed “The Transgender Tipping Point”—the prefix trans is ubiquitous today. Susan Stryker suggests that these changes are in part due to contemporary shifting understandings of the question of representation itself. “For the generation that’s grown up amid the turn-of-the-century digital media and telecommunications revolution, transgender often just makes sense intuitively.” (2008:26-8)

Transgender politics offers a number of challenges to the queer studies paradigms that have been so crucial within theatre and performance studies for the past thirty years, yet theatre itself is fundamentally invested in ideas of across-ness and transition. From the Greek origins of Western theatre, in Dionysus and Tiresias, the theatre offers possibilities that might be read provocatively through contemporary explorations of transgenderism. Trans-figuration, trans-gression, translation, trans-formation—these are all terms that have been explored repeatedly within theatre and performance, as well as critically examined in theatre and performance studies. What might our disciplines stand to gain by an explicit focus on this prefix? Theatrical practice is always already transdisciplinary as well, crossing and merging arts, sciences, technology, and music in the questions of presentation and representation.

Our field itself is marked today, over thirty years after the dawn of Performance Studies, as a hybridized discipline. It is arguably no longer possible, or indeed desirable, to demarcate lines between drama, theatre and performance as fields of study. Indeed, if the advent of Performance Studies was in a moment considering the shaping of interdisciplines, then are we now in a moment of transdisciplinarity? Is there a difference perhaps worth engaging—between the advent of inter- and a now of trans-? If figures such as Tiresias were to be read as intersex rather than transgender—the change decided and rendered by disciplinary structures of power— then how might such a differentiation move more broadly across questions of power and representation? For Thornton Wilder, theatre was the eternal present, a focus on re-presentations of pasts, presents, and futures. Theatre’s engagement with history is always already a trans-historical project, crossing between a then and a now, evoking history in the moment. How does the notion of trans- thinking challenge and/or enrich ideas of theatre historiography? Such ideas both speak to a centrality of performance in a broader context and open questions within our discipline.

ASTR 2016 seeks to open and address these provocative questions.

ASTR 2016 will take place immediately after the next US presidential election, in a political cycle of transition. As we face both local and global change in the transformative, trans-national moments of this decade, we turn the focus to this powerful prefix, exploring theatre's power to transport and transfigure.

In line with these challenges, we invite and encourage proposals for Working Sessions and Curated Panels that seek to imagine new modes of communication and sharing of research, building on the more typical ASTR seminar models. Potential starting points might include models suggested here.

Proposals for Plenary Papers, Working Sessions, and Curated Panels might address questions of:

  • Transgender politics and performance
  • Acts of transfer
  • Transportation, mobility and performance
  • Transracial subjectivity and relations to notions of mestizaje and posthumanism
  • Theatre and Transversality
  • Transoceanic performance practices
  • Theatre in moments of transition
  • Transfiguring theatre/transfigurations within the theatre
  • Trans-species explorations within performance contexts
  • Theatre as trans-action
  • Trans-national capital and neoliberalism
  • Translations and Transfigurations

To submit proposals, use one of the following forms:

Plenary Session Submission Form
Working Session Submission Form
Curated Panel Submission Form
ASTR’s José Esteban Muñoz Targeted Research Working Sessions Submission Form

Deadline: February 1, 2016

Any questions, contact Conference Program Chairs Josh Abrams and Jennifer Parker-Starbuck at astr2016@astr.org.

NB: All proposals, including those for previously convened working sessions, must explicitly relate their goals to the conference theme. Proposals that do not include direct articulation to the theme will not be considered. The Program Committee also reminds proposers that working sessions and curated panels are a part of ASTR’s explicit charge to promote, support, and feature work by, about, and with under-represented groups, including communities of color, LGBTQ communities, disability communities, and communities of scholars without regularized institutional support.

© 2016 | American Society for Theatre Research (ASTR)

1000 Westgate Drive, Suite. 252 | St. Paul, MN 55114 | Phone: 651.288.3429 | Fax: 651.290.2266 | Email: info@astr.org