Join | Contact Us | Print Page | Sign In
Calls for Papers
Blog Home All Blogs
Calls for Papers may be submitted on this community blog. ASTR Members should log in to submit a call for papers. Non-members may submit posts via e-mail to (posting generally happens in 72 hours from the date of submission).


Search all posts for:   


Top tags: Call for Papers  cfp  conference  Black Theatre  CDC  design  Hrotsvit at University of Hull  Memory  scenography  Special issue of peer-reviewed journal dedicated t  The First Actresses 

The Open Theatre: An Introduction to Theatre OER - Deadline Extended

Posted By Danny Devlin, Bismarck State College, Monday, January 8, 2018

The Open Theatre: An Introduction to Theatre

Open Educational Resource (OER)

You are invited to submit a proposal for possible inclusion in a brand new initiative to create a fully peer-reviewed Open Educational Resource for Introduction to Theatre classes, under the working title The Open Theatre. The Open Theatre intends to be a crowd sourced, curated set of course materials developed by experts in the field, covering the major historical, practical, and theoretical topics relevant to an Introduction to Theatre class. The Open Theatre seeks to challenge traditional methods of creating and disseminating such material, moving beyond pre-defined textbook pathways towards an open-ended, user and/or instructor defined pathway through the material of an Introduction to Theatre course.

Open Educational Resources are any digital educational materials that are freely available for students, instructors, and self-learners. They operate under Creative Commons licenses that permit no-cost access, use, repurposing, adaptation, redistribution, and revision. In addition to texts, this may include images, video, audio, Powerpoints, lesson plans, quizzes and tests, essay topics, and other suggested activities. OERs may be accessed entirely online, or may be printed off by students at College and University bookstores, or at commercial print shops. OERs help keep costs low for students and promote the wide dissemination of knowledge.

The Open Theatre seeks contributions that offer insight into what a truly “open” set of theatre resources means for instructors and students alike: how might a theme of openness create new space for students to engage meaningfully with the practice, history, and/or theory of theatre in various topics? What does free and open (noncommercial, freely adaptable, inherently democratic and non-discriminatory) access mean to the practice, history, and/or theory of theatre? How can we “open up” the study of theatre? The Open Theatre seeks submissions written in an engaging, straight-forward style befitting an introductory level course.

The Open Theatre seeks contributions including, but not limited to, the following areas, broadly conceived:

I. The Creators of Theatre

II. The Consumers of Theatre

III. The Materials of Theatre

IV. The History of Theatre

The Open Theatre will be licensed under the Creative Commons-Attribution- NonCommercial-ShareAlike license. More information may be found here:

The Open Theatre invites proposals from faculty members, practicing artists, independent scholars, and graduate students. Proposals should be 500 - 750 words. Questions about the project, or proposals on any or several of the above areas, may be sent to Dr. Danny Devlin (Bismarck State College) and Dr. Scott Knowles (Southern Utah University) at

Proposals must be submitted by March 15th, 2018. 

This post has not been tagged.

Share |
PermalinkComments (0)

Book Proposal

Posted By Victor Emeljanow, University of Newcastle,School of Creative Industries, Sunday, February 8, 2015


are invited from potential contributors

to an edited volume entitled

War and Theatrical Innovation


The military strategist and theoretician von Clausewitz seems to have coined the term “theatre of war” and in so doing created a nexus that suggests some interesting commonalities: war as theatrical spectacle that takes place in designated areas of engagement, and when he defines the essential characteristic of war as a confluence of violent emotion, chance and rational calculation, he might well have been describing the essential nature of a theatrical performance.


This volume proposes to explore the connexion further with a particular focus on the impact of war on theatrical practices and indeed to suggest that some of these practices may have penetrated the conduct of war itself. Theatre has responded to the climacteric periods of war as they affected both states and individuals—particularly as social structures and personal relationships are destabilized and inevitably changed as the result of geopolitical conflicts. In such circumstances, we would therefore expect that the organization of theatre itself might be changed, that new forms of communication might find their ways onto a stage forced to accommodate and reflect the tensions which conflict has made evident, and that performers might themselves be required to assume new identities resulting possibly in alterations to the nature of their labour or compelling them “to dance to a different tune.”


 This of course forms an aspect of the search for identity, a preoccupation that has intensified since the 19th century as modernist pressures and technological advances have contributed to violent oscillations between established certainties and new, often perilous explorations on the part of individuals and nation-states. Yet versions of this violence may well have characterised tendencies and tensions evident in many other geopolitical conflicts prior to the 19th century and well into the 21st as both nation-states and individuals have been forced into taking specific roles in conflicts driven by empire building or post-colonial imperatives.


The proposal is intended to cast a wide net both geographically and temporally and to have the contributions reflect this spread through their cultural diversity and inclusiveness. Contributions from performing arts scholars, archivists, military and cultural historians and social psychologists would be welcome.


Though in no way intended to be prescriptive, consideration might be given to such topic areas as:


·       Representations of war: new forms of communication and display

·       Wartime and the performance of propaganda

·       The effects of war on the nature of entertainment itself

·       The demands of war upon cultural institutions like the theatre

·       The appropriation of old theatre forms to foster new directions

·       The theatricalization of war itself: illusionism, make believe and misdirection

·       The interplay of new technologies

·       The position and status of performers in times of war

·       Case studies of individual performers caught up in wartime conflict and its effect upon them and their craft

·       Masks and faces: new roles and role-playing required in times of war

·       A new entertainment industry: its response to the needs of combatants during the two World Wars and continuing to this day through, for example, the British Combined Services Organization and the American United Service Organizations

In the first instance, expressions of interest should be forwarded to:

Victor Emeljanow is Emeritus Professor, School of Creative Arts, University of Newcastle, Australia. He is an experienced volume editor and is currently the general editor of the online journal Popular Entertainment Studies. He has two chapters relating to prisoners-of-war in World War 1 and 2 appearing in volumes to be published by Palgrave in early 2015.

This post has not been tagged.

Share |
PermalinkComments (0)

Theatre Arts Journal: Studies in Scenography and Performance

Posted By Irene Eynat-Confino, Tel Aviv University - Theatre, Monday, December 15, 2014

Call  for  Papers



Theatre Arts Journal: Studies in Scenography and Performance (TAJ), published by Tel-Aviv University and the Gordon Craig Society for Theatre Research, is a semi-annual scholarly, peer-reviewed, electronic and open-access journal, devoted to exploring current issues in scenography in performing arts ( ) . The journal encourages original scholarly research that examines the visual and audial aspects of performance — performing space, props, costume, lighting and sound design, as well as theatre architecture, masks, puppets, and movement as a sensorial element — and their contribution to the construction of meaning in theatre, dance, multimedia performance, object theatre, contemporary live art, and visual theatre.


Theatre Arts Journal invites submissions on the following topics:


-  Gordon Craig’s legacy: a reassessment


-  representation in scenography, within the larger political, social, and aesthetic context, in the past as in the present


- the connections between the various visual arts (painting, drawing, sculpture, architecture, photography, film, computing design, etc.) and the stage in the past and in the present, as well as the formal, conceptual, and epistemological contributions and limitations that such connections entail


-  the challenges that stage design has to meet in a fast-moving technological environment that is constantly shaping and reshaping audience perception


- the interaction between the director and the designer and its effects on the performing space, performance, and audience reception


Articles (in English) should be accompanied by an abstract of 150-200 words and a brief curriculum vitae. Manuscripts should be double-spaced and no longer than 12000 words (including endnotes). They should follow the Chicago Manual of Style (15th Edition) and use Microsoft Word 2003 (or later) format for PC. Illustrations in jpg format and short video clips (FLV format, max. 10 minutes) may be included, provided that the author has secured copyright permission. See also Submission Guidelines on the journal website at .


The journal will not consider submissions that have already been published in any other form or language.


Submissions for the Spring 2015 issue should be sent by March 31, 2015 to the Editor, Irene Eynat-Confino, by e-mail attachments for PC (



Dr. Irene Eynat-Confino, Editor

Theatre Arts Journal: Studies in Scenography and Performance



This post has not been tagged.

Share |

“Performing the Archives” Conference

Posted By Charlotte McIvor, National University of Ireland, Galway, Saturday, December 6, 2014


“Performing the Archives” Conference

National University of Ireland, Galway

22 – 24 July 2015

Co-sponsored by the National University of Ireland, Galway and  American Society for Theatre Research 


Professor Tracy C. Davis (Northwestern University)

Doug L. Reside (New York Public Library)

Professor Catherine Cole (University of California, Berkeley)

Dr. Hugh Denard (Trinity College, Dublin)

Professor Patrick Lonergan (National University of Ireland, Galway)

Professor Lionel Pilkington (National University of Ireland, Galway)

Dr. Emilie Pine (University College, Dublin)


In 2013, the Abbey Theatre and NUI Galway launched the digitization of the Abbey Theatre archive, the largest theatre archive digitization project ever attempted. When this project is completed, more than 1.5 million items including scripts, costume designs, prompt books and performances will be available to study for generations of scholars to come.


Building on this momentum, “Performing the Archives” will gather together scholars, artists and archivists engaged in working with archival materials on research and performance projects to explore the uses and possibilities of the archive today from theoretical and methodological perspectives. We will debate:


·      What is the status of archival research methodologies in published research and graduate training today?

·      What are the possibilities of collaboration between researchers and practitioners working together to remount work based on the archives or research on new material? What working models exist and what have yet to be imagined?

·      How has the digital humanities begun to reshape the possibilities of archival engagement?

·      How can we support the labour of not only archival research methodologies but the maintenance of the archives themselves? How does the holding location of archives (university vs. community archive) affect the circulation of these resources?  How can partnerships be expanded or reimagined? 

·      How has the cataloguing of new/recent archives contributed to new learning and change?

·      'From Stage to Street' – Connection of archives, theatre and society: Documentary theatre and socially responsive theatre

·      Theatre, Peace and Conflict – How memory of theatre and conflict, especially that of Northern Ireland, is newly understood and experienced through the archives and contributing to resolution and reconciliation

·      The craft of the playwright: Drafting, editing and writing for stage or radio


This conference capitalizes on NUI Galway’s unparalleled strength in Irish theatre and literary archives, taking advantage of holdings including the Abbey Theatre, the Druid Theatre, Lyric Theatre Belfast, Taibhdhearc na Gaillimhe, Thomas Kilroy, Siobhan McKenna and the Galway Arts Festival, among others, to facilitate a national and international conversation about the place of archives in not only theatre and performance research and teaching, but arts practice and perception of theatre history more broadly.


Coinciding with the Galway Arts Festival, the conference will immerse participants in the living performance culture of Galway as the Galway Arts Festival links together artists from around the world to mount Ireland’s largest international arts festival.


Participants will take part in intensive working group sessions as well as participate in keynote and plenary sessions with leading scholars, archivists and performers working at the intersection of practice and research.



Working Groups


As member of a working group, you will circulate 8-10 page papers or an equivalent length of in-progress creative materials in advance of the conference. Proposed research papers can address practical projects in the area of digitization, curation, or archives administration as well as presenting scholarly or theoretical case studies. You will then engage in hands-on workshop contact with archival materials at NUI Galway as well as intensive discussion with group members regarding your research or creative project.


You can apply to the following strands:


·      Archival Materials In/As Performance

·      Digitization: Methodology and Ethics

·      Early-Mid-Twentieth Century Irish Theatre

·      Irish Theatre After Beckett

·      Conflict, Memory and Trauma

·      Scenography and Theatre Technologies


Please submit a 500-word abstract for your proposed paper or creative project with brief bio by 15 March 2015



For more information, please contact Barry Houlihan (

or Charlotte McIvor (





This post has not been tagged.

Share |
PermalinkComments (0)

Call for Articles for a Special Issue of the Journal of Dramatic Theory and Criticism

Posted By Peter Zazzali, University of Kansas, Monday, November 3, 2014


Now Accepting Submissions for a Special Issue of the

Journal of Dramatic Theory and Criticism on Performance and Consciousness


The editorial staff of the peer-reviewed Journal of Dramatic Theory and Criticism welcomes articles for a special issue dedicated to the relationship between performance and consciousness, which will be co-edited by Daniel Meyer-Dinkgräfe and Peter Zazzali.  Articles drawing on themes from performance theory, cognitive science, phenomenology, actor training, psychology, and/or theatre history are especially encouraged.  Please send original articles of 8,000-10,000 words to Dr. Peter Zazzali at by 15 January 2015.  For more on JDTC’s guidelines for submission, please see the journal’s website at


Download File (PDF)

Tags:  Special issue of peer-reviewed journal dedicated t 

Share |

'1916: Home: 2016'- Preliminary Call for Proposals

Posted By Charlotte McIvor, National University of Ireland, Galway, Sunday, October 19, 2014

‘1916: Home: 2016’


16-31 October 2016

Locations throughout Ireland and the diaspora


Call for Project Proposals


“The Republic guarantees religious and civil liberty,

equal rights and equal opportunities to all its citizens,

and declares its resolve to pursue the happiness

and prosperity of the whole nation and all of its parts,

cherishing all of the children of the nation equally.”

Proclamation of the Irish Republic


2016 is the centenary of the 1916 Rising – a rebellion mounted to achieve personal and political freedoms from contested ruling authorities on the island of Ireland. 


2016 is also the 20-year anniversary of the closure of the last Magdalene laundry in Ireland located on Seán McDermott Street Lwr in Dublin’s north city centre.


While many fought for an idea of home in 1916, others were confined and silenced in homes such as the Laundries, Mother and Baby homes, industrial and reformatory schools, orphanages and related institutions.


‘1916: Home: 2016’ calls for participants to join together to stage a national and international programme of multi-disciplinary creative arts projects responding to the homes we have made, the homes we hid, and the homes that we are yet to imagine and build. 


‘1916: Home: 2016’ is coordinated by an international committee of artists and academics including Patricia Burke Brogan, Mary Caulfield, Thomas Conway, Jo Egan, Evelyn Glynn, Declan Gorman, Miriam Haughton, Louise Lowe, Declan Mallon, Paula McFetridge, Aoife McGrath, Charlotte McIvor, Emer O’Toole, Emilie Pine, and Brian Singleton.


Events will take place in the second half of October 2016 throughout the island of Ireland and internationally to coincide with the anniversary of the closing of Ireland’s last laundry. For this preliminary call, artists will propose events that they would like to produce as part of this national and international programme. This programme is open to all creative communities, individuals and organizations. 


By grouping these projects together in time, ‘1916: Home: 2016’ will create spaces to reflect on a spectrum of stories that explore the hidden lives and narratives, both in Ireland and elsewhere, from 1916 to 2016 and beyond. 


Multi-disciplinary creative arts projects may utilise theatre, performance art, visual art (including fine art, photography, installation, sculpture), dance, music, and creative writing. Projects may be proposed to be fully produced or presented as staged readings, workshops, or exhibitions. 


Proposals may address themes including but not limited to:


·               Responses to institutional histories in Ireland and diaspora- perspectives from communities, individuals and political bodies

·               Religion and the state

·               Voices of resistance

·               Complicity and the bystander

·               Prostitution, sex work and the regulation of female sexuality

·               Adoption and child trafficking

·               Global Magdalene histories

·               Class and economics

·               Family, diaspora and emigration

·               Power and violence

·               Disability and exclusion

·               Ireland and shame

·               Silence and invisibility

·               Legitimacy and illegitimacy

·               Space, buildings, and physical infrastructures

·               Contemporary perspectives on institutional systems including the direct provision accommodation system for asylum seekers

·               Resilience and transformation


Interested individuals and parties should submit a concise outline of the proposed project including project title, format, summary of concept with supporting materials as appropriate, project location and proposed venue, and listing of possible collaborators or associates to and by 1 February 2015. 


‘1916: Home: 2016’ is coordinated by an international committee of artists and academics including Patricia Burke Brogan, Mary Caulfield, Thomas Conway, Jo Egan, Evelyn Glynn, Declan Gorman, Miriam Haughton, Louise Lowe, Declan Mallon, Paula McFetridge, Aoife McGrath, Charlotte McIvor, Emer O’Toole, Emilie Pine, and Brian Singleton.


The programme will culminate in a multi-institution led conference bringing together participants from the project. Documentation of the events throughout October will occur through a follow-up edited collection and other archival measures. 


Further information will be released through the Irish Memory Studies Network association, with details on its website. If you would like to propose a project that cannot occur in October 2016, but will be related to the objectives of ‘1916: Home: 2016’, please contact us for further dialogue.



Download File (DOCX)

This post has not been tagged.

Share |
PermalinkComments (0)

Theatre History Focus Group-ATHE- Call for Papers

Posted By Charlotte McIvor, National University of Ireland, Galway, Saturday, September 20, 2014

Theatre History Focus Group (THFG) Sessions

Association for Theatre in Higher Education (ATHE) Conference

July 30-August 2, 2015—Fairmont The Queen Elizabeth Hotel-

Montréal, Québec, Canada


Submission Deadlines: October 17th (individual papers only; send to Charlotte McIvor at; November 1st (complete panels; go to ATHE at

ATHE 2015: Je me souviens

(I Remember)


The Theatre History Focus Group (THFG) of the Association for Theatre in Higher Education (ATHE) invites proposals for next year’s conference to be held in

Montréal, Québec, Canada at the Fairmont The Queen Elizabeth Hotel from July 30-August 2, 2015.  Our 2015 conference theme, “Je me souviens (I remember),” actively invites participants to consider the relationship between memory and theatre as archive, practice and process.  If practicing theatre historiography implicitly demands we remain constantly vigilant to how we tell stories through our research, ATHE 2015 challenges us to put this awareness at the center of our approaches to this conference theme.  THFG invites you to consider this invitation not only through the case studies you propose, but through an even more pronounced engagement with historiography as a practice of remembering through research that not only reconstructs the past and historicizes the present but forces a reckoning the future of our field. 


As we work towards excavating “the silences, the unsaid, the gestures, the sub-text, the dangers, the misunderstandings, the non-discursive in the ‘in-between’ terrain between cultures, countries, and constituencies in Canada and beyond,” we invite proposals for panels and roundtables, as well as sessions that challenge traditional session formats through performance, workshops or other actions. 


Proposals might engage:

v Theatre historiography as a practice of critical memory

v The historical role of performance in the construction and transmission of memory

v Changing critical methodologies in the field

v Canon formation and minority voices in the theatre

v The contested nature of language as in the English appropriation of the French Canadian slogan, ‘Je me souviens

v Limits of the archive and/or the repertoire

v Geography, memory and indigeneity in performance

v Pedagogy and training as historical practice

v The translation of our memories of theatre history as subject into our own classroom practices

v Digital humanities and the theatre history archive/classroom

v Engagement with how history/memory is incorporated into contemporary production practice


We especially invite submissions incorporating approaches that emphasize ‘inter/trans-national and inter/trans-cultural exchanges in performance texts, process, or production.’ THFG remains committed to giving voice to a diversity of methodological approaches and geographical emphases.


Tips for submitting proposals:

1.     Complete proposals for sessions (with all presenters assembled) should be submitted directly to ATHE through the website at The deadline for all proposals is November 1, 2014. Please forward a copy of your proposal to THFG Chair and Conference Planner, Charlotte McIvor at

2.     If you would like assistance in panel coordination, please use the THFG web forum ( or Facebook group (ATHE Theatre History Focus Group), or email individual paper proposals to the conference planner at no later than Friday, October 17, 2014 (note that the latter option does not guarantee submission/acceptance).  The Conference Planner will work to facilitate linkages with other submitted papers, but this submission does not guarantee being matched with a panel.

3.     Submissions may be either discipline specific or multidisciplinary. In general, we are interested in panel topics that address the history of theatrical practice, historiography, or the relation of theatre to history in a larger sense. We encourage proposals that include both senior and junior scholars, as well as graduate students. A senior scholar could well serve as a respondent. We also encourage collaborations with other Focus Groups and Committees of ATHE to develop dynamic multidisciplinary sessions. Please see below for specific rules and guidelines for multidisciplinary proposals.


For Theatre History-Specific Proposals If your session addresses primarily theatre history, then choose “Single Focus Group” in the first selection box of the online proposal form. For Session Sponsor, select number 18, “(TH) Theatre History.”  When the selection process begins, all THFG-targeted proposals will be sent to the THFG conference planner. The THFG Executive Committee will rank the proposals, and the conference committee will use those rankings to make final programming decisions. It is not necessary to contact the conference planner before submitting a THFG proposal, but please do forward a copy of your proposal to the conference planner once you have submitted it (see above, Also feel free to contact the conference planner if you have any problems or concerns or if you are curious as to whether or not your proposal is appropriate for THFG.


For Multi-Disciplinary (MD) Proposals: If your session addresses theatre history but is also appropriate for another Focus Group or Committee, consider THFG as one of your target focus groups. You must select 3 targeted Focus Groups or Committees for an MD panel to be considered. To make an MD proposal you must contact the conference planners for each of the targeted Focus Groups/Committees by email before submitting online in order to receive feedback and to make sure the proposals are appropriate for each FG /Committee. If one of your targeted focus groups is not enthusiastic, it is far better to know before submission and perhaps find another FG or committee to increase its chance of being accepted (MD proposals are ranked by each of its affiliated Focus Groups). See for contact information for Focus Group conference planners and Committee chairs.


Special notes for the 2015 Conference:

A. As you assemble proposals for the website, please avoid copying and pasting material from Word to avoid electronic translation errors. Instead, save your document as rich text (.rtf) and copy/paste from Notepad (Windows) or Text Edit (Mac) into the online session proposal form (found at

B. Upon successful completion of a session proposal, the session coordinator should immediately receive a confirmation email from

C. If you plan to use PowerPoint or other projected material, you must request an LCD projector at the time of proposal. While there is a $300 fee, please note that grant requests for technology are strongly encouraged and frequently awarded.

D. It will not be possible to request specific days for presentations. If selected, your session could be scheduled on any day of the conference. Session Coordinators should ensure that all participants know that they should be available for all days of the conference.

E. Participants will be limited to a maximum of two presentations. “Presentation” refers to the act of delivering a paper, serving on a roundtable, or serving in an equivalent role in a different type of session. There is no limit to the number of sessions that a person can Chair or serve as Session Coordinator.


Session coordinators should expect to hear whether or not proposals have been accepted or rejected by mid-March, 2015.


Questions?  Contact THFG Chair/Conference Planner Charlotte McIvor at


 Attached Files:

This post has not been tagged.

Share |
PermalinkComments (0)

Black Theatre Association (BTA) Call for Papers ATHE 2015

Posted By Monica W. Ndounou, Monday, September 8, 2014

Black Theatre Association (BTA)
Call for Papers

Association for Theatre in Higher Education (ATHE) 2015 Conference

Fairmont The Queen Elizabeth Hotel Montréal, Québec, Canada

July 30- August 2, 2015

Submissions Deadlines: 

      November 1st for complete panel proposals online through the ATHE homepage (visit and click on the Conference tab.)

      October 18th for individual paper proposals please email a 200-word abstract to Monica White Ndounou, BTA Conference Planner, at 

The Black Theatre Association (BTA), a Focus Group of the Association for Theatre in Higher Education (ATHE), invites complete panel proposals and individual abstracts for ATHEs 2015 conference.  In light of the conference theme, Je me souviens (I Remember), BTA is particularly interested in panels, papers and creative presentations that explore black theatres engagements with processes of re-membering, forgetting and cultural transmission. The conference site of Montréal (where this provocative political motto evokes controversy) encourages us to interrogate the conference theme in a global context. How might the stage and the institutions that house these stages be transformed to foster and support an empowered remembrance of black cultures, histories and performances?  How does the representation of Haitians, Native Americans and various minority groups of people of color in Quebec and throughout Canada encourage remembrance of Diasporic cultures on the world stage?  How can institutions in theatre and higher education best support and serve diasporic communities in their quests to remember and reconcile cultural heritage and national identity?

Possible topics include but are not limited to:

       Concepts of memory: rememory, blood memory, emotion-memory, muscle memory, and prosthetic memory, institutional memory, etc.

       Theatre as a vehicle for engaging individual or collective retrospection

       The role of the theatre practitioners and/or scholars in shaping what and how audiences remember

       The role of art, film/video or new technology in solidifying institutional memory

       Historical and contemporary examples of staging Diasporic memories

       Strategies for staging memories of slavery, emancipation, migrations and movements of people of color in Africa and the New World

       Remembering pedagogies of theory and practice

       Staging or dramatizing memoirs, autobiographies, biographies, etc.

Black Theatre Association encourages session formats that go beyond the reading of scholarly papers.  We encourage proposals that include short play readings, performance workshops, networking and mentorship activities, or conversations about pedagogy and the academic profession that engage the conference theme. 

Proposers must submit all requests for audiovisual needs, conference grants, or guest passes with proposal submission.  Please note: ATHE limits all participants to 2 presentations/appearances at each conference.

You can use BTAs new email list and online forums to discuss panel ideas with other scholars and artists and to solicit contributors for panel proposals. To connect with other BTA members and gain access to these tools, please join BTA by visiting our web page: Multi-focus session proposals for sessions sponsored by a minimum of two (2) ATHE Focus Groups or Committees must have the approval of all sponsoring Focus Groups and/or Committees prior to proposal submission.  Anyone proposing a multi-focus session for ATHE 2015 must contact all the relevant Conference Planners and/or Committee Chairs for their approval, prior to proposal submission.  Contact information can be found on ATHEs website: 

The Black Theatre Association (BTA) is an organization composed of scholars, graduate students, and theatre artists of differing ages, races, colors, genders, national origins, religious beliefs, shapes, and sizes.  Our unified interest in the critical study of Black theatre from a global perspective informs our collective desire to inform and promote the experiences of Black people as expressed in various forms of drama and performance. 


Black Theatre Association Officers, 2014-2015

Jonathan Shandell, President/Focus Group Representative 

Monica White Ndounou, Conference Planner


Tabitha Chester, Secretary


Nicole Hodges Persley, Member-at-Large 


Isaiah Wooden, Member-at-Large


Khalid Long, Graduate Student Representative 


LeMil Eiland, Graduate Student Representative


Anndretta Lyle Wilson, Graduate Student Representative

Download File (PDF)

Tags:  Black Theatre  Call for Papers  Memory 

Share |
PermalinkComments (0)

CFP for the Theatre History Symposium at the Mid-America Theatre Conference (March 2015)

Posted By Joanne Zerdy, Illinois State University, Thursday, September 4, 2014


Theatre History Symposium

Mid-America Theatre Conference (

Kansas City, March 19-22, 2015


This year’s Theatre History Symposium invites proposals forwarding intellectually and artistically inspiring research questions and methodologies. From objects and images that provoke and challenge our presumptions about subjectivity to texts and performances that demand innovative analytical frames, we seek theatrical catalysts that inspire us to shift our way of thinking about and performing in the world—whether on a global or personal level.

If, as Walter Benjamin writes in The Origin of German Tragic Drama, “Origin is an eddy in the stream of becoming,” then what specific conditions (sociopolitical, cultural, geographical, environmental, or artistic) create such eddies? How might working in the archives, watching or creating a performance, analyzing dramatic literature and productions, or scrutinizing a design sketch lead to moments of rupture within or alternate routes through theatre history and its well-rehearsed “origins”? In what ways have particular artists, theorists, and events inspired new modes of theatre production, performance art, and scholarly research?

In a time of “economic austerity” and political unrest across the United States and abroad, what are the inherent risks or rewards of inspiring acts in artistic, educational, governmental, and cultural sectors? How does power manifest in these moments? What kinds of resistance to notions of inspiration—or aspiration—might our present moment demand and how are these acts reflected in our theatrical past? What insights might be gained by focusing on seemingly uninspiring (banal, quotidian, bland) subjects in research? We welcome your proposals encapsulating these or other rigorous scholarly questions encompassing the 2015 MATC theme of “Inspiration.”

Please submit proposals via email in Word or PDF Format to and include the following:

Your name, title (student, faculty, independent scholar), academic affiliation (if applicable), and a brief biography.

Your contact information (particularly email).

The title and abstract for your paper. Please limit abstracts to 250 words.

Any audiovisual elements requested for your presentation. We cannot always guarantee audiovisual support, but will endeavor to take requests into account. Late requests may not be honored.

We also welcome proposals for full panels. Contact the co-chairs for more information.


Chrystyna Dail, PhD                            Joanne Zerdy, PhD

Ithaca College                                      Illinois State University

Theatre History Symposium Co-Chairs

All proposals must be received by October 15, 2014

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 email address above by February 20, 2015.

This post has not been tagged.

Share |
PermalinkComments (0)

CFP for MATC, Progressive Era Chaos

Posted By Max Shulman, University of Colorado, Colorado Springs, Thursday, August 28, 2014

Call for Papers


The Productive Chaos of the Progressive Era


Mid-American Theater Conference

Kansas City, Missouri

March 19-22, 2015


During the Progressive Era (1890-1920), metropolitan centers such as New York City underwent significant transformation.  New immigration, the concentration of diverse ethnic groups into geographically-contained slum districts, the increasing stratification of classes, the rise of slumming as a spectacle of entertainment, the beginning of the Settlement House Movement and the Social Gospel Movement all contributed to a redefined urban landscape. Changes like these inspired an assortment of competing and even contradictory theatrical performances and productions, including immigrant theaters (Jacob Gordin’s Yiddish theater), vaudeville (Lew Bloom’s “The Tramp”), and Broadway (Edward Sheldon’s Salvation Nell) for very different theatergoing audiences. What, by extension, did these performances/productions inspire?


This panel proposes to explore the ambiguities and contradictions which functioned as fodder for creative energies in the overlapping venues of Broadway, vaudeville, and immigrant theaters. What did they inspire in terms of characters, narratives, and performance styles? What did they contribute in terms of changing epistemological and ideological definitions of class and poverty, ethnicity and nativism, gender and sexuality, temperance and intemperance, and literature and leisure? Finally, what/whom did they inspire in the playwrights and theater companies that came after them? We welcome presentations that consider these ambiguities during the Progressive Era in terms of theater history, performance studies, reception theory, and cultural studies.


Please send 250-word abstracts to Max Shulman ( by October 1, 2014.


This post has not been tagged.

Share |
PermalinkComments (0)
Page 1 of 5
1  |  2  |  3  |  4  |  5
© 2018 American Society for Theatre Research (ASTR). All Rights Reserved.

Home | Member Login | Privacy Policy | Contact Us
1000 Westgate Drive, Suite 252, Saint Paul, MN 55114
Phone: (+1) 651-288-3429 | Fax: 651-290-2266 | Email: