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Teaching Shakespeare In and Beyond the Classroom [Deadline Extended!]

updated: 
Monday, November 6, 2017 - 1:32pm
The Hudson Strode Program in Renaissance Studies at the University of Alabama
deadline for submissions: 
Monday, November 13, 2017

TEACHING SHAKESPEARE IN AND BEYOND THE CLASSROOM [Deadline Extended!]

February 23rd and 24th, 2018
University of Alabama, Tuscaloosa, AL

This conference invites papers that address teaching Shakespeare to non-English majors, whether those non-majors are students or member of local communities. We encourage papers from both academic and non-academic settings, including papers that consider dominant teaching philosophies and praxes currently in use in the university classroom and presentations considering various outreach programs. Papers may address any of the following:

Performance and Culture: Cities, Embodiments, Technologies

updated: 
Friday, September 22, 2017 - 10:22am
School of Performing Arts, University of Malta
deadline for submissions: 
Thursday, December 7, 2017

Performance and Culture:

Cities, Embodiments, Technologies

 

Annual Conference hosted by

The School of Performing Arts (University of Malta)

 

7, 8, 9 March 2018

 

 

Keynote Speakers:

 

Sir Jonathan Mills, Programme Director of 2018 Edinburgh International Culture Summit

 

Prof. Maria Delgado, Royal Central School of Speech and Drama, University of London

Hollywood Heroines: The Most Influential Women in Film History

updated: 
Tuesday, January 30, 2018 - 1:57pm
Laura L. S. Bauer / Claremont Graduate University
deadline for submissions: 
Sunday, March 18, 2018

Greetings! My name is Laura Bauer and I’m the film studies editor of Women Studies: An Interdisciplinary Journal. I am also the co-editor of All Things Dickinson: An Encyclopedia of Emily Dickinson's World published by ABC-CLIO in 2014. Hollywood Heroines: The Most Influential Women in Film History is a reference work that provides comprehensive and wide-ranging categories not often found together in a single volume on film.

Male Appropriations of the Female Form in Early Modern Literature

updated: 
Wednesday, September 20, 2017 - 1:21pm
NeMLA
deadline for submissions: 
Saturday, September 30, 2017

While his most famous crossdressing characters are women posing as men––including Rosalind from As You Like ItTwelfth Night’s Viola, and The Merchant of Venice’s Portia––William Shakespeare also twice imagines male characters posing as women: Falstaff in The Merry Wives of Windsor and the page playing Christopher Sly’s wife in The Taming of the Shrew. Male characters also pass (to varying degrees) as women in works by Sidney, Jonson, Middleton, Fletcher, and others. But while much has been made of the “squeaking” boy actors who played women’s parts on the early modern stage, very little critical attention has been paid to male characters wearing women’s weeds in early modern literature.

UPDATE: Imagining Other Worlds: Setting in Early Modern English Drama

updated: 
Tuesday, September 12, 2017 - 2:27pm
Philip Goldfarb Styrt/Northeast MLA
deadline for submissions: 
Saturday, September 30, 2017

Every play imagines its own world—but the worlds they imagine must in some way connect with their audience, both past and present. This panel invites perspectives on early modern English drama that considers the balance between these two poles: the imagined world of the setting and its connection to the surrounding culture in early modern England. This balance is particularly important in early modern English drama for both historical reasons—an increased awareness of other worlds and their different reality within the expanding cultural purview of the early modern English—and literary ones—since so much criticism of these plays has focused on their relation to early modern England itself to the exclusion of their frequently quite disparate settings.

'Theatre People of Shakespeare's Time': A Special Issue of the Journal Shakespeare

updated: 
Friday, September 8, 2017 - 11:57am
Shakespeare: Journal of the British Shakespeare Association
deadline for submissions: 
Thursday, March 1, 2018

2019 marks the 400th anniversary of the death of Richard Burbage, a member of the family who gave us the first purpose-built theatre in Shakespeare's London. By exploring his life, and those around him, historians have been able to unearth much valuable information about the early modern theatre industry. Scholarship about other theatre people – prompted by their work, the archive, or both – has similarly added to our knowledge of the theatre in Shakespeare's time. We have learnt about the period's theatre from Philip Henslowe's diary, Anthony Munday's pageants, Richard Brome's contract, and George Wilkins' lawsuits.

City, Space, and Spectacle in Nineteenth-Century Performance

updated: 
Friday, September 8, 2017 - 11:55am
Nineteenth Century Theatre and Film
deadline for submissions: 
Wednesday, January 31, 2018

City, Space, and Spectacle in

Nineteenth-Century Performance

 

A conference organised in conjunction with Nineteenth Century Theatre and Film

 

Palazzo Pesaro-Papafava, Venice

University of Warwick

8 - 10 June 2018

Revolution/Revelation in Theatre and Performance

updated: 
Thursday, September 7, 2017 - 10:03am
Religion and Theatre Focus Group, Association for Theatre in Higher Education
deadline for submissions: 
Wednesday, November 1, 2017

CFP:

Revolution/Revelation in Theatre and Performance

Religion and Theatre Focus Group

Association for Theatre in Higher Education Conference

Boston, 2018

 

“You want a revolution? I want a revelation!

So listen to my declaration…”

                --Lin Manuel Miranda, Hamilton


"Fear and Anxiety in Contemporary Drama and Performance": 27th Annual CDE Conference, University of Hildesheim (Germany), 31 May to 3 June 2018

updated: 
Wednesday, September 6, 2017 - 1:17pm
The German Society for Contemporary Theatre and Drama in English (CDE)
deadline for submissions: 
Wednesday, November 15, 2017

In an increasingly news-saturated world – or even, a news-controlled one – contemporary Western social and cultural discourse is preoccupied with narratives of fear and anxiety. Especially after the events of 11 September 2001, there has been a significant increase in plays and productions representing events, contexts, people, and situations that relate to these themes. Meanwhile, we are encouraged to be afeared of: the anonymous or digital other, the unknown or unexplainable (such as disappearing planes), the collapse of capitalism (and the bankers who caused it), fake news and ‘post-truths’, and the rise of the political right (or left).

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