In many ways, the spectrum of “spectacle” aesthetics that threads through New York’s contemporary downtown performance community unearths new ways of examining the ethics and political engagement of these diverse groups and performance-makers. Inclusive of epic works like Taylor Mac’s A 24-Decade History of Popular Music and Nature Theater of Oklahoma’s Life and Times; The Wooster Group’s and The Builder’s Association’s sophisticated tech-scapes; and Half Straddle’s shoestring excess; downtown performance artists increasingly reinvent, challenge, resist, and embrace the spectacular.
The German Society for Contemporary Theatre and Drama in English (CDE) is pleased to announce its 26th Annual Conference (29 June - 2 July 2017). It is organized by the Department of Film, Theatre & Television at the University of Reading (UK) and will be held as a residential conference at the University of Reading, Whiteknights Campus.
Nation, Nationhood and Theatre
Northumbria University, Newcastle Upon Tyne
24 May 2017
Keynote speakers: Prof. Douglas Lanier (University of New Hampshire) and Dr. Peter Kirwan (Nottingham University)
Sponsored by the British Shakespeare Association
Constitutions of Hamlet: Afterlives and political theologies of trauerspiel
University of Split, Croatia
16th December 2016
Keynote speakers: Prof. Andreas Höfele and filmmaker Ken McMullen
Special Issue Overview & CFP
Ula Lukszo Klein, Texas A&M International University, and Emily Kugler, Howard University
In Susan Sontag’s now-classic essay, “Notes on ‘Camp,’” Sontag argues for a critical dimension of the term “camp.” Camp, for Sontag, is “one way of seeing the world as an aesthetic phenomenon.” For her, Camp emphasizes a blend of the silly and the extravagant, making the serious and the ridiculous equal to one another. She cites the beginnings of the Enlightenment period as an important moment for the establishment of this sensibility:
CALL FOR PAPERS
Staging Lydia: Dramaturgy, Directing & Design in the Plays of Lydia Diamond
Edited by Denise J. Hart
(Northwestern Press 2018)
Samuel Beckett’s Bodies of Water
In Samuel Beckett’s canon, water is a recurring image. In his radio play, Embers, the protagonist Henry tells us that he is sitting by the ocean, in his stage play Endgame Nagg and Nell remember nearly drowning in Lake Como, and in his tour de force stage and later television play, Not I Mouth refers to the narrative gushing from her mouth as a “steady stream.” Water in these and other works by the Nobel Prize winning author is both a location and a metaphor; it is aligned with happy memories and danger, with transition and stasis, with the beginning and the end.
In the year of the 500th anniversary of the publication of Luther’s theses, the Shakespeare- Seminar 2017 calls for papers that address ideas of reform and reformation in Shakespeare's works. We invite papers on the literary and cultural repercussions of the two major early modern reformations – the one prompted by Martin Luther and the one initiated by Henry VIII. Taking our cue from Hamlet's famous charge to the players to “reform it altogether” (Hamlet 3.2.36), the seminar seeks to address both questions of religious reformation and of more widely conceived notions of personal, political, cultural, or literary reform in Shakespeare's poems and plays. Topics may include, but are not restricted to the reform/reformation of
While Akda: The Asian Journal of Literature, Culture, Performance seeks to publish cutting-edge scholarship, it also welcomes shorter essays for its section called Perspectives.
JEFFREY KAHAN, ERIC S. MALLIN,