theatre

Call for Papers: An international conference investigating war, literature, and art at the United States Air Force Academy, Colorado on September 20-21, 2018 solicits both disciplinary and interdisciplinary presentations on "Representing and Remembering War.” The conference seeks a variety of genre submissions, both critical and creative, including literary criticism, journalism, rhetorical analysis, cultural studies, theory, fiction, non-fiction, poetry, film studies, photography, painting, and music.

42nd Comparative Drama ConferenceText & PresentationCall for PapersApril 5-7, 2018Orlando, Florida 2018 Keynote Event

April 6, 2017      8 p.m. (followed by a reception)

A Conversation with Simon Stephens

This section of the academic journal “Sinestesieonline” is open to contributions about theatre and performing arts in all historical ages, forms and variations, in English, Italian and foreign languages.

“Il Parlaggio” is the name created by Gabriele d’Annunzio for the amphitheatre in Vittoriale – a place of empathy, a cradle of emotions, a crossroads of cultures, a connection between antiquity and contemporaneity, an emblem of the “neverending show”.

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

While his most famous crossdressing characters are women posing as men––including Rosalind from As You Like It, Twelfth 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.

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.

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.

https://www.acla.org/seminar/producing-sacred-exchanges-between-sociology-religion-and-literature

Whereas religious study often dwells with the theological question of how the sacred has been revealed to humanity, sociologists of religion Emile Durkheim and Max Weber preferred to ask how the sacred is made and remade within a society. For them, human activity assumes a power sometimes attributed to supernatural forces: the power to produce the sacred.

ACLA Annual Conference. March 29 - Aptil 1, 2018 at UCLA.

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

Shakespeare at Kalamazoo

International Congress for Medieval Studies 2018

Shakespeare at Kalamazoo invites submissions for two sessions at the 2018 Congress, which will be held at Western Michigan University on May 10-13, 2018.

Editors: Dr Nicole Hodges Persley, (University of Kansas, Department of Theatre) & Dr Baron Kelly (University of Louisville, Department of Theatre)

Every play imagines its own world—but the worlds they imagine must in some way connect with their audience. 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.

Call for Papers: Nineteenth Century Theatre and Film special issue on

The Actress-Manager and Early Film, guest edited by Victoria Duckett and Vito Adriaensens

Deadline: 29 January 2018