theatre

Call for Papers

The CFP for our next issue - including our THEMED SECTION - is due AUGUST 15

FOR OUR THEMED SECTION:

We are seeking work dealing with theatre that speaks truth to power, that stands up for unheard voices, and that pushes back against tyranny and injustice. We want to celebrate theatre's power to affect the world around us and to serve as a mode of protest. For the themed section, we invite scholarly and creative work.

Submissions of both themed and general work will be considered for this issue.

            My colleague Brian Rhinehart and I have a book coming out in February from Bloomsbury/Methuen, Comedy Acting for Theatre: The Art and Craft of Performing in Comedies.  I have now proposed a second book to the press, with a tentative title of How We Teach Shakespeare: Teachers and Directors Reflect on Approaching the Playwright with Their Students

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”.

This special issue has a cluster of three terms at its center: metonymy, poetics, and performance. These three terms have to do with conventional structures and what it means to live in them. Metonymy, a trope in which common association lets one thing stand in for another, mobilizes conventional relations. Poetics, the theory of how a text’s elements work together, studies the structures through which artistic effects exist. Performance involves living out relations within structures like genre, medium, and circumstance. Together, these terms allow us to think through the metonymical relations among art, artist, and context.

Lin-Manuel Miranda’s Hamilton swept the theatre awards season of 2016 for its inventive mix of hip hop, history, political relevance, and casting choices. In the avalanche of accolades that the show was awarded, the critical discourse is only starting to emerge that demonstrates how the show has pioneered many areas, yet does have weaknesses that underpin the framework of the musical. This panel seeks to evaluate the show, the ways it has resonated with audiences, and consider the critical conversation developing outside of traditional theatre scholars. Some possible topics to consider involve the show’s depiction of women, perspectives on U.S.