May 13, 2012
by fatsodoctor
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ATHE Offers Conference Dorm Housing

ATHE is pleased to offer housing for ATHE Graduate Students at the George Washington University

Rooms are limited and are available on a first come, first served basis. Rooms are doubles in semi-suites with two extra long twin beds and semi-private baths, and lounge and common kitchenette areas on the floor. Single rooms in semi-suites are also available. There is no maid service, but one set of sheets and linens is included. Internet access is available in the rooms and there are free local calls. Guests will have access to the campus fittness center, floor kitchens, and laundry facilities.

Rooms are available beginning on Tuesday, July 31 and ending on Sunday, August 5.

The daily rates and room types follow:

Semi-Suites, Double 

Two bedrooms with two extra long twin beds each, with a semi-private bath: $37.00 per person double occupancy, plus $11 per person for linen service (one-time charge).

Semi-Suites, Single

Four bedrooms with one extra long twin bed each, with a semi-private bath: $47.00 per person single occupancy, plus $11 per person for linen service (one-time charge).Payment must be made at the time of registrations.

Cancellations will forfeit all fees.

The Residence Halls are smoke-free environments.

Check-in time: 11:00 a.m.; Check-out time: 5:00 p.m.

http://www.athe.org/displaycommon.cfm?an=1&subarticlenbr=110

http://summerhousing.gwu.edu/

Call ATHE at 1-888-284-3737 • 1-303-530-2167

April 20, 2012
by fatsodoctor
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AAP Poster Session

Association for Asian Performance

12th Annual Conference

August 1-2, 2012  Washington, D.C.

CFP FOR POSTER SESSION

The AAP conference is a two-day event, to be held at the Hyatt Regency in Washington, D.C., preceding and during the annual ATHE (Association for Theatre in Higher Education) conference. The keynote speaker this year will be Richard Nichols.

AAP invites submissions for the poster session portion of the AAP conference.

The poster session is a new feature of the AAP conference that had great success during its first year in 2011.  This unique session allows both junior and senior scholars to share research in a more informal atmosphere that fosters conversation.  It is an especially excellent format for young scholars (students), as well as for established scholars trying a new direction in their research.  When possible, AAP will pair each presenter with a specialist who is able to act as a respondent.

The format of the poster session encourages presenters to have prepared a short overview of their research that they can give in addition to a more informal conversation.  Presenters are asked to bring a tri-fold standing poster to showcase the research and main ideas. Presenters may bring along audio/visual material as well on a laptop, as AAP regrettably would not be able to provide a projector or speakers for each individual presenter.

Proposals should include the following:

  1. Title
  2. Name and a short bio of the presenter(s)
  3. Affiliation, specialization (field/region), mailing address, phone numbers and e-mail address for the presenter.
  4. A short abstract (100-200 words) describing the topic of the research.

Proposals should be emailed to the organizer for the poster session, Jennifer Goodlander at:  JennGoodlander@yahoo.com

Feel free to contact Jennifer with any questions as well.

THE DEADLINE FOR SUBMISSION OF ALL PROPOSALS IS MAY 1, 2012.

All presenters are expected to join AAP. Membership is $40 per year ($25 for students) and includes a subscription to the Asian Theatre Journal (http://www.uhpress.hawaii.edu/journals/atj/).

April 16, 2012
by fatsodoctor
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Indian Film Music Conference

Inaugural conference – Center for Indian Film Music Studies, Chennai, India

Call for papers:

The Center for Indian Film Music Studies (CIFMS), the research wing of the School of Indian Film Music will hold its first annual conference on the 27th May 2012 at Chennai.

Studies on Indian film music are still in its rudimentary stage. There is neither a university program devoted to Indian film music nor a journal dedicated to the exploration of this phenomenon. Indian film music has received minimal consideration from international popular music studies and existing paradigms of popular music studies may not be adequate in understanding the culture, economies, and histories of India’s film music. The new Center for Indian Film Music Studies is earnest about raising academic interest in Indian film music studies and facilitating knowledge synthesis between academics and practitioners. The CIFMS annual conference is meant to foster scholarly conversations surrounding the emerging field of Indian film music studies.

The conference theme “Plurality” thematizes the synthesis of multiple creative, technical, historical and socio-cultural influences that form the basis of creative music practice in Indian filmdom.

The main focus will center around creative musicology, technology and space.

Areas of interest include (but are not limited to):

  • (New) methodologies for the study of film soundtracks/songs;
  • Creativity and Performance;
  • Collectivity and Synchronisation;
  • Technology and production;
  • Historical studies and evolution;
  • Society and Culture

Program committee:

Pashcall de Paor (University of Glamorgan, United Kingdom)

Prof. Kristen Rudisell (Bowling Green State University, Ohio)

Divakar Subramaniam (University of Glamorgan/School of Indian Film Music)

Academics, practitioners and postgraduate students are invited to submit papers proposals (20 minutes). Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc). CIFMS will support remote paper presentations through Skype this year.

All proposals must be submitted by 01 May 2012 to dsubrama@schifm.com

——————————-
Divakar Subramaniam
Founder & Academic Director
School of Indian Film Music
N. No. 24, Tirumurthy Street
Thyagaraya Nagar
Chennai 600 017.
Email: dsubrama@schifm.com
Website: www.schifm.com
Follow us on Facebook: http://www.facebook.com/schifm

April 3, 2012
by fatsodoctor
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AAP 2012: Shingeki Roundtable

“Between Resistance/Reform and the Status Quo: the Establishment and Subversion of Shingeki ‘Kata’ in the 20th Century.”

In the early 20th century Japanese theatre makers strove to develop work that was distinct form traditional theatre, kabuki in particular, by creating theatre that emulated the style and content of modern Western theatre of the day. The result became known as shingeki. Vaunted as the cutting edge of modern Japanese theatre, the concept of shingeki was exported to Japanese colonies such as Taiwan, Korea and Okinawa before WWII. At the same time it became almost synonymous with socialist subversion and was repressed during the war. Revived after the war, shingeki became the theatrical status quo until the mid to late 1950s, at which point various artists strove to overthrow shingeki. The performative excesses of what David G. Goodman called “post-shingeki” sparked reactions at the end of the century that reached the most extreme in works of “quiet theatre.” This roundtable proposes to open a discussion on the nature and definition of shingeki over the last 100 years. Questions participants might address are; How is shingeki different from modern Western theatre? What defines shingeki—style, content, techniques? If Japanese art forms rely on “kata” (techniques/forms), then are there shingeki “kata,” and what are they? Are the attempts to subvert shingeki truly a break from shingeki or merely a reformulation? What is the “localizing” work of shingeki?

I am seeking 6 to 8 participants. If you would like to participate as a discussant on the roundtable, please contact me, John D. Swain (shibaiman@mac.com), ASAP with a short paragraph describing the issue you want to address and your point of view. The AAP proposal deadline is April 15.

April 2, 2012
by fatsodoctor
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ASEASUK 2012

ASEASUK 2012: Durham University 7-9 September 2012

Panel Abstract: Continuity and Change in Southeast Asian Performance

Convenor: Dr. Margaret Coldiron, University of Essex

Southeast Asia’s rich panoply of cultures is home to a wide range of performance forms, many of which transcend the narrow Western categories of music, dance and drama. Ethnographic study, the forces of globalisation, international film, television and the increasing availability of new media have had effect, even upon very remote communities. Traditional performance forms have been revived to promote tourism and new traditions are being invented; transnational performers cross-fertilise taking and making influences, creating issues of ‘authenticity’ and neo-colonialism; issues of gender are questioned, challenged and re-defined. Papers are invited which address these and other issues relating to Southeast Asian performance past and present.

Those interested in participating in the panel should contact the convenor by 1 June with an abstract (ca. 250 words), a biography and list of AV requirements sent to: mcoldiron@mac.com

It is the responsibility of individual participants to register and book online for the conference by 15 June.

Information for panellists

 1.     Participants can register for the conference at https://www.dur.ac.uk/conference.booking/details/?id=130.

2.     Details on the conference, proposed panels and other activities can be viewed at http://aseasuk.org.uk/v2/node/221.

3.     The conference will run from the late afternoon of Friday 7th September through to the afternoon of Sunday 9th September

4.     The conference will be held on the Science Site of Durham University, with accommodation at Collingwood College of Durham University

5.     Travel and other information will be available when the registration site goes live

6.     If panellists are coming from outside the EU and are applying for a visa they will likely need a letter from ASEASUK. Please contact Jonathan Rigg (j.d.rigg@durham.ac.uk) in good time to have this arranged.

March 31, 2012
by fatsodoctor
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AAPC Symposium

Shifting Dialogues

The Politics of Site, Locality & Context in Asian Performance and

Visual Arts

First International Symposium of the Asian Art and Performance Consortium (AAPC) Helsinki, Finland May 18-19, 2012

The Symposium is free and open to all interested. Please register by sending e-mail to aapc@teak.fi by April 20, 2012.

Programme, abstracts and short biographies of the presenters will be posted on the Teak website (www.teak.fi/research) in April.

The Symposium is part of a research project Shifting Dialogues – Asian Performance and Visual Arts funded by Theatre Academy Helsinki, Finnish Academy of Fine Arts, and Academy of Finland.

February 22, 2012
by fatsodoctor
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Special Issue: Indian Theatre

Intellect
Indian Theatre Special Issue: The Body

Guest- Editor: Sreenath Nair

Studies in South Asian Film and Media; Vol.5 Issue: 1

Intellect Journal, the Studies in South Asian Film and Media, invites proposals for a Special Issue on Indian Theatre for Spring 2013.

The body is central to Indian discourse and practice. From religion through philosophy, aesthetics, martial arts, medicine and performance practice, Indian knowledge is about the knowledge of the body. Indian systems of knowledge give great emphasis to the objective and corporeal aspects of physical techniques, training and performance practice. Similarly, the body is understood equally as a site of ‘symbolic appearance’ in everyday life as well as in performance practice, where the presence of the body is marked by the absent ‘real’. The consumption of the body as a symbolic appearance is deeply embedded in Indian thoughts and performance practice: In the religio-­‐spiritual traditions, the body is a means of attaining enlightenment; in the Natyasastra it is an illusory mechanism for the actor’s symbolic appearance and allows the audience to access rasa, the aesthetic experience of performance; in medicine, the body is the site of pleasure, and sickness and dis-­‐ease are hindrances to the pleasures experienced by the bodily organism. The body is always about practice and the practice is the only way to access the body. The practice provides techniques and principles that are objects of symbolic exchange in performance. In this way, the performer’s body is a site of techniques and corporeal principles that generates and reorganizes the artistic (symbolic) practice. In this way, the world of performance is a scheme of bodily practice constituted by the corporeal techniques and principles that are systematically inscribed in the actor’s body. Training is a bodily involvement of practice, and a process of inscribing the ‘illusory’ drive’ in the performer’s body. Training is a pre-­‐performative process, which formulates the ‘expressive order’ of the body, and stimulates and prepares it for the performance. The body is the only medium to access the body. Practice helps the very functioning of the corporeal logic and the perceptual demand of the body in performance.

The special issue aims to explore the Indian concepts and practice of the body in a range of theoretical, practical, transcultural and historical contexts within the fields and disciplines of aesthetics, philosophy, dance/choreography and performing arts. The issue will also look at how recent theoretical developments in critical, cultural and race theories will offer a better understanding of the Indian material on the body. Bodily representations in contemporary media,

design, digital and performance art will also provide key interests within the special issue.

Proposals (250 words) are invited on the following themes, but are not limited to:
Speculative Body:

• Concepts and theories of the body in aesthetics philosophy and social sciences

Training:

  • Methods developed by Indian theatre directors
  • Adaptations of Western training methods and rehearsal techniques

    (Stanislavsky, Mayerhold, Brecht etc.,) in modern Indian theatre

  • Training in Indian classical performance: Methods, philosophy and

    practice of the body

  • Training in Martial arts: Methods, philosophy and practice of the body
  • Training in music: Methods, philosophy and practice of the body

    Techniques:

  • Corporeal techniques in Indian performance/dance/Music & Martial arts:

    hands, eyes, foot and voice

  • Movement techniques: concept, topography and application of the body
  • Respiration/Breath: breath as a technique of training the

    actor/dancer/musician.

    Transcultural body-­‐scape:

  • Indian Diaspora theatre/dance/choreography (Jathinder Verma, Akram Khan & Shobana Jeyasingh)
  • Intercultural productions: Grotowski, Brook, Mnouchkine & Supple
  • Intercultural actor/performer training: Schechner, Barba & Zarrilli Rasa:
  • Rasa as the concept of body
  • Natyasastra and actor/performer training
  • Rasa in visual arts and design
  • Rasa and Bollywood
  • Rasa and Consciousness Studies
  • Rasa in digital and multi-­‐media performance
  • Rasa in Media & Popular Culture
  • Rasa in the age of global capital
  • Rasa and Emotional Intelligence
  • Respiration, rasa and Emotion

    The Body Politics:

  • Street theatre, political demonstrations etc.,
  • Gender, plays and female representation in Indian theatre

    Well-­‐being:

  • The body in Indian Medicine
  • Yoga as Therapy

    Timeline to publication:

    Proposal deadline: 30 March 2012 Papers accepted: 30 May 2012 Paper Submitted: 30 August 2012

Peer review: Sept-­‐Oct 2012 Final Revision: Nov-­‐Dec 2012 Publication: June-­‐July 2013

Please contact the editor for discussion and to send proposals:

Dr. Sreenath Nair
Senior lecturer
Lincoln School of Performing Arts Brayford Pool Campus
University of Lincoln
Lincoln LN6 7TS
E-­‐mail: snair@lincoln.ac.uk

January 30, 2012
by fatsodoctor
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Emerging Scholars Panel

The Association for Asian Performance (AAP) invites submissions for its 18th Annual Adjudicated Panel to be held during the Association for Asian Performance annual conference in Washington, D.C., August 1-2, 2012, which precedes the Association for Theatre in Higher Education (ATHE) conference.

Anyone (current and recent graduate students, scholars, teachers, artists) early in their scholarly career or who has not presented a paper at an AAP conference before is welcome to submit work for consideration. To qualify one need not necessarily be affiliated with an institution of higher learning, although this is expected. Papers (8-10 double-spaced pages) may deal with any aspect of Asian performance or drama. Preparation of the manuscript in Asian Theatre Journal style, which can be gleaned from a recent issue, is desirable.  Up to three winning authors may be selected and invited to present their papers at the upcoming AAP conference.   Paper and project presentations should be no longer than twenty minutes. A $100 cash prize will be awarded for each paper selected, to help offset conference fees. AAP Conference registration fees are waived for the winners, who also receive one year free membership to AAP.

The Emerging Scholars Panel Adjudication Committee is chaired by Dr. Kathy Foley, Editor of Asian Theatre Journal.  Selected papers will be strongly considered for publication in ATJ, which is an official publication of AAP and the Association for Theatre in Higher Education (ATHE). Those interested in submitting work for review should mail four (4) copies of their paper to:

Kathy Foley, Professor, Theatre Arts

1156 High Street

Theater Arts Center, UCSC

Santa Cruz, CA 95064

and by e-mail attachment to: email:kfoley@ucsc.edu

 

Deadline for Submissions: February 15, 2012

Winners will be notified by April 15, 2012

A separate cover sheet detailing the author’s contact information-address, phone number, and email address (for both academic year and summer holiday) must accompany each submission. The author’s name should not appear on the text proper.

AAP is proud to sponsor this adjudicated panel. Not only is it a chance for students and emerging scholars to get exposure and recognition for their work, but it also provides an opportunity to meet and make contacts with others who are interested in similar fields of research.

Please direct any inquiries regarding the emerging scholars panel to Dr. Foley.

To find out about the benefits of becoming an AAP member, please check out our website at http://www.yavanika.org/aaponline

January 30, 2012
by fatsodoctor
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Shakespeare in Hollywood, Asia, and Cyberspace

Shakespeare in Hollywood

Shakespeare in Hollywood

edited by Alexander C. Y. Huang and Charles S. Ross

Recent decades have witnessed diverse incarnations and bold sequences of Shakespeare on screen and stage. Hollywood films and a century of Asian readings of plays such as Hamlet andMacbeth are now conjoining in cyberspace, making a world of difference to how we experience Shakespeare. Shakespeare in Hollywood, Asia, and Cyberspace shows readers how ideas of Asia operate in Shakespeare performances and how Asian and Anglo-European forms of cultural production combine to transcend the mode of inquiry that focuses on fidelity. The result is a new creativity that finds expression in different cultural and virtual locations, including recent films and MMOGs (Massively Multiplayer Online Games). The papers in the volume provide a background for these modern developments, showing the history of how Shakespeare became a signifier against which Asian and Western cultures defined – and continue to define – themselves. Authors in the first part of the collection examine culture and gender in Hollywood Shakespearean film and complement the second part in which the history of Shakespearean readings and stagings in China, Indonesia, Cambodia, Japan, Okinawa, Taiwan, Malaya, Korea, and Hong Kong are discussed. Papers in the third part of the volume analyze the transformation of the idea of Shakespeare in cyberspace, a rapidly expanding world of new rewritings of both Shakespeare and Asia. Together, the three sections of this comparative study demonstrate how Asian cultures and Shakespeare affect each other and how the combination of Asian and Anglo-European modes of representation are determining the future of how we see Shakespeare’s plays.

January 30, 2012
by fatsodoctor
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Masterpieces of Kabuki

masterpieces of kabuki

Masterpieces of Kabuki

by James R. Brandon and Samuel L. Leiter

Masterpieces of Kabuki contains eighteen outstanding dramas taken from the landmark four-volume series Kabuki Plays On Stage. Together they cover the entire spectrum of kabuki drama from 1697 to 1905, the period during which kabuki’s dramaturgy flourished prior to the onset of Western dramatic influence. Major playwrights, chronological periods of playwriting, and a variety of play types (history, domestic, and dance dramas) and performance styles are represented. All but one are in the current repertory and regularly staged. The volume includes introductions to each play and a new general introduction highlighting kabuki’s historical development and relating the plays to their performance context.

As the subtitle implies, the plays are translated as if “on stage.” Stage directions indicate major scenic effects, stage action, costuming, makeup, music, and sound effects. In some cases, complex stage actions such as stage fights are given in detail. The plays collected here are all marvelous examples of dramatic writing, intended to be acted on the stage before audiences. They reveal kabuki’s eras of brilliance and bravado, villainy and vengeance, darkness and desire, and restoration and reform. All continue to stir audiences to admiration and excitement.