March 30, 2015
by fatsodoctor
Comments Off on Malaysian Journal of Performing and Visual Arts

Malaysian Journal of Performing and Visual Arts

Call for Submissions

The Malaysian Journal of Performing and Visual Arts is a new, fully peer-reviewed research journal that focuses on the Asian performing and visual arts. It is a forum for scholars in the fields of Asian music, dance, theatre, and visual arts. Published by the University of Malaya Cultural Centre, it appears once a year in early December, and will be an indexed periodical covered by a number of scientific indexing services. As an online e-journal, readers can obtain hardcopy on demand with a projected global dissemination through the open access policy on the University of Malaya e-journal website. We invite submissions of original articles from the entire scope of Asian performing and visual arts fields.  Please see our website for further information.

Submission Requirements

With the submission of an article, it  is understood that it represents an original work not previously published, and that it is not being considered elsewhere at the time it is submitted here.  All submissions must strictly conform to our publishing guidelines which may be seen on the website

Submission Date and Procedure

The Malaysian Journal of Performing and Visual Arts maintains a continuing submission process, however, the deadline for articles for consideration in any given year is 30 June. Authors should submit articles directly to the editors (emails indicated below), and in the ‘Subject’ line of the email should indicate  MJPVA-SUBMISSION-[your name].

All submissions, correspondence and inquiries should be sent to:

Chief Editor
Dr. Ghulam-Sarwar Yousof,

and to

Associate Editor
Dr. Loo Fung Ying,
Cultural Centre, University of Malaya
50603 Kuala Lumpur, Malaysia.

February 17, 2015
by fatsodoctor
Comments Off on CFP: AAP 2015

CFP: AAP 2015

Association for Asian Performance 15th Annual Conference

July 29-30, 2015 Montréal, Québec, Canada

The Association for Asian Performance (AAP) invites submissions for its 15th annual conference. The AAP conference is a two-day event, to be held at the Fairmont the Queen Elizabeth Hotel, Montreal preceding the annual ATHE (Association for Theatre in Higher Education) conference. Proposals are invited for papers, panels, workshops and roundtable discussions. Learn more about the AAP at The deadline for proposals is April 1, 2015.

Proposals for the following formats are welcome:

• Individual Papers on a topic related to Asian performance. Proposals for individual papers should include an abstract (max 250 words). Individual presentations should be limited to 20 minutes so that there will be time left for questions and discussion. Visual materials (slides, video etc.) are strongly encouraged.

• Panels composed of three paper presenters and one discussant or four paper presenters. Proposals for panels should provide a brief statement (250 words) that explains the session as a whole, list of titles and 50 word abstract for each paper, and biography of the discussant (if applicable).

• Roundtables offer an opportunity for participants to discuss a specific theme, issue or significant recent publication. A maximum of six active participants is recommended. While a roundtable proposal will not be as detailed as a panel proposal, it should explain fully the session’s purpose, themes or issues and scope with a list of participants.

• Workshops by performance practitioner(s) with expertise in specific Asian performance traditions are welcomed, particularly workshops that overlap with a panel theme or paper presentation. Workshop proposals should include an abstract (350 words) describing the workshop and any technical or space considerations. Workshops should be designed to run no longer than 80 minutes.

• Poster sessions provide an opportunity to share developing, new, or unique research projects that would be enhanced by an interactive format. Submit a brief abstract (250 words) You will be giving short, multimedia-enhanced presentations to visitors. The AAP will do its best to pair specialists in your subject area to act as respondents. A reception will be held for the poster session. Past presenters at the poster sessions included both junior and senior scholars.

• We encourage suggestions for innovative alternatives to the panels, individual papers and roundtables described above.

Proposals should include the following:

• Title of panel, roundtable, workshop, poster, or paper.

• Names of all the presenters, including chair and/or organizer and discussant (for panels and roundtables). A few biographical sentences about each presenter.

• Affiliation, specialization (field/region), mailing address, phone numbers and e-mail addresses of all participants.

• Explanation of the session (for panels, workshops and roundtables); abstract of each panel presentation or each paper.

Proposals should be emailed to the conference organizer and AAP Vice-President, Jennifer Goodlander, — you may also contact Jennifer with any questions, ideas, or help finding collaborators.


All presenters are expected to join AAP. To find out about the benefits of becoming an AAP member, please check out our website at and consider joining us on Facebook:

February 13, 2015
by fatsodoctor
Comments Off on CFC: Theatre Dance and Performance Training

CFC: Theatre Dance and Performance Training

Theatre Dance and Performance Training (TDPT) Issue 7.3

Call for contributions, ideas, proposals and dialogue with the editors:

Special Edition dedicated to Intercultural Actor/Performer Training, to be published October 2016.

Guest Editors for Special Edition: Phillip Zarrilli, Artistic Director The Llanarth Group, Emeritus Professor of Performance Practice, Exeter University, Fellow IRC, Freie Universitat (; T. Sasitharan, Director, Intercultural Theatre Institute (Singapore); Dr. Anuradha Kapur, former director, National School of Drama (New Delhi)

Background: This Special Issue of Theatre, Dance and Performance Training, follows other special issues on sport, Chekhov, politics and ideology, and Moshe Feldenkrais. Special issues do not necessarily follow the form and structure of the standard journal offer and will adapt to the material received.

This specific edition of Theatre Dance and Performance Training will focus on intercultural actor/performer training.  Contributions will explore, describe, and interrogate the complex issues, structures, practices, techniques, paradigms, histories, and discourses of intercultural actor/performer training taking place in the spaces ‘between’ in our twenty-first century, globalized world.

Early in the twenty-first century, contemporary theatre practices are shaped within the crucible of a global, (largely) urban, cosmopolitan context, which is inherently multi-cultural, inter- and or intra-cultural. As Kay Li explains, ‘Hong Kong is a globalized city’ with a ‘long history of cosmopolitanism and capitalism’; therefore, ‘theatre in Hong Kong captures the city’s response to the challenges of globalization’ and as ‘a meeting place between Eastern and Western cultures’ (2007:440–442). Mass media allows immediate access to the multiple ‘worlds’ of performance and performer trainings available today. Global higher education means that most young people today aspiring to become actors have received an education shaped in part by Western pedagogy and Western institutional models. Therefore, any consideration of acting today must address our global, urban, multi-cultural, intercultural realities as the norm rather than the exception. As two examples of many, in 1994 Veenapani Chawla founded Adishakti in Pondicherry (India) in order to pursue a ‘hybrid’ theatre between traditional and contemporary practices, and in Chicago (USA), new modes of ‘polycultural’ theatre are being created in the work of theatres such as Silk Road Rising. What modes of actor training are needed to create new ‘polycultural’/global mixing ‘between’?

Most theories and analyses of interculturalism in theatre have focused on production and reception of  iconic Western performances directed by Brook, Mnouchkine, Barba, et cetera or more recent productions such as those of Singaporean TheatreWorks director, Ong Ken Sen., Insufficient attention has been given to a number of key areas of intercultural exchange and interaction relevant to acting and performance making.

A next-to-invisible history exists of how non-Western actors and directors have negotiated their encounters with realist drama and Stanislavskian-based techniques, and/or with the legacy of Grotowski’s and other approaches to contemporary acting/performance-making. Recent publications have only begun to address the complex set of intercultural negotiations, displacements, and replacements that began to take place in the twentieth century between Stanislavsky and Chinese acting (Tian 2008:159–174) and Stanislavsky and Indonesia (Winet 2010:134–140).

We also need to consider the role that (new/alternative) discursive/explanatory paradigms play in shaping how acting can be framed, viewed, and practised. Ever since the seminal work of Stanislavsky, the dominant commonplace paradigm informing how Westerners usually think and talk about acting is psychology – a discipline invented in the nineteenth-century at the same time theatrical realism and naturalism focused attention on the individual self. An intercultural perspective on acting invites us to re-frame discussions of contemporary acting by displacing psychology from its primary explanatory position and replacing it with alternative paradigms for understanding the interior/inner processes and possibility of acting as an embodied phenomenon and process.

Key questions that might be addressed in contributions include:

What alternative models or paradigms of interculturalism might better illuminate issues of intercultural and/or intracultural exchange?

What is the ‘view’ from ‘elsewhere’ on issues of intercultural actor training? Is the ‘default’ training of contemporary actors in non-Western countries still Stanislavskian-based approaches and, if so, how do these fall short in terms of the needs of intercultural training programmes?

What new models and programs for training today’s (intercultural) actors in a globalized world have emerged, and how are they different from the iconic Western drama/acting school model?

How is contemporary training being negotiated institutionally, programmatically, practically, and/or theoretically outside of Europe/North America in Africa, Asian, Latin America?

What happens if and when we shift the focus from the obvious and highly visible aspects of production to the training grounds, studio, and/or rehearsal room where face-to-face/body-to-body/consciousness-to-consciousness transactions ‘between’ are taking place?

Are there different forms, structures, and approaches to intercultural performance emerging today which are ‘subtler’ or ‘alternative’ to the iconic models of making/producing intercultural performance? And if so, how are the acting/performance ‘problems’ of subtler modes of intercultural interaction being negotiated in the studio/training space?

When master-teachers of ‘traditional’ genres of performance such as Japanese noh or India’s kutiyattam teach their performance traditions to contemporary actors who have no intention of becoming virtuosic masters, how does their pedagogy or approach change? Why engage in teaching contemporary actors at all if they are NOT going to become part of that ‘tradition’? Does a traditional teacher’s discourse or way of teaching change in this ‘new’ acting school context?

Contributions might focus on

description and analysis of intercultural exchange taking place in training studios among actors/performers at the micro-level of transmission of embodied performance techniques, devising processes, the exercise of the imagination, et cetera;

discussion of the underlying paradigms of psychophysical embodiment unique to specific cultures and of the elements and principles informing specific modes of embodied practice;

analysis of processes of teacher/directors’ approach to translating or transposing elements, principles, and techniques ‘between’;

from the perspective of the contemporary actor, how does exposure to, and in-depth engagement in ‘traditional’ modes of embodied training contribute to an actor’s ability to utilize her ‘imagination’, to be focused/attention/engaged/aware;

alternatively, what are the potential problems and/or pitfalls of (naively) engaging in ‘traditional’ modes of training?

Submissions might take the form of articles, interviews, documented discussions between professional performers and trainers, practitioners’ reflective profiles of teachers working in an intercultural context, reviews, case studies, documentation of relevant events/practices/projects, performative writing, or photographic essays. Cross- or inter-disciplinary approaches will be welcomed.

To signal your interest and intent to write an article or a source document in this special issue please email an abstract (max 250 words) to Phillip Zarrilli at Our first deadline for these is 2nd April 2015.

Approximate timelines

2nd April 2015

250 word proposals identifying key topics to Editor, Phillip Zarrilli, for Articles and Sources sections

Late April 2015

Response from Editors and, if successful, invitation to submit full essay

September 7th 2015

Deadline for full submissions: Full papers should normally be no less than 5000 and no more than 6500 words but shorter pieces will be considered.

September – November 2015

Peer review

December-February 2015-16

Final Revisions

February-June 2016

Proofing and final typesetting

October 2016

Publication in TDPT Issue 7.3

December 24, 2014
by fatsodoctor
Comments Off on CFP: Indian Theatre, IFTR 2015

CFP: Indian Theatre, IFTR 2015

IFTR 2015
Hyderabad, India, 5-10 July, 2015

Special Panel on Embodiment in/and Indian Theatre
Within the Performance and Consciousness Working Group

In the IFTR Conference, there will be a special panel on Indian Theatre as part of Performance and Consciousness working Group activity. The panel will be thematically focused on Embodiment in/and Indian Theatre, the ways in which the body has been conceptualized, trained and practiced in Indian theatre in multiple ways through a wide range of performance forms and styles in dance, theatre, popular and multi-media performances.

Call for Papers:

Embodiment is central to Indian performance knowledge and practice. The body in performance operates at multiple dimensions and pathways in Indian performing arts. On the one hand, the body in Indian performance is firmly positioned in the corporeal logic, physicality, techniques and principles. On the other hand, the body in performance replaces itself through a series of ‘transitions’ taking place during the performance. The entire discourse of the Natyasastra is about this transitive experience of the body and, the rasa theory in particular, offers a profound conceptual explanation as well as a methodology of practice to understand the ‘transformative power’ of the body in performance. Embodied practices and their diverse approaches to the human body, in training and performance, therefore, are one of the most distinctive characteristics of Indian theatre in past and present. Political and gendered bodies are recurring themes in modern Indian theatre. Modern Indian dance, in the subcontinent and in the transnational stage redefines the cultural and political notions of Indian embodiment in radically different ways. Similarly, the body has also been dis/embodied and mediatized in contemporary multimedia performances. Besides, the concept and practice of Indian embodiment informs some of the most prominent intercultural training methods and theatre productions. Embodiment in Indian arts and thoughts, therefore, refers to a ‘process’ and a ‘modality’ of practice embedded in the ‘illusive drive’ of the performer. Papers are invited addressing any aspect of Indian embodiment in theory, training and performance practice.

To contribute a paper, please submit abstract (not more than 300 words) and other details under Performance and Consciousness working group through the conference website at (Browsing route: conference theme> call for papers> working groups> abstract submission for working group papers). Please mention in the abstract TO THE SPECIAL PANEL ON INDIAN THEATRE and send a copy of what you submit in the conference website to the

Chair of the special panel Dr. Sreenath Nair:


December 17, 2014
by fatsodoctor
Comments Off on Wayang Revolusi Exhibit

Wayang Revolusi Exhibit

“Art in the Service of Freedom”

A special educational exhibition about the ‘wayang revolusi’, a political adaptation of traditional Indonesian wayang kulit puppet theatre. This exhibition will be on display at the Dutch Puppetry Museum in Vorchten until the end of 2015.

On 27 December 1949 Indonesia obtained sovereign power. The exhibition presents how the Indonesian nationalists used this traditional wayang art form as a means of propaganda in their fight against the Netherlands. In 1947, Wayang Revolusi originated as a special variant on wayang theatre. In an era that media such as radio and television were not very common, the popular wayang play was the ultimate means for addressing large groups with the message of the revolution. The spectators could easily identify with the recognisable, standard and less standard characters of noble heroes and their evil opponents. Wayang Revolusi’s main characters are politicians and servicemen of both parties that were engaged in combat with each other during the fight for independence. Well known characters include Dutch generals Spoor and Van Mook, the Indonesian President Sukarno and Vice President Mohammed Hatta.

Bring a print-out of this announcement when you visit the ‘wayang revolusi’ exhibition and receive a little keepsake.

See: and