Eastap

Eastap

European Association for the study of theatre and performance

Call for papers – Drawing and performance : Creating scenography // Deadline : 15th October

  INTERNATIONAL CONFERENCE Organised by the Institute of Ethnomusicology – Center for Studies in Music and Dance (www.inetmd.pt) Dance Research Group. CALL FOR PAPERS Scenographers use drawing as an expressive and…

 

INTERNATIONAL CONFERENCE

Organised by the Institute of Ethnomusicology – Center for Studies in Music and Dance (www.inetmd.pt) Dance Research Group.

CALL FOR PAPERS

Scenographers use drawing as an expressive and communication tool in rehearsal and in performance. They use it as a record of a thought process and an instrument for reflection. Drawing allows discussion and error and serves as a register of the creative process for all involved.

This conference aims at reflecting upon the artistic and pragmatic relationship scenographers, directors and choreographers have with drawing as a device for the creation of space and time of performance and as mediator between the bodies of performers on stage and the drawer’s page.

In addition, it will look at the creative process of the scenographic through the study of the relationship between the gestuality of the drawer and that of the performer generating space. Considering this dialogue can further advance definitions of scenographic practice.

We welcome submissions on any of the following subjects:

– creative processes of scenography in theatre, dance, music and musical theatre;

– drawing for scenography;

– drawing as scenography;

– drawing as performance;

– drawing and body in motion;

– performer’s gesture versus drawer’s gesture;

– definitions of sceno-graphy and of the sceno-graphic;

– drawing as a collective collaborative method of scenographic creation;

– drawing as a communication instrument of scenographic creation;

– drawing in response to performance;

– incidents and absences in drawing;

– shared drawings;

– questions of drawing in pedagogy of scenography;

– digital and mediated drawing in theatre, dance, music and musical thetare.

Presentations will be developed and edited into a publication which will also include drawings shown at the conference’s side exhibition.

Parallel to the conference panels there will be an exhibition of drawings by Portuguese scenographers as well as a performance by the theatre company O Teatrão.

 

DATES

26th, 27th and 28th March 2020 (one evening and two days)

VENUE

Penedo da Saudade Cultural Center, Coimbra, Portugal

 

KEYNOTE SPEAKERS

Lucy Algar, artist – performance designer – educator

André Guedes, visual artist and scenographer

Rui Horta, choreographer (to be confirmed)

 

PROPOSALS

Language: Portuguese and English

300 word proposals should be submitted by 15th October 2019 to the organising chair at drawingandperformance@gmail.com .

Proposals can discuss any of the above mentioned subjects or be directed at one of the following specific round tables:

  1. Teaching drawing for performance;
  2. Drawing as performance;
  3. Drawing and body in performance.

Other forms of participation should be discussed in advance with the Organising Chair.

All submissions will be double peer-reviewed, under anonymous (blind) conditions, by a panel drawn from members of the Project Development Team and the Advisory Board.

 

REGISTRATION

The conference registration fee is 90€ for independent scholars/artists and 120€ for supported scholars/artists. Students have a 50% discount on full price. It includes all conference materials, coffee breaks, entrance to the exhibition and the performance.

Please note that we do not provide any funding to the delegates. It is also the responsibility of the delegates to arrange their own travel and accommodation.

 

PROJECT DEVELOPMENT  TEAM

Daniel Tércio, INET-md, Faculdade de Motricidade Humana, University of Lisbon

Filipa Malva, INET-md, Faculdade de Motricidade Humana, University of Lisbon

Cristina Faria, Instituto Politécnico de Coimbra

Kate Burnett, Society British Theatre Designers (academic supervisor and editor)

Sofia Pantouvaki, Aalto University, Helsínki (academic supervisor and editor)

 

EDITORIAL TEAM

Filipa Malva, University of Lisbon

Kate Burnett, Society British Theatre Designers

Sofia Pantouvaki, Aalto University, Helsinki

 

ADVISORY BOARD (provisional)

Álvaro Barbosa de Sousa, Research Institute for Design, Media and Culture, University of Aveiro.

Celia Morgan, artist (New Zealand).

Christopher Baugh, Professor Emeritus, University of Leeds.

Cristina Fernandes, integrated researcher at INET-md, Universidade Nova de Lisboa (NOVA FCSH).

Deborah Harty, Lecturer in Fine Art, Loughborough University.

Paulo Luís Almeida, Senior Lecturer in Drawing, I2ADS – Research Institute of Art, Design and Society, Faculty of Fine Arts, University of Porto.

Jessica Bugg, Dean School of Media and Communication, London College of Fashion.

Maria Hayes, artist (Wales).

Maria João Brilhante, Centro de Estudos de Teatro, Faculty of Humanities, University of Lisbon.

Rachel Hann, Senior Lecturer in Scenography, Faculty of Arts and Social Sciences, University of Surrey.

 

ORGANISING CHAIR

Filipa Malva, PhD | drawingandperformance@gmail.com

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Call for poster presentations – Young Scholars’ Forum EASTAP / Deadline : 15 November 2019

Call for poster presentations At the third EASTAP conference in Bologna, EASTAP is proud to present its first Young Scholars’ Forum. The Forum aims to bring together PhD candidates and…

Call for poster presentations

At the third EASTAP conference in Bologna, EASTAP is proud to present its first Young Scholars’ Forum. The Forum aims to bring together PhD candidates and recent PhDs and give them the opportunity to present their research and their experiences to their peers and to senior scholars.

The Forum will be a platform for young researchers to present their research in an inviting dialogue setting. This way, the Forum aims to support young researchers both in research subject, research contexts, methodologies and research contacts.

The Young Scholars’ Forum welcomes poster presentations on any aspect of theatre studies, performance studies, dance studies, opera, puppetry, circus, etc. The Forum will provide high visibility for the research posters during the conference. Furthermore, participants to the Forum will hold a poster presentation in specific Forum panels that are easily accessible to all attendees of the conference. Also, the Young Scholars’ Forum will invite participants for specific research and leisure activities during the conference.

 

APPLICATION

Application should include:

  • A cover letter, arguing why you want to take part in the Young Scholars’ Forum
  • An abstract of no more than 500 words.
  • A short biography of no more than 200 words.

These application documents should be sent as one PDF-file to YSF.EASTAP@gmail.com.

 

IMPORTANT DATES

Application Deadline: 15 November 2019

Acceptance Notification:  15 December 2019

 

More information?

EASTAP contacts for the Young Scholars’ Forum:

 

Dr. Jeroen Coppens Stefania Lodi Rizzini

Jeroen.Coppens@UGent.be slr.eastap@gmail.com

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Appel à contributions pour le dossier n°17 de ReS Futurae – LE THÉÂTRE DE SCIENCE-FICTION : PREMIERS ÉLÉMENTS DE CARTOGRAPHIE / Deadline : 15 December 2019

Dossier dirigé par Romain Bionda romain.bionda@unil.ch Plus d’informations : https://resf.hypotheses.org/ Échéances Les propositions de contribution (env. 250 mots), accompagnées d’une brève bio-bibliographie, doivent lui parvenir le 15 décembre 2019 au plus…

Dossier dirigé par Romain Bionda romain.bionda@unil.ch

Plus d’informations : https://resf.hypotheses.org/

Échéances

Les propositions de contribution (env. 250 mots), accompagnées d’une brève bio-bibliographie, doivent lui parvenir le 15 décembre 2019 au plus tard. Une première version des articles devra être rendue le 15 juillet 2020, pour une parution au premier semestre 2021.

Les auteurs sont invités à consulter les consignes aux auteurs.

Argument

Le théâtre a donné à la science-fiction quelques-unes de ses œuvres les plus célèbres, à l’instar de R.U.R. de Karel Čapek, où le terme « robot » apparaîtrait pour la première fois. Il est toutefois rare qu’on fasse une place au théâtre dans les études science-fictionnelles, tout comme il est rare, du côté des études théâtrales, qu’on fasse une place à la science-fiction. Or cette incuriosité réciproque semble exister en concomitance avec une suite de présupposés ne datant pas d’hier et rendant généralement incongrue ou du moins surprenante l’association, dans nos esprits, de la SF avec le théâtre tels que nous pouvons les concevoir — résistance qui ne se présente pas lorsque nous pensons à d’autres arts comme le cinéma et la littérature, où la SF jouit d’une existence explicite et reconnue. Il s’agira ici de mettre en perspective ces présupposés, pour établir dans quelle mesure, à divers moments et en divers endroits, un dialogue a pu se nouer entre cet « art du présent » que serait le théâtre et une science-fiction qui n’est pas simplement un « genre du futur ». S’offrent en effet à l’exploration un important corpus de pièces pouvant à plusieurs égards ressortir à la SF, ainsi qu’un faisceau de discours informant les contours de ce « théâtre de science-fiction ». À quoi celui-ci peut-il ressembler, et quelles œuvres constitueraient son corpus tout au long de son histoire ?

Dans ce numéro de la revue ReS Futurae, il s’agira d’une part d’interroger l’histoire de la SF au théâtre depuis le xixe siècle au moins (les périodes antérieures ne sont pas exclues), des nombreuses adaptations de Frankenstein sur les scènes anglaises aux très récents spectacles se réclamant explicitement de la SF ou qui ont pu être assimilés à ce genre, tels que France-Fantôme de Tiffaine Raffier ou Quitter la terre de Joël Maillard, en passant par les théâtres de l’avant-garde européenne des années 1920. Dans quelle mesure ces œuvres relèveraient-elles de la SF ? Les thèmes et les motifs du genre répondent-ils au besoin ou à l’envie des artistes, dans le contexte artistique, écologique, économique, politique, social, etc., qui est le leur ? La SF interroge-t-elle, ici ou là, les conditions du théâtre ? L’œuvre réalisée est-elle à la hauteur du projet ? La dimension technique des spectacles, notamment par la mise à profit de savoirs dits d’avenir (hologramme, lévitation, prouesses audiovisuelles de toutes sortes, robotique, etc.), utilisés sérieusement ou au contraire tournés en dérision, est-elle par endroits définitoire du genre ? Y a-t-il eu des moments forts, dans l’histoire, où le théâtre et la SF se sont rencontrés ? Et que penser de la situation contemporaine, où la SF semble être en mesure d’assumer de nouvelles fonctions sur nos scènes ?

Il s’agira d’autre part de réfléchir à l’historiographie du théâtre de science-fiction en France et à l’étranger, en interrogeant les catégories génériques actuellement en usage avec lesquelles le théâtre de science-fiction voisine et/ou que le théâtre de SF subsume (utopie/dystopie, post-apocalypse, etc.), en prêtant attention à la dimension diachronique : le terme « science-fiction » étant par exemple plutôt tardif en français, on prendra en compte la diversité des conceptions antérieures telles que « anticipation », « merveilleux scientifique », « voyages extraordinaires », etc. Il pourra être utile, en outre, de s’interroger sur les problèmes posés par la circulation des termes spécialisés dans divers cercles sociaux, où ils sont souvent utilisés de manière assez lâche, loin de leur définition restreinte (à l’instar de « fantastique » et « futuriste »), et sur les enjeux que présente leur traduction dans d’autres langues. Comment les artistes, les chercheurs et les journalistes ont-ils organisé ces différents genres entre eux, « science-fiction » comprise, dans les divers espaces culturels et linguistiques qui sont les leurs, et comment continuent-ils de le faire ? Sur le plan historiographique, un tel début d’inventaire devrait permettre d’évaluer l’éventuel gain et la pertinence d’une (ré)habilitation du terme « science-fiction » pour unifier et stimuler les recherches sur un domaine fragmenté, dont la connaissance s’avère fragmentaire.

Sur la base d’études de cas, l’ambition est d’assembler les premiers éléments utiles à une cartographie du théâtre de science-fiction. Les articles pourront relever de toutes les approches critiques et concerner toutes les aires culturelles et/ou linguistiques. En principe, les articles devront être rédigés en français. Pour tout renseignement complémentaire ou proposition sortant du cadre posé par l’appel, il ne faut pas hésiter à prendre contact avec le directeur du numéro (romain.bionda@unil.ch).

Éléments de bibliographie :

  • « Theatre » (20.10.2011), dans The Encyclopedia of Science Fiction, en ligne, 12.08.2018 : http://www.sf-encyclopedia.com/entry/theatre.
  • TrOPICS, n° 2, Théâtre et Utopie, dir. Françoise Sylvos, en ligne, 2015 : https://tropics.univ-reunion.fr/accueil/numero-2.
  • BIONDA Romain, « Où est passé le théâtre de science-fiction ? Histoire et historiographie d’un genre inaperçu », dans Revue d’histoire du théâtre, n° 282, « Varia », 2019, p. 119-138 ; également en ligne : https://sht.asso.fr/ou-est-passe-le-theatre-de-science-fiction-histoire-et-historiographie-dun-genre-inapercu/.
  • BOURASSA GAUDREAULT Catherine, « Le théâtre de science-fiction d’après Ralph Willingham », dans Jeu, n° 144, Sciences et technologies, dir. Étienne Bourdages, 2012, p. 104-111.
  • CARRERA GARRIDO Miguel, « Teatro 1960-1990 », dans T. López-Pellisa (dir.), Historia de la ciencia ficción en la cultura españolaop. cit., p.  225-249.
  • FORRY Steven Earl, Hideous Progenies: Dramatizations of Frankenstein from Mary Shelley to the Present, Philadelphie, University of Pennsylvanie Press, 1990.
  • KRZYWKOWSKI Isabelle, « Le théâtre des machines », Machines à écrire. Littérature et technologies du xixe au xxie siècle, Grenoble, Ellug, coll. « Savoirs littéraires et imaginaires scientifiques », 2010, p. 154-162.
  • LOPEZ-PELLISA Teresa (dir.), Historia de la ciencia ficción en la cultura española, Madrid et Francfort, Iberoamericana / Vervuert, 2018.
  • Id., « Teatro 1990-2015 », dans id. (dir.), Historia de la ciencia ficción en la cultura españolaop. cit., p. 251-277.
  • MARTIN RODRIGUEZ Mariano, « El teatro hasta 1960 », dans T. López-Pellisa (dir.), Historia de la ciencia ficción en la cultura españolaop. cit., p. 195-221.
  • MILNER Andrew, « Science Fiction and the Literary Field », dans Science Fiction Studies, vol. 38, n° 3, 2011, p. 393-411 ; trad. Julie Stéphanie Normandin et ReSF, dans Res Futurae, n° 6, 2015 : https://journals.openedition.org/resf/749.
  • PLASSARD Didier, L’Acteur en effigie. Figures de l’homme artificiel dans le théâtre des avant-gardes historiques : Allemagne, France, Italie, Lausanne, L’Âge d’homme, coll. « Théâtre années 20 », 1992.
  • RUSS Johanna, « Towards an Aesthetic of Science Fiction », dans Science Fiction Studies, vol. 2, n° 6, 1975, p. 112-119 ; trad. Samuel Minne, dans ReS Futurae, n° 2, La Science-fiction, rue d’Ulm, en ligne, 2013 : https://journals.openedition.org/resf/291#ftn1.
  • VERSINS Pierre, « Théâtre », Encyclopédie de l’utopie, des voyages extraordinaires et de la science-fiction (1972), 2nde éd., Lausanne, L’Âge d’Homme, 1984, p. 878-880.
  • WILLINGHAM Ralph, Science Fiction and the Theatre. Contribution to the Study of Science Fiction and Fantasy, Westport CT, Greenwood Press, 1994.
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EASTAP III CONFERENCE IN BOLOGNA – FEBRUARY 27- 29, 2020

Click here for English, Italian and French versions   CALL FOR PAPERS Creating for the Stage and other Spaces: Questioning Practices and Theories Organized by Claudio Longhi and Daniele Vianello The twentieth…

Click here for English, Italian and French versions

 

CALL FOR PAPERS

Creating for the Stage and other Spaces: Questioning Practices and Theories

Organized by Claudio Longhi and Daniele Vianello

The twentieth century witnessed crucial changes in creation for the stage, which in extreme cases resulted in a negation of theatre itself. While trying to negotiate this legacy, two decades into the twenty-first century, further transformations and developments are taking place, requiring new theoretical languages that adopt the past as an essential matrix for examining the present and future.

The III EASTAP Conference (European Association for the Study of Theatre and Performance) intends to study this specific subject as well as helping to establish and support a dialogue between different cultures and customs in a moment, our present time, when the idea of Europe is thrown into question.
As a logical follow-up to the Paris and Lisbon editions which focused on decentralisation and shared memory(ies) of the European contemporary stage, this third EASTAP Conference will examine creating for the stage from past to present and across practice and theory. With the express intention to embed the EASTAP Conference in the Festival VIE 2020 (international theatre festival), we will foreground dialogue on the creative process with artists.

Researchers have investigated creative practices and related issues from many different perspectives. Over the course of the twentieth century, these practices and perspectives were considered to be useful knowledge for understanding artistic works; later, they turned into a set of cultural objects in their own right, requiring specific approaches and publishing. In the third millennium, as the focus has moved from the culture of the product to the culture of the process, creative practices have been included in the resulting stage works as organic and inseparable parts of the same process.

The conference structure includes two main areas of investigation which, in turn, include four major interlocking topics: theories of textual composition and practices of textual composition; theories of performance creation, or ‘writing for the stage’, and practices of ‘writing for the stage’.

By ‘textual composition’ we understand not only play-texts, but also multiple literary as well as other verbal types of languages. Examples include texts derived from improvisation; performance-‘scripts’; materials used in documentary theatre; the dramaturg’s contributions, which enable the text to shift between author, director, actors and audience.

By ‘stage writing’ we understand that stage processes can become a writing system of their own, involving all theatrical elements. The notion applies to theatre direction as well as to avant-garde and contemporary performance art, where non-linguistic features can be afforded semiotic value, adding to the theatrical language.
Both of these main areas of enquiry – ‘textual composition’ and ‘stage writing’ – include two sub-topics, namely theoretical perspectives aspects and artistic practices. Each, in turn, can be set either in a historical or contemporary context.

Artists from the Festival VIE 2020 are invited to take part in the conference by entering into dialogue with experts, journalists, researchers and theatre professionals sharing their ideas about the topics of enquiry via presentations, performances, masterclasses, round tables and audio-visual materials.

The following list of topics is not intended to be prescriptive, but as a proposition to identify different perspectives from which to consider approaching theatre creation. Below are some examples of subjects and guideline questions:

I. Text composition – theories

a) historical dimension: What are the methods and results of the interaction historically occurring between theatrical theories, artistic aesthetics and stage practices? How have theatrical theories reflected cultural, social, political or other phenomena?
b) contemporary dimension: How do theories influence or anticipate theatrical innovation? What are the implications of the concepts of dramatic, post-dramatic and post-modern?

II. Text composition – practices

a) historical dimension: How is the relationship between textual composition and stage production changing? How is textual composition influenced by production practices, from festivals to opera, from ballet to genres including acting and music?
b) contemporary dimension: What new practices are emerging as a result of the development of new dramatic models? What is the role of the contemporary so-called dramatist? How do new technologies affect writing practices and their application on stage?

III. Stage writing – theories

a) historical dimension: What influences do early forms of stage writing have
on successive generations? How do such writing methods contribute to the development of new forms of theatre direction?
b) contemporary dimension: What has ‘writing for the stage’ meant from the late twentieth century to now? How does this concept apply to the different languages and social contexts in Europe as well as around our globalised world?

IV. Stage writing – practices

a) historical dimension: From techniques used in the Commedia dell’Arte, through to the twentieth century, from livrets de mise en scène to contemporary directors’ notebooks, what are the different historical practices of stage writing and their distinctive features? How did the early forms of stage writing influence directing techniques?
b) contemporary dimension: How have stage writing practices resulted impacted on the conception of space, time, sound, lighting, image, actor performance and the audience? What is the role of the author, director, actor and spectator, in a theatre world where workshops and community theatre promote collaborative stage writing?

 

HOW TO SUBMIT A PAPER

Please send your proposal by 04 October 2019 (new deadline) to the III EASTAP Conference organisers:

eastapconference.bologna2020@gmail.com

Presentations: max. 20 minutes, followed by a 10-minute discussion.

Applications must include:
– Name, surname, institution (if any)
– Abstract of 300 words (max.) in English and in the language of the presentation (if other than English; FR or IT), in a Word document, Times New Roman, 12pt
– Selected subject(s) (among the four main topics listed above)
– 150-word (max.) biography
– Any technical requirements for your presentation

The selection of panels/papers will be made by the Organizing Committee and Scientific Committee. The decisions will be made public by October 25th, 2019 (new deadline).

Scientific Committee: Antonio Araujo, Christopher Balme, Maria João Brilhante, Chloe Déchery, Josette Féral, Clare Finburgh, Gerardo Guccini, Stefan Hulfeld, Lorenzo Mango, Aldo Milohnić, Elena Randi, Anneli Saro, Diana Taylor, Gabriele Vacis, Piermario Vescovo.
Organizing Committee: Claudio Longhi – Daniele Vianello – Gerardo Guccini (heads), Silvia Cassanelli, Valentina Falorni, Licia Ferrari, Viviana Gardi, Stefania Lodi Rizzini, Giulia Maurigh, Rossella Mazzaglia, Debora Pietrobono, Martina Sottana, Angelo Vassalli.
Secretary Office: Angelo Vassalli (head), Licia Ferrari, Yumi Suzuki.

Languages of the Conference: English, French, Italian.

Conference registration can be made until November 15th, 2019 (new deadline) according to the guidelines https://www.eastap.com/registration/

Registration includes free access to all shows and cultural events included in the Festival VIE 2020 (booking required). The full programme of Festival VIE 2020 events and artists will be available at https://www.viefestival.com/vie2020/, autumn 2019.

Conference registration fees
EASTAP regular members: 70 Euros
EASTAP student members: 35 Euros

Please note that EASTAP membership is a necessary precondition for Conference registration.
Please register here: https://www.eastap.com/registration/

REGISTRATION INSTRUCTIONS

How to proceed to register to a Conference.

  1. a) Make sur you are registered to the Association.

If not, this is step 1.

Go to EASTAP registration page

Choose your status (regular member, student, institutional)

And pay

You should receive by mail a notice of confirmation

  1. b) once you  have registered a new page opens up with the rates for the conference you want to register to:

II EASTAP Lisbon (22-25 Septembre 2019)

III EASTAP Bologna (27-29 February 2020)

  1. c) click the Conference you want to attend and pay

You will receive a notice of confirmation

Thank you  for having REGISTERED to the conference.

All enquiries concerning registration should be made to registration@eastap.com

All enquiries concerning Call or organization of the Conference should be made exclusively to segreteriaconference.bo2020@gmail.com

For any other information, please refer to:
https://eastap.com
http://eastapconference2020.wordpress.com/
http://emiliaromagnateatro.com/eastap-conference/

https://www.viefestival.com/vie2020/eastap-conference/

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Message of the President

Chers collègues, chers amis, Le second colloque EASTAP vient de se terminer à Lisbonne. Il a été remarquable tant par la qualité des participants que par la richesse des discussions. Shermin…

Chers collègues, chers amis,

Le second colloque EASTAP vient de se terminer à Lisbonne. Il a été remarquable tant par la qualité des participants que par la richesse des discussions. Shermin Langhoff, qui a succédé à Milo RAU comme artiste associée  pour l’année 2019,  a fait une conférence d’ouverture choc tout comme la jeune artiste lisboète Joana Craveiro. Il en fut de même des autres artistes invités qui ont pris la parole. Les ateliers ont été très suivis. 98 nationalités, 60 universités représentées, 90 communicants. Les communications ont été données en français, anglais et portugais et les discussions ont  franchi sans problème, et à notre plus grande surprise, la barrière des langues. Vous pourrez suivre certains extraits des communications, tables-rondes et keynotes sur le site EASTAP dès la semaine prochain (https://www.eastap.com), de même que certains liens sur Twitter, Facebook et Instagram.

Il nous faut déjà penser au IIIe congrès à Bologne. Cette proximité dans les dates, tout à fait exceptionnelle, tient à l’invitation faite par le Festival VIE de collaborer à l’organisation du Congrès renforçant ainsi les liens entre théorie et pratique qui nous motivent. Les participants au Congrès auront donc accès à tous les spectacles du programme. Je vous rappelle que nous approchons de la date limite des propositions de communications, le 4 octobre.   Vous trouverez  ci-dessous un mot des organisateurs – Daniele Vianello  et Claudio Longhi – ainsi que les appels à communications si vous ne les avez pas encore vus.

Bien cordialement,

Josette Féral
EASTAP, Présidente
LIRA, Laboratoire International de recherches en arts
Sorbonne Nouvelle- Paris 3

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Dear Members, Friends,

we are writing to remind you that the deadline for submissions for the III EASTAP Conference in Bologna has been extended. The new date is October 4th, 2019. At the same time, the decisions will be made public by October 25th, 2019, and Conference registration can be made until November 15th, 2019. Please find enclosed the versions of the Call – in English, French and Italian – with the new deadlines and, in addition, with the list of members of the Scientific Committee and the Organizing Committee.

We would also like to remind you that the III EASTAP Conference is intentionally embedded in the Festival VIE 2020 (international theatre festival): its distinctive feature is the dialogue with the artists’ view on creative process. So registration gives free access to all shows and cultural events included in the Festival VIE 2020 (booking required). The full programme of Festival VIE 2020 events and artists will be available at https://www.viefestival.com/vie2020/, autumn 2019.

Looking forward to seeing you in Bologna.

Best regards,

Claudio Longhi and Daniele Vianello

(III EASTAP Conference organizers)

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