Eastap

Eastap

European Association for the study of theatre and performance

Month: June 2019

EASTAP II Conference in LISBON

https://eastapconferencelisbon2019.wordpress.com/ https://www.tndm.pt/pt/calendario/ii-congresso-da-eastap/   PROGRAM    SHARED MEMORY(IES): CREATION, RESEARCH AND POLITICS IN THE EUROPEAN CONTEMPORARY STAGE.   The II EASTAP Conference (European Association for the Study of Theatre and Performance)…

https://eastapconferencelisbon2019.wordpress.com/

https://www.tndm.pt/pt/calendario/ii-congresso-da-eastap/

 

PROGRAM

  

SHARED MEMORY(IES): CREATION, RESEARCH AND POLITICS IN THE EUROPEAN CONTEMPORARY STAGE.

 

The II EASTAP Conference (European Association for the Study of Theatre and Performance) will take place at the School of Arts and Humanities of the University of Lisbon and the National Theatre D. Maria II on the 23rd, 24th and 25th of September 2019. The theme proposed for debate is Shared Memory(ies): creation, research and politics in the European contemporary stage.

The working of memory has been an object of inquiry by history, cognitive science, psychoanalysis, linguistics, literature, cultural and performance studies, sociology. In other words, by the sciences that aim at understanding how we process our experience in the world. Memory, associated with conservation and access to knowledge, is materialized through mnemonic devices that Frances Yates (1966) showed always connect space and the sum of knowledge. This was done, for example, in the 16th century, by the memory theatres of Giulio Camillo and Giordano Bruno. Today, the mass of information (big data) and the connection of objects online (internet of things) have us facing the same need to understand how and what we register from that mass of information within our reach, but especially the role played by memory in the configuration of individual and collective identities.

Throughout the last century, we talked about collective memory (Halbwachs, 1925), memory theatres (Banu, 1987), memory-habit (Connerton, 1989), memory locations (Nora, 1984-1994). More recently, following the debates about the Holocaust, we talked about incorporated memory (Taylor, 2003), post-memory (Hirsch, 2008) and memory as a continuous performative act (Schneider, 2011). These terms were used to describe processes which move us between past and present, community and individual, in a word, between specific types of performativity; between the apparent fixity of ritual and of celebration and the wandering so characteristic of memory, sometimes leaving traces and producing stratifications, other times selectively erasing. In this connection, memory industry and memory tourism have also been discussed (Traverso, 2005; Schneider, 2011). The obsession with the production and the use of archives, seen as repositories of experiences and knowledge to be reactivated, has also invaded the artistic field and governs the artistic practice as research.

The quest to understand how memory works and what it represents for the individual and the collective of which the individual is a part, what it means to remember and to forget, has had consequences in the appreciation of certain human practices and representations: the production of life stories, photographic records of public and private acts, documentary cinema, the creation of archives and databases, the use of narrative in medicine, the construction of memorials and the celebration of certain monuments, in sum, the deletion, the uses and misuses of memories that excluded, revised or reinforced narratives accepted as dominant.

On the one hand, we recognize the different amnesias of our times, the fear of robotization, of artificial intelligence, of expanded reality and the hologram. On the other hand, we are faced with the compulsive recording of our actions “for future memory”. Where can theatre and performance be situated in this problematic? As the art of memory? As a mnemonic device which makes a community temporarily remember together and, especially, produce memories and project memory in a space-time of sharing? The theatre memorabilia created for the pleasure of collectors is not the only expression (albeit the most evident one) of the modalities of the mnemonic recording and recovering of personal, cognitive and collective experiences of the theatre and the show.

The topic of memory relates to theatre and the performing arts precisely through their performative dimension. We see how it acts on the power of testimony, on the material dimensions of the real, on the non-segregation of the private sphere from the public sphere, on the prevalence of the process that connects artists and spectators in the meeting/confrontation of memories. We can speak of a theatre perceived as a palimpsest that lets you see how and what is written, erased and re-written in the body-memory of the actors, but also on the body of those present, who rework and reforge their memories in permanence.

In this II EASTAP Conference, we aim to promote discussion regarding the role of memory in contemporary theatre creation through three fundamental axes that are intertwined:

 

I. Memory in Theatre – The process of creation in its relation with the work of memory

  1. Shared memory of experiences and knowledge
  2. Theatre practice as testimony of (the) memory: text, body and annotation memory
  3. Memory and anthropology: observation, recording, storage and archive in the creative process
  4. Memory and political identity(ies)

 

II. Memory of Theatre – Research and the limits of memory

  1. Artistic practice as research: performativity of the memory and cognition
  2. Theatre between history and memory
  3. Makers, audience(s) and memory(ies) of the theatre: the discourses of the observer community, the spectators, the actors, the directors, the critics
  4. On memory as a territory under construction (texts, images, narratives)

 

III. The Theatre of Memory – The politics of memory in current societies and new theatre forms

  1. Identity, narrative(s) and memory sharing
  2. Memory and forgetfulness: the power(s) of theatre in the politics of memory
  3. Artificial and digital memory: artistic experimentation
  4. From “stock memory” to “flux memory”
  5. Memory and the irruption of the Real: from documentary theatre to the theatre of the Real

 

The conference theme aims, therefore, to bring together diverse (inter)disciplinary perspectives (arts and performance studies, visual studies, cognitive sciences, social sciences, literary studies, cultural history), as well as to invite artists, that will be announced very soon, whose creative practice does not separate the three axes mentioned above. Thus, artists and researchers will be on an equal footing while discussing the theme and can present their points of view through communications, performance-speeches, interviews or commented audiovisual records of their work.

Maria João Brilhante

Centro de Estudos de Teatro, Universidade de Lisboa (mbrilhante@campus.ul.pt)

 

Tiago Rodrigues

Teatro Nacional D. Maria II (trodrigues@tndm.pt)

 

HOW TO SUBMIT A PAPER

If you wish to submit a paper, please see the Guidelines for Papers and send your proposal by 15th May 2019 (new date) to the II EASTAP Conference organizers at the email address eastapconference.lisbon2019@gmail.com

Papers will be allocated 25 minutes on the programme (15 minutes for the paper and 10 minutes for discussion).

The selection of panels/papers will be made by the Conference organizers in consultation with the Scientific Committee. The decisions will be made public by the 7rd June 2019.

Languages of the Conference: English, French, Portuguese.

Conference registration can be made until the 10st of July according to the guidelines explained at 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.

 

Regular members: 60€

Students: 30€

Please, note that EASTAP registration is mandatory.

All enquiries concerning registration should be addressed to the email address registration@eastap.com

 

GUIDELINES FOR PAPERS

Please, send:

  • Name, institution
  • Abstract with 300 words in English and in the language of the presentation (FR or PT), in a Word document, Times New Roman, 12 pt
  • The chosen axis
  • CV with 100 words
  • Technical needs

 

You may find more information at  https://eastap.com

 

 

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European Journal of Theatre and Performance, Issue number 2 – Deadline : 20 July 2019

European Journal of Theatre and Performance   Call for Proposals   Past, Present and Future of Creative Processes in European Performing Arts   Issue Editors: Lorenzo Mango, Sophie Lucet, Luk…

European Journal of Theatre and Performance

 

Call for Proposals

 

Past, Present and Future of Creative Processes in European Performing Arts

 

Issue Editors: Lorenzo Mango, Sophie Lucet, Luk Van den Dries

Multi-diversity is undoubtedly one of Europe’s main characteristics. As the differences between cultural, political, economic and social identities in Europe are often stronger than the forces that unite, Europe remains a fragile construction that is constantly in need of critical revision. However complex and challenging the diversity at the core of European commonality may be, it is also an expression of tremendously rich and multi-layered cultural traditions that, even when they are anchored in the past, continue to dialogue with the present.

Diversity is also a common characteristic of European theatre, but for this issue of the European Journal of Theatre and Performance we attempt to examine diversity from a methodological rather than an aesthetic point of view. Europe has been, and continues to be, the laboratory of many innovative forces in theatre history, which time and again challenge aspects of dominant theatre systems, be it actor-training, playwriting, technological innovation, rehearsal methods, the rise of the director, collaborative working methods, the distribution of performances via festivals, etc. ‘Every production forms its own method of work’, the dramaturg Marianne Van Kerkhoven once wrote. As such, the diversity of the European theatre stage is intimately linked to its variety of working methodologies, and it is precisely these varieties that guarantee the flexibility and mobility of European theatre for the future.

This second issue of the European Journal of Theatre and Performance focuses on the ‘genetics’ or creative processes of theatre, or on what Marco De Marinis calls  ‘seeing-making theatre’. Genetic research in the performing arts began to grow roughly from the mid-eighties under the impulse of Almuth Grésillon and many others and slowly emancipated from its older sister critique génétique or genetic criticism. Now the interest in creative processes and their documentation has widely expanded. For this issue the editors are primarily interested in essays that critically discuss working methodologies on all levels of the creative process: the dynamics and collaborative nature of rehearsals; the role and function of observers during a creative process; the documentation of the rehearsal process through notebooks, drawings, video, social media, shared file-servers, blogs etc.; strategies of artistic research as instruments of inspiration; the role and function of dramaturgy; the relation between theatre and labour, among others. More general issues regarding research into creative processes in the performing arts could also be addressed, such as the challenges of the processual nature of theatre performances for genetic scholars, or how local and international contexts (political, economic, societal) influence creative processes.  As Milo Rau states in the Ghent Manifesto ‘Theatre is not a product but a production process’, and we want to chart in what sense this production process has been formulated in the past, how it is changing in our times and how much it reflects current debates about democracy, interculturalism, hierarchy, authorship and so on.

Topics may include, but are not limited to:

  • Past and present methodologies of creation;
  • Connections between the micro-world of creative processes and the macro-world of the larger institutional, social, intercultural, political and ecological environment;
  • The documentation of creative processes: drawings, notebooks, notation, aural and visual forms;
  • The links between methodologies of creation and political utopias;
  • The production and transmission of embodied knowledge;
  • Authorship and non-hierarchical ways of collaboration;
  • Digital humanities and the development of technological tools for genetic research;
  • Intermediality and its influence on the creative process;
  • Co-creation process of theatre and (live) film;
  • Historiographies of the creative process;
  • Digital memories and archives of creative processes.

 

Proposals should be written in UK English, in MS-Word format and be between 600 and 700 words. Proposals must be based on original, unpublished work not under consideration for publication elsewhere. Please state in the proposal in which language(s) you intend to write the paper. If your proposal is accepted, you will be invited to submit a first draft of your article by 1 October 2019. Articles can be written in the language of author’s preference. However, at this stage of the development of the journal and EASTAP, we ask contributors to secure professional proof-reading for all articles written in languages other than English. Authors may also choose to publish their article in more than one language. Submitted articles will undergo a double blind peer-review process.
The maximum length of the final article should not exceed 9000 words (including abstract in English and at least one additional language, references, a short note on the author, etc.).

Deadline for proposals: 20 July 2019

First drafts of accepted proposals: 1 October 2019

Final drafts: 20 December 2019

Publication: January 2020

Issue-related enquiries and abstract proposals should be sent to the issue editors:

Luc.vandendries@uantwerpen.be

lormango57@gmail.com

sophie.lucet93@gmail.com

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