European Association for the study of theatre and performance

Month: October 2019

Postdoctoral Fellow in Dramaturgy – 2047 – Deadline 28 November 2019

Aarhus University, School of Communication and Culture – Dramaturgy – Faculty: Arts Published 17 Oct 2019 Deadline 28 Nov 2019 Expected start date 1 Mar 2020 School of Communication and Culture – Dramaturgy, Langelandsgade…

Aarhus University, School of Communication and Culture – Dramaturgy – Faculty: Arts

Published 17 Oct 2019

Deadline 28 Nov 2019

Expected start date 1 Mar 2020

School of Communication and Culture – Dramaturgy, Langelandsgade 139, 8000 Aarhus C

Fixed term full-time position 1 Mar 2020 – 31 Aug 2022


Job profile

The Department of Dramaturgy and Musicology within the School of Communication and Culture invites applications for a fixed-term, 30-month postdoctoral fellowship, connected to the research project “Reconfiguring Dramaturgy for a Global Culture: Changing Practices in 21st Century European Theatre” under Professor Peter M. Boenisch (project manager), funded by the Aarhus University Research Foundation.

The position is full-time, and available from 1 March 2020, or as soon as possible thereafter.

The place of employment is the Department of Dramaturgy and Musicology, Langelandsgade 139, DK-8000 Aarhus C.

The School of Communication and Culture is committed to diversity and welcomes applications from all candidates regardless of their personal background.

Research context

The project “Reconfiguring Dramaturgy for a Global Culture: Changing Practices in 21st Century European Theatre” interrogates the fundamental reconfiguration of the field of European theatre (and the arts more widely), as arts institutions and artistic practices lose their traditional grounding within a predominantly middle-class ‘enlightenment’ culture of Bildung. The challenges posed by globalisation and digitalisation, by demographic changes, but also by ecological threats, societal ruptures, the relativisation of a fact-based ethics of knowledge and community and the spread of populism also require a new approach to the research of dramaturgic practice that is responsive to the debates and issues in the profession. The research team, consisting of the postdoctoral researcher described in this advertisement, a PhD student and a student helper, and headed by Professor of Dramaturgy Peter M. Boenisch, will investigate the resulting transformations at institutional and aesthetic level through trans-European comparative studies. A specific focus will be placed on the contextual analysis of ‘second cities’, such as Aarhus, where the situation poses notably different issues and challenges compared to global cosmopolitan centres such as London, Paris, Berlin and Copenhagen, which typically are at the forefront of academic attention. The project’s three work strands are dedicated to reconfigurations of institutional dramaturgies, of dramaturgies of production, and of dramaturgic pedagogy. The project team will also lead a newly formed research group within Aarhus University’s “Cultural Transformations” programme, an interdisciplinary research cluster within the School of Communication and Culture that comprises 16 research groups which examine aspects of the changing social roles of the arts and culture. The working language is English.

Research profile – purpose and tasks of the position:

Within the context detailed above, the postdoctoral researcher will work as a key member of the small project team. S/he will take on the self-directed responsibility to define and lead a specific sub-project concentrating on the intersection of institutional dramaturgy and aesthetic practices of creation. The successful applicant will undertake empirical research on a comparative, European dimension. S/he will scope, document and present relevant current case studies, and critically analyse them with a view to modelling adequate, innovative theoretical and conceptual frameworks as well as their pedagogic implementation. The researcher will interact with theatre institutions, artists and various publics locally as well as abroad. S/he will generate primary case study material through interviews, on-site visits and analysis, and archival work and documentation. The researcher will be supported in publishing their research findings in essays, book chapters and possibly a monograph, as well as representing the research group at national and international conferences. The researcher will also contribute to the organisation of public events, symposia and the publication of an edited book collection, as well as playing a central role in the generation of knowledge transfer and public engagement materials, initiatives and activities.


Applicants must have a PhD degree or must document equivalent qualifications in theatre studies, dramaturgy, or a cognate discipline.

Applicants must be able to document expertise in the following areas:

  • The interdependence of artistic creation and its institutional production.
  • Current discourses and critical approaches in theatre studies, institutional critique, and the wider field of art and culture.
  • The productive exchange between academic research and artistic work.
  • The articulation and communication of original ideas and methodologies, demonstrated above all by an outstanding and innovative doctoral dissertation, ideally in an area related to and relevant for the project, and potentially a track record of research publications of a high international standard, as commensurate with the length of the applicant’s academic career.
  • The successful applicant will demonstrate experience in the self-directed management of research projects, preferably including fieldwork.
  • S/he will also demonstrate excellent communication and interpersonal skills, in order to engage productively both within the research team and with external organisations and institutions.

Applicants should also have experience in engaging in their research with comparative, trans-cultural and/or trans-national contexts in the performing arts. It will also be regarded as an advantage if applicants can document:

  • Experience of knowledge transfer, public engagement, and the use of digital dissemination media.

In addition to the standard application documents, applicants must submit the following documents:

  • A concise description of their research profile and experience (max. two pages).
  • A research proposal for a sub-project to be undertaken within the stated framework of the funded research project (max. three pages).

The researcher will be based at the Department of Dramaturgy and Musicology at Aarhus University. On-site presence and engagement with the research team is a requirement. While undertaking periods of fieldwork abroad, the applicant will also be expected to engage with local, regional and national partners and stakeholders in Denmark. Proficiency in academic English is a prerequisite; and if the successful applicant does not speak Danish, s/he must be willing to acquire a working knowledge of this language. It will also be regarded as an advantage if applicants have additional language skills and proficiency in at least one other European language. This is with a view to undertaking comparative, trans-European case study work.

For further information about the position, please contact the project manager, Professor Peter M. Boenisch, e-mail peter.boenisch@cc.au.dk

Institutional context

The Faculty of Arts at Aarhus University is one of the largest environments for interdisciplinary research and education in the humanities in Northern Europe, dedicated to the investigation of cultural and social forms of expression and practice. Situated within the Department of Dramaturgy and Musicology, part of the School of Communication and Culture, and based on the AU Kasernen Arts campus, the dramaturgy programme, with its dedicated BA and MA courses in dramaturgy (as distinct from purely theoretical theatre studies), celebrated its 60th anniversary in September 2019. It has developed a distinct profile in research and education combining theoretical and practical exploration with strict scientific rigour. The programmes cover all aspects of dramaturgic education, from theatre history to performance analysis, arts management, theatre pedagogy and community work, with ample opportunities for students to ‘do’ dramaturgy in the department’s own theatre facilities as well as to engage with professional partners as part of their education. The dramaturgy programme benefits from many long-standing partnerships with local, national and international artists and institutions, not least Eugenio Barba’s Odin Teatret, based in nearby Holstebro, and the vibrant local theatre, dance and performance scene in Aarhus. It was recently closely involved in the delivery and evaluation of the Aarhus European City of Culture 2017 programme. Core research topics address immersive and participatory dramaturgies and institutional dramaturgy. Since 2019, and alongside the Royal Central School of Speech and Drama, University of London and the University of Kent at Canterbury, the department has been a managing partner of the European Theatre Research Network (ETRN), to whose activities the department has contributed as an affiliated partner for many years.

Qualification requirements

Applicants should hold a PhD or equivalent academic qualifications.


Faculty of Arts refers to the Ministerial Order on the Appointment of Academic Staff at Danish Universities (the Appointment Order).

All interested candidates are encouraged to apply, regardless of their personal background.

Aarhus University also offers a Junior Researcher Development Programme targeted at career development for postdocs at AU. You can read more about it here: http://talent.au.dk/junior-researchers-at-aarhus-university/the-junior-researcher-development-programme/

Faculty of Arts

The Faculty of Arts is one of four main academic areas at Aarhus University.
The faculty contributes to Aarhus University’s research, talent development, knowledge exchange and degree programmes.

With its 500 academic staff members, 260 PhD students, 10,500 BA and MA students, and 1,500 students following continuing/further education programmes, the faculty constitutes a strong and diverse research and teaching environment. The Faculty of Arts consists of the School of Communication and Culture, the School of Culture and Society, the Danish School of Education, and the Centre for Teaching Development and Digital Media. Each of these units has strong academic environments and forms the basis for interdisciplinary research and education. The faculty’s academic environments and degree programmes engage in international collaboration and share the common goal of contributing to the development of knowledge, welfare and culture in interaction with society.

Read more at arts.au.dk/en

The application must be submitted via Aarhus University’s recruitment system, which can be accessed under the job advertisement on Aarhus University’s website.


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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/


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.


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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Casting Call – EROSANTEROS, Confini // Deadline 3 november 2019

Appel en Français The Italian theater company ErosAntEros is looking for actors to complete the cast of its new show CONFINI, an international co-production of ErosAntEros with Fondazione Luzzati –…

Appel en Français

The Italian theater company ErosAntEros is looking for actors to complete the cast of its new show CONFINI, an international co-production of ErosAntEros with Fondazione Luzzati – Teatro della Tosse, TNL – Théâtre National du Luxembourg, Ravenna Festival and other partners to be defined.

The work will investigate the theme of the foundation of the European Union, starting from the Italian migrations in the mining basins of northern Europe, collaborating with the Italian-Luxembourgish author Ian De Toffoli.

The auditions will take place in Luxembourg, at the TNL – Théâtre National du Luxembourg, on 13 and 14 November 2019.


3 black professional actors, speaking one of the following languages: French, German or Flemish

+ Italian or English to communicate with the director.

available indicatively in the following work periods:
– 20 January to 2 February 2020
– 1-30 June 2020
– 1 to 15 July 2020 debut and replies
– at least 2 weeks in the 2020/2021 season.


Send an email with personal contacts, C.V. and two photos (close-up and full body) at
casting@erosanteros.org before November 3rd, 2019.
Video links from previous works are welcome.

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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…



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


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.



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


Penedo da Saudade Cultural Center, Coimbra, Portugal



Lucy Algar, artist – performance designer – educator

André Guedes, visual artist and scenographer

Rui Horta, choreographer (to be confirmed)



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.



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.



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)



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.



Filipa Malva, PhD | drawingandperformance@gmail.com

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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



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?



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


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/


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:



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