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European Association for the study of theatre and performance

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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2019  EASTAP ASSOCIATE ARTIST is SHERMIN LANGHOFF, artistic director of MAXIM GORKI THEATRE BERLIN

  Shermin Langhoff began her professional life in publishing and television. After many years in film, collaborating on projects including Gegen die Wand (Head-On) with Fatih Akin, she worked as…

 

Shermin Langhoff began her professional life in publishing and television. After many years in film, collaborating on projects including Gegen die Wand (Head-On) with Fatih Akin, she worked as a curator at Berlin’s Hebbel am Ufer (HAU) theatres from 2004 to 2008. There she founded the “Akademie der Autodidakten” (Academy of Autodidacts), which provided many talented artists with a platform for their work. Her “Beyond Belonging” project series began in 2006, for which she invited artists from other disciplines such as visual arts, literature and film – including Nurkan Erpulat, Nevin Aladağ, Hakan Savaş Mican, Ayşe Polat and Neço Çelik – to tell new stories for the theatre.

In 2008 Langhoff founded the Ballhaus Naunynstraße in Berlin’s Kreuzberg district and made significant contributions to establishing the concept of post-migrant theatre. Since then this concept has become a constant in the societal debates about the country of immigration that Germany has become, and has been widely discussed in academia as well. Several Ballhaus productions, especially Verrücktes Blut (Crazy Blood) by Nurkan Erpulat and Jens Hillje, garnered attention on an international level. Erpulat’s production was invited to Berlin’s Theatertreffen and numerous other international festivals.

Langhoff has been the artistic director of the Maxim Gorki Theatre Berlin since the 2013/14 season. In 2014 and 2016, the Gorki was voted “Theatre of the Year” by the German-speaking critics in Theater heute magazine’s survey (together with the Volksbühne am Rosa-Luxemburg-Platz in 2016). Many Gorki productions have received both national and international honours. They’ve also been recognized with invitations to the Theatertreffen festival: in 2015 for the play Common Ground by Yael Ronen and ensemble, followed by The Situation, another work by Yael Ronen and the ensemble, in 2016.

Under Langhoff’s direction, the Maxim Gorki Theatre understands itself as a place in which constructions of nation, identity, and belonging are questioned by dealing with history and presenting trans-local references. For the beginning of her tenure in 2013, Langhoff organised the first Berlin Herbstsalon (Berlin Autumn Salon), an interdisciplinary exhibition-parcour, in which around 30 artists shed light on the historic area around the Maxim Gorki Theatre from a variety of perspectives over a period of two weeks. Two years later in 2015, the second salon devoted itself to flight and seeking refuge, and how visible and invisible borders separate people from one another: in this context, a special kind of encounter between political art and activism was enabled. For the third salon in 2017, the exhibition expanded to encompass the entire city. From the Brandenburg Gate, through the Maxim Gorki Theatre to the historic Kronprinzenpalais (Crown Prince’s Palace), the exhibition gathered works by about 100 artists from around the world. Under the slogan “De-integrate Yourselves!”, they presented a manifold rebellion against attributions, generalisations and simplifications and invited a broad public to engage with these social issues. More than 20,000 visitors came to the exhibition rooms alone, admission to which was free of charge.

Shermin Langhoff has received several awards for her work at the Maxim Gorki Theatre. In 2015 the B.Z. newspaper awarded her with their culture prize. In 2016 she received the East End Theatre Prize and, in the same year, the prestigious Theatre Prize Berlin from the Preussische Seehandlung foundation, together with Jens Hillje, co-artistic director. Under their leadership, the Gorki has deliberately become a radical venue “reflecting the diversity of the city’s population in its performance and discussion programme, as well as in its ensemble: German actors from around the world who perform their way out of pigeon-holes, attributions and (gender) certainties”, the jury explained. “For them identity is not a fixed category, rather an opportunity to reconsider and re-examine oneself time and again, in social, artistic and political spaces”.

In addition, the Alfred Toepfer Foundation awarded Shermin Langhoff its KAIROS European culture prize in 2011 for her work as a cultural mentor. The Helga and Edzard Reuter Foundation has honoured her for notable achievements in the field of international understanding and integration. In 2012 she received the Moses Mendelssohn Prize from the Berlin government. She was presented with the Theodor Heuss Medal in 2014. In 2017 she was awarded the Bundesverdienstkreuz (Federal Cross of Merit) by German President Joachim Gauck for her achievements in culture.

Shermin Langhoff is a member of the jury at the Tarabya Academy for Culture in Istanbul and for both the Alfred Topfer Stiftung’s KAIROS award and the city of Augsburg’s Bertolt Brecht award. From 2012 to 2017, she was on the board of trustees of the Eberhard-Schultz-Stiftung für soziale Menschenrechte und Partizipation (Eberhard-Schultz-Foundation for Social Human Rights and Participation) and served as an expert and a founding member of the Germany-wide Rat für kulturelle Bildung (Council for Cultural Education).

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JOIN US!!! Coming conferences in 2019 and 2020

In  Lisbon, September 2019 conference organised  by Maria Joao Brilhante and Tiago Rodrigues   in Bologna, February 2020 conference organised by  Daniele Vianello and Claudio Longhi with VIE Festival  …

In  Lisbon, September 2019

conference organised  by Maria Joao Brilhante and Tiago Rodrigues

 

in Bologna, February 2020

conference organised by  Daniele Vianello and Claudio Longhi

with VIE Festival

 

Contact

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Launching European Journal of Theatre and Performance

European Journal of Theatre and Performance  https://journal.eastap.com Number 1 / March 2019 Titre:  Spectres of Europe: European Theatre between Communitarianism and Cosmopolitanism’ Table of contents

European Journal of Theatre and Performance

 https://journal.eastap.com

Number 1 / March 2019

Titre:  Spectres of Europe: European Theatre between Communitarianism and Cosmopolitanism’

Table of contents

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Lisbonne | 23-24-25 septembre 2019

 Mémoire(s) partagée(s): création, recherche et politique sur la scène européenne contemporaine. Appel à communications (FR) Call for papers (ENG) Chamada à submissão de comunicações (PT)

 Mémoire(s) partagée(s):

création, recherche et politique sur la scène européenne contemporaine.

Appel à communications (FR)

Call for papers (ENG)

Chamada à submissão de comunicações (PT)

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What is the Theatre? Christian Biet & Christophe Triau

What is the Theatre? is one of the most coherent and systematic descriptions and analyses of the theatre yet compiled. Theatre is, above all, spectacle. It is a fleeting performance, delivered…

https://www.routledge.com/What-is-the-Theatre/Biet-Triau/p/book/9781138701656

What is the Theatre? is one of the most coherent and systematic descriptions and analyses of the theatre yet compiled. Theatre is, above all, spectacle. It is a fleeting performance, delivered by actors and intended for spectators. It is a work of the body, an exercise of voice and gesture addressed to an audience, most often in a specific location and with a unique setting. This entertainment event rests on the delivery of a thing promised and expected – a particular and unique performance witnessed by spectators who have come to the site of the performance for this very reason. To witness theatre is to take into account the performance, but it is also to take into account the printed text as readable object and a written proposition.

In this book, Christian Biet and Christophe Triau focus on the practical, theoretical and historical positions that the spectator and the reader have had in relation to the locations that they frequent and the texts that they handle. They adopt two approaches: analysing the spectacle in its theatrical and historical context in an attempt to seek out the principles and paradigms of approaching the theatre experience on one hand, and analysing the dramaturgy of a production in order to establish lines of interpretation and how to read, represent and stage a text, on the other. This approach allows us to better understand the ties that link those who participate in the theatre to the practitioners who create theatrical entertainment.

More informations : https://www.routledge.com/What-is-the-Theatre/Biet-Triau/p/book/9781138701656

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