Showing posts with label Drama. Show all posts
Showing posts with label Drama. Show all posts

Friday, June 17, 2022

CFP NEMLA 2023 "The Classics Take Centerstage: Theatrical Adaptations of Ancient Histories and Myths" (9/30/2022)

NEMLA 2023 "The Classics Take Centerstage: Theatrical Adaptations of Ancient Histories and Myths"

source: https://call-for-papers.sas.upenn.edu/cfp/2022/06/15/nemla-2023-the-classics-take-centerstage-theatrical-adaptations-of-ancient-histories

deadline for submissions:
September 30, 2022

full name / name of organization:
Charles Firestone East, Columbia University

contact email:
cfe2107@columbia.edu



In celebration of the off-Broadway début of The Tyrannicides, the first ever full theatrical adaptation of the story as told in Thucydides’ History of the Peloponnesian War, this roundtable calls for a discussion of theatrical and cinematic (re)tellings of classical histories and myths. As The Tyrannicides makes its audience confront the tragic events that eventually led to the foundation of democracy in the West, a larger history set against a more personal story of romance that dissects homoeroticism and pederasty in ancient Greece, the works in discussion at this roundtable will highlight the enduring relevance of these classical stories to the contemporary circumstances of our present — be it for their social, historical, cultural, or other significance. With a very open definition of what counts as “classical” and “modern,” this roundtable welcomes proposals from scholars who come from a variety of backgrounds and who work with various canons (i.e. both classicists who work primarily with the original tellings of these stories and modernists whose expertise lies more in their (re)tellings). Preference will be given to proposals that highlight specifically some aspect of enduring relevance that make their proposed history’s retelling and commentaries pertinent in debates ongoing in contemporary society. Nonetheless, proposals might also treat the very act of adaption, focusing on the shift in cultural norms from antiquity to the present and the particular challenges of reframing those stories for a contemporary audience.


Last updated June 16, 2022

Tuesday, April 27, 2021

CFP Pop Enlightenments: The Eighteenth Century Now (6/18/2021)

CFP: Pop Enlightenments: The Eighteenth Century Now

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/04/22/cfp-pop-enlightenments-the-eighteenth-century-now

deadline for submissions: June 18, 2021


full name / name of organization: Emrys Jones and Madeleine Pelling


contact email: mp656@york.ac.uk



Contemporary depictions of the long eighteenth century – whether drawn from historic sources or responding imaginatively to the era’s multifarious legacies – regularly captivate TV, film and theatre audiences and gamers alike. Increasingly, scholarly biographies provide the basis for big budget biopics, eighteenth-century narratives are adapted in new and experimental ways, objects from museum collections are replicated in cultures of fandom, and academics are invited onto sets as consultants. During a global moment in which the representation and deployment of history in the public sphere are subject to new and urgent scrutiny, we ask what function film, television, gaming, theatre and more can perform when depicting the eighteenth century in our modern world? Can such works speak to perceived eighteenth-century ideas and values and, simultaneously, the shifting paradigms of our own time? How, and why, should we engage?

Pop Enlightenments will bring together scholarly essays and interviews with creative industry professionals. Building on conversations begun in Emrys Jones’s Pop Enlightenments podcast, it takes a broad approach to explore how eighteenth-century forms and narratives are variously taken up, recycled and re-visioned in contemporary media. It asks which histories are being told and by whom.

We seek proposals for chapters from scholars, including early career researchers. Particular areas for analysis and discussion might include, but are not limited to:

  • The eighteenth century’s imaginative currency in contemporary popular culture
  • The representation (or misrepresentation) of historical crimes and traumas
  • Intersections between eighteenth-century models of culture and our own
  • Considerations of genre and audience expectation
  • Contrasting international contexts for adaptation and re-creation
  • Recent shifts in historiographical discourse, and industry responses to these


We welcome contributions discussing any cultural sources from the last twenty years. The list below, while not exhaustive, provides some examples of possible focus points.

Potential contributors are requested to send 300-word abstracts to emrys.jones@kcl.ac.uk and mp656@york.ac.uk by 17th June 2021.



Works of Interest

Television

  • Bridgerton
  • Outlander
  • Poldark
  • Harlots
  • The Great
  • Taboo
  • The Scandalous Lady W
  • Versailles
  • Turn: Washington’s Spies
  • Black Sails
  • Roots
  • Frontier
  • Catherine the Great
  • Banished
  • Jonathan Strange and Mr Norrell




Film

  • Belle
  • Amazing Grace
  • The Favourite
  • Portrait of a Lady on Fire
  • Emma.
  • The Duchess
  • A Little Chaos
  • Marie Antoinette
  • Mary Shelley
  • Bright Star
  • Beauty and the Beast
  • Last of the Mohicans
  • The Patriot
  • Pirates of the Caribbean
  • Interview with a Vampire
  • Sleepy Hollow
  • John Adams
  • Perfume: The Story of a Murderer
  • The Royal Affair
  • Love and Friendship
  • Rob Roy
  • Lady J
  • Casanova




Theatre

  • The Madness of King George
  • Hamilton




Games

  • Assassin’s Creed III, IV, Rogue and Unity
  • The Council
  • Return of the Obra Dinn
  • We. The Revolution
  • Banner of the Maid





Last updated April 23, 2021
This CFP has been viewed 16 times.

Tuesday, July 3, 2018

CFP Interwar Mysteries: The Golden Age and Beyond (Spec Issue of Clues: A Journal of Detection) (10/12/2018)


Interwar Mysteries: The Golden Age and Beyond (theme issue of Clues: A Journal of Detection)
https://call-for-papers.sas.upenn.edu/cfp/2018/06/07/interwar-mysteries-the-golden-age-and-beyond-theme-issue-of-clues-a-journal-of

deadline for submissions: October 12, 2018

full name / name of organization: Elizabeth Foxwell / Clues: A Journal of Detection

contact email: clues@elizabethfoxwell.com


Interwar Mysteries: The Golden Age and Beyond (theme issue of Clues: A Journal of Detection)
Guest editor: Victoria Stewart (University of Leicester)


“These things never happened before the War.”
—Mr. Wetheridge, The Unpleasantness at the Bellona Club (1928), by Dorothy L. Sayers


Although the period between the World Wars is known as the Golden Age of traditional mystery fiction, other new forms such as the hard-boiled subgenre, true crime, and noir also emerged, often reflecting a grimmer reality. This theme issue of Clues will feature articles that examine this important crossroads in mystery, detective, and crime fiction.
Potential topics of interest include the following:

  • Country house and village mysteries
  • Twists to the traditional cozy
  • True crime and mystery
  • Serials, short stories, and anthologies
  • Debates, controversies, and causes célèbres
  • Hard-boiled mystery in the pulps
  • Presence/effects of World War I in mysteries of the period
  • Theater and film adaptations that reflect new approaches


Submissions should include a 50-word abstract and 4–5 keywords, and be between 15 to 20 double-spaced, typed pages (approximately 3,300 to 6,000 words) in Times or Times Roman font with minimal formatting. Manuscripts should follow the MLA Handbook (8th ed., 2016), including parenthetical citations in text and an alphabetized Works Cited list.


Submit manuscripts to:
Janice M. Allan, Clues executive editor, University of Salford, email: J.M.Allan at salford.ac.uk


Address questions to:
Elizabeth Foxwell, Clues managing editor, email: clues at elizabethfoxwell.com


Connect with Clues on Facebook, or visit the Clues Web site at
https://sites.google.com/site/cluesjournal
 

Saturday, June 23, 2018

CFP 43rd Annual Comparative Drama Conference (11/3/2018; Orlando 4/4-6/2019)

Of potential interest:

43rd Annual Comparative Drama Conference, April 4-6, 2019, Orlando, Florida
https://call-for-papers.sas.upenn.edu/cfp/2018/06/11/43rd-annual-comparative-drama-conference-april-4-6-2019-orlando-florida

Conference website: http://blogs.rollins.edu/drama/


deadline for submissions: November 3, 2018


full name / name of organization: Comparative Drama Conference


contact email: wboles@rollins.edu


Call for Papers–2019 Conference 43rd Comparative Drama Conference
Text & Presentation
April 4-6, 2019
Orlando, Florida


This a long call. Click for full details.


Wednesday, January 28, 2015

CFP Current Research in Speculative Fiction (3/9/15; Liverpool, UK 6/8/15)

Europeans have all the fun:

Current Research in Speculative Fiction [CRSF] 2015
http://call-for-papers.sas.upenn.edu/node/60481
full name / name of organization:
Current Research in Speculative Fiction [CRSF] / University of Liverpool
contact email:
CRSF.team@gmail.com
Current Research in Speculative Fiction 2015
Monday 8th June 2015
University of Liverpool

With Keynote Lectures from:
Dr. Andrew M. Butler (Canterbury Christ Church University)
Dr. Sarah Dillon (University of Cambridge)

Returning for its fifth consecutive year, CRSF is a one day postgraduate conference designed to promote the research of speculative fictions, including SCIENCE FICTION, FANTASY and HORROR; showcasing some of the latest developments in these dynamic and evolving fields. CRSF attracts an international selection of delegates and provides a platform for postgraduate students to present their current research, encourages discussion with scholars in related subjects and the construction of crucial networks with fellow researchers. The University of Liverpool, a leading centre for the study of speculative fiction and home to the Science Fiction Foundation Collection, will host the conference. We are seeking abstracts relating to speculative fiction, including, but not limited to, papers on the following topics:

•Alternate History •Alternative Culture •Animal Studies •Anime •Apocalypse •Body Horror •Consciousness •Cyber Culture •Drama •Eco-criticism •Fan Culture •Gaming •(Geo)Politics •Genre •Gender •Graphic Novels •The Grotesque •The Heroic Tradition •Liminal Fantasy •Magic •Meta-Franchises •Morality •Monstrosity •Music •Non-Anglo-American SF •Otherness •Pastoral •Poetry •Politics •Post-Colonialism and Empire •Proto-SF •Psychology •Quests •Realism •Sexuality •Slipstream •Spiritualism •Steampunk •Supernatural •Technology •Time •TV and Film •Urban Fantasy •Utopia/Dystopia •(Virtual) Spaces and Environments •Weird Fiction •World Building •Young Adult Fiction.

Please submit an abstract of 300 words for a 20 minute English language paper and a 100 word biography to CRSF.team@gmail.com by Monday 9th March 2015. Queries can be sent to the same address.

By web submission at 01/27/2015 - 16:25



Thursday, July 24, 2014

CFP Music for New Frontiers: Re-Locating the Sounds of the Western (1/10/15)

An interesting idea for a collection:

Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)/abstracts due 2015-1-10
Publication Date: 2015-01-10
Date Submitted: 2014-07-08
Announcement ID: 214937

Call for Abstracts: Music for New Frontiers: Re-Locating the Sounds of the Western (collection)

We all know the sound of the “classic” movie Western, and what it signifies: a sense of the bravura and heroics associated with the genre illustrated through clean-cut good guys and shifty-eyed bad guys, a rustic landscape, showdowns and brawls. In a 2014 television commercial for Nissan, two men display their car keys with a knowing look: who will win this horserace? In another, two women don cowboy hats to compete for a pair of fashionable shoes on display between them. Similarly, a commercial for the weedkiller “Roundup,” features narration in a rhythmic patter reminiscent of the song “Ringo,” while a chorus of men sing in the background and we hear a single crack of a whip, evoking the classic scores of Dmitri Tiomkin. All of these commercials feature a stylized music that we recognize from classic Westerns: open chords, simple harmonies, long melodies reminiscent of folk tunes, and the changes to those sounds brought about by the “Spaghetti” Westerns of the 1960s: percussion mimicking the sounds of the mythological American West with its jingling spurs, bird calls, and galloping hooves. Advertising companies know that we will respond positively (whether male or female) to the music that transports us to another time (and place?) when we stood up to competition, whether another person or a weed.

Westerns, and their scores, full of iconic motifs, timbres, and harmonies, have always helped us to interpret our past and our present, deal with political and social issues, and delineate the moral behavior of the various bad guys and good guys of the periods depicted. Whether in print, on the stage, or on the screen, the genre is unique and thus inspires a particularly unique soundtrack. This soundtrack changed when the Western was transplanted to Italy, but music for the Western by both American and non-American composers has endured and has been interpreted to new environments for a variety of reasons.

So what happens when that soundtrack is transposed to other settings? Recent films, anime, television shows, stage productions, and video games, including Quentin Tarantino’s 2012 Django Unchained, 2013’s The Lone Ranger, anime’s GunXSword, the 2012 Doctor Who episode “A Town Called Mercy,” and the recent Half-Life spinoff Fistful of Frags have embraced the Western aesthetic in their settings, costuming, plots, and music. While some of these productions use the American “old west” as audiences know it from Gunsmoke and High Noon, more of them explore locations and scenarios far from these traditional renderings. Even Bruce Springsteen has used the main title theme from The Magnificent Seven as his intro music at live shows, positioning him as essentially American.


This collection seeks to locate and relocate the Western and its soundtrack in recent media. Possible topics include music and the intersections of works that both reference the traditional Western and stand apart from it:

  • Westerns set outside of the United States, including Japan, Australia, and Osterns from the Soviet bloc
  • Space or Supernatural Westerns
  • Anime
  • Video games
  • TV shows and series in non-Western settings
  • Operas (aside from “La Fanciulla del West”)
  • Popular musics, including sampling and mashups
  • Sports
  • Commercials
  • Radio programs
  • Shakespeare and classical literature
  • Stage productions, including both plays and musicals
  • Other non-Western literature

…In other words, places where you wouldn’t normally expect to hear “Western” music, but where it is used nonetheless as a recognizable musical signifier.


Please submit abstracts of 500 words by January 10, 2015 in .doc(x), .rtf. or .odt form to both Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com). For accepted abstracts, full essays of 5,000-8,000 words will be due September 1, 2015.

Mariana Whitmer (samed@pitt.edu) and Kendra Preston Leonard (kendraprestonleonard@gmail.com)
Email: kendraprestonleonard@gmail.com

Monday, June 23, 2014

Love Never Dies on Home Video

Andrew Lloyd Weber's musical Love Never Dies, the 2010 sequel to The Phantom of the Opera, is now available for home viewing. The film (released in 2012) is a re-staged and somewhat re-imagined version of the original London production (see  Wikipedia for details) and was produced in Australia in 2011; both the DVD and Blu-Ray versions include a special feature on the making of the play/film.

Love Never Dies offers an interesting look into the futures of the key characters from Phantom but has received mixed responses from fans. A number of clips from the musical numbers are featured at the show's YouTube channel at http://www.youtube.com/user/phantomloveneverdies, though (oddly enough) the film's trailer (below) is devoid of music beyond an instrumental theme.



Wednesday, May 14, 2014

CFP Shakespeare and the Imaginary, Supernatural, and Divine (9/12/14; Columbus, OH 10/24-25/14)

"Lovers, Madmen and Poets: Shakespeare and the Imaginary, Supernatural, and Divine"
full name / name of organization:
Ohio Valley Shakespeare Conference
contact email:
nunn@akron.edu

The Ohio Valley Shakespeare Conference seeks papers and panels relating to all things Shakespearean, especially those focusing on the spectral, the fantastic, the mad, and the fey. We take our cue from Theseus: “Lovers and madmen have such seething brains, / Such shaping fantasies, that apprehend / More than cool reason ever comprehends.” The place of the world-beyond-the world, the line between reality and fantasy, and the demarcation of the sane from the mad are ever-present and controversial aspects of Shakespeare’s work and of early modern literature more broadly. As the plays we now call ‘romances’ or ‘dark comedies’ suggest, the transformation of the tragic into the comedic relies, to some extent, on the willing suspension of disbelief, on the capacity to accept what is otherwise contrary to our understanding, expectation, or experience. From Samuel Pepys’ condemnation of A Midsummer Night’s Dream, to the oblique resonances between Hamlet and Derrida’s Specters of Marx, the relationship between the ‘unreal’ and the ‘real’ is everywhere present and significant in Shakespeare’s works, and centrally a focus of performance history and critical reception from the earliest moments to the present. This conference will especially highlight these aspects of Shakespeare’s oeuvre.

Join us October 24-25, 2014 in Columbus, Ohio. Papers of 20 minutes, roundtable topics, and suggestions for panels on Shakespeare’s work and that of his contemporaries welcome.

The OVSC publishes a volume of selected papers each year and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prize.

Please send abstracts of 250 words to nunn@uakron.edu by September 12, 2014.


By web submission at 04/18/2014 - 13:00

Sunday, November 17, 2013

CFP Spec Issue on Border Crossings (12/1/13)

A head's up courtesy the American Literature Association (pdf at http://www.calstatela.edu/academic/english/ala2/Journal%20of%20American%20Drama%20and%20Theatre%202014.pdf).

CALL FOR PAPERS
Journal of American Drama and Theatre
SPECIAL ISSUE: BORDER CROSSINGS
Deadline: December 1, 2013

“The border is not merely a wall or a body of water. It is a force of containment that inspires dreams of being overcome and crossed…”
Ramón Rivera-Servera and Harvey Young, Performance in the Borderlands (2011)

The American Theatre and Drama Society invites submissions for the Spring 2014 issue of the Journal of American Drama and Theatre.

Borders have been conceived of as sites of tension, violently maintained boundaries that define, divide, contain and exclude, and as sites of hope, inviting resistance, transgression, crossings, and straddlings that open up endless possibilities for re-namings and re-formations, inclusion, and multiplicity. This special issue centers the border as both an imagined concept and a material reality, in the theatre of the Americas. It seeks to explore how the existence of borders and the movement across them has captured the attention of theatre artists and has modeled ways of thinking about the performance of identity. Contributors are invited to consider the relationship of American theatre and performance to conceptions of “borders” and acts of border crossing or straddling in the widest possible terms. Submissions may address theatre and performance (broadly construed) from across the Americas, North and South.

Possible topics include but are not limited to:

  • American Theatre and Drama during politically contentious historical eras (e.g., the Great Depression or the Cold War)
  • The Politics of translation/adaptation
  • Hybridity and/or fluidity in dramatic form or style of production (Realism/nonrealism, notions of “Neo” and “Post” etc.)
  • Issues of gender, sexuality, race, and/or ethnicity
  • Inter/trans-disciplinarity in performance texts, process, and/or production
  • Inter/trans-national and inter/trans-cultural exchanges in performance texts, process, or production
  • New media


Manuscripts (4000-6000 words) should be prepared in conformity with the Chicago Manual of
Style, using footnotes rather than endnotes. Articles should be submitted as e-mail attachments,
using Microsoft Word format. Please note that all correspondence will be conducted by email.
Submissions must be received no later than December 1, 2013; please email articles to
Cheryl Black, Blackc@missouri.edu.

Authors do not need to be a member of the American Theatre and Drama Society to submit an
article, but submissions from members are especially encouraged. (For more information about
the society, see www.atds.org.)