[Candrama] STAND IN PLACE / STANISLAVSKI AND PLACE, 4-6 APRIL 2024 - submission deadline extended

[Paul Fryer]

*STAND IN PLACE / STANISLAVSKI AND PLACE*

*4-6 APRIL 2024*

*WAAPA, EDITH COWAN UNIVERSITY*

*PERTH/BOORLOO, WESTERN AUSTRALIA*

The call for papers, panels or workshops for the 2024 Stanislavski and 
Place conference has been extended until*18^TH December 2023*. We thank 
those who have already submitted abstracts.

  We are pleased to announce in addition to the *keynote* speaker of 
*Prof. Jonathan Pitches* 
<https://ahc.leeds.ac.uk/performance/staff/406/professor-jonathan-pitches>(University 
of Leeds), delegates will also be treated to curated *panel* 
presentation featuring the leading artists *Kate Champion* 
<https://www.hlamgt.com.au/client/kate-champion/>and *Maitland Schnaars* 
<https://www.samedrum.com/maitland>.

WAAPA is also excited to announce that we will be hosting the *2024 
AusAct: The Australian Actor Training Conference* 
<https://www.ausact.com.au/>**to be held *April 2^nd and 3^rd April*. 
There will be a discounted registration if you are interested in 
presenting at both events.

Please contact Jonathan Marshall for more details about S Word 
s-word2024 at ecu.edu.auand Gabrielle Metcalf for more details about AusAct 
g.metcalf at ecu.edu.au <mailto:g.metcalf at ecu.edu.au>. Please note the call 
for papers for AusAct will be sent early in November 2023.

*/S WORD PROLEMA/*

Stanislavski was clear that the actor must /take their place/ in the 
theatre. His writings are full of injunctions to reflexively situate 
oneself with respect to the stage, set, actors, objectives, and so on. 
Echoing Stanislavski’s conceptual and physical praxis, modernist 
performance makers such as Meyerhold and Schlemmer went on to postulate 
that the /actor brought their own sense of place onto the stage/, 
shaping the performance space and enabling performer to align 
themselves, their attention, and their movements to a range of axial 
placements and combinations, as in Laban’s kinesphere. Later theatre 
makers as varied as Declan Donnellan and Suzuki Tadashi have suggested 
that the theatre is a /place of life-and-death struggle/, a site where a 
battle for survival is conducted by both characters and the actors 
themselves.

The act of the performer /taking their place/ in their body in the 
theatre developed in parallel to the importance of ‘place’ in the world 
of the playwright and in the places represented on stage. Stanislavski’s 
not always happy peer, Anton Chekhov, has been described as the “first 
/environmental playwright/,” with scripts such as /Uncle Vanya/ (1898) 
and /The Cherry Orchard/ (1904) being concerned with the places wherein 
they are set, with the environmental and socio-political conditions 
and//histories etched across their landscapes. Interestingly, there is a 
rich tradition of Australian plays which are strongly connected to 
place, /No Sugar/ (Jack Davis, 1985), /Cloudstreet /(Nick Enright and 
Justin Monjo, 1998, after the novel by Tim Winton), /When the rain stops 
falling/ (Andrew Bovell, 2008), and more recently, /City of Gold /(Meyne 
Wyatt, 2019).

For the forthcoming /Stanislavski and Place/ symposium, we call for 
submissions for academic papers, artist presentations, and panels, which 
consider the /places of theatre arising from or existing alongside 
Stanislavskian performance and acting praxis./ We invite you to Stand in 
Place with us, on Whadjuk Noongar Boodja/Country, here at the Western 
Australian Academy of Performing Arts, Edith Cowan University, 
Perth/Boorloo, and interact with this place, as you tell us about your 
places.

Topic areas could include (but are not limited to):

1)Performance and theatre in relation to ideas of being in place and 
being out of place

2)Stanislavskian performance in /your /place (what changes with/in it?)

3)Placemaking and theatre making

4)Futures of Eco dramaturgy and theatre form

5)Decolonisation strategies and First Nation knowledge of place and 
performance

6)Beyond Stanislavski, extending his ideas in concepts of place/space

7)Training in relation to ideas of place including but not limited to 
intercultural/transcultural form and practice

8)Site specific and place specific performance modes in relationship to 
realism, Stanislavski and actor and audience relationship

9)Movement, body weather and other performance modalities and training 
methodologies

Please send an abstract of no more than 250 words to 
s-word2024 at ecu.edu.au <mailto:s-word2024 at ecu.edu.au>Applicants should 
specify if they are planning to represent a conventional oral conference 
paper (20 mins), a panel (60 mins + questions; pls. list participants), 
or practical workshops (20 – 60 mins).

All enquiries to Renee Newman r.newman at ecu.edu.au 
<mailto:r.newman at ecu.edu.au>or Jonathan W Marshall 
jonathan.marshall at ecu.edu.au <mailto:jonathan.marshall at ecu.edu.au>

https://stanislavsky-research.leeds.ac.uk/2023/06/06/cfp-the-s-word-stand-in-place-stanislavsky-and-place/ 
<https://stanislavsky-research.leeds.ac.uk/2023/06/06/cfp-the-s-word-stand-in-place-stanislavsky-and-place/>

-- 
Prof. Paul Fryer PhD, FRSA, FHEA.
Visiting Professor, School of Performance and Creative Industries, University of Leeds.
Visiting Professor, School of Arts and Creative Industries, London South Bank University.
Hon. Visiting Professor, School of Arts and Digital Industries, University of East London.
Co-Director, The Stanislavsky Research Centre.
Founding Editor, Stanislavski Studies and Series Editor, Stanislavsky And...(Routledge/Taylor & Francis).
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://artsservices.uwaterloo.ca/pipermail/candrama/attachments/20231109/9d8983b8/attachment.htm>