<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:arial,helvetica,sans-serif;font-size:10pt"><div style="font-family: arial,helvetica,sans-serif; font-size: 10pt;"><div style="font-family: times new roman,new york,times,serif; font-size: 12pt;"><div style="font-size: 10pt; font-family: arial,helvetica,sans-serif;"><div style="font-size: 10pt; font-family: arial,helvetica,sans-serif;"><div style="font-size: 12pt; font-family: times new roman,new york,times,serif;">Please respond to Synne Behrndt, address below:<br><br><br>-----
Original Message ----<br><br>From: Synne.Behrndt
<Synne.Behrndt@winchester.ac.uk><br>Subject: Call for papers - Contemporary
Theatre Review: New Dramaturgies<br><br><br>***********CALL FOR
PAPERS**********<br><br>Contemporary Theatre Review, Issue 4:2009: New
Dramaturgies<br><br>Issue editors: Cathy Turner and Synne
Behrndt<br><br>Deadlines:<br><br>Proposals (250 word abstract) - September
15th 2008<br><br>Full draft (5000-6000 words*) - February 1st 2009<br><br>*
Contributions to the 'documents' section may be negotiable in terms
of<br>length. Please consult the editors.<br><br>Please send abstracts to both
the editors at<br><a rel="nofollow" ymailto="mailto:Cathy.Turner@winchester.ac.uk" target="_blank" href="mailto:Cathy.Turner@winchester.ac.uk">Cathy.Turner@winchester.ac.uk</a>
and <a rel="nofollow" ymailto="mailto:Synne.Behrndt@winchester.ac.uk" target="_blank" href="mailto:Synne.Behrndt@winchester.ac.uk">Synne.Behrndt@winchester.ac.uk</a>.<br>Contributions
by post can be sent to Synne Behrndt, Performing Arts,<br>Faculty of Arts,
University of Winchester, Hampshire, SO22
4NR.<br><br>*************************************************************<br>There
has been much excitement and debate about the role of the<br>dramaturg in
recent years, as evidenced, for example in Mary Luckhurst's<br>recent book
(2006) and our own (2008), to cite only UK examples. Not<br>only has there
been a need to reassess and analyse historical practices,<br>but the ways in
which we understand and apply the term 'dramaturgy' and<br>dramaturgical
practice have had to change in response to the changing<br>landscape of
contemporary performance practice.<br><br>This issue proposes that there is a
real need to investigate these<br>changes and to bring together different
perspectives from a range of<br>countries and contexts, to draw together the
threads of debate around<br>dramaturgy and the dramaturg. Dramaturgs and
scholars alike have long<br>attempted to free dramaturgy as a discipline,
practice and term from its<br>traditional associations with classical theatre
processes. Importantly,<br>this endeavour to redefine dramaturgy has arrived
out of the<br>proliferation of new forms, working processes and questions
facing<br>contemporary performance and theatre practices. In this issue we
want to<br>consolidate and examine a number of emerging aspects within
contemporary<br>performance from a dramaturgical perspective as well as to
discuss a<br>contemporary practice's implications for dramaturgical thinking
and<br>process.<br><br>Peter Eckersall has written about the expansion of the
application of<br>dramaturgy and dramaturgical practice across new performance
forms and<br>beyond (Eckersall 2006) and in our own book's concluding chapter,
we<br>touch on some of the resulting challenges for dramaturgs
and<br>dramaturgical practice today, including the emergence of
self-reflective<br>'dramaturgies of process and production'; site-related
'nomadic'<br>dramaturgies and 'interactive' dramaturgies. We would like to
invite<br>discussions of the ways in which dramaturgical theory and practice
might<br>be applied to an expanded field, exploring its function within
theatre<br>that breaks (or dialogues) with the dramatic form, its relevance
to<br>devising, dance and dance theatre, live art, curatorial practice and
new<br>technologies.<br><br>We do not propose to exclude a consideration of
theatre and performance<br>writing from this discussion of changing practices;
on the contrary, we<br>are very interested in contributions which discuss
dramaturgical work<br>that is preoccupied with facilitating new approaches to
analyzing and<br>writing plays. This could be a discussion of the dramaturg's
role in<br>facilitating new approaches to writing, or consideration of the
ways in<br>which interdisciplinary approaches to dramaturgical analysis
might<br>generate interesting ways of looking at existing theatre
texts.<br><br>We are looking for articles that address a readership of
dramaturgs,<br>directors, writers, performers and other artists (some of them
also<br>academics) and would welcome proposals from practitioners, academics
and<br>those who consider themselves as both. Alongside more
'traditional'<br>academic articles, CTR includes a section entitled
'documents'. In this<br>issue, for example, this might include the following:
interviews with<br>and dialogues between practitioners; reports from relevant
research<br>centres; documentation of artistic process and
performances.<br><br>We would particularly like articles to address the
following areas:<br><br>1) Dramaturgy as a term or a concept.<br><br>How is
this changing? Some prefer to reserve the term 'dramaturgy' for<br>its
particular application in theatre contexts. For others, the word
is<br>broadening out to encompass disciplines and cultural events beyond
or<br>'in proximity of performance' (Goulish 2000). We would welcome
articles<br>that focus on concrete examples to discuss whether this gives rise
to<br>problems, opportunities or to both. Do we need a different word?
Is<br>there a problem with the legacies of theatre and nationalism implicit
in<br>the word 'dramaturgy'? Or does the word, together with the modes
of<br>practice and analysis associated with it, have something illuminating
to<br>bring to the analysis of practices beyond the theatre, encompassed
by<br>the broader term 'performance studies'?<br><br>If the definition of
'dramaturgy' is changing, is a redefinition of the<br>dramaturg emerging from
this?<br><br>2) The Production of New Dramaturgies<br><br>a)
contexts<br><br>Art and performance practice is constantly faced with a range
of new<br>dramaturgical considerations, particular to their time, place
and<br>context. We would therefore like to ask what contexts,
circumstances,<br>conditions, questions and politics give rise to new
dramaturgies? We<br>would welcome proposals that explore the relationship
between a<br>particular cultural context or community and emerging
dramaturgies. We<br>are particularly interested in analysis that set out to
demonstrate how<br>a given dramaturgy comes into being.<br><br>We are also
interested in considering whether one can describe a<br>'national', or a
'cultural' dramaturgy any longer, or meaningfully<br>discuss the lack of one.
What kinds of coherence or diversity can be<br>found in different countries
and continents?<br><br>We are particularly interested in proposals for
articles discussing<br>countries or groups whose practices have been less
frequently discussed<br>(or discussed only in broad overview) in debates
around dramaturgy and<br>the dramaturg.<br><br>b) processes<br><br>Some of
these might well be connected to the above and it is not our<br>intention to
separate context from process. However, there are a range<br>of emerging
processes and media that affect many different contexts, or<br>where the
context is not the primary focus of the discussion.<br><br>For instance, what
new dramaturgies are being produced through new<br>technologies? Do these new
forms have wider implications in generating<br>new ways of considering
dramaturgical structures and approaches?<br><br>How do new dramaturgies
respond to the bombardment of media messages<br>that we experience? And might
there be a dramaturgy of stillness and<br>silence (where can this be
found?)<br><br>How do collaborative processes and structures produce new
dramaturgies<br>and new dramaturgs? In a cross-disciplinary performance
practice, what<br>kinds of dramaturg might we need? Does dance, for example,
need a<br>different kind of dramaturg - does the field demand new skills and
uses<br>for the role? What about performances beyond established theatre
and<br>arts contexts? Does the concept of 'dramaturgy' and the role of
the<br>dramaturg remain useful and how does it alter? What role does or
might<br>the dramaturg play in relation to live art?<br><br>How might writing
be facilitated and developed across an expanded field?<br>What new dialogues
and forms are being produced?<br><br>Can we begin to apply dramaturgy, and
dramaturgical process, to<br>non-theatrical processes, such as the curatorial,
or even creative<br>producer, role? What curatorial practices might facilitate
new<br>dramaturgies and new audiences? How do the latter produce one
another<br>(or not)?<br><br>3) Spectatorship<br><br>We would also like to
discuss the role of the audience and the many ways<br>in which one might
engage with dramaturgical analysis.<br><br>What developments might concern the
critical practice of dramaturgical<br>analysis? We are interested in articles
that discuss modes of<br>experiencing, viewing, writing about, discussing and
documenting<br>performance.<br><br>What might be the consequences for
spectatorship in these new<br>dramaturgies? We are interested in examples of
redefinitions, or new<br>conceptions of the audience, or spectator, in light
of changing<br>practices.<br><br>For more info on Contemporary Theatre Review,
please follow weblink:<br><br><a rel="nofollow" target="_blank" href="http://www.tandf.co.uk/journals/gctr">http://www.tandf.co.uk/journals/gctr</a><br><br>Synne K.
Behrndt<br>Lecturer<br>Department of Performing Arts<br>Faculty of Arts<br>The
University of Winchester<br>Hampshire SO22 4NR<br>Phone: +44
(0)1962827128<br>Email: <a rel="nofollow" ymailto="mailto:Synne.Behrndt@winchester.ac.uk" target="_blank" href="mailto:Synne.Behrndt@winchester.ac.uk">Synne.Behrndt@winchester.ac.uk</a><br>www.winchester.ac.uk<br><br><br></div></div></div></div></div></div></body></html>