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<div style="direction: ltr;font-family: Tahoma;color: #000000;font-size: 12pt;"><font face="Arial"><b>Apologies for cross-posting</b></font>
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<div><font face="Arial"><b>CALL FOR PAPERS and PARTICIPANTS for the working group </b></font></div>
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<div><font color="#ff0000" face="Arial">_<strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: rgb(255, 255, 255); list-style-position: outside; font-size: 13px; line-height: 18px;">Influence, Transposition,
Revision: Eastern European Theatre and its International Metamorphoses_, 2013 ASTR meeting in Dallas, November 7-10. </strong><span style="font-size: 12pt;"> </span></font></div>
<div><a href="http://www.astr.org/conference/2013-working-session-cfps#itr" target="_blank" title="http://www.astr.org/conference/2013-working-session-cfps#itr
Ctrl+Click to follow link" style="font-size: 12pt;">http://www.astr.org/conference/2013-working-session-cfps#itr</a></div>
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"Influence, Transposition, Revision: Eastern European Theatre and its International Metamorphoses" will explore the international life and afterlife of the theatrical and dramaturgical innovations originating in Eastern and Central Europe in the past century.
Session participants are invited to examine the work of significant directors and choreographers (from Stanislavsky to Fokine), playwrights (from Chekhov to Havel), artists (from Kandinsky to Svoboda), performers (from Chaliapin to Cieslak), and theorists
(from Mikhail Bakhtin to Jan Mukaøovský), and to investigate how theatrical practices and theories have been internationally transposed. The participants will be asked to think about the legacy of Eastern and Central European theatre practice and theory in
historiographical terms, considering what is to be gained by looking back at the heritage and dissemination of these innovations over the past century.</p>
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In our collective discussion, we will explore notions of influence, echo, translation, and revision as we analyze how ideas, styles, training systems, plays, and productions move from their original socio-cultural contexts into new ones. Topics of investigation
might include, but are not limited to the following:</p>
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What methodologies of acting and directing originating in Eastern and Central Europe have been absorbed, appropriated, and/or altered as they shifted geographically, politically, and temporally?</li><li style="margin: 0px; padding: 0px 0px 10px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; background-position: initial initial; background-repeat: initial initial;">
What innovations of theatrical design have been adapted in the West? Is it useful tothink about these transformations in terms of adaptation and transposition?</li><li style="margin: 0px; padding: 0px 0px 10px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; background-position: initial initial; background-repeat: initial initial;">
What theoretical ideas on drama and performance—from the Russian formalist schoolto the Prague Linguistic circle’s structuralism—have international echoes and in what form?</li><li style="margin: 0px; padding: 0px 0px 10px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; background-position: initial initial; background-repeat: initial initial;">
How has the work of theatrical émigrés from the region shaped the development of international theatre and dramaturgy?</li><li style="margin: 0px; padding: 0px 0px 10px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; background-position: initial initial; background-repeat: initial initial;">
To what extent and for which reasons are the significant productions of the past century originating in this region influential in today’s theatre practice and across the globe?</li><li style="margin: 0px; padding: 0px 0px 10px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; background-position: initial initial; background-repeat: initial initial;">
What new theatrical conversations about practice, exchange, pedagogy and theory are developing between the theatre practices of this region and globalized theater today?</li></ul>
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Format:</strong><br>
Interested scholars and theatre practitioners are invited to send their abstracts (250 words) and bios (100 words)
<b>to Yana Meerzon ( <a href="mailto:ymeerzon@uottawa.ca" style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent; list-style-position: outside; color: rgb(0, 102, 153);">ymeerzon@uottawa.ca</a>)
by June 3, 2013.</b> The on-site session at ASTR will take the format of a seminar. Participants should send their (5-7 pages) statements/papers to the organizer by September 10, 2013. The organizer will arrange the participants in groups and ask them to read
and provide feedback on each other’s work no later than November 1, as well as to design a list of questions and issues arising from their papers and discussions. Five days prior to the conference, the organizer will collect and curate these lists in order
to organize a dynamic and fruitful discussion of common theoretical and practical concerns at the conference.</p>
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<div style="font-family:Tahoma; font-size:13px">Yana Meerzon, Ph.D.</div>
<div style="font-family:Tahoma; font-size:13px">Associate Professor, Director of Graduate Studies</div>
<div style="font-family:Tahoma; font-size:13px">Department of Theatre, University of Ottawa</div>
<div style="font-family:Tahoma; font-size:13px">135 Séraphin-Marion, Room 304B <br>
Ottawa ON Canada, K1N 6N5<br>
Telephone: <span class="skype_pnh_print_container">613 562-5800</span>, ext. 2243
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E-mail: <a href="mailto:ymeerzon@uOttawa.ca">ymeerzon@uOttawa.ca</a><br>
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