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<p class="MsoNormal"><span style="font-family:"Times New Roman",serif">Hello everyone,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif">Here is a cfp for two special issues of
<i>Theatre Journal</i> in 2016. Please feel free to circulate widely. I hope you’ll consider submitting to them.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif">Best, Joanne<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><i><span style="font-size:18.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></i></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><i><span style="font-size:18.0pt;font-family:"Times New Roman",serif">Theatre Journal<o:p></o:p></span></i></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><i><span style="font-size:16.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></i></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Call for Papers<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Two Linked Special Issues for 2016:<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:18.0pt;font-family:"Times New Roman",serif">Theatre and the Technological Turn(s)<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">These special issues investigate the ways in which technology continues to transform theatre and performance. Theatre has historically taken advantage of (and indeed initiated)
ground-breaking historical experimentations with emerging technology from the Futurists’ Synthetic Theatre to the pioneering
<i>mise-en-scène</i> of Josef Svoboda to the Fluxus experimentation; through these advances, media and performance scholars have continued to explore a rapidly developing technological age. Such transformations are, in turn, having a significant effect on practice
and research in the discipline. <span style="color:black">Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (</span></span><a href="mailto:doriclay@aol.com"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">doriclay@aol.com</span></a><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">)
no later than <b>31 January 2016</b>.<o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Special Issue 1<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Digital “Issues”: Rethinking Media in/and/as Performance<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="Body" style="mso-margin-bottom-alt:auto;line-height:normal"><span lang="EN-US" style="font-size:12.0pt">In
<i>Theatre Journal</i></span><span lang="FR" style="font-size:12.0pt">’</span><span lang="EN-US" style="font-size:12.0pt">s 1999 special issue on
</span><span lang="EN-GB" style="font-size:12.0pt">“New Technologies,” </span><span lang="EN-US" style="font-size:12.0pt">Susan Bennett wrote that
</span><span lang="EN-GB" style="font-size:12.0pt">“</span><span lang="EN-US" style="font-size:12.0pt">some theatre scholarship has started to explore and exploit the multidimensional capacities that new technologies permit.</span><span lang="EN-GB" style="font-size:12.0pt">”
</span><span lang="EN-US" style="font-size:12.0pt">Building from this point, scholars and artists have continued to track and develop an emerging sub-field of media and performance. Called Digital, Multimedia, Mixed-Media, Internet, Cyborg, Virtual, or Intermedial
theatre, to mention a few terms, this form has interrogated the growing use, and effects, of new technologies in a globalizing world. Revisiting the topic in the 2009 “Digital Media and Performance,” David Saltz finds a maturing form raising “social, aesthetic,
and ontological theoretical issues.” </span><span lang="EN-GB" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="Body" style="mso-margin-bottom-alt:auto;line-height:normal"><span lang="EN-GB" style="font-size:12.0pt">Bonnie Marranca</span><span lang="FR" style="font-size:12.0pt">’</span><span lang="EN-GB" style="font-size:12.0pt">s
</span><span lang="EN-US" style="font-size:12.0pt">concept of </span><span lang="EN-GB" style="font-size:12.0pt">“Mediaturgy”
</span><span lang="EN-US" style="font-size:12.0pt">develops out of her </span><span lang="EN-GB" style="font-size:12.0pt">1977 “</span><span lang="EN-US" style="font-size:12.0pt">Theatre of Images,” and is described in
</span><i><span lang="EN-GB" style="font-size:12.0pt">PAJ</span></i><span lang="EN-US" style="font-size:12.0pt"> 96 (2010) as
</span><span lang="EN-GB" style="font-size:12.0pt">“</span><span lang="EN-US" style="font-size:12.0pt">a particular focus in methods of composition in media works that I hope will suggest new critical modes of comprehending and writing.</span><span lang="EN-GB" style="font-size:12.0pt">”
</span><span lang="EN-US" style="font-size:12.0pt">Now, in 2015, mediatization has been absorbed so thoroughly into everyday life that it is increasingly invisible. In a neoliberal political economy in which a cultural
</span><span lang="EN-GB" style="font-size:12.0pt">“mediaturgy” </span><span lang="FR" style="font-size:12.0pt">contains
</span><span lang="EN-GB" style="font-size:12.0pt">Donald Trump</span><span lang="EN-US" style="font-size:12.0pt">’s presidential bid, political refugees washing up on shores and screens, and gun violence and racial tensions played out across a myriad of ever-present
media devices, mediatization has arguably become the fractured lens through which we understand the world.
</span><span lang="EN-GB" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="Body" style="mso-margin-bottom-alt:auto;line-height:normal"><span lang="EN-US" style="font-size:12.0pt">If it has become so commonplace to see screens, projections, animations, and electronic objects on stage that we could consider reverting
</span><span lang="EN-GB" style="font-size:12.0pt">“</span><span lang="EN-US" style="font-size:12.0pt">multimedia theatre</span><span lang="EN-GB" style="font-size:12.0pt">”
</span><span lang="EN-US" style="font-size:12.0pt">back to just </span><span lang="EN-GB" style="font-size:12.0pt">“</span><span lang="EN-US" style="font-size:12.0pt">theatre,</span><span lang="EN-GB" style="font-size:12.0pt">”
</span><span lang="EN-US" style="font-size:12.0pt">how might theatre now take up the effects of mediatization and find new ways to respond to a neoliberal, increasingly technologized, anthropocentric world? This special issue asks: what are the current challenges
and concerns posed by media in/and/as performance? At a time when social and political action is framed by documentation and media capture, how can theatre respond to the mediatization of life? What are the methods in media works that demand new critical modes
of thinking about performance? How can media in theatre and performance be used to explore new terrains, or to speak to the over- as well as the under-saturated sites across the globe?
</span><span lang="EN-GB" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="Body" style="mso-margin-bottom-alt:auto;line-height:normal"><span lang="EN-US" style="font-size:12.0pt">This special issue will be edited by
<i>Theatre Journal</i> co-editor Jennifer Parker-Starbuck. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (</span><span lang="EN-GB"><a href="mailto:doriclay@aol.com"><span class="Hyperlink0"><span style="font-size:12.0pt">doriclay@aol.com</span></span></a></span><span lang="EN-US" style="font-size:12.0pt">)
no later than </span><b><span lang="EN-GB" style="font-size:12.0pt">31 January 2016</span></b><span lang="EN-GB" style="font-size:12.0pt">.
<b>Note:</b> the deadline for both special issues is the same.<o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Special Issue 2<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman",serif">Theatre, the Digital, and the Analysis and Documentation of Performance
<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">Throughout its history, theatre has capitalised on advances in technology, from shifts in lighting to the development of machinery for creating special effects to the advent
of multimedia in contemporary performance, and beyond. Considerations of multimedia are now integral to contemporary performance but also increasingly to the way in which research takes place in our field as the role that digital humanities can play becomes
increasingly prominent. This special issue seeks contributions that engage with forms of technology that extend theatrical analysis and/or provide new ways of interrogating performance. Specifically, the issue looks to attract papers in theatre analysis that
rely on quantitative methods, interrogations of large data sets and/or databases, or visualisation of theatre and performance and/or simulated environments.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">Writing in these pages in May 2015, Debra Caplan quoted Sarah Bay-Cheng’s comment that “as the digital humanities become more performative [.
. .] our discipline’s methodologies have never been more apt, or more useful, to the larger field.” This special issue asks: what do these technologies say about theatre and performance today? What can they elicit that ‘conventional’ research may overlook?
How do they facilitate additional forms of investigation and understanding of our discipline(s)? How do we integrate them into other forms of analysis? How, for instance, do the enormous data files for a documentation form such as motion capture ‘translate’
to significant research outcomes? What are the effects of what Franco Moretti calls ‘distant reading’ to our fields? What obstacles might they set in place for understanding the nature of performance?
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">As is appropriate to such a topic, we hope to be able to load any necessary supporting data (data sets, visualisations, colour images) on the Johns Hopkins University Press
site for essays in these issues. Please indicate any specific technological requirements for additional or different forms of critical support in your cover letter.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">This special issue will be edited by
<i>Theatre Journal</i> editor Joanne Tompkins. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (</span><a href="mailto:doriclay@aol.com"><span style="font-size:12.0pt;font-family:"Times New Roman",serif">doriclay@aol.com</span></a><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">)
no later than <b>31 January 2016</b>. </span><b><span style="font-size:12.0pt;font-family:"Times New Roman",serif">Note:</span></b><span style="font-size:12.0pt;font-family:"Times New Roman",serif"> the deadline for both special issues is the same.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">Professor Joanne Tompkins<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">Associate Dean, Research<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">Faculty of Humanities and Social Sciences</span><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">University of Queensland
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">Q, 4072 AUSTRALIA<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#1F497D;mso-fareast-language:EN-AU"><a href="http://www.hass.uq.edu.au/"><span style="font-size:10.0pt;font-family:"Arial",sans-serif;color:blue">www.hass.uq.edu.au</span></a></span><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#1F497D;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#1F497D;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:#1F497D;mso-fareast-language:EN-AU">Editor,
<i>Theatre Journal<o:p></o:p></i></span></p>
<p class="MsoNormal"><i><span style="color:#1F497D;mso-fareast-language:EN-AU"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><b><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:#1F497D;mso-fareast-language:EN-AU">Drama Program,</span></b><span style="color:#1F497D;mso-fareast-language:EN-AU">
</span><b><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:#1F497D">School of Communication and Arts</span></b><b><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:gray"> | The University of Queensland | Brisbane Queensland
4072 | Australia | telephone +61 7 336 4935 | fax +61 7 336 52799 | email <a href="mailto:j.tompkins@uq.edu.au">
<span style="color:blue">j.tompkins@uq.edu.au</span></a> | web <a href="http://www.communication-arts.uq.edu.au">
<span style="color:blue">www.communication-arts.uq.edu.au</span></a> | CRICOS Provider Number 00025B</span></b><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
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