<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Hi friends!<div class=""><br class=""></div><div class="">A reminder that the proposal deadline for this special issue is coming up on 1 October. Any questions, please email me at <a href="mailto:ksolga@uwo.ca" class="">ksolga@uwo.ca</a>.</div><div class=""><br class=""></div><div class="">Best wishes!</div><div class="">Kim</div><div class=""><br class=""></div><div class="">
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<!--StartFragment--><p class="MsoNormal"><b class=""><i class="">Theatre and Performance vs the
“Crisis in the Humanities”: <o:p class=""></o:p></i></b></p><p class="MsoNormal"><b class=""><i class="">Creative Pedagogies, Neoliberal
Realities</i></b> <o:p class=""></o:p></p><p class="MsoNormal"><b class="">Edited by Kim Solga<o:p class=""></o:p></b></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><i class="">Research in Drama Education (RiDE) </i>24.3 (August 2019)<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">***<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">This special issue of <i class="">Research
in Drama Education</i> seeks to collect, disseminate, and generate dialogues about
how theatre and performance may best be deployed as a “mobile critical
paradigm” (Gallagher and Freeman 9) in the neoliberal university. <o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">“The<i class=""> </i>discourse of
crisis in the humanities persists,” as Kathleen Gallagher and Barry Freeman write
in their new collection, <i class="">In Defence of
Theatre </i>(5); scholars, artists, and educators in theatre and performance
across (and beyond) the Anglosphere feel this pressure especially acutely as a
result of the expendability with which fine arts programs are often regarded as
part of the logic of austerity (Levin 161). The emergent challenge is then
twofold: to face “the steamroller” of (government-mandated) “big data” on our
own terms (Finn), and in the process to redefine the terms by which that data –
and the university administrators and government officials it serves –
recognize us, and our continued worth.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">The process of meeting this challenge is already underway,
and this issue seeks to document it. Whether it’s the interdisciplinary
collaboration among theatre and science or social science scholars using
Boalian methodologies to generate student-centred learning in grammar school
classrooms (McKinnon); the creation of performance studies curricula designed
to draw a range of students from across disciplinary lines under the umbrella
of new media literacy or citizenship literacy (Levin); the (in)formal restructuring
of relations among theatre departments, the fine arts “silos” in which they are
often housed, and other departments and schools at any given higher education
institution (Gallagher); or effective lobbying at the administrative level to
change the lens through which senior university officials understand theatre
and performance functionally within their institutions, a wide range of options
exist for reimagining the way our artistic labour, within the university and
within university-measurement structures like the REF and the TEF, is made
visible and made valuable. <o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">There is also an essential flip-side to this coin. Michael
McKinnie and Jen Harvie have both separately argued that theatre and
performance occupy what we might call an enviably precarious position vis-à-vis
institutionality: they are both imbricated within institutional paradigms (from
grammar school through to university curricula, to national theatre spaces and
government-granting agencies), and yet work against those paradigms as
essential forms of social critique. While this issue takes seriously the blunt
reality of higher education driven by neoliberal practices in “globalized”
economies, it wishes equally to share initiatives that ride this precarious
institutional line, operating as neoliberal critique in the belly of the beast.
Can theatre and performance find ways to be <i class="">instrumental
to</i> the neoliberal university, without fully becoming <i class="">instrumentalized </i>by it? How can we embed – how are we embedding? –
essential systemic critique into the work we do on behalf of our individual education
systems?<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">This issue builds on the recent “social turn” in theatre and
performance scholarship (Jackson), but focuses deliberately on its framing
within university contexts. Thus, the issue does <i class="">not</i> seek to catalogue a broad range of theatre-for-change or public
art initiatives, unless those initiatives have specific roots in higher
education contexts.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class="">The primary goal of
the issue is to assemble a variety of “best practices” that, taken individually
as models, can assist readers in making local change at their own institutions,
while taken collectively can represent qualitative evidence of our successful,
ongoing adaptation to existing institutional realities in higher education
around the world.<o:p class=""></o:p></b></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class=""><u class="">Research questions</u><o:p class=""></o:p></b></p><p class="MsoNormal"><b class=""> </b></p><p class="MsoNormal">Contributions may take up any topic within the rubric
outlined in the discussion above; the issue’s specific research questions,
however, are as follows:<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoListParagraphCxSpFirst" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><!--[if !supportLists]--><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" class="">·<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';" class="">
</span></span><!--[endif]-->What initiatives are already underway to ready
schools and departments of theatre and performance for survival within the
neoliberal university?<o:p class=""></o:p></p><p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><!--[if !supportLists]--><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" class="">·<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';" class="">
</span></span><!--[endif]-->How are these initiatives received by
stakeholders (students, teachers, artists, administrators, community partners)
both inside and outside of institutional contexts?<o:p class=""></o:p></p><p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><!--[if !supportLists]--><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" class="">·<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';" class="">
</span></span><!--[endif]-->How essential is interdisciplinary collaboration
to the survival of theatre and performance labour in the neoliberal university?
What models exist for such (successful) collaboration?<o:p class=""></o:p></p><p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><!--[if !supportLists]--><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" class="">·<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';" class="">
</span></span><!--[endif]-->How essential is community collaboration to the
survival of theatre and performance labour in the neoliberal university? What
models exist for such (successful) collaboration?<o:p class=""></o:p></p><p class="MsoListParagraphCxSpLast" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><!--[if !supportLists]--><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" class="">·<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';" class="">
</span></span><!--[endif]-->Within the initiatives and collaborations thus
detailed, what room exists for creative, performance-driven critique of
neoliberal structures? How is that room made? When and how does making such
space fall short of goals?<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class=""><u class="">Logistical details</u></b><o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">The issue will blend scholarly articles of approximately
6000 words with evidentiary documents of 1500-2000 words (brief case studies;
module/course outlines; measurements gathered on behalf of initiatives; field
reports from EITHER the labour/student side OR the administrative side) and
online materials. The latter may include recorded interviews, classroom or
other performance clips, or creative data dissemination. <b class="">The issue aims for a rich mix of scholarly discussion about the issues
at hand, and practical, re-usable models and materials.</b><o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class="">Contributions are
welcomed from artists, teachers, and researchers, <i class="">but also from</i> administrators, students, community partners,
Teaching and Learning Centre staffers, or more.</b> If you feel members of your
team, or other officials at your university, might like to contribute
independently or alongside you, please circulate this CFP to them!<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Diverse and contrarian perspectives are particularly
welcome.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Collaboratively-authored works
are particularly welcome.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class=""><u class="">Time frame</u></b><o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Please send proposals and/or descriptions of 300 words (for
any of the above categories of contribution), along with a 150-word biography,
to <a href="mailto:ksolga@uwo.ca" class="">ksolga@uwo.ca</a> by 1 OCTOBER 2017. <o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">All queries should be sent to <a href="mailto:ksolga@uwo.ca" class="">ksolga@uwo.ca</a>,
with a copy to Colette Conroy, <i class="">RiDE</i>
co-editor in chief, at <a href="mailto:C.Conroy@hull.ac.uk" class="">C.Conroy@hull.ac.uk</a>.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><b class=""><u class="">Works Cited<o:p class=""></o:p></u></b></p><p class="MsoNormal"><b class=""><i class=""> </i></b></p><p class="MsoNormal">Finn, Patrick. “The
Steamroller.” <i class="">Canadian Theatre Review </i>161
(2015): 88-90.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Gallagher, Kathleen, and Barry Freeman, eds. <i class="">In Defence of Theatre: Aesthetic Practices
and Social Interventions</i>. Toronto: University of Toronto Press, 2016.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Harvie. <i class="">Fair Play: Art, Performance and Neoliberalism. </i>London: Palgrave,
2013. <o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Jackson, Shannon. <i class="">Social
Works: Performing Art, Supporting Publics. </i>New York: Routledge, 2011.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">Levin, Laura. “It’s Time to Profess Performance: Thinking
Beyond the Specialness and Discreteness of Theatre.” In Gallagher and Freeman
161-77.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">McKinnie, Michael. “Institutional Frameworks: Theatre,
State, and Market in Modern Urban Performance.” <i class="">A Cultural History of Theatre in the Modern Age</i>. Ed. Kim Solga.
London: Bloomsbury, 2017. 17-34.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal">McKinnon, James. “Are We There Yet? Using Theatre to Promote
Positive Interdisciplinary Intercourse.” In Gallagher and Freeman 213-29.<o:p class=""></o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p><p class="MsoNormal"><o:p class=""> </o:p></p>
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