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style="mso-bidi-font-weight:
normal"><span
style="mso-bidi-font-size:11.0pt;font-family:"Times New
Roman";
mso-fareast-font-family:Calibri;font-variant:small-caps"
lang="EN-US">Call for Papers</span></b><span
style="mso-bidi-font-size:11.0pt;font-family:"Times New
Roman";
mso-fareast-font-family:Calibri" lang="EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:center" align="center"><span
style="font-family:"Times New
Roman";font-variant:small-caps" lang="EN-US">Special
Issue of <i style="mso-bidi-font-style:normal">Theatre Survey</i></span><span
style="mso-bidi-font-size:11.0pt;font-family:"Times New
Roman";mso-fareast-font-family:
Calibri" lang="EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:right;mso-hyphenate:none"
align="right"><span style="font-family:"Times New
Roman"" lang="EN-US"><span style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-hyphenate:none"><b
style="mso-bidi-font-weight:
normal"><span style="font-family:"Times New
Roman";font-variant:
small-caps" lang="EN-US">Performing Girlhoods <o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-hyphenate:none"><span
style="mso-bidi-font-size:11.0pt;font-family:"Times New
Roman";mso-fareast-font-family:
Calibri" lang="EN-US">Marlis Schweitzer, Associate Editor</span><i
style="mso-bidi-font-style:
normal"><span style="font-family:"Times New Roman""
lang="EN-US"><o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-hyphenate:none"><b
style="mso-bidi-font-weight:
normal"><span style="font-family:"Times New Roman""
lang="EN-US"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-hyphenate:none"><i
style="mso-bidi-font-style:
normal"><span style="font-family:"Times New
Roman";mso-fareast-font-family:
"Times New Roman";color:black" lang="EN-US">Theatre
Survey </span></i><span style="font-family:"Times New
Roman";mso-fareast-font-family:"Times New
Roman";
color:black" lang="EN-US">invites submissions for a special
issue on performing girlhoods. Taking
a cue from girlhood studies, </span><span
style="font-family:"Times New Roman"" lang="EN-US">this
issue aims to investigate theatre’s role in the lived
experiences of those who
identify as girls (including trans individuals), while also
analyzing </span><span style="font-family:"Times New
Roman";mso-fareast-font-family:"Times New
Roman";
color:black" lang="EN-US">girls’ contributions to professional
and nonprofessional theatre
and performance around the world. As historical subjects
marginalized by age
and gender, girls exist on the fringes of theatre and
performance history,
rarely popping into historical narratives except in
exceptional situations, as
with the phenomenal success of <i
style="mso-bidi-font-style:normal">Uncle
Tom’s Cabin </i>in the late nineteenth century or the
popularity of the
Broadway musical <i style="mso-bidi-font-style:normal">Wicked
</i>in the
twenty-first century. Yet there is ample evidence to suggest
that girls have <i style="mso-bidi-font-style:normal">always
</i>been active consumers of and
participants in theatrical entertainment, even when parents,
custom, or the law
forbade them from attending </span><span
style="font-family:"Times New Roman";
mso-fareast-font-family:"Times New Roman""
lang="EN-US">the theatre or performing onstage.
So too theatrical representations of girlhood, from
Shakespeare’s Rosalind to
Small Alison in </span><span style="font-family:"Times
New Roman";mso-fareast-font-family:
"Times New
Roman";background:white;mso-ansi-language:EN-CA">Lisa
Kron and
Jeanine Tesori’s <i style="mso-bidi-font-style:normal">Fun
Home</i></span><i style="mso-bidi-font-style:normal"><span
style="font-family:"Times New Roman";
mso-fareast-font-family:"Times New Roman""
lang="EN-US">,</span></i><span
style="font-family:"Times New
Roman";mso-fareast-font-family:"Times New
Roman"" lang="EN-US">
have long<span style="color:black"> informed the lived
experiences of children
of all genders and subsequently shaped performances of
girlhood in sites
ranging from the playground and the parlor to the schoolroom
and the mall. As
such, </span></span><span style="font-family:"Times
New Roman"" lang="EN-US">this
issue seeks to move girls from the margins to the center of
theatre and
performance history. </span><i
style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Times;mso-fareast-font-family:"Times
New Roman";
mso-ansi-language:EN-CA"><o:p></o:p></span></i></p>
<p class="MsoNormal"
style="page-break-after:avoid;mso-hyphenate:none"><span
style="font-family:"Times New Roman"" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="page-break-after:avoid;mso-hyphenate:none"><span
style="font-family:"Times New Roman"" lang="EN-US">Possible
questions for consideration
include the following:<o:p></o:p></span></p>
<p class="MsoListParagraphCxSpFirst"
style="margin-top:6.0pt;mso-add-space:auto;
text-indent:-.25in;mso-hyphenate:none"><span style="font-family:
"Times New Roman"" lang="EN-US">•<span
style="mso-tab-count:1"> </span>How and in what
contexts have girls used theatre or performance to assert
social and/or
political agency?<o:p></o:p></span></p>
<p class="MsoListParagraphCxSpMiddle"
style="text-indent:-.25in;mso-hyphenate:
none"><span style="font-family:"Times New Roman""
lang="EN-US">•<span style="mso-tab-count:1"> </span>How
have theatrical representations of
girlhood served to promote/contest dominant ideologies of
gender, sexuality,
race, class, ability, and/or nationality? <o:p></o:p></span></p>
<p class="MsoListParagraphCxSpMiddle"
style="text-indent:-.25in;mso-hyphenate:
none"><span style="font-family:"Times New Roman""
lang="EN-US">•<span style="mso-tab-count:1"> </span>In
what ways have social institutions
(e.g., government, religion, education, family) sought to
influence girls’
consumption of and participation in theatre? <o:p></o:p></span></p>
<p class="MsoListParagraphCxSpMiddle"
style="text-indent:-.25in;mso-hyphenate:
none"><span style="font-family:"Times New Roman""
lang="EN-US">•<span style="mso-tab-count:1"> </span>To
what theories and methodologies might
theatre and performance studies scholars turn in order to
address the “double
marginalization” of girls? <o:p></o:p></span></p>
<p class="MsoListParagraphCxSpLast"
style="margin-bottom:6.0pt;mso-add-space:
auto;text-indent:-.25in;mso-hyphenate:none"><span
style="font-family:
"Times New Roman"" lang="EN-US">•<span
style="mso-tab-count:1"> </span>How might theatre
and performance studies scholars engage
with/advance/complicate developments in
girlhood studies? <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-hyphenate:none"><span
style="font-family:"Times New Roman";color:black"
lang="EN-US">Please submit a full paper
(25–40 pages double-spaced) and a brief abstract (ca. 250
words) </span><span style="font-family:"Times New
Roman";color:black;mso-ansi-language:EN-CA">via <i
style="mso-bidi-font-style:normal">Theatre Survey</i>’s
manuscript submission </span><span
style="font-family:"Times New
Roman";mso-ansi-language:EN-CA">site at<span
style="color:blue"> </span><span style="color:black">ScholarOne:
</span><i style="mso-bidi-font-style:normal"><span
style="color:blue"><a class="moz-txt-link-freetext" href="https://mc.manuscriptcentral.com/theatresurvey">https://mc.manuscriptcentral.com/theatresurvey</a></span></i><span
style="color:black">.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-hyphenate:none"><b
style="mso-bidi-font-weight:
normal"><i style="mso-bidi-font-style:normal"><span
style="font-family:"Times New Roman";
color:black;mso-ansi-language:EN-CA"><o:p> </o:p></span></i></b></p>
<p class="MsoNormal" style="mso-hyphenate:none"><b
style="mso-bidi-font-weight:
normal"><i style="mso-bidi-font-style:normal"><span
style="font-family:"Times New Roman";
color:black;mso-ansi-language:EN-CA">Deadline:</span></i></b><b
style="mso-bidi-font-weight:normal"><span
style="font-family:"Times New Roman";
color:black;mso-ansi-language:EN-CA"> 1 May 2018.<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-hyphenate:none"><span
style="font-family:"Times New Roman"" lang="EN-US">Questions
may be addressed to Special
Issue Editor Marlis Schweitzer at <b
style="mso-bidi-font-weight:normal"><a class="moz-txt-link-abbreviated" href="mailto:schweit@yorku.ca">schweit@yorku.ca</a>.</b></span><b
style="mso-bidi-font-weight:normal"><span
style="font-family:"Times New Roman";
color:black;mso-ansi-language:EN-CA"><o:p></o:p></span></b></p>
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