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<span style="display: inline-block; border: none; padding: 0cm" class=""><u class=""><a href="https://www.critical-stages.org/" target="Critical Stages/Scènes critiques" class=""><font color="#0fbe7c" class=""><font face="PT Serif, serif" class=""><font style="font-size: 28pt" class=""><span lang="en-US" class=""><b class=""><font color="#000080" class="">Critical
Stages/Scènes critiques</font></b></span></font></font></font></a></u></span></h1><p lang="el-GR" align="center" style="margin-bottom: 0cm; line-height: 0.64cm; background: #ffffff" class="">
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><font color="#666666" class=""><font face="Source Serif Pro, serif" class=""><font style="font-size: 16pt" class=""><span lang="en-US" class=""><b class="">The
IATC journal/Revue de l'AICT</b></span></font></font></font></font></font></p>
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<font color="#c0504d" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 24pt" class=""><span lang="en-US" class="">Renegotiating
the Canon: <br class="">
Scenes of Germanic Theatre(s)</span></font></font></font></h1>
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<font color="#333333" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 20pt" class=""><span lang="en-US" class="">Call
for Papers & Essays</span></font></font></font></h4><p lang="en-US" style="margin-bottom: 0cm" class=""><br class="">
</p><div style="margin-left: 0.42cm; margin-top: 0.21cm; margin-bottom: 0.64cm; line-height: 100%;" class="">
<font face="Times New Roman, serif" class=""><font style="font-size: 14pt" class=""><span lang="en-US" class=""><b class="">Special
Issue # 27 (June 2023)</b></span></font></font></div><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Guest
Editors:</b></span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Azadeh
Sharifi and Ulf Otto</span></font></font></p><div style="margin-top: 0.42cm; margin-bottom: 0.42cm; line-height: 100%;" class="">
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">German/ic
Theatre(s) have been intertwined historically with the politics of
nation building and imperial ambition. Despite the ruptures and
interventions of several avant-garde movements, the continuity of
these premises still shapes its canon and repertoire, i.e. textual
corpus, embodied practices, and organizational structures. But these
traditions increasingly clash with the transnational and
transdisciplinary reality of contemporary theatre practice. Since
both parts of the complex, the German/ic and the Theatre(s), have
increasingly lost their self-evidence in recent years, there is an
urgency to rethink radically the composite itself and to
reconceptualize the relations from which it springs.</span></font></font></div><div style="margin-top: 0.42cm; margin-bottom: 0.42cm; line-height: 100%;" class="">
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Accordingly,
the aim of this Special Issue is to complicate the narrative and
discourse of German/ic theatre(s) by moving away from master pieces
and celebrated artists, and asking instead for (re-)negotiations of
canons and repertoires, (re-)constructions and (de)construction of
Germanic theatre(s). </span></font></font>
</div><div style="margin-top: 0.42cm; margin-bottom: 0.42cm; line-height: 100%;" class="">
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">We
are particularly interested in contributions focusing on the
entanglements of social and aesthetic issues represented by the
polysemy of the term </span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><i class="">scene</i></span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">,
both as an aesthetic and a social concept, but also as an expression
of affect, as in the making of a scene.</span></font></font></div><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">In
this mixed-modal online peer-reviewed Special Issue, we hope to
include essays, interviews, manifestos, and various types of critical
reflection, including images, videos and further forms of creative
engagement. </span></font></font>
</p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Possible
topics include but are not limited to the following:</b></span></font></font></p>
<ul class="">
<li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Dis-continuities
and re-negotiations of nationhood </span></font></font>
</p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Colonial
legacies in contemporary theatre and performance practice</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Racism
and social inequalities</font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Queer
and feminist interventions and their impact</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Canon
and repertoire in (higher) education</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Strategies
of artistic appropriation</font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Decolonialization
of </span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span style="background: #eeeeee" class="">the
theoretical canon</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Multidirectional
memories and history on- and off-stage</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Counter-narratives
and marginalized histories</font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Multilinguality
and migration in artistic processes</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Institutionalized
power structures and struggles </font></font>
</p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Distributions
of economic, social and cultural capital</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Germanic
theatre/performance as commodity and international brand</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Discussion
of values in juxtapositions of ethics and aesthetics </span></font></font>
</p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">The
changing role of critique and the influence of social media</span></font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Institutional
critique and questions of agency</font></font></p>
</li><li class=""><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Cultural
anthropological perspectives on Germanic theatres</span></font></font></p>
</li><li class=""><p style="margin-bottom: 1.62cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Responses
to the rise of neo-fascist politics</span></font></font></p>
</li></ul><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Full
length essays as well as short provocations will be considered, along
with artists‘ pages and other creative multimedia contributions. We
especially welcome submissions from BIPOC artists, academics and
practitioner researchers, as well as those from global majority
backgrounds.</span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""> <font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">For
information about submission, </b></span></font></font><a href="https://www.critical-stages.org/submission-guidelines/" class=""><font color="#ff0000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">click
here</span></font></font></font></a><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">.</span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Those
interested should send a 250-word</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
abstract to </span></font></font><a href="mailto:germanictheaters@theatralia.com" class=""><font color="#1155cc" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><u class="">germanictheaters@theatralia.com</u></span></font></font></font></a><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">.
</span></font></font>
</p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">The
abstract should indicate the format of submission and justify the
choice of format as the most appropriate for developing the topic of
focus; the abstract should also include </span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">a
50-word</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
biography identifying all collaborating authors.</span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Timeline</b></span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Proposals
(Abstracts of approximately 300 words, including a short biography):
</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">30
March 2022</b></span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">First
drafts:</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">
15 October 2022</b></span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Final
drafts: </span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">30
January 2023</b></span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">Publication:
</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">
30</b></span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
</span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">June
2023</b></span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Biographies
of Guest Editors</b></span></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Azadeh
Sharifi</b></span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
is a Visiting Assistant Professor (DAAD-Gastprofessur), Department of
Germanic Languages & Literature, University of Toronto. Her work
is concerned with (post)colonial and (post)migrant theatre history in
Germany, performances by artists of color and the intersection of
race, class and gender in contemporary European performances. </span></font></font>
</p><p lang="en-US" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class=""><b class="">Ulf
Otto</b></span></font></font><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">
is Professor of Theatre Studies and Intermediality, LMU Munich. His
work revolves around the relationship of theatre, technology and
memory, and is strongly influenced by (feminist) Science and
Technology Studies and Actor Network Theory. Adopting a historical
perspective of the 19th century, his projects have addressed
intervention strategies in contemporary theatrical works and more
recently reflect his interest in qualitative social science
methodology.</span></font></font></p><p align="center" style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><span lang="en-US" class="">----------------</span></font></font></p><p style="margin-bottom: 0.39cm; line-height: 100%" class=""><span style="display: inline-block; border: none; padding: 0cm" class=""><span lang="en-US" class=""><i class=""><span style="background: #ffffff" class=""><font face="Times New Roman, serif" class="">C</font></span></i></span><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><span style="background: #ffffff" class=""><em class="">ritical
Stages</em></span></span></font></span><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><i class=""><span style="background: #ffffff" class="">/</span></i></span></font><span style="display: inline-block; border: none; padding: 0cm" class=""><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><span style="background: #ffffff" class=""><em class="">Scènes
critiques</em></span></span></font></span><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><span style="background: #ffffff" class=""> </span></span></font><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><i class=""><span style="background: #ffffff" class="">is
available online to the reader without financial or technical
barriers. </span></i></span></font><font face="Times New Roman, serif" class=""><i class=""><span style="background: #ffffff" class="">Ι</span></i></font><font face="Times New Roman, serif" class=""><span lang="en-US" class=""><i class=""><span style="background: #ffffff" class="">t
is a peer-reviewed indexed journal fully committed to the Open Access
Initiative. It offers a platform for debate and exploration of
a wide range of theatre and performance art manifestations from all
over the world.</span></i></span></font></p><p lang="en-US" style="margin-bottom: 0.39cm; line-height: 100%" class=""><br class="">
<br class="">
</p><p align="center" style="margin-bottom: 0.39cm; line-height: 100%" class=""><font face="Times New Roman, serif" class=""><span lang="en-US" class="">************************</span></font></p><p lang="en-US" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p lang="en-US" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#c0504d" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 24pt" class=""><b class="">Renégocier
le canon</b></font></font></font></p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#c0504d" class="">–
<font face="Times New Roman, serif" class=""><font style="font-size: 24pt" class=""><b class="">scènes
de théâtre(s) germanique(s)</b></font></font></font></p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 20pt" class=""><b class="">Appel
à contribution</b></font></font></font></p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 14pt" class=""><b class="">Dossier
du N</b></font></font></font><font color="#000000" class=""><sup class=""><font face="Times New Roman, serif" class=""><font style="font-size: 14pt" class=""><b class="">o</b></font></font></sup></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 14pt" class=""><b class="">
27 (juin 2023)</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">Responsables
invités</b></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""> :
Azadeh Sharifi et Ulf Otto</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Historiquement,
les théâtres germaniques ont été étroitement liés à la
politique de reconstruction nationale et aux ambitions impériales.
Malgré des ruptures et des interventions à travers plusieurs
mouvements d'avant-garde, la continuité de ces prémisses façonne
toujours son canon et son répertoire, c'est-à-dire le corpus
textuel, les pratiques courantes et les structures
organisationnelles. Seulement, ces traditions se heurtent de plus en
plus à la réalité transnationale et transdisciplinaire de la
pratique théâtrale contemporaine. Puisque l'un et l'autre, le
germanique et le théâtre, ont de plus en plus perdu leur évidence
ces dernières années, il y a urgence à repenser radicalement le
composite lui-même et les relations dont il est issu.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">En
conséquence, cet appel s'intéresse à compliquer le récit et le
discours du/des théâtre(s) germanique(s), en s'éloignant des
chefs-d'œuvre et des artistes célèbres, et en demandant plutôt
des (re-)négociations des canons et des répertoires, des
(re-)constructions et des (dé-)constructions de théâtre(s)
germanique(s).</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Nous
recherchons particulièrement des contributions portant sur les
enchevêtrements des enjeux sociaux et esthétiques, que l'on
retrouve représentés dans un triple sens du mot </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><i class="">scène</i></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">,
comme partie du lieu théâtral et communauté de pratique, mais
aussi comme expression de l'affect, comme dans la réalisation d'une
scène.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Nous
espérons que ce numéro de notre revue mixte en ligne, avec comité
de lecture, contiendra des essais, des entretiens, des manifestes,
des réflexions critiques, ainsi que des images, des vidéos et
d'autres formes d'engagement créatif.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><i class="">Au
nombre des sujets possibles, mais sans s'y limiter, nommons les
suivants :</i></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Dis-continuités
et renégociations de la nationalité</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Héritage
colonial dans la pratique contemporaine du théâtre/de la
performance</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Racisme
et inégalités sociales</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Les
interventions </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><i class="">queer</i></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">
et féministes, et leur impact</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Canon
et répertoire dans l'enseignement (supérieur)</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Stratégies
d'appropriation de l'art</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Décolonisation
de la théorie canonique</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Souvenirs
multidirectionnels et histoire sur et/ou hors scène</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Contre-récits
et histoires marginalisées</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Multilinguisme
et migration dans les processus artistiques</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Structures
de pouvoir et luttes institutionnalisées</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Répartition
du capital économique, social et culturel</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Le
théâtre/spectacle germanique en tant que marchandise et marque
internationale</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Discussion
sur la valeur de l’éthique et de l’esthétique</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Évolution
du rôle de la critique et influence des médias sociaux</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Critique
institutionnelle et questions d'agence</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Point
de vue des anthropologues culturels sur les théâtres/les arts du
spectacle germaniques</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class="">●
<font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Faire
face à la montée des politiques néo-fascistes</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">On
prendra en compte des articles de fond autant que de courts textes
provocants, ainsi que des textes provenant d'artistes et sur d'autres
supports de création multimédias. Nous invitons particulièrement
les candidatures d'artistes, d'universitaires et de chercheurs
praticiens du BIPOC et de la majorité mondiale.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Pour
plus d'information sur la soumission, cliquez ici.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Veuillez
envoyer des résumés de 250 mots à </font></font></font><a href="mailto:germanictheaters@theatralia.com" class=""><font color="#0000ff" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><u class="">germanictheaters@theatralia.com</u></font></font></font></a><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">,
en indiquant le format que votre soumission prendra et pourquoi c'est
la meilleure façon d'aborder le sujet choisi, et aussi d’inclure
des CV de 50 mots de tous les auteurs collaborant à la soumission.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">Chronologie</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Propositions
(résumés de 300 mots plus courte biographie) : le </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">30
mars 2022</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Premières
ébauches : le </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">30
septembre 2022</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Versions
finales : le </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">30
janvier 2023</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">Parution :
en </font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">juin
2023</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">BIOS</b></font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">Azadeh
Sharifi</b></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">
est professeure adjointe invitée (DAAD-</font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><i class="">Gastprofessur</i></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">)
au Département de langues et littérature germaniques de
l'Université de Toronto. Son travail aborde l'histoire du théâtre
(post)colonial et (post)migrant en Allemagne, les performances
d'artistes de couleur et les intersections entre race, classe et
genre dans les performances européennes contemporaines.</font></font></font></p><p style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class=""><b class="">Ulf
Otto</b></font></font></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">
est professeur d'études théâtrales et d'intermédialité au LMU
Munich. S’intéressant à la relation entre théâtre, technologie
et mémoire, il est fortement influencé par les études (féministes)
sur la science et la technologie, et par la théorie des réseaux
d'acteurs. Cela recouvre une perspective historique centrée sur le
XIX</font></font></font><font color="#000000" class=""><sup class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">e</font></font></sup></font><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">
siècle, un engagement dans les stratégies d'intervention dans les
œuvres théâtrales contemporaines et un intérêt plus récent pour
la méthodologie qualitative des sciences sociales.</font></font></font></p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="center" style="margin-bottom: 0cm; line-height: 100%" class=""><font color="#000000" class=""><font face="Times New Roman, serif" class=""><font style="font-size: 12pt" class="">--------------------</font></font></font></p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><span style="display: inline-block; border: none; padding: 0cm" class=""><i class=""><span style="background: #ffffff" class=""><font face="Times New Roman, serif" class="">C</font></span></i><font face="Times New Roman, serif" class=""><span style="background: #ffffff" class=""><em class="">ritical
Stages/Scènes critique</em></span></font><font face="Times New Roman, serif" class=""><span style="background: #ffffff" class=""><em class="">s</em></span></font></span><font face="Times New Roman, serif" class=""><span style="background: #ffffff" class=""> est
disponible en ligne sans la moindre barrière financière ou
technique. Cette revue évaluée par des pairs est totalement engagée
dans l’Initiative de Budapest pour l’Accès Ouvert (IBAO)</span></font></p><p align="justify" style="margin-bottom: 0cm; line-height: 100%" class=""><br class="">
</p><p align="justify" style="margin-bottom: 0cm; border-top: none; border-bottom: 3.00pt dotted #000000; border-left: none; border-right: none; padding-top: 0cm; padding-bottom: 0.04cm; padding-left: 0cm; padding-right: 0cm; line-height: 100%" class="">
<br class="">
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