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<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p>Dear
Colleagues,</o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p>We
are very pleased to announce our <b>2024</b>
symposium, to be hosted by the Western Australian
Academy of Performing Arts, in April 2024.</o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><o:p><br>
</o:p></span></p>
<p class="MsoNormal" style="text-align:center"
align="center"><b><span
style="font-family:"Arial",sans-serif">STAND
IN PLACE / STANISLAVSKI AND PLACE<o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align:center"
align="center"><b><span
style="font-family:"Arial",sans-serif">4-6
APRIL 2024<o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align:center"
align="center"><b><span
style="font-family:"Arial",sans-serif">WAAPA,
EDITH COWAN UNIVERSITY<o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align:center"
align="center"><b><span
style="font-family:"Arial",sans-serif">PERTH/BOORLOO,
WESTERN AUSTRALIA<o:p></o:p></span></b></p>
<p class="MsoCommentText"><span
style="font-size:11.0pt;font-family:"Arial",sans-serif"><o:p> </o:p>Stanislavski
was clear that the actor must <i>take their place</i>
in the theatre. His writings are full of injunctions
to reflexively situate oneself with respect to the
stage, set, actors, objectives, and so on. Echoing
Stanislavski’s conceptual and physical praxis,
modernist performance makers such as Meyerhold and
Schlemmer went on to postulate that the <i>actor
brought their own sense of place onto the stage</i>,
shaping the performance space and enabling performer
to align themselves, their attention, and their
movements to a range of axial placements and
combinations, as in Laban’s kinesphere. Later theatre
makers as varied as David Donnellan and Suzuki Tadashi
have suggested that the theatre is a <i>place of
life-and-death struggle</i>, a site where a battle
for survival is conducted by both characters and the
actors themselves.<o:p></o:p></span></p>
<p class="MsoCommentText"><span
style="font-size:11.0pt;font-family:"Arial",sans-serif"><o:p> </o:p>The
act of the performer <i>taking their place</i> in
their body in the theatre developed in parallel to the
importance of ‘place’ in the world of the playwright
and in the places represented on stage. Stanislavski’s
not always happy peer, Anton Chekhov, has been
described as the “first <i>environmental playwright</i>,”
with scripts such as <i>Uncle Vanya</i> (1898) and <i>The
Cherry Orchard</i> (1904) being concerned with the
places wherein they are set, with the environmental
and socio-political conditions and<i> </i>histories
etched across their landscapes. Interestingly, there
is a rich tradition of Australian plays which are
strongly connected to place, <i>No Sugar</i> (Jack
Davis, 1985), <i>Cloudstreet (</i><span
style="color:black;background:white">Nick Enright
and Justin Monjo, 1998, </span>after the novel by
Tim Winton), <i>When the rain stops falling</i>
(Andrew Bovell, 2008), and more recently, <i>City of
Gold </i>(Meyne Wyatt, 2019). <o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif">For
the forthcoming <i>Stanislavski and Place</i>
symposium, we call for submissions for academic
papers, artist presentations, and panels, which
consider the <i>places of theatre arising from or
existing alongside Stanislavskian performance and
acting praxis.</i> We invite you to Stand in Place
with us, on Whadjuk Noongar Country, here at the
Western Australian Academy of Performing Arts, Edith
Cowan University, Perth/Boorloo, and interact with
this place, as you tell us about your places.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif">Topic
areas could include (but are not limited to):<o:p></o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Performance
and theatre in relation to ideas of being in place
and being out of place<o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Stanislavskian
performance in <i>your </i>place (what changes
with/in it?) <o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Placemaking
and theatre making <o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Futures
of Eco dramaturgy and theatre form<o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Decolonisation
strategies and First Nation knowledge of place and
performance <o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Beyond
Stanislavski, extending his ideas in concepts of
place/space <o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Training
in relation to ideas of place including but not
limited to intercultural/transcultural form and
practice<o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Site
specific and place specific performance modes in
relationship to realism, Stanislavski and actor and
audience relationship<o:p></o:p></span></li>
<li class="MsoListParagraph"
style="margin-left:0cm;mso-add-space:auto;text-align:justify;mso-list:l4
level1 lfo3"> <span
style="font-size:11.0pt;font-family:"Arial",sans-serif">Movement,
body weather and other performance modalities and
training methodologies<o:p></o:p></span></li>
</ul>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US">All
enquiries to Renee Newman <a
href="mailto:r.newman@ecu.edu.au"
moz-do-not-send="true" class="moz-txt-link-freetext">r.newman@ecu.edu.au</a>
or Jonathan W Marshall <a
href="mailto:jonathan.marshall@ecu.edu.au"
moz-do-not-send="true" class="moz-txt-link-freetext">jonathan.marshall@ecu.edu.au</a><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US">Further
information regarding deadlines and registration to
follow. <br>
</span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif;mso-fareast-language:EN-US"><br>
<o:p></o:p></span></p>
<o:p></o:p>
<div>
<pre>Prof. Paul Fryer PhD, FRSA, FHEA.<o:p></o:p></pre>
<pre>Visiting Professor, School of Performance and Creative Industries, University of Leeds.<o:p></o:p></pre>
<pre>Visiting Professor, School of Arts and Creative Industries, London South Bank University.<o:p></o:p></pre>
<pre>Hon. Visiting Professor, School of Arts and Digital Industries, University of East London.<o:p></o:p></pre>
<pre>Co-Director, The Stanislavsky Research Centre.<o:p></o:p></pre>
<pre>Founding Editor, Stanislavski Studies and Series Editor, Stanislavsky And...(Routledge/Taylor & Francis).<o:p></o:p></pre>
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