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<b><span
style="font-family:"Arial",sans-serif">The S-Word:
STAND IN PLACE / STANISLAVSKY AND PLACE</span></b><o:p></o:p>
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<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center"
align="center"> <b><span
style="font-family:"Arial",sans-serif">4-6
APRIL 2024</span></b><o:p></o:p></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center"
align="center"> <b><span
style="font-family:"Arial",sans-serif">WAAPA,
EDITH COWAN UNIVERSITY</span></b><o:p></o:p></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center"
align="center"> <b><span
style="font-family:"Arial",sans-serif">PERTH/BOORLOO,
WESTERN AUSTRALIA</span></b><o:p></o:p></p>
<p class="MsoCommentText"><span
style="font-family:"Arial",sans-serif">Stanislavsky
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 performers
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 Declan 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.</span><o:p></o:p></p>
<p class="MsoCommentText"><span
style="font-family:"Arial",sans-serif">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). </span><o:p></o:p></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-family:"Arial",sans-serif">For
the forthcoming <i>Stanislavsky 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 Boodja/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"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-family:"Arial",sans-serif">Papers
will be 20 minutes in length, workshop/artistic
presentations 40 minutes and panels a combined total
of 60 minutes in length. <br>
</span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-family:"Arial",sans-serif">Selected
papers will be considered for publication in our
journal, <i>Stanislavski Studies, </i>and material
generated by this event will form the basis of a title
in the book series, <i>Stanislavsky And..</i>.
(published by Routledge, Taylor & Francis).<br>
<o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-family:"Arial",sans-serif">Topic
areas could include (but are not limited to):</span><o:p></o:p></p>
<ol type="1" start="1">
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Performance
and theatre in relation to ideas of being in place
and being out of place</span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Stanislavskian
performance in <i>your </i>place (what changes
with/in it?) </span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Placemaking
and theatre making </span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Futures
of Eco dramaturgy and theatre form</span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Decolonisation
strategies and First Nation knowledge of place and
performance </span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Beyond
Stanislavski, extending his ideas in concepts of
place/space </span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Training
in relation to ideas of place including but not
limited to intercultural/transcultural form and
practice</span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Site
specific and place specific performance modes in
relationship to realism, Stanislavsky and actor and
audience relationship</span><o:p></o:p></li>
<li class="MsoListParagraph"
style="text-align:justify;mso-list:l0 level1 lfo1"><span
style="font-family:"Arial",sans-serif">Movement,
body weather and other performance modalities and
training methodologies</span><o:p></o:p></li>
</ol>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif">We
are very excited to announce that <b>Professor
Jonathan Pitches</b> from the University of Leeds
(UK) will be a keynote speaker presenting on <i>mountainous
opportunities: interrogating place in ritual,
theatre, and performance training. </i>More
announcements on additional keynote presenters to
follow</span><o:p></o:p></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif">Please
send an abstract of no more than 250 words, with
presentation type, to </span><a
href="mailto:s-word2024@ecu.edu.au"
moz-do-not-send="true"><span
style="font-family:"Arial",sans-serif">s-word2024@ecu.edu.au</span></a><span
style="font-family:"Arial",sans-serif"> by <b>15<sup>th</sup>
September, 2023</b>. <o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-family:"Arial",sans-serif">Notification
of acceptance will be in late October. <o:p></o:p></span></p>
<p class="MsoNormal"><b><span
style="font-family:"Arial",sans-serif">Early
bird registration will be in December 2023 and
follow up registration in January 2024</span></b><span
style="font-family:"Arial",sans-serif">.</span><o:p></o:p></p>
<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span
style="font-family:"Arial",sans-serif">All
enquiries to Renee Newman </span><a
href="mailto:r.newman@ecu.edu.au"
moz-do-not-send="true"><span
style="font-family:"Arial",sans-serif">r.newman@ecu.edu.au</span></a><span
style="font-family:"Arial",sans-serif"> or
Jonathan W Marshall </span><a
href="mailto:jonathan.marshall@ecu.edu.au"
moz-do-not-send="true"><span
style="font-family:"Arial",sans-serif">jonathan.marshall@ecu.edu.au</span></a><o:p></o:p></p>
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