<div dir="ltr"><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div><div style="color:rgb(34,34,34)">*Apologies for cross-posting*</div><div style="color:rgb(34,34,34)"><br></div><div style="color:rgb(34,34,34)">Dear Canadian T&PS Colleagues: </div><div style="color:rgb(34,34,34)"><br></div><div style="color:rgb(34,34,34)">Please consider applying for this special issue if you have any related research on censorship. </div><div style="color:rgb(34,34,34)"><i><br></i></div><div style="color:rgb(34,34,34)"><i>JADT</i> is a peer-reviewed journal inclusive of all the Americas and publishes Canadian-focused work. If the theme of censorship is beyond your scholarly focus, please consider submitting for a general issue or pitching a book or performance review to <a href="mailto:jadtjournal@gmail.com">jadtjournal@gmail.com</a>. Here is a link to the website and our Spring 2024 issue: <a href="https://www.thesegalcenter.org/jadt">https://www.thesegalcenter.org/jadt</a></div></div><div style="color:rgb(34,34,34)"><br></div><div style="color:rgb(34,34,34)">If you have any questions, feel free to reach out to me directly. </div><div style="color:rgb(34,34,34)"><br></div><div style="color:rgb(34,34,34)">All best,</div><div style="color:rgb(34,34,34)">Ben</div><div style="color:rgb(34,34,34)"><div>--</div><div><div>Benjamin Gillespie, Ph.D </div><div>Co-Editor, <i>Journal of American Drama and Theatre</i><br></div><div>Doctoral Lecturer in Communication, Gender Studies, & Theatre<br>Weissman School of Arts and Sciences<br>Baruch College, City University of New York</div><div><div><a href="mailto:benjamin.a.gillespie@gmail.com" target="_blank">benjamin.a.gillespie@gmail.com</a></div></div></div></div><div style="color:rgb(34,34,34)"><br></div><div style="color:rgb(34,34,34)"><br></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><div class="gmail_quote"><div dir="ltr" class="gmail_attr">---------- Forwarded message ---------<br>From: <strong class="gmail_sendername" dir="auto">Donatella Galella</strong> <span dir="auto"><<a href="mailto:president@atds.org">president@atds.org</a>></span><br>Date: Fri, Aug 23, 2024 at 11:03 AM<br>Subject: JADT Spring 2025 Special Issue CFP<br>To:  <<a href="mailto:ATDS@listserv.cofc.edu">ATDS@listserv.cofc.edu</a>><br></div><br><br><div dir="ltr"><div>Dear colleagues,</div><div><br></div><div>Please consider submitting to <a href="https://www.atds.org/censorship-public-censure-and-performance-today-a-special-issue-of-journal-of-american-drama-and-theatre/" target="_blank">Censorship/Public Censure and Performance Today</a>, the Spring 2025 special issue of the <i>Journal of American Drama and Theatre </i>guest-edited by Ginny Anderson, David Bisaha, and Pria Williams.</div><div><br></div><div>Best,</div><div>Donatella<br><span class="gmail_signature_prefix">-- </span><br><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr">Donatella Galella, PhD<br></div><div>Associate Professor, University of California, Riverside</div><div><span style="color:rgb(103,78,167)"><span style="color:rgb(103,78,167)"><span style="color:rgb(0,0,0)">President, American Theatre and Drama Society<br></span></span></span></div><div><span style="color:rgb(103,78,167)"><span style="color:rgb(103,78,167)"><span style="color:rgb(0,0,0)">she/her</span></span></span></div><div><span style="color:rgb(103,78,167)"><span style="color:rgb(103,78,167)"><span style="color:rgb(0,0,0)">--</span></span></span></div><div><span style="color:rgb(103,78,167)"><span style="color:rgb(103,78,167)"><span style="color:rgb(0,0,0)"><br></span></span></span></div><div><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt" id="m_-1786082368143223064gmail-docs-internal-guid-2096f8f8-7fff-bfeb-f5a2-72552d24eb94"><span style="font-size:22pt;font-family:"Times New Roman",serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Call for Papers </span></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:17pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Journal of American Drama and Theatre</span><span style="font-size:17pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> </span></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:13pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Spring 2025 </span></p><br><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:16pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Special Issue:</span><span style="font-size:18pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> </span></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:18pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:rgb(255,229,153);font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Censorship/Public Censure and Performance Today</span></p><br><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Submissions due December 1, 2024</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">The American Theatre and Drama Society invites submissions for its Spring 2025 issue of the </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Journal of American Drama and Theatre</span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">. Membership in ATDS is not required for submission of an article, but submissions from members are especially encouraged.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">This special issue turns to the ideas of censorship and public (or digital) censure in a rapidly changing political and technological landscape. How are these concepts changing? Which histories do they draw on, and how do theatre and performance artists, scholars, and institutions respond to both bans, silencing, and covert pressure to quietly avoid certain content? Cognizant of the history of censorship – from historical examples such as Mae West’s </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Sex</span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> or Eduardo Pavlovsky’s </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Telerañas </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">to more recent instances, such as the cancellation of a Florida high school’s production of </span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Indecent</span><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> in 2023 – there has been a rise in both overt theatrical bans and quiet reprogramming to avoid controversy (and legal challenge, in some localities). Further, rapid technological developments have increased both the spread and speed of censorship/censure: platform bans, content moderation disputes, deepfakes, public cancellation campaigns, and doxxing attacks. What can the ideas of censorship and the public censure add to today’s theatre and performance studies discourse? Is theatre more likely to be censored, because of its embodied nature and sensory nature, or less so, because of its ephemerality and multimedia flexibility? How has theatre and performance studies resisted censorship? Should it?</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">This special issues on “Censorship/Public Censure and Performance Today” calls for papers, interviews, and performance reviews that document, critique, theorize, rebut, redress, and explore the changing concept of censorship, and its related concepts of the public censure, “cancellation,” redaction, self-censorship, and content moderation. We are interested in curating an issue that speaks to today’s issues of censorship and public censure. We welcome historical analyses, and encourage scholars to clearly articulate the links between histories and the present and future state of theatre/performance.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Topics might include:</span></p><ul style="margin-top:0px;margin-bottom:0px"><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Radical acts of censorship or opposition to censorship</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Creative evasions of censorship through activism, technology, media</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Self-censorship due to real and/or perceived risk by an individual, group, or institution</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Changing modes of censorship due to network effects, social media, algorithms, artificial intelligence, and surveillance</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Models of artistic creation and freedom within the Americas under dictatorial, authoritarian, fascist and other repressive regimes and influences. </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Censorship in the theatre and performance classroom and in production</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">The relationship between public censure/censorship (of content, casting, trans exclusionary bans) and concepts of social and emotional harm</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Relationship between censorship, self-censorship, and the economics of theatre and performance: what is programmed? What is viral? What is acceptable? According to whom?</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Relationship of censorship to discourses of childhood and/or vulnerability</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Censorship in the library and the archive</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Current-day representations of past periods of censorship</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Censorship and international markets for performance </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">The relationship between cultures of fascism and patterns of censorship in dramatic literature and performance.</span></p></li><li dir="ltr" style="list-style-type:disc;font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Censorship and public policy making based on religious law as applied to theatre</span></p></li></ul><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Pieces may be full length essays (6000-8000 words); briefer profiles (2500-4000 words) of artists, presenting organizations, or companies; provocations to the field (2500-4000 words); or interviews (up to 6000 words). Manuscripts should be prepared in conformity with the Chicago Manual of Style, using footnotes, and submitted as an email attachment in Microsoft Word format. If you are using images, please provide the images and captions with your submission. (Please Note: images should be at least 300dpi and authors are responsible for securing permissions before submission)</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">All correspondence will be conducted by email. Submissions must be received by 1 December 2024. Please direct queries and submissions to guest editors Virginia Anderson (</span><a href="mailto:vanderso@conncoll.edu" style="text-decoration:none" target="_blank"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:underline;vertical-align:baseline;white-space:pre-wrap">vanderso@conncoll.edu</span></a><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">), David Bisaha (</span><a href="mailto:dbisaha@binghamton.edu" style="text-decoration:none" target="_blank"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:underline;vertical-align:baseline;white-space:pre-wrap">dbisaha@binghamton.edu</span></a><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">), and Pria Williams (</span><a href="mailto:pcwood@olemiss.edu" style="text-decoration:none" target="_blank"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:underline;vertical-align:baseline;white-space:pre-wrap">pcwood@olemiss.edu</span></a><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">).  </span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">ABOUT JADT</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">Founded in 1989, JADT is a widely acclaimed peer-reviewed journal publishing thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas—past and present. The journal’s provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. JADT is fully online and freely accessible. </span><a href="https://www.thesegalcenter.org/jadt" style="text-decoration:none" target="_blank"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:underline;vertical-align:baseline;white-space:pre-wrap">https://www.thesegalcenter.org/jadt</span></a><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap"> </span></p><br><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">For more information about ATDS, see </span><a href="http://atds.org/" style="text-decoration:none" target="_blank"><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(17,85,204);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:underline;vertical-align:baseline;white-space:pre-wrap">http://atds.org</span></a><span style="font-size:11pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre-wrap">.</span></div></div></div></div></div></div></div></div>
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