<div dir="ltr"><div><i style="background-color:transparent">*Apologies for cross-posting*</i></div><div class="gmail_quote gmail_quote_container"><div dir="ltr"><div><br></div><div>See below for <i>JADT</i>'s Spring 2027 Special Issue CFP on "Theatre and Activism." Submissions due Nov 1st. </div><div class="gmail_quote"><div dir="ltr"><div class="gmail_quote"><br><div><u></u>
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<div style="color:transparent;display:none!important;height:0;max-height:0;max-width:0;opacity:0;overflow:hidden;width:0">JADT CFP: Theatre and Activism ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏</div>
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<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-top:0;margin-bottom:0;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;text-align:center"><strong>Call for Papers
<br></strong><em><strong>Journal of American Drama and Theatre</strong></em><strong>
<br>Spring 2027 Special Issue
</strong></p>
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<h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.9993959999999997em;margin-top:0;margin-bottom:0;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;letter-spacing:0em;text-align:center"><strong>Theatre and Activism</strong></h3>
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<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-top:0;margin-bottom:0;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;text-align:center"><strong>Submissions due November 1, 2026</strong></p>
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<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;margin-top:1rem;margin-bottom:1rem"><strong>The American Theatre and Drama Society welcomes submissions for its Spring 2027 special issue of the </strong><em><strong>Journal of American Drama and Theatre</strong></em><strong> on “Theatre and Activism.”</strong></p>
<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;margin-top:1rem;margin-bottom:1rem">American theatre has had a varied and complicated relationship to activism and activist movements throughout its history. In the nineteenth century, although some theatrical versions of <em>Uncle Tom’s Cabin</em> advocated for abolition, others reinforced proslavery ideologies. As fascist policies and efforts work to restrict the rights of global majority people, immigrants, refugees, LGBTQIA+ people, women, non-binary people, people with disabilities, and others in the twenty-first century, some theatre artists and audiences view theatre as one method for speaking up and resisting, but these efforts remain in tension with theatre’s continuing participation in systems of oppression and inequity. The special issue invites submissions that consider how theatre participates in movements for change as well as impedes activist efforts for political, social, cultural, and economic reform. In what ways has activism intersected with theatre historically and in our current moment? How do theatre and performance inform activist tactics? In what ways have networks of activists and theatre artists informed theatrical performance and activist movements? What is the relationship between theatrical infrastructures and movements for change? How have activist and social justice objectives informed the formation and productions of professional and amateur theatre companies? How can we attend to the messiness of theatre and activism’s relationship?</p>
<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;margin-top:1rem;margin-bottom:1rem">The special issue calls for essays that engage with how conceptions of activism have shifted over time and how its diverse meanings have impacted theatre’s intersections with movements for change. It invites explorations of theatre and performance as a site and methodology for activist movements and their opposition. The special issue also welcomes submissions that examine how activism’s relationship to the theatre has impacted theatre and performance historiography.</p>
<p style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed','Liberation Sans','Nimbus Sans L','Helvetica Neue',Helvetica,Arial,sans-serif;margin-top:1rem;margin-bottom:1rem">Membership in ATDS is not required for essay submission, but member submissions are encouraged. Pieces may be full length essays (5000-8000 words), short essays or notes to the field (1000-3000), interviews (up to 5000 words), or roundtables (up to 5000 words). All submissions should be prepared in conformity with the Chicago Manual of Style using manual endnotes and submitted as Microsoft Word attachments. 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). Please include a short bio with your submission.</p>
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