ATHE2016: Theory and Criticism Roundtable: Dis/Embodied Capital CFP

[Susanne Shawyer]

Please excuse cross-postings.

*Call for Papers: Theory and Criticism Focus Group of the Association for
Theatre in Higher Education (ATHE), 2016 Conference*

Chicago, IL, August 11-14, 2016





*1) “Dis/Embodied Capital ”—An Interactive Roundtable Event*



In response to the 2016 ATHE conference theme of “Bodies at Work:
Performance, Labor, and ATHE @ 30” and its location in Chicago—a city
steeped in labor and performance histories—the Theory and Criticism Focus
Group seeks praxis and scholarship that examines the dis/embodied capital
of performance.



Many forms of capital converge in the production of theatre and
performance. As cultural art forms meant to be seen, experienced, and
remembered, theatre and performance have no inherent material value in the
classic Marxian economic sense. Instead, as Pierre Bourdieu suggests,
theatre and performance often circulate as cultural and symbolic capital.
Yet the means of production that go into the creation and circulation of
theatre in public and private sectors requires an ever-increasing creative
use of economic capital, creative capital, and labor. In our 2016
Roundtable Series, we ask how the constant juxtaposition of economic and
non-economic forms of capital in the production of theatre and performance
might be theorized through the ways in which capital works both *within*
and *upon* bodies. Forms of capital may veer towards the disembodied: venue
locations, theatre spaces, ticket prices, business structures, scripts,
building materials, jobs, season selections, touring schedules, public
policies, laws and regulations, as well as the physical collection of
archives. Alternatively, theatre and performance depend heavily upon the
less tangible forms of capital that theatre artists, actors, and audiences
already embody: race, class, gender, sexuality, ability, language, age,
body size, experience, knowledge, training, and memory. More often than
not, these forms of dis/embodied capital intertwine to create complicated
ecosystems of symbolic, cultural, economic, social, creative, and political
capital that undergird the cultural, historical, and ideological
constructions of theatre and performance.



*The Theory and Criticism Focus Group seeks position papers from theatre
artists, pedagogues, scholars, activists, philosophers, and critics
interested in examining the notion of dis/embodied capital in our 2016
Roundtable Series.* The roundtables are designed to encourage interactive
conversation, and therefore the portion of time allotted to formal
presentation of position papers will be limited; focus instead will be
placed on stimulating dialogue amongst panelists and audience members.
Building on the tradition of our previous roundtable series, we strive to
include a diverse range of participants from graduate students and emerging
scholars, to professional critics, established artists, and senior
scholars.



Position papers can take the form of *a short essay, a manifesto, an
outreach exercise, a critical review, a theoretical musing, a research
report, a creative project, an interview, or an embodied performance
practice*. Questions to consider include, but are not limited to:



·         *Historical Memory:* How has theatre and performance theory
historically engaged with dis/embodied capital? How do the history or
public memory of theatre companies, significant productions, or influential
artists employ dis/embodied capital? What forms of dis/embodied capital are
favored in the creation of archives and institutional memory?



·         *Casting and/or Season Selection:* How do notions of dis/embodied
capital influence the actual practice of casting and/or season selection
decisions? How does the influence of dis/embodied capital work in decisions
of casting and/or season selection across time, space, and place? What are
the alternative models that try to invent new forms of capital?



·         *Human Bodies as Capital: *How has theatre used bodies as
capital? How can performance reveal systems of power that use bodies as
capital? What are the consequences of paid and unpaid labor in the theatre?



·         *Systems of Exchange:* How does dis/embodied capital function in
(trans)national exchanges of theatre productions, artists, pedagogy, and
scholarship? How does digital technology (re)invent new relationships in
dis/embodied capital? What are the boundaries of consensual exchange and
cultural (mis)appropriation?



·         *Educational Value: *How do educational programs in theatre and
performance understand/sustain/influence/capitalize on theatre-making?  How
does theatre education hold value in dis/embodied forms of capital? What
pedagogical techniques best address the interplay between economics and
ideology in theatre? When are students consumers of capital and when are
they creators of capital?



The Theory and Criticism Focus Group will be accepting individual, 250-word
position paper abstracts for the Dis/Embodied Capital Roundtable Series
until* Friday, October 23rd, 2015. Submissions should include *1) an
abstract (250 words or less), 2) a title, 3) contact information (name,
institutional affiliation, email address, and phone number), 4) a brief bio
of 50 words or less, and 5) any specific A/V requirements.



Participants will be informed of their acceptance by *Thursday, October
29th*, and the Theory and Criticism Focus Group will oversee the submission
of the Roundtable Series panels through ATHE’s online proposal process.
Send your position paper abstracts to the Theory and Criticism Focus Group
conference planner *Amy Guenther at **akguenther at utexas.edu*
<akguenther at utexas.edu>



*2) Call for Complete Session Proposals, Sponsored by the Theory and
Criticism Focus Group*



We also seek complete session proposals for the 2016 conference that
include a broad range of theoretical interrogations and applications. We
encourage multidisciplinary dialogues across the fields of performance
scholarship and praxis. We also seek participants from a variety of focus
group affiliations. Note that all multidisciplinary proposals must be
authorized by TWO sponsoring ATHE focus groups; please contact the
appropriate focus group conference planners and/or committee chair for
authorizations. See the ATHE website for details: www.athe.org



The Theory and Criticism Focus Group supports broad definitions of
criticism and performance, and therefore encourages a wide range of
examples and topics. Feel free to explore both historical and contemporary
critics and theorists, in popular culture, academic scholarship, and
performance praxis. Panel proposals that engage scholarly conversation in
creative ways are highly encouraged.



Complete session proposals (*separate from the Roundtable Series*) should
be directed directly to the ATHE website (www.athe.org). You must have the
names for all participants ready for the proposal. The website includes
submission information and forms. The session proposal deadline in *November
1st, 2015*.



NOTES:

If you have questions about the ATHE panel proposal submission process,
feel free to email Amy Guenther at akguenther at utexas.edu



Single paper submissions (outside of our annual roundtable series or a
completed session proposal) looking for a session home may contact Amy
Guenther at akguenther at utexas.edu



Individuals do not need to be a member of the Theory and Criticism Focus
Group or ATHE to submit single presentations or panels. However, if chosen
and scheduled, participants must become members of ATHE by the time of the
conference.
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