[Candrama] Fwd: JADT Spring 2025 Special Issue CFP

Fri Aug 23 12:51:32 EDT 2024

*Apologies for cross-posting*

Dear Canadian T&PS Colleagues:

Please consider applying for this special issue if you have any related
research on censorship.

*JADT* 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 jadtjournal at gmail.com. Here is a link to
the website and our Spring 2024 issue: https://www.thesegalcenter.org/jadt

If you have any questions, feel free to reach out to me directly.

All best,
Ben
--
Benjamin Gillespie, Ph.D
Co-Editor, *Journal of American Drama and Theatre*
Doctoral Lecturer in Communication, Gender Studies, & Theatre
Weissman School of Arts and Sciences
Baruch College, City University of New York
benjamin.a.gillespie at gmail.com

---------- Forwarded message ---------
From: Donatella Galella <president at atds.org>
Date: Fri, Aug 23, 2024 at 11:03 AM
Subject: JADT Spring 2025 Special Issue CFP
To: <ATDS at listserv.cofc.edu>

Dear colleagues,

Please consider submitting to Censorship/Public Censure and Performance
Today
<https://www.atds.org/censorship-public-censure-and-performance-today-a-special-issue-of-journal-of-american-drama-and-theatre/>,
the Spring 2025 special issue of the *Journal of American Drama and Theatre
*guest-edited by Ginny Anderson, David Bisaha, and Pria Williams.

Best,
Donatella
-- 
Donatella Galella, PhD
Associate Professor, University of California, Riverside
President, American Theatre and Drama Society
she/her
--

Call for Papers

Journal of American Drama and Theatre

Spring 2025

Special Issue:

Censorship/Public Censure and Performance Today

Submissions due December 1, 2024

The American Theatre and Drama Society invites submissions for its Spring
2025 issue of the Journal of American Drama and Theatre. Membership in ATDS
is not required for submission of an article, but submissions from members
are especially encouraged.

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 Sex or Eduardo Pavlovsky’s Telerañas to more recent instances,
such as the cancellation of a Florida high school’s production of Indecent
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?

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.

Topics might include:

   -

   Radical acts of censorship or opposition to censorship
   -

   Creative evasions of censorship through activism, technology, media
   -

   Self-censorship due to real and/or perceived risk by an individual,
   group, or institution
   -

   Changing modes of censorship due to network effects, social media,
   algorithms, artificial intelligence, and surveillance
   -

   Models of artistic creation and freedom within the Americas under
   dictatorial, authoritarian, fascist and other repressive regimes and
   influences.
   -

   Censorship in the theatre and performance classroom and in production
   -

   The relationship between public censure/censorship (of content, casting,
   trans exclusionary bans) and concepts of social and emotional harm
   -

   Relationship between censorship, self-censorship, and the economics of
   theatre and performance: what is programmed? What is viral? What is
   acceptable? According to whom?
   -

   Relationship of censorship to discourses of childhood and/or
   vulnerability
   -

   Censorship in the library and the archive
   -

   Current-day representations of past periods of censorship
   -

   Censorship and international markets for performance
   -

   The relationship between cultures of fascism and patterns of censorship
   in dramatic literature and performance.
   -

   Censorship and public policy making based on religious law as applied to
   theatre

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)

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 (vanderso at conncoll.edu), David Bisaha (
dbisaha at binghamton.edu), and Pria Williams (pcwood at olemiss.edu).

ABOUT JADT

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. https://www.thesegalcenter.org/jadt

For more information about ATDS, see http://atds.org.
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