[Candrama] Fwd: JADT Special Issue: Censorship/Public Censure and Performance Today

[Benjamin Gillespie]

FYI. Apologies for cross-posting.

Submissions on censorship due Sept 1st. Canadian topics welcomed!

All best,
Ben
--
Benjamin Gillespie, Ph.D (he/him)
Co-Editor, *Journal of American Drama and Theatre
<https://www.thesegalcenter.org/jadt>*
Faculty 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: Pria Williams <pcwood at olemiss.edu>
Date: Mon, Nov 11, 2024 at 10:01 AM
Subject: JADT Special Issue: Censorship/Public Censure and Performance Today
To: <ATDS at listserv.cofc.edu>


A reminder about this call:

*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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