Troverete qui call e richieste di contributi di istituzioni e comitati scientifici, a livello internazionale.
Call for contributions, ideas, proposals and dialogue with the editors, Theatre, Dance and Performance Training Journal (TDPT) Special issue on Performer Training in Australia to be published as TDPT Vol 12.3 (September 2021)
We are seeking proposals in three distinct categories, and authors are invited to indicate which category they feel best suits their work:
- Articles in a range of critical and scholarly formats, of between 5 500 and 7 000 words;
- Sources that document and analyse the primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme; and
- Training Grounds, shorter pieces that are not peer reviewed, including biographical and autobiographical sketches, postcards, visual essays and book or event reviews. We welcome a wide range of proposals for contributions including edited interviews.
Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog. The editors will correspond with authors about the most appropriate category for their work, and can happily provide guidance before a proposal is submitted. Prospective authors are encouraged to familiarise themselves with TDPT’s Aims and Scope, as well as with the Instructions for Authors for guidance on formatting.
Deadline : May 29, 2020
Call for DANCES, Trans(m)it : Lost Dances, FilmFreeway
Project Trans(m)it is now accepting submissions for "Trans(m)it: Lost Dances." In this time of global shift, dances that were being created are now living in nebulous spaces. This festival is a place to share dances and physical theatre that began with different intentions, such as live performances in 2020. Submission from 3-10 minutes are welcome. We are seeking submissions that might repurpose and re-image rehearsal footage into a fully-realised work, re-arrange staged performances to become screendance works, or turn group choreography into solos for the screen, and submissions of screendance work whose screenings were shut down. How can the switch to the 'new normal' of our digital lives offer a creative challenge rather than an imposing restriction or loss? How can dance still be shared and how can we connect with others online?
Deadline : 1st June, 2020
To apply: www.filmfreeway.com/transmit
CALL FOR PROPOSALS, International Journal of Perfomance Arts and Digital Media, Special Issue 2021 "Digital Annotation and the Understanding of Bodily Practices"
In recent decades, the dance field saw a number of artist-led projects that experimented with digital technology for documentation and dissemination. Some of these projects made use of digital annotation of time-based recordings to create new information linkages and layers aiming to make choreographic processes more explicit. Emerging from these developments are a number of complex theoretical and practice questions about digital annotation of dance recordings. Questions range from basic definitions about what annotation is, the context in which it is used, the way in which information and knowledge is represented, as well as differences in working with live or pre-recorded audio-visual materials. For text-based annotation in particular, the invention of vocabularies and the use of language is an underexamined topic. Such questions regarding digital annotation of time-based recordings of dance are also of importance for research (involving documentation) in and through bodily practices more generally across the performance arts as well as further afield, e.g. in the discipline of anthropology, studies of intangible heritage, performance conservation and on-line physical education. Therefore, this issue is intended as a platform for reflection on the practical and theoretical implications of digital annotation for the critical comprehension of bodily practices.
We are inviting submissions addressing such questions through both original scholarly research articles and other document and report formats. Publication is anticipated in March 2021.
For full call and contact details including submission guidelines please visit this website.
Deadline : Monday 1st June 2020
Call for Abstracts and Delegates, Our Dance Democracy 2, November 27th-28th 2020, Liverpool Hope University
Building on the success of Our Dance Democracy in 2018, this conference will further the debate, extending the dialogue of how artists and academics interrogate the function of dance in the 21st Century.
Our Dance Democracy 2 will consider the notion of our world as an ever-challenging and changing global society, in which social media facilitates the circulation of opinions and prejudices rooted in intuitive, and frequently unexamined narratives of contemporary societies. These are increasingly taken up, legitimised, and recycled as common-sense master-narratives across the discursive circuits of established media and political debate. A real expansion of inclusive public space is one outcome of this and introspection another. These tendencies expose boundaries in human relations, always constituted – contradictorily – as zones of exclusion which are always also points of contact. The UK as a bounded and bordered territory, demonstrates that perceptions of (in)visibility, identity and belonging have real-world significance, and the importance of interrogating assumptions underpinning them cannot be over-stated.
Artists and cultural workers perform a critical public role in exposing inherited and novel ideas and practices to examination and re-examination. Our Dance Democracy 2 sets out to explore the proposition that, because dance lives by contact across boundaries, borders, and frontiers, it has proven capacity to enable critical understanding of the human and historical contingency of even the ‘hardest’ borders, erected in the name of immutable, non-negotiable, traditions, beliefs, and value systems. Dance as a ritualistic act can perform difference as historical defiance, our art form is also practised in creative ways that can name – and, therefore, resist – complex contemporary forms of oppression, not least by promoting and supporting social and political activism. Dance and dancers can model, rehearse, and embody ways of living together for mutual flourishing, thus reinvigorating democratic concepts, practices, and structures for a fractured twenty-first century.
In Our Dance Democracy 2 we propose dance and dancing, pedagogy and performance making, writing and critical discourses, as dynamic sites for critical thinking, progressive social intervention, civic engagement, ethics and activism – both established and emergent. We announce a space for ethical action, beyond borders imposed on our creative worlds: a platform for artists to make visible, and test the viability of, ideas of equity and embodied principles of collective endeavour.
Abstracts accepted for 20 minute papers, experimental formats including performative lectures, workshop/seminars and provocation world-café style.
Deadline : June 5th, 2020
CALL/RICHIESTA DI CONTRIBUTI, Danza e ricerca. Laboratorio di studi, scritture, visioni, n. 12 (2020)
Invitiamo gli studiosi italiani e stranieri a proporre alla rivista per la pubblicazione :
- saggi che, nell'ambito degli studi sulla danza, affrontino tematiche legate tanto al passato quanto alla contemporaneità, di impostazione storica, critica o estetica, eventualmente anche di taglio interdisciplinare. I testi potranno essere presentati in italiano, inglese o francese e dovranno avere una lunghezza compresa tra i 25.000 e i 60.000 caratteri (spazi inclusi).
- rilevanti testi editi o inediti del passato di argomento coreutico scritti da coreografi, danzatori o importanti critici e storiografi della danza, in lingua o in traduzione, accompagnati da introduzione, apparatie note adeguati, purché di pubblico dominio o provvisti della relativa autorizzazione da parte dell’autore.
- recensioni di volumi di argomento coreico.
- bibliografie relative a particolari soggetti (determinati ambiti disciplinari, pratiche coreiche, figure di danzatori e coreografi…) o a specifiche fasi della storia della danza, corredate di introduzione.
Saggi, recensioni, bibliografie, di una lunghezza compresa tra i 25.000 e i 60.000 caratteri (spazi inclusi), da inviare all’indirizzo firstname.lastname@example.org
Deadline : 15 giugno 2020
Linee guida per gli autori
Call for Proposals, Performance Research, Vol. 26, No. 2: "On (Un)Knowns" (March 2021)
This issue is concerned with the idea of knowledge in relation to performing arts practices, specifically in the context of creation, training, production, performance and spectatorship. Previous performance-related scholarship has recognized the knowledge-creating nature of practices in the field of dance and theatre, while critically calling into question the use of the term for its political motivations within the current ‘knowledge economy’ and attending to the lack of attention paid by academics to performing artists’ expertise. This issue aims to build on the foundations laid by this previous work, first by acknowledging that performing arts generates something akin to knowledge and, second, by inviting further critical interrogation of what such recognition achieves in the frame of evolving cultural and political contexts. The focus on practices also tilts this issue towards forms of knowledge that come from experience and the senses. Here we encourage contributors to be reflexive about how, in the context of an academic journal, such knowledge can be accounted for on the page. We are also looking for interdisciplinary approaches outside the arts and humanities that might contribute to the understanding of ways of knowing in the performing arts; and in alternative and diverse conceptualizations of the (un)known in the context of practice-generating knowledges or knowledge-generating practices.
Submissions addressing such topics are invited through long-form and short articles, essays and provocations as well the journal’s unique artist’s pages. Publication is anticipated in March 2021.
For further information, click here.
Proposal deadline : Monday 15 June 2020
APPEL À CONTRIBUTION Recherches en danse, Observer, analyser et dire le geste dansé, n. 10 (2021)
Les contributions pourront s’inscrire dans un ou plusieurs des six axes suivants (qui n’épuisent pas le sujet et n’excluent pas non plus des propositions voisines de ces axes) :
- Les différentes approches et pratiques d’analyse du mouvement et les situations et contextes dans lesquelles elles sont mobilisées ;
- Les savoirs véhiculés par les différentes approches et pratiques d’analyse du mouvement ;
- Les différentes fonctions de l’analyse du mouvement selon les situations et les contextes ;
- La circulation et la transmission des savoirs, des pratiques et des discours d’analyse du mouvement ;
- Comment mettre en mots et donner du sens au regard porté sur le geste dansé ?
Les articles peuvent prendre la forme d’études de cas, d’études comparatives ou synthétiques, d’entretiens ou de témoignages.
Les résumés des propositions de contribution (de 10 à 15 lignes) sont à envoyer par mail en fichier attaché à : email@example.com avant le 15 juin 2020.
Le nom du fichier adressé en pièce jointe comportera le nom du contributeur, soit : « CONTRIBUTEUR.doc ».
L'appel dans son intégralité est disponible ici.
CALL FOR PAPERS Dance Chronicle, Special issue, Movement Arts in Dance, Theatre and International Performance
The physical role of the body on stage holds equal fascination for dance and theatre scholars and practitioners.
On the one hand, particular genres such as commedia dell’arte and poor theatre have emphasized the agility, rhetorical gestures, kinesthetic equipage, and raw physicality of players. In actor training, Stella Adler famously commanded actors to “physicalize” in order to develop the sense of a character in a particular scene. On the other hand, the historic development of Western concert dance tells a story of transition from court to theater, with the elements of theatre—including drama, design, voice, and spoken texts—often assuming surprising proportions. In various periods and places throughout the world, practitioners have intertwined the theatrical roots of dance and the dancelike, ritual roots of theatre in productive ways.
We invite contributions addressing how performers, directors, choreographers, and designers have explored the immediacy of the body and the power of presence in movement arts and intermedial performance. Articles may address, but need not be limited to, subjects such as:
- How have various forms of physical theatre, including commedia dell’arte, pantomime, vaudeville, and circus, merged elements of dance and theatre to produce innovative intermedial genres and artists: Mummenschanz, Cirque de Soleil, Michael Motion, Complicité, ?
- In what ways do forms of Asian dance drama exhibit rich intermingling of dance and theatre: Noh, Kabuki, Kathakali, etc.?
- How have the puppet theatre practices and the construct of the puppet reflected and refracted human movement in the West and the East?
- How have the robot and cyborg (half-human, half-machine) affected movement arts, including usages on screen and digital media: German Expressionist film, etc.?
- How have practices in theatre intersected with dance or dancelike phenomena: Stanislavsky method, Meyerhold’s biomechanics, Jerzy Grotowski’s poor theatre, etc.?
- How have hybrid forms of dance/theatre evolved in the 20th and 21st centuries: dance plays, Tanztheater, etc.
- How have particular choreographers and genres of dance displayed strong linkages with theatre: Antony Tudor, Martha Graham, ballet theatre, Tanztheater, performance art, ballet d’action, etc.?
- How have dance and theatre practices intersected in musical theatre to blur the lines between high art and popular forms: Hamilton, Spring Awakening, etc.?
Deadline : August 15, 2020.
Precise information here.