DeAnna Toten Beard, Baylor University
Jenna L. Kubly, Independent Scholar
This body will convene a diverse group of scholars, methodologies, and research interests to participate in an ongoing conversation about the complex relationship between war and performance. In concert with the larger conference theme, the working group is interested in projects that consider the many ways that transgressive acts associated with war—for example, physical destruction, psychic violence, border crossing, political betrayal—both transform performance and are transformed by/in performance.
Papers might address how theatre, drama, civic performances, musicals, operas, popular entertainments, re-enactments, and dance relate to the following ideas:
How does the environment of violence impact theatre in a war-zone? On the Home Front? In a P.O.W. camp or concentration camp?
What are the artistic and ethical implications of presenting images of wartime violence on stage?
How has war-time drama supported soldiers and citizens negotiating the transition from peace time to war time—and then back again?
How might war and war-time theater offer a liminal space for explorations of transgender/sexuality?
How do voices of pacifism and reconciliation become transgressive during the climate of war?
How does the literal act of border crossing by combatants in times of war create opportunities for transcultural performance? How is artistic border crossing made suspect by war?
How do translations or transmissions of war-time texts operate as propaganda, modes of resistance, or documents of “truth-telling”?
The goal of the working group is to form a community of scholars and practitioners invested in this unifying theme. Through two rounds of paper exchanges with small subgroups, each participant is offered the change to give and receive feedback and suggestions on the completed 15-20 page work. During the conference session, participants will caucus in groups over questions suggested by the convenors, before coming together for a discussion that will include all participants.
Images, video, music or other multimedia to accompany the papers are strongly encouraged, but the participant must be able share it with the group prior to the conference (i.e. via a website link or Dropbox). There will be no media provision in the conference session.
For any specific questions, please contact the working group convenors at DeAnna_Toten_Beard@baylor.edu and JLKubly@yahoo.com. Please note that all submissions must be received formally through the ASTR website, at http://www.astr.org/page/16_WGSubmissions. The form will allow you to indicate second and third -choice working groups if you wish; if you do so, note that there is a space for you to indicate how your work will fit into those groups. The deadline for receipt of working group proposals is 1 June 2016 and we anticipate that participants will be notified of their acceptance no later than 30 June. As this is the first year of this new process, please contact the conference organizers at firstname.lastname@example.org if you have any questions about the process.
The Conference and Organisation
The American Society for Theatre Research (ASTR) is a U.S.-based professional organization that fosters scholarship on worldwide theatre and performance, both historical and contemporary.
The 2016 Conference will be held November 3-6, 2016
Minneapolis Marriott City Center
30 S 7th St
Minneapolis, MN 55402