(Previous titles in the series: Nine Ways of Seeing a Body and Body and Performance)

edited by Sandra Reeve

I am editing an interdisciplinary collection of writings which seeks to articulate authors’ experiences of ‘the body and awareness‘ in movement, performance, walking art, dance and somatic practices. My aim is to present a grounded set of diverse approaches that can offer a wealth of insights, tools and open questions to each other, as well as to ignite a rigorous investigation of body and awareness by practitioners and students of dance, performance, walking and movement studies, somatics and the arts therapies. I hope that by seeking simplicity and succinctness, this collection may also be of value to a wider public without compromising the complexity of ideas.

Within the context of this collection, each chapter will include its own definition of ‘awareness’ and present key elements of how that awareness (or the conditions to support that awareness) are identified/recognised, cultivated and engaged with and through practice.

Body awareness may be taken broadly to mean ‘the capacity to experience internal states and external events through sensory perception’. As well as the traditional five senses: sight, hearing, taste, smell and touch, I include balance, pressure and temperature, the kinaesthetic sense and synaesthesia within my definition of sensory perception. You may include others depending on the sources of your practice – for example, manas, the sixth sense of ‘mind’ in Buddhist teachings, with ideas as mental sense-objects.

I have selected the term ‘awareness’ in an attempt to include mindful, martial, shamanic, meditative, ecological and systemic approaches, each to be defined explicitly by each author.

Proposals should follow the basic ‘praxis’ format of the first two collections: an individual or group ‘case study’ which is either the origin of your response to the title Body and Awareness and to your chapter or which illuminates and gives body to your understanding through practice.

If you are interested in contributing, please send a provisional chapter title, and a short abstract with attached bibliography indicating your selected approach and the key points which you would like to share with your readers.

The series as a whole is designed as a guide and stimulus for teachers, students and practitioners of dance, performance, walking art and movement studies, somatics and the other arts therapies where a relatively ‘brief’ view of different approaches to the body can be useful. Please take a further look at Nine Ways of Seeing a Body (which offers a historical perspective on different key approaches to the body over time), or Body and Performance (which brings together a wide range of contemporary approaches to the body that are being used by performers or in the context of performance training) to get a feeling for the style of this series.

Final submission is envisaged as succinct – 2,500-3,500 words.

Deadline for proposals: June 1, 2018

Deadline for submissions: Feb 1, 2019

Publication date: (to be confirmed): September 20 2019

Submissions and queries to: sandra@moveintolife.co.uk

An international conference and exhibition

12^th – 14^th September 2018

University of Surrey 

Theme: ‘Costume Ethics’

Deadline: 16th May 2018

criticalcostume.com

There is something risky about costume. Acts of costuming can render bodies as highly visible, yet discourses of ‘the body’ all too often assign this distinctive agency to acting or systems of social aesthetics that collapse ‘self’ into appearance. The risky act of costuming is magnified when considering how costume performs notions of gender, race, national and cultural identity as well as how costume authorship is attributed. From conception to reception, costume has the potential to complicate political, moral, and aesthetic systems that flatten costumes into bodies and bodies into costumes. Whether acts of cultural appropriation or the apparent invisibility of costume designers and makers within the analysis of bodily art practices, the intersection between ethical relativism and the potential for costume to claim bodies – to (dis)empower, enact politics, or be risky – exposes the critical territory and social paradoxes that acts of costuming negotiate.

For Critical Costume 2018, we ask what are the principal opportunities and challenges that the provocation(s) of ‘costume ethics’ poses to designers, artists, and scholars. We approach the peculiarity of costume as a liminal method of appearance that is consciously designed and performed. Yet, this same transitional state can partition costume as unstable (when compared to normative orders of bodily representation) that highlights an innate ‘risk’ inherent within the design, construction and wearing of costume. Consequently, we invite contributions that debate the permissibility, authorship, or risk of costume and costuming.

Accepted contributions will be considered for publication following the model established at previous Critical Costume events: for examples see criticalcostume.com/publications.html

Potential topics include (but are not restricted to):

Costume censorship: ownership and the collaborative processes of costume design; makers of costume and systems of recognition; anti-theatricality and costume, interdisciplinarity and the (in)visibility of costume.

Risky costumes: protesting through costume; danger and costuming; social norms and costumed-participation; violence and costume; live art and costuming; the agency of costume in performance on stage, screen and street.

Costuming as an (un)ethical act: Ethical models of costume construction and design; sustainability and costume; cultural appropriation and costuming; representation and costumed-bodies; morality and costume.

Queering costume: Queering as a critical methodology for costume theory; Queer theory and acts of costuming; queering bodies, costuming and gender(ed) performances; representations of queer bodies in performance and media; Queer practices of costuming; Queer cultures of costume.

Established in 2013, Critical Costume is an international research networked focused on the promotion of new costume scholarship and practice (see our website for details:  criticalcostume.com). At its heart is a commitment to costume as an interdisciplinary field of study that includes practitioners and academics from film and television, theatre and performance, dance and anthropology, along with cultural studies and fashion. In this regard, costume is approached as an inclusive umbrella for investigating contemporary and historical bodies caught in the act of appearance.

Submission Formats:

Critical Costume 2018 at the University of Surrey is a conference and exhibition that includes the following distinct presentation formats:

• an exhibition of artistic work and practice research;
• a conference comprised of academic presentations on current research;
• Flash Talks – short presentations by artists;
• Performances and installations;
• film and media screenings.

In that regard, we invite all interested parties to submit their proposals stating which presentation format you wish to be considered for:

• 20min paper presentation (title and 200-word abstract)
• Flash Talk presentations (title and 200-word summary)
• Exhibition or Installation work – physical or mediated object (title and 200-word description)

Note: We welcome applications to present in more than one format. The event language is English. All delegates attending this 3 day event in person will need to a pay registration fee, but significant discounts will be available for postgraduate researchers and independent artists. There will also be a 1 day registration option available.

How to submit:

Please send your title, 200 word abstract with 50 word biography for the 16th May 2018 to:cc2018@criticalcostume.com

Any questions or queries, please contact Rachel Hann as lead convenor for CC2018 at r.hann@gsa.surrey.ac.uk

https://www.mcf.gr/index.php/en/our-news/international-conference-laban-s-philosophy-and-theatre-practice

Post-doctoral Researcher Dr Kiki Selioni RCSSD, Labanarium and MCF have taken the initiative to organize a Labanarium event in Athens. The aim is to create an international event to meet colleagues, practitioners and researchers, to share experiences, knowledge and current research practices in the field of actor-training and performance practices.

Professor Mark Evans, (Coventry University) and Juliet Chambers-Coe, (GSA University of Surrey) are invited to be the Keynote speakers. Confirmed workshops at the event – Dr Kiki Selioni (Laban and Biophysical Acting: The British Acting School); Juliet Chambers-Coe and Dr Roanna Mitchell (Laban & Chekhov); Lars Henning (Laban and Malmgren method); Dr Katia Savrami (Laban and Greek Theatre/Chorus).

Laban, in his book The Mastery of Movement on the Stage (1950) writes:

“It is obvious that the artist’s procedure in observing movements and analysing and practically applying his knowledge differs in several respects from that of the scientist. But a synthesis of scientific and artistic movement observation is highly desirable, for otherwise the movement-research of the artist is likely to become as specialised in one direction as that of the scientist in the other. Balanced effort can be created at both cases, but only when the scientist leans from the artist how to acquire the necessary sensitivity to the significance of movement, and when the artist learns from the scientist how to bring into his own visionary awareness of its inner meaning” Laban (1950: 107).

The connection between science and art is an issue that is stemming from the ancient Greek philosophy when art is considered to be a science; Poetic science. Poetic sciences which are the ‘know how’ in all professions that have to do with productive creation. This productive creation is completed in the product. What are examined are only the product and the way of its production (Aristotle 1993: 32). Tekhnê belongs to Poetic sciences since for ancient Greeks tekhnê is not an artistic creation, but technical skill. It has to do with certain dexterities which bear scientific validity and are based on knowledge. Aristotle believed that if an artist wishes to create a work of art, he should collect all available material on the subject and present them in a specific form. Thus, he starts from his general procedure when he examines a phenomenon; he first examines the reasons that produce a result. However, Aristotle considered that it was more important to conceive a specific form than to actually create it. He was mainly concerned with the katholou (Universal) and believed that in art the Universal is the act of becoming and the productive process that transubstantiates the informal into formal. Tekhnê, as science must be understood as based solidly on reason and therefore, it is necessary to possess knowledge of the use of its materials. According to Aristotle, the artist should not act through his uncontrolled inspiration or esoteric impulse. On the contrary, he should introduce order and objective laws creating a world per se.

 As the basis for every science is logic and not an emotional state the question in the contemporary approach to actor training is in what way Laban’s words could be understood since the human being is considered as a complicated entity with all his aspects (physical, emotional, intellectual, and spiritual)?

Call for Papers

You are welcome to send your abstract of 100 words for you oral presentation including title, institutional affiliation, and email address. In a word doc form to kiki.selioni@rcssd.ac.uk by 30^th April 2018.

The themes are, but not limited to:

Knowledge and intuition in the creation of the character

• Logic and emotion in acting
• Embodiment/kinesthetic awareness for acting training.
• Artistic creation and directing
• Technique and talent in acting
• Method and Methodology in acting
• Metaphysic and Characterization
• Acting on Screen

Paper Submission Due: 30 April 2018

Acceptance Notification: 20 May 2018

Conference Dates: 16,17,18 July 2018

The Presentation of accepted papers will be held on 16^th of July

Registration fees for presentations: 120 €

Attendants fees: 70 €

Student & unwaged fees: 50 €

Workshops will be held on 17^th and 18^th July:

Timetable:

Tuesday 17^th July:

12.00-15.00 Juliet Chambers-Coe and Dr Roanna Mitchell (Laban & Chekhov)

16.00-19.00 Dr Kiki Selioni (Laban and Biophysical Acting: The British Acting School)

Wednesday 18^th July:

 Lars Henning (Laban and Malmgren method )

 Dr Katia Savrami (Laban and Greek Theatre/Chorus).

The workshops will have limited participants, up to 20. Attendants: up to 5

Workshops fee: 200 €

Attendant fee: 70 €

https://www.mcf.gr/index.php/en/

https://www.cssd.ac.uk/

https://www.labanarium.com/

https://www.cssd.ac.uk/staff/dr-kiki-selioni-ba-ma-phd

Theatre, Performance and Philosophy Working Group: Call for contributions

Dialectics of dread and refuge

In A Grammar of the Multitude, Paolo Virno asks how we might overcome the twenty-first century’s crises of politics, the systematic paralysis into which political action is continually falling. He also asks how we might find refuge in a world characterized by ubiquitous fear, by the experience of ‘not feeling at home.’ What might strategies of unconditional refuge be in the face of failing security? What are the choreopolitical paths of disobedience? Virno points towards defection as a modality of disobedience that ‘alters the rules of the game and throws the adversary off balance’: ‘Nothing is less passive than the act of fleeing, of exiting. Defection modifies the conditions within which the struggle takes place, rather than presupposing those conditions to be an unalterable horizon […]. In short, exit consists of unrestrained invention.’ (Virno 2004, 70) But what has to be constituted – or reconstituted – is the subject who is fleeing, exiting; to find strength and solidarity in this radical act. To find – perhaps to make – in this action another home. In short, to articulate ways of being away from anxiety and fear – what Kant in his thinking described as Furcht. Virno draws on Kant (see esp. Critique of Judgment) in discussing the dialectic of dread and refuge: ‘Where is it that one can find unconditional refuge? Kant answers: in the moral “I,” since it is precisely there that one finds something of the non-contingent, of the realm above the mundane.’ (Virno 2004, 31) Virno discriminates between the Kantian view of the dialectic of dread and refuge, which is based on a distinction between particular danger and absolute danger (also articulated by Heidegger through the distinction between fear  and anguish) and the collapse of this distinction in the post-Fordist world, in which ‘the dividing line between fear and anguish, between relative dread and absolute dread, is precisely what has failed.’ (Virno 2004, 32) If post-Fordist institutions rely on a culture of pervasive dread – manifest as fear and anxiety – how do we resist this nearly intangible culture today? Arguably, we are moving beyond the sort of entrenched paralysis Virno speaks of, towards a new sort of political breakthrough, a manner of imagining life not determined by institutional cultures of fear and anxiety. Yet much thinking needs still to be done around the ways in which we engage in concerted resistance: do we fight within institutional walls – and if so, how do we resist systems of perpetual visibilisation – the gaze of securitization that renders us so exposed? What does this fight look like? Do we exit – and if so, where to? Is there a new underground?

The TaPRA Theatre, Performance and Philosophy Working Group invites 20-minute papers, curated panels, workshops, performances and other forms of intervention in response to some of these questions. Topics which might be covered include, but are not limited to:

• Dramaturgies of appearance and disappearance
• Flight, escape, exit
• Undergrounds and undercommons
• Institutions, ‘homes’ and politics of control and of care
• Dread, fear, anxiety and anguish
• Solidarity, refuge
• Choreographies and choreopolitics of migration
• Theatres of stasis and movement
• Dialectics and cultures of resistance
• Exposure and enclosure
• Disobedience, disavowal, dissent
• Languages of kinship: sisterhood and the gendering of revolt
• Divide and rule: politics of segregation
• Borders, walls, bridges and tunnels
• Compounds, asylums, pastures and fields: dramaturgies and dramas of ‘freedom’

Please email all abstracts (no more than 300 words in length), an additional few sentences of biographical information and precise details of the audio-visual technology you will need to make your presentation to Kélina Gotman (kelina.gotman@kcl.ac.uk), Daniela Perazzo Domm (D.Perazzodomm@kingston.ac.uk) and Fred Dalmasso (f.t.j.dalmasso@lboro.ac.uk).

The deadline for the submission of proposals is Friday 20 April 2018.

 TaPRA supports and encourages postgraduate students, unaffiliated early career researchers and independent artists to attend this event. Two bursary schemes are available which provide a conference fee waiver to a limited number of successful applicants. For further details see here: http://tapra.org/bursaries/

Please indicate in your application if you are eligible and wish to be considered for either scheme.

Please note: Only one proposal may be submitted for the TaPRA 2018 Conference. It is not permitted to submit multiple proposals or submit the same proposal to several Calls for Papers. All presenters must be TaPRA members, i.e. registered for the conference; this includes presentations given by Skype or other media broadcast even where the presenter may not physically attend the conference venue.

]]> 3992 https://dancehe.org.uk/archives/3990 Sun, 08 Apr 2018 08:39:59 +0000 https://dancehe.org.uk/?p=3990 “Shadows of the Dawn:  Migration
and the Indeterminacy  of Community & Immunity”

18 april and 13 june 2018

Artaud Performance Center-  Brunel University London   / supported by the  Institute of Environment, Health and Societies  / Arts & Humanities

How do we confront a transcultural survival politics and better understanding of migration and hospitality? The aim of these two workshops is to incite debate and practical knowledge exchange between fields  – theatre, social works, education, human geography, political science, ethnography, media arts – on pressing questions regarding notions of “imagined communities” during the current resurgence of ethno-nationalism, exemplified by xenophobic hostilities, divergent responses to the so-called refugee crisis, Britain voting to leave the European Union, the election of Donald Trump, the rise of right wing populism on the European continent. During the symposia-workshops, participants will consider interlinked focal points that deal with community and immunity.

•       Natural History of Migration/Immunity and Biopolitics
•       Racism and Patriotism / Institutional and Systemic Sexual Violence
•      Security, Nationness, Ethno-futurism, and the Theatre of Resistance

The planned activities include scholarly presentations/shorter provocations, workshops and practice-based performances or fieldwork demonstration/film to be presented over the two symposia in April and June 2018. Format and compositional method of the Series are intended to be open and innovative as well: curatorial propositions will be solicited from invited guests and volunteer participants.

[1] Wednesday April 18  /  Wednesday  June 13        2:00 PM – 9:oo PM

14:oo  Welcome  Johannes Birringer & Maria Kastrinou

14:15 – 16:oo   Workshop 1
Yohai Hakak,  Emma Wainwright, Anne Chappell

16;15 – 18:15   Workshop 2
Goran Sergej Pristaš, Tomislav Medak, Daniele Rugo

18:45 – 21:oo   Workshop 3
conducted by Iraqi Bodies
Rite of Exile by Iraqi Bodies, directed by Anmar Taha and Josephine Gray*
*Iraqi Bodies’ visit is supported by the Swedish Arts Grants Committee

[2]  Symposium 2 –  June 13, 2018

14:oo  Welcome         Johannes Birringer & Maria Kastrinou

14:15 – 16:oo   Workshop 1
Mark Neocleous,  Joanna Zylinska,  Fuad Marei

1615 – 18:15   Workshop 2
Maria Kastrinou, Adam Ramadan, Effi Plexousaki  and Mariza Dima

18:45 – 21:oo   Workshop 3
conducted with Caridad Svich,  Fereshteh Vaziri Nasab
Nilofaar Bijanzadeh, Taghrid Choucair-Vizoso & Johannes Birringer

Film:  Olga Danylyuk:  Letters to the Unknown Friend from New York
Interactive SoundArt Performance: Lambros Pigounis: Sacrificial Mirror

ALL WELCOME   /  contact:
Performance Research Coordinator:  Johannes.Birringer@brunel.ac.uk

https://nomadit.co.uk/asa/asa2018/conferencesuite.php/panels/6852

They are looking for a range of submissions and angles, so your work does not necessarily have to be based in anthropology.

Centre for Performance Philosophy, PATS, University of Surrey

April 19^th 2018

Registration Now Open

Booking: http://gsauk.org/events/research/diaspora-and-embodiment-hope

The Centre of Performance Philosophy present a half-day Symposium exploring and interrogating a diverse range of dance practices and other modes of embodied resilience in response to Western modernity and globalization. Key themes that will be discussed address the following topics:

• What is the potential of performance to build sustainable futures?
• Can we extend models from somatic movement into a global politics of resilience?
• What are the moral and ethical practices underpinning sustainability in the context of community work, arts therapy and well-being?

Event Programme

1-pm              Registration

1:30pm         Welcome & Introduction (L Cull/ S Sorgel)

2pm               Keynote Lecture

Prof Christopher Balme (LMU Munich): Dancing on the Bandmann Circuit: Brokering Dancers between East and West

Response: S. Sorgel

3-4pm:          Paper Presentations (Chair: H McClure)

Luciana da Costa Dias: STAGING ANTROPOPHAGY: Avant-Garde Movements and Post-Colonialism In the work of Teatro Oficina

Adriana Pegorer: Contact Tango: finding a sustainable practice

4-4:30pm     Coffee Break

4:30pm-6pm: Practice Workshops/ Performance Lectures (Chair: S Sorgel)

Sandra Golding: PERFORMING SANKOFA

Debbie Fionn Barr/ Vidya Thirunarayan: Individualising Cultural Knowledge in Clay Body Sites

6-7:15pm: Dinner Break (Wates Pub)

7:30-8:30pm: Evening Performance Programme (with post-show Q&A)

       Stella Uppal Subbiah: UYIR in Unarvu

       Francis Angol/ Movement Angol: Shift – Voicing Presence

Diaspora & Embodiments of Hope: Performances of Spirit & Sustainability is the third and final event in the ‘Performance Philosophy and Spirituality’ series hosted by the Centre for Performance Philosophy at the University of Surrey.

SUBJECT DESCRIPTION:

 Community performance and gestures of migration

The Performance Laboratory is developing a performance as research (PAR) platform intersecting situated gestures and transnational movement patterns in geography and dance. The PhD subject: Community performance and gestures of migration looks at the ways in which the personal practices of movements (gestures) and the collective patterns (choreography) (Schiller & Rubidge 2014) are coupled through the movement of people across borders (Amilhat Szary & Giraut 2015).

On one hand, in geography, many projects focusing on international migration today highlight the present day “crisis” and less the transgenerational heritage through gesture and embodied memory. On the other, in dance, gestural literacy has focused on situated gestures and less on transnational migration of gestural repertoires.

The geographers and choreographers working on this project question the ways in which the migration of gestures can be explored through corporeal narratives and embodied memory as well as gestural repertoires across time and place. As such the project aims to produce new community driven choreographic cartographies.

OBJECTIVES

The project will concentrate on questioning the existence of specific gestural repertoires linked to the memory of past mobilities with a specific attention dedicated to the experiential of international migration. Bodily movements are effort-felt repertoires of repeated, situated and inherited actions which we carry with, through and across our bodies and borders. This project aims to provide alternative embodied ‘readings’ of transnational qualitative repertoire which often falls of the map so to speak.

The candidate will work closely with researchers in the Performance laboratory as well as artistic choreographic professionals. Within this interdisciplinary context the candidate will develop a practice based project site-sensitive project to be deployed within a specific community in the Grenoble urban area.

ELIGIBILITY CRITERIA

The candidate will be chosen based on her/his ability to cross fertilize the disciplines of dance and geography and her/his creative proposal of practice-based or practice led approaches.

He/She must hold a Master’s degree (or be about to earn one) or have a university degree equivalent to a European Master’s (5-year duration),

Be bilingual (French and English).

Applicants will have to send an application letter in English and attach:

– Their last diploma

– Their CV

– A short presentation of their scientific project (2 to 3 pages max)

– Letters of recommendation are welcome.

Address to send their application: Gretchen.schiller@univ-grenoble-alpes.fr

anne-laure.amilhat@univ-grenoble-alpes.fr

SELECTION PROCESS

Application deadline: May 15th  2018 at 17:00 (CET)

Applications will be evaluated through a three-step process:

1. Eligibility check of applications in May 17th 2018
2. 1st round of selection: the applications will be evaluated by a Review Board and results will be May 25th.
3. 2nd round of selection: shortlisted candidates will be invited for an interview session in Grenoble as of May 31^st 2018. (if necessary) Results during the month of June.

TYPE of CONTRACT: temporary-3 years of doctoral contract

JOB STATUS: Full time

HOURS PER WEEK: 35

OFFER STARTING DATE:  October 1 2018

Salary: between 1768.55 € and 2100 € (gross) per month (depending on complementary activity or not)

Loughborough University London, Queen Elizabeth Olympic Park

9 June 2018 

The language of ‘outreach’ shapes conversation on university and artistic life, from ‘strategic visions’ to arts council applications. But what does it mean to reach out? What is the discourse on outreach as a gesture – an act and effect?

In On Being Included, Sarah Ahmed argues that institutional commitments to diversity may be considered “non-performatives”: “they do not bring into effect that which they name” (2012, 119). Institutions run diversity workshops and committees, outreach programmes and ‘participatory’ or ‘inclusive’ agendas, but where does the gesture stop, and where does it begin? How may we understand the choreography and the dramaturgy of institutional outreaching? How can we begin to detour this language so as to rethink the role of the university – and of artistic practice – in public life today? Does the university have a role to play in public life, and what might that be? Does this equate with ‘outreach’? What is the relationship between artistic practice and what may be termed ‘creative research’? 

In this day-long workshop, situated at the Olympic site of the University of Loughborough – a location like many in the ‘expanded university’ today concerned with reaching out to the ‘local community’ – the TaPRA Theatre, Performance and Philosophy working group aims to think together about choreo-geography, gesture, site, institutional politics, affect and the never-ending labour of reaching: we will ask, what does it mean to imagine a cultural and intellectual sphere from which reaching takes place, but yet which, it seems, is never imagined to be reached towards? What colonial or imperial legacy suggests that intellectual life has for its role to bring knowledge out towards others? What might we learn from being touched in our work by those whose knowledges may not be institutionally recognised? And finally, what might be involved in thinking cultures of proximity, displacement, and spostamento – or centripetal and centrifugal displacement, reciprocal displacement, displacement that comes back to haunt one? How are we implicated in cultivating intellectual and creative spaces and ties that fail again and again to bind, to shift, or perhaps at this stage in the public life of universities – entering full throttle into a wholesale culture of privatization – to query the form of these structures of ‘outreach’ for those whose lives we are meant, in the final analysis, to ‘transform’? If public impact is meant to ‘change’ those our work comes into contact with, how do we analyse and eventually reclaim the dance, the theatre – the dramaturgy – of this contact and this encounter? 

 
The event aims to engage participants in roundtables and curated discussions at the intersection of philosophy and practice. We are calling for reflections and provocations centred (or decentred) on the following themes in relation with theatre and performance: 

• Practices of reaching, discourses of outreach
• Dissociation, displacement and decentring
• Dramaturgies and choreographies of distance and proximity
• Aporetic and porous spaces of co-habitation
• Institutional choreopolitics
• Decreation and deproduction; alternative models of capitalism, work and theatricality
• Gesture, ‘community’ and constitutive alterity
• Discourses and practices of political and institutional ‘change’
• Cultures and pedagogies of the sited university
• Performative (or ‘non-performative’) languages of business, enterprise, innovation and affiliation

We invite researchers, practitioners and performance curators to submit expressions of interest in the form of proposals for position papers, curated discussions, seminars/reading groups, workshops or performative interventions. 

Postgraduate students, unaffiliated/casualised academics and independent practitioners are especially encouraged to apply, and four travel bursaries of £80 each will be made available (please indicate if you are eligible on your application).

Lunch and refreshments are included.

Please send 250-word proposals and a short bio to Fred Dalmasso (F.T.J.Dalmasso@lboro.ac.uk), Kélina Gotman (kelina.gotman@kcl.ac.uk) and Daniela Perazzo Domm (D.Perazzodomm@kingston.ac.uk) by 20 April 2018. Participant will be notified by 4 May 2018.

The cost of this workshop is £10 (free for postgraduate students, unaffiliated/casualised academics). Participants who are not current members of the Theatre and Performance Research Association will also be required to pay a discounted membership fee of £10.