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Position at The University of Michigan

Posted By Martine K. Green-Rogers, SUNY New Paltz, Saturday, March 31, 2018

Post:    Assistant/Associate Professor in Theatre                     

            Theatre Studies

            Faculty Post Available September 2019

           

ABOUT THE SCHOOL OF MUSIC, THEATRE & DANCE.  As a comprehensive performing arts school set in one of the world’s finest public institutions of higher education, the School of Music, Theatre & Dance (SMTD) is deeply engaged in the creation, practice, scholarship, and pedagogy of music, theatre, and dance. We aim to provide leadership, nationally and internationally, in all three fields. We assert and celebrate the value of the arts to the mission of the University of Michigan. SMTD is strongly committed to diversity and inclusion as a means of achieving and sustaining excellence.

 

Duties: Teach history of theatre and historiography, dramatic literature and criticism on the undergraduate level. Participate in the development of a curriculum in dramaturgy, intercultural performance, social justice, race and gender, interdisciplinary studies and/or devising. Opportunities for teaching critical approaches to theatre curation and new play development. Maintain national professional profile. Participate in faculty governance, attend faculty and departmental meetings, and serve on faculty and University committees as appropriate.

 

Qualifications: Ph.D in Theatre, Performance Studies or a related field. Minimum four years teaching at the University level. A strong background in theatre history and theory, cultural studies, and one of the subjects mentioned under Duties. A willingness to collaborate on a team of faculty with varied approaches. Evidence of teaching experience and publication/scholarly work. Documentation of professional credits in one or more specific interests, on a national and/or international level.

 

Rank:   Assistant/Associate Professor, Tenure-track appointment

 

To Apply:  Email a letter of interest, curriculum vitae, including evidence of professional and teaching activity, and a list of at least five current references with contact information, by October 1, 2018 to: smtd-searchcommittee@umich.edu.  Please add “Theatre Studies” to the subject line of the email.

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Calling for Papers for 2018 ATHE Conference

Posted By Martine K. Green-Rogers, SUNY New Paltz, Monday, March 5, 2018

Hello Everyone, 

Do you have a dramaturgy related paper that you would like to present at ATHE? We have a panel that now has two open slots for the 2018 Conference. If you are interested in presenting, please contact me at martinekeigreen@gmail.com.

Best, 

Martine

 

 

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CALL FOR APPLICATIONS for ONLINE EDITOR for THEATRE TOPICS and THEATRE JOURNAL

Posted By Martine K. Green-Rogers, SUNY New Paltz, Monday, November 20, 2017

CALL FOR APPLICATIONS for ONLINE EDITOR for THEATRE TOPICS and THEATRE JOURNAL

The editorial staff of Theatre Topics and Theatre Journal is seeking a new Online Editor to serve a three-year term beginning August 2018.

The job entails the administration and editing of the websites for the two journals. https://www.jhuptheatre.org/

For Theatre Topics, this includes soliciting and editing peer-reviewed essays, Notes from the Field, and other materials.  For Theatre Journal, this may also include solicitation and editing and includes assisting the TJ Editors and authors with complementary materials for the website. For both journal websites, the Online Editor is responsible for corresponding with authors, planning, formatting, updating, and uploading materials to the website. Experience with Drupal or other website platforms will be helpful.

Theatre Topics is a peer-reviewed journal that publishes articles and essays exploring subjects at the intersection of theory and practice. Topics is published three times a year. 

Theatre Journal is a quarterly, peer-reviewed journal featuring contemporary and historical studies and theoretical inquiries that analyze theatre and performance.

Given the range spanned by articles appearing in the journals, there is no restriction on the editor’s own area of expertise.

To apply, please email: 1) a current CV, 2) a cover letter noting qualifications and a vision for the journal websites; and 3) the names and contact information for two recommenders to: Soyica Colbert, ATHE Vice President for Research and Publications, at sdc71@georgetown.edu . Complete applications are due by December 15, 2017.

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REMINDER: PROPOSALS DUE NOVEMBER 1ST

Posted By Martine K. Green-Rogers, SUNY New Paltz, Tuesday, October 24, 2017

Hello Everyone, 

This is a reminder that the proposals for ATHE’s 32nd Annual Conference in Boston, MA, August 1 - 5, 2018 are due by November 1st (8 days away!).  The conference theme is Theatres of Revolution: Performance, Pedagogy, and Protest.

Please use the brief guidelines and linked proposal forms here to apply by November 1, 2017 for:

  • Single Focus Group (FG) Concurrent Sessions
  • Multidisciplinary (MD) Concurrent Sessions (two sponsoring Focus Groups)
  • ATHE Committee Meetings
  • Pre-conference Events
  • ATHE Grants (including passes)

As a reminder, proposals will be reviewed and ranked by the Focus Group you indicate as a sponsor. If you are submitting a MD Session, please contact all of the Focus Group Reps that you want to co-sponsor the panel before submitting! A listing of all of the Focus Group Reps can be found here.  

Applications for ATHE Grants—Sessions (Passes, AV, Other), Debut Panel (Award, AV), and Pre-Conference—can be found at the end of the related proposal forms. 

For more detailed information please consult the Proposal FAQs and Grant FAQs. If you have any remaining questions, please contact me at greenm@newpaltz.edu.

I hope to see your faces at the conference next summer in Boston.

Best,

Martine Kei Green-Rogers

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Directing Focus Group Roundtable Is Looking For Dramaturgs

Posted By Martine K. Green-Rogers, SUNY New Paltz, Thursday, October 5, 2017

Hello Everyone,

Christina Barrigan is interested in putting together a roundtable with directors, designers, and dramaturgs about cultural appropriation on stage, particularly in academia. Anyone interested in participating in this roundtable should get in touch with Christina at christina.barrigan@cwu.edu.

Best,

Martine

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Submit Your Proposals for ATHE 2018

Posted By Martine K. Green-Rogers, SUNY New Paltz, Sunday, October 1, 2017
Updated: Sunday, October 1, 2017

Hello Everyone, 

This is a reminder that the proposals for ATHE’s 32nd Annual Conference in Boston, MA, August 1 - 5, 2018 are due by November 1st.  The conference theme is Theatres of Revolution: Performance, Pedagogy, and Protest. A link to the full theme statement can be found here

Please use the brief guidelines and linked proposal forms here to apply by November 1, 2017 for:

  • Single Focus Group (FG) Concurrent Sessions
  • Multidisciplinary (MD) Concurrent Sessions (two sponsoring Focus Groups)
  • ATHE Committee Meetings
  • Pre-conference Events
  • ATHE Grants (including passes)

As a reminder, proposals will be reviewed and ranked by the Focus Group you indicate as a sponsor. If you are submitting a MD Session, please contact all of the Focus Group Reps that you want to co-sponsor the panel before submitting! A listing of all of the Focus Group Reps can be found here.  

Applications for ATHE Grants—Sessions (Passes, AV, Other), Debut Panel (Award, AV), and Pre-Conference—can be found at the end of the related proposal forms. 

For more detailed information please consult the Proposal FAQs and Grant FAQs. If you have any remaining questions, please contact me at greenm@newpaltz.edu.

I hope to see your faces at the conference next summer in Boston.

Best,

Martine Kei Green-Rogers

 

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ATHE 2017 - Dramaturgies of the Las Vegas Experience Panel Recap

Posted By LaRonika Thomas, University of Maryland, College Park, Tuesday, September 26, 2017

This panel offered a buffet-style analysis of several Las Vegas attractions. Dan Smith explored Paris Las Vegas by discussing how this casino hotel provides a romantic experience of Paris through a pastiche of Paris architecture, while invoking the libertine aesthetics of Las Vegas. Sean Bartley discussed New York-New York as a metonym for New York City, noting the casino’s status as an impromptu memorial after 9/11 and the accidental choice of the Las Vegas version of the Statue of Liberty for a U.S. postage stamp. Quill Camp viewed the Fremont Street experience through the lens of Walter Benjamin, proposing it as a contemporary version of the Paris Arcades. LaRonika Thomas took a macrohistorical approach, exploring the relationship between water and labor in Las Vegas via Hoover Dam and the Venetian. She pointed out that the growth of Las Vegas due to Hoover Dam brought in workers whose preferred entertainment consisted of gambling and showgirls, and that these entertainments have become the economic drivers of the city. Karen Jean Martinson’s presentation on the Neon Museum and Boneyard focused on questions of desire and the playful curatorial strategies of this attraction’s guided tour. Ann Folino White examined Circus Circus as a relic of a bygone era, critiquing its status as a family-friendly casino.

 

A lively discussion raised various points of comparison, from the spirit of play to the specter of obsolescence. Because each of the presentations focused on sites of inquiry that were easily recognizable tourist destinations, audience members held common ground with the presenters, many prefacing their comments and questions with observations culled from their own engagements with these and other Las Vegas sites. In this, the panel modelled a key function of dramaturgical practice. Dramaturgs conduct rigorous research and analysis, contextualizing theatrical texts theoretically, politically, culturally, and historically. They then bridge this research to their various audiences (through actor’s packets, dramaturgical essays, lobby displays, etc.), crafting a shared knowledge base that raises the level of discourse for all. By turning their well-trained eyes to the sites of Las Vegas, the dramaturgs of this panel combined intellectual and experiential approaches to Las Vegas attractions to engender a rich dialogue with the audience, built upon the theoretical frameworks they provided. 

 Attached Thumbnails:

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ATHE Proposals Due 11/1

Posted By Martine K. Green-Rogers, SUNY New Paltz, Tuesday, September 5, 2017
Updated: Tuesday, September 5, 2017
Theatres of Revolution: Performance, Pedagogy, and Protest 

The 2018 ATHE Conference focusses on revolution, resistance, and protest, and the multiple ways these ideas—and the actions that spring from them—impact theatre in higher education. Drawing on the city of Boston for its historical significance in the American Revolution, and as a site of both academic excellence and artistic innovation, we aim to explore revolutions at the multiple intersections of politics, theatre education, and professional practice. 

Revolution and resistance are tools employed to combat injustice and inequality. However, these tools can be used to effect change in any direction, to create more open and equitable societies, or less. In the 2016 US presidential election and its wake, and heading into 2018 midterm elections, the concept of revolution has been used by both left and right. We will consider various meanings of revolution, in scholarship and performance as well as in our work as educators with students in the classroom, rehearsal hall, and in the larger context of college campuses. 
 
 
 
The conference theme invites examination of ways in which electoral representation resonates with theory and practice in theatre-making: How does representation in politics relate to equitable and fair casting and employment practices? How do changing practices require revolutions in production methods and pedagogies? How might theatre scholarship serve a meaningful public function, engaging with performances – both artistic and civic – that surround us? How might we create art that is aesthetically revolutionary and that activates audiences to make lasting social change? 

Boston’s history allows us to consider performance and revolution in uniquely complicated ways. Events of the American Revolution are memorialized throughout the city in museums and public monuments, many involving performed reenactments. The site of the Boston Tea Party, a protest by white men who masqueraded as Native Americans to resist “taxation without representation” by the British, is marked by a museum only a short distance from the conference hotel. However, other revolutions remain unmarked, such as the systematic and violent dispossession of the Wampanoag, Nipmuc, Massachusett and other nations of the Dawnland by European colonists. In contemporary US politics, the Tea Party has itself become a kind of costume for protest. Groups claiming its ethos arguably play with tropes of revolution alongside those of racial superiority, misogyny, and nativism. Consideration of how contemporary and historical enactments of US foundational stories perform race and gender, as well as erasure of the land’s history before colonization, raises complex questions concerning representation and revolution in this context. These questions resonate in turn with debates prompted by popular theatrical productions like Hamilton, which not only evidences revolutions in storytelling and casting practices, but famously inspired a twitter war between artists and politicians about the role of theatre as “safe space” or platform for protest. 

We see questions about safe space and protest rising on college campuses: demonstrations and counter-demonstrations by right and left, changing policies regarding academic freedom, the development of professor watch lists, conceal and carry laws, designation of sanctuary campuses, and the ongoing impact to students especially vulnerable under new policies, including undocumented and transgender students. These concerns intersect with urgent questions over funding for the arts and for higher education, the cost of education, and perpetuation of economic and institutional inequities on racial, ethnic, and gender lines. 

Join us in Boston in 2018 to explore the precarity and potency of theatre in higher education to protest oppression and advance revolutionary change. #athe2018

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Dramaturgs Night Out at ATHE 2017

Posted By LaRonika Thomas, University of Maryland, College Park, Friday, August 4, 2017

Please join us for Dramaturgs Night Out at ATHE 2017, to be held concurrently with ATHE After Dark, on Friday, August 4 in the Gallery Night Club, beginning at 9pm.  Find us inside the event for a special gathering of dramaturgs and the people who love them!  The event requires a ticket at 9pm and then is open to all beginning at 10pm.  Check your app or conference book for more information.

See you tonight!

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Seeking Conference Roommate

Posted By olga p. sanchez saltveit, Department of Theatre Arts, Thursday, July 27, 2017

Dear Friends,

My sincere apologies if this post is inappropriate ~ I didn't see another way to send a message to the group. 

My Planet Hollywood hotel roommate has had to back out (for medical reasons) from her attendance at the ATHE Conference in Las Vegas.

If you are still seeking accommodations please contact me, I am happy to share Thursday, Friday & Saturday nights' lodging.

Thank you,

Olga Sanchez Saltveit...
osanchez@uoregon.edu

Tags:  conference 2017  hotel  Planet Hollywood  share 

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