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LMDA - Early Career Residency Grant (OPPORTUNITY)

Posted By Martine K. Green-Rogers, SUNY New Paltz, Thursday, July 12, 2018

Please apply and share! Apologies for any cross-posting madness! Best, Martine

 

The ECD Residency Grant

The formerly known Residency Grant has returned from its vacation with a new look. This is an opportunity now for an artist or dramaturg, who self-identifies as being early in their career, to assist a mentor dramaturg in a professional setting. The applicant is expected to partner with an organization of their choice to serve on a theatrical production. The Early Career Dramaturgical Residency Grant opens itself to anyone regardless of age, education, social location, experience, background, and career goals. This opportunity values the applicant’s aspirations to grow and their dreams to give back. 

There is no application fee. Candidates will be evaluated through an anonymous application process. Applications will be accepted from July 1, 2018 12:00 AM through August 15, 2018 11:59 PM PST. All applicants will be notified of the panel decision and the winner will be notified by October 1, 2018. Feedback will be provided on your application, regardless of the outcome!

Grant Amount: $1,500 to support your time, transportation, and service to the production 

Proposal Prompts:

 

      Why this organization (up to 200 words)?

      Why this play and/or why this dramaturg (up to 200 words)? 

     Describe the time frame for your collaboration, including pre-production, rehearsal, and post-production (up to 200 words). 

     How do you identify yourself as early in your career (up to 200 words)?

     What are your larger career goals (up to 200 words)? 

     Please attach a signed Letter of Intent from a representative of the partnering organization to demonstrate how they’ll welcome you in and illustrate their expectations (one page).

 

 

Application Guidelines 

1. For the purposes of this application, if you self-identify as a dramaturg, you are a dramaturg. If you come from a culture that does not view dramaturgy as separate from other parts of the creative process, or does not have a word for dramaturgy, feel free to contact us at awards@lmda.org to have a conversation about how you and everyone around you commits acts of dramaturgy.

2. Only one application per person.

3. Although we welcome applicants from anywhere in the world, currently we can only process an application in English. If you know another language, we are growing towards a system in which we can accept applications not in English, and we look forward to your application in the future.     

4. You have up to 200 words to answer each question. There will be equal consideration for what and how you write, therefore feel free to be yourself. Within the previously stated boundaries, say as much or as little as you need to be clear.

5. At this time, we do not have the capability to review secondary materials such as videos or slideshows. Although their inclusion will not disqualify an application, they will not be reviewed. No letters of reference are needed - nor will they be read if sent. 

6. Please be honest in your identification as early-career. We hold an inclusive space for individuals who present themselves as such, and trust each applicant to sincerely share their history. 

7. Send in two files in PDF form to awards@lmda.org, one with your anonymous grant proposal and another with your contact information. You may reference the partnering organization and your identities freely, only please keep your name hidden in your proposal. Please name the files “ECD RG Proposal” and “ECD Contact”. 

8. Your proposal must be for the residency to take place between January 1st and December 31st 2019. However, if your partnership begins slightly before or after those dates, we can accommodate.

9. We’ll hope to see a weekly page report during your production’s rehearsal process on how you’re growing.

10. The grant recipient is required to sit on the next year’s adjudication panel.

If you have any further questions, feel free to contact Bernardo Mazón Daher, VP of Grants and Awards, at awards@lmda.org

If you don't receive an acknowledgement of your application within 48 hours, please contact lmdanyc@gmail.com.

We look forward to your application!

 

Contact Information Form:

 

1. ORGANIZATION INFORMATION

 

Name of Organization:  ___________                                                                            

Mailing Address:____________________________   ______________________          

Phone:  ______________  Web Site:  _______________    

Representative Contact & Title 

______________________________                                                                                        

Contact Phone:  ___________                 Email:  ____________________                         

Organization’s Mission Statement:  

                                                                        

 

2. DRAMATURG INFORMATION

Please also attach a current bio or résumé. We will not discriminate based on experience or lack thereof.

 

Name of Dramaturg: ___________                                                                                            

Phone: ______________                          Email:  __________________                 

LMDA Member Status: ___________    

 

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LMDA - 2019 Elliott Hayes Award

Posted By Martine K. Green-Rogers, SUNY New Paltz, Thursday, July 12, 2018

Please apply and share! Apologies for any cross-posting madness! Best, Martine

Welcome to the 2019 Elliott Hayes Award, from LMDA VP of Grants and Awards, Bernardo Mazón Daher!

Application Information 

Named in honor of Elliott Hayes, the former dramaturg and literary manager at The Stratford Festival and a dual citizen of Canada and the USA, this award recognizes excellence in dramaturgical work on a specific project over the past two years. Eligible projects may include, but are not limited to, production, season planning and implementation, educational programming, or advocacy for the profession.

The recipient of the 2019 Elliott Hayes Award, presented at the annual LMDA conference, will receive $1000 US and a travel stipend to the following LMDA conference. 

There is no application fee. Applications will be evaluated through an anonymous application process. The application is open to all.

Applications will be accepted from August 15 at 12:00 AM PST through October 1st 2018 at 11:59 PM PST. All applicants will be notified of the panel decision and the winner will be notified by November 15, 2018. However, the public announcement will be kept private until the presentation of the award at the LMDA Conference in Summer 2019.

Application Guidelines 

1. For the purposes of this application, if you self-identify as a dramaturg, you are a dramaturg. If you come from a culture that does not view dramaturgy as separate from other parts of the creative process, or does not have a word for dramaturgy, and you feel your work fits within the rubric above, please contact me at awards@lmda.org to speak further.

2. All applications must meet the above-mentioned standards for eligibility.

3. Only one application per person.

4. Although we welcome applicants from anywhere in the world, the application must be in English.

5. The application must be a minimum of 500 and a maximum of 4000 words. The will be no reward for brevity nor punishment for length. Within the already stated boundaries, the essay should be exactly as long as it takes for you to make a strong, clear, and cogent argument for the nomination you are putting forth.

6. At this time, we do not have the capability to review secondary materials such as videos or slideshows. Although their inclusion will not disqualify an application, they will not be reviewed. No letters of reference are needed - nor will they be read if sent. As well, please do not include a resume in your application, as we are concerned with only the strength of your proposal and what currently engages you, not your history.

7. In order to facilitate the anonymous application process, you must provide two separate documents in.doc or.docx format - the first discussing the work with no identifying information (including the name of the work, your name or the name of the person you are nominating, or the city, state or country in which the event took place. In other words, nothing can be included which is searchable on Google or any other search engine. The phrases "the work”, “the director”, and “the process” are all fine substitutes. The second document will include all of the identifying information not present in the first, including your name and contact info or the name and contact information of the person/work you are proposing. Your application will be reviewed by a panel of dramaturgs who represent the extraordinary talent and diversity found within our profession. As VP of Grants and Awards, I am the only person who will see the identifying information, and the panelists will not know the identity of the winner until after a decision has been reached.

8. Although you are welcome to propose the work of others, that other person must be known to you, you must have had a real-life interaction with said person, and you must be able to provide contact information for them.

9. Any project you propose cannot have been completed before July 1st, 2017. It is fine if the project is still underway. Ideally, it should be completed by December 31st 2018, though exceptions may be made for extraordinary work.

10. Each project may only be proposed once for the Elliott Hayes Award. While there is no limit to the number of years in a row one can apply (see note below), each year must feature a new project.

11. The winner of the award must appear at two conferences, either in person or virtually (using an application such as Skype.) The first appearance would be to accept the award, and the second to present it to the next year’s winner.

12. The winner of the Elliott Hayes Award is required to sit on the next year’s adjudication panel.

Note: If you have won or received a special commendation for the Elliott Hayes Award, you may not reapply for three years.

If you have any further questions, feel free to contact Bernardo Mazón Daher, VP of Grants and Awards, at awards@lmda.org

We look forward to your consideration!

To Submit:

Send your essay without identifying information in PDF formatper the instructions hereand a separate PDF with all of the identifying information outlined hereto awards@lmda.org.

If you don't receive an acknowledgement of your application within 48 hours, please contact lmdanyc@gmail.com.

PREVIOUS RECIPIENTS  

Previous recipients of the Elliott Hayes Award include:

2018 Magda Romanska; honorable mentions: Ness Roque and Kaite O’ Reilly

2017 Nandita Dinesh; honorable mentions: Nanako Nakajima and Hanna Slättne

2016 Sarah Garton Stanley

2015 Nakissa C. Etemad

2014 Ilana Brownstein

2013 Jimmy Noriega

2012 Douglas Langworthy

2011 D.J. Hopkins

2010 Robyn Quick

2009 Brian Quirt  

2008 Ilana Brownstein

2007 Edward Sobel

2006 Melinda C. Finberg and Amy Steele 

2005 Lee Devin

2004 Scott Horstein

2003 Brian Quirt, Mallory Catlett

2002 Megan Monaghan and Freddie Ashley

2001 Judith Rudakoff

2000 Rebecca Rugg, Lynn M. Thomson

1999 Michele Volansky, Lue Morgan Douthit

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Dramaturgical Request

Posted By Martine K. Green-Rogers, SUNY New Paltz, Wednesday, May 9, 2018

Hello Everyone,

Please share with your students, please. Also, let me know if you have any questions.

Have you always dreamed of appearing on stage in the Allen Elizabethan Theatre at OSF?? Now’s your chance! OSF’s summer 2018 production of The Book of Will is going to showcase videos of fans like you - you could appear virtually on the historic Elizabethan stage!
 
If you submit a video by May 13, 2018, and you are not a member of Actors’ Equity Association, your video will be eligible for inclusion a montage in The Book of Will! Post your video on own FB page – make sure to tag @BookofWillOSF and hashtag #BookofWillOSF so we are sure to see your submission.
 
IMPORTANT INFORMATION TO BE ELIGIBLE:
- You must not be a member of Actors' Equity Association.
- Videos must be 35 seconds to 2 minutes in length
- Make sure there's a minimum of ambient noise.
- Frame yourself from mid-chest up against a solid color background.
- For optimum sound quality, please place camera/phone within 3 feet of yourself.
- The text should be from one of the plays in the First Folio (https://en.wikipedia.org/wiki/First_Folio#Contents)
- Send us a link on youtube or vimeo (must be posted publicly with permission to download) by sharing it on OSF’s facebook page, posting it on this page, or posting it on your own facebook. **MAKE SURE YOU USE #BookofWillOSF and tag @BookofWillOSF so we can find your video!**
- By submitting  a video on social media or via email, and making your video link public, you grant OSF perpetual, irrevocable, and non-exclusive license to use, without payment of fee, royalty, or other compensation or consideration, your likeness and voice for any purpose connected to our stage production, including (but not limited to): use in live performances, use online for marketing and publicity purposes, and for education materials.

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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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Black Theatre Association CFP ATHE 2017

Posted By Nicole Hodges Persley, University of Kansas, Monday, September 19, 2016

BLACK THEATRE ASSOCIATION (BTA)

Spectacle: Balancing Education, Theory, and Praxis #ATHE2017OfBreadAndCircuses

Call for Papers

The Black Theatre Association (BTA), a Focus Group of the Association for Theatre in Higher Education (ATHE), invites original investigations and critical analysis of research and developments in Black theatre and performance for the Association for Theatre in Higher Education Conference in Las Vegas, Nevada, August 3-6, 2017. Papers may deal with any issue in Black theater and performance, criticism, theory, and performance and can engage any method of critical analysis, performance and/or production.

This year’s conference theme, “Spectacle: Balancing Education, Theory, and Praxis,” opens opportunities for scholars and artists to explore the intersectional possibilities of making and analyzing Black performance across theatrical genre, scale, and scope. Our host city is Las Vegas, Nevada, home to a rich and contested history of Black cultural production. From the “golden era” of Vegas performance that featured legendary performers Sammy Davis, Jr., Lena Horne, Louis Armstrong, Nat King Cole, Ella Fitzgerald, George Kirby, Barbara McNair, Josephine Baker, Dorothy Dandridge and The Nicholas Brothers to contemporary artists such as Lola Falana, Richard Pryor, Redd Foxx, Janet Jackson and Prince, Black artists helped build Las Vegas’ reputation as the world’s entertainment capital. Working to balance the theatricality and violence of racism with the practice of being Black entertainers in an industry that is historically committed to the perpetual practice of inequitable labor standards, Blacks not only contributed to the advancement of equal rights in entertainment, but they also directly shaped the foundations and equity standards of praxis in entertainment today. 

 

We are interested in panels that might address the following concepts and themes for ATHE 2017:

·      Acts, processes or products of education and praxis in black performance (i.e. Black acting training in vocal work, physical work, etc.)

·      Excavating lost histories of black performance

·      Politics of the Black body on stage

·      Spectacle in popular black performance

·      Revisionist concepts of education and theory

·      Abstract perceptions of praxis (i.e. making performance, improvisation , structures in television and film )

·      Bare life and Rage

·      Memory as Power, Agency and Identity

·      The Black body in dissent and excess

·      Spectacles of Black Suffering and Survival

·      Disposability

·      Virtuality and Liminality

·      Citizen/Non-Citizen subjects

·      Technical praxis in staging black spectacle

·      Dramaturgy as education and practice

·      Freedom and praxis

·      Translation of theater acting training to television and film

·      Spectacles of humanity and blackness

If you plan to do a co-sponsored panel with another ATHE Focus Group, you must contact the co-sponsoring subgroup Conference Planner first and receive a confirmation of co-sponsorship, otherwise you risk submitting a failed panel. Please locate conference planners here: http://www.athe.org/?Conference_Planners

 

Abstract Content

Please include paper title, author(s) name(s), status (faculty, graduate student, other/scholar-at-large), institutional affiliation(s), primary email contacts, and proposed panel title ( or paper if submitting individually) at the top of your abstract. Abstracts must present a clear argument and have an appropriate scope pertaining to the conference theme as it relates to Black performance. If you do not receive an e-mail confirmation from ATHE after submitting your paper/panel/roundtable submission, please contact the BTA Conference Planner, Dr. Nicole Hodges Persley at hodgespersley@ku.edu.

Those whose abstracts are accepted for presentation are expected to attend the conference and register as both ATHE member and conference participant. Due to the number of submissions, the adjudicators are unable to offer specific feedback on panels or abstracts. Please note that audio visual awards for the conference are limited. We highly recommend that you bring your own computer and a dongle.  We do not provide these devices.

Individual Papers and Panel Proposals

Papers should be no more than 15 minutes in length, be written for a conference presentation and be accessible to an interdisciplinary audience. Individual scholars and artists are invited to post a conference panel idea on our BTA(Black Theatre Association) Facebook page https://www.facebook.com/blacktheatreassociation to invite collaborations for a full panel proposal.  While individual papers will be considered, we strongly encourage you to organize full panel proposals and to reach out to Facebook and HNet to post your panel ideas to organize before you submit an individual panel proposal. We also strongly encourage co-sponsored panels with other ATHE subgroups such as ATDS, Performance Studies and Theater Criticism.

Pre-organized Panels

pre-organized panel should include three papers. Each paper should be 15 minutes in length. Panel proposals should include (1) a copy of each panelist’s 250-word abstract with paper title, author’s name, institutional affiliation, status, postal address and email address at the top left of the page and 2) a 50-word rationale that connects all of the papers thematically. Please indicate the session chair in your abstract. The panel organizer should compile the individual abstracts and the rationale before submitting the full panel proposal to ATHE by November 1, 2016.

pre-organized roundtable should include at least four participants. Roundtable proposals should include (1) a 50-word rationale for the roundtable topic and  (2) a list of each participant’s name and brief bio that offers clear evidence of each participant’s expertise in the topic area. The panel or roundtable organizer or panel chair should be noted in the abstract. The roundtable organizer should compile the roundtable rationale and all bios before submitting the full roundtable proposal to ATHE by November 1, 2016. The BTA Conference Planner will receive all submissions through the main ATHE portal and notify accepted participants. All individual papers, panels and/ or roundtables must be submitted through the main portal.

ATHE must receive all speaker application forms by 11:59 PM Central Standard Time on November 1, 2016. By submitting an application, you confirm that you will meet the deadlines below.

November 1, 2016

Deadline for submitting online speaker application form

February 1, 2017

Notification of speaker-panel-roundtable selection

May 15, 2017

Materials due to your Focus Group Conference Planner:

Finalized description of your session for the printed program (no more than 30 words)

Finalized title of your session

Finalized listing of session participants, paper titles, and institutions for the printed program

June 15, 2017

Speaker Conference Registration

Participants’ names and a description of your session will be included in materials promoting the conference, such as the conference website and brochure, and be given to attendees.

Conference Acceptance and Pre-registration

Submitters of abstracts will be notified by email on or before February 1, 2017 as to the BTA board’s decision regarding their abstracts. Those submitters whose proposed papers/panels are accepted for presentation will be asked to prepare full papers, suitable for 15-minute readings, for delivery at the conference. Roundtable participants will be expected to present an organized and thoughtful discussion. Those whose papers/panels are accepted are expected to attend the conference. Accepted presenters are required to pre-register as both ATHE member and conference participant. If you do not register, you cannot present at the conference.  In other words, your participation in the conference is contingent on registration.  Those who disregard this requirement may risk future participation in BTA panels. 

How to Affiliate with BTA

The BTA Focus Group page is located at www.athe.org.  Once you join ATHE, you can log in to join the BTA forum/group page. Go to the ATHE homepage www.athe.org    Select the “Groups” tab. Scroll down and select BTA (Black Theatre Association) in the appropriate letter grouping section. Select “Join Group.” Upon completion of these steps, you should be connected to the Black Theatre Association.

 

 Attached Files:

Tags:  Please repost the CFP for BTA @ ATHE 2017 in your  

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New email list

Posted By Jonathan Shandell, Arcadia University, Sunday, July 17, 2016

Our new email list is now up and running. If you had "joined" BTA's page on ATHE's website, you should have already gotten a message about it. If you're not connected to the new email list and you wish to be, just send an email to subscribe+bta-list@athe.org.

You can also visit and join the group online here: https://groups.google.com/a/athe.org/d/forum/bta-list 

Any questions? Email shandelj@arcadia.edu.



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BTA preconference - registration information

Posted By Jonathan Shandell, Arcadia University, Friday, May 20, 2016
Dear BTA members:

With the academic year concluded, we’re looking eagerly ahead to August, when the Black Theatre Network (BTN) and ATHE will converge in Chicago for both organization’s annual conferences. Taking advantage of that convergence, BTA’s biannual pre-conference will coincide with the final day of BTN’s regular conference proceedings. It will be a wonderful opportunity to strengthen the ties between BTA and BTN, and to join together for meaningful conversations about black theatre and about how the two organizations can serve our field more effectively (both jointly and separately) in the future. We are busy planning sessions for that day (more information coming soon), and we hope you can join us for this exciting event!

With registration for both annual conferences now open, I’m writing with more detailed information about how to register for the events.

* To register for the Black Theatre Network’s 2016 conference, which runs from August 7-10th, please visit this link:http://www.blacktheatrenetwork.org/Events/index.php/conference-registration
To participate in BTA’s pre-conference on August 10th, you must register for BTN’s conference, either for the entire conference ($225 early bird rate), or for a one-day registration for August 10th ($100 day rate). We hope you’ll register for the full BTN conference and extend your participation beyond just the day of BTA’s pre-conference.

* To register for ATHE’s 2016 conference, which runs August 11-14th:
Through a long-standing arrangement between ATHE and BTN, those who register for both conferences can have the cost of their ATHE conference registration waived. To take advantage of this arrangement, after you successfully register for BTN’s conference, please email BTN’s membership secretary Renée Charlow (thejazziediva@yahoo.com). She will provide you a promo code that you can use when registering online for ATHE’s conference. (Those who register for the entire BTN conference will get a code that provides free registration to ATHE’s conference; those who buy a one-day registration to BTN will get a different code for $100 off of ATHE’s conference registration fee.)

With that code, proceed to registration for ATHE’s 2016 conference through the ATHE conference website:http://www.athe.org/event/ATHE2016

If you have already registered for the ATHE conference and wish to take advantage of the arrangement, please contact Erin Barbaskis, Event Planner at Ewald Consulting (ATHE’s management company) for further instructions.

* Hotel information: The ATHE Housing Block is currently open and has availability.  In order to get ATHE’s pre-negotiated rates please book your room by July 16, 2016 at
https://aws.passkey.com/event/14274938/owner/1455/home.


Please email Jonathan Shandell (shandelj@arcadia.edu) if you have any questions. Stay tuned for more updates as the summer goes forward. I look forward to seeing everyone this August in Chicago.

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Assistant Professor in Black Theater and Performance, Dartmouth College

Posted By Irma Mayorga, Monday, September 14, 2015

Assistant Professor, tenure track. The Theater Department at Dartmouth College seeks to fill a position in black theater and performance. The successful candidate will teach courses related to her or his area of specialization, as well as Introduction to Theater and survey courses in world theater history.

Qualifications: PhD in theater, performance studies, or related field; strong commitment to and experience in undergraduate teaching; promising record of research and publication. Experience in directing or other practical experience in theater is preferred. 

Interested candidates should submit electronically to http://apply.interfolio.com/31496 a letter of application, C.V., and three letters of recommendation. Questions about the position should be directed to Laura Edmondson at Laura.Edmondson@dartmouth.edu. Consideration of applications will begin on November 16, 2015, and continue until the position is filled. Appointment will be made for the 2016-17 academic year. Dartmouth College is an equal opportunity/affirmative action employer with a strong commitment to diversity.  In that spirit, we are particularly interested in receiving applications from a broad spectrum of people, including women, minorities, individuals with disabilities, veterans or any other legally protected group. 

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Black Theatre Association (BTA) Call for Papers ATHE 2016

Posted By Monica White Ndounou, Dartmouth College, Friday, September 4, 2015

Dear BTA Members,

The Black Theatre Association’s Call for Papers for ATHE 2016 in Chicago, Illinois is listed below.  I have attached a PDF file of the CFP to this message.  The CFP is also available at: https://www.dropbox.com/s/p29xyefwj7oxjtl/BTA%20CFP%202016.pdf?dl=0.

Please Circulate Widely!

Black Theatre Association (BTA)
Call for Papers
Association for Theatre in Higher Education (ATHE) 2016 Conference
Palmer House Hilton Chicago, IL

August 11- August 14, 2016 

Submissions Deadlines: 

      November 1st for complete panel proposals online through the ATHE homepage (visit http://www.athe.org/ and click on the Conference tab.)

      October 18th for individual paper proposals please email a 200-word abstract to Monica White Ndounou, BTA Conference Planner, at monica.ndounou@tufts.edu. (If your individual proposal can be combined with others to form a complete panel you will receive additional instructions on how to submit with your fellow panelists by the Nov. 1 deadline.)

 

The Black Theatre Association (BTA), a Focus Group of the Association for Theatre in Higher Education (ATHE), invites complete panel proposals and individual abstracts for ATHEs 2016 conference.  This years conference theme, Bodies at Work: Performance, Labor and ATHE @30, is of particular interest for BTA as we seek panels, papers and creative presentations that examine the relationships between black theatre and performance and concepts of labor, work and the treatment of bodies in scholarship and artistic practice. The conference site of Chicago, the birthplace of legendary playwright Lorraine Hansberry and the setting of her landmark, Broadway play A Raisin in the Sun, invites multiple perspectives on our conference theme.  Whether considering the historical role of the great migration and immigration in shaping Chicagos demographics, communities, labor movements and theatrical landscape or current community struggles against police brutality and gun violence, Chicago is a ripe location to explore a broad spectrum of material.   We encourage presentations by scholars and practitioners that shed light on the historical and current state and complexity of black experiences of labor and performance and notions of black bodies at work or play in academia and beyond.  Can a black body play?  What are the rewards and consequences of black bodies engaging in labor or leisure?  Are bodies equally compensated for labor or work performed in and outside of the academy as well as on and off stage?  How do we educate educators on the use of language to discuss these issues?  How are we preparing students for success?

 

Possible topics include but are not limited to:

·      Concepts of work, labor, play and performance in black theatre and drama

·      Abstract perceptions of work and labor (i.e. affective and psychological labor, labor of living and/or dying black)

·      Acts, processes or products of work, labor, play and performance

·      Sustainable diversity in Chicago and American theatre: professional, academic, community, etc.

·      Creative treatment and history of black labor and/or exploitation of black bodies (i.e. slavery, sharecropping, mass incarceration, etc.)

·      Professional labor and compensation (or lack thereof) in: higher education, theatre industry

·      The valuation and evaluation of bodies in the profession (including the academy and the industry): distribution of labor and compensation, erasure of black labor

·      Labor of protest and work of resistance: Arts in Activism/Activism in Art, combatting racist violence, improvised and/or organized resistance

·      Performance of labor: working at historically black colleges and universities (HBCU), working at predominantly white institutions (PWI), sustaining black theatre development, maintaining artistic presence in the academy, silent labor

·      Labor of: interdisciplinary work, merging theory and practice, training and pedagogy (for research and practice), acting/directing/designing, being a black trailblazer

 

Black Theatre Association encourages session formats that go beyond the reading of scholarly papers.  We encourage proposals that include short play readings, performance workshops, networking and mentorship activities, or conversations about pedagogy, the academic profession and theatre practice that engage the conference theme.

 

Proposers must submit all requests for audiovisual needs, conference grants, or guest passes with proposal submission.  Please note: ATHE limits all participants to 2 presentations/appearances at each conference.

 

We strongly encourage you to use BTAs new email list and online forums to discuss panel ideas with other scholars and artists and to solicit contributors for panel proposals. To connect with other BTA members and gain access to these tools, please join BTA by visiting our web page: http://www.athe.org/group/BTA. Multi-focus session proposals for sessions sponsored by a minimum of two (2) ATHE Focus Groups or Committees must have the approval of all sponsoring Focus Groups and/or Committees prior to proposal submission.  Anyone proposing a multi-focus session for ATHE 2016 must contact all the relevant Conference Planners and/or Committee Chairs for their approval, prior to proposal submission.  Contact information can be found on ATHEs website: http://www.athe.org/ 

 

The Black Theatre Association (BTA) is an organization composed of scholars, graduate students, and theatre artists of differing ages, races, colors, genders, national origins, religious beliefs, shapes, and sizes.  Our unified interest in the critical study of Black theatre from a global perspective informs our collective desire to inform and promote the experiences of Black people as expressed in various forms of drama and performance. 

 

 

Black Theatre Association Officers, 2014-2016

Jonathan Shandell, President/Focus Group Representative

shandelj@arcadia.edu

 

Monica White Ndounou, Conference Planner

monica.ndounou@tufts.edu

 

Tabitha Chester, Secretary

chestert@denison.edu

 

Nicole Hodges Persley, Member-at-Large

hodgespersley@ku.edu

 

Isaiah Wooden, Member-at-Large

isaiah.wooden@gmail.com

 

Khalid Long, Graduate Student Representative

longky@umd.edu

 

LeMil Eiland, Graduate Student Representative

lemileiland@gmail.com

 

Anndretta Lyle Wilson, Graduate Student Representative

anndretta@ucla.edu

 

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Associate/Advanced Assistant Professor of Theater, University of Pittsburgh

Posted By Jonathan Shandell, Arcadia University, Tuesday, August 4, 2015

ASSOCIATE PROFESSOR/ADVANCED ASSISTANT PROFESSOR of THEATRE: 

https://www.pittsource.com/postings/99335

 

The Department of Theatre Arts at the University of Pittsburgh invites applications for a tenured Associate Professor of Theatre and Performance Studies or tenure-track advanced Assistant Professor of Theatre and Performance Studies beginning in August 2016.

 

The successful candidate will demonstrate significant expertise in performance studies as well as theatre history. The department is especially interested in scholars with a specialization in one or more of the following areas: contemporary African-American, African and/or African diasporic performance; cognitive science and performance; pre-1800s performance; 20th century modernisms and avant-gardes. Other areas of specialization will be considered.

 

Duties of the position include instructing graduate level seminars; mentoring graduate student research, teaching and professionalization; directing theses and dissertations; teaching multi-level undergraduate courses in performance studies and world theatre; supporting the production work of the department in accordance with candidate’s area(s) of expertise; active participation in the governance of the department; contribution to the diversity goals of the department through scholarship, teaching and/or theatre/performance practice.

 

Qualifications: The successful candidate will demonstrate an established publication record, an active profile in the field and a robust research plan.  S/he will also possess at least five years of successful university teaching and mentoring at both the graduate and undergraduate level. The ability to dramaturge and/or direct, as well as mentor graduate and undergraduate dramaturges and directors, is also desirable.

 

 

Applicants can apply online at: https://facultysearch.as.pitt.edu/apply/index/MTAw. Candidates should submit a cover letter, curriculum vita, statement of research, three letters of recommendation, and evidence of teaching and mentoring effectiveness. For each reference, you will have the opportunity to input a personal email address or an email address generated through Interfolio’s Online Application Delivery. In both cases, an email notification will be sent to the designated address with instructions about uploading the letters to our system. For full consideration, applications should be received by November 1, 2015.  Questions may be directed to Dr. Lisa Jackson-Schebetta, lisajsch@pitt.edu.

 

 

The University of Pittsburgh is an Equal Opportunity/Affirmative Action employer, committed to excellence through diversity, and strongly encourages applications and nominations of persons of color, women, and members of other under-represented groups.

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