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LMDA - 2019 Elliott Hayes Award

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

Welcome to the 2019 Elliott Hayes Award, from 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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LMDA - Early Career Residency Grant (OPPORTUNITY)

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

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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ATHE 2018 Pre-Conference: A Walking Dramaturgy of Boston’s Heritage Trails

Posted By olga p. sanchez saltveit, Department of Theatre Arts, Thursday, July 5, 2018

Hello Friends!

Continuing the DFG's pre-conference tradition of visiting particular sites of interest in and around the conference host city, this year's pre-conference will take advantage of the unique history of Boston as a way to begin discussions on the conference's themes of Revolution, Resistance, and Protest.

Pre-conference participants will choose from one of four available tours: The Freedom Trail, the Black Heritage Trial, The Boston Women’s Heritage Trail, or The Irish Heritage Trail. Once the tours are completed, participants will be invited to lunch and a discussion of the tours with Jim Vrabel, archivist, community activist, and author of A People’s History of the New Boston.

What acts of resistance are performed in these heritage tours? The critique and comparison of these different narratives of nearby historical sites will interrogate the dramaturgy of storytelling within the historical tourism industry.

For more info & to register: https://www.athe.org/store/ViewProduct.aspx?id=11706207 

If you’re still in the process of registration for the conference, please scroll way down to the bottom of the registration page where you’ll see a series of icons under the heading “Related Products": https://www.athe.org/events/EventDetails.aspx?alias=ATHE_2018

The icon to click for the Dramaturgy Pre-conf (which includes lunch) is #7510

Saludos,

Olga...

 

Tags:  Boston; Pre-conference; dramaturgy  conference 2018; Walking Tours; 

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LEFTOVERS at Company One

Posted By Martine K. Green-Rogers, SUNY New Paltz, Wednesday, July 4, 2018

Hello Everyone, 

The play LEFTOVERS by Josh Wilder will be playing at Company One in Boston while we are in town (see link: https://companyone.org/production/leftovers/). Would anyone be interested in going to a performance of this during the conference? If so, let me know and maybe we can organize something. Email me at martinekeigreen@gmail.com

"All tickets for Leftovers are Pay-What-You-Wish. $0 minimum, $10 suggested, $50 you’re a hero! Your ticket donation directly contributes to the future of financially accessible theater in Boston." (from the website).

Best, 

Martine

 

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Conference Events

Posted By Karen J. Martinson, Chicago State University, Friday, May 25, 2018

Hi All!

I wanted to take a moment to hype some of the amazing events happening at the 2018 ATHE conference in Boston! We've worked really hard on the conference committee to make this an amazing experience, and there's an embarrassment of riches that you should take advantage of! Check out the conference page for full descriptions, but we are featuring some excursions (to Plimoth Plantation and Wampanoag Homesite, The African American Freedom Trail, and the Tea Party Museum), great performances (History Alive - Cry Innocent, Tayo ALuko - Call Me Mr. Robeson), and exciting paid workshops (Third Rail, Theatre Offensive (with an emphasis on queer youth theatre), DAH Theatre, Tectonic Theater Project, and Sister Sylvester).

I want to especially encourage folks to take note of Sister Sylvester, who will be hosting a paid workshop AND be featured as an all-conference Performance of They Are Gone But Here I Must Remain on Friday night at 8:30. This performance collective creates dramaturgically rich work, and the piece they will be performing at the conference commemorates the 1968 Student Protests at Columbia University and the Cultural Revolution in Iran (click here for more info). 

DR FG member Andrew Kircher and I put in a lot of time and energy to bring Sister Sylvester to ATHE, and would love to see some dramaturgs in the workshop and at the performance! Feel free to contact me with any questions!

 

KJ

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CFP - ASTR - About Face: The Material History of Pleasure in Stage Makeup

Posted By Martine K. Green-Rogers, SUNY New Paltz, Thursday, May 24, 2018

About Face: The Material History of Pleasure in Stage Makeup

Jane Barnette, University of Kansas, jane@ku.edu

 Esther Kim Lee, University of Maryland, eklee@umd.edu

Martine Kei Green-Rogers, SUNY New Paltz, greenm@newpaltz.edu

 

Submissions for all ASTR Working Groups: https://www.astr.org/general/custom.asp?page=18_WSSubmissions

The performer’s face is at the root of our perceptions and performances of pleasure and arousal. Extant stage makeup manuals feature tutorials on how to use cosmetics to improve (or mask) one’s appearance, including one’s age, race, and gender (or species). Elaborate self-care routines for removing makeup and stimulating new skin are often part of this performance ritual. This working session explores the use of makeup, headwear, and facial plastic surgery in the construction and maintenance of arousal, broadly conceived. We will consider makeup, including cosmetics, prosthetics, and special effects makeup from both historical and contemporary perspectives. We welcome contributions about the material history of a wide variety of stage makeup, which can extend to include hair and those elements of costume that highlight the face.

Building on the success of our gathering last year, this working session explores the use of makeup in the construction and maintenance of arousal, broadly conceived. We will consider makeup, including cosmetics, prosthetics, and special effects makeup from both historical and contemporary perspectives. What assumptions about pleasure does the use of makeup imply? In what ways does makeup reflect the perception of attraction and arousal, and in what ways does it participate in shaping those perceptions?

How, for example, do makeup manuals and product guides draw on and perpetuate social norms of age, race, class, and gender? Participants might address questions related to the following:

 

1.     What does the material history of stage makeup tell us about how bodies are perceivedand represented?

2.     How does the focus on the face within the field of stage makeup (design andtechnique) contribute to larger conversations aboutarousal?

3.    How do makeup objects (manuals, tools, cosmetic colors and formulations, etc.) reveal users' biases about faces and bodies, and how are those biases materially linked to the cultures of design and production of that particular moment inhistory?

4.     How does the use of makeup in drag performance, blackface (and other racializedincarnations), animal makeup, and cosplay evokepleasure?

5.    Could cosmetic surgery, as part of the performance (pre, during, post), factor intoarousal?

 

In this working group, our primary interest is in projects that engage in the material practice of makeup and mask-making. We will also consider papers on fashion/editorial makeup. What does the use of paint and powder conceal and reveal? We are particularly interested in how makeup has been used to drastically transform the performer and how these transformations may be linked to pleasure and pain. Do these cosmetic representations presume that the face is in some ways a static object that can be framed by a narrative for the audience, but overlook the considerable technology, artistry, and biases that shape that perception, which starts with facial recognition? What happens when cosmetic surgery becomes part of theperformance?


Before the conference, participants will share critical reflections (2500 words maximum) via the shared private wiki. Each participant will then pose questions for at least two colleagues from the seminar, with the goal of elucidating the crucial elements of each colleague’s project: its context, its execution, and its potential contribution to the conversation. Following a dialogue occasioned by these questions, each member of the working group will post one artifact (photo of made-up face, technical diagram, mask, video, makeup tool or product, etc.) to the wiki; participants will review all artifacts as their final step of preparation. The two hours we share at the conference itself will be our opportunity to share insights about connections and provocations across projects, and to brainstorm the next steps for the participants who want to continue these conversations.

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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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