Print

Print


Colleagues: please note that the deadline for abstracts for two exciting
conferences is fast approaching. Here is the CFP again.

Best wishes,

Juliet


   *FIRT / IFTR*

*
La Fédération Internationale pour la Recherche de Théâtre
International Federation of Theatre Research

*
<https://www.firt-iftr.org/>

* *

* *

* *

*THEATRE ARCHITECTURE WORKING GROUP
**CALL FOR PAPERS** *
*(Deadline: **31 January 2011**)***





*IFTR@PQ11
(**Prague** Quadrennial of Performance Space and Design) *

*(16-26 June, 2011)*

*Prague**, **Czech Republic***

http://www.pq.cz/en/



and/or



*FIRT/IFTR Annual Conference 2011 *

*(7-12 August, 2011)*

*Toyonaka** Campus of **Osaka University**, **Japan***

http://www.firt2011osaka.org

* *







IFTR Working Groups do not restrict their papers to the themes of the
FIRT/IFTR conference (which, for 2011, is *Tradition, Innovation, Community*
). Those opting to present at IFTR@PQ11 are similarly not restricted to the
PQ theme *Now / Next: Performance Space at the Crossroads*. We will,
however, give full consideration to papers that address either theme or any
theme suggested by *our mission statement* (scroll to the end of this
document). You can submit an abstract for IFTR@PQ11 or for FIRT/IFTR 2011 or
you can submit abstracts for both events.

* *



The Theatre Architecture Working Group invites presentations on the theme:



* *

*THE ARCHITECTURE OF AFFECT*

* *


Since the late 1970s, emotion and affect studies have been taken up by a
growing number of disciplines internationally. The recent explosion of
interest in this area – dubbed the affective turn – prompts us to ask
questions about theatre architecture’s affective capacity: what does emotion
do, and how might it be theorized within studies of theatre architecture and
performance space?



Papers offered in response to this theme may be driven by historical /
historiographic concerns, by practice / practice-as-research, or by theory.
They will focus on architectural agency with special reference to how the
theatre building or ‘found’ performance space makes us feel (as spectators,
performers or behind-the-scenes staff).



If the theatre is a space of heightened communication and emotional charge,
contributors are asked to inquire whether different *types* or
*conditions*of building (i.e. the sculptured grandeur of Hellenistic
theatres, the
colour-coded organization of the theatres of classical India, the symbolic
austerity of Japanese Nōh stages, the ‘gilt and plush’ théâtre à
l’italienne, the modern black box or, alternatively, virgin space, found
space, temporary theatres, historic reconstructions, ruins) promote, or else
constrain, suppress or trouble certain feelings? Papers that re-examine
common-sense understandings of affect in the theatre, debunking a-critical
assertions about theatre space and mood and/or exploring some of the
methodological difficulties arising from this brief would be particularly
welcome – as would those that take issue with the notion of a universal
feeling subject by highlighting historical and cultural contexts and social
matrices of class/caste, ethnicity, gender and sexuality.





Topics might include (but should not be limited to):



   - How does the theatre architecture of any historic period elucidate,
   obscure or complicate ideas about the nature, presence and affect of
   cathārsis, rasa, the sublime, etc. or social comfort (organizing space in
   line with accepted social order)?



   - What ‘spatial effects / affects’ are brought into play by the advent of
   new technology or machinery within the theatre and/or by the immaterial
   architecture of light?

   - What relationships (embodied? temporal? spatial? mnemonic?) are at work
   in ideas of the theatre as a ‘ghost-filled’ room or in Marvin Carlson’s
   notion of ‘haunted’ space? (Carlson, M., *The Haunted Stage*, 2003)

   - To what extent are behaviours such as: voyeurism and/or exhibitionism
   and/or theatrical affects such as: fear, desire, intimacy, alienation,
   embarrassment, hysteria, grief, guilt, exuberance etc. a function of theatre
   architecture?



   - How useful is Nicholas Ridout’s concept of the ‘vibratorium’ as a model
   for thinking about the transmission of affect inside the auditorium (in any
   given period or culture)? (Ridout, N., ‘Welcome to the Vibratorium,’ *The
   Senses and Society*,* *3.2: 2008)



   - What role is played by architecture in contemporary immersive
   performance and/or site-specific theatre?

   - In creating / experiencing sensorial (or sensational) space, how can
   architecture stimulate senses other than the visual?

   - How can transition spaces and/or thresholds (entrances of various
   different kinds? the pro-scenium? fire curtain? foyer? café/bar? cloak-room?
   dressing-room?) heighten moments of arrival and/or anticipation?

   - How relevant are questions of scale, proportion, colour, materials,
   ornament etc. in addressing architectural affect?







*How to submit your abstract:

*



*To submit an abstract for IFTR@PQ11 by **31 January, 2011**: *

* *

Send it as a Microsoft Word email attachment (which you should also copy
into the body of the email) to the working group convenors: Franklin J.
Hildy at [log in to unmask] and Juliet Rufford at [log in to unmask] In the
subject line of your email put ‘Architecture WG abstract for [log in to unmask]’
Please make sure that both email and attachment include: your name, the
title of your paper, your institutional affiliation and position or the
description ‘independent scholar/practitioner,’ the abstract limited to 250
words, biographical details of no more than 150 words, your email address,
and a statement of any technical requirements necessary for your
presentation.





*To submit an abstract for FIRT/IFTR Osaka 2011 by **31 January, 2011**: *



You must go through the Osaka conference website and use the official
application form on the ‘Call for Papers’ page:
http://www.firt2011osaka.org/?page_id=125. Be sure to copy your abstract, as
a Microsoft Word email attachment (which you should also copy into the body
of the email) to the working group convenors: Franklin J. Hildy at
[log in to unmask] and Juliet Rufford at [log in to unmask] In the subject line
of your email put ‘Architecture WG abstract for IFTR 2011.’ Please make sure
that both email and attachment include: your name, the title of your paper,
your institutional affiliation and position or the description ‘independent
scholar/practitioner,’ the abstract limited to 250 words, biographical
details of no more than 150 words, your email address, and a statement of
any technical requirements necessary for your presentation.

* *

* *

*Important information:

*

If your paper is accepted for FIRT/IFTR 2011, you must register for
FIRT/IFTR (via website) in order to participate in a Working Group in Osaka.
This is not a requirement for [log in to unmask]



You can only give one paper at FIRT/IFTR Osaka 2011. In other words, if you
are giving a paper in a conference panel or in another Working Group, you
cannot also do a presentation for the Theatre Architecture Working Group.
(Those participating in the New Scholars sessions are exempt from this
restriction). There are no such restrictions for PQ11.



The Theatre Architecture Working Group is scheduled to meet during the first
three days of the FIRT/IFTR annual conference Osaka. Dates and times of
Working Group meetings in Prague have yet to be announced - interested
members should therefore ensure their availability over the entire period
16-26 June, 2011.







*FIRT/IFTR*

*THEATRE ARCHITECTURE WORKING GROUP** **
**MISSION** STATEMENT*





The purpose of the Theatre Architecture Working Group is to explore all that
theatre architecture has been historically, is at present, and might be in
the future. We consider built projects alongside unbuilt or speculative
architectures, studying these from a wide range of practical and theoretical
perspectives. We continue to investigate the ways in which space can be
manipulated to bring performers and spectators into dynamic relationship
inside auditoria, asking, in addition, how the design of other areas inside
and outside the theatre building conditions the experience(s) of audiences
and practitioners. Over the next four years, we will be focusing on the
active role played by theatre environments - whether purpose-built or
‘found’ - in shaping theatre and performance across cultures. We seek to:
develop theoretical paradigms appropriate to theatre and architecture and to
the relationship between them; propose rigorous yet imaginative
methodologies for the documentation, preservation, conservation and
archiving of theatre architecture; and, provide new ways of perceiving and
producing performance space.





Convenors: Franklin J. Hildy ([log in to unmask]) and Juliet Rufford (
[log in to unmask])

*******************
The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor:  Olaf Schmidt
Sponsored by the University of Missouri
Info available at: http://grs.missouri.edu/resources/gerlistserv.html