[dance-tech] Artaud Forum 3 coming soon -- still time to send proposals

  • From: Johannes Birringer <Johannes.Birringer@xxxxxxxxxxxx>
  • To: "dance-tech@xxxxxxxxxxxxx" <dance-tech@xxxxxxxxxxxxx>
  • Date: Tue, 11 Dec 2012 18:23:59 +0000

i n v i t a t i o n  : : 



We are excited to announce our two keynote speakers for Artaud Forum 3: 
"Theatre and Resonant Politics,"   23-24 March 2013 at Brunel University London.

Jon McKenzie (author of "Perform or Else")
Jon McKenzie is Professor of English  at University of Wisconsin and Director 
of DesignLab, a media design consultancy for student media projects whose 
mission is to democratize digitality. He also also coordinates the Digital 
Humanities Initiative, a network of faculty, librarians, and technologists. 
Both projects are applied research into cultural, technological, and 
organizational performance and the shift from disciplinary forms of knowledge 
and power to those of global performativity.

&

Sophie Nield
Dr Sophie Nield is Senior Lecturer in Drama at Royal Holloway, University of 
London. She works on questions of space, theatricality and representation in 
political life and the law, and on the performance of ‘borders’ of various 
kinds: the US/Mexico border; the former site of the Berlin Wall; the problem of 
the corpse in representation. She also has research interests in film 
(particularly Expressionism, New German Cinema and US paranoia film) and 
nineteenth century stage-craft. She is a member of the editorial panel of the 
journal About Performance,  is a member of the Board of Directors of the 
research organisation Performance Studies international, and also sits on the 
Executive Committee of the Theatre and Performance Research Association. 


Just a reminder that the deadline for proposals for Theatre and Resonant 
Politics at Brunel University is close of play on 15 December 2012. 
Registration details to be announced soon. 
 
Please find original call for proposals below.

Many thanks, and we look forward to hearing from you.

Johannes Birringer & Broderick Chow

 
ARTAUD FORUM 3:Theatre and Resonant Politics
---------------------------
Saturday, March 23 - Sunday, March 24, 2013 A two-day conference and 
performance laboratory

held at the Antonin Artaud Performance Centre
Brunel University, Uxbridge, West London (UK)
D e t a i l e d  P r o g r a m will be posted at: 
http://people.brunel.ac.uk/dap/artaudforum.html
CALL FOR PAPERS, PERFORMANCES and OTHER PRESENTATIONS
 
deadline for proposals: 15 December 2012

The third ARTAUD FORUM on Theatre and Resonant Politics examines theatre as a 
site of disciplining bodies towards participation in political regimes – as 
well as a site in which bodies, resonating with each other, might resist. The 
lens of corporeal/bodily resonance opens up questions of performance training, 
spectatorship and affect, which this symposium explores through a series of 
practical workshops, performances, paper panels, roundtable discussions, and 
keynote presentations. It brings together international theatre, performance 
and sound artists, musicians, digital artists, theorists and researchers 
engaged in creative practices that reflect on major innovative performance 
traditions of the past century and their impact on current performance 
knowledge and physical techniques. We invite proposals for presentations that 
engage with this corporeal-political theme.

Thematic Focus
‘Resonance’ in everyday usage implies a quality of ‘generating significance’: 
the ability to evoke images, memories, affects and emotions. In acoustics, it 
implies the intensification of sound, when that sound vibrates sympathetically 
with its receptor and surrounding objects. A resonant politics, then, might 
imply a quality of sympathy and receptivity among persons – a mode of being 
together and being-in-common outside of ideologies. When we resonate with each 
other we share a commonality that does not do away with individuality and 
differences.

Recent political events including the ‘Arab Spring’ and the Occupy movement 
around the world demonstrate the power and relevance of resonant politics. The 
sympathetic reverberations of Occupy from New York to Bradford and the Arab 
Spring to the ‘Printemps érable’ of Québec show a sense of commonality that 
does not rely on identification with political parties, leaders or ideologies. 
Rather, such events are instances of large-scale corporeal resonance — a 
sympathetic vibration between the bodies amassed in the public square, the 
park, the occupied lecture room. 

Theatre is an art-form that trades primarily in the shared assembly of bodies, 
onstage, and in the audience, and is therefore an ideal site to examine 
resonant politics on a smaller scale. Yet examining resonant politics through 
theatre and theatrical events also opens up the possibility of the 
appropriation of resonance by states and nodes of power. The London 2012 
Olympic Opening Ceremony with its spectacle of mass-movement called upon the 
citizenry of the United Kingdom to ‘move this way’ while simultaneously 
repressing dissent (the arrests of Critical Mass protestors outside of the 
stadium gates). Pageants and military spectacles use the technologies of 
theatre to create a shared corporeal resonance in the service of national 
ideals. As a form that brings bodies together, theatre can be seen as a 
technology of subjectivisation, which disciplines, trains and moulds bodies in 
common.

The symposium and physical theatre workshop are composed of dialogue and 
performance practice, intermixed with film screenings, performances and 
installations.

Proposals for performative presentations and papers are welcome, as well as 
traditional papers and presentations that combine traditional, performative and 
video elements. All presentations must be no longer than 15 minutes in length.  
Curated and organised by Dr Broderick Chow & Prof Johannes Birringer (Brunel 
University).

Send proposals to broderick.chow@xxxxxxxxxxxx or johannes.birringer@xxxxxxxxxxxx

+++++This event is sponsored by the Centre for Contemporary and Digital 
Performance and supported by the Brunel School of Arts and Brunel University 
Graduate School.

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