Emerging theatre – a formula as versatile as it is contradictory today, a formula as rich as it is limiting. Enjoying considerable use since the 1960s until today, when it was almost equivalent to the idea of progress or evolution of the performing arts, the expression can be viewed at a more recent date with critical distance, taking into account several factors which contribute to the phenomena of interaction, distancing, splitting or replay of dramatic variations. The emerging theatre imposes a horizontal delimitation: emergent from what or whom? Emergent in relation to the audience, to the forms of classical dramatic literature or to the techniques of stage direction and scenography? The second nuance that must be added to the discussion is positioned vertical, referring to changes in the reception of the work of art or to prospects regarding the becoming of the theatre in time.
From social theatre, to associations that use theatre as a therapeutic tool or as a socially integrative instrument, from giant productions, performed on impressive stages or in immersive spaces, to the possibilities of translating shows in the virtual or online environment, the spectrum of 21st century theatre manifestations are often marked by hybridization, multidisciplinary, conjunction and disjunction alike. Progressing naturally from analysis to conclusions, a series of issues worthy of clarification emerge. For example, we can wonder if there are barriers in the development of new theatrical aspects, or if there are ways to create a system of resilience even when the artists themselves consider that they could become footnotes, over time, in the history of the theatre, (Robert Wilson, The art my generation produced won’t be seen in 50 years, The Guardian, 2016). We could also determine the new relations to spatiality generated in the movement of distance doubled by the constant need for interaction, recognition or retreat into existing cultural matrices. If we were to repeat Georg Fuchs’ words today that “Every age and every society has the theatre it deserves and no one, not even the most feared dictator or the most influential artist, can force another one over.” (Revolution in the Theatre, 1959), we will notice that they may acquire a note of relativism, stirring further debates.
Starting from these lines of questioning, in search of a meeting point between opinions, visions and interpretations, the Faculty of Theatre of George Enescu National University of Arts in Iasi and the Research Center “Theatre Art – study and creation” in conjunction with Institute of Artistic Multidisciplinary Research support invites you to propose a presentation for the Conference with international participation entitled Emerging Theatre: distancing, interaction and resilience in the performing arts of the 21st century which will take place on March 18 and 19, 2022.
Our starting points can focus on the following landmarks:
- Directorial visions and immersion in the digital / online environment
- The art of acting and the art of performance in the context of recent years
- Directions of research in choreographic art
- Capitalizing on research in the field of performing arts and variations of reception
- Theatrical pedagogy and interdisciplinary meanings of theatrical performance
- Creativity and applied methods in contemporary performing arts
Continuing the series of Conferences organized by the Faculty of Theatre since 2015, we address professors, researchers, students, master and doctoral students in who work on our topics for reflection, and who are interested and specialized in the field of Theatre and performing arts. Our general goals are to:
- Promote the results of research in the theatrical field in a national and international context
- Promoting young researchers
- Continuing the dialogue from theatre theorists and practitioners to the general public
- Continued discovery of new ways of innovation in the field of practice, as well as the revitalization of theoretical resources
- Formation of teams of researchers in the field of theatre, between professors and doctoral students, between theorists and those who work in theatres.
- Following the transdisciplinary directions between the art of theatre and related areas: literature, film, music, philosophy, anthropology, sociology, etc.
Intended proposals should contain a title and a 300 words abstract in English, followed by 5 keywords. Accepted proposals are expected to be developed into full-length articles of maximum 10 pages by the February 28, 2022.
The articles resulting from the lectures will be subject to the peer review process and will be published in “Theatrical Colloquia” journal, indexed with international databases (CEEOL, Erih +, EBSCO, etc.)
The conference will take place online.
Conference registration calendar:
December 1, 2021 – launching / disseminating the announcement of the Conference
February 10, 2022 – the deadline for receiving titles and abstracts
February 28, 2022 – the deadline for receiving the articles in full
March 1, 2022 – transmission of the program of the Conference with international participation
March 18-19, 2022 – Conference events
The studies will be sent to the email address email@example.com
There are no fees for participating in the event.
The printed or digital maps will be sent to the participants after the end of the discussion panels.