Sunday, February 27, 2011

CALL: Strindberg’s Legacy (Sweden)

From DAVID GEDIN of the Strindberg Society

August Strindberg
(ca. 1900)
August Strindberg died in 1912 at the age of 63. Since his death Swedish and international scholarship have made the perspectives on his time and his work considerably broader and deeper.

How do we look upon his works today: his plays, his poetry, his prose, his aesthetical essays on theatre, his social and political criticism, his texts on science and his own paintings? How do we understand the society in which he lived? Strindberg’s Sweden was a country characterized by rapid industrial development and thorough cultural changes. How do we understand Strindberg’s relationship to this new society?

Every literary current has had its own interests and its own view of Strindberg both as a private person and as a writer. In what way has the conception of Strindberg and the use of his ideas changed through the years? From a working class hero to an avantgarde icon, from a psychological enigma to a corpus of texts?

In cooperation with the Strindberg Society, Stockholm University invites all interested scholars, critics and theatre workers to the XVIIIth International Strindberg Conference between May 31 and June 3, 2012 on the theme of “The Strindberg Legacy.” Submission of abstracts to before October 1, 2011.

Thursday, February 10, 2011

CALL: Contributions to Critical Stages

Submissions for Consideration
Web Journal
of the
International Association of Theatre Critics


Critical Stages announces its fourth issue with a call for critical articles, essays, interviews, and reviews that contribute to cutting-edge, international discourse on the theatre.

Critical Stages aims to document, celebrate, challenge and foster internationally the discipline and the art of theatre criticism, with theatre broadly defined; to employ theatre criticism as a springboard for opening communication between theatre practitioners, theoreticians and the general public; to create “critical space” for the theatre critic to develop and thrive; to increase the general readership for theatre criticism by providing international readers with a source for information and dynamic discussion of themes and trends in contemporary international theatre.

Each submission should be sent as an e-mail attachment, double-spaced in MS Word. Articles will typically range from 1,500 to 3,500 words. Please check with the Section Editor if the length is not specified below.

The journal publishes articles (not interviews or reviews) with an abstract, of no more that 200 words, in the alternate language. When possible, please submit English articles with an abstract in French; if this is not possible, the abstract should submitted in English and it will be translated. (For articles written in French, the reverse process should be undertaken.)

Submission Guidelines may be accessed here

Issue No. 4 Publication Schedule (2011)
  • Proposal Period: Now Open
  • Full Draft Submission Deadline: April 30
  • Writer Notification Following Readers' Reviews: The second week of May
  • Writer Revisions and Formatting: The third week of May
  • Publication: By mid-June 2011

Please contact the individual Section Editor
to which your proposal relates
Performance Reviews welcomes critical appraisals of important, controversial, bizarre or simply good performances. The section hopes to report from as many different countries, cultures and languages as possible. The submissions must not exceed 1,300 words and must be accompanied by photographs of the performance. Section Editor: Matti Linnavuori (

Essays should offer a critical view on a particular topic. An essay might give an overview of an artist’s work—the journal recently printed two “in memoriam” pieces—but an essay might also celebrate a living artist. Alternatively, it could take a historical or analytical approach to a theatre venue, a theme—a recent theme was “painful memories,” for example—or a special questioning, such as previous essays regarding cultural identity and immigrant communities. Section Editor: Maria Helena Serodio (

Conference Papers. International theatre symposia and seminars play a vital role in the discussion of live drama throughout the world. The IATC is proud to play its part in this important area of critical work. The “Conference Papers” section will seek to offer an international platform for many of the most interesting and provocative papers presented in these public arenas. Section Editor: Mark Brown (

Special Topics. This section invites three or four authors each to contribute an article or statement on current issues surrounding aesthetic or thematic approaches to theatre; regional or global theatre arts policies; or other interesting phenomena of social significance to the contemporary theatre. The editorial board may also consider unsolicited pieces. Each article will be more or less 15,000 characters (2,500-3,000 words).

The Special Topic for the coming issue will be “Censorship in Disguise.” See the Open Letter on the Oppression of International Artists of January 22, 2011, which is also posted on the AICT-IATC website. Section Editor: Yun-Cheol Kim (

Interviews. Interviews are intended to compare and contrast the views of significant theatre artists from around the world. To this end, the section editor will provide interviewers with four previously formulated questions to pose. Interviewers are encouraged to ask additional questions to further illuminate or deepen the conversation. All articles are in a question-and-answer format, preceded by a critical introduction describing—not merely listing—the artist’s contributions or offering an explanation of why this person deserves recognition in an international journal. Submissions must include interviewee portrait and photographs of performances discussed in the interview. Section Editor: Randy Gener (

Book Reviews. Book Reviews will to review for each issue of the journal a selection of recently published books—generally not older than 24 months—that are considered to be of national and/or international significance for theatre workers generally and theatre critics and scholars in particular. Each issue should have a lead review of a major book that has been published in either English or French and should have an additional three to five reviews of books published across a range of languages (with particular emphasis on—though certainly not limited to—new books in German and Spanish). Reviews of important books in other languages will normally be published in either English or French. Section Editor: Don Rubin (

Critics on Criticism. Critics on Criticism seeks:
  • 1) In-depth profiles of, and interviews with, well-known senior critics: their careers and work, relationships to theatre audiences, conflicts and dilemmas, teaching experience, work in other theatre fields and art forms; and
  • 2) Reflections, interviews or surveys on the teaching of criticism; the methodologies, theories and practices of criticism; comparison of courses given in different countries; theatre criticism’s relationship to other art disciplines; practical and theoretical dialogue between critics, scholars and others. Every submission should include basic information on the critic, including major publications, photograph, etc.
Section Editor: Andrea Tompa (


Yun-Cheol Kim (, Korea
Editor-in-Chief and IATC President

Lissa Tyler Renaud (English) (, U.S.A.
Michel Vaïs (French) (, Canada/Quebec

Patrice Pavis (, France
Contributing Editor

 Editorial Board Members

Mark Brown (, U.K.
Randy Gener (, U.S.A.
Hervé Guay (, Canada/Quebec
Matti Linnavuori (, Finland
Tomasz Milkowski (, Poland
Manabu Noda (, Japan
Rodolfo Obregón (, Mexico
Ludmila Patlanjoglu (, Romania
Don Rubin (, Canada
Maria Helena Serôdio (, Portugal
Maria Shevtsova (, U.K.
Halima Tahan (, Argentina
Andrea Tompa (, Hungary