CALL FOR PAPERS (via PsyArt)
Call for
Papers
Memory and Theatre:
performing the Archive
An
International Conference
TANGIER/TETOUAN, MOROCCO 2, 3, 4, 5 MAY 2015
Current performance practice and
research are caught in an ambiguous compromise comparable to what Jacques
Derrida has evocatively termed ‘archive fever’. Archival revivals — from the
digitization of performance, to re-enactments of past traumas and art works, to
the staging of interventions into existing archives — place the discourses of
preservation and intervention in creative tension, inscribing an anxiety
towards ephemerality while simultaneously critiquing conservation. Theatre’s
liveness and transience are often accompanied by the urgent need for
documentation before they enter the mnemonic field of embodied memory. Still,
archived documentations of live performance shall never capture the traces of
lived yet ephemeral experience.
The questions which arise in the
context of our reflections bring to our attention the complexities between two
different logics: performance and archive, disappearance and documentation. The archive logic explored by Derrida’s Archive
Fever invokes a dialectical oscillation between commencement and
commandment; it combines the practice of storing and restoring. Unlike museums’
tasks of “archiving, categorizing and indexing”, performance “challenges
categorization, which was originally its point […] It’s not always an easy fit,
but maybe what’s interesting is the way in which the past is reframed in the
present.”[1]
Following the thread of thought of Rebecca Schneider,
reenactments challenge the existing archives and their logic in organizing and
reflecting memory and history.
The term ‘reenactment’ is charged
with repetition and repercussion. It is the “practice of replaying or re-doing
a precedent event, artwork, or art […]
a critical mode of remaining, as well as a mode of remaining critical.”
(Schneider, 2-7) It is both an act of documentation as well
as a challenge to disappearance. The cultural urge to document the ‘Arab
Spring’ — and the ‘years of lead’ — explains a great deal about the desire for
reenacting the memory of the past/future. Arabic reenactments of the Arab Spring
render the pastness of the past “both palpable and a very present matter.”
(Schneider, 30)
Inspired from our previous discussions we propose a
double-edged dialogue, which is artist-driven and research-oriented. The
conference also seeks to tease out some of the complexities related to the body
as memory. It is a call for more critical attention to archival revivals and
re-enactments of memories of the past that have become so visible also in
Arabo-Islamic contexts. We invite scholars from around the world to join the
debate and offer elements of reflection on the various problematics
related to the following proposed panels:
·
Archival revivals between preservation and
intervention
·
Sites of memory “a will to
remember” (Pierre Nora): the interplay between monumentalization, performance
and memory politics.
·
Body as memory and site of agency: staging a body
of memories to reveal memories of the body
·
Performing the memory of the past: memory and theatre
in the countries of the Arab Spring
·
Performing the archive of the Moroccan ‘years of
lead’
Keynote Speakers: (to be announced later)
Memory and Theatre: presentations
by eminent practitioners and scholars// Round tables with guest speakers from
the field of performance and academy// Performances// Installations// Workshops
(to be announced later)…
The conference is part of the International Festival “Performing
Tangier” now in its 11th edition. The theme was carefully chosen as
a follow up of our previous international conferences, with the expectation
that it would be sharp enough to elicit diverse intellectual contributions from
distinguished experts and colleagues from many parts of the world and in many
areas of research. Besides academic panel sessions, the conference program will
be nourished by a rich artistic public agenda with workshops, exhibitions, book
launch, and diverse performances and artistic interventions relevant to ‘Memory
and Theatre’, plus receptions and gala dinners to be announced after
opening.
Proposals: The organising committee welcomes abstracts and
proposals strictly on the above issues. A 250-WORD abstract, along with a ONE PARAGRAPH
curriculum vitae, should be submitted electronically (preferably in Word or
Rich Text format) by 31 January 2015 to the scientific committee care of
Professor Khalid Amine (Conference Convener). Acceptance, however,
unfortunately does not include any financial support - participants are
responsible for their own funding (i.e. securing grants, etc.) to pay for
travel and lodging expenses. Selected conference papers will be published
in a special volume upon the approval of the scientific committee. Submitters
of accepted proposals will be notified within two weeks of the above deadline
and all decisions of the scientific committee are final.
Simultaneous
Interpreting in all Panel Sessions
Important
dates & Deadlines:
- Abstract Submission Deadline: 31 January 2015.
- Notification of Acceptance/Rejection: 15 February, 2015
- Final Paper Submission Deadline: 01 April, 2015 (included). (The paper must have a sound methodology reflecting the features of real scientific research. It must be 10 up to 12 pages of A4 format using Times New Romans size 14 in text and size 10 in the margins.
- The conference will be held on 2, 3, 4 May 2015.
- Abstracts and completed research papers should be sent to the following emails:
For more information on the
conference please contact Prof. Khalid Amine: Khamine55@gmail.com
New Scholars’ Panel: The
conference is also a home for graduate students and new scholars from different
parts of the world. The establishment of an emerging Scholars’ panel invites
new voices to join the debate (provided that their contributions must be
relevant to the theme of this year). Up to FIVE participants will be
selected for this panel, and each panelist will have ten to fifteen
minutes to deliver her/his paper. Graduate students whose papers are accepted
will receive free conference registration, free admission to conference
luncheon, and a one-year membership in ICPS. Who is eligible? Scholars who meet
the definition of ‘new scholars’ are postgraduate students writing up their PhD
dissertation or post-doctoral researchers whose PhDs have been completed less
than three years.
Registration
Fee:
100 Euros
payable in advance via Bank transfer (le centre international des études de
spectacle, Banque Populaire, Tanger Ain
Ktiout: 164 640 2121490077510009 61) or upon arrival. Registration includes 2 Gala Receptions, conference
pack, tickets for any public concerts or site-specific performances within the
conference’s public agenda, free guided tour of the Kasbah Museum, and one of
the books of published proceedings from previous conferences. Since the
conference is again pulling a very international public, registered attendees,
participants from past conferences, and friends of ICPS will be most welcome to
attend too. Women and underrepresented minorities are especially encouraged to
apply. ICPS is an Affirmative Acting/ Equal
Opportunity Organization.
Conference Location: Faculty
of Letters at Abdelmalek Essaâdi University (Tétouan), the Kasbah Museum
(Tangier), Sahat El Kasbah, Chellah Hotel…
The Scientific Advisory Board (2015)
·
Erika Fischer-Lichte (Head of DFG Collaborative
Research Centre "Performing Cultures" and Director of BMBF
International Research Centre "Interweaving Cultures in Performance",
Berlin, Germany
·
Christel Weiler, Professor at Institute for theatre science of the
Freie Universität Berlin, Germany
·
Maria
Shevtsova (Chair Professor of Drama and Theatre Arts, Co-editor of New
Theatre Quarterly (Cambridge University Press), Director of Sociology of
Theatre and Performance Research Group, University of London)
·
Marvin Carlson (The Sidney E. Cohn Professor of
Theatre, Comparative Literature and Middle Eastern Studies at the Graduate
Center of the City University of New York)
·
George
F. Roberson, Adjunct Assistant Professor, Geography Human Dimensions Research
Cluster, University of Massachusetts-Amherst, USA
·
Richard Gough, Senior Research Fellow and
Artistic Director of the Centre for Performance Research, Department of
Theatre, Film and Television Studies, Aberystwyth University, Aberystwyth,
Wales
·
Zohra
Makach (Professor of
Theatre at Ibn Zohr University of Agadir. She holds a PhD degree in Theatre
Studies from Paris III)
·
Omar
Fertat (Professor of Theater
in the Arab World, Department of Oriental Studies and the Far East and the
Department of Performing Arts, Université Michel de Montaigne, Bordeaux 3)
·
Mohammed
Samir Al-Khatib (Professor, Ain Shams University, Egypt)
Conference
Supporting Committee:
·
Mohammed Saad Zemmouri (Dean of the Faculty of Humanities at AEU)
·
Mohammed Kaouti (Independent Playwright, Morocco)
·
Carol
Malt (Museum Curator, Adjunct Professor at the University of West Florida,
and Ex-Director of the Art & Culture Center of Hollywood, USA)
·
Marjorie
Kanter (Author of short literary and
poem-like pieces, USA)
·
Said
Karimi (Professor, Faculty
of Errachidiya, Moulay Ismail University)
·
Noureddine Chemlali (Director, King Fahd School of Translation)
·
Mustapha El-Ghachi (Vice Dean, Faculty of Humanites, AEU, Tetouan)
·
Abderrazzak
Essrhir (Chair of the English
Department at AEU)
·
Mohamed
Bahjaji (Playwright
and journalist, Morocco)
·
Abdelmajid
El Hawass (Artist, ISADAK,
Morocco)
·
Redouan El Ayadi (Professor, Abdelmalek Essaadi University)
·
Mohammed Taqqal (Regional Director of the Miniustry of Culture)
Conference
Convener:
Khalid Amine (President of ICPS)
Conference
Co-Convener:
Younes El-Assad Ryani
(Professor of Cultural
Studies, Abdelmalek Essaadi University)
Conference
Assistants:
Jaouad Radouani (Theatre Scholar, member
of ICPS)
Badreddine
Charab (Administrator, ICPS) charab09@yahoo.fr
Abdelaziz
Khalili (General Secretary, ICPS) khaliliaziz@yahoo.fr
Conference
Organizing Committee:
(ICPS members &
volunteers/ to be announced later)
Contact
information:
Khalid Amine, Conference Convener,
Residence Al Andalous N° 11, Rue Birr Anzaran, Tanger 90 010, Maroc Adresse: E-mail: khamine55@gmail.com, Tél/Fax: (212) 539330466, Portable: 0664596791/
Web: www.furja.ma / Bank details of ICPS, Centre International des Etudes de
Spectacles, Banque populaire, Agence N° 36, Tanger Ain Ktiouet, Relevé
d’identité bancaire: 164 640 212149007751000961. © ICPS
[1] Carol Kino, in Rebecca
Schneider, Performing Remains: Art and war in Times of Theatrical
Reenactment (New York: Routledge, 2011), p.5.
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