Working Group Statement
The Theatre History and Historiography group is dedicated to the exploration and investigation of theatre history using the methodologies and approaches developed in recent years by the New Theatre Historiography movement. The purpose of this group is to discuss work in progress, closely analysing the ways in which evidence, documentation, interpretation, theory and speculation contribute to Theatre History today and open up new and provocative questions about the way we explore the theatrical past on both macro- and micro-levels. The group welcomes new and experienced scholars with an interest in these concerns and follows a procedure in which papers are circulated in advance of the TaPRA Conference to group members, are summarised verbally by contributors at panel sessions and are then thrown open for discussion. Our focus is not so much on the presentation of finished work as on the discussion and enablement of work that is still in process.
Annual Conference: Call for Papers 2012
The theme for the History and Historiography working group this year is
Economies of Theatre
At a time when leading playwrights are complaining about the lack of risk-taking in economically distressed times
(see guardian.co.uk/stage/2012/feb/19) questions about the relationship between quality and commerciality have never been more pertinent in the theatre - and the academy. This is far from the first moment of disquiet and concern in economically challenging times.
Many established members of the History and Historiography working group are currently working with reference to economies of theatre in relation to the 20th century. The working group welcomes papers that examine and explore a range of historical and/or alternative models of theatre and economy. Papers that seek to propose different iterations of theatre practice and/or performance theory through the lens of historiographical practice are particularly welcome.
Proposals are sought for papers that address one or more of the following areas:
- The distinctions and dis/advantages of past and present models of patronage
- Charity shows (benefits, charity matinees etc.
- The relationship between the regional and metropolitan theatres.
- The economies of trans-atlantic exchange
- The touring circuits
- Innovations in times of funding crisis for theatres, playwrights and/or performers
- Seasonal success (e.g. the summer season/festival, Christmas panto. etc.)
The History and Historiography working group will be sharing at least ONE session with the newly launched Popular Performance Group. Please indicate if you would like your proposal to be considered for that shared session.
It was agreed at the last working group business meeting that for 2012 conference that we would adopt a standard 20 minute presented paper.
Abstracts (of not more than 500 words) and any further queries to be sent to the joint conveners: Gilli Bush-Bailey (RHUL) This e-mail address is being protected from spambots. You need JavaScript enabled to view it and Kate Dorney (V&A) This e-mail address is being protected from spambots. You need JavaScript enabled to view it
No later than 27 April 2012
The Heart of The West End conference (March 25 and 26) at Theatre Royal Haymarket, London and Subsidy, Patronage & Sponsorship: Theatre and Performance Culture in Uncertain Times ( July 9-21) at the V&A share similar concerns about the past, present and future of theatre and funding, offering additional opportunities and stimulus to this year’s working group discussions.
Interim Event 2012
Current Working Group Convenors
Gilli Bush-Bailey (RHUL) This e-mail address is being protected from spambots. You need JavaScript enabled to view it and Kate Dorney (V&A) This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Past Working Group Convenors
Archive
Call for Papers 2011
Recently published work in the field of theatre history and historiography has been organised around a series of broad principles that address the fundamental questions of the discipline: When? Where ? What? How? (Wiles & Dymkowski eds. Cambridge Companion to Theatre History, forthcoming) Or alternatively: Archive; Time; Space and Narrative (Canning & Postlewait eds. Representing the Past 2010). Taking our cue from these edited collections we would like to invite proposals that address these broad topics and may include the following themes:
• Who are we writing for? Who are we writing about? This may include considerations of celebrity culture, canon formation, identity politics, and the influence of other scholars.• Where? is theatre history still confined to the usual metropolitan centres and suspects? Where is it being practised outside theatre and drama departments and beyond the university (e.g., heritage museums, re-enactment etc)?
• When? When does the contemporary become historical? How do we engage with periodisation?
• How are we practising theatre history? What other disciplines do we look to? How might they enrich or challenge our approaches?
We invite proposals in the following formats:
• Formal, delivered papers (max 20 minutes)
• Provocations or position statements (max 10 minutes) – these might include updates on previous work discussed in the group.
• pre-circulated papers (max 2000 words)
• instances of practice-as-research or short workshop demonstrations (max 30 mins)
Please send 250 word (max) proposals, stating preferred presentation format, to the two convenors by 3rd May 2011.
