[Comedias] Fwd: CFP: Exile Theatre (Book)

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Susan Paun de García
Professor Emerita
Department of Modern Languages
Denison University
Granville, OH 43023


---------- Forwarded message ----------
From: <rudakoff at yorku.ca>
Date: Wed, Oct 28, 2015 at 10:42 AM
Subject: CFP: Exile Theatre (Book)
To: garcia at denison.edu


Apologies for cross-postings!

CALL FOR PROPOSALS (BOOK)
FOREIGN BODIES: Performing Exile

exile, n.1
Pronunciation:  /'?ksa?l/ /'?gza?l/
Forms:  Also ME exil, ME–15 exyl(e, exyll(e.
Etymology:  < Old French exil, refashioned form of essil , state of
banishment, also (compare sense 2) devastation, destruction = Provençal
essilh , semi-popular < Latin exsilium state of banishment, < ex- out +
sal- (= Sanskrit sar- to go), root of salire to leap (whence also exsul :
see exul n.); compare consilium counsel n. In sense 2, Old French essil is
a verbal noun < essiller : see exile v. 4 (Formerly accented e'xile.)

1.
 a. Enforced removal from one's native land according to an edict or
sentence; penal expatriation or banishment; the state or condition of being
penally banished; enforced residence in some foreign land. Phrases, †to go,
put in or to exile ; to drive, go, send into exile .

 b. gen. Expatriation, prolonged absence from one's native land, endured by
compulsion of circumstances or voluntarily undergone for any purpose.

exile, n.2
Pronunciation:  /'?ksa?l/
Etymology:  Of obscure formation; perhaps merely a concrete use of exile
n.1 1
 1.
 a. A banished person; one compelled to reside away from his native land.

(From the Oxford English Dictionary)

This CFP  invites the international community of scholars and artists to
contribute essays to a book that will focus on live performance about
living in exile or created by artists living in exile through critically
engaged documentation of exile theatre artists or companies and their
practices, with specific reference to their produced work. The type of work
to be addressed includes, but is not limited to:

•       creation and presentation of performances that reflect the artist’s
or artist collective’s expectation and experience in a new country
following forced displacement,
•       the blending of new and established performance work into original
mashups that address the cultural clash between country of origin and
country of residence,
•       radical adaptations of  plays from an established canon from the
point of view of the exiled artist/s,
•       live performance focusing on exile that blurs the boundaries
between territorial genres, including but not exclusive to theatre, dance,
opera.

Essays should document, analyze, and interrogate specific productions and
performances and the contexts that inspired them (which may include--but
are not exclusive to--political, religious, spiritual, economic, social,
and cultural).

Essays might consider address the following topics:

• what is exile theatre?
• belonging and otherness
• xenophobia
• refugee versus exile as a state of being
• borders, boundaries, and territoriality
• freedom versus independence
• audience identity: the impact of exilic theatre within community, and for
a general public
• generational concerns and issues within exilic communities: does the
narrative change?
• performance as a site of resolution.
• identification of home through the performance of narratives of exile,
displacement, refuge, shelter, engagement, and rootedness
•memorializing or idealizing home or homeland
• re-imagining home through the filters of distance and time
• home versus homeland

Abstracts of up to 500 words should be submitted by November 30, 2015 (to
rudakoff at yorku.ca with the subject line EXILE: your surname) as a
double-spaced MS Word file attachment and should include a brief
biographical note and indication of professional affiliation.

Full articles will be due on or before March 1, 2016, and should be
submitted (to rudakoff at yorku.ca with the subject line EXILE: your surname)
as a double-spaced MS Word file email attachment following the editorial
style of Chicago Manual of Style 16th Edition. Articles should be written
in English and 3,000 to 6,000 words in length (including notes), although
shorter pieces will be considered. Please include a brief biographical note
with the final submission of up to 500 words that includes your affiliation.

Please address any questions to:
rudakoff at yorku.ca

Judith Rudakoff (Dr.)
Professor
Theatre Department
Centre for Film & Theatre
York University
Toronto, Ontario, Canada




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