Cfp WG Digital Humanities in Theatre Research, IFTR Stockholm 2016

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Annual Conference 2016, Stockholm, Sweden, IFTR 2016

Conference:´Theme: Presenting the Theatrical Past

13 – 17 June, 2016

Abstracts are due by 15 Jan., 2016

Applications for bursaries to assist with travel funding are due by Dec 1st, 2015

Conveners:

Nic Leonhardt (Munich/ Cologne): n.leonhardt@posteo.de

Franklin J. Hildy (University of Maryland and theatre-finder.org): hildy@umd.edu

CFP 2016 Digital Humanities in Theatre Research Working Group

We are soliciting papers that will represent the full range of experience IFTR/FIRT members have with Digital Humanities in Theatre and Performance Research. We are seeking papers and project presentations that

  • explore the theoretical implications of Digital Humanities for our research into theatre and performance
  • describe existing cyber projects in theatre and performance research
  • propose needed digital projects in these fields
  • explicate problems relating to the pedagogy and technology of such projects (and perhaps propose solutions to them)
  • focus on digital theatre history and historiography

Papers and case studies examining how digital humanities projects can be used in teaching are welcome, but we are not looking for contributions that are only concerned with techniques for using technology in the classroom or distance learning courses at this time. Working groups are not required to address the theme of an IFTR conference but papers which enter into conversation with the theme are most welcome.

Abstracts (up to 300 words) on either a proposed paper or the presentation of a data project will be accepted in English or in the language of the host country but please remember that the group’s primary working language is English.

Abstracts are due by 15 January 2016, and notice of acceptance will be given in early March.

To submit abstracts for papers to be presented in Working Groups for 2016 Conference, you must upload your 300 word abstract through the link to the submission page on the Cambridge Journals Online website and specify which Working Group you are interested in applying for. If you are ready to send your abstract, please click here. http://journals.cambridge.org/action/memServHome?name=IFTR

You will be taken to the Cambridge Journals Online website where you will be prompted to join IFTR or renew your membership. After this you’ll be taken to the abstract submission form.”

Accepted abstracts will be published in the Congress’s Abstracts Book, so pay careful attention to form and content.

Additional information such as the form the proposed submission will take, information about restrictions to your availability over the course of the IFTR World Congress, and a request for the equipment you will require to do your presentation, should be included on the online form under ‘Equipment required.’ Completed papers/ project outline (up to 3 pages) for your DH project presentation or links to online projects are to be submitted by email to both conveners by May 17, 2016:

Nic Leonhardt: n.leonhardt@posteo.de

Franklin J. Hildy: hildy@umd.edu.

Papers/ presentation outlines, and links will be distributed to the groups’ members for discussion. Group members are expected to come prepared to engage in productive discussion of all papers.

If you would like to submit a paper but will be unable to travel to in Stockholm, please contact both the conveners. We are exploring an alternate site for an additional meeting of the working group and will put you are our contact list to keep you updated.

 

Performing the Archive – Internationale Tagung in Galway, Irland

banner-cropVom 22. bis 24 Juli fand an der National University of Ireland (NUI) in Galway die internationale Konferenz Performing the Archive”  statt. Initiiert wurde sie von Barry Houlihan, Ciara Conway, Charlotte McIvor, Ian Walsh (alle NUI Galway), die auch bei der Realisierung des erst kürzlich gelaunchten “Abbey Theatre Digital Archive“ mitwirkten. Das Abbey Theatre Digital Archive, das digitale Archiv des irischen Nationaltheaters, des Abbey Theatres, demonstriert Beispiel gebend, wie eine zeitgemäß zukunftsgerichtete Kooperation zwischen Theater- und Nationalarchiv, Universität, Wissenschaft und Bibliotheken aussehen kann.

Archiven, ihren performativen Qualitäten und ihrer zunehmenden Bedeutung im Kontext von Digitalisierung wurde in den vergangenen Jahren vermehrt wissenschaftliche Aufmerksamkeit zuteil. Unterschiedliche Disziplinen beleuchten Archive in ihrer Formenvielfalt – gestaltet und verstanden als physische Aufbewahrungsorte, Erinnerungsspeicher, Repertoire, Körperwissen, Konventionen, Kulturgedächtnisorte, Räume des Wissens, als Orte und Ausgangspunkte für performative Praktiken des Erinnerns etc. Diese vermehrte Hinwendung zur Befragung des Archivs hat zum Einen mit der zunehmenden digitalen Aufbereitung von Archivbeständen und ihrer vermehrten Nutzung durch Forschung und Praxis zu tun; zum Anderen aber auch mit dem durch die Medienvielfalt und das World Wide Web scheinbar unaufhaltsam wachsenden Wissensspeicher und Wissensvorrat. Orientierung ist nötig. Konventionelle, traditionelle Systematisierungen und Hierarchisierungen von Wissen werden immer häufiger in Frage gestellt.

Theater, also das, was von Theater bleibt, zu sammeln, zu archivieren und der Nachwelt verfügbar zu machen, war immer schon eine besondere Herausforderung durch die Medienvielfalt und Ephemeralität dieser Kunst, die so viele Künste ‚ist‘ – und gleichzeitig ein „Mikrokosmos“ oder „Spiegel“ der Gesellschaft (ein Verhandlungsspielraum, wie ich Theater bekanntlich gerne nenne.). Archive durch Kunst und Performance zu bespielen und ‚auszuspielen‘, ist eine in jüngster Vergangenheit häufiger zu beobachtende künstlerische Praxis geworden – und dies weltweit. (vgl auch Rebecca Schneider: Performing Remains: Art and War in Times of Theatrical Reenactment (2011); Diana Taylor The Archive and the Repertoire (2003); Simone Osthoff/ Wolfang Schirmacher: Performing the Archive (2009))

Der bekannte Kulturhistoriker Peter Burke hat in seiner 2014 erschienenen Studie Die Explosion des Wissens. Von der Encyclopédie bis Wikipedia vier „Wissenspraktiken“ formuliert, nämlich Sammeln, Analysieren, Verbreiten/ Teilen und Anwenden. Diese Praktiken wurden (wenn auch nicht in Bezug auf Burke), auf der Tagung in Galway zueinander in Beziehung gesetzt und anhand von Beispielen aus der aktuellen Archiv- und Theaterpraxis und anhand von theaterhistorischen und zeitgenössischen Fallstudien diskutiert. Formuliertes Ziel war,  „[to] bring together leading academics, practitioners and others who work with or engage with the documented record and history of theatre and performance.“ Und genau dieses Ziel wurde auf einer auch dramaturgisch gut gesetzten dichten Veranstaltung erreicht.

Unerwartet viele Vorträge wurden für die Tagung in Galway angemeldet, die Theaterpraktiker, -wissenschaftler und -archivare in Dialog bringen sollte. Der rege Zuspruch spricht für die Aktualität und Relevanz sowie für das fächerübergreifende Potential des Themas; die Vielfalt der Beiträge resultierte in einem dichten Programm, das ungleich bereichernder wirkte. Formate waren Plenarvorträge, parallel liegende Sektionen, eine szenische Lesung aus Extrakten irischer Dramatikerinnen der 1930er und 1940er Jahre) und Performances. An zwei Abenden fanden Book Launches statt.

Titel der Panel lauteten: Access, Collection, Exhibition and Education — Archival Perspectives on the Gate Theatre’s Internationalism — Archives and Popular Performance — Archives and the City — Community, Folk Theatre and the Archive — Contesting Race and Ethnicity in/ through the Archives — European Perspectives: National Memory and Performing the Archive — How Archives Perform: at the Intersection of Performance and Research — Locations/ Locutions: Scripting the Archive of Irish Theatre — Manuscripts, Data & Digital Texts –Moving Body as Site, Choreographic Knowledge, Data and Evidence in the Body Archive: Leeds Beckett University — Objects & Ephemera within the Archive — Performing the Jewish Archive: Looking forward through the Past — Philosophy, Religion and the Archive — Samuel Beckett and the Archives — Shakespeare and the Archive — The Matter of War: Panel from University of Reading — The Unmarked in Irish Theatre Archives — Theatre in Northern Ireland through the Archives — Theatre Practitioners and the Archives — Traces of the Audience: Embodiments of the Archive — Visual Archives: Photos, Images and the Repertoire.

Die Plenarvorträge adressierten Themen im Spannungsfeld von Theater- und Performance-Geschichte und Historiographie, Kuratieren, Digitalisierung sowie Praktiken und Rhetoriken des Erinnerns in Theater und Medien. Dargebracht wurden sie von Catherine Cole (University of California, Berkeley), Tracy Davis (Northwestern University) Hugh Denard (Trinity College Dublin), Patrick Lonergan (NUI Galway), Emilie Pine (University College, Dublin), Lionel Pilkington (NUI Galway); Einblicke in ihre künstlerische Arbeit mit Archiven und als Archiv gaben im Plenar-Panel Archives and the Performing Artist Louise Lowe (ANU Productions), Paula McFetridge (Kabosh Productions), Joan Sheehy (Limerick City of Culture), Colin Murphy (Journalist and playwright/screenwriter), Fearghal McGarry (School of History, Queen’s University Belfast), Jane Taylor (Wole Soyinka Chair of Drama and Theatre Studies, Leeds University).

In Working Group Sessions hatten die Teilnehmerinnen und Teilnehmer die Möglichkeit, ausgewählte Schwerpunkte im Kontext des Tagungsthemas vertiefend zu behandeln. Arbeitsgruppen wurden abgehalten zu den Aspekten Digitisation: Methodology &Ethics — Acts of War, Arts of Transition: Performance and the Practice of Power in Northern Ireland and South Africa  — Modern Irish Theatre – Opening the Archives — Archival Materials In/ As Performance — Scenography and Theatre Technologies.

Teilnehmer waren überwiegend Theaterwissenschaftler, Kuratoren, Bibliothekare, Archivare, Künstler und Theaterpraktiker sowie ‘Digital Humanists’ mit naturgemäß interdisziplinären Hintergründen, und kamen aus England, Irland, den USA – und Deutschland (ziemlich genau eine von 150 …). Dem irischen Theater schenkten die Gastgeber naturgemäß zusätzliche Aufmerksamkeit, stand doch auf der Agenda der Tagung auch, einer breiteren Fachöffenlichkeit das Abbey Digital Archive, seine Schätze und Funktionen näherzubringen.

Es ist nahezu unmöglich, alle Vorträge hier zusammenzufassen, daher sei ein Blick in das Programm nahe gelegt. Auf Twitter sind zudem die instantanen Tweets zur Tagung unter dem Hashtag #Perfarchive2015 zu finden.

Veranstaltungen wie diese, die Kuratoren, Theaterpraktiker, Künstler, Digital Humanists und andere Wissenschaftler ins Gespräch kommen lassen, sind für eine zeitgemäße Theaterforschung von nicht zu unterschätzender Bedeutung. Erste Ansätze in dieser Richtung in kleinerem Format fanden 2014 in München mit dem Theatrescapes-Workshop “‘Whither Digital Humanities? – Curators meet Researchers” am Center for Advanced Studies und mit dem Workshop “Ibsen Stage” am Ibsen Center der Universität Oslo, Norwegen, statt. (vgl. die gleichnamige DH-Datenbank Ibsenstage)

Galway Bay ________________________________________________________________________

 

 

Theater in der digitalen Moderne

AKADEMIETAG am Montag, 15. Juni 2015, 14.30 Uhr, Theaterakademie August Everding, München

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Mit Keynote von Kay Voges, Workshops mit Voxi Bärenklau, Tommy Finke, Daniel Hengst und Alexander Kerln und einer Podiumsdiskussion

„Der Regisseur und Intendant des Schauspiel Dortmund, Kay Voges, beschreibt in einer Keynote seine Vision vom Theater als „kollektiver Arbeit an der Gegenwart“ und zeigt Beispiele seiner Auseinandersetzung mit digitalen Lebenswelten auf der Bühne. Auf Basis dieser Keynote folgt eine Reihe vertiefender Workshops:

Der Berliner Kameramann und Lichtdesigner Voxi Bärenklau widmet sich dem Einzug des Kinos in das Theater und verdeutlicht die Entwicklung einer neuen Bildsprache des Films auf der Bühne. Der Komponist, Sänger und Musiker Tommy Finke entwickelt musikalische Mittel aus Stück-Texten und stellt z.B. den Einsatz von Körpersensoren vor.  Der Videokünstler Daniel Hengst, kürzlich mit dem Nachwuchspreis des Deutschen Bühnenvereins prämiert, gibt Einblicke in die Digitalisierung und Transformierung des Körpers auf der Bühne. Alexander Kerlin, Autor und Dramaturg, erläutert die Arbeitsweise am Schauspiel Dortmund und blickt in die Zukunft des Stadttheaters.

(Weitere Infos zu den Workshops im Anhang, Anmeldung bis Freitag unter inge.schielein@theaterakademie.de)

Die Podiumsdiskussion mit Andreas Breitscheid (Komponist, Musik- und Medientechnologe), Hans-Jürgen Drescher (Präsident der Theaterakademie August Everding), Nic Leonhardt (Dozentin und wissenschaftliche Mitarbeiterin an der LMU, Schwerpunkt Theater- und Mediengeschichte), Blanka Radoczy (Studium der Bühnen- und Filmgestaltung in Wien, seit 2014 Regie-Studentin an der Theaterakademie) und Kay Voges (Regisseur und Intendant des Schauspiel Dortmund) wird von Sophie Becker (Dramaturgin des Festivals SPIELART und Dozenten an der Theaterakademie) moderiert und erweitert den Blick auf das Theater in der digitalen Moderne um Positionen im Bereich Musiktheater, Ausbildung und Medienwissenschaft.“ (Text: Theaterakademie)

Theaterakademie August Everding

IFTR Conference in Hyderabad 2015. CfP Working Group ‘DH in Theatre and Performance

Hyderabad pic DHThe Working Group Digital Humanities in Theatre and Performance of the International Federation for Theatre Research (IFTR, http://www.firt-iftr.org/) is soliciting papers for the upcoming conference in Hyderabad, 5-10 July, 2015 ( http://www.iftr2015hyd.in/) that will represent the full range of experience IFTR members have with Digital Humanities in Theatre and Performance Research. The convenors are seeking papers and project presentations that

  • explore the theoretical implications of Digital Humanities for our research into theatre and performance
  • describe existing cyber projects in theatre and performance research
  • propose needed digital projects in these fields
  • explicate problems relating to the pedagogy and technology of such projects (and perhaps propose solutions to them)

Call for Papers:

IFTR CFP 2015 Digital Humanities in Theatre Research Working Group

Deadline: 31 January, 2015

For further info please contact Nic Leonhardt, n.leonhardt@lmu.de or Frank Hildy, hildy@umd.edu

 

Digitale Theatergeschichte: Workshop, 20. Oktober 2014

Nic Leonhardt und Tobias Englmeier stellen an der Bayerischen Akademie der Wissenschaften in München die Arbeit an Theatrescapes vor, gewähren Einblicke in die Entwicklung des Resarch Tools und diskutieren methodische Fragen digitaler theaterhistorischer Projekte.

Workshop Digitale Theatergeschichte

Digital Humanities and the Performing Arts

A paper by Nic Leonhardt on DH in Theatre and Performance Research, its benefits, challenges, and pitfalls; including notes on the historicity of Digital Humanities and a short list of best practice DH projects on theatre architecture, playwrights, dance, applied or ‘experiential’ DH projects in the international community as well as on art history and early cinema.

(Slightly modified paper version of the keynote at SIBMAS/TLA Conference, New York City, June 2014)

Nic Leonhardt_DH and the Performing Arts_June 2014

Theatrecapes – Expectations before the Conference: Fernando Mencarelli

Only a few hours until the start of our conference Theatrescapes – Global Media and Translocal Publics 1850-1950 – time to post our last video! As in the previous cases, we were interested in why our guests chose to attend our conference. Fernando Antonio Mencarelli’s (Federal University of Minas Gerais, Brazil) current research project centers on musical theatre in 19th century Rio de Janeiro. He hopes that at the Theatrescapes conference he will be able to connect with researchers from the field of global theatre history who work in a similar area of research.

To see the video, please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

Theatrescapes – Expectations before the Conference: Francisco Leocádio

Tomorrow our conference will start – we’re already looking forward to welcome our speakers in person. But even before that, we wanted to know why our guests chose to attend Theatrescapes – Global Media and Translocal Publics 1850-1950. Francisco Leocádio’s paper (Federal University of the State of Rio de Janeiro) centers on the large modernization project which Rio de Janeiro, then Brazíl’s federal capital’ underwent in the early 20th century and its connection to theatre. He hopes the conference will be a forum to exchange experiences and get to know other researchers interested in similar topics.

To see the video, please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

One more video to come!

Theatrecapes – Expectations before the Conference: Christine J.L. de Medeiros

Only three days left until the beginning of the conference… Why did our guests choose to attend Theatrescapes – Global Media and Translocal Publics 1850-1950? Christine Junqueira Leite de Medeiros’ (Federal University of the State of Rio de Janeiro & Carlos Chargas Filho Foundation, Brazil current research project focuses on the role of businessmen, companies and Portuguese actors in the Brazilian market. She believes the conference will be an attractive forum to expose, analyze and discuss different views on theatre and global media.

To see the video, please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

More videos to come!

Theatrescapes – Expectations before the Conference: Maria João Brilhante

Why did our conference guests choose to attend Theatrescapes – Global Media and Translocal Publics 1850-1950? What do they hope for? Maria João Brilhante’s (Lisbon University, Portugal) current research project centers on theatrical trade routes between Portugal and Brazil. She hopes the conference will provide a Forum to exchange ideas on this topic.

To see the video, please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

More videos to come!

Theatrescapes – before the Conference: Stanca Scholz-Cionca

Why did our conference guests choose to attend Theatrescapes – Global Media and Translocal Publics 1850-1950? What do they hope for? Stanca Scholz-Cionca (University of Trier, Germany) sees a connection between the term “theatrescapes” and the way theatrical worlds are conceptualized in Japan.

To see the video, please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

More videos to come!

Theatrescapes – Expectations before the Conference: Maria Helena Werneck

With only days left until the beginning of our international conference Theatrescapes – Global Media and Translocal Publics 1850-1950, we asked some of our conference guests about why they chose to attend the conference, how it ties in with their current research and what they expect from their stay in Munich. In today’s video Maria Helena Werneck (Federal University of the State of Rio de Janeiro, Brazil) answers to these questions.

Please click the link – it will open a new tab, where you can choose to watch the video in different formats. Flash is probably the one that it is the most convenient, but please note that it will not work on an iPad. Here, “Mobile” or “Quick Time” will be better.

https://cast.itunes.uni-muenchen.de/vod/playlists/ppBfnybnRo.html

More videos to come!

Global Media and Translocal Publics – Conference 19-21 June, IBZ Munich

FINAL-29.04.2014From 19-21 June, speakers from Australia, Bangladesh, Brazil, France, Germany, Hungary, Japan, New Zealand, Poland,  Portugal, UK, USA representing 10 disciplines shall discuss the intersection of media, migration and the creation of new translocal publics in the field of  theatre between 1850 and 1950 at the conference Theatrescapes. Global  Media & Translocal Publics. Papers shall address the following sub-topics:

  • Theatre and global media (how did performers, entrepreneurs, directors interact with global media, and how did global media foster the global dissemination of theatrical material (plays, formats, institutions, etc.)
  • Translocal publics (the emergence of theatrical public spheres in situations of cross-cultural contact)
  • The press and globalized theatrical reading publics
  • Networked stages (transnational interconnections of producers and productions, impresarios and agents)
  • New urban centres as theatrical contact zones
  • Theatre-building as a (inter)cultural act

The event is taking place at IBZ Munich. http://www.ibz-muenchen.de.

Sincere thanks to the Fritz Thyssen Foundation (http://www.fritz-thyssen-stiftung.de) for the financial support!

Theatrescapes Conference Programme 19-21 June

Digital Curation and the Performing Arts

Poster Doug ResideOn 8th and 9th May, the Theatrescapes research group organized a talk and workshop with Doug Reside, digital curator of the New York Public Library for the Performing Arts. (www.nypl.org). The event took place at and was generously co-financed by the Center for Advances Studies (LMU) (www.cas.uni-muenchen.de).

In his talk, Digital Curation and the Performing Arts, Doug discussed his role at the library and demonstrated the impressing tools he has developed to preserve the material of the library’s collections, and to engage new readers/users.

The workshop Whither Digital Humanities? Curators Meet Researchers  aimed at mediating the dialogue between researchers from theatre and art studies, librarians, curators and archivists. Participants explored the chances, benefits and challenges of introducing digital tools into their respective field of work and presented their DH projects and databases. DH Workshop Programme & Participants .

Both the talk and the workshop turned out to be a big success and initiated vivid discussions and exciting plans for future cooperations between researchers, archivists and librarians in the field of Theatre Studies.

The talk has been recorded and will be out soon.

Klick here for Nic Leonhardt’s introductory remarks (in German): 

http://nicleonhardt.wordpress.com/2014/05/12/whither-digital-humanities/