Teen actors can step into the world of #Shakespeare with a 10-week theater program that fosters collaboration and self-confidence. Auditions Jan. 24 & 25 in Lenox #WesternMass. #theaterstudies
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#callforpapers
ATR: Socially Engaged Performance (formerly Applied Theatre Research) is now accepting submissions for volume 13, issue 2 which will be published later this year.
Deadline for submissions is 31st July 2025.
👉 Further info […]
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#savethedate
Second Research Workshop "Other Epistemologies? Troubling Knowledge in Research and Art"
3-4 June 2025
PACT Zollverein Essen & Ruhr-University Bochum, BlueSquare
The workshop is open to the public. Interested guests are more than welcome, but kindly asked to register.
👉 Further […]
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#callforpapers
MATERIALITY MATTERS. FIGURATIONS OF COMIC BODIES AND THINGS – Annual conference of the Network "Comic Literacies – Kulturtechniken des Komischen"
13-15 November 2025
Institute for Advanced Study in the Humanities Essen (KWI)
Deadline: 15 June 2025
👉 Further information […]
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#callforapplications
Co-Editor für die erste Ausgabe des Open-Access-Journals "ephemer – Journal for Performance and Theater Research"
Deadline: 01.06.2025
👉 Weitere Infos: www.performing-arts.eu/de/news/newsstream/annou... […]
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🚨🎭There's a great selection of Performing Arts titles this season from @uofmpress.bsky.social. Explore works on global dance, theater, and cinema and browse UMP's theater series on the LUP website! bit.ly/3C23lL7 @livunipress.bsky.social @jshan.bsky.social #theaterstudies 🩰🎦
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An 18th-century engraving, a portrait of Colley Cibber. He sits in a chair with his left elbow reading on a side table. He holds a paper in his left hand and a quill in his right hand. He wears a white curly wig on his head and a velvet overcoat with many buttons. A young woman stands on his right side and she has her right hand on the feather quill pen in his hand.
Abstract: While eighteenth-century actor and theatre manager Colley Cibber is most frequently discussed within the context of sentimental comedy, this article addresses the comedian’s writing for and about the tragic stage. The neoclassical establishment consistently argued for the propriety of tragedy; however, actor and manager Cibber in his 1740 autobiography makes a case for the ludic qualities of successful tragic performance which, he insists, produces pleasure not tied to moral improvement. Moreover, Cibber embraces, rather than bemoans, the destabilization of social hierarchies that attends confessed generic hybridity. In an analysis of the comic burlesque The Rival Queans, a parody of Nathaniel Lee’s earlier tragedy The Rival Queens, I show how Cibber’s tragic stage was less concerned with categories of masculinity and femininity than in the sheer fluidity of gender...
ECF publishes on theatre too!
Read ECF at Project MUSE online:
"A Comedian on Tragedy: Colley Cibber’s /Apology/ and /The Rival Queans/," by Vivian L. Davis muse.jhu.edu/article/550612
#18thCentury #C18th #18thC
#ReadECF #TheaterStudies
A Wayback Wednesday post to 2014.
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