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----Page and Stage: 50 Years of Performing Beckett, Workshop Theatre, University of Leeds, June 20-22 2003
Call for Papers/Practical sessions.
We would like to invite abstracts for papers and practical work for Page and Stage: 50 Years of Performing Beckett, a 2- day conference at the Workshop Theatre, School of English, University of Leeds on June 20-22 2003. The conference will look both at Beckett’s own practice in the creation of performance texts, the various ways in which practitioners have engaged with Beckett’s theatre, and issues that arise in the rehearsal rooms and auditoria where his work is confronted, negotiated and enjoyed. ‘Papers’ at this conference, it is hoped, will take either of two forms: Traditional 20 minute readings, and one hour ‘workshop’ papers, for which presenters will invite delegates to participate or witness performed interrogations on pieces or fragments of Beckett’s writings.
Proposals for practical work and/or written contributions might deal with one or more of the following:
‘Meeting’ the Beckett text: What opportunities and/or resistances do the texts themselves present to the performer, director or spectator? What contracts between performer and role/role and audience do they suggest to or impose upon practitioners? How might we define Beckett’s theatricality?
Beckett and ‘performance’: Are there special conditions that govern performance in Beckett’s work? What are the connections between Beckett’s work and the developing theorisation and realisation of the body in performance?
Beckett and theatre technology: papers and/or practical demonstrations might explore the use of technology within the performance texts. What are the implications for performance practice of Beckett’s meticulous use of staging techniques? To what degree are the technical instructions given with certain texts integral to or complementary to the ambition of the piece in performance? Are there links between Beckett’s sculpting of the stage space and the work of other practitioners/theoreticians whose work is generally placed under the banner of performance/multimedia art?
Textual fidelity: what role does the idea of faithfulness to the text now play in the production and reception of the Beckett text? How does the idea of faithfulness operate in this context? What constitutes fidelity given the diversity of possible sites of reception? Where is faithfulness located in rehearsal and performance?
Performing Beckett’s genres: what status should be accorded to productions based on Beckett’s non-theatrical works? Is there a developing consensus on the approach taken to such work? What function does the performativity of non-theatrical works serve when locating these works on the stage?
Proposed length of papers 20 mins; Workshop plans/abstracts 1 hour
Closing date for abstracts- 1st Feb 2003.
Mark Batty – m.j.batty@leeds.ac.uk David Pattie - d.pattie@chester.ac.uk
=============================================== From the Literary Calls for Papers Mailing List CFP@english.upenn.edu Full Information at http://www.english.upenn.edu/CFP/ or write Erika Lin: elin@english.upenn.edu ===============================================
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