Call for Papers STUDIA DRAMATICA 1/2015 Issue: The Actor’s Body: image, metaphor and sign

01 February, 2015

Call for Papers
STUDIA DRAMATICA 1/2015

Issue: The Actor's Body: image, metaphor and sign

In the middle of this civilisation of the Image that we are passing through, of this world of information and fast communication, of simulation and fascination exerted by surface and appearances, in the middle of this age of the "post-biological'' state, the human body became the crossing-point of interdisciplinary explorations. Taking into consideration the importance of the surfaces, the exterior body, as well as of the deep, inner body, the present day theatrical visions impose to the actor, more than ever, a body of excellence in matter of corporal expressivity and of knowledge in stylistic adaptation.
More than a century has passed since the anti-naturalistic rebellions of Appia, Craig, Meyerhold, continued by Artaud, who knew how to impose the visual element as a part of theatrical language which has led to a new reading of the actor's body. Through the stage poetics of practitioners such as Jacques Copeau, Michael Tchekhov, Jerzy Grotowski, Jacques Lecoq, Tadeusz Kantor, Eugenio Barba, Ariane Mnouchkine, Tadashi Suzuki, Robert Wilson, David Zinder, the entire twentieth century has participated to the achievement of a maximal expressivity of the actor's body. And we could add the real conquests coming from dance and music: Appia's and Dalcroze's eurythmic studies and corporal solfeggios, Rudolf von Laban's movement analyse, the extremely fertile artistic area opened by Pina Bausch and her dance-theatre concept, Mary Overlie's Viewpoints technique and philosophy, the poetics of the touch and the contact-improvisation technique of the choreographers Steven Paxton et Nancy Stark Smith, Tatsumi Hijikata's liberation of telluric energies in his Butoh-Dance, Gigi Căciuleanu's Alter-Dance or the extremely large perspective of physical theatre.
Which would be thus the new « mises en scène » of the actor's body taking into consideration this rich heritage? Which are the new approaches of the body's expressivity, the new techniques and methods used in the actors' instruction and pedagogics?
The theme we propose here aims at opening an interdisciplinary debate, welcoming rich methodological and critical approaches. We invite researchers, academics, practitioners (actors and stage directors) – from the fields of performing arts and film – to submit studies and articles, interviews with performers and theatre/film directors. Any contribution of artists is welcomed, and also book or article reviews, if related to the theme.
The studies, articles or reviews may include topics such as:

● Mythologies of the body
● Anthropological, sociologic, philosophic, psychological and religious perspectives on the body
● Theoretical and historical approaches (for example: the great forerunners: François Delsartre, Adolphe Appia, Emile Jaques-Dalcroze)
● Homo gesticulator
● Non-verbal communication
● The body and spirit unity and its relation to traditional dichotomies
● Metamorphosis and the fictional body
● Corporal energies
● The body in space and time
● The analysis of motion (Rudolf von Laban, Gigi Căciuleanu)
● Technical aspects of motion and gesture: gravitational games, space directions, motion fluidity, motion quality, dynamics, tempo
● The evolution of the concept of "plasticity"
● The body as work of art. Fine arts visions of the body on stage (painting, sculpture)
● The undressed and the dressed up body; theatrical costume and et nakedness
● Topography and body architecture in the Viewpoints technique
● Contact-improvisation – the poetics of the touch
● Dizziness and depths revealed in Butoh
● Gesture and its patterns: expressive, daily, ritual
● The body mask in the grammar of codified theatre
● The actor's body in a casting situation
● The body and the emotion on stage; modern and contemporary techniques of producing emotion: Alba, Rasaesthetics/ Rasabox (Richard Schechner), Perdekamp Emotional Method)
● The third eye – the body seen from outside.

Selection:

Articles (that will be peer reviewed) will be sent in electronic format to the e-mail address of the editorial office till February 20, 2015:
studia.dramatica@ubbcluj.ro
or to the
Issue coordinators:
Associate Professor PhD Miriam Cuibus: miriamcuibus@yahoo.com
Assistant professor PhD Filip Odangiu: filip_odangiu@yahoo.com

Selected authors will be notified by March 1st, 2015.

Terms and conditions:
- to follow the profile of the journal and the theme of each issue;
- to respect the established deadline;
- to follow the publication requirements and the Studia norms (see Instructions for Authors);
- to situate the length of the article between 5000 and 8000 words for articles, and between 1500 and 2500 words for reviews;
- for Romanian authors, the translation into Romanian of the abstract and of the keywords.
Will not be accepted:
- texts previously published in other journal or any type of print (books, proceedings volumes, etc)
- texts already uploaded onto public servers

Style Guide:

Name of the author(s) and presentation: Give the full author(s) name(s) and a micro CV in English (max. 600 characters). Full addresses should be keyed to the author's names using numbers in superscript. In case of more than one author, please indicate the email, telephone, and fax of the author to whom the correspondence should be addressed.

Abstract & Keywords: The abstract (not exceeding 250 words) must be written in English, outlining concisely the main findings and major conclusions of the paper. Literature citations and figure references should not appear in the abstract. Include up to 8 keywords beneath the abstract for indexing purpose.

Text: Manuscripts should be typed (single spacing) on A4 paper (21 x 29.7 cm) leaving a margin of 4.5 cm all around. Authors should use IUGS terminology and metric units. All pages should be numbered consecutively and illustrations and tables must be printed incorporated into the text. The text should be in English or French.

References: For English papers use MLA reference system. For French papers, the French classical footnote system. All references cited in the text should be given in the reference list and vice versa. The reference list should be arranged alphabetically and chronologically, with the authors always listed with their last (family) name first. Journal and book titles must be spelled out in full or abbreviated and cited in the text. Include diacritical marks (accents, umlauts etc.) in all titles and names. For books and articles with non-English titles, please translate them into English and mention in parentheses at the end of the reference the original language. (This is not necessary for Spanish, German, Italian or French titles).

For further information see: http://studia.ubbcluj.ro/serii/dramatica/index_en.html

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