Critical Stages/Scènes Critiques
|International Association of Theatre Critics Association internationale des critiques de |
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Critical Stages/Scènes Critiques is available online to the reader without financial, legal or technical barriers. Ιt is a peer-reviewed journal fully committed to the Open Access Initiative. It offers a platform for debate and exploration of a wide range of theatre and performance art manifestations from all over the world. Our aim is to make our readers feel that Critical Stages/Scènes Critiques is their “local” journal with a global reach.
Call for Articles and Essays
The theatricality of music, the musicality of theatre
Guest Editor: Octavian Saiu
The relationship between theatre and music is as old as both these art forms. To look into their time-honored connection is to highlight the sense of what it means to experience human creativity in its most enchanting and possibly most meaningful form. With time, both theatre and music moved beyond the aesthetic and became areas of debate, subjectivity and criticism. They have welcomed questions about the fundamental aspects of society and culture, in an unparalleled way. This process has intensified with the advent of modernity: from Wagner’s gesamtkunstwerk to contemporary musical, from Grotowski’s aspiration towards the perfect embodiment of sound to current explorations in musical anthropology, the appeal of a complex, total performance that integrates music and theatricality has not ceased to appeal to artists, scholars and audiences alike.
So, what is the relationship between these two complex universes in the twenty-first century, a century of unprecedented changes? How is this relationship affected by the new technology and the new media? To what extent is it influenced by the current social, economic or political developments of the world?
This special issue of Critical Stages/Scènes critiques will examine the theatricality of music and will investigate the musicality of theatre, focusing on the following themes, among others:
- the dynamics between theatre and music, in the East and in the West
- the architecture of sound in contemporary performance
- the new theatricality of opera
- the transnational aesthetics of the musical
- the soundscape of performing arts
- the musical and the postmodern/posthuman industry
- theatre criticism and music criticism: similarities and differences
- the contemporary musical: advertising, marketing, and tourism
We invite critics, scholars and researchers from around the world to contribute to a special issue of the journal dedicated to the aesthetics, meanings and social implications of music in theatre and, equally, of theatre in music. The issue is interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including performance, music, cultural studies, sociology, philosophy and journalism.
Length: Maximum 3.500 words
Language: English or French
Deadlines for proposals: 15 September 2019
Submissions in the form of completed articles should be sent by early March 2020
Revisions will be due by late April 2020
Publication date: late June 2020
Stylesheet for Critical Stages/Scènes critiques: click here
Submission Guidelines: click here
The New Commedia dell’Arte – XXIII International Master
1 – 22 September 2019, Pordenone Italy
The New Commedia dell’Arte is a very particular reconstruction of the mythical scenic language of the Italian Theater of the Masks.
The backbone of this reconstruction is an artistic and contemporary conception of body shapes: not illustrative, not daily, and instead a place for discovering new thoughts and new points of view on reality. The figurative aspect of the characters of the Commedia dell’Arte rests on the profound correspondence between plastic movement and the quality of the relationship with the world and with life: a simple but fundamental discovery that we owe to the Master Claudia Contin Arlecchino. Each character’s body is a sensitive machine / mask. The actor must constantly cultivate this sensitive mask, as is done with a musical instrument, in search of a new consciousness and a new creativity.
In this perspective they are ”masks”, or shifts, or artifices, to listen to and re-conquer, all forms of artistic type: melodies, texts, choreographies, rhythms, pictorial and photographic patterns, architectural volumes and vectors, prostheses, etc. The experience we propose is called Master, because it is a specialization; an acquisition of increased artistic technique, whatever the student’s language of choice: prose, acting, dance, poetry, music, architecture, painting, etc.
The Master is directed by Ferruccio Merisi, who personally conducts the subjects of: dramaturgy of the mask, word-gesture techniques, improvisation, stage composition. Other teachers are, Lucia Zaghet for: dances from the world, forms and movements of the characters, individual choreographies; Felix Muniz: stage fight, with elements of fencing, acrobatics and slapstick; Giulia Colussi: warm up, individual choreography, training; Daria Sadovskaia, voice, song, interpretation; Claudia Zamboni, general tutor.
The Master, as always, is flanked by a festival of shows, whose main artists will each hold a workshop or a special masterclass, included in the Master’s program: Claudia Contin Arlecchino, Vincent de Lavenère, Antonello Antonante, Baccalà Company, Arawake, Teatro Tascabile of Bergamo.
All the languages of the world are welcome to the Master, which, in addition to generic skills (English, French, Spanish, Russian), will be equipped for the needs of the enrolled students.
THE MAXIMUM NUMBER OF MEMBERS ADMITTED TO THE MASTER IS 14 PEOPLE
The application for registration to the Master must be sent to email@example.com, and accompanied by name, surname, place and date of birth, address, telephones, e-mail, curriculum vitae and photographs. Giulia Colussi, who is in charge of the Master’s secretariat, will reply to each member. Who will be accepted will receive all the information to formalize the registration.
For urgent information: 0434 311042; 340 9330447
The Master will end on September 22nd with a public performance. The participants will receive, on the day of the beginning of the Master, the materials with the theatrical texts useful for it.
The participation fee is € 800, including the subscription to the shows, and to all the special masterclass with the artists of the festival.
The accommodation (double or triple room with kitchen use) costs € 220.
Onstage Korea 2020 Season
Open Call for Performing Artists
The Korean Cultural Center Washington, D.C. is hosting its annual OnStage Korea Open Call, inviting exceptional Korean and Korea-themed performing artists worldwide to showcase their talent in the Capital Region during the program’s upcoming 2020 Season.
Applications are due by Friday, September 6, 2019
The KCC seeks to give original artists and groups the opportunity to perform for the American public through this open call for OnStage Korea’s 2020 Season. OnStage Korea strives to foster international cultural exchange by expanding the visibility of excellent Korean performing arts and artists in mainstream America. The 2020 Season will continue to present unique and exceptional performances throughout the year free to the public, in and around Washington, D.C.
Access the application forms and complete at the links below. For more information about our Open Call for Performing Artists 2020, please visit KCC Website.