CALL FOR ACADEMIC PAPERS, WORKSHOPS AND DEMONSTRATIONS (IUTA 10th Congress in Liège, Belgium)
CALL FOR ACADEMIC PAPERS, WORKSHOPS AND DEMONSTRATIONS
10th WORLD CONGRESS OF THE INTERNATIONAL UNIVERSITY THEATRE ASSOCIATION (IUTA – AITU)
MONDAY 30 JUNE TO FRIDAY 4 JULY 2014
University theatre and repertoire
One of the major issues in university theatre is repertoire. Who is performing what? For whom and why? Are there certain identifiable features of the university theatre repertoire, whether historical or contemporary, that distinguish it from other kinds of repertoire? If so, how and why?
These are the straightforward yet essential issues that the IUTA will be addressing at its 10th World Congress. University theatre has always maintained an innovative and complex relationship with the repertoire it presents, thereby clearly reflecting the singularity and diversity of its history, which goes back several hundred years. For example, university companies have produced works from the classical and medieval repertoire when these periods were completely ignored by commercial and professional theatres, as well as by amateur companies. In a number of countries, works by the great classical writers were performed only by university theatres; in other countries under authoritarian or dictatorial control, only university theatre groups dared to stray from the heavily beaten path of “official art;” on other fronts, university theatres were the only forum for marginalized communities and communities that were close to being so, which otherwise had no voice. It should also not be forgotten that university theatre played a major role in some of the most creative moments of the “long century” (from the late 19th century to the present) – in works affirming emancipation, anti-authoritarian views, identity, advocacy or even the counterculture of the sixties and seventies with its exploration of historical and postwar avant-garde movements.
The rapid development of theatre studies around the world since 1980, the proliferation of general, professional and paraprofessional university programs — in design, performance, management, facilitation, training and criticism — together with the growing number of festivals and the introduction of digital technologies, have all contributed to further enriching the dramatic range of university theatre.
Indeed, university theatre continually strengthens, transforms and enriches the world’s theatrical repertoire by addressing several important areas:
The IUTA ‘s 10th World Congress will therefore be a forum for academic dialogue on these important processes that have so far not been adequately researched and documented. The Congress steering committee is interested in both historical and contemporary approaches, and would like to feature case studies, theoretical papers and academic demonstrations or workshops. The Congress will be organized on the basis of the following areas of focus: