Theatre and Performance Design Journal

Theatre & Performance Design – Call for Submissions

Volume 4, Issue 1: On Models

Submissions to Nick Tatchell, Editorial Associate: [email protected]
Deadline: 30th November 2017

The editors, Arnold Aronson and Jane Collins have pleasure in calling for submissions to the
journal Theatre and Performance Design Volume 4, Issue 1 Spring 2018, On Models. This special
issue, guest edited by Thea Brejzek and Lawrence Wallen, invites scholars and practitioners to
engage with the model in expanded practices of theatre and performance design. Possible topics include but are not limited to:

– Modelling practice as research
– From the Model to the Stage
– Material Thinking
– ‘Reading’ the model
– Virtual and Augmented Models
– Scenographic Notation
– Models and Reality
– Models and Temporality
– Scale and Narrative

Scenographic models or maquettes together with sketches, drawings, and renderings are
principal instruments in the design and communication processes of stage design for theatre
and performance. Scale models clarify and explain spatial configurations and relations. In
design terms, models evolve through iterations, material experiments and explorations that are
elliptical and non-linear, and most models are finalized to represent the future production.

A close look at the model also reveals examples in theatre and performance design that move
beyond the purely iterative and representational toward an autonomous status. These models
constitute their own end product, and generate no further artefact, design or production. The
autonomous model, we argue, is neither process-driven nor representational but conceptualized and built to be autonomous and appears increasingly in exhibitions of scenography and performance as well as on the stage itself.

For the proposed issue, On Models, we invite contributions that look at the theory and practice
of all manifestations of the stage set model in theatre and performance while engaging with its
performative and epistemic attributes. We are interested in proposals that explore speculative,
projective or retrospective, as well as realistic, experimental or pragmatic models in the form of
scholarly articles, dialogues, interviews, visual essays, manifestos, and production diaries.

Thea Brejzek’s and Lawrence Wallen’s forthcoming book The Model as Performance. Staging Spacein Theatre and Architecture, Bloomsbury 09/2017, charts new territory by examining the historyand development of the physical scale model across theatre and architecture practice from theRenaissance to the present. The aim of this book is to establish the model as an active agent inthe making of space within an expanded theatre and architectural discourse.

Submissions to Nick Tatchell, Editorial Associate: [email protected]
Deadline: 30th November 2017


Theatre & Performance Design – Call for Submissions

Volume 3, Issues 3: Video in the Theatre

The editors, Arnold Aronson and Jane Collins have pleasure in calling for submissions to the journal Theatre and Performance Design Volume 3, Issue 3 Fall 2017. The issue will consist of general articles on scenography but we are also seeking submissions on the subject of video in the theatre.
The presence of projected moving images in live theatrical performance dates back at least to the work of Erwin Piscator in the 1920s. Video technology became viable after World War II, but it was the introduction of the Sony Portapack in 1965 that made video available to non-broadcast consumers. The new technology quickly led to the creation of a new art form, almost single-handedly invented by visionary artist Nam June Paik. Video soon found its way into theatre with pioneering work by Josef Svoboda, Video Free America, Squat Theatre, and, of course, the Wooster Group, among others. (See Chris Salter, Entangled [Cambridge, MA: MIT Press, 2010] for a more complete history.) Video has the possibility of being live or pre-recorded; projected or shown on video monitors. It can function as a “wormhole” in the space of the stage and it can introduce several time matrices simultaneously. With the ever-increasing sophistication of video equipment, coupled with the ever-decreasing size and cost of recording equipment (and the expanding size and resolution of monitors and screens), video has become a standard, even ubiquitous, presence in live performance.
We are seeking articles that explore the aesthetic and theoretical implications of these developments over the past two decades or so, as well as articles exploring the use of video by innovative theatre artists and companies. Although video projection is related in some ways to still and film projection, this special issue of the journal will focus exclusively on video—both analog and digital. (However, articles that explore the relationship of video to other forms of projection may be considered.) We welcome articles by practitioners as well as scholars.

Submissions to Nick Tatchell, Editorial Associate: [email protected]