[Carmela Mattza]

MLA 2023 Forum on 16th-and 17th c. Drama CFP

1. Classical Theatre in Today’s Higher Education

This panel explores the role(s) that higher education has played in the preservation, promotion and innovation of teaching and performing the Comedia. Innovative approaches to teaching, adaptation, translation, staging, and outreach are welcome.

2. Comedia, Poetics & Performance

This panel invites abstracts on new approaches to Spanish Golden Age Comedia. We welcome submissions that address issues of edition, performance, & poetics, as well as the study of the Comedia in digital spaces & popular media. Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for Comedia, Poetics & Performance

This panel invites abstracts on new approaches to Spanish Golden Age Comedia. We welcome submissions that address issues of edition, performance, and poetics, as well as the study of the comedia in digital spaces and popular media. Does performance impact our vision of poetics? Do digital spaces facilitate our understanding of early modern Spanish plays? How is the canon affected by new ways of disseminating these works? Abstracts and short CV due March 6 to s14velazquez@gmail.com

3. The Comedia Connection: England and Spain (Co-sponsored with CLCS Comparative Literary and Cultural Studies)

This panel explores new critical approaches to theatrical relations between Spain & England. Abstracts that take a comparative approach to the study of the Spanish Golden Age Comedia & plays by Shakespeare & his contemporaries are encouraged. Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for The Comedia Connection: England and Spain

The literary relations between England and Spain seem to expand during the first third of the seventeenth century. Four examples will suffice. As early as 1605, an English delegation, led by Lord Howard, comes to Valladolid to sign a peace treaty, as a new era of hope seems to be dawning. Cervantes refers to this moment in his Exemplary Novels and we know that Spanish plays were put on for the delegation. Less than a decade later, Shakespeare composes The Tempest (1610-11) a play that some argue has the Amadis de Gaula as model. Soon thereafter, the much-debated Cardenio play is staged, based on Shelton’s 1612 translation of Don Quixote. In 1623, Prince Charles journeys to Spain to woo the Infanta. He is treated to numerous plays during his visit, and at least one play is written about his sojourn to Madrid. Building on this literary-historical background, this panel seeks to promote a comparative approach to the Spanish comedia and the English plays by Shakespeare and his contemporaries. We welcome submissions that address this relationship through different approaches such as the materiality of performance, the transformation of genres, and strategies for adaptation and translation. Abstracts and short CV due March 6 to s14velazquez@gmail.com

4. Working Conditions of Performance: Staging Early Modern Plays 

This panel seeks contributions that explore the precarious working conditions under which theater practitioners develop their work. What conditions do companies face in bringing an alternative canon to the stage? Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for Working Conditions of Performance: Staging Early Modern Plays

With over a thousand plays, Golden Age Iberian drama is one of the most prolific European theatrical traditions. However, only a handful of them get on stage nowadays. In line with the presidential theme “working conditions,” this panel looks for contributions that explore up to what extent this mismatch depends on the precarious conditions in which actors and directors develop their work, as well as producer demands. What plays have made it to the stage, and what plays are routinely left out? How does this affect, in particular, early 16th-and 17th-century plays? What are the companies that, against all odds, are bringing an alternative canon to the stage? And, conversely, what pieces have become so successful as to prevent others from being staged? Abstracts and short CV due March 6 to s14velazquez@gmail.com

 

• This topic was modified 1 year, 9 months ago by Carmela Mattza.

[Carmela Mattza]

MLA 2023 Forum on 16th-and 17th c. Drama CFP

1. Classical Theatre in Today’s Higher Education

This panel explores the role(s) that higher education has played in the preservation, promotion and innovation of teaching and performing the Comedia. Innovative approaches to teaching, adaptation, translation, staging, and outreach are welcome.

2. Comedia, Poetics & Performance

This panel invites abstracts on new approaches to Spanish Golden Age Comedia. We welcome submissions that address issues of edition, performance, & poetics, as well as the study of the Comedia in digital spaces & popular media. Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for Comedia, Poetics & Performance

This panel invites abstracts on new approaches to Spanish Golden Age Comedia. We welcome submissions that address issues of edition, performance, and poetics, as well as the study of the comedia in digital spaces and popular media. Does performance impact our vision of poetics? Do digital spaces facilitate our understanding of early modern Spanish plays? How is the canon affected by new ways of disseminating these works? Abstracts and short CV due March 6 to s14velazquez@gmail.com

https://mla.confex.com/mla/2023/webprogrampreliminary/Session13643.html

3. The Comedia Connection: England and Spain (Co-sponsored with CLCS Comparative Literary and Cultural Studies). This panel explores new critical approaches to theatrical relations between Spain & England. Abstracts that take a comparative approach to the study of the Spanish Golden Age Comedia & plays by Shakespeare & his contemporaries are encouraged. Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for The Comedia Connection: England and Spain

The literary relations between England and Spain seem to expand during the first third of the seventeenth century. Four examples will suffice. As early as 1605, an English delegation, led by Lord Howard, comes to Valladolid to sign a peace treaty, as a new era of hope seems to be dawning. Cervantes refers to this moment in his Exemplary Novels and we know that Spanish plays were put on for the delegation. Less than a decade later, Shakespeare composes The Tempest (1610-11) a play that some argue has the Amadis de Gaula as model. Soon thereafter, the much-debated Cardenio play is staged, based on Shelton’s 1612 translation of Don Quixote. In 1623, Prince Charles journeys to Spain to woo the Infanta. He is treated to numerous plays during his visit, and at least one play is written about his sojourn to Madrid. Building on this literary-historical background, this panel seeks to promote a comparative approach to the Spanish comedia and the English plays by Shakespeare and his contemporaries. We welcome submissions that address this relationship through different approaches such as the materiality of performance, the transformation of genres, and strategies for adaptation and translation. Abstracts and short CV due March 6 to s14velazquez@gmail.com.

https://mla.confex.com/mla/2023/webprogrampreliminary/Session13643.html

4. Working Conditions of Performance: Staging Early Modern Plays

This panel seeks contributions that explore the precarious working conditions under which theater practitioners develop their work. What conditions do companies face in bringing an alternative canon to the stage? Abstracts and short CV due March 6 to s14velazquez@gmail.com

Long version for Working Conditions of Performance: Staging Early Modern PlaysWith over a thousand plays, Golden Age Iberian drama is one of the most prolific European theatrical traditions. However, only a handful of them get on stage nowadays. In line with the presidential theme “working conditions,” this panel looks for contributions that explore up to what extent this mismatch depends on the precarious conditions in which actors and directors develop their work, as well as producer demands. What plays have made it to the stage, and what plays are routinely left out? How does this affect, in particular, early 16th-and 17th-century plays? What are the companies that, against all odds, are bringing an alternative canon to the stage? And, conversely, what pieces have become so successful as to prevent others from being staged? Abstracts and short CV due March 6 to s14velazquez@gmail.com

https://mla.confex.com/mla/2023/webprogrampreliminary/Session13643.html

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