Sunday, March 12, 2017

12th International Conference 
Theatricality in Theatre and Other Mimetic Forms
4-6 April 2017
Organised by  
Department of Performing Arts
In Collaboration With

Bangalore University is located in the Garden City of Bangalore aptly hailed as the “I.T. Capital of India”, was established in July 1964 as an off shoot of the University of Mysore, Bangalore University has completed Fifty-two years of fruitful existence and has come to be hailed as one of the largest universities of Asia. Though originally intended to be a federal university, it has eventually emerged as an affiliating University. The University was first accredited in 2002 by NAAC with Five Star Status, re-accredited in the years 2008 and Nov. 2016 in 2nd and 3rd Cycles with ‘A’ Grade.

Bangalore University has achieved milestones by establishing MOUs with Universities and Institutions of national and international repute. To cater to a student population of over three lakhs, the University is striving to provide access, expansion and excellence in higher education. The vision of the University is to make distinctive and significant contributions to the cause of higher education in Humanities, Social Science, Law, Commerce, Science & Technology. The University is providing quality teaching and encouragement to research in frontier areas with social relevance that would reflect its mission and goals aptly symbolized by its emblem ‘JNANAM VIGNANA SAHITHAM’.

The Department

The Department of Performing Arts was started in the year 1973. The Department is located at Kala Bhavana, Jnanbharathi Campus, Bangalore. The Department has well equipped class rooms and labs. It also has ‘theatre on wheels’, a programme that provides a platform for students to perform plays based on contemporary issues in different parts of Karnataka. The syllabi and the performances of the Department focus on modern trends and innovations in the field of Performing Arts. Along with this, the Department also has important outreach activities like the annual National and International conference, World Theatre Day, Drama productions and presentation of Ballets and Music concerts.

 Call for Papers

Theatre research is and always has been an interdisciplinary area of research. The present conference continuing this tradition would like to place the theatrical performances along with other performing arts Theatricality is one of the basic foundations of theatre, and is what defines it. But it is also used as a mode of representation or as a medium in other mimetic forms. Especially with the entry of new media forms in the wake of technological developments, it seems to be relying exclusively on the mode of theatricality to reach out in the era of late capitalism. The question that this seminar poses is whether theatre research which hitherto grappled with the notion of theatricality could throw light on the uses of modes of theatricality in the new media. Are “real” events staged before camera as theatrical events and not as social events? There is live streaming of certain events over internet, which amounts to theatricality. Thus there is urgency in understanding the question of theatricality in theatre and other mimetic forms. 
We call for papers exploring the issue of theatricality in various mimetic forms.  Questions regarding expanding the notion of theatricality to cover these developments or limit to it, or use the conceptual tools generated in theatre research to address them, could be presented. The following are the suggested topics but the researchers need not limit themselves to the following

  • Changing notions of Theatricality,  
  • Dance and theatricality. Art shows as theatricality. 
  • Television shows and theatricality. 
  • Theatricality in the age of technology
  • Theatricality in Life.
  • Cinema and theatricality. 
  • Theatre and Tourism.   
  • Theatre and Mass Media.
  • Theatre and new media. 
  • Theatricality of domestic disputes in media.
  • Deconstructing power: Role of theatre and other mimetic forms.
  • Decentralizing power rhetoric/ Rhetoric of power: Role of theatre and other mimetic forms, Social preformation as theatre and other mimetic forms.
  • Theatre and other mimetic forms and their participation in social construction, Performatives in theatre and other mimetic forms.
  • Social changes through theatre and other mimetic forms.
  • Radical theatre and social performatives, Defining performative in social sphere, Power in cognitive sphere and role of rhetoric, Power establishment in rhetoric performative, Discrimination of people’s rhetoric through theatre of power.
  • Cinema of the oppressed and performativity of the censor board. Power rhetoric in television and radio.

Important  Instructions for Abstract Submission.
Abstract not exceeding 500 words should be sent latest by 25th March 2017 through email to the following email address:
The authors should state their institutional affiliation, designation, postal address, e-mail, fax and mobile number.
The organizing committee reserves the right to accept/reject the abstract without giving any reasons
 Last date to send full papers and for registration: 30th March 2017
Selected papers will be published with ISBN 
Registration fee: General Conference: Rs.2500/-    50$ for foreign delegates
Research scholars: Rs.1000/-     25$ for foreign delegates.

For more details, visit: Bangalore University website or contact:

Dr. V. Nagesh Bettakote 
Conference Coordinator 
Department of Performing Arts, Bangalore University,
Jnanabharathi Campus, BENGALURU-560056
Phone: (O) 080-22961708/1701, Mob: 9902130384

International Conference
"Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinemas"

October 18-20, 2017
Universidad Carlos III de Madrid / Casa de América (Madrid)
International Film Conference (IV TECMERIN Academic Meeting)

Over the past twenty years, digital technology has become the standard in the film production, circulation, and consumption processes. Within this context, Hispanic cinemas have undergone deep changes, both within the countries with an established cinematic tradition, as well as in those that, due to several reasons, had not developed a robust cinematography throughout the 20th century. The analogue paradigm became deeply contested and a new digital framework, which was widely discussed by institutions, film critics, and academics, emerged. This moment coincides with the widespread generalization of national and transnational neoliberal policies that, far from backing diversity, have increased the gap between those “connected” and those “disconnected” (to draw upon Néstor García Canclini’s term); a gap also experienced by those that, even if connected, still occupy subaltern positions.

The speeding of these processes has resulted in an increase of mobility, at work both in the geographical displacement of film professionals and in the emergence of new narratives models that deal with questions of belonging and uprooting, springing precisely from these experiences of displacement. The cinemas of the Global South, and, most specifically, Hispanic cinemas, have actively taken part in these processes, ultimately playing a relevant role in terms of narrative and aesthetic models, and the production, circulation and consumption of film.

Following the main research axes of the R+D project “Transnational relations in Hispanic digital cinemas: the axes of Spain, Mexico, and Argentina” (CSO2014-52750-P), the International Conference Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinemas welcomes proposals across the following lines of inquiry:

  • The representation of migrations, displacements, exile, and diaspora.
  • Transnational flows of cultural, economic, and human capital in the production and circulation of cinema. 
  • The reconfiguration of the regional, national, and transnational Hispanic interactions within the new century.
  • Public discourses and film policies within the region.
  • Hybridization and identity in the narratives on colonization, decolonization, and revolutionary processes.
  •  Activism and digital praxis.
  • Genres, authors, stars.
  • Film cultures and cinephilia: festivals, publications, and digital platforms.
  • Minor cinemas: indigenismo, experimental, and/or militant cinemas.
  • Historiographic, theoretical, and methodological problems of so-called Hispanic, Iberian, and Latin American cinemas.

Presentations should be no longer than 20 minutes and may be in Spanish, Portuguese or English. Those interested in participating in the conference should send a title and an abstract proposal of 250 words to, before May 28th, 2017

Please send the abstract as an attachment to your e-mail. The file must include the title, name of the presenter (and co-presenters if any), institutional affiliation, and e-mail. Proposals for panels (4 papers or 3 presentations plus respondent) are welcome and must include a title for the panel itself and the different papers, thenames of the participants and a brief summary of both the panel and the individual proposals.

Deadline for submissions: May 28, 2017
Research Group TECMERIN from the Department of Journalism and Media Studies at the Universidad Carlos III de Madrid

contact email:

For more information you can check our website:

Hosted by the Spanish Government Funded Research Project "Las relaciones transnacionales en el cine digital hispanoamericano: los ejes de España, México y Argentina" (CSO2014-52750-P). Ministry of Economy and Competitiveness.

Workshop: Performing Shakespeare: Theory and Praxis

Dept. of English
Assam University, Silchar
10th – 14th April 2017

As a sequel to the much appreciated workshop on Theater Appreciation: Theory and Praxis, the Department of English, Assam University, Silchar is organizing a five-day workshop on Performing Shakespeare: Theory and Praxis from 10th to 14th April 2017

 The objective of the Workshop is to acquaint participants with the enduring enigma that is William Shakespeare and expose them to the technicalities of adapting and performing Shakespeare for the twenty-first century stage.
William Shakespeare’s plays have often been described as the richest, the purest, the fairest, that imagination has ever inspired in any language and the dramatic genius of Shakespeare has remained unparalleled in the canons of world literature. But is Shakespeare our contemporary? Ben Jonson believed that Shakespeare’s dramaturgy “was not of an age but for all time”. Prophetic words certainly, and the innumerable adaptations of the Bard’s plays in the last four hundred years, both for stage and screen, across languages and cultures, bear rich witness to his relevance. Shakespearean criticism reached a new level towards the end of the Nineteenth century and has continued to proliferate in diverse fields ever since. During the Twentieth and Twenty-first centuries the focus of Shakespearean Studies has shifted from the literary-text to the theatrical and performative.

In keeping with this trend, the Workshop will provide a stimulating forum for interaction on the theoretical and performative aspects of adapting Shakespeare for the modern stage. The technical sessions of the workshop would include demonstrations and lectures on various aspects of Shakespearean theatre, such as, acting methodologies, stage craft, style, history and historiography of Shakespearean adaptation so that the participants can derive a first-hand experience of learning the intricacies of the art.

The Workshop will have practical classes on how to translate a Shakespearean text into a performance thereby enhancing the participant’s skills of stage composition. A play by Shakespeare, for instance, A Midsummer Night’s Dream, shall be selected for the purpose and the participants will learn to translate a certain portion into performance keeping in mind the theoretical and performative aspects of the text. The workshop will end with performance/s of a Shakespearean play complete with music, set, props and costumes designed and innovated with available resources.

Deadline for submissions:March 30, 2017

Contact email:

Dept. of English
Assam University, Silchar