CALL FOR PROPOSALS (BOOK)
FOREIGN BODIES: Performing Exile
Pronunciation: /ˈɛksaɪl/ /ˈɛɡzaɪl/
Forms: Also ME exil, ME–15 exyl(e, exyll(e.
Etymology: < Old French exil, refashioned form of essil , state of banishment, also (compare sense 2) devastation, destruction = Provençal essilh , semi-popular < Latin exsilium state of banishment, < ex- out + sal- (= Sanskrit sar- to go), root of salīre to leap (whence also exsul : see exul n.); compare consilium counsel n. In sense 2, Old French essil is a verbal noun < essiller : see exile v. 4 (Formerly accented eˈxile.)
a. Enforced removal from one’s native land according to an edict or sentence; penal expatriation or banishment; the state or condition of being penally banished; enforced residence in some foreign land. Phrases, †to go, put in or to exile ; to drive, go, send into exile .
b. gen. Expatriation, prolonged absence from one’s native land, endured by compulsion of circumstances or voluntarily undergone for any purpose.
Etymology: Of obscure formation; perhaps merely a concrete use of exile n.1 1
a. A banished person; one compelled to reside away from his native land.
(From the Oxford English Dictionary)
This CFP invites the international community of scholars and artists to contribute essays to a book that will focus on live performance about living in exile or created by artists living in exile through critically engaged documentation of exile theatre artists or companies and their practices, with specific reference to their produced work. The type of work to be addressed includes, but is not limited to:
· creation and presentation of performances that reflect the artist’s or artist collective’s expectation and experience in a new country following forced displacement,
· the blending of new and established performance work into original mashups that address the cultural clash between country of origin and country of residence,
· radical adaptations of plays from an established canon from the point of view of the exiled artist/s,
· live performance focusing on exile that blurs the boundaries between territorial genres, including but not exclusive to theatre, dance, opera.
Essays should document, analyze, and interrogate specific productions and performances and the contexts that inspired them (which may include–but are not exclusive to–political, religious, spiritual, economic, social, and cultural).
Essays might consider address the following topics:
• what is exile theatre?
• belonging and otherness
• refugee versus exile as a state of being
• borders, boundaries, and territoriality
• freedom versus independence
• audience identity: the impact of exilic theatre within community, and for a general public
• generational concerns and issues within exilic communities: does the narrative change?
• performance as a site of resolution.
• identification of home through the performance of narratives of exile, displacement, refuge, shelter, engagement, and rootedness
•memorializing or idealizing home or homeland
• re-imagining home through the filters of distance and time
• home versus homeland
Abstracts of up to 500 words should be submitted by November 30, 2015 (to rudakoff with the subject line EXILE: your surname) as a double-spaced MS Word file attachment and should include a brief biographical note and indication of professional affiliation.
Full articles will be due on or before March 1, 2016, and should be submitted (to rudakoff with the subject line EXILE: your surname) as a double-spaced MS Word file email attachment following the editorial style of Chicago Manual of Style 16th Edition. Articles should be written in English and 3,000 to 6,000 words in length (including notes), although shorter pieces will be considered. Please include a brief biographical note with the final submission of up to 500 words that includes your affiliation.
Please address any questions to:
Judith Rudakoff (Dr.)
Centre for Film & Theatre
Toronto, Ontario, Canada