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About The Conference
Need
for Dialogue
Despite the
abundance of theoretical and critical material in related studies,
there is a lack of communication on the role, function, and methodology
of the director as it relates to issues of origin, ownership and
interpretative control. Not only will the conference itself promote
valuable discussion and interaction around these issues, but the
published proceedings from this conference will contribute to
the need for reputable, published works on directing and authorship
in Western drama.
Theoretical
Controversy: What is the Role of the Director?
Myriad
theories of directing and literary ownership frame the debate questioning
the director's role in theatre. For example, the definition of the
director as an "interpretative artist" who is servant
to the literary text competes with the idea of the "conceptual
director" who expresses the playwright's text through a dominant
theme or motif. The complexities underlying such debates will be
addressed in this conference by such questions as:
Is the director an interpreter, a co-author or a creator?
What is the obligation of the director to the author of the
play?
To what extent is the meaning of a play encoded in the literary
text?
By what process does the director ascertain the intentions
of the author?
What is the relationship between authorial intent and directorial
concept?
By what criteria is the director's contribution in a production
assessed?
Who is author and who is proprietor of a theatrical performance?
Conference
Structure
Formats
such as single paper presentations, discussions, a practitioner
forum and live performances will provide opportunities for both
formal and informal dialogue among academicians and profressionals
from theatre and related fields.
The presenters will include
established scholars of international repute, professional artists,
and emergering scholars in the field from five countries: France,
Italy, Denmark, the USA and Canada. Presenters will represent the
varying and, in some cases, extraordinary points of view and entry
into this incredibly complex field of study and practice.
The panels
have been organized to encourage dialogue and exploration of the
exciting links, overlaps and contrasts amongst theory, aesthetics
and practice. Consequently, there are no concurrent sessions. Each
panel of single paper presentations is followed by a half hour question
and answer period; coffee breaks (a half hour each) are lengthier
than usual to ensure fruitful discussion. Performances,
a round table discussion, and
a practitioner forum will provide
opportunities for theorists and practitioners to interact with one
another and with the attendees (for specific details, please see
the preliminary
program). These sessions will also refract and contexualize
the issues explored in the scholarly papers.
Plans are already underway to publish a peer-reviewed collection
of essays based on the proceedings
of the conference. This volume will provide a valuable resource
for scholars of theatre, drama and literary criticism.
Welcome
| About
| Registration
| Call
for Papers |
Program Info | Contact
Info |
Sponsors
| Travel
and Accommodation | Fees | AATE
|
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