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The New Scholars Forum also has a group on Facebook: https://www.facebook.com/groups/596044380446700/
The New Scholars’ Forum provides a supportive platform for PhD and early career researchers within IFTR to present ten minute papers on their work. These papers do not have to speak to the conference theme; they can be on any subject relevant to the New Scholar. The New Scholars’ Forum is designed to allow New Scholars to receive maximum feedback on work in progress from senior academics. New Scholars are not obliged to present in the New Scholars Forum – they can also submit longer papers to Working Groups or to General Panels.
IFTR organises targeted workshops and programmes for New Scholars during its conferences. The New Scholars’ reception provides a chance to meet members of the IFTR executive committee and to learn more about the organisation. A series of workshops with keynote speakers and other prominent theatre academics gives New Scholars the opportunity to build essential skills for a successful career. The New Scholars’ caucus, held near the end of the conference, allows New Scholars to feedback on their IFTR experiences and shape the direction of the organisation.
IFTR’s Working Groups are very welcoming of New Scholars. You can find a list of IFTR working groups on this website. If you would like to attend one, it is a good idea to contact the convener to introduce yourself. You can attend a working group without presenting a paper at one.
The aim of the Music Theatre working group is to discuss a broad range of methodological and theoretical perspectives on all kinds of music theatre, from opera and popular forms (such as Broadway musicals) to contemporary experiments with new forms of music theatre. The background for the working group is our perception of the need to find new ways to deal with a subject which is part of at least two disciplines – theatre studies and musicology – but which is not, in fact, at home in either field. In our experience, musicologists tend to forget about the performance aspect and theatre scholars often forget about the music, so there is no doubt that we need to discuss music theatre from an interdisciplinary perspective. What our approaches all have in common is that they start from a notion of music theatre as theatre, performance and experience, always dealing with the interplay between all of the senses. Certainly not exhaustive, some areas of concern that extend to theatre and performance, broadly understood, include:
- Acoustemologies of theatre / performance
- Music in / as theatre and performance
- Performativities of song and dance
- Materialities of the voice
- Phenomenology of sound / music in performance
- Hearing cultures in performance: Cultural sounds and sounds in culture
- Politics and aesthetics of Opera
- Politics and aesthetics of Musicals
- Composed Theatre
- The Broadway and British Musical
- Experimental music theatre
- Hermeneutics of auditory reception
- Aurality and performance; Listening and Voice
- Philosophies of sound / music in performance
- Politics of silence
- Noise / Music
- Intersections of music, sound and the performing body
- The Actor-Singer-Dancer
We welcome any scholar who is working on the intersections of sound / music and performance and would love to have you join us. If you would like to know more about the Working Group, or if you have changed your e-mail-address, please contact the convenors (see below).
The group has published two edited collections with essays derived from discussions of the working group and comprised of chapters contributed by individual members.
The Legacy of Opera: Music Theatre as Experience and Performance (Rodopi Press, 2013)
The first collection considers the way in which ideological and cultural assumptions have impacted on our contemporary view of music theatre, focussing in particular on the way that opera’s development as a form and status as an art has inscribed a very particular set of assumptions and expectations about the musical stage that twentieth century developments have had to negotiate. In this respect, opera is seen as a defining cultural form and practice whose shadow looms large over the popular and modernising developments of the twentieth and twenty-first centuries.
Gestures of music theatre: the performativity of song and dance (Oxford University Press, 2013).
There are two principal questions posed through this series of essays: how do song and dance function as physical and material gestures, as dimensions or perhaps sub-sets of music theatre works? How might identities be constituted for characters, performers and audiences within and through the song and dance of music theatre? The first consideration, through a series of philosophical discussions, engages with music theatre’s substance, function and form; the second, through analyses of those song and dance gestures in a range of music theatre contexts, engages with its reception, effect and affect.
We will be meeting in Hyderabad, India in 2015.
More information will be available soon.
Last Meeting: IFTR World Congress, Warwick, UK 2014
Next Meeting: IFTR Annual Conference, Hyderabad, India 2015