Fw: H-ASIA: CFP Chinese Drama and Performance at the RMMLA 2013 (fwd)

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----- Original Message -----
From: "Frank Conlon" <conlon@U.WASHINGTON.EDU>
To: <H-ASIA@H-NET.MSU.EDU>
Sent: Saturday, February 02, 2013 11:50 PM
Subject: H-ASIA: CFP Chinese Drama and Performance at the RMMLA 2013 (fwd)


> H-ASIA
> February 2, 2013
>
> Call for papers: Chinese Drama and Performnce, Rocky Mountain Modern
> Language Association (RMMLA), Vancouver, Washington
> *****************************************************************
> Ed. note: It will be obvious to those with local knowledge, but it
> is probably helpful to remind readers that the RMMLA meeting is in
> the "other" Vancouver; Vancouver, Washington, just across the Columbia
> River from Portland, Oregon--the PDX airport is closer to Vancouver
> than to its namesake city. FFC
> --------------------------------------------------------------------
> From: Megan Ammirati <meammirati@ucdavis.edu>
>
> CALL FOR PAPERS:
>
>
>
> Abstracts are currently being accepted for a Chinese Drama and
> Performance panel at the Rocky Mountain MLA. The 2013 conference will
> be held in Vancouver, Washington from October 10th to 12th.
>
> The field of Chinese drama is positioned at a crucial crossroads
> between the past and present, East and West. Beginning in the start
> of the 20th century, scholars have held up traditional theater as
> "national drama" (*guoju*), a cultural icon for the country's past.
> Modern drama, commonly called "spoken drama" (*huaju*), is defined
> as the genre of Chinese art that has been the most influenced by
> Western models. Borrowing from Ibsen, Shakespeare, and Strindberg,
> practitioners and researchers of modern theater describe *huaju* as
> inherently hybrid and global.
>
> A panel on Chinese drama and performance at the Rocky Mountain MLA in
> 2013 will question the validity of these common constructions.
> Participants will ask to what extent realism can be allied with
> modernity and whether history inevitably belongs to tradition. The
> included papers also point out that folk performances were still
> invested in innovation and reform while modern playwrights found value
> in conventions and stock character types. A probing look into the
> categories that make up Chinese drama will additionally provide
> scholars an opportunity to discuss to particular methodological
> approaches necessary for approaching performance-based materials.
>
>
>
>
> Please submit a proposal of no more than 250 words to Megan Ammirati
> (Meammirati@ucdavis.edu) by March 1, 2013. Notice of acceptance or
> rejection will be given by March 30, 2012.
>
> --
> Megan Ammirati
> Graduate Student
> Department of Comparative Literature
> University of California, Davis
> <meammirati@ucdavis.edu>
>
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