Science/Technology Playwriting Contest

S.T.A.G.E. (Scientists, Technologists and Artists Generating Exploration) is a joint project of the the Professional Artists Lab and the California NanoSystems Institute at the University of California, Santa Barbara. They have just announced the submission guidelines for their 5th playwriting competition for new works that feature science and/or technology (but are not science-fiction oriented). The 2010 winner was The Altruists by Craig Baxter. The deadline is December 1, 2011 but don’t send any scripts until after September 15, 2011.

5th STAGE International Script Competition Submission Guidelines

  1. Submitted plays must explore scientific and/or technological stories, themes, issues and/or events. Science and/or technology must figure prominently in the script, whether in form or content or both. Biographical dramas, history plays, and medical dramas are discouraged unless they significantly employ science and/or technology. Authors are strongly urged to avoid the stereotypes often assigned to science, technology, and those who engage in these disciplines. This competition is not open to plays written in the genre of science fiction.
  2. All entries must be postmarked on or before December 1, 2011.
  3. Important Note to Entrants: New guidelines and our next deadline have been posted so that writers may know the requirements and begin to prepare entries in advance, but please note that the Competition will not accept scripts until September 15, 2011. At that time, the Entry Form on this site will become active and submissions will be accepted. Any entries submitted before September 15, 2011, and without submission of both an online Entry Form and a printed and signed hard copy of an Entry Form, will be disqualified.

  4. Specific eligibility requirements:
    1. All plays must be original, full-length (minimum running time: 70 minutes), and submitted in English. (See item 3.f, below, for information about translations.)
    2. Plays that have been published or reviewed, or that have begun (i.e., first rehearsal) or received a professional production prior to the submission deadline, are not eligible. Plays that have had readings or a workshop are acceptable.
    3. Plays or theatre pieces incorporating multi-media are eligible and encouraged, as is material presented in a new form or not entirely script-based. To enable adequate evaluation in these cases, authors must submit a detailed artistic statement that describes such elements in a clear and understandable manner. Those working with/in multi-media/new forms must also submit samples of the visual/aural interpretation of the piece, e.g., sketches, slides, DVD, CD, or the like.
    4. Musicals are eligible. When submitting musicals, the inclusion of any available supplemental materials (e.g., a CD with excerpts from the musical score) is strongly encouraged.
    5. Original material based on an existing published work or the like may be submitted if the author(s):
      1. are the owners of the existing published work, or
      2. have written permission from the author and owner of the existing published work to adapt this work for the stage and a copy of this written permission accompanies the submission of the play and all supporting materials.

      Any adaptations that do not fulfill these requirements are not eligible.

    6. Plays that have been translated into English:
      1. must be submitted as a collaborative script by the author(s) and translator(s), or
      2. must include a written statement from the translator giving free and clear ownership of the translation to the original author, and
      3. are not eligible if they have been published or performed in their original language (as per item 3.b, above).
    7. Authors may submit only one script per contest cycle.
    8. Scripts submitted in a previous contest cycle may be resubmitted only if:
      1. they have been significantly re-written, i.e., more than 50% of the script must be substantially changed from the previous submission, and
      2. they have been submitted only once before. No script may be submitted a third time.
    9. No screenplays are being accepted at this time.
    10. Those involved in any aspect of the STAGE Script Competition application or review process are not eligible to enter.
  5. To assist the STAGE Competition in ongoing fund-raising efforts – and to thereby assist future artists – winning author(s) are asked to specifically acknowledge the support of STAGE, the Professional Artists Lab, and the California NanoSystems Institute in the credits of any work that incorporates the winning play.
  6. The winning play will be announced on this website in July, 2012. The winning author will be notified directly, prior to public notification.
  7. Scripts will be judged by an esteemed panel of jurors. For a list of past judges, please click here.
  8. All submissions must include:
    1. A cover letter.
    2. Completed and signed entry form, as follows:
      Please submit the entry form online. After you click on the “Submit Entry Form” button, a confirmation page will appear on your screen. Please print out this confirmation page, have all collaborators sign and date the form in the space provided, and mail it in with your script copies and other submission materials. Click here to go to the entry form.
    3. A bio/resume for each author/collaborator.
    4. Two copies of a separate one-page (maximum) synopsis of the script. Include the name of the play at the top of this page, but identification and/or the name(s) of the author(s) must not appear anywhere on the synopsis.
    5. Two copies of a separate written statement with answers to the following three application questions:
      1. How, specifically, does your play relate to the fields of science and/or technology?
      2. How has your play developed up to the present? Include information about the artistic evolution of the play and its ideas. Also include information regarding past readings, workshops, etc.
      3. How do you envision the future development of the script and the culmination of this work?

      It is understood that, in some cases, names of collaborators may need to be mentioned as part of the developmental history, but again, do not include the name(s) of the author(s) anywhere in your answers to these three application questions.

    6. Three (3) copies of the play, in English. Since scripts will be read as blind submissions, the title pages on all copies of the play must include only the name of the play and the year in which it was written. Identification and/or the name(s) of the author(s) must not appear anywhere on the scripts. Each script must include a list of characters or a cast breakdown. Double-sided photocopies of scripts are encouraged.

Receipt of complete submissions will be sent by e-mail. Please note that it may take up to three weeks for entries to be processed before a receipt is sent.

We regret that it is not possible to return any submission materials.

Click here for a summary/checklist of all required submission materials.

Send submission materials to:

STAGE Script Competition
Professional Artists Lab
CNSI – MC 6105
3241 Elings Hall – Bldg. 266
University of California
Santa Barbara, CA 93106-6105

Please direct all inquiries about the STAGE Script Competition to:


CFP: New Journal, Aigne

This call for submissions is re-posted from H-NET

The College of Arts, Celtic Studies and Social Sciences in University College Cork, Ireland is pleased to announce the first Call for Papers for their new peer-reviewed postgraduate journal, Aigne (Mind). Submissions are welcome from postgraduates across the Humanities in both the Irish and English language. Each issue is theme based, and the journal is currently seeking papers which incorporate issues of “Identity.”

“Today you are You, that is truer than true. There is no one alive who is Youer than You.”–Dr Seuss

How do we begin to answer the question: “Who am I?” or, with the increasing popularity of social networks, “Who are You?” Historically rooted in the collective as well as the individual, traditional conceptualisations of identity have found themselves facing new challenges in a globalized world. Does technology isolate individuals as much as it brings them together? Is identity a construct or is it something more innate? Has identity become a commodity, something that can be created, stolen, or even sold? How is identity represented in art, literature, media, education, popular culture?

In order to answer these questions and more, Aigne is currently seeking submissions on the topic of Identity. Papers may include, but are not restricted to discussions on:

* politics of identity
* identity crisis
* theoretical conceptualisations of identity – feminist, postcolonial, (post)modern etc.
* tabula rasa or “the blank slate” debate
* technology, media and social networks
* religion and faith in identity formation
* identity as performance
* Self and Other
* diasporic reflections on identity
* identification and separation

Articles presented to Aigne must be original works between 3,000 and 5,000 words in length. The deadline for submissions is Tuesday March 1st, 2011. Submissions are accepted in both the English and Irish language – see our Submissions page for more information. Please remember to include a 250 word abstract – with English translation if necessary.

Please mark your email “Identity” and send to:

Call for proposals: Music & the Moving Image VI

Conference details from postcard received Nov. 12, 2010:

Music and the Moving Image encourages submissions from scholars and practitioners that explore the relationship between music, sound, and the entire universe of moving images (film, television, video games, iPod, computer, and interactive performances) through paper presentations.

In addition, this year’s conference will include a special session on teaching students about soundtracks. We invite those who teach within film, media, and/or music curricula to submit abstracts about applying particular theoretical approaches to the practice of teaching soundtracks. (For this special session, the faculty member should include with their abstract submission the courses they teach, their departmental affiliation, and the majors represented by their students.) The keynote address will be presented by Philip Tagg (Kojak: 50 Seconds of Television Music; Ten Little Title Tunes). Streaming video of the presentations will be available only at NYU from May 20-30, 2011.

The Program Committee includes Philip Tagg (credits above); K.J.Donnelly (The Spectre of Sound, British Film Music and Film Musicals); Elsie Walker (Conversations with Directors; editor of Literature/Film Quarterly); and coeditors of Music and the Moving Image, Gillian B. Anderson (Haexan; Pandora’s Box; Music for Silent Film 1892-1929: A Guide); and NYU faculty, Ron  Sadoff (The Moon and the Son: An Imagined Conversation; Chuck Jones: Memories of Childhood). The conference will run in conjunction with the NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker (May 24-June 2, 2011).

MaMI Conference website:

Abstracts or synopses of papers (250 words) should be submitted to:  Dr. Ron Sadoff, chair of the program committee, by no later than Dec. 11, 2010.

E-mail for more information.
Ron Sadoff
New York University
35 West 4th St
Suite 777
New York, NY, 10012

Conference fee (May 20, 21, 22): $160.00 – Students: $80.00, Housing Available

CFP: Art of Public Memory Conference @ UNC-Greensboro



April 7th to 10th, 2011

University of North Carolina, Greensboro

Proposals must be received by December 1, 2010
Notification of acceptance by January 31, 2011

This conference is, in part, inspired by the performance of Bill T. Jones’s Serenade/ The Proposition, at UNCG on Friday, April 8. A contemporary dance about the legacy of Abraham Lincoln and a rumination on the nature of history, Jones’s dance suggests examination of other works involving Lincoln such as the current off Broadway play Abraham Lincoln’s Big Gay Dance Party Review and Suzan-Lori Park’s 1994 The America Play, and portraits of Lincoln by composers such as Charles Ives and Roy Harris. It also calls for a broader examination of the arts, memory and history. Potential questions include: How and in what ways do memories acquire a public character and through what means are they preserved, archived, and negotiated in everyday life? In what ways do expressions of public memory create, sustain, and de-stabilize the work(ings) of power? How are ideas of gender, sexuality, race, class, and nation re-inscribed or contested through performances, especially performances of history? In what ways do the body, bodily action, and bodily experience enter into public memory?

We invite proposals of academic papers, panels, workshops, lecture performances, and performances from scholars and artists in the arts, education, the humanities, social sciences, and sciences. The conference is sponsored by, and celebrates, the new School of Music, Theatre and Dance at UNCG, and is co-sponsored by UNCG’s Program in Women’s and Gender Studies.

Send your submission through email to:

Please include your last name and ART OF PUBLIC MEMORY in the Subject Heading of the e-mail.  The text should be attached and pasted in the body of the e-mail to assure access.  Please send documents in .doc or .docx formats.  Receipt of all submissions will be confirmed electronically.

Individual papers should not exceed 20 minutes for presentation.  Submit a 500 word abstract.

Panels consisting of three individual presenters may be proposed. Submit a 250 word discussion of the ideas and issues important to the panel in addition to individual paper proposals of 500 words each for the presenters. Please send all documents together.

Performances (solo performance, staged readings, dance, music, installations): We hope to include a limited number of performances, especially performances that can be accomplished in alternate spaces, studios, classrooms, or in shared evenings of music, theatre, and dance. Submit a 500 word abstract describing the event and its organization.

Lecture-Demonstrations, Lecture-Performances, or Workshops
may run from 30-45 minutes.  Submit a 500 word abstract describing the topic and organization of the session.

For all proposals, include:

  • name
  • affiliation (if applicable),
  • contact information,
  • 150 word biography of presenter,
  • presentation title,
  • presentation format (individual paper, panel, workshop, performance, etc),
  • space needs,
  • technology needs.

Queries about proposals may be addressed by e-mail to Ann Dils at
Queries about the conference should be addressed to Carole Lindsey-Potter at

Information for this post gathered from Alternate Roots website.

CFP: Women’s Studies Graduate Conference

A graduate student conference announcement from the Cultural Studies list-serv:

Precarious Spaces:  (Dis-) Locating Gender

The 18th Annual Susan B. Anthony Institute for Gender and Women’s Studies Interdisciplinary Graduate Conference at the University of Rochester
March 24th & 25th, 2011
Keynote Speaker: Laura Kipnis, Professor of Radio/Television/Film, Northwestern University

The Susan B. Anthony Institute at the University of Rochester is pleased to announce the 18th Annual Gender and Women’s Studies Interdisciplinary Graduate Conference, which will take place March 24th and 25th, 2011. The Conference Committee is currently seeking paper proposals. Each year the SBAI conference features considerations of gender, sexuality, and women’s studies from varied disciplinary fields. These include (but are not limited to) art, art history, cultural studies, education, film, history, geography, law, literary studies, linguistics, media studies, medicine, music,philosophy, and political science. The conference aims to foster an environment of interdisciplinary communication, knowledge exchange, and collaboration.

The nucleus of this year’s conference is to query the ways in which gender/sexuality and space operate as intersecting domains of intelligibility and mutual projects of precariousness. By “precarious spaces” one might think of risky positions, contested territories, unstable conditions, or unsafe environments. Ideally encompassing a wide-swath of terrain—that would include theory and praxis—we would like to invite graduate students to present research that addresses questions such as: How might the sexualized body become a locus of mapping and/or zoning? What function might borderlands or simulated spaces have in the re-articulation of gendered/sexualized identities? Why do certain localities—from the
exigencies of the immediate, to the “global”—get rendered in a singularly gendered rhetoric? Are notions of the private versus public divide still immersed in a negotiation of gender norms? Can heteronormative space be effectively “queered”? How do spatial-gendered determinations and
liminalities manifest themselves in language, representation, law, and social policy? Please view these questions as mere loci of entry, and not determinative of successful submissions.

Research topics relevant to this year’s theme might include the following keywords, though this list is far from exhaustive:

  • Architecture
  • Affect (the emotional resonances of space)
  • The body
  • Décor/interiorities
  • Literature
  • Performance/exhibition
  • Histories of space making
  • Medicine
  • Pedagogy
  • Notions of the “urban” versus the “rural”
  • Constructions of private vs. public spheres
  • “Safe” spaces versus spaces of conflict
  • Counter-publics (“transgendered”/“queered” spaces)
  • Discourses of “nation” and “empire”
  • Borders
  • Diaspora
  • Geography
  • Mapping/cartography
  • The “interstitial”/”borderlands”
  • Extra-territoriality
  • Imagined/represented/simulated space
  • Zoning

Submission Details:
Please send abstracts of no more than 300 words to Matthew Bayne, at Presentations will be limited to 20 minutes, including audio-visual demonstrations. In your email, please provide contact information, a brief biographical statement, and any audio-visual or
technological equipment needed for your presentation. *Submissions are due no later than January 21, 2011.* You will receive the committee’s decision by February 4, 2011.

Postdoc/MFA Fellowships–Penn State

Postdoctoral Fellowship in the Humanities at Penn State University
Penn State Institute for the Arts and Humanities
2011-12 Postdoctoral/ MFA Fellowships:  Being Humans

For artists and humanists, these are extraordinary times: our sense of “the human” is undergoing remarkable transformations, with implications for the future of all life on the planet.  How should we understand our relation to animal cognition, to artificial intelligence, to the biosphere, to disability, to genetics?  Can we imagine a form of humanism in which the boundaries of the human are unstable?

Applicants should have received their terminal degrees (PhDs in the humanities, MFAs in the fine and performing arts, Masters or beyond in design fields such as architecture) within the past three years.  Applications should include a CV, two letters of recommendation, a project description of 1000 words, and (for applicants in the arts or design) a sample of work on a single DVD.  Fellowship stipends are $42,000 plus benefits and a $2,000 research fund; fellows will be required to teach one course each semester in their discipline.  Fellows will be given office space at the Institute.  It is expected that fellows will take part in the intellectual life of campus, working with faculty and students, attending symposia and events, and contributing to meetings and discussions presented by IAH.

All application materials must be received at this address by January 15, 2011:
The Institute for Arts and Humanities
Postdoctoral Fellowship Program
Penn State University
Ihlseng Cottage
University Park, PA 16802

Ecodrama Playwriting Contest

This information was posted to the Literary Managers and Dramaturgs (LMDA) listerv:

EMOS (Earth Matters on Stage)
Ecodrama Playwrights Festival ~ 2012

At the University of Oregon’s Miller Theatre Complex,
May 24-June 3, 2012

First place Award: $1,000 and workshop production
Second place Award: $500 and workshop production
Honorable mentions: public staged reading
Deadline for Submissions is July 1, 2011.

The mission of EMOS: Ecodrama Playwrights Festival is to call forth and foster new dramatic works that respond to the ecological crisis, and that explore new possibilities of being in relationship with the more-than-human world. The Festival is ten days of readings, workshop performance/s, and
discussions of the scripts that are finalists in the Playwrights’ Contest.

Some readings and workshops will be followed by facilitated talkbacks with the playwrights.  In addition, a symposium on the second weekend of the Festival includes speakers, panels and discussions that will advance scholarship in the area of arts and ecology, and help foster development of
new works.

The call for proposals for scholars and those wishing to participate in the Symposium will be posted in Fall 2011 at

The EMOS award includes a workshop production. The winning plays will be chosen by a panel of distinguished theatre artists from the USA and Canada. Past judges have included:

  • Robert Schenkkan, Playwright, winner of 1990 Pulitzer Prize
  • Martha Lavey, Artistic Director, Steppenwolf Theatre, Chicago, IL
  • Jose Cruz Gonzalez, Playwright, SCR Hispanic Playwrights Project; faculty Cal State LA
  • Ellen McLaughlin, Playwright, NY
  • Timothy Bond, Artistic Director Syracuse Stage, NY
  • Olga Sanchez, Artistic Director, Teatro Milagro, Portland, OR
  • Diane Glancy, Playwright, Native Voices Award, faculty Macallister College
  • Marie Clements, Playwright, British Columbia

Continue reading Ecodrama Playwriting Contest

Postdoc opportunity

This opportunity was posted on CULTSTUD-L.

USC’s Annenberg School for Communication is seeking a Postdoctoral Research Associate to join its Media, Activism, Participatory Politics (MAPP) Case Studies Project.

The Postdoctoral Research Associate will assume significant responsibility in conducting case study based research for the Project. This research will investigate the continuities between participatory culture and civic engagement. As such, qualified candidates should be aware of current research trends in fan studies, civics, globalization and/or media studies and should be ready to apply that knowledge to the case study research.

The Postdoctoral Research Associate will have earned an advanced degree and/or conducted previous qualitative research in one or more of the above listed areas. Successful candidates must be able to work independently and apply knowledge of domestic and international participatory cultures and civic action to the development of innovative models of civic learning and identity. Fluency in one foreign language, especially Spanish, is strongly preferred. The Postdoctoral Research Associate will report to the Project’s Research Director.  Required education: PhD or equivalent doctorate within previous three years.

Continue reading Postdoc opportunity