Features: Calls for Papers, upcoming Conferences and Panels that feature Miller (with archives for past conferences), and links to Upcoming productions, Film News, Special Events, and Recent Publications, which each have their own archives.
We would appreciate it if you could send us any current information for the above categories to make them as detailed as possible; include past, current and future events so that people can use these pages as an archive. Send information to webmaster Sue Abbotson. We try to keep only upcoming information on the main pages–but you can link in each section to archives that contain information on past conference papers, productions and events, etc. For information on the Arthur Miller Journal–including how to subscribe and content lists for previously published issues (including the earlier Arthur Miller Society Newsletter), go to the Journal pages.
The Arthur Miller Theater at the University of Michigan
Calls For Papers:
The Arthur Miller Society is always looking for anyone who would like to organize Miller panels at conferences, such as ALA, SAMLA, NEMLA, CDC, American Studies, ASTR or ATHE–please contact our current President, David Palmer, with proposals/details.
In an ongoing effort to encourage Miller studies, The Arthur Miller Society voted at its annual meeting in May 2017 to reimburse conference fees for students and independent scholars who deliver papers on Miller at established academic conferences. We encourage people to join The Arthur Miller Society, but you do not need to be a society member to apply for this reimbursement.
To apply for a reimbursement, please email the following items to David Palmer, the current president of the Miller Society:
- A copy of the conference program showing the panel in which your paper was presented and your paper’s title.
- A brief abstract of your paper.
- A copy of your receipt from the conference organizers showing your payment of the registration fee.
- If you are a student, documentation of your student status.
- If you are an independent scholar, documentation of other work you have done that is related to the study of Arthur Miller.
The first time a student or independent scholar is approved for a reimbursement, the person also will receive a free one-year membership in the Arthur Miller Society, which includes a subscription to the two issues of The Arthur Miller Journal that the society publishes during that year. The journal is peer reviewed and is published by Penn State University Press. Its articles are included in major academic databases.
Arthur Miller Journal: Looking for papers on any aspect of the life and work of Arthur Miller for the Arthur Miller Journal which is published Spring and Fall. Go to the Journal page for more detail regarding submissions, subscriptions, contact e-mails for the various editors, and for contents of past volumes. You can make a submission to the Journal of an essay, performance review, or book review, as well as offer material for the notes section–directly at this website. If a Miller play is being produced in your area (check the listings on our upcoming productions page)–please attend and upload your review through this link (AMJ submissions). You will need to register as an “author” to be able to do this (not “reviewer”), and once you submit a manuscript or review you will need to approve what you submitted before it gets sent on to the editors, but the process is explained on the submission page.
Hungarian Journal of English and American Studies: Special Arthur Miller Edition: Volume 11, Number 2 (2005): ISSN: 12 18-7364 contains several new essays on Miller’s work. The Journal is meanwhile looking for further submissions: Manuscripts should conform to the latest edition of the MLA Handbook in all matters of style (parenthetical citations keyed to a works-cited list). All correspondence should be addressed to the Editor, HJEAS, University of Debrecen, Pf. 73, Hungary 4010; e-mail: email@example.com
JCDE: Journal of Contemporary Drama in English: published by De Gruyter (Berlin/Boston)
A bi-annual, peer-reviewed journal that focuses on contemporary Anglophone dramatic literature and theatre performance. It renegotiates the understanding of contemporary aesthetics of drama and theatre by treating dramatic texts of the last fifty years, and welcomes essays on the work of Arthur Miller. Essays should be no longer than 8,000 words (including notes and bibliography) and should be formatted according to MLA style (7th edition, 2009). ESSAY CONTRIBUTIONS should be sent to: Prof. Dr. Martin Middeke, Chair of English Literature, University of Augsburg, Universitaetsstraße 10, D-86159 Augsburg, Germany. SUGGESTIONS FOR REVIEWS should be sent to: Prof. Dr. Christina Wald, Humboldt Universität zu Berlin, Philosophische Fakultät II, Institut für Anglistik und Amerikanistik, Unter den Linden 6, D-10099 Berlin, Germany.
The Journal of American Drama and Theatre: a fully online and peer-reviewed journal — is currently seeking submissions for upcoming issues. If you are working on an article related to theatre and/or drama of the Americas, consider submitting it to JADT. Full submission guidelines can be found here, and the most recent issue (guest-edited by ATDS) can be viewed here.
Theatre Annual, founded in 1942 by the Theatre Library Association, is now published in the fall of each year by The College of William and Mary in Virginia in association with the American Theatre and Drama Society. For more information on TA: JTPA, see http://theatreannual.wm.edu/ For more information on ATDS, see www.ATDS.org
CFP and other scholarly opportunities with Deadlines:
CFP: A new anthology is being planned for publication by Bloomsbury: How to Teach a Play: Exercises for the College Classroom, edited by Miriam Chirico (Eastern Connecticut State University) and Kelly Younger (Loyola Marymount University). For more information check out this website: www.bit.ly/teachingplays, where you can submit your ideas (there is a form that asks for you to explain your exercise in piecemeal with sections varying from 25-500 word responses from the ideal class size, preparation, to the outline of what you would actually do). You can also email Miriam and Kelly at KellyandMiriamEditors@gmail.com for more information. Please consider sharing your teaching tips on one of Miller’s plays (not more than 1000 words) for this anthology. You may submit as many exercises as you like, and the editors will begin their selection process in the Fall of 2017. There is a pull down list of suggested texts they would prefer to see covered, and they identify The Crucible and Death of a Salesman as the most commonly taught in High Schools and Colleges.
The Arthur Miller Society
Call for Proposals
A Palgrave Macmillan Anthology on
Arthur Miller for the 21st Century
The Arthur Miller Society (http://arthurmillersociety.net/) has a preliminary commitment from Palgrave Macmillan to publish a 90,000-word anthology (roughly 15 articles of roughly 6000 words each) on Arthur Miller as part of their series American Literature Readings in the 21st Century, which is edited by Linda Wagner-Martin at the University of North Carolina. The series “publishes works by contemporary critics that help shape critical opinion regarding literature of the nineteenth and twentieth centuries in the United States.” Here is a link to the series’ description on the Palgrave website: http://www.palgrave.com/de/series/14765. Final commitment to the project from Palgrave will depend on peer review and approval of our proposal for the actual articles to be included in the anthology.
As a first step in launching this project, we are seeking proposals for 6000-word anthology articles. Each article proposal should be 100-200 words long and be accompanied by the contributor’s brief academic biography of no more than 100 words; both documents should be suitable for inclusion in the compilation of article proposals that will constitute the proposal for the anthology as a whole. Article proposals and biographies should be emailed to David Palmer, the current president of The Arthur Miller Society (firstname.lastname@example.org), by August 15, 2017.
The final proposal for the entire anthology then will be compiled and submitted to the editors at Palgrave by September 15, 2017, for their peer review process.
In planning how to fit this project into your own work-flow, use the following dates as a rough preliminary guide: first drafts of articles completed by June 15, 2018; revised articles in response to editor’s comments completed by September 15, 2018.
In general, we are looking for articles on why Arthur Miller’s works and ideas remain relevant today and why they continue to resonate so well with contemporary audiences around the world.
We are seeking proposals on the following topics and any others you believe might be suitable for this volume:
- Analyses of individual Miller plays or sets of plays
- Discussions of Miller’s essays and interviews about theatre
- Discussions of Miller as a public intellectual and political activist
- Analyses of Miller’s plays in relation to those of other dramatists, both those who influenced Miller and those he may have influenced
- Analyses of Miller as a short-story writer and novelist
- Personal reminiscences of Miller that shed light on his relevance to contemporary drama and social issues
- Miller as a moral commentator on American values and culture
- Discussions of the ways Miller’s personal biography provides a background for his dramas and other works
- Miller’s work and contemporary themes in American theatre, such as the role of women in Miller’s plays and stories, visions of the American dream, Miller and theatre of the absurd, or Miller and postmodernism
- Changes in the style of performance of Miller’s plays from the 1940s to today
- Miller’s work with set designers and directors in shaping productions of his plays
We hope that this volume will consider Miller’s work and ideas from a variety of perspectives and serve as a significant guide to ongoing engagement with his oeuvre: plays and articles that were born at specific past moments in American culture yet continue to address themes we all face going forward into the 21st century.
Thank you for considering this call for proposals.
David Palmer. President, The Arthur Miller Society email@example.com
CFP: The American Theatre and Drama Society invites submissions for the Spring 2018 issue of The Journal of American Drama and Theatre
Mediations of Authorship in American Postdramatic Mediaturgies
Submission Deadline: 15 Dec. 2017
Authorship has proven to be an elastic concept determined by varying degrees of interference with media and technologies, cultures, materialities, co-authors and environments, protocols, traditions and disciplines. Different models of authorship can be imagined on a continuum between “strong” and “weak,” ranging from the romantic conception of the original creator through oral traditions and collaborative narratives, to the cut & paste aesthetics of so-called “uncreative writing.” The author as playwright and personality dominates the production and perception of theatre well into the 20th century, even if the directorial function emerged from the 19th century onwards. Reacting to what today is seen as the logocentric tradition of theatre dominated by the dramatic text and the dramatist, early 20th century avant-garde directors longed for a resurrection of the spiritual, sensory or communal potential of theatre. A few decades later a metaphorical conception of authorship started to develop in theatre, just as auteurism began to dominate the 1950s New Wave French cinema. Especially since the 1960s, when independently active playwrights also contributed to the devising process of collectives, directing has become a form of scenic writing whereby the text is decentered as the semiotic nexus of the performance, at the expense of the position of the playwright as originator of the theatrical event and “master” of the text. Since the 1980s, postdramatic theatre has further shifted its focus from the playwright to the director and performer as auteur, who either adapt the theatre repertoire or other literary genres, “newly” write, or altogether reject (linguistic) text in favor of the more sensory “languages” of theatre and the “new” media. Digital word processing, image and sound manipulation, as well as virtual and telepresence still reposition the author and the text in what have become in effect postdramatic mediaturgies.
This ATDS guest issue of the JADT seeks to address how American postdramatic mediaturgies effectively mediate these shifting models of authorship —including models disassociated from authorship and artisthood—through the integrated theatrical-technological apparatus. In particular contributions are invited that investigate how staging the presence and use of media—old and new, human and non-human— affects, forms, thematizes or problematizes models of authorship.
Manuscripts of max 6000 words should be prepared in conformity with the Chicago Manual of Style, using endnotes, and submitted as attachments in Microsoft Word format. All correspondence will be conducted by e-mail. Submissions must be received no later than 15 December 2017; please e-mail queries and articles to Johan Callens, firstname.lastname@example.org
Authors do not need to be a member of the American Theatre and Drama Society but submissions from members are especially encouraged.
For more information about JADT, see http://jadtjournal.org
For more information about ATDS, see www.atds.org
The Arthur Miller Society would like to organize a panel at this following conference. If you are interested in being part of a Miller panel at this conference, please email your paper proposal and a brief academic biography to David Palmer (email@example.com) by August 15, 2017. David then will put together a proposal for a Miller Society panel by the conference proposal submission due date of September 15, 2017.
5th International Conference on American Drama and Theater
“Migrations in American Drama and Theater”
Université de Lorraine (Nancy, France) 4 – 6 June 2018
Abstracts due 15 September 2017
Co-sponsored by the American Theater and Drama Society (ATDS) and working in partnership with the Spanish universities of Cádiz, Sevilla, and Madrid Autónoma, the research group I.D.E.A. (“Théories et pratiques de l’interdisciplinarité dans les études anglophones”) and the Université de Lorraine are announcing a call for papers for the conference “Migrations in American Drama and Theater” to be held in Nancy, France, from 4 to 6 June 2018.
This 5th International Conference on American Drama and Theater will be dedicated to the study of migrations, understood in a broad sense. The four previous conferences were held in Málaga, 2000; Málaga, 2004; Cádiz, 2009; and Sevilla, 2012; topics included violence, plays and players, politics, and the romance of the theater.
Confirmed keynote speakers include:
- John Patrick Shanley, American playwright, screenwriter, and theater and film director. His play Doubt: A Parable won the Pulitzer Prize for Drama and the 2005 Tony Award for Best Play. He won the 1988 Academy Award for Best Original Screenplay for his film Moonstruck.
- John Guare, American playwright, best known as the author of The House of Blue Leaves, Six Degrees of Separation, Landscape of the Body, and A Free Man of Color, which was nominated for the 2011 Pulitzer Prize. He is the recipient of a Tony Award, as well as several Drama Desk, Obie, and New York Drama Critics’ Circle Awards.
- Lee Breuer, American playwright, theater director, academic, educator, film maker, poet and lyricist. Founding co-artistic director of Mabou Mines Theater Company, Breuer directed the celebrated 2011 production of Un tramway nommé Désir (A Streetcar Named Desire), the first foreign play produced at the illustrious Comédie Française in Paris.
- Maude Mitchell, American actress and producer, who specializes in fresh interpretations of classics and development of new plays, and worked alongside Breuer in Un tramway nommé Désir as dramaturg. Best known for her performance as Nora in Mabou Mines’ critically acclaimed production of Ibsen’s A Doll’s House, which toured internationally for 8 years and earned her an Obie Award as Best Actress.
- Dr. Annette Saddik, professor and scholar of American drama and theater, City University of New York. She has published numerous articles and four books on American drama: Tennessee Williams and the Theatre of Excess: The Strange, The Crazed, The Queer (2015); The Traveling Companion and Other Plays (2008); Contemporary American Drama (2007); and The Politics of Reputation: The Critical Reception of Tennessee Williams’ Later Plays (1999). Dr. Saddik lectures regularly at Broadway and Off-Broadway productions, and serves as a judge for the Lucille Lortel Theater Awards in New York.
- Dr. Sue Abbotson, British born professor and scholar of American drama and theater, Rhode Island College. Former President of the Arthur Miller Society, Abbotson currently serves on their board and is Performance Editor for the Arthur Miller Journal. She has authored countless articles and chapters on a wide range of other American playwrights, and has written several books. These include Critical Companion to Arthur Miller (2007), Masterpieces of Twentieth Century American Drama (2005), Thematic Guide to Modern Drama (2003), and, most recently, Modern American Drama: Playwriting in the 1950s (Methuen, 2017).
The impulse to cross geographical barriers and transgress boundaries, of whatever kind, traverses the history of mankind. Such processes often turn out traumatic and painful, however ultimately beneficial or rewarding. Motivations may be economic, political, or just sentimental. But fleeing the (literal or figurative) homeland (or, in today’s parlance, one’s comfort zone) in search of safety, a livelihood, happiness, novelty, change, self-realization or prosperity is bound, in most cases, to exert psychological pressure and involve a price. For the scholar, such processes whereby human communities or individuals are confronted by the new and the alien, often by the other in oneself, are fascinating to study and probe. Cross-hybridization between cultures and values has often resulted in new ways of looking at and making sense of reality. The friction and strife such processes bring with them are similarly pertinent areas of scholarly interest and inquiry.
Few countries have been more dependent upon migrations, understood in a broad sense, than the US. Not only is a great part of its population descended from migrants (all of it if we understand migrations in a wider sense, as native peoples have had to migrate not only geographically but culturally from ancient practices to largely alien notions of progress and modernity), but the country has been predicated upon geographical and social mobility, in itself a kind of migration. Debates on the advantages, if any, of migrations, as well as the alleged danger of disenfranchisement for the receiving population, the advisability of “contamination” by foreign values, or competition from abroad, are common. Obviously, there has never been a time in the history of the country where some kind of wall has not been deemed advisable, and not only the kind endorsed by the protagonists of The Fantasticks, a musical which became an icon of American theatrical culture precisely on account of its adamant refusal to the oft-suggested migration to Broadway.
Migration here is understood as a trope that implies change, translation, re-situation or re-location, adaptation, transferral, as well as the embracement of the new. When playwrights explore new themes, new theatrical styles or new dramatic voices, they become migrants, often encountering resistance and feeling unwelcome, which they brave in search of artistic fulfilment, new audiences, or merely profit. Without stylistic migrations, there would have been no evolution in the dramatic art: no Eugene O’Neill, no Susan Glaspell, no Thornton Wilder, no Living Theater, no Sam Shepard, no Broadway musicals. Even migrations across media (from film to stage or stage to film, from novel to play or play to musical) or from one country to another (European influences on American playwrights, the impact of US drama and theater abroad) are areas of research especially encouraged.
Other possible areas for research and reflection include (but are not limited to):
- Theatrical migrations understood both literally and figuratively. Real migrations and migrations as a trope.
- Stylistic migrations and cross-hybridization between formats.
- Transnational studies of American drama.
- Foreign playwrights in America and hyphenated American playwrights. Multiculturalism as migration.
- US drama abroad and foreign drama in the US. The migration of cultures on stage.
- World realities on the US stage. America on the world’s stage.
- Mainstream playwrights migrating to the fringe. Fringe playwrights reaching the mainstream. Crossings between theatrical milieus.
- Broadway migrating from Broadway. The emergence of Off and Off-Off Broadway and the regional theater movement.
- Bodies, trauma, gender, and identity. Migrations from one’s sense of self and the corporeality of migrations.
- Intertextuality, transmedia, and intercultural exchanges. Migrating texts.
As we embrace a more international model for these conferences, and will hold the first of them outside of Spain, we are ourselves becoming migrants, and our destination, Nancy, is the perfect venue for such a conference. Nancy, with its various World Heritage sites, is at the heart of a historically disputed area in Europe, and has often migrated across countries and cultures. Ever since 1963, the Nancy festival has been not only in the avant-garde of theater festivals in Europe, but has welcomed groups and professionals from all countries to explore new territories, spearheading theatrical migrations, new languages, and all kinds of hybridities.
To submit either a paper, a roundtable discussion, or an already organized panel, please send abstracts of 300 words and a brief CV to Dr. Josefa Fernandez Martin (firstname.lastname@example.org) by 15 September 2017.
For updated information on the conference (travel, accommodation, participation fees, etc.), please visit https://idea-udl.org/migrations/.
The Arthur Miller Society would like to organize a panel at this conference. If you are interested in being part of a Miller panel at this conference, please email your paper proposal and a brief academic biography to David Palmer (email@example.com) by August 15, 2017. David then will put together a proposal for a Miller Society panel by the conference proposal submission due date of September 15, 2017.
Alfonso Ceballos Muñoz, Universidad de Cádiz
Ramón Espejo Romero, Universidad de Sevilla
Josefa Fernández Martin, Universidad de Sevilla
Noelia Hernando Real, Universidad Autónoma de Madrid
John S. Bak, Université de Lorraine
CFP: for the forthcoming issue of Coup de théâtre (RADAC’s peer-reviewed annual journal focusing on contemporary anglophone theatre)–maybe someone is interested in proposing something on Clara, Some Kind of Love Story or Everybody Wins?
The Renewal of the Crime Play on the British and American Contemporary Stage
Crime fiction has long enjoyed success with critics and the public. First it was the film industry which turned to crime fiction to provide stories and characters. Then crime drama became a staple of primetime television. Crime fiction seems to have had far less influence on the stage, however. In fact, studies of the crime genre tend to leave the theatre out completely. The term “detective drama” seems a rather awkward label derived from the canonical “detective fiction” genre.
Are we to conclude then that the crime play no longer has its place on the stage? The “whodunit”, the most traditional form of detective fiction, had its heyday in the 1940s and even today continues to attract audiences, as the case of The Mousetrap still running in London since 1952 shows. Is this the only option for crime drama today, the recycling of old forms, leading inevitably to parody?
Nevertheless many contemporary English and American playwrights have set out to renew the genre, using different variations: the metatheatrical (The Real Inspector Hound, 1968, Tom Stoppard), the ethical (Orphans, 2009, Dennis Kelly), the political (Three Kingdoms, 2013, Simon Stephens) or the metaphysical (Suicide in Bflat, 1976, Sam Shepard) to mention just a few.
This issue of Coup de Théâtre welcomes proposals exploring the following areas:
-The rewriting of canonical forms such as the “whodunit” and “hard-boiled” detective fiction.
-The distinction between high culture and low culture and how crime drama fits into these categories.
-The distinction between crime novels, films and plays in terms of aesthetics and reception.
-Does the traditional distinction between the specifically American “thriller” and the English “mystery play” remain or are there signs of a blending of styles?
-The influence of cinema aesthetics. Examples such as that of the English company Punchdrunk or Stephen Daldry’s National Theatre production of An Inspector Calls (1992 and 2016) show the influence on staging of the “film noir”.
-The influence of new technologies and virtual reality on the renewal of crime drama (for example, Jennifer Haley’s The Nether performed in the US in 2013, revived at the Royal Court in London and then transferring to the West End).
-Links between crime drama and musical comedy (as in the example of Cy Coleman et David Zippel’s 1989 City of Angels which pays tribute to the 1940s “film noir”) .
Please send proposals for articles (500 words max.) and a brief biography to: Aloysia Rousseau (Université Paris-Sorbonne) firstname.lastname@example.org
Deadline: June 30, 2017
Below are photographs of Mr. Miller from the 9th International Arthur Miller Conference, taken by Dr. Jeffrey Mason, University of Oregon.
Conferences and Panels:
(Link to AMS conference archive)
(Link to ALA archive)
Members, especially, please make every effort possible to attend any conference panels with papers on Miller and support the continuation of Arthur Miller scholarship.
Thanks to all those who showed up for our two panels at the The American Literature Association Annual Conference at Westin Copley Place, Boston, MA, May 25-28, 2017, and the Society’s AGM.
|Outside the William Inge Theatre they have planted a tree for each past Honoree of the William Inge Festival Achievement Award who has passed on.
||The tree they planted in Miller’s memory right outside the William Inge Theatre in
|Here is the plaque at the base of the tree; planted in 1995, the year Miller was so honored.
Upcoming Stage Productions