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

picture of theater
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:

  1. A copy of the conference program showing the panel in which your paper was presented and your paper’s title.
  2. A brief abstract of your paper.
  3. A copy of your receipt from the conference organizers showing your payment of the registration fee.
  4. If you are a student, documentation of your student status.
  5. 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.

Ongoing CFP:

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:

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  For more information on ATDS, see

Theatre History Studies accepts submissions on the full range of topics in theatre history on a rolling deadline. Please submit articles for consideration as soon as they are ready for review. Please send manuscripts for the general section to: Sara Freeman, Editor, Theatre History Studies, CMB 1084, University of Puget Sound, 1500 N. Warner, Tacoma, WA 98416.

CFP and other scholarly opportunities with Deadlines:

The Travis Bogard
Artist in Residence Program
At Tao House

Developing or established Playwrights,
Scholars or Critics in the Performing Arts

to apply for
a fellowship of up to a month
at the Eugene O’Neill National Historic Site, Danville, CA.
As a Tao House Fellow you will
• work in the solitude and quiet of Tao House, in the creative atmosphere in which
America’s only Nobel Prizewinning playwright produced his masterpieces. (Subject of
work need not relate to O’Neill.)
• live offsite in comfortable, contemplative surroundings. Meals and local transportation
are provided.
• have access to the Tao House Research library holdings in American Theatre, which
include documents, photographs and unique collections on O’Neill’s life and work.

• select your preferred residence between May 1 & October 31, 2018.
(Scholarships available for airfare assistance on a case by case basis)
Application deadline: November 15, 2017
For full details and to apply, go to

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:, 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 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.

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,

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

For more information about ATDS, see


Panel CFP

This following panel organized by Annette Magid, email, is looking for papers on Wilson, that include a possible comparable study of him and Arthur Miller–an easy case to make!

Annual Northeast Modern Language Association: Pittsburgh, April 12th to 15th, 2018

A Family Matter: A Study of August Wilson’s Plays

August Wilson was a man of vision. While Wilson was committed to portraying the “richness and resilience of the twentieth-century black American life through the medium of drama,” he also set the stage for all Americans to examine their purpose and place in society. In addition to his stage portrayals, Wilson also presented his theories in his lectures such as, “The Ground on which I Stand,” where he identified himself as a “race man.” This focus brings up the question: How are his views on family matters presented in his lectures compared to those depicted in his plays? Wilson related to blues singers and their music; how does the music included in Wilson’s plays intersect with the plays’ themes. Each play not only depicted family interaction in society, the plays also revealed interpersonal relationships within the characters’ family as well as with those ‘others’ outside their community. Now that Fences was brought into world-view as an Academy Award-winning film, what will the impact of Wilson’s plays be as we move into the twenty-first century? The focus of this panel is to assess Wilson’s character portrayals within the ongoing cultural, political, social, and personal implications and to compare his approach with other American playwrights such as Eugene O’Neill, Tennessee Williams, Arthur Miller and Lorraine Hansberry.

The NeMLA site to submit your proposal is:


Peterborough, New Hampshire  July 12-14, 2018 

The conference will be co-sponsored by the Thornton Wilder Society and the Monadnock Center for History and Culture. Peterborough, a small town in southern New Hampshire, is the site of the MacDowell Colony, which has provided support for thousands of writers, artists, and composers since its founding in 1907. The Colony was one of Thornton Wilder’s favorite places to work on a novel or play; and because part of Our Town was written there, Peterborough is often cited as the model for Grover’s Corners, one of the most famous fictional towns in American literature. Wilder received the inaugural MacDowell Medal in 1960, an award that has since been bestowed on many of the world’s most notable artists in all media.


While we certainly encourage papers that deal with Our Town, we are interested in proposals on all aspects of Wilder’s work––and on its relation to the work of other writers and to the several eras of his productive life, from the 1920s through the 1970s––as a dramatist, novelist, screenwriter, librettist, essayist, lecturer, adapter, translator, teacher, and scholar. We welcome proposals applying any critical perspective to his work, as well as proposals on teaching Wilder; and because Wilder’s relationship to his family was important to his life and art, we also welcome papers dealing with the work of his siblings and his parents. We invite proposals from graduate students, established scholars, and independent scholars of all nationalities––in American, English, and comparative literature; American studies; history; classics; theatre; religion; music; and other fields. Fellowships will be made available to help defray the expenses of graduate students attending the conference.

In addition to paper presentations, we will be inviting renowned theatre and literary artists to participate. Conference events will include an opening night reception on July 11th, productions of Wilder plays by local theatre companies, a walking tour of Wilder-related and Our Town–related sites in Peterborough, a bus tour that includes a visit to Wilder’s studio at the MacDowell Colony and the cemetery depicted in Our Town, and a closing-night banquet at which the Wilder Prize will be awarded to a distinguished literary figure. Housing at different cost levels will be available; shuttle services will be provided to Peterborough from the nearest train station and airport.

We welcome your suggestions and questions. Please send a 250-500-word proposal (noting any audiovisual requests) along with a brief CV or biographical statement to Jackson R. Bryer at

The deadline for proposals is January 1, 2018; presenters will be notified of acceptance by February 1, 2018.

If you are interested in writing a paper or in putting together a panel of papers that make comparisons between Arthur Miller and Thornton Wilder (including ways in which Wilder may have influenced Miller or vice versa) please contact Sue Abbotson prior to the conference deadline.

Following below is an announcement of the Comparative Drama Conference (CDC) next April 5-7 at Rollins College in Orlando, Florida. The Arthur Miller Society would like to have two three-paper panels at this conference. Please send paper proposals to David Palmer (dpalmer@maritime.eduby November 15 so that the papers can be organized into panels and panel proposals from the Miller Society can be submitted to the conference organizers by their December 3 deadline.

Paper proposals can involve any aspect of Miller studies. You should plan on an oral presentation of roughly 15 minutes, approximately 2000 words. Each session at the conference is 75 minutes long. That allows time for three papers and 20-25 minutes of discussion.

42nd Comparative Drama Conference

Text & Presentation

Call for Papers

April 5-7, 2018

Orlando, Florida

Abstract Submission Deadline: 3 December 2017

Papers reporting on original investigations and critical analysis of research and developments in the field of drama and theatre are invited for the 42nd Comparative Drama Conference, hosted by Rollins College in Orlando, Florida, to be held April 5-7, 2018 ( Papers may be comparative across nationalities, periods and disciplines; and may deal with any issue in dramatic literature, criticism, theory, and performance, or any method of historiography, translation, or production. Papers should be 15 minutes in length, written for oral presentation, and accessible to a multi-disciplinary audience. Scholars and artists in all languages and literatures are invited to email a 250 word abstract in English to Dr. William C. Boles at by 3 December 2017. Please include paper title, author’s name, status (faculty, graduate student, other/scholar-at-large), institutional affiliation, and postal address at top left. Abstracts must present a clear argument and have an appropriate scope (usually two or fewer works). (PLEASE be sure to add to your accepted email list so that conference emails will not be rejected by your server. Ask your IT administrator how to do so.) If you do not receive e-mail confirmation that we received your abstract/submission within 14 days, we did not receive your submission. Please contact us immediately at Those whose abstracts are accepted for presentation are expected to attend the conference. Due to the number of submissions, the adjudicators are unable to offer specific feedback on panels, abstracts, or scripts. Abstracts will be printed in the conference program. Accepted presentations will be scheduled in a room with a projector, screen, and speakers. If you wish to use a laptop, please bring your own as well as a dongle.  We do not provide remote control devices.
Double Tree Downtown Orlando. The conference hotel. Information for CDC 2018 will appear later this year.

Pre-organized Panels

Pre-organized Panels and Roundtables will also be considered. A pre-organized panel should include three papers. Each paper should be 15 minutes in length. Panel proposals should include (1) a copy of each panelist’s 250 word abstract with paper title, author’s name, institutional affiliation, status, postal address and email address at top left, and (2) a succinct, 50-word rationale for the grouping of the papers. The panel organizer should email the abstracts and rationale to by 3 December 2017. A pre-organized roundtable should include at least four participants. Roundtable proposals should include (1) a succinct, 50-word explanation of and rationale for the roundtable topic, (2) a timeline of the program, including time for audience interaction and Q & A, and (3) clear evidence of each participant’s expertise in the topic area. Do not send entire vitae. Include only evidence applicable to the roundtable topic. The panel or roundtable organizer should email the abstracts and rationale to by 3 December 2017.

If you would like to advertise a pre-organized panel on the CDC website, please send the panel title, organizer contact information, deadline, and description to immediately. To see the call for pre-organized panels, visit our Pre-organized Panels page.

Staged Readings

The conference board invites proposals for staged readings of new plays.  Two full-length (one-act or more) new plays will receive staged readings during the conference.  Each staged reading will be followed by a talkback with the audience led by a dramaturg.  This year, we will have two slots for a 90-minute staged reading.  If you would prefer to have your play staged by a director and/or with a cast of your own choosing, please include their information as part of the proposal; otherwise, a director and actors may be assigned by the Conference Director in coordination with the Resident Dramaturg and a director from the Comparative Drama Conference.  Those proposing a staged reading should submit the play’s title, character list, a 200-word summary of the play, a 100-word rationale for staging a reading of the play at this conference, and an exemplary scene or act in Word Document form to by 3 December 2017.

Session Chairs

Submitters and non-submitters of abstracts who are interested in chairing a session at the conference are invited to send a two-paragraph resume highlighting their areas of expertise to by 3 December 2017.

The Conference

The Comparative Drama Conference is an international, interdisciplinary conference founded by Dr. Karelisa Hartigan at the University of Florida in 1977. Every year, approximately 175 scholars are invited to present and discuss their work in the field of drama and 2 new plays receive a staged reading. The conference draws participants from both the Humanities and the Arts. The papers delivered range over the entire field of theatre research and production. Over the past 40 years, participants have come from 32 nations and all 50 states. Each year a distinguished theatre scholar or artist is invited to address the participants in the Keynote Event.

The Publication: Text and Presentation

Since 1980, The Comparative Drama Conference Series has been publishing the best papers presented at its annual meetings, keeping readers current in scholarship and performance aesthetics in drama internationally. Text & Presentation’s articles have framed dramatic discourse, identified emerging trends, and challenged established views. Each volume consists of about a dozen articles which have passed the mandated anonymous peer review. For back issues, visit

Participants in the conference are invited to submit their papers for publication consideration to the editor of Text & Presentation. The editor of this year’s publication, Jay Malarcher, can be reached at Manuscripts should be formatted according to the T & P style. Authors are expected to expand their manuscripts beyond presentation-length conference papers into full-length scholarly essays, with a maximum length of 25 double-spaced pages (including notes, works cited, and photos). Each volume also features several book reviews by noted scholars.


Submitters of abstracts will be notified by email on or before 30 January 2018 as to the board’s decision regarding their abstracts. Those submitters whose proposed papers are accepted for presentation will be asked to prepare full papers, suitable for 15-minute readings, for delivery at the conference. Those whose papers are accepted are expected to attend the conference. Presenters are required to pre-register.

The 2018 pre-registration fees (through March 6, 2018) are as follows:

1. Presenter, Reader or Presenter Session Chair: $125 for faculty members, $100 for graduate students

2. Non-presenter Session Chair: $80
3. Guest: $70
4. Student Guest: $40
5. One day guest passes: $30 for non-students ($20 for students)

The pre-registration fee for categories 1–4 covers all conference events and services including a copy of the conference Programs and Abstracts book, a copy of the current edition of Text and Presentation, admission to all conference events, and admission to the conference reception.

For those who wish to register after March 6, 2018 or at the conference, the fees increase to $145 (faculty)/$110 (grad student), $90 (Non-presenter Session chair), $80 (guest), and $50 (Student guest) respectively.  Submitters of abstracts are also advised to apply for travel funds from their home institutions as early as possible.

 Please circulate this announcement to other interested parties.

Contact us at for more information.


A Journal of Theatre and Performance of the Americas

Call for Articles: 2018 Issue

Theatre Annual is the oldest theatre periodical continuously published in the United States. It is dedicated to examining theatre and performance of the Americas. We construe “America” broadly to include North, Central, and South America and the Caribbean Islands. Articles may treat work in these geographic areas or work from these areas that is presented elsewhere in the world. We welcome articles on the history and ethnography of performance, drawing from such areas as theatre studies, performance studies, popular culture, music, anthropology, communication, dance, philosophy, folklore, history, and areas of interest that cross disciplinary lines.

For the 2018 issue, we invite articles on the topic of Theatre of Protest/Theatre of Revolt. We are interested in essays that examine theatre productions and performances from/in the Americas that seek to intervene in moments of social, political, economic crisis by putting topical issues up for debate, disseminating information, provoking discussion, challenging audiences to implement change. Papers may address the complex intersection of politics with questions of form and public in any period, considering performances past and present. Clearly The Crucible fits this category….as well as several other of Miller’s plays, such as Archbishop’s Ceiling or The American Clock.

While the 2018 issue seeks to foreground the topic above, essays are welcome on any subject that fits the journal’s mission. Please note that the focus on theatre and performance largely precludes essays that focus on literary criticism.

Submission Guidelines: Submissions should follow the guidelines in The Chicago Manual of Style (endnotes, no Works Cited list, single space between sentences). Authors should submit articles as Word attachments to the editor, Ilka Saal at American Literature, University of Erfurt, Germany, using the email address In order to assist in the anonymous peer review process, the author’s identity should not be revealed in the manuscript except on a separate title page that should also include full contact information (academic affiliation, mailing address, home, cell, and work telephone numbers, and email address). Articles should be 5000-6500 words long including notes. Illustrations are highly desirable; authors are responsible for securing rights. Submission deadline is December 15, 2017. Please allow eight weeks for a response.

Below are photographs of Mr. Miller from the 9th International Arthur Miller Conference, taken by Dr. Jeffrey Mason, University of Oregon.

Conferences and Panels that will be featuring presentations on Miller:

(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. 

5th International Conference on American Drama and Theater

“Migrations in American Drama and Theater”

Université de Lorraine (Nancy, France) 4 – 6 June 2018

Arthur Miller Society has submitted a panel they hope will be accepted.

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).

For updated information on the conference (travel, accommodation, participation fees, etc.), please visit

William Inge Theater millertree plaque
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
Independence, Kansas.
Here is the plaque at the base of the tree; planted in 1995, the year Miller was so honored.

Upcoming Stage Productions 

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