**以下的活動會員都可以提出申請**
**B項針對年輕的劇評會員 35歲以下**
**C項針對資深的劇評會員 35歲以上**
A.(已截止)
Extraordinary Congress in Seoul, Oct. 21-26, 2006
New Theatricality and Criticism
邀請函與節目單已到 此特別年會由首爾國際表演藝術節(Seoul International Performing Arts Festival)協辦 本會將派林偉瑜與吳青蓉兩位代表與會 另外 易曉玲參加韓國年輕劇評營
Since the time when theatre abandoned the supremacy of the text in the name of postmodernism, new species of theatre have emerged. In Europe, perhaps the most obvious among them are “post-dramatic theatre” and “hybrid theatre.” These are rapidly becoming the mainstream of contemporary European — if not world — theatre practice.
Whenever new forms of theatre have been identified, critics have tried to name and define them. Now it is our job to define the nature of this new theatre, and it is in this sense that we mean its theatricality. On the other hand, theatre practitioners are always trying to free themselves from critical definitions, which is why the relationship between practitioner and critic is always a tense one. But both practitioners and critics accept that, around the world, the theatre is rapidly expanding its boundaries, and thus creating many new kinds of theatre which cannot be captured well by existing definitions. Indeed, some of these new theatres, with their new theatricality, have or will become the driving force of the present or future theatre, and therefore deserve our closest attention, most scrupulous analysis, profound thinking, and insightful definitions.
We invite you to join us to do that work together in Seoul from the 21st to the 26th of October, 2006, when we have our Extraordinary Congress to celebrate the 50th anniversary of IATC. We want to examine how theatre practitioners expand the nature of theatre to meet their new perceptions of human beings and the world, and whether critics are doing their job in characterizing these new practices. Come and share your experience of the new theatricality in your country, and the critical methodology you use to define it.
We believe that the new theatricality requires new criticism. Today’s theatre practices are laying down a challenge: your response to this challenge will engage both the academic and the journalist in world theatre and world criticism — on-line and off-line, now and later. In our fiftieth year, we believe that with your support this IATC congress could make a valuable contribution to the world theatre community for the next fifty years.
B.
Young Critics’ Seminar:
建議台灣分會的會員有意申請年輕劇評營者告知杜秀娟 以確保報名成功 以下第五項必備文件之推薦函將暫時由她發出 成立大會之後將由第一屆理事長推薦
Applications will be accepted from the 1st of April by the director of the seminars, Margareta Sörenson: soerenson@swipnet.se
1. Name (female/male)
2. Age (max. 35)
3. Nationality
4. CV and samples of published/broadcasted criticism
5. Recommendation (compulsory) by the national IATC section mailed separately
6. Working language: French/English
7. E-mail address (communication will be established by e-mail only)
Application period: April-May. The list of accepted participants will be closed by the end of June.
1. Sep. 15-22 2006, at Charleville-Mezieres, France, Int’l Puppetry Festival
Within the framework of the international festival of puppetry in Charleville-Mézières, France, a seminar with the theme ”Theatre and Puppetry” is organised, focusing on the relations between live actors theatre and the cross-over performing arts puppets-shadows-animation.
2. Sep. 26 to Oct. 1, 2006, at Vilnius, Lithuania, Sirenos International Theatre Festival
The Sirenos festival in Vilnius, Lithuania, invites a seminar for young critics between the 26th September and 1st of October. The festival will elaborate a theme on scenography, which the seminar will follow.
C. Symposium in St Petersburg, in the framework of the Baltic House Festival.
Ten persons (established critics) from IATC are invited. Young Russian critics and theatre makers will also participate.
Arrival date: October 5, 2006.
Departure date: October 11, 2006.
Accommodation in the hotel is offered, as well as breakfasts in hotel;
Lunch at the theatre;
Free tickets to performances.
Conference Abstract:
“DO YOU FOLLOW ME?” or
THEATRE GENERATIONS AND THEIR WAYS TO COMMUNICATE
Are there generational divides when it comes to communicating ideas from the stage and from the page? How does this help or harm a theatre-maker or a critic in building up their audiences? What actually makes us different and what makes us alike? Does age really matter in the realm of the only art which by definition dies young? How do the lessons of the ageless classics and the fast-aging of the modern help us bridge and narrow the divides?
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