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Estudis Escènics opens a call for papers for the specific dossier on Strindberg’s work that will bring together the presentations of the Day of Debate “I am contemporary! Strindberg and Today’s Theatre” in the 2020 issue of the journal.
Call for abstracts
Call for abstracts
- Estudis Escènics accepts proposals for articles for his “Strindberg” dossier.
- Participation is open to anyone interested in the subject. An abstract of the article must be previously submitted. The abstract, maximum one page, must be sent in Catalan, Spanish or English, before 1 September to the following address: info.estudisescenics@institutdelteatre.cat
- The journal’s Editorial Board will make a selection from the proposals.
- The articles accepted will be submitted within two months (1 November) for publication in Estudis Escènics.
- The rules for submission of originals are available on the following link: http://estudisescenics.institutdelteatre.cat/index.php/ees/about/submissions
- The Editorial Board will ensure the scientific quality of the articles while proposing, during the editing process, a double-blind peer review by renowned specialists in the subject.
Illustrative texts concerning the dossier’s contents
Illustrative texts concerning the dossier’s contents
Over one century ago Strindberg bequeathed to us the monument of his work. Well into the new millennium, we want to go beyond mere literary criticism to explore the artist’s driving force: to think about and create a theatre necessary for the society of his time. To speak to the contemporaries from the contemporary. Or, put another way, to find languages, forms and contents to be questioned and confronted with the turn-of-the-century social and individual conflicts. And this is why Strindberg’s work explores and transgresses the aesthetic and ideological limits of his period. His struggle provides a reason for reflecting on the theatre that today seeks to be untimely (contemporary).
On the one hand, we are interested in setting out Strindberg’s work as a stimulus and inexhaustible site of dramaturgic thoughts and procedures.
On the other, we want to continue assessing Strindberg’s dramatic production as fertile ground for rewriting. We want to examine how he is currently read, interpreted, adapted and performed. How different creators approach him ─ or have approached him ─ as material of theoretical and creative reference in their overarching need for renewal.
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