Conference | New Date 09/02/21 | Waterford Institute of Technology, Waterford, Ireland
‘Active Speech: Sharing Scholarship on Teresa Deevy’ constitutes the first conference focusing on Deevy’s work and aims to provide a forum to bring together ongoing scholarship analysing her work. Hosted by Waterford Institute of Technology, this one-day conference will take place in Deevy’s home city of Waterford in June 2020, twenty-five years since the groundbreaking silver jubilee issue of Irish University Review, ‘Teresa Deevy and Irish Women Playwrights’, was published, and in the wake of recent productions and adaptations of Deevy’s work by the Mint and Abbey Theatres and performance artist Amanda Coogan in collaboration with Dublin Theatre of the Deaf. As such, the conference constitutes an important opportunity to continue, share and strengthen national and international scholarship and practice relating to Deevy’s work. The conference is open to emerging and established Deevy scholars, and is supported by Maynooth University, home to the Teresa Deevy Archive.
Access & fee
Full conference: €102 Unwaged/students/precarious workers: €52 Keynotes & lunch: €26
Access arrangements are in place to facilitate Deaf and unwaged delegates to attend and participate within the full conference proceedings: modest bursaries are also available to support the attendance of delegates employed in precarious employment contracts. The keynote speeches will be ISL translated, and keynote presentations will be audiovisually recorded and available, post-conference, in the Teresa Deevy Archive. The keynote presentations will take place late morning and early afternoon to facilitate public access and to support those unable to attend the entire proceedings.
Professor Christopher Morash, Seamus Heaney Professor of Irish Writing, Trinity College, Dublin
Professor Ann M. Shanahan, Chair, Department of Theatre, Purdue University, Indiana
Please submit abstracts of 250 words to email@example.com by March 9th 2020 stating under which theme, as identified below, you wish your paper to be considered. Papers are limited to twenty minutes. When sending your abstract please also send a brief biography (150 words).
Papers under any of the following themes are particularly welcome:
Deevy’s work in context: Papers submitted under this theme might consider the social and cultural context of Deevy’s life and writing and could include papers on women’s literary networks; censorship and/or resistance against censorship by Irish artists; comparative analysis of Deevy’s work with other playwrights and theatre makers; writing groups; regional theatre networks and/or studio or theatre clubs; the introduction of oralism for Deaf Irish citizens. Contributors are encouraged to consider Deevy’s dramatic work within the programming and/or artistic management of the Abbey Theatre and within the canon of Irish dramatic literature that emerged during the 20th century.
Productions of Deevy’s work: Papers submitted under this theme might analyse how professional and non-professional (Irish and international) productions of Deevy’s dramatic work were translated from dramatic to theatrical texts or radio productions and might focus on scenography, costume, sound, lighting, or other performance elements. Papers within this theme might also include practitioner reflections on producing, performing or adapting Deevy’s work. Also welcome, under this theme, are papers considering how Deevy’s work translates across cultures and historical contexts and art forms.
Dramaturgy, genre & theory: Papers submitted under this theme might interrogate the nuances of Deevy’s dramatic vision and how she experimented with naturalism, realism, symbolism and expressionism. Also welcome under this theme are papers that consider and interpret Deevy’s work through a variety of theoretical lenses. Papers submitted under this theme might also include an analysis of Deevy’s short stories, her unfinished plays, or her movement-based work.
Archiving & disseminating Deevy’s work: Papers submitted under this theme might analyse the ways that Deevy’s work is shared through public and private archival holdings, challenge the ways that Deevy’s work is interpreted, taught, translated or adapted, or analyse student/audience responses to Deevy’s work across different cultures and/or historical contexts. Papers submitted under this theme might also consider the role of the digital humanities in relation to promoting and disseminating Deevy’s work.
Dr Úna Kealy, WIT, firstname.lastname@example.org
Dr Kate McCarthy, WIT, email@example.com
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