International Association of Libraries and Museums of the Performing Arts 

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    FIRT/IFTR-SIBMAS Bulletin2008 Volume 3      FIRT/IFTR: Membership Secretariat,Email membership@firt-iftr.org SIBMAS: Cordula Treml,Email cordula.treml@gmx.de    Page 2FIRT/IFTR-SIBMAS Bulletin 2008 Volume 31. CONFERENCES, CONGRESSES, SYMPOSIA & COURSES60th Anniversary International Conference: The Georgian Playhouseand its Continental Counterparts 1750-1850United Kingdom - RichmondSeptember 12, 2008 - September 14, 2008Georgian Theatre Royal, Richmond, Yorkshire Conference Convenors:  Professor Vivien Gardner, Iain MackintoshProfessor David Mayer   Dr David Wilmore The Society for Theatre Research will host an international and interdisciplinary conference, The Georgian Playhouse1750-1850 and its Continental Counterparts, between Friday 12th September and Sunday 14th September 2008. Theconference will convene with a reception on the Friday evening.  Sessions are scheduled during the day on Saturdayand Sunday, and will include papers on performance styles, actors and celebrity, provincial circuits, colonial andcontinental theatres, the work of James Winston, scenography and musical theatre. A series of gala performances on Friday, Saturday and Sunday evenings will be presented by the production companyof The Georgian Theatre Royal and sponsored by Turner & Townsend, who were project managers for the recentrestoration of the theatre. The programme will consist of a celebration of Samuel Butler, who built the theatre in 1788,followed by the first modern revival of David Garrick￿s comical one-act dramatic satire Lethe.  Timothy West CBE, whois President of the Society for Theatre Research, will lead a distinguished company of actors who will perform withinthe Woodland Scene, Britain￿s oldest scenery (and entirely appropriate for the groves of Lethe). There will also be a commemorative publication to celebrate the occasion. Further details of the celebrations and ofconference fees for Society members, the public, and students can be found online at:www.georgianplayhouse.org.uk.  Here you can also locate details of the speakers and their papers, and  read anintroduction to James Winston taken from the forthcoming facsimile of his Theatric Tourist (1805), co-published by theBritish Library and the Society for Theatre Research. For more information, please see the website or contact conference co-ordinator Dr Vanessa L. Rogers at:vanessa@georgianplayhouse.org.uk or 00 44 20 7482 4808. http://www.georgianplayhouse.org.ukCall for papers: Emerging Scholars Symposium - 2009 Mid-AmericaTheatre ConferenceUnited States - ChicagoOctober 15, 2008March 5-8, 2009Hyatt Regency Two Emerging Scholar Debut Panels: One Graduate and One Undergraduate Undergraduate and Graduate students who have not yet presented at a major theatre conference are invited to submitpapers for the 2009 Emerging Scholars Symposium, two debut panels of the Mid-America Theatre Conference.Papers for the two panels are welcome on any topic in theatre history, theory, or dramatic literature. Submissions thattreat a subject related to this year's MATC theme, ￿Poor Theatre?￿, are especially encouraged, though not required.Such papers might include discussions of... ￿    the status of producing and teaching theatre in times of economic hardshipPage 3FIRT/IFTR-SIBMAS Bulletin 2008 Volume 3￿    judgements what  is poor quality and achievement in theatre in world of￿    disappearing boundaries between high-brow and low-brow forms and the rise of irony and pastiche￿    the effect of new pedagogical paradigms on the evaluation of good or poor teaching in theatre￿    the state/fate of university theatre programs in times of dark economic forecasts both locally and globally Up to three participants will be selected for each panel, and each panelist will have fifteen minutes to deliver his or herpaper. Students whose papers are accepted will receive free conference registration, free admission to theconference luncheon, a one-year membership in MATC, and a cash prize of $50. Undergraduate winners will also bepaired with a conference mentor. Papers should be 7-10 pages in length (1750-2500 words), and will be evaluated on writing quality, originality, andcritical/theoretical sophistication. Submissions must be received by October 15, 2008. Please include the name ofyour academic institution, mail and email address, telephone number, and a brief bio, and specify whether you aresubmitting to the Undergraduate or Graduate Debut Panel. Email COMPLETED papers (no abstracts, please) as Microsoft Word attachments toSara Freeman sarafree@uoregon.edu and Stacey Connelly sconnell@trinity.edu   The Mid-America Theatre Conference is held every March at a mid-western city (e.g. Chicago, Minneapolis, Omaha,St. Louis, Kansas City), with symposia in Theatre History, Directing, Pedagogy, and Playwriting. Graduate studentsare welcome to submit proposals either to these forums or to the Young Scholars Symposium. All proposals arerefereed. Because of its small size, MATC serves as an ideal setting for graduate and undergraduate students tobegin to share their work with and get feedback from established scholars. Membership in MATC also includes asubscription to Theatre History Studies, a leading journal in the field.Call for papers: Jews/Theatre/Performance in an Intercultural WorldUnited States - New YorkOctober 20, 2008Jewish Theological Seminary22-24 February 2009 Deadline for submission of proposals: 20 October 2008. Proposals are for lectures of 20 minutes. Queries andproposals can be directed to one of the three co-conveners:Edna Nahshon. Jewish Theological Seminary, New York wednahshon@jtsa.edu Jeanette R. Malkin. Hebrew University, Jerusalem jmalkin@post.huji.ac.il Peter W. Marx. University of Mainz, Germany pmarx@mail.uni-mainz.de  The focus of this conference is on drama, theatre, and performance that are of Jewish interest by virtue of theirthemes, authors, artists, or audiences. We seek to chart and understand the intercultural ties between the theatre thatJews created for themselves and the wider theatrical culture, as well as the impact of Jewish artists on the theatricalculture of their ￿host￿ societies. Such questions of interculturality are especially relevant in our multicultural andglobalized world, where theatre and performance offer a unique and public forum for negotiating cultural positions. Although we are interested in charting the intersection of multiple cultural influences and confluences within thecontext of the varieties of Jewish cultures and their performance products, the conference organizers welcomepresentations grounded in various models. We are committed to the inclusion of a wide range of performance modes,such as popular, experimental, canonic, as well as stand-up, circus, musical and dance theatre, without geographic,national, or temporal restraints. Page 4FIRT/IFTR-SIBMAS Bulletin 2008 Volume 3We encourage scholars from all fields of Theatre, Performance, Jewish Studies, Cultural Studies and other relatedfields to send proposals in the area of the conference.We will also provide a young- scholars￿ forum for PhD-students to present their projects. POSSIBLE TOPICS:-Jewish culture within (non-Jewish) national theatre cultures-Yiddish / Ladino theatres across the continent and the links among them-Plays about Jews and Jewishness by non-Jewish playwrights -Jewish feminist theatre and performance-Theatre and assimilation: theme and /or production styles-The Holocaust on the modern stage-Religious theatre and its cultural intersections-Jewish elements in Israeli theatre-Performance-centered Jewish theatre art-Dance, choreography, and ￿Jewish￿ body language-Jewish directors in a particular country, or of a particular style-Jewish actors in a particular country, or of a particular style-Jewish elements in scene design-Performance theory and Jewish thinkers There will be a Registration fee of $50Call for papers: Third International Conference on Consciousness,Theatre, Literature, and the Arts.United Kingdom - LincolnMarch 1, 2009The Lincoln School of Performing Arts, University of Lincoln, UK, is pleased to host the Third International Conferenceon Consciousness, Theatre, Literature, and the Arts. The conference will be held in Lincoln, UK, from Saturday 16 toMonday 18 May 2009. Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range ofdisciplines involved with consciousness studies, but not therefore restricted or limited to the academic universitycontext) to any aspect of theatre,  performance, literature, music, fine arts, media arts and any sub-genre of those.Creative work is also expressly invited. Please send the abstract to Professor Daniel Meyer-Dinkgräfe, dmeyerdinkgrafe@lincoln.ac.uk  Deadline for receipt of abstracts is 1 March 2009The Prop￿s the thing: Stage Properties ReconsideredUnited States - Winston-Salem, NCJanuary 12, 2009The Southeastern Theatre ConferenceTheatre Symposium 2009 Wake Forest UniversityWinston-Salem, North CarolinaApril 3-5 2009 Page 5FIRT/IFTR-SIBMAS Bulletin 2008 Volume 3Humble stage properties are objects which often escape notice when they are functioning properly. The 2009 SETCTheatre Symposium will focus on stageproperties, the ￿things￿ used onstage. We encourage a variety of approachesto the topic￿from practical to theoretical. How are stage properties created? (How are objects constructed, acquired,stored? altered for use on stage?) How are props used? (by playwrights? designers? directors? actors?) How doproperties convey meaning? (as signs? through their materiality? through their movement in space and time?) Keynote speakers for the event will be Andrew Sofer, author of The Stage Life of Props, and Bland Wade, Director ofStage Properties at the University of North Carolina School of the Arts. Papers might explore:- historical considerations￿the use and significance of stage properties on the Elizabethan/Jacobean stage, inmelodrama, naturalism, symbolism, etc.- properties within specific theatrical traditions￿Beijing opera, commedia dell￿arte- dramaturgical issues￿ways props are used to expose character and relationships- the translation from page to stage￿(from word to object)- individual plays/productions with interesting prop requirements or impressive use of props- prop as iconic experience/tradition (slapstick/ seltzer bottle)- prop challenges￿consumable props, weapons, props that have to break, trick props- protean props￿single objects used to represent many other things on stage- mimed props￿the absence of expected objects- training actors to manipulate objects on stage- real objects--handling props of historic or other significance/ props with significance to actors (real skulls, objectspassed from one performer to another) vs. meaning for an audience Please send one page paper abstracts by January 12, 2009 to: Dr. J.K. CurryEditor, Theatre SymposiumDepartment of Theatre and DanceWake Forest UniversityP.O. Box 7264 Reynolda StationWinston-Salem, NC 27109 curryjk@wfu.edu Phone: 001 336 758-3941  * : Modified onlyPage 6FIRT/IFTR-SIBMAS Bulletin 2008 Volume 32. EXHIBITIONS  * : Modified onlyPage 7FIRT/IFTR-SIBMAS Bulletin 2008 Volume 33. PUBLICATIONS3.1. GENERALDu document à l'utilisateur - From Document to UserBelgium - BruxellesAugust 13, 2008Leclercq, Nicole / Van Goethem, Jan (éds/eds)Peter Lang Bruxelles Rôles et responsabilités des centres spécialisés dans les arts du spectacleSociété internationale des bibliothèques et musées des arts du spectacle (25e Congrès Barcelone, 6-10 septembre2004)Actes édités par Mathias Auclair, Kristy Davis et Sylvie François The Roles and Responsibilities of Specialised Centres for Performing ArtsInternational Association of Libraries and Museums of the Performing Arts (25thCongress: Barcelona, 6-10 September 2004)Proceedings edited by Mathias Auclair, Kristy Davis and Sylvie François  275 p.ISBN 978-90-5201-434-0 br.￿ 26.90 / £ 20.20 / US-$ 41.95 C'est un défi de taille, pour les archivistes, les bibliothécaires, les muséologues ou les documentalistes spécialisés, deconserver la mémoire et la trace du spectacle vivant, dans une société où les techniques évoluent sans cesse. Lestechniques d'enregistrement audiovisuel et les supports pour conserver les images se sont modifiés. La mise envaleur de nouveaux médias est une gageure dans la conception des expositions. Enfin, les pratiques de recherche etl'essor conjoint des bases de données ont modifié la donne. Tels sont les nombreux sujets de réflexion qui se sontofferts aux membres de la SIBMAS (Société internationale des bibliothèques et musées des arts du spectacle) lors deson 25e Congrès, qui s'est tenu à Barcelone en 2004. En voici les Actes qui, par des approches diverses, tenterontd'éclairer ces interrogations. In a world where technologies are constantly evolving, it is a real challenge for archivists, librarians, museum curatorsand information professionals to keep track of and record living theatre. Audiovisual recording techniques are nowcheap and accessible to many; electronic storage and dissemination of information and images has radically alteredthe relationship between the managers of collections and their potential users; new techniques have introduced newpossibilities for interactivity in exhibitions and displays. These are just some of the issues addressed by the SIBMAS(International Association of Libraries and Museum of the Performing Arts) during its 25th Annual Conference, held inBarcelona in 2004. Contenu/Contents: Claudia Balk: Foreword - Claudia Balk: Opening Speech - Inge Baxmann : Entre « aura » et «Event ». La relation difficile entre « voir » et « comprendre » - Claudia Balk: 50 Years of SIBMAS - 25th CongressSpeech - Paul S. Ulrich: What theProceedings Reveal about the Developments within SIBMAS - Juliette Caron : Le web comme outil d'intégration et dedéveloppement de la documentation d'un théâtre - Marie-Claude Billard : Une mémoire des spectacles du Festivald'Avignon sur le web. Étapes d'une collaboration entre le Festival d'Avignon et la Maison Jean Vilar - Claire Hudson:A Digital Route to New Audiences - Montserrat Álvarez-Massó : Les nouvelles technologies : élément clé dans lesstratégies de développement du Centre de Documentació i Museu de les Arts Escèniques de l'Institut del Teatre -Madeleine Nichols: The Future for Access and Conservation. The Power of One - Pierre Vidal : LaBibliothèque-musée de l'Opéra, carrefour entre deux institutions - Hans van Keulen: The Skill of Acquisition,Preservation and Exhibition of Theatre Heritage? - Arturo Díaz/Patricia Ruiz : La construction de l'apanagePage 8FIRT/IFTR-SIBMAS Bulletin 2008 Volume 3documentaire artistique de l'INBA - HedvigBelitska-Scholtz/Paul S. Ulrich: Theatre Laws and Company Regulations. Unusual Sources about Actors, StageManagers, Prompters and Librarians in Areas where German-language Theatre Was Performed in the 19th Century -Enid Negrete : Les archives du Teatro Real. Collection Luis Paris. À la découverte de la mise en scène de l'opéraespagnol du XIXe siècle - Jan Palmblad: A Methodology for Preserving Performances on DVD - Lola Vargas-Zúñiga :Le modèle de gestion du Centro de Documentación de las Artes Escénicas de Andalucía. Des produits de qualitépour l'utilisateur - Francesca Marini: The Interaction between Theater Scholars and Information Professionals - NenaCouch: Embracing Opportunity / Facing Challenge. Ohio State University's Jerome Lawrence and Robert E. LeeTheatre Research Institute - Nuria Aragonès Riu : Centres de documentation théâtrale et Université. L'utilisateur /chercheur en iconographie théâtrale - Julio Huélamo Kosma : Le nouveau rang imparti aux sources audiovisuellesdans la documentation scénique - David Gothard: Archive as Palimpsest. Why Is Tadeusz Kantor's Archive under MyBed? - Claire Rousier : De l'accès aux sources au développement de la culture chorégraphique. Une problématiqueessentielle du Centre national de la Danse - Caroline Williams: The IrishPlayography. Documenting the Irish Theatrical Repertoire - Vincent Radermecker : Contact avec l'artiste en vie. Rôleet responsabilité - Jack Bradley: Primary Colours - Secondary Sources. The Role of Research in New Plays andTheatre Making. Les responsables de la publication : Nicole Leclercq, diplômée de la section mise en scène à l'Insas en 1971, estAttachée scientifique responsable de la section Théâtre aux Archives et Musée de la Littérature, présidente du Centrebelge de la SIBMAS et membre du Comité exécutif international, et vice-présidente du Centre belge de l'Institutinternational du théâtre (IIT). Elle a dirigé ou codirigé plusieurs ouvrages bibliographiques, le livre Le Monde duThéâtre (bisannuel) et des actes de colloques. Jan Van Goethem est archiviste et responsable des collections au Théâtre royal de la Monnaie (B). Il est titulaire demasters en histoire de l'art/musicologie et en sciences de l'information. Il est l'auteur de plusieurs articles sur lamusique flamande et sur l'informatisation des archives. De plus, il est membre de la commission d'évaluation desarchives, bibliothèques de conservation et centres de documentation dela communauté flamande ainsi que trésorier de la SIBMAS. The Editors: Nicole Leclercq graduated as an Art Director from Insas in 1971. She is Scientific Attaché at the Archiveand Museum of Literature, responsible for its Theatre department. She is also President of the Belgian Centre ofSIBMAS and a member of its International Executive Committee. She is Vice-President of the Belgian Centre of theInternational Theatre Institute (ITI) and Editor or Co-editor of bibliographic works, of the publication The World ofTheatre (biannual) and of conference proceedings. Jan Van Goethem is the archivist and head of collections of the Royal Theatre of la Monnaie (B). He holds MastersDegrees in both Musicology and Information Sciences. He is the author of several articles on Flemish music and onthe digitisation of archives. He is also Member of the Evaluation Committee of the Flemish Community for archives,conservation libraries and documentation centres. In addition, he is treasurer of SIBMAS. http://www.peterlang.com/Index.cfm?vID=21434&vHR=1&vUR=2&vUUR=1&vLang=F3.2. THEATRE3.3. FILM3.4. MUSICAL THEATREPage 9FIRT/IFTR-SIBMAS Bulletin 2008 Volume 33.5. DANCE3.6. OTHER SUBJECTS3.7. EXHIBITION CATALOGUES3.8. AUDIO-VISUAL AND ONLINE PUBLICATIONS  * : Modified onlyPage 10FIRT/IFTR-SIBMAS Bulletin 2008 Volume 34. LINKS TO OTHER ORGANISATIONS  * : Modified onlyPage 11FIRT/IFTR-SIBMAS Bulletin 2008 Volume 35. THEATRE BUILDINGS, RESTORATIONS & NEWDEVELOPMENTS  * : Modified onlyPage 12FIRT/IFTR-SIBMAS Bulletin 2008 Volume 36. RESEARCH6.1. RESEARCH PROJECTS6.2. SCHOLARSHIPS6.3. RESEARCH TOOLS  * : Modified onlyPage 13FIRT/IFTR-SIBMAS Bulletin 2008 Volume 37. MISCELLANEOUS ITEMS  * : Modified only

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