Pre-organized Panels

42nd Annual Comparative Drama Conference

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Pre-organized Panels – Call for Papers

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.


Calls for Pre-Organized Panel Participants

The Plays of Simon Stephens

The 42nd Comparative Drama Conference will feature Simon Stephens as its Keynote Speaker on April 6, 2018 and in honor of his appearance we will offer panels on his plays.

While we welcome papers on any aspect of Stephens’s plays, some possible topics to explore include:

Teaching Simon Stephens in the classroom

Productions of Simon Stephens’s works

Simon Stephens as an adapter (Curious Incident of the Dog in the Night TimeA Doll’s HouseThe            Seagull)

Comparing Pornography (Stephens’s 7/7 play) to 9/11 plays

Politics in the plays of Simon Stephens

Proposal Guidelines

Please send the following as an email attachment to Amy Muse ( by 30 November, 2017.



Sponsored Panel by the David Henry Hwang Society

In light of the Broadway revival of M. Butterfly (opening in October 2017) we are particularly interested in receiving abstracts that address this production (some possible topics: Taymor’s vision of the play, Hwang’s changes to the play, the timeliness of M. Butterfly, the casting of Clive Owen as Gallimard, or a comparison with the original production).  Recognizing that not everyone will get a chance to see the play before abstracts are due, we also seek abstracts on the play in general.

In addition, we always welcome proposals on a variety of different Hwang related topics, including, but not limited to, Hwang’s legacy in the American dramatic canon and his influence on contemporary playwrights.

The David Henry Hwang Society was founded in 2016 at the Comparative Drama Conference with the goal of promoting scholarly examination of Hwang’s theatrical works. Since his first breakout play, FOB, in 1980, David Henry Hwang has proven the most significant and prolific Asian American playwright to date.  From the global phenomenon of M. Butterfly and more recent successes with Yellow Face and Chinglish, Hwang has staged stories of the Asian American experience and explored questions of race, culture, and identity.

Send e-mail to


Sponsored by the International Shaw Society

Papers addressing any aspect of George Bernard Shaw’s plays are welcome.  Please submit your 250 word abstract to Dr. Tony Stafford ( by December 1, 2017.



The panel of Transcultural Adaptation invites papers on any aspect of transcultural adaptation, particularly from Western to Non-Western culture, e.g., dramaturgy analysis, translation, reinterpretation, or appropriation. Please send your 250-word abstract to Dr. Shouhua Qi ( by December 1, 2017.


ATDS Panel 1: Performing Political Satire

This panel considers plays or other performance texts/ events from any period of American drama and theatre that deal satirically with political events, issues, figures, broadly conceived. What gets satirized? Why? How? What is the social or cultural impact?

Please send your 250-word abstracts by Nov. 15 to Dr. Verna Foster ( Please format your abstract in accordance with the directions in the cfp from CDC and please note that panelists are expected to be (or become) ATDS members.  Click here to join.


ATDS Panel 2: Performing Crowds: Multitudes, Masses, and Mobs On and Off American Stages

This panel considers the artistic, economic, cultural and political implications of the representation and staging of “crowd scenes”– multitudes, masses (huddled or otherwise), and mobs–on and off-stage throughout American history. Topics may include but are not confined to: the representation of crowds in plays by American playwrights (Votes for Women, Waiting for Lefty, Street Scene), performances in America of plays by international playwrights (An Enemy of the People’s 2017 revival, Macbeth at the Astor Place Opera House in 1849), representations of immigrant experience, or performances outside traditional theatrical venues (parades, protests, marches, rallies) as well as the ramifications of current trends toward small casts in plays.

Please send your 250-word abstracts by Nov. 15 to Dr. Verna Foster ( Please format your abstract in accordance with the directions in the cfp from CDC and please note that panelists are expected to be (or become) ATDS members.  Click here to join.


New Directions in Improvisation

For the 2018 Comparative Drama Conference there will be a sub-theme of improv running through the three days.  On Thursday night we will be attending an improv performance at SAK Comedy Lab.  On Saturday afternoon there will be a plenary dedicated to improv.  To round out the conference we invite papers for either a panel (of if we get enough interest a round table) on new directions in improv, as we look to consider how improv pushes boundaries within performance, the process of dramatic creation, and the text.


Some possible topics to consider (but definitely not limited to):

Improv as pedagogy and its application to theatrical and/or non-theatrical sites

The function and face of modern theatrical improv in the cultural landscape

New discoveries in improv forms and structures (long/short/narrative based)

Using improv as a tool in the traditional or non-traditional classroom

New dramaturgy that deploys improv as a strategy in the rehearsal space

New experiments and considerations of improv as a performance mode in its own right

The interactions between improv and the text in development, rehearsal and/or performance


Deadline for abstracts:  Nov. 30

Please send your abstracts to Dr. David Charles:










Please note below is last year’s listing–there are plans afoot to alter this call for this year’s conference.  Please check back in mid-January.

HOW TO TEACH A PLAY: Exercises for the College Classroom (Workshop)

Do you have a teaching tip for your favorite play? Are you looking for ways to engage with colleagues on the art of teaching drama while attending the Comparative Drama Conference? Are you interested in workshopping your teaching ideas?  If so, CDC Board Members Miriam Chirico and Kelly Younger invite you to submit a teaching exercise through a simple, on-line form: CLICK HERE or paste into your browser. This “workshop” hopes to inspire dialogue on how to teach the performative aspects of dramatic literature. Selected participants will share their exercises, but all attendees will have an opportunity to workshop their own teaching tips with an eye toward publication in the handbook Miriam and Kelly are currently editing.  We invite ideas from graduate student through full professors. The deadline is March 7, 2018. More information is available on the link above, but if you have questions, contact

Submissions will also be considered for publication in the book HOW TO TEACH A PLAY that is forthcoming from Bloomsbury Press.