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April 2016, Week 3

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Subject:
From:
kelly kessler <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Mon, 18 Apr 2016 19:14:53 +0000
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CFP: Special Issue of Studies in Musical TheatreDistilling the Diva: An Exploration of A Musical Icon
Merman, Martin, Buckley, LuPone, and Peters, just a few names of the American musical theatre synonymous with the moniker “diva.” But what defines the diva? Biology? Attitude? Reputation? Marketability? Singing “Rose’s Turn,” “Memory,” or “Don’t Cry for Me Argentina”? Although the term has enjoyed wide use within fan communities and informally in discussions and catty online articles about the musical, scholarly exploration of the term, its place within musical theatre, and its shifting meaning over time remains limited. In fact, much of the existing scholarly work on the diva comes from outside of musical theatre scholarship, almost wholly avoiding discussion of the theatrical diva in favour of pop icons, literature, opera, queer film spectatorship, and the like. This special issue hopes to provide a much-needed outlet for concentrated study of this iconic figure of the musical stage.  This forum can provide a space for exploration of issues such as gender and gendered labour, the mobility—across stages and screens—of contemporary and historical theatrical stars, divas on less high-profile stages, the diva’s function in and outside of the musical narrative, musical theatre fandom and stardom, and how the contemporary media environment creates further venues for the definition and development of the theatrical diva. The diva is truly an iconic figure of musical theatre, and Studies in Musical Theatre should be a site to give her the attention she (or he?) truly deserves. 
Historical contextualizations of the diva phenomenon
The role of the diva within the musical text
The role of the diva within the Broadway economy
Critical analysis of a given diva and her relationship to the formation, maintenance, or shifting meaning of the role
The diva as auteur
The diva as muse
Theoretical conceptualizations of the musical diva
The theatrical diva across media
International musical divadom or musical divas across borders
The male diva?
The diva as site of gendered labour
Intersections of class, race, gender, and divadom
Diva fandom
The interaction/intersection of divadom and the Internet
 Abstracts of 300 words for this special issue should be sent to Kelly Kessler, DePaul University ([log in to unmask]), by 1 June 2016. Once selected, the deadline for submitting completed articles for peer review is 1 March 2017, for publication in 2018. 		 	   		  
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