[ecrea] CFP CRISIS/KRISIS Performance Philosophy Journal

Performance PhilosophyJournal

Vol. 4, No. 1: ‘Crisis/Krisis' (June 2018)

https://www.performancephilosophy.org/journal/announcement/view/3

Issue Editors: Eve Katsouraki, Theron Schmidt, Will Daddario

Proposal Deadline: 30 October 2017

‘The crisis takes a much longer time coming than you think, and then it 
happens much faster than you would have thought.’

  – Rudi Dornbusch

In the classical Athenian theatre, theatrical experience was 
mostprofoundly understood in the act of ‘krisis.’Meaningthe rigorous 
mental activityof judgement(κρίσιν), krisiswasexercised in theatre by 
the audience and the judges(known as kritai[κριτaί]),through which 
verdicts were made about the plays. Performed as part of religious 
festivals in which the poets/playwrights were contesting against each 
other,theatre’s consent to the authoritative judges of the auditoriumhad 
become a creature with a voice. It is why in Plato’s treatment of the 
Athenian theatre, theatrical judgement served as a prototype of the 
democratic paradigm but one that he condemned.As performed 
wisdom,Platoinsisted in Laws, the aesthetic principles of theatrical 
judgementwere indistinguishable from those of political and moral 
deliberation. But the moral psychology of theatrical judgement not only 
privileged a critical model that was ultimately, for him, deceptive, but 
it also claimed to surpass the intensive mental work of 
philosophy,marking since then the long-lasting tension between theatre 
and philosophyknown as the anti-theatrical tradition.

Today, Krisishas mutated into the seemingly more banal term of 
‘Crisis,’generally understood as‘breaking-point,’ but the underlying web 
of connections remains the same. While on the surface, ‘crisis’ names a 
state of panic, a situation to be overcome en route to a better state or 
health, and most frequently denotes a rupture in the smooth workings of 
the everyday, the word ‘crisis’ still carries within itthecritical 
principle of judgement. For something or someone to be in crisis, one 
must have already been confronted with a decision that 
ultimately dictates an outcome of upheaval. For Walter Benjamin, 
‘crisis’ was synonymous with Modernity and Capitalism. There was, he 
believed, no discreet time called crisis; rather, crisis was the 
mediality of the 19th century, and the goal to overcome the permanent 
state of crisis was to be achieved through philosophical reflection from 
within the immanent field of the crisis itself. Now, in its neoliberal 
definition, ‘crisis’ is ontologically linked with the increasingly 
complex, globalized world dominated by manufactured risk and perpetuated 
failure. As the historical sociologist Greta Krippner claims, the 
present crisis is another stage in the long, drawn-out departure of 
capitalist democracies that performs one fundamental act – 
financialization—that is, ‘the tendency for profit making in the economy 
to occur increasingly through financial channels rather than through 
productive activities’ (Krippner, 2011, p. 4). Starting from their 
formative post-war era of high and steady economic growth (Streeck 2012, 
p. 408), the state of crisis justifies as much as it necessitates the 
‘turn to the market’ rather than government in the hegemony of an 
economic world.


Nearly everywhere we look, we find a crisis and a history of philosophy 
to help either overcome, endure, or prevent this crisis. This specific 
edition of the Performance Philosophy journal seeks to solicit ideas 
from performance scholars, philosophers, writers, visual artists, 
musicians, theatre-makers, performance artists, and cultural theorists 
who are willing to reconsider the philosophical and historical interface 
between krisis and crisisas a performative model and conceptual paradigm 
of judgement. How does this connection help us understand the many 
crises we face today and the kind of judgements that we make? From the 
flight of the +65million refugees around the world, to the Trump 
Presidency, to the Brexit, to the rise of Far Right political groups in 
Europe, to the state of education around the world, crisis is central 
stage dictating both the course of action and its outcomes. How might 
performance philosophers equipped with an understanding of 
Krisis-as-Judgement intervene in these topics, or, at the very least, 
present modes of (embodied) thinking and (theories of) praxis that can 
help us all to escape the perpetual anxiety of austerity, fear, and 
conservative thought that so routinely follows crisis?


Some of the topics (but not limited to) that this special issue wishes 
to explore are:

  *

    - How is crisis being performed today in theatre?

  *

    - What kind of theatre/performance is required in times of crisis
    and how might theatre/performance find new formsduring crisis?

  *

    - What is a philosophy of crisis? How can we think and/or perform in
    Crisis? What does it mean to be ‘in crisis’?

  *

    - How does the link between crisis, krisis and judgement
    enable us to reconceptualise contemporary theatre today and/or its
    history?

  *

    - What kind of theories and concepts of crisis stage alternative
    perspectives?

  *

    - Can crisis/krisis become a productive medium of thinking anew
    politics/thinking politics anew(e.g. resilience-thinking,
    interstitial thinking, (re)fugitive thought)?

  *

    - What kind of revelations can crisis produce?

  *

    - How are we to understand crises as productions of ‘creative
    destructions’? Can crises be ‘positive’?

How can performance philosophy conceptualise ‘crisis’ in its methods and 
subjects of study?How is crisis organized, delivered and received in 
thought and performance?


Someindicative topicsmight include:

  *

    - Crisis/Krisisand global economies

  *

    - Crisis, transformative politics and political upheaval

  *

    - Crisis/Krisis as modes of ‘being’ and ‘becoming’

  *

    - Phenomenological / affective crisis

  *

    - Crisis and resilience

  *

    - Theological groundings of crisis as Krisis – eg. the Final
    Judgement, the Apocalypse

  *

    - Crisis of thought

  *

    - Crisis and institutional critique

  *

    - Crisis, animal life and the environment

  *

    - Crisis and transformation / upheaval

  *

    - Crisis and futurity

  *

    - Crisis and extremity

  *

    - Crisis, destruction and renewal

Schedule:
Proposals (one-page): 30 October 2017
Final Drafts:  1 February 2018
Publication: June 2018

ALL proposals, submissions, issued-related and general enquiries should 
be sent direct to:

Eve (Katsourakievanthia_kat /at/ hotmail.com) <mailto:(evanthia_kat /at/ hotmail.com)>

Theron Schmidt (t.schmidt /at/ unsw.edu.au) <mailto:(t.schmidt /at/ unsw.edu.au)>

Will (Daddariow.daddario /at/ gmail.com) <mailto:(w.daddario /at/ gmail.com)>

About Performance Philosophy

Performance Philosophy is an emerging interdisciplinary field of 
thought, creative practice and scholarship, supported by an 
international network of over 2000 scholars and artists. As an 
international, peer-reviewed, open access journal, Performance 
Philosophy publishes articles that interrogate what this field might be, 
and that test the relationship between performance and philosophy in all 
its possible configurations, including the philosophy of performance as 
well as performance-as-philosophy and philosophy-as-performance.

We are interested in scholarship that draws on a broad range of 
philosophical traditions, concerned with any aspect of philosophy, 
whether from Continental or Analytic traditions or beyond, and with any 
discipline or definition of performance, including but not limited to 
drama, theatre, dance, performance art, live art, and music.


General Guidelines for Submissions:

• Before submitting a proposal we encourage you to visit our website and 
familiarize yourself with the journal: 
https://www.performancephilosophy.org/journal

• Proposals will be accepted by e-mail and should not exceed one A4 side.
• Please include your surname in the file name of the document you send.
• If you intend to send large images electronically, please contact the 
editors first to arrange the best means of doing so.
• Submission of a proposal will be taken to imply that it presents 
original, unpublished work not under consideration for publication 
elsewhere.
• If your proposal is accepted, you will be invited to submit an article 
for peer-review by the above deadline.

• We are able to embed video and other media (where appropriate 
permissions have been obtained) in our online edition, and we welcome 
creative, non-standard approaches to writing in our [Margins] section; 
see http://www.performancephilosophy.org/journal/about/submissions#margins

Peer Review Process

Performance Philosophy operates a system of double-blind peer review.  
Every article that is accepted for consideration will be evaluated by 
two external referees, selected by the Editors based on their areas of 
expertise.  The Editors will make the final decision about publication 
or assess the need for further revision.  We endeavour to get a decision 
back to authors within 12 weeks of submission.

Open Access Policy

This journal provides immediate open access to its content on the 
principle that making research freely available to the public supports a 
greater global exchange of knowledge.  We do not charge fees for 
accessing articles, nor for publishing or processing submissions.Authors 
retain copyright and grant the journal right of first publication with 
the work simultaneously licensed under a 
Attribution-NonCommercial-ShareAlike License that allows others to share 
the work with an acknowledgement of the work's authorship and initial 
publication in this journal, provided it is for non-commercial uses; and 
that lets others excerpt, translate, and build upon your work 
non-commercially, as long as they credit you and license their new 
creations under the identical terms. Authors are able to enter into 
separate, additional contractual arrangements for the non-exclusive 
distribution of the journal’s published version of the work (e.g., post 
it to an institutional repository or publish it in a book), with an 
acknowledgement of its initial publication in this journal.

See 
https://www.performancephilosophy.org/journal/about/submissions#authorGuidelines 
<https://www.performancephilosophy.org/journal/about/submissions> for 
more information.


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