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In Memoriam - Professor Jim Davis

Prof Jim DavisIt is with a very heavy heart that we write to let you know that Professor Jim Davis passed away on Saturday 4th November following a stroke. Everyone who had the pleasure of encountering Jim will appreciate that this is a huge loss for his family, friends, colleagues, collaborators and the wider research community. He was a fantastic scholar and unwavering champion for the discipline and theatre historiography. He was such an important part of the Theatre and Performance family at the University of Warwick and will be missed for his leadership, mentorship, friendship and unfailing sense of fun and mischief.

Jim Davis joined Warwick in 2004 as Head of Department (2004-2009) after eighteen years teaching Theatre Studies at the University of New South Wales in Sydney, where he was latterly Head of the School of Theatre, Film and Dance. In Australia he was also President of the Australasian Drama Studies Association and member of the Board of Studies of the National Institute of Dramatic Art. Prior to leaving for Australia he spent ten years teaching in London at what is now Roehampton University. He co-organised many conferences including for the International Federation of Theatre Research (IFTR) in New South Wales and at Warwick. He convened Historiography Working Groups for both IFTR and for TaPRA. He served as an editor for the journal Nineteenth Century Theatre and Film.

He published widely and with considerable critical acclaim in the area of nineteenth-century British theatre. His most recent bookComic Acting and Portraiture in Late-Georgian and Regency England (2015) won the TaPRA David Bradby Prize for Research in International Theatre and Performance in 2017 and was shortlisted for the 2015 TLA George Freedley Memorial Award. His other publications include Theatre & Entertainment (2016), Dickensian Dramas: Plays from Charles Dickens Volume II (2017) and European Theatre Performance Practice Vol 3 1750-1900 (editor, 2014). He was also joint author of a study of London theatre audiences in the nineteenth century Reflecting the Audience: London 1840-1880 (2001), which was awarded the 2001 Theatre Book Prize. He contributed numerous chapters including essays on nineteenth-century acting to the Cambridge History of British Theatre and on audiences to the Cambridge Companion to Victorian and Edwardian Theatre. He also published many articles in Theatre Journal, Theatre Survey, Theatre Notebook, Essays in Theatre, Themes in Drama, New Theatre Quarterly, Nineteenth Century Theatre, Theatre Research International and The Dickensian. He was also responsible for many of the theatrical entries in The Oxford Readers' Companion to Dickens and contributed to the Oxford Encyclopaedia of Theatre and Performance, The Cambridge Encyclopaedia of Stage Actors and Acting and the New Dictionary of National Biography. For several years he wrote an annual review of publications on nineteenth-century English Drama and Theatre for The Year's Work in English Studies.

An event to celebrate Jim’s life and work was held on 6 January 2024 12pm-4pm in the Studios in the Faculty of Arts Building on the University of Warwick's campus.

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Performance and Politics on the New Silk Roads - Updated Schedule

Launched in 2013, and hailed as the largest geo-economics initiative in history, China’s Belt and Road Initiative (BRI) has largely been discussed as a consciously designed geo-political and economic project. However, it is also an initiative, a statement of intention, a performance of China on the global stage, and a kind of ‘development theater.’ In this one week summer school for postgraduate students we ask: what does it mean to ‘revive’ and perform Silk Roads for the twenty-first century, and how is this geopolitical chronotype productive for politics and theatre and performance studies? We shall examine the performances of state actors who, typically co-produce the ways in which China is now projecting itself as a benevolent new development actor. But we shall also consider the counter performances that the BRI sparks: performances of acquiescence (from business elites and supportive local groups) as well as performances of resistance (from labor organizers, environmentalists, and anti-corruption campaigners). We shall discuss Belt and Road as a site of cultural production and cultural politics and the ways theatre and performance artists, visual artists, musicians, and filmmakers from the countries along the New Silk Road routes and corridors (Western Europe, the Balkans, Central and South-East Asia, Middle East, Africa, etc.) engage, critique and represent the underbelly of the contemporary silk roads – contemporary linkages between the circulations of peoples and desires, the global spread of the capitalist market and economic globalization, and the human and environmental catastrophes they unleash. Focusing on selected cities along the New Silk Roads (Venice, Trieste, Belgrade, Athens . . .) we shall also examine the contested nature of BRI-driven, infrastructural, material restructuring of urban space and its effects on the contours of lives, places, and socio-natures. Through talks, workshops, and demonstrations the participants will be exposed to a variety of disciplinary approaches and ways in which they could be combined to build a new critical framework to understand the New Silk Roads performatively as a relational and intersectional critical concept and practice. The summer school will also explore historical and art historical dimensions of the silk roads and the Venetian links to them through site visits within the lagoon city.

 

Venue: The Centro Culturale Don Orione Artigianelli, Zattere, Dorsoduro, 909/A. The venue is in the centre of Venice near the Academia Bridge. See: https://donorione-venezia.it/home-en

 https://donorione-venezia.it/conference-centreprogr

UP-TO-DATE SCHEDULE AND MORE DETAILS: Performance and Politics on the New Silk Roads (warwick.ac.uk)

Mon 27 Jun 2022, 14:55 | Tags: Dr Milija Gluhovic