The Three Sisters

Located near Canmore, Alberta, between Calgary and Banff National Park, is a mountain known as the Three Sisters. The mountain is known for its three peaks and is a significant landmark to the area with stories and the name originating with the Stoney Nakoda First Nation. This mountain has served as an inspiration for our thinking around World Stage Design writ large and small. WSD is a multi-summit event, like the Three Sisters.

Through our discernment of priorities for this event, the planning committee has been inspired by landscape of the region. While travelling from Banff to Calgary, surrounded by the Rocky Mountains and looking onto the prairie unfolding before us, we crafted our three sisters of Scenofest. These sisters are individual peaks but also closely connected as they share a singular base, and extend from the same piece of earth. Like the base of the Three Sisters mountain, the coming together of our Three Sisters will be a fertile and lively place.

Big Sister

Indigenous Ways of Knowing

Saakokoto, our friend, a Blackfoot Elder and member of the Blood Tribe, has graciously agreed to be the knowledge keeper for WSD 2022. We look forward to working with Elder Bottle, Saakokoto, to learn more about the Blackfoot way of living in Mohkinstsis and how interaction with land, landscape and storytelling have meaning for cultures of today. Canada is at a watershed moment in our history where many truths are being unearthed and brought to light, where our history as a settler culture is calling current generations to begin to repair damages and live together in a good way with Indigenous peoples. Scenofest will offer opportunities for professionals and students to explore the beautiful landscape in Southern Alberta and learn about Blackfoot ways of knowing the land, landscape and storytelling.

Middle Sister


Coined by Tanja Beer, the term ecoscenograpy, conjures ideas of ecology, economy, landscape, scenographic theory, and possibility. We are living in complex times, facing climate change, animal extinction, and resource depletion. As artists, creators, and makers, we have been asking, “what can we do to consume less, pollute less, and yet maintain aesthetics that appeal to our audiences?”. Beer’s theories of ecoscenograpy are appealing because they are rooted in aesthetic thinking and hopeful approaches to the creation of performance. We look forward to events that will encourage innovation and hopeful exploration of the impossible. The Sustainable Theatre Project will be a central part of Scenofest activities on the Main Campus of UCalgary.

Little Sister

Multiple Realities

While the name of this sister seems diminutive, it is in fact, the hardest peak to climb of the Three Sisters mountain. The world of performance design has expanded to include virtual reality, artificial reality, and digital reality. Yet, we are still grappling with contextual and historical realities, cultural realities, and of course as designers, architects and technicians we cannot escape material reality. Multiple Realities allows the exploration of many aspects of performance design and lets us engage with digital methodologies and practices while connecting to our current state.

The effect of the whole or the trickling of ideas from these peaks to the base of Scenofest will be the connection of all WSD events. For example, the Sustainable Theatre Project may host Indigenous Ceremony or performance which may engage the creators and audience in cultural realities explored through digital expression. We look forward to seeing what the commissions of OISTAT and the artists of Scenofest will create!


Please click on the titles of events for more information.

Living Legends Workshop – Pamela Howard




The Toledo Panorama with Pamela Howard Workshop Aug 3-7, 2022. 

Twenty participants will be chosen to create a performative installation artwork based on El Greco’s Panorama.

Pamela had designed this devised artwork workshop, inspired by El Greco’s painting “The Plan and View of Toledo’ and writings from the period through today for emerging designers and student participants. The artwork will explore ‘the universality of displacement’, looking at immigration/refugees and how art gives the dispossessed the ability to triumph over their personal circumstances.

Known for her playful drawing techniques, Pamela will mentor students who will work in teams of two to apply her methods of image creation that synchronize colour, sound and word. Participants will paint, sketch and collage one section of a two-metre high by sixty-metre long assemblage diorama that will provide a continuous narrative about immigration, identity, events, and ancestry. Each pair will be responsible for building an image that illustrates a part of the story, but they must also address transitions from the panels before and after, requiring highly collaborative skills. Simultaneously, a small group of musicians will be rehearsing a musical score that will integrate with the visual storytelling.

The final presentation of the Toledo Panorama will be before an audience, presented as a ‘promenade concert’.


JULY 25, 2022 – Virtual (3 hours – Time to be confirmed)


AUGUST 3-7, 2022 – In-Person from 9:30 am – 5:30 pm (UTC-7). (Hours are subject to change)

PARTICIPATION: Twenty participants will be chosen for this five-day workshop. Commitment to attending the entire workshop is required to be accepted as a  participant. All participants must register for WSD.  Registration information can be found here.

There is no fee required to apply for participation in this workshop.

If accepted into the workshop, the Workshop Fee is $25 CAD.

Accepted participants will be required to register for WSD 2022, and the workshop prior to July 29, 2022.

Application DEADLINE July 21st 2022 at 5 PM. 

Please apply here: https://worldstagedesign.submittable.com/submit/214823/wsd-2022-living-legends-workshop-pamela-howard

Please contact me if you have any questions.

Troy Hourie, Living Legends Coordinator 


Pamela Howard – Biography

Pamela Howard OBE is a  practicing director, scenographer, curator, educator and writer. Her book What is Scenography? is now in 7 languages, 3rd edition, published in 2019. Her most recent works include the creation of the original  Sing-Spiel, Charlotte –a Tri-Coloured Play with Music,  (Canada and Hong  Kong), a Public Arts Commission from Arts Dream Selsey to create a large scale Mural Out of the Ashes and an original music theatre Sing-Spiel, The Ballad of the Cosmo Café in the Insiders/Outsiders  Festival.  International Chair in Drama Royal Welsh College of Music and  Drama, Visiting Professor Arts University Bournemouth, Professor  Emeritus University of the Arts London, Honorary Fellow Hong Kong  Academy of Performing Arts. Most importantly, she was the creator of  Scenofest, which is embedded in both World Stage Design and the Prague  Quadrennial.

For a PDF poster of this call, please see the below file:

Performing Arts Global Voices



Performing Arts Global Voices Call-out

Join Ecostage and SBTD in sharing how you’ve been directly affected by climate change or any other aspect of the current environmental crises. 

We want to show the world that the theatre sector is affected by this emergency too, and that we must play our part in becoming truly sustainable.


We are gathering short videos that capture the spirit of our time and reflect the diversity of our experiences. We would also like to encourage you to provide some context or reflection, which can be specifically-made films or documentation of work in the form of a talking-head video, written text, or audio clip. We are not looking for polished work, but authentic responses to our situation. 

This is in order to create an online archive of global practitioners’ responses to how we are each affected in different ways by the climate emergency. We hope this will inspire the momentum for taking transformative action for a fair and sustainable performing arts industry.

All videos will be added to the Ecostage Performing Arts Global Voices playlist and, later in the year, a dedicated webpage on ecostage.online, where you can also find out more about Ecostage and its interconnected, intersectional principles.

The first entries to the archive were shown at the People’s Summit at COP26. We now plan to show the full archive at World Stage Design 2022, and we’ll also look for any other opportunities to show it, such as conferences, festivals and exhibitions.

Clips from as many of the videos as possible will also be used to create a trailer to advertise the online archive. They may also be used as part of a new carbon literacy training course being created by the SBTD but we’ll check with you before we use any of your material for training purposes.


The performing arts can play a major role in telling the stories that help us find our place, our strength and our collective imagination as we work to make our communities sustainable, resilient and regenerative. 

This project will reflect a wide spectrum of voices in the performing arts, including those whose communities are directly affected by climate change, socio-environmental injustice or other aspects of the current environmental crisis, as well as those involved in campaigning and activism. We want to hear from you.



  • talk about your experience – a couple of minutes filmed on your phone is fine
  • share a short piece of your work or an excerpt, max 10 minutes – we can post your video to our YouTube channel if you send us a file, or embed an existing link.

Send your submission to admin@ecostage.online with the subject: “Ecostage: global voices”. All standard video formats are fine but drop us a line to check if you’re unsure.

We will endeavour to include all submissions, as long as they reflect your creative practice, are engaged with environmental issues, are reasonably well made and are not offensive, prejudiced or propagating misinformation.

Please note

Your work remains your own but by participating you give us the right to show it as part of this archive as we see fit. Please caption your videos, add full credits, and do not include any elements that might be a problem for copyright or intellectual property. Please do talk to us if you need help with this.


Performing Arts Global Voices is a collaboration between Ecostage, the Society of British Theatre Designers Sustainable Design Group and performing arts practitioners around the world.

For a PDF version of this call, please see the below file:

Proyecto Tejidos


DEADLINE FOR APPLICATIONS: June 26th, 2022 (or when 20 participants have applied)

How is the extinction of urban green spaces perceived around the world?

Can we do something as a performing arts community to stop it?

How do we all take responsibility? How do we get involved?

PROYECTO TEJIDOS is a site-specific process for artistic social intervention, that through “ecoscenographic participatory actions” seeks to turn urban green spaces into “inclusive meeting places”.

Be part of PROYECTO TEJIDOS, Calgary Community Engagement!


During 3 performance sessions, workshop participants and the PROYECTO TEJIDOS Team will install and activate three actions simultaneously. These actions will be investigated and designed during ZOOM sessions, and during assembly sessions on August 8th, 9th, and 10th in Calgary.

The memory of diverse green areas worldwide will be explored, reflected, and visualized through the experience and testimonies of the beings that inhabit them (human and non-human) to generate actions of resistance that regenerate the community fabric and cope with social-environmental problems that cross different territories.

Each action is guided by a couple of investigation questions around urban green spaces and their extinction produced by big cities.


Are green urban spaces important? Are we conscious of the waste we produce and throw away?

Participants will design an objectual-sound encounter space made with reused materials, where the community will take part by knitting and transforming with their hands disused clothes into small mats.  These objects will recover, through a conversation guided by the participants of the workshop, the importance of urban green spaces and the waste produced and thrown away in big cities.


Who inhabits urban green spaces? Which kind of living beings are part of these environments? 

Participants will design a 10-minute audio story that will invite the community to wander the urban green space and reveal, by walking, the stories of non-human beings in diverse green spaces around the world. Community participants will read a QR code that will activate the audio.


Are memories and traces in urban green spaces erased by the inertia of the big cities? Which beings are not here anymore? 

Participants will design and assemble an open micro-landscapes museum with found raw materials, and objects in Calgary. The community will interact with these assemblages in order to connect with the testimony of the absences: memories and traces of non-human beings and urban green spaces erased by the inertia of the big cities. The community will be provided with a map to guide them through the micro-landscapes route around the space.

These three actions integrate a collaborative and imaginative urban ecoscenography during which this encounter space is perceived from different gazes and projects future possibilities. 

During the three performance sessions, visitors can stay and interact with the different actions the whole time or just a few minutes.


  • Virtual: Participant during 8 online sessions and asynchronous participation during WSD 2022.
  • Hybrid: Participant during 8 online sessions, 3 assembly sessions in Calgary, Canada and 3 performance sessions in Calgary, Canada. (For this option you will need to be present in Calgary during WSD 2022.)

The final experiences of the participants, both virtual and hybrid, will be written in a collaborative document on-site.

Where & When?

  • 8 online sessions: ZOOM / July 2-24 Saturdays and Sundays
    • Times:
      • 14:00 -17:00 UTC
      • 8:00 -11:00 local Calgary Time (UTC-6)
      • 9:00-12:00 local Mexico City time CDT (UTC-5)
    • You will need 2 or 3 cotton shirts to cut, a notebook, drawing materials, and a computer.
    • Zoom links will be provided in the WhatsApp group.
  • 6 on-site sessions: containR venue in Calgary, Canada / August 8-10 (assembly sessions) & August 12-14 (performance sessions)
  • You will need comfortable clothes, 2 or 3 cotton shirts to cut, a notebook, and drawing materials. A computer will be needed for those who are participating virtually.

Deadline for applications: June 26th, 2022 or when 20 participants have applied.



If you have any questions, comments, or concerns, please reach out to Pamela Eliecer at tejidossitioespecifico@gmail.com

If you want to learn more about PROYECTO TEJIDOS visit:




For a PDF version of this call, please see the below file:

Scenofest Common Design Project



The SCENOFEST Common Design Project is an initiative to bring design students around the world together to discuss their work with their peers and professional designers during Scenofest 2022. Applicants will create a design based on the script antigone lives*, a new play by Canadian playwright, Susanna Fournier.
 antigone lives* will be part of Scenofest at WSD 2022 in Calgary, Canada and will include a hybrid (physical artifacts and digital) exhibit. Students and emerging designers are invited to participate in critical discussion with each other and with prominent international artists in a combined in-person and online format. The participants will have the chance to talk with the playwright of antigone lives* at the University of Calgary.
The Play and Design Challenge:
antigone lives* is a contemporary re-telling of Sophocles’ original play Antigone. Part rave, part family drama, the script moves between the personal and the political, from the dramatic to post-dramatic, defying convention. Fournier leaves space for daring interpretations and speaks in the language of contemporary young adults.
Designs should confront and give rise to the visual challenges found in this contemporary version of the famous ancient text of Sophocles. Students will present and compare their work with the work of their peers from around the world.
Who can participate:
Students and emerging designers from all areas of performance design (set, costume, lighting, projection, and sound). You can participate as an individual designer or as part of a creative team.
Those who wish to exhibit their work in-person are required to take responsibility for the delivery of their work to and from Calgary, and they are invited and encouraged to attend Scenofest. The cost of travelling to Calgary and transporting exhibits is the responsibility of the individual exhibitor. The exhibitor agreement will be available upon notification of acceptance to the competition. 

How to participate:
1. To receive the script, register on the Smartsheet here.
2. Download the play with the password sent to you by the Scenofest Common Design Project team.
3. Upload your designs to the Submittable portal by July 15, 2022. ($25 USD fee for participation)
4. Plan to attend WSD and Scenofest in Calgary! Register here for the in-person or digital conference!

Sound Kitchen 2022 – Round 2



The first round of performances has been announced! Please scroll to the bottom of the call to see the PDF file.

OISTAT Sound Design Sub-commission at World Stage Design 2022 and, Mr. Brad Ward, Sound Kitchen curator invites all interested practitioners to submit entries for Sound Kitchen 2022 at World Stage Design 2022 in Calgary, Alberta, Canada.

Sound Kitchen is an opportunity for selected sound designers and composers who work in live theatre to publicly present or perform their work in a listening-friendly space. Sound Kitchen builds an inclusive international community amongst sound designers and is an opportunity for designers to learn about current trends and methods being used by other designers around the world. It is also a fun and enjoyable event for WSD attendees and is an opportunity for non-sound people to learn about sound design.

Sound Kitchen was conceived by the late Steven Brown (UK), and we continue the tradition in his memory. This year, we also pay tribute to Howard Kauffman (US) who was a major part of Sound Kitchen 2017 who passed away in 2020.

Presentations may be live performances, demonstrations, or playback of previous work or work in development. While visual components are welcome, the focus should be on sound. Pieces may be compositions (or extracts from longer compositions), sound art, sounds from an installation, or soundscores from theatre or live entertainment. Each piece should be no more than 20 minutes in length.

We especially encourage (but are not limited to) applications which reflect the following:

· Work related to the themes of WSD: Indigenous Ways of Knowing, EcoScenography and Multiple Realities

· Participants with Indigenous Canadian or North American heritages

· Work that focuses on diversity

· Work which involves participation from collaborators from multiple countries

· Work involving creative movement of sound in space, multi-channel and spatial sound

· Work compiled or composed using field (location) recordings made during World Stage Design 2022


For 2022, the number of performances will be determined by the number of successful entries, but typically we present 4-8 performances per day for 2-3 days. There will be an opportunity to discuss your work with the listeners after the performance. There may also be the opportunity for extended performances by selected groups in the evenings for the larger WSD and City of Calgary in Theatre Jam at Springboard.

Performance Environment:

Our venue will be the Doolittle Studio, a flexible space with a focus on being listen-friendly and one that inspires conversation. It will seat 40 audience members. All Covid-19 protocols required by UCalgary and WSD will be adhered to.

We are also exploring the possibility of live-streaming selected events in a multi-channel format.

We will provide limited theatrical lighting, video displays and/or projectors for i-mag (image magnification) and presentation materials, together with limited drape, tables, chairs, etc., all of which will be flexible, and based on your presentation.

The space will be designed based on the successful entries, so feel free to detail your requirements and ideas in your entry.

Sound System:

A high quality multi-channel immersive sound system will be provided, but performers are asked to supply all playback equipment, all necessary software, and anything else needed to perform the work. Output should be Dante or line-level balanced analog audio. We are open to including remote performers too (if technology allows), but at least one participant should be available in Calgary for the performance.

The multi-channel sound system will enable movement of sound in the X/Y/Z planes and will include loudspeakers with appropriate amplifiers, mixing desk, spatialization engine, direct injection boxes (as required), Dante interface, microphones and stands, projector/screen.

The final system design will be developed based on your needs, so feel free to list any special requests.

Other Notes:

Performers must clear all potential copyright claims for the work being presented.

There is no fee to submit your application. Sound Kitchen is 100% voluntary. Performers are not paid, nor are there any funds for travel, accommodation, per diem, or any other expenses incurred. Registration at WSD is required to participate and attend Sound Kitchen. Tickets for Sound Kitchen are free. You can register here.

You are welcome to apply for grants to support your participation.

If you require a letter of invitation for visa purposes or funding applications, please email info_wsd2021@ucalgary.ca. Visa processing times are taking longer than expected, please do not wait to apply for your travel visa if required. You can find information on visa applications to Canada here: https://www.cic.gc.ca/english/visit/visas.asp.

2022 Schedule:

· The first round of performances was announced on May 15, 2022.

· We have space for a few additional performances so we are accepting entries until June 30, 2022.

· World Stage Design is scheduled for August 6-16, 2022.

· Sound Kitchen performances are tentatively scheduled for August 12, 13, and 14.


Mr. Brad Ward

Sound Kitchen Curator


Application/Entry Instruction: Follow these steps to submit your entry for consideration.

· Prepare a brief sample of your work (no more than 10 minutes – entries longer than 10 minutes may not be considered) and upload it to dropbox.com, wetransfer.com, or other online file sharing service.

· Clearly name your files so it will be obvious which entry they go with. Do not email your files. Alternatively, a link to videos on YouTube, Vimeo, or other online service may be provided (we will listen to the first 10 minutes only, so please make sure your best work is within those 10 minutes!)

· Prepare an email with the following information:

1. Your name, email, country(s) represented

2. Proposal for your presentation summarizing your performance (up to ½ page)

3. Link to your 10-minute sample (paste these into the email).

4. Dates you could be available to perform over the span of August 6-16 (likely dates are August 12-14). (If you are unsure, just let us know, but remember you must be present to perform.)

5. State that you have cleared all copyrights and have permission to perform the work with no claims for fees.

6. Detail your setup (specific instruments, rough stage layout, number of direct injection and microphone inputs required, etc.)

7. Will you need to make access to a video projector?

8. Do you have any special requests for the design of the audiovisual system or space design? (No promises that we will be able to provide them, but we will certainly take them into consideration.)

· Double check to be sure the links you pasted in the email to your sample are correct.

· Email your completed entry to SoundKitchenWSD@gmail.com by June 30, 2022.

· A confirmation email will be sent upon receipt of your entry. If you do not receive a confirmation within 1 week, contact us as we may not have received your entry.

For further information, please contact:

Mr. Brad Ward

Sound Kitchen Curator


Curation Team:

The jury is a diverse and inclusive group of sound designers/composers from around the world. The process will be unbiased and will focus on quality through diversity.

Mr. Bradlee Ward (Curator)

Brad Ward is a New York City based Sound Designer and Senior Associate at Auerbach Pollock Friedlander. Brad has been a long-time member of OISTAT Sound Design Sub-commission, Vice Commissioner of USITT’s Sound Commission, founding member of the ASD in the UK and TSDCA in the US. Brad has been involved with or has had work exhibited at WSD each year since its inception in 2005. www.bradward.net

Mr. Bassam Yaqout (Head of OISTAT Sound Design Sub-commission)

Bassam Yaqout is An Egyptian, born in Kuwait,

Has A Bachelor Degree in Scenography /Theatrical Arts from the Academy of Arts Cairo, and holds a Certificate in Arts management from The Davos Institute of Arts Management The Kennedy Center.

He has worked on numerous international cultural projects, cross-culture exchange, entertainment events, Live Concerts in music, media, film and theatre in Egypt and internationally.

Bassam has been a part of many multi-national events in Egypt and around the world including German Culture Centre (Goethe Institute), French Cultural Centre (CFCC), Danish Cultural Centre (DEDI), Swiss Culture Centre (ProHelvetia), Spanish Embassy & Cervantes institute El Cairo, USA Embassy in Cairo, as well as Conferences with The United Nation HQ …. etc.


Mr. Roger Alsop

Roger Alsop is a multidisciplinary artist who focuses primarily on the creation of collaborative and improvised artworks. He works in theatre, galleries, and music performance and his work has been presented internationally. His work focuses on relationships between text, sound, and visual imagery, and how these may be generated and interpreted through collaborative, improvised, and computer-based processes in creating performance, visual, and sonic arts.

He has lectured at Nicola Sala Conservatorium, and the Greenwich, Edinburgh, Zagreb, and Belgrade Universities and presented artworks and writing at the International Computer Music, Korean Electro-Acoustic Music Society, and Australasian Computer Music Conferences, International Society of Electronics Arts, CSIRO, Prague Quadrennial, World Stage Design, and the Melbourne Festival. He also supervises research students and teaches Interactive Art, Research Skills, Electronic Music, and Mixed Media at Melbourne University and Box Hill Institute.


Ms. Nela Brown

Nela Brown is an award-winning Croatian sound artist, technologist, researcher and lecturer. She studied jazz and music production at Goldsmiths, University of London, followed by a BA (Hons) in Sonic Arts at Middlesex University London. Since graduating in 2007 she worked as a composer and sound designer on award-winning international projects including theatre performances, dance, mobile, film, documentaries and interactive installations. In 2014, she started Female Laptop Orchestra (FLO), connecting musicians, composers, sound artists, dancers, visual artists, engineers and scientists globally, through co-located and distributed collaborative music creation. In 2019, she was invited to join the Faculty of Fine Arts & Music at the University of Melbourne, Australia as a recipient of the prestigious Macgeorge Fellowship Award. She is currently based in London, UK, working as a lecturer at the University of Greenwich and doing a PhD in Human-Computer Interaction.

Ms. Hillary Charnas

Mr. Sydney Smith

Sydney Smith is a recently graduated student from The Pennsylvania State University. With an interest in live entertainment he hopes to take his talent all over the world and create stories and events for people to enjoy.

Mr. Robin Whittaker

Robin Whittaker is an engineer and inventor with a passion for performance audio, has a 30 year career in theatre sound at the leading edge of innovation in theatre sound automation as founder and director of OutBoard, creators of TiMax.


OISTAT (Sponsor): International Organisation of Scenographers, Theatre Architects, and Technicians is a non-governmental organization (NGO) founded 1968 in Prague, Czech Republic. OISTAT generates, promotes, and maintains a global network of specialist practitioners, educators and researchers who shape, challenge and imagine elements, events and environments for the live performing arts. It serves those who facilitate and create design for live performance: including practitioners, researchers, students and associated partners. OISTAT enables the ongoing exchange of knowledge: sharing innovations, encouraging experimentation, and promoting international collaborations in the development of live performance as well as its technologies and the space that hosts it.

The OISTAT Sound Design Sub-commission (Sponsor) is an international body of Sound Designers and Sound Artists who primarily work in theatre and the performing arts. Our primary objective is to foster and support international professional relationships and knowledge sharing. We are committed to exploring opportunities to exhibit and promote performance-oriented Sound Design and Composition worldwide. Our ongoing work to support this aim includes the organisation and realization of Sound Design projects for the Prague Quadrennial and the World Stage Design expos. Our intention is to share the enormous amounts of audio and written resources held by the sub-commission in order to make these more accessible to interested parties in whatever way possible.

The first round of performances has been announced! Please see the below file for the PDF announcement:

For a PDF version of this call, please see the below file or scan the QR code:


Please click on the titles of events for more information.

Expanded Scenography in the Global South – Residual Spaces and Materials in Performative Power



This is a call to participate in the panel “Expanded scenography in the Global South – Residual spaces and materials in performative power”, curated by the Brazilian scenographer and researcher Renato Bolelli Rebouças.

How do we situate ourselves as artists concerning the different contexts in which we operate? 

Confronting the stage making and its tradition in internal spaces – coming from the European and North American culture – would it be possible to conceive an expanded scenographic epistemology from a South global perspective, connected with the environment and our realities? 

Reflecting the permanent destruction in countries like Brazil – which come from the colonial period – this panel investigates the performative power of discarded and residual places, objects, and materials as a condition and possibility, sharing different perspectives combining spatial intervention, politics, waste production and performance.

The call is open for scenographers, artists, researchers, and professors from different countries of the Southern Hemisphere, with a particular interest in Latin American countries. Also, we are looking for project experiences that use residual spaces and materials in many ways and may contribute to reflecting on the panel’s main subject.

It is preferred that the presentations are live (rather than a recording) to allow for discussion and a Q&A. 

Proposals are welcome in the form abstracts of up to 300 words. 

Please include your name, contact information, and a short 200-word biography.

Proposals and questions should be sent to Renato Bolelli Rebouças at bolellireboucas@gmail.com 

Deadline: June 1st, 2022.

Print or e-Print?: Reviewing Publication of Theatre Research and Practice Now

OISTAT Research Commission at WSD invites presentations for the Panel Discussion:
Print or e-Print?: Reviewing Publication of Theatre Research and Practice Now



This Panel explores the intentions and choices involved in print and e-publishing of theatre and
scenography titles. The aim is to encourage the link between professional practice, reflection and
dissemination, and hopefully, the enjoyment (with diminishing terror) of sharing philosophies and

We invite editors or authors of new titles on design for performance, drawing and performance,
historical theatre architecture and technology, published since June 2019, or currently in preparation, to
discuss the concepts, process and outcomes of their publishing journeys.

Increasingly ‘texts’ may take different forms. There are choices as to compiling and presenting
information, as well as ways of engaging with the viewer/reader/audience. In particular, e-journals,
podcasts and website blogs offer opportunities to develop styles, material and links that have different
possibilities, risks, responsibilities and logistics from print. What is their effect on the sector?

Perhaps a core factor is that of time. In contrast to durational events and performance, publications
invite the viewer/reader to take their own time, to flick, dwell, compare, reference, put down/close and
pick up/open again.

Published titles discussed will be available in the WSD 2022 Bookshop in print or on-line. Where projects
are not in English, we aim to collaborate on providing at least sample translations, or descriptive texts in
English so that approaches, issues and structures can be shared.

To facilitate participation from a variety of different contexts and locations, presentations may be inperson or live/recorded. Proposals are welcomed in the form of abstracts of up to 300 words, or visual
descriptions in ppt form.

Acknowledging the current challenges and uncertainties in committing to attending events, OISTAT Research Commission is extending the call for proposals to WSD 2022 Research Panels, which may be presented in person or online, to midnight on Monday June 6th.

Proposals and enquiries should be sent to: research@oistat.org
Deadline: June 6th, 2022

For a PDF version of this call, please see the file below:

Research Conversations about Performance Space and Cultural Geographies

OISTAT Research Commission at WSD invites presentations for the Panel Discussion:
Research Conversations about Performance Space and Cultural Geographies.



Theatre is artifice. It employs codes, it relies on cultural knowledge, understanding and/or familiarity to
be effective as comment, protest, enquiry, celebration. As Nora Amin writes:
“We believe in the concept of a collective, universal and intersectional imagination with threads
interweaving between various cultures and popular creativities.… the discovery of light, shadow and its
play are among the most ancient revelations of the human mind along its journey of maturity and
growth…” (Amin, Shadow Theatre and the Imaginary in Contemporary Egypt, in The Theatre Times,11
March 2020. https://thetheatretimes.com/author/n-amin/)

This panel will share and discuss moments in performances, events and storytelling located within
specific cultures and places. Our focus is on the intersection of performative spaces, underrepresented
geographical locations, and emerging cultural identities.

Participants are invited to consider how, in a time of increasing global and generalised cultural reference
points, we can respect and value the particular and located? Within the conversation we hope for space
to learn or intuit a little more about our own individual vocabularies of belonging.

To facilitate participation from a variety of different contexts and locations, presentations may be inperson or live/recorded. Proposals are welcomed in the form of abstracts of up to 300 words, or visual
descriptions in ppt form. The call for this session is to find and introduce, rather than to talk/write

Acknowledging the current challenges and uncertainties in committing to attending events, OISTAT Research Commission is extending the call for proposals to WSD 2022 Research Panels, which may be presented in person or online, to midnight on Monday June 6th.

Proposals and enquiries should be sent to: research@oistat.org
Deadline: June 6, 2022

For a PDF version of this call, please see the file below:

To Print or not to Print: Sustainable Performance Practice Publications

OISTAT Research Commission at WSD invites presentations for the Panel Discussion:
To Print or not to Print: Sustainable Performance Practice Publications



Responding to the respective aims and concerns of both Tanja Beer’s Ecoscenography: an introduction
to ecological design for performance, and the Theatres Trust and ABTT’s The Theatre Green Book
project, this panel invites presentation of publications ranging from papers, blogs and chapters
to manuals and resource lists, in order to consider individual eco-practice as well as the
collaborative approaches of increasing numbers of performance companies and suppliers. Our
focus on ‘works in progress’ is a reflection of the ongoing research, development and
experiment in this area, as well as the ‘reflection-in and on action’ essential to all areas of
design and making for performance. This Panel connects with the Eco-Lounge initiative of the SBTD
Sustainability Working Group from the UK which will showcase Sustainable Practice resources and
publications of all scales and styles.

To facilitate participation from a variety of different contexts and locations, presentations may be inperson or live/recorded. Proposals are welcomed in the form of abstracts of up to 300 words, or visual
descriptions in ppt form. Please only email documents/ppts under 5mb.

Acknowledging the current challenges and uncertainties in committing to attending events, OISTAT Research Commission is extending the call for proposals to WSD 2022 Research Panels, which may be presented in person or online, to midnight on Monday June 6th.

Proposals and enquiries should be sent to: research@oistat.org
Deadline: June 6, 2022

For a PDF version of this call, please see the file below: