Nordic Theatre Studies, Vol. 30, no. 2

Theatre and Continental Philosophy

Continental philosophy (as opposed to analytic philosophy) has significantly impacted on theatre and performance studies in the last two decades. From Bourdieu’s notion of cultural capital to Bruno Latour’s actor-network theory, from poststructuralism to posthumanism, scholars have used a variety of approaches to explore theatrical performance. Such overviews as Timothy Murphy’s Mimesis, Masochism, and Mime: The Politics of Theatricality in Contemporary French Thought and the book series edited by Laura Cull, Alice Lagaay and Will Daddario on “Performance Philosophy” attest to the wealth of research in this area.

For this issue of Nordic Theatre Studies on “Theatre and Continental Philosophy” (to be published in 2018), scholars are encouraged to submit essays relating to the importance of some aspect of continental philosophy for theatre and performance studies. Scholars could employ a concept developed by a philosopher to explore a specific work, company, or artist, or they could address how a specific branch of continental philosophy has impacted on theatre and performance studies in general. In addition, since some philosophers (such as Deleuze, Badiou, and Levinas) have based their arguments on artistic works, performances and historical trajectories of theatre, we also welcome papers examining how different performances, genres of performance, artistic/practice-based research and contemporary theatre and performance at large have impacted on the development of concepts, ideas, schools of thought and politics of continental philosophy in the past decades.

Specific concepts could be deployed, such as Agamben’s notion of nuda vita (bare life), state of exception or homo sacer; Latour’s actor-network theory; Foucault’s concepts of biopolitics and biopower; Bourdieu’s field theory; Levinas’ concept of the face of the other; Badiou’s notion of the event; Rancière’s concept of dissensus; Deleuze’s notions of becoming other, rhizomatic connections, or nomadism, etc. Essays could also discuss such approaches as new materialism; process philosophy; ontogenesis; object-oriented ontology; or posthumanism. Articles on other topics are also welcome for the open section of the journal.

Abstracts (200 to 300 words) and a short biography (50-100 words) should be submitted to Prof. Steve Wilmer (, editor of Nordic Theatre Studies, by 15 October 2017. Applicants will receive decisions by 15 November 2017. Articles based on accepted abstracts are due by 15 May 2018. The length of the article, which must be submitted in English, should be approximately 5,000 to 6,000 words (including footnotes and references).

Nordic Theatre Studies is a peer-reviewed journal publishing two issues a year. The journal is divided into a thematic section, an open section for other topics, and a book review section. The journal also publishes occasional shorter essays (which are peer-reviewed and can use a more personal approach). Specialising in Nordic and Baltic theatre research, it prioritizes articles that relate to some aspect of Nordic or Baltic theatre and performance, or that have been written by a scholar resident in a Nordic or Baltic country. It has been a print journal since 1988, and recently converted into an online publication so that it is freely accessible to scholars around the world. (See