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<P style="MARGIN: 0cm 0cm 10pt" class=MsoNormal><FONT face=Calibri><B><SPAN style="LINE-HEIGHT: 115%; FONT-SIZE: 14pt; mso-fareast-font-family: Calibri">The Canadian Association for Theatre Research/ Association Canadienne de la Recherche Théâtrale is pleased to announce the winner of the 2010 Robert Lawrence Prize. The Lawrence Prize is given for the best paper delivered at the CATR/ACRT conference by an emerging scholar.</SPAN></B><B style="mso-bidi-font-weight: normal"><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 14pt"><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></B></FONT></P>
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<P style="MARGIN: 0cm 0cm 10pt" class=MsoNormal><B style="mso-bidi-font-weight: normal"><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Robin Whittaker: Intellectual and Un/Disciplined: Relocating Toronto’s Alumnae Theatre Company, from Philanthropic Theatre to the Original “Alternative” <o:p></o:p></SPAN></B></P>
<P style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class=MsoNormal><SPAN style="FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Robin Whittaker's discussion of Alumnae Theatre is original, detailed, and <SPAN style="COLOR: black">extremely well contextualized within theatre history of the twentieth century, <SPAN style="mso-spacerun: yes"> </SPAN>the <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:City w:st="on"><st1:place w:st="on">Toronto</st1:place></st1:City> theatre scene, and the critical attitude toward non-professional theatre. </SPAN>The committee was impressed with both Whittaker's theoretical position and his original archival research. <SPAN style="COLOR: black">F</SPAN>ar more than a simple history of the Alumnae Theatre, Whittaker's paper argues that the theatre produces not just what it wants, but what it believes <st1:City w:st="on"><st1:place w:st="on">Toronto</st1:place></st1:City> audiences lack, based on ideas about taste, self-improvement, and social justice. This paper offers a genuinely original contribution to scholarship: it has the potential to seriously throw into question many aspects of the historical discourse regarding Canadian theatre and will no doubt have a substantial impact on theatre history in <st1:City w:st="on"><st1:place w:st="on">Toronto</st1:place></st1:City> and beyond. Whittaker's<SPAN style="COLOR: black"> presentation was well-modulated, well paced, energetic and engaging, with well-designed and informative slides.<o:p></o:p></SPAN></SPAN></P>
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<P style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class=MsoNormal><SPAN style="FONT-FAMILY: 'Times New Roman','serif'; COLOR: black; FONT-SIZE: 12pt">La discussion sur l’Alumnae Theatre de Robin Whittaker est originale, détaillée et extrêmement bien située dans le contexte de l’historique théâtrale du vingtième siècle, de la scène théâtrale torontoise et de la perspective critique sur le théâtre non-professionnel. La prise de position théorique et les recherches archivistiques originales ont impressionné les membre du comité. Beaucoup plus qu’un simple récit historique de l’Alumnae Theatre, la communication de Whittaker montre que ce théâtre produit non seulement ce qu’il veut, mais ce qui manque, à son avis, aux publics de Toronto, à partir d’idées sur le goût, le développement du soi et la justice sociale. Cette communication offre une contribution vraiment originale à nos connaissances; elle serait capable de remettre sérieusement en cause de nombreux aspects du discours historique à l’égard du théâtre canadien et aura sans doute un impact solide sur l’histoire théâtrale à <st1:place w:st="on"><st1:City w:st="on">Toronto</st1:City></st1:place> et ailleurs. La présentation de Whittaker – bien modulée, nuancée, énergique et engageante – comportait des diapositives informatives et bien conçues.</SPAN><SPAN style="FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt"><o:p></o:p></SPAN></P>
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<P style="MARGIN: 0cm 0cm 10pt" class=MsoNormal><B style="mso-bidi-font-weight: normal"><SPAN style="LINE-HEIGHT: 115%; FONT-SIZE: 14pt"><FONT face=Calibri>The Lawrnece Committee also recognized two other papers for an honourable mention:<o:p></o:p></FONT></SPAN></B></P>
<P style="MARGIN: 0cm 0cm 10pt" class=MsoNormal><B style="mso-bidi-font-weight: normal"><SPAN style="LINE-HEIGHT: 115%; FONT-SIZE: 14pt"><o:p><FONT face=Calibri> <FONT size=3>Sy</FONT></FONT></o:p></SPAN></B><B style="mso-bidi-font-weight: normal"><SPAN style="LINE-HEIGHT: 150%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">lvain Duguay: Interactivité et reconnaissance : l’adhésion fantasmatique dans <I style="mso-bidi-font-style: normal">Anima</I> de Lemieux.Pilon<o:p></o:p></SPAN></B></P>
<P style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class=MsoNormal><SPAN style="FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">The committee felt that Sylvain Duguay's paper presented an original and fascinating perspective on interactivity, intermediality and the creative role of technology in a 2002 show. It demonstrated the ways in which performers took control of cinematographic images in <I style="mso-bidi-font-style: normal">Anima</I>, thereby drawing spectators through effects of presence into spaces of fantasy. Duguay demonstrated the ways in which players and spectators were actively and simultaneously engaged in an intermedial endeavor that produced a new kind of spectatorial pact. The presentation was engaging, the use of visuals central to the presentation, and the power-point outline was clearly organised in a way that made it possible to follow Duguay’s carefully nuanced ideas.<o:p></o:p></SPAN></P>
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<P style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class=MsoNormal><SPAN style="FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Le comité était d’avis que la communication de Sylvain Duguay offrait une perspective originale et réfléchie sur l’interactivité, l’intermédialité et le rôle créateur de la technologie dans le spectacle <I style="mso-bidi-font-style: normal">Anima</I> (2002). Elle a analysé la façon dont les performeurs contrôlaient les images cinématographiques de sorte que celles-ci créent des effets de présence qui obligent les spectateurs à entrer dans un espace fantasmatique. Duguay a démontré les façons dont les performeurs et les spectateurs étaient activement et simultanément engagés dans une initiative intermédiale qui a produit une nouvelle sorte de contrat spectatorial. La présentation était engageante; les diapositives étaient bien intégrées au sujet; le plan power-point était bien organisé pour permettre au public de suivre les idées soigneusement nuancées de Duguay.<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 0pt; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none" class=MsoNormal><B><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt"><o:p> </o:p></SPAN></B></P>
<P style="MARGIN: 0cm 0cm 0pt; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none" class=MsoNormal><B><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Heather Davis-Fisch:"The Designated Mourner”: Charles Dickens’ and Wilkie Collins’ <I>The Frozen Deep</I> Responds to the Loss of the <st1:City w:st="on"><st1:place w:st="on">Franklin</st1:place></st1:City> Expedition<o:p></o:p></SPAN></B></P>
<P style="MARGIN: 0cm 0cm 0pt; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none" class=MsoNormal><B><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt"><o:p> </o:p></SPAN></B></P>
<P style="MARGIN: 0cm 0cm 0pt; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align: none" class=MsoNormal><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Heather Davis-Fisch provided fascinating and carefully argued fresh insight into the place of melodrama in Victorian society (with all its problematic values), into the historical event of the Franklin Expedition, and into the work/ideological place of Charles Dickens.<SPAN style="mso-spacerun: yes"> </SPAN>Davis-Fisch's work is grounded in Canadian theatre studies but has applications far beyond: <BR>to international theatre history, performance studies, trauma studies and affect studies. Her illustrations were well chosen to give a vivid sense of theatrical and historical events and demonstrated original and thorough research. <SPAN style="COLOR: black"><o:p></o:p></SPAN></SPAN></P>
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<P style="MARGIN: 0cm 0cm 10pt" class=MsoNormal><SPAN style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 12pt">Heather Davis-Fisch a offert des aperçus fascinants et soigneusement argumentés sur la place du mélodrame dans la société victorienne (avec toutes ses valeurs problématiques), sur l’événement historique de l’Expédition <st1:place w:st="on"><st1:City w:st="on">Franklin</st1:City></st1:place>, et sur l’oeuvre/la position idéologique de Charles Dickens. Les recherches de Davis-Fisch prennent comme point de départ les études du théâtre canadien mais s’appliquent bien au-delà de ce domaine: à l’histoire théâtrale internationale, aux études de la performativité, du trauma et de l’affect. Ses illustrations étaient bien choisies pour créer un sens vif d’événements historiques et théâtraux. Elles mettaient en lumière un travail de recherches originales et approfondies.<o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML>