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</o:shapelayout></xml><![endif]--></head><body lang=FR-BE link=blue vlink=purple><div class=WordSection1><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><i><span lang=EN-US>Theatre Research in Canada/Recherches théâtrales au Canada<o:p></o:p></span></i></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US>CALL FOR PAPERS<o:p></o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US>Special Issue: Canadian Performances/Global Redefinitions<o:p></o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US style='color:#548DD4'><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=EN-US>Edited by Reid Gilbert and Marc Maufort<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Reid Gilbert (University of British Columbia; Capilano University) and Marc Maufort (Université Libre de Bruxelles) are co-editing a special issue of <i>TRiC/RTaC</i> (34.2, Fall 2013) examining Canadian dramaturgies engaged in global redefinitions. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>The issue takes, as its departure point, the identification by David O’Donnell</span><a style='mso-endnote-id:edn1' href="#_edn1" name="_ednref1" title=""><span class=MsoEndnoteReference><span class=MsoEndnoteReference><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-fareast-language:EN-US'>[i]</span></span></span></a><span lang=EN-US> of emerging playwrights who “reject the opposition between coloniser and colonised, and actively participate in the global network of intertexuality while remaining focussed on the concerns of their specific cultural contexts.” Such playwrights, suggests O’Donnell, “allow texts to speak to each other, deconstructing the oppositional framework of post-colonial debates and opening up new possibility for dramatic representation” (131).<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>We are seeking articles that explore this and related ideas in the context of Canadian performances. </span>Writers might consider, among other possible topics:<o:p></o:p></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><o:p> </o:p></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Co-productions between Canadian and Non-Canadian companies; the construction of “new centres” by co-operative dramaturgies<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>The idea of a fragmented landscape</span><a style='mso-endnote-id:edn2' href="#_edn2" name="_ednref2" title=""><span class=MsoEndnoteReference><span class=MsoEndnoteReference><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-fareast-language:EN-US'>[ii]</span></span></span></a><span lang=EN-US> that both revises a Canadian sense of self, and allows entry to new constructions of space and memory<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Canadian plays in non-Canadian productions, adaptations or revisions<o:p></o:p></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Adaptations of canonical plays as reconceived on Canadian stages<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>New performance designs that reflect hybrid dramatic practice<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>New voices (including ethnic or Indigenous playwriting)<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Visibility, Invisibility, Place and Exile<o:p></o:p></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Performance exploring attitude and perception shifts (ex. </span>Marie Clements’s <i>The Edward Curtis Project</i>)<o:p></o:p></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Dislocation, diaspora and (re)settlement<o:p></o:p></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Experiments in staging; applications of non-western staging<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Community performance among emerging and changing communities <o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=EN-US style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=EN-US>Devised theatre as vehicle of change<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Papers may centre on literary or performance texts (or, ideally, both). An aspect of the analysis must consider Canadian texts, performances, performers, writers, directors, or critics and/ or comment on such Canadian sites of analysis. To these Canadian sites, writers are invited to bring any other comparative texts. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>We encourage authors to situate their analyses in post-colonial, comparative literary, or performance theories, avoiding purely descriptive papers, while necessarily familiarizing readers with the plays under discussion. Reviews of productions are not sought, while the critical review of productions within a larger theoretical framework is welcome.<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Submissions, in English or French, should be addressed to the <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Editors, Theatre Research in Canada,<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Graduate Centre for Study of Drama,<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>University of Toronto,<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>214 College Street, 3rd Floor,<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Toronto, Canada M5T 2Z9<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>FAX 1-416-971-1378<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Email: tric.rtac@utoronto.ca<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Website: http://www.lib.unb.ca/Texts/TRIC). <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>All submissions should be sent to the TRiC office, which will forward them to the Guest Editors.<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Please submit via email attachment in Word. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Authors are responsible for providing appropriate images in electronic format (300dpi). Authors should make sure they secure permissions to publish any visual material.<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US> <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>All submissions are refereed. Full articles should normally be no longer than 5,000 words, typed double-spaced, following the internal documentation style of Joseph Gibaldi, MLA Style Manual and Guide to Scholarly Publishing (2nd. Ed. New York: MLA, 1998). Please employ an absolute minimum of document formatting in all electronic submissions (beyond the indentation of quotations and the use of endnotes). Endnotes are permitted (do not use footnotes), but should be kept to a minimum. All published articles will be included on our electronic website. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>The issue is expected to appear in the fall of 2013. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>DEADLINE FOR RECEIPT OF SUBMISSIONS: September 30, 2011 <o:p></o:p></span></p><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-fareast-language:EN-US'><br clear=all style='page-break-before:always'></span><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><i><span lang=FR-CA>Theatre Research in Canada/Recherches théâtrales au Canada<o:p></o:p></span></i></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA>APPEL À CONTRIBUTIONS <o:p></o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA>Numéro thématique : Théâtre canadien et redéfinitions planétaires<o:p></o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal align=center style='margin-left:14.2pt;text-align:center'><span lang=FR-CA>Sous la direction de Reid Gilbert et Marc Maufort<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Reid Gilbert (University of British Columbia; Capilano University) et Marc Maufort (Université Libre de Bruxelles) co-dirigent un numéro thématique de <i>TRiC/RTaC</i> (34.2, automne 2013) sur le théâtre canadien et les redéfinitions planétaires. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Le numéro a pour point de départ un concept qu’explore David O’Donnell<a style='mso-endnote-id:edn3' href="#_edn3" name="_ednref3" title=""><span class=MsoEndnoteReference><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-fareast-language:EN-US'>[iii]</span></span></span></a>, celui de dramaturges en émergence qui « rejettent l’opposition colonisateur/colonisé, et qui participent activement au réseau mondial de l’intertextualité tout en s’intéressant avant tout aux enjeux propres à leurs contextes culturels ». De tels dramaturges, nous dit O’Donnell, « permettent un dialogue entre textes, déconstruisent les cadres oppositionnels des débats postcoloniaux et ouvrent de nouvelles voies pour la représentation théâtrale » (131, traduction libre).<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Nous sommes à la recherche d’articles qui explorent ces idées et des concepts semblables dans le contexte du théâtre canadien. Voici une liste non exhaustive des sujets que l’on pourrait choisir d’aborder : <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Coproductions entre compagnies canadiennes et étrangères; la construction de « nouveaux centres » au moyen de dramaturgies collectives<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>L’idée d’un paysage fragmenté<a style='mso-endnote-id:edn4' href="#_edn4" name="_ednref4" title=""><span class=MsoEndnoteReference><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-fareast-language:EN-US'>[iv]</span></span></span></a> qui revisite notre perception de l’identité canadienne et qui débouche sur des nouvelles constructions de l’espace et de la mémoire<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Pièces canadiennes faisant l’objet de productions, d’adaptations ou de révisions à l’étranger<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Adaptations de pièces de théâtre canoniques pour la scène canadienne<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Nouvelles conceptions de la représentation qui reflètent une pratique théâtrale hybride<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Nouvelles voix dramaturgiques (ethniques, indigènes ou autres) <o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Visibilité, invisibilité, lieu et exil<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Le théâtre qui explore les attitudes et l’évolution des perceptions (comme par exemple <i>The Edward Curtis Project</i> de Marie Clements)<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Dislocation, diaspora et (ré)installation<o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Mises en scène expérimentales; exemples de mises en scène non occidentales <o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>La performance communautaire au sein de groupements en émergence et en évolution <o:p></o:p></span></p><p class=MsoNormal style='margin-left:60.55pt;text-align:justify;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span lang=FR-CA style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]><span lang=FR-CA>Le théâtre comme moteur du changement <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Les auteurs peuvent choisir d’axer leur article sur des textes littéraires ou des textes de théâtre (ou idéalement les deux). Dans le cadre de leurs analyses, il leur est demandé d’aborder des sites d’analyses canadiens — textes, représentations, comédiens, écrivains, metteurs en scène, critiques canadiens —, ou du moins les commenter. Il leur est permis d’établir des comparaisons avec d’autres textes. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Nous encourageons les auteurs à appuyer leurs analyses sur les théories des études postcoloniales, de la littérature comparée ou des études de la performance. Nous souhaitons éviter les articles à caractère purement descriptif. Néanmoins, nous pensons qu’une certaine part de description peut s’avérer nécessaire afin d’éclairer le lecteur sur les oeuvres examinées. Nous ne cherchons pas non plus des comptes rendus critiques de productions mais nous pourrions toutefois en publier dans la mesure où ils s’inscrivent dans un cadre théorique plus vaste.<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Veuillez expédier vos manuscrits en anglais ou en français à l’adresse suivante :<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Rédacteur<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Recherches théâtrales au Canada<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Graduate Centre for Study of Drama<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>University of Toronto,<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>214, rue College, 3<sup>e</sup> étage<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Toronto (Ontario) Canada M5T 2Z9<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Télécopieur : 1-416-971-1378<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Courriel : tric.rtac@utoronto.ca<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US>Site Web : http://www.lib.unb.ca/Texts/TRIC <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Les textes, en format Word, doivent être envoyés au bureau de la RTaC, qui se chargera de les faire suivre aux responsables du numéro.<o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Si vous souhaitez faire accompagner votre texte de photos ou d’illustrations, il convient de nous envoyer les fichiers en format électronique (300 dpi) et de vous assurer d’en obtenir les droits de publication. <o:p></o:p></span></p><p class=MsoNormal style='text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Tous les articles proposés sont soumis à un comité de lecture. Présentés à double interligne, ils comptent normalement 5 000 mots tout au plus et sont préparés suivant les règles stylistiques établies dans le <i>MLA Syle Manual and Guide to Scholarly Publishing</i> (2<sup>e</sup> édition, New York : MLA, 1998). Les auteurs sont priés d’appliquer un minimum de formatage (à part la mise en retrait des citations et les notes de fin de document). Il convient d’utiliser des notes de fin de document plutôt que des notes de bas de page. Nous demandons cependant aux auteurs d’en limiter le nombre. Les articles publiés paraîtront sur notre site Web. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>Le numéro devrait paraître à l’automne 2013. <o:p></o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><span lang=FR-CA>DATE LIMITE POUR LA SOUMISSION DES MANUSCRITS : le 30 septembre 2011 <o:p></o:p></span></p><p class=MsoNormal style='text-align:justify'><span lang=FR-CA><o:p> </o:p></span></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><o:p> </o:p></p><p class=MsoNormal style='margin-left:14.2pt;text-align:justify'><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><span lang=EN-US style='mso-fareast-language:FR-BE'>Marc Maufort<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='mso-fareast-language:FR-BE'>Professor of English<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='mso-fareast-language:FR-BE'>Modern Languages and Literatures CP 175<o:p></o:p></span></p><p class=MsoNormal><span style='mso-fareast-language:FR-BE'>Université Libre de Bruxelles<o:p></o:p></span></p><p class=MsoNormal><span style='mso-fareast-language:FR-BE'>Av. F.D. Roosevelt, 50<o:p></o:p></span></p><p class=MsoNormal><span style='mso-fareast-language:FR-BE'>1050 BRUSSELS<o:p></o:p></span></p><p class=MsoNormal><span style='mso-fareast-language:FR-BE'>BELGIUM<o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p></div><div style='mso-element:endnote-list'><br clear=all><hr align=left size=1 width="33%"><div style='mso-element:endnote' id=edn1><p class=MsoEndnoteText style='text-align:justify'><a style='mso-endnote-id:edn1' href="#_ednref1" name="_edn1" title=""><span class=MsoEndnoteReference><span lang=EN-GB style='font-size:9.0pt'><span class=MsoEndnoteReference><span lang=EN-GB style='font-size:9.0pt;font-family:"Arial","sans-serif";mso-fareast-language:EN-US'>[i]</span></span></span></span></a><span lang=EN-GB style='font-size:9.0pt'> “Quoting the “Other”: Intertextuality and Indigeneity in Pacific Theatre.” <i>Theatre in the Round: Multi-ethnic, Indigenous, and Intertextual Dialogues in Drama.</i> Eds. Dorothy Figueira and Marc Maufort, Brussels: P.I.E. Peter Lang, 2011. 109-32.<o:p></o:p></span></p></div><div style='mso-element:endnote' id=edn2><p class=MsoEndnoteText style='text-align:justify'><a style='mso-endnote-id:edn2' href="#_ednref2" name="_edn2" title=""><span class=MsoEndnoteReference><span lang=EN-GB style='font-size:9.0pt'><span class=MsoEndnoteReference><span lang=EN-GB style='font-size:9.0pt;font-family:"Arial","sans-serif";mso-fareast-language:EN-US'>[ii]</span></span></span></span></a><span lang=EN-GB style='font-size:9.0pt'> See Caroline De Wagter. “Land the Cultural Memory: Djanet Sears’s <i>The Adventures of a Black Girl in Search of God</i> and Diane Glancy’s <i>Jump Kiss: An Indian Legend</i>.” <i>Theatre in the Round: Multi-ethnic, Indigenous, and Intertextual Dialogues in Drama</i>: 55-69.</span><span lang=EN-GB><o:p></o:p></span></p></div><div style='mso-element:endnote' id=edn3><p class=MsoEndnoteText style='text-align:justify'><a style='mso-endnote-id:edn3' href="#_ednref3" name="_edn3" title=""><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:9.0pt'><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:9.0pt;font-family:"Arial","sans-serif";mso-fareast-language:EN-US'>[iii]</span></span></span></span></a><span lang=EN-US style='font-size:9.0pt'> « Quoting the “Other”: Intertextuality and Indigeneity in Pacific Theatre », dans Dorothy Figueira et Marc Maufort (éd.), <i>Theatre in the Round: Multi-ethnic, Indigenous, and Intertextual Dialogues in Drama.</i> Bruxelles : P.I.E. Peter Lang, 2011. 109-32.<o:p></o:p></span></p></div><div style='mso-element:endnote' id=edn4><p class=MsoEndnoteText style='text-align:justify'><a style='mso-endnote-id:edn4' href="#_ednref4" name="_edn4" title=""><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:9.0pt'><span class=MsoEndnoteReference><span lang=FR-CA style='font-size:9.0pt;font-family:"Arial","sans-serif";mso-fareast-language:EN-US'>[iv]</span></span></span></span></a><span lang=EN-US style='font-size:9.0pt'> Voir Caroline De Wagter, « Land the Cultural Memory: Djanet Sears’s <i>The Adventures of a Black Girl in Search of God</i> and Diane Glancy’s <i>Jump Kiss: An Indian Legend »</i>. <i>Theatre in the Round: Multi-ethnic, Indigenous, and Intertextual Dialogues in Drama </i>: 55-69.</span><span lang=EN-US><o:p></o:p></span></p></div></div></body></html>