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</o:shapelayout></xml><![endif]--></head><body lang=EN-CA link=blue vlink=purple><div class=WordSection1><p class=MsoNormal>Call for Participants –<b> <span lang=EN-US>SEMINAR: “Upsurges of the Real”<o:p></o:p></span></b></p><p class=MsoNormal><span lang=EN-US>Seminar organizer: Jenn Stephenson<o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal>Canadian Association for Theatre Research/ l’Association canadienne de la recherche théâtrale <o:p></o:p></p><p class=MsoNormal>Conference 2012, 26-29 May 2012, University of Waterloo and Wilfrid Laurier University, Ontario, Canada<o:p></o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><span lang=EN-US>At a very basic level, the negotiation between the two synchronous worlds of the actual and the fictional forms the foundation of what makes theatre theatre, distinguishing performance from life. In print forms of literature, little black squiggles on paper stand in for the real world. A still life bowl of fruit is made of paint and canvas. In the theatre, of course, the actual object at work and its fictional image are unusually close—a chair is another chair; a bright light is another bright light. The likeness of these two elements approach the limit horizon as in calculus, almost (but never quite) reaching identity. More recently, these basic questions of the real on stage have come again to the fore with increased production of (and academic interest in) such genres as documentary theatre, verbatim theatre, autobiographical performance, and site-specific theatre – all of which place a premium on the actual nature of certain theatrical elements. In general, the conventions of the theatre work hard to subdue the real and bend it to its fictional will. <o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US>This seminar will look at those moments when, like contents under pressure, the real breaks through those bounds and surges upward. Questions to be considered may include: <o:p></o:p></span></p><p class=MsoListParagraphCxSpFirst style='text-indent:-.25in;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>audience attraction to “truth” and the “authentic”<b><i><o:p></o:p></i></b></span></p><p class=MsoListParagraphCxSpMiddle style='text-indent:-.25in;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>instability of the real inside the fictionalizing frame of theatre<b><i><o:p></o:p></i></b></span></p><p class=MsoListParagraphCxSpMiddle style='text-indent:-.25in;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 use of the “real” in performance to effect political/social change<b><i><o:p></o:p></i></b></span></p><p class=MsoListParagraphCxSpMiddle style='text-indent:-.25in;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>ethical obligations of performance to its real world antecedents<b><i><o:p></o:p></i></b></span></p><p class=MsoListParagraphCxSpMiddle style='text-indent:-.25in;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>perceptual fluidity of what is real and how this fluidity is applied in support of the work’s themes or goals<o:p></o:p></span></p><p class=MsoListParagraphCxSpLast style='text-indent:-.25in;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>strategies for managing the interplay between real and fictional worlds (e.g. metatheatre, framing)<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US>Working Plan: <o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US>To make the best use of face-time at the conference, papers will be completed one month in advance of the conference and circulated by email or FTP DropBox. Each paper will be read (at least cursorily) by everyone in the seminar. Each paper will be assigned two respondents. In the seminar session, each pair of respondents will be asked 1) to identify briefly the main argument of the paper and outline its key points, 2) to highlight the innovations of the paper and to suggest its significance for the field, 3) to pose questions which would extend the thinking of the paper beyond its initial parameters. The authors of the papers will have an opportunity to respond to these suggestions/questions. Discussion will then be open to the group, including both participants and auditors. Ideally, the papers presented in this manner will serve as a jumping off point for a more general discussion of the key issues around this topic in the mode of a graduate seminar. Auditors will be welcome.</span><span lang=EN-US style='font-size:10.0pt;color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><b>Please send 250-300 word abstracts and a brief bio to organizer Jenn Stephenson (<a href="mailto:jenn.stephenson@queensu.ca)%20by">jenn.stephenson@queensu.ca) </a> by 15 January 2012.<o:p></o:p></b></p><p class=MsoNormal><span style='font-size:10.0pt;color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Jenn Stephenson<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Associate Professor, Drama<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Queen's University<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Kingston, Ontario K7L 3N6<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Phone. (613)533-6000 x78597<o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Email. <a href="mailto:jenn.stephenson@queensu.ca"><span style='color:blue'>jenn.stephenson@queensu.ca</span></a><o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'>Web. <a href="http://www.queensu.ca/drama/jstephenson"><span style='color:blue'>www.queensu.ca/drama/jstephenson</span></a><o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:10.0pt;color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:9.0pt;color:#1F497D'>"There is no theory that is not a fragment, carefully prepared, of some autobiography" --Paul Valéry <o:p></o:p></span></p><p class=MsoNormal><span lang=EN-US style='font-size:18.0pt;font-family:Webdings;color:#007D00'>P</span><span lang=EN-US style='color:#1F497D'> </span><span lang=EN-US style='font-size:7.5pt;font-family:"Verdana","sans-serif";color:#007D00'>Please consider the environment before printing this e-mail</span><span lang=EN-US style='color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p></div></body></html>