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<div class="moz-cite-prefix">Greetings again,<br>
<br>
Please forgive two typos in my previous message. Ginny Ratsoy's
name is misspelled and the company she discusses in her article is
Theatrefront, not Waterfront. My apologies for not catching these
sooner, Ginny.<br>
<br>
Best,<br>
Marlis<br>
<pre class="moz-signature" cols="72">
</pre>
On 13-05-06 5:23 PM, Marlis Schweitzer wrote:<br>
</div>
<blockquote cite="mid:51881F5E.9060305@yorku.ca" type="cite">
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charset=ISO-8859-1">
<meta name="Title" content="">
<meta name="Title" content="">
<p class="MsoNormal" style="margin-top:0in;margin-right:0in;
margin-bottom:0in;margin-left:.2in;margin-bottom:.0001pt;text-align:center"
align="center"><i style="mso-bidi-font-style:normal"><span
style="font-family:Calibri" lang="EN-GB">Theatre Research in
Canada</span></i><span style="font-family:Calibri"
lang="EN-GB">/ </span><i style="mso-bidi-font-style:normal"><span
style="font-family:
Calibri;mso-fareast-font-family:"Times New
Roman";color:#111111" lang="EN-GB">Recherches
théâtrales au Canada</span></i><span lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top:0in;margin-right:0in;
margin-bottom:0in;margin-left:14.2pt;margin-bottom:.0001pt;text-align:center"
align="center"><span
style="mso-bidi-font-size:10.0pt;font-family:Calibri"
lang="EN-GB"><span style="mso-spacerun:yes"> </span>announces
the publication of Vol. 34. No. 1:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top:0in;margin-right:0in;
margin-bottom:0in;margin-left:14.2pt;margin-bottom:.0001pt;text-align:center"
align="center"><span
style="mso-bidi-font-size:10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-top:0in;margin-right:0in;
margin-bottom:0in;margin-left:14.2pt;margin-bottom:.0001pt;text-align:center"
align="center"><b style="mso-bidi-font-weight:normal"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">“Canadian Performances/Global Redefintions/</span></b><b
style="mso-bidi-font-weight:normal"><span
style="mso-bidi-font-size:
10.0pt;font-family:Calibri;mso-ansi-language:FR" lang="FR">Théâtre
Canadien et Redéfinitions Planétaires</span></b><b
style="mso-bidi-font-weight:normal"><span
style="mso-bidi-font-size:10.0pt;font-family:Calibri"
lang="EN-GB">”<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-top:0in;margin-right:0in;
margin-bottom:0in;margin-left:14.2pt;margin-bottom:.0001pt;text-align:center"
align="center"><b style="mso-bidi-font-weight:normal"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Guest-edited by Reid Gilbert and Marc Maufort.<o:p></o:p></span></b></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="mso-bidi-font-size:10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">The issue presents articles by Yana Meerzon,
Ginny Ratsoy, Judith Halebsky, Diana Manole, and Alex
Lazaridis Ferguson that “explore some of the ways in which
Canadian performances are being reconfigured in our age of
globalization” (Introduction).<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Meerzon examines the transposition of
Lebanese-Quebecois playwright Wajdi Mouawad’s <i
style="mso-bidi-font-style:normal">Incendies</i> into film,
exploring notions of postmemory and the exilic experience.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Ratsory analyses a specific experiment in global
collaboration between Toronto’s Waterfront and Cape Town’s
Baxter Theatres—<i style="mso-bidi-font-style:normal">Ubuntu
(The Cape Town Project</i>)—considering generational
conflict in two differing cultures as viewed through a
collaborative performance-experiment.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Halebsky discusses the translation of Japanese <i
style="mso-bidi-font-style:normal">Noh</i> style for
Canadian audiences in the staging of Daphne Marlatt’s <i
style="mso-bidi-font-style:normal">The Gull</i>, proposing a
“constellation translation,” and examining questions of
non-hierarchal forms of cultural exchange.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Manole re-examines Judith Thompson’s <i
style="mso-bidi-font-style:normal">Sled</i>, considering the
contested politics of Canadian multiculturalism within a wider
global sense of exile as “a shared identity marker” (79). <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">Lazaridis Ferguson applies and questions
Csikszentmihalyi, Dewey, Fischer-Lichte and, especially,
Bourdieu’s theory of symbolic capital to describe exchanges
among performing arts festivals in Canada and Europe,
“demonstrating how cultural systems both enhance and hamper
cross-cultural exchange” (Introduction).<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">The issue reviews work by Julie Salverson, Erin
Hurley, Judith Rudakoff, Normand Chaurette and Hervé Guay.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB">In 2011, Reid Gilbert held the International
Chair at L’Université Libre de Bruxelles (Brussels University)
where Marc Maufort is Professor of English-language Literature
and Drama, and this issue arises from that collaboration.<span
style="mso-spacerun:yes"> </span>The editors aimed to
“foreground the ways in which Canadian artists [. . .]
negotiate the cross-cultural advantages and homogenizing
pitfalls of [. . .] globalization,” “understood as a
phenomenon closely linked with [. . .] recent phases of
capitalism” (Introduction).<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt"><span
style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p><br>
</o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:14.2pt;margin-bottom:.0001pt">Sincerely,<br>
Marlis Schweitzer, General Editor<br>
<span style="mso-bidi-font-size: 10.0pt;font-family:Calibri"
lang="EN-GB"><o:p></o:p></span></p>
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<pre class="moz-signature" cols="72">--
Marlis Schweitzer
Associate Professor
Department of Theatre
York University
4700 Keele St.
Toronto, ON M3J 1P3
416-736-2100 x 66274</pre>
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