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<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>
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</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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