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<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="mso-bidi-font-size:10.0pt;font-family:Georgia;mso-ansi-language:EN-US">Call
for
Seminar Participants: Blogging in/and Performance: Breaking
Boundaries and
Blurring Borders <br style="mso-special-character:line-break">
<!--[if !supportLineBreakNewLine]--><br
style="mso-special-character:line-break">
<!--[endif]--></span></b><span style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-ansi-language:EN-US">Canadian
Association for
Theatre Research / Association Canadienne de la Recherche
Théâtrale Conference,
24-27 May 2014, Brock University <o:p></o:p></span>
</p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"><br>
<i>Apologies for cross-posting. Please distribute widely.</i><o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US">From heated online debates, to tweet seats, to
crowd-funding campaigns,
blogging and its ADHD offspring, micro-blogging (tweeting), are
pushing the
boundaries that define how we create, teach, and talk about
theatre. Web-savvy
companies like Toronto’s Praxis Theatre are harnessing the power
of the
Internet by using audience tweets as a dramaturgical tool to
develop their
work. Moreover, audience members can now use their smartphones
to make their
views public before the curtain falls on opening night, while
artists can speak
back to their critics—amateur and professional—in a more direct
and dialogic
way than they could before.<span style="mso-spacerun: yes">
</span>The blogosphere is also pushing on the geographic and
temporal
boundaries of theatre, making the performance event and the
discourse surrounding
it accessible to participants across and beyond physical
borders, and inviting
dialogue both before and long after the performance occurs. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US">The theatre blogosphere provides scholars with exciting
opportunities
for research and collaboration; however, it has been
under-theorized and
documented both in the Canadian context and internationally.
Neal Harvey,
Helena Grehan, and Joanne Tomkins’ study on Australian theatre
blogging, for
example, is one of the few studies that attempt to survey the
landscape of this
virtual territory. The power and pervasiveness of theatre
blogging in
Australia, they argue, suggests that, “researchers need to find
a methodology
to engage with this practice as part of their analysis of live
theatre
production and reception” (110)<a style="mso-footnote-id:ftn"
href="#_ftn1" name="_ftnref" title=""><span
class="MsoFootnoteReference"><span
style="mso-ansi-font-size:12.0pt;font-family:Georgia"><span
style="mso-special-character:
footnote"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></span></a>—their
call
must be equally taken up by Canadian scholars, particularly in
an
increasingly connected, globalized society. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US">This seminar invites brief (5 to 7 page) position papers
or case studies
that explore the role of the blogosphere – from blogs to tweets
and beyond – in
theatre production and reception.<span style="mso-spacerun: yes">
</span>A few months before CATR 2014, selected participants will
share and
discuss their position papers and case studies via the medium
under discussion:
a shared blog.<span style="mso-spacerun: yes"> </span>Using
this blog as
a spring board, the participants will develop larger questions
and generate
further discussion about the relationship between the
blogosphere (in all of
its iterations) and theatre performance, pedagogy, and
reception, and these
findings will form the framework for the session at Brock
University in
2014.<span style="mso-spacerun: yes"> </span>As part of the
panel, we
will set-up a live Twitter feed, selecting and publicizing a
hashtag in advance
so that artists, scholars, audiences and critics across Canada
might join our
conversation during and after the conference. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
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style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US">Please submit a 250-word proposal and brief bio to
seminar organizers
Michelle MacArthur (<a class="moz-txt-link-abbreviated" href="mailto:mmacarthur@gprc.ab.ca">mmacarthur@gprc.ab.ca</a>) and Emily Rollie (<a
href="mailto:erollie@monmouthcollege.edu">erollie@monmouthcollege.edu</a>)
by
January 13, 2014. Theatre scholars and practitioners (including
graduate
students and early career scholars) from Canada and abroad are
encouraged to
submit.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
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style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:.1pt;margin-right:0cm;margin-bottom:.1pt;
margin-left:0cm;mso-para-margin-top:.01gd;mso-para-margin-right:0cm;mso-para-margin-bottom:
.01gd;mso-para-margin-left:0cm;text-align:justify"><span
style="mso-bidi-font-size:
10.0pt;font-family:Georgia;mso-bidi-font-family:"Times New
Roman";mso-ansi-language:
EN-US"> <o:p></o:p></span></p>
<div style="mso-element:footnote-list"><!--[if !supportFootnotes]--><br
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<!--[endif]-->
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<p class="MsoNormal"><a style="mso-footnote-id:ftn"
href="#_ftnref" name="_ftn1" title=""><span
class="MsoFootnoteReference"><span style="font-size:
14.0pt;mso-bidi-font-size:12.0pt" lang="EN-GB"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></span></a><span
lang="EN-GB"> </span><span
style="font-size:10.0pt;font-family:Times;mso-ansi-language:
EN-US">Harvey, Neal, Helena Grehan, and Joanne Tompkins.
“‘Be thou Familiar,
But by no means Vulgar’: Australian Theatre Blogging and
Practice.” <i style="mso-bidi-font-style:normal">Contemporary
Theatre Review</i> 20.1 (2010):
109-119. <i style="mso-bidi-font-style:normal">Informaworld</i>.
Web. 17 May 2011.</span></p>
<p class="MsoFootnoteText"><span lang="EN-GB"><o:p> </o:p></span></p>
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<pre class="moz-signature" cols="72">--
Michelle MacArthur
PhD Candidate
Centre for Drama, Theatre and Performance Studies
University of Toronto</pre>
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