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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 moz-do-not-send="true"
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 moz-do-not-send="true"
class="moz-txt-link-abbreviated"
href="mailto:mmacarthur@gprc.ab.ca">mmacarthur@gprc.ab.ca</a>)
and Emily Rollie (<a moz-do-not-send="true"
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:
.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"> <o:p></o:p></span></p>
<div style="mso-element:footnote-list"><!--[if !supportFootnotes]--><br
clear="all">
<hr align="left" size="1" width="33%">
<!--[endif]-->
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<p class="MsoNormal"><a moz-do-not-send="true"
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
Centre for Drama, Theatre and Performance Studies
University of Toronto</pre>
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