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<p class="MsoNormal" style="margin-bottom:12.0pt"><i><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Now available at CTR Online ...
<o:p></o:p></span></i></p>
<h2><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/h6165j375817/?sortorder=asc">“Alternative Globalizations” CTR 157 / Winter 2014</a><br>
</span><i><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";font-weight:normal">Edited by Barry Freeman and Catherine Graham</span></i><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></h2>
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<span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:black">T</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">his issue examines ways in which Canadian theatre companies and performers are working to create an alternative
sense of what globalization could mean. The issue looks especially at how Canadian artists are connecting to those in other countries, creating horizontal networks of performance that function outside the logic of market-based consumption to make the flows
of globalization visible. It aims to re-envision what it might mean to participate as a citizen, rather than simply as a consumer, in an increasingly globalized flow of performances. Topics discussed include anti-globalization protest plays, Debajehmujig Theatre’s
<i>Global Savages</i> project, Théâtre Parminou’s collaboration with French and Belgian theatre companies to produce a series of plays on global finance, Théâtre des Petites Lanternes’ international participatory Théâtre Citoyen projects, the role of Canadian
performers in supporting transvestite performance in Nicaragua, and the work of Kitchener’s MT Space Theatre on global transcultural communication.</span><b><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#00ADEF"><o:p></o:p></span></b></p>
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<span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:gray">This issue contains:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/y41433q735l532m2/">A Journey through Time and Place in Debajehmujig’s
<i>The Global Savages</i>: A Slideshow</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Barry Freeman, Ron Berti<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">This slideshow features images from Debahjehmujig – Storytellers’ (Debaj) ongoing performance project
<i>The Global Savages</i>, which comprises storytelling, intercultural exchange and community dialogue. Commentary on the photos by Barry Freeman and Debaj’s Artistic Producer and photographer Ron Berti.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/y41433q735l532m2/">10.3138/ctr.157.001b</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c68k8543r2062531/">Imagining Alternative Globalizations through Performance</a></span><span class="MsoHyperlink"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">
</span></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/e058l951t4583533/?p=971199caa11f4dc69660348e9e51816b&pi=1"><span style="color:red">(View this article for free)</span></a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Barry Freeman, Catherine Graham<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Without abstract.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c68k8543r2062531/">10.3138/ctr.157.001</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c10821301m8t2155/">Occupy Newfoundland and the Dramaturgy of Endurance</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Susanne Shawyer<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">This article analyzes Occupy Newfoundland and Labrador’s protest occupation of Harbourside Park, St. John’s, as a performance of endurance. The author compares endurance
protest dramaturgy to the carnivalesque dramaturgy of theatrical representation and the volcanic dramaturgy of violent disorder used in other anti-globalization demonstrations of the past decade. This article focuses on the material conditions and mundane
activities of the Harbourside Park camp, and theorizes the everyday as a place of resistance in endurance performances.<span style="color:#404040"><o:p></o:p></span></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c10821301m8t2155/">10.3138/ctr.157.002</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b7k1lx5m57v2n627/">On the Road with
<i>The Global Savages</i>: An Interview with Debajehmujig’s Joe Osawabine and Ron Berti</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Barry Freeman<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Barry Freeman interviews Debajehmujig Theatre Group Artistic Director Joe Osawabine and Artistic Producer Ron Bertie about the group’s international performance project,
<i>The Global Savages</i>. The artists explain the nature of the traditional performance at the centre of the project, but also the extensive extra-theatrical engagements with place and community they build around it.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b7k1lx5m57v2n627/">10.3138/ctr.157.003</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b21431867v421380/"><i>The Great Harvest of Hope</i>—Brazil 2010: Creating International Dialogue with Emerging Artists</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Angèle Séguin, Catherine Graham<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Angèle Séguin, Artistic Director of the Théâtre des Petites Lanternes, describes the process by which the Great Harvest of Hope was created for the IDEA World Congress in
2010. Using a unique methodology developed by the Theatre des Petites Lanternes in Sherbrooke Québec, an organizing group led by Séguin and César Escuza Norero, the Artistic Director of Vichama Teatro in Peru, created a performance with performers from 14
different countries on the basis of 3000 pages of writing from 500 volunteers in 22 countries.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b21431867v421380/">10.3138/ctr.157.004</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b4780537t252434u/">Far-Flung Places: A Conversation about the Theatre of Human Cargo</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Jonathan Garfinkel<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">A conversation between the writer Jonathan Garfinkel and actor, director, playwright and artistic director Christopher Morris. The dialogue focuses on the work of Mr. Morris’
theatre company, Human Cargo. It is also a discussion about their processes as theatre artists, viz a viz their focus on internationally-based themes. Morris and Garfinkel co-wrote ‘Dust’, a play based on interviews they conducted in Afghanistan, Pakistan
and Petawawa, Ontario. They talk about this process as well as other experiences both home and abroad.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/b4780537t252434u/">10.3138/ctr.157.005</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c1276461678q2318/">After Kandahar: Canadian Theatre’s Engagement with the War in Afghanistan</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Matt Jones<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">The returned soldier has been a central figure in the first wave of Canadian plays to deal with the War in Afghanistan. Returned soldiers emerge as protagonists in Pierre-Michel
Tremblay’s <i>Au Champ de Mars</i>, Hannah Moscovitch’s <i>This Is War</i>, and George F. Walker’s
<i>Dead Metaphor</i> while Evan Webber and Frank Cox-O’Connell <i>Little Iliad</i> deals with a soldier about to be dispatched to Afghanistan. The returned soldier, a damaged warrior and a witness to acts of unspeakable evil, is a liminal figure, connecting
the passive humdrum of Canadian life to the brutality of the war zone far away. This paper looks at how such stories of the trauma of soldiers alternately participate in and critique a view of Canadian foreign policy as a series of innocent interventions in
conflicts with violent, irrational enemies.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/c1276461678q2318/">10.3138/ctr.157.006</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/416673n754uw7114/"><i>State of Denial</i>: Cultural Diversity as a Resource for Alternative Globalization</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Rahul Varma<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Rahul Varma discusses his choice to write a fictional script,
<i>State of Denial</i>, rather than create a verbatim performance, as part of his work on the Oral History and Performance Working Group of the Montreal Life Stories Oral History Project. He underlines the importance of recognizing Canada’s cultural diversity
as a resource for developing alternative approaches to globalization. Varma’s play,
<i>State of Denial</i>, tells the story of Odette, a Rwandan-born Canadian filmmaker, who goes to Turkey to investigate stories of genocide. She meets Sahana, an old Turkish woman, who has devoted her life to helping Armenian survivors of genocide. On her deathbed,
Sahana reveals a long-kept secret to Odette, asking her to make it public; Odette promises to do so. On a mission to make Sahana’s secret public, Odette ends up revealing her own. A state of denial ends and a new life begins.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/416673n754uw7114/">10.3138/ctr.157.007</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/4132u300k6641161/">Beyond Monumentalization: Activating Empathy for the “Lost Subjects of History” through Embodied Memorial
Performance</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Helene Vosters<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">What is the range of our empathy in a globalized world where neoliberal policies and the myriad of violences they produce hurl the debris of history’s catastrophic wreckage
into our present, our future? Who do we remember and who do we mourn in a world in which grief is hierarchically constituted, and lives differentially valued along hemispheric, geopolitical, racial, and gendered faultlines? “Beyond Monumentalization: Activating
Empathy for the ‘lost subjects of history’ through Embodied Memorial Performance” explores these questions by juxtaposing readings of two embodied and publicly situated memorial performances —
<i>Haunting</i> (2013), and <i>Vigil</i> (2002) — with an examination of Stanford University’s institutionalization of dominant memory in and through architectural (and pedagogical) design.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/4132u300k6641161/">10.3138/ctr.157.008</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/ek176571u253g2qg/">A Study in Dissonance: Performing Alternative Food Systems</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Natalie Doonan<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">In December 2012, the Montreal performance art platform the SensoriuM presented
<i>Botanical Animal</i>, featuring multimedia artist Amanda Marya White, whose work explores the relationships between people, cities and ecology. In
<i>Botanical Animal</i>, White introduced a closed-loop system for growing tomatoes. The stage for this performance was a university staff kitchen, in which White displayed photographs, botanical drawings, and plants. The performance was participatory, as the
artist instructed and invited those in attendance to make canned tomatoes and salsa together. In this paper, I analyze
<i>Botanical Animal</i> to demonstrate the ability of performance art to extend affective capacities by reconsidering relationships between human, animal, organic and inorganic forms.
<i>Botanical Animal</i> incited gut reactions in participants, thus increasing affective capacities and encouraging its publics to reimagine their places within globalized cycles of food distribution.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/ek176571u253g2qg/">10.3138/ctr.157.009</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/654kqn07tl043268/">Reconsidering Wealth: From a Treatise on Political Economy to a Transnational Artistic Project</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">Réjean Bédard, Catherine Graham<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">Réjean Bédard describes the working relationship between Québec’s Théatre Parminou and French theatre company La Tribouille that led to the creation of the Théâtre Parminou’s
<i>Trilogie de la Richesse</i>. Working from a report on new measures of wealth prepared for the government of France by Patrick Viveret, each of the companies created their own set of three plays questioning how we measure wealth, how speculation has affected
currencies, and how society might look different if we valued relationships more than material goods. The article also discusses the application of open-source or creative commons principles to theatrical creation, underlining the importance of making the
intellectual property developed through the creative process freely available to other groups working on issues of alter-globalization.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/654kqn07tl043268/">10.3138/ctr.157.010</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:#404040">Script</span></b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/f22547hm3t872106/">Recounting Our Riches</a></span><span class="MsoHyperlink"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif"">In
<i>Recounting our Riches</i> two street people, Lulu and Baloune, who are trying to recycle themselves as entertainers, set out to find the answers and, following the circuitous route of the clown, discover that we need better ways to measure what is really
important in life. An invitation to leave a world of things and enter a world of relationships,
<i>Recounting our Riches</i> is the English translation of the Théâtre Parminou’s
<i>Contes de la Richesse</i>. It is part of a trilogy based on the works of economist Patrick Viveret and inspired by work by the French theatre company La Tribouille.</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#006699"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040">DOI:
</span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/f22547hm3t872106/">10.3138/ctr.157.011</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#404040"> <o:p></o:p></span></p>
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<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:13.0pt;font-family:"Calibri","sans-serif""><a href="http://utpjournals.metapress.com/content/7511252r208hr544/">VIEWS AND REVIEWS</a></span><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:#006699"><o:p></o:p></span></p>
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<p style="border:none;padding:0in"><i><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:black">Canadian Theatre</span></i><span style="font-size:13.0pt;font-family:"Calibri","sans-serif";color:black">
<i>Review</i> is the major magazine of record for Canadian theatre. It is committed to excellence in the critical analysis and innovative coverage of current developments in Canadian theatre, to advocating new issues and artists, and to publishing at least
one significant new playscript per issue. The editorial board is committed to <i>
CTR</i>'s practice of theme issues that present multi-faceted and in-depth examinations of the emerging issues of the day and to expanding the practice of criticism in Canadian theatre and to the development of new voices.<o:p></o:p></span></p>
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