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Please see below and attached and feel free to pass along to
colleagues. French-language translation follows.<br>
------------<br>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white"><br>
<span style="font-size:10.0pt;
font-family:Arial"></span></h2>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white"><span
style="font-size:10.0pt;
font-family:Arial">CALL FOR SUBMISSIONS:<o:p></o:p></span></h2>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white"><span
style="font-size:10.0pt;
font-family:Arial">Performance and Disability <o:p></o:p></span></h2>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white"><span
style="font-size:10.0pt;
font-family:Arial"><br>
Special Issue of<i style="mso-bidi-font-style:normal"> Theatre
Research in
Canada/ </i></span><i style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:"Times
New Roman";
color:#111111;mso-bidi-font-weight:normal">Recherches
théâtrales au Canada</span></i><span
style="font-size:10.0pt;font-family:Arial"><o:p></o:p></span></h2>
<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Guest
Editor: Kirsty Johnston,
Associate Professor, University of British Columbia<o:p></o:p></span></b></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">In
2012 the Canada Council for the Arts released an access and
equality strategy
targeting Deaf and disability arts.<a
style="mso-endnote-id:edn1" href="#_edn1" name="_ednref1"
title=""><span class="MsoEndnoteReference"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="EN-US">[1]</span></span><!--[endif]--></span></span></a>
<span style="mso-spacerun:yes"> </span>While on one level this
signaled a new
direction for funding and support to “expand the arts” according
to the
council’s equity strategy, it also built from a recognition </span><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:EN-CA">“</span><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">that
Deaf and disability
arts are important evolving sectors and art practices in the
Canadian arts
ecology, to be supported, promoted and advanced.”<a
style="mso-endnote-id:edn2" href="#_edn2" name="_ednref2"
title=""><span class="MsoEndnoteReference"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="EN-US">[2]</span></span><!--[endif]--></span></span></a>
This
theme issue builds from a similar recognition: that disability
theatre and
performance are an evolving and lively field of arts innovation
and practice in
Canada that deserve wider recognition and criticism. Although
Canadian
disability theatre can point to historical antecedents with some
shared
principles, it is generally understood to have emerged in the
1990s as a host
of disability artists and activists sought to take the stage in
order to recast
and reimagine what disability means and entails in performance.
Rejecting
hackneyed stereotypes and performance traditions that encourage
“cripping up,”
artists developed new theatre companies, plays, dramaturgical
processes, and
performance practices.<a style="mso-endnote-id:edn3"
href="#_edn3" name="_ednref3" title=""><span
class="MsoEndnoteReference"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="EN-US">[3]</span></span><!--[endif]--></span></span></a>
They
raised fundamental questions about social inclusion and justice,
identity, arts
access, and the body. Since the foundations of the field were
laid, disability
theatre in Canada has expanded into new centres, connected with
international
artistic alliances and collaborations, and in some cases,
struggled to maintain
momentum.<span style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">In
view of this sustained artistic activity and recent national
initiatives to
support, promote, and advance its precepts and practices, this
issue invites
examinations of the many ways that the terms “disability,”
“theatre,” and
“performance,” can and have provoked one another. Where, why,
and how have
disability theatre and disability performance developed in
Canada (or not)?
With what means and challenges? What artists, companies,
policies and practices
have supported or hindered expansion? What fundamental questions
do disability
theatre and disability performance raise for performance
criticism more
broadly? How are performance theories concerning embodiment,
space, affect or
intermediality <span style="mso-spacerun:yes"> </span>recast
through a disability
studies lens? How have performance scholars and reviewers
imagined disabled
people among their target audiences (or not)? What debates have
animated scholars
and practitioners? What, in short, is the cutting edge of the
field and
why?<span style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">We
invite submissions on this theme by <b
style="mso-bidi-font-weight:normal">August
1, 2015.</b> </span><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"Times New
Roman";color:#111111;background:white;mso-ansi-language:EN-CA">Full
articles
should be no longer than 7,000 words, typed double-spaced,
following
the internal editorial style found in the <i>MLA Style Manual
and Guide to
Scholarly Publishing</i> –3rd Edition (New York: Modern
Language
Association, 2008). Please submit articles, along with an
abstract and brief
biographical note, via email attachment </span><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">to <a
href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a>.
Please contact <a href="mailto:Kirsty.Johnston@ubc.ca">Kirsty.Johnston@ubc.ca</a>
with any
specific questions.<br>
<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white">-------<br>
<span style="font-size:
10.0pt;font-family:Arial;mso-ansi-language:FR-CA" lang="FR-CA"></span></h2>
<h2
style="margin-top:0in;margin-right:12.0pt;margin-bottom:0in;margin-left:
0in;margin-bottom:.0001pt;background:white"><span
style="font-size:
10.0pt;font-family:Arial;mso-ansi-language:FR-CA" lang="FR-CA">APPEL
À CONTRIBUTIONS :
Performances handicap</span><span
style="font-size:10.0pt;font-family:Arial"><o:p></o:p></span></h2>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA"><br>
<b style="mso-bidi-font-weight:normal">Numéro thématique de </b></span><b><i
style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:"Times New
Roman";color:#111111;
mso-ansi-language:FR-CA" lang="FR-CA">Recherches théâtrales
au Canada</span></i></b><b
style="mso-bidi-font-weight:normal"><i
style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">/
Theatre Research in Canada</span></i></b><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA"><o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">À paraître
sous la direction de Kirsty Johnston, professeure agrégée,
University of
British Columbia<o:p></o:p></span></b></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA">En 2012, le Conseil des
arts du Canada annonçait
l’adoption d’une stratégie d’accès et d’égalité à l’intention
des artistes
handicapés ou sourds.<span class="MsoEndnoteReference"><span
style="mso-special-character:
footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-ansi-language:FR-CA;mso-fareast-language:EN-US;mso-bidi-
language:
AR-SA" lang="FR-CA">[1]</span></span><!--[endif]--></span></span>
L’initiative signalait une
nouvelle orientation au chapitre du financement et de l’appui
accordé par le
CAC à « l’art à part entière » et prenait acte du fait que « la
pratique des artistes handicapés ou sourds représente un secteur
et des
pratiques de grande importance dans le milieu artistique
canadien et qu’il faut
soutenir, promouvoir et favoriser son évolution »<span
class="MsoEndnoteReference"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-ansi-language:FR-CA;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="FR-CA">[2]</span></span><!--[endif]--></span></span>.
Ce
numéro thématique part d’une reconnaissance semblable : au
Canada, le
théâtre et la performance handicap forment un champ d’innovation
et de création
artistique dynamique qui est marqué par une évolution rapide et
qui mérite
d’être mieux reconnu et d’être exploré plus en profondeur. Sur
le plan
historique, il existe des antécédents dont les principes ont
beaucoup
d’éléments en commun avec cette forme de théâtre, mais il est
généralement
admis que ce courant est apparu pendant les années 1990, quand
une multitude
d’artistes et d’activistes ayant un handicap ont voulu monter
sur scène pour
revoir la signification et les implications de l’invalidité dans
le contexte
d’une performance. Un certain nombre d’opposants aux vieux
préjugés et aux
traditions d’interprétation qui encourageaient les artistes à
« jouer
l’estropié » ont fondé des compagnies de théâtre, ont créé des
pièces et
mis au point des procédés dramaturgiques et des pratiques
d’interprétation.<span class="MsoEndnoteReference"><span
style="mso-special-character:footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:10.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-ansi-language:FR-CA;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="FR-CA">[3]</span></span><!--[endif]--></span></span>
À la
contribution de ces personnes s’est ajoutée toute une série de
questions
fondamentales sur l’inclusion et la justice sociale, sur
l’identité, sur
l’accès aux arts, sur le corps. Depuis que les balises du
théâtre handicap ont
été posées, le champ s’est dans étendu à plusieurs centres
canadiens et a donné
lieu à des alliances et à des collaborations artistiques
d’envergure
internationale qui, dans certains cas, ont du mal à continuer
sur leur lancée.<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA">Compte tenu de cette
activité artistique soutenue et
des initiatives nationales qui veulent appuyer et promouvoir ces
principes et
ces practices, nous vous invitons, dans le cadre de ce numéro, à
examiner les
divers moyens par lesquels les termes « handicap »,
« théâtre » et « performance » ont pu se provoquer les uns
les autres, que ce soit à l’heure actuelle ou par le passé. Où,
pourquoi et
comment le théâtre et la performance handicap se sont-ils
développés (ou non)
au Canada? Quels moyens ont servi? Quels défis se sont
présentés? Quels
artistes, quelles compagnies, quelles politiques et pratiques
ont pu appuyer
leur évolution ou, au contraire, l’entraver? Quelles questions
fondamentales
posent le théâtre et la performance handicap à l’égard de la
critique des
performances, plus largement? Quels sont les effets sur les
théories de performance
à l’égard de la personnification, de l’espace, de l’affect et de
l’intermédialité quand ces notions sont vues à travers le prisme
des études sur
le handicap? Comment<span style="mso-spacerun:yes"> </span>les
chercheurs et
les critiques associés aux études de performance ont-il imaginé
(ou non) les
personnes ayant un handicap dans leur public cible (or not)?
Quels débats ont
piqué l’intérêt des chercheurs et des praticiens? Bref, quelles
questions sont
au cœur des principales réflexions menées dans ce domaine en ce
moment, et
pourquoi?<span style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA">Nous vous invitons à
soumettre vos contributions sur
ce thème d’ici le <b style="mso-bidi-font-weight:normal">1<sup>er</sup>
août
2015.</b> </span><span
style="font-size:10.0pt;font-family:Arial;
mso-fareast-font-family:"Times New
Roman";color:#111111;background:white;
mso-ansi-language:FR-CA" lang="FR-CA">Les articles ne doivent
pas compter plus de 7000 mots
et doivent être présentés à interligne double et être mis en
forme selon les
normes MLA (voir le <i>MLA Style Manual and Guide to Scholarly
Publishing</i>,
3rd Edition, New York : Modern Language Association, 2008).
Veuillez envoyer
vos articles de même qu’une brève notice biographique à</span><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA"> <a href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a>.
Si vous avez
besoin de précisions, vous pouvez vous adresser à <a
href="mailto:Kirsty.Johnston@ubc.ca">Kirsty.Johnston@ubc.ca</a>.</span><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"Times
New Roman";mso-ansi-language:FR-CA" lang="FR-CA"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN-CA"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<div style="mso-element:endnote-list"><!--[if !supportEndnotes]--><br
clear="all">
<hr size="1" width="33%" align="left">
<!--[endif]-->
<div style="mso-element:endnote" id="edn1">
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><a style="mso-endnote-id:edn1"
href="#_ednref1" name="_edn1" title=""><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><span
style="mso-special-character:
footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-
language:
AR-SA" lang="EN-US">[1]</span></span><!--[endif]--></span></span></span></a><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"> For
general policy/ </span><span
style="font-size:9.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">La
documentation associée à la stratégie :</span><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US">: <a
href="https://www.mail.ubc.ca/owa/redir.aspx?C=Vk08R7twQ0a53n-Kc4uJTnn1GEQ17NEIPr1onEhrAqGsHyb5_vD78qxDu45dqjGXHcXsDUIXwOs.&URL=http%3a%2f%2fcanadacouncil.ca%2fcouncil%2fresearch%2ffind-research%2f2012%2fexpanding-the-arts-deaf-and-disability-arts"><span
style="color:#0000E9">http://canadacouncil.ca/council/research/find-research/2012/expanding-the-arts-deaf-and-disability-arts</span></a><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
</div>
<div style="mso-element:endnote" id="edn2">
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><a style="mso-endnote-id:edn2"
href="#_ednref2" name="_edn2" title=""><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><span
style="mso-special-character:
footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-
language:
AR-SA" lang="EN-US">[2]</span></span><!--[endif]--></span></span></span></a><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"> For
quote/ </span><span
style="font-size:9.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Tiré du
sommaire de la Stratégie :</span><span
style="font-size:9.0pt;
font-family:Arial" lang="EN-US">: <a
href="https://www.mail.ubc.ca/owa/redir.aspx?C=Vk08R7twQ0a53n-Kc4uJTnn1GEQ17NEIPr1onEhrAqGsHyb5_vD78qxDu45dqjGXHcXsDUIXwOs.&URL=http%3a%2f%2fcanadacouncil.ca%2f%7e%2fmedia%2ffiles%2fresearch%20-%20en%2fdeaf%20and%20disability%20arts%20access%20and%20equality%20strategy%2fexecutivesummaryexpandingtheartsdeafanddisabilityartsaccessandequalitystrategy.pdf%3fmw%3d1382"><span
style="color:#0000E9">http://canadacouncil.ca/~/media/files/research%20-%20en/deaf%20and%20disability%20arts%20access%20and%20equality%20strategy/executivesummaryexpandingtheartsdeafanddisabilityartsaccessandequalitystrategy.pdf?mw=1382</span></a><o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
</div>
<div style="mso-element:endnote" id="edn3">
<p class="MsoEndnoteText"><a style="mso-endnote-id:edn3"
href="#_ednref3" name="_edn3" title=""><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><span
style="mso-special-character:
footnote"><!--[if !supportFootnotes]--><span
class="MsoEndnoteReference"><span
style="font-size:9.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-
language:
AR-SA" lang="EN-US">[3]</span></span><!--[endif]--></span></span></span></a><span
style="font-size:9.0pt;font-family:Arial" lang="EN-US">
Carrie Sandahl, who in a footnote
credits disabled UK playwright Kaite O’Reilly with coining
the term explains,
“In the disability arts and activist communities, casting
non-disabled actors
as disabled characters is called pejoratively ‘cripping up,’
referencing the
outdated practice of white actors ‘blacking up’ to play
African American
characters.” Sandahl, C. “Why Disability Identity Matters:
From Dramaturgy to
Casting in John Belluso's <i
style="mso-bidi-font-style:normal">Pyretown</i>”
in <i style="mso-bidi-font-style:normal"><a
href="http://libra.msra.cn/Journal/12412/text-and-performance-quarterly">Text
and
Performance Quarterly</a></i> 28.1 (2008): 236.<o:p></o:p></span></p>
<p class="MsoEndnoteText"><span
style="font-size:9.0pt;font-family:
Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoEndnoteText"><span
style="font-size:9.0pt;font-family:
Arial;mso-ansi-language:FR-CA" lang="FR-CA">Dans une note de
bas de page, Carrie Sandahl
attribue l’origine de l’expression à Kaite O’Reilly,
dramaturge britannique
handicapée, et offre l’explication suivante : « Dans les
cercles
d’artistes et d’activistes ayant un handicap, quand nous
voyons qu’un artiste
sans handicap se fait attribuer le rôle d’un personnage
handicapé, nous
utilisons l’expression péjorative ‘cripping up’ (‘jouer
l’estropié’), un renvoi
au ‘blacking up’, cette pratique désuète qui voyait les
acteurs noirs se
noircir le visage pour interpréter un personnage
afro-américain. » Sandahl,
C., « Why Disability Identity Matters: From Dramaturgy to
Casting in John
Belluso's <i style="mso-bidi-font-style:normal">Pyretown</i> ».
<i style="mso-bidi-font-style:normal"><a
href="http://libra.msra.cn/Journal/12412/text-and-performance-quarterly">Text
and
Performance Quarterly</a></i> 28.1 (2008) : 236
(traduction libre).</span><span
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<pre class="moz-signature" cols="72">--
Marlis Schweitzer
Associate Professor
Theatre & Performance Studies, York University
Editor, Theatre Research in Canada/
Recherches théâtrales au Canada</pre>
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