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<p class="MsoNormal" style="text-autospace:none;vertical-align:baseline"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;letter-spacing:.05pt">CTR</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;letter-spacing:.05pt">
162 / Spring 2015<o:p></o:p></span></p>
<p class="MsoNormal" style="text-autospace:none;vertical-align:baseline"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:#5E2D91"><a href="http://bit.ly/CTRonline162">Performing Products: When Acting Up Is Selling Out</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-autospace:none;vertical-align:baseline"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;letter-spacing:.05pt">Edited by T. Nikki Cesare Schotzko, Didier Morelli and</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;letter-spacing:.05pt">
<i>Isabel Stowell-Kaplan </i></span><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:#5E2D91;letter-spacing:.05pt"><o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;text-autospace:none;vertical-align:baseline">
<span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black">How can we, as artists, scholars, and critics, determine where art might and might not intervene into matters that exceed its immediate aesthetic parameters? Why is there such a pervasive
fear within the art community that art might presume too much, getting in the way of “real action” and “real change”? Moreover, does art’s role, witting or not, within commodity culture render any political motivation it might carry with it a commodity as
well? What do we do when acting up is already selling out? These tensions and confusions, these preoccupations and paranoias are precisely what we address in Performing Products: When Acting Up Is Selling Out. Featuring interviews, photo-essays, reflections
on performances past, articles on the current state of performance as a set of deftly imbricated practices and economics, as well as one letter-cum-manifesto, we have deliberately blurred the lines between art, performance, and criticism in this issue: Percival
P. Puppet discusses his copyright dispute with Marina Abramović; Istvan Kantor writes to Jeff Koons; Nicole Lizée talks of her love for merch in a world of avant-garde composition; Lawrence Switzky considers the redemptive possibility of exhaustion in marathon
theatre; and many more artists and scholars reflect upon their own experience of performance in the current economy.<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">This issue contains:
<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Performing Products: When Acting Up Is Selling Out<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">T. Nikki Cesare Schotzko, Didier Morelli and Isabel Stowell-Kaplan<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162a"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Preview the first page of this article →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">SUPREME GIFT—for Jeff Koons<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Istvan Kantor (a.k.a. Monty Cantsin)<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronle162b"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Showing Support: Some Reflections on Vancouver’s Dance Economies<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Peter Dickinson<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162c"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Bouquet<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Diane Borsato<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162d"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Selling Himself in Central Park: Banksy Does New York<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Isabel Stowell-Kaplan<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctroline162e"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Body As Subject, Body As Object: Percival P. Puppet, in Conversation<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Noam DePloom<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162f"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Marathon Theatre as Affective Labour: Productive Exhaustion in
<i>The Godot Cycle and Life and Times<o:p></o:p></i></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Lawrence Switzky<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162g"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Popularity:
</span></i></b><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">The Spectator as Statistic<i><o:p></o:p></i></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Joshua Schwebel<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162h"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Falling Piece<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Diane Borsato<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162i"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Chew, Drink, and Spit: A Book Review<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Didier Morelli<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162j"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">The Ballad of __________B<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Francisco-Fernando Granados<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162k"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Performance Art, Pornography, and the Mis-spectator: The Ethics of Documenting Participatory Performance<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Adriana Disman<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162l"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">A Sufficiently Advanced Racket: Performance on the Margins of Art and Commerce<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">T. Nikki Cesare Schotzko<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162m"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Marketing, Merch, and Media: Nicole Lizée, in Conversation<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Howard Wiseman and Adriana Disman<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162n"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Unsustainable Acts of Love and Resistance: The Politics of Value and Cost in One-on-One Performances<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Deborah Pearson<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162o"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Requiem for a Glacier<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Paul Walde<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162p"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Cloud<o:p></o:p></span></b></p>
<p class="MsoNormal"><a href="http://utpjournals.metapress.com/content/?Author=Diane+Borsato"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black">Diane Borsato</span></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162q"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Read the full abstract →</span></i></a><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><a href="http://bit.ly/ctronline162r"><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">VIEWS AND REVIEWS</span></b></a><b><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span lang="EN-CA" style="font-size:14.0pt;font-family:"Calibri","sans-serif"">The
<i>Canadian Theatre Review</i> features award-winning, thought-provoking plays and articles on current issues and trends in Canadian theatre.
<i>CTR</i> provides the Canadian theatre community with in-depth feature articles, manifestos, slideshows, videos, design portfolios, photo essays, and other documents that reflect the challenging forms that theatre takes in the contemporary Canadian arts scene.
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