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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 </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">Deadline: Aug. 1,
2015<br>
</span></h2>
<p><b><span style="font-size:10.0pt; font-family:Arial">Special
Issue of<i style="mso-bidi-font-style:normal"> Theatre
Research in Canada/ </i></span></b><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-bidi-font-weight:normal">Recherches
théâtrales au Canada</span></i></b><span
style="font-size:10.0pt;font-family:Arial"><o:p></o:p></span>
</p>
<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
moz-do-not-send="true" 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 moz-do-not-send="true"
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 moz-do-not-send="true"
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
moz-do-not-send="true" href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a>.
Please contact <a moz-do-not-send="true"
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 moz-do-not-send="true"
href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a>.
Si vous avez besoin de précisions, vous pouvez vous adresser à
<a moz-do-not-send="true" 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 moz-do-not-send="true"
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
moz-do-not-send="true"
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 moz-do-not-send="true"
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 moz-do-not-send="true"
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 moz-do-not-send="true"
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
moz-do-not-send="true"
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
moz-do-not-send="true"
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
style="font-size:9.0pt;font-family:Arial" lang="EN-US"><o:p></o:p></span></p>
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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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