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<p class="MsoNormal"><b><i><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">CTR</span></i></b><b><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B"> 163 (Summer 2015)</span></b><b><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:red"><br>
</span></b><u><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%"><a href="http://bit.ly/ctrpmuse163"><b><span style="color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">Performance
Futures: Imagining Theatre in 2030</span></b></a></span></u><b><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:red"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><b><i><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Edited by Jenn Stephenson and Laura Levin</span></i></b><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><i><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:black">CTR</span></i><span style="font-size:12.0pt;font-family:"Times New Roman","serif""> 163 (Summer 2015): Performance Futures:
Imagining Theatre in 2030, edited by Jenn Stephenson and Laura Levin, explores very recent innovations in theatre and performance, and asks what they can tell us about where the field is headed. Focusing on new formats of theatrical production and reception,
contributors have been invited to answer the question: "What will the performance landscape in Canada look like in fifteen years?" This is not theatre in a distant sci-fi future but theatre that is just around the corner. The assembled collection brings together
voices that are passionate and visionary, and address such disparate topics as the future of theatre in online venues, the future of interculturalism and cultural diversity in theatre, the future of theatre funding, and the future of theatre criticism. The
script featured in this issue is<i> Concord Floral</i>, winner of the 2015 Dora Mavor Moore Award for Outstanding New Play. Written by Governor General Award-winning playwright Jordan Tannahill, and co-created with acclaimed artists Erin Brubacher and Cara
Spooner along with a group of exceptional Toronto teens, this powerful text exhibits alternative ways of representing the lives of tomorrow's youth as well as more ecologically responsive human futures.<i> Concord Floral</i> is accompanied by an arresting
series of staged photo-portraits by Erin Brubacher, which help reconceptualize the boundaries of a theatrical script and production.<o:p></o:p></span></p>
<h3 style="margin-top:24.0pt"><span style="font-size:12.0pt;color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">FEATURES<o:p></o:p></span></h3>
<h4><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163a"><span style="color:#4D1C1B">Introduction: Performance Futures
</span></a></span></u><span style="color:#4D1C1B"><br>
</span><span style="color:#4D1C1B;font-weight:normal">Jenn Stephenson</span><span style="color:#4D1C1B">
<o:p></o:p></span></h4>
<h4><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163b"><span style="color:#4D1C1B">Adventures in Hybrid Space
</span></a></span></u><span style="color:#4D1C1B"><br>
</span><span style="color:#4D1C1B;font-weight:normal">Liz Solo</span><span style="color:#4D1C1B">
<o:p></o:p></span></h4>
<h4 style="margin:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163c"><span style="color:#4D1C1B">Spinning a National Imaginary
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Sarah Garton Stanley
<o:p></o:p></span></p>
<h3 style="margin-top:24.0pt"><span style="font-size:12.0pt;color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">ARTICLES<o:p></o:p></span></h3>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163d"><span style="color:#4D1C1B">Absent, Invisible, and Incoherent: Archiving Queer Women’s Performance Futurities
<o:p></o:p></span></a></span></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Laine Zisman Newman
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163e"><span style="color:#4D1C1B">A Multicultural Stage
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Mumbi Tindyebwa
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163f"><span style="color:#4D1C1B">Digesting
<i>Hunter, Gatherer, Purveyor</i> <o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Eric Moschopedis, Mia Rushton
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163g"><span style="color:#4D1C1B">Dear Michael: A Letter from the Margins
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Donna-Michelle St. Bernard
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163h"><span style="color:#4D1C1B">Collaborative Producing
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Ravi Jain
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163i"><span style="color:#4D1C1B">The Poetics of Play
<o:p></o:p></span></a></span></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Andy Moro
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163j"><span style="color:#4D1C1B">The Futures of Theatre Criticism
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Karen Fricker
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163k"><span style="color:#4D1C1B">2030: Indigenous and Culturally Diverse Stories and Their Value to Society
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Corey Payette
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163l"><span style="color:#4D1C1B">Matter Matters: Performing a Stone in the Woods
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Mariah Horner, Grahame Renyk
<o:p></o:p></span></p>
<h3 style="margin-top:24.0pt"><span style="font-size:12.0pt;color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">SCRIPT<o:p></o:p></span></h3>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163m"><span style="color:#4D1C1B">Introduction
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Laura Levin
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163n"><span style="color:#4D1C1B">Concord Floral
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Jordan Tannahill
<o:p></o:p></span></p>
<h3 style="margin-top:24.0pt"><span style="font-size:12.0pt;color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">VIEWS AND REVIEWS<o:p></o:p></span></h3>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163o"><span style="color:#4D1C1B">Editorial
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">J. Paul Halferty
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163p"><span style="color:#4D1C1B">Charting Incommunicable Truths: The Ghosts of the Franklin Expedition
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Tracy C. Davis
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163q"><span style="color:#4D1C1B;text-decoration:none">The Metacritical Work of Autobiography in Performance
<o:p></o:p></span></a></span></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Deirdre Heddon
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163r"><span style="color:#4D1C1B">Affective Theatres
<o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Jean-Marc Larrue
<o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163s"><span style="color:#4D1C1B">Taking the Measure of Nuit Blanche 2014: Students from Western University’s Inaugural Theatre Studies Cohort
Reflect on Their Journey to Toronto’s All-Night Art Extravaganza <o:p></o:p></span></a></span></u></h4>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Caitlin Austin, Kat Dos Santos, Sarah Gilpin, Minji (Rita) Kim, Jonas Trottier, Kim Solga
<o:p></o:p></span></p>
<h3 style="mso-margin-top-alt:24.0pt;margin-right:0in;margin-bottom:0in;margin-left:0in;margin-bottom:.0001pt">
<span style="font-size:12.0pt;color:#E46C0A;mso-style-textfill-fill-color:#E46C0A;mso-style-textfill-fill-alpha:100.0%">ONLINE FEATURE<o:p></o:p></span></h3>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><u><span style="color:#4D1C1B"><a href="http://bit.ly/ctrpmuse163t"><span style="color:#4D1C1B">Where Is Theatre Going?
</span></a><o:p></o:p></span></u></h4>
<p class="MsoNormal" style="margin-bottom:.25in"><span style="font-size:12.0pt;font-family:"Times New Roman","serif";color:#4D1C1B">Laura Levin, EmmaRose MacDonald
<o:p></o:p></span></p>
<div style="mso-element:para-border-div;border:none;border-bottom:solid windowtext 1.0pt;padding:0in 0in 1.0pt 0in">
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<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.
<o:p></o:p></span></p>
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