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<p class="MsoNormal" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"
align="center"><b><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Calibri;
mso-ansi-language:EN-CA">CALL FOR PAPERS/APPEL À CONTRIBUTIONS<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"
align="center"><b><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Calibri;
mso-ansi-language:EN-CA">Theatre Research in Canada /
Recherches théâtrales au Canada<span style="mso-spacerun:yes">
</span></span></b><span style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Times;mso-ansi-language:EN-CA"><o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><b><i><span style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Calibri" lang="FR-CA">Bousculer
la scène unilingue
:
Pratiques théâtrales bi- et plurilingues au Canada <o:p></o:p></span></i></b></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Calibri" lang="FR-CA">(English
version follows) </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA"><o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Times" lang="FR-CA">La conjoncture
entre langue(s) et théâtre a fait
coulé beaucoup d’encre au Québec et au Canada francophone,
souvent sans
distinction du référent sociopolitique. Au Québec, des numéros
récents d’<i>Études
françaises</i> et de <i>Jeu : revue de théâtre</i> ont posé
la question
différemment. D’une part, les contributeurs à <i>Études
françaises </i>ne
s’intéressent « pas tant à la manière dont la langue investit la
dramaturgie,
qu’à celle dont la dramaturgie investit la langue » (Bovet 6).
D’autre
part, ceux qui, soit à partir de la position du spectateur ou de
celle du
praticien, écrivent dans <i>Jeu : revue de théâtre </i>répondent
à un appel à
penser cet investissement dramaturgique des langues au pluriel,
à « franchir le
mur des langues » entre communautés théâtrales pour permettre la
« cohabitation
des langues sur les scènes de théâtre » (Saint-Pierre et
Couture). <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Times" lang="FR-CA">Du côté
anglophone, on a peu donné suite à
l’ouvrage panoramique de l’Américain Marvin Carlson, <i>Speaking
in Tongues:
Languages at Play in the Theatre</i>, pour enquêter les lieux
où se joue le
plurilinguisme théâtral canadien. De plus, la mise en valeur de
l’interculturalisme comme pratique et comme méthode d’analyse a
occulté un
discours plus spécifique sur la place du plurilinguisme dans le
théâtre
canadien. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Times" lang="FR-CA">Ce numéro
thématique bilingue (français et
anglais) propose de mettre côte à côte des praticiens et des
chercheurs qui
s’intéressent à différentes combinaisons linguistiques du
théâtre au Canada.
L’idée est de dépasser l’étude des langues du théâtre au Québec
et au Canada
francophone, et même celle du bilinguisme au Canada, pour
traiter plus
globalement des multiples formes des langues et du théâtre au
Canada. Il s’agit
avant tout d’une proposition d’ordre méthodologique et
comparatiste, qui offre
un aperçu horizontal des différentes combinaisons plurilingues
au théâtre au
Canada, des différentes communautés théâtrales qu’elles visent
et des méthodes
qui servent à les analyser. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Times" lang="FR-CA">Axes de réflexion
possibles suggérés aux
auteurs (liste non exhaustive) : <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">Méthodes
de la pratique du théâtre plurilingue au Canada (surtitrage,
traduction, traduction
ludique, non-traduction,</span><span style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Symbol" lang="FR-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">etc.) et
méthodes d’analyse de cette pratique; </span><span
style="font-size:
10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">Théories
du plurilinguisme et de l’hétéroglossie (Bakhtine) et leur
importance pour </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">la
pratique et la réflexion théâtrales au Canada; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">Plurilinguisme
et théâtre exilique, diasporique, autochtone, postcolonial, </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">postdramatique
et environnemental au Canada; </span><span
style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Symbol" lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">Dramaturgie
canadienne et effacement du plurilinguisme, stratégies
d’évocation du </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">plurilinguisme
(par ex. jeu des accents); </span><span
style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Symbol" lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">L’acteur
plurilingue : formation, développement et reconnaissance; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l0 level1 lfo1;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:
10.0pt;font-family:Arial;mso-fareast-font-family:Arial"
lang="FR-CA"><span style="mso-list:
Ignore">•<span style="font:7.0pt "Times New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times"
lang="FR-CA">Publics
de théâtre et compétences linguistiques au Canada. </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol"
lang="FR-CA">
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-pagination:none;tab-stops:11.0pt
.5in;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Symbol" lang="FR-CA"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Calibri;mso-bidi-font-weight:bold;mso-bidi-font-style:
italic" lang="FR-CA">Les propositions d’articles comportant vos
coordonnées
institutionnelles sont à remettre à <a class="moz-txt-link-abbreviated" href="mailto:nnolette@fas.harvard.edu">nnolette@fas.harvard.edu</a>,
<a class="moz-txt-link-abbreviated" href="mailto:art.babayants@utoronto.ca">art.babayants@utoronto.ca</a> et <a class="moz-txt-link-abbreviated" href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a> jusqu’au <b>15
janvier 2016</b>.
Les propositions seront acceptées pour le <b>1<sup>er</sup>
février 2016</b>
sous condition d’une évaluation subséquente des articles par les
pairs. Les
articles de 7000 mots seront à remettre le <b>15 avril 2016. <o:p></o:p></b></span></p>
<b><i><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;mso-bidi-font-
family:Calibri;
mso-ansi-language:FR;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"
lang="FR"><br
style="mso-special-character:line-break;page-break-before:always"
clear="all">
</span></i></b>
<p class="MsoNormal"><b><i><span
style="font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Calibri;mso-ansi-language:FR"
lang="FR"><o:p> </o:p></span></i></b></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><b><i><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Calibri;mso-ansi-language:EN-CA">Defying
Stage
Monoligualism:
Bi- and Multilingual Theatre Practices in
Canada </span></i></b><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times;
mso-ansi-language:EN-CA"><o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">The
intersection between
theatre and language(s) has been written about extensively in
French within
Canada, but often without distinguishing Text from its
sociopolitical Context.
In Quebec, recent issues of <i>Études françaises</i> and <i>Jeu:
revue de
théâtre </i>have proposed two different frameworks.
Contributors to <i>Études
françaises </i>seem less interested in how language affects
dramatic works than
in how dramatic works transform language (Bovet 6). On the other
hand,
researchers and practitioners contributing to <i>Jeu: revue de
theatre </i><span style="mso-bidi-font-style:italic">have
called</span> for more movement across
the ‘walls of language’ separating theatre communities and more
space for ‘the
co-existence of languages on stage’ (Saint-Pierre and Couture).
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">In English
language
literature, Marvin Carlson’s <i>Speaking In Tongues: Languages
at Play in the
Theatre</i> received little follow-up. Overall, in English
Canada the
development of intercultural theatre practices and theories seem
to have
overshadowed discussions on multilingualism in theatre. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">This
bilingual (French and
English) special issue gives voice to practitioners and
researchers who
investigate various combinations of the use of multiple
languages in Canadian
theatre. The objective is to go beyond the study of multilingual
drama in
Quebec and francophone Canada as well as to venture past the
question of
Canadian bilingualism in order to gain a larger comparative and
methodological
understanding of various forms of multilingual theatre in
Canada, of the
various theatre communities addressed by such forms and of the
methodologies
available to analyse them. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Here is a
non-exhaustive
list of topics: <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Practical
approaches to
stage multilingualism in Canada (surtitling, translation,
playful translation,
non-translation, </span><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Symbol;mso-ansi-language:EN-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times;
mso-ansi-language:EN-CA">etc.) and methods of analysis of these
various
approaches; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:
Symbol;mso-ansi-language:EN-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Theories of
multilingualism
and heteroglossia (Bakhtin) and their impact on </span><span
style="font-size:
10.0pt;font-family:Arial;mso-bidi-font-family:Symbol;mso-ansi-language:EN-CA">
</span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Times;
mso-ansi-language:EN-CA">theatrical practices and research; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol;
mso-ansi-language:EN-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Multilingualism
in exilic,
diasporic, indigenous, postcolonial, postdramatic, site-specific
theatre in
Canada; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:
Symbol;mso-ansi-language:EN-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Strategies
of erasure and
evocation of multilingualism in Canadian theatre/drama; </span><span
style="font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Symbol;
mso-ansi-language:EN-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Multilingual
actor
training, development and recognition; </span><span
style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Symbol;mso-ansi-language:EN-CA">
<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-left:0in;text-indent:0in;mso-pagination:none;
mso-list:l1 level1 lfo2;tab-stops:11.0pt
.5in;mso-layout-grid-align:none;
text-autospace:none"><!--[if !supportLists]--><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:Arial;mso-ansi-language:EN-CA"><span
style="mso-list:Ignore">•<span style="font:7.0pt "Times
New Roman"">
</span></span></span><!--[endif]--><span
style="font-size:10.0pt;font-family:Arial;
mso-bidi-font-family:Times;mso-ansi-language:EN-CA">Canadian
theatre audiences
and their linguistic competencies. </span><span
style="font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Symbol;mso-ansi-language:EN-CA">
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proposals,
including institutional affiliation, should be sent to </span><span
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<a class="moz-txt-link-abbreviated" href="mailto:art.babayants@utoronto.ca">art.babayants@utoronto.ca</a>
and <a class="moz-txt-link-abbreviated" href="mailto:tric.rtac@utoronto.ca">tric.rtac@utoronto.ca</a> by <b>January 15th, 2016</b>.
Notice of acceptance, conditional to peer review of full-length
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will be
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Cited
/ Bibliographie<o:p></o:p></span></b></p>
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« À quand un théâtre montréalais bilingue? » <i>Jeu: Revue de
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