<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><p class="MsoNormal" align="center" style="margin-bottom: 12pt; text-align: center;"><b class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">CALL FOR PAPERS/APPEL À CONTRIBUTIONS</span></b></p><p class="MsoNormal" align="center" style="margin-bottom: 12pt; text-align: center;"><b class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Theatre Research in Canada / Recherches théâtrales au Canada </span></b><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"><o:p class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><b class=""><i class=""><span class="" style="font-size: 10pt; font-family: Arial;">Bousculer la scène unilingue :
Pratiques théâtrales bi- et plurilingues au Canada<o:p class=""></o:p></span></i></b></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span class="" style="font-size: 10pt; font-family: Arial;">(English version follows)</span><span class="" style="font-size: 10pt; font-family: Arial;"><o:p class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span class="" style="font-size: 10pt; font-family: Arial;">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 class="">Études françaises</i> et de <i class="">Jeu : revue de théâtre</i> ont posé la question différemment. D’une part, les contributeurs à <i class="">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 class="">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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span class="" style="font-size: 10pt; font-family: Arial;">Du côté anglophone, on a peu donné suite à l’ouvrage panoramique de l’Américain Marvin Carlson, <i class="">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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span class="" style="font-size: 10pt; font-family: Arial;">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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span class="" style="font-size: 10pt; font-family: Arial;">Axes de réflexion possibles suggérés aux auteurs (liste non exhaustive) :<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">Méthodes de la pratique du théâtre plurilingue au Canada (surtitrage, traduction, traduction ludique, non-traduction,</span><span class="" style="font-size: 10pt; font-family: Arial;">
</span><span class="" style="font-size: 10pt; font-family: Arial;">etc.) et méthodes d’analyse de cette pratique; </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">Théories du plurilinguisme et de l’hétéroglossie (Bakhtine) et leur importance pour </span><span class="" style="font-size: 10pt; font-family: Arial;">
</span><span class="" style="font-size: 10pt; font-family: Arial;">la pratique et la réflexion théâtrales au Canada; </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">Plurilinguisme et théâtre exilique, diasporique, autochtone, postcolonial, </span><span class="" style="font-size: 10pt; font-family: Arial;">
</span><span class="" style="font-size: 10pt; font-family: Arial;">postdramatique et environnemental au Canada; </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">Dramaturgie canadienne et effacement du plurilinguisme, stratégies d’évocation du </span><span class="" style="font-size: 10pt; font-family: Arial;">
</span><span class="" style="font-size: 10pt; font-family: Arial;">plurilinguisme (par ex. jeu des accents); </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">L’acteur plurilingue : formation, développement et reconnaissance; </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span class="" style="font-size: 10pt; font-family: Arial;">Publics de théâtre et compétences linguistiques au Canada. </span><span class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><div class=""><span class="" style="font-size: 10pt; font-family: Arial;"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal"><span class="" style="font-size: 10pt; font-family: Arial;">Les propositions d’articles comportant vos coordonnées institutionnelles sont à remettre à <a href="mailto:nnolette@fas.harvard.edu" class="">nnolette@fas.harvard.edu</a>, <a href="mailto:art.babayants@utoronto.ca" class="">art.babayants@utoronto.ca</a> et <a href="mailto:tric.rtac@utoronto.ca" class="">tric.rtac@utoronto.ca</a> jusqu’au <b class="">15 janvier 2016</b>. Les propositions seront acceptées pour le <b class="">1<sup class="">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 class="">15 avril 2016. <o:p class=""></o:p></b></span></p><b class=""><i class=""><span lang="FR" class="" style="font-size: 10pt; font-family: Arial;"><br clear="all" class="" style="page-break-before: always;"></span></i></b><p class="MsoNormal"><b class=""><i class=""><span lang="FR" class="" style="font-size: 10pt; font-family: Arial;"> </span></i></b></p><p class="MsoNormal" style="margin-bottom: 12pt;"><b class=""><i class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Defying Stage Monoligualism:
Bi- and Multilingual Theatre Practices in Canada</span></i></b><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"><o:p class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">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 class="">Études françaises</i> and <i class="">Jeu: revue de théâtre </i>have proposed two different frameworks. Contributors to <i class="">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 class="">Jeu: revue de theatre </i>have called 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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">In English language literature, Marvin Carlson’s <i class="">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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">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 class=""></o:p></span></p><p class="MsoNormal" style="margin-bottom: 12pt;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Here is a non-exhaustive list of topics:<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Practical approaches to stage multilingualism in Canada (surtitling, translation, playful translation, non-translation, </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
</span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">etc.) and methods of analysis of these various approaches; </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Theories of multilingualism and heteroglossia (Bakhtin) and their impact on </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
</span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">theatrical practices and research; </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Multilingualism in exilic, diasporic, indigenous, postcolonial, postdramatic, site-specific theatre in Canada; </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Strategies of erasure and evocation of multilingualism in Canadian theatre/drama; </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Multilingual actor training, development and recognition; </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><p class="MsoNormal" style="text-indent: 0cm; margin-left: 0cm;"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">•<span class="" style="font-size: 7pt; font-family: 'Times New Roman';"> </span></span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Canadian theatre audiences and their linguistic competencies. </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">
<o:p class=""></o:p></span></p><div class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal"><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Article proposals, including institutional affiliation, should be sent to </span><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"><a href="mailto:nnolette@fas.harvard.edu" class="">nnolette@fas.harvard.edu</a>, <a href="mailto:art.babayants@utoronto.ca" class="">art.babayants@utoronto.ca</a> and <a href="mailto:tric.rtac@utoronto.ca" class="">tric.rtac@utoronto.ca</a> by <b class="">January 15th, 2016</b>. Notice of acceptance, conditional to peer review of full-length articles, will be given by February 1st, 2016. Articles of <b class="">7,000 words</b> will be submitted by <b class="">April 15th, 2016.<o:p class=""></o:p></b></span></p><div class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"> </span><br class="webkit-block-placeholder"></div><div style="text-align: center;" class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" align="center" style="text-align: center;"><b class=""><span lang="EN-CA" class="" style="font-size: 10pt; font-family: Arial;">Works Cited / Bibliographie<o:p class=""></o:p></span></b></p><div class=""><span class="" style="font-size: 10pt; font-family: Arial;"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;"><span class="" style="font-size: 10pt; font-family: Arial;">Bovet, Jeanne. « Présentation. » <i class="">Études françaises</i> 43.1 (2007): 5‑7. Print.<o:p class=""></o:p></span></p><p class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;"><span class="" style="font-size: 10pt; font-family: Arial;">Carlson, Marvin A. <i class="">Speaking in Tongues: Language at Play in the Theatre</i>. Ann Arbor: University of Michigan Press, 2006. Print.<o:p class=""></o:p></span></p><p class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;"><span class="" style="font-size: 10pt; font-family: Arial;">Couture, Philippe, et Christian Saint-Pierre. « À quand un théâtre montréalais bilingue? » <i class="">Jeu: Revue de théâtre</i> 145 (2012): 6‑8. Print.</span></p></body></html>