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<!--StartFragment-->
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none" align="left"><span style="mso-bidi-font-weight:normal"><span
style="font-size:
10.0pt;font-family:Arial" lang="EN-US">Sent on behalf of the
Lawrence Prize committee...</span></span><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Arial" lang="EN-US"><br>
</span></b></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none" align="center"><b style="mso-bidi-font-weight:normal"><span
style="font-size:
10.0pt;font-family:Arial" lang="EN-US"><br>
</span></b></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;
text-align:center;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none" align="center"><b style="mso-bidi-font-weight:normal"><span
style="font-size:
10.0pt;font-family:Arial" lang="EN-US">2016 Robert G.
Lawrence Prize Committee Announcement<o:p></o:p></span></b></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;tab-stops:121.5pt;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><span
style="mso-tab-count:
1"> </span><o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">The
2016 Robert G. Lawrence Prize
Committee is pleased to announce that the 2016 Prize has been
awarded to:<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">David
Owen for his paper, “Thrills
and Chills: Embodying the Fiction at Fan Expos, in Cosplay,
and through Intermedial
Performance.”</span></b><span
style="font-size:10.0pt;font-family:
Arial" lang="EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;tab-stops:
45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt
412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:EN-CA">Using
his
own experience of desiring, acquiring and handling his
“skyhook” – a fanfiction
prop he freely shared with the audience - as an “in,” Owen
literally “hooked”
his audience into this highly engaged and engaging exploration
of intermedial
performance: a contemporary form of interactive theatre that,
he persuasively
argues, is radically redefining the traditional boundaries
between experience
and imagination, actor and spectator, fantasy and fiction.
Through an
impressive fusion of wit and energy combined with great use of
secondary
sources and graphic/video support, Owen skillfully led his
audience through the
various levels of personal, economic, technological and
social/political
critique<span style="mso-spacerun:yes"> </span>involved in
the deceptively
simple activity of game and cosplay at both the international
(German, British,
<span style="mso-spacerun:yes"> </span>American) and Canadian
(fanfiction
conventions, Edmonton’s Bioware, Murdoch’s Mysteries) levels.
Rising
successfully to the challenge of being the last paper, on the
last day of the
conference, Owen made a compelling case that whether such
intermedial
performances are playful, serious, or exploitive – his
connection to Levin’s
analysis of participation in Punchdrunk’s Sleep No More was
viewed as
particularly astute - this kind of theatre offers forms that
cannot be ignored,
especially in terms of their scale and reach. <o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-top:0in;margin-right:0in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt;tab-stops:45.8pt 91.6pt
137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt
503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span
style="font-size:10.0pt;font-family:Arial;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">The
Committee would also like to make <b
style="mso-bidi-font-weight:normal">two</b>
<b style="mso-bidi-font-weight:normal">Honourable Mentions</b>
of equal merit (in
alphabetical order):<o:p></o:p></span></p>
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial;color:black;mso-themecolor:text1"
lang="EN-US">Alana
Gerecke for her paper, <span class="apple-style-span">“Legislated
Choreography
and Sidewalk Design.”</span> <o:p></o:p></span></b></p>
<p class="MsoNormal"
style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial;
color:black;mso-themecolor:text1" lang="EN-US">The committee
considered this a beautifully
written paper that draws its audience into a careful analysis
of battery
opera’s <i style="mso-bidi-font-style:normal">Lives</i> <i
style="mso-bidi-font-style:
normal">Were Around Me</i> and the way it presses audiences
to become aware of
how the sidewalk “orchestrates an urban<b
style="mso-bidi-font-weight:normal"> </b>choreography—that
is, how the structure of the sidewalk choreographs bodily
movement<b style="mso-bidi-font-weight:normal"> </b>through
the city.”<b style="mso-bidi-font-weight:
normal"> </b>As enhanced by the<b
style="mso-bidi-font-weight:normal"> </b></span><span
style="font-size:10.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;color:black;mso-themecolor:text1;mso-fareast-language:JA"
lang="EN-US">presenter’s compelling personal presence and
imaginative aural reconstruction and interpretation of the
walk, Gerecke’s paper
not only demonstrated, with clarity and originality, the ways
in which
pedestrian movement is choreographed by sidewalk and building
structures – but
as revealed by the middle-class walkers’ increasing discomfort
with their
milieu – the way such choreography also reveals and constructs
sociocultural
norms and serves to theatricalize and enforce conventions of
class, race and
ability in Vancouver’s edgy downtown east side.</span><span
style="font-size:10.0pt;font-family:Arial;color:black;mso-themecolor:text1"
lang="EN-US"><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;color:black;mso-themecolor:text1"
lang="EN-US">Julia
Henderson <span class="rwro">for her paper, </span></span></b><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;
font-family:Arial;color:black" lang="EN-US">“Resisting
Dominant Ideologies of Aging: Sally <span
style="mso-spacerun:yes"> </span>Clark’s <i>Moo </i>and <i>Ten
Ways To Abuse An Old Woman</i><span
style="mso-bidi-font-style:italic">”</span></span></b><b
style="mso-bidi-font-weight:normal"><span
style="font-family:Arial;
color:black" lang="EN-US"> </span></b><span
style="font-family:Arial;
color:black" lang="EN-US"><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;
color:black;mso-themecolor:text1;mso-fareast-language:JA"
lang="EN-US">Considering Sally Clark’s
work</span><span style="font-size:10.0pt;font-family:Arial;
color:black;mso-themecolor:text1" lang="EN-US"> within the
larger history of a systemic “ageism”
in the dramatic texts and performance of the Western Theatre,
Henderson’s
eloquently written and presented paper makes a strong case for
revisioning
Canadian playwright, Sally Clark, as one of a pioneering wave
of national and
international playwrights who have fought to write and perform
older women, in
all their nuances and complexity,</span><span
style="font-size:10.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;
color:black;mso-themecolor:text1;mso-fareast-language:JA"
lang="EN-US"> in a world where we still
typically see older male figures dominating the stage. </span><span
style="font-size:10.0pt;font-family:Arial;color:black;mso-themecolor:text1"
lang="EN-US">Integrating
an impressive range of literary, historical, medical,
aesthetic and performance
analysis, Henderson’s careful textual analysis of Clark’s
strategies to break
up the narrative of progressive decline and the “gaze” of
invisibility that
obliterates older women characters from serious/sympathetic
consideration is
enhanced by references to the thought of a number of
international and Canadian
critics, including Knowles and Whittaker, and other
groundbreaking Canadian
plays including Maillet’s <i
style="mso-bidi-font-style:normal">La Sagouine</i>,
and Tremblay’s <i style="mso-bidi-font-style:normal">Albertine
in Five Times</i>
which also </span><span
style="font-size:10.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;
color:black;mso-themecolor:text1;mso-fareast-language:JA"
lang="EN-US">explore the
polyvocality of aging women on stage and their mental health.<span
style="mso-spacerun:yes"> </span></span><span
style="font-size:
10.0pt;font-family:Arial;color:black;mso-themecolor:text1"
lang="EN-US"><o:p></o:p></span></p>
<p class="MsoListParagraph"
style="margin:0in;margin-bottom:.0001pt;mso-add-space:
auto;line-height:normal"><span
style="font-size:10.0pt;font-family:
Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Sincerely,<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Robert
C. Lawrence Prize Committee<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Moira
Day, Chair<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Louise
Forsyth<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Kirsty
Johnston<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Peter
Kuling<o:p></o:p></span></p>
<div
style="mso-element:para-border-div;border:none;border-bottom:solid
windowtext 1.0pt;
mso-border-bottom-alt:solid windowtext .75pt;padding:0in 0in
1.0pt 0in">
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;border:none;
mso-border-bottom-alt:solid windowtext
.75pt;padding:0in;mso-padding-alt:0in 0in 1.0pt 0in"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
</div>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt;
text-align:center" align="center"><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"
style="margin-bottom:0in;margin-bottom:.0001pt;
text-align:center" align="center"><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Dévoilement
du prix Robert G. Lawrence 2016</span></b><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Le
jury du prix Robert G. Lawrence 2016 est heureux d’annoncer
que le lauréat pour
cette année est :<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;
font-family:Arial;mso-ansi-language:FR-CA" lang="FR-CA">David
Owen</span></b><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">,
pour sa communication intitulée « </span><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US">Thrills
and Chills: Embodying the
Fiction at Fan Expos, in Cosplay, and through Intermedial
Performance</span><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Puisant
dans sa propre expérience ayant consisté à désirer, à acquérir
et à manipuler
son « hameçon céleste » – un accessoire de fanfiction qu’il
donne à
l’auditoire – comme entrée en matière, Owen a littéralement
hameçonné son
auditoire vers cette exploration aussi investie que prenante
de la performance
intermédiatique : une forme contemporaine de théâtre
interactif qui,
exprime l’auteur avec conviction, redéfinit radicalement les
frontières
traditionnelles entre expérience et imagination, acteur et
spectateur, fantasme
et fiction. Par une spectaculaire fusion entre esprit et
énergie, combinée à un
usage remarquable de sources médiatiques secondaires et de
support graphique et
vidéo, Owen a conduit habilement son public dans une critique
multifacette,
personnelle, économique, technologique et sociopolitique, de
l’activité
faussement simple du jeu et du <i
style="mso-bidi-font-style:normal">cosplay</i>
tant à l’échelle internationale (Allemagne, Angleterre,
États-Unis) qu’à
l’échelle canadienne (congrès de fanfiction, Bioware
d’Edmonton, Murdoch’s
Mysteries). Relevant avec brio le défi de présenter la
dernière communication
du dernier jour du colloque, Owen a brillamment exposé ses
arguments à l’effet
que, peu importe si ces performances intermédiatiques sont
ludiques, sérieuses
ou utilitaires – le lien avec l’analyse de Levin de la
participation dans <i style="mso-bidi-font-style:normal">Punchdrunk’s
Sleep No More</i> est apparu
comme particulièrement astucieux –, ce genre de théâtre
propose des formes
impossibles à ignorer, surtout en ce qui a trait à leur
ampleur et à leur
portée.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Le
comité souhaite aussi accorder une <b
style="mso-bidi-font-weight:normal">mention
honorable</b> à deux autres présentations d’égale qualité
(en ordre
alphabétique) :<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;
font-family:Arial;mso-ansi-language:FR-CA" lang="FR-CA">Alana
Gerecke</span></b><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">,
pour sa communication intitulée « </span><span
class="apple-style-span"><span
style="font-size:10.0pt;font-family:Arial;color:black;mso-themecolor:
text1" lang="EN-US">Legislated Choreography and Sidewalk
Design</span></span><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Le
jury a apprécié ce beau travail d’écriture ayant mené
l’auditoire dans une
analyse rigoureuse du spectacle </span><i
style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Arial;color:black;mso-themecolor:
text1" lang="EN-US">Lives</span></i><span
style="font-size:10.0pt;font-family:
Arial;color:black;mso-themecolor:text1" lang="EN-US"> <i
style="mso-bidi-font-style:normal">Were
Around Me</i> </span><span
style="font-size:10.0pt;font-family:Arial;
mso-ansi-language:FR-CA" lang="FR-CA">présenté à battery
opera, le forçant à prendre
conscience de ce que les trottoirs « orchestrent une
chorégraphie urbaine,
c’est-à-dire comment la structure des trottoirs chorégraphie
le mouvement
corporel dans la ville ». Rehaussée par la présence
convaincante de la
présentatrice, sa reconstruction orale imaginative et son
interprétation de la
marche, la communication de Gerecke a démontré avec clarté et
originalité non
seulement comment le mouvement du piéton est chorégraphié par
les trottoirs et
les structures bâties, mais également, comme le révélait
l’inconfort croissant
des travailleurs marcheurs envers leur environnement, la façon
dont cette
chorégraphie dévoile et construit les normes socioculturelles,
et permet de
théâtraliser et de solidifier les conventions de classe, de
race et d’habileté
dans le quartier difficile <i
style="mso-bidi-font-style:normal">downtown east
side</i> de Vancouver.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;
font-family:Arial;mso-ansi-language:FR-CA" lang="FR-CA">Julia
Henderson</span></b><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">,
pour sa communication intitulée « </span><span
style="font-size:10.0pt;font-family:Arial;color:black"
lang="EN-US">Resisting Dominant
Ideologies of Aging: Sally<span style="mso-spacerun:yes"> </span>Clark’s <i>Moo </i>and <i>Ten
Ways To Abuse An Old Woman</i></span><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Dans
sa communication, Julia Henderson s’est penchée sur l’œuvre de
Sally Clark dans
l’histoire plus large d’un « âgisme » systémique apparaissant
dans
les textes et les performances du Western Theatre. La
communication éloquente
et bien présentée d’Henderson plaide pour un nouvel éclairage
sur la dramaturge
canadienne Sally Clark comme faisant partie d’une vague
d’auteurs pionniers, à
l’échelle nationale et internationale, qui se sont battus pour
représenter des
femmes plus âgées, avec leurs nuances et leur complexité, dans
un monde où ce
sont les hommes qui, typiquement, occupent la scène. Intégrant
à la fois les
angles littéraire, historique, médical, esthétique et
interprétatif dans une
analyse d’une ampleur remarquable, son étude textuelle fouille
les stratégies
de Clark pour casser le récit du déclin progressif et la «
fixation » sur
l’invisibilité qui occulte les personnages de femmes âgées
dans la prise en
considération, sérieuse ou sympathique ; la qualité du travail
est
rehaussée par des références à la pensée de nombreux critiques
canadiens et
étrangers, notamment Knowles et Whittaker, et à des pièces
canadiennes
fondatrices, comme <i style="mso-bidi-font-style:normal">La
Sagouine</i>, de
Maillet, et <i style="mso-bidi-font-style:normal">Albertine
en cinq temps</i>,
de Tremblay, qui explorent sur scène le vieillissement des
femmes et leur état
mental dans une forme polyphonique.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Toutes
nos félicitations au grand gagnant et aux deux récipiendaires
des mentions
honorables.<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><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"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Amicalement,<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Le
jury du prix Robert C. Lawrence<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Moire
Day, présidente<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Louise
Forsyth<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Kisrty
Johnston<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial;mso-ansi-language:FR-CA"
lang="FR-CA">Peter
Kuling<o:p></o:p></span></p>
<p class="MsoNormal"
style="margin-bottom:0in;margin-bottom:.0001pt"><span
style="font-size:10.0pt;font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<!--EndFragment-->
</p>
<br>
<pre class="moz-signature" cols="72">--
Marlis Schweitzer
Associate Professor
Theatre & Performance Studies, York University
President, Canadian Association for Theatre Research</pre>
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