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<div class="column"><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Canadian Association for Theatre Research
Conference | Colloque<br class="">
L’association canadienne de la recherche théâtrale
(</span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-style: italic" class="">La version française suit.</span><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">)
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">We would like to acknowledge this sacred land. It has been a site of human activity for
15,000 years. Takaronto has been stewarded by the Erie, Petun, Wendat, and Seneca First
Nations, the Anishinaabeg and most recently the Mississaguas of the New Credit First
Nation. The territory was the subject of the Dish With One Spoon Wampum Belt
Covenant, an agreement between the Haudenosaunee Confederacy and the Three Fires
Confederacy (of the Anishinaabeg) to peaceably share and care for the resources around
the Great Lakes.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Today, the meeting place of Toronto is still the home to many Indigenous people from
across Turtle Island and we are grateful to have the opportunity to work in the community,
on this territory.
</span></p><p class=""><span style="font-size: 24.000000pt; font-family: 'Optima'; font-weight: 700" class="">Performing the Anthropocene
</span><span style="font-size: 16.000000pt; font-family: 'Optima'; font-weight: 700" class="">Setting the Stage for the End of the World
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Canadian Association for Theatre Research
L’association canadienne de la recherche théâtrale (CATR/ACRT)
Toronto, Ontario<br class="">
Saturday 27 May - Tuesday 30 May 2017<br class="">
</span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Call for Papers<br class="">
DEADLINE 21 JANUARY 2017
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Once, the Dream’s parameters were caged by technology and by the limits of
horsepower and wind. But the Dreamers have improved themselves, and the damming of
seas for voltage, the extraction of coal, the transmuting of oil into food have enabled an
expansion in plunder with no known precedent. And this revolution has freed the
Dreamers to plunder not just the bodies of humans but the body of the Earth itself. </span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">—Ta-Nehisi Coates, </span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700; font-style: italic" class="">Between the World and Me </span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">(2015)
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Scientists may provide precious data and design solutions to address the climate crisis.
But what artists can do, perhaps better than anybody, is to create the narrative that will </span><span style="font-family: Optima; font-size: 12pt; font-weight: 700;" class="">make this endeavour an exciting and even spiritually rewarding one. [...A]rtists have
rewritten history to correct mistakes, point out omissions, and give a voice to those who
were silenced. This time, we have a chance to write history before it happens and to put </span><span style="font-family: Optima; font-size: 12pt; font-weight: 700;" class="">in place-markers that will guide us in our journey forward. </span></p><p class=""><span style="font-family: Optima; font-size: 12pt; font-weight: 700;" class="">—Chantal Bilodeau, “Addressing Climate Change One (Theatre) Artist at a Time” (2009)</span></p></div></div></div><div class="page" title="Page 2"><div class="layoutArea"><div class="column"><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Geological change and its effects on the global political climate informs the notion of the
Anthropocene: “a new epoch in Earth’s geological history [...] characterized by the advent
of the human species as a geological force” (Scranton 2015). Canadians, as global citizens
and consumers, are performing the Anthropocene as we live it. Canada is the second
largest country in the world, though four-fifths of its population hovers near its southern
border—leaving the majority of its land space to forests, Tundra, and the Rocky
Mountains. Environment and Climate Change Minister Catherine McKenna garnered
international praise in December 2015 at the United Nations Climate Change Conference
in Paris for her commitment to maintaining average rising temperatures to within 1.5
degrees C (rather than the proposed 2 degrees C) of pre-industrial levels. But only six
months later, Prime Minister Justin Trudeau came under attack for approving permits for
the Site C dam on British Columbia’s Peace River—its construction irreversibly impacting
Treaty 8 First Nations. In July 2016, over two hundred people met in Vancouver as part of
the Paddle for Peace campaign to protest the construction, and, in a parallel situation in
the US, in August, over one thousand Native American activists on foot and horseback
effectively shut down construction on the Dakota Access pipeline—a pipeline with similar
ramifications as the Site C dam to local tribes in North Dakota.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">These events foreground the harsh dialectic between economic and industrial progress
and individual, environmental, and social justice. An intersectional approach to climate
change notes the ways in which Indigenous and otherwise marginalized communities
experience increased health risks and depleting access to clean water and other resources.
Climate change will inevitably affect everyone in the Anthropocene, but it will not impact
everyone in the same way.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Like performance, the Anthropocene is contingent on its, and our, own disappearance.
This conference asks: How is the human impact on the environment represented in theatre
and performance? Does awareness of the Anthropocene give rise to altered aesthetics,
practices, revive former traditions, or suggest their abandonment? What of performance
practice’s geological impacts? Might the Anthropocene displace or reorient the (generally)
human-centred activity of theatre and performance? Where do theatre and performance fit
</span></p>
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<div class="column"><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">in this new, contested subdivision of geological time? Can we read the Anthropocene as
another, pressing form of </span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-style: italic" class="">agon? </span><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">How do we perform or represent a new, contemporary
era, or geological time, or conflicting geological and environmental forces? How can
performance present a better strategy for effecting change in geo-political social life?
Canada’s celebration of 150 years of sovereignty in 2017 highlights again issues of land
rights, de/colonization, and the asymmetrical impacts of climate change raised by the
Anthropocene.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">We invite proposals for papers from scholars and artists, with emphasis on foregrounding
voices from underrepresented or marginalized perspectives, including POC, Indigenous,
black, queer, and independent scholars and artists. We welcome the range of research
(from auto-ethnographic, to arts- and action-based, to semiotic), practice (from embodied
work, studio exploration to dramaturgy), and pedagogy (from class-room based, to peer
review, mentorship). All forms are encouraged.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">We also invite current and recent graduate students, having graduated within the past
two to three years, and/or independent scholars who have not yet presented at a major
national conference to submit papers to CATR/ACRT’s 2017 Emerging Scholars Panel.
We particularly encourage submissions that engage specifically with this year’s
conference theme.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Possible topics may include (but are not limited to):
</span></p>
<ul class="">
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Ecological performance and/or performing ecologies
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Theatricalizing post-apocalyptic futures and performances of warning
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Aestheticizing destruction and spectacles of degradation
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Educating in/against the Anthropocene and the role of applied theatre
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Theatrical geographies and topographies
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">New durations and cross/multi/-temporal performance; performing an ‘era’
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Performing politics and protest
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">The Anthropocene’s audiences and demands of 21</span><span style="font-size: 7pt; font-family: Optima; vertical-align: 5pt;" class="">st</span><span style="font-size: 12pt; font-family: Optima;" class="">-century spectatorship
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">New materialisms, expanded consciousness, and object-oriented ontology
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Digital detritus and the waste and economies of expenditure at the end of an era
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Peripheral performance and underrepresentation
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Looking back, looking forward through archival warming and the role of
</span></p><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">performance history
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">De/colonizing performance practices and spaces
</span></p>
</li>
<li style="font-size: 12.000000pt; font-family: 'SymbolMT'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class=""><p class=""><span style="font-size: 12pt; font-family: Optima;" class="">Urban concepts and performances of wilderness, wild looking back at the city
</span></p>
</li>
</ul>
</div>
</div>
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<div class="column"><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">While we encourage proposals to consider the theme of the conference, scholars and
artists should not feel limited by its parameters. Scholars may think of ways
“performing/staging the Anthropocene” intersect and impact their own chosen areas of
research and practice. Please consider how working through this lens may offer new ways
of approaching analysis, theatre/performance studies, criticism, etc. Scholars who propose
papers not related to the theme, per se, may consider how their proposal sheds new light
on marginal or historically silent voices, or explores areas that are underresearched.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">All accepted presenters and participants are required to join CATR. For more information
on CATR and to join or renew your membership please visit <a href="http://www.catractr.ca" class="">http://www.catractr.ca</a>.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Please send all proposals to T. Nikki Cesare Schotzko, National Conference Chair, at
</span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class=""><a href="mailto:catr2017.conference@gmail.com" class="">catr2017.conference@gmail.com</a> </span><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">by 21 January 2017.
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700; color: rgb(10.196080%, 10.196080%, 10.196080%)" class="">Please note: this is a general call for papers for open panel sessions. </span><span style="font-size: 12.000000pt; font-family: 'Optima'; color: rgb(10.196080%, 10.196080%, 10.196080%)" class="">Calls for accepted
curated panels, seminars, workshops and roundtables will be issued separately and
individually, and are also accessible on our website.
</span></p><p class=""><span style="font-size: 24.000000pt; font-family: 'Optima'; font-weight: 700" class="">L’Anthropocène en scène
</span></p><p class=""><span style="font-size: 16.000000pt; font-family: 'Optima'; font-weight: 700" class="">Planter le décor de la fin du monde
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'" class="">Canadian Association for Theatre Research
L’Association canadienne de la recherche théâtrale (CATR/ACRT)
Toronto, Ontario<br class="">
Du samedi 27 au mardi 30 mai 2017<br class="">
</span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Appel de communications<br class="">
DATE LIMITE : le 21 JANVIER 2017
</span></p><p class=""><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">Autrefois, les paramètres du Rêve étaient limités par la technologie, la puissance des
machines et du vent. Mais les Rêveurs se sont améliorés, et les barrages électriques
construits sur la mer, l’extraction du charbon, la transmutation du pétrole en nourriture
ont permis une expansion sans précédent du pillage. Cette révolution a libéré les Rêveurs
et leur a permis de piller non seulement les corps humains, mais aussi le corps de la terre
elle-même.
—Ta-Nehisi Coates, </span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700; font-style: italic" class="">Une Colère noire </span><span style="font-size: 12.000000pt; font-family: 'Optima'; font-weight: 700" class="">(2015)
</span></p>
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