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<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center"><b style="mso-bidi-font-weight:normal">Call for Papers</b></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center"><b style="mso-bidi-font-weight:normal"> </b></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center"><b style="mso-bidi-font-weight:normal">Beyond Representation: Cultural Diversity as Theatrical Practice</b></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center">Symposium Organized by Modern Times Stage Company
</p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center">Daniels Spectrum, Toronto</p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center">9-11 April 2017</p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:center" align="center"><br>
</p>
<p>What might it mean for theatre professionals to think of culture as a practice rather than an identity, what people do rather than who they are? What creative opportunities might be presented if directors, dramaturges, designers, and actors took advantage
of the diverse cultural forms and processes that are embodied and inhabited by Canada’s diverse theatrical communities in the exploration of new, inter- or cross-cultural forms? What would it mean to consider the studio and the stage as sites at which culturally
diverse practices and forms are brought together for mutual enrichment, negotiation, and exchange? In what ways might these forms create new aesthetic possibilities that move beyond Euro-American traditions that have historically marginalized ethnic minorities?
For many years there have been discussions of the representation of minoritized cultures on Canada’s stages, of casting, and of cultural stereotypes. Much of this discussion has issued from practices based on identity politics, on the one hand, or cultural
tokenism, on the other, when many in “the mainstream” attempt to practice “inclusion.” This symposium intends to move the discussion beyond representation, beyond identity politics, and beyond “tolerance” to explore and propose ways in which diverse cultures
can actively, productively, and creatively come together in theatrical practices that issue in exciting and challenging new theatrical forms.
<br>
</p>
<p><br>
</p>
<p>We invite paper proposals that address cultural diversity (interpreted broadly)
<i style="mso-bidi-font-style:normal">as a theatrical practice</i>. Topics that might be considered include, but are not limited to:</p>
<br>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>directing difference: the rehearsal hall as a site of cultural negotiation and exchange
</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>the non-appropriative use of culturally specific forms by designers
</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>intercultural design dramaturgy</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>devising across difference</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>acting technique and intercultural negotiation</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>voice, movement, and cultural difference</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>performing disability cultures in the studio and on the stage</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>gender and sexual fluidity as creative practice</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>staging multiple languages, accents, and voices</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>multilingual and intercultural dramaturgy</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><span style="mso-list:Ignore">-<span style="font:7.0pt "Times New Roman"">
</span></span>the technologies of theatrical diversity</p>
<p style="margin-left:54.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1"><br>
</p>
<p>Please submit 250-word proposals by 1 March 2017 to symposium Co-chairs Natalie Alvarez (<a href="mailto:nalvarez@brocku.ca">nalvarez@brocku.ca</a><span class="pel">)
</span>and Ric Knowles (<a href="mailto:rknowles@uoguelph.ca">rknowles@uoguelph.ca</a>).
</p>
<p class="MsoNormal"> </p>
<div><br>
<div style="font-family:Tahoma; font-size:13px">Natalie Alvarez, PhD<br>
Associate Professor<br>
Brock University | Department of Dramatic Arts<br>
Marilyn I. Walker School of Fine and Performing Arts<br>
500 Glenridge Avenue | St. Catharines, ON | L2S 3A1<br>
www.brocku.ca | 905.688.5550 ext. 4496<br>
</div>
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