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<font face="Times New Roman, Times, serif">Dear Candrama colleagues,</font><br>
<div class="moz-forward-container">
<p><font face="Times New Roman, Times, serif">Attached and below,
pleased find the CFP for all curated events as part of this
year's Canadian Association for Theatre Research in Canada to
be held in Toronto, <b>May 27-30, 2017</b>. The deadline for
submissions is <b>FEBRUARY 17, 2017. </b>See below for
specific contact details for conveners.<br>
</font></p>
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<p style="margin:0in;margin-bottom:.0001pt"><b
style="mso-bidi-font-weight: normal"><span
style="font-size:16.0pt;font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333">CATR 2017: Performing the Anthropocene:
Setting the Stage for the End of the World<o:p></o:p></span></b></p>
<h3><strong><span
style="font-family:Garamond;mso-fareast-font-family:
"Times New Roman";color:#333333" lang="EN-US">Canadian
Association for Theatre Research / L’association canadienne
de la recherche théâtrale (CATR/ACRT) Toronto, Ontario</span></strong><span
style="font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:"Times New
Roman";color:#333333" lang="EN-US"><br>
<strong><span style="font-family:Garamond">Saturday 27 May –
Tuesday 30 May 2017</span></strong><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><i
style="mso-bidi-font-style:normal"><span
style="font-size:12.0pt;font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><i style="mso-bidi-font-style:normal"><span
style="font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:"Times New
Roman";color:#333333;background:white;
mso-ansi-language:EN-CA">CATR/ACTR sponsors a wide range of
presentation formats, from keynotes to working groups. This
document lists a series of calls for curated panels,
roundtables, seminars, and working groups. All proposals are
due <b>February 17, 2017. </b></span></i><span
lang="EN-US"><a moz-do-not-send="true"
href="http://catracrt.ca/conference/catracrt-2017-performing-anthropocene/"><span
style="font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:"Times New
Roman";background:white;mso-ansi-language:EN-CA"
lang="EN-US"><span lang="EN-US"></span></span></a></span><span
style="font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:"Times New
Roman";color:#333333;background:white;
mso-ansi-language:EN-CA"> <i
style="mso-bidi-font-style:normal"><o:p></o:p></i></span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:"Times New
Roman";color:#333333;background:white;
mso-ansi-language:EN-CA"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><i style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:"Times New
Roman";color:#333333;background:white;
mso-ansi-language:EN-CA">---</span></i><i
style="mso-bidi-font-style:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:"Times New
Roman";mso-ansi-language:EN-CA"><o:p></o:p></span></i></p>
<h1><span
style="font-size:16.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333">CFPs for
Curated Panels<o:p></o:p></span></h1>
<p><span
style="font-size:14.0pt;font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333">----<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">The Virtuosic Body: Shifting Towards a
Post-Human Future</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers:
Christine Mazumdar and Seika Boye<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<h6 style="text-align:right" align="right"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman";
mso-bidi-font-family:Arial;color:#333333;font-weight:normal"
lang="EN-US">This is a song for the genius child.</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US"><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
font-weight:normal">Sing it softly, for the song is wild.</span></strong><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
font-weight:normal">Sing it softly as ever you can -</span></strong><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
font-weight:normal">Lest the song get out of hand.</span></strong><o:p></o:p></span></h6>
<h6 style="text-align:right" align="right"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman";
mso-bidi-font-family:Arial;color:#333333;font-weight:normal"
lang="EN-US">Nobody loves a genius child.</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US"><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
font-weight:normal">-Langston Hughes,</span></strong></span><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333;font-style:normal"
lang="EN-US"> The Genius Child</span></em><span
style="font-size:10.0pt;font-family:
Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US"><o:p></o:p></span></h6>
<h6 style="text-align:right" align="right"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman";
mso-bidi-font-family:Arial;color:#333333;font-weight:normal"
lang="EN-US">I knew I had to achieve very quickly in order
to beat the menacing development of my own body, to shine
with undeniable brightness in my adolescent career, before
giving it all up for the old-age home. I had to break in to
the top six before puberty and curves and weight made it
nearly impossible for me to fly through the air, attempting
flips meant for younger lighter girls.</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
font-weight:normal">-Jennifer Sey, </span></strong></span><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333;font-style:normal"
lang="EN-US">Chalked Up</span></em><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US"><o:p></o:p></span></h6>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">At
what age should I enroll my child in music lessons, dance, or
sport? At what point does the window to pursue virtuosic
excellence close? A race against time, these decisions to
begin training in such disciplines often must be made before a
child is old enough to understand the ramifications of such a
disciplined practice.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">At
what point is the virtuosic body exhausted? Individually, it
can occur at different moments during the training process,
but what about as a collective? At some point, the record for
the 100-metre dash will no longer be broken, the quadruple
jump is likely the most revolutions that can be performed in
figure skating, the 100mph pitch has already been recorded in
baseball. So what’s next? What’s left?<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">In
the light of the recent doping scandal from the Sochi
Olympics, the virtuosic body, like the earth in the epoch of
the Anthropocene, seems to be in a state of crisis. This panel
seeks paper submissions on the topic of the systematic
breakdown of the virtuosic body in performance studies, dance
studies, sports, music, circus arts. Possible topics include
but are not limited to, a reimaging of the virtuosic body, via
post-human interventions, including: doping, experimental drug
therapy, prosthetics, cyborgs, surgical interventions, and
redefining gender in competition.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">With
the goal of stimulating discussion across disciplines this
panel seeks to examine this crisis of the virtuosic body
across a variety of disciplines.<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;font-weight:normal"><o:p></o:p></span></strong></span></p>
<p><strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333">Expanded Topics</span></strong><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">:<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Dance studies</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Performance
studies</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Circus arts</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Sports</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Music</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Gender studies</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Disability studies</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Training practices
for athletes/artists</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Performance
enhancing practices</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Doping, surgical
enhancement, prosthetics</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The virtuoso
outside of their discipline</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Sustainability,
the systematic breakdown of the virtuosic body</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The virtuosic body
reimagined</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l5 level1 lfo1;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Pain/wellness and
the performing body</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
curated panel will include three to four paper presentations
and will be followed by a question and discussion session
moderated by Seika Boye.<o:p></o:p></span></p>
<p><strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333">Submission Requirements </span></strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><br>
Please submit abstracts of no more than 300 words to Christine
Mazumdar at </span><a moz-do-not-send="true"
href="mailto:christine.mazumdar@mail.utoronto.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">christine.mazumdar@mail.utoronto.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">.
Proposals are due by 17 February 2017. Decisions will be
communicated by the session’s conveners. Presentations are
limited to 20 minutes; time for questions will be included
following all presentations. Please indicate your AV needs.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"> <br>
</span><strong><span
style="font-size:14.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US">Aesthetics of Indetermination: Theatre of the
Real, Multiplicity, and the Disruption of Authenticity</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333"><br>
Organizers: Dr. Kathleen Gallagher (OISE); Scott Mealey
(CDTPS); Kelsey Laine Jacobson (CDTPS)<i><br>
<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">University
of Toronto</span></em></i><o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Arguably,
one of the markers of the contemporary turn towards the
“theatre of the real” is the often evocative presentation of
fragments, multiples, or selections rather than a complete
representative world. Verbatim performance, for instance,
eschews an enclosed and privileging narrative in favour of
destabilization, gesturing visibly toward past, or even
future, peoples and processes in and amongst the present
performance, thereby unleashing a range of temporalities,
spaces and social relations on stage.<br>
While “realism” as a theatrical genre is traditionally linked
to singular, dominant, conservative authorities in Western
metaphysics, contemporary expressions of “theatre of the real”
tend more towards non- or partially-representational
expressions of a ‘whole’ person/community/place. Further, we
note a contemporary trend towards privileging the
representation of marginalized or minoritized voices and
question whether the simultaneous turn towards partial
representational practices is an effort to express ‘humanness’
in more expansive or non-authoritative ways?<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">The
aim of this curated panel is to attend to encounters in which
the time, space, and social relations of “theatre of the real”
disrupt notions of the originary, the whole, or the singular
experience. In particular, it considers the implications for
theatre-making when this popular form is utilized and
evaluated in ways that move beyond the traditional measures of
‘true-to-lifeness,’ which may no longer be adequate,
satisfying or politically complex enough for contemporary
stagings of culture. Questions such as the following might be
considered:<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l8 level1 lfo2;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">In what ways are
authenticity, truth, and the idea of the originary being
utilized, challenged, and expanded politically,
pedagogically and/or aesthetically in contemporary theatre
of the real performance? How might re/presentations of an
originary serve to challenge and/or reinforce authenticity
or true-to-lifeness?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l8 level1 lfo2;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">What is the place
of theatre of the real in increasingly globalized,
digitized, and fragmented societies? Or conversely, how
might theatre of the real restore and redress the
displacement of embodied Nature within domains dominated
by disembodied naturalism?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l8 level1 lfo2;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How might active
aesthetic practices that erase the privilege of original
reals emerge previously hidden, or as yet undiscovered,
realities? In what ways could this be harmful or helpful?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l8 level1 lfo2;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">What is the place
of traditional stage realism within/amongst/beside/opposed
to theatre of the real? What (dis)connections might exist
between the two?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Participants
will be asked to present a brief, 6-8 minute long
provocation/paper before engaging in a wider discussion with
the other participants and the attending audience.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">250
word proposals, along with a short biography, should be sent
to <a moz-do-not-send="true" class="moz-txt-link-abbreviated"
href="mailto:scott.mealey@mail.utoronto.ca">scott.mealey@mail.utoronto.ca</a>
and <a moz-do-not-send="true"
class="moz-txt-link-abbreviated"
href="mailto:k.jacobson@mail.utoronto.ca">k.jacobson@mail.utoronto.ca</a>
no later than 17 February 2017.<o:p></o:p></span></p>
<h3><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US">---<o:p></o:p></span></h3>
<h3><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"> </span><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Metamorphic
Magic: Performing Objects, Agency and Ecologies<o:p></o:p></span></strong></span></h3>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Gabriel
Levine (SSHRC Postdoctoral Fellow, Dept. of Theatre, Concordia
University) and Mark Sussman (Associate Professor, Concordia
University)<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">In
her essay “Reclaiming Animism,” the philosopher Isabelle
Stengers argues that it is necessary to reclaim the ambiguous
term “magic” to describe the distribution of agency throughout
material being. Magic, she notes, is used in a metaphorical
sense to describe the experience of something extraordinary: a
moment, landscape, or performance. It has also been denigrated
as the bane of Enlightenment rationalism—whether in a critique
of the “magical thinking” of colonized peoples, or in the
persecution of witches and other performers of folk magic.
Adopting the term “magic,” Stengers claims, conveys “the
experience of an agency that does not belong to us even if it
includes us, but an ‘us’ as it is lured into feeling.” It
begins to reweave the relational web of agency that runs
through matter, including performing bodies and things of all
kinds.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">What
Stengers describes as “the metamorphic capacity of things” is
evidently present in theatre, dance and other performance
genres, as a wealth of scholarship on material performance and
performing objects has demonstrated. In this panel, we invite
participants to explore more deeply the connections between
performing objects, the magic of agency, and ecological
thought and practice. In a historical moment when every
ecosystem has been transformed by the extractive and
waste-producing processes of capitalism, can performance enact
more equitable material relations and assemblages? How does
the material magic of performance relate to the magic of the
commodity? How do Indigenous performance cultures weave new
ecologies and agencies in the world of things? What can the
somewhat disreputable traditions of object performance, from
stage magic to puppet theatre, teach us about the dramatic
ecological metamorphoses that we are all now undergoing?<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p> </o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Possible
topics include:<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">performance and
waste</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">capitalist
sorcery: the magic of the commodity, performances of
extraction</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Indigenous
performance cultures and relational agency</span></strong><span
style="font-size:10.0pt;font-family:
Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">theatrical
metamorphoses: vibrant matter and uncanny life</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">performing
objecthood / prosthetic performances</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">dance/movement
ecologies and materialities</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">ritual and
ceremonial objects in performance</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">traditions of
transformation: stage magic, puppetry, performance art</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l9 level1 lfo3;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">ecology,
materiality, and performative agency</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Panelists
will give a 15-minute paper or presentation, in a form of
their choosing, followed by a discussion.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Please
submit proposals by 17 February 2017 to: </span><a
moz-do-not-send="true"
href="mailto:gabriel.levine@concordia.ca"><span
style="font-family:Garamond; mso-bidi-font-family:Arial">gabriel.levine@concordia.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p> </o:p></span></p>
<div class="MsoNormal" style="text-align:center" align="center"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">
<hr style="color:#333333" align="center" size="2" width="100%"
noshade="noshade"> </span></div>
<h2><strong><span style="font-size:16.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US">CFPs for Roundtables </span></strong><span
style="font-size:16.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h2>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Pop-Up Culture and the Anticipation of the End</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Alana
Gerecke and Laura Levin<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
roundtable will explore pop-up culture in context of the
geological time that structures the Anthropocene. As several
theorists note, the Anthropocene has been shaped by the
acceleration of consumption and production since the mid 20<sup>th</sup> century,
an orientation to time and space coincident with what Jonathan
Crary views as the non-stop, “world-destroying patterns” of
24/7 late capitalism. How might this orientation towards time
give rise to and propel the recent pop-up trend in Canada and
beyond, with its attendant urgency and hyper-temporality? Here
we are specifically thinking of events and experiences that
emerge temporarily in vacant, underused, or about to be
demolished urban spaces, but also a much wider range of
temporary inhabitations whose appearances—and meanings—are
predicated upon their imminent disappearance.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">With
this session, we hope to start a conversation about the pop-up
as a mode of address and a mechanism of assembly that is
definitively structured by the anticipation of its own end.
How does the pop-up spring from and speak to a culture of
urgency that is preoccupied with inevitable endings and
impossible futures? In selecting pop-up events to discuss,
participants might consider the following prompts:<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Is the pop-up
simply a signature of a culture bent on filling every
available moment and space with consumable (and/if
exclusive) content? When does the form explicitly resist
forces of consumerism (climate change awareness, human
rights protests, Occupy, etc.)?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Can pop-up culture
think long-term? What might this tell us about our
relationship to possible futures?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Pop-up culture
appears to be acutely contemporary: what are some
historical precedents for the pop-up, ones that might also
complicate the temporalization of the Anthropocene?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How has the
popularization of temporary inhabitation shaped
perceptions of, and rationalized (dis)investment in, arts
infrastructure in Canada and other national contexts (as
Jen Harvie has noted in relation to the UK)?</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The pop-up implies
a leave-no-trace ethos; but, of course, events mark and
make space. What does the pop-up leave in its wake: what
physical, material, psychic, spatial, and/or social stuff
remains? What detritus? What vacuums or ghosts?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l1 level1 lfo4;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">What are the
dynamics of inclusion/exclusion that structure pop-up
events?</span></strong><b style="mso-bidi-font-weight:
normal"><span style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333">Structure:</span></strong><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333"> In the spirit of a
fervent pace, this ninety-minute long PechaKucha-style
roundtable will allow each participant 6.66 minutes to show 20
image-based slides (20 slides x 20 seconds each) while
theorizing some aspect of pop-up culture. These brief
presentations will be followed by a sustained conversation
about all things pop-up. Slides are to be added to a
roundtable Dropbox folder by <strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial">20
May 2017.</span></strong><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><br>
Please send 250-300 word abstracts and a brief bio to
organizers Alana Gerecke (</span><a moz-do-not-send="true"
href="mailto:agerecke@yorku.ca"><span
style="font-family:Garamond; mso-bidi-font-family:Arial">agerecke@yorku.ca</span></a><span
style="font-family:
Garamond;mso-bidi-font-family:Arial;color:#333333">) and Laura
Levin (</span><a moz-do-not-send="true"
href="mailto:Levin@yorku.ca"><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Levin@yorku.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333">) by <strong><span
style="font-family:Garamond; mso-bidi-font-family:Arial">17
February 2017</span></strong>.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Life after Theatre Studies: Learning for the 21<sup>st</sup> Century</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizer: Dr Glen
Nichols (Director of Drama, Mount Allison University)<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">As
a follow-up to last year’s very successful round-table on
Liberal Education and Theatre Studies, I invite participants
for a more focused session that addresses the question, “<strong><span
style="font-family:Garamond;mso-bidi-font-family: Arial">How
are our theatre, drama, and performance undergraduate
programs preparing students for life in the 21<sup>st</sup> century?</span></strong>”<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">With
more than 2000 students graduating every year from theatre,
drama, and performance programs in Canada, it seems reasonable
to consider that a large number of those are not being
employed in the theatre industry. They are putting their
education to work in more complex ways, benefitting from the
fundamental liberal education that theatre, drama, and
performance studies can stimulate. To date there has been
little scholarly attention paid to those elements of our
curricula, attention being more usually placed on ambitions to
professional or pre-professional training. With pressure on
arts programs to more clearly define themselves, with the
needs of our students to make their lives in a world of change
and uncertainty, it seems very timely for us to have serious
discussions around the role of theatre education in the
broader preparation of our students.<o:p></o:p></span></p>
<p style="margin-bottom:12.0pt"><span
style="font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333">To that end I invite 250-word proposals
that address the round-table question (due by Feb 17, 2017).
Round-table participants will then circulate brief (1500-word)
position statements by May 1, 2017. At the conference
round-table session, each participant will present the ideas
of another paper as a kind of introduction/response. These
will take the form of 3-minute “mini-theses.” Once everyone’s
position has been introduced the round-table will spend most
of its 90-minute length in general discussion among
participants and auditors.<br>
<br>
Please send 250 word proposals by February 17, 2017 to Dr.
Glen Nichols at <a moz-do-not-send="true"
class="moz-txt-link-abbreviated"
href="mailto:gnichols@mta.ca">gnichols@mta.ca</a> <o:p></o:p></span></p>
<p style="margin-bottom:12.0pt"><span
style="font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333">---<o:p></o:p></span></p>
<p class="MsoBodyText"><b style="mso-bidi-font-weight:normal"><span
style="font-size:14.0pt" lang="EN-US">Untethering Queer:
Thinking Beyond the Normative/Antinormative Binary in Queer
Political, Personal, and Pedagogical Life<o:p></o:p></span></b></p>
<p class="MsoBodyText"><span lang="EN-US">Organizers: Laine Zisman
Newman, and members of the Toronto Queer Theory Working Group<o:p></o:p></span></p>
<p class="MsoBodyText"><i style="mso-bidi-font-style:normal"><span
lang="EN-US">Deadline: February 17 2017<o:p></o:p></span></i></p>
<p class="MsoBodyText"><i style="mso-bidi-font-style:normal"><span
lang="EN-US"><o:p> </o:p></span></i></p>
<p class="MsoBodyText" style="text-align:right" align="right"><i
style="mso-bidi-font-style: normal"><span lang="EN-US">The
queer conviction that it is the antinormativity of certain
practices or self-stylings that make them recognizable as
political means that antinormativity stands, mostly
unchallenged, as queer theory’s privileged figure for the
political. The tautological character of the short loop that
binds antinormativity to the political, however, invites us
to think about the political usefulness of a queer theory
untethered from its antinormative tendencies; that is, a
queer theory that, for all the productive critical leverage
the concept of antinormativity has given us, might not be
antinormative at its definitional heart.<o:p></o:p></span></i></p>
<p class="MsoBodyText" style="text-align:right" align="right"><i
style="mso-bidi-font-style: normal"><span lang="EN-US">—Annemarie
Jagose, “The Trouble with Antinormativity” (2015:27)<o:p></o:p></span></i></p>
<p class="MsoBodyText"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US">While considerable work
in queer theory has been founded on the assumption that
antinormativity is a fundamental character of queering
scholarship and practice, more recent work has begun to
question this investment (see Duggan 2015; Halberstam 2015;
Wiegman and Wilson 2015; Tongson 2014; Jacobson 1998; among
others). This debate has become increasingly important in
light of the recent US presidential election and the threat to
basic civil rights it threatens, if not promises. (If not the
end of the world, this is at least the end of the world as we
know it.) In this open roundtable discussion, participants
will consider the implications of denouncing antinormativity
in activism, performance, and daily life. What do we lose if
we, as queer theorists, are no longer fastened to the realm of
the anti-normative? Furthermore, the roundtable will consider
how antinormativity is often only tenable from a position of
privilege: Who is given the freedom and liberty to refuse
normativity without reprisal? Through this line of
questioning, the roundtable will consider the intersections
and divisions of activism, performance, and scholarship in
relation to performing queer activism and queer theory. <o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US">POSSIBLE QUESTIONS TO
CONSIDER:<o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoBodyText"
style="margin-left:35.45pt;text-indent:-14.15pt"><span
lang="EN-US">•<span style="mso-tab-count:1"> </span>What
do we lose if we lose antinormativity?<o:p></o:p></span></p>
<p class="MsoBodyText"
style="margin-left:35.45pt;text-indent:-14.15pt"><span
lang="EN-US">•<span style="mso-tab-count:1"> </span>Who
performs antinormativity? <o:p></o:p></span></p>
<p class="MsoBodyText"
style="margin-left:35.45pt;text-indent:-14.15pt"><span
lang="EN-US">•<span style="mso-tab-count:1"> </span>How
does queer theory in academia lose the ability to perform
queerness (particularly if it is no longer invested in
antinormativity?)<o:p></o:p></span></p>
<p class="MsoBodyText"
style="margin-left:35.45pt;text-indent:-14.15pt"><span
lang="EN-US">•<span style="mso-tab-count:1"> </span>How
does a discussion on antinormativity/normativity in and of
itself reinscribe binaries that queer theory seems to want to
destabilize and denounce?<o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US">We ask
invited-participants to share short statements with other
roundtable members three weeks before the conference, asking
members to read and to comment on each other’s contributions,
and, during the conference, to present concise,
two-to-three-minute summaries of their stances. After these
presentations, we will open the discussion up to the audience,
following the format of Lois Weaver’s “long-table discussion”:
“an experimental open public forum that is a hybrid
performance-installation-roundtable-discussion-dinner-party
designed to facilitate dialogue through the gathering together
of people with common interests” (LADA 2014). Comprising
initially those accepted participants, and with the addition
of two unoccupied chairs, this discussion will, literally,
invite participants to the table. After the initial
presentations, audience-participants who wish to join the
conversation may gently tap a currently seated participant on
the shoulder, and that participant will offer their place at
the table to the audience-participant.<o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US">Please contact <b
style="mso-bidi-font-weight: normal"><a
moz-do-not-send="true" class="moz-txt-link-abbreviated"
href="mailto:laineyale@gmail.com">laineyale@gmail.com</a></b>
with your proposal or any queries.<o:p></o:p></span></p>
<p style="margin-bottom:12.0pt"><span
style="font-family:Garamond;mso-bidi-font-family:
Arial;color:#333333"><o:p> </o:p></span></p>
<div class="MsoNormal" style="text-align:center" align="center"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">
<hr style="color:#333333" align="center" size="2" width="100%"
noshade="noshade"> </span></div>
<p class="MsoNormal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><strong><span
style="font-size:16.0pt;font-family:
Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US">CFPs for Seminars</span></strong><span
style="font-size:16.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Watching the World Burn: The Rise of the
Spectator in an Anthropocene Dusk</span></strong><span
style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers:
Cassandra Silver, Jenny Salisbury, Scott Mealey and Kelsey
Jacobson<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><strong><i><span
style="font-family:
Garamond;mso-bidi-font-family:Arial;color:#333333">Deadline:
February 17, 2017</span></i></strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"> <o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Among
countless other issues, the 2016 American election has
foregrounded—even here in Canada—the ways that we ‘the people’
source, share, understand, and indeed spectate the world
around us (Shirky 2011, Smelik 2010, McGregor 2016). In this
techno-human age of what Jack Bratich called “audience power,”
the producing class must contend with audiences who are no
longer merely consumers but (co)producers in their own right.
Is the Rancierian (2009) epoch upon us? Following Maaike
Bleeker and Isis Germano (2014), does the theatrical event
offer a model for understanding the roles and responsibilities
of spectators in an always-performing staged world? How might
the persistently understudied area of spectator research
(Reinelt 2014, Freshwater 2009, Park-Fuller 2003) help us
grapple with the pragmatics and ethics of watching? Our
seminar will invite participants to consider what it is to be
a spectator in 2017.<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l0 level1 lfo5;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How do we newly
perceive and engage; how do we (or indeed do we at all)
delimit the actions that constitute spectatorship?</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l0 level1 lfo5;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Which audiences
continue to be marginalized in Canadian theatre? How might
their increased presence shift our conception of
spectatorship?</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l0 level1 lfo5;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How do we come to
understand the diverse groups of individuals we call an
audience? What research methodologies allow us to engage
with these groups?</span></strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l0 level1 lfo5;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Do emergent
technologies complicate the unique claims on liveness in
performance reception? What avenues might this open in
inter-disciplinary research? How might spectators perceive
differently in the future?</span></strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial" lang="EN-US"><o:p></o:p></span></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l0 level1 lfo5;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">What are the
dramaturgies of theatre with participant-spectators?</span></strong><span
style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Prior
to the conference, participants will be invited to collaborate
on a shared annotated bibliography. At our session,
participants will share their perspective on contemporary
spectatorship in short (~5 minute) presentations followed by
small-group discussions about issues raised.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><br>
250 word proposals, along with a short biography, should be
sent to<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial"> the
Centre for Spectatorship and Audience Research (</span></em></span><a
moz-do-not-send="true"
href="mailto:centreforspectatorship@gmail.com"><span
style="font-family:Garamond; mso-bidi-font-family:Arial">centreforspectatorship@gmail.com</span></a><em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">).</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><strong><span
style="font-size:
14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Difficult
Knowledges and Performances for/by/with Young People</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333"><o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizer: Heather
Fitzsimmons Frey<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">What
is at stake and how do we approach making and thinking about
difficult knowledges and the performances for/by/with young
people that engage with them? This seminar encourages
thinkers to consider the precarity of human presence on the
planet through the lens of those people on whom we tend to
place the greatest burden of hopes for the future: children
and young people. We will focus on performances for/by/with
young people that engage with the difficult knowledges
(Belarie Zatzman 2015), uncomfortable truths, horrific
memories, challenging impacts, and potential dystopias of
humanity on earth, in all scales of imagination, from the
profoundly personal, to the national, to global, from the
micro-moment to the epic to the timeless. The work of the
young person, the young person’s body and the idea of hope are
particularly significant in terms of ethics, what we have come
to expect children to represent, and types of content deemed
appropriate for young people. <o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
seminar/workshop encourages scholars of all career stages to
discuss complicated questions related to performances
for/by/with young people that engage with difficult subject
matter and taboos, to stretch ideas of how performance is
appropriate for/by/with children, and to interrogate the role
of young people in performance culture. Applicants are
encouraged to consider performance work for/by/with the very
young (Early Years), children, and "young people," in Canada
or elsewhere, in historical or contemporary perspective, in
amateur, professional, applied, social performance or
educational contexts. <strong><span
style="font-family:Garamond; mso-bidi-font-family:Arial">Applicants
are invited to submit a 300 word proposal by Friday 17
February</span></strong>. Participants will share a
significant image (or 2) and a working paper of about 1200
words for small group discussion online prior to CATR (due 22
April 2017). At CATR we will continue small group
discussions, and also share ideas with the larger group about
our research and research questions. <strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Please
send proposals to Heather Fitzsimmons Frey at <a
moz-do-not-send="true" class="moz-txt-link-abbreviated"
href="mailto:h.fitzsimmonsfrey@mail.utoronto.ca">h.fitzsimmonsfrey@mail.utoronto.ca</a> by
Friday 17 February, 2017.</span></strong> <br>
<br>
Topics may include (but are not limited to):<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Holocausts,
genocide, residential schools, forced assimilation, war</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Environmental
disaster or degradation / science and technology /
traditional knowledges</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The dark,
discordant music, snakes, other (possibly) cultural
created fears</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Divorce, bullying,
cyber-bullying, child abuse, sexual abuse, eating
disorders, suicide, child labour, child soldiers, mourning
and grief</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Connections to
race, class, religion, gender, sexuality, neuro and
physical ability</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">HIV / AIDS, FAS,
cancer, substance abuse, drug and health challenges</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Mental Health
challenges</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Political rallies
and youth participants/leaders</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l3 level1 lfo6;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Recreational
activities (gaming, sports, consumerism(shopping), dance,
Disney, charitable volunteerism…)</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Atomic Performances</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizer: Jenn Cole<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">In
1998, a delegation of Dene people from Canada’s North made
their way to Japan to apologize to the people of Hiroshima and
Nagasaki for the harm that the land they lived on had caused
during the American bombing in 1945. My hometown of Deep River
ON was constructed as a planned community to house physicists
and engineers who built Canada’s first nuclear reactors. An
Anishinaabeg woman from the area recounts, in Bonita
Lawrence’s <em><span style="font-family:Garamond;
mso-bidi-font-family:Arial">Fractured Homeland</span></em>,
that she and her family were moved off the land by the
government, and that she can no longer drink the waters of the
Kiji Sibi or Ottawa River. Uranium mining, nuclear power
plants and political military nuclear projects mark Canada’s
history and geology. How do people bear and negotiate these
deep traces? A seminar on cultures and performances of
nuclear sites of extraction and processing raises questions
about the relationships between bodies, societies, radioactive
materials, waters and lands, scientific and political
competition, illness, the dangers of both knowledge and the
unknown. Scholars and artists working on atomic history,
topography, and performance ask questions like: what is the
nature of apology when it is made on behalf of the land? How
can a signpost mark nuclear toxicity for hundreds of years?
What are the dangers of scientific progress made at a rate
faster than the collection of knowledge about repercussions?
At whose expense was Canada’s nuclear project developed? What
does it mean to create art in a radioactive waste zone that no
one can see? How does a person grapple with the many fallouts
of nuclear failure through performance? I would add, based on
my own experience growing up in a town built for Atomic Energy
of Canada, how do people most intimately affected by uranium
processing daily perform trust in a technology that symbolizes
radical contingency?<br>
<br>
What, in the context of performances of Canadian atomic
culture, can be said about films like Tarkovsky’s <em><span
style="font-family:Garamond; mso-bidi-font-family:Arial">Stalker</span></em>,
the musical <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Miss
Atomic Bomb</span></em>, the media spectacle around
Fukushima, or the <em><span style="font-family:
Garamond;mso-bidi-font-family:Arial">This is Your Life </span></em>segment
where Hiroshima survivors Kiyoshi Tanimoto and the “Hiroshima
maidens” met pilot Robert A Lewis, who dropped the first bomb
on Hiroshima? What about Marie Clements’ <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Burning
Vision </span></em>or Jullie Salverson’s recent atomic
memoire<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">?</span></em> How
can we account for the erasure of first people’s histories
from conventional representations of nuclear progress? How
could we re-perform and re-represent what was once a spectacle
of atomic achievement and disaster? What iterations are now
possible and necessary?<br>
<br>
Participants are asked to share 10-12 minute papers and to
bring in a cultural text to share. This can be an object, a
photograph, a film clip, a theatre side, a live performance,
etc. The rest of us will rally with the presenter to uncover
its potential meanings. Pre-circulation of papers is not
required, but if participants want to circulate cultural
objects related to their discussion, these can be shared with
the seminar group by May 10 in a forum that allows group
feedback and online discussion. The Atomic Performances
seminar emphasizes discussion, with the goal of generating and
addressing good questions about representations of atomic
culture and nuclear confrontations with lands, waters and
bodies.<br>
<br>
Please send a working title, a 200-300 word abstract and a
short bio by 17 February 2017 to </span><a
moz-do-not-send="true" href="mailto:jenn.cole@utoronto.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">jenn.cole@utoronto.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Decolonizing Methodologies and Settler
Responsibility in Theatre and Performance Studies: 3.0</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Selena
Couture and Heather Davis-Fisch<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Building
on the two seminars on decolonizing methodologies in theatre
and performance studies convened at CATR 2016, this seminar
will move conversations forward, specifically focusing on how
decolonial methodologies can be applied by settlers and other
non-Indigenous peoples working and living on occupied
Indigenous homelands.<br>
<br>
Place-based methodologies are key to Indigenous
epistemologies, expressing reciprocal relationships to
ancestral homelands; conversely the settler colonial project
demands that non-Indigenous arrivants adopt an extractive
relationship to commodified lands, treating them as
generically <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">re-place-able </span></em>resources.
This seminar invites settler, non-Indigenous, and Indigenous
scholars and researchers to consider how settler scholars can
engage with Indigenous decolonial methodologies to address
their own specific, place-based positionality and to develop
responsible relations with the traditional caretakers of the
lands.<br>
<br>
Participants will have the opportunity to share and receive
feedback on a well-developed work-in-progress (whether this is
a draft of a journal article, a dissertation chapter, or a
piece of writing in another genre/form). Participation is not
limited to those who participated in 2016 seminars. We
encourage participants to consider the themes of the CATR
conference but also welcome papers on a range of
topics--including historical, contemporary, theoretical, and
practice-based considerations of decolonial methodologies--and
reflecting a range of disciplinary and cultural perspectives.
We invite 250-500 word abstracts summarizing the
work-in-progress and explaining why the participant wishes to
share their work in this forum.<br>
<br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Description
of work required:</span></strong> Selected participants
will submit their work-in progress, approx. 5000 words in
length, by 15 April 2017. These will be shared with all
seminar participants online (through dropbox, googledocs, or a
similar platform). Each participant will be assigned to
formally respond to one paper (approx. 500-1000 words) by 15
May 2017. Online dialogue and comments on additional papers
will be encouraged but not required. When we meet in Toronto,
each participant will provide a brief abstract of their paper
(2-3 mins.) and each respondent will deliver a 5 min. response
to the paper. Over the course of the winter, we will also
circulate several readings to selected participants;
participants will be asked to read a selection of these pieces
in preparation for the seminar.<br>
<br>
<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Due
dates: </span></strong> 250-500 word abstracts and bio are
due 17 February 2017. Works-in-progress are due 15 April 2017.
Written responses are due 15 May 2017.<br>
<br>
Contact info: please address any questions and abstracts/bios
to Selena Couture: </span><a moz-do-not-send="true"
href="mailto:couture2@ualberta.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">couture2@ualberta.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">W.E.T: Water Ecologies in Theatre</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Donia
Mounsef and Stefano Muneroni<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
seminar looks at the history and aesthetics of the
hydro-imaginary and considers the material, symbolic, and
aesthetic conditions of water in theatre and performance. It
goes beyond the dichotomy between the symbolic and the mimetic
in order to demonstrate how the aquatic reflects our complex
and often contradictory relationship to the element. This
seminar will trace water ecologies in performance from the
ancient Greeks and Romans to the more recent proliferation of
water in performance, as seen in Franco Dragone’s <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">The
House of Dancing Water</span></em>, Anabel Soutar’s <em><span
style="font-family:Garamond; mso-bidi-font-family:Arial">Watershed</span></em>,
Marie Clements’ <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Burning
Vision</span></em>, and Théâtre du Soleil’s <em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Tambours
sur la digue</span></em> (1999), to mention only a few.<br>
<br>
Proposal submissions should address one of the following
topics:<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Use and
significance of water on stage throughout theatre history</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Contemporary
performance in/on/around water</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Staging
sustainability, global warming, pollution, and water
security</span></strong><b style="mso-bidi-font-weight:
normal"><span style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Waterscapes as
scenic, sound, and lighting designs</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Aquatic
dramaturgies (immersive and fluid approaches to texts in
performance)</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l4 level1 lfo7;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Politics of water
in theatre and performance</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">The
seminar will accept a total of eight participants (for a
duration of 3 hours) who will share their work ahead of time,
and serve as discussants on each other’s papers. During the
seminar, each discussant will introduce their assigned paper
(5 minutes) followed by a short presentation by the
participant, then an open discussion with all participants.
This seminar will serve as the first step toward bringing
together a number of contributions for a collection of essays
that will be co-edited by the organizers.<br>
<br>
Please email your proposal (500 words) and a short bio (max.
100 words) by 17 February 2017 to Donia Mounsef (</span><a
moz-do-not-send="true" href="mailto:mounsef@ualberta.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">mounsef@ualberta.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)
and Stefano Muneroni (</span><a moz-do-not-send="true"
href="mailto:stefano.muneroni@ualberta.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">stefano.muneroni@ualberta.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><strong><span
style="font-size:
14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Terra
Nullius: Charting Paths To Settler--Indigenous Relationships
through Theatre and Performance in Academic Contexts</span></strong><span
style="font-size:
14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Annie
Smith and Lib Spry<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Margaret
Kovach writes: <o:p></o:p></span></p>
<p><em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">As
an Indigenous presence surfaces within Western universities,
it brings with it all that is Indigenous: thought, custom,
culture, practice, and self. This is causing the academy to
pause for a number of reasons. For some, the hesitancy
reflects an active resistance to change, while for others it
is born of a passive non-awareness. Still others are
uncertain as to how to include, without subsuming,
Indigenous knowledges. . . . They know that 'add Indigenous
and stir' is not a valid response . . . </span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"> (156)<br>
<br>
This seminar offers participants the opportunity to present
traditional papers that address their experiences, concerns
and questions arising from their inclusion of Indigenous texts
and performance in their research, teaching, and artistic
practice. How can our research, teaching, and artistic
creation challenge the settler reality and history described
by Paulette Regan as “The foundational myth of the <em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">benevolent
peacemaker</span></em> – the bedrock of settler identity”
(2010, 11) (our italics)? What can we learn from each other
that will assist us in charting paths to becoming settler
allies? Following the paper presentations there will be an
open discussion/workshop session where the presenters and
curators will facilitate small group circles based on the
issues raised in the papers.<br>
<br>
<u>Potential topics or perspectives:</u><o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Challenges in
audience reception of Indigenous plays</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Building
relationship with Indigenous communities in preparation
for presenting Indigenous work</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Respecting
cultural diversity among students of different Indigenous
and non-Indigenous background</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Resisting
Pan-Indigeneity</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The risks of
subsuming Indigenous knowledges as cultural artifacts</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The pitfall of
academic authority: can we relinquish our control to
Indigenous knowledge keepers? How do we do this?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Cross-cultural
collaboration.</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How do we go about
decolonizing settler theatre?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l2 level1 lfo8;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How have
Indigenous peoples been represented in settler theatre?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Paper
proposals with title and a 300 word abstract should be sent to
curators Lib Spry (</span><a moz-do-not-send="true"
href="mailto:lib.spry@queensu.ca"><span style="font-family:
Garamond;mso-bidi-font-family:Arial">lib.spry@queensu.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)
and Annie Smith (</span><a moz-do-not-send="true"
href="mailto:anismith@telus.net"><span style="font-family:
Garamond;mso-bidi-font-family:Arial">anismith@telus.net</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)
by February 17, 2017. The proposal should also include two or
three discussion points that the presenter would like to
facilitate in the following discussion/workshop session.
Inquiries are most welcome.<o:p></o:p></span></p>
<p><strong><u><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333">Works cited</span></u></strong><strong><span
style="font-family:
Garamond;mso-bidi-font-family:Arial;color:#333333">: </span></strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><br>
Kovach, Margaret. <em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Indigenous
Methodologies: Characteristics, Conversations, and
Contexts</span></em>. Toronto, Buffalo, London:
University of Toronto Press, 2009.<br>
<br>
Regan, Paulette. <em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Unsettling
the Settler Within: Inside Residential Schools, Truth
Telling, and </span></em><br>
<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Reconciliations
in Canada. </span></em>Vancouver, BC: University of
British Columbia Press, 2010.<o:p></o:p></span></p>
<div class="MsoNormal" style="text-align:center" align="center"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">
<hr style="color:#333333" align="center" size="2" width="100%"
noshade="noshade"> </span></div>
<h1><strong><span
style="font-size:16.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333">CFPs
for Praxis Workshops</span></strong><span
style="font-size:16.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"><o:p></o:p></span></h1>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3><strong><span style="font-size:14.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial; color:#333333"
lang="EN-US">Verbatim Theatre Praxis Workshop</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Come join us for a
reading and discussion of <strong><i><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Out
At School</span></i></strong><strong><span
style="font-family:Garamond; mso-bidi-font-family:Arial">:
A Verbatim Theatre Project about the Experiences of LGBTQ
Families in Ontario Schools</span></strong><o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Tara
Goldstein, Jenny Salisbury, Pam Baer (Ontario Institute for
Studies in Education, University of Toronto)<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><strong><u><span
style="font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333">Purpose of the Workshop</span></u></strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><br>
<br>
Some practitioners of verbatim theatre, especially in Britain,
believe verbatim theatre is displacing mainstream media as a
way for the public to access reliable information about
current political events. However, other practitioners such
as Alana Valentine in Australia, have described their work as
being on a spectrum that ranges from “pure verbatim” (where
nothing said in the play hasn’t been said in the interviews,
and nothing is fictionalized) to fiction. How reliable is a
verbatim play that has fictionalized (some of) its research
findings?<br>
<br>
The purpose of this praxis workshop is to discuss the spectrum
of verbatim theatre using a play called <em><span
style="font-family:Garamond; mso-bidi-font-family:Arial">Out
at School </span></em>as an exemplar of a play that is
positioned closer to the “pure verbatim” side of the continuum
spectrum. <em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">Out
at School </span></em> is a work-in-progress play script
that has been written from interviews with LGBTQ families
about their experiences in schools<em><span
style="font-family:Garamond;mso-bidi-font-family: Arial">. </span></em>In
the workshop we will read aloud the current draft of <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Out
at School</span></em>, share our process of turning our
interview findings into a play, discuss where it sits on the
spectrum and discuss its relationship to truth, reality,
authenticity and subjectivity. We are interested in hearing
from our workshop participants where they think the play is
positioned and what they think about its relationship to
truth, reality, authenticity and subjectivity.<br>
<br>
The deadline for expression of interest to our session as
Friday 17 February 2017 to<span class="apple-converted-space"> </span><strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial"><a
moz-do-not-send="true" class="moz-txt-link-abbreviated"
href="mailto:tara.goldstein@utoronto.ca">tara.goldstein@utoronto.ca</a></span></strong><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<strong><span style="font-size:14.0pt;font-family:Garamond;
mso-fareast-font-family:"ＭＳ
明朝";mso-fareast-theme-font:minor-fareast;
mso-bidi-font-family:Arial;color:#333333;mso-ansi-language:EN-US;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" lang="EN-US"><br
style="mso-special-character:line-break;
page-break-before:always" clear="all">
</span></strong>
<p class="MsoNormal"><strong><span
style="font-size:14.0pt;font-family:
Garamond;mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p> </o:p></span></strong></p>
<p class="MsoNormal"><strong><span
style="font-size:14.0pt;font-family:
Garamond;mso-bidi-font-family:Arial;color:#333333"
lang="EN-US">Stopping the Breath: an exploratory workshop</span></strong><b><span
style="font-size:14.0pt;
font-family:Garamond;mso-bidi-font-family:Arial;color:#333333;mso-ansi-language:
EN-CA"><o:p></o:p></span></b></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizer: Maria
Meindl (</span><a moz-do-not-send="true"
href="mailto:mvmeindl@gmail.com"><span
style="font-family:Garamond;mso-bidi-font-family: Arial">mvmeindl@gmail.com</span></a><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">)<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">The
way we breathe affects the way we move, and this, in turn,
affects our breathing. Equally important is the way we stop
breathing, and we all do it as part of normal
functioning. This workshop will bring awareness to habits of
stopping and starting the breath which often lie beneath the
level of consciousness. Since breathing is both a voluntary
and an involuntary activity, exploring habits of breathing
affords access to the liminal territory between nature and
culture.<br>
<br>
Elsa Gindler (1885-1961) wrote: "The pause, or rest, after
exhalation must not be lifeless. It should never be a matter
of holding the breath. On the contrary, it should most closely
resemble the pause we experience in music – which is the vital
preparation for what is to follow" (10). Yet there is a reason
Gindler felt the need to articulate this thought. Stopping the
breath is often associated with death. It is a moment of both
fear and possibility.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">One
accessible way to work with stopping the breath is through the
Feldenkrais Technique (which was influenced by Elsa Gindler’s
work). The workshop will consist of a Feldenkrais lesson
(called “Stopping the Breath”) followed by a discussion. The
discussion will focus on the question of how the very real
threat of destruction shapes our work, just as habits of
breathing shape our bodies. What can the experience of
consciously stopping the breath teach us? What possibilities
arise when any unconscious habits are brought to light? How
can fear transform to possibility? <br>
<br>
Named for Moshe Feldenkrais (1904-1984) the Feldenkrais
Technique uses gentle movement and directed attention to
enhance functioning. The movements are based on martial arts
and child development, yet the method is based on
proprioception, rather than on following external forms. The
group practice of Feldenkrais involves lying on a mat while a
teacher verbally guides students through a series of pleasant
and deceptively simple movements designed to bring awareness
to underlying habits.<br>
<br>
<strong><u><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Works
Cited</span></u></strong><br>
Gindler, Elsa. “Gymnastik for People whose Lives are Full of
Activity.” Translated by The Charlotte Selver Foundation. <em><span
style="font-family: Garamond;mso-bidi-font-family:Arial">Bone
Breath and Gesture: Practices of Embodiment </span></em>edited
by Don Hanlon Johnson. Berkeley, California: North Atlantic
Books, 1995. pp. 5-14. Print.<br>
<br>
<strong><u><span
style="font-family:Garamond;mso-bidi-font-family:Arial">Equipment</span></u></strong><br>
Participants are asked to wear loose and comfortable clothing.
Please bring a yoga mat. No auditors, please, but all are
welcome to participate.<br>
<br>
---<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><strong><span
style="font-size:
14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p> </o:p></span></strong></p>
<p style="margin:0in;margin-bottom:.0001pt"><strong><span
style="font-size:
14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Articulating
Artistic Research 5.0: Positioning the Researcher with/in
Artistic Research</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-bidi-font-family:Arial;
color:#333333"><o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Organizers: Bruce
Barton (University of Calgary) & Natalia Esling
(University of Toronto)<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
year’s “Articulating Artistic Research” praxis seminar extends
conversations and investigations developed through its past
four sessions, shifting attention to the position(ing) of the
researcher in Artistic Research. Building on previous seminar
discussions of <em><span style="font-family:Garamond;
mso-bidi-font-family:Arial">methodology </span></em>(CATR
2013)<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">,
utility </span></em>(2014),<em><span
style="font-family:Garamond;mso-bidi-font-family:Arial"> epistemology </span></em>(2015),
and <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">results </span></em>(2016),
AAR 5.0 will focus specifically on the role of the researcher
– as facilitator, collaborator, subject, material, observer,
recorder, articulator, analyst, creator – and the critical
impact of this role on the environment in which it operates –
through presence, absence, influence, displacement,
adaptation, affect.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">We
welcome proposals that consider the many ways that researchers
are positioned and position themselves within
research-creation contexts, across the spectrum from deeply
embedded to critical/analytical observation.<o:p></o:p></span></p>
<ul type="disc">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l6 level1 lfo9;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How are these
different placements direct expressions of the research’s
theoretical underpinnings and methodological frameworks?</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l6 level1 lfo9;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">In what ways are a
researcher’s possible placements predetermined by her
prior education, training, and experience, her personal
history and habits, her mental and/or physical capacities?</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l6 level1 lfo9;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">How do these
positions within the processes shape and define potential
outcomes and articulate epistemological possibilities and
priorities?</span></strong><b style="mso-bidi-font-weight:
normal"><span style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
</ul>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">As
was the case in the previous four iterations of this seminar,
next year’s gathering is meant as a forum to explore diversity
in motivation, design, execution, and documentation. However,
participants will once again be called upon to <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">explicitly</span></em> articulate
their practices with direct reflection on the following
aspects: <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">focus,
context, participants, methodology, process design,
documentation</span></em>, <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">dissemination,</span></em> and <em><span
style="font-family:Garamond;mso-bidi-font-family:Arial">utility</span></em>.
Through this process of detailed articulation, we hope to draw
particular attention to the expanded epistemological horizons
attainable within artistic research contexts. We also hope to
identify innovative models that may be transferred and adopted
within other artistic research contexts and, potentially,
within more traditionally organized research processes.<o:p></o:p></span></p>
<ol start="1" type="1">
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">A selection of no
more than 12 participants will be invited to attend the
seminar in accord with the above noted criteria.</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">By <u>March 30th,
2017</u>, all invited participants will share
(electronically) with the full group an approx. 3000-word
articulation of a personal Artistic Research activity </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US">that explicitly addresses the
above-identified aspects</span></em><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman";
mso-bidi-font-family:Arial;font-weight:normal;mso-bidi-font-weight:bold"
lang="EN-US">. (Additional criteria for these documents
will be distributed to all accepted participants.)</span></strong><b
style="mso-bidi-font-weight: normal"><span
style="font-size:10.0pt;font-family:Garamond;
mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">Between <u>March
30<sup>th</sup></u><sup> </sup>and <u>April 30<sup>th</sup></u>, the
first stage of seminar engagement will consist of an
electronic forum, in which participants of the full
seminar group will discuss a selection of published
articles addressing the theories and practices of Artistic
Research internationally. The focus of this exchange will
be issues of </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">process
design</span></em><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">, </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">methodology</span></em><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">, </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">epistemological</span></em><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US"> </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial" lang="EN-US">orientation</span></em><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">, and </span></strong><em><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US">research roles and positions </span></em><strong><span
style="font-size:10.0pt;
font-family:Garamond;mso-fareast-font-family:"Times
New Roman";mso-bidi-font-family:
Arial;font-weight:normal;mso-bidi-font-weight:bold"
lang="EN-US">in Artistic Research.</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">After <u>April 30<sup>th</sup></u>, the
invited participants will be organized into two or three
sub-groups (depending upon the number of participants),
according to shared interest/focus, and tasked with a
structured pre-conference exchange leading to
in-conference collaboration.</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The actual seminar
will involve two or three workshop-style Artistic Research
exercises designed and facilitated by the sub-groups,
involving the participation of other members of the full
seminar and attending conference participants.</span></strong><b
style="mso-bidi-font-weight:normal"><span style="font-size:
10.0pt;font-family:Garamond;mso-fareast-font-family:"Times New
Roman"; mso-bidi-font-family:Arial" lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The final hour of
the seminar will take the form of an open discussion
between the seminar participants and audience members.</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
<li class="MsoNormal"
style="color:#333333;mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;mso-list:l7 level1 lfo10;tab-stops:list .5in"><strong><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New
Roman";mso-bidi-font-family:Arial;font-weight:normal;
mso-bidi-font-weight:bold" lang="EN-US">The entire seminar
will be open to all conference attendees.</span></strong><b
style="mso-bidi-font-weight:normal"><span
style="font-size:10.0pt;font-family:Garamond;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:Arial"
lang="EN-US"><o:p></o:p></span></b></li>
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<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Seminar
proposals should be sent to Natalia Esling (</span><a
moz-do-not-send="true"
href="mailto:natalia.esling@mail.utoronto.ca"><span
style="font-family:Garamond; mso-bidi-font-family:Arial">natalia.esling@mail.utoronto.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)
and Bruce Barton (</span><a moz-do-not-send="true"
href="mailto:bruce.barton@ucalgary.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">bruce.barton@ucalgary.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">)
no later than<strong><span
style="font-family:Garamond;mso-bidi-font-family:Arial"> Friday,
February 17<sup>th</sup>, 2017</span></strong>.<o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">---<o:p></o:p></span></p>
<h3 style="margin-top:0in"><strong><span style="font-size:14.0pt;
font-family:Garamond;mso-fareast-font-family:"Times New
Roman";mso-bidi-font-family: Arial;color:#333333"
lang="EN-US">Natural Clowning Session</span></strong><span
style="font-size:14.0pt;font-family:Garamond;mso-fareast-font-family:"Times
New Roman"; mso-bidi-font-family:Arial;color:#333333"
lang="EN-US"><o:p></o:p></span></h3>
<p style="margin:0in;margin-bottom:.0001pt"><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Workshop leader:
Megan Hyslop<o:p></o:p></span></p>
<p style="margin:0in;margin-bottom:.0001pt"><em><span
style="font-family:Garamond;
mso-bidi-font-family:Arial;color:#333333">Deadline: February
17, 2017</span></em><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"><o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">This
is actually a Call For Participation – seeking fellow theatre
researchers to act as participatory audience members for a
doctoral pilot performance autoethnography and
post-performance feedback activity that privileges the
physical and imaginal, as different to the verbal. At a time
in my life when I became increasingly frustrated with human
impact on the environment, theatre and clowning was the answer
I received. How can the physical, dialogical qualities of
clowning advance the human ability to be in physical
connection and dialogue with the more-than-human, especially
for non-Indigenous Canadians? This performance will explore my
ongoing personal and academic journey in the gifts and
connections between clowning and the natural world. As long as
it isn’t pouring rain, we will be outside, so please dress for
the weather. <o:p></o:p></span></p>
<p><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333">Please
contact Megan at </span><a moz-do-not-send="true"
href="mailto:meganhyslop@yahoo.ca"><span
style="font-family:Garamond;mso-bidi-font-family:Arial">meganhyslop@yahoo.ca</span></a><span
style="font-family:Garamond;mso-bidi-font-family:Arial;color:#333333"> by
<b style="mso-bidi-font-weight:normal">17 February 2017</b> to
express interest in the session. <o:p></o:p></span></p>
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