<html xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:m="http://schemas.microsoft.com/office/2004/12/omml" xmlns="http://www.w3.org/TR/REC-html40">
<head>
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<meta name="Title" content="">
<meta name="Keywords" content="">
<meta name="Generator" content="Microsoft Word 15 (filtered medium)">
<style><!--
/* Font Definitions */
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;}
@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;}
@font-face
{font-family:Tahoma;
panose-1:2 11 6 4 3 5 4 4 2 4;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{margin:0cm;
margin-bottom:.0001pt;
font-size:11.0pt;
font-family:"Calibri",sans-serif;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
text-decoration:underline;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-priority:99;
color:purple;
text-decoration:underline;}
p
{mso-style-priority:99;
margin:0cm;
margin-bottom:.0001pt;
font-size:11.0pt;
font-family:"Calibri",sans-serif;}
span.EmailStyle18
{mso-style-type:personal;
font-family:"Calibri",sans-serif;
color:windowtext;}
span.EmailStyle19
{mso-style-type:personal-reply;
font-family:"Calibri",sans-serif;
color:windowtext;}
span.msoIns
{mso-style-type:export-only;
mso-style-name:"";
text-decoration:underline;
color:teal;}
.MsoChpDefault
{mso-style-type:export-only;
font-size:10.0pt;}
@page WordSection1
{size:595.0pt 842.0pt;
margin:72.0pt 72.0pt 72.0pt 72.0pt;}
div.WordSection1
{page:WordSection1;}
--></style>
</head>
<body bgcolor="white" lang="EN-US" link="blue" vlink="purple">
<div class="WordSection1">
<p class="MsoNormal"><span style="font-size:12.0pt">Hello CanDRAMA colleagues!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Please check out the following CFP for Performance Paradigm.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Best,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Jenn<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<div>
<p class="MsoNormal"><span style="font-size:10.0pt">Jenn Stephenson<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Professor and Chair of Undergraduate Studies<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Dan School of Drama and Music<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Queen’s University<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Editor-in-Chief, <i>Canadian Theatre Review</i><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Phone | 613-533-6000 x78597<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Email | <a href="mailto:jenn.stephenson@queensu.ca">
<span style="color:#0563C1">jenn.stephenson@queensu.ca</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Twitter | @queensjenn<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt">Blog | realtheatre.blog<o:p></o:p></span></p>
</div>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"> <o:p></o:p></p>
<div id="divtagdefaultwrapper">
<div id="Signature">
<div id="divtagdefaultwrapper">
<div>
<div>
<div>
<div>
<div>
<div>
<p class="MsoNormal" style="background:white"><span style="font-size:10.0pt;font-family:"Tahoma",sans-serif;color:black"> </span><o:p></o:p></p>
</div>
<div>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<b><span style="color:black">CFP Performance Paradigm 14, Performance, Politics and Non-Participation</span></b><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">Co-editors: Caroline Wake (UNSW, Sydney) and Emma Willis (University of Auckland)</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">I would prefer not to. —Bartleby, the Scrivener (1853)</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p style="background:white"><span style="color:black">Like Bartleby, the legal clerk who famously decides that he would prefer not to, this issue of
<i>Performance Paradigm</i>—an open-access, peer-reviewed journal now in its 14th year—investigates the politics and performance of non-participation. The figure of Bartleby appears everywhere in political theory and philosophy: in Gilles Deleuze’s “Bartleby,
ou la formule” (1989); in Giorgio Agamben’s companion piece (1993; published in English 1999); in Michael Hardt and Antonio Negri’s
<i>Empire </i>(2000); and in Slavoj </span><span style="color:#222222">Žižek</span><span style="color:black">’s
<i>The Parallax View </i>(2010). In performance, his spirit manifests in Noor Afshan Mirza and Brad Butler’s project
<i>Museum of Non-Participation </i>(from 2007). In performance scholarship, he recently appeared in Daniel Sack’s
<i>After Live: Possibility, Potentiality and the Future of Performance </i>(2015). Perhaps we hear him in phrases such as “don’t do it on my account” and catchphrases such as “computer says no”. We might even see him, his slogan printed on a bag or a t-shirt.
What are we to make of the fact that more than 160 years after Bartleby first appeared, both pizza ads and productivity coaches proclaim: “No is the new yes” (Huffington Post 2012; Kellaway 2017; Schwartz 2012)? And what is the difference between the “no”
and the “non” when it comes to participation? One can choose not to participate (refuse) or one may be excluded from participation, which is altogether different. Is to refuse important in and of itself or should it build towards action; is it, in fact, more
a type of action—a striking against—than non-participation? </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">Participation and performance have been well theorised by Jen Harvie (2013), Josephine Machon (2013), and Adam Alston (2016), among others. This journal issue extends that work by examining participation’s silent siblings: withdrawals,
refusals, boycotts, strikes, and even the occasional sulk in the corner. So many participatory performances rely on a mode of compulsory conviviality that eventually becomes coercive. In Helen Iball’s memorable phrase, spectators generally want to “give good
audience” so that the artist’s work may “work” (Heddon, Iball and Zerihan 2012: 124). Except when they don’t. Sometimes audiences don’t feel like swallowing the strawberry (Heddon, Iball and Zerihan 124) or tipping the bucket icy water over the performer (Cairns
366). Or, having done so, they feel remorse not only at their actions but at doing the artist’s bidding so easily (Cairns 366). On other occasions, audiences
<i>do </i>want to participate but find themselves excluded because an artist has not factored in different regimes of the senses and their associated accessibility needs. On still other occasions, artists and audiences have conscientious objections—to structures,
to sponsors, to subject matter—in which case they might boycott the event (Warsza 2017). In these instances, the artist never arrives at the scene of the performance and this becomes, in turn, the artwork.
</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">The irony of inviting you to <i>participate</i> in this issue of
<i>Performance Paradigm</i> is not lost on us. Nevertheless, we seek papers on any of the following topics listed below. We also welcome other provocations, suggestions and replies:</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Non-participation versus refusal and the question of volition</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span style="color:#212121">Suspension, inaction, non-production, inoperability</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Withdrawals, boycotts, strikes, and strike-breaking</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Voting and abstaining</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Interactivity, unhappy compliance, and cheery refusals</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Diversity, access, and “differential inclusion” (Mezzadra and Neilson 2013)</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Uninviting aesthetics (to rewrite White 2013)</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">The operations of consent in theatre and performance (see LaFrance 2013)</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Permissions, waivers, and disclaimers</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Curfews, bans, and censorship</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">“I can’t work under these conditions!”</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">Humour as refusal</span><o:p></o:p></p>
<p style="margin-left:36.0pt;text-indent:-18.0pt;background:white"><span lang="EN-AU" style="font-family:Symbol;color:black">·</span><span lang="EN-AU" style="font-size:7.0pt;font-family:"Times New Roman",serif;color:black">
</span><span lang="EN-AU" style="color:black">On “slow scholarship” (Mountz et al 2015) and other academic subversions of the participatory imperative</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">Please send proposals of approximately 300 words to Caroline Wake (<a href="mailto:c.wake@unsw.edu.au"><span style="color:#0563C1">c.wake@unsw.edu.au</span></a>) and Emma Willis (<a href="mailto:emma.willis@auckland.ac.nz"><span style="color:#0563C1">emma.willis@auckland.ac.nz</span></a>)
by Monday 15 January 2018. Full articles will be due on 31 May 2018 for publication in December 2018.</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black"> </span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<b><span style="color:black">Works Cited</span></b><o:p></o:p></p>
<p style="text-indent:-36.0pt;background:white"><span style="color:black">Agamben, Giorgio, and Gilles Deleuze.
<i>Bartleby: La formula della crellzione</i> (Macerata: Quodlibet, 1993). </span>
<o:p></o:p></p>
<p class="MsoNormalCxSpFirst" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Alston, Adam. <i>Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation</i>. (Basingstoke: Palgrave Macmillan, 2016)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Cairns, Jon. “Ambivalent Intimacies: Performance and Domestic Photography in the Work of Adrian Howells.:
<i>Contemporary Theatre Review </i>22.3 (2012): 355–71.</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Hardt, Michael, and Antonio Negri. <i>Empire </i>(Cambridge MA: Harvard University Press, 2000)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Harvie, Jen. <i>Fair Play: Art, Performance, and Neoliberalism</i> (Basingstoke: Palgrave Macmillan, 2013)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Heddon, Deirdre, Helen Iball, and Rachel Zerihan. ‘Come Closer: Confessions of Intimate Spectators in One to One Performance.’
<i>Contemporary Theatre Review </i>22.1 (2012): 120–33.</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">LaFrance, Mary. “The Disappearing Fourth Wall: Law, Ethics, and Experiential Theatre.”
<i>Vanderbilt Journal of Entertainment and Technology Law </i>15.3 (2013): 507–82.
<a href="https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.jetlaw.org%2Fwp-content%2Fuploads%2F2013%2F03%2FLaFrance.pdf&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C1%7C636476276379640983&sdata=cfNGYuHR2%2F1ispx0WBDD%2FsLkma72k%2BgcHCu3fz%2F65%2Bs%3D&reserved=0">
<span style="color:#0563C1">http://www.jetlaw.org/wp-content/uploads/2013/03/LaFrance.pdf</span></a>
</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">“‘No is the New Yes’ Domino’s Pizza Ad Offends Some With Apparent Rape Innuendo.”
<i>Huffington Post</i> 12 July 2012: <a href="https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.huffingtonpost.com%2F2012%2F07%2F11%2Fdominos-artisan-pizza-ad-rape-_n_1665612.html&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=FD6i5aOhiUDp4mw2XurHLS1PffUgLJjhyU2zdwmpwH8%3D&reserved=0">
<span style="color:#0563C1">http://www.huffingtonpost.com/2012/07/11/dominos-artisan-pizza-ad-rape-_n_1665612.html</span></a>
</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Kellaway, Lucy. “Why Most Successful People Just Say No.”
<i>Financial Times</i> 11 June 2017: <a href="https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ft.com%2Fcontent%2F0a7977ac-4cf5-11e7-919a-1e14ce4af89b%3Fmhq5j%3De3&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=WrGQtWdmBawQ1UsBYDkT71u2qdrwOKgRgbdE8Di4%2BHU%3D&reserved=0">
<span style="color:#0563C1">https://www.ft.com/content/0a7977ac-4cf5-11e7-919a-1e14ce4af89b?mhq5j=e3</span></a>
</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Machon, Josephine. <i>Immersive Theatres: Intimacy and Immediacy in Contemporary Performance</i> (Basingstoke: Palgrave, 2013)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Mezzadra, Sandro, and Brett Neilson. <i>Border as Method, or, the Multiplication of Labor</i> (Durham: Duke University Press, 2013)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Mirza, Noor Afshan, and Brad Butler. <i>Museum of Non-Participation</i>
<a href="https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.museumofnonparticipation.org%2Findex.php&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=anotcNSXC3C2wutbIBWUpj8iyFvgTiMsWyAoMAtIltQ%3D&reserved=0">
<span style="color:#0563C1">http://www.museumofnonparticipation.org/index.php</span></a>
</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Mountz, Alison, Anne Bonds, Becky Mansfield, Jenna Llloyd, Jennifer Hyndman, Margaret Walton-Roberts, Ranu Basu, Risa Whitson, Roberta Hawkins, Trina Hamilton, and Winifred Curran. “For Slow Scholarship: Feminist Politics of Resistance
through Collective Action in the Neoliberal University.” <i>ACME: An International E-Journal for Critical Geographies</i> 14.4. (2015): 1235–259.</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Sack, Daniel. <i>After Live: Possibility, Potentiality and the Future of Performance</i> (Ann Arbor: University of Michigan Press, 2015)</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Schwartz, Tony. “‘No’ Is the New ‘Yes’: Four Practices to Reprioritize Your Life.”
<i>Harvard Business Review</i> 17 January 2012: <a href="https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fhbr.org%2F2012%2F01%2Fno-is-the-new-yes-four-practic.html&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=7XZEoQp0XQGMhTrQySuGU8c7u7wMtG63geGMp88q1Ag%3D&reserved=0">
<span style="color:#0563C1">https://hbr.org/2012/01/no-is-the-new-yes-four-practic.html</span></a>
</span><o:p></o:p></p>
<p class="MsoNormalCxSpMiddle" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">Warsza, Joanna, ed. <i>I Can’t Work Like This: A Reader on Recent Boycotts in Contemporary Art</i> (Sternberg Press, 2017)<i>
</i></span><o:p></o:p></p>
<p class="MsoNormalCxSpLast" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:36.0pt;mso-add-space:auto;text-indent:-36.0pt;background:white">
<span style="color:black">White, Gareth. <i>Audience Participation in Theatre: Aesthetics of the Invitation
</i>(Basingstoke: Palgrave Macmillan, 2013)</span><o:p></o:p></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</body>
</html>