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<div class="column"><p class=""><font face="Gotham" class=""><span style="font-size: 14.666666984558105px;" class="">Friends! I’m pleased to announce the publication of TRIC/RTAC 38.2, a special issue on multilingual theatre in Canada, co-edited by Art Babyants and Nicole Nolette. The table of contents is below; look for the issue in your mailboxes and online shortly.</span></font></p><div class="">***</div><p class=""><span style="font-family: Gotham; font-size: 11pt;" class="">Art Babayants and
Nicole Nolette</span></p><div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p class=""><span style="font-size: 11.000000pt; font-family: 'HoeflerText'" class="">Introduction: Defying the
Monolingual Stage/ Bousculer la
scène unilingue<br class="">
Présentation : Bousculer la scène
unilingue/ Defying the Monolingual
Stage
</span></p><p class=""><span style="font-family: Gotham; font-size: 14.666666984558105px; font-weight: bold;" class="">ARTICLES</span></p><p class=""><span style="font-family: Gotham; font-size: 11pt;" class="">Eva C. Karpinski, "</span><span style="color: rgb(11, 11, 11); font-family: HoeflerText; font-size: 11pt;" class="">Can Multilingualism Be a Radical
Force in Contemporary Canadian
Theatre? Exploring The Option of
Non-Translation"</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Maryse Sullivan, "</span><span style="font-size: 11pt; font-family: HoeflerText;" class="">Écrire et se traduire : le bilinguisme
dans </span><span style="font-size: 11pt; font-family: HoeflerText; font-style: italic;" class="">L a M aculée/sT ain </span><span style="font-size: 11pt; font-family: HoeflerText;" class="">et
l’autotraduction chez Madeleine
Blais-Dahlem"</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Aida Jordão, "</span><span style="font-family: HoeflerText; font-size: 11pt;" class="">The Alt Stage and the Po-mo Page:
Canadian Spaces for an Anglo-
Portuguese Dramaturgy"</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Cassandra Silver, "</span><span style="font-family: HoeflerText; font-size: 11pt;" class="">Making the Bedouins: Code-
Switching as Model for the
Translation of Multilingual Drama"</span></p></div></div>
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<div class="column"><p class=""><span style="font-size: 11.000000pt; font-family: 'Gotham'; font-weight: 700" class="">INTERVIEW
</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Annie Smith, "</span><span style="font-family: HoeflerText; font-size: 11pt;" class="">Indigenous Languages on Stage:
A Roundtable Conversation with
Five Indigenous Theatre Artists"</span></p><p class=""><span style="font-size: 11.000000pt; font-family: 'Gotham'; font-weight: 700" class="">FORUM
</span></p><p class=""><font face="Gotham" class=""><span style="font-size: 11pt;" class="">Sebastian Samur, "</span></font><span style="font-size: 11pt; font-family: HoeflerText;" class="">'</span><span style="font-size: 11pt; font-family: HoeflerText; font-style: italic;" class="">In Sundry L anguages'</span><span style="font-size: 11pt; font-family: HoeflerText;" class="">: Pleasure and
Disorientation through Multilingual
Melange"</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Geneviève Robichaud, "</span><span style="font-family: HoeflerText; font-size: 11pt;" class="">Hospitality Matters: Un entretien
avec PME-ART"</span></p><p class=""><span style="font-size: 11pt; font-family: Gotham;" class="">Jennifer Heywood and
Gabrielle Houle, "</span><span style="font-family: HoeflerText; font-size: 11pt;" class="">Navigating the Rapids: Teaching
Bilingual Theatre Courses in Canada"</span></p><p class=""><br class=""></p></div></div></div></div></div></div><div class="layoutArea"><div class="column">
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<div style="color: rgb(0, 0, 0); letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div style="color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px;"><b class="">KIM SOLGA</b><br class="">Editor in Chief, <i class="">Theatre Research In Canada/Recherches théâtrales au Canada</i><br class="">Professor, Theatre Studies<br class="">Department of English & Writing Studies<br class="">Arts and Humanities Building 3G14<br class="">Western University<br class="">London, ON N6A 3K7<br class="">CANADA<br class=""><br class=""><b class="">Questions about Theatre Studies @ Western? </b>Head to <a href="http://www.uwo.ca/theatrestudies/" class="">http://www.uwo.ca/theatrestudies/</a><br class=""><br class=""><b class="">Recently published</b><br class=""><i class="">Theatre & Feminism </i>(November 2015)<br class=""><i class="">Performance and the Global City</i> (2013; ppb 2015)<br class=""><i class="">New Canadian Realisms: Eight Plays </i>(2012)<br class=""></div></div></div>
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