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<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black">Dear colleagues,
<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black">Please find below a CFP for a curated panel I’m co-organizing at this year’s Canadian Association for Theatre Research Conference. Please feel free to
circulate this call through your networks.<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black">With thanks,
<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black">Sasha Kovacs and Michael Elliott
<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><b><u><span style="font-family:"Times New Roman",serif;color:black">CALL FOR PAPERS</span></u></b><u><span style="font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></u></p>
<p class="MsoNormal" style="background:white"><b><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="background:white"><b><span style="font-family:"Times New Roman",serif;color:black">CONGRESS 2019<o:p></o:p></span></b></p>
<p class="MsoNormal" style="background:white"><b><span style="font-family:"Times New Roman",serif;color:black">Conference of the Canadian Association for Theatre Research / L’association canadienne de la recherche théâtrale</span></b><span style="font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:12.0pt;margin-left:144.0pt;text-indent:-144.0pt">
<b><span style="font-family:"Times New Roman",serif;color:black">Location: </span>
</b><span style="font-family:"Times New Roman",serif;color:black">University of British Columbia, Vancouver BC<b>
</b></span><span style="font-family:"Times New Roman",serif;color:black">(Unceded x</span><span style="font-family:"Cambria Math",serif;color:black">ʷ</span><span style="font-family:"Times New Roman",serif;color:black">məθk</span><span style="font-family:"Cambria Math",serif;color:black">ʷ</span><span style="font-family:"Times New Roman",serif;color:black">əy</span><span style="font-family:"Cambria Math",serif;color:black">̓</span><span style="font-family:"Times New Roman",serif;color:black">əm
(<a href="https://www.musqueam.bc.ca/">Musqueam</a>) Territory)<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:12.0pt;margin-left:144.0pt;text-indent:-144.0pt">
<b><span style="font-family:"Times New Roman",serif;color:black">Dates: </span></b><span style="font-family:"Times New Roman",serif;color:black">The
<a href="http://catracrt.ca/">CATR</a> meeting runs <i>June 3-6 2019</i> – <a href="https://www.congress2019.ca/">
Congress 2019</a> runs June <i>1-7 2019</i></span><span style="font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:12.0pt;margin-left:144.0pt;text-indent:-144.0pt">
<b><span style="font-family:"Times New Roman",serif;color:black">Curated Panel Title:</span></b><span style="font-family:"Times New Roman",serif;color:black"> Canadian Soundings—Plumbing the Depths of Voice in Canadian Theatre</span><span style="font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><b><span style="font-family:"Times New Roman",serif;color:black">Organizers</span></b><span style="font-family:"Times New Roman",serif;color:black">: Sasha Kovacs (University of Victoria)
<a href="mailto:alexandrakovacs@uvic.ca">alexandrakovacs@uvic.ca</a>; and Michael Elliott (University of Victoria)
<a href="mailto:michaelelliott@uvic.ca">michaelelliott@uvic.ca</a><o:p></o:p></span></p>
<p><span style="color:black">In nautical terms, a sounding is used to determine the depth of water under a ship. This curated panel takes inspiration from this marine procedure to locate the deep histories of the voice in Canadian performance, and to explore
how vocal practices and innovations impact and intersect with the buoyancy of certain habits, historiographies, and traditions in the Canadian theatre.
<o:p></o:p></span></p>
<p><span style="color:black">Since the late nineteenth century, the cadence, texture, and sound of the voice on the Canadian stage has transformed and transgressed. In the 1890’s Owen Smily, the touring partner of nationalist performer-poet E. Pauline Johnson
Tekahionwake, opened up a voice school that taught the Canadian accent (Braun and Keil 202). By the early twentieth century, the oral performance of literature was the key sound of the Canadian theatre, produced by and through instructional systems, such as
the “Emerson tradition” that crept into Canadian training institutions (Anderson). Into the 1930’s, the voices of Canadian theatre surfaced—widely experienced as the “polyphonic chorus” of the Workers Theatre’s “innovative agitprop form,” called mass recitation
(Filewod 122). By the 1970’s, George Ryga wrote in his influential essay “Three Statements” that “[…] the English theatrical accent was the passport to all manner of theatre absurdities in this country” (Ryga 350), and in his 1967 play that opened the National
Arts Centre, the complex politics of the voice are explored in the gestures of the play’s title character Rita Joe, who “wipes her lips as if trying to erase some stain there” (Ryga 40). Even in 1992, the highly esteemed international vocal coach Patsy Rodenburg
writes of the complexity of the voice in the Canadian theatrical tradition— in her book
<i>The Right to Speak </i>she recalls “the uproar at a Canadian voice conference [she] attended in French-Speaking Montreal when a Parisian voice coach bluntly asserted that ‘no Canadian actor could speak the plays of Molière or Racine because they sounded
too coarse’” (5). Across the histories of Canada’s Anglo, French, and Indigenous theatre communities, questions about “vocal imperialism” (Rodenburg 5), the voice of theatrical nationalism, and the sound(s) of exclusion runs deep. This panel invites contributions
from researchers, artists, and pedagogues who would like to further plumb these depths.<o:p></o:p></span></p>
<p><span style="color:black">We invite contributions that intersect with the following topics:
<o:p></o:p></span></p>
<ul type="disc">
<li style="color:black;mso-list:l0 level1 lfo1">Histories of vocal training and the impacts and resonances of vocal training practices on Canadian performance outputs<o:p></o:p></li><li style="color:black;mso-list:l0 level1 lfo1">Current practices, approaches, and experiences of voice pedagogy in Canadian theatre training institutions<o:p></o:p></li><li style="color:black;mso-list:l0 level1 lfo1">Historiographies of the Canadian theatre’s voice and vocal sound; re-evaluations of Canadian theatre history from the perspective of aurality/sound transmission/reception<o:p></o:p></li><li style="color:black;mso-list:l0 level1 lfo1">The expression (rhythm, tone, timbre, grain), embodiment, and characterization of the voice in Canadian plays, performances, and performance documents<o:p></o:p></li><li style="color:black;mso-list:l0 level1 lfo1">Intersections between the voice of Canadian theatre and questions of gender, sexuality, age, dis/ability, Indigeneity, diversity<o:p></o:p></li><li style="color:black;mso-list:l0 level1 lfo1">The sound of the local, regional, national and international voice on the Canadian stage and its intersections with and impact upon identity<o:p></o:p></li></ul>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Interested panelists are invited to submit an approximately
<b>500-word abstract</b> clarifying their proposed contribution to the panel, as well as a no more than
<b>250-word bio</b> clarifying their expertise. Please email these materials to Alexandra (Sasha) Kovacs, panel co-organizer:
<span class="MsoHyperlink"><span style="color:black"><a href="mailto:alexandrakovacs@uvic.ca"><span style="color:black">alexandrakovacs@uvic.ca</span></a></span></span>. Deadline for submissions is
</span><b><span style="font-family:"Times New Roman",serif;color:black">4 January 2019.</span></b><span style="font-size:11.0pt;font-family:"Times New Roman",serif"><o:p></o:p></span></p>
<p><b><u><span style="color:black">Works Cited: </span></u></b><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black;background:white">Anderson, John Dennis. “The medium is the mother: Elsie McLuhan, elocution and her son
<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif;color:black;background:white">Marshall,”
<i>Text and Performance Quarterly</i> 37:2 (2017): 110-128.</span><span style="font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Braun and Keil.
<i>The Sounds of Early Cinema</i>. Bloomington: Indiana University Press, 2001. <o:p>
</o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Filewod, Alan.
<i>Committing Theatre: Theatre Radicalism and Political Intervention in Canada.</i> Toronto:
<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif;color:black">Between the Lines, 2011.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Rodenburg, Patsy.
<i>The Right to Speak: Working with the Voice</i>. London: Methuen, 1992. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Ryga, George.
<i>The Ecstasy of Rita Joe. </i>In Modern Canadian Plays. Vol 1, 4<sup>th</sup> Edition. Ed. Jerry
<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif;color:black">Wasserman. Vancouver: Talonbooks, 2000.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black">Ryga, George. “Theatre in Canada: Three Statements” In
<i>Canadian Theatre History: Selected Readings. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif;color:black">Ed. Don Rubin. Mississauga (ON): Copp Clark Ltd., 1996.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black;background:yellow;mso-highlight:yellow"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
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<p class="MsoNormal"><span style="font-family:"Times New Roman",serif;color:#333333"><img border="0" width="103" height="142" style="width:1.0729in;height:1.4791in" id="Picture_x0020_1" src="cid:image001.jpg@01D48E41.FDB234C0" alt="uvic.ca"><o:p></o:p></span></p>
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<p class="MsoNormal" style="mso-line-height-alt:10.5pt;vertical-align:baseline"><span style="font-family:"Times New Roman",serif;color:#002958;border:none windowtext 1.0pt;padding:0cm">Dr. Alexandra (Sasha) Kovacs</span><span style="font-family:"Times New Roman",serif;color:#002958"><br>
Assistant Professor<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:10.5pt;vertical-align:baseline"><span style="font-family:"Times New Roman",serif;color:#002958"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:10.5pt;vertical-align:baseline"><span style="font-family:"Times New Roman",serif;color:#002958">Department of Theatre<br>
<a href="http://www.uvic.ca" title="uvic.ca"><span style="color:#002958;border:none windowtext 1.0pt;padding:0cm;text-decoration:none">University of Victoria</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:10.5pt;vertical-align:baseline"><span style="font-family:"Times New Roman",serif;color:#002958"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:10.5pt;vertical-align:baseline"><span style="font-family:"Times New Roman",serif;color:#002958">T 250-721-8008<br>
alexandrakovacs@uvic.ca <o:p></o:p></span></p>
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