<html><head></head><body><div style="color:#000; background-color:#fff; font-family:times new roman, new york, times, serif;font-size:16px"><div align="center" style="text-align:center;line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8767"><b id="yui_3_16_0_ym19_1_1544842571218_8768">Call for Participants - Laborarium Praxis Session<o:p id="yui_3_16_0_ym19_1_1544842571218_8769"></o:p></b></div><div align="center" style="text-align:center" id="yui_3_16_0_ym19_1_1544842571218_8770"><b id="yui_3_16_0_ym19_1_1544842571218_8771">Embodying
and Reflecting upon Postmarginality on Stage and in Rehearsal Halls<o:p id="yui_3_16_0_ym19_1_1544842571218_8772"></o:p></b></div><div id="yui_3_16_0_ym19_1_1544842571218_8773"><b id="yui_3_16_0_ym19_1_1544842571218_8774"> </b></div><div id="yui_3_16_0_ym19_1_1544842571218_8775"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8776">CATR/ACTR</span><span lang="EN-CA" style="font-family: Calibri, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8777"> </span><span lang="EN-CA" style="background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8778">Conference, University of British Colombia,
Vancouver, June 3-6, 2019<o:p id="yui_3_16_0_ym19_1_1544842571218_8779"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544842571218_8780"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8781">Organizers:
Peter Farbridge, Diana Manole and Soheil Parsa <o:p id="yui_3_16_0_ym19_1_1544842571218_8782"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544842571218_8783"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8784"> </span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8785"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8786">The polemic generated by Robert Lepage’s “Kanata” and “SLAV”
in 2018 has demonstrated the need for greater peripheral vision when creating
theatre that addresses marginalized communities, but also the need for both
mental and real-life spaces in which discussions about cultural appropriation
and artistic freedom can take place in secure, equal, and respectful ways. <o:p id="yui_3_16_0_ym19_1_1544842571218_8787"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8788"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8789">This praxis session will address some of the underlying
questions:<o:p id="yui_3_16_0_ym19_1_1544842571218_8790"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8791"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8792"> </span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8793"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8794">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8795">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8796">How can we become aware of our
hidden biases and/or prejudices? <o:p id="yui_3_16_0_ym19_1_1544842571218_8797"></o:p></span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8798"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8799">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8800">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8801">How can we share our differences
and our cultures with respect?<o:p id="yui_3_16_0_ym19_1_1544842571218_8802"></o:p></span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8803"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8804">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8805">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8806">How does the tension between
cultural appreciation vs. cultural appropriation affect professional relationships
in the rehearsal hall? <o:p id="yui_3_16_0_ym19_1_1544842571218_8807"></o:p></span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8808"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8809">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8810">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8811">How can we avoid and/or
challenge tokenism and essentialist tendencies in Canadian theatre? <o:p id="yui_3_16_0_ym19_1_1544842571218_8812"></o:p></span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8813"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8814">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8815">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8816">What rehearsal strategies and
approaches would facilitate a more comfortable and more effective interweaving
of different training systems, theatre traditions, abilities and cultures? <o:p id="yui_3_16_0_ym19_1_1544842571218_8817"></o:p></span></div><div style="margin-left:.25in;mso-add-space:auto;mso-list:l0 level1 lfo1" id="yui_3_16_0_ym19_1_1544842571218_8818"><!--[if !supportLists]--><span lang="EN-CA" style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol" id="yui_3_16_0_ym19_1_1544842571218_8819">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";" id="yui_3_16_0_ym19_1_1544842571218_8820">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8821">Where would it lead us to think
of <i id="yui_3_16_0_ym19_1_1544842571218_8822">culture as practice</i> and of <i id="yui_3_16_0_ym19_1_1544842571218_8823">artistic identity</i> instead of the
majority-minorities sociopolitical construct?<o:p id="yui_3_16_0_ym19_1_1544842571218_8824"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8825"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8826"> </span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8827"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8828">This </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8829">90-minute participatory </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8830">workshop, which
incorporates demonstrations, acting exercises, somatic experiences, and design
thinking strategies, intends to bring citizens (audience) and artists together
to rethink how to address challenging issues in the arts, in particular those
related to inclusion. <o:p id="yui_3_16_0_ym19_1_1544842571218_8831"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8832"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8833"> </span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8834"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8835">The workshop will engage
participants in the praxis of Postmarginality</span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8836">, whose main objective is to
explore </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8837">how to
inspire <i id="yui_3_16_0_ym19_1_1544842571218_8838">creation through differences</i>
in the rehearsal hall. </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8839">The session will conclude with a
group self-reflection and discussions on rethinking the contemporary theatre vocabulary to reflect increasingly
globalized cities and regions in Canada and all over the world. </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8840"><o:p id="yui_3_16_0_ym19_1_1544842571218_8841"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8842"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8843"> </span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544842571218_8844"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8845">Please send a
brief letter of intention and a short biography to <b id="yui_3_16_0_ym19_1_1544842571218_8846">Dr. Diana Manole </b>at <b id="yui_3_16_0_ym19_1_1544842571218_8847">dianamanole@trentu.ca
</b>and <b id="yui_3_16_0_ym19_1_1544842571218_8848">Peter Farbridge </b>at </span><span id="yui_3_16_0_ym19_1_1544842571218_8849"><span lang="EN-CA" style="font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8850"></span></span><b id="yui_3_16_0_ym19_1_1544842571218_8851">peterfarbridge@moderntimesstage.com</b><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8852">. </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8853"><o:p id="yui_3_16_0_ym19_1_1544842571218_8854"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544842571218_8855"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8856"> </span></div><div id="yui_3_16_0_ym19_1_1544842571218_8857"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8858">Submissions are due on or before <b id="yui_3_16_0_ym19_1_1544842571218_8859">31 January 2019</b>.<strong id="yui_3_16_0_ym19_1_1544842571218_8860"><span style="mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;font-weight:normal" id="yui_3_16_0_ym19_1_1544842571218_8861"> <o:p id="yui_3_16_0_ym19_1_1544842571218_8862"></o:p></span></strong></span></div><div id="yui_3_16_0_ym19_1_1544842571218_8863"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8864"> </span></div><div id="yui_3_16_0_ym19_1_1544842571218_8336">
</div><div dir="ltr" id="yui_3_16_0_ym19_1_1544842571218_8865"><span lang="EN-CA" style="background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8866">Please note that
all participants must join or renew their </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8867">CATR</span><span lang="EN-CA" style="font-family: Calibri, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8868">
</span><span lang="EN-CA" style="background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;" id="yui_3_16_0_ym19_1_1544842571218_8869">memberships upon acceptance to
the workshop.</span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544842571218_8870"><o:p id="yui_3_16_0_ym19_1_1544842571218_8871"></o:p></span></div><div></div><div id="yui_3_16_0_ym19_1_1544842571218_8337"> </div><div class="signature" id="yui_3_16_0_ym19_1_1544842571218_8339"><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8338"><b style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544842571218_8345">Diana Manole, PhD</b><span style="font-family:serif;" id="yui_3_16_0_ym19_1_1544842571218_8344"> </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8340"><span id="yui_3_16_0_ym19_1_1535310574619_5194" style="background-color:rgb(255, 255, 255);font-family:serif;">Lecturer, </span><span id="yui_3_16_0_ym19_1_1535310574619_5183" style="background-color:rgb(255, 255, 255);font-family:serif;">Trent University & McMaster University</span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8341"><span style="font-family:serif;" id="yui_3_16_0_ym19_1_1544842571218_8556">Writer, Translator, Dramaturg</span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8342"><span style="font-family:new times, serif;"> </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8360"><span style="font-family: "new times", serif;" id="yui_3_16_0_ym19_1_1544842571218_9133">“ResignifyingMultilingualism in Canadian Accented Theatre.” </span><br></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8363"><span lang="EN-CA" style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544842571218_8362"><i>Performing Exile:</i> <i id="yui_3_16_0_ym19_1_1544842571218_9032">ForeignBodies</i>. Ed. Judith Rudakoff. <span style="background:white;" id="yui_3_16_0_ym19_1_1544842571218_8361">Bristol,UK: Intellect Books, 2017. Print. </span></span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544842571218_8386"><span style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544842571218_8908">Open Access at<span style="background:white;"> </span><span style="color:windowtext;text-decoration-line:none;" id="yui_3_16_0_ym19_1_1544842571218_8907"><a rel="nofollow" target="_blank" href="http://oapen.org/search?identifier=645370" id="yui_3_16_0_ym19_1_1544842571218_8906">http://oapen.org/search?identifier=645370</a></span></span></div></div></div></body></html>