<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" id="yui_3_16_0_ym19_1_1544841181707_8201"><b id="yui_3_16_0_ym19_1_1544841181707_8202">Call
for Papers: Laborarium Curated Panel<o:p id="yui_3_16_0_ym19_1_1544841181707_8203"></o:p></b></div><div align="center" style="text-align:center" id="yui_3_16_0_ym19_1_1544841181707_8204"><b id="yui_3_16_0_ym19_1_1544841181707_8205">Embodying
and Reflecting upon Postmarginality on Stage and in Rehearsal Halls<o:p id="yui_3_16_0_ym19_1_1544841181707_8206"></o:p></b></div><div align="center" style="text-align:center" id="yui_3_16_0_ym19_1_1544841181707_8207"><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_1544841181707_8208"><o:p id="yui_3_16_0_ym19_1_1544841181707_8209"> </o:p></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8210"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8211">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_1544841181707_8212"> </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_1544841181707_8213">Conference, University of British Colombia,
Vancouver, June 3-6, 2019<o:p id="yui_3_16_0_ym19_1_1544841181707_8214"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8215"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8216">Organizers:
Peter Farbridge, Diana Manole and Soheil Parsa <o:p id="yui_3_16_0_ym19_1_1544841181707_8217"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8218"><b id="yui_3_16_0_ym19_1_1544841181707_8219"> </b></div><div id="yui_3_16_0_ym19_1_1544841181707_8220"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8221">The Postmarginal project, initiated by Soheil
Parsa, the co-artistic director of Modern Times Stage Company, has been
exploring for the last two years the creative potential of interweaving different
cultures, physical abilities, and gender identities in the rehearsal hall
through a mixture of laboratory and symposium, now called <i id="yui_3_16_0_ym19_1_1544841181707_8222">Laborarium</i>, organized in Toronto, Montreal, and Vancouver
(forthcoming). According to co-chairs Natalie Alvarez and Ric Knowles, the first
Postmarginal Symposium started from “the simple assumption that diversity is a
Good Thing [and] the very basis of the creative process.” The “post” in
“postmarginal” aimed to move the discussion beyond theoretical debates, by
exploring effective rehearsal strategies when working in culturally diverse groups.
In 2018, Modern Times continued this project with Montreal’s symposium, <i id="yui_3_16_0_ym19_1_1544841181707_8223">Postmarginal: La différence au cœur de la
pratique théâtrale</i>, along with Subject and Creation acting workshop in
Toronto. The latter’s main objective was to explore how the artists’ diverse
cultural backgrounds and performance traditions could enrich Canada’s theatre
vocabulary, challenging not only potential personal prejudices and/or
essentialist tendencies, but also tokenism as a “skin-deep and ineffective, but
tentatively celebratory, version of politically correct multiculturalism”
(Manole, </span><span lang="EN-CA" style="font-size:11.0pt;font-family:"Georgia",serif" id="yui_3_16_0_ym19_1_1544841181707_8224">“Multilayered
Diversity as Creative Asset,” <i id="yui_3_16_0_ym19_1_1544841181707_8225">alt.theatre</i>
14.3/2018).</span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8226"><o:p id="yui_3_16_0_ym19_1_1544841181707_8227"></o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544841181707_8228"><span lang="EN-CA" style="font-family:"Calibri",sans-serif;mso-ascii-theme-font:minor-latin;mso-hansi-theme-font:minor-latin;mso-bidi-theme-font:minor-latin" id="yui_3_16_0_ym19_1_1544841181707_8229"><o:p id="yui_3_16_0_ym19_1_1544841181707_8230"> </o:p></span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544841181707_8231"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8232">This panel invites
</span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8233">participants
to investigate <i id="yui_3_16_0_ym19_1_1544841181707_8234">postmarginality</i> as a
theoretical concept and praxis that aim to integrate differences in/through the
creative process and particularly in rehearsals</span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8235">. </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8236">The papers may consider but are not limited to the following questions:
<o:p id="yui_3_16_0_ym19_1_1544841181707_8237"></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_1544841181707_8238"><!--[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_1544841181707_8239">·<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_1544841181707_8240">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8241">How can we become aware of our
hidden biases and/or prejudices? <o:p id="yui_3_16_0_ym19_1_1544841181707_8242"></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_1544841181707_8243"><!--[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_1544841181707_8244">·<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_1544841181707_8245">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8246">How can we share our differences
and our cultures with respect/self-respect?<o:p id="yui_3_16_0_ym19_1_1544841181707_8247"></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_1544841181707_8248"><!--[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_1544841181707_8249">·<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_1544841181707_8250">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8251">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_1544841181707_8252"></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_1544841181707_8253"><!--[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_1544841181707_8254">·<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_1544841181707_8255">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8256">How can we avoid and/or challenge
tokenism and essentialist tendencies in Canadian theatre? <o:p id="yui_3_16_0_ym19_1_1544841181707_8257"></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_1544841181707_8258"><!--[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_1544841181707_8259">·<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_1544841181707_8260">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8261">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_1544841181707_8262"></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_1544841181707_8263"><!--[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_1544841181707_8264">·<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_1544841181707_8265">
</span></span><!--[endif]--><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8266">Where would it lead us to think
of <i id="yui_3_16_0_ym19_1_1544841181707_8267">culture as practice</i> and of <i id="yui_3_16_0_ym19_1_1544841181707_8268">artistic identity</i> instead of the
majority-minorities sociopolitical construct?<o:p id="yui_3_16_0_ym19_1_1544841181707_8269"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8270"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8271"> </span></div><div id="yui_3_16_0_ym19_1_1544841181707_8272"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8273">The panel </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8274">welcomes a large range of methodologies,
from critical analyses and interdisciplinary approaches to auto-ethnographic
discussions of practitioners/academics. <o:p id="yui_3_16_0_ym19_1_1544841181707_8275"></o:p></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8276"><span lang="EN-CA" style="font-family:"TimesNewRomanPSMT",sans-serif;mso-bidi-font-family:TimesNewRomanPSMT;mso-fareast-language:EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8277"> </span></div><div style="line-height:115%" id="yui_3_16_0_ym19_1_1544841181707_8278"><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8279">Please send paper proposals
of no more than 250-300 words, accompanied by a 50-word abstract
and a short biography to <b id="yui_3_16_0_ym19_1_1544841181707_8280">Dr. Diana
Manole </b>at <b id="yui_3_16_0_ym19_1_1544841181707_8281">dianamanole@trentu.ca </b>and
<b id="yui_3_16_0_ym19_1_1544841181707_8282">Peter Farbridge </b>at </span><span id="yui_3_16_0_ym19_1_1544841181707_8283"><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_1544841181707_8284"></span></span><b id="yui_3_16_0_ym19_1_1544841181707_8285">peterfarbridge@moderntimesstage.com</b><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8286">. Proposals are due on or before <strong id="yui_3_16_0_ym19_1_1544841181707_8287">4 January 2019</strong><strong id="yui_3_16_0_ym19_1_1544841181707_8288"><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_1544841181707_8289">. <o:p id="yui_3_16_0_ym19_1_1544841181707_8290"></o:p></span></strong></span></div><div id="yui_3_16_0_ym19_1_1544841181707_8291"><strong id="yui_3_16_0_ym19_1_1544841181707_8292"><span lang="EN-CA" style="mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;font-weight:normal" id="yui_3_16_0_ym19_1_1544841181707_8293"> </span></strong></div><div id="yui_3_16_0_ym19_1_1544841181707_7643">
</div><div dir="ltr" id="yui_3_16_0_ym19_1_1544841181707_8294"><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_1544841181707_8295">Please note that
all participants must join or renew their </span><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8296">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_1544841181707_8297">
</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_1544841181707_8298">memberships upon acceptance to
the session.</span><strong id="yui_3_16_0_ym19_1_1544841181707_8299"><span lang="EN-CA" style="mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;font-weight:normal" id="yui_3_16_0_ym19_1_1544841181707_8300"> </span></strong><span lang="EN-CA" id="yui_3_16_0_ym19_1_1544841181707_8301"><o:p id="yui_3_16_0_ym19_1_1544841181707_8302"></o:p></span></div><div></div><div id="yui_3_16_0_ym19_1_1544841181707_7661"> </div><div class="signature" id="yui_3_16_0_ym19_1_1544841181707_7663"><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7662"><b style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544841181707_7986">Diana Manole, PhD</b><span style="font-family:serif;"> </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7664"><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_1544841181707_7665"><span style="font-family:serif;" id="yui_3_16_0_ym19_1_1544841181707_7985">Writer, Translator, Dramaturg</span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7666"><span style="font-family:new times, serif;"> </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7670"><span style="font-family:new times, serif;"> </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7672"><span lang="EN-CA" style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544841181707_7671">“ResignifyingMultilingualism in Canadian Accented Theatre.” </span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7875"><span lang="EN-CA" style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544841181707_7874"><i>Performing Exile:</i> <i>ForeignBodies</i>. Ed. Judith Rudakoff. <span style="background:white;" id="yui_3_16_0_ym19_1_1544841181707_7923">Bristol,UK: Intellect Books, 2017. Print. </span></span></div><div class="MsoNormal" style="line-height:normal;" id="yui_3_16_0_ym19_1_1544841181707_7699"><span style="font-family:new times, serif;" id="yui_3_16_0_ym19_1_1544841181707_7698">Open Access at<span style="background:white;"> </span><span style="color:windowtext;text-decoration-line:none;" id="yui_3_16_0_ym19_1_1544841181707_7696"><a rel="nofollow" target="_blank" href="http://oapen.org/search?identifier=645370" id="yui_3_16_0_ym19_1_1544841181707_7697">http://oapen.org/search?identifier=645370</a></span></span></div></div></div></body></html>