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<p style="margin:0cm;margin-bottom:.0001pt;line-height:21.0pt;background:white"><span style="font-family:"Cambria",serif;color:black">Hello colleagues,<o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;line-height:21.0pt;background:white;background-position:initial initial;background-repeat:initial initial">
<span style="font-family:"Cambria",serif;color:black"><o:p> </o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;line-height:21.0pt;background:white"><span style="font-family:"Cambria",serif;color:black">With apologies for cross-posting, please see below on behalf of David Fancy and Conrad Alexandrowicz:<o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;line-height:21.0pt;background:white"><span style="font-family:"Cambria",serif;color:black"><o:p> </o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;background:white;background-position:initial initial;background-repeat:initial initial">
<b><span style="font-family:"Cambria",serif;color:black">Reimagining Theatre Pedagogy in the Era of Climate Crisis, or, Greta Thunberg Goes to Theatre School</span></b><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;background:white;background-position:initial initial;background-repeat:initial initial">
<b><span style="font-family:"Cambria",serif;color:black"> </span></b><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">What might we teach Swedish student activist Greta Thunberg if she were to choose post-secondary education in theatre? As she says, she has no reason to
fear speaking the truth: what approach to acting and theatre-making might we take with someone who declares to an international assembly, “You are not mature enough to tell it like it is; even that burden is left to us children”?<a name="_ednref1"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_edn1"><span style="mso-bookmark:_ednref1"><span class="MsoEndnoteReference"><sup><span style="font-family:"Cambria",serif;color:#954F72">[i]</span></sup></span></span><span style="mso-bookmark:_ednref1"></span></a><span style="mso-bookmark:_ednref1"></span><span class="apple-converted-space"> </span>We
doubt that Thunberg would decide to embark on a program of actor training as part of her university education—she seems headed for a career in politics—but by the law of averages<span class="apple-converted-space"> </span></span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black">many
millions of teenagers who are participating in the world-wide movement of school strikes for climate action will decide to do so. What will we contrive to teach them that will be worthy of the predicament we are in, and the needs they will have in the face
of it?<span class="apple-converted-space"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">What is the theatre pedagogy of a global emergency? Is there such a thing? How does the point of intersection between theatre pedagogy and practice engage
the ‘hyperobject’ (Morton)<a name="_ednref2"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_edn2"><span style="mso-bookmark:_ednref2"><span class="MsoEndnoteReference"><sup><span style="font-family:"Cambria",serif;color:#954F72">[ii]</span></sup></span></span><span style="mso-bookmark:_ednref2"></span></a><span style="mso-bookmark:_ednref2"></span><span class="apple-converted-space"> </span>that
is climate change? One must also ask: does the transformation of planet earth by anthropogenic global warming foreclose<span class="apple-converted-space"> </span><i>all</i><span class="apple-converted-space"> </span>meaningful representation of it, artistic
or otherwise?<span class="apple-converted-space"> </span></span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Putting this reasonable objection aside for the moment,<span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">co-editors
Conrad Alexandrowicz (University of Victoria) and Dr. David Fancy (Brock University) invite proposals from a variety of disciplines that have bearing on this all-encompassing subject for a co-edited collection of essays, provocations, workbooks, formulae and
other interventions. This might include inputs from curriculum studies, performance studies, environmental studies, philosophy and aesthetics, psychology and applied theatre, in addition to studies in acting pedagogy, stage design, theory and criticism. (Please
note that we have initial interest from a major academic publisher.)</span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> </span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">What would it mean in theoretical and practical terms to reimagine and reconfigure the entire ecology of theatre education through the lens forced upon
us by the rapid heating of the planet?</span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> </span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Topic areas might include, but are not limited to, the following:</span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Playing
the other-than-human as a way to model a transformed relationship to ‘Nature’: what might this mean? What pedagogical and creative lineages support this approach?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">As
Naomi Klein argues in<span class="apple-converted-space"> </span><i>This Changes Everything</i><span class="apple-converted-space"> </span>indigenous peoples are on the front lines of the fight against climate change: "some of the most marginalized people
in my country … are taking on some of the wealthiest and most powerful forces on the planet" (379). Are there specific insights, practices, philosophies available in global indigenous communities that may be brought into further conversation with ‘Western’
theatre pedagogies?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Climate
theatre and/as activism: does the sole remaining respectable function for theatre lie in training to create and perform events such as those staged by the Extinction Rebellion?<a name="_ednref3"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_edn3"><span style="mso-bookmark:_ednref3"><span class="MsoEndnoteReference"><sup><span style="font-family:"Cambria",serif;color:#954F72">[iii]</span></sup></span></span><span style="mso-bookmark:_ednref3"></span></a><span style="mso-bookmark:_ednref3"></span><span class="apple-converted-space"> </span>protesters?
Would these approaches—and only these—satisfy Greta Thunberg and others with her understandably urgent convictions? What are the potentials of theatre as “agitprop” in the third decade of the 21<sup>st</sup>Century? Alan Filewod writes in the<span class="apple-converted-space"> </span><i>Routledge
Encyclopedia of Modernism</i>: “</span><span style="font-family:"Cambria",serif;color:#1A1A1A;background:white">Now widely used as a catchall term to describe politically combative or oppositional art, ‘agitprop’ originated from the early Soviet conjunction
of propaganda (raising awareness of an issue) and agitation (exciting an emotional response to the issue), as theorized by Lenin in <i><span style="border:none windowtext 1.0pt;padding:0cm">What Is To Be Done</span></i> (1902) and institutionalized in the
many departments and commissions of Agitation and Propaganda in the USSR and the Comintern after the Russian Revolution.”<a name="_ednref4"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_edn4"><span style="mso-bookmark:_ednref4"><span class="MsoEndnoteReference"><sup><span style="font-family:"Cambria",serif;color:#1A1A1A">[iv]</span></sup></span></span><span style="mso-bookmark:_ednref4"></span></a></span><span style="mso-bookmark:_ednref4"></span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Climate
theatre and/as therapeutic intervention: Students of all ages are experiencing increasing anxiety and depression as a result of the knowledge that their generation will face particularly worsening effects of climate change. Many of the arts are used in therapeutic
contexts, such as art therapy and dance therapy. Does this mean acting instructors themselves need new forms of training?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Curriculum
design: most post-secondary actor training includes at least some devising, even in conservatory settings, including monologues in text-based acting classes, and collaborative pieces arising from movement work. Does the climate crisis necessitate a new ratio
of skills acquisition to creative endeavour in order to satisfy the need that theatre serve interventionist aims?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">The
implications for community engagement: how does adapting theatre education for climate action prompt a new notion of outreach on the part of post-secondary institutions into various communities?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Aesthetic
considerations: politicizing the aesthetic frequently results in art practices marked by didactic qualities or even pedantic dead ends. In what ways can traditional and non-traditional embraces of aesthetic experience at the point of theatre training contribute
to more vibrant theatrical practices better able to withstand, as well as guide us through, the emergent crisis of anthropogenic climate change?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black">§</span><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> <span class="apple-converted-space"> </span></span><span lang="EN-US" style="font-family:"Cambria",serif;color:black">Indigeneity
and creative theatrical practice: are there specific insights, practices, philosophies available in global indigenous communities—from shamanic work to the more traditionally representational work of storytelling and theatre creation—that may be brought into
conversation with ‘Western’ theatre pedagogies?</span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="margin:0cm;margin-bottom:.0001pt"><span lang="EN-US" style="font-family:"Cambria",serif;color:black"> </span><span style="font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Prospective contributors are asked to submit a 500-word abstract as well as a brief bio—no more than 200 words—to both co-editors no later than September
15, 2019.</span></b><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> </span></b><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">CONRAD ALEXANDROWICZ</span></b><span class="apple-converted-space"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> </span></span><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">was
born in Toronto, and spent many years there and in Vancouver. He holds a BFA in Dance and an MFA in Directing. Over a decades-long career in performance he migrated from dance to theatre, and has been a dancer, choreographer, writer of texts for dance, a playwright,
actor and director. For many years he was the artistic director of Wild Excursions Performance, the company he founded to present his work. To date he has created over fifty dance- and physical-theatre works, some of which have been presented across Canada,
in New York City, France and the U.K. An associate professor in the Department of Theatre at the University of Victoria, he specializes in movement for actors and physical theatre creation, and continues his explorations into that mysterious territory where
movement and text overlap. His writing has been published in<span class="apple-converted-space"> </span><i>Theatre, Dance and Performance Training</i>, the<span class="apple-converted-space"> </span><i>Canadian Journal for Practice-Based Research in Theatre</i><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><i>Studies
in Theatre and Performance</i>. His first book, entitled<span class="apple-converted-space"> </span><i>Acting Queer: Gender Dissidence and the Subversion of Realism</i>, is to be published by Palgrave. Email:<span class="apple-converted-space"> </span><a href="mailto:conrada@uvic.ca"><span style="color:#954F72">conrada@uvic.ca</span></a></span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black"> </span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Dr.<span class="apple-converted-space"> </span><b>DAVID FANCY</b><span class="apple-converted-space"> </span>is Professor (and past Chair) in the Department
of Dramatic Arts, Marilyn I. Walker School of Fine and Performing Arts, Brock University. He received his doctoral training at the Samuel Beckett Centre, Trinity College, Dublin, Ireland writing on ontologies of stage presence and post-coloniality in the work
of playwright Bernard-Marie Koltès and director Patrice Chéreau. His research interests and current publishing deal with questions of ontology, immanence and performance, with a specific interest in immanence and performativity, immanence and performance training,
and immanence and technology. His co-edited book<span class="apple-converted-space"> </span><i>Art as Revolt: Thinking Politics Through Immanent Aesthetics</i><span class="apple-converted-space"> </span>has recently appeared with McGill-Queen’s University
Press. He is co-editor (with Diana Belshaw) of a special issue of<span class="apple-converted-space"> </span><i>Canadian Theatre Review</i><span class="apple-converted-space"> </span>on the subject of acting training and diversities, and is Editor-in-Chief
of the Diversities in Actor Training website that hosts extensive video and textual materials developed by a dozen experts specifically for the website:<span class="apple-converted-space"> </span><a href="https://brocku.ca/diversities-in-actor-training/"><span style="color:#954F72">https://brocku.ca/diversities-in-actor-training/</span></a>.</span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Fuller CV:<span class="apple-converted-space"> </span><a href="https://brocku.ca/miwsfpa/dramatic-arts/139-2/"><span style="color:#954F72">https://brocku.ca/miwsfpa/dramatic-arts/139-2/</span></a></span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:11.0pt;font-family:"Cambria",serif;color:black">Email:<span class="apple-converted-space"> </span><a href="mailto:dfancy@brocku.ca"><span style="color:#954F72">dfancy@brocku.ca</span></a></span><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;line-height:21.0pt;background:white;background-position:initial initial;background-repeat:initial initial">
<span style="font-family:"Cambria",serif;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black"><br clear="all">
<o:p></o:p></span></p>
<div class="MsoNormal"><span style="font-size:11.0pt;font-family:"Cambria",serif;color:black">
<hr size="1" width="33%" align="left">
</span></div>
<p class="MsoNormal"><a name="_edn1"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_ednref1"><span style="mso-bookmark:_edn1"><span class="MsoEndnoteReference"><sup><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:#954F72">[i]</span></sup></span></span><span style="mso-bookmark:_edn1"></span></a><span style="mso-bookmark:_edn1"></span><span class="apple-converted-space"><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black"> </span></span><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black">Greta
Thunberg, speech to COP 24, Katowice, Poland:<span class="apple-converted-space"> </span><a href="https://www.youtube.com/watch?v=VFkQSGyeCWg"><span style="color:#954F72">https://www.youtube.com/watch?v=VFkQSGyeCWg</span></a></span><span style="font-size:10.5pt;font-family:"Cambria",serif;color:black">(30
April 2019).<o:p></o:p></span></p>
<p class="MsoEndnoteText" style="margin:0cm;margin-bottom:.0001pt"><a name="_edn2"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_ednref2"><span style="mso-bookmark:_edn2"><span class="MsoEndnoteReference"><sup><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:#954F72">[ii]</span></sup></span></span><span style="mso-bookmark:_edn2"></span></a><span style="mso-bookmark:_edn2"></span><span class="apple-converted-space"><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black"> </span></span><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black">Morton,
Timothy.<span class="apple-converted-space"> </span><i>Hyperobjects: Philosophy and Ecology After the End of the World</i>. University of Minnesota Press: 2013. Morton uses the concept of the hyperobject to engage entities of such significant spatial and temporal
dimension—such as climate change—that they exceed traditional attempts to discuss something in terms of being ‘an object.’</span><span style="font-size:10.5pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><a name="_edn3"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_ednref3"><span style="mso-bookmark:_edn3"><span class="MsoEndnoteReference"><sup><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:#954F72">[iii]</span></sup></span></span><span style="mso-bookmark:_edn3"></span></a><span style="mso-bookmark:_edn3"></span><span class="apple-converted-space"><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black"> </span></span><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black">Please
see<span class="apple-converted-space"> </span><a href="https://www.dw.com/en/british-parliament-declares-climate-change-emergency/a-48568627"><span style="color:#954F72">https://www.dw.com/en/british-parliament-declares-climate-change-emergency/a-48568627</span></a></span><span style="font-size:10.5pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.5pt;font-family:"Cambria",serif;color:black">(May 2, 2019).<o:p></o:p></span></p>
<p class="MsoNormal"><a name="_edn4"></a><a href="applewebdata://7EFC6934-48DE-4DCB-B748-981EE2AD33BC#_ednref4"><span style="mso-bookmark:_edn4"><span class="MsoEndnoteReference"><sup><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:#954F72">[iv]</span></sup></span></span><span style="mso-bookmark:_edn4"></span></a><span style="mso-bookmark:_edn4"></span><span class="apple-converted-space"><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black"> </span></span><span lang="EN-US" style="font-size:10.5pt;font-family:"Cambria",serif;color:black">Please
see:<span class="apple-converted-space"> </span><a href="https://www.rem.routledge.com/articles/agitprop-theatre"><span style="color:#954F72">https://www.rem.routledge.com/articles/agitprop-theatre</span></a><span class="apple-converted-space"> </span>(July
23, 2019).</span><span style="font-size:10.5pt;font-family:"Cambria",serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Cambria",serif"><o:p> </o:p></span></p>
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