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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm">Dear all,</span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm">This next event in our
<i>Borderlines 2020-2021 Seminar Series</i> involves a collaboration between DMU’s Drama, Dance and Performance Studies Research Institute, the University of Central Florida and
<i>Reflections on Contemporary Performance Process </i>(Julia Listengarten and Alissa Clarke’s new book series for Bloomsbury Methuen Drama). </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm"><span style=""> </span>Julia and Alissa are developing a virtual companion
</span><span style="font-size:12.0pt; font-family:"Georgia",serif">f</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm">or their book series, <i>Reflections on Contemporary Performance
Process </i>for Bloomsbury Methuen Drama. The companion <span style="background:white">is focused on the ways in which performance processes could and do offer hope, care, joy and productive action amidst a time of great turbulence and extremes. The virtual
companion will involve a series of virtual events that are attended in real time, but also recorded and placed online, and will lead into a print companion. We are delighted to invite you to this second event for the virtual companion. </span></span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; background:white">This two-part roundtable discussion (on the 14th and 21st of December, 6 - 7.45pm GMT) places in dialogue a range of speakers based in the UK, US, Canada and South Africa. They have
been invited to provide a short provocation that considers how</span><i><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">
</span></i><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">performance processes engage with, and are shaped by, the performance politics of multilingualism. Their provocations and the discussion and debate that will follow will range
across issues of race, ableism, identity, economics, power, immigration, exile, cross-culturalism, audience reception, the performativity of language, threatened states,
</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">sociotechnical systems and
<span style="">ethics, pedagogy and curriculum, agency, and utopian spaces and practices. </span></span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"><span style="">Please feel free to attend either or both parts of the roundtable. We warmly welcome you to the discussion. </span></span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"><span style=""> </span></span><span style="font-size:12.0pt; font-family:"Georgia",serif; background:white"> </span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">Both parts of the roundtable will be chaired by Yana Meerzon. </span></b></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white">Professor Yana Meerzon</span></b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white"> teaches for the Department of Theatre,
University of Ottawa; and she was appointed a President of Canadian Association for Theater Research in June 2020. Her research interests are drama and performance theory, theatre of exile and migration, cultural and interdisciplinary studies. She is the author
of three books, with the latest volume <i>Performance, Subjectivity,</i> <i>Cosmopolitanism </i>published by Palgrave in August 2020. She co-edited several collections, including </span><i><span lang="EN-CA" style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm; background:white">Dramaturgy
of Migration: Staging Multilingual Encounters in Contemporary Theatre</span></i><span lang="EN-CA" style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm; background:white"> </span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white">with
Dr. Katarina Pewny (Routledge 2019) and <i>Migration and Stereotypes in Performance and Culture</i> with Dr. David Dean and Dr. Daniel McNeil (Palgrave 2020).</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"> </span></p>
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<b><u><span style="font-size:14.0pt; font-family:"Georgia",serif; color:black">Part One </span></u></b></p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">On the Economics and Politics of multilingualism in contemporary theatre and translation practices </span></b></p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif; color:black">Monday 14<sup>th
</sup>December, 6 – 7.45pm GMT </span></b></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">To join this first part of our roundtable discussion, which is free, please book through Eventbrite:</span><b> </b></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"><a href="https://www.eventbrite.co.uk/e/performance-process-and-the-politics-of-multilingualism-part-1-tickets-131257712351">https://www.eventbrite.co.uk/e/performance-process-and-the-politics-of-multilingualism-part-1-tickets-131257712351</a> </span></p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif; color:black">Speakers: </span></b></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white">Maria Delgado</span></b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white"> is Professor and Director of Research at the
Royal Central School of Speech and Drama, University of London and Co-Editor of Contemporary Theatre Review. She has published widely on non-English-language theatre, performance and film cultures.</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">Provocation:</span></b><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white">As we all grapple with whatever a post-Brexit Britain might look at, this provocation looks at the politics of multilingualism in the shadow of the dominance of English
as the global language of commerce. What does it mean to think about multilingual performance in an economy where the inscription of English as the language of value pervades the cultural sphere?</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white">Víctor Ladrón de Guevara</span></b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white"> is a lecturer in Theatre and Performance
Studies at the University of Plymouth (England) where he runs the MA Performance Training programme. His scholarly work is centred on Acting Training processes, the use and understanding of the body in performance and the interrelationship between theory and
practice.</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">Provocation:</span></b><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white">London is considered to be one of the most cosmopolitan cities in the world. Its overwhelming vote to ‘remain’ appears to signal its strong and active links with the
rest of Europe. International (or ‘overseas’) students are a sizeable percentage of those enrolled in theatre & performance degrees across the UK HE sector. Yet, the significant absence of ‘foreign accented actors’ in the London stage scene and the rare hiring
of academic staff who have a foreign accent is perplexing and requires further analysis. In this provocation, ‘accent’ is treated as a sectionality that reveals both sites of resistance as well as deep and entrenched racist practices in both academia and the
theatre cultural industry.</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<b><span style="font-size:11.5pt; font-family:"Arial",sans-serif; color:black"> </span></b></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">KARIN COONROD</span></b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">
Theater Artist: Director, Writer, Translator</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm"> </span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">Karin Coonrod</span></b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">
is Artistic Director of Compagnia de’ Colombari, born in Orvieto, Italy, based in New York City. Coonrod directed off-Broadway, around USA, Italy, Russia and Romania. Most recently:
<i>The Merchant of Venice</i> in Jewish Ghetto of Venice, Italy and North America;
<i>Babette’s Feast</i> (by Isak Dinesen). Notable productions: Shakespeare’s <i>
Henry VI</i>, <i>Love’s Labor’s Lost, King John</i>, <i>Tempest</i>, Roger Vitrac’s
<i>Victor Or Children Take Over</i>. She adapted/staged Flannery O’Connor’s short stories,
<i>Everything That Rises Must Converge</i>, Whitman’s <i>Song of Myself </i>(retitled
<i>More Or Less I Am)</i>;<i> </i>her own <i>texts&beheadings/ElizabethR. </i>Faculty: Yale School of Drama.
</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm"> </span></p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">I would like to focus attention on the use of language in my adaptation and direction of
<i>The Merchant of Venice</i> in the Venice Ghetto in 2016 and the transfer to North America in 2017, 2018: Peak Performances in Montclair, The International Festival of Arts&Ideas in New Haven and at the Hopkin Center at Dartmouth.</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">1.The use of language to sculpt the hearing of the play: to honor, provoke and reconcile</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">2.Language for an International Audience in Venice, Italy: Veneziano for commedia dell'arte: Lancillotto, Gobbo and Bassanio</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">3. Language for an American audience in North America:
</span><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black; border:none windowtext 1.0pt; padding:0cm">4. Heightened language for Shylock from Yiddish, Sephardic, Veneziano Hebrew: important aspect of the humanity of the character and the framing
of anti-semitism </span></p>
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<span style="font-family:"Georgia",serif; color:#201F1E"> </span><span style="font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span> </p>
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<b><span style="font-family:"Georgia",serif; color:#201F1E; background:white"> </span></b></p>
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<b><span style="font-family:"Georgia",serif; color:#201F1E; background:white">Margherita Laera
</span></b><span style="font-family:"Georgia",serif; color:#201F1E; background:white">is a Senior Lecturer in Drama and Theatre at the University of Kent, Canterbury. She specialises in translation and adaptation for the stage, and contemporary European performance,
especially in Italy. She is also a professional arts journalist and theatre translator. Margherita is the author of Theatre & Translation (Red Globe Press, 2019) and Reaching Athens: Community, Democracy and Other Mythologies in Adaptations of Greek Tragedy
(Peter Lang, 2013) and editor of Theatre and Adaptation: Return, Rewrite, Repeat (Methuen, 2014).</span> </p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">Provocation:</span></b><span style="font-size:12.0pt; font-family:"Times New Roman",serif"> </span></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white">With my AHRC-sponsored public engagement project,</span><a href="https://hes32-ctp.trendmicro.com/wis/clicktime/v1/query?url=http%3a%2f%2fwww.performinginternationalplays.com&umid=4dd553d7-3c2d-4f19-8805-1c9c9848d20b&auth=abf3dc013bb623204479f0e1f803993cdb4617ca-169f957865f330553128e591c93f3c29c209fce3" target="_blank"><span style="font-size:12.0pt; font-family:"Georgia",serif; border:none windowtext 1.0pt; padding:0cm; background:white"> Performing
International Plays</span></a><span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white">, launching in early 2021, I have created an open-access platform for secondary-school pupils and teachers to engage with twenty contemporary
plays from five different continents, written in over fifteen languages. One of these plays is Mongiwekhaya Mthombeni’s <i>I SEE YOU</i>, which is originally written in English, Afrikaans, Xosa and Zulu, and specifically centres around multilingual politics
in post-apartheid South Africa. Another play we selected, Natalya Vorozhbit’s <i>The Grain Store, </i>about the great famine in Ukraine during Stalin’s era, was adapted into a Zimbabwean context for us by Tonderai Munyevu, who used both English and Shona.
The </span><a href="https://hes32-ctp.trendmicro.com/wis/clicktime/v1/query?url=http%3a%2f%2fwww.performinginternationalplays.com&umid=4dd553d7-3c2d-4f19-8805-1c9c9848d20b&auth=abf3dc013bb623204479f0e1f803993cdb4617ca-169f957865f330553128e591c93f3c29c209fce3" target="_blank"><span style="font-size:12.0pt; font-family:"Georgia",serif; border:none windowtext 1.0pt; padding:0cm; background:white">Performing
International Plays</span></a><span style="font-size:12.0pt; font-family:"Georgia",serif; color:#201F1E; background:white"> website aims to raise awareness of, and respect for, foreign plays by enriching published international drama with learning and teaching
resources, including video extracts in the original languages so that teachers and students can feel empowered to explore theatre from cultures and contexts different from their own.</span><span style="font-size:12.0pt; font-family:"Georgia",serif"> </span></p>
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<span style="font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span> </p>
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<b><span style="font-size:11.5pt; font-family:"Arial",sans-serif; color:black"> </span></b></p>
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<b><span style="font-family:"Georgia",serif; color:black">Tonderai Munyevu</span></b><b><span style="font-size:11.5pt; font-family:"Arial",sans-serif; color:black">
</span></b><span style="font-family:"Georgia",serif; color:black">is an actor, writer and creative director born in Zimbabwe and raised in England. He is the co-artistic director of Two Gents Productions. His writing includes:
<i>Mugabe, My Dad and Me</i> (York Theatre Royal/ETT—ALFRED FAGON SHORTLIST 2019),
<i>The Moors</i> (Tara Arts Theatre-forthcoming publication on Methuen-Bloomsbury),
<i>Harare Files</i>; <i>How 700,000 People Lost Their Homes, Zhe [noun] Undefined</i> (Soho Theatre);
<i>A Tranquil Mind</i> (BBC Radio 4) <i>The Visiting Hours</i>; <i>A Dispatch From Zimbabwe</i> (Johannesburg Book of Reviews),
<i>Bullets</i> (Black and Gay in the Uk-Team Angelica), <i>James Baldwin</i> (Queer Bible.) He is adapting his play
<i>MUGABE, MY DAD, AND ME</i> for Audible.<i> </i>He has recently received the Peggy Ramsay Foundation Grant for his next play:<i> Black Museum. </i></span></p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-family:"Georgia",serif; color:black">The politics of Multilingualism: who is the “viewer" and the “viewed”?</span> </p>
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</p>
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<span style="font-family:"Georgia",serif; color:black">Can the writer/actor reclaim language and the stage? </span></p>
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<span style="font-family:"Arial",sans-serif; color:black; border:none windowtext 1.0pt; padding:0cm"> </span></p>
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<span style="font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span> </p>
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<b><span style="font-family:"Georgia",serif; color:black">Kaite O'Reilly</span></b><span style="font-family:"Georgia",serif; color:black"> is a multi-award winning poet, playwright and dramaturge, who writes for radio, screen and live performance. Prizes include
the Peggy Ramsay Award, Manchester Theatre Award, Theatre-Wales Award and the Ted Hughes Award for new works in Poetry for
<i>Persians </i>(National Theatre Wales). She was honoured in 2017/18 by the international Eliot Hayes Award for Outstanding Achievement in Dramaturgy for her work between Deaf and hearing cultures. She has received a Hawthornden Fellowship, four Unlimited
commissions and two Creative Wales Major Awards from Arts Council Wales, the latter leading to
<i>The Beauty Parade, </i>a performance at Wales Millennium Centre in March 2020 featuring spoken, sung, projected and visual languages, co-directed with long term collaborator Phillip Zarrilli.<i>
</i>She is known for her pioneering work in disability culture and the aesthetics of access.
<i>The 'd' Monologues </i> and <i>Atypical Plays for Atypical Actors </i>is published by Oberon/Bloomsbury. Her first feature film is in development with Mad as Birds Production Company.
</span><a href="http://www.kaiteoreilly.com/"><span style="font-family:"Arial",sans-serif; color:#954F72">www.kaiteoreilly.com</span></a> </p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-family:"Georgia",serif; color:black; background:white">The form, politics and processes of multilingual performance are immediately subverted when they challenge ableist assumptions about the modes of communication in play. What if multilingualism
includes languages that are not spoken, but visual and/or projected? How do the aesthetics of access shape performance processes, and impact on notions of multilingualism on stage, taking it outside the issues of migration and exile?</span> </p>
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<span style="font-family:"Georgia",serif; color:black; background:white"> …………………………………..</span> </p>
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<b><u><span style="font-size:14.0pt; font-family:"Georgia",serif">Part Two </span></u></b></p>
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<b><span lang="EN-US" style="font-size:14.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm; background:white">P</span></b><b><span style="font-size:14.0pt; font-family:"Georgia",serif; color:#201F1E; border:none windowtext 1.0pt; padding:0cm; background:white">erforming
multilingualism in and against the extremes</span></b><b><span style="font-size:14.0pt; font-family:"Georgia",serif"> </span></b></p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif">Monday 21<sup>st</sup> December
<span style="color:black">6 – 7.45pm GMT </span></span></b></p>
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<span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">To join this second part of our roundtable discussion, which is free, please book through Eventbrite:</span>
<a href="https://www.eventbrite.co.uk/e/performance-process-and-the-politics-of-multilingualism-part-two-tickets-131264663141">
https://www.eventbrite.co.uk/e/performance-process-and-the-politics-of-multilingualism-part-two-tickets-131264663141</a> </p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif"> </span></b></p>
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<b><span style="font-size:14.0pt; font-family:"Georgia",serif; color:black">Speakers: </span></b></p>
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<b><span style="font-family:"Georgia",serif; color:black">Adela Karsznia</span></b><span style="font-family:"Georgia",serif; color:black"> is an independent researcher, translator, and editor. She received her PhD in Theatre from the University of Wrocław,
and has professional diplomas in Translation (UNESCO centre for Translation Studies and Intercultural Communication) and Cultural Management (Association Marcel Hicter/Polish National Centre for Culture). She is former international publishing coordinator
at the Grotowski Institute (2005–12) and her research-writing and translations have appeared in various journals, books, and films. She is co-director of the nonprofit organizations TAPAC and Culture Hub (London, UK), where she has realized several multilingual
research projects, and an associate research fellow at De Montfort University, Leicester. </span></p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation: </span></b></p>
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<span style="font-family:"Georgia",serif; color:black">Following the Nazi occupation of much of Europe during the late 1930s and early 1940s, vast numbers of ordinary citizens found themselves cast in unfamiliar, often clandestine roles that could be life-
and death-defining. Drawing from primary accounts in different languages, this brief paper will touch on performances in extreme circumstances, ranging from the masquerading of Jewish children as non-Jewish adults on the streets of Warsaw to the hidden code-switching
of concentration-camp interpreters. It will focus on instances of Jewish ‘passing’—particularly the modes of self-presentation that were often required to conceal an individual’s ethnic, religious, and linguistic origins and create an alternate, ‘socially
favoured’ persona. To what extent did these survival strategies hinge on being able to act out multilingual and multicultural behavioural repertoires, in a world of pervasive observation and threat? </span></p>
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<span style="font-family:"Georgia",serif; color:black; background:white">..........................................</span> </p>
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<b><span style="font-family:"Georgia",serif; background:white"> </span></b></p>
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<b><span style="font-family:"Georgia",serif; background:white">Mongiwekhaya </span>
</b><span style="font-family:"Georgia",serif; background:white">is a writer, performer and director. He has performed in works by Andrew Buckland, Fortune Cookie Theatre company, Market Theater, WellWorn Theater company, and Cirque Du Soleil. He has worked
with Handspring Puppet Company since 2011. He is Artist in Residence for Center for Humanities Research (CHR) at the University of Western Cape and a member of the SA PLAYRIOT group, a South African collective of activist-driven playwrights. His award- winning
play, <i>I SEE YOU </i>(2016),<i> </i>was presented at The Market Theatre, Johannesburg, the Royal Court, London and The Fugard Theatre, Cape Town, and is published by Bloomsbury.</span> </p>
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</p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-family:"Georgia",serif; color:#201F1E; background:white">HAUNTED BODIES</span> </p>
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<span style="font-family:"Georgia",serif; color:#201F1E">Dead languages can haunt living flesh. How do Languages die? And how do they haunt the halls of memory which once housed a human being stamped with their qualities? </span> </p>
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</p>
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<span style="font-family:"Georgia",serif; color:#201F1E">I SEE YOU expresses the risks involved in being the tenor of a multilingual encounter, where the very quality of your identity is being refashioned to be like another.</span> </p>
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</p>
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<span style="font-family:"Georgia",serif; color:#201F1E">LIFE AFTER YOUTH shows the seductive powers of fashioning another in one’s image. Should your subject suspect they are losing agency, death becomes an optional response.</span> </p>
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<span style="font-family:"Georgia",serif; color:black"> </span> </p>
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<span style="font-family:"Georgia",serif; color:black; background:white">…………………………………..</span> </p>
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<b><span style="font-family:"Georgia",serif; color:#201F1E; background:white">Art Babayants/</span><span style="color:#201F1E; background:white">Արտ</span></b><b><span style="font-family:"Georgia",serif; color:#201F1E; background:white">
</span><span style="color:#201F1E; background:white">Բաբայանց</span></b><b><span style="font-family:"Georgia",serif; color:#201F1E; background:white"> </span></b><span style="font-family:"Georgia",serif; color:#201F1E; background:white">is a multilingual theatre
creator, educator and researcher living and working in what is now called Canada.</span><span style="font-family:"Georgia",serif; color:black; background:white"> Since 2012, Art has been running Toronto Laboratory Theatre, an experimental theatre collective
dedicated to the work of first generation immigrants to Canada: </span><a href="https://hes32-ctp.trendmicro.com/wis/clicktime/v1/query?url=http%3a%2f%2fwww.torontolab.org&umid=97356b9c-8d38-43a2-97f5-eaaf24b2a07e&auth=abf3dc013bb623204479f0e1f803993cdb4617ca-f3da8255bba6a8ec0474dfde7a2298ece29fe6c1"><span style="font-family:"Georgia",serif; background:white">www.torontolab.org</span></a><span style="font-family:"Georgia",serif; color:black; background:white"> </span><span style="font-family:"Georgia",serif; color:#201F1E; background:white"> He
is currently teaching acting and directing at the University of Ottawa/L'Université d'Ottawa.</span> </p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-family:"Georgia",serif; color:#201F1E">The potential of multilingual dramaturgy that does not include translation, but does include multilingual actors and audiences, is not simply giving voice to minority languages and putting up “resistance
to a dominant language and culture” (Byczynski, 2000, p. 33). It allows for stereotypes to be exposed and dismantled, for languages to mingle, for acting training methods and theatre cultures to collide, and for artists and audiences to interact, challenging
and helping each other. In a way, it offers a utopian space that potentiates multilingual and multicultural encounters without essentializing one’s first or second language cultures and by that disrupts institutionalized isolation of artists and communities.</span> </p>
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<span style="font-family:"Georgia",serif; color:black; background:white">…………………………………..</span> </p>
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<b><span style="font-family:"Georgia",serif; color:#201F1E">Sibusiso Mamba</span></b><span style="font-family:"Georgia",serif; color:#201F1E"> was born in Swaziland in 1978. He trained at RADA in London. He is an actor, playwright, director, screenwriter, teacher
and producer. Among his theatre acting credits are: <i>Sizwe Banzi is Dead</i> (Young Vic Theatre London/Eclipse Theatre UK Tour);
<i>Father Comes Home From The War</i> and <i>I See You</i> (both for the Royal Court Theatre, London, the latter also at Market Theatre, Johannesburg and Fugard Theatre, Cape Town);
<i>Nongogo</i> (Market Theatre, Johannesburg); <i>Romeo and Juliet</i> (Chichester Festival Theatre);
<i>Othello</i> (QM2); <i>Train to 2010</i> (Crossroads Theatre, New Jersey). Sibusiso was International Artist in Residence at Crossroads Theatre in New Jersey, USA from 2012 – 2015. Sibusiso has written numerous plays that have been performed in the UK and
in the USA, including plays for BBC Radio. He has also written for many television shows in South Africa including,
<i>Isidingo, Bay of Plenty</i>, <i>Binnelanders</i> and <i>Skeem Saam</i>. He has directed in the United Kingdom, United States, and South Africa where he adapted and directed the Naledi award-nominated production of
<i>6 Characters In Search of An Author</i>. Sibusiso has most recently been working in Central and East Africa as Head of Scripted Fiction for Girl Effect - a global organisation that creates media brands to inspire and empower girls and young women to change
their lives for the better.</span> </p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation:</span></b> </p>
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<span style="font-family:"Georgia",serif; color:#201F1E">My provocation is from the perspective of someone who works across different language and cultural landscapes across Southern, Central and East Africa, and also in the UK and the US. I want to explore
how story is truly received when it has been created by outsiders in English and then translated by local writers into the language(s) of the country it is being written for? Is there a real collaboration happening in these contexts, or is there a hierarchy
that asserts itself purely from the fact that the outsiders creating the story are the initiators of these projects? Do the writers in these places feel a sense of propriety over these stories? Do the receivers of the story (mainly in Radio/Television) feel
it as an authentic representation of their landscape?</span> </p>
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<b><span style="font-family:"Georgia",serif; color:black">Duncan Jamieson</span></b><span style="font-family:"Georgia",serif; color:black"> is an independent researcher, digital humanities practitioner, translator, and editor. He has taught at Rose Bruford
College (2003–4), the University of Exeter (2006–9), and been a resident scholar at the Grotowski Institute (2008–12). Since 2012, he has been co-director of the nonprofit organizations TAPAC (www.tapac.co) and Culture Hub (London, UK), managing and collaborating
on a range of cultural heritage and research projects, and he is an associate research fellow at De Montfort University, Leicester. His articles, edited texts, and translations have appeared in various scholarly journals, books, and documentary film </span></p>
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<b><span style="font-family:"Georgia",serif; color:black">Provocation: </span></b></p>
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<span style="font-family:"Georgia",serif; color:black">Today’s programmable infrastructure determines large parts of our social reality, cutting across various paradigms of performance and performativity. My short paper will focus on the expression of specific
cultural and political values within our current sociotechnical systems, and the attendant translation of tracked human activity into aggregations of data that can ‘act’ in the world. It will trace how this selectively encoded information functions as a lively,
hybrid artefact—proliferating, migrating, and performing in operations largely beyond public gaze and control, and generating far-reaching consequences, especially for marginalized and minority groups. Taking several examples of algorithmic processing that
have profoundly reshaped everyday human performances, this paper will pose a series of ethical questions about the (formal) linguistic representation, normatization, and exclusion of certain bodies and behaviours in contemporary life. </span></p>
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<span style="font-family:"Georgia",serif; color:black; background:white">…………………………………..</span> </p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif">Please note that this event will be recorded. </span></b></p>
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<div style="font-size:13px; font-family:Tahoma">Dr Alissa Clarke<br>
Associate Professor (Research and Teaching) in Drama</div>
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<div style="font-size:13px; font-family:Tahoma"><span style="font-size:14px; font-family:Calibri,sans-serif">The School of Humanities and Performing Arts</span>, De Montfort University<br>
Rm 2.18, Clephan Building,<br>
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0116 2078953 / a.clarke@dmu.ac.uk<br>
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<div style="font-size:13px; font-family:Tahoma">Latest publication:</div>
<div><font face="Times New Roman, serif"><span style="font-size:14px">(2019) 'In Bed with Mae West: Movie Magazine Revelations of the Boudoir as Creative, Training and Central Scenic Space’, in Jeffers McDonald, Tamar and Lanckman, Lies (eds.), Star Attractions:
Twentieth-Century Movie Magazines and Global Fandom, Iowa City: University of Iowa Press, 157-168.</span></font></div>
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