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<span style="color: rgb(32, 31, 30); font-family: Georgia, serif; font-size: 12pt; text-align: justify;">Dear all,</span><br>
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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">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">Following part-one of our roundtable discussion, this second part (on the 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, identity, 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, 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="">We warmly welcome you to the discussion. </span></span></p>
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<b><span style="font-size:12.0pt; font-family:"Georgia",serif; color:black">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">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; 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">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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<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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<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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<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; 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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<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>
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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>
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0116 2078953 / a.clarke@dmu.ac.uk<br>
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<div style="font-size:13px; font-family:Tahoma"><a href="http://www.dmu.ac.uk/alissaclarke" target="_blank" style="font-size:13px; font-family:Arial">www.dmu.ac.uk/alissaclarke</a></div>
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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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