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<p class="MsoNormal"><span lang="FR">Subject: Call for Papers, Bilingual and multidisciplinary conference, “100 Years of Franco-Manitoban Theatre: The Théâtre Cercle Molière between Community, Tradition and Innovation” - Appel à communications,Colloque bilingue
et interdisciplinaire « 100 ans de théâtre au Manitoba français : le Théâtre du Cercle Molière – entre communauté, tradition et innovation »<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal">ENGLISH<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Call for Papers<o:p></o:p></p>
<p class="MsoNormal">Bilingual and multidisciplinary conference<o:p></o:p></p>
<p class="MsoNormal">“100 Years of Franco-Manitoban Theatre: The Théâtre Cercle Molière between Community, Tradition and Innovation”<o:p></o:p></p>
<p class="MsoNormal">September 18-20, 2025<o:p></o:p></p>
<p class="MsoNormal">at the Université de Saint-Boniface Winnipeg, Manitoba, Canada<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Stage lights up at the Théâtre Cercle Molière Theatre, Canada’s oldest continuously functioning theatre company, celebrating its 100th anniversary in 2025!<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">One century ago, when André Castelein de la Lande, a teacher of Belgian origins, the Franco-Manitoban customs officer Raymond Bernier and LouisPhilippe Gagnon, a book-seller from Québec decided to found a new theatre group at Saint-Boniface
(Manitoba, Canada), they chose the name Molière in honour of the celebrated French dramatist. The double mandate settled upon by the founding members in inaugurating their new theatre group was simple: to produce theatre of quality in French for a French and
Francophile audience and, secondly, to strengthen relations between French and English-speaking Canadians. Over the years, many have been the obstacles and challenges faced by the company, not only in the efforts to launch itself and to survive, but also and
above all to prosper while establishing itself definitively in the cultural imagination of an audience that has remained faithful with the passage of time.<br>
<br>
<o:p></o:p></p>
<p class="MsoNormal">A cornerstone of the Franco-Manitoban community, the Théâtre du Cercle Molière (TCM) has enjoyed spectacular success since its establishment one century ago. Since its founding, the TCM has featured uninterrupted programming that has been
rich, variated and sometimes unexpected and surprising in allure. The dedication of its artistic directors has been equalled only by their professionalism and enthusiasm. Devoting body and soul to the company, each director has influenced the theatre’s development
in his or her own way: Arthur Boutal (1926-1940), Pauline Boutal (1941-1968), Roland Mahé (1968-2012) and Geneviève Pelletier (2012- ). Since its inauguration, the TCM has maintained a commitment to excellence: it has participated in numerous theatrical festivals
and competitions, winning an impressive number of prizes. It has also continually sought to enlarge its audience. Likewise worthy of note is its long history of theatrical tours, a tradition that dates back to 1929. Since those beginnings, the TCM has continued
to mount both Canadian and international tours. Of similar importance, in 1970 the TCM founded the Festival Théâtre Jeunesse (FTJ), an institution that encourages young thespians to stage their plays in French. In 1985, the TCM also created the Théâtre du
Grand Cercle, a theatre that represents a selection of plays intended for the primary and secondary schools of the Division scolaire francomanitobaine as well as the province’s French-immersion schools.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The centenary of the TCM presents an excellent occasion to reflect upon the theatre’s multiple functions and achievements in various domains: the company’s formative role in the local, national and international communities it serves; the
artistic works that it has fostered; the artistic careers of the personnel associated with the TCM; and the development of the dramatists whose plays were produced and staged by the TCM.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The proposed conference invites submissions related to the following topics, among others, according to differing theoretical models and approaches:<o:p></o:p></p>
<p class="MsoNormal">• The TCM and francophone theatre of the Canadian west;<o:p></o:p></p>
<p class="MsoNormal">• The TCM and theatrical production in a Canadian minority context;<o:p></o:p></p>
<p class="MsoNormal">• The dramatists and dramaturgy staged at the TCM, their collected works<o:p></o:p></p>
<p class="MsoNormal">or particular plays;<o:p></o:p></p>
<p class="MsoNormal">• The evolution of the TCM;<o:p></o:p></p>
<p class="MsoNormal">• The individuals who have played a formative role at the TCM: its artistic<o:p></o:p></p>
<p class="MsoNormal">directors, the actors, and the stage and production designers;<o:p></o:p></p>
<p class="MsoNormal">• The TCM: between tradition and innovation;<o:p></o:p></p>
<p class="MsoNormal">• The TCM and its artistic collaborations with other theatrical companies<o:p></o:p></p>
<p class="MsoNormal">(in Manitoba or elsewhere);<o:p></o:p></p>
<p class="MsoNormal">• The artistic tours of the TCM;<o:p></o:p></p>
<p class="MsoNormal"><span lang="FR">• The Festival Théâtre Jeunesse (FTJ) or the Théâtre du Grand Cercle<o:p></o:p></span></p>
<p class="MsoNormal">(TGC);<o:p></o:p></p>
<p class="MsoNormal">• Recurrent themes within TCM programming: identity, language, the<o:p></o:p></p>
<p class="MsoNormal">Métis (métissage), history, conflict, the mixing of genres, metatextuality,<o:p></o:p></p>
<p class="MsoNormal">ruptures in communication, heterogeneity and alterity, hypertextuality<o:p></o:p></p>
<p class="MsoNormal">(pastiche, parody, satire, irony, citation, intertextuality), etc.;<o:p></o:p></p>
<p class="MsoNormal">• The genres featured in TCM programming: comedy, drama, historical<o:p></o:p></p>
<p class="MsoNormal">drama, romance, tragedy, theatre of the absurd, drama of social<o:p></o:p></p>
<p class="MsoNormal"><span lang="FR">relevance, monodrama, collective productions, etc.;<o:p></o:p></span></p>
<p class="MsoNormal">• The language of the plays produced by the TCM: from classic French<o:p></o:p></p>
<p class="MsoNormal">through <i>joual </i>to Franglais;<o:p></o:p></p>
<p class="MsoNormal">• The critical reception of plays produced by the TCM;<o:p></o:p></p>
<p class="MsoNormal">• Staging and production techniques, technology and theatrical renewal<o:p></o:p></p>
<p class="MsoNormal">and innovation;<o:p></o:p></p>
<p class="MsoNormal">• Awards and citations accorded the TCM;<o:p></o:p></p>
<p class="MsoNormal">• The TCM and its communities (Franco-Manitoban, Franco-Canadian);<o:p></o:p></p>
<p class="MsoNormal">• The TCM and Franco-Manitoban cultural heritage;<o:p></o:p></p>
<p class="MsoNormal">• The TCM and its institutional structure, archives, resources (financial)<o:p></o:p></p>
<p class="MsoNormal">among others;<o:p></o:p></p>
<p class="MsoNormal">• Perspectives on the TCM and its future.<br>
<br>
<o:p></o:p></p>
<p class="MsoNormal">The conference organizers welcome proposals for presentations to be delivered in French or English. Abstracts in either language are to be approximately 250- 300 words in length and accompanied by a brief biographical notice of approximately
150-200 words. Please forward your abstract to the organizing committee at the following address no later than October 15, 2024.<o:p></o:p></p>
<p class="MsoNormal">Lise Gaboury-Diallo lgaboury@ustboniface.ca<o:p></o:p></p>
<p class="MsoNormal"><b><o:p> </o:p></b></p>
<p class="MsoNormal"><span lang="FR">Organizing Committee:<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Lise Gaboury-Diallo, Université de Saint-Boniface
</span><span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR">
</span><span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Paul Morris, Université de Saint-Boniface </span>
<span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR"> </span>
<span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures Jean Valenti, Universit</span><span lang="FR">é</span><span lang="FR"> de Saint-Boniface
</span><span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR">
</span><span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures<o:p></o:p></span></p>
<p class="MsoNormal">Advisory Committee:<o:p></o:p></p>
<p class="MsoNormal">Adina Balint, University of Winnipeg <span style="font-family:"Arial",sans-serif">
‒</span> Modern Languages and Literatures Claire Borody, University of Winnipeg <span style="font-family:"Arial",sans-serif">
‒</span> Theatre and Film<o:p></o:p></p>
<p class="MsoNormal">Irène Chassaing, University of Manitoba <span style="font-family:"Arial",sans-serif">
‒</span> French, Spanish and Italian Katrina Dunn, University of Manitoba <span style="font-family:"Arial",sans-serif">
‒</span> Theatre Program Coordinator Eftihia Mihelakis, Brandon University <span style="font-family:"Arial",sans-serif">
‒</span> Francophone Studies and Languages<o:p></o:p></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">FRENCH<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Appel à communications<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Colloque bilingue et interdisciplinaire<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">« 100 ans de théâtre au Manitoba français :<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">le Théâtre du Cercle Molière – entre communauté, tradition et innovation » 18-20 septembre 2025<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">à l’Université de Saint-Boniface Winnipeg, Manitoba, Canada<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Pleins feux sur le Théâtre Cercle Molière, la plus ancienne compagnie de théâtre permanente du Canada, qui fête en 2025 son centenaire !<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Il y a un siècle, lorsque l’enseignant d’origine belge André Castelein de la Lande, le douanier franco-manitobain Raymond Bernier et le libraire d’origine québécoise Louis-Philippe Gagnon décidèrent de fonder une nouvelle
troupe à Saint-Boniface (Manitoba, Canada), ils choisirent le nom de Molière en hommage au célèbre dramaturge français. Le double mandat que les membres fondateurs se fixèrent en créant leur nouvelle troupe était simple : d’une part, produire du théâtre de
qualité en français pour un auditoire francophone et francophile; d’autre part, tisser des liens entre les Canadien.ne.s de langue française et ceux et celles de langue anglaise. Que d’obstacles et de défis relevés par cette troupe au fil des ans, non seulement
pour s’établir et survivre, mais aussi et surtout pour s’épanouir et s’implanter de façon définitive dans l’imaginaire d’un auditoire qui, au passage du temps, lui est toujours resté fidèle.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Pierre angulaire de la communauté franco-manitobaine, le Théâtre du Cercle Molière (TCM) jouit d’un prestige inégalé depuis sa création il y a un siècle. Il a maintenu, sans interruption, une programmation riche, variée,
parfois inattendue et étonnante. Le dévouement de ses directeurs artistiques n’a d’égal que leur rigueur et enthousiasme. S’investissant corps et âme, chacun marquera à sa façon l’évolution de la troupe : Arthur Boutal (1926-1940), Pauline Boutal (1941-1968),
Roland Mahé (1968-2012) et Geneviève Pelletier (2012-). Depuis ses débuts, le TCM a toujours visé l’excellence : il a participé à différents Festivals et Concours dramatiques et a remporté bon nombre de prix. En outre, il a toujours cherché à élargir son public
et il importe de souligner que la tradition de ses tournées théâtrales remonte aux années 1929. Depuis, le TCM continue de proposer des tournées pancanadiennes, voire internationales.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Signalons que le TCM fonde, en 1970, le Festival Théâtre Jeunesse (FTJ) où les jeunes sont invités à présenter des pièces en français. Enfin, en 1985, on crée le Théâtre du Grand Cercle qui offre la représentation d’une
sélection de pièces –visant soit le primaire, soit le secondaire –, aux écoles de la Division scolaire franco-manitobaine, ainsi qu’aux écoles d’immersion de la province.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Le centième anniversaire du Cercle Molière représente une occasion pour réfléchir sur son rôle au sein de la communauté à l’échelle locale, nationale et internationale, mais aussi sur les œuvres qui y ont été créées, ainsi
que sur les parcours de personnes clés ayant œuvré au TCM, ou le parcours de dramaturges dont les pièces ont été montées et présentées par le TCM.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Les sujets suivants pourraient, entre autres, être abordés, et ce, selon différentes théories et perspectives :<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM et le théâtre francophone de l’Ouest canadien ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM dans le contexte de la production théâtrale en milieu minoritaire<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">au Canada ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Dramaturges de la relève dont les œuvres ont été présentées au TCM,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">leur corpus ou des titres particuliers ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• L’évolution du TCM ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Personnes ayant joué un rôle important au TCM : ses directeurs ou<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">directrices artistiques, ses comédiens et comédiennes, de ses metteurs en<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">scène, etc. ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM : entre la tradition et l’innovation ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Les collaborations entre le TCM et d’autres troupes ou compagnies<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">théâtrales (au Manitoba et ailleurs);<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Les tournées du TCM ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le Festival Théâtre Jeunesse (FTJ) ou le Théâtre du Grand Cercle<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">(TGC);<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Thèmes récurrents dans la programmation du TCM : identité, langue,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Métis (métissage), histoire, conflit, mélanges des genres, métatextualité,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">ruptures des pertinences communicatives, hétérogénéité et altérité,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">hypertextualité (pastiche, parodie, satire, ironie, citation, réécriture), etc.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Genres choisis dans la programmation du TCM : comédie, drame, drame<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">historique, romance, tragédie, absurde, débat, monodrame, créations<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">collectives, etc.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• La langue dans les pièces montées par le TCM : du français classique au<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">franglais, en passant par le joual ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• La réception critique des pièces présentées par le TCM ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Stratégies de mise en scène, technologie de renouvellement ou<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">d’innovation ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Reconnaissances décernées au TCM ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM et la communauté (franco-manitobaine, franco-canadienne) ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM et le patrimoine culturel du Manitoba français ;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM et ses infrastructures, archives, ressources (financement), entre<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">autres;<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">• Le TCM : perspectives d’avenir.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="FR">Nous acceptons des propositions de communication rédigées en français ou en anglais. Ces propositions d’environ 250 à 300 mots seront accompagnées d’une notice biographique (environ 150-200 mots) et peuvent être soumises
au Comité scientifique du colloque avant le 15 octobre 2024 en s’adressant à : Lise Gaboury-Diallo lgaboury@ustboniface.ca<o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="FR"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><span lang="FR">Comité organisateur :<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Lise Gaboury-Diallo, Université de Saint-Boniface
</span><span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR">
</span><span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="FR">Paul Morris, Université de Saint-Boniface </span>
<span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR"> </span>
<span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures Jean Valenti, Universit</span><span lang="FR">é</span><span lang="FR"> de Saint-Boniface
</span><span lang="FR" style="font-family:"Arial",sans-serif">‒</span><span lang="FR">
</span><span lang="FR">É</span><span lang="FR">tudes fran</span><span lang="FR">ç</span><span lang="FR">aises, langues et litt</span><span lang="FR">é</span><span lang="FR">ratures<o:p></o:p></span></p>
<p class="MsoNormal">Comité scientifique :<o:p></o:p></p>
<p class="MsoNormal">Adina Balint, University of Winnipeg <span style="font-family:"Arial",sans-serif">
‒</span> Modern Languages and Literatures Claire Borody, University of Winnipeg <span style="font-family:"Arial",sans-serif">
‒</span> Theatre and Film<o:p></o:p></p>
<p class="MsoNormal">Katrina Dunn, University of Manitoba <span style="font-family:"Arial",sans-serif">
‒</span> Theatre Program Coordinator Irène Chassaing, University of Manitoba <span style="font-family:"Arial",sans-serif">
‒</span> French, Spanish and Italian Eftihia Mihelakis, Brandon University <span style="font-family:"Arial",sans-serif">
‒</span> Francophone Studies and Languages<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
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