Projects to discuss at ACTR in Saskatoon . . .

Wed May 23 09:00:31 EDT 2007

Dear Colleagues,

During the ACTR conference at the University of Saskatchewan starting in a few days' time, Glen Nichols and I would be happy to answer your questions about the Literary Encyclopedia http://www.litencyc.com  Many entries have been posted; others are in train; and contributors continue to be approached or to make their interests known.   It had been hoped, when the website was first founded, to provide all the content for free.  Since the Literary Encyclopedia is self-sustaining, however, this plan has proven not to be feasible; only parts of the entries are available for free.  Some universities in the U.S., Canada (e.g. McGill, the University of Calgary, and Memorial University of Newfoundland ) and elsewhere have taken out subscriptions (http://www.litencyc.com/subscriberlist.php)  that provide full access.  If you want to urge your college and university acquisitions librarians to take out subscriptions, please tell them that they can go to http://www.litencyc.com/librarians for more information and they can contact ClareThomlinson at LiteEncyc.co

I would be happy to talk to you if you are interested in submitting articles to Studies in Theatre and Performance, Nineteenth-Century Theatre and Film, Comparative Drama, and Mofa.  (I shall be bringing flyers for and copies of the most recent issue of STP; I shall also be bringing flyers for Mofa.) Erin Hurley and Daniel Mroz have published book reviews in STP; Daniel's article, "Technique in Exile: The changing perception of taijiquan, from Ming dynasty military exercise to 20th century actor training protocol" is forthcoming; and Jenn Stephenson's article, "Singular Impressions: Metatheatre on Renaissance Celebrities and Corpses"  will appear in 27:2 (Summer 2007).  Mofa (which means "performance in Hebrew") is a new peer-refereed electronic journal, edited by Avraham Oz and published under the aegis of IATR, the association of researchers of theatre and performance from all Higher Education Institutes in Israel which grant academic degrees in theatre. As an international publication, it will publish articles from around the world, with a special interest in articles that build bridges between artists and researchers of art and culture in the troubled area where it is published. It wishes to enhance dialogue, promote projects, and stimulate discussions that further the prospects for peace and mutual understanding between individuals, communities and peoples; while respecting alterity and mutli-vocal approaches to the performing arts and culture, and what they represent in and for humanity.

I would also be happy to talk to you about book projects for the Theatre in the Americas series edited by Robert Schanke and published by the University of Southern Illinois Press. (I shall be bringing flyers.)  Jane Baldwin's A National Drama: Jean Gascon and the Development of Canadian Theatre has been accepted for publication; Shelley Scott's study of Nightwood Theatre is about to be submitted.

I would also be pleased to talk to you about alt. theatre: cultural diversity and the stage. (Ted Little won't be at the conference.)  Issue 5.1 is now in press and will be out in mid-June. It contains Ted Little's editorial, "Theatre and Human Rights," Rebecca Burton's "Adding It Up: (En)Gendering (and Racializing) Canadian Theatre" (her report on and analysis of the 'Equity in Canadian Theatre: The Women's Initiative' in which she underscores the imperative of working towards achieving actual equality); Glen Nichols's essay on how Moncton Sable uses the freedom of postmodern performance to open new discursive spaces for their visions of a post-nationalist Acadie; Myrna Wyatt Selkirk's chat ("Cultural Diversity and the Magnetic North Theatre Festival") with outgoing Artistic Director Mary Vingoe; John Poulsen and Abdulrasheed Yaro Lecky's "The Ethos of Storytelling and How the Tortoise Shattered his Shell"; David and Donna Kornhaber's piece, "'Finally Awake': Rachel Corrie and the Politics of Coming of Age"; and Clarke Mackey's "The Politics of Play: Welfare State's Swan Song," an analysis of Longline: The Carnival Opera-Welfare State International's last show, in which Mackey traces the company's roots back to the political power that emerges through the vernacular culture of play.

In addition to working on forthcoming issues, we are concentrating on building up our subscription base: please urge your college and university libraries to take out subscriptions and don't hesitate to take one out for yourself!  Annual subscriptions (4 issues) cost $15 (Canada) and $25 (US or foreign); write, email, or fax Teesri Duniya Theatre, 4324 St. Laurent Blvd., Montreal, Qc H2W 1Z3, Telephone 514 848 0238 and Fax 514 848 0267.  For more information about alt., go to http://www.teesriduniyatheatre.com/quarterly.htm and follow the links.

I look forward to seeing you in Saskatoon.

Denis Salter

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"Those who have an orphan's sense of history love history."--Anna in Ondaatje's Divisadero
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"La Pocha Nostra is a virtual maquiladora [. . . ] that produces brand-new metaphors, symbols, images, and words to explain the complexities of our times. The Spanglish neologism Pocha Nostra translates as either 'our impurities' or 'the cartel of cultural bastards.' We love this poetic ambiguity. It reveals an attitude toward art and society: 'Crossracial, poly-gendered, experi-mental, ¿y qué?' " --Guilllermo Gómez-Peña.
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Denis Salter
Professor of Theatre
McGill University
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