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[Alan Filewod]

Dear colleagues

The International Shakespeare Association is now calling for 
registrations and workshop participants for its 2011 conference in 
Prague (see attached).  I will be chairing a session with Czech 
scholar Klara Kolinska. We welcome expressions of interest from 
researchers and practitioners who might like to participate in this 
session. If you are interested, please contact me or Dr Kolinska 
(kolinska at phil.muni.cz)

Shakespearean Practice, Shakespeare Industry and Indigeneity:
	This seminar brings together scholars and theatre artists 
from around the world to examine problems of Shakespearean 
performance and indigenous cultural production. Taking as its 
starting point Yvette Nolan and Kennedy Cathy MacKinnon's aboriginal 
reworking of Julius Caesar in Death of a Chief at Native Earth 
Productions in Toronto in 2008, the seminar investigates how 
Shakespearean performance serves both to legitimize and delegitimize 
indigenous cultural production in societies marked by histories of 
colonialism and displacement.
	In Performing Canada: The Nation Enacted in the Imagined 
Theatre, Alan Filewod (session co-chair) argues that the Shakespeare 
industry in Canada restages a history of cultural invasion and racial 
surrogation. "Shakespeare," considered as a culturally neutral site 
of humanist commonality, marks an "absent authentic" that reinforces 
Anglophone hegemony in an increasingly pluralist society. At the same 
time it secures the structure of critical and aesthetic value that 
regulates the institutional theatre sector. In this model of 
historical development, Shakespearean practice has functioned as a 
marker of cultural accession by which minoritized and non-Anglophone 
theatre work achieves critical legitimacy.
	The seminar proposes to gather scholars and artists, familiar 
with or engaged in Shakespearean practice in "settler-invasion" 
cultures (Australia, Canada and New Zealand) and "imperialized" 
cultures (Caribbean, South Africa, India) to investigate, in both 
practical and theoretical terms, how this process of accession 
functions to produce and mark indigeneity. In this context, 
indigeneity refers not simply to "aboriginal" subjectivity but as 
well to racial and social categories marked and confirmed as embodied 
in the process of performance.
Possible questions for discussion include, but are not limited to, 
the following:
How is contemporary Shakespearean practice related to indigenous 
cultural production?
Does Shakespearean practice produce indigeneity?
What are the issues involved, and what are the practical implications?
What is the position of Shakespearean productions informed by 
indigeneity in the larger context of the tradition of Shakespearean 
practice?

  Deadline for registration is March 15 of this year. Delegates choose 
seminars at the point of registration.
cheers
Alan



-- 
Alan Filewod
Professor
School of English and Theatre Studies
University of Guelph

519.824. 4120 x 52932
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