[Candrama] CATR/ACRT 2017 Performing the Anthropocene -- General CFP -- deadline 21 January 2017

Tue Nov 22 12:04:08 EST 2016

Canadian Association for Theatre Research Conference | Colloque
L’association canadienne de la recherche théâtrale (La version française suit.)

We would like to acknowledge this sacred land. It has been a site of human activity for 15,000 years. Takaronto has been stewarded by the Erie, Petun, Wendat, and Seneca First Nations, the Anishinaabeg and most recently the Mississaguas of the New Credit First Nation. The territory was the subject of the Dish With One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee Confederacy and the Three Fires Confederacy (of the Anishinaabeg) to peaceably share and care for the resources around the Great Lakes.

Today, the meeting place of Toronto is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work in the community, on this territory.

Performing the Anthropocene Setting the Stage for the End of the World

Canadian Association for Theatre Research L’association canadienne de la recherche théâtrale (CATR/ACRT) Toronto, Ontario
Saturday 27 May - Tuesday 30 May 2017
Call for Papers
DEADLINE 21 JANUARY 2017

Once, the Dream’s parameters were caged by technology and by the limits of horsepower and wind. But the Dreamers have improved themselves, and the damming of seas for voltage, the extraction of coal, the transmuting of oil into food have enabled an expansion in plunder with no known precedent. And this revolution has freed the Dreamers to plunder not just the bodies of humans but the body of the Earth itself. 

—Ta-Nehisi Coates, Between the World and Me (2015)

Scientists may provide precious data and design solutions to address the climate crisis. But what artists can do, perhaps better than anybody, is to create the narrative that will make this endeavour an exciting and even spiritually rewarding one. [...A]rtists have rewritten history to correct mistakes, point out omissions, and give a voice to those who were silenced. This time, we have a chance to write history before it happens and to put in place-markers that will guide us in our journey forward. 

—Chantal Bilodeau, “Addressing Climate Change One (Theatre) Artist at a Time” (2009)

Geological change and its effects on the global political climate informs the notion of the Anthropocene: “a new epoch in Earth’s geological history [...] characterized by the advent of the human species as a geological force” (Scranton 2015). Canadians, as global citizens and consumers, are performing the Anthropocene as we live it. Canada is the second largest country in the world, though four-fifths of its population hovers near its southern border—leaving the majority of its land space to forests, Tundra, and the Rocky Mountains. Environment and Climate Change Minister Catherine McKenna garnered international praise in December 2015 at the United Nations Climate Change Conference in Paris for her commitment to maintaining average rising temperatures to within 1.5 degrees C (rather than the proposed 2 degrees C) of pre-industrial levels. But only six months later, Prime Minister Justin Trudeau came under attack for approving permits for the Site C dam on British Columbia’s Peace River—its construction irreversibly impacting Treaty 8 First Nations. In July 2016, over two hundred people met in Vancouver as part of the Paddle for Peace campaign to protest the construction, and, in a parallel situation in the US, in August, over one thousand Native American activists on foot and horseback effectively shut down construction on the Dakota Access pipeline—a pipeline with similar ramifications as the Site C dam to local tribes in North Dakota.

These events foreground the harsh dialectic between economic and industrial progress and individual, environmental, and social justice. An intersectional approach to climate change notes the ways in which Indigenous and otherwise marginalized communities experience increased health risks and depleting access to clean water and other resources. Climate change will inevitably affect everyone in the Anthropocene, but it will not impact everyone in the same way.

Like performance, the Anthropocene is contingent on its, and our, own disappearance. This conference asks: How is the human impact on the environment represented in theatre and performance? Does awareness of the Anthropocene give rise to altered aesthetics, practices, revive former traditions, or suggest their abandonment? What of performance practice’s geological impacts? Might the Anthropocene displace or reorient the (generally) human-centred activity of theatre and performance? Where do theatre and performance fit

in this new, contested subdivision of geological time? Can we read the Anthropocene as another, pressing form of agon? How do we perform or represent a new, contemporary era, or geological time, or conflicting geological and environmental forces? How can performance present a better strategy for effecting change in geo-political social life? Canada’s celebration of 150 years of sovereignty in 2017 highlights again issues of land rights, de/colonization, and the asymmetrical impacts of climate change raised by the Anthropocene.

We invite proposals for papers from scholars and artists, with emphasis on foregrounding voices from underrepresented or marginalized perspectives, including POC, Indigenous, black, queer, and independent scholars and artists. We welcome the range of research (from auto-ethnographic, to arts- and action-based, to semiotic), practice (from embodied work, studio exploration to dramaturgy), and pedagogy (from class-room based, to peer review, mentorship). All forms are encouraged.

We also invite current and recent graduate students, having graduated within the past two to three years, and/or independent scholars who have not yet presented at a major national conference to submit papers to CATR/ACRT’s 2017 Emerging Scholars Panel. We particularly encourage submissions that engage specifically with this year’s conference theme.

Possible topics may include (but are not limited to):

Ecological performance and/or performing ecologies

Theatricalizing post-apocalyptic futures and performances of warning

Aestheticizing destruction and spectacles of degradation

Educating in/against the Anthropocene and the role of applied theatre

Theatrical geographies and topographies

New durations and cross/multi/-temporal performance; performing an ‘era’

Performing politics and protest

The Anthropocene’s audiences and demands of 21st-century spectatorship

New materialisms, expanded consciousness, and object-oriented ontology

Digital detritus and the waste and economies of expenditure at the end of an era

Peripheral performance and underrepresentation

Looking back, looking forward through archival warming and the role of

performance history

De/colonizing performance practices and spaces

Urban concepts and performances of wilderness, wild looking back at the city

While we encourage proposals to consider the theme of the conference, scholars and artists should not feel limited by its parameters. Scholars may think of ways “performing/staging the Anthropocene” intersect and impact their own chosen areas of research and practice. Please consider how working through this lens may offer new ways of approaching analysis, theatre/performance studies, criticism, etc. Scholars who propose papers not related to the theme, per se, may consider how their proposal sheds new light on marginal or historically silent voices, or explores areas that are underresearched.

All accepted presenters and participants are required to join CATR. For more information on CATR and to join or renew your membership please visit http://www.catractr.ca.

Please send all proposals to T. Nikki Cesare Schotzko, National Conference Chair, at catr2017.conference at gmail.com by 21 January 2017.

Please note: this is a general call for papers for open panel sessions. Calls for accepted curated panels, seminars, workshops and roundtables will be issued separately and individually, and are also accessible on our website.

L’Anthropocène en scène

Planter le décor de la fin du monde

Canadian Association for Theatre Research L’Association canadienne de la recherche théâtrale (CATR/ACRT) Toronto, Ontario
Du samedi 27 au mardi 30 mai 2017
Appel de communications
DATE LIMITE : le 21 JANVIER 2017

Autrefois, les paramètres du Rêve étaient limités par la technologie, la puissance des machines et du vent. Mais les Rêveurs se sont améliorés, et les barrages électriques construits sur la mer, l’extraction du charbon, la transmutation du pétrole en nourriture ont permis une expansion sans précédent du pillage. Cette révolution a libéré les Rêveurs et leur a permis de piller non seulement les corps humains, mais aussi le corps de la terre elle-même. —Ta-Nehisi Coates, Une Colère noire (2015)

Les scientifiques peuvent nous fournir de précieuses données sur le changement climatique et concevoir des solutions pour faire face à la crise. Mais ce que les artistes peuvent faire, peut-être mieux que quiconque, est de créer le récit qui fera de ce combat une démarche stimulante et même gratifiante. [... Les] artistes réécrivent l’histoire pour en corriger les erreurs, en signaler les oublis et donner une voix à ceux que l’on a fait taire. Cette fois, nous avons la chance d’écrire l’histoire avant qu’elle ne se produise et d’établir des balises qui nous guideront dans notre cheminement. —Chantal Bilodeau, « Addressing Climate Change One (Theatre) Artist at a Time » (2009)

Le changement géologique et ses effets sur le climat politique planétaire façonnent la notion d’Anthropocène: « une nouvelle ère dans l’histoire géologique de la Terre [...] caractérisée par l’avènement de l’espèce humaine en tant que force géologique » (Scranton, 2015). Les Canadiens, citoyens du monde et consommateurs mondiaux, représentent et incarnent l’Anthropocène dans leur mode de vie. Le Canada figure au 2e rang mondial pour la superficie, même si 80 % de sa population vit près de la frontière, au sud, et qu’ainsi la majeure partie de son territoire n’est occupée que par les forêts, la toundra, les montagnes Rocheuses. La ministre de l’Environnement et du Changement climatique, Catherine McKenna, s’est attiré les louanges de ses homologues internationaux en décembre 2015 lors de la Conférence des Nations Unies sur le changement climatique à Paris pour son engagement à maintenir la hausse moyenne de la température à 1,5 degrés C au-dessus du niveau préindustriel (plutôt qu’à 2 degrés C, comme proposé). Toutefois, seulement six mois plus tard, le premier ministre Justin Trudeau se faisait reprocher d’avoir approuvé des permis concernant le barrage du site C, sur la rivière de la Paix en Colombie-Britannique, car les répercussions de son aménagement sur les Premières Nations Treaty 8 seront irréversibles. En juillet 2016, plus de 200 personnes ont participé à la campagne « Paddle for Peace » à Vancouver contre le projet. Dans un contexte similaire en août, aux États-Unis, plus d’un millier de militants autochtones américains à pied et à cheval ont réussi à faire arrêter la construction du pipeline Dakota Access, un pipeline touchant les tribus du Dakota du Nord aux ramifications semblables à celles du Site C.

Ces évènements mettent en lumière les antagonismes entre le progrès économique et industriel d’une part et la justice individuelle et sociale d’autre part. Une approche croisée relativement aux changements climatiques relate les risques accrus pour la santé et le piètre accès à l’eau potable et à d’autres ressources touchant les Autochtones et les autres

groupes marginalisés. Les changements climatiques toucheront tout le règne Anthropocène, inévitablement, mais tout le monde ne sera pas affecté de la même manière.

À l’instar de la performance, l’Anthropocène est indissociable de sa propre disparition, et de la nôtre. Au colloque, nous nous demanderons: Comment le théâtre et la performance représentent-ils l’impact de l’humain sur l’environnement? La connaissance de l’Anthropocène suscite-t-elle une nouvelle esthétique, de nouvelles pratiques, ravive-t-elle d’anciennes traditions ou incite-t-elle à leur abandon? Qu’en est-il de l’impact géologique de la performance? L’Anthropocène pourrait-il déplacer ou réorienter l’activité, généralement axée sur l’humain, de la performance et du théâtre? Où le théâtre et la performance peuvent-ils s’insérer dans cette nouvelle, mais mitigée, subdivision du temps géologique? Peut-on voir dans cet Anthropocène une forme différente, pressante d’âgon? Comment représenter ou mettre en scène une ère nouvelle et contemporaine, ou un nouveau temps géologique, ou de nouvelles forces géologiques et environnementales? Comment la performance peut-elle offrir une meilleure stratégie par rapport aux bouleversements de la vie sociale et géopolitique? Le 150e anniversaire que le Canada s’apprête à célébrer en 2017 remet à l’avant-plan des questions de droits territoriaux et de (dé)colonisation ainsi que les répercussions asymétriques du changement climatique provoqué par l’Anthropocène.

Nous sollicitons des propositions de communications de chercheurs et d’artistes, axées sur la valorisation de voix sous-représentées ou marginalisées, par exemple les personnes de couleur, autochtones, noires, allosexuelles, les chercheurs et les artistes indépendants. Nous acceptons tous les angles de recherche (auto-ethnographique, art et action, sémiotique, etc.), de pratique (œuvre consacrée, travail de studio, dramaturgie) et de pédagogie (en classe, critique par les pairs, mentorat). Nous sommes ouverts à toutes les formes de contribution.

Nous invitons également les étudiants des cycles supérieurs, les diplômés des deux ou trois dernières années et les chercheurs indépendants qui n’ont encore jamais présenté une communication dans un grand congrès national à soumettre une proposition dans la section Chercheurs émergents de l’ACRT/CATR 2017. Nous encourageons tout spécialement les propositions qui s’inscrivent dans le thème du colloque de cette année.

Parmi les sujets possibles (mais non exclusifs), notons :

La performance écologique et/ou l’écologie en performance

La théâtralisation d’un avenir post-apocalyptique et l’alerte en performance

L’esthétisation de la destruction et le spectacle de la déchéance

L’éducation dans et contre l’Anthropocène et le rôle du théâtre appliqué

Géographie et topographies théâtrales

Nouvelles durées et performance multi-diachronique; mettre une ère en scène

Jouer la politique et la contestation

Les auditoires de l’Anthropocène et les demandes du public du 21e siècle

Le nouveau matérialisme, la conscience élargie et l’ontologie de l’objet

Les débris numériques, le gaspillage et la réduction des dépenses à la fin d’une époque

La performance de la marge et la sous-représentation

Regarder derrière, regarder devant par la réactivation des archives et le rôle de

l’histoire de la performance

Espaces et pratiques de performance (dé)colonisatrice

Concepts urbains et nature sauvage en performance, un regard vierge sur la ville

Même si nous encourageons les artistes et les chercheurs à proposer des communications en lien avec le thème, ils ne doivent pas se sentir contraints par ces paramètres. Ils peuvent réfléchir aux diverses façons dont « jouer/mettre en scène l’Anthropocène » rejoint et influence leurs propres champs de recherche et de pratique. Veuillez considérer comment ce prisme dans le travail offre de nouveaux angles d’analyse, d’études du théâtre et de la performance, de critique, etc. Les chercheurs qui proposeront des communications non liées au thème doivent tout de même réfléchir à l’éclairage que leur proposition apporte sur les le phénomène des voix marginales ou historiquement silencieuses ou à son exploration de zones sous-représentées dans la recherche.

Tous les conférenciers et participants doivent adhérer à l’ACRT. Pour tout savoir sur l’association, pour devenir membre ou renouveler votre adhésion, rendez-vous au http://www.catractr.ca.

Veuillez envoyer vos propositions à T. Nikki Cesare Schotzko, présidente du comité organisateur, à catr2017.conference at gmail.com au plus tard le 21 janvier 2017.

Veuillez noter qu’il s’agit d’un appel de propositions pour les séances de communications libres. Les appels de propositions pour le séances thématiques, les

séminaires, les ateliers et les tables rondes seront diffusés séparément et individuellement et peuvent aussi être consultées sur notre site Web. 

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