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Arguably, one of the markers of the contemporary turn towards the “theatre of the real” is the often evocative presentation of fragments, multiples, or selections rather than a complete representative world. Verbatim performance, for instance, eschews an enclosed and privileging narrative in favour of destabilization, ... |
While “realism” as a theatrical genre is traditionally linked to singular, dominant, conservative authorities in Western metaphysics, contemporary expressions of “theatre of the real” tend more towards non- or partially-representational expressions of a ‘whole’ person/community/place. Further, we note a contemporary tr... |
· In what ways are authenticity, truth, and the idea of the originary being utilized, challenged, and expanded politically, pedagogically and/or aesthetically in contemporary theatre of the real performance? How might re/presentations of an originary serve to challenge and/or reinforce authenticity or true-to-lifeness? |
· What is the place of theatre of the real in increasingly globalized, digitized, and fragmented societies? Or conversely, how might theatre of the real restore and redress the displacement of embodied Nature within domains dominated by disembodied naturalism? |
· How might active aesthetic practices that erase the privilege of original reals emerge previously hidden, or as yet undiscovered, realities? In what ways could this be harmful or helpful? |
· What is the place of traditional stage realism within/amongst/beside/opposed to theatre of the real? What (dis)connections might exist between the two? |
Participants will be asked to present a brief, 6-8 minute long provocation/paper before engaging in a wider discussion with the other participants and the attending audience. |
250 word proposals, along with a short biography, should be sent to scott.mealey@mail.utoronto.ca and k.jacobson@mail.utoronto.ca no later than 17 February 2017. |
In her essay “Reclaiming Animism,” the philosopher Isabelle Stengers argues that it is necessary to reclaim the ambiguous term “magic” to describe the distribution of agency throughout material being. Magic, she notes, is used in a metaphorical sense to describe the experience of something extraordinary: a moment, land... |
What Stengers describes as “the metamorphic capacity of things” is evidently present in theatre, dance and other performance genres, as a wealth of scholarship on material performance and performing objects has demonstrated. In this panel, we invite participants to explore more deeply the connections between performing... |
Panelists will give a 15-minute paper or presentation, in a form of their choosing, followed by a discussion. |
This roundtable will explore pop-up culture in context of the geological time that structures the Anthropocene. As several theorists note, the Anthropocene has been shaped by the acceleration of consumption and production since the mid 20th century, an orientation to time and space coincident with what Jonathan Crary v... |
Is the pop-up simply a signature of a culture bent on filling every available moment and space with consumable (and/if exclusive) content? When does the form explicitly resist forces of consumerism (climate change awareness, human rights protests, Occupy, etc.)? |
Can pop-up culture think long-term? What might this tell us about our relationship to possible futures? |
Pop-up culture appears to be acutely contemporary: what are some historical precedents for the pop-up, ones that might also complicate the temporalization of the Anthropocene? |
How has the popularization of temporary inhabitation shaped perceptions of, and rationalized (dis)investment in, arts infrastructure in Canada and other national contexts (as Jen Harvie has noted in relation to the UK)? |
The pop-up implies a leave-no-trace ethos; but, of course, events mark and make space. What does the pop-up leave in its wake: what physical, material, psychic, spatial, and/or social stuff remains? What detritus? What vacuums or ghosts? |
What are the dynamics of inclusion/exclusion that structure pop-up events? |
Structure: In the spirit of a fervent pace, this ninety-minute long PechaKucha-style roundtable will allow each participant 6.66 minutes to show 20 image-based slides (20 slides x 20 seconds each) while theorizing some aspect of pop-up culture. These brief presentations will be followed by a sustained conversation abou... |
Please send 250-300 word abstracts and a brief bio to organizers Alana Gerecke (agerecke@yorku.ca) and Laura Levin (Levin@yorku.ca) by 17 February 2017. |
With more than 2000 students graduating every year from theatre, drama, and performance programs in Canada, it seems reasonable to consider that a large number of those are not being employed in the theatre industry. They are putting their education to work in more complex ways, benefitting from the fundamental liberal... |
To that end I invite 250-word proposals that address the round-table question (due by Feb 17, 2017). Round-table participants will then circulate brief (1500-word) position statements by May 1, 2017. At the conference round-table session, each participant will present the ideas of another paper as a kind of introductio... |
Among countless other issues, the 2016 American election has foregrounded—even here in Canada—the ways that we ‘the people’ source, share, understand, and indeed spectate the world around us (Shirky 2011, Smelik 2010, McGregor 2016). In this techno-human age of what Jack Bratich called “audience power,” the producing c... |
How do we newly perceive and engage; how do we (or indeed do we at all) delimit the actions that constitute spectatorship? |
Which audiences continue to be marginalized in Canadian theatre? How might their increased presence shift our conception of spectatorship? |
How do we come to understand the diverse groups of individuals we call an audience? What research methodologies allow us to engage with these groups? |
Do emergent technologies complicate the unique claims on liveness in performance reception? What avenues might this open in inter-disciplinary research? How might spectators perceive differently in the future? |
What are the dramaturgies of theatre with participant-spectators? |
Prior to the conference, participants will be invited to collaborate on a shared annotated bibliography. At our session, participants will share their perspective on contemporary spectatorship in short (~5 minute) presentations followed by small-group discussions about issues raised. |
250 word proposals, along with a short biography, should be sent to the Centre for Spectatorship and Audience Research (centreforspectatorship@gmail.com). |
What is at stake and how do we approach making and thinking about difficult knowledges and the performances for/by/with young people that engage with them? This seminar encourages thinkers to consider the precarity of human presence on the planet through the lens of those people on whom we tend to place the greatest bu... |
This seminar/workshop encourages scholars of all career stages to discuss complicated questions related to performances for/by/with young people that engage with difficult subject matter and taboos, to stretch ideas of how performance is appropriate for/by/with children, and to interrogate the role of young people in p... |
In 1998, a delegation of Dene people from Canada’s North made their way to Japan to apologize to the people of Hiroshima and Nagasaki for the harm that the land they lived on had caused during the American bombing in 1945. My hometown of Deep River ON was constructed as a planned community to house physicists and engin... |
What, in the context of performances of Canadian atomic culture, can be said about films like Tarkovsky’s Stalker, the musical Miss Atomic Bomb, the media spectacle around Fukushima, or the This is Your Life segment where Hiroshima survivors Kiyoshi Tanimoto and the “Hiroshima maidens” met pilot Robert A Lewis, who dro... |
Participants are asked to share 10-12 minute papers and to bring in a cultural text to share. This can be an object, a photograph, a film clip, a theatre side, a live performance, etc. The rest of us will rally with the presenter to uncover its potential meanings. Pre-circulation of papers is not required, but if parti... |
Building on the two seminars on decolonizing methodologies in theatre and performance studies convened at CATR 2016, this seminar will move conversations forward, specifically focusing on how decolonial methodologies can be applied by settlers and other non-Indigenous peoples working and living on occupied Indigenous h... |
Place-based methodologies are key to Indigenous epistemologies, expressing reciprocal relationships to ancestral homelands; conversely the settler colonial project demands that non-Indigenous arrivants adopt an extractive relationship to commodified lands, treating them as generically re-place-able resources. This semi... |
Participants will have the opportunity to share and receive feedback on a well-developed work-in-progress (whether this is a draft of a journal article, a dissertation chapter, or a piece of writing in another genre/form). Participation is not limited to those who participated in 2016 seminars. We encourage participant... |
Description of work required: Selected participants will submit their work-in progress, approx. 5000 words in length, by 15 April 2017. These will be shared with all seminar participants online (through dropbox, googledocs, or a similar platform). Each participant will be assigned to formally respond to one paper (appr... |
Due dates: 250-500 word abstracts and bio are due 17 February 2017. Works-in-progress are due 15 April 2017. Written responses are due 15 May 2017. |
Contact info: please address any questions and abstracts/bios to Selena Couture: couture2@ualberta.ca. |
This seminar looks at the history and aesthetics of the hydro-imaginary and considers the material, symbolic, and aesthetic conditions of water in theatre and performance. It goes beyond the dichotomy between the symbolic and the mimetic in order to demonstrate how the aquatic reflects our complex and often contradicto... |
The seminar will accept a total of eight participants (for a duration of 3 hours) who will share their work ahead of time, and serve as discussants on each other’s papers. During the seminar, each discussant will introduce their assigned paper (5 minutes) followed by a short presentation by the participant, then an ope... |
This seminar offers participants the opportunity to present traditional papers that address their experiences, concerns and questions arising from their inclusion of Indigenous texts and performance in their research, teaching, and artistic practice. How can our research, teaching, and artistic creation challenge the s... |
• Challenges in audience reception of Indigenous plays. |
• Building relationship with Indigenous communities in preparation for presenting Indigenous work. |
• Respecting cultural diversity among students of different Indigenous and non-Indigenous backgrounds. |
• The risks of subsuming Indigenous knowledges as cultural artifacts. |
• The pitfall of academic authority: can we relinquish our control to Indigenous knowledge keepers? How do we do this? |
• How do we go about decolonizing settler theatre? |
• How have Indigenous peoples been represented in settler theatre? |
Paper proposals with title and a 300 word abstract should be sent to curators Lib Spry and Annie Smith by February 17, 2017. The proposal should also include two or three discussion points that the presenter would like to facilitate in the following discussion/workshop session. |
Kovach, Margaret. Indigenous Methodologies: Characteristics, Conversations, and Contexts. Toronto, Buffalo, London: University of Toronto Press, 2009. |
Reconciliations in Canada. Vancouver, BC: University of British Columbia Press, 2010. |
Some practitioners of verbatim theatre, especially in Britain, believe verbatim theatre is displacing mainstream media as a way for the public to access reliable information about current political events. However, other practitioners such as Alana Valentine in Australia, have described their work as being on a spectru... |
The purpose of this praxis workshop is to discuss the spectrum of verbatim theatre using a play called Out at School as an exemplar of a play that is positioned closer to the “pure verbatim” side of the continuum spectrum. Out at School is a work-in-progress play script that has been written from interviews with LGBTQ ... |
The way we breathe affects the way we move, and this, in turn, affects our breathing. Equally important is the way we stop breathing, and we all do it as part of normal functioning. This workshop will bring awareness to habits of stopping and starting the breath which often lie beneath the level of consciousness. Since... |
Elsa Gindler (1885-1961) wrote: “The pause, or rest, after exhalation must not be lifeless. It should never be a matter of holding the breath. On the contrary, it should most closely resemble the pause we experience in music – which is the vital preparation for what is to follow.” (Gindler 10) Yet there is a reason Gin... |
One accessible way to work with stopping the breath is through the Feldenkrais Technique (which was influenced by Elsa Gindler’s work). The workshop will consist of a Feldenkrais lesson (called “Stopping the Breath”) followed by a discussion. The discussion will focus on the question of how the very real threat of dest... |
Named for Moshe Feldenkrais (1904-1984) the Feldenkrais Technique uses gentle movement and directed attention to enhance functioning. The movements are based on martial arts and child development, yet the method is based on proprioception, rather than on following external forms. The group practice of Feldenkrais invol... |
Gindler, Elsa. “Gymnastik for People whose Lives are Full of Activity.” Translated by The Charlotte Selver Foundation. Bone Breath and Gesture: Practices of Embodiment edited by Don Hanlon Johnson. Berkeley, California: North Atlantic Books, 1995. pp. 5-14. Print. |
Participants are asked to wear loose and comfortable clothing. Please bring a yoga mat. No auditors, please, but all are welcome to participate. |
Applications due by 17 February 2017. |
This year’s “Articulating Artistic Research” praxis seminar extends conversations and investigations developed through its past four sessions, shifting attention to the position(ing) of the researcher in Artistic Research. Building on previous seminar discussions of methodology (CATR 2013), utility (2014),epistemology ... |
We welcome proposals that consider the many ways that researchers are positioned and position themselves within research-creation contexts, across the spectrum from deeply embedded to critical/analytical observation. |
How are these different placements direct expressions of the research’s theoretical underpinnings and methodological frameworks? |
In what ways are a researcher’s possible placements predetermined by her prior education, training, and experience, her personal history and habits, her mental and/or physical capacities? |
How do these positions within the processes shape and define potential outcomes and articulate epistemological possibilities and priorities? |
As was the case in the previous four iterations of this seminar, next year’s gathering is meant as a forum to explore diversity in motivation, design, execution, and documentation. However, participants will once again be called upon to explicitly articulate their practices with direct reflection on the following aspec... |
A selection of no more than 12 participants will be invited to attend the seminar in accord with the above noted criteria. |
Between March 1st and April 15th, the first stage of seminar engagement will consist of an electronic forum, in which participants of the full seminar group will discuss a selection of published articles addressing the theories and practices of Artistic Research internationally. The focus of this exchange will be issue... |
After April 15th, the invited participants will be organized into two or three sub-groups (depending upon the number of participants), according to shared interest/focus, and tasked with a structured pre-conference exchange leading to in-conference collaboration. |
The actual seminar will involve two or three workshop-style Artistic Research exercises designed and facilitated by the sub-groups, involving the participation of other members of the full seminar and attending conference participants. |
The final hour of the seminar will take the form of an open discussion between the seminar participants and audience members. |
The entire seminar will be open to all conference attendees. |
Seminar proposals should be sent to Natalia Esling (natalia.esling@mail.utoronto.ca) and Bruce Barton (bruce.barton@ucalgary.ca) no later than Friday, January 17th, 2017. |
This is actually a Call For Participation – seeking fellow theatre researchers to act as participatory audience members for a doctoral pilot performance autoethnography and post-performance feedback activity that privileges the physical and imaginal, as different to the verbal. At a time in my life when I became increa... |
Today we spoke with Yossi Schwartz in Haifa, one of the cities hit by Hizbollah rockets. Below we are providing the text of a conversation with him in which he describes the mood in the country and looks at the possible scenario that may unfold over the next few days. |
Haifa, 12 noon, July 17 - Israel's overall aims are not clear at the moment, but one thing is clear: they intend doing serious damage to Lebanon and throwing it back very far. They have already partially achieved this aim and it will get worse in the coming days. |
Their main aim is to smash Hizbollah, but in their bombing campaign they have also hit targets not connected to Hizbollah. For example they have also hit Christian towns and villages. |
I have been listening to Nasrallah, leader of Hizbollah. He is clearly a reactionary, but there is one thing you can say about him: so far he has done what he has said. So his threats need to be taken seriously. |
What we have to understand is this: in spite of being a reactionary Nasrallah has the support of ordinary people, especially in the South of Lebanon. But the right wing in Israel - the pro-Americans - is attacking him. This actually makes him more popular. |
On Thursday something hit Haifa. It is not clear what it was, but it seems it was a very small rocket. Nasrallah has denied that that specific rocket was fired by Hizbollah. What is clear is the immediate reaction of the Israeli military who went on to bomb south Beirut in an attempt to get Nasrallah. Bush has backed I... |
Nasrallah, speaking from his bunker, issued a statement saying, "We warn you; now you will see what I can do..." and shortly afterwards the Hizbollah hit an Israeli ship, severely damaging it. The immediate response of the Israeli military expressed through the media was to try and laugh it off and even deny it. But fo... |
Nasrallah has also issued another warning. He said in his statement, "Don't force me to hit the industrial area of Haifa..." This industrial area contains a lot of chemicals, gasoline and so on, and if it were hit it would be a major disaster. |
The Hizbollah now have sophisticated rockets that can guarantee quite precise bombing, so Nasrallah knows what he is aiming at. I believe it is a question of days before he hits Haifa again in a serious way. Yesterday he hit Haifa and 8 civilians were killed. This hit came just after the Israeli generals had been boast... |
At present a kind of psychological warfare is being mounted by the Israeli authorities against the population of Israeli. And contradictory messages are being sent out. This is provoking a certain scepticism among the people who are starting not to believe or trust what the authorities are telling them. Most people her... |
This morning, for example, was the third morning in a row that I have been woken up by 6am sirens, and each time it has been a false alarm. Israel has been promising the civilian population that it would use its Patriot missiles to stop any incoming rockets. In reality Israel is not ready for these attacks. |
The fact is that Hizbollah is more powerful than many may think. It has about 10,000 soldiers and modern weapons at its disposal. It is not an easy task to destroy Hizbollah as a force, and even if Israel went in it would find it very difficult to deal with it. |
Israel's aim is clearly to destroy Hizbollah's fighting capacity. To do this I do not think they need to occupy parts of Lebanon. What they want is to force the Lebanese Army to push back the Hizbollah. But the Lebanese Army cannot do this. The Hizbollah is very powerful. One idea they have is to cause such concern int... |
It is difficult to know how long this war can last. It could last one or two weeks more. There are some unknown elements in the equation. |
The first question we have to ask ourselves is: would Syria and Iran intervene? Syria is trying to stay out of the conflict and Israel also seems to be concerned not to open up this third front. Syria has denied that any Israeli rockets have hit Syrian territory, but this also is dubious. How long this situation can ho... |
On the other hand imperialism is doing nothing concrete to stop Israel. US imperialism in particular is de facto supporting Israel. |
If we look at the number of casualties on both sides we see an enormous imbalance. On the Israeli side so far there have been around 20 people killed, both military and civilian, with around 100 injured. But on the Lebanese side over 100 have been killed and around 300 have been wounded. Today alone the Israeli air for... |
How things will pan out we can only see in the next few weeks. One thing that is clear is that this war is very expensive, hugely expensive. It is costing Israel billions of dollars already. Inside Israel most of those hit are ordinary civilians, many of whom will find it difficult getting compensation. Once this war i... |
Inside Lebanon we see how the majority of the pro-American government is accusing Hizbollah of destroying the country, but they can do very little. For example the Israeli forces bombed some Lebanese police, but the Lebanese army did nothing. They are in fact under orders not to shoot back! The Lebanese government is d... |
The Arab governments on the other hand are doing nothing to help the Lebanon. They are allowing Israel to butcher the country. The irony is that Saudi Arabia is one of the main investors in the reconstruction of Lebanon after the last civil war. |
As I said before, we still don't know how long this will last and what the precise outcome will be. The fighting will go on for a while. There will be a lot of destruction and then some kind of cease-fire will be brokered. Syria remains a question mark. They have bombed and destroyed roads into Syria. The fact is that ... |
One important thing to note is that the Israeli generals feel they are losing influence in the decision-making process and they want to re-impose their past role in Israeli politics. |
I think it is unlikely that they will go into southern Lebanon. If they do go in many soldiers would be killed and the people have the terrible memory of the last time Israeli soldiers were in the Lebanon. In the year 2000 Israel was forced out of the Lebanon because of two main factors. One was the fighting ability of... |
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