{"id":5140,"date":"2024-05-21T14:18:53","date_gmt":"2024-05-21T14:18:53","guid":{"rendered":"https:\/\/theatreagora.ca\/?page_id=5140"},"modified":"2024-06-12T02:37:33","modified_gmt":"2024-06-12T02:37:33","slug":"colloque-acrt-2024-horaire","status":"publish","type":"page","link":"https:\/\/theatreagora.ca\/fr\/colloque-de-lacrt-2024\/colloque-acrt-2024-horaire\/","title":{"rendered":"Colloque de l&#8217;ACRT 2024 &#8211; Horaire"},"content":{"rendered":"\n<p>Jump to: <a href=\"#june5\">5 juin (mercredi)<\/a> &#8211; <a href=\"#june6\">6 juin (jeudi)<\/a> &#8211; <a href=\"#june16\">16 juin (dimanche)<\/a> &#8211; <a href=\"#june17\">17 juin (lundi)<\/a> &#8211; <a href=\"#june18\">18 juin (mardi)<\/a> &#8211; <a href=\"#june19\">19 juin (mercredi)<\/a> &#8211; <a href=\"#june16\">20 juin (jeudi)<\/a><\/p>\n\n\n<div class=\"event-filter-block\">\n<div class=\"isotope_filters\">\n<select id=\"filters-eventtype-select\" class=\"filters-eventtype-select\">\n<option value=\"*\" selected>Tous les types d&#8217;\u00e9v\u00e9nements<\/option>\n<\/select>\n<select id=\"filters-eventformat-select\" class=\"filters-eventformat-select\">\n<option value=\"*\" selected>Tous les formats<\/option>\n<\/select>\n<select id=\"filters-eventaccessibility-select\" class=\"filters-eventaccessibility-select\">\n<option value=\"*\" selected>Toutes les mesures d&#8217;accessibilit\u00e9<\/option>\n<\/select>\n<input type=\"text\" class=\"quicksearch\" placeholder=\"Recherche\"\/>\n<\/div>\n<\/div>\n<div class=\"theatreagora_isotope_grid\">\n\n\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june5\"><span class=\"ez-toc-section\" id=\"mercredi-5-juin\"><\/span>Mercredi 5 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container welcome-event online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Welcome Event\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>10:30 &#8211; 11:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"online-welcoming-remarks\"><\/span><strong> Online Welcoming Remarks<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/welcome-event\/\" rel=\"tag\">Welcome Event<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><strong>Location:<\/strong> Zoom Room A<\/p>\n<p>Live English\/French Translation will be provided<\/p>\n<p>Online Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><strong>Location:<\/strong> Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\">https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Live English\/French Translation will be provided<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container keynotes online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Keynotes\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>10:30 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"welcoming-remarks-keynote-%e2%80%93-joel-bernbaum\"><\/span><strong> Welcoming Remarks &amp; Keynote &#8211; Joel Bernbaum<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/keynotes\/\" rel=\"tag\">Keynotes<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p><b>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/b><\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"a83482a5\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-a83482a5\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"fe35815c\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-fe35815c wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Joel&#8217;s presentation will explore the potential of verbatim theatre to be used as a community development tool. It examines how social capital might be re-envisioned as a network of place-based relations, with the view of community as&nbsp;<em>process<\/em>; one which must be constantly and consistently repeated and maintained. The central argument is: verbatim theatre can be used as a way to create a non-literal place for \u2018communing\u2019 where humanization can occur. The conceptual framework is inspired by Indigenous knowledge, and critical discussion of the creation of place including race, dehumanization, and humanization. Indigenous knowledge offers non-colonial ways of conceptualizing how we understand, measure, and value spaces, places, and the interconnected relationship between all things. Social capital can be seen as sociality, or networks of relations between people and spaces that become places when they are endowed with meaning. This meaning is produced through relationships between people, which can only happen in place. Theatre arts have the potential to create places where \u2018systematic humanizing\u2019 can occur.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Joel Bernbaum<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Joel Bernbaum is theatre artist and journalist. He is a graduate of the Canadian College of Performing Arts and Carleton University, where he did his Master\u2019s Thesis on Verbatim Theatre\u2019s Relationship to Journalism. Joel\u2019s produced plays include<em>Operation Big Rock, My&nbsp;<\/em>Rabbi (with Kayvon Khoshkam)<em>, Home Is a Beautiful Word,<\/em>&nbsp;<em>Reasonable Doubt&nbsp;<\/em>(with Yvette Nolan and Lancelot Knight) and&nbsp;<em>Being Here: The Refugee Project (<\/em>with Michael Shamata). Joel is the founding artistic director of Sum Theatre, for which he directed\/co-directed thirteen plays seen by over 60,000 people.&nbsp; Joel is currently an interdisciplinary PhD student at the University of Saskatchewan, investigating the potential of verbatim theatre to be used as a community development tool. He lives in Saskatoon with his eight year old son, Judah. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container open-paper-panel online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"indigenous-theatre-and-performance-i-online\"><\/span><strong> Indigenous Theatre and Performance I (Online)<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room B<\/p>\n<p>Online Session<\/p>\n<p>Moderator: Selena Couture<\/p>\n<p>Julie Burrelle, &#8221; \u201cOh, to confound Justice with Laws!\u201d: Imagining beyond settler colonial time in Beth Piatote\u2019s <em>Antikoni<\/em>.&#8221;<\/p>\n<p>Jill Carter, &#8220;Working Title:<span class=\"Apple-converted-space\">\u00a0 <\/span>Playing in (the Eighth) Fire without Getting Burned&#8221;<\/p>\n<p>Amanda Claudia Wager, Laura Cranmer, Daisy Elliott and Ann Hayamxsala&#8217;ogwa Woodward, &#8220;Shining Light on the Indian Hospitals: Reawakening Languages Through Theatre&#8221;<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Selena Couture<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room B<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"4292bd50\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-4292bd50\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"96e0b772\",\"label\":\"Link to Zoom Room B\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-96e0b772 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room B<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p><a href=\" https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1 \"><\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u201cOh, to confound Justice with Laws!\u201d: Imagining beyond settler colonial time in Beth Piatote\u2019s <\/strong><b><em>Antimony<\/em><\/b><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Indigenous artists-scholars have long urged settlers to go beyond performative utterances, \u201cbeyond [the] settler present, beyond colonial sovereignty, and beyond the human\u201d (Stewart-Ambo &amp; Yang 27). To do so, they ask that we first situate ourselves in our own stories and that we truly contend with the past and present and confront the \u201cwhite ignorance\u201d (Mills 247) behind which many of us have had the privilege to hide before we think of presenting ourselves as trustworthy co-conspirators in the radical reimagining of the structures that organize our living together. This paper reflects on an attempt at such \u201ca relational turn\u201d (Carter 186) through a ten-week undergraduate course at the University of California, San Diego. It focuses on the sustained collaboration between the students, myself, and author Beth Piatote (Nez Perce) whose play <em>Antikoni<\/em>, a superb Nez Perce adaptation of Sophocles\u2019 <em>Antigone<\/em>, was central to the class. This article meditates in particular on the research and reflection that led the students and myself to enter in a deeper and more reciprocal embodied relationship \u2013the beginning, perhaps, of relational turn\u2013 with <em>Antikoni<\/em> and its author, but also with UCSD, and its history on Kumeyaay land. This article reflects on receiving a story \u2013that is, being entrusted with it\u2013 as ways to activate settler accountability and it documents how the students and I chose to reciprocate this gift by preparing and performing a staged reading as a way to listen to, reflect on, and begin to respond to Indigenous voices invested in thinking beyond.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julie Burrelle, University of California &#8211; San Diego<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julie Burelle is a professor in the Department of Theatre and Dance at the University of California, San Diego. She is the author of Encounters on Contested Lands: Indigenous Performances of Sovereignty and Nationhood in Quebec (Northwestern University Press).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Working Title:&nbsp; Playing in (the Eighth) Fire without Getting Burned<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Encounters at the Edge of the Woods <\/em>(2019) is a devised show\u2014commissioned by Hart House Theatre to open its centenary and to mark one century of theatre-making on Indigenous land while excluding Indigenous voice. The creation of <em>Encounters<\/em> necessitated the curation of fluid spaces in which Indigenous participants and non-Indigenous allies would be able to address the history of ongoing colonial predation and consider a tangled and delicate project of relational repair.&nbsp; This paper considers the process of relationship-building and intercultural collaboration in the wake of many valiant (albeit, infelicitous) attempts to forge efficacious Eighth Fire productions\u2014attempts that predate Encounters by as many as four decades (see Nolan).&nbsp; In this, I hope to contribute to existing scholarship around such collaborations and to begin to address Melissa Poll\u2019s call for \u201cstudies that articulate and compare protocols within Indigenous-settler rehearsal processes\u201d on Turtle Island (394).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>References<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&nbsp; Nolan, Yvette. <em>Medicine Shows: Indigenous Performance Culture. <\/em>Playwrights Canada Press, 2015. 118-122.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&nbsp; Poll, Melissa. \u201cTowards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island.\u201d <em>Contemporary Theatre Review. <\/em>31:4. (July 2021). 390-408.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jill Carter, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jill Carter (Anishinaabe-Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Shining Light on the Indian Hospitals: Reawakening Languages Through Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The play <em>Scenes from the Nanaimo Indian Hospital <\/em>by Dr. Laura Cranmer is based on her three year stay at the Nanaimo Indian Hospital as a young child. While federal colonial laws greatly constrained Indigenous bodies and lives by corralling whole populations into federal institutions, such as residential schools and Indian hospitals, these spaces became meeting places for the great diversity of unique languages specific to their traditional territories. In this play, the Indian hospital is now re-imagined to be the confluence of the island\u2019s great linguistic diversity embodied by three young girls\u2014Dorothy Myth representing the Kwak\u2019wala, Esther Williams representing Hul\u2019q\u2019umin\u2019um, and Mary Robins representing Nuu-Chah-Nulth\u2014whose growing friendship in the hospital\u2019s Ward B consists of delight in language comparisons while sinister undercurrents are revealed in dialogue and action between the medical staff. This play script is the foundation of a Social Sciences and Humanities Research Council Insight Development Grant (co-applicants Drs. Amanda Wager and Laura Cranmer) to support the translation of the Hul\u2019q\u2019umin\u2019um\u2019, Nuu-Chah-Nulth, and Kwak\u2019wala Languages by fluent Language Experts, who are Elders, from each language family, as well as to support the hiring of language learners, who are also new actors, to be coached in the pronunciation, teachings and exposure of their languages.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amanda Wager, Vancouver Island University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amanda Claudia Wager is a Canada Research Chair in Community-Engaged Research\/Professor of Education at Vancouver Island University. Of Jewish Ashkenazi ancestry, born in Los Angeles and raised in Amsterdam, she embraces learning languages and creating art as cultural advocacy. Her research focuses on community-led art projects and participatory arts-based methodologies. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Laura Cranmer<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Laura Cranmer is the daughter of Pearl Weir of Old Masset, David Cranmer of the \u2018Namgis First Nation in Alert Bay, and raised by her grandparents, Chief Dan Cranmer and Agnes Cranmer. Laura\u2019s research interests include Indigenous latent\/semi-speakers seeking to increase their proficiency, arts-based research and Indigenous language reclamation research.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Daisy Elliott, Vancouver Island University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Daisy Elliott (Snuneymuxw\/Musgamagw) holds a BA in Indigenous\/Xwulmuxw Studies and is doing her MA in Community Planning at Vancouver Island University. She is the Crisis Line Manager for the Indian Residential School Survivors Society, the mental health support at rehearsals and performances and the Nurse Faith actor, a Kwak\u2019wala speaker. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ann Hayamxsala&#8217;ogwa Woodward, arc: a Centre for Art, Research &amp; Community<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ann Ha\u0331ya\u0331mxsa\u0331la\u2019ogwa Woodward (Finnish\/Kwagu\u2019\u0142\/Tlingit\/English) holds a BA in Indigenous\/Xwulmuxw Studies from Vancouver Island University, where she is currently the Research Centre Coordinator for the arc: a Centre for Art, Research &amp; Community. Ann is a Kwak\u2019wala language learner playing the role of Tsunuk\u0313wa, a legendary giantess.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container working-group online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"gatherings-archival-and-oral-histories-working-group\"><\/span><strong> Gatherings: Archival and Oral Histories Working Group<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p>Convenor: Sarah Robbins<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Convenor: Sarah Robbins<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"a83482a5\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-a83482a5\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"fe35815c\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-fe35815c wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Gatherings: Archival and Oral Histories is seeking participants for a new CATR Working Group. Gatherings\u2014a SSHRC-funded research Partnership focusing on the care and keeping of archival and oral histories of performance in Canada, has been in existence since 2018. It is a pan-Canadian and cross-institutional partnership of universities and non-academic organizations with the goal of creating a national community of scholars, artists, archivists and students who can meet on equal footing to discuss the preservation of performance traditions in the country, in all its complexity.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Working Group follows one of our initiatives, the &#8216;Roadshow Series&#8217; of online gatherings, during which individuals\u2014along the lines of the &#8216;Antiques Roadshow&#8217;\u2014make a brief presentation of an object or document that raises questions, or a question that has arisen from individual research projects, about the research goals, the relationship with the archival repository, or the processes of interviewing. We will pay attention to issues of access, of collection and reproduction, of the influence of technology, and the relationships we all forge (and need to forge) among and between archivists and with artists. This will be an open and expansive discussion, providing time and space to talk about the process of historical research.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Working Group will meet in an online forum during CATR\u2019s meeting in early June. Prior to this, Gatherings will be hosting monthly on-line &#8216;Roadshow&#8217; Presentations beginning in March. These will be publicly announced, inviting open application, in the lead up to the online segment of the CATR conference. The existing members of our Working Group include the individuals who are listed on our website as involved in the full project.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"performance-migration-and-nationalism-working-group\"><\/span><strong> Performance, Migration and Nationalism Working Group<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room B<\/p>\n<p>Online Session<\/p>\n<p>Convenors: Yana Meerzon, Sheetala Bhat and Stephen Elliot<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Convenors: Yana Meerzon, Sheetala Bhat and Stephen Elliot<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room B<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"932effa0\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-932effa0\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"72414f1a\",\"label\":\"Link to Zoom Room B\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\",\"size\":\"\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-72414f1a wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">Link to Zoom Room B<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This working group aims to bring together Canadian and international specialists in theatre and performance studies and other disciplines to examine the complex impact of global migration and to critique the practices of rising nationalisms. Focusing on questions of representation, public discourse and the language of laws and legislation, this group will develop a collaborative approach for coherent interdisciplinary research to assess these practices.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In the CATR 2024 conference, the group will focus its online meeting on the interconnections between migrant justice, nationalism, and decolonization practices in Canada and internationally. In relation to the Canadian context, for example, we aim to discuss what decolonization means to the study of migration when we center Indigenous sovereignty, as well as the ways theatre\/performance scholarship addresses the role of settler colonialism in migrant justice. In relation to the global context, we propose to discuss staging justice in relation to \u201ctheatrics\u201d of interactions between different practices and discourses of nationalisms and migration, including the interplay between newcomers\u2019 ideas of nationalism and the host country\u2019s existing and emerging forms of nationalism, and the changes in legislative systems of asylum seeking and immigration, border control, and activism. Among the questions we ask is how theatre and performance arts approach the context-specific and multidimensional relations between migrant justice, nationalism, and decolonization.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"social-justice-leadership-and-care-in-performance\"><\/span><strong> Social Justice, Leadership, and Care in Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Moderator:<\/p>\n<p>Location: Zoom Room C<\/p>\n<p>Online Session<\/p>\n<p>Cassandra Erb, &#8220;Immersive Theater as Leadership and Leading Social Justice&#8221;<\/p>\n<p>Julia Henderson, &#8220;Justice, Caring, and Care-full Performance in <em>How I Met My Mother&#8221;<\/em><\/p>\n<p>Francesca Marini, \u201cIncarcerated Women and Theatre: Rhodessa Jones, Artistic Practice and Social Justice<b>\u201d<\/b><\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room C<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"660a3e50\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-660a3e50\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"3e429059\",\"label\":\"Link to Zoom Room C\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/9655843851?pwd=1Kv0eUXPj4fKcTjivlayvy77YiHLqm.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-3e429059 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/9655843851?pwd=1Kv0eUXPj4fKcTjivlayvy77YiHLqm.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room C<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Immersive Theater as Leadership and Leading Social Justice<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Goat in the Road Productions has staged three immersive theater pieces set in historic houses in New Orleans\u2019 French Quarter, the first opening in spring of 2018 and the most recent closing in January 2023. The work is set in reconstruction era New Orleans and each story is historical fiction based on real events that took place in the city at that time. The following trilogy of plays represents storytelling as leading social justice movements, as well as aesthetic leadership exemplified in the vehicle of immersive presentation. The Stanger Disease was set at the historic property Madame John\u2019s Legacy and takes place during the yellow fever outbreak of 1878. The story follows seven characters, intertwined by various relationships, centered around an inter-racial couple married in all but name. The Uninvited was set at the historic property The Gallier House and takes place during the White League led riot of 1874 and follows nine characters with differing opinions and access to escaping violence throughout the evening. The mob attempts to re-segregate an integrated primary school. The Family Line was set at The BK House during the 1892 general strike, a successful interracial organizing event that shut down the city for days before winning workers\u2019 historic rights. Set in a Sicilian family\u2019s grocery store, the story follows eight characters whose stories are intertwined by their heritage and labor. Goat in the Road Productions works in a collaborative method. All of the participants working on a project equally contribute to the development of that work.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cassandra Erb, Goat in the Road Productions<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cassandra Erb is an independent curator and designer who has been working in the museum field for over fifteen years and is a recent member of Goat in the Road Productions ensemble. She holds a B.A. in painting, an M.F.A. in Exhibition Design, and is currently a PhD candidate in the Graduate School of Leadership and Change at Antioch University. In her work, she is committed to cocreation and the idea that the creative act is not performed by the artist alone. Erb lives and works in New Orleans, LA.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Justice, Caring, and Care-full Performance in How I Met My Mother<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>How I Met My Mother <\/em>is a play written and performed by Canadian actor Jon Paterson about his experience caring for his mother who lived with and eventually died of Alzheimer\u2019s Disease. Performed throughout the North American Fringe Circuit in 2022, the play gained positive reviews and was chosen amongst the top shows at two festivals. The play\u2019s narrative offers a story about how, for the playwright, caring for his mother led to self-discovery and feelings of redemption. This paper uses performance analysis to comment on the care ethics, aesthetics and practices encompassed in the play. Key to the play\u2019s construction of care is its reciprocal quality. Paterson\u2019s mother, who had shown continuity as a deeply caring individual throughout her life, continued to offer acts of care in the late stages of her dementia, challenging more common constructions of a \u201cdisabled dementia identity\u201d as a receiver of care. In addition, Paterson\u2019s performance of care for self and audience throughout the play further challenges more common notions of caregiving as unidirectional and reliant on normativity. As Maurice Hamington (2020) writes, \u201cTo care is not only to improvise what to do, it is to determine the moral parameters that unfold in the given situation\u201d (29). In <em>How I Met My Mother,<\/em> the playwright acknowledges his neurodiversity (telling us he has ADHD), is transparent in the moment about contextual factors that challenge him, and attends to his needs as a performer improvisationally, while also offering care to his audience in meaningful ways.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julia Henderson, University of British Columbia<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julia Henderson is an Assist. Prof. in the Dept. of Occupational Science and Occupational Therapy at UBC and holds a PhD in Theatre. Her research with older adults uses arts-based methods, especially theatre, to redress cultural ageism and promote citizenship. Julia has published in CTR, JADT, TRiC\/RTAC, ACH, and RiDE.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Incarcerated Women and Theatre: Rhodessa Jones, Artistic Practice and Social Justice&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper discusses the work of theatre artist\/activist Rhodessa Jones, who supports social justice through her work with incarcerated women. Based in San Francisco, in 1979 she co-founded the performing arts organization Cultural Odyssey, and in 1989 she founded The Medea Project, developing performance pieces with incarcerated women and women who are living with HIV. Her work can be examined in the context of applied theatre and devised theatre practices. Jones develops collaborative performances with women, and this leads to increased self-confidence, self-care and awareness, and a reduced recidivism rate. The people with whom Jones works transfer knowledge and skills to others through workshops and programs. Jones works closely with arts, academic, and health institutions and is a model of effective activism.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper is based on existing sources and on an original interview with Jones addressing the following issues: how Jones works with the women who take part in her programs, including partnering with them as workshop facilitators once they acquire experience; how applied theatre and devised theatre practices are relevant to her work; how she views the impact of her work; what ethical issues she faces in her practice; how she measures the success of her work and collaborations; and what her plans for the future are: this includes a discussion of a manual that Jones has been writing about her practice, aimed at sharing her approaches with other practitioners.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Francesca Marini, Texas A&amp;M University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Francesca Marini (she\/her) is an Associate Professor at Texas A&amp;M University, School of Performance, Visualization &amp; Fine Arts. She holds a doctorate from the University of California, Los Angeles (UCLA); her research addresses performing arts documentation\/archiving and theatre history. She teaches aesthetics of activism, devised theatre, and arts documentation.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container working-group online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"gatherings-archival-and-oral-histories-working-group-2\"><\/span><strong> Gatherings: Archival and Oral Histories Working Group<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p>Convenor: Sarah Robbins<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Convenor: Sarah Robbins<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"a83482a5\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-a83482a5\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"fe35815c\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-fe35815c wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Gatherings: Archival and Oral Histories is seeking participants for a new CATR Working Group. Gatherings\u2014a SSHRC-funded research Partnership focusing on the care and keeping of archival and oral histories of performance in Canada, has been in existence since 2018. It is a pan-Canadian and cross-institutional partnership of universities and non-academic organizations with the goal of creating a national community of scholars, artists, archivists and students who can meet on equal footing to discuss the preservation of performance traditions in the country, in all its complexity.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Working Group follows one of our initiatives, the &#8216;Roadshow Series&#8217; of online gatherings, during which individuals\u2014along the lines of the &#8216;Antiques Roadshow&#8217;\u2014make a brief presentation of an object or document that raises questions, or a question that has arisen from individual research projects, about the research goals, the relationship with the archival repository, or the processes of interviewing. We will pay attention to issues of access, of collection and reproduction, of the influence of technology, and the relationships we all forge (and need to forge) among and between archivists and with artists. This will be an open and expansive discussion, providing time and space to talk about the process of historical research.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Working Group will meet in an online forum during CATR\u2019s meeting in early June. Prior to this, Gatherings will be hosting monthly on-line &#8216;Roadshow&#8217; Presentations beginning in March. These will be publicly announced, inviting open application, in the lead up to the online segment of the CATR conference. The existing members of our Working Group include the individuals who are listed on our website as involved in the full project.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"performance-migration-and-nationalism-working-group-2\"><\/span><strong> Performance, Migration and Nationalism Working Group<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room B<\/p>\n<p>Online Session<\/p>\n<p>Convenors: Yana Meerzon, Sheetala Bhat and Stephen Elliot<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Convenors: Yana Meerzon, Sheetala Bhat and Stephen Elliot<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room B<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"932effa0\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-932effa0\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"72414f1a\",\"label\":\"Link to Zoom Room B\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\",\"size\":\"\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-72414f1a wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">Link to Zoom Room B<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This working group aims to bring together Canadian and international specialists in theatre and performance studies and other disciplines to examine the complex impact of global migration and to critique the practices of rising nationalisms. Focusing on questions of representation, public discourse and the language of laws and legislation, this group will develop a collaborative approach for coherent interdisciplinary research to assess these practices.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In the CATR 2024 conference, the group will focus its online meeting on the interconnections between migrant justice, nationalism, and decolonization practices in Canada and internationally. In relation to the Canadian context, for example, we aim to discuss what decolonization means to the study of migration when we center Indigenous sovereignty, as well as the ways theatre\/performance scholarship addresses the role of settler colonialism in migrant justice. In relation to the global context, we propose to discuss staging justice in relation to \u201ctheatrics\u201d of interactions between different practices and discourses of nationalisms and migration, including the interplay between newcomers\u2019 ideas of nationalism and the host country\u2019s existing and emerging forms of nationalism, and the changes in legislative systems of asylum seeking and immigration, border control, and activism. Among the questions we ask is how theatre and performance arts approach the context-specific and multidimensional relations between migrant justice, nationalism, and decolonization.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container seminar online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Seminar\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-anti-racismanti-oppression-session\"><\/span><strong> CATR Anti-Racism\/Anti-Oppression Session<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/seminar\/\" rel=\"tag\">Seminar<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room C<\/p>\n<p>Online Session<\/p>\n<p>Committee Chair &amp; Convenor: Robin Whittaker<\/p>\n<p>Open to all conference participants<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Committee Chair &amp; Convenor: Robin Whittaker<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room C<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"ff7ee49e\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-ff7ee49e\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"4ab73131\",\"label\":\"Link to Zoom Room C\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/9655843851?pwd=1Kv0eUXPj4fKcTjivlayvy77YiHLqm.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-4ab73131 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/9655843851?pwd=1Kv0eUXPj4fKcTjivlayvy77YiHLqm.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room C<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Open to all conference participants.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>CATR&#8217;s Anti-Racism and Anti-Oppression (ARAO) Committee discusses CATR&#8217;s recent ARAO actions and seeks input on future activities.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For an overview of the CATR ARAO Committee\u2019s work and future plans, please see this slideshow:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:file {\"id\":5439,\"href\":\"https:\/\/theatreagora.ca\/wp-content\/uploads\/2024\/06\/00-Jun5-ARAO-Presentation-for-CATR-2024-B.pptx\"} -->\n<div class=\"wp-block-file\"><a id=\"wp-block-file--media-089a0604-d439-42d9-81b3-4172eb056430\" href=\"https:\/\/theatreagora.ca\/wp-content\/uploads\/2024\/06\/00-Jun5-ARAO-Presentation-for-CATR-2024-B.pptx\"><strong>00-Jun5-ARAO-Presentation-for-CATR-2024-B<\/strong><\/a><a href=\"https:\/\/theatreagora.ca\/wp-content\/uploads\/2024\/06\/00-Jun5-ARAO-Presentation-for-CATR-2024-B.pptx\" class=\"wp-block-file__button wp-element-button\" download aria-describedby=\"wp-block-file--media-089a0604-d439-42d9-81b3-4172eb056430\">Download<\/a><\/div>\n<!-- \/wp:file -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container bookjournal-launch online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Book\/Journal Launch\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">5 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>18:00 &#8211; 20:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"university-of-toronto-press-journals-launch-ctr\"><\/span><strong> University of Toronto Press Journals Launch: CTR<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/book-journal-launch\/\" rel=\"tag\">Book\/Journal Launch<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"e567a532\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-e567a532\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"79db3027\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-79db3027 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june6\"><span class=\"ez-toc-section\" id=\"jeudi-6-juin\"><\/span>Jeudi 6 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container open-paper-panel online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"bodies-and-agency-in-drama-performance\"><\/span><strong> Bodies and Agency in Drama &#038; Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p>Moderator: Shelley Liebembuk<\/p>\n<p>Lizzie Jago, &#8220;Exploring human-elephant conflict through playwriting in Kenya&#8221;<\/p>\n<p>Kimber Sider, \u00a0&#8220;Katrina:<span class=\"Apple-converted-space\">\u00a0 <\/span>Animal Individuality and Performing Agency&#8221;<\/p>\n<p>Sarah Waisvisz, &#8220;Dancing through Diasporic Grief&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Shelley Liebembuk<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"728b3759\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-728b3759\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"5f97a4c5\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-5f97a4c5 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Exploring human-elephant conflict through playwriting in Kenya<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Set against the backdrop of apparent human disconnect from nature as a cause for degradation of the planet, this article focuses on the human-elephant conflict in areas of rural Kenya, and the ways in which playwriting explores and performs that relationship.&nbsp; Working within traditional conflict resolution practices of dialogue, the article questions ways in which to decentre humans, foregrounding equitable justice in bringing the elephant into the conversation too, through theatre.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>The Trial of Athena<\/em> is a one act piece of interactive theatre, currently touring communities in Kenya, with the audience as jury, where a matriarch elephant is put on trial for killing a four-year-old human child at the foot of Taita Hills, Kenya. As the play unfolds the multifaceted and complex relationship that has created human\/elephant conflict is explored, with the audience being asked to give the final verdict.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The matriarch elephant is represented on stage by a large puppet, operated by two people, completely created out of natural and recycled materials.&nbsp; Through her presence, the writing process explores ways in which playwriting can deepen our understanding of the human\/elephant relationship, centering her as a non-verbal (in human language) character and her ability to connect, evoke empathy and communicate with the audience, bringing us into her world, creating a new relationship with humans through theatre.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Her physical presence challenges western notions of anthropomorphism, examining her role in the play through a Kenyan lens of spiritual and mythological beliefs of human connection with elephant life forms, rooted in the ancient oral literature of the cultures.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lizzie Jago, Youth Theatre Kenya<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I am a playwright, the Artistic Director and co-founder of Youth Theatre Kenya, with an understanding of conflict, and a passion for peace, encompassing peace resolution work in the Great Lakes region post the Rwandan war of 1994, to community theatre, both with the Elephant Queen Outreach and the Population Conversation in Kenya.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Katrina:&nbsp; Animal Individuality and Performing Agency<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>So often in art, animals\u2014and horses especially\u2014are included as metaphors. Their bodies are used to represent freedom or beauty in an anthropocentric sense. They are rarely included as unique individuals, empowered with their own agency, interests, and objectives. This metaphorical framing overrides their personalities and perspectives, encouraging humans to see each animal as fixed and interchangeable with the next. But as Una Chaudhuri writes, \u201canimals are not figments of our imaginations. They have \u2026 real lives as rich and valuable as our own\u201d (38). How can we push back against this interspecies injustice, and learn to honour animals in their own light? Is it possible to destabilize the anthropocentric gaze within a creative act? Or does the act of framing an animal in performance, inherently override the individuality of that animal?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In 2023, I was invited to create a video installation for Supercrawl, an outdoor arts festival. In this piece, I explored how performance could be used to highlight the agency and individuality of a single animal actor, Katrina (my horse companion). However, the delivery and execution of this work proved to be more complex. The creation of this work was highly improvisational, inviting Katrina to collaborate and influence the creation. The exporting of this work involved audio and video manipulation to highlight Katrina\u2019s experience, drawing an audience into a new intimate relationality with an individual horse. However, when the final installation was released into the wild of an urban, human-centric space, Katrina was admired, objectified, and\/or ignored. Was she acknowledged as an individual? Or did the deep history of metaphorizing her body override the nuance of her being?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Chaudhuri, Una. \u201cAnimal Acts for Changing Times.\u201d American Theatre, October, 2004, pp. 36-155.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kimber Sider, University of Waterloo<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kimber Sider is a multimodal storyteller working predominantly in performance and documentary film. Sider is the Artistic Director of the Guelph Film Festival, holds a PhD in theatre from the University of Guelph, and is a Lecturer in Communication Arts at the University of Waterloo.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Dancing through Diasporic Grief<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In 2003 performance scholar Diana Taylor wrote that the body could remember and teach history just as a written Archive could, and that this compendium of corporeal memory (the Repertoire) could include music, songs, dance, gestures that are not simply ephemeral but in fact historical. More recently Layla Zami argues, in Contemporary PerforMemory: Dancing Through Spacetime, Historical Trauma, and Diaspora in the 21st Century (2020), that \u201cperforMemory\u201d demonstrates how integral dance performance is to political remembering of traumata[sic]\u201d (57), and how \u201cPerforMemory foregrounds corporeality as a mode of production and transmission of cultural memory [\u2026] a remedy to the epidemic silencing that erodes the memorialization of political trauma\u201d (29), so that through dance both archive and repertoire are accessed to \u201cgenerate memory transmission\u201d (58), to create new pathways for remembering and surviving.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sarah Waisvisz, Queen\u2019s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>With Afro-Caribbean, French, Dutch, and Jewish heritage, Sarah lives at the intersection. She is a playwright, dramaturge, and multi-disciplinary performer. Her solo script Monstrous, about the Afro-Caribbean-diaspora experience and mixed-race identity, was published in alt.theatre 13.3 and performed at b current\u2019s rock.paper.sistahz festival in Toronto and across Canada and the US. Her 2-act play Heartlines (about queer-Jewish activists Claude Cahun and Marcel Moore), premiered to sold-out audiences at Ottawa\u2019s 2020 undercurrents festival and had a sold-out mainstage run at Great Canadian Theatre (GCTC) in 2022; Heartlines will be published in December 2023 by Methuen Drama (Bloomsbury UK). Sarah has been Artist-in-Residence at GCTC and at the National Arts Centre. She is currently working on Double Helix, an Afro-futurist, magical-realist play about the African diaspora, and she directed Donna-Michelle St. Bernard\u2019s Witness Shift for Obsidian Theatre and CBC Arts as part of the filmed anthology 21 Black Futures. Sarah is Assistant Professor at the DAN School of Drama and Music at Queen\u2019s University.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container roundtable online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"staging-justice-through-cultural-policy-perspectives-from-artists-in-multiple-geographies\"><\/span><strong> Staging justice through cultural policy: perspectives from artists in multiple geographies<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room B<\/p>\n<p>Online Session<\/p>\n<p>Panelists: Deniz \u00dcnsal, Peter Verstraete, Burcu Yasemin Seyben, Deniz Ba\u015far, Taiwo Afolabi<\/p>\n<p>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Taiwo Afolabi and Deniz \u00dcnsal<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room B<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"e94fc0ec\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-e94fc0ec\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"ddbc2229\",\"label\":\"Link to Zoom Room B\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-ddbc2229 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room B<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This curated panel brings three distinct yet connected research papers focusing on justice, ethics of care and cultural policies across different places. Using different methods, papers examine how cultural policies have impacted performing artists&#8217; living and working conditions\u2014 immigrants and refugees. Afolabi and Unsal\u2019s paper draws on Canadian cultural policy and strategies of artists who identify as Black, Indigenous and People of Colour in western Canada. \u015eeyben and Ba\u015far elaborate on self-fashioning and self-exoticizing discursive patterns that immigrant artists learn and tailor for themselves to succeed in Canadian theatre. Verstraete\u2019s research centres on Turkey\u2019s displaced theatre artists in Germany and the Netherlands.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Taiwo Afolabi is an Associate Professor at the Centre for Socially Engaged Theatre, University of Regina, Saskatchewan<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Deniz Ba\u015far is a FRQSC post-doctoral fellow at Bo\u011fazi\u00e7i University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Burcu Yasemin \u015eeyben is&nbsp; Assistant Professor of Theater and General Education at the College of Southern Idaho<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Pieter Verstraete is an Assistant Professor at the University of Groningen.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Deniz \u00dcnsal is an Assistant Professor at Royal Roads University<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container open-paper-panel online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"politics-and-performance\"><\/span><strong> Politics and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p>Moderator: Michelle Macarthur<\/p>\n<p>T. Nikki Cesare Schotzko and Adriana Disman, &#8220;Crowdsourcing the Canon: (Re)Imagining Global Performance Art Histories Against the Grain&#8221;<\/p>\n<p>Lily Climenhaga, &#8220;(P(Re))Forming Justice: Milo Rau\u2019s Trials and Tribunals&#8221;<\/p>\n<p>Mark Onwe, &#8220;Performing Justice: Post-election Protests in Nigeria&#8221;<\/p>\n<p>Keren Zaiontz, &#8220;The Ottawa People\u2019s Commission as Dissident Community Action&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Michelle Macarthur<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"2df716c3\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-2df716c3\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"209be255\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-209be255 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Crowdsourcing the Canon: (Re)Imagining Global Performance Art Histories Against the Grain&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Since 2019, we have been coediting a new textbook for Routledge\u2019s 50 Key series: 50 Key Performance Artists. While it was easy enough initially to imagine a list of 50 remarkable performance artists (or 100, or 150), we quickly realized that this was not the list that we would necessarily want to use in teaching or research ourselves; or, rather, that most of the artists we immediately thought of were those we could teach, easily enough, because they were already quite frequently written about in English. We noticed too that this list was dominated by links to New York City, the art market, and other flows of power that have in no small sense dominated the genre\u2019s own teleological flow. (The latter is exemplified by a recently published book on the genre that justifies citing artists based primarily in Europe and the US because that is how the history of performance art has been told.) How might we define \u201ckey\u201d beyond those criteria? Who are the artists that profoundly impact performance communities in contexts that receive little critical attention in English-language scholarship? And what would a more genuinely diverse list of key artists illuminate about multiple global histories of performance art? Is it possible to trace its lineages without limiting one\u2019s reading to a genre-as-birthplace point of view often employed in art history-oriented survey courses or texts?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>So, we took to the ground, as it were, reaching not for the established scholarly works of performance art (though we used them as a counterbalance) but rather to multiple generations of current performance artists and scholars from six continents to ask, Who are your 50 key performance artists?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Beginning at the point where geographic hubs that have typically been given critical attention are decentred, this book generates, we hope, a new kind of list that includes artists whose work has defined and redefined the genre but who are less readily familiar across English-language performance art scholarship. Thinking not through canon or chronology required us to define different criteria by which to evaluate the impact of potential listees-something made especially complex by our focus on underrecognised, body-based practices. Three years of intensive research into each of the hundreds of artists proposed to us, though harrowing at times, resulted in a clarity of a more community-engaged methodology that we mobilised for this book.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The list of 50 performance artists we ultimately developed and put to press is not, by \u201cwestern\u201d academic standards of contemporary art and performance, canonical; but it is key. This presentation engages the methodological apparatus of \u2018crowdsourcing\u2019 we used in compiling the list\u2014the assembly, assembling, and assemblage that finally yielded a TOC that we might be momentarily happy with but know has always been a project predicated on its own happy failure\u2014and asks, for us, very profound questions about the purpose of survey-based textbooks and the process of their curation and compilation during a moment when scholarship and pedagogy become ever more accountable to matters of decolonization, unlearning, and the destabilization of what we mean by academic expectations, standards, and \u2018the canon.\u2019<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>T. Nikki Cesare Schotzko (University of Toronto)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>T. Nikki Cesare Schotzko, PhD, is Associate Professor at the University of Toronto\u2019s Centre for Drama, Theatre, and Performance Studies, where she specializes in experimental art, theatre, and performance, music-theatre, and feminist ethics of care.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Adriana Disman<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Adriana Disman, PhD, is a performance artist and researcher. Their solo performance practice has been widely presented since 2010. Their writing on the curation and criticism of self-wounding in performance art can be found in both academic and arts publications.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>(P(Re))Forming Justice: Milo Rau\u2019s Trials and Tribunals<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Since founding the production company International Institute of Political Murder (IIPM) in 2008, Swiss-German theater-maker Milo Rau has gained international acclaim, attention, and, at times, indignation for his politically engaged theatre. As a political artist, Rau has \u2013 alongside more classic productions \u2013 facilitated petitions, founded political parties, authored political declarations, staged public marches, as well as formed assemblies, think tanks, and talk shows that temporarily bring activists, artists, and politicians together.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u201c(P(Re))Forming Justice: Milo Rau\u2019s Trials and Tribunals\u201d looks at Rau\u2019s trial and tribunal projects: The Moscow Trials (2013), The Zurich Trials (2013), and The Congo Tribunal (2015). It engages with the intersection of the political and the affective in Rau\u2019s re-temporalization of necessary, but ultimately non-existent, institutions to create utopian, affective institutions demonstrate alternatives to those of the present. In uncovering the connection between the two aesthetic references of affect and politic, this presentation connects three elements of performance in Rau\u2019s projects: (1) the political impulses of these constructed, temporary institutions, (2) their affective power, and (3) the concept and question of justice. By, on the level of theory, bringing together the anarchist concept of prefiguration, Frans-Willem Korsten\u2019s apathy, Olivia Landry\u2019s Theatre of Anger, and Robert Walter-Jochum\u2019s Theatre of Outrage into contact with affect, \u201c(P(Re))Forming Justice\u201d uncovers how Rau\u2019s tribunal theatre, in its creation of a jurisdiction located in the future \u2013 a prefiguration for what these spaces should look like \u2013 serves as a call to justice that breaks with contemporary apathy.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lily Climenhaga, Universiteit Gent<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lily Climenhaga (she\/they) completed a dissertation about Milo Rau and IIPM in a joint degree between the University of Alberta and Ludwig-Maximilians-Universit\u00e4t and co-edited Theater\u2019s special edition on Milo Rau in 2021. Lily is currently undertaking the FWO-funded postdoctoral project \u201cInstitutionalized Resistance: Milo Rau\u2019s NTGent Period\u201d (1290323N) at Universiteit Gent.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing Justice: Post-election Protests in Nigeria<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Nigeria\u2019s 2023 general elections generated varying reactions and responses. The European Union Election Observation Team described the election as lacking transparency and credibility. Humongous protests immediately suffused some streets of the country following the election umpire, Independent Electoral Commission (INEC)\u2019s declaration of results and the litigations at the election tribunals, the Appeal and the Supreme Courts. The post-election protests took varying dimensions and included the deployment of diverse performative creativity to demand for justice. This paper interrogates these protests as performances of justice in Nigeria since the February 2023 general elections. A survey with interviews and analysis of audio-visual media of protests in Nasarawa State of Nigeria form the sample for this study. Archival research is also used to examine, in historical perspective, the role of performances in advocating justice in Nigeria. Data generated are subjected to content analyses. The findings from the research reveal how performances are reflecting the equity system and justice frameworks in contemporary Nigeria.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Mark Onwe, Federal University of Lafia, Nigeria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Mark Ogah Onwe is completing his doctorate in Theatre and Media Arts at the Federal University of Lafia, Nigeria. He obtained bachelor\u2019s and master\u2019s degrees in Theatre Arts from the University of Jos and the Benue State University, Makurdi, respectively. His research interests cut across theatre and cultural change, festivals, literary theory and criticism, theatre aesthetics, script writing and play production where he has published several journal articles and contributed chapters to books.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The Ottawa People\u2019s Commission as Dissident Community Action<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In February 2022, people local to downtown Ottawa were caught in the grip of a three-week occupation that called for the end of public health measures\u2014at the height of the Covid-19 pandemic\u2014and the overthrow of parliament\u2014in a government town. As hundreds of protestors in semitrucks rolled into Ottawa, blockaded the streets, and with the help of a well-funded, off-site logistical network, settled in with food and fuel, their demands literally idled in the impassable streets. Their populist message of \u201cfreedom\u201d found expression in white, male-dominated scenes of public harassment and violence in the nation\u2019s capital. It was the invocation of the Emergencies Act that brought the occupation to an end. The mandated Public Emergencies commission that followed included thousands of hours of testimony from both governmental officials and Convoy leaders. As key organizers from the Convoy \u201ctook the stand,\u201d the commission became a platform for western separatists, conservative populists, conspiracy theorists, and even militant libertarians. In contrast, the people of Ottawa, were allotted one morning of public testimony. In anticipation of&nbsp; being silenced, the local, grassroots Ottawa People\u2019s commission (OPC) was formed and held parallel hearings in Fall 2022. This paper will detail the work of the OPC, a citizen led inquiry held both in person and online, that collected the stories of Ottawans impacted by the occupation. It will discuss both the public hearings and reports that the OPC produced. And it will posit that the OPC performed a dissident community action through testimony that called out the \u201cFreedom Convoy\u201d for what it was: a violent alt-right occupation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Keren Zaiontz, University of British Columbia<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Keren Zaiontz is Assistant Professor of Theatre and Performance Studies in the Department of Film and Theatre at the University of British Columbia. She is author of Theatre &amp; Festivals (Methuen Drama) and co-editor of Sustainable Tools for Precarious Times: Performance Actions in the Americas (Palgrave Macmillan), winner of the ATHE Award for Excellence in Editing.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container open-paper-panel online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"global-performance-intimate-spaces\"><\/span><strong> Global Performance, Intimate Spaces<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Zoom Room A<\/p>\n<p>Online Session<\/p>\n<p>Moderator: David Fancy<\/p>\n<p>Abhimanyu Acharya, &#8220;&#8216;\u2018Accidentally\u2019 Decolonizing Theatre: Notes from an Experience of Directing a Non-Verbal Play&#8221;<\/p>\n<p>Sarah Hart, &#8220;&#8221;Hilos de la memoria&#8221;: Collective Creation, Mourning, Healing, and Learning&#8221;<\/p>\n<p>Heidi Malazdrewich, &#8220;A Performance of &#8220;Justpeace&#8221;? Mapping the Emergence of Intimacy Direction in Canadian Theatre&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: David Fancy<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room A<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"ba9d3962\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-ba9d3962\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"4392a433\",\"label\":\"Link to Zoom Room A\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-4392a433 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/6104002373?pwd=4AXkVd6eMH6Oo6x7CF0b8yU6JOri5b.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room A<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u2018Accidentally\u2019 Decolonizing Theatre: Notes from an Experience of Directing a Non-Verbal Play<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this paper, I aim to show how restrictions on the availability of resources can often lead to pleasant and surprising dramaturgical discoveries, and how decolonization of stage can as much be an effect of material conditions as it is of intent. I intend to argue this through documenting my three-pronged experience as a playwright, director and academic in the creation of my play \u2018Execution: A tragicomedy without words\u2019 that premiered in Mississauga in November 2023. Written as a mime piece based on the idea of colonial mimicry derived from the theories of Homi Bhabha, this play was produced by SAWITRI Theatre Group, a company serving the needs of theatre going South Asian community for the past twenty years. Since a not-for-profit organization eventually decided to produce this play, the resources vis-\u00e0-vis performance space, funding, availability of actors and lack of marketing were scant, at best. I wish to show how this so called lack of resources eventually allowed me to find ways to be more creative such that at the end of the rehearsal process, I was able to arrive at a theatrical idiom that was decolonizing in its approach and thus fit perfectly well with the themes of the play.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Abhimanyu Acharya (Western University)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Abhimanyu Acharya is a post-doctoral researcher at Western University. He is also a playwright and a director, and serves as the Assistant Artistic Director at SAWITRI Theatre and as a creative writing specialist at Kings University College.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>&#8220;Hilos de la memoria&#8221;: Collective Creation, Mourning, Healing, and Learning<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This is a reflection on the lessons learned from a collective-creation I facilitated with performing arts students and female victims of Colombia\u2019s armed conflict at the Universidad Javeriana in Bogot\u00e1 during 2022. We devised a piece titled \u201cHilos de la Memoria\u201d (Threads of Memory) that combined testimonies about the unprosecuted assassinations of loved ones (a father, a husband, a son and a brother) with the students\u2019 embodied responses to living in a culture of violence, silence, fear, mistrust and apathy, as well as invitations to the audience to become (inter)active participants\/witnesses, in light of the current peace, reparations and transitional justice process. We reflected on how violence is perpetuated through patriarchal practices of obliterating the \u201cother\u201d, founded on misogyny and territorial occupation, while over-saturation with representations of violence has caused society to become numb to the suffering of \u201cothers\u201d. We found that we were all affected by the collective trauma of the armed conflict and there was a need for everyone to speak and listen, not only through narrative, but also movement, song, embroidery, and drawing. Participatory performance can thus revindicate our capacity for radical care, offering a path to peace from below, following the lead of female victims\/survivors\/artivists. When audiences are engaged in embodying nonviolent, creative forms of coexisting, mourning and healing, a visceral sense of shared response-ability is cultivated. We learned this was best facilitated through singing, in combination with collective actions, such as weaving, while scenes of overwhelming sadness led the audience\u2019s refusal (or inability) to participate.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sarah Hart, Pontifica Universidad Javeriana (Bogot\u00e1)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sarah Ashford Hart is an applied theatre practitioner\/scholar from a Canadian-Venezuelan-American background.\u202fHer PhD dissertation\u202fin Performance Studies analyzes affective approaches to facilitating expression\/witnessing within Latin American contexts of displacement, enclosure and violence. She is currently an adjunct instructor in the Department of Performing Arts at the Pontifical Javeriana University (Bogot\u00e1).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>A Performance of &#8220;Justpeace&#8221;? Mapping the Emergence of Intimacy Direction in Canadian Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper is an initial interrogation of how the emergence of the intimacy director into professional Canadian theatre is a disruption that may or may not foster justice within the process of theatre making. This paper maps out questions relating to how John Paul Lederach\u2019s explanation of \u201cJustpeace\u201d as a liminal \u201cprocess-structure\u2026 characterized by high justice and low violence\u201d that views \u201csystems as responsive to the permanency and interdependence of relationships and change\u201d can inform how the intimacy director may function as an advocate for justice within the rehearsal hall (36). The configuration of creative roles (e.g., director, designer, choreographer, performer) in professional Canadian theatre is undergoing a radical re-think as the inclusion of intimacy directors have become common practice. The paper examines current language being used in the Canadian Theatre Agreement 2021-2024 Material Terms and the DOT Agreement as well as definitions of intimacy as outlined by leading advocates. In assembling the disciplines of peace and conflict studies and theatre studies, this inquiry, stemming from my on-going research, considers how the addition of this new role within the composition of professional theatre makers may function as a proxy for, or performance of, a shift within the larger society.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lederach, John Paul. \u201cJustpeace The Challenge of the 21st Century\u201d, People Building Peace 35 Inspiring Stories from Around the World, European Centre for Conflict Prevention, in Cooperation with the International Fellowship of Reconciliation and the Coexistence of the State of the World Forum, 1999, pp.27-36.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heidi Malazdrewich, University of Winnipeg<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heidi Malazdrewich is a director, dramaturg, and educator. She holds an MFA in directing from the University of Calgary and is currently a PhD candidate at the University of Manitoba. Heidi is an Assistant Professor in the Department of Theatre and Film at the University of Winnipeg.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container live-performance online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Live Performance\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"the-refrain-getting-in-sync-with-the-world\"><\/span><strong> The Refrain: Getting in Sync with the World<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/live-performance\/\" rel=\"tag\">Live Performance<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p style=\"text-align: left;\">Location: Zoom Room B<\/p>\n<p>Online Session<\/p>\n<p>Performer: Alexander Lazaridis Ferguson<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Performer: Alexander Lazaridis Ferguson<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Zoom Room B<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"ae1fbca1\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-ae1fbca1\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"d3d5049c\",\"label\":\"Link to Zoom Room B\",\"link\":\"#https:\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\",\"showIcon\":true} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-d3d5049c wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us05web.zoom.us\/j\/5658828345?pwd=vhi81EaWeXM7bRltadXehObBAmXm2N.1\" rel=\"follow noopener\" target=\"_blank\" role=\"button\"><div class=\"uagb-button__link\">Link to Zoom Room B<\/div><span class=\"uagb-button__icon uagb-button__icon-position-after\"><svg xmlns=\"https:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 448 512\" aria-hidden=\"true\" focussable=\"false\"><path d=\"M438.6 278.6l-160 160C272.4 444.9 264.2 448 256 448s-16.38-3.125-22.62-9.375c-12.5-12.5-12.5-32.75 0-45.25L338.8 288H32C14.33 288 .0016 273.7 .0016 256S14.33 224 32 224h306.8l-105.4-105.4c-12.5-12.5-12.5-32.75 0-45.25s32.75-12.5 45.25 0l160 160C451.1 245.9 451.1 266.1 438.6 278.6z\"><\/path><\/svg><\/span><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This performance is an online listening and discussion around an excerpt from my theatre company&#8217;s podcast series, &#8216;The Refrain: Getting in Sync with the World.&#8217; The series examines the philosophical and spiritual discourse and practices that inform the work of Fight With a Stick Performance, an award winning theatre\/installation company. Our practice is one of collaboration with the other-than-human world around us. This manifests in our working methods and productions within an egalitarian collaborative creation process. We achieve this through a practice of deep mutual listening. The work of political scientist Jane Bennett, philosopher Kym Mclaren, anthropologist Eduardo Kohn, and various theatre artists and thinkers, have informed our practice. For an online performance\/discussion I would lead the participants through a listening session of a portion of one of our podcast episodes, and through a structured &#8220;artful&#8221; response, in rounds, and then to an open discussion of the ideas that have informed the company&#8217;s work and the practical work itself.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alexander Lazaridis Ferguson, Fight With A Stick Performance<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I have been a theatre professional for several decades, working across performance related disciplines, and for the past 9 years have been Artistic Director of Fight With a Stick Performance. In addition to my work as an actor, writer, and director in theatre and theatre-installation art hybrids, I have undertaken applied theatre projects, including working with the Philippine Womens Association of BC, and teaching devising at the RealWheels Theatre Academy (for and by disabled artists). As an instructor, I have taught performance theory, theatre history, performance history, and devising at Capilano U, SFU, and currently at the School of Creative Arts, U of the Fraser Valley. I&#8217;ve developed and teach a devising method called &#8220;Scenographic Devising&#8221; at universities, professional theatre and dance artist workshops, and so on. I have won a number of awards for acting, directing, and innovation. <\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container general-meeting online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"General Meeting\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">6 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>18:00 &#8211; 20:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-annual-general-meeting\"><\/span><strong> CATR Annual General Meeting<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/general-meeting\/\" rel=\"tag\">General Meeting<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: CATR Zoom Room<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: CATR Zoom Room<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"b8fc0ee0\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-b8fc0ee0\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><!-- wp:uagb\/buttons-child {\"block_id\":\"a05796e8\",\"label\":\"CATR Zoom Room\",\"link\":\"#https:\/\/us06web.zoom.us\/j\/84056996941\",\"size\":\"\",\"background\":\"#2e58ff\",\"hColor\":\"\",\"opensInNewTab\":true,\"btnBorderTopWidth\":1,\"btnBorderLeftWidth\":1,\"btnBorderRightWidth\":1,\"btnBorderBottomWidth\":1,\"btnBorderStyle\":\"solid\",\"btnBorderColor\":\"#333\",\"btnBorderHColor\":\"#333\"} -->\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-a05796e8 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"\/\/us06web.zoom.us\/j\/84056996941\" rel=\"follow noopener\" target=\"_blank\"><div class=\"uagb-button__link\">CATR Zoom Room<\/div><\/a><\/div><\/div>\n<!-- \/wp:uagb\/buttons-child --><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>All AGM Reports available here:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/catracrt.ca\/catr-2024-agm-suppmats\">https:\/\/catracrt.ca\/catr-2024-agm-suppmats<\/a><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june16\"><span class=\"ez-toc-section\" id=\"dimanche-16-juin\"><\/span>Dimanche 16 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container general-meeting inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"General Meeting\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">16 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:00 &#8211; 17:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-special-board-meeting\"><\/span><strong> CATR Special Board Meeting<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/general-meeting\/\" rel=\"tag\">General Meeting<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>In-Person Location: Teesri Duniya Theatre, <em>Cit\u00e9-des-Hospitali\u00e8res<\/em> building, 251 Pine Ave W<\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>In- Person Location: Teesri Duniya Theatre,\u00a0<em>Cit\u00e9-des-Hospitali\u00e8res<\/em>\u00a0building, 251 Pine Ave W<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/www.google.com\/maps\/place\/Cit%C3%A9-des-Hospitali%C3%A8res\/@45.512113,-73.5778369,15z\/data=!4m2!3m1!1s0x0:0x1564ff48cdb1382c?sa=X&amp;ved=1t:2428&amp;ictx=111\">https:\/\/www.google.com\/maps\/place\/Cit%C3%A9-des-Hospitali%C3%A8res\/@45.512113,-73.5778369,15z\/data=!4m2!3m1!1s0x0:0x1564ff48cdb1382c?sa=X&amp;ved=1t:2428&amp;ictx=111<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:uagb\/buttons {\"block_id\":\"140c2386\",\"classMigrate\":true,\"childMigrate\":true} -->\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-140c2386\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \"><\/div><\/div>\n<!-- \/wp:uagb\/buttons -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>14:00 EDT Meet and Greet<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>14:30-17:00 EDT Special Board Meeting<\/strong><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 2 heures<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container welcome-event inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Welcome Event\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">16 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>18:00 &#8211; 00:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-pub-night\"><\/span><strong> CATR Pub Night<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/welcome-event\/\" rel=\"tag\">Welcome Event<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: McKibbin&#8217;s Irish Pub<\/p>\n<p>Bishop Street Location &#8211; 1426 Bishop St.<\/p>\n<p>In-Person Event<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: <strong>McKibbin&#8217;s Irish Pub\u00a0<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Bishop Street Location &#8211; 1426 Bishop St<\/strong>. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/www.mckibbinsirishpub.com\">https:\/\/www.mckibbinsirishpub.com<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/maps.app.goo.gl\/dwhjKECaeoGbmhGXA\">https:\/\/maps.app.goo.gl\/dwhjKECaeoGbmhGXA<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Event<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june17\"><span class=\"ez-toc-section\" id=\"lundi-17-juin\"><\/span>Lundi 17 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container welcome-event live-performance hybrid \" data-eventaccessibility=\"\" data-eventformat=\"Hybrid\" data-eventtype=\"Welcome Event|Live Performance\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/hybrid\/\" rel=\"tag\">Hybrid<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"welcoming-remarks-opening-performance-%e2%80%9cmy-urban-nature%e2%80%9d\"><\/span><strong> Welcoming Remarks &amp; Opening Performance &#8220;My Urban Nature&#8221;<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/welcome-event\/\" rel=\"tag\">Welcome Event<\/a> <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/live-performance\/\" rel=\"tag\">Live Performance<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><!-- wp:paragraph --><\/p>\n<p>Location: Teesri Duniya Theatre<\/p>\n<p><!-- \/wp:paragraph --> <!-- wp:paragraph --><\/p>\n<p>251 Pine Ave. W. (Cit\u00e9-des-Hospitali\u00e8res)<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n<p>In-Person Session<\/p>\n<p>Performer: Barbara Diabo<\/p>\n<p><strong>Sponsored by McGill Institute for the Study of Canada<\/strong><\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: Teesri Duniya Theatre<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>251 Pine Ave. W. (Cit\u00e9-des-Hospitali\u00e8res)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/maps.app.goo.gl\/zTn7h8LTDtghPq6fA\">https:\/\/maps.app.goo.gl\/zTn7h8LTDtghPq6fA<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>French Translation will be available here:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"http:\/\/tinyurl.com\/CATR2024\">tinyurl.com\/CATR2024<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by McGill Institute for the Study of Canada<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Schedule<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>10 am to 11am: Coffee<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>11 am&nbsp;: CATR Opening Remarks<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><span style=\"background-color: rgb(255, 255, 0);\"><mark style=\"background-color:#ffffff\" class=\"has-inline-color\">11:30 am&nbsp;: Plenary Performance &#8211; Barbara Diabo&#8217;s <em>My Urban Nature<\/em><\/mark><\/span><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cette pi\u00e8ce plurielle, chor\u00e9graphi\u00e9e par l\u2019artiste mohawk Barbara Kaneratonni Diabo, m\u00e9riterait certainement d\u2019\u00eatre pr\u00e9sent\u00e9e \u00e0 nouveau. Le contenu y est dense. On y juxtapose diff\u00e9rentes formes : danse traditionnelle mohawk, danse urbaine et danse contemporaine dans un pow-wow moderne et entra\u00eenant. Interrogeant le rapport des citadin\u00b7es \u00e0 la nature, le propos peut sembler pessimiste : l\u2019herbe est r\u00e9duite \u00e0 un rouleau de gazon synth\u00e9tique, les ailes des oiseaux sont reproduites par des cerceaux de plastique. Les cubes dans lesquels sont contenus les interpr\u00e8tes expriment \u00e0 la fois la densit\u00e9 urbaine et l\u2019enfermement, voire la solitude v\u00e9cue en ville.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Le spectacle se conclut toutefois sur une r\u00e9flexion ouverte portant sur la c\u00e9l\u00e9bration de la vie, sur la contribution de chacun\u00b7e \u00e0 une \u00e9l\u00e9vation commune et sur l\u2019instrumentalisation de la nature. La danse est ici une invitation \u00e0 la f\u00eate, au rassemblement, et les id\u00e9es qu\u2019elle v\u00e9hicule n\u2019assombrissent en rien le caract\u00e8recontagieux de cette performance haute en couleur. Un moment \u00e0 la fois savoureux et solennel, tout \u00e0 fait appropri\u00e9 \u00e0 une repr\u00e9sentation ext\u00e9rieure.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Chor\u00e9graphie : Barbara Kaneratonni Diabo. Interpr\u00e9tation : Daniela Carmona, Victoria May, Oliver Koomsatira, Sonik Boom, Sam Ojeda, Barbara Kaneratonni Diabo. Chant : Nina Segalowitz. Composition musicale : Cris Derksen, Craig Commanda, Nina Segalowitz, Urban Surf Kings. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>12:00&nbsp;: Indigenous Host Presentation to PAQ<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>12:30 &#8211; End of Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barbara Kaneratonni Diabo&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>(Kanien\u2019keha:ka Nation)&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Artistic Director and Choreographer of A\u2019n\u00f3:wara Dance Theatre<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&nbsp;Originally from Kahnawake and now living in Montreal, Barbara is the choreographer and director of A\u2019n\u00f3:wara Dance Theatre. She has been on her toes since the tender age of 4 when she started studying classical ballet. She landed her first professional dance role at age 17 and then went on to graduate with a BFA in theatre from Concordia University and from the Native Theatre School. She has studied in many forms of dance, including ballet, contemporary, jazz, hip-hop, powwow, etc. As a choreographer and dancer, she specializes in creating works that highlight Indigenous themes\/stories\/perspectives by often combining powwow, Haudenosaunee dance, and other contemporary styles to create a fusion of dance that speaks to many different populations and tastes.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Her dance show, Sky Dancers, won Outstanding Touring Production in the Dora Mavor Awards 2022 and was also a recipient of the National Creation Fund. She was awarded the prestigious Prix de la Danse de Montreal category Interprete (dancer) in 2021. In 2019 her dance piece MY URBAN NATURE was awarded best choreography for outdoor show by Festival Quartiers Danses, in 2008 she was awarded the Mila Voynova Outstanding Instructor Award, she has been invited as an artist and a speaker nationally and internationally (Banff Centre [Canada], Enartes [Mexico], APAM [Australia], Kia Mau [New Zealand] CanDance [Ottawa], Aerowaves [Ireland], Waterproof\/Oui [France], etc), and her first film for children was awarded one of the Top 10 Best Active Products of the Year (Dr.Toy).&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>She regularly performs in theatres, festivals, films, schools, conferences, and other special events. Some of her most recent work was performed at the Montreal Olympic Stadium, the National Arts Centre, Fleck Theatre Harbourfront Centre, the Confederation Centre for the Arts PEI, the First People\u2019s Festival in Montreal, Place-des-Arts, Prismatic Festival Halifax, Festival Quartiers Danses, and other places across Canada and the USA. She was one of the only 8 hoop dancers in North America invited to perform at Gathering of Nations (New Mexico), the world\u2019s largest powwow, in their first-ever hoop dance competition 2015.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>She often works with La Danse sur les Routes du Quebec as an Indigenous Project Development Officer. With them, she led the development of the project: The keys to understanding Indigenous dance for better audience development, for which they were awarded the Diversity and Inclusion Prize by Comp\u00e9tence Culture. She continues to teach dance, is Chair of the board of the Indigenous Performing Arts Alliance, and often is a consultant on Indigenous arts for various organizations.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Her goals are to inspire others, encourage cultural pride, uplift the spirit, and increase education and communication.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container  inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"lunch-on-your-own\"><\/span><strong> Lunch on your Own<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: You decide!<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"staging-climate-justice-with-young-people-attending-to-justice-and-place-through-an-arts-led-metho-pedagogy\"><\/span><strong> Staging Climate Justice with Young People: Attending to Justice and Place through an Arts-Led Metho-Pedagogy<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Room B4250 &#8211; 3200 rue Jean-Brillant (Building 27 on the UdM map) &#8211; Universit\u00e9 de Montr\u00e9al<\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Centre for Drama, Theatre and Performance Studies &#8211; University of Toronto<\/strong><\/p>\n<p>Moderator: Christine Balt<\/p>\n<p><!-- wp:paragraph --><\/p>\n<p><!-- wp:paragraph --><\/p>\n<p>Kathleen Gallagher and Christine Balt, &#8220;Towards a Theory of the Drama Classroom for Enlivening Climate Justice \u2018In the Minor\u2019 &#8221;<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><\/p>\n<p><!-- wp:paragraph --><\/p>\n<p>Nancy Cardwell, &#8220;Reckoning with Historic and Ongoing Climate Injustices through Mobile, Site-Specific Performance in Toronto&#8221;<\/p>\n<p>Celeste Kirsh, &#8220;Attending to Justice and Place through a Virtual, Sound-Based Metho-Pedagogy&#8221;<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n<p><!-- wp:paragraph --><\/p>\n<p>Munia Debleena Tripathi, &#8220;More-Than-Human Entanglements in Site-Specific Performance in Lucknow&#8221;<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Christine Balt<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Room B4250 &#8211; 3200 rue Jean-Brillant (Building 27 on the UdM map) &#8211; Universit\u00e9 de Montr\u00e9al<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Centre for Drama, Theatre and Performance Studies &#8211; University of Toronto<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rationale<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This curated panel asks: What new understandings about the collective and personal politics of young people in the climate crisis can arise when we create art with them? In grappling with this provocation, the following panel engages four papers (12 minutes each) examining the creative and pedagogical work of the Global Youth (Digital) Citizen-Artists and their Publics: Performing for Socio-Ecological Justice research project: which we call \u2018Audacious Citizenship\u2019 for short. The primary objective of the project (taking place in Toronto, Canada; Lucknow, India; Bogota, Colombia; Coventry, England; Thessaloniki, Greece and Kaohsiung, Taiwan) is to explore how performance can become a site for new imaginaries for socio-ecological justice. What can the aesthetic and pedagogical affordances of a drama-based, or arts-led, methodology and pedagogy tell us about the burgeoning justice-oriented commitments of young people across the globe? Each paper in this panel will look to how performance can invite an array of explorations regarding \u2018justice\u2019 and \u2018place\u2019 for youth, leveraging \u2018site-specific performance\u2019 (in both physical and virtual locations) as a creative vehicle through which to attend to young peoples\u2019 relationships to their local ecologies. Exploring the climate emergency in the lives of youth in ways that attune to, at once, the intimate and the grand, the historic and the everyday, the personal and the public, each paper sees site-specific performance as a methodology for formulating frameworks for justice in complex, emplaced, nuanced and culturally-specific ways.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Paper 1: Towards a Theory of the Drama Classroom for Enlivening Climate Justice \u2018In the Minor\u2019<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kathleen Gallagher and Christine Balt<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper proposes a theory of the drama classroom as a space within which to enliven malleable and nuanced performances of climate justice. Rather than seeing \u2018justice-oriented performance\u2019 as something unidirectional and righteous, we argue that it is through the uniquely embodied and affective modes of learning and creating in the drama classroom that more implicit and \u2018minor\u2019 modes of climate justice performance can arise. First, we will look at how literature in the fields of applied theatre and drama education identifies criticality, imagination, and relationality as \u2018principles\u2019 for \u2018turning towards the political\u2019 in the drama classroom (Gallagher et al. 2012). Then, we consider more ambiguous forms of justice-oriented performance in those fields, leaning on Deleuze and Guattari\u2019s (1985) theory of \u2018the minor\u2019 and Erin Manning\u2019s (2016) notion of the \u2018minor gesture\u2019 as conceptual frames. Following this, an empirical illustration of ambiguity in justice-oriented performance in the Audacious Citizenship research project will take place, where we focus on \u2018site-specific performance\u2019 in physical and virtual spaces as \u2018minor\u2019 forms of climate justice performance. It is through a consideration of this empirical work that we attune to Leanne Simpson\u2019s (2014) notion of emplaced theory (activated through land-based pedagogies) and Sara Ahmed\u2019s (2014) concept of a \u2018politics of wonder\u2019 (Ahmed, 2014) as productive orientations in a \u2018minor\u2019 climate justice performance aesthetics, which moves beyond the binary of righteousness\/apathy and instead assumes an indeterminacy that, the paper asserts, is a more agile and sustainable mode of engagement in an age of heightened socio-ecological injustice.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Paper 2: Attending to Justice and Place through a Virtual, Sound-Based Metho-Pedagogy<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Celeste Kirsh<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>What can we learn about climate justice when virtual performance is deployed methodologically? This paper explores the research team\u2019s methodological approach in a series of virtual \u2018Global Drama Club\u2019 workshops (taking place in Spring 2022), which included young people from all six international research sites. Driving this virtual engagement was a curiosity about how virtual space can itself function as a \u2018site\u2019 for climate justice-oriented, site-specific performance. In our metho-pedagogy, we invited the participants to share sound recordings from their local environments and grapple with the following provocation: how are our environments performing with and for us? Responding to the call from scholars in environmental communication (see Boykoff, 2019; Gabrys &amp;Yusoff, 2012; Milkoreit, 2016) for more creative pathways toward environmental justice (Scheider-Mayerson et al, 2023), stories from our research data are shared in this paper that highlight how deep listening, generative cross-cultural dialogue, and reflective invitations transformed what could be possible (methodologically, pedagogically, aesthetically) in virtual site-specific performance. With this workshop, virtual, sensory ethnographic methods were deployed to not only stretch the functionality of the \u2018sites\u2019 of the digital platforms as they were originally intended but more importantly, to act as a kind of methodological \u2018side-door\u2019 (Gallagher, 2014) to better understand the relationship between people and place in the midst of the worsening injustices of the climate crisis.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Paper 3: Reckoning with Historic and Ongoing Climate Injustices through Mobile, Site-Specific Performance in Toronto<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Nancy Cardwell <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper looks closely at the site-specific theatre-making work created by youth in a neighbourhood park in Toronto in Year 4 (Fall 2022) of the Audacious Citizenship project. Land, History, Presence: Performing a Land Acknowledgement for Now through Mobile Site-Specific Performance was a site-specific performance unit carried out with a Toronto high school drama class. Created by Dr. Gallagher and her team, along with Indigenous community activist Dr. Amanda Buffalo, this unit explored settler-colonial histories and the environmental crisis through a pedagogy of \u2018moving through place\u2019 (Bradby and Lavery, 2007). What, the researchers asked, could mobile site-specific performance \u2013 as \u201ca doing, a practice, a performance, a way of witnessing\u201d \u2013 afford in coming to reckon with the climate emergency as an event of ongoing social and historic injustices on Turtle Island? (p. 12). The focus of the pedagogy was to facilitate open discussions and \u2018formulate justice frameworks\u2019 that could acknowledge, reckon with, and bear the weight of historic and continued land-based violence perpetrated against people and place. Uncovering buried stories (through walking and writing as performance) became the theme of the unit and it resulted in a film created from students\u2019 physical explorations of the park as well as their reflective writings over the course of two weeks. This paper traces that creative journey and looks closely at performance and performativity in site-specific theatre-making and its unique position at the intersection of the environment and the imagination.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Paper 4: More-Than-Human Entanglements in Site-Specific Performance in Lucknow<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Munia Debleena Tripathi <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper examines the Audacious Citizenship team\u2019s 5-day in-person field-work with a group of twelve Grade 11 students from Prerna Girls\u2019 and Prerna Boys\u2019 Schools in Lucknow, India. It explores ways of approaching the issue of ecological justice through pedagogies of site-specific performance in a context where immediate socio-political issues often supersede environmental issues in the public imagination. Inspired by posthumanist and new materialist approaches to environmental education and storytelling (Rousell, et. al., 2017, Iovino, 2015 and others), and departing significantly from \u2018individual sacrifice\u2019-based and \u2018solution-oriented\u2019 narratives of the ecological crisis that the school curricula in India generally promote, the Audacious Citizenship team curated exercises that encouraged deep listening to non-human entities and awareness of their agency in the site of Lucknow\u2019s Janeshwar Mishra Park. Through the act of crafting imagined narratives and finding ways to embody non-human characters, the researcher-facilitators and the participants came to newly appreciate how the human and non-human, the social and the environmental are inextricably linked. This paper will examine the creative work produced by the youth participants and their reflections on the workshop exercises to understand how a turn towards the ontologies of intra-species co-existence has the potential to positively restructure environmental education in the unique context of India.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"disability-theatre-and-performance\"><\/span><strong> Disability Theatre and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 4265 &#8211; 3200 rue Jean-Brillant &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 27 on the UdM map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Fountain School of Performing Arts\u00a0&#8211; Dalhousie University<\/strong><\/p>\n<p>Moderator: Heather Davis-Fisch<\/p>\n<p>Jenn Boulay, &#8220;Disability Theatre in Canada: Working Together and Closing the Gaps in the East&#8221;<\/p>\n<p>Kim Sawchuk, Menka Nagrani, Alexandre Prince, &#8221; \u201cDiversit\u00e9 capacitaire\u201d, Disability Aesthetics and Pedagogical Practice: from<span class=\"Apple-converted-space\">\u00a0 <\/span>Inclusion to Expansion&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Heather Davis-Fisch<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 4265 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Fountain School of Performing Arts\u00a0&#8211; Dalhousie University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Disability Theatre in Canada: Working Together and Closing the Gaps in the East<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The paper that I am proposing was published in Canada Theatre Review\u2019s special issue (Spring 2022) and is the foundational layer of my MA research. My paper, Disability Theatre in Canada: Working Together and Closing the Gaps in the East, serves to locate and map the terrain of the D\/deaf and disability arts scene across Canada. While there is an abundance of scholarship, arts practices, and widely used accessibility practices in western provinces, little is known about the scene in Canada\u2019s eastern provinces, leaving a clear gap. This work responds to the gap by examining the cultural differences in four of Canada\u2019s cities\/regions: Vancouver, BC; Toronto, ON; Montr\u00e9al, QC; and the Atlantic provinces (NS, NB, PEI, NFLD). I argue that the accessibility, disability, and linguistic (anglophone v. francophone) cultural differences affect the way disabled artists create work and how diverse audiences (disabled and non-disabled) respond to their creative practices. Using ethnographic methods, I draw from my lived experiences working as a disabled artist-scholar in connection with the above-mentioned provinces. Interwoven with my experiences, I borrow from leading Canadian Disability theatre scholars, Dr. Kirsty Johnston, Dr. Ash McAskill, Dr. Kelsie Acton, and Qu\u00e9b\u00e9coise disability studies scholar, Laurence Parent. While this paper locates and understands the gap by highlighting key cultural differences, a larger question and issue at stake that requires action arises: How do we create a bilingual network where disabled artists can create a cross-national D\/deaf and disability arts community to share resources, knowledge, and practices, eliminating the gap?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Boulay, Concordia University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Boulay is an interdisciplinary artist and scholar. She is pursuing her MA at Concordia University in Communication Studies. Her current research interrogates D\/deaf and Disability Arts in Montr\u00e9al, Qu\u00e9bec, and Atlantic Canada, to better understand the gaps between the eastern and western provinces. Her work has been published in CTR, TRIC, and Knots: An Undergraduate Journal of Disability Studies.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u201cDiversit\u00e9 capacitaire\u201d, Disability Aesthetics and Pedagogical Practice: from&nbsp; Inclusion to Expansion<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Within the past 10 years several inclusive dance and theatre companies that promote \u201cdiversit\u00e9 capacitaire\u201d have emerged in Qu\u00e9bec, such as Corpuscule Dance or Joe Jack et John. &nbsp; These companies have developed innovative productions that confront the ways that able-ism is embedded in institutions and in social orders that are &#8220;intolerant of deviations\u201d (Garland-Thompson, 1996). As Tobin Siebers reminds us, disability \u201cparticipates in a system of knowledge that provides materials for and increases critical consciousness about the way that some bodies make other bodies feel.\u201d (2013). While critical disability aesthetics promote these values, they have yet to permeate higher education. Universities promote the values of&nbsp; \u201cEDI\u201d or Equity, Diversity and Inclusion, yet entry into programs remains difficult for many. This paper discusses an experiment in the inclusion of neuroatypical performers into 2 courses in Concordia\u2019s&nbsp; Department of Theatre, given by professor Menka Nagrani, who brought artists from her company Les Productions des Pieds des Mains (DPDM), an integrated Theatre Company composed of performers with a range of intellectual differences, including autism and Down\u2019s Syndrome. These&nbsp; guest students were invited to participate in a university setting and to share their work experience with Concordia students: as such, they became the first in the province to be enrolled in classes for University credit. Focusing on Nagrani\u2019s pedagogical style and specific techniques, we discuss how her challenging aesthetic vision was integrated into a pedagogical practice that benefited&nbsp; all students. These principles and values were integrated into the course delivery and into the&nbsp; co-creation of an original 1 hour theatre production, First Name Basis (2023). Based on interviews and participant observation, we discuss how this project was made possible and how it fostered welcoming conditions for the students. &nbsp; As we argue, what is needed is for an expansion of the mandate of the University, of Theatre, and of our understanding of aesthetics from a position that promotes not only inclusion, but sets the conditions for \u201cdiversit\u00e9 capacitaire\u201d.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kim Sawchuk, Concordia University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kim Sawchuk,&nbsp; is a Professor in the Department of Communication Studies at Concordia University, Concordia University Research Chair in Mobile Media Studies Director of the ACTLab and engAGE: centre for research on aging. Sawchuk is well-known for her writings on research-creation,&nbsp; and her promotion of&nbsp; Critical Disability Studies and Critical Age Studies.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Menka Nagrani<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Menka Nagrani is an interdisciplinary artist, theatre director, and choreographer. She founded Les Productions des pieds des mains in 2004, an inclusive dance and theatre company. Her socially engaged dance and theatre productions and short films have been acclaimed worldwide. Menka Nagrani has received many awards for her work and was appointed to the Order of Canada, the Order of Montr\u00e9al and L&#8217;Ordre des arts et des lettres du Qu\u00e9bec.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alexandre Prince, Concordia University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alexandre Prince holds a BA in History from Universit\u00e9 Laval and is currently working on his MA in Media Studies at Concordia University. He is a member of the ACT (Ageing + Communication + Technologies) Lab, where he conducts research on critical disability studies and inclusive pedagogies.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"canadian-reflections-and-mappings\"><\/span><strong> Canadian Reflections and Mappings<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><!-- wp:paragraph --><\/p>\n<p><em>Location: Room 4275 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<p><i>(Building 27 on the UdM map)<\/i><!-- \/wp:paragraph --><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Drama &#8211; University of Saskatchewan<\/strong><\/p>\n<p>Moderator: Kim Solga<\/p>\n<p>Sungwon Cho, &#8220;Enacting the Exotic: Internment Camps, Yellow Fever and the Flashpoint of Asian Canadian Theatre&#8221;<\/p>\n<p>Moira Day, &#8220;Dramatic Reflections on the War in Ukraine from the Canadian Prairies&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Kim Solga<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 4275 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Drama &#8211; University of Saskatchewan<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Enacting the Exotic: Internment Camps, Yellow Fever and the Flashpoint of Asian Canadian Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In an interview published in Theatre Journal, playwright David Yee claims that the first work of Asian Canadian theatre was Rick Shiomi\u2019s Yellow Fever (Yee E-24). Asian diasporas have been present in Canada as early as Chinese railroad workers in 1880. Shiomi\u2019s own ancestors were active theatre makers in Vancouver as early as 1910 (Li 11n2).Why then, does Yee consider Yellow Fever the first work of Asian Canadian Theatre? What is the distinction between Asian Canadian Theatre and theatre by Asians in Canada? How do these distinctions privilege a particular performance of cultural resistance? This essay calls for a retroactive broadening of the Asian Canadian theatre corpus by highlighting the resistant potential and adaptability found in the displaced traditions of diaspora. Examining documented experiences of Japanese Canadians who lived in internment camps in New Denver, I engender the art-making practices of these detainees as a conflict between art, state and space which Ngugi wa Thiong\u2019o refers to as \u201cenactments of power\u201d.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>From this framework, I then investigate the 1983 production of Yellow Fever from ahistoriographical perspective, reading playbills, reviews and scholarship in the context of arising panethnic Asian Canadian movement and the state project of multiculturalism. Through cross examination of these two periods of theatre history, I highlight the event of Yellow Fever as an extension of the conflict undertaken by Asian diaspora of the earlier 20th century.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yee, David. Interview by Sean Metzger. Theatre Journal, vol. 72, no. 3, September 2020, www.jhuptheatre.org\/theatre-journal\/online-content\/issue\/volume-72-number-3-september-2020\/were-future-provocateurs. Accessed 15 October 2023.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Li, Xiaoping. \u201cPerforming Asian Canadian: The Theatrical Dimension of a Grassroots Activism.\u201d Asian Canadian Theatre: New Essays on Canadian Theatre, vol 1, edited by Nina Lee Aquino and Ric Knowles, Playwrights Canada Press, 2011, pp.11-28.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sungwon Cho, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sungwon Cho is a Korean-Canadian theatre practitioner and scholar. They are currently enrolled at the Master&#8217;s program at University of Toronto&#8217;s Centre for Drama, Theatre and Performance Studies.&nbsp;Their research interests include Asian Canadian Theatre, site-specific performance and the applications of theatre technologies.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Dramatic Reflections on the War in Ukraine from the Canadian Prairies<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In a recent article decrying the lack of Ukrainian plays being staged in major Canadian theatre centres in response to the 2022 invasion, Andrew Kushnir cites one notable exception to his complaint: Punctuate!Theatre\u2019s largely Western Canadian 2023 tour of First M\u00e9tis Man of Odesa [FMMO]. While Kushnir credits the Western Canadian theatre scene as being more progressive in this regard than at least some of the institutions in Central Canada, this paper argues that he does not go far enough in considering the extent to which Western theatre centres like Edmonton have generated other war plays centered on the conflict in Ukraine even prior to the 2022 invasion, and the extent which FMMO itself references and builds on them.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper seeks to explore:(1) the larger currents of Ukrainian historical and cultural\/lingual\/artistic survivance in Alberta underlying playwright\/performer Matthew MacKenzie\u2019s playful quip that \u201cthe city that I\u2019m from is [nick]named Edmonchuck\u201d(6) (2) the texts and development history of the two other Edmonton-generated war plays Barvinok and Alina, indirectly referenced in FMMO and (3) the extent to which the interleaving texts and production histories of all three plays reflect a multi-textured examination of war lived, survived, and remembered that is both grounded specifically in local prairie community, and internationally in the experience of warfare in Ukraine not only between 2014 to 2022 and beyond, but even farther back to World War II.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Andrew Kushnir. \u201cWhy is Canadian Theatre So Russian Right Now?\u201d Feb 24, 2023. Intermission<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>MacKenzie, Matthew and Mariya Khomutova. First M\u00e9tis Man of Odesa. TS. 16 May, 2023.&nbsp;pp. 1- 46.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Moira Day, University of Saskatechewan<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Moira Day is a professor emerita of Drama at the University of Saskatchewan. A former book editor and co-editor of Theatre Research in Canada \/ Recherches th\u00e9\u00e2trales au Canada she has published and lectured widely on Canadian theatre, with a particular focus on women and prairie theatre prior to 1960.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"biopsychosocial-somatic-dancetheatre-training\"><\/span><strong> Biopsychosocial Somatic Dance\/Theatre Training\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><!-- wp:paragraph --><\/p>\n<p><!-- wp:paragraph --><\/p>\n<p><em>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/em><\/p>\n<p><!-- \/wp:paragraph --> <!-- wp:paragraph --><\/p>\n<p><em>Concordia University<\/em><\/p>\n<p><!-- \/wp:paragraph -->In-Person Session<\/p>\n<p>Leader: Suzanne Liska<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Suzanne Liska<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Somatic communities are at a crossroad in their attempts to address the lack of equity, diversity and inclusion awareness among practitioners and participants. Social somatic dance scholars, also known as \u201cpoliticized\u201d (Fortin 2017) somatic scholars, are pushing practitioners and participants to contextualize their practices within Indigenous and Asian cultural and spiritual forms (Eddy 2016). Given my teaching, choreographic and performing experience, and my perspective as a diasporic mixed-Asian Canadian, I believe I have a relevant perspective to contribute to the conference on deepening justice-informed somatic dance\/theatre training. Through an MFA in Dance Choreography, I\u2019ve established a research praxis anchored in East Asian dance\/theatre history and form, social somatics dance ethnography, practice-based-research, and cultural theory.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dance scholars have identified the primary focus in the majority of somatic forms as kinesthetic (Buckwater 2010; Eddy 2011; Foster 2010; Martin 2007, 2013; Novack 1990) and that other factors such as emotion, cognition and socioculture are secondary. I propose that East Asian practices and theories have the potential to dissolve binary oppositions of the body, mind, emotions, and socioculture.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>My proposed workshop intertwines theories and practices of the Alexander Technique, Butoh and Contact Improvisation in order to foster an embodied biopsychosocial methodology and pedagogy. The material will activate sensation, imagination, and memory, using images from nature where scenes\/characters may emerge, to expand how we respond biopsychosocially to interactions with others.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Suzanne Liska, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Suzanne Liska (Dance MFA, Certified Alexander Technique Teacher) specializes in choreography, performance-as-research, somatics, dance kinesiology, East Asian dance\/theatre and contact\/ensemble improvisation. Suzanne has received grants and awards through CCA, TAC, OAC, York University and SSHRC; and is contract faculty for York University\u2019s Dance department and George Brown College\u2019s Theatre School. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"horizontal-processes-in-scenography-%e2%80%93-processus-horizontaux-en-scenographie\"><\/span><strong> Horizontal processes in scenography &#8211; Processus horizontaux en sc\u00e9nographie<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/i><\/p>\n<p><i>Concordia University<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Leader: Cassandre Chatonnier<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Cassandre Chatonnier<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Theatrical design is often taught with a traditional, hierarchical approach. In such a process, the scenographic creation of a theatrical production consists of thinking and designing the design elements even before the actors begin rehearsals, or in parallel with them, and according to the director&#8217;s unique vision. This model generally leaves less room for co-creation or exploration by the students. The other gap that affects theater education is the lack of participation of different voices of diversity, whether those of LGBTQIA+ people, people from culturally diverse backgrounds, or aboriginal people.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We believe that a greater diversity of approaches would be beneficial to the student&#8217;s educational journey, both in terms of personal engagement and preparation for the workplace. Last school year, Cassandre was fortunate enough to obtain funding for teacher mobility for the &#8220;horizontal processes in scenography&#8221; pedagogical project. She went to the Quadriennale in Prague to learn about other processes in scenographic creation, more participative towards all team members and more inclusive towards diversity. In this workshop, she will propose different practices for creating and teaching scenography in a more collaborative way, thanks to various exercises drawn from her own practice as well as her experiences at the Quadriennale, including ecoscenography, feminist scenography and queer scenography.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Participants may be scenographers, scenography teachers, directors, researchers or actors interested in the practice of scenography. No prior preparation is required.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cassandre Chattonier<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>A graduate of the Ecole Boulle in &#8220;space design&#8221; (Paris), Cassandre Chatonnier moved to Quebec in 2008, where she was able to specialize in theatrical set design thanks to a Bachelor&#8217;s degree in &#8220;Design For The Theatre&#8221; from Concordia University. Since graduating, she has worked as a set designer, researcher and teacher. With a background in interior design, Cassandre&#8217;s work is heavily influenced by architecture. She is also interested in the actor&#8217;s relationship with space, and the different ways in which this can feed into her design practice. She holds a Master&#8217;s degree in theater from UQAM on this subject, graduating with honors. She now holds a doctorate in Urban Studies from INRS. Her thesis explores the relationship between indigenous performance and the appropriation of space, and the co-creation of a methodology for rethinking urban public spaces through dance.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-website-charrette\"><\/span><strong> CATR Website Charrette<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><em>Location: Room B4250 &#8211; 3200 rue Jean-Brillant &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<p><!-- \/wp:paragraph --> <!-- wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><\/p>\n<p>In-Person Session<\/p>\n<p>Leader: Taylor Marie Graham<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Taylor Marie Graham<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room B4250 &#8211; 3200 rue Jean-Brillant  &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>CATR Website Charette<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person (June 17-20) &amp; the charette will require one online meeting prior to the conference.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Help the CATR Communications Committee reimagine the CATR website! Prompted by a need for a new CATR website and an influx of new members, the CATR Communications Committee is conducting a website charette. Charettes are working sessions often conducted by architects to reimagine the possibilities of new spaces and explore ideas in collaboration with others. Using this model, the committee will bring groups of interested parties together to explore, analyze, and reimagine the digital space of the CATR website. We would like to know: What would you like our website to be? How could it be more useful to you? How could the website better function in the current theatre academic and artistic environment in Canada? What problems could it help address? What accessibility measures should be implemented? How can grad students, precarious scholars, and other members of CATR benefit from the redesign of the website?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Aidez le Comit\u00e9 de communication de l\u2019ACRT \u00e0 r\u00e9imaginer le site web de la ACRT ! Suite au besoin d\u2019un nouveau site web et \u00e0 l\u2019arriv\u00e9e de nouveaux membres, le Comit\u00e9 de communication du CATR organise une charette sur le site web. Les charettes sont des sessions de travail souvent men\u00e9es par des architectes pour r\u00e9imaginer les possibilit\u00e9s de nouveaux espaces et explorer des id\u00e9es en collaboration avec d\u2019autres. En utilisant ce mod\u00e8le, le comit\u00e9 r\u00e9unira des groupes de parties int\u00e9ress\u00e9es pour explorer, analyser et r\u00e9imaginer l\u2019espace num\u00e9rique du site web de la ACRT. Nous aimerions savoir : Que souhaiteriez-vous que soit notre site web ? Comment pourrait-il vous \u00eatre plus utile ? Comment le site pourrait-il mieux fonctionner dans l\u2019environnement acad\u00e9mique et artistique actuel du th\u00e9\u00e2tre au Canada ? Quels sont les probl\u00e8mes qu\u2019il pourrait contribuer \u00e0 r\u00e9soudre ? Quelles mesures d\u2019accessibilit\u00e9 devraient \u00eatre mises en \u0153uvre ? Comment les \u00e9tudiants dipl\u00f4m\u00e9s, les chercheurs pr\u00e9caires et les autres membres de l\u2019ACRT peuvent-ils b\u00e9n\u00e9ficier de la refonte du site Web ?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We invite all inquiries and are especially interested in hearing from grad students, precarious scholars, theatre artists, accessibility experts, and BIPOC scholars.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"close-reads\"><\/span><strong> Close Reads<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 4265 &#8211; 3200 rue Jean-Brillant &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 27 on the UdM map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Theatre &#8211; Concordia University<\/strong><\/p>\n<p>Moderator: Kimberly McLeod<\/p>\n<p>Emer O&#8217;Toole, &#8220;She-wolf: An Irish Ghost Story&#8221;<\/p>\n<p>Jennifer Schacker, &#8220;Enslavement, Tyranny, and War in Drury Lane\u2019s 1804 Cinderella Pantomime&#8221;<\/p>\n<p>Edwin Wong, &#8220;Magic, Art, and Supernatural Probability Distributions in Comedy and Tragedy: More Lysistratas and Less Lears&#8221;<\/p>\n<p>Kailin Wright, \u201cPerforming Reproductive Justice, Race, and Radical Motherhood in the Television Adaptation of The Handmaid\u2019s Tale\u201d<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Kimberly McLeod<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 4265 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre &#8211; Concordia University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>She-wolf: An Irish Ghost Story<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>If you are seeing ghosts, eat a dish of wolf meat. And if the haunting takes to your dreams, sleep with a wolf\u2019s head beneath your own. But what if there\u2019s no meat, no fanged heads to sever? What if the wolves are gone? Ireland\u2019s wolves were systematically exterminated by decree of the puritan Cromwellian government from the mid-seventeenth century. By 1800, they were extinct. They serve as an easily read metaphor for the brutal colonization of Gaelic Ireland during the same period. British playwright Helen Edmundson\u2019s The Clearing (1993), recently directed by Jessica Carmichael at the 2023 Shaw Festival in Niagara-on-the-Lake, explores the nightmare of Ireland\u2019s bloody seventeenth century through the device of an illegal mixed marriage and an archetypical \u201cwild Irish girl.\u201d Wolfwalkers (2020), the final instalment in the Irish folklore trilogy of acclaimed animation studio Cartoon Saloon, follows Robin Goodfellow, daughter of a professional English wolfhunter come to Ireland to make bounty. While her father is out killing, Robin is lonely in her new Irish town, until she makes a strange friend in the forest, Mebh \u00d3g MacT\u00edre, half-girl, half-wolf. This paper takes a storytelling approach to the intersection of the lupine and the feminine; it casts around for wolf-meat, trying to hush the voices of the colonized, of the women, of the wild creatures, who wish that history had been different, who will not stop whispering \u201cwhat if?\u201d<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emer O&#8217;Toole, Concordia<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Emer O\u2019Toole is Associate Professor of Irish Performance Studies at the School of Irish Studies, Concordia University. She is author of the books <em>Contemporary Irish Theatre and Social Change <\/em>(Routledge: 2023) and <em>Girls Will Be Girls <\/em>(Orion: 2015) and co-editor of the collection Ethical Exchanges in Translation, Adaptation and Dramaturgy (Rodopi: 2017).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Enslavement, Tyranny, and War in Drury Lane\u2019s 1804 Cinderella Pantomime<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper will address unexpected forms of conflict and injustice that underpin the earliest British stage version of the tale known as \u201cCinderella.\u201d The \u201cgrand allegorical pantomimic spectacle\u201d of Cinderella; or, The Little Glass Slipper was an afterpiece at the Theatre Royal, Drury Lane and took fascinating liberties with the plot structure and characters in Charles Perrault\u2019s \u201cCendrillon\u201d (1697). A combination of dumb show, dance narrative, recitative, and song, it was one part of a lengthy evening of entertainment that would seem to offer welcome diversion from the volatile political climate of 1803-04\u2014while referencing current events in subtle but powerful ways.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Britons had enjoyed a brief respite from war before conflicts with Napoleon had been reignited in May 1803. Days earlier, Horatio Nelson had been given command in the Mediterranean and fortification of England\u2019s southern coastline was underway in response to threats of invasion. Nelson was England\u2019s greatest naval hero but also known for his personal affairs, having left his wife Fanny to live with Lady Emma Hamilton\u2014whose story of social elevation rivalled Cinderella\u2019s. The pantomime\u2019s debut also occurred two days after Haiti (formerly Saint Domingue) declared independence from France, the culmination of a successful uprising against the proposed reintroduction of slavery.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I will explore information from the pantomime\u2019s script\/s, ephemera, and reviews to discuss the ways that these specific figures and political events reverberate in Cinderella. Easy to overlook, a preoccupation with various forms of tyranny emerges with particular force as we trace intertheatrical and intertextual linkages.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jennifer Schacker, University of Guelph<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jennifer Schacker is Professor in the School of English &amp; Theatre Studies, University of Guelph. She has published widely on the history of fairy tales in print and performance, including Staging Fairyland: Folklore, Children\u2019s Entertainment, and Nineteenth-Century Pantomime (2018) and the Routledge Pantomime Reader, 1800-1900 (2021, with Daniel O\u2019Quinn).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Magic, Art, and Supernatural Probability Distributions in Comedy and Tragedy: More Lysistratas and Less Lears<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Art is magic. Whether painting, sculpture, music, dance, poetry, or drama, ethologists such as Ellen Dissanayake argue that art depicts a supernatural metareality, a what-if reality beyond nature. Few today, however, associate art with the supernatural. Perhaps, with a different point of view, the magic is still there. Consider whether drama is a kind of magic that, by depicting chance, tames chance. Because luck is either good or bad, two forms of drama arose: comedy to explore good luck and the sunny side of chance and tragedy to explore bad luck and the dark side of chance. By dramatizing the chiaroscuro of chance, drama tames chance because whoever controls the depiction controls the object of depiction.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Edwin Wong<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Edwin Wong has been dubbed \u201can Aristotle for the 21st century\u201d (David Konstan, NYU) and &#8220;independent and provocative&#8221; (Robert C. Evans, AUM) for exploring the intersection between risk and theatre. He has published two books (The Risk Theatre Model of Tragedy \/ When Life Gives You Risk, Make Risk Theatre) and over a dozen articles and book chapters on this topic. In 2022, he was one of three international academics to receive the Ben Jonson Discoveries Award for his work on Shakespeare\u2019s Hamlet. In 2018, he founded the Risk Theatre Modern Tragedy Playwriting Competition, the world&#8217;s largest competition for the writing of tragedy (risktheatre.com). Wong has talked at venues from the Kennedy Center and the University of Coimbra to conferences hosted by the National New Play Network, Canadian Association of Theatre Research, Society of Classical Studies, and Classical Association of the Middle West and South. He was educated at Brown University and is on Academia at https:\/\/brown.academia.edu\/EdwinWong<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing Reproductive Justice, Race, and Radical Motherhood in the Television Adaptation of The Handmaid\u2019s Tale<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>A group of women dressed in red robes with white bonnets descend on Capitol Hill to defend abortion rights. This may seem like a scene from Margaret Atwood\u2019s The Handmaid\u2019s Tale (1985) or its television adaptation (2017), but it is only one of many real-world protests that have mobilized the handmaid costume from Atwood\u2019s stories. White women have been quick to embrace the visual power of Atwood\u2019s narrative to fight for access to abortion, but this vision of justice is incomplete and highly racialized. Reproductive justice extends a white feminist focus on abortion to fight for three basic rights: the rights to have, not have, and parent a child in a safe and healthy environment (Ross and Solinger 2017). Set in the future, The Handmaid\u2019s Tale imagines the United States as a theocracy that enslaves women and forces them to reproduce, but it gives short shrift to the racism that would surely underpin this world. Just as The Handmaid\u2019s Tale novel has been critiqued for appropriating a slave narrative, the television adaptation has come under scrutiny for its race-blind casting. The novel, the TV show, and the political protests all ignore racialized reproductive rights and experiences by presenting white women\u2019s concerns as universal.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kailin Wright, St. Francis Xavier University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kailin Wright is an Associate Professor, Jules L\u00e9ger Research Chair, and award-winning teacher at St. Francis Xavier University (StFX). She is the author of Political Adaptation in Canadian Theatre (McGill-Queen\u2019s Press, 2020) as well as the critical edition of Carroll Aikins\u2019s The God of Gods: A Canadian Play and articles in Theatre Journal, Canadian Literature, Theatre Research in Canada, Canadian Theatre Review, and Studies in Canadian Literature. Kailin is also Associate Editor of Canadian Theatre Review and Fiction Editor at The Antigonish Review.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"theatre-and-performance-during-and-after-covid-19\"><\/span><strong> Theatre and Performance During and After COVID-19<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 4270 &#8211; 3200 rue Jean-Brillant &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 27 on the UdM map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Marlis Schweitzer<\/p>\n<p>&nbsp;<\/p>\n<p>Jordana Cox, &#8220;Risk, redress, and redistribution in Living Newspaper: A Counter Narrative&#8221;<\/p>\n<p>Meghan Lindsay &amp; Kelsey Jacobson, &#8220;Lessons to Learn from COVID-19: Looking for Resiliency, Sustainability, and Equity for Theatre Workers and Organizations&#8221;<\/p>\n<p>Daniel McGuire, &#8220;The New Normal: An examination of funders expectations for applied theatre during COVID-19 shutdowns in Ontario, Canada&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Marlis Schweitzer<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 4270 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Risk, redress, and redistribution in Living Newspaper: A Counter Narrative<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper explores a theatrical experiment that cultivated novel approaches to creative risk and social redress. In the spring of 2020, as Covid-19 spread throughout the UK, London\u2019s Royal Court Theatre shut its doors to the public. The following winter, amid a nation-wide lockdown, the Royal Court launched an alternative to its planned programming. Drawing inspiration from the US Federal Theatre Project (FTP) and its signature \u201cLiving Newspapers,\u201d Artistic Director Vicki Featherstone led a seven-part, hybrid series of new works titled Living Newspaper: A Counter Narrative. Conceived, like its Depression-era precedents, to mitigate unemployment, Living Newspaper employed over 300 freelancers and the full complement of Royal Court staff. And like their precursors at the FTP, the company would foreground matters of justice, including public health, labor, racism, and colonialism.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Justice was not only a theme onstage; it was also catalyst for institutional change. As the Living Newspaper company navigated shifting conditions and regulations, it reconfigured the relationship between theatre-makers, audiences, and funders. Playwrights from Palestine, Ukraine, and India collaborated online via Zoom; ushers performed as audience members for recorded \u201ccaptures\u201d of editions; funds were raised in advance rather than at the box office, freeing artists to focus on their mission rather than commercial success.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper engages Bonnie Honig\u2019s feminist theory of \u201cemergency politics\u201d (2009) to interpret a variety of evidence, including original interviews. Engaging Bonnie Honig\u2019s feminist theory of \u201cemergency politics,\u201d I consider Living Newspaper as both an historical artifact and a manifesto for equitable practices of theatrical labor.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jordana Cox, University of Waterloo<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jordana Cox is an Assistant Professor in the Department of Communication Arts at the University of Waterloo. Her first book, Staged News: The Federal Theatre Project\u2019s Living Newspapers, co-launched the University of Massachusetts Press\u2019 \u201cJournalism and Democracy\u201d series in winter 2023. She also serves as Curator for TheatreAgora, the online meeting place for the Canadian Association for Theatre Research and the Soci\u00e9t\u00e9 qu\u00e9becoise d\u2019\u00e9tudes th\u00e9atrales.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Lessons to Learn from COVID-19: Looking for Resiliency, Sustainability, and Equity for Theatre Workers and Organizations<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper examines preliminary results from the Pandemic Preparedness in the Live Performing Arts: Lessons to Learn from COVID-19 grant, funded by the British Academy, which aims to explore how governmental, charity, and informal support for organizations and arts workers in the performing arts across the G7 countries (UK, US, Germany, Canada, Japan, France, Italy) impacted the workforce, the type of outputs produced, and the resilience of the industry.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>With a specific focus on recommendations related to the workforce in Canada, we describe how the COVID-19 pandemic underscored issues of precarious employment among independent artists and freelance workers (CACCES 2021) with one in four arts workers losing their jobs in 2020 (Julien 2021; I Lost My Gig 2020). For those working in the arts in the pandemic, three times as many individuals and organizations reported very high or high levels of stress and anxiety today (76% and 79%, respectively) as compared to before COVID-19 (26% and 25%) and pervasive burnout was reported across the sector (Murphy 2023; Saskatchewan Arts Alliance 2020; Borodenko 2021). Based on a literature review of information related to policy context, industry structures, and funding models alongside consultative stakeholder meetings with federal, provincial, and municipal government officials, unions, arts service organizations, funders, and grassroots, we suggest preliminary policy recommendations for industry professionals and support structures to move from the reactive mode they adopted during the lockdown years to a proactive mode that anticipates future shocks and renders the industry more resilient (WIPO recommendation, 2022).&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julien, Fr\u00e9d\u00e9ric. &#8220;2020: The Year One in Four Arts Worker Lost Their Job.&#8221; Canadian&nbsp;Association for the Performing Arts, January 15, 2021<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Canadian Artists and Content Creators Economic Survey (CACCES), 2021.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I Lost My Gig, COVID-19 Impact Survey Preview, https:\/\/ilostmygig.ca\/2020\/04\/07\/covid-19-impact-survey-preview\/<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Aisling Murphy, \u201cBackstage burnout in Toronto Theatre was always a thing \u2013 post-pandemic it\u2019s gotten worse,\u201d Toronto Star, March 25, 2023,&nbsp;https:\/\/www.thestar.com\/entertainment\/stage\/2023\/03\/25\/backstage-burnout-in-toronto-theatre-was-always-a-thing-post-pandemic-its-gotten-worse.html.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Saskatchewan Arts Alliance. (2020), COVID-19 Impact Survey: Artists and Cultural Workers. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Borodenko, N. (2021), National Arts and Culture Impact Survey. Prairie Research&nbsp;Associates. https:\/\/oc.ca\/wp-content\/uploads\/2021\/01\/NACIS_Organizations_EN.pdf<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Meghan Lindsay, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Meghan Lindsay is a PhD candidate in Cultural Studies at Queen&#8217;s University and a Sessional Instructor at Carleton University. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kelsey Jacobson, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kelsey Jacobson is an Assistant Professor at Queen&#8217;s University.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The New Normal: An examination of funders expectations for applied theatre during COVID-19 shutdowns in Ontario, Canada<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The financial and organizational activities of applied theatre organizations can be sites of potentiality (Mullen 20). This session will examine how funders expectations of applied theatre practices changed during COVID-19 shutdowns in Ontario, Canada. The analysis will be accomplished by considering relevant literature alongside qualitative case studies. The case studies are from a focus group and several one-on-one interviews with nine applied theatre practitioners in Ontario, Canada conducted during the Summer of 2021. This was shortly after theatre and school activities had been shut down by the provincial government when funders and practitioners were considering what had happened during the shutdowns, and what was next. This research is vital to share now, as practitioners and funders are returning to their regular activities post-COVID lockdowns.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Since at least the 1980s, how arts funding has affected applied theatre has been top of mind for practitioners (Hope 159), and the topic has been explored within the literature. Indeed, it is established that in Ontario, governments can influence the arts through arts funding (D\u2019Andrea 255). Still, there is a lack of published data on the changes which occurred during COVID-19, which can expose new potentialities in practice. Leniency among funders allowed practitioners to experiment with new ways of working, such as 4-day work weeks. Despite this, funders were selective with their leniency. Ultimately, this session argues that an examination into how funders expectations changed during COVID-19 shutdowns grants new insights into their intent and the power they hope to exert over applied theatre practices.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>D\u2019Andrea, Marisol J. \u201cSymbolic Power: Impact of Government Priorities for Arts Funding in Canada.\u201d The Journal of Arts Management, Law, and Society, vol. 47, no. 4, 2017, pp. 245\u201358, https:\/\/doi.org\/10.1080\/10632921.2017.1340209. Accessed 20 Nov. 2023.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Hope, Sophie. \u201cWe Thought We Were Going to Change the World!.\u201d The Failures of Public Art and Participation, edited by Cameron Cartiere and Anthony Schrag, Routledge: London and New York, 2023, pp. 156-175, https:\/\/doi.org\/10.4324\/9781003161356-12. Accessed 20 Nov. 2023<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Mullen, Molly. \u201cThe \u2018diverse Economies\u2019 of Applied Theatre.\u201d Applied Theatre Research, vol. 5, no. 1, 2017, pp. 7\u201322, https:\/\/doi.org\/10.1386\/atr.5.1.7_1. Accessed 20 Nov. 2023.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Daniel McGuire, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Daniel McGuire is a PhD student from the University of Toronto with the CDTPS. His research interests focus on the complex, multi-directional relationship between cultural policy, arts funding, and applied theatre practices. Daniel also holds an MA in Arts, Festival, and Cultural Management from Queen Margaret University, Edinburgh.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"policy-theatre-and-performance\"><\/span><strong> Policy, Theatre and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 4275 &#8211; 3200 rue Jean-Brillant &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 27 on the UdM map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of English, Theatre, Film &amp; Media &#8211; University of Manitoba<\/strong><\/p>\n<p>Moderator: Barry Freeman<\/p>\n<p>Katrina Dunn, &#8220;Housing Justice and the Contemporary Urban Playhouse&#8221;<\/p>\n<p>Steven Greenwood, &#8220;Unjuried, Uncensored, Uncurated: Rethinking the Fringe Festival Mandate in the 21st Century&#8221;<\/p>\n<p>Megan Johnson, &#8220;Performing (In)Justice in Cultural Policy&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Barry Freeman<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 4275 &#8211; 3200 rue Jean-Brillant &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 27 on the UdM map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of English, Theatre, Film &amp; Media &#8211; University of Manitoba<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Housing Justice and the Contemporary Urban Playhouse<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Juliet Rufford has noted that both theatre and architecture are \u201cpractices based on a central image of the house\u201d (55). She cites Marvin Carlson\u2019s etymological explanation of the origins of the theatrical \u201chouse\u201d as a contraction of the early modern \u201cplayhouse\u201d (Carlson, \u201cH\u201d). The contemporary housing justice movement is based on the idea that housing is a human right and shouldn\u2019t be narrowly defined as a commodity. However, urban playhouses are subject to the same economic and real estate forces that are increasingly making affordable housing an unreachable goal in many Canadian cities. Discussing the idea of \u201chome\u201d as a foundational trope of modern drama, Kim Solga and Joanne Tompkins suggest that \u201cthe more precious home becomes to us at the theatre, the further it recedes from our everyday grasp\u201d (77). This paper explores the connections between housing justice and the contemporary urban playhouse through a case study in Vancouver\u2019s downtown. Westbank\u2019s Vancouver House condominium tower, designed by starchitect Bjarke Ingels to resemble a theatre curtain, is startlingly ghosted by the collapse of the Vancouver Playhouse Theatre Company in 2012. I show how Vancouver House correctly identifies the development of Vancouver\u2019s downtown as a theatrical spectacle that performatively impacts the citizens and is invested in framing and generating affect. The building effectively shifts the site of performance from the interior of performing arts venues to the city as a whole, the roles of author and director are usurped by developer and architect, and both performers and spectators are played by a tacit citizenry cast in a participatory happening not of their own explicit choosing. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carlson, Marvin. \u201cH is for House.\u201d Contemporary Theatre Review, vol. 23.2, 2013, pp. 29-31.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rufford, Juliet. Theatre &amp; Architecture. Red Globe Press, 2015.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Solga, Kim and Joanne Tomkins. \u201cThe Environment of Theatre.\u201d A Cultural History of Theatre in the Modern Age, Edited by Kim Solga, Methuen Drama, 2019.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Katrina Dunn, University of Manitoba<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Katrina Dunn is an Associate Professor in the University of Manitoba\u2019s Department of English, Theatre, Film &amp; Media where she teaches in the Theatre Program. Her scholarly work explores the spatial manifestations of theatre as well as ecocritical theatre. In 2022, she was awarded the Richard Plant Award for the best long form English-language article on a Canadian theatre or performance topic by the Canadian Association for Theatre Research. She is currently adapting her dissertation, &#8220;Empty House: Real Estate and Theatricality in Vancouver\u2019s Downtown&#8221;, into a monograph for UBC Press. Katrina\u2019s long career as a stage director and producer has had considerable impact on the performing arts in western Canada and has been recognized with numerous awards.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Unjuried, Uncensored, Uncurated: Rethinking the Fringe Festival Mandate in the 21st Century<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>One of the central principles of nearly every Fringe festival is that the content is non-curated. Whether participation is decided by a random lottery, or if the festival simply allows everyone to participate, this spirit of non-censorship and openness is central to Fringe. While this creates an opportunity for radical and innovative performance works, it also comes with practical issues concerning the safety and accessibility of the festival for artists. For example, while a lack of censorship may allow artists to take more risks, this lack of censorship may also lead to things like hate speech or the platforming of artists who are known for creating hostile or abusive environments. These issues can then prevent others from participating safely. Is the festival truly \u201copen\u201d if the acceptance of some means that others can\u2019t participate?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As an artist, volunteer, and staff member for the Montreal Fringe Festival, I have seen this discussion emerge almost every year. Community discussion spaces such as the Fringe Artists\u2019 Hive Facebook group have been the sites of discourse surrounding the festival\u2019s responsibility for keeping artists safe, even when that might conflict with their responsibility to keep the festival uncensored. Looking at incidents from the 2023 Montreal Fringe Festival and the context of the larger role of Fringe festivals in contemporary theatre, this paper hopes to spur discussion about how Fringe can maintain its independent and open spirit while still taking seriously the concerns of participants who have felt unsafe within the environment that this can create.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Steven Greenwood, Concordia University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Steven Greenwood is a SSHRC Postdoctoral Research Fellow at Concordia University and an Adjunct Lecturer at McGill University. He is also the Artistic Director and co-founder of Home Theatre Productions, and is actively working as a playwright and director in Montreal.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing (In)Justice in Cultural Policy&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>One significant \u201cP\u201d word that is absent from the theme &#8220;Staging Justice: People, Places, Planet, and Practice&#8221; is Policy. Moves towards justice within cultural work and the creative industries\u2014including in theatre and performance\u2014are heavily impacted by cultural policies and the ways they allocate and distribute resources across the sector. In addition, policy frameworks are themselves informed by ideas of how cultural work is contributing to a more just world. For example, participatory art and social performance are often understood as cultural forms that can highlight injustice or articulate desires for justice, and this perspective can influence how support for these cultural forms is articulated in policy. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As art and culture is increasingly instrumentalized within neoliberal capitalism, there is a need to understand how cultural policies are positioning the relationship between art and justice, and how this positioning is materialized into specific cultural programming and support within the sector. In this presentation, I focus on federal and sub-national cultural policies to specifically investigate the ways that art, performance, and cultural work is tasked with addressing social and economic injustices. Situating cultural policy as its own discursive performance\u2014a performance that is highly contextual and has specific material impacts\u2014I query how the rhetoric and effects of these discursive performances reveal ideas of cultural value that can, paradoxically, prevent movement towards true \u201ccreative justice&#8221; (Banks 2017). To counter this, I offer possibilities for more justice-centered cultural policy frameworks.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Megan Johnson, University of Guelph<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Megan A. Johnson (she\/her) is a performance scholar, singer, arts administrator, and dramaturg. Currently a Mitacs postdoctoral fellow at The Re\u2022Vision Centre for Art and Social Justice at the University of Guelph, Megan\u2019s research centers on disability art and culture, critical access studies, infrastructural politics, public and cultural policy, and environmental studies. Megan\u2019s writing has been published in Performance Matters, Theatre Research in Canada, Performance Research, Canadian Theatre Review, Journal of Literary &amp; Cultural Disability Studies, and PUBLIC.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"hearing-unheard-moments-interdisciplinary-work-with-forum-theatre-and-youth-engagement\"><\/span><strong> Hearing Unheard Moments: Interdisciplinary Work with Forum Theatre and Youth Engagement<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/i><\/p>\n<p><i>Concordia University<\/i><\/p>\n<p>In-Person<\/p>\n<p>Leader: Rebecca Harries &amp; Heather Lawford<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Rebecca Harries &amp; Heather Lawford<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This praxis session is both an introduction to and a conversation about the techniques, challenges and rewards of interdisciplinary collaboration. The praxis session will introduce the work of an ongoing project, Hearing Unheard Moments through practice of similar exercises and discussion with the participants.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Hearing Unheard Moments, organized through the Students Commission of Canada, aims to develop creative products to promote anti-hate. The project culminated in a 4-day workshop in Jouvence, Quebec. The workshop brought together 18 youth participants from three different locations. Two creative activities were introduced: I led the forum theatre activity, and Priyank Mathur led a comedic writing workshop. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The workshop arose from my ongoing collaboration with Dr. Heather Lawford. This partnership began when Dr. Lawford asked me if I would be willing to lead a forum theatre activity in a conference about preventing violent extremism. I answered yes. Moving from a one afternoon conference session involving international experts and University students to a 4-day workshop meant that the nature of the project radically changed in both predictable and unpredictable ways.&nbsp; Some of the youth participations had never done any theatre.&nbsp; Also, some of the concepts and information around violent extremism required introduction. While skill-building was predictable, what was unpredictable was where the youth participations would take the forum theatre framework. An emerging theme was the desire to role play negative authority figures, coaches in particular. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In Forum Theatre, it is the oppressed who is the agent of change. The development of the scenarios moved in the opposite direction. Is there power and agency for youth participants in this creative practice? This session is an opportunity to explore these questions with us.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rebecca Harries, Bishop&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rebecca Harries is a Full Professor and Chair of Drama at Bishop&#8217;s University, where she has most recently directed The Children&#8217;s Hour. She re-engaged with Forum theatre about 10 years ago and has led forum theatre-inspired workshops on professional boundaries.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heather Lawford, Bishop\u2019s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heather Lawford is a tier-2 Canada Research Chair in Youth Development at Bishop&#8217;s University and a Full Professor of Psychology, where she founded the Knowledge Mobilization program and certificate.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"cultivating-post-realist-perception-via-performative-practices\"><\/span><strong> Cultivating Post-Realist Perception via Performative Practices<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><!-- wp:paragraph --><\/p>\n<p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/i><\/p>\n<p><i>Concordia University<\/i><\/p>\n<p>In-Person<\/p>\n<p>Leader: Paolo Gruni<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Paolo Gruni<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Capitalist Realism is the all-encompassing, colonizing, infinitely plastic and adaptable conception of reality intertwined with systemic injustice (Fisher, 2009). By \u2018post-realist perception\u2019, I mean an embodied sense of being-in-the-world corrosively leaking through and magnifying the cracks of Capitalist Realism. Perception can be cultivated via performative praxis that engages the embodied consciousness in its wholeness, intersubjectivity, and relational embeddedness in the world (Zarrilli, 2019). Perception can also be conceived as a spiritually activist aesthetic practice when fostered via writing and performance to transform human cognition and relation to others, the self, and the world(s) (Li, 2021). Post-realist perception is, therefore, a practical, embodied, ongoing, ever-renewing, poetic project\/process of creative re-definition (ambiguation) of reality.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This workshop explores strategies to access post-realist perception by manifesting dream-knowledge into reality (Shawanda, 2020). The approach developed primarily from my Grotowskian theatre background and is informed by Indigenous epistemology and studies on expanded consciousness. In the first section of the workshop, the participants will undertake a physical and vocal warm-up highlighting the intersubjective and relational nature of vocality and embodiment. The second activity will combine rhythmical exercises, social dreaming as inspired by Gordon Lawrence (2018), and performative writing. In conclusion, the ensemble will engage in a collective creative experiment.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>NOTE: The work requires physical engagement, but each participant can adapt their effort to their possibilities.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Paulo Gruni<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Paolo Gruni is a theatre artist who trained and worked internationally. Gruni\u2019s current interdisciplinary research combines Western laboratory theatre techniques with Indigenous epistemology and studies on expanded consciousness to develop performative practices, pedagogies, and artistic outcomes pursuing post-anthropocentric, post-capitalist, and post-colonial conceptions of creative agency.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june18\"><span class=\"ez-toc-section\" id=\"mardi-18-juin\"><\/span>Mardi 18 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"sustainability-and-performance\"><\/span><strong> Sustainability and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine<\/i><i> &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Hope McIntyre<\/p>\n<p style=\"text-align: left;\">Conrad Alexandrowicz, \u201cPerforming in Response to the Anthropocene\u201d<\/p>\n<p>Philip Isaiah Smith, \u201cEvaluation of the role of theatre for development in combating climate change in South Africa\u201d<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Hope McIntyre<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine<\/em><em> &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing in Response to the Anthropocene<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this presentation I argue that there is an ethical imperative to re-imagine and deploy a climate-crisis response theatre\u2014at once theory, practice and pedagogy\u2014and acknowledge it will require dedication, courage and imagination. I believe we must engage in this work across the theatre academy, even though we have no idea of its potential efficacy in the face of an unprecedented set of global crises.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I claim that work of this disposition, whether in practice or the pedagogy that feeds it, may acquire the following features: Such work will break the frame of realism; that is, we ought not content ourselves with staging realistic plays that depict battles against the forces of ecocide. Thus, in crossing over into realms of abstraction we will find ourselves in the zones defined as \u2018physical theatre\u2019 and \u2018dance.\u2019 As a matter of theory with praxis we ought, when and where possible, exit the buildings where we normally work, and relocate to various outdoor environments to teach, create, supervise creation, and perform. In doing so we may forgo the usual divisions between \u2018performer\u2019 and \u2018spectator,\u2019 aligning our work with late 20th Century participant performance, defined by Nicholas Bourriaud as \u201crelational aesthetics.\u201d&nbsp; Theatre education will have to respond to the heightened emotional states and needs of its community, invoking the therapeutic potentials that have always abided in the art form. Such work will logically fuse with reflections of a spiritual nature, and may produce events that overlap with ritual observance. Artist-scholars who are committed to developing new approaches to pedagogy in the teeth of eco-crisis may need to learn new skills, or refresh existing ones. As Greta Thunberg has written, \u201cWe now need a whole new way of thinking.\u201d<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Conrad Alexandrowicz, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>CONRAD ALEXANDROWICZ is a Professor in the Department of Theatre at the University of Victoria, where he teaches movement for actors and directs department productions. He enjoyed decades-long career in as a creator of performance, migrating from dance to theatre. The co-edited collection that he instigated, and to which he contributed, entitled Theatre Pedagogy in the Era of Climate Crisis, was published by Routledge in May 2021. He is now at work on another book for Routledge about performance training in the face of linked environmental crises, entitled Performing the Nonhuman: Towards a Theatre of Transformation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Evaluation of the role of theatre for development in combating climate change in South Africa&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This research examines the transformative potential of Theatre for Development (TfD) in addressing climate change issues within the Mosuthu community of Reservoir Hills, Durban, South Africa. The study investigates community members&#8217; understanding of climate change, perceptions of TfD, and the crucial role of community participation. By focusing on capturing lived experiences and perspectives, the research aims to stimulate discourse and mobilise the community for climate action with participatory theatre techniques, critical awareness, and dialogue. In response to the urgency of climate change, the study explores innovative approaches for engaging communities in sustainable practices. Utilising TfD as a theoretical framework, the research design adopts a qualitative approach, integrating interviews, focus groups, and a stage play to provide a dynamic platform for participants to share narratives. This methodology allows for the collection of data reflecting the community&#8217;s collective consciousness, surpassing traditional interview and focus group methods. The stage play, a creative performance element, facilitates a deeper exploration of community perspectives on climate change issues, enhancing the research&#8217;s richness. Sample selection involves the random sampling of community members, including residents, local leaders, and environmental activists. Data from audience and participant perceptions will be captured through one-on-one interviews, focus groups, and a theatrical workshop. Thematic analysis, including thematic content analysis (TCA), will identify recurring themes and patterns in the collected data. The inductive method serves as the primary analytical approach, eliminating biases and establishing overarching impressions of the data. This research aims to provide valuable insights into TfD&#8217;s potential to empower the Mosuthu community to combat climate change, contributing to the broader discourse on innovative and culturally embedded approaches to climate change awareness and action<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Philip Isaiah Smith, University of the Free State<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"race-representation-empathy-in-applied-theatre\"><\/span><strong> Race, Representation &amp; Empathy in Applied Theatre<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0030 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine<\/i><i>&#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Regina<\/strong><\/p>\n<p>Curator: Yasmine Kandil<\/p>\n<p>Panelists: Taiwo Afolabi, Kathleen Gallagher, Yasmine Kandil, Monica Prendergast, Julie Salverson, Roxanne Schroeder-Arce, Robyn Shenfied, Belarie Zatzman<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Yasmine Kandil<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0030 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine<\/em><em>&#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Regina<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The members of this group collaborated on a Research in Drama Education special themed issue with Drs. Tim Prentki (Winchester University) and Yasmine Kandil (University of Victoria), which was published in August 2023.&nbsp; Some contributors from this special themed issue are coming together in this curated panel to discuss the developments with their research topics on the theme of race, representation, and empathy in Applied Theatre. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The topic of race, representation and their implications on empathy and creative imagination have been on the minds of many scholars and practitioners in Applied Theatre and Drama in Education, and since the #metoo movement and the resurgence of the Black Livers Matter movement in 2020.&nbsp; Ways of engagement with race and representation have shifted in classrooms and community halls, and issues of accountability, authenticity, identity politics and woke culture have collided and converged as participants and practitioners have attempted to salvage the value of creative play in their work.&nbsp; This curated panel brings together several of these contributors to reflect on their research as published and to offer more insight that has emerged since then.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Curriculum Violence in Drama Education<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This article examines a concept called \u2018curriculum violence\u2019 that offers a contribution to the field of curriculum studies, in deepening both teachers\u2019 and scholars\u2019 awareness of the ways in which our best intentions in the drama classroom may lead to potential harm for our students. We present two drama structures, both Canadian; the first by Carole Miller and Juliana Saxton and the second by Larry Swartz and Debbie Nyman. We then discuss what we view as a High risk issue; a new provincial curriculum to be implemented in Alberta, that we view as causing potential curriculum violence to students.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Robyn Shenfield, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Robyn Shenfied is a PhD candidate in the Department of Curriculum &amp; Instruction in the Faculty of Education at the University of Victoria. In 2021 she was awarded a Joseph-Armand Bombardier CGS Doctoral Scholarship from the Social Science and Humanities Research Council of Canada.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Monica Prendergast, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Monica Prendergast is Professor of Drama\/Theatre Education, Department of Curriculum &amp; Instruction at the University of Victoria. Her research interests include drama-based curriculum and pedagogy, drama\/theatre in community contexts, and arts-based qualitative research methods.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>&#8220;Theatre Beyond Culture Wars: why we need to get over ourselves&#8221;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>A meditation on drama practice from an artist in Canada. My university students are preoccupied with damage and trauma. There are paralyzing obstacles to working across differences that were useful for a time but no longer serve a robust solidarity. The stories we collect, tell and re-tell ourselves to prepare for a \u2018never again\u2019 are stifled if the collisions between the evident and the imagined \u2013 and between suffering and joy \u2013 are reduced to their limits and not probed for their possibilities. I ponder this via an applied theatre project with my students and injured workers from across Ontario.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Julie Salverson, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Professor Julie Salverson is a writer, scholar and teacher. Her work embrace the relationship of imagination and foolish witness to risky stories. Books include Lines of Flight, an atomic memoir and 7 Canadian Libretti (editor).&nbsp; She runs workshops for groups practicing resiliency through drama.&nbsp; She is librettist for the opera Shelter.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>&#8220;Race &amp; representation in applied theatre: walking a fine line to salvage empathy &amp; creative imagination&#8221;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper examines the evolving nature of how race and difference are represented in creative applied theatre work in classroom and community-based settings. The author uses several examples of performances and workshops she\u2019s attended to ask important questions that point to the tensions percolating in our discipline around who gets to tell a story, how, and in what way this telling shapes perceptions and notions of the Other. At the heart of this inquiry is a desire to salvage creativity, play, and imagination in an environment that is increasingly fraught with cancel culture, virtue signalling, and identity politics.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p> Yasmine Kandil, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yasmine Kandil is Associate Professor at the Department of Theatre at the University of Victoria.&nbsp; Her work has engaged with communities who are under-represented, through Theatre for Development, scenario training for de-escalation strategies for police officers, and most recently through Celebratory Theatre. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>&#8220;Trans\/Queer representation and drama: engendering new forms of empathy and relationality&#8221;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Through dialogue between Taylor, a trans male Turkish-Canadian theatre student and Kathleen, a queer, cis-gendered female Scottish-Canadian theatre researcher, Kathleen considers some questions that queerness and trans identities in the drama classroom invite. Based on their mutual engagement in a virtual drama club in a Toronto high school in the 2020\u20132021 school year, they recall together experiences of performance, performative writing, and the strangely intimate relationality provoked by a global health pandemic. They are interested in the possibility of distinct individuals forming powerful collectives in art-making and in life through a reconsideration of the idea of \u2018empathy\u2019 newly imagined as relational.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kathleen Gallagher (University of Toronto)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Kathleen Gallagher is a Fellow of the Royal Society of Canada, a Distinguished Professor, and Director of the Centre for Drama, Theatre and Performance Studies at the University of Toronto. Her scholarly articles have appeared in a wide range of journals. Her latest book is titled Hope in a Collapsing World: Youth, Theatre, and Listening as a Political Alternative (UTP 2022).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u2018And yet\u2019 \u2026 Critical questions, complicated conversations: curating a TYA curriculum<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Can critical questions and complicated conversations addressing issues of representation, difference, and witnessing be positioned at the centre of a TYA curriculum? This paper examines contemporary, issue-based and culturally specific TYA scripts. In addition, a collection of aesthetic representations are offered as dynamic prompts to help further provoke dialogue across difference, and to invite different forms of knowing and knowledge into our shared TYA spaces. These curated sources are considered alongside the wisdom of Elie Wiesel, Johnston\u2019s \u2018Slow Curation\u2019, Lauzon\u2019s \u2018Cultural Intimacy\u2019, and Rothberg\u2019s \u2018Multidirectional Memory\u2019 concepts in the effort to welcome and sustain relationships across multiple and challenging contexts.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Belarie Zatzman, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Belarie Zatzman&#8217;s research and teaching focus on performing memory and memorial, and Canadian Theatre for Young Audiences. Publications include: \u201c\u201cAnd yet\u201d\u2026&nbsp; Critical questions, complicated conversations: curating a TYA curriculum\u201d (2023); and \u201cApplied Theatre Encounters at Canada\u2019s National Holocaust Monument\u201d (2020).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The fear of cultural appropriation is the beginning of wokeness in learning? reflections from teaching in Canada<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The current heightened sensitivity around history, colonisation and the aftermath of the socio-political and cultural ethos of the world can create in many people the fear of cultural appropriation and misrepresentation. This fear can affect the ability to imagine and play in certain learning settings, especially in devising performances, socially engaged theatre, and other arts-based explorations. However, what happens when participants choose not to engage due to the abovementioned fears? This paper considers the differing ways in which fear of cultural appropriation and misrepresentation deterred students from learning while teaching in Canada.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Taiwo Afolabi, University of Regina<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Taiwo Afolabi is an Associate Professor at the University of Regina. His research foci include applied theatre and its engagement in a variety of contexts such as justice, Sustainable Development Goals (SDGs), and the cultural and creative sector. He is the Director of the Centre for Socially Engaged Theatre (C-SET).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>To Represent or Not to Represent: Choice or Excuse?<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This reflection considers the nuances of white theatre teacher\/practitioners confronting race and racism in educational drama and theatre spaces. The author invites her white peers to reflect on theory and individual and collective praxis given discrete and shared identity markers. The author shares lessons learned through a variety of experiences, including as a guest at an arts-based youth programme focused on Indigenous identity reclamation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Roxanne Schroeder-Arce, University of Texas<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Roxanne Schroeder-Arce is Associate Professor of Theatre Education in the Department of Theatre &amp; Dance and Associate Dean of Fine Arts Education at The University of Texas at Austin. Her research focuses on arts education and representation in theatre for young audiences. Her plays are published by Dramatic Pubishing.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"dance-and-social-justice\"><\/span><strong> Dance and Social Justice<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room<span class=\"Apple-converted-space\">\u00a0 <\/span>1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the School of Contemporary Arts &#8211; Simon Fraser University<\/strong><\/p>\n<p>Moderator: Shelley Liebembuk<\/p>\n<p>Martin Austin &#8220;In Search of Justice through Ethics in Post-COVID Canadian Contemporary Dance&#8221;<\/p>\n<p>Esteban Donoso, &#8220;A horrifying dance or how a dance survives&#8221;<\/p>\n<p>Natalie Doonan, &#8220;A Choreography of Foraging for Food Justice&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Shelley Liebembuk<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room&nbsp; 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the School of Contemporary Arts &#8211; Simon Fraser University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>In Search of Justice through Ethics in Post-COVID Canadian Contemporary Dance<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In 2020, the COVID-19 pandemic limited the ability for most artists and companies to participate in dance practices. The opportunity for rest and reflection, alongside sentiments carried over from #MeToo and #BlackLivesMatter, caused a reckoning over social media about in-studio conduct and compensation. In response, many Canadian dance institutions put out public statements which laid out goals for changing hiring practices, training, and day-by-day operations. This paper presentation utilizes these demands for sexual and racial justice as an entry point into choreography\u2019s complex ethics of self and other, power and pleasure, and \u201cconducting the conduct of others\u201d (Foucault 1983).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>To do so, I track the progression of these calls for justice, starting from social media posts in the dance community, and the public responses made by Canadian contemporary dance companies \u2013 Ballet BC, Toronto Dance Theatre, and Ballets Jazz Montr\u00e9al. I then consider the ethical implications of these requests, informed by the genealogy of philosophy emerging from the late works of Michel Foucault. I argue that this moment of resistance shifts the regimens that inform the dancer as a choreographic subject, the choreographer as a conditioner of tutelage, and the dance company as a practitioner of the art of government. And finally, I employ my encounters as a Toronto-based dance critic to ponder the aesthetic outcomes of this ethical discourse. Justice may indeed be evident in the dancing that emerges as a result of such acts of resistance.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Martin Austin, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Martin Austin is a PhD Student at the University of Toronto\u2019s Centre for Drama, Theatre, and Performance Studies. His research analyzes ethical concerns in Euro-American dance practice. Martin is Research Assistant for the SSHRC-funded ballroom study Category Is, and is a frequent reviewer for Intermission Magazine and The Dance Current.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>A horrifying dance or how a dance survives<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>While describing a collective process to reconstruct the memory of the all-women dance festival No Mas Luna en el Agua (Quito-Ecuador 1997-2011), the paper focuses on revisiting the dance piece La Huesudita (2001) by Carolina V\u00e1sconez, originally performed during the festival. In a brief effort to locate the cultural context in which independent dance developed in Quito, I look at how Ecuadorian dancing bodies have come to bear different markings in relation to dominant concert dance histories, from which the most relevant is perhaps that of \u201cugly bodies\u201d as a result of comparing them with dominant images of ballet white dancing bodies. Later, I device a feminist reading of La Huesudita through following our meanderings at revisiting this dance. I propose that revisioning these works is vital in order to create a reflective memory of women in dance and their vicissitudes towards artistic visibility and autonomy. I address the importance of complicating linear time and the slow temporality in which a dance can become visible. La Huesudita (the one with the bones) is a dance that, dealing itself with issues of remains, brings forward questions about record-making and the survival of dances in the context of Ecuador. I move through transcripts, interviews, and diaries of our working sessions, while reviewing relevant feminist and decolonial theorizations.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Esteban Donoso, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Esteban Donoso is a researcher-artist from Quito, Ecuador who works in the mediums of dance, performance and film. He is interested in oral histories, re-writing and auto theory as devices that can help to re-construct our situated and interconnected histories. Esteban is currently completing his PhD in Theatre and Performance Studies at York University.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>A Choreography of Foraging for Food Justice<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Foraging, or harvesting wild plants and fungi for consumption, has been central to Canadian cuisine since the birth of the nation. Hunger and even starvation have oftentimes been the motivations for learning to identify, reap, and use wild plants. Importantly though, foraging requires skill and aesthetic accomplishment to hone perception. This aesthetic sometimes also involves an orientation toward food justice. \u201cInformal practices of collecting help to understand not only survival strategy to alleviate hunger but also tactics to circumvent regulations that frame urban gathering as undesirable,\u201d according to Flaminia Paddeu (2019: 2).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The implicit rules involved in foraging lead to a particular orientation toward place. I have noticed a certain choreography involved in foraging by paying attention to the bodily habits that it calls forth. In this paper panel presentation, I analyze foraging as a form of aesthetic training, from a performance angle. Further, walking, an act that is central to foraging, is also a well-developed methodology in artistic practice that is pertinent to this analysis.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I argue that urban foraging can be considered a kind of counter-aesthetics that asserts a \u201cright to the city,\u201d as David Harvey would have it, or a \u201cright to collect,\u201d in the words of Paddeu. The exclusive, elitist etiquette associated with high end cuisine is challenged by the counter-aesthetics of this choreography of foraging, which belongs to what De Certeau would have called a \u201cpractice of everyday life\u201d. In the context of climate catastrophe, which involves widespread biodiversity loss and the rampant spread of \u201cinvasive weeds\u201d on the shores of the St. Lawrence River where I walk, it can even be considered a choreography of the essential (as opposed to the aesthetics of excess expressed in fine dining).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Natalie Doonan, Universit\u00e9 de Montr\u00e9al<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Natalie Doonan is interested in embodiment, food and place. Her work has been shown in exhibitions and festivals across Canada and internationally. Her writing has appeared in professional and peer reviewed art and food culture publications. She serves as Assistant Professor in the Department of Communication at Universit\u00e9 de Montr\u00e9al.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"political-performance\"><\/span><strong> Political Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Robin Whittaker<\/p>\n<p>Sara Schroeter, &#8220;Compounding Injustice: How School Musicals Exacerbate Social Inequities&#8221;<\/p>\n<p>Fraser Stevens, &#8220;Courtroom Character Assassination: The unravelling of Maria Butina&#8221;<\/p>\n<p>Michael Wheeler, &#8220;Cue the Wrecking Ball: Political Theatre Ripped From the Headlines&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Robin Whittaker<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Compounding Injustice: How School Musicals Exacerbate Social Inequities<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Musicals are an integral part of many drama programs in Canadian secondary schools. Lauded for the ways that they bring students and faculty together, from across disciplinary and social boundaries, musicals enable schools to showcase youth talent, connect with local communities, and often raise money for drama programs. However, in whose image are these productions made? When understood as a form of public pedagogy (Galella, 2020), what do musicals say about the ways that schools imagine their communities, and how do representational practices interact with mandates for the curriculum to be widely inclusive of diversity? This paper presents data collected during a case study on representations of race, class, gender, and sexuality in secondary musical theatre productions in a prairie town. The objective was to gain insight into the factors influencing teachers\u2019 decision-making processes. Using a lens informed by critical race studies (Dei, 2006; James, 2015; Leonardo, 2013; St. Denis, 2007) and Black feminism (hooks, 2015; Morrison, 1992), this paper analyzes how teachers\u2019 entanglements with white supremacy, cisheteropatrichy, and colonialism enable them to justify reproducing harmful stereotypes in musical theatre productions \u2013 even though some feel trapped by the constraints imposed on them by external factors. Educators who choose not to produce musicals appear to be more directly guided by the principles of diversity, inclusion, and equity. Most participants believe that racially minoritized students do not seem themselves adequately represented in highschool musicals, suggesting that their perennial presence on drama calendars compounds the social injustice that these students confront in schools.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sara Schroeter, University of Regina<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sara Schroeter is an Associate Professor and Chair of the Arts Education Program in the Faculty of Education at the University of Regina, where she teaches drama, literacy, arts&nbsp;and anti-racist education classes in French and English.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Courtroom Character Assassination: The unravelling of Maria Butina<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper addresses how the dialectic of success and failure manifests in espionage during the post-modern era. The paper utilizes the trial of the Russian foreign agent, Maria Butina&#8211;and event that is rife with theatricality&#8211;to articulate this concept. As the presentation will address, central to this performative event are the efforts undertaken by the United States government that amount to an initiative of, to borrow a term from Elinor Fuchs, character killing. These instances of character assassination reveal the United States&#8217; orientalist approach to foreigners, as well as its patriarchal framing of relationships, that are used to undermine the credibility of Butina and others on trial. The paper will then continue on to break down instances from the Butina trial to establish how both the Russian and United States governments might find success in the failure and failure in success in this performative iteration of &#8216;justice&#8217;. The court-room proceedings against Butina are then reframed by Sarah Jane Bailes\u2019 research that addresses the failure of representation. This is a particularly important consideration given that the case-study is concerned with the various characters that espionage agents employ.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fraser Stevens, Sheffield Hallam University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fraser Stevens is a lecturer in Performance at Sheffield Hallam University. His writing has appeared in both peer-reviewed journals and edited anthologies. He is the co-director of the experimental theatre company, Almost Human, and has produced work in North America, Europe, and the Middle East. Fraser&#8217;s most recent research looks to reposition secrets as theatrical undertakings.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Cue the Wrecking Ball: Political Theatre Ripped From the Headlines<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Wrecking Ball was a unique form of political theatre produced in English Canada from 2006 -2013. Founded in Toronto by Volcano Theatre Artistic Director Ross Manson and playwright Jason Sherman, the model engaged a specific producing structure for theatre to respond to moments of political need: One week to commission volunteer playwrights to prepare works responding to a specific political event, one week to cast scripts and attach directors to them, one week to rehearse the scripts.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This format was replicated in other Canadian cities in the lead up to the 2008 and 2011 Federal elections where Wrecking Balls occurred on the same night in many large Canadian cities, with the events using onstage technology and a joint communications strategy. Canadian Actors\u2019 Equity amended contracts to allow members to waive regular rates of compensation to participate in a \u201cWrecking Ball\u201d and leadership of the Toronto Wrecking Ball passed through the hands of many prominent arts leaders including current Why Not Artistic Director Ravi Jain, Soulpepper Artistic Director Weyni Mengesha, and National Arts Centre English Theatre Artistic Director Nina Lee Aquino.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As a previous Wrecking Ball participant, I will investigate the forces that caused Wrecking Balls to be created, gain national significance, and eventually fade away. These forces are situated within the work of Filewod, Levin and Wright; and analyses the conventions and opportunities for political theatre in English Canada during this period (2006-14) via PACT, Indie, and ad-hoc productions and the context they created for grassroots political works on a short producing timeline. Finally, the paper will reflect on the lessons that can be extrapolated for future creators of theatre striving to respond quickly to political events.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Michael Wheeler, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Michael Wheeler is an Assistant Professor in The DAN School of Drama and Music and Coordinator of the graduate Arts Leadership program at Queen\u2019s University. He is a co-founder of FOLDA where he is co-curator of the Festival of Live Digital Art, and serves as the organization\u2019s Director of Artistic Research.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"indigenous-theatre-and-performance-ii\"><\/span><strong> Indigenous Theatre and Performance II<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Drama &#8211; University of Alberta<\/strong><\/p>\n<p>Moderator: Selena Couture<\/p>\n<p>Sarah MacKenzie , &#8220;Monique Mojica and the Mothers of our Indigenous Nations&#8221;<\/p>\n<p>Kirsten Sadeghi-Yekta &amp; Tara Morris, &#8220;Championing Indigenous Languages through Theatre&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Selena Couture<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Drama &#8211; University of Alberta<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Monique Mojica and the Mothers of our Indigenous Nations<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper discusses Monique Mojica\u2019s two best-known works: the radio play, Bird Woman and the Suffragettes (1991), and the playwright\u2019s only published full-length piece, Princess Pocahontas and the Blue Spots (1991). My discussion focusses on the plays\u2019 representations of Indigenous women\u2019s roles in resistance to imperial rule and colonialist ideology throughout history and the manner in which intergenerational connection \u2013 particularly that between mother and daughter \u2013 is of profound relevance to this resistance. Mojica\u2019s writing traces our connections to the grandmothers of our Indigenous nations, signifying the importance of continued connection. The paper thus addresses to the importance of our continued search for our missing sisters.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The half-hour play, Birdwoman and the Suffragettes, reconfigures the well-known tale of Sacajawea (Lemhi Shoshone), the guide to the American Lewis and Clarke expedition, recuperating her from historical appropriation. Mojica represents Sacajawea as a resistant leader, countering colonialist depictions of a docile, willing guide. In Princess Pocahontas, Mojica focuses on the journey of \u201cContemporary Woman,\u201d as she tries \u201cto recover the history of her grandmothers as a tool towards her own healing\u201d (136). The plot revolves around this mixed-blood search for identity, with the \u201cblue spot\u201d signifying \u201cIndian blood\u201d (141). The play reimagines Indigenous woman leaders from Mexico, Peru, and North America, emblematically empowering these figures, and, while Mojica devises some disconcerting representations of sexual violence, the scenes are not gratuitous, but are used to relay the playwright\u2019s ultimate message of female reclamation by emphasizing subversion, solidarity, and global connection. Towards the play\u2019s surreal conclusion, Matoaka \u2013 Rebecca or \u201cPocahontas\u201d \u2013 reaches out and \u201cthrow[s] a lifeline across generations\u201d; for her, it is \u201cenough that [her] child live[s]\u201d (31). This closing scene reflects the salience of our maternal ties, as well as our ongoing intergenerational \u2013 arguably interworldly \u2013 connection to our foremothers. So, too, does the scene speak to the importance of our continued struggle to find our missing grandmothers, mothers, daughters, and sisters. Given lack of meaningful governmental support, this work continues to be a community endeavor imagined and reimagined through our artistic output.&nbsp; &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sarah Mackenzie, University of Ottawa<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>SARAH MACKENZIE currently teaches Indigenous Studies at the University of Ottawa. She holds a PhD and M.A. in Feminist and Gender Studies from the University of Ottawa, as well as an undergraduate degree in Humanites from Carleton University. Her masters and doctoral work examined the ways Indigenous playwrights address the colonialist legacy of violence against women as it continues to play out in contemporary North American contexts. Her first book, Indigenous Women\u2019s Theatre in Canada (Fernwood Publishing Company) furthers this reasearch. She has taught Indigenous Studies at the University of New Brunswick, Sheridan College, and the University of Ottawa. So, too, has she taught Gender Studies and Literature. Her academic research interests include Indigenous theatre, postcolonial feminist theory, Canadian history, and Indigenous literatures. She has also been involved in several writing projects that relate to the roles of Indigenous women activists in Canadian history and the state surveillance of racialized activists. Broadly, her writing considers the way in which people come to define themselves in a \u201cmulticultural\u201d space like Canada, focusing particularly upon redressing colonial violence by engaging with decolonial aesthetics. Sarah\u2019s syncretic identity as the daughter of a M\u00e9tis\/Anishinaabe mother and a first-generation Scottish-immigrant father is integral to her role as a feminist, antiracist, academic, researcher, and critic. Her methods of interpretive analysis are thus founded upon a strong commitment to elucidating and subverting violent colonial transgressions. Both her academic work and social activism are fundamentally concerned with the outmoding and dismantling of colonial hierarchies, the rebalancing of unequal power relations between Indigenous peoples and White settlers, and the eventual forging of alternative modes of relation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Championing Indigenous Languages through Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tara Morris, Hul\u2019q\u2019umi\u2019num\u2019 speaker and Cowichan Tribes member, and Kirsten Sadeghi-Yekta will discuss how they have used theatre to support the cross-generational transfer of Indigenous languages and culture by providing opportunities for Indigenous artists to develop new skills, engage in research, and share their talents with the academic and Indigenous community. Over the past eight years, they have worked together with Elders, performers, and language teachers of Coast Salish languages. Our drama troupe selected several stories and re-designed them as dramatic art. Stories have been interpreted through techniques of image work, sculpting, movement, improvisation, dialogue, and music. Their project has helped to bring the languages to the eyes and ears of community members, and, for the participants, it has helped unlock their ability to speak their traditional languages. Many of the younger generation desire to learn the language or to improve their fluency and to connect with their heritage. Traditional culture is centred on performance and storytelling, and applied theatre has been an excellent means for bringing forward stories and encouraging discussion on important social issues.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper presentation will present the results of this project and describe how it improved the social, spiritual, and cultural well-being of the Indigenous participants by grounding them in their identity, heritage, and traditional knowledge. By making the language accessible and entertaining, we hope to galvanize a new generation of language learners. Documenting the process has allowed us to report to CATR on best practices of using theatre for language revitalization.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tara Morris, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tara Morris is a PhD student in Theatre and Linguistics at the University of Victoria. She is a Cowichan Tribes member and Hulq&#8217;umi&#8217;num&#8217; speaker. Tara has been teaching theatre in the Hul&#8217;q&#8217;umi&#8217;num&#8217; language program since 2021.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kirsten Sadeghi-Yekta, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kirsten Sadeghi-Yekta is Associate Professor in Applied Theatre at the University of Victoria. Together with Tara Morris, she has directed shows with the Hul&#8217;q&#8217;umi&#8217;num Language Academy. At the moment Kirsten is working on her research on Coast Salish Language Reawakening through Theatre. She is also the Artistic Director of Project Limelight, a free theatre program for youth in the Downtown Eastside in Vancouver.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container live-plenary inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Live Plenary\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"quebec-artists-plenary\"><\/span><strong> Quebec Artists Plenary<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/live-plenary\/\" rel=\"tag\">Live Plenary<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Panelists: Dian Marie Bridge, Ginette Noiseux, Rahul Varma<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Artists&#8217; Roundtable,&nbsp;<\/strong>Arts Leadership and Social Justice in Montreal Theatre is a dialogue among leading Montreal-based artists, creatives and leaders on the intersection of leadership and social justice within the Montreal theatre landscape<strong>.<\/strong>&nbsp;Each discussant brings a unique perspective to the conversation based on their experiences, journeys, identities, and the peculiarity of their theatre company and the historical, socio-cultural and political realities in Montreal.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Panelists<br>Dian Marie Bridge\u2019s&nbsp;<\/strong>career in the theatre is characterized by a commitment to justice in both the work she produces and her approach as a director and educator. Her contribution to the plenary discussion will develop her own working definition of justice, which, to her, is righting a breach of the social contract or rewriting the social contract. She will reflect on how leading with justice in the creative process privileges time for empathetic solutions\u2013even if that risks the final product (though often it does not). As the current artistic director of Canada\u2019s longest-running professional Black theatre company, Black Theatre Workshop, Bridge will also offer insights from this work on how the company\u2019s mission to \u201ccreate greater cross-cultural understanding by challenging its audience and the status quo\u201d is situated within broader conversations about social justice in Montreal and its theatre scene.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Ginette Noiseux:&nbsp;<\/strong>As the longstanding artistic director of Canada\u2019s oldest French-language feminist theatre (and one of the oldest feminist theatre companies in the country), Ginette Noiseux has dedicated her career to supporting women\u2019s work and advocating for gender equity within the theatre industry. In her contribution to the roundtable, she will reflect on how she has prioritized social justice values within the company as it has grown, over time, from an experimental feminist collective existing on the margins of the theatre community to an internationally reputed company firmly established within the Montreal theatre scene. Noiseux will also share insights on Espace GO\u2019s ongoing partnership with Femmes pour l\u2019\u00c9quit\u00e9 en Th\u00e9\u00e2tre (F.E.T.), an organization committed to advocating for gender equity within Quebec theatre, where women continue to be under-represented in key artistic roles.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Rahul Varma&nbsp;<\/strong>co-founded Montreal\u2019s Teesri Duniya Theatre in 1981 as an intercultural company dedicated to diversity, representation and political theatre. As the company\u2019s long-standing artistic director, he will reflect on Teesri Duniya\u2019s historic commitment to \u201cbuilding cross-cultural bridges between Quebecers of Asian, African, Middle Eastern, Latinx, mixed-race, First Nations, and European origin\u201d and on how this work has responded to evolving understandings of multiculturalism within Quebec. Throughout his career, Varma has been active in speaking out against institutional racism within the arts in Quebec and Canada. He will discuss this advocacy work as well as how his commitment to social justice has defined his approach to leadership. Varma is also an established playwright whose work engages with social justice themes; his contribution to the roundtable will reflect on his creative work and its intersection with activism (copied from the website).<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container bookjournal-launch inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Book\/Journal Launch\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"playwrights-canada-press-lunch\"><\/span><strong> Playwrights Canada Press Lunch<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/book-journal-launch\/\" rel=\"tag\">Book\/Journal Launch<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"performing-the-archive\"><\/span><strong> Performing the Archive<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine <\/i><i>&#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the School of Dramatic Art &#8211; University of Windsor<\/strong><\/p>\n<p>Convenors: Benjamin Gillespie &amp; Laura Levin<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Convenors: Benjamin Gillespie &amp; Laura Levin<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine <\/em><em>&#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the School of Dramatic Art &#8211; University of Windsor<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Participants:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Benjamin Gillespie, Baruch College, CUNY <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Laura Levin, York University <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Michelle MacArthur, University of Windsor <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Matt Jones, Toronto Metropolitan University <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Keren Zaiontz, University of British Columbia <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jessica Riley, University of Winnipeg<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Paul Halferty, University College Dublin<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jess Dobkin, Artist<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"troubling-the-stage-bodies-spaces-and-justice\"><\/span><strong> Troubling the Stage: Bodies, Spaces, and Justice<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0030 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine <\/i><i>&#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Curator: Jose Miguel Esteban<\/p>\n<p>Jose Miguel Esteban, &#8220;Dreaming Elsewhere: Troubling Dance Studies through Abolitionist Questions&#8221;<\/p>\n<p>Carolina Bergonzoni, &#8220;Staging the Body: The Body is Who I Am&#8221;<\/p>\n<p>Collette Murray, &#8220;Justice Will Dance Outside the Proscenium Stage&#8221;<\/p>\n<p>Sandeep Kaur Glover, &#8220;Sensorial Snapshots: Standing in the Paradoxical Spaces between Erasure and Existence&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Jose Miguel Esteban<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0030 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine <\/em><em>&#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Responding to this year\u2019s CATR theme of Staging Justice, this curated panel provides us an opportunity to challenge the Western frames and colonial registers that reverberate through the spaces of our embodied performances. Reflecting on what we noticed as the call for proposal\u2019s lack of definition and critical engagement with how we encounter the \u201cstage,\u201d our papers reflect on our scholarly, artistic, and activist work toward justice in order to discuss, rethink, and possibly even refuse what we come to know of as the stage.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In particular, this panel brings together emerging scholars whose practices center the body and questions of embodiment. For each of us, the body is where we engage with performance, dance, theatre, and pedagogy. Our bodies are sites of knowledge\u2014the place where knowledge is stored and transmitted. Our body is a stage on which, and through which, we perform knowledge.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Reflecting on the colonial residue of how we come to know the stage through its manifestation of colonial erasures, ableist hierarchies, and racial capitalist logics, we ask: Who belongs to the stage? Who continues to be erased and be absented from it? What is it like to perceive the body, the classroom, the land as a stage? Lastly, we reflect on our responsibility as artist-scholars, activists, educators, and performers to take up the stage that is a conference setting.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Dreaming Elsewhere: Troubling Dance Studies through Abolitionist Questions<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>What would it mean to abolish the stage? As an artist schooled in Western forms of postmodern dance, I feel troubled by such a suggestion. The stage has become a place of comfort, a site for an embodied expression that I don\u2019t usually have access to in my daily life. And still, I feel a sense of excitement and desire when I imagine what this question invites me to pursue. Afterall, the stage of Western concert dance has also been a place of violence for my racialized body, a site where my queer and mad gestures are policed and rehabilitated in service of neoliberal systems and colonial structures\u2026I am excited by the possibility of other ways to enact performances of\/through dance; I desire different spaces to feel into these expressions of my radical embodiments.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Inspired through critical interventions offered by a disability studies questioning of access (Titchkosky, 2011) and Black radical traditions of fugitive study (Moten &amp; Harney, 2013), this paper encounters the trouble that the question of abolition poses within my own artistic and scholarly encounters with the stage. Prompted by Ruth Wilson Gilmore\u2019s suggestion of abolition as \u201ca fleshly and material presence of social life lived differently\u201d (Petijean, 2018), I rechoreograph this trouble into a creative space for dreaming different ways of be(com)ing that resist racial capitalist expectations of artistic production and colonial logics of academic scholarship. I reflect on what other worlds are manifested when we reinterpret the ways that embodied difference troubles the stage.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jose Miguel Esteban, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jose Miguel (Miggy) Esteban is a dance\/movement artist, educator, and PhD candidate at the Department of Social Justice Education, University of Toronto. Influenced by disability arts and culture, Black radical traditions, Indigenous storytelling, and queer performance, Miggy\u2019s research engages in embodied practices of improvisation to re-interpret curriculum as choreographic sites.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Staging the Body: The Body is Who I Am<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper addresses the notion of dance and the body as sites of knowing and learning. I build on embodied forms of inquiry (Bergonzoni 2022; Snowber 2016, 2018) as a way to reflect on what we consider as a \u201cplace of research and praxis\u201d (CATR Call For Paper, 2023). The physical appearance of this body, that is who we are, is always charged with political, social, economic, and other labels; the choices we make, and desires we have to fit in certain \u2018stages\u2019. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>When I introduce myself by saying \u201cI am Carolina\u201d, I am using a shortcut to say that I am the body that is in front of you: the physicality, presence, and breath. However, the definition of what the body is and who I am can become interchangeable. The body is a place of research and praxis that can \u2018stage\u2019 justice and \u2013 more often than not \u2013 injustice. As an example, let\u2019s consider the clothes we choose to wear depending on the context in which we are: business casual, formal clothes, pink tights and a unitard, etc.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In the paper, I will continue by addressing how I have changed my body to better \u2018fit\u2019 certain \u2018stages\u2019 and identities. I lost weight to be \u2018the dancer\u2019, I wore glasses to look like \u2018the smart kid\u2019.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carolina Bergonzoni, Simon Fraser University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Carolina Bergonzoni (she\/her) is a dance artist, a somatic educator and practitioner, and an emergent scholar. Carolina holds a Ph.D. in Arts Education, a BA and MA in Philosophy, and an MA in Comparative Media Arts. She is the 2023 recipient of the Outstanding Dissertation Award for the Arts &amp; Inquiry in Education at AERA. Her practices span between dancing, writing, and teaching from the body.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Justice Will Dance Outside the Proscenium Stage&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As a Black Canadian woman of Afro-Guyanese descent, Murray is a dance artivist and emerging scholar navigating the performing arts, education sectors, academia, and world using a revolutionary lens: to decolonize the stereotype that African diasporic dance is beyond performance. Murray is a dance artist engaged in work on anti-racism in dance and centering justice outside the proscenium stage. The longevity of Murray\u2019s career is not dependant on being legitimized on proscenium stages. Justice is an intentional act that Murray carries in every space she occupies in Canada and abroad, through artistry, cultural practice and community arts, leadership, and scholarship.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Through this paper, a personal pedagogy is unpacked with examples of Miss Coco Murray\u2019s work on being a living archive who lives an intersectional cycle of critically analysing, embodying Afrodiasporic dance, applied performative praxis to the reflection, theorizing and producing of scholarship. Justice is centred by Murray in the places, lands in Canada and abroad and discussed through specific ethnocultural practices in the street, museum, art gallery, classroom, and community.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Collette Murray, York University &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Collette Murray is a multi-award-winning artist-scholar, dance educator, cultural arts programmer, mentor, and arts consultant. Murray pursues a Ph.D. in Dance Studies at York University focusing on dance education and anti-racist dance pedagogies.&nbsp; She is the Artistic Director of Coco Collective offering culturally responsive projects that connect participants to African and Caribbean arts. Miss Coco Murray is her mobile dance education business (www.misscocomurray.com). Murray&#8217;s background includes Caribbean folklore and West African dance styles while amplifying Black arts and dance, in a Canadian context.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sensorial Snapshots: Standing in the Paradoxical Spaces between Erasure and Existence<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As a participant in the curated panel, Troubling the Stage: Bodies, Space, and Justice, through the performance of what I conceptualize as sensorial snapshots (Glover, 2023), I invite audience-participants to listen to and from their own embodied resonances as I proclaim my body as stage.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I will perform three sensorial snapshots that flesh out moments of my lived experience as a Punjabi-Sikh Canadian woman of color whose ancestors were among the first wave of Punjabi-Sikh migrants to arrive in Canada in the early 1900s. In considering the etymology of the word stage, \u201cto stand\u2026something to stand on\u201d (https:\/\/www.etymonline.com\/word\/stage) and its linkages to my multigenerational narrative, I ask:&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>How has my identity as a Punjabi-Sikh Canadian woman been staged for me and implicated in colonial dynamics from the moment I took my first breath? For those who are marginalized, what are some challenges of finding one\u2019s stance amid the societal entrenchment of colonial legacies?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As the first in my lineage to pursue doctoral studies, how may I navigate pangs of grief when confronted with the visceral void of my family\u2019s multigenerational un-staging, the ongoing colonial erasure of their voices, stories, and cultural knowledges in education and research?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>How may sensorial snapshots offer (re)humanizing and anti-oppressive pedagogies for those who have been marginalized in society to stand in dignified ways that transgress the clasp of colonialism? And how may sensorial snapshots open up possibilities to honour our ancestors, those whose shoulders we stand on?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sandeep Kaur Glover, Simon Fraser University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sandeep Kaur Glover (she\/her\/hers) is a seasoned educator, multidisciplinary artist, and PhD candidate in the Arts Education program at Simon Fraser University. Her interdisciplinary research integrates arts-based approaches, decolonizing perspectives, and Sikh-Punjabi onto-epistemologies in investigating culturally responsive, embodied pathways that foster wholeness, healing, and social justice activism.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"queer-performance-i\"><\/span><strong> Queer Performance I<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Present\u00e9 par le D\u00e9partement de litt\u00e9ratures et de langues du monde &#8211; Universit\u00e9 de Montr\u00e9al<\/strong><\/p>\n<p>Moderator: Wes Pearce<\/p>\n<p>Bridget Baldwin &amp; Magdalena El-Masry, &#8221; \u201cThings Better Not Remembered\u201d: Censoring Queer Trauma in Daniel MacIvor\u2019s Somewhere I Have Never Travelled and Thom Fitzgerald\u2019s The Hanging Garden&#8221;<\/p>\n<p>Cameron Crookston, &#8220;Justice for Drag Queen Storytime: Considering the Legal Value of Drag for Young Audiences&#8221;<\/p>\n<p>Alex Ferrone, &#8220;Queer Vocabularies and Solidarities in the Theatre of Fake Friends&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Wes Pearce<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Present\u00e9 par le D\u00e9partement de litt\u00e9ratures et de langues du monde &#8211; Universit\u00e9 de Montr\u00e9al<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u201cThings Better Not Remembered\u201d: Censoring Queer Trauma in Daniel MacIvor\u2019s Somewhere I Have Never Travelled and Thom Fitzgerald\u2019s The Hanging Garden<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Daniel MacIvor\u2019s play Somewhere I Have Never Travelled (1988) and Thom Fitzgerald\u2019s film The Hanging Garden (1997) explore intergenerational trauma and cycles of abuse through the narrative structure of homecoming.&nbsp; Each work centers on a man who has moved to Toronto and\u2014years later\u2014returns to his rural Nova Scotian hometown to take part in a major family event.&nbsp; These men must reckon with memories of a tumultuous shared past, coloured by physical abuse, alcoholism, and, in the case of Fitzgerald\u2019s film, homophobia.&nbsp; Significantly, MacIvor\u2019s play does not explicitly address an intersection between sexuality and childhood trauma.&nbsp; Though Somewhere I Have Never Travelled is semi-autobiographical, its main character\u2019s queerness is censored.&nbsp; This artistic compromise was, for MacIvor, \u201canother form of closeting\u201d (Grignard 195).&nbsp; While The Hanging Garden premiered at the Toronto International Film Festival to great acclaim, MacIvor\u2019s Somewhere I Have Never Travelled, first performed at Toronto\u2019s Tarragon Theatre nine years earlier, was poorly received by critics and remains unpublished.&nbsp; Identifying the censorship of MacIvor\u2019s script as a form of injustice, we ask: what does Fitzgerald realize in The Hanging Garden that MacIvor is prevented from exploring in Somewhere I Have Never Travelled?&nbsp; How do trauma, queerness, and justice interact in Fitzgerald\u2019s film, and how might these themes have served MacIvor\u2019s play?&nbsp; Through comparative analysis, and with the use of archival materials, we explore the reception of these performances and posit that censorship and the obfuscation of homophobia is an injustice which results in the loss of vital queer narratives.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Bridget Baldwin, University of Guelph<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Bridget Baldwin is a PhD student at the University of Guelph. She received her BA in English and Philosophy from Cape Breton University.&nbsp; She completed her MA in English at the University of Guelph with the support of SSHRC-CGSM.&nbsp; Her research interrogates settler conceptions of \u201chome\u201d in Nova Scotian performance. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Magdalina El-Masry <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Magdalina El-Masry earned her BFA in Film Studies and her MA in Film and Moving Image Studies at Concordia University. Her MA thesis is a study of dramatic film performance in American cinema through the lens of intensity. Her research interests include film historiography, performance studies, and adaptation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Justice for Drag Queen Storytime: Considering the Legal Value of Drag for Young Audiences<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In 2023, I was contacted by the law firm McCarthy T\u00e9trault in regard to a definition involving Rainbow Alliance Dryden\u2019s Drag Queen Story Hour and conservative blogger Brian Webster. In the week\u2019s that followed I produced an affidavit for the case that aimed to explain \u201cthe cultural significance of drag.\u201d While I have spent much of my career analyzing, and teaching students about the cultural significance of drag, I typically approach this task from an academic position, drawing on a blend of queer theory, theatre studies, and performance studies discourses. My experience producing a 15-page legal document that defended drag as not only a legitimate art form but an important cultural practice both drew on my existing expertise in the field while simultaneously challenging me to rethink how I understand the cultural value of drag, particularly in the context of theatre for young audiences.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For this conference paper, I will reflect on my experience writing this document and consulting with a legal team that comes at drag queen story time from a legal and justice-based framework. I will analyze how a shift towards a legal framework and legal discourse necessitated a rethinking of my own position on drag\u2019s function, particularly as it applies to accessibility, activism, and cultural value. In doing so this paper will more broadly raise questions about theatre and performance studies\u2019 value to legal discourse as well as how considering theatre\u2019s function from a legal\/justice-based perspective can broaden and extend our own research and teaching.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cameron Crookston, UBC Okanagan<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cameron Crookston is a lecturer in cultural studies at UBC Okanagan. He holds a PhD in theatre and performance studies from the University of Toronto. He teaches classes on popular culture and queer performance and is the editor of the anthology The Cultural Impact of RuPaul\u2019s Drag Race&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Queer Vocabularies and Solidarities in the Theatre of Fake Friends<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>New York theatre company Fake Friends has earned recognition in recent years for their irreverent, confrontational, multi-media work: after the success of their show Circle Jerk (finalist for the Pulitzer Prize and then winner of an Obie), an earlier work, This American Wife, enjoyed a reworked digital production in 2021. The show revisits the cultural product that brought Fake Friends\u2019 members together as collaborators in the first place: reality TV\u2019s The Real Housewives. In the play, cameras follow three gay men through a soulless Long Island McMansion as they recite and refashion a litany of Housewives references \u2013 a litany indeed, for the source material takes on almost scriptural significance. But the structure breaks down, subject to the same ontological uncertainties that tease viewers of all reality television: surely, we know this ostentatious posturing is fabricated for the camera, and yet, just how much of it might in fact be real? By the time we reach the play\u2019s coda \u2013 staged like a Housewives reunion \u2013 we are asked to contemplate what exactly is at stake for gay male identity (at least a narrow segment of it) in a shared vocabulary so rooted in conflict and class pretension. I argue that This American Wife, in adapting the Housewives archive, stages the affinities and antagonisms of a contemporary gay habitus replete with the sensual pleasures of class fantasy while, at once, hostile and masochistic, tracing the knife\u2019s edge that separates vanity and cruelty from the possibility for queer connection and solidarity.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alex Ferrone, l\u2019Universit\u00e9 de Montr\u00e9al<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alex Ferrone is an Assistant Professor of English in the D\u00e9partement de Litt\u00e9ratures et de Langues du Monde at l\u2019Universit\u00e9 de Montr\u00e9al, where he teaches dramatic literature and theatre history. He is the author of Stage Business and the Neoliberal Theatre of London (Springer, 2021).<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"applied-theatre-and-performance-ii\"><\/span><strong> Applied Theatre and Performance II<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(<\/i><i>Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Kathleen Gallagher<\/p>\n<p>Atoyebi Oluwafemi Akinlawon, &#8220;Verbatim Plays for Social Justice: Ojoniyi\u2019s Provocative Plays on Nigerian Stage&#8221;<\/p>\n<p>Emily Clegg, &#8220;Applied theatre: envisioning interconnectedness in the mental health system&#8221;<\/p>\n<p>Yizhou Zhang, &#8220;Alternative to Typecasting and Colorblind Casting: V-Type Casting and the Trouble of Realism&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Kathleen Gallagher<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(<\/em><em>Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Verbatim Plays for Social Justice: Ojoniyi\u2019s Provocative Plays on Nigerian Stage<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>There is a way hegemonies all over the world attempt to control, censor and\/or conceal the truth of their ruthlessness from the public on highly sensitive social injustices especially in the instances of crimes which are known to assault the sensibilities of the public. In fact, in many cases, controlling and concealing such crimes lead to committing further heinous crimes against humanity. Nevertheless, several agencies and individuals are ever committed to the course of challenging, exposing and sensitizing the public by calling for redress and\/or justice in cases of such injustices. In Nigeria, one of such individuals is the playwright Bode Ojoniyi, who is considered to have started the writing, the staging and the promotion of, arguable, provocative plays written in the verbatim theatre tradition. Consequently, with reference to two of his dramatic memoirs (and their performance) written on a case of result racketeering in Osun State University against the backlash being blackmailed and defamed by the hegemony of the university and some agencies of the government to cover the crimes, this paper, using Jean Paul Sartre\u2019s existential consciousness theory, examines his theatrical ordinances and technicalities of verbatim theatre for social justice as the first of their kind on the Nigeria theatre stage. It concludes that the writing and performance of the plays are marked with strong counter intention to confront and check the hegemonies and likewise sensitize the public to stand for the course of social justice.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Atoyebi Oluwafemi Akinlawon, Centre for Performing Arts and Film Studies in Education<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Atoyebi Oluwafemi read English and International Studies at Barchelors degree. He also has a Master Degree in English Literature at University of Ibadan, Nigeria. He currently works as a volunteer research assistant at Centre for Performing Arts and Film Studies in Education, Osogbo Osun State, Nigeria. His areas of research interest are; Performance Studies, Critical Theory, Cultural Studies, Autobiographical And Verbatim Plays&#8230; He is a New scholar Member of IFTR at Its 2023 conference in Accra Ghana. He is at the PhD application filling stage of Concordia University Montreal Canada to start his PhD research in Self Revelatory Performance with specificity in Nigerian theatre.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Applied theatre: envisioning interconnectedness in the mental health system&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Applied theatre is inherently an interconnected practice, accounting for community care, in a way that our contemporary colonial, unilateral mental health system does not. The mental health system as colonial is reflected by its scaffolding; accessibility to insurance (Nunes et.al 101), pharmaceuticals as a business (Cassels and Moynihan), and biomedical psychiatric practices (Aho 243). Individuals are patholaogized and medicated, leaving them dependent on said system, with unsustainable means for healing and coping (Watts et.al 15). Studies urge for new ways to meet students mental health needs, and for a focus to be placed on the pandemic of mental health that has emerged (Cairns et.al 47) (Parrish 185) (Watts 16). Decolonial methodology used in applied theatre practice reflects a certain interconnectedness that the mental health system lacks in that it addresses social issues with a community centred approach- by listening and responding to community needs, with a heart of care (Hobart 16)&nbsp; and transformative justice in mind. Indigenous epistemology theorizes mental wellness within the medicine wheel, as an interconnected, sustainable system of the mind-body, nature, community and spirt, in contrast to that of a disconnected western mental health system (Bhattacharjee et.al 25). The mental health system depends on the mental-ill health of individuals for its survival, making it an unsustainable system (Keyes 95). This paper argues applied theatre methodology, reflected as an interconnected system, is an opportunity to engage in the pertinent topic of mental health and wellbeing, by rehearsing creative resilience, critical hope, and empathetic responsivity (Rhoades 335) (Hepplewhite 45).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emily Clegg, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emily Clegg is a full-time graduate student completing her Master of Arts in Applied Theatre at the University of Victoria. Currently, her research focus on storying experiences of mental health seeks to challenge how the university mental health system could better meet the needs of post-secondary students. Emily completed her Bachelor of Arts in 2020 at Brock University in Dramatic Arts.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Alternative to Typecasting and Colorblind Casting: V-Type Casting and the Trouble of Realism<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this presentation, I attempt to theorize and justify the dramaturgy of casting and performing the racial Other in my play &#8220;TTD&#8221; (Toronto, 2023), an adaptation of the German novel The Tin Drum combined with documentary stories about contemporary China. The production casted Asian (Canadian) actors as white European characters and white (Canadian) actors as Asian characters. I retrospectively call this strategy of casting v-type casting in a conscious attempt to distance from another practice of nontraditional casting\u2014colorblind casting. V stands both for &#8220;versa&#8221; (\u201cto turn around\u201d in Latin) and Brechtian &#8220;v-effekt.&#8221; I contextualize the cast historically in the material conditions of its rehearsals and production in today\u2019s Toronto, and theorize it through Bertolt Brecht\u2019s verfrmdungseffekt. Looking at Brecht\u2019s discussions on the performance of racialized body and his theatricalization of race in &#8220;Round Heads and Pointed Heads&#8221; (1936), I argue for the effectiveness of \u201cmasking\u201d as a method to represent the Other without affirming the logic of mimetic realism, which relies on essentialism and the economy of identification. Bringing these theoretical discussions back to my production, I conclude the presentation with an evaluation of v-type casting\u2019s radicality and limitation in a neoliberal representative democratic society.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yizhou Zhang, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yizhou Zhang is a Ph.D. candidate at the University of Toronto\u2019s Centre for Theatre, Drama, and Performance Studies. She is interested in the aesthetics and politics of embodiment and movement, especially when they intersect with modernism, capitalism, and globalization. As an artist, Yizhou likes to combine puppetry, documentary theatre, and literary adaptations to examine traces of oppression in everyday life. She has presented scholarly and creative works at the International Federation for Theatre Research, the International Brecht Festival, and the Symposium of the International Brecht Society. Her current research project explores forms of theatrical gestures in modernist art.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"digital-performance-%e2%80%9cteaching-and-learning-ai-inasfor-digital-performance%e2%80%9d\"><\/span><strong> Digital Performance: &#8220;Teaching and Learning: AI in\/as\/for Digital Performance&#8221;<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For the third year of our collaborations as the Digital Performance Working Group we will focus our in-person seminar as a teach-in on how to engage AI within the performance studies classroom. This will consist of a teach-in where members of the group will individually present 10-15 min presentations on how they engage AI through teaching exercises, reflections on in-the-class experiences with using AI, and interventions into prevailing debates around the uses and dangers of AI for learning. We will invite the audience to participate in discussion throughout and build together a set of resources for future sharing.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Members of working group 2023-2024 &#8211; Kim McLeod (Assistant Professor, University of Guelph); Shana MacDonald (Associate Professor, University of Waterloo); Michael Wheeler (Assistant Professor, Queen&#8217;s University); Laura Levin (Associate Professor, York University); Peter Kuling (Assistant Professor, University of Guelph); Sebastian Samur (Postdoctoral Fellow, University of Toronto); Catherine Quirk (Lecturer, Edge Hill Univeristy UK); Jayna Mees (PhD Student, York University); Naomi Bennett (Instructor, Louisiana State University); Tara Harris (PhD Candidate, York University); Michael Bergmann (PhD Student; University of Toronto); Mark Lipton (Professor, University of Guelph); Taylor Graham (PhD Candidate; University of Guelph)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"recovering-in-the-land-of-the-spirits-19881992\"><\/span><strong> Recovering In the Land of the Spirits (1988\/1992)<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine <\/i><i>&#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Bridget Cauthery<\/p>\n<p>Panelists:<span class=\"Apple-converted-space\">\u00a0 <\/span>Emma Hassencahl-Perley (New Brunswick School of Craft &amp; Design); Amy Hull (York University); Rena Roussin (University of Toronto)<\/p>\n<p>Amy Hull, &#8220;Murder We Wrote: Deaths and Resurrections of Indigenous Women in Canadian Ballets&#8221;<\/p>\n<p>Rena Roussin, &#8220;A Tale of Two Composers: John Kim Bell, Miklos Massey and the score for In the Land of the Spirits&#8221;<\/p>\n<p>Emma Hassencahl-Perley, &#8220;A Sign of the Times: Maxine Noel and In the Land of the Spirits&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Bridget Cauthery<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine <\/em><em>&#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Panelists:&nbsp; Emma Hassencahl-Perley (New Brunswick School of Craft &amp; Design); Amy Hull (York University); Rena Roussin (University of Toronto)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Described as a \u201cthe first ballet ever conceived and mounted with the express intent of involving as many artists of native descent as possible\u201d (Rowe 1988), In the Land of the Spirits had its premiere at the National Art Centre in Ottawa in 1988. Based on an Ojibway creation myth, the work was conceived and produced by John Kim Bell (Mohawk) and the Canadian Native Arts Foundation. Bell, the first Indigenous artist to become a symphony orchestra conductor, conceived this project as the first step in establishing a professional company of Indigenous ballet dancers devoted to developing and mounting works by Indigenous artists. Yet, despite the well-received premiere in November 1988 and subsequent four-city Canadian tour in 1992, In the Land of the Spirits faded from cultural records and the proposed company did not materialize.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The three papers in this panel in turn address the narrative, set and costume design, and score for In the Land of the Spirits. Collectively they bring together the ballet\u2019s components in an effort to locate, resituate and preserve a neglected piece of the historical record of Indigenous-settler dance performance on Turtle Island. Together, these papers ask who has the authority to inform and sustain cultural memory, and why certain works achieve longevity while others are overlooked. Furthermore, this inquiry acknowledges ballet\u2019s place on the stage of European imperialism while considering how \u201calternative or parallel overviews of ballet revise colonial hierarchies and offer networks of humanity\u201d (Akinleye 2021).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Murder We Wrote: Deaths and Resurrections of Indigenous Women in Canadian Ballets<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Drawing on the lineage of Canadian ballets in the 20th and 21st centuries that feature Indigenous stories, themes, and characters, Amy Hull considers In the Land of the Spirit\u2019s libretto in light of the necropolitics of fictionalized Indigenous death \u2013 particularly of Indigenous women. The creators of Indigenous or Indigenous-themed ballets consistently center on Indigenous female characters created by Indigenous or White men. Why do these ballet artists feel the need to \u2018speak\u2019 through ventriloquized women? And how might a ballet that is Indigenous-led reinforce certain tropes while resisting others? Hull will also consider the ways in which the libretto changed from the original script through two subsequent iterations.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amy Hull, York University <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amy Hull is a Mi\u2019kmaw and Inuk PhD student in Communication and Culture, a joint program between York University and Toronto Metropolitan University. Her research uses non-Indigenous-led artistic representations of Indigenous death as an entrypoint into questions of Canadian identity formation, and the necropolitical relationship between Indigenous peoples and the Canadian state. Her background is in Dance Studies, having received her MA Dance and BFA Hons. Dance, Performance and Choreography, from York University. She is a member of the Golden Key International Honors Society, and a recipient of the Susan Crocker and John Hunkin Award in the Fine Arts, as well as the Dr. Allen T. Lambert Scholars Award.&nbsp; Hull has held multiple positions including Guest Editor of The Dance Current magazine and Research Associate at the Laboratory for Artistic Intelligence, and has worked with dance and circus companies in Canada and abroad, including Balancing on the Edge and AVA Dance company. Amy is also a death doula, having graduated from both Alua Arthur\u2019s Going with Grace End of Life Training Program, and the Institute of Traditional Medicine\u2019s Contemplative End of Life Care program.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>A Tale of Two Composers: John Kim Bell, Miklos Massey and the score for In the Land of the Spirits<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rena Roussin will present an historically empathetic understanding of John Kim Bell and Miklos Massey\u2019s score for In the Land of the Spirits and how the music responds to contemporary cultural policies. Though it may not have \u201caged well,\u201d Roussin considers how the score was received by the public and how it interacts with broader Indigenous musical cultures of the time. Roussin will also discuss the relationship between the ballet\u2019s text and music, how the music responds to and interpolates the narrative, and how the music influences the movement of the piece. Given questions regarding the provenance of the score, such questions will address the difficulties inherent in co-composition between settler and Indigenous artists.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rena Roussin, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rena Roussin is a doctoral candidate in Musicology at the University of Toronto. Her dissertation &#8220;Positioning Art Music(ology): Histories, Institutions, Narratives&#8221; draws on concepts of disability history and justice, anti-coloniality, and EDI models to examine the genre and academic discipline\u2019s historic and contemporary relationships to social justice and activism. Rena\u2019s publications appear in Intersections, Musicological Explorations, and the Bloomsbury Handbook of Music and Art. In addition to her academic work, Rena is committed to public musicology and applied work in arts-based activism. To that end, she serves as musicologist-in-residence for the Toronto Mendelssohn Choir, is a member of the Canadian Opera Company\u2019s Indigenous Circle of Artists advisory board, and recently curated an Indigenous-led concert series for Soundstreams Toronto.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>A Sign of the Times: Maxine Noel and In the Land of the Spirits<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Mary Kerr and Maxine Noel\u2019s set and costume designs for In the Land of the Spirits emerged towards the end of the Indian Women\u2019s Movement of the 1980s and on the cusp the Indigenous Cultural Renaissance of the 1990s. Emma Hassencahl-Perley situates In the Land of the Spirits in the sociopolitical climate of the times, and asks how the 1988 ballet sets the tone for what came after. In addition to creating and expanding on a visual archive for In the Land of the Spirits and for co-designer Noel (Sioux) herself, Hassencahl-Perley contextualizes the ballet\u2019s design in terms of both pan-Indianism and a critique of the American Indian movement. Thinking in particular of Noel, Hassencahl-Perley is curious about why Indigenous women artists are so frequently sidelined in creative histories, and how In the Land of the Spirits is a forgotten hallmark of Indigenous artistic production.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emma Hassencahl-Perley, Beaverbrook Art Gallery\/New Brunswick College of Craft and Design <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emma Hassencahl-Perley is Wolastoqiyik from Neqotkuk (Tobique First Nation), New Brunswick. She is a visual artist whose mediums include beadwork, murals, and digital illustration. Through material and visual culture, Emma considers her identity as an ehpit (woman) and Wolastoqwiw citizen of the Wabanaki (People of the Dawn) Confederacy. Each area of the artist&#8217;s work takes inspiration from the Wabanaki double-curve motif, a mirrored, double-c, curvilinear form often found beaded onto 19th-century textiles or etched into birchbark art objects. Her art seeks to build upon an archive of visual storytelling from her nation through water, Wabanaki feminisms, and the double-curve, symbolizing relationships, community, and non-human beings.Emma holds a Bachelor of Fine Art from Mount Allison University (&#8217;17) and a Master of Art in Art History (&#8217;22) from Concordia University. Emma is the adjunct Curator of Indigenous Art at the Beaverbrook Art Gallery in Fredericton and an instructor in the Wabanaki Visual Art Program at the New Brunswick College of Craft and Design. Emma&#8217;s research interests lie within Indigenous Art History, Indigenous Feminisms, Craft and Textile History, Wabanaki Iconography, Oral History, and Decolonial Theory.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"history-and-archive-i\"><\/span><strong> History and Archive I<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Sasha Kovacs<\/p>\n<p>Kirsten Leahey, &#8220;WP New Play Development: Embracing Counternarratives&#8221;<\/p>\n<p>Craig Walker, &#8220;The Most Consequential Scandal in Theatre History&#8221;<\/p>\n<p>Robin Whittaker and Kailin Wright, &#8220;Online ACTS of Justice: Reimagining Atlantic Theatre Digital Collections&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Sasha Kovacs<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>WP New Play Development: Embracing Counternarratives&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Founded in 1978 by Julia Miles, who recognized the urgent need for women artists to have a space of their own, the WP is the United States\u2019 oldest and largest theatre company dedicated to developing, producing, and promoting the work of women+ at every stage of their careers. It\u2019s mission is to pursue gender parity and to empower women artists, administrators, and audiences. In preparation for a book, A History of The WP Theater, this conference paper represents material from my project\u2019s second chapter, \u201cWP New Play Development: Embracing Counternarratives,\u201d which addresses the significant, feminist new play development practices of the organization. In The Feminist Spectator as Critic (1988), Jill Dolan argues that the feminist critic can be viewed as a \u201cresistant reader,\u201d who resists \u201cmanipulation.\u201d A mode of resistant reading is one that serves as \u201cpolitical intervention in an effort toward cultural change\u201d (2). WP\u2019s writers, I assert are &#8220;resistant artists,&#8221; who create and produce work that embrace counternarratives and strive for progressive change. My analysis will headline the inception of WP\u2019s new play development, with works that were collaboratively devised, such as A\u2026My Name is Alice (1983) by Joan Micklin Silver &amp; Julianne Boyd, early experimental endeavors, such as Abigdon Square (1987) by Mar\u00eda Irene Forn\u00e9s, to more contemporary, socio-political projects, such as Ironbound (2016) by Martyna Majok. Through the monograph and this paper, I will demonstrate how, by creating a platform for women+ artists, the WP has progressed and sustained its productions to intervene in and redress the gender inequalities of US theatre.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kirsten Leahey, Boston University.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Leahey is an Assistant Professor at Boston University. Her publications include articles in Theatre Topics, Theatre History Journal, Theatre Journal, Journal of American Drama and Theatre, and New England Theatre Journal, as well as essays in the anthologies Teaching Performance Practices, Routledge Companion to Latinx Theatre, and the Routledge Companion to Dramaturgy Anthology. She is a recipient of a Fulbright, collaborating with the Ireland\u2019s Abbey Theatre.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The Most Consequential Scandal in Theatre History&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In 1961, a play by the historian Wu Han, about an episode in the life of the sixteenth century Ming Dynasty official Hai Rui, was produced in Beijing. The play was adjudged by some to be a thinly disguised attack on Chairman Mao Zedong. The furor ignited by those rumours led not only to the closure of the production and the punishment of the author and leading actor, but to a full decade of terror causing the deaths of an estimated 20 million people and the ruination of many millions of other lives, events from which China has yet to recover. That, at least, has been the most widely accepted account of the matter in both China and the West for over fifty years. It is rightly regarded as the most infamous episode in theatre history, and is plainly not redeemed by the way it also led to the creation of a new theatrical genre. But is it possible that the accusations against Wu Han\u2019s play had been entirely concocted for malicious reasons? An apt story for our own age of conspiracy theories and mob retribution.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Craig Walker, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Craig Walker is a CATR Board Member, Professor at Queen\u2019s University and Fellow of the Royal Society of Canada. His publications include The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition, The Broadview Anthology of Drama and the Broadview King Lear. He works in Canadian theatre as a director, playwright and actor.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Online ACTS of Justice: Reimagining Atlantic Theatre Digital Collections<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>How can digital archives and tools help decolonize Canadian theatre history? How might their materials and the early archival efforts that gathered them be valued without, as Roopika Risam warns, reinscribing colonial dynamics (Risam 2018)? And when these archives are held online, how do we transform their relationship to users in sustainable, flexible ways that reflect, as CATR 2024 prompts, justice as an \u201caspirational value for an equitable system and society\u201d?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>ACTS (Atlantic Canadian Theatre Site) was developed in the 1990s and early 2000s by professors Ed Mullaly (UNB) and Patrick O\u2019Neill (MSVU) before it went offline when its host, UNB\u2019s Electronic Text Centre, reformed into the present-day Centre for Digital Scholarship. Though its early HTML coding has since been deemed a security risk, ACTS was ahead of its time in making available tens of thousands of listings, entries, articles, and plays from North America\u2019s eastern seaboard and beyond, from the 1700s to the early 2000s, by way of selected \u201ctags\u201d and internal search engines. Mullaly and O\u2019Neill\u2019s early experiments in digital collections yield extensive performance calendars, playbills, theatre chronologies, a Canadian drama bibliography, and (curated by Anton Wagner) the collected fictional and critical works (many unpublished) of Herman Voaden and Patricia Joudry. Today, UNB has made ACTS available to a handful of scholars (including the two of us) with the aim of reforming its material for public availability within decolonial and intersectional contexts.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Robin C. Whittaker, St. Thomas University <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Robin C. Whittaker is an associate professor at St. Thomas University in Fredericton where he teaches dramatic literature. His current research focuses on nonprofessionalizing theatre practices, with articles in journals that include TRIC and CTR. He is editor of the play anthology Hot Thespian Action! Ten Premiere Plays from Walterdale Playhouse (AUP 2008), co-creator No White Picket Fence: A Verbatim Play about Young Women\u2019s Resilience through Foster Care (Talonbooks 2019), and author of the forthcoming monograph Alumnae Theatre Company: Nonprofessionalizing Theatre in Canada (UTP 2024). He currently serves as President of CATR.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kailin Wright, St. Francis Xavier University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kailin Wright is an Associate Professor, Jules L\u00e9ger Research Chair, and award-winning teacher at St. Francis Xavier University. She is the author of Political Adaptation in Canadian Theatre (McGill-Queen\u2019s Press, 2020) as well as the critical edition of Carroll Aikins\u2019s The God of Gods: A Canadian Play and articles in Theatre Journal, Canadian Literature, Theatre Research in Canada, Canadian Theatre Review, and Studies in Canadian Literature. Kailin is also Associate Editor of Canadian Theatre Review and Fiction Editor at The Antigonish Review.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"dramaturgymethod\"><\/span><strong> Dramaturgy\/Method<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Taiwo Afolabi<\/p>\n<p>Yasmine Agocs, &#8220;Building Bridges: Mestiza Methodologies in Latina Canadian Theatre&#8221;<\/p>\n<p>Amin Azimi, &#8220;Redistributing the Sensible through Performance Art: A Ranci\u00e8rian Approach to Social Justice&#8221;<\/p>\n<p>Thea Fitz-James, &#8220;Fringe as Performance Methodology&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Taiwo Afolabi<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Building Bridges: Mestiza Methodologies in Latina Canadian Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper presentation utilizes mixed methodologies to deconstruct how the Latina identity is conveyed in Canadian theatre. Latina identities in Canadian theatre and media are often under\/misrepresented, leaving the Latina body and identity off-stage and hidden in the wings. Though Latina artists like Carmen Aguirre, Beatriz Pizano and Lina de Guevara are prime examples of bridging their Latina identities in Canadian contexts, there is still far more to showcase and more to deconstruct. Thus, Gloria Anzaldua\u2019s Borderlands\/Las Fronteras and Amanda Cordova\u2019s \u201cMestiza Methodology\u201d serve as inspired practice for this presentation in hopes of engaging in decolonized forms of dialogue around this topic through a mixed Latina and Indigenous lens. I hope to engage in the discourse of Latina bodies represented on Canadian stages using Mestiza methodologies to de\/reconstruct the bridges made between Latin\/South American and Canadian Theatre.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yasmine Agocs, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yasmine Agocs is a first-year PhD student at the University of Toronto\u2019s Centre for Drama, Theatre and Performance Studies. She earned her MA in Theatre Studies at the University of Guelph and her BA in Dramatic Arts at Brock University. In her MA, she conducted creative research on the relationship between scriptwriting, memory, and identity. Her current research interests lie in Latinx Theatre in Canada, collective memory in the community, and Latina representation on stage.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Redistributing the Sensible through Performance Art: A Ranci\u00e8rian Approach to Social Justice<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jacques Ranci\u00e8re, a French philosopher and aesthetician, does not explicitly discuss the concept of justice in his writings. However, his interpretation of politics as the redistribution of the sensible offers a practical framework for understanding the role of performance art in promoting social justice. Due to its aesthetic nature, this research explores how performance art can serve as a form of dissensus against the established order. It gives visibility and voice to silenced and marginalized groups, ultimately leading to justice.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>By challenging dominant discourses and amplifying marginalized voices, performance art can pave the way for impeaching the holders of power and staging justice. The &#8220;woman_life_freedom&#8221; movement in Iran exemplifies this concept, where performance art has transformed public spaces into a dynamic stage for protest and resistance, challenging state control and subverting the regime&#8217;s iconography with symbols of female empowerment.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The movement&#8217;s artistic expressions, encompassing songs, installations, poems, and performances, have amplified the voices of Iranian women, articulating their demands for equality and bodily autonomy. These artistic interventions have resonated globally, giving the movement a powerful voice and fostering a sense of collective agency among Iranian women and their supporters in staging justice.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Performance art&#8217;s ability to challenge the established order lies in its capacity to redistribute the sensible, disrupting audiences&#8217; expectations and forcing them to reconsider their assumptions about art and the world. It is accomplished through unconventional forms of expression, such as non-traditional materials and techniques. Sharing art in public spaces has empowered individuals to challenge authorities and subvert traditional artistic norms.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In conclusion, performance art, guided by Ranci\u00e8re&#8217;s concept of redistributing the sensible, can play a transformative role in pursuing social justice. By challenging the status quo, amplifying marginalized voices, and fostering collective agency, performance art can contribute to a more equitable and just society.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amin Azimi, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amin Azimi is a Ph.D. student at CDTPS, University of Toronto. His fields of interest include Dramaturgy in the twenty-first century, Aesthetics and Dramaturgical aspects of Post-Dramatic Theatre, and The policies of production and representation of Iranian social movements on international theatre stages. In addition to publishing academic articles in international journals such as Asian Theatre Journal, Alternatives Th\u00e9\u00e2trales, and Theater der Zeit, he has directed and created several short films.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Fringe as Performance Methodology<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper explores the model of the Canadian Associations of Fringe Festival (CAFF) and fringe as a performance style. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>CAFF Fringes operate on a unique curation model where all festival participants are chosen via lottery. While no two fringe shows are alike, this open-access platform attracts a certain style of performance. In his book, Fringe and Fortune, Wesley Shrum describes the performance style of the fringe as a \u201cpostmodern phantasm\u201d: \u201cFringe has never meant outcast or pariah. As a modifier it&#8217;s wonderfully evocative, connoting creativity, scruffiness, oddity, scandal, frivolity, youthfulness, frothiness, and frippery&#8230; But it is also a frontier, a limit, a periphery&#8221; (64-65).&nbsp; Looking at the model of fringe as postmodern phantasm and reading it alongside recognized postmodern art movements (Fluxus, Abstract Expressionism, Pop Art), this paper positions fringe as a performance strategy and methodology. Here, opening night is not the end of the performance process, but the beginning; fringe is an art style that sees theatre as a material medium developed through performance. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&nbsp;Drawing on my experience teaching a fringe class this fall, I come to this topic as both a fringe artist and someone who is interested in the creation method of artists on the fringe (and how that method might be implemented in pedagogy). Curious to decouple fringe from words like \u201cpopular\u201d, \u201cnon-professionalizing,\u201d or even \u201camateur\u201d this paper makes an argument for fringe as a postmodern performance methodology that can be implemented in pedagogy and community relationality.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Shrum, Wesley. Fringe and fortune: The role of critics in high and popular art. Princeton University Press, 1996.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Thea Fitz-James, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Thea Fitz-James (she\/her) is a theatre academic and practitioner. She holds a PhD in Performance Studies from York University and is an adjunct assistant professor at Queen\u2019s University. She\u2019s developed two solo shows which have toured the Fringe circuit internationally. She is a white, queer, \u2018Mad\u2019, cis-gendered settler. For more: https:\/\/www.theafitzjames.com\/&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"social-justice-and-performance-i\"><\/span><strong> Social Justice and Performance I<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Fraser Stevens<\/p>\n<p>Larry Ng, &#8220;Being Underground in Public as Silent Resistance and Critique: Using &#8220;invisible site-specific immersive theatre&#8221; to reclaim space and unseal buried\/forgotten histories of place&#8221;<\/p>\n<p>Adenekan Lanre Qasim, &#8220;Performing Social Justice on the Nigerian Stage: A Post-dramatic Theatre Approach&#8221;<\/p>\n<p>Rebecca Struch, &#8220;Spacemaking\/Spacetaking: Staging Colonial Alchemy in Site-Specific Performance&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Fraser Stevens<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Being Underground in Public as Silent Resistance and Critique: Using &#8220;invisible site-specific immersive theatre&#8221; to reclaim space and unseal buried\/forgotten histories of place<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In a highly financialized capitalist city like Hong Kong, \u201cpublic\u201d spaces are largely privatized by developers\/owners of shopping malls and estates. The city is built commercially according to designs that keep people moving in public areas unless they stop as a customer.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In such a city, theoretically, site-specific art-based practices in public areas can function as affective-social interventions for criticizing the neoliberal space-politics, re-imagining city design towards spatial justice, and remembering voices\/stories\/life-style erased by the capitalist monologue of progressive myth. However, practically, the privatization of public space make such interventions impossible, because performance\/art activity in those \u201copen\/public areas\u201d requires application for permission, which \u201cspace-owners\u201d mostly reject with excuses like \u201cdisturbing the public\/retail business\u201d.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Accordingly, the author devised site-specific immersive theatre projects in different public sites, without applying for permission but performed \u201cinvisibly\u201d\u2014only visible to audiences with audio-tour system telling them not only the stories of the place but also where the actors\/characters were among pedestrians and which actors\/characters to follow for traveling through the site.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper reflects upon two of them, one happened in a shopping mall, exploring capitalistic work ethics, consumerism and space-politics, while the other in a touristic site with a history of fisherman community eliminated during urban development, analyzing both the performance and methodology of the creative process that required an investigation into the concrete power operation of governance and commodification, and showing how symbolic imageries and fictional stories were used to re-open spectators\u2019 spatial sense colonized by the capitalist monologue, somatically, affectively and conceptually.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Larry Ng, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Larry Ng is a registered drama therapist and an artist, trained in physical theatre and mime. He practices also different applied theatres. He has a MPhil in Philosophy, a Master in Drama Education, and is currently a MA student in Drama, Theatre and Performance Studies in the University of Toronto.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing Social Justice on the Nigerian Stage: A Post-dramatic Theatre Approach<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper explains how I adapted Hans-Thies Lehmann\u2019s notion of Post-dramatic theatre to \u2018retell\u2019 Ola Rotimi\u2019s play, Hopes of the Living Dead. Hans-Thies Lehmann, a German philosopher and dramatist de-emphasizes the centrality of \u201cdrama\u201d (script) in rendering the message of a performance, thus equating its significance to other media in a performance. It is, therefore, on this premise, I reassessed my vision of staging Ola Rotimi\u2019s Hopes of the Living Dead not just as a performance on social justice, but also a forum for socio-political activism. Consequently, this paper intends to provide answers to the research questions which are: how did the performance resonate with social justice? How did the staging of Hopes of the Living Dead make it a performance of socio-political activism? How did the use of Hans-Thies Lehmann Post-dramatic theatre implicate the directorial vision, approach and techniques of staging the performance as a space for initiating social change?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Adenekan Lanre Qasim, Bayero University, Kano<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Adenekan Lanre Qasim is a Scholar-Artist and a lecturer at the Department of Theatre and Performing Arts department, Faculty of Communication, Bayero University Kano, and an associate researcher with Theatre Emissary. He is passionate about using drama\/ theatre for social engineering and advocacy.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Spacemaking\/Spacetaking: Staging Colonial Alchemy in Site-Specific Performance<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The idea that space is socially produced, rather than naturally occurring, anchors the \u201cspatial turn\u201d and continues to serve as an animating logic for site-specific performances that attempt to stage justice. Western chronologies typically begin with Henri Lefebvre\u2019s work to make this argument. However, by prioritizing processes of social production, processes of social destruction (like processes of colonization) remain under-acknowledged. In response, this paper moves away from white, Western spatial theories focused on spacemaking in order to probe the stakes of, and alternatives to, spacetaking.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>To do so, I turn to The Industry\u2019s site-specific opera about U.S. colonization, Sweet Land, staged in 2020 in the Los Angeles State Historic Park. The performance stages ongoing histories of colonial spacetaking by remapping the park site as an accumulation of specificities \u2013 of conflicting land claims, histories, bodies, and memories. The opera toggles between fever dreams and waking nightmares to untangle and interrogate the ongoing project of settler colonialism in the U.S. Through interdisciplinary engagement with theories of (dis)possession and (de)colonial haunting from critical Indigenous studies, I revise and complicate the spectral grammars commonly used within site-specific performance praxis \u2013 \u201chost\u201d and \u201cghost\u201d. My revision highlights that, very materially, the sites that anchor site-specific performance in the U.S. are, among many other things, sites of dispossession.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper is drawn from a larger project that moves from a universal understanding of space as an essential element of all performance practice to a situated understanding of space as workable terrain for more just futures.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rebecca Struch, University of California &#8211; Berkeley<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rebecca Struch centers social justice and community engagement as an artist, scholar, educator, and cultural organizer. Her current research reorients theories and practices of site-specific performance around racial geographies, making antiracist and decolonial politics central to its questions of space and place. She is a PhD Candidate in Performance Studies at the University of California, Berkeley.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"digital-performance-%e2%80%9cteaching-and-learning-ai-inasfor-digital-performance%e2%80%9d-2\"><\/span><strong> Digital Performance: &#8220;Teaching and Learning: AI in\/as\/for Digital Performance&#8221;<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For the third year of our collaborations as the Digital Performance Working Group we will focus our in-person seminar as a teach-in on how to engage AI within the performance studies classroom. This will consist of a teach-in where members of the group will individually present 10-15 min presentations on how they engage AI through teaching exercises, reflections on in-the-class experiences with using AI, and interventions into prevailing debates around the uses and dangers of AI for learning. We will invite the audience to participate in discussion throughout and build together a set of resources for future sharing.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Members of working group 2023-2024 &#8211; Kim McLeod (Assistant Professor, University of Guelph); Shana MacDonald (Associate Professor, University of Waterloo); Michael Wheeler (Assistant Professor, Queen&#8217;s University); Laura Levin (Associate Professor, York University); Peter Kuling (Assistant Professor, University of Guelph); Sebastian Samur (Postdoctoral Fellow, University of Toronto); Catherine Quirk (Lecturer, Edge Hill Univeristy UK); Jayna Mees (PhD Student, York University); Naomi Bennett (Instructor, Louisiana State University); Tara Harris (PhD Candidate, York University); Michael Bergmann (PhD Student; University of Toronto); Mark Lipton (Professor, University of Guelph); Taylor Graham (PhD Candidate; University of Guelph)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june19\"><span class=\"ez-toc-section\" id=\"mercredi-19-juin\"><\/span>Mercredi 19 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"leading-with-performance-interdisciplinary-arts-led-innovations-inside-the-neoliberal-university%e2%80%9d\"><\/span><strong> Leading With Performance: Interdisciplinary Arts-Led Innovations Inside the Neoliberal University\u201d<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p><span class=\"Apple-converted-space\">In-Person Session<\/span><\/p>\n<p>Organizers: Kim Solga, Amala Poli, and Masha Kouznetsova<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Organizers: Kim Solga, Amala Poli, and Masha Kouznetsova<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em>&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Scholars of theatre and performance studies know that performance is a \u201cmobile critical paradigm,\u201d as Kathleen Gallagher and Barry Freeman provocatively write in the introduction to In Defense of Theatre (2015). Our deep familiarity with performance\u2019s power as a cross-disciplinary learning modality, however, means we can easily forget that this isn\u2019t common knowledge. We know that working through performance can lead to everything from technical innovation and social change to increased individual and community wellbeing; the leaders of our major institutions \u2013 including our universities \u2013 often have no clue.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Over the last three years we have been engaged in a campus-based teaching research project that begins from the premise that performing arts-led, interdisciplinary teaching can have profound real-world benefits for undergraduate students from a wide range of fields. Our project ran a pilot class with 18 students from 7 of Western\u2019s 13 faculties in 2022-23, and our data from their experience underscores how utterly transformative the class was for all of them \u2013 especially those from STEM backgrounds.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We\u2019re thrilled at what we\u2019ve achieved so far, but we also know we aren\u2019t alone: many of us are working to integrate performance into broader curricular change across the country. In this roundtable, we will gather a mix of those voices to hear what you are doing, how you are doing it, and (especially) how you are communicating performance\u2019s powers to innovate across fields and to support students, faculty, staff, and community wellbeing to those who need most to hear about it.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kim Solga is Professor of Theatre Studies at Western University. From 2021-24 she held the Arts and Humanities Teaching Fellowship in Western\u2019s Centre for Teaching and Learning. From 2021-23, she held one of four Experiential Learning Innovation Scholarships at Western, which sponsored the research that frames this roundtable.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amala Poli Amala Poli is a PhD candidate in English at Western University and the author of Writing the Self in Illness (2019). She is a health humanities scholar, whose doctoral research examines the relevance of sleep paralysis narratives in the contemporary sleep crisis. Her other areas of interest include how creativity and community-engaged learning can foster wellbeing at universities.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Masha Kouznetsova is PhD Candidate in Art and Visual Culture at Western University. She received her MFA in Visual Arts in 2023 at Western University and her BFA in Studio Art in 2012 at Georgia State University. From 2012-2021, she lived in San Francisco, CA where she taught art in a private high school, worked as a museum educator, and practiced visual art.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"justice-policing-and-theatre-on-the-prairies\"><\/span><strong> Justice, Policing, and Theatre on the Prairies<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(<\/i><i>Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Taiwo Afolabi<\/p>\n<p>Panelists: Gbenga Adedeji, Taiwo Afolabi, Aziz Douai, Gabriel Friday, Victory Uchenna<\/p>\n<p><b>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/b><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Taiwo Afolabi<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(<\/em><em>Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Canada Research Chair in Socially Engaged Theatre and the Centre for Socially Engaged Theatre, C-SET<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This Roundtable presents research at the intersection of policing and performance. Developed within the Canada Research Chair in Socially Engaged Theatre research foci, each project presented investigates critical issues around policing in Canada and Nigeria. Projects&nbsp;evaluate the theoretical and methodological perspectives employed within the interdisciplinary field of race, media and the justice system. Through the use of creative practices and empirical inquiry, research documents and analyzes experiences of policing in Soro Soke, Nigeria&#8217;s renowned protest against police brutality, Black adolescents&#8217; perception of policing in Saskatchewan, and issues around police reform.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Bios:&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Aziz Douai<strong>&nbsp;<\/strong>is the Dean of the Faculty of Graduate Studies and Research at the University of Regina. Dr. Douai holds a PhD in Mass Communications from Pennsylvania State University, a Master of Science in Advertising from Boston University, and has lectured on global communication issues in North America, Europe, and the Middle East. Dr. Douai is a Founding Member of the Center on Hate, Bias and Extremism, a Senior Research Affiliate at the Canadian Research Network for Terrorism, Security &amp; Society, and a member of the Digital Life Institute.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Gabriel Friday&nbsp;is a research team member at the Centre for Socially Engaged Theatre. He is currently undertaking his master&#8217;s degree in Interdisciplinary Program in Media and Artistic Research at the University of Regina. His research focuses on artivism and policing in Nigeria and Canada.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Victory Uchenna&nbsp;is a master&#8217;s student in the Interdisciplinary Program in Media and Artistic Research at the University of Regina and a member of the research cluster at the Centre for Socially Engaged Theatre. Her research investigates Black adolescents&#8217; perception of police in Saskatchewan.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Gbenga Adedeji<strong>&nbsp;<\/strong>is a journalist and a graduate student pursuing a Master of Arts at the University of Regina. His research analyzes the impact of media coverage on police reforms in Nigeria.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Taiwo Afolabi&nbsp;holds the Canada Research Chair in Socially Engaged Theatre, is the Director of the Centre for Socially Engaged Theatre (C-SET), and is an Associate Professor in the Department of Theatre, Faculty of Media, Art, and Performance at the University of Regina. His research is at the intersection of performance and human ecology. His CRC program investigates issues of policing, art and well-being, immigration and the creative sector, among others.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"social-justice-and-performance-ii\"><\/span><strong> Social Justice and Performance II<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by Department of Theatre and Film &#8211; University of Winnipeg<\/strong><\/p>\n<p>Moderator: Ian Garrett<\/p>\n<p>Tyler Graham, &#8220;Shifts in Agency: The Performative Dynamics of Body-Technology Relations&#8221;<\/p>\n<p>Hope McIntyre &amp; Carolin Schroeder, &#8220;Redressing Inequities: Who Is Responsible?&#8221;<\/p>\n<p>Ihouma Okorie, &#8220;Performing Cultural and Religious Justice through the Transformational Directorial Approach: Juxtaposing the Playtext and the Performance of &#8220;Attahiru&#8221; &#8220;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Ian Garrett<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by Department of Theatre and Film &#8211; University of Winnipeg<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Shifts in Agency: The Performative Dynamics of Body-Technology Relations<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Observing the proliferation of agentic technology in the theatre, in 2015, Jennifer Parker-Starbuck noted that \u201call technology is now always-already subject\u201d (67). In this paper, I begin by building on Parker-Starbuck\u2019s taxonomy of cyborg theatre, to note that in the post-pandemic context, the body is now always-already abject. That is to say, the body is now, by default, a virtual, unstable, or even absent body\u2014something between object and subject. Using Parker-Starbuck\u2019s vocabulary, I combine insights from Martina Leeker and Maurya Wickstrom to develop a theoretical framework that highlights the moment-to-moment interplay between bodies and technologies on stage. Agency of different types is assigned by and between human bodies and technologies, through linguistic and technological performatives, on a moment-to-moment basis, and these shifts are enmeshed in the process of commodification.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tyler Graham, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tyler Graham is a Ph. D. student and theatre artist at York University whose work occurs at the intersection of dialectical theatre and intermedial performance. Much of his artistic work has revolved around online &#8220;cyber theatre&#8221; and virtual reality performance. He presented at VRTO with VR performance artist Ari Tarr.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Redressing Inequities: Who Is Responsible?<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Over the last year and a half, we have created an open-source textbook entitled &#8220;The Business of Theatre: Pathways to a Career in Theatre&#8221;. It includes interviews with theatre professionals, article contributions, and an extensive list of resources. In the final stages of editing, recent theatre graduates, who could best speak to the books efficacy for theatre students, reviewed and provided feedback.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The response was surprising and in some cases it was a deeply emotional. Many speaking about the weight on their shoulders to fix the unjust theatre industry. Much discussion had occurred during the preparation of the book around preparing students for the current industry, as well as the changing industry, and the wished for equitable and just future industry. Developing critical thought in students so that they can assess for themselves what is or is not working, question the status quo, and be change-makers seemed like the solution.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper will present information on the final book creation, which includes various perspectives around justice and how the theatre milieu is continuing to engage in injustice. In addition, we will explore the response to the question of shared responsibility for redressing inequities. How do we respond to recent shifts and overdue calls for change while working in solidarity across generations? In particular, how do we manage the mess emerging practitioners feel they now have to fix. How can the change work done to date be recognized by the next generation and built upon? How does this change what and how we teach?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Hope McIntyre &amp; Carolin Schroeder, University of Winnipeg<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Hope McIntyre is an award winning playwright\/director and Associate Professor at the University of Winnipeg. She has a BFA in performance and an MFA in directing. After completing an apprenticeship in England, she worked for a commercial producer and managed an arts school in Toronto. She was Artistic Director of Sarasv\u00e0ti Productions for 22 years.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carolin Schroeder is an emerging Stage Manager and Theatre Maker. Born and raised in Germany, Carolin has been calling Canada home since 2017. After gaining work experience as arts administrator and production coordinator, she enrolled at the University of Winnipeg. Carolin is currently completing a BA Honours degree in Production &amp; Stage Management.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing Cultural and Religious Justice through the Transformational Directorial Approach: Juxtaposing the Playtext and the Performance of &#8220;Attahiru&#8221;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This study examines the way justice is performed on stage using the Transformational Directorial Approach. Attahiru is a historical play which recounts the story of Attahiru, the then Caliph of the Sokoto caliphate; it tells the story of his rejection of the Whiteman\u2019s culture and how he was eventually killed. In theatre scholarship, studies have been conducted which have given birth to the many approaches to directing&nbsp; in the Nigerian theatre. However, most of these studies focus on film directors; as such, little attention is paid to the role of student directors and the influence of the environment in their directorial approach. This study examines the influence of place and environment in performing cultural and religious justice using the transformational directorial approach. It aims to explore the performance of Ahmed Yerima\u2019s Attahiru (2023) in order to draw a comparison between the text and the performance in relation to the explication of cultural and religious justice. To achieve this aim, textual analysis is used by combining its important approaches: author-oriented approach and performance-oriented approach. The Post-dramatic theatre will be used to investigate the post-colonial resistance captured in the play, focusing on how the image of cultural and religious justice is constructed and reconstructed through performance.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ihouma Okorie, Bayero University Kano<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ihuoma Okorie is a lecturer in the Department of Theatre and Performing Arts, Bayero University, Kano, Nigeria. Ihuoma has a bachelor\u2019s and master\u2019s degree in Theatre and Performing Arts. As a major in textual and performance analysis, she has published works in reputable journals and has attended several conferences which speaks to this area of interest.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"puppetry-juggling-and-the-performance-commons-approaches-to-climate-justice-inthrough-performance\"><\/span><strong> Puppetry, Juggling, and the Performance Commons: Approaches to Climate Justice in\/through Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of English Language and Literature &#8211; Carleton University<\/strong><\/p>\n<p>Curator: Denise Rogers Valenzuela<\/p>\n<p>Panelists: Denise Rogers Valenzuela, \u00a0Morgan Anderson,\u00a0David Fancy<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Denise Rogers Valenzuela<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of English Language and Literature &#8211; Carleton University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Mastery is understood, at the intersection of decolonial and critical posthumanist new materialist discourses, to be integral to a dynamic that would carve identitarian boundaries between things, so that \u201cwhat is on one side of a border [is subordinated] to the power of what is on the other&#8221; (Singh, Unthinking Mastery 13). In this panel, we acknowledge that the Anthropocene\u2014a moniker offered for the current geological age in which human actions are understood to be chiefly responsible for the planet\u2019s changing climate\u2014was consolidated in the Industrial Revolution via boundary carvings that emphasise human mastery: society\/nature, active\/passive, human\/object, mind\/body, thinking\/doing. Such dispositions, ultimately and fundamentally speciesist in nature, set the stage for supremacist power relations that fuel a colonial, racist, sexist, ableist, and extractive capitalist status quo. To complicate such reductively binarizing and hierarchical oppositions in Western thought, the presenters on this panel seek to collapse traditional academic distinctions between theory and practice to offer a set of praxical offerings in which each presenter\u2019s arguments are developed in mutually constitutive, participatory, and material-discursive ways. We ask: How can specific performance practices, such as juggling, puppetry, or acting, enact increasingly ethical engagements with the other-than-human? How can a performance form\u2019s unique ontological dynamics inform mutually sustainable relationships with the other-than-human in the world at large? And how might we reimagine these performance practices, as Fancy does in this panel, as having an affirmative capacity for agency that is unique to, and distributed across, what can be described as the \u2018performance commons\u2019?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>To engage these questions, each of the presenters on this panel imagines justice to be constituted in part as an epiphenomenal result of critical posthumanist creative and artistic processes. Such processes explore and invite the expression of potentialities in performance, as well as in relations with audiences and communities, and as such can express, in neo-Spinozan terms, a transversal ethics of mutual emergence and care.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u2018Juggling Notation as a Temporal Framework for Grappling with the Climate Crisis&#8217;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Juggling is conventionally described as throwing and catching more objects than you (a human) have hands. Due to this conventional description, juggling has historically been understood in terms of human mastery over the natural world. Inclusive social circus educator Craig Quat, though, argues that juggling shouldn\u2019t be defined by its inaccessible physical expression. Conventional juggling practice is only possible because of \u201cthe relationships [juggling] allows us to form with\u2026 time\u201d (Functional Juggling 17). In this paper I investigate how, in juggling, temporality acts as a mediator between juggler and prop, which are categories assigned to ontologically indeterminate beings through the phenomena of juggling as an intra-action (Barad, \u201cPosthumanist Performativity\u201d).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Juggling notation, called siteswap, does not make assumptions about the ontology of juggler(s) or prop(s), the physical expression of juggling (ex. throwing, rolling, etc.), or the context in which juggling happens (ex. the amount of gravity). In siteswap juggling, time is reciprocal and overlapping. Each beat in a siteswap simultaneously represents an action performed in the present and an action that will take place in the future. These temporal aspects of juggling make it a useful framework for grappling with the climate crisis in which present greenhouse gas emissions are also future concentrations in our atmosphere.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ultimately, I argue that, to engage in climate justice, new temporal frameworks are needed. How does \u201cjuggling time\u201d differ from other temporal experiences; for instance, chrononormativity (Freeman, Time Binds), disappearance (Phelan, Unmarked), or syncopated\/theatrical time (Schneider, Performing Remains)?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Morgan Anderson, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Morgan Anderson is a hobbyist juggler and PhD candidate in Theatre and Performance Studies at York University. Her research focuses on the relationships between jugglers and their props. She is a member of the International Jugglers\u2019 Association and Cirkus Syd, and co-founded the Limestone City Juggling Festival in 2014.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&#8212;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>&#8216;The performance commons, posthumanism, and the Anthropocene\u2019<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&nbsp;Critical posthumanism imagines the ways in which humans and other-than-human entities alike are always already constituted by a range of inhuman forces: materialities, affects, and energies organized in assemblages that escape strict identitarian formulations. With such a move away from historically normative versions of a Western liberal individual subject, performance and politics are also invited to be thought differently. What constitutes what we call human performance from his perspective, and how do such performances engage performances of the other-than-human? With the decentralization of human subjectivity as a key locus of political agency, how do performances engaging the human and the other-than-human express the political in such a circumstance of redistributive perspectives on volition and agency? This paper makes a case for intensifying the influential notion of \u2018the commons\u2019 as articulated by Michael Hardt and Antonio Negri with a specific focus on what I am calling \u2018the performance commons.\u2019 Hardt and Negri argue that the commons, as a kind of access to the world\u2019s riches and wonders shared among all humans, precedes the emergence of late Modern distinctions between public and private property in bourgeois law that has lead to the becoming-resource of all the world in service to an ever ubiquitous capitalism. In order to contribute to moving beyond such capture, human performance, when pursued via an open-ended processual assemblage of the human and other-than-humans in a way that amplifies potentials for non-supremacist alliances and post-identitarian aesthetic experiences, can be understood to generate a rich network of relations of care, solidarity, love, and liberation: a performance commons. Performance events exploring the artistic collaboration between human and other-than-human forces will be featured.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>David Fancy, Brock University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>David Fancy, PhD, is Professor in the Department of Dramatic Arts, Brock University. He publishes in the areas of performance and the climate crisis, performance and technology, and performance and inclusion. He is an experienced theatre maker.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>\u2018The radicality of the potato people\u2019<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In The Radicality of the Puppet Theatre, Peter Schumann writes, \u201cPuppets are not made to order or script. What\u2019s in them is hidden in their faces and becomes clear only through their functioning.\u201d (1990, 8) Schumann\u2019s observation reveals that, contrary to popular use of the term \u201cpuppet,\u201d puppets are not passive, docile things that readily bend to human control. Puppeteering is a relational practice that requires puppeteers to move with puppets instead of on or against them. By scrambling the presumed vertical power dynamic between subject and object, puppeteering can challenge the anthropocentric notion of human mastery over matter. But perhaps it can do more than that.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this paper, I focus on a set of puppets from Bread and Puppet Theater\u2014the naked population puppets\u2014to explore puppeteering as an instantiation of justice through human and more-than-human ethical relations. The puppets, nicknamed \u201cpotato people,\u201d are semi-flat, papier-m\u00e2ch\u00e9 puppets that often perform the role of a mass of people in Bread and Puppet\u2019s shows. Based on my experience as a puppeteer working with these puppets in improvised group scenes, where there is no established leader and the main prompt is to follow one another, I examine the power dynamics and emergent relationships that arise to think about the ecosocial potentialities of performing in a collective with these puppets. I ask: How can destabilizing the proscenium stage\u2019s spatial hierarchies and the ensuing relations of puppeteers and puppets be extrapolated to the urgent rethinking of relations that the climate catastrophe demands?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Denise Rogers Valenzuela, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Denise Rogers Valenzuela is a Chilean puppeteer and Ph.D. candidate in Theater and Performance at York University. Her doctoral research focuses on puppetry and cardboard in relation to ecosocial crises. Denise works with Bread and Puppet Theater and is a founding member of puppet troupes Corrugated Spectacles and Teatro Ji.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>&#8212;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container keynotes inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Keynotes\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"keynote-yasmine-kandil\"><\/span><strong> Keynote: Yasmine Kandil<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/keynotes\/\" rel=\"tag\">Keynotes<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Speaker: Yasmine Kandil<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140&nbsp; &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>CATR 2024 Conference Keynote<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Yasmine Kandil<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Relational Models of Staging Justice through Celebratory Theatre<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This presentation is about research that addresses the immediate needs of under-represented communities, which calls for a shift in practice from one that focuses on hardships to a celebratory approach that recognizes the strengths of communities.&nbsp; When transferred to educational programs, these approaches morph to address white supremacy and systemic barriers to decolonizing curricula. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This presentation will showcase the processes and outcomes of two long-term projects: the Staging Equality project (developed and implemented at the University of Victoria) and the Celebratory Theatre model (a SSHRC-funded project developed in community-based work in Saint Catherines, and expanded to include not-for-profit organizations in Victoria and partners from Psychology, Curriculum &amp; Instruction, and&nbsp; Educational Psychology &amp; Leadership Studies at the University of Victoria).&nbsp; Both projects begin to plant seeds into imagining a relational model for teaching, learning (Lalonde 2023) and practice.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>List of Works Cited:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lalonde, Solange. \u201cThe Relational Model for Teaching and Learning: An Approach to&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Curriculum Design.\u201d <em>Truth and Reconciliation through Education: Stories of Decolonizing Practices<\/em>. Yvonne Poitras Pratt &amp; Sulyn Bodnaresko, Eds.&nbsp; Brush Education Inc., 2023, pp.43-52.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Mod\u00e8les relationnels de mise en sc\u00e8ne de la justice par le th\u00e9\u00e2tre comm\u00e9moratif<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Nous pr\u00e9senterons des travaux de recherche qui portent sur les besoins imm\u00e9diats des communaut\u00e9s sous-repr\u00e9sent\u00e9es et qui invitent \u00e0 transformer la pratique mettant l\u2019accent sur les \u00e9preuves en une pratique comm\u00e9morative reconnaissant les forces des communaut\u00e9s. Lorsque ces approches, qui s\u2019attaquent \u00e0 la supr\u00e9matie blanche et aux barri\u00e8res syst\u00e9miques, sont utilis\u00e9es dans des programmes d\u2019\u00e9tudes, elles permettent de d\u00e9coloniser ces derniers.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cette pr\u00e9sentation expliquera les processus et les r\u00e9sultats de deux projets de longue dur\u00e9e&nbsp;: le projet Staging Equality (d\u00e9velopp\u00e9 et mis en \u0153uvre \u00e0 l\u2019Universit\u00e9 de Victoria) et le projet de mod\u00e8le de th\u00e9\u00e2tre comm\u00e9moratif, subventionn\u00e9 par le CRSH et r\u00e9alis\u00e9 en partenariat avec la communaut\u00e9 \u00e0 Saint Catherines, puis \u00e9largi pour inclure des organisations sans but lucratif de Victoria et des partenaires en psychologie, en programmes et instruction et en psychologie \u00e9ducative et \u00e9tudes du leadership \u00e0 l\u2019Universit\u00e9 de Victoria. Les r\u00e9sultats pr\u00e9liminaires des deux projets permettent d\u2019envisager la cr\u00e9ation d\u2019un mod\u00e8le relationnel d\u2019enseignement, d\u2019apprentissage (Lalonde 2023) et de pratique.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Liste des ouvrages cit\u00e9s :<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lalonde, Solange. \u201cThe Relational Model for Teaching and Learning: An Approach to&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Curriculum Design.\u201d <em>Truth and Reconciliation through Education: Stories of Decolonizing Practices<\/em>. Yvonne Poitras Pratt &amp; Sulyn Bodnaresko, Eds.&nbsp; Brush Education Inc., 2023, pp.43-52.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Presenter Bio:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yasmine is Associate Professor of Applied Theatre at the University of Victoria.&nbsp; She developed a model of practice, Celebratory Theatre, and is presently engaged in a SSHRC-funded project to empirically test its impact on racialized newcomer immigrants\u2019 sense of belonging and social cohesion.&nbsp; Her other works include the Staging Equality project to decolonize theatre programs in higher education and scenario-training for de-escalating police responses to people in mental health crisis. Her most recent scholarship is a RiDE Special themed issue on Race, Empathy and Representation (with Tim Prentki as co-editor), and the third edition of the award-winning text <em>Applied Theatre: International Case Studies and Challenges for Practice<\/em> (with co-editors Monica Prendergast &amp; Juliana Saxton).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Biographie<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Yasmine est professeure agr\u00e9g\u00e9e de th\u00e9\u00e2tre appliqu\u00e9 \u00e0 l&#8217;Universit\u00e9 de Victoria.&nbsp; Elle a d\u00e9velopp\u00e9 un mod\u00e8le de pratique, le th\u00e9\u00e2tre comm\u00e9moratif, et poursuit actuellement un projet financ\u00e9 par le CRSH pour tester empiriquement l\u2019impact de ce mod\u00e8le sur le sentiment d&#8217;appartenance et la coh\u00e9sion sociale des nouveaux arrivants racialis\u00e9s.&nbsp; Parmi ses autres travaux, mentionnons le projet Staging Equality visant \u00e0 d\u00e9coloniser les programmes de th\u00e9\u00e2tre dans l&#8217;enseignement sup\u00e9rieur et la formation en sc\u00e9narisation, dans le but de d\u00e9samorcer les r\u00e9actions de la police lorsqu\u2019elle doit intervenir aupr\u00e8s de personnes ayant des probl\u00e8mes de sant\u00e9 mentale vivant une situation de crise. Elle a aussi codirig\u00e9 un num\u00e9ro sp\u00e9cial th\u00e9matique de RiDE sur la race, l&#8217;empathie et la repr\u00e9sentation avec Tim Prentki et la troisi\u00e8me \u00e9dition du livre prim\u00e9 <em>Applied Theatre : International Case Studies and Challenges for Practice<\/em> avec Monica Prendergast et Juliana Saxton.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container bookjournal-launch inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Book\/Journal Launch\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"lunch-hosted-by-talon-books\"><\/span><strong> Lunch hosted by Talon Books<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/book-journal-launch\/\" rel=\"tag\">Book\/Journal Launch<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Event<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140&nbsp; &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Event<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container seminar inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Seminar\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"curriculum-strategies-building-ba-theatre-programs-in-a-climate-of-constraint\"><\/span><strong> Curriculum Strategies: Building BA Theatre Programs in a Climate of Constraint<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/seminar\/\" rel=\"tag\">Seminar<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Session organizers: Kimberley McLeod and Jenn Stephenson<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Session organizers: Kimberley McLeod and Jenn Stephenson <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1140&nbsp; &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Two-Day Session, 2:30pm-5:45pm on June 19 &amp; 20<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In the face of financial constraint, arising from government underfunding of the postsecondary sector, it is essential that we continue to deliver high-quality student academic experiences. Purposeful, values-driven attention to curriculum structures is central to achieving this goal.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This seminar centers on the questions: Why study and teach theatre now? How do we decide what is most important in the wake of decreasing resources? The session will provide a forum not only for sharing local contexts and challenges, but more importantly, will offer practical strategies and frameworks for curriculum decision-makers.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Topics will include:&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Preparing for, participating in, and responding to cyclical quality assurance processes<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Establishing alignment between program learning outcomes and curriculum architecture<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Using data to produce metrics of curriculum efficiency<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Creating short-term and long-term staffing\/hiring plans that are aligned with curriculum<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Integrating and differentiating programs in the disciplinary landscape<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u2022 Communicating academic program visions to internal stakeholders like Deans, Provosts, Admissions and Recruitment to ensure necessary resourcing<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This session is intended for faculty members who have (or expect to have in the future) roles concerned with curriculum development and revision, including Undergraduate Advisors, Undergraduate Chairs, Chairs of departmental academic planning or curriculum committees, Department Heads\/Chairs, and Deans. Note that this session is specifically focused on undergraduate Bachelor of Arts (Honours) programs in theatre\/theatre studies and drama, deliberately setting aside graduate programs as well as \u2018conservatory\u2019 Bachelor of Fine Arts programs.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Session structure:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We would like to hold this seminar over 2 3-hour sessions at the in person portion of the conference. We anticipate this being mostly work sessions with the seminar participants only. We plan on having a mix of presentations by curricular chairs, deans and participants with experience working in quality assurance alongside breakout sessions in which participants can dig into specific issues of curricular planning. One hour of the seminar would be open to all conference participants. This hour will feature a discussion of how different programs across the country care for and update their curriculum.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Preparation for the session:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Participants will respond to a series of self-reflexive questions and also participate in a shared document that breaks down different aspects of BA Theatre curricula across the country. Participants will also prepare short remarks on specific topics (dependent on what areas of curricula they have experience with).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kimberley McLeod, University of Guelph<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kimberley McLeod is associate professor of Theatre Studies at the University of Guelph.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Stephenson, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Stephenson is professor in the Dan School of Drama and Music at Queen\u2019s University and Associate Dean (Academic) Faculty of Arts and Science.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"theatricality-and-anti-theatricality\"><\/span><strong> Theatricality and Anti-Theatricality<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Theatre &#8211; York University<\/strong><\/p>\n<p>Moderator:<\/p>\n<p>David Fancy, &#8220;Performative Activism and the Anti-theatrical Prejudice&#8221;<\/p>\n<p>Jayna Mees, &#8220;Activating the \u2018Hypersurface\u2019: Building Community With(in) and Across Virtual Spaces&#8221;<\/p>\n<p>Marlis Schweitzer, &#8220;Beware PERFORMANCE: Radical transparency, anti-theatricality, and the (im)possibility of staging truth&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre &#8211; York University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performative Activism and the Anti-theatrical Prejudice<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The question of what constitutes legitimate expressions of progressive activism is of significant concern to those pursuing equity-seeking agendas. A key metric of legitimacy for current equity-seeking activist practice is that of authenticity \u2013 often framed in terms of whether expressions of outrage, critique, and solidarity are \u2018performative\u2019 or not, whether one is capably supporting a cause as a legitimate ally or simply increasing one\u2019s cultural capital. This paper investigates a central tension of such considerations, namely that when \u2018performative\u2019 is used in its adjectival mode (relating to or marked by public, often artistic performance) as a derogation implying lack of authenticity, a long history of suspicion of the theatrical, of Barish\u2019s (1980) notion of the anti-theatrical prejudice, is invoked. Using examples drawn from contemporary activist practice around decolonization and climate justice, I will explore how a reality implied by such a designation is the possibility of a diametrically opposed, essential, and unmediated expression of solidarity, resistance, and\/or concern, necessarily moored in a structurally analogous essentialized subject \u2013 itself also available for capture into immaterial economies of personal cultural capital. Additionally, there is something curiously discordant about the term \u2018performative activism\u2019 for those of us in theatre and performance circles insofar as what follows from this statement is that activism employing conscious use of public, often artistic performance is necessarily relegated to a subsidiary and ontologically inferior status than other modes of activism. The paper wonders if the notion of \u2018performative activism\u2019 can be recuperated through further elaboration of the various lineages of what the term \u2018performative\u2019 can mean and do.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>David Fancy, Brock University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>David Fancy, PhD in Professor in the Department of Dramatic Arts at Brock University. He publishes in areas of performance and philosophy, performance and climate justice, and performance and equity.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Activating the \u2018Hypersurface\u2019: Building Community With(in) and Across Virtual Spaces<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>With the emergence of virtual reality (VR), the concept of \u2018theatricality,\u2019 and the potential for immersive storytelling within theatrical frameworks is being challenged, questioned, and explored anew. Among the many innovations afforded by VR, the element that I will explore in this paper is the political\/dramaturgical potential of what Gabriella Giannachi calls the \u201chypersurface\u201d, to establish sites of disability activism. According to Giannachi, the \u201chypersurface\u201d is a liminal site of exchange produced through entanglements between the \u201creal\u201d and the virtual, and that enables the spectator to simultaneously be \u201cpresent in the work [of art] and verfremdt estranged from it\u201d (95). While some attention has been paid to the design and storytelling possibilities afforded in VR, few have considered how VR\u2019s unique capacity to facilitate social exchanges across the \u201creal\u201d and the virtual has the potential to subvert ableist structures of power, or to produce alternate modes of participation within immersive performance. In my paper, I will examine the political possibilities, as well as limitations of VR spectatorship in Joe Jack et John\u2019s 2018 VR installation: VIOLETTE, which engages neurodiverse, female-identifying artists to explore how VR might function, not only as a medium for immersive storytelling, but also as a powerful site of transgression and community-building. In my analysis, I will consider the following: How might spectatorial engagements with the \u201chypersurface\u201d offer more inclusive modes of structuring immersion? In what ways does the \u201chypersurface\u201d enhance or create other barriers? How might it offer new ways of thinking through collective\/individual identity with(in)\/across virtual and \u201creal\u201d environments?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jayna Mees, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jayna Mees (she\/her) is an artist-scholar whose current doctoral research at York University examines access aesthetics, practices, and politics within digital and virtual forms of immersive performance. Some recent projects include: accessibility coordinator for the SummerWorks Performance Festival (2021 -22), and assistant dramaturg for SpiderWebShow\u2019s VR production of You Should Have Stayed Home (2022).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Beware PERFORMANCE: Radical transparency, anti-theatricality, and the (im)possibility of staging truth<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Building on recent conversations about theatricality and theatre of the real, this paper traces the long history of radical transparency as a both material practice and performance strategy that promises to make \u201cdangerous\u201d secrets public, without the consent of the exposed organization (government, corporation, etc.), in the interests of serving justice and the \u201cgreater good.\u201d It begins with a series of transparency prints produced in 1760s London at the height of John Wilkes\u2019 radical campaign to expose (what many believed to be) the corruption of then-Prime Minister Lord Bute and his romantic and political partnership with the Dowager Princess Augusta, mother to George III. In print after print, Bute and Augusta are represented as performers \u2013 puppeteers, musicians, showmen, mountebanks \u2013 hiding behind screens or curtains to conduct their manipulative acts. Attending to the scriptive materiality of these prints, specifically to the way they guide viewers to hold the print up to a light source to discover the \u201csecrets\u201d beneath, this paper considers the complicated links between the promise of radical transparency (as modeled by Wilkes\u2019 campaign), the prints\u2019 deployment of anti-theatrical tropes, and, paradoxically, their reliance on the techniques of the lantern show to achieve their magical effect. From here, the paper turns to contemporary examples of plays that likewise trade in the language of radical transparency (e.g. Tina Satter\u2019s &#8220;Is This a Room,&#8221; based on transcripts from the FBI\u2019s interrogation of Reality Winner) to engage with larger questions about the (im)possibility of staging truth in pursuit of justice.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Marlis Schweitzer, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Marlis Schweitzer is Professor of Theatre and Performance Studies at York University and a Tier 2 York Research Chair in Theatre and Performance History. Her 2020 book, &#8220;Bloody Tyrants and Little Pickles: Stage Roles of Anglo-American Girls in the Nineteenth Century,&#8221; received the George Freedley Memorial Award from the Theatre Library Association.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"indigenous-theatre-and-performance-iii\"><\/span><strong> Indigenous Theatre and Performance III<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>Moderator: Ian Garrett<\/p>\n<p>In-Person Session<\/p>\n<p>Cassandre Chatonnier, \u201cPOW-WOW AND INDIGENOUS PERCEPTION OF SPACE: DANCE AS A TOOL TO RETHINK PUBLIC SPACES\u201d<\/p>\n<p>Barry Freeman, &#8220;We Are Not the Rock(s): Settler hospitalities as moves to Indigeneity&#8221;<\/p>\n<p>Jeff Gagnon, &#8220;Dramaturgies of Generosity: Community, Truth, and Reckoning in the Shadow of Settler Colonialism&#8221;<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Ian Garrett<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>POW-WOW AND INDIGENOUS PERCEPTION OF SPACE: DANCE AS A TOOL TO RETHINK PUBLIC SPACES<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cassandre Chatonnier <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>We Are Not the Rock(s): Settler hospitalities as moves to Indigeneity&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>From its opening number ,\u201cWelcome to the Rock,&#8221; the internationally successful musical Come From Away introduces its audiences to a poetics of land long established in Newfoundland\u2019s colonial imaginary. This poetics\u2014within which resilient settlers with a tenuous purchase on the land are galvanized into cooperation and generous hospitality as a survival tactic in a hostile environment\u2014was already manifest in the 19th-century travel literature of the pre-confederation Colony of Newfoundland. As the musical attests, representations of the hardy-but-happy islanders of \u201cthe rock\u201d remain popular in performances of the island\u2019s cultural nationhood today (O\u2019Flaherty, Overton). &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I have argued previously that Come From Away can be understood as a projection of a tragedy that America was ready to confront (2018). Expanding this argument for a long-term scholarly memoir project, I want to go further to suggest that Come From Away is as well a picture\u2014perhaps in the negative\u2014of a tragedy that Newfoundland is less ready to confront. I take my cue from Alan Filewod\u2019s shrewd observation two decades ago that the genocide of the Indigenous Beothuk people of the island \u201cwas the defining condition that permitted Newfoundlanders to feel that they were truly \u2018of\u2019 the land\u201d (2002, 71). In this paper, I will bring in Ininiw scholar Megan Scribe\u2019s recent theorization of \u201csettler moves to Indigeneity,\u201d (2023) to reflect on my affective experiences with both the musical and with rocks metaphoric and not, considering not so much how we got here, but where we are to go from here.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barry Freeman, University of Toronto Scarborough<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barry Freeman is an Associate Professor of Theatre &amp; Performance at the University of Toronto Scarborough and the Centre for Drama, Theatre &amp; Performance Studies at the University of Toronto.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Dramaturgies of Generosity: Community, Truth, and Reckoning in the Shadow of Settler Colonialism<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In May of 2021, a survey of the grounds at Kamloops Indian Residential School via ground penetrating radar revealed what Dr. Sarah Beaulieu argued could be the graves of roughly 200 Indigenous children who died while in the school\u2019s custody. In the wake of Beaulieu\u2019s discovery, media discourse tended to be preoccupied with strict definitions of \u201cmass graves\u201d and with comparing the mortality rates of students in these schools against the broader population, discounting or downplaying, for instance, the state-sanctioned kidnapping of children as a direct symptom of the settler colonial project that is Canada.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jeff Gagnon, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jeff Gagnon is a Doctoral Graduate of the University of Toronto&#8217;s Centre for Drama, Theatre, and Performance Studies.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"queer-performance-ii\"><\/span><strong> Queer Performance II<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of English &#8211; McGill University<\/strong><\/p>\n<p>Moderator: Conrad Alexandrowicz<\/p>\n<p>Tyrone Grima, &#8220;Queer characters on the Maltese stage in the 1970s and 1980s&#8221;<\/p>\n<p>Jenny Salisbury, &#8220;The Love Booth and Six Companion Plays: imagining a way forward through a staging of queer histories&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Conrad Alexandrowicz<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of English &#8211; McGill University<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Queer characters on the Maltese stage in the 1970s and 1980s<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This presentation will explore how queer characters were portrayed on the Maltese stage in theatre performances from 1973, the year in which homosexuality was decriminalised till 1989. In this study, a spectrum of performative genres will be referred to, including experimental theatre and pantomime. This analysis will be embedded within queer theory, with specific references to the seminal works of authors such as Foucault, Sedgwick, Butler and Sara Ahmed. The study will also be juxtaposed against the social and political developments that happened in the country, and how this impacted on the awareness of the LGBTI community. The sources that will be used to examine and delve deeper into the study are: newspaper reviews; previews; and interviews conducted with practitioners and performers.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The study will be divided in three parts. The first part will focus on the 1970s, discussing whether the decriminalisation led to the featuring of more queer characters and how these were perceived. The second part will focus on the eighties, till the year 1987, a pivotal year in Maltese history, where a fundamental change was made in the Maltese constitution, preceded by various incidents of violence and civil unrest. This element of violence is also evident in the selection of plays with LGBTI characters that were staged in this period. The third part will present the dynamics between 1987-1989, and reflect on how the emergence of queer narratives in Maltese society impacted the depiction of queer characters on stage. Hence, a constant parallel will be presented between the political oppression that the country was experiencing; how the LGBT community endured this oppression; and the implications of these dynamics on the Maltese stage.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tyrone Grima, Malta College for Arts, Science and Technology (MCAST)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr Tyrone Grima is a Senior Lecturer and Researcher at MCAST in the department of the Performing Arts. His main areas of interest are the interface between theatre and spirituality, and queer performance. Tyrone has published numerous articles based on his research in a variety of academic journals.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The Love Booth and Six Companion Plays: imagining a way forward through a staging of queer histories<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In June 2023, as part of Toronto Pride, Gailey Road productions offered a staged reading of Tara Goldstein\u2019s The Love Booth and Six Companion Plays, a new verbatim play that stages six stories from the last 50 years of queer liberation efforts. As Fisher argues \u201ccontemporary verbatim theatre tends to use personal narrative to authenticate a particular truth process or to validate the narrative the play seeks to establish\u201d (2020). The Love Booth and Six Companion Plays certainly does this, as Gailey Road intentionally chose celebratory moments of community activism in order to gather and uplift contemporary queer communities. Or, as Auerswald suggested in 2019 \u201cverbatim theatre\u2019s prime innovation [is that] it feeds back its stories into the communities where they had come from\u201d. This is a political action, motivated by the desires and hopes of the artist-researchers, playwrights, directors, musicians, visual artists, and performers. The performance of The Love Booth and Other Plays was a political act of queer joy, which attempted to bolster queer people and allies for the difficult political work ahead.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Auerswald, Bettina (2019). &#8220;Feeding Back: Verbatim Theatre and\/as Communal Practice&#8221;. in Marco Galea, &amp; Szabolcs Musca. (2019) Redefining Theatre Communities: International Perspectives on Community-Conscious Theatre-Making. Intellect Books.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fisher, Amanda Stuart (2020). Performing the Testimonial: Rethinking Verbatim Dramaturgies. Manchester University Press.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenny Salisbury, Independent Scholar<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenny Salisbury is a theatre creator, arts-based and audience researcher. Her recent post-doctoral fellowship at the Ontario Institute for Studies in Education, UofT was titled 60 Years of QTBIPOC Activism: A Verbatim Theatre Project. Jenny is co-director of the Centre for Spectatorship and Audience Research and co-artistic director of Gailey Road Productions.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"exploring-justice-in-higher-education-reflections-on-devised-theatre-pedagogy-at-the-university-of-regina\"><\/span><strong> Exploring Justice in Higher Education: Reflections on Devised Theatre Pedagogy at the University of Regina<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine <\/i><i>&#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Kathryn Bracht<\/p>\n<p>Session Members: Taiwo Afolabi, Shannon Holmes, Jonathan Seinen, Wes D. Pearce<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Kathryn Bracht<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine <\/em><em>&#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In launching a new BFA in Devised Performance &amp; Theatre Creation in 2022 \u201cdesigned to support and encourage the young theatre artist of tomorrow in defining their unique artistic voice\u201d (urdevised.ca), the University of Regina Theatre Department aims to create a site for the pursuit of justice through the formation of holistic theatre artists. This roundtable discussion between faculty members of the Theatre Department at the University of Regina will offer a glimpse into the successes and challenges in the creation and realisation of a devised theatre pedagogy that seeks to meet the needs and encourage the voices of present and future theatre makers. Topics include: The incorporation of room agreements in our teaching and practice; Utilizing established methodologies of critique in training collaborative artists (i.e. Liz Lerman\u2019s Critical Response Process); Department programming choices (i.e. Climate Change Theatre Action productions (2021, 2023) incorporating sustainable design practices, Sarah Ruhl\/Virginia Woolf\u2019s Orlando (2023) at a time of increasing 2SLGBTQ+ oppression in Saskatchewan); Creating space for critical conversation (i.e Crossing Current), and; Decentralizing\/destabilizing the design process toward collective responsibility. As educators in a prairie university that is geographically isolated, we understand that many of our students come to us from differing backgrounds. This has required that we are prepared to respond to a variety of needs in our students and in our classrooms, not only culturally but also with students with diversity of intellectual, emotional, and physical accommodations. We believe this has cultivated an equitable and just educational experience, perhaps more so than that of traditional BFA and graduate training programs. Our program is \u201cfor theatre artists who are interested in creating a new path in the theatre landscape\u201d (urdevised.ca), a brave space of rigour and care where the practice of theatre making and performance creation is the practice of justice.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Session Members:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kathryn Bracht, Associate Professor and Department Head, Moderator <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Taiwo Afolabi, Associate Professor<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Shannon Holmes, Assistant Professor<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Wes Pearce, Professor <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jonathan Seinen, Assistant Professor <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jonathan Seinen (he\/him) is a John Hirsch Prize-winning and Dora Award-nominated theatre director who has worked across the country in devised performance, classical theatre, and new works, including Ho Ka Kei\u2019s Governor General\u2019s Literary Award-nominated Iphigenia and the Furies (On Taurian Land), Boys In Chairs Collective\u2019s ACCESS ME, published in Interdependent Magic: Disability Performance In Canada (Playwrights Canada Press) and Saga Collectif\u2019s Black Boys (Buddies In Bad Times). He holds an MFA in Theatre Directing from Columbia University and is Assistant Professor at the University of Regina.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Taiwo Afolabi is an interdisciplinary artistic scholar from Africa with internationally recognized expertise in research-based theatre focusing on social justice, human rights, and anti-racism education among Indigenous, immigrant, and marginalized communities. Through global theatre projects\/publications, his practice-based research encompasses issues of policing, sexual health education, Sustainable Development Goals, African theatre, homelessness, immigration, and language revitalization. He is the Director of the Centre for Socially Engaged Theatre (C-SET) and is the Canada Research Chair in Socially Engaged Theatre (Tier II).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kathryn Bracht is an Associate Professor in the Theatre Department in the faculty of Media, Art, and Performance where she teaches acting, directing, and devising. She received her BFA (Acting) from UBC, and her MFA (Directing) from the University of Alberta, and has appeared professionally in theatre as an actor and director across Western Canada. She has recently extended her practice-based creative research into playwriting and devising been She participated in the Persephone Theatre\u2019s 2017 \u2013 2018 Playwright\u2019s Unit with her one-act play Draw Near, which culminated in a staged reading in the Tasty Bits series at the Saskatchewan Playwright\u2019s Centre\u2019s Spring Festival of New Plays. In October of 2018 she was honored to be selected from over 300 international playwrights to have her latest work-in-progress Seed performed in a staged reading at the Women Playwright\u2019s International Conference in Santiago, Chile.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Shannon Holmes (she\/her) is an Assistant Professor of Theatre specializing in voice. Her research focuses on developing cross-disciplinary methods that disrupt the dividing line between speech and singing to mobilize new tools for performers. Central in her explorations is using autoethnographic performance practices to examine the connections between the lived body and voice to centralize the self in devising theatre. As an interdisciplinary artist, Dr. Holmes is experienced as an actor, singer, vocal coach, intimacy coordinator, director and writer. She is trained in a broad range of voice, acting and dance methods, including bel canto, extended vocal technique, Contact Improvisation and Fitzmaurice Voicework. As a performer, she has appeared in Opera, Musical Theatre, Shakespeare, Contemporary Theatre and devised projects. Her solo autobiographical show The Crook of Your Arm was produced in Montr\u00e9al, New York and the Royal Shakespeare Company&#8217;s studio stage, The Other Place, in Stratford-upon-Avon, U.K.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Wes D. Pearce was born and raised in Treaty 4 territory and is a graduate of the University of Regina.&nbsp; He attended the University of Calgary for graduate school and returned to his alma mater and the brand-new state of the art Riddell Centre in 1997. He has served as Associate Dean (Interdisciplinary Programs and Special Projects), Associate Dean (Undergraduate) and Department Head of Theatre. He teaches a variety of design courses, as well as courses on musical theatre, fashion and Hollywood, and Canadian drama. Currently, he sits on the Board of Directors for Globe Theatre (Regina) and is heavily involved in World Stage Design 2022 (Calgary) as the editor of the exhibition catalogue. He was a long serving board member for the Canadian Association of Theatre Research and is a past board member of the Saskatchewan Association of Theatre Professionals, the Associated Designers of Canada, and AIDS Programs South Saskatchewan. In 2017 he received the University of Regina Theatre Department\u2019s Distinguished Alumni Award.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"intertwining-dh-projects-in-theatre-and-performance-research\"><\/span><strong> Intertwining DH Projects in Theatre and Performance Research\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- Universit\u00e9 de Montr\u00e9al<span class=\"Apple-converted-space\">\u00a0<\/span><\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Victoria<\/strong><\/p>\n<p>Co-Conveners: Sasha Kovacs, Heather Davis-Fisch, Matthew Tomkinson, and Laurel Green<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Participants:<\/p>\n<p>Crystal Chan and Peter Farbridge (Concordia):\u00a0The Centre Cannot Hold (TCCH)<\/p>\n<p>Joerg Esleben (uOttawa):\u00a0Brecht in\/au Canada<\/p>\n<p>Barry Freeman (UofT):\u00a0The Pledge Project<\/p>\n<p>Dr. Helmut Reichenb\u00e4cher (OCAD):\u00a0<i>Methods of the Digital Humanities to trace the effect of Nazi censorship on theatre programming.\u00a0<\/i><\/p>\n<p>Dr. Cyrus Sundar Singh (TMU): WhereWeStand: One Land, Two Hearts<\/p>\n<p>Michael Wheeler (Queens):\u00a0FOLDA\u00a0\/\u00a0You Should Have Stayed Home<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Co-Conveners: Sasha Kovacs, Heather Davis-Fisch, Matthew Tomkinson, and Laurel Green&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1177 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- Universit\u00e9 de Montr\u00e9al&nbsp;<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Victoria<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Participants:&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Crystal Chan and Peter Farbridge (Concordia):&nbsp;The Centre Cannot Hold (TCCH)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Joerg Esleben (uOttawa):&nbsp;Brecht in\/au Canada&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barry Freeman (UofT):&nbsp;The Pledge Project<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Helmut Reichenb\u00e4cher (OCAD):&nbsp;<em>Methods of the Digital Humanities to trace the effect of Nazi censorship on theatre programming.&nbsp;<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr.&nbsp;Cyrus Sundar Singh (TMU):&nbsp;WhereWeStand: One Land, Two Hearts<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Michael Wheeler (Queens):&nbsp;FOLDA&nbsp;\/&nbsp;You Should Have Stayed Home<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In the recent article \u201cDigital Humanities and Theatre Studies: From Fragility to Stability\u201d Zafiris Nikitas notes that \u201cTheatre and digital humanities face the same challenge: the entropy of transience.\u201d&nbsp; Drawing on Nikitas\u2019 proposal that performance-related DH research projects might better stand the test of time if developed within \u201cintertwined research matrixes,\u201d this roundtable invites theatre and performance scholars and artists, whose work engages digital tools and technologies, to collaboratively share the lessons learned from their past or future projects, and to engage in open discussion concerning opportunities and challenges of DH work in the context of our discipline. The roundtable will invite each participant to offer a brief 5-min. lightning-round contribution, followed by a facilitated group discussion that considers possibilities for collaboration and cross-pollination, moving forward..&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Through this roundtable, we\u2019re interested in bringing together members of the CATR\/ACRT community to:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul><!-- wp:list-item -->\n<li>Amplify and network current digital humanities projects: we want to share knowledge about our field\u2019s present engagement of digital tools in performance scholarship. With these presentations, we hope to cross-fertilize knowledge about a range of projects in our field that employ DH for diverse approaches to: knowledge mobilization, research networking, performance mapping, archival research, exhibition, equity, pedagogy, advocacy, inclusion, anti-racism, decolonization, community bridging, partnership, and other aims.<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Create a space for supportive co-sharing and co-learning: we want to hear about challenges and opportunities researchers have faced through their own engagement with digital tools and methods \u2013topics here include, but are not limited to: responses to concerns about obsolescence and trascience, approaches to peer-review structures for online (digital) publication, challenges through the design and technical development process.&nbsp;<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Imagine possibilities for support of developing and future DH projects: Discussions of potential futures or emerging projects that engage DH in theatre and performance research. We want to bring together scholars and artists that are imagining new possibilities for digital humanities approaches, informed by work outside and beyond the discipline. We are keen to also hear about how DH learning is being incorporated into the theatre and performance studies classroom, and how DH can inform the transformation of pedagogy at the undergraduate and graduate level.<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n\n<!-- wp:paragraph -->\n<p>This roundtable will be co-convened by the research team of the Performance in the Pacific Northwest research project. Information about this project and bios for the co-convening team are available on our project website here: https:\/\/performancepnw.uvic.ca\/about\/. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heather Davis-Fisch is Dean of the Faculty of Arts at the University of Lethbridge and Co-lead of the SSHRC funded Performance in the Pacific Northwest: Pilot Project, that investigates the role of performances in the establishment of settler-colonialism in nineteenth-century Canada and how performance documents and objects can be re-integrated into galleries, archives and museums. Her research interests include performance historiography and Indigenous and intercultural performance, particularly in historical paradigms.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sasha Kovacs is an Assistant Professor in the Department of Theatre at the University of Victoria and co-lead of the SSHRC funded Performance in the Pacific Northwest: Pilot Project. The focus of her research is Canadian theatre historiography. She is also a co-investigator of the national research partnership project Gatherings: Archival and Oral Histories of Performance (www.gatheringspartnership.com) that aims to deepen methodological approaches to the study and preservation of Canadian performance history.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Matthew Tomkinson is a writer, composer, and researcher based in Vancouver, and a postdoctoral fellow for the SSHRC funded Performance in the Pacific Northwest: Pilot Project. He holds a PhD in Theatre Studies from the University of British Columbia, where he studied sound within the Deaf, Disability, and Mad arts. His doctoral dissertation, \u201cMad Auralities: Sound and Sense in Contemporary Performance,\u201d examines auditory representations of mental health differences. Working across a wide range of disciplines, including text, performance, installation, sound design, and new media, Matthew\u2019s artistic practice shows a recurring interest in unruly eclecticism and constraint-based compositional approaches. Matthew lives on the ancestral and unceded territories of the x\u02b7m\u0259\u03b8k\u02b7\u0259y\u0313\u0259m (Musqueam), the S\u1e35wx\u0331w\u00fa7mesh (Squamish) and s\u0259l\u0313ilw\u0259ta\u0241\u026c (Tsleil-Waututh) Nations.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Laurel Green (she\/her) is an artist, creative producer, and interdisciplinary collaborator whose work is deeply engaged with process, exploring methodologies for creation, and strategies for shared leadership. She is the Research Associate and Project Manager for the Performance in the Pacific Northwest: Pilot Project. She is a nationally-recognized dramaturg with a decade of practice in the creation, development, and production of new performance work.\u00a0 With a Masters degree from the University of Toronto, she is an alumni of the Cultural Leadership program at the Banff Centre for Arts and Creativity. Laurel has an active freelance practice wherein she plans, facilitates, and produces arts and culture gatherings with intention and care. Most recently, she produced the Arts Champions Summit for Victoria&#8217;s Capital Regional District (CRD). She is currently the Digital Partnerships Producer for The Cultch. She is also a performance researcher with the University of Victoria, sings with The Choir YYJ and is a Meadow Maker.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Participant Bios:&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Crystal Chan<\/strong> is a writer, artist, and producer working in new media and publishing. Originally from \u9999\u6e2f (Hong Kong), she is based in Tiohti\u00e1:ke (Montreal), where she serves as an executive board member of the Quebec Writers\u2019 Federation. She is a former artist-in-residence at the Banff Centre for the Arts and Creativity and is now a professor in the Creative Writing Department of the University of British Columbia and an editor at UBC Press for RavenSpace publishing, an innovative multimedia publication series by Indigenous authors and their collaborators. Certified as both an editor and a designer, her specialty is merging storytelling with technology and presenting narratives in unique settings and forms. She is the creator, director, and host of Eighty Thousand Steps, a first-of-its-kind app for the Canadian Broadcasting Corporation that allows listeners to power the show as they walk, one step at a time. She is also a producer in the cultural and non-profit sectors.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Joerg Esleben <\/strong>is an Associate Professor in the Department of Modern Languages and Literatures at the University of Ottawa, with a cross-appointment in the Department of Theatre. He teaches German language and culture as well as comparative and intercultural studies. His research is focused on intercultural theatre, theatrical relations between India and Germany, and transcultural uses of Brecht\u2019s work.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Peter Farbridge<\/strong> is a theatre-maker working in Montreal. He holds a Master&#8217;s degree in anthropology and theatre from Concordia University, where he teaches regularly. As a founding member and co-artistic director of the Modern Times Stage Company from 1989 to 2022, Peter performed in, wrote and co-devised numerous productions. He won several Toronto Dora Awards for his work with the company. He also collaborates with Postmarginal, a project he launched while at Modern Times, which aims to encourage hybridity in theatre practice by exploring the perspectives of marginalized artists.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Barry Freeman <\/strong>is an Associate Professor of Theatre and Performance at the University of Toronto Scarborough and the Graduate Centre for Drama, Theatre and Performance Studies. He researches, teaches and writes about theatre education, pedagogy, and intercultural performance.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Dr. Helmut Reichenb\u00e4cher <\/strong>is an Associate Professor in the Faculty of Liberal Arts and Sciences, OCAD University, Toronto, where he teaches courses on cultural history, popular culture, and theatre. His digital humanities research is funded by a 2023-2025 Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant. He has been invited for participation in the International Federation for Theatre Research\u2019s working group for digital humanities meeting in July 2024.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>dr. Cyrus Sundar Singh<\/strong> is an AcademiCreActivist: a Gemini Award-winning filmmaker, scholar, composer, singer-songwriter, author, and published poet. He arrived in Toronto as a fresh-off-the-boat<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>ten-year-old from India and almost embraced the winter. From the Award-winning NFB debut<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Film Club (2001) to the live-documentary world premieres: Brothers In The Kitchen (2016);<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Africville in Black and White (2017\/18); In the Wake of Time (2021), Cyrus\u2019 research and<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>productions have taken him around the world including Senegal, India, Israel, Spain, Haiti,<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jamaica, and Sri Lanka. Recently, Cyrus successfully produced the following cross-Canada<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>multimedia storytelling projects with CERC in Migration: i am&#8230; (2021); Under the Tent (2022);<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>WhereWeStand (2023\/24).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Michael Wheeler<\/strong> is an Assistant Professor in The DAN School of Drama and Music where he teaches acting, directing and arts leadership. As a researcher, his work has focused on the possibilities virtual reality presents for live performance, and is funded with co-PI Dr Matthew Pan by a Connected Minds CFREF Seed grant to explore the use of robotics to provide haptic feedback for live VR performances. Previous SSHRC-funded research involved collaborating with co-PI Dr. Laura Levin and computer scientists to adapt a play previously staged in physical space to a virtual one. He is also Director of Artistic Research at SpiderWebShow Performance, Canada\u2019s first live digital performance company, and a Co-Curator of FOLDA (The Festival of Live Digital Art).<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"black-and-free-sites-of-performance\"><\/span><strong> Black And Free: Sites of Performance\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Communication Arts &#8211; University of Waterloo<\/strong><\/p>\n<p>Curator: Naila Keleta-Mae<\/p>\n<p>Naila Keleta-Mae, &#8220;Black And Free: Sites of Performance&#8221;<\/p>\n<p>Jellisa Ricketts, &#8220;Black and Free: Performance, Oral Tradition and Unearthing Black Nova Scotian History&#8221;<\/p>\n<p>Shanique Mothersill, &#8220;Black And Free: Freedom School&#8217;s Freedom Pedagogy as an Educational Stage for Black Youth Justice and Performance&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Naila Keleta-Mae<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1175 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Communication Arts &#8211; University of Waterloo<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We live in a world where institutionalized anti-Black racism is troublingly prevalent and increasingly public, and where systems of oppression are entrenched (Crenshaw; Du Bois; Fanon; Gilroy; McKittrick; Sharpe). The pursuit of freedom has been a central preoccupation of Black people throughout the Americas and Africa ever since the advent of the TransAtlantic slave trade in the 16th century, when Europeans led the violent taking of Africans from their lands to build European settlements (Bakare-Yusuf; Campbell; Cooper; Hartman; Rodney; Young 2005). For the past five centuries, Black people have used Black expressive culture (ie. architecture, visual art, theatre, performance, music, dance, festivals, and protests) to imagine and advocate for freedom. By taking freedom as its departure point, the curated panel proposes a reading of Black expressive culture that looks towards and imagines a liberated present and future through the analysis of site visits conducted as part of Dr. Naila Keleta-Mae&#8217;s Black And Free research-creation project. Seeking to make a \u201cnew claim\u201d about blackness and freedom, the program aims to analyze Black expressive culture using theatre and performance studies methodologies to ascertain how blackness and freedom are portrayed in the range of historical sites and public events visited in Canada. An argument for blackness and freedom necessarily evokes questions of justice, that are panel bring together with three papers focused on Black And Free\u2019s theoretical and methodological frameworks (by Dr. Keleta-Mae), the Black Loyalists Heritage Centre in Shelburne, Nova Scotia (by Jelissa Ricketts) and Freedom School in Toronto, Ontario (by Shanique Mothersill). &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Black And Free Site Visit Methodology &nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper will describe the theoretical and methodological framework that I have used and will use to conduct visits, for my Black And Free research-creation project, to historical sites and public events in North America, the Caribbean, Europe and Africa where blackness and freedom are expressed and\/or contested through various artistic forms. I started Black And Free in 2017 and it draws from numerous disciplines and fields in the humanities, namely: performance theory, critical race theory, feminist theory and theatre studies. D. Soyini Madison writes, \u201cWith each generation, perhaps with each turn of a phrase, we stake a new claim within a new world order for the nature and significance of blackness\u201d (vi). The intellectual contribution that Black And Free seeks to make is a \u201cnew claim\u201d about blackness and freedom. This paper will assert that expressions of Black freedom constitute both performances of blackness and ways of making what has been rendered unthinkable\u2014the full liberation of Black people and the agency of Black people to define that liberation for themselves\u2014thinkable and livable for Black people and the larger world of which they are a part. Further, this paper will assert that while Black people have been forced into various forms of performance both during and since chattel slavery, this history does not prevent performances and other cultural expressions of Blackness from constituting acts of agency that assert into the relationship between performer and audience\u2014or site of expression and viewer \u2013 the fact of Black freedom. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Naila Keleta-Mae, University of Waterloo&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Naila Keleta-Mae is a Dorothy Killam Fellow, Tier II Canada Research Chair in Race, Gender and Performance, Member of the Royal Society of Canada\u2019s College of New Artists, Scholars, and Scientists, Associate Professor in the Department of Communication Arts at the University of Waterloo and a multi-disciplinary artist.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Black and Free: Performance, Oral Tradition and Unearthing Black Nova Scotian History&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>A major dereliction of Black Canadian history is the events surrounding Black Loyalists and the development and eventual destruction of Africville in Nova Scotia. Theatre, music, poetry, and visual arts have been tools utilized to platform the willfully forgotten histories of Black Canada(s) (Riley, 2022). These artistic practices share a methodological and philosophical approach to the oral traditions of West African Mande ethnic groups that have been maintained and utilized by their displaced descendants in the Americas to keep their memories alive (Okagube, 2007). This paper will explore these intersections and retentions through an assessment of performance pieces that center on the unacknowledged lives of Black Loyalists, Africville and Blackness in the Maritimes. Moreover, this paper will reflect on the extent to which these practices can be viewed as a counter-pedagogy, resisting the dereliction of traditional institutions of knowledge and creating alternative ways of knowing. Performances that will be critically engaged include but are not limited to, the works of Camille Turner, Clement Virgo, and Halifax\u2019s Black Theatre Ensemble. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For centuries, Canadian history has been contoured by omissions and erasure that misconstrue the presence of Blackness as a recent introduction to the country. Canadian educational systems have eschewed engaging the role of Black people in the development of Canada to maintain the perception of national benevolence (Bristow, 1994). This fragmented historiography has been challenged by Black Canadian artists who have worked to unearth the 400 years of African Canadian experiences. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jellisa Ricketts, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jellisa Ricketts is a filmmaker and Ph.D. student studying Social and Political Thought at York University in Toronto, Ontario. Her research focuses on spatial theory, Black geographies, Cultural Geographies and Architecture. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Black And Free: Freedom School\u2019s Freedom Pedagogy as an Educational Stage for Black Youth Justice and Performance\u00a0<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>A radical and recalcitrant conjuring of Black youth\u2019s deep longing for freedom and educational justice, Freedom School Toronto is an immersive initiative that mobilizes creative educational alternatives toward a knotted relationship between Black liberatory education and the creative possibilities of Black youth. Visited in 2019 by Dr. Naila Keleta-Mae as part of Black And Free\u2019s research program, Freedom School Toronto challenges and resists state violence, anti-queerness and anti-Black racism in the Canadian school system. Examining its carefully designed Kiki Ball as a performance gesture and its Black Power Saturday School as an educational \u201cstage\u201d, I draw from Black feminist, queer and critical race theories as well as performance studies to explore Freedom School Toronto\u2019s freedom pedagogies including its use of humanizing and queer positive educational opportunities. Specifically, I explore its engagement of justice, politics, Black cultures and histories within the context of resistance, education and performance.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Shanique Mothersill, York University &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Shanique Mothersill a PhD candidate in gender, feminist and women\u2019s studies at York University, working on \u201cthe poetics of Jamaican women\u2019s aliveness.\u201d As a poet and scholar, she thinks and writes about the ways in which Black women\u2019s multiple acts of living help us understand gendered and racialized \u201cbeingnesss\u201d in the African diaspora.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"technology-and-performance\"><\/span><strong> Technology and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Room 443 (Room C)<\/p>\n<p>In-Person Session:<\/p>\n<p>Moderator: Fraser Steven<\/p>\n<p>&nbsp;<\/p>\n<p>Caitlin Gowans, &#8221; \u201cTwenty-two. Copypasta is meant to ruin every last bit of originality. Twenty-three. Copypasta is meant to ruin every last bit of originality\u201d: tracing the technology of posthuman opposition through Royal Court dramaturgy.&#8221;<\/p>\n<p>Tyler Graham, &#8220;Shifts in Agency: The Performative Dynamics of Body-Technology Relations&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Fraser Steven<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Room 443 (Room C)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u201cTwenty-two. Copypasta is meant to ruin every last bit of originality. Twenty-three. Copypasta is meant to ruin every last bit of originality\u201d: tracing the technology of posthuman opposition through Royal Court dramaturgy<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In his forward to Tim Price\u2019s Teh Internet is Serious Business, convicted hacker, Jake Davis, says that \u201cWith this play, we can all perhaps hope to understand, at least a little bit, what the internet means\u201d (xii). Should we take these words seriously coming from a hacker convicted of hacking major websites and defacing the websites of national governments? I argue in this paper that the internet can serve as a cypher for a technologization, that is the casting as technology, of human and non human identities. I will do this by exploring the ways in which plays at the Royal Court Theatre have staged the problem of the internet as well as the posthuman bodies who oppose their own casting as technology.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tracing the internet on the Royal Court stage through Price\u2019s depiction of the now nearly ancient internet of the early aughts in Teh Internet is Serious Business, Jennifer Haley\u2019s metaverse in The Nether, and Jasmine Lee-Jones\u2019 Seven Methods of Killing Kylie Jenner, which takes place in large part on Twitter, I will explore the way that posthuman subjects such as children, animals, and nature are rendered as technologies meant to perpetuate an extractivist capitalist state of affairs. Using Mel Y Chen\u2019s theory of animacies I will trace the ways in which posthuman subjects are rendered as technology through the various representations of the internet and in various palimpsestuous natures on stage. I will argue that posthuman subjects nevertheless resist this state of affairs through their own mattering.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Caitlin Gowans, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Caitlin Gowans is a PhD Candidate at the University of Toronto\u2019s Centre for Drama, Theatre and Performance Studies. Her research is on posthuman resistance in dramaturgy at the Royal Court Theatre in London, UK.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Shifts in Agency: The Performative Dynamics of Body-Technology Relations&nbsp;<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Observing the proliferation of agentic technology in the theatre, in 2015, Jennifer Parker-Starbuck noted that \u201call technology is now always-already subject\u201d (67). In this paper, I begin by building on Parker-Starbuck\u2019s taxonomy of cyborg theatre, to note that in the post-pandemic context, the body is now always-already abject. That is to say, the body is now, by default, a virtual, unstable, or even absent body\u2014something between object and subject. Using Parker-Starbuck\u2019s vocabulary, I combine insights from Martina Leeker and Maurya Wickstrom to develop a theoretical framework that highlights the moment-to-moment interplay between bodies and technologies on stage. Agency of different types is assigned by and between human bodies and technologies, through linguistic and technological performatives, on a moment-to-moment basis, and these shifts are enmeshed in the process of commodification.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>To illustrate the dramaturgical significance of this framework, I revisit two past performances that I helped to develop: my own Discord-based cyber theatrical project Blink and Squint: The Missing Colours (2021) and Toasterlab\u2019s hybrid VR-based Edinburgh Fringe show, Aionos (2023). Both of these projects involved the agentic interplay between on-stage bodies and technologies, and were never fully completed. I hypothesize that these projects could benefit from my framework, which would allow for a shared vocabulary that helps to direct and articulate artistic intentions in a devised theatre context.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Parker-Starbuck, Jennifer. \u201cCyborg Returns: Always-Already Subject Technologies.\u201d Performance and Media, edited by Sarah Bay-Cheng et al., University of Michigan Press, 2015, p. 67, doi.org\/10.3998\/mpub.5582757.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tyler Graham, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tyler Graham is a Ph. D. student and theatre artist at York University whose work occurs at the intersection of dialectical theatre and intermedial performance. Much of his artistic work has revolved around online &#8220;cyber theatre&#8221; and virtual reality performance. He presented at VRTO with VR performance artist Ari Tarr.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"audience-studies\"><\/span><strong> Audience Studies<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person<\/p>\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Ottawa<\/strong><\/p>\n<p>Moderator: Kelsey Blair<\/p>\n<p>Conrad Alexandrowicz, \u00a0&#8220;Performing in Response to the Anthropocene&#8221;<\/p>\n<p>Jacob Pittini, &#8220;Asking Audiences: Research Methodologies for Centering Audience Expertise&#8221;<\/p>\n<p>Alessandro Simari, &#8220;The Theatre Usher is Watching and Working&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Kelsey Blair<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 1411 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour- Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre &#8211; University of Ottawa<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Performing in Response to the Anthropocene<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this presentation I argue that there is an ethical imperative to re-imagine and deploy a climate-crisis response theatre\u2014at once theory, practice and pedagogy\u2014and acknowledge it will require dedication, courage and imagination. I believe we must engage in this work across the theatre academy, even though we have no idea of its potential efficacy in the face of an unprecedented set of global crises.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>I claim that work of this disposition, whether in practice or the pedagogy that feeds it, may acquire the following features: Such work will break the frame of realism; that is, we ought not content ourselves with staging realistic plays that depict battles against the forces of ecocide. Thus, in crossing over into realms of abstraction we will find ourselves in the zones defined as \u2018physical theatre\u2019 and \u2018dance.\u2019 As a matter of theory with praxis we ought, when and where possible, exit the buildings where we normally work, and relocate to various outdoor environments to teach, create, supervise creation, and perform. In doing so we may forgo the usual divisions between \u2018performer\u2019 and \u2018spectator,\u2019 aligning our work with late 20th Century participant performance, defined by Nicholas Bourriaud as \u201crelational aesthetics.\u201d&nbsp; Theatre education will have to respond to the heightened emotional states and needs of its community, invoking the therapeutic potentials that have always abided in the art form. Such work will logically fuse with reflections of a spiritual nature, and may produce events that overlap with ritual observance. Artist-scholars who are committed to developing new approaches to pedagogy in the teeth of eco-crisis may need to learn new skills, or refresh existing ones. As Greta Thunberg has written, \u201cWe now need a whole new way of thinking.\u201d<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Conrad Alexandrowicz, University of Victoria<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>CONRAD ALEXANDROWICZ is a Professor in the Department of Theatre at the University of Victoria, where he teaches movement for actors and directs department productions. He enjoyed decades-long career in as a creator of performance, migrating from dance to theatre. The co-edited collection that he instigated, and to which he contributed, entitled Theatre Pedagogy in the Era of Climate Crisis, was published by Routledge in May 2021. He is now at work on another book for Routledge about performance training in the face of linked environmental crises, entitled Performing the Nonhuman: Towards a Theatre of Transformation.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Asking Audiences: Research Methodologies for Centering Audience Expertise<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>What does asking audiences look like in the field of audience research? What can it achieve, and how? A commitment to \u2018asking audiences\u2019 in audience research responds to recent calls for centering audience expertise (Freshwater, Heim, Reason, Sedgman). By inviting audience members to speak for themselves, audience researchers enact a process of co-theorizing with the capacity to generate novel insights (\u201cRecollections on Re-collecting\u201d). This paper evaluates the ways in which audience members communicate and understand their role through a range of embodied behaviours, beyond the frame of researcher led interviews.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Following my experience of \u2018audiencing audiences\u2019 to survey audience behaviour for my MA dissertation, I imagine diversifying this prompt of asking audiences (Modern Misbehaviour). To assess theatre etiquette in a post-pandemic period of instability, I learned with theatre audiences through this approach of audiencing, a sensory ethnography research practice of embodying the role of audience member to gain first-hand knowledge of audiences. In light of this experience, I recognize audiences as communicating their beliefs, needs and expectations about theatre in a multitude of diverse ways.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In this paper I survey the rigour and potentiality of these research methodologies as approaches to \u2018asking audiences\u2019 and centering audience expertise in this field. While cautious to perpetuate the devaluation of non-expert voices and theorize on behalf of audiences rather than with them, this research instead seeks to recognize the agency of audiences to offer insights through behaviour independent of researcher intervention. Asking audiences remains crucial to audience research, but audience expertise can be centered in more than one way. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Freshwater, Helen. Theatre &amp; Audience. Palgrave Macmillan, 2009.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Heim, Caroline. \u201c\u2018Argue with Us!\u2019: Audience Co-Creation through Post-Performance Discussions.\u201d New Theatre Quarterly, vol. 28, no. 2, 2012, pp. 189\u201397. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Pittini, Jacob. \u201cAudiencing Audiences: Unpacking Audience Research Methodology in the Being Together Project.\u201d Sharing Together (Being Together team internal conference), Presentation, 6 June 2022. Queen\u2019s University, Kingston, ON.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Pittini, Jacob. Modern Misbehaviour: Surveying Post-Pandemic Theatre Etiquette in London, 2021-2023. 2023. Queen Mary University of London, MA dissertation.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Reason, Matthew. \u201cParticipations on Participation: Researching the \u2018Active\u2019 Theatre Audience.\u201d Participations: Journal of Audience &amp; Reception Studies, vol. 12, no. 1, 2015, pp. 271-80.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Sedgman, Kirsty. \u201cAudience Experience in and Anti-Expert Age: A Survey of Theatre Audience Research.\u201d Theatre Research International, vol. 42, no. 3, 2017, pp. 307-22.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jacob Pittini, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jacob Pittini is a PhD student at the University of Toronto\u2019s Centre for Drama, Theatre and Performance Studies. Jacob is invested in co-theorizing with audiences of contemporary theatre, with his recent MA dissertation surveying how theatre audiences are constructing and deconstructing notions of theatre etiquette in the post-pandemic era.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>The Theatre Usher is Watching and Working<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The analytical desire to untangle the complex receptive conditions of modern theatre has rendered forth analyses that variously re-configure the spectator \u2014 conventionally understood as being essentially passive in their absorption of the spectacle \u2014 as: active, emancipated performance interpreters; as \u2018prosumers\u2019 who produce in addition to consume the spectacle; as \u2018outsourced\u2019 theatre labourers involved in especially postmodern forms of meaning-making; or, as engaged in value-producing labour through the act of spectatorship itself. The spectator\u2019s performance of attentive watching has been rightly configured as a political act, especially in relation to the political economy of theatre.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>But spectators aren\u2019t the only attentive watchers who have a presence inside the theatre. The usher, lingering unseen in the darkened corners of the auditorium, provides a useful counterpoint to studies of the spectator. Where the spectator\u2019s leisure-time act of watching has been (re-)inscribed as a theatrical labour (with varying degrees of literalness), the usher (as a faux frais worker) performs types of attentive watching that are unambiguously related to the production processes of theatre.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Focusing its analysis mainly on the usher \u2013 a largely undertheorised figure in analyses of theatre\u2019s industrial operations \u2013 this paper attends to these differentiated \u2018labours\u2019 of watching. Additionally, this paper will further elucidate its claims regarding the political economy of usher \u2018spectatorship\u2019 through the comparative examination of two case studies of \u2018participatory\u2019 theatre, in which audience members and ushers were respectively invited to take centre stage alongside the performers.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alessandro Simari, University of Ottawa<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Alessandro Simari teaches theatre, early modern literature, and film, most recently at University of Ottawa. His research focuses on the cultural politics and political economy of theatre through the lens of theatre history and contemporary (Shakespeare) performance. He is a member of the Performance and Political Economy Research Collective. pperesearch.com&nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container curated-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Curated Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"towards-eco-just-future-department-of-utopian-arts-and-letters-orientation\"><\/span><strong> Towards Eco-Just Future, Department of Utopian Arts and Letters Orientation<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/curated-panel\/\" rel=\"tag\">Curated Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine <\/i><i>&#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Curator: Taiwo Afolabi<\/p>\n<p><b>Sponsored by the Centre for Socially Engaged Theatre (C-SET) and Department of Utopian Arts and Letters of Orientation (DUAL)<\/b><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Curator: Taiwo Afolabi<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028&nbsp; &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine <\/em><em>&#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Panelists: Garrett and Kimberley Richards<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Centre for Socially Engaged Theatre (C-SET) and Department of Utopian Arts and Letters of Orientation (DUAL)<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Welcome learners, to this orientation for the Department of Utopian Arts and Letters! We invite you to a vibrant community emerging from the dreams of creating a joyful, just and equitable world beyond the climate crisis. Today, we\u2019re thrilled to have a diverse group of the department\u2019s artist-educator faculty share their courses on how to imagine different futures through a rigorous unlearning process. Here at DUAL, we see education as a non-transactional experience open to all, regardless of institutional ties. We champion unconventional and accessible learning journeys, encouraging you to go at your own pace and follow your curiosity. Although we acknowledge our ambitious goals may not always be fully realized, our commitment to challenging established norms, nurturing skills for systemic change, and sparking innovative social and technological solutions never wavers. Come be empowered to explore the offerings of the department as we collectively dream, unlearn, and reimagine what an ecojust future could be! Free Pizza.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session online \" data-eventaccessibility=\"\" data-eventformat=\"Online\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/online\/\" rel=\"tag\">Online<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>16:15 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"intimacy-consent-based-practices-for-educators-artists\"><\/span><strong> Intimacy &amp; Consent-based Practices for Educators &amp; Artists<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><!-- wp:paragraph --><\/p>\n<p>Location: ONLINE &#8211; TBA<\/p>\n<p>Online Session<\/p>\n<p>Leader: Emily Rollie<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Emily Rollie<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: ONLINE &#8211; TBA<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Online Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The field of intimacy choreography and direction has evolved and veritably exploded in recent years as more and more theatre artists, companies, and institutions recognize the import and necessity of creating a culture of consent in rehearsal spaces. While much of the attention in the field of intimacy direction and education is necessarily on working with actors in rehearsal spaces, there\u2019s an increasing need to expand conversations and training in consent-based practices to include theatre artists in other areas and across academic programs.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Indeed, Theatrical Intimacy Education\u2019s selection of best practices are guided by two key ideas: to protect the most vulnerable in the room and to train everyone in the room. Thus, this praxis session takes up the idea of \u201ctraining everyone in the room\u201d to offer a sense of the ways that intimacy protocols and consent-based practices can be incorporated into the academic class room and across training programs. Drawing on my own work in creating and leading workshops across our department (as well as for faculty in disciplines beyond theatre) in addition to my work as an associate faculty member with Theatrical Intimacy Education, this praxis session examines and offers tools for the application of consent training and intimacy work&nbsp; as a way to continue to revolutionize the theatrical industrial complex and our training models.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emily Rollie, Central Washington University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emily Rollie, Ph.D. (she\/her) is an artist-scholar and Associate Professor in Performance and Theatre Studies at Central Washington University. Her research focuses on intimacy choreography and consent-based practices, directing practice\/theory, feminist and queer theatre, and contemporary Canadian theatre. She works professionally as a director and intimacy choreographer and is associate faculty for Theatrical Intimacy Education.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading tagora-activity-container tagora-section-container has-buttons-text-color has-accent-background-color has-text-color has-background\" id=\"june20\"><span class=\"ez-toc-section\" id=\"jeudi-20-juin\"><\/span>Jeudi 20 juin<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container seminar inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Seminar\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"editors-roundtable\"><\/span><strong> Editor&#8217;s Roundtable<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/seminar\/\" rel=\"tag\">Seminar<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p><strong>Sponsored by the Department of Theatre and Film &#8211; University of British Columbia<\/strong><\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140&nbsp; &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Sponsored by the Department of Theatre and Film &#8211; University of British Columbia<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Editors:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><!-- wp:paragraph -->\n<p><em>TRiC<\/em> &#8211; Nicole Nolette and\/or&nbsp;Naila Keleta-Mae<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>CTR<\/em> &#8211; Heather David-Fisch<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Modern Drama <\/em>&#8211; Lawrence Switzsky and\/or&nbsp;David Kornhaber<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Performance Matters<\/em> &#8211; Peter Dickinson<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Critical Stages <\/em>&#8211; Yana Meerzon<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>TURBA: The Journal&nbsp; for Global Practices in Live Arts Curation <\/em>&#8211; Dena Davida&nbsp;<\/p>\n<!-- \/wp:paragraph --><\/blockquote>\n<!-- \/wp:quote -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"care-and-participatory-theatre\"><\/span><strong> Care and Participatory Theatre<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0030 &#8211; &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine<\/i><i> &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Shannon Holmes<\/p>\n<p>Derek Manderson, &#8220;Team Play: Communal Care in asses.masses and New Societies&#8221;<\/p>\n<p>Jenn Stephenson, &#8221; \u201cWheeeee!\u201d: Emergent Social Relations in Marathon Durational Audience Participation&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Shannon Holmes<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0030 &#8211; &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine<\/em><em> &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Team Play: Communal Care in asses.masses and New Societies<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Emerging discourses of care amidst the schisms of the pandemic have revealed how self-care continues to be co-opted by neoliberalism, alleviating communal and institutional obligation (Hobart and Kneese; Jarvis and Savage). In this paper, I explore how participatory theatre advances reciprocal and communally driven radical care by engaging with dramaturgical structures of audience teamwork. Traditionally, care in participatory performances involves the sharing of \u201chealing gifts\u201d from artist to audience (Stephenson 93). I offer a framework that extends this dynamic, seeing the artist not as healer or gift-giver, but as the coach of a team. This \u201caesthetic of care\u201d (Thompson 46) foregrounds the action of the audience, allowing participants to negotiate their responsibilities to each other and how they might both support and be supported in a theatrical game.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Teams materialize clearly in Patrick Blenkarn and Milton Lim&#8217;s durational video game epic asses.masses, and Re:Current Theatre\u2019s board game nation-building simulation New Societies. By placing these works in conversation, I demonstrate how communal efforts towards an actionable goal &#8211; such as beating a video game or creating an ideal world- invite intimate displays of empathy and solidarity. While theatre teams are not immune to power struggles engendered by competition (Leo et al.), these performances reveal how navigating the obstacles erected by this thorny network of relationality can foster deeper cohesion when they are overcome. An effective team requires attentiveness and sensitivity, affording team dramaturgy a crucial platform for challenging a culture currently prioritizing care from and for the self.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Hobart, Hi\u2018ilei Julia Kawehipuaakahaopulani, and Tamara Kneese. \u201cRadical Care: Survival Strategies for Uncertain Times.\u201d Social Text, vol. 38, no. 1 (142), Mar. 2020, pp. 1\u201316.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jarvis, Liam, and Karen Savage. Postdigital Performances of Care: Technology and Pandemic. Bloomsbury Publishing Plc, (In press).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Leo, F. M., et al. \u201cRole Ambiguity, Role Conflict, Team Conflict, Cohesion and Collective Efficacy in Sport Teams: A Multilevel Analysis.\u201d Psychology of Sport and Exercise, vol. 20, Sept. 2015, pp. 60\u201366.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Stephenson, Jenn. \u201c\u2018Who Cares?\u2019: The Neoliberal Problem of Performing Care in Immersive and Participatory Play.\u201d Contemporary Theatre Review, vol. 32, no. 1, Jan. 2022, pp. 91\u2013100.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Thompson, James. \u201cTowards an Aesthetics of Care.\u201d Performing Care: New Perspectives on Socially Engaged Performance, edited by Amanda Stuart Fisher and James Thompson, Manchester University Press, 2020.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Derek Manderson, York University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Derek Manderson is an interdisciplinary scholar, performer, and PhD student in Theatre and Performance Studies at York University. His research imbricates game studies and participatory theatre, revealing the affordances, boundaries, and dramaturgical structures of collaborative play. He has been published in Canadian Theatre Review and smART Magazine.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u201cWheeeee!\u201d: Emergent Social Relations in Marathon Durational Audience Participation<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>By hour six of the participatory video-game theatre experience asses.masses, our community of audience-players is absolutely rapt, but we are getting silly. Some people are lying on the floor with empty bags of snacks; many of us have taken off our shoes. Each time the current leader-player jumps our donkey avatar over an obstacle, we all call out \u201cWheeeee!\u201d And we still have two episodes left to play.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This paper considers how long duration affects the relational aesthetics of socially turned theatrical art works (Bourriaud, Bishop). In asses.masses, which runs typically seven-and-a-half hours, the typical focus of durational experience of marathon theatre shifts from the endurance of the actors (Kalb, Switzky) to the audience. In the absence of live actors, the audience-participants of asses.masses play the digital characters and represent the asses, but, more importantly, we are the masses.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>With very little direction about how to (make a) play, the audience must grapple with tensions between the individual and the collective, between freedom and rules to make effective decisions. Using theories of game design (Salen and Zimmerman) and political philosophy (Rousseau), I will explore how different elements of interactive play-based dramaturgy in asses.masses test us and teach us to become a herd. Through analysis of actual observed behaviours of several different herds in action, I will consider how groups of strangers are progressively, in the crucible of time, formed into a functioning society with its own set of emergent operational protocols, social mores, and even a culture.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>WORKS CITED<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Blenkarn, Patrick and Milton Lim. asses.masses. Dramaturgy by Laurel Green. Composition and sound design by David Mesiha. Performed at Festival of Live Digital Art (Kingston, Ontario) June 2023 and Theatre Centre (Toronto, Ontario) September 2023.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Bourriaud, Nicolas. Relational Aesthetics, (Presses du r\u00e9el, 2002)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Kalb, Jonathan. Great Lengths: Seven Works of Marathon Theater, (U Michigan P, 2013)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Rousseau, Jean-Jacques. Rousseau: The Social Contract and Other Later Political Writings. Edited and translated by Victor Gourevitch, (Cambridge UP, 2018)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Salen, Katie and Eric Zimmerman. Rules of Play: Game Design Fundamentals, (MIT Press, 2005)&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Stephenson, Jenn and Mariah Horner. PLAY: Dramaturgies of Participation (Playwrights Canada, 2024).<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Switzky, Lawrence. \u201cMarathon Theatre as Affective Labour: Productive Exhaustion in The Godot Cycle and Life and Times.\u201d Canadian Theatre Review 162 (Spring 2015): 26-30.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Stephenson, Queen&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Jenn Stephenson is Professor in the Dan School of Drama and Music at Queen\u2019s University. She is the author of three books: Performing Autobiography: Contemporary Canadian Theatre (UTP, 2013), Insecurity: Perils and Products of Theatres of the Real (UTP, 2019) and PLAY: Dramaturgies of Participation co-authored with Mariah Horner (Playwrights Canada, 2024).<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container roundtable inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Roundtable\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"reflections-on-staging-justice-in-drama-theatre-and-performance-in-academia-and-beyond\"><\/span><strong> Reflections on staging justice in drama, theatre, and performance in academia and beyond\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/roundtable\/\" rel=\"tag\">Roundtable<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 0028 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine<\/i><i> &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Convenor: Signy Lynch and Jenn Boulay<\/p>\n<p>Members of working group 2023-2024 &#8211; Kim McLeod, Shana MacDonald, Michael Wheeler, Laura Levin, Peter Kuling, Sebastian Samur, \u00a0Catherine Quirk, \u00a0Jayna Mees, Naomi Bennett, Tara Harris, Michael Bergmann, Mark Lipton (Professor, University of Guelph), Taylor Graham<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leaders: Signy Lynch and Jenn Boulay<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 0028 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine<\/em><em> &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/utoronto.zoom.us\/j\/83800222747\">https:\/\/utoronto.zoom.us\/j\/83800222747<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Meeting ID: 838 0022 2747<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>At the two most recent CATR conferences, co-organizers Jenn Boulay and Signy Lynch led two seminars, \u201cBurning it All Down: Advocating for Structural Change through Disability Justice\u201d and&nbsp; \u201cPerforming Complaint: Working on theatre and performance institutions.\u201d These two sessions invited participants from a wide range of backgrounds to share responses and collaboratively brainstorm on issues of complaint (inspired by Sara Ahmed\u2019s Complaint!) and Disability Justice (inspired by Sins Invalid\u2019s \u201c10 Principles for Disability Justice\u201d and Jenny Boulay\u2019s work), as they relate to effecting change in Drama, Theatre &amp; Performance Studies (DTPS) departments and institutions.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Our proposal for this year (title TBA), is a roundtable that builds from these two conversations, drawing on themes and participants from the previous years to focus particularly on barriers to effecting change within DTPS departments and institutions (including reflexively examining how these barriers have surfaced within our own conversations). While our previous two sessions served primarily as spaces for internal reflection and community building, we feel that the conversation has advanced to a point that we would like to share our observations and work-in-progress with the broader CATR membership. In a roundtable that strongly addresses this year\u2019s conference theme of \u201cStaging Justice,\u201d we will invite guests from the earlier seminars, as well as some new arts professionals, artists, and\/or scholars from Tiohti\u00e0:ke\/Montr\u00e9al, to cultivate a forum for critical reflection and knowledge-sharing on the work towards collective liberation in both scholarly and practical contexts.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Works Cited<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u201c10 Principles of Disability Justice\u201d Sins Invalid, sinsinvalid.org\/blog\/10-principles-of-disability-justice<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Ahmed, Sara. Complaint!. Duke UP, 2021.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Boulay, Jenn. \u201cThe World is On Fire: Disability Justice is my Strength.\u201d Knots: An Undergraduate Journal of Disability Studies, vol. 6, no.1, 2021, pp. 68-75.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container open-paper-panel inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Open Paper Panel\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"puppets-and-performance\"><\/span><strong> Puppets and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/open-paper-panel\/\" rel=\"tag\">Open Paper Panel<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 3110 &#8211; <\/i><i>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/i><i>ch. de la C\u00f4te Ste-Catherine<\/i><i> &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(B<\/i><i>uilding 36 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Moderator: Barry Freeman<\/p>\n<p>James Ashby, &#8220;Collaborating Together, Apart: Teaching Devised Puppetry Online&#8221;<\/p>\n<p>Dawn Brandes, &#8220;Puppet Ecology: Playing With Plastics&#8221;<\/p>\n<p>Tzu-Yu Hung, &#8220;Revisiting the White Terror: The White Storyteller and Taiwanese Glove Puppetry&#8221;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Moderator: Barry Freeman<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 3110 &#8211; <\/em><em>Pavilion de la Facult\u00e9 de l\u2019am\u00e9nagement &#8211; 2940 <\/em><em>ch. de la C\u00f4te Ste-Catherine<\/em><em> &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(B<\/em><em>uilding 36 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Collaborating Together, Apart: Teaching Devised Puppetry Online<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This past summer, I was lucky enough to be able to teach a course related to my dissertation on devised puppetry. I began to draft my syllabus in a flurry of excited keystrokes: \u201cIn this course, we will seek to answer one deceptively simple question: Does the focus on the object in puppet theatre restrict the spontaneity and physical freedom that are so central to theatrical devising?\u201d We did indeed begin to come to grips with this question, but there was a new dimension that I had considered only in passing before. No matter how physically close a student might be to their puppet, no matter how rich the semiotic interchange between them might be, this was an online course. Consequently, these students bravely grappled with not only how to channel their creative impulses through an outside object but also how to communicate their ideas through a screen.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Thankfully, everyone was familiar with Zoom by then, so, much as performers must learn to do with puppets more generally, we were able to learn to take advantage of the flexibilities offered by the medium. A greater challenge was to develop devising strategies that left room for potentially constructive conflict (Barton 2008) and did so in a just manner, given that not everyone had the same depth of training and experience or access to the most recent technology. This paper will examine some of these successes and hurdles and outline how they could become increasingly relevant in our new reality.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>James Beauregard Ashby<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>James Beauregard Ashby is a relatively recent PhD graduate from the Centre for Drama, Theatre and Performance Studies at the University of Toronto, a puppet artist, a union activist, and a sometime sessional lecturer. Ashby is also the co-founder of Bricoteer Experiments Theatre and a past president of the Ontario Puppetry Association.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Puppet Ecology: Playing With Plastics<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Amid the growing (and interconnected) collection of environmental concerns facing humanity, our penchant for overconsumption and excess looms large. Far from an invisible harm, this excess is marked by landfills overflowing with fast-fashion textiles, rapidly-obsolete electronics, and of course, non-biodegradable plastic. The sheer volume of the \u201cstuff\u201d we consume is overwhelming us.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Puppetry is in a unique position vis a vis this proliferation of \u201cstuff.\u201d On one hand, it is an art form that relies on materiality, often making use of the same materials that show up in our landfills. On the other hand, the way in which puppeteers foreground and enliven these materials encourage audiences to look at them differently, perhaps undercutting or interrupting what Jane Bennett calls \u201cthe image of dead or thoroughly instrumentalized matter [which] feeds human hubris and our earth-destroying fantasies of conquest and consumption\u201d (ix). How might puppetry unsettle our relationship to the junk that surrounds us, and to what end?<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>To tackle this question, I will consider two performances that engage directly with the nonbiodegradable supervillain, plastic. In Compagnie Non Nova\u2019s L\u2019apr\u00e8s-midi d\u2019un foehn, disposable plastic bags become air dancers, carried on the wind created by multiple fans to the music of Debussy. In Robin Frohardt\u2019s The Plastic Bag Store, puppet characters playfully reflect on the story our indestructible plastic waste will tell future generations about us, replete with misinterpretations.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In both of these productions, the relationship to plastic is not one of interdiction, but of transformation. Whether the plastic is presented beautifully or comically, the message of these performances does not seem to be a simple command to \u201cuse less plastic,\u201d but a more complicated \u2013 and perhaps more ecologically hopeful \u2013 reorientation of our relationship to stuff.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dawn Tracey Brandes, Dalhousie University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Dawn Tracey Brandes is an Instructor in the Fountain School of Performing Arts and an Assistant Dean in the Faculty of Arts and Social Sciences at Dalhousie University in Halifax, Nova Scotia. Her scholarly work considers the theoretical implications of contemporary puppet performance, particularly in relation to phenomenological concerns. Her work has appeared in publications like The Routledge Companion to Puppetry and Material Performance and Puppetry International.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><strong>Revisiting the White Terror: The White Storyteller and Taiwanese Glove Puppetry<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>How can modern theater engage in the process of retelling difficult knowledge and if possible, in the process of any form of healing? This paper examines how Taiwanese colonial and postcolonial memory is presented in The White Storyteller (2019) by means of traditional glove puppetry. It first traces the history of Taiwanese glove puppetry under colonial rule and explores the ways The White Storyteller represents colonial and postcolonial trauma as well as how such trauma shaped Taiwanese identification. This paper argues that by means of a double theatrical mediation through its collaboration with traditional Taiwanese glove puppetry, the play presents the incommensurability of traumatic past and the incompleteness of historical representation. It explores the theatrical potentials of puppets onstage to portray the paradoxical condition of the White Terror as an open problem.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tzu-Yu Hung, University of Toronto<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Tzu-Yu Hung is a PhD student at the University of Toronto\u2019s Centre for Drama, Theatre and Performance Studies. Tzu-Yu\u2019s interests revolve around how the concept of dramatic illusion is explored classical Greek tragedy in its language and themes as well as how this concept affects tragedy\u2019s expected spectatorship.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"dogs-gods-and-city-hall-the-racialized-legacy-of-the-displaced-africville-community-and-the-unconscionable-actions-at-city-hall\"><\/span><strong> Dogs, Gods, and City Hall: The Racialized Legacy Of The Displaced Africville Community \u00a0 And The Unconscionable Actions At City Hall<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Leader: Cyrus Sandar Singh<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Cyrus Sundar Singh <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-270, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dogs, Gods and City Hall is a collaborative 50-minute co-creative presentation that engages practice, theory and performance in the framing of the narrative. The participants are immersed in experiential learning that places them inside Canadian history thereby complicit in creating, disseminating, and archiving the narrative. It is a participatory-performative-liveness that is based on the author\u2019s ongoing research with the community of Africville. The presentation contains verbatim transcripts from interviews conducted by the author. All audio elements of this presentation were also captured by the author on multiple research trips to Africville, Nova Scotia spanning five years.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cyrus Sundar Singh, <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cyrus is an AcademiCreActivist: a Gemini Award-winning filmmaker, scholar, composer, singer-songwriter, and published poet. He arrived in Toronto as a fresh-off-the-boat ten-year-old from India and almost embraced the winter. His doctoral thesis, Performing the Documentary explores site-specific live-documentary, which brings together the audience, subjects, musicians and multimedia in the co-creative telling. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>09:15 &#8211; 10:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"ethical-relationality-of-rehearsal-practice-a-live-experimentation\"><\/span><strong> Ethical Relationality of Rehearsal Practice: A Live Experimentation<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Leader: Peter Farbridge<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Peter Farbridge<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Many performing arts organizations have recognized a need for more diversity and equity in practice and to incorporate marginalized experiences and voices in performance to be more relevant to the communities to whom they perform. However, the challenge remains: Once representation of diverse communities is achieved, how do we cultivate ongoing ethical relationships in creation and rehearsal spaces?&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>We propose an approach aligned with the concept of ethical relationality that could be used in performing arts creation and rehearsal spaces to enable ethical co-creation by inviting and relating with diverse beliefs, perspectives, knowledge and experiences to contribute to more representative arts culture. Ethical relationality is an ecological understanding of human relationality that does not deny difference, but rather seeks to understand more deeply how our different histories and experiences position us in relation to each other. It requires the ability to recognize and hold the tension between different perspectives, allowing them to exist in and enrich the same space, while not attempting to force consensus or sameness. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>One possible tool of ethical relationality in rehearsal practice is called an \u201cethical tapestry\u201d, a dynamic multimedia document that reveals at specific points in time what behaviours and contexts are conducting the intersubjective relationships in a rehearsal practice. The approach we suggest is intended to be a starting point that can be fully developed and tailored to each specific context. They are not simply principles to state at the beginning of a rehearsal or to include in policy, but guidance for ongoing conscious interaction with the people, artifacts, and spaces in and of rehearsal.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Peter Farbridge, Concordia University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Peter is a theatre actor and creator working in Montreal, and founding co-artistic director of the Modern Times Stage Company from 1989 to 2022. He coordinates Postmarginal: Inclusive Performing Arts, a project that he initiated at Modern Times, which seeks to encourage new forms of theatre practice fuelled by the practice of marginalized artists. He has an MA in Anthropology and Theatre and joined the faculty of Concordia University as Artist-in-Residence in 2022.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container award-ceremony inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Award Ceremony\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>11:00 &#8211; 12:30 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"catr-associateships-and-scholarly-awards\"><\/span><strong> CATR Associateships and Scholarly Awards<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/award-ceremony\/\" rel=\"tag\">Award Ceremony<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140&nbsp; &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container  inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">17 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>12:45 &#8211; 14:15 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"lunch-on-your-own-2\"><\/span><strong> Lunch on your Own<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: You decide!<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"course-correction-reorienting-approaches-to-space-in-theatre-and-performance\"><\/span><strong> Course Correction: Reorienting Approaches to Space in Theatre and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Room 3110<\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: Room 3110<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The<em>&nbsp;Course Correction: Reorienting Approaches to Space in Theatre and Performance<\/em>&nbsp;Working Group is a collection of scholars working in a range of scholarly environments that is looking to build on the twenty-year legacy of the spatial turn by defining and exploring new directions for spatial perspectives on theatre and performance. Group members contribute research that heeds Kim Solga\u2019s call, in&nbsp;<em>Theory for Theatre Studies: Space<\/em>&nbsp;(2019), for the decolonization, not only of the stage, but also of spatial theory and its methodologies. They look for deeper incorporation of feminist and queer spatial theory into the field and encourage the uptake of urgent ecological issues and environmental ethics into spatial theory and practice. They are also looking to assess the consequences of the pandemic\u2019s interruption of spatial co-presence, often seen as fundamental to theatre and performance.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"digital-performance-%e2%80%9cteaching-and-learning-ai-inasfor-digital-performance%e2%80%9d-3\"><\/span><strong> Digital Performance: &#8220;Teaching and Learning: AI in\/as\/for Digital Performance&#8221;<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For the third year of our collaborations as the Digital Performance Working Group we will focus our in-person seminar as a teach-in on how to engage AI within the performance studies classroom. This will consist of a teach-in where members of the group will individually present 10-15 min presentations on how they engage AI through teaching exercises, reflections on in-the-class experiences with using AI, and interventions into prevailing debates around the uses and dangers of AI for learning. We will invite the audience to participate in discussion throughout and build together a set of resources for future sharing.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Members of working group 2023-2024 &#8211; Kim McLeod (Assistant Professor, University of Guelph); Shana MacDonald (Associate Professor, University of Waterloo); Michael Wheeler (Assistant Professor, Queen&#8217;s University); Laura Levin (Associate Professor, York University); Peter Kuling (Assistant Professor, University of Guelph); Sebastian Samur (Postdoctoral Fellow, University of Toronto); Catherine Quirk (Lecturer, Edge Hill Univeristy UK); Jayna Mees (PhD Student, York University); Naomi Bennett (Instructor, Louisiana State University); Tara Harris (PhD Candidate, York University); Michael Bergmann (PhD Student; University of Toronto); Mark Lipton (Professor, University of Guelph); Taylor Graham (PhD Candidate; University of Guelph)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"deep-play-praxis-workshop\"><\/span><strong> Deep Play Praxis Workshop<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Studio I &#8211; Concordia University<\/p>\n<p>In-Person<\/p>\n<p>Leader: Thea Fitz-James and e. clayton scofield<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Thea Fitz-James and e. clayton scofield<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Location: Studio I &#8211; Concordia University <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This workshop explores collaborative performance methods in creative research though the idea of \u201cdeep play\u201d. Facilitated by collaborators Clay and Thea, who co-run the Deep Play Artist Residency annually, this workshop explores how deep play can enhance artist creativity and invite interdisciplinary approaches to creative research and pedagogy. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The title is inspired by anthropologist Clifford Geertz&#8217;s concept of &#8220;deep play,&#8221; where questions of social ritual are explored through a deep or \u2018risky\u2019 commitment to play. By applying this concept to academic research \/ pedagogy, we aim to create opportunities for researchers\/ educators to inhabit the role of the jester in relation to their own research of the social (Augusto Boal). The Deep Play Workshop explores deep play as a methodological approach for creative research and performance-as-research, exploring the possibility of creative risk in controlled and care-based environments. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Clay and Thea run a summer live-in artist residency where they explore these concepts; for CATR, we\u2019d like to adapt some of our concepts into a 90-min workshop. This workshop combines theory (Thea) and practice (Clay) by (1) introducing our care-driven deep play methodology, (2) inviting participants into activities and games that create opportunities for play and risk and (3) reflect on how this impacts different approaches to creative research and arts pedagogy. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Thea Fitz-James<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p> Thea Fitz-James (she\/her) is a theatre academic and practitioner. She holds a PhD in Performance Studies from York University and is an adjunct assistant professor at Queen\u2019s University. She\u2019s developed two solo shows which have toured the Fringe circuit internationally. She is a white, queer, \u2018Mad\u2019, cis-gendered settler. For more: https:\/\/www.theafitzjames.com\/ &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>e clayton Scofield<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>e clayton scofield (clay, they\/them) is an interdisciplinary artist and poet who works between and across media to create long-form experiments in self-making and becoming as play. Their creative practice produces documents\u2014including field notes, sculptural artifacts, maps, multichannel video, and performance scores\u2014that are presented through publication, performance, and exhibition.&nbsp; For more: https:\/\/lizclaytonscofield.com\/&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"embodied-research-and-knowledge-in-performing-arts-the-indigenous-canadian-and-quebec-perspectives\"><\/span><strong> Embodied Research and Knowledge in Performing Arts: The Indigenous, Canadian and Quebec Perspectives<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/i><\/p>\n<p>Co-leaders: Art Babayants and Carlos Rivera Martinez<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Co-leaders: Art Babayants and Carlos Rivera Martinez<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Inspired by the IFTR Embodied Knowledge Working Group, we propose a space of exchange of embodied practices, training, research and knowledge as they pertain to performing arts in what is now called Canada. Participants will be welcome to draw from their own identities, hybridities, abilities, schools of embodied training, sources of knowledge and worldviews in order to share their embodied research enquiries, paradigms, methodologies and findings. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In an attempt to reimagine and decolonize the academic conference, we will place more value on experiencing and exploring participants&#8217; embodied research through doing\/acting rather than language, especially written language. We will invite proposals in a wide range of embodied forms including but not limited to ceremony, ritual, dance, chant, contact improvisation, movement exploration, training exercises, tango, etc. One of the goals of this sharing circle (panel) will be to explore commonalities and differences in embodied knowledge and training as it is applied to general actor\/dancer\/circus performer education as well as advance the understanding of how embodied research, specifically artistic or pedagogical research can be conducted and shared. Another goal is the inclusion of Land-based performance and\/or theatre practices by Indigenous artists, members of racialized communities and immigrants, with special focus on how those practices or methodologies. Additionally, we will encourage reflections on teaching movement techniques from a diversity of movement approaches and methodologies.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carlos Rivera<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carlos Rivera is a director, choreographer, actor and a dancer, originally from Mexico City.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He graduated from the Indigenous Residency Program at National Theatre School in 2018 and recently graduated from the MFA in Directing for Theatre Program at the University of Ottawa. Carlos has worked and collaborated with several performing arts companies across Canada including Red Sky Performance (Toronto), Globe Theatre (Regina), Raven Spirit Dance (Vancouver), MT Space (Kitchener), Puente Theatre (Victoria), Ondinnok (Montreal) Lemon Tree Creations (Toronto) Electric Company (Vancouver) Micro-Scope Productions (Montreal); among others. He is continuously working on numerous artistic projects in dance, film, theatre and performance.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Art Babayants, Bishop&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Art Babayants\/ \u0531\u0580\u057f \u0532\u0561\u0562\u0561\u0575\u0561\u0576\u0581 is a Canadian-Armenian theatre artist-scholar who has worked&nbsp; in Russia, Malta, Latvia, Bulgaria, the UK, the USA, and Canada. He founded his first theatre company in 2004 and almost reluctantly started a directing career, which eventually comprised musicals, such as Share and Share Alike (2007), Seussical. The Musical (2009 and 2018), Gypsy (2011), Godspell (2014 and 2021), and Spring Awakening (2019); contemporary Canadian drama, including Couldn\u2019t We Be (2008), The&#8230;Musician: An Etude (2012 and 2014), and Wine&amp;Halva (2020-2023). His best-known work, a devised collaborative multilingual production &#8220;In Sundry Languages&#8221; was presented at Toronto Fringe (2017) and Caminos (2017) and called by NOW &#8216;a compelling critique of Canadian inclusiveness&#8217;. Art teaches at Bishop&#8217;s University in Sherbrooke, QC.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n<h4 class=\"wp-block-heading tagora-activity-container has-buttons-text-color has-primary-background-color has-text-color has-background\">Pause &#8211; 15 minutes<\/h4>\n\n\n<div class=\"event-block\">\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"course-correction-reorienting-approaches-to-space-in-theatre-and-performance-2\"><\/span><strong> Course Correction: Reorienting Approaches to Space in Theatre and Performance<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p>Location: Room 3110<\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Location: Room 3110<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The<em>&nbsp;Course Correction: Reorienting Approaches to Space in Theatre and Performance<\/em>&nbsp;Working Group is a collection of scholars working in a range of scholarly environments that is looking to build on the twenty-year legacy of the spatial turn by defining and exploring new directions for spatial perspectives on theatre and performance. Group members contribute research that heeds Kim Solga\u2019s call, in&nbsp;<em>Theory for Theatre Studies: Space<\/em>&nbsp;(2019), for the decolonization, not only of the stage, but also of spatial theory and its methodologies. They look for deeper incorporation of feminist and queer spatial theory into the field and encourage the uptake of urgent ecological issues and environmental ethics into spatial theory and practice. They are also looking to assess the consequences of the pandemic\u2019s interruption of spatial co-presence, often seen as fundamental to theatre and performance.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container working-group inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Working Group\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">18 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"digital-performance-%e2%80%9cteaching-and-learning-ai-inasfor-digital-performance%e2%80%9d-4\"><\/span><strong> Digital Performance: &#8220;Teaching and Learning: AI in\/as\/for Digital Performance&#8221;<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/working-group\/\" rel=\"tag\">Working Group<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/i><i>Universit\u00e9 de Montr\u00e9al<\/i><\/p>\n<p><i>(Building 19 on the UdM Map)<\/i><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p><em>Location: Room 1140 &#8211; Pavilion Andr\u00e9 Aidenstadt &#8211; 2920 chemin de la tour &#8211; <\/em><em>Universit\u00e9 de Montr\u00e9al<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>(Building 19 on the UdM Map)<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>For the third year of our collaborations as the Digital Performance Working Group we will focus our in-person seminar as a teach-in on how to engage AI within the performance studies classroom. This will consist of a teach-in where members of the group will individually present 10-15 min presentations on how they engage AI through teaching exercises, reflections on in-the-class experiences with using AI, and interventions into prevailing debates around the uses and dangers of AI for learning. We will invite the audience to participate in discussion throughout and build together a set of resources for future sharing.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Members of working group 2023-2024 &#8211; Kim McLeod (Assistant Professor, University of Guelph); Shana MacDonald (Associate Professor, University of Waterloo); Michael Wheeler (Assistant Professor, Queen&#8217;s University); Laura Levin (Associate Professor, York University); Peter Kuling (Assistant Professor, University of Guelph); Sebastian Samur (Postdoctoral Fellow, University of Toronto); Catherine Quirk (Lecturer, Edge Hill Univeristy UK); Jayna Mees (PhD Student, York University); Naomi Bennett (Instructor, Louisiana State University); Tara Harris (PhD Candidate, York University); Michael Bergmann (PhD Student; University of Toronto); Mark Lipton (Professor, University of Guelph); Taylor Graham (PhD Candidate; University of Guelph)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">19 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 16:00 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"enlivening-justice-oriented-methodologies-in-performance-based-ethnographic-research\"><\/span><strong> Enlivening Justice-Oriented Methodologies in Performance-Based, Ethnographic Research\u00a0<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/i><\/p>\n<p>In-Person Session<\/p>\n<p>Leader: Christine Balt<\/p>\n<p>&nbsp;<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Leader: Christine Balt<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>This workshop asks how drama-based methodologies can advance more justice-oriented modes of inquiry in community-based, ethnographic research. Specifically, the workshop will grapple with the tensions that exist regarding the role of drama-based research in communities: should, for instance, performance be leveraged as a tool of primarily critique and analysis, particularly through critical ethnographic work that seeks to \u201cengage, interpret, and record the social meanings, values, structures, and embodiments within a particular domain, setting, or field of human interaction\u201d (Madison, 2020)? Or, should researchers eschew critique for more generative work that produces, rather than examines, new realities, according to a performative paradigm of research invested in world-making (Denzin, 2001)? This workshop will turn to autotopography (Heddon, 2007) as a justice-oriented methodology that can hold onto both critique and performativity in community-based research. Specifically, \u2018autotopography\u2019 emerges as a practice that attends to both the \u2018roots\u2019 and \u2018routes\u2019 (Heddon, 2007) of communities: their histories and socio-political (raced, gendered) inheritances via a critical ethnographic approach, and also, the \u2018elsewheres\u2019 of their imaginations as per a performative research methodology. Participants will engage in a series of writing and performance prompts to produce their own autotopographies \u2013 these will function as research artifacts that will mobilize criticality and performativity in \u2018frictional\u2019 ways (Puar, 2012). The autotopographies will also be examined as examples of&nbsp; \u2018wondrous\u2019 data (MacLure, 2013) that exert what I call \u2018critical fascination\u2019 through their \u201ccapacity to animate further thought\u201d in data analysis (p. 228). Participants (26 max.) need no prior performance experience to attend this workshop.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t\t<div class=\"tagora-activity-container praxis-session inperson \" data-eventaccessibility=\"\" data-eventformat=\"In-person\" data-eventtype=\"Praxis Session\">\n\n\t\t<div class=\"tagora-activity-container__top\">\n\n\t\t\t<div class=\"tagora-activity-container__left\">\n\t\t\t<i class=\"fa-solid fa-circle-info\"><\/i>\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventformat\/in-person\/\" rel=\"tag\">In-person<\/a> <\/span>\n\n\t\t\t\t\n        <div class=\"tagora-activity__time\">\n          <h4 style=\"font-size: 22.5px;\">20 juin, 2024<\/h4>\n          <h4 style=\"margin-top: 1.5rem;\"><strong>14:30 &#8211; 17:45 <span>EDT<\/span><\/strong><\/h4> \n        <\/div>\n\t\t\t\t\t\t\t\t<div class=\"tagora-activity-container-info__separator\"><\/div>\n\n\t\t\t\t<div class=\"tagora-activity__presenters\">\n\t\t\t\t\t\t\t\t<\/div> <!-- tagora-activity__presenters; -->\n\n\t\t\t<\/div> <!-- tagora-activity-container__left; -->\n\n\t\t\t<div class=\"tagora-activity-container__right\">\n\t\t\t\t<h3><span class=\"ez-toc-section\" id=\"embodied-research-and-knowledge-in-performing-arts-the-indigenous-canadian-and-quebec-perspectives-2\"><\/span><strong> Embodied Research and Knowledge in Performing Arts: The Indigenous, Canadian and Quebec Perspectives<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\t\t\t\t<span class=\"tagora__pill tagora__event-type\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventtype\/praxis-session\/\" rel=\"tag\">Praxis Session<\/a> <\/span>\n\t\t\t\t<h5><strong class=\"tagora-activity-container__short_description\"><p><i>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/i><\/p>\n<p>Co-leaders: Art Babayants and Carlos Rivera Martinez<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>In-Person Session<\/p>\n <\/strong><\/h5>\n\n\t\t\t\t<span class=\"tagora__pill\"><a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventhost\/catr\/\" rel=\"tag\">CATR<\/a> <\/span>\n\t\t\t<\/div><!-- tagora-activity-container__right -->\n\t\t\t\n\t\t\t<\/div> <!-- tagora-activity-container__top\t -->\n\n\n\t\t\t<div class=\"tagora-activity-container__bottom\">\n\t\t\t\t<button class=\"accordion\">Voir plus<\/button>\n\t\t\t\t<div class=\"tagora-activity-panel\">\n\t\t\t\t<div class=\"responsive-tabs\">\n<h4 class=\"tabtitle\">D\u00e9tails et descriptif de l&#8217;\u00e9v\u00e9nement<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<div class=\"tagora-activity-container__long-description ez-toc-exclude-headings\">\n\t\t\t\t\t<!-- wp:paragraph -->\n<p>Co-leaders: Art Babayants and Carlos Rivera Martinez<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><em>Location: Room 7-425, 7th Floor &#8211; John Molson Building, 1450 Rue Guy &#8211; Concordia University<\/em><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In-Person Session<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Inspired by the IFTR Embodied Knowledge Working Group, we propose a space of exchange of embodied practices, training, research and knowledge as they pertain to performing arts in what is now called Canada. Participants will be welcome to draw from their own identities, hybridities, abilities, schools of embodied training, sources of knowledge and worldviews in order to share their embodied research enquiries, paradigms, methodologies and findings. &nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In an attempt to reimagine and decolonize the academic conference, we will place more value on experiencing and exploring participants&#8217; embodied research through doing\/acting rather than language, especially written language. We will invite proposals in a wide range of embodied forms including but not limited to ceremony, ritual, dance, chant, contact improvisation, movement exploration, training exercises, tango, etc. One of the goals of this sharing circle (panel) will be to explore commonalities and differences in embodied knowledge and training as it is applied to general actor\/dancer\/circus performer education as well as advance the understanding of how embodied research, specifically artistic or pedagogical research can be conducted and shared. Another goal is the inclusion of Land-based performance and\/or theatre practices by Indigenous artists, members of racialized communities and immigrants, with special focus on how those practices or methodologies. Additionally, we will encourage reflections on teaching movement techniques from a diversity of movement approaches and methodologies.&nbsp;<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carlos Rivera<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Carlos Rivera is a director, choreographer, actor and a dancer, originally from Mexico City.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He graduated from the Indigenous Residency Program at National Theatre School in 2018 and recently graduated from the MFA in Directing for Theatre Program at the University of Ottawa. Carlos has worked and collaborated with several performing arts companies across Canada including Red Sky Performance (Toronto), Globe Theatre (Regina), Raven Spirit Dance (Vancouver), MT Space (Kitchener), Puente Theatre (Victoria), Ondinnok (Montreal) Lemon Tree Creations (Toronto) Electric Company (Vancouver) Micro-Scope Productions (Montreal); among others. He is continuously working on numerous artistic projects in dance, film, theatre and performance.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Art Babayants, Bishop&#8217;s University<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Dr. Art Babayants\/ \u0531\u0580\u057f \u0532\u0561\u0562\u0561\u0575\u0561\u0576\u0581 is a Canadian-Armenian theatre artist-scholar who has worked&nbsp; in Russia, Malta, Latvia, Bulgaria, the UK, the USA, and Canada. He founded his first theatre company in 2004 and almost reluctantly started a directing career, which eventually comprised musicals, such as Share and Share Alike (2007), Seussical. The Musical (2009 and 2018), Gypsy (2011), Godspell (2014 and 2021), and Spring Awakening (2019); contemporary Canadian drama, including Couldn\u2019t We Be (2008), The&#8230;Musician: An Etude (2012 and 2014), and Wine&amp;Halva (2020-2023). His best-known work, a devised collaborative multilingual production &#8220;In Sundry Languages&#8221; was presented at Toronto Fringe (2017) and Caminos (2017) and called by NOW &#8216;a compelling critique of Canadian inclusiveness&#8217;. Art teaches at Bishop&#8217;s University in Sherbrooke, QC.<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t<\/div> <!-- tagora-activity-container__long-description -->\n\n\t\t\t\t\n<\/div><h4 class=\"tabtitle\">Ressources et mots-cl\u00e9s<\/h4>\n<div class=\"tabcontent\">\n\n\t\t\t\t<div class=\"tagora-activity-container__links\">\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__links -->\n\n\t\t\t\t\n\t\t\t\t<h5>Mots-cl\u00e9s <\/h5>\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\tS\u00e9ries: <a target='_blank' href=\"https:\/\/theatreagora.ca\/fr\/eventseries\/catr-2024-conference\/\" rel=\"tag\">CATR 2024 Conference<\/a>\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t<div class=\"tagora-activity-container__tags\">\n\t\t\t\t\t\t\t\t<\/div><!-- tagora-activity-container__tags -->\n\n\t\t\t\t\n\t\t\t\t<\/div><\/div>\n\t\t\t\t\t\t\t<\/div><!-- tagora activity panel -->\n\t\t\t<\/div><!-- tagora activity-container__bottom -->\n\t\t\t\n\t\t\t\n\t\t<\/div> <!-- tagora-activity-container -->\n\n\t<\/div>\n\n\n\n\n<\/div>\n<script type=\"text\/javascript\">\n\tfunction sortObject(obj) {\n\t\treturn Object.keys(obj).sort().reduce(function (result, key) {\n\t\t\tresult[key] = obj[key];\n\t\t\treturn result;\n\t\t}, {});\n\t}\n\n\tvar $theatreAgoraContainer = jQuery(\".theatreagora_isotope_grid\");\n\tvar eventTypeSelectObj = {};\n\tvar eventFormatSelectObj = {};\n\tvar eventAccessibilitySelectObj = {};\n\t$theatreAgoraContainer.imagesLoaded(function() {\n\tjQuery( \".tagora-activity-container\" ).each(function( index ) {\n\t\tvar eventType = jQuery(this).attr(\"data-eventtype\");\n\t\tif(eventType){\n\t\t\tif (eventType.indexOf('|') > 0) {\n\t\t\t\tvar typeArray = eventType.split(\"|\");\n\t\t\t\t for (var i = 0; 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