Call for Organizers of Curated Sessions (EN)

Canadian Association for Theatre Research /
L’association canadienne de la recherche théâtrale (CATR/ACRT)

Kingston, Ontario
Isabel Bader Centre for Performing Arts, Queen’s University
Tuesday 29 May – Friday 1 June 2018

Call for Organizers: Working Groups, Curated Panels,
Seminars, Workshops,
and Praxis Events

DEADLINE 30 SEPTEMBER 2017

Fieldwork: Excavations and Exchanges in Drama, Dance, Theatre, and Performance Studies

Citing the famed televised boxing “scene” in 2012 between future Prime Minister Justin Trudeau and Senator Patrick Brazeau in their groundbreaking book Performance Studies in Canada, Laura Levin and Marlis Schweitzer articulate the emerging relationships between theatre studies and performance studies in Canada not only as distinct from the US and the UK, but also as fields of contest with one another. Listing recent Canadian conferences and postsecondary programs that focus on performance studies topics, they assert that it is a “false dichotomy that positions theatre studies in opposition to performance studies,” one that is “unproductive” (15). Viewed in various ways, we might imagine these fields as invitations for conversation among “strangers,” in the sense of Barry Freeman’s recent consideration of globalization on Canadian stages; as merging in Heather Davis-Fisch’s recent examination of “performance histories” in Canadian Performance Histories and Historiographies; or as when Jill Carter describes “Indigenous templates” “maintaining balance, arriving at consensus, avoiding conflict, and fulfilling responsibility for the good of all” (2). In 2015 ‘The Other D: Locating Dance in Drama, Theatre and Performance Studies’ conference hosted North American and international scholars who questioned the place of dance within theatre and performance studies in Canada. In other words, the meeting and confluence of fields in our scholarship and art can be made into sites of empowerment and further understanding.

CATR2018 seeks discussion that is cognizant of breaking down fortifications that separate fields, methodologies, and perspectives related to theatre studies, performance studies, dance studies, and dramatic literature. And we ask: How can we excavate aspects of conversation, contestation, confluence, and exchange from the work we do in our fields?

A hybrid site of human activity for 9000 years, the land that is now Kingston has been stewarded by Wendat, Haudenosaunee (Iroquois), and Ojibwa (Mississauga) peoples. Located at the junction of the Great Lakes and the St. Lawrence River on the resource-rich Canadian shield, upon European contact “Kingston” became a strategic shipping port and military outpost, first for the French and then the British, adjacent to the United States. Garrison theatricals became an integral part of the town’s life and Fort Henry became one of the area’s most recognizable buildings following the War of 1812. The college that became Queen’s University was built in 1841.

We invite proposals for working groups, curated panels, seminars, roundtables, praxis workshops, and performances from scholars, artists, and scholar-practitioners. As always, CATR encourages all voices, including underrepresented or marginalized perspectives. We welcome a range of research subjects and approaches. Graduate students who have not yet presented at a major national conference are encouraged to submit. We encourage proposals focusing on the conference theme, but proposals that depart from the theme will also be considered. All accepted presenters and participants are required to join CATR. For more information on CATR, now in its 41st year, and to join or to renew your membership please visit http://www.catracrt.ca.

Please note: the calls below are for curated events only. A separate open call for papers will be circulated in early October.

Please send all proposals to Jenn Stephenson and Craig Walker, Conference Program Co-Chairs, at catr2018@gmail.com by 30 September 2017.

Call for Working Groups: due 30 September 2017

Proposals are invited from prospective working group leaders for two- to three-year-long working groups related to theatre, performance, dance, and drama that is Canadian or international in scope. A working group enables CATR members to meet in a two-hour CATR conference timeslot to discuss a subject or to enable a project that requires more than the one year afforded by a seminar slot. Because the subject or project of the working group should be of benefit not only to its members but also to the broad CATR membership, a portion of the conference timeslot should be dedicated to a presentation of findings/results open to all conference participants. A working group should consist of at least 5 active members at any given time with one designated as the working group leader. As with all conference sessions, working group members must be CATR members in good standing in order to participate in the group year-round and to attend the conference. After three years the working group must wait one year before reapplying, if desired.

Prospective leaders are asked to submit a 250-word proposal and a 250-word call for participants. Proposals should include the name of the working group leader, the working group title, scholarly or disciplinary rationale, a description of the structure and timeline of the project over its proposed duration, a description of how the conference session time will be used, the desired outcomes of the project (e.g. publications and/or other forms of dissemination, new disciplinary processes, archived materials, etc.), and the anticipated number of working group participants extant (with names and affiliations) and sought.

Note that while working group proposals are to be sent to the Conference Program Co-Chairs (as above), unlike proposals for other curated sessions, they will be forwarded to, and evaluated by, the CATR Board of Directors to allow for their objectives to transcend any immediate ideas of a particular conference and to allow for their needs may be met beyond one year.

Call for Curated Paper Panels: due 30 September 2017

Proposals are invited from prospective organizers for curated paper panels on any topic related to theatre, performance, dance, and drama that is Canadian or international in scope. Prospective organizers are asked to submit a 250-word proposal and a 250-word call for participants. Proposals should include the title of the panel, a scholarly rationale, and a brief description of how the panel will be structured. The call for participants should specify the title and focus of the panel along with a short list of potential topics or perspectives, a brief description of what will be required of panelists, and contact information.

 

Call for Seminars and Roundtables: due 30 September 2017

Proposals are invited from prospective organizers for seminars and roundtables related to theatre, performance, dance, and drama that is Canadian or international in scope. Prospective organizers are asked to submit a 250-word proposal and a 250-word call for participants. Proposals should include the title of the session, a scholarly rationale, along with a description of structure and proposed length. The call for participants should specify the title and focus of the session, a list of issues and goals, a description of work required, due dates, and contact information. Please note that seminars will be scheduled for two hours and roundtables for ninety minutes.

Ways of engaging seminar and roundtable participants might include:

  • Exchange of papers prior to the session.
  • Respondents to papers in preparation for online discussion or conference session.
  • Editing of pre- or post-conference papers among session participants.
  • A reading list related to the topic and participants’ work in preparation for discussion at the conference.
  • Email discussion of the general issues related to the topic and an arrangement of procedures for the session.
  • Grouping of participants and designation of discussion topics for breakout groups during the session.

Participants are not to read or provide lengthy oral summaries of their papers during the session. All seminars and roundtables are open to auditors.

 

Call for Praxis Workshops and Performances: due 30 September 2017

Praxis sessions represent the intersection of scholarly inquiry and creative practice and offer a forum for scholar-practitioners to introduce conference attendees to their artistic research activities. Sessions may take the form of participatory workshops, interactive presentations, or contextualized performances, and may be targeted to participants with specialized preparation/training or to general audiences. Prospective organizers are asked to submit a 250-word proposal and a 250-word call for participants. Proposals should include the title of the session and a rationale that reflects a clear artistic research framework, along with a description of the proposed structure for a 90 minute session. Please indicate space and/or equipment needs, the preferred and maximum numbers of participants, and whether non-participant observers are welcome.

Possible approaches to the praxis workshops and performances might include:

  • Workshops on technique or process;
  • Presentations of and discussions about praxis-based research;
  • Presentations of performance works-in-progress and group critique/feedback;
  • Performance interventions in conference spaces.