CAPITAL IDEAS - Canadian Association for Theatre Research Conference 2015
11 November, 2014
CATR Conference 2015, Department of theatre, University of Ottawa
The 2015 Canadian Association for Theatre Research (CATR) Conference will take place at the
University of Ottawa's Department of Theatre from Saturday May 30th to Tuesday June 2nd,
2015, as part of the Congress of the Humanities and Social Sciences (CHSS).
The theme of the 2015 CHSS is Capital Ideas, an invitation to reflect on the power of ideas.
Ideas captivate our hearts and minds; ideas connect people and ignite discussions and debates;
ideas create knowledge and spark discoveries; ideas represent an invaluable currency capable of
changing our lives and our world. We thus expect the 2015 CHSS to be an exciting intellectual
hub where ideas will be expressed, shared, debated and implemented!
The theme also relates to the location of this year's CHSS host in the nation's capital. As the seat
of our federal government and of many national agencies and cultural institutions, as the home of
embassies and of a large number of international organizations, Ottawa boasts a unique
environment rooted in the confluence of peoples and the intersection of ideas from all over the
world. This particular context promotes a rich diversity of both perspectives and research
The mandate of the CATR is to support and encourage research in theatre and performance
studies, with a special interest in Canadian work. With this in mind, the organizing committee is
proud to announce the two internationally renowned key-note speakers who will open the
upcoming CATR conference: Dr. Patrice Pavis (Université de Paris VIII and University of Kent,
UK) with the talk entitled "Un étranger peut-il regarder le spectacle des autres?" in French; and
Dr. Susan Bennett (University of Calgary) with "'The Financialization of Everything': Brand
Performance, Urban Capital and Global Markets" in English.
The committee encourages the CATR 2015 participants to think about the expression "Capital
Ideas" both conceptually and literally, inviting proposals that respond to one or several of the
following suggested topics:
Following Pierre Bourdieu's formulation of the three forms of capital that characterize
our society today – cultural capital, social capital and economic capital – delegates are
invited to reflect on how our collective and individual thinking about theatre and
performance as a form of practice allows us to shape, create and profit from these forms
of capital. How do funding bodies or educational and cultural institutions serve Canadian
theatre artists and scholars? How do they support or promote intellectual, emotional and
spiritual capital? What is the role of public policy in the generation of new ideas, both in
practice and in research?
Furthermore, the committee invites conference participants to consider, challenge and reconceptualize Edward W. Said's views on the public role of the intellectual as "outsider, amateur, and disturber of the status quo" (Representations of the Intellectual: The 1993 Reith Lectures, xx) in society; a person whose task is to "break down the stereotypes and reductive categories that are so limiting to human thought and communication" (ibid., xi).
We invite participants to reflect on how theatre and performance practice and scholarship
in Canada shape the discourse around the position of the intellectual and question his/her
place in society. More specific questions to be asked might include:
• How do we define theatre that makes us think?
• What is theatre's function in today's society? What is the place of the theatre and performance studies scholar and practitioner in today's university?
• Is theatre today a cultural product or a place of investment (personal, aesthetic, etc.)?
• How do performances on stage and in life engage ideas (political, philosophical, artistic, cultural etc.)? How do performance and scholarship promote the transfer of ideas across cultures and between individuals?
• How do theatre, performance practices and scholarship help reveal the achievements and the failures of history in our society? Does theatre today serve as a place to rehearse and challenge "nationalism(s)"? What is the function of Canadian theatre as one of the major players on the world theatre scene today?
• What makes Canadian theatre practices unique? How do we define our work as specifically Canadian?
• Does theatre today serve as a place of ideas and identity affirmation? How do performative practices and scholarship in Canada reflect the increasingly diverse demographics that mark Canadian society?
• How does Canada's economic environment influence theatre practice and scholarship?
• What roles do Canadian theatre practice and scholarship play in the development of international drama and performance studies? And how do theatre and scholarship in English and French in Canada reflect major world economic, political, cultural and social developments, both historically and today?
• To which extent is "research creation" becoming an autonomous field, free of traditional "theory vs practice" oppositions? What are the particularities of "research creation" as an approach to building knowledge? What is the place or function of ignorance and risk taking in the creation of knowledge and art today?
The 2015 CATR conference will, like previous conferences, offer a variety of participation
modes. These include praxis workshops, open paper panels, curated paper panels, seminars and
roundtables. Those who wish to submit proposals for more than one format may do so, though a
preference of mode(s) of participation should be identified. All session organizers and presenters
are invited to speak to the CHSS theme; however, proposals that depart from the official theme
will also be considered. Graduate students are encouraged to apply.
1) Open paper panels: There will be a number of sessions featuring grouped 20-minute papers. To be considered for an open paper presentation, please submit a 300-word abstract outlining your research, its context and its significance along with a short bio to Yana Meerzon and Louise Frappier, Program Planning Committee Co-Chairs, at firstname.lastname@example.org
by December 10, 2014. Acceptance will be based on scholarly rigor and originality.
2) Curated panels: Participation in each curated panel will be limited to three people. Each curated panel will be scheduled for 90 minutes in total. To be considered for one of these panels, please respond in accordance to that panel's particular call and send requested information directly to the panel organizer by January 15, 2015. For full details of all the curated panels, their individual calls and contact information, visit the CATR website www.catracrt.ca and follow the link to Conferences.
• Bousculer la scène unilingue : Pratiques théâtrales bi- et plurilingues au Canada /Defying Stage Monoligualism: Bi- and Multilingual Theatre Practices in Canada. Nicole Nolette (email@example.com) and Art Babayants (firstname.lastname@example.org)
• Long Live the New Flesh: The Influence of Digital Technologies on Performance and Audience. Organizer: David Owen ( email@example.com)
• Another Kind of Work: Cultural Capital, Performance, and LGBTQ Communities. Organizers: Stephen Low (firstname.lastname@example.org) and Paul Halferty (email@example.com)
• Remembering and/or Forgetting? Staging History, Memory, and Exile in Canadian Theatre. Organizer: Diana Manole [complete]
• Bodies of Capital: The Actress, Transatlantic Performance and Cultural Negotiation in the Long Nineteenth Century. Organizers: Marlis Schweitzer and Roberta Barker. [complete]
• Generating Momentum in Contemporary Circus Research in Canada: Circus and Capital? Organizers: Zita Nyarady, Joe Culpepper , and Jennifer Spiegel [complete]
3) Seminars: Participation in each seminar group will be limited to eight to twelve people. Each seminar will be scheduled for three hours in total. Participation in a seminar does not limit your participation in another type of session at the conference. To participate in a seminar, please respond in accordance to that seminar's particular call and send requested information directly to the seminar leaders for vetting by January 15, 2015. To view full details of the seminars and contact information, visit the CATR website www.catracrt.ca and follow the link to Conferences.
• Bodytexts. Writing the Body / Textualités du corps. Organizers: Catherine Cyr (firstname.lastname@example.org) and Louis Patrick Leroux (email@example.com)
• Capital Wayfaring: Peripatetic Explorations of Monuments and Moose Droppings in Ottawa. Organizers: Melanie Bennett (firstname.lastname@example.org) and Keren Zaiontz (email@example.com)
• Performance History Seminar: Performance Historiographies. Organizers: Roberta Barker (firstname.lastname@example.org), Heather Davis-Fisch (Heather.DavisFisch@ufv.ca) and Stephen Johnson (email@example.com)
• Science and Theatre: Exchanging Ideas in the Cultural Market. Organizers: Sydney Tyber (firstname.lastname@example.org) and Derek Gingrich (email@example.com)
• Articulating Artistic Research 3.0: Ideas of Knowledge. Organizers: Natalia Esling and Bruce Barton (firstname.lastname@example.org).
• From University Wits to Rude Mechanicals: The Value of Campus Productions. Organizers: Patrick Finn (email@example.com)
• Acting Training in a Shifting World: Propositions for Changes in Acting Curricula across Canada. Organizers: Conrad Alexandrowicz (firstname.lastname@example.org) and Ursula Neuerburg-Denzer (email@example.com)
4) Roundtables: Participation is limited to eight people per roundtable. Each roundtable will be scheduled for 90 minutes in total. Participation in a roundtable does not limit your participation in another session at the conference. To participate, please send requested information directly to roundtable organizers by January 15, 2015. To view full details and contact information, visit the CATR website www.catracrt.ca and follow the link to Conferences.
• La formation du (jeune) spectateur de théâtre. Organizers: Francine Chaîné (Francine.Chaine@arv.ulaval.ca) and Louise Forsyth (firstname.lastname@example.org)
• Staging Equity: Actualization or Appropriation? Organizers: Rebecca Burton and Laine Zisman Newman (email@example.com)
• Linguistic and Cultural Junctures in Canadian Theatre/ Jonctions linguistiques et culturelles dans le théâtre canadien. Organizers: Louise Ladouceur and Stephen Johnson [complete]
5) Praxis Workshops / Demonstrations: Our praxis workshops / demonstrations are planned to provide a forum for practitioners to share their applied and theoretical research. To view full details of the praxis workshops / demonstrations and contact information, visit the CATR website www.catracrt.ca and follow the link to Conferences.
• Warmth is Memory, History is Imagination, Performance is a Palimpsest (praxis workshop). Organizer: Daniel Mroz (firstname.lastname@example.org)
• Undocumented Labours: Outsider-Academics Translating Ideas in the Academy (praxis demonstration). Organizers: Naila Keleta-Mae (email@example.com) and Helene Vosters (firstname.lastname@example.org) [complete]
• Ideas, Emotion, and Change: Performed Lived Experience and Transformative Learning (praxis demonstration). Organizer: Shea Wood (email@example.com) [complete]
* Applicants are encouraged to submit proposals in either English or French for any of these conference sessions. We encourage you to present your work in the language of your choice. CATR will facilitate assistance with translating slides, handouts, etc. to assist participants or audience members who require translated materials.
** For all proposals, participants may choose to blend more traditional academic modes with performance practice within panels and/or within individual presentations.
Guidelines for all CATR conference participants:
• Participants must be members of CATR and register for the conference.
• Participants are required to meet the requirements and deadlines of the session for which they are applying, and may be asked to withdraw if they do not do so.
• Participants are expected to attend and participate in the conference session in person (No SKYPE, Online or distance participation during the conference).