Canadian Theatre Review

Canadian Theatre Review

Weight 0.00 lbs
This Journal is online at: CTR Online and Project Muse
Email List: Sign up for CTR Alerts!
Select Subscription Type
Select Location
Select Publishing Format
Price: $45.00
Description
Editorial Board
For Authors and Reviewers
For Readers
New & Noteworthy
Abstracting and Indexing
Advertising
Permissions
Acknowledgments
Theme Issues
Theme Issues

The Canadian Theatre Review features thought-provoking plays and articles on current issues and trends in Canadian theatre. CTR provides the Canadian theatre community with in-depth feature articles, manifestos, slideshows, videos, design portfolios, photo essays, and other documents that reflect the challenging forms that theatre takes in the contemporary Canadian arts scene. CTR is available in print and online.

Be sure to visit the new Canadian Theatre Review website for exciting events in the Canadian theatre community, featured articles, special promotions, and more!

E-ISSN: 1920-941X
ISSN: 0315-0836

Laura Levin ( Editor in Chief) is an Associate Professor in the Department of Theatre at York University.  Her research focuses on contemporary theatre and performance art, performing gender and sexuality, site-specific and urban performance.  She is Editor of a number of collections: an issue of Theatre Research in Canada on Space and Subjectivity in Performance; a CTR issue on Performance Art; Conversations Across the Border, a book with performance artist Guillermo Gómez-Peña; and Theatre in Toronto (Playwrights Canada Press, forthcoming). Her writing appears in several books including Space and the Geographies of Canadian Theatre, Performance and the City, and Mapping Landscapes for Performance as Research. She was recently awarded the Canadian Association for Theatre Research’s Richard Plant Essay Award for her article, “Can the City Speak? Site-Specific Art After Poststructuralism” (2009). She holds a SSHRC Standard Grant for “The Canadian Performance Studies Project,” the first major research study to theorize and map the field of performance studies as it has emerged in Canada, and in 2009-2010 she was Conference Director of Performing Publics, the 16th annual conference of Performance Studies international).  She has worked as a director and dramaturg, and most recently, she has collaborated on several transnational performance projects that investigate intersections of performance, geography, and digital technologies.

Associate Editors

Catherine Graham is Associate Professor in the Theatre & Film Studies program of the School of the Arts at McMaster University. Her research interests include English and French language activist theatre, performance theory and the role of performance in public life.

Reid Gilbert is Adjunct Professor in the Department of Theatre and Film, University of British Columbia. He recently retired from the Department of English, Capilano University, Vancouver. He is the author, with Sylvan Barnett, of A Short Guide to Writing about Literature. He has guest edited past issues of CTR, is on the editorial advisory board of Theatre Research in Canada, and has published extensively on Canadian theatre.

Barry Freeman is an Assistant Professor of Theatre and Performance Studies at the University of Toronto Scarborough whose research involves Canadian theatre, education, interculturalism and globalization. In 2011, Barry received the Richard Plant Award for his article, “Navigating the Prague-Toronto-Manitoulin Theatre Project: A Postmodern Ethnographic Approach to Collaborative Intercultural Theatre.” Barry is an Executive Editor of Theatre Research in Canada and sits on the Board of Directors of Theatre Ontario and the Paprika Festival.

Views and Reviews Editors

Natalie Alvarez is an Assistant Professor in the Department of Dramatic Arts at Brock University. Her research interests include: performance theory; North American contemporary performance; Latina/o-Canadian theatre; performativity in simulations and reenactment culture; as well as performance analysis and pedagogy.

Jenn Stephenson is an Associate Professor of Drama at Queen's University. Her research field is contemporary Canadian drama with a special interest in metatheatre, performativity and autobiography. She was the guest editor for the recent CTR issue on Science, Technology and Theatre (Summer 2007).

Editorial Address
Professor Laura Levin, CTR Editor
Room 317, Centre for Film and Theatre
York University
4700 Keele Street
Toronto, Ontario M3J-1P3
canadiantheatrereview@gmail.com

Contributors/Authors Survey
Contributors are key to our journals’ success. If you are/have been a contributor to CTR and would like to tell us about your experience, please complete our contributor survey. Thank you! We value and appreciate your input.

Note on Submission: CTR does not recommend unsolicited submissions, but requests proposals for articles centred around the theme of the particular issue first (proposals must generally be received no later than 9 months before the indicated publication date of the issue). Proposals may be forwarded to the address below. Editors are happy to receive suggestions or proposals for issue themes at any time. Following review and acceptance of proposal, guidelines for submission and suggested lengths will be forwarded.
Thank you for your interest in contributing to Canadian Theatre Review!

Click here to download the
CTR Script contract

Click here to view the CTR Style Guide

Editorial Address
Professor Laura Levin, CTR Editor
Room 317, Centre for Film and Theatre
York University
4700 Keele Street
Toronto, Ontario M3J-1P3
Canada
canadiantheatrereview@gmail.com
CTR 150 Bonus Insert Instructions!

Canadian Theatre Review is now available ONLINE
CTR Online features an archive of past and current issues and is an incredible resource for individuals and institutions alike. Subscribers to CTR Online enjoy:


Early access to the latest issues - Did you know that most online issues are available to subscribers up to two weeks in advance of the print version? Sign up for e-mail alerts and you will know as soon as the latest issue is ready for you to read.

 

Everything you need at your fingertips - search through current and archived issues from the comfort of your office chair instead of by digging through book shelves or storage boxes. The easy- to-use search function allows you to organize results by article summaries, abstracts or citations. You can also bookmark, forward reference link through DOI or CrossRef, export, and print a specific page, chapter or article.

 

Enhanced features not available in the print version - supplementary information, color photos, videos, audio files, etc. encouraging further exploration and research.


Project MUSE
Canadian Theatre Review is also a part of Project MUSE. Project MUSE is a unique collaboration between libraries and publishers providing 100% full-text, affordable and user-friendly online access to over 300 high quality humanities, arts, and social sciences journals from various scholarly publishers.

Canadian Theatre Review
is now on Stage!
Readers can now get a free taste of CTR by downloading Stage: Film and Performing Arts Spotlight, available for Apple and Android.

Comments/Questions?
Do you have comments or questions about any of our journals? We would love to hear from you.
Tell us what you think – write, email or call us at:

University of Toronto Press — Journals Division
5201 Dufferin Street
Toronto, ON M3H 5T8 Canada
Tel: (416) 667-7810 Fax: (416) 667-7881
Email:
journals@utpress.utoronto.ca

Forthcoming issues:
Performance and Human Rights in the Americas, CTR 161 Winter 2015
Performing Products, CTR 162 Spring 2015
Theatre and Sports, CTR 163 Summer 2015
Performance after Mega-Events, CTR 164 Fall 2015

Contact for Advertising information:
Audrey Greenwood
Advertising and Marketing Coordinator
University of Toronto Press
5201 Dufferin Street
Toronto, Ontario Canada M3H 5T8
Tel: (416) 667–7766
Fax: (416) 667–7881
Email:
agreenwood@utpress.utoronto.ca

Permissions Inquiries
University of Toronto Press
5201 Dufferin Street
Toronto, ON M3H 5T8 Canada
Tel: (416) 667–7777 ext:7849 Fax: (416) 667–7881
Email: journal.permissions@utpress.utoronto.ca
Canadian Theatre Review proudly acknowledges the support of The Canada Council for the Arts and the Ontario Arts Council.

Thank you to Ric Knowles

CTR 145 marked a change in the editorial team as editor-in-chief
Ric Knowles will be stepping down after many years of involvement with the magazine. Ric’s stewardship of CTR has been exemplary, and I want to take a moment to comment on his many contributions. Ric has played a central role in shaping the critical focus of CTR for the past two decades. He began his work with CTR as a guest editor in 1986, served as co-editor from 1996, and took on the role of editor-in-chief in 2004. Ric’s influence is evident in the extremely rich topics that CTR has taken up during this period, from “Working Conditions” to “Theatre and Disability” to “Eco-Theatre.” Ric served as issue editor for many of these noteworthy editions, including, among others, issues entitled “African Canadian Theatre,” “Canadian Eh?,” and “Intercultural Performance.”

As editor-in-chief, Ric has not only sought to feature the voices of individuals from across the country in CTR, but also the voice of a large number of artists working in all areas of performance practice. His vision for CTR extends beyond exploring what we might traditionally think of as theatre to examining a number of paratheatrical performances that inform theatremaking and theatregoing (e.g. raves, historical re-enactments, cultural rituals, performance art, etc.). In this respect, he has challenged us to keep up with new and alternative understandings of theatre. Most importantly, Ric has been instrumental in defining CTR’s commitment to publishing work by and about historically marginalized communities. Rather than merely restricting this work to special issues, he has insisted that it be included in each issue, thus ensuring that Canadian theatre is viewed through diverse and intercultural frames.

Ric’s work at CTR is representative of his larger contributions to the field as an editor, which are widely acknowledged and wide-ranging in scope. Not only has he served as editor and on the editorial board for a number of journals, but he has also edited numerous play anthologies and books on theatre history, theory, and criticism. His work was recently recognized, in 2009, by the Association for Theatre in Higher Education (ATHE) Achievement Award for Excellence in Editing.

Perhaps one of the most significant contributions that Ric has made as an editor is his mentorship of emerging theatre scholars and artists. Ric has been immensely generous in giving feedback, advice, and vital encouragement to individuals starting out in this profession. He is known for frequently giving artists, graduate students, and junior scholars an opportunity to share their work—often for the first time—in books and journals that he is editing. Beyond his work with individual authors, Ric has shown tremendous leadership when working closely with issue editors and editors of the Views and Reviews section at CTR. He has offered us valuable advice about content, as well as the literary, performative, and visual forms through which that content might be communicated. His advice to authors and editors is respectful, honest, and incisive, and he challenges us to strive for excellence when writing about and critically responding to performance.

On behalf of the editorial team, I want to thank Ric for everything he has done for CTR and for the fields of theatre and performance studies. His absence will be felt, but his example will continue to inspire us.

-Laura Levin

Actor Training in a Changing Landscape (CTR 160, Fall 2014)
Edited by Diana Belshaw and David Fancy, with Barry Freeman

Featuring the voices of acting trainers, actors, directors, graduates, policy makers and theorists from across the country, this issue explores key challenges facing acting training in English-speaking Canada. It also begins to imagine ways through and beyond them. The concept of “diversities” is used as a central organizing principle to unpack monolithic realities blocking the development of acting training, including a current and troubling absence of diversity in institutional approaches to aesthetics, to questions of gender and sexuality, and to the cultural realities of the student population. From the classroom, to the rehearsal, to the stage, this collection of interviews, lively conversations, essays and manifestos is sure to shift and intensify the national discussion about acting training.

Digital Performance (CTR 159 Summer 2013)
Edited by Peter Kuling and Laura Levin


CTR 159 focuses on the vibrant experimentations with digital technology that are taking place within the performance field. In line with CTR’s interest in covering new directions in theatre, the issue explores how digital technologies are leading performance into new physical and virtual spaces. Plays are now routinely staged online and on social media platforms; site-specific shows use cellphone texting on city streets; and players engage in complex performances of self in the imaginative worlds of video games. CTR 159 stresses the social and political dimensions of theatrical encounters with “new” technologies and interrogates the role digital media plays in providing individuals from historically marginalized communities with DIY forms of self-expression.

Scripts featured in this issue include LANDLINE: From Halifax to Vancouver by Dustin Harvey and Adrienne Wong, a cellphone performance experienced simultaneously by spectators on opposite sides of the country, and How iRan: Three Plays for iPod by Ken Cameron, a shuffleable audio play on imprisoned Iranian-Canadian blogger Hossein Derakhshan.

The issue also features excerpts from the theatrical experiments of Praxis Theatre—such as Section 98, an open source play that invites audiences to respond electronically to the show as it develops—and a slideshow surveying the use of digital technologies by theatre companies from across Canada.

Burlesque (CTR 158 Spring 2014)
Edited by Shelley Scott and Reid Gilbert

CTR 158 offers an extended conversation about burlesque in Canada, from archival photos and historical contextualization to the most current interpretations of what neo-burlesque can be and what it can do. The audacious urban experience of Montreal lives beside the off-the-grid exuberance of Lasqueti Island. The details of costume construction in Vancouver are considered alongside legal definitions that dictate costumes in Calgary. The issue offers an in-depth exploration of Toronto’s Operation Snatch, formerly The Scandelles, with two articles that chart the company’s trajectory from burlesque to political cabaret, a Scandelles script, and an online interview with founder Alexandra Tigchelaar. Also exclusively online, Adriana Disman has curated a dialogue among socially conscious performers using neo-burlesque for social change. Whether conveying the experience of a male burlesque performer, or drawing parallels with the community-building appeal of roller derby, the authors in this issue dissect, interrogate, and expand the definitions of burlesque.

Recommend this journal

: *
: *
: *
Type the characters you see in the picture. (If you do not see any picture here, please enable images in your web browser options and refresh this page):