President / Présidence

Professor Yana Meerzon teaches for the Department of Theatre, University of Ottawa. Her research interests are in drama and performance theory, and theatre of migration and nationalism. For more information see: https://uniweb.uottawa.ca/members/270. Yana has been a member of CATR/ACRT since 2000; she has co-chaired the 2015 conference organizing committee, and sat on the 2014 and 2019 committees as well. Between 2015 and 2017, she served as Scholarly Awards Coordinator, and in 2020 she co-chaired Jean-Cléo Godin Award/ Le prix Jean-Cléo Godin committee. In the position of CATR/ACTR President Yana will continue to uphold high professional and ethical standards as specified by the CATR Statement of Values and Code of Conduct. During her mandate, Yana plans to work on diversifying our organization further, supporting emerging scholars and artists, and seeking ways to disseminate academic and artistic knowledge more democratically, i.e. reaching out to remote communities and making digital technologies and internet better serve our rapidly changing ways of communication and making theatre.

Dr. Yana Meerzon travaille comme professeur titulaire au département de théâtre de l'Université d'Ottawa. Ses recherches portent sur l'art dramatique et la théorie de la performance, ainsi que sur le théâtre des migrations et du nationalisme. Pour plus d'informations, voir : https://uniweb.uottawa.ca/members/270. Yana est membre de la CATR/ACRT depuis 2000 ; elle a coprésidé le comité d'organisation de la colloque de 2015 et a également siégé aux comités de 2014 et 2019. Entre 2015 et 2017, elle a été coordinatrice des prix scientifiques et en 2020 a coprésidé le comité du Prix Jean-Cléo Godin. En tant que présidente de la CATR/ACTR, Yana continuera à maintenir des normes professionnelles et éthiques élevées, comme le précise la Déclaration des valeurs et le Code de conduite de la CATR. Pendant son mandat, Yana prévoit de travailler à la diversification de notre organisation, de soutenir les universitaires et les artistes émergents, et de chercher des moyens de diffuser les connaissances académiques et artistiques de manière plus démocratique, c'est-à-dire de toucher les communautés éloignées et de faire en sorte que les technologies numériques et Internet servent mieux nos moyens de communication et de faire du théâtre, qui évoluent rapidement.

Vice-President / Vice-Président

Andy Houston is an artist-researcher in intermedia and site-specific performance, and an associate professor and associate chair in the Theatre and Performance program at the University of Waterloo. For more information see: www.andyhouston.net. Andy has been a member of CATR/ACRT since 2002; he has served on conference organizing committees in 2006 and 2012, and in the position of Vice President he hopes to contribute to the fine work currently underway to make our organization more responsive and useful to the career development of young scholars and artist-researchers.

Andy Houston est un artiste-chercheur en intermédias et en performances géo-spécifiques. Il est professeur adjoint et directeur du département des études de théâtre et de performances de l’université de Waterloo. Pour plus d’infomations: www.andyhouston.net. Andy est membre du CATR / ACRT depuis 2002. Il a siégé aux comités d’organisation des conférences de 2006 et 2012. En tant que vice-président, il espère contribuer au bon déroulement des travaux déjà en cours afin de rendre l’organisation plus accessible et utile au développement de la carrière des jeunes chercheurs et artistes-chercheurs.

Atlantic Representative / Région de l’Atlantique

Robin C. Whittaker, PhD is Associate Professor at St. Thomas University in Fredericton, NB (Wolastoqiyik, Wəlastəkewiyik / Maliseet) where he teaches dramatic literature. He is co-creator of the verbatim play no White Picket Fence (Talonbooks 2019), past Artistic Producer for Theatre St. Thomas (2014-19), and editor of Hot Thespian Action: Ten Premiere Plays from Walterdale Playhouse (Athabasca UP 2008). His articles appear in publications that include Theatre Research in Canada and Canadian Theatre Review. He is presently writing a book on nonprofessionalizing theatre. For CATR he has served on the Board since 2013 and conference committees since 2009.

Robin C. Whittaker, Ph.D., est professeur agrégé à l’Université St. Thomas à Fredericton, au Nouveau-Brunswick (Wolastoqiyik, Wəlastəkewiyik / Maliseet) où il enseigne la littérature dramatique. Il est co-créateur de la pièce textuelle no White Picket Fence (Talonbooks 2019), ancien producteur artistique pour Théâtre St. Thomas (2014-19) et éditeur de Hot Thespian Action: Ten Premiere Plays from Walterdale Playhouse (Athabasca UP 2008). Ses articles paraissent dans des publications telles que Recherches théâtrales au Canada et Canadian Theatre Review. Il écrit actuellement un livre sur le théâtre non professionnel. Pour l’ACRT, il siège au conseil d’administration depuis 2013 et aux comités de conférence depuis 2009.

Quebec Representative / Québec

Liviu Dospinescu is a professor of Theatre Studies at the Department of Literature, Theatre and Cinema of the Université Laval (Québec, QC, Canada) since 2008. He holds a Ph.D. in Studies and Practices of Arts from the Université du Quebec à Montréal (UQAM), with a thesis on the “empty space and the enunciation strategies of the mise en scène of Samuel Beckett’s ‘television plays’.” He has promoted through numerous conferences and papers the concept of “phenomenological theatre” (2017) related to the “spectator’s absorption into the playing space,” seen as an immersive experience (on a psychological mode) into the theatrical fictional world.

Liviu Dospinescu is also interested in intercultural, interartistic and interdisciplinary forms, with a special focus in dance-theatre and ritual theatre. His recent research focuses on the form and functions of intercultural theatre: “Towards an Intercultural Genetics of the Theatre of the Balkans” (2013-2016) and “The Syrian Exodus in the Theatre of the Real: Towards a Social Rituality” (2017-2019), and “The representations of the human catastrophe at the beginning of the 21st century through rites of passage: social ritual or return to tragedy?” (2021-2026). Liviu Dospinescu has an artistic experience as theatre director, actor and author, often inspired by his research interests, developed and promoted as research theatre. At a research-creation level, he explored the Live Movie as an intermedia genre within the “Scenic Writings for Permeable Screens” research-creation project (2010-2012) that he directed at LANTISS – Laboratoire des nouvelles technologies de l’image du son et de la scène, Université Laval. This project contributed to the development of specific hyperrealist aesthetics and dramaturgy and of new specific modes of perception within two experimental multimedia productions, La Boîte and Sables vivants (2012). In 2019, he started a new research-creation project, Extra-Muros, to be staged in a ritual theatre form of expression, which explores, through an interdisciplinary and intercultural approach, the patterns of the myths of exodus and exile, from Greek ancient texts to contemporary ones, as well as their echoes in the recent history of forced population displacement and migration movements.

Liviu Dospinescu is associated researcher of the Interdisciplinary Circle of Phenomenological Research in Montreal, regular member of the Institut du patrimoine culturel (IPAC) de l’Université Laval and of the Communauté de recherche interdisciplinaire sur la vulnérabilité (CRIV), as well as member of the International Association of Theatre Critics (IATC) and of the Association Québécoise des critiques de théâtre (AQCT). He is also a correspondent member of the Académie du Var (France).

Détenteur d’un doctorat en études et pratiques des arts de l’UQÀM, avec une thèse portant sur l’espace vide et les stratégies de la mise en scène dans les «pièces pour la télévision» de Samuel Beckett, Liviu Dospinescu s’intéresse aux stratégies de production et de réception menant à l’expérience «immersive» spécifique au «théâtre phénoménologique», aux phénomènes interculturels et interdisciplinaires dans la performance contemporaine, aux formes contemporaines de théâtre politique, ainsi qu’aux effets de présence provoqués par l’échange de fictions entre espaces réels et espaces virtuels au théâtre et aux esthétiques et dramaturgies du «film vivant» qu’il a exploré à travers les créations expérimentales La Boîte et Sables vivants (2012). Liviu Dospinescu est également membre correspondant de l’Académie du Var.

Ontario Representative / Ontario

Giorelle Diokno is a PhD candidate at the University of Toronto Centre for Drama, Theatre, and Performance Studies. His research interests revolve around diasporic identity and contemporary Filipinx Canadian performance. Giorelle approaches Filipino folk aesthetics through a queer historiographic lens, exploring how citation of the folk contends with histories of abjection and multi-faceted colonialisms.

Giorelle Diokno est doctorant au Centre for Drama, Theatre, and Performance Studies de l’Université de Toronto. Ses intérêts de recherche portent sur de l’identité diasporique et de la performance canadienne contemporaine filipinx. Giorelle aborde l’esthétique folklorique philippine à travers une lentille historiographique queer, explorant comment les citations populaires entrent en tension avec les récits d’abjection et de colonialismes aux multiples facettes.

Prairie Representative / Région des Prairies

Katrina Dunn is a recent hire in the University of Manitoba’s Department of English, Theatre, Film and Media where she is teaching in the Theatre Program. Her scholarly work explores the spatial manifestations of theatre, as well as ecocritical theatre. She won the Robert G. Lawrence Prize for an Emerging Scholar from CATR in 2015 and tied for first place in 2017. She has published in Performance Research and Canadian Theatre Review. Katrina’s long career as a stage director and producer has had considerable impact on the performing arts in Vancouver and has been recognized with numerous awards.

Katrina Dunn a récemment été embauchée au Département d’anglais, de théâtre, de cinéma et des médias de l’Université du
Manitoba où elle enseigne dans le programme de théâtre. Ses recherches portent sur les manifestations spatiales du théâtre ainsi que sur l’écocritique théâtrale. Elle a remporté le prix Robert G. Lawrence pour les nouveaux chercheurs de l’ACRT en 2015, prix qu’elle a copartagé en 2017. Elle a publié des articles dans Performance Research et Canadian Theatre Review. La longue carrière de Katrina en tant que metteure en scène et productrice a eu un impact considérable sur les arts scéniques à Vancouver, en plus d’être récompensée par de nombreux prix.

Alberta and the Territories / Alberta et les Territoires

David Owen holds a PhD in Performance and Theatre Studies from York University, an MFA in Directing from the University of Calgary, and an MA in Dramatic Theory and Criticism from the University of Alberta. He is an award-winning scholar, playwright, director, actor, gamer, and member of the Playwright’s Guild of Canada (PGC). His book Player and Avatar: The Affective Potential of Videogames was published in June of 2017 and he is currently compiling two anthologies on digital performance in Canada for Playwrights Canada Press.

David Owen est détenteur d’un doctorat en théâtre et en Performance Studies de l’Université York, d’une maîtrise en pratique théâtrale (mise-en-scène), ainsi qu’une maîtrise en théorie et critique de l’Université d’Alberta. Il a été primé comme chercheur, dramaturge, metteur en scène, acteur, gamer et membre de la Guilde canadienne des dramaturges (PGC). Son livre Player and Avatar: The Affective Potential of Videogames a paru en juin 2017, et deux collections portant sur la performance numérique pour Playwrights Canada Press sont en voie de préparation.

British Colombia Representative / Colombie-Britannique

Members-at-Large / Membres sans designation régionale

Natalia Esling is a SSHRC Postdoctoral Fellow in the Department of Theatre & Film at the University of British Columbia, where she has also taught. She received her PhD in 2018 from the University of Toronto. Natalia works as an editor, copy-editor, and dramaturg. Her research examines sensory engagement in small-scale immersive performance through audience analysis and Practice-as-Research frameworks. In Vancouver, she is collaborating with survivors of traumatic brain injury to develop a one-to-one performance for medical and healthcare students. Natalia serves on the Future Advisory Board for Performance Studies international and is guest-editing an upcoming issue of Global Performance Studies.

Natalia Esling tient une bourse postdoctorale du Conseil de recherches en sciences humaines (CRSH) à l’université de la Colombie Britannique au département de théâtre et film. Elle a obtenu son doctorat à l’Université de Toronto en 2018. Natalia travail comme rédactrice, dramaturge, et enseignante. Sa recherche examine la qualité des expériences sensorielles des participants au ‘micro-théâtre’ immersif par moyen des méthodes d’analyse de l’auditoire et de la recherche basée sur la pratique. Elle est en train de collaborer avec des individus qui ont subi de graves traumatismes crâniens. On envisage une performance expérimentale « one-to-one » dirigée auxétudiants en médecine. Natalia siège actuellement au « Future Advisory Board » de Performance Studies international (PSi) et elle est rédactrice invitée de la prochaine publication de la revue Global Performance Studies.

Deneh’Cho Thompson is a Dene director, actor and playwright and member of the Pehdzeh ki Nation. Currently in his final year of an MFA in Indigenous Theatre at the University of Alberta and has been appointed as an Assistant Professor in the Department of Drama at the University of Saskatchewan starting January 2020. At the University of Saskatchewan, he will oversee the wîcêhtowin Theatre Program, currently the only Indigenous theatre program housed in a Canadian university. Deneh’Cho’s research focuses on the development, naming, and centring of Indigenous acting pedagogy and Indigenous dramaturgies. The pedagogy work is extension of his MFA research and is continuous. Research into Indigenous dramaturgies has led to the formation of an Indigenous dramaturgies research group that hosted two national research gatherings in 2019. Research in this area is also continuous. Collectively, Dr. Lindsay Lachance (Indigenous Theatre at the National Arts Centre), Reneltta Arluk (Banff Centre for Arts and Creativity), Kenneth T. Williams (University of Alberta) and myself have created a multiyear research program that engages senior Indigenous theatre makers and academics, and mentors emerging theatre artists and scholars. Deneh’Cho is also engaged in the (re)storying of personal family archives focusing on healing, resilience, and Indigenous storywork (Archibald, 2008) as a pathway towards the creation of new works of theatre. His artistic practice focuses on new play development and Indigenous collaborations while centering the values of reciprocity, respect and reflexivity. Deneh’Cho’s recent acting credits include the world premieres of Iron Peggy, by Marie Clements, REDPATCH, by Sean Oliver Harris and Reas Calvert, and Thanks for Giving, by Kevin Loring.  Directing credits include Institutionalized, by Kelsey Kanatan Wavey, The Girl Who was Raised by Wolverine (written by Deneh’Cho Thompson, and winner of the 2016 Fringe New Play Prize), and The Governor of the Dew by Floyd Favel. Deneh’Cho also teaches youth and community theatre workshops.

Deneh’Cho Thompson est un réalisateur « Dene », comédien et dramaturge des Premières Nations Pehdzeh ki des Territoires du Nord-Ouest. Il complète présentement sa maîtrise en beaux-arts portant sur le théâtre Autochtone à l’Université d’Alberta. En janvier 2020, il est nommé professeur adjoint du département de théâtre de l’Université de la Saskatchewan et coordonnateur du programme de théâtre wîcêhtowin. Sa pratique artistique se concentre autour du développement de nouvelles pièces, du théâtre Autochtone et de la pédagogie Autochtone qui inclue les valeurs de réciprocité, de respect et de réflexivité. Deneh’Cho a travaillé comme comédien lors des premières représentations mondiales d’« Iron Peggy », par Marie Clements, de « REDPATCH », par Sean Oliver Harris et Reas Calvert, et de « Thanks for Giving », par Kevin Loring. Il a travaillé comme réalisateur pour les pièces « Institutionalized » par Kelsey Kanatan Wavey, « The Girl Who was Raised by Wolverine », écrit par Deneh’Cho Thompson lui-même, et « The Governor of the Dew » par Floyd Favel. Deneh’Cho donne également des ateliers de théâtre aux jeunes et autres membres de la communauté.

Unaffiliated Scholar Representative | Représentant(e) des chercheurs/chercheuses sans affiliation institutionnelle 

Jacqueline Taucar is a sessional instructor at Brock University and an artist-scholar. Her current work seeks to establish an archival infrastructure for documenting and preserving the primary materials and oral traditions that inform the design, creation, and performance of Toronto Caribbean Carnival costumes. Jacqueline builds “big mas” with Michelle Reyes, the designer and performer of Saldenah Carnival’s Queen mas. Their collaboration on “D’Rise of de Cherry Blossom” won the 2018 Ontario Science Centre Innovation in Mas’ Award. Her research on Toronto’s ethnocultural festivals has been published in CTR and most recently in Theatre and (Im)migration. Jacqueline also is a founding member and co-convenor of the CATR Scenography Working Group.

Jacqueline Taucar est chargée de cours à l’Université Brock et artiste-chercheuse. Son travail actuel vise à établir une infrastructure archivistique pour documenter et préserver les matériaux primaires ainsi que les traditions orales qui informent la conception, la création et la performance des costumes du Carnaval des Caraïbes de Toronto. Jacqueline construit des « big mas » avec Michelle Reyes, la créatrice et interprète du Queen mas du Carnaval de Saldenah. Leur collaboration sur D’Rise of Cherry Blossom leur a valu, en 2018, le prix Innovation in Mas’ du Centre des sciences de l’Ontario. Les recherches de Jacqueline sur les festivals ethnoculturels de Toronto ont été publiées dans CTR et, plus récemment, dans Theatre and (Im)migration. Elle est également membre fondatrice et coresponsable du groupe de travail sur la scénographie de l’ACRT.

Francophone representative / Membre francophone

Christine cricri Bellerose is a somatic-based movement eco-performance artist and researcher, a hair away from graduating with a PhD from York University. Her somatic and land-based approach to thinking-moving engages with dimensions of sensuous historiography as well as decolonizing the personal / cultural somatic amnesia, advocating body-senses-land-knowledge wisdom. She is co-founder of the Somatic Engagement Seminars, as well as the mentorship program coordinator with the Canadian Association for Theatre Research (CATR), and a member of the Performance History working group (CATR) and the Ecology & Performance working group with the American Society for Theatre Research (ASTR). Her performance as research and theoretical essays are published with the journals: Phenomenology & Practice, Choreographic Practices, Contingent Horizon, her performance from the series "Healing my Mother" is on the cover of the book Moving Consciously, and her phenomenological-somatic and cultural embodied translation, "Being Ma" chapter contribution features in Back to the Dance Itself: Phenomenologies of the Body in Performance, both with Illinois University Press. "Performative Listening of Métis Artefacts" was granted support from The Canada Council for the Arts (2014-15). She is a recipient of the Evelyn Carnie Rowe Dance Scholarship (2017) for her research contribution along Canadian geographies. www.christinebellerose.com // https://yorku.academia.edu/ChristineBellerose

Christine cricri Bellerose est une artiste et chercheure en éco-performance et mouvement somatique, à deux doigts de l'obtention d'un doctorat de York University. Son approche somatique et née de la relation terrestre étudie entre autres la pensée par le mouvement tout en s'engageant vers les dimensions de l'historiographie sensuelle ainsi que la décolonisation d'une forme d'amnésie somatique personnelle / culturelle, et ce, en prônant la sagesse émanent de l'entrelac corps-sens-terre-connaissance. Elle est co-fondatrice des séminaires sur l'Engagement Somatique, ainsi que la coordonnatrice du programme de mentorat avec l'Association canadienne pour la recherche théâtrale (CATR), et membre du groupe de travail sur l'histoire de la performance (CATR) et du groupe de travail sur l'écologie & la performance avec le Société américaine pour la recherche théâtrale (ASTR). Ses performances en tant que recherche, et essais théoriques sont publiées avec les revues: Phenomenology & Practice, Choreographic Practices, Contingent Horizon, sa performance tirée de la série « guérir ma mère » est en couverture de livre Moving Consciously et son essai sur la phénoménologie somatique du savoir culturelle incarnée, "Being Ma," est inclut dans l'ouvrage Back to the Dance Itself: Phenomenologies of the Body in Performance, tous deux avec l'Illinois University Press. « L'écoute performative des artefacts métis » a reçu le soutien du Conseil des Arts du Canada (2014-2015). Elle est récipiendaire de la bourse Evelyn Carnie Rowe Dance (2017) pour sa contribution à la recherche en territoire canadien. www.christinebellerose.com // https://yorku.academia.edu/ChristineBellerose

Graduate Student Representatives / Étudiant.e aux cycles supérieurs

Hannah Rackow is a Vanier scholar and a fourth year PhD candidate in Theatre & Performance Studies at York University. Her dissertation research examines the forensic turn in performance arts that address and intervene after mass violence and atrocity in the Americas. She recently co-edited the Winter 2019 issue of Canadian Theatre Review on Radical Hospitalities. Throughout her studies, she has enjoyed serving her academic community in various roles and is currently a Member-At-Large with the Association for Theatre in Higher Education’s (ATHE) Theory & Criticism Focus Group, where she previously served as Graduate Student Representative.

Hannah Rackow est récipiendaire d’une bourse d’études supérieures Vanier. Elle est présentement en quatrième année d’un doctorat en études théâtrales à l’Université York. Sa recherche examine la perspective judiciaire au sein des arts et comment cette perspective est guidée par les évènements de violence massive et d’horreur vécus en Amérique. Elle co-rédige l’édition hivernale 2019 du Canadian Theatre Review portant sur « Radical Hopsitalities ». Durant ses études, elle occupe plusieurs rôles au sein de sa communauté scolaire. Notamment, elle devient un membre élu d’un groupe de discussion « Theory and Criticism » en partenariat avec l’association du théâtre pour les études supérieures (ATHE).

Sarah Robbins is a PhD Candidate at the University of Toronto’s Centre for Drama, Theatre and Performance Studies, currently teaching at Mount Allison University’s Drama Department. She has an interest in acting training practices, and employs intersectional feminist theory both as research methodology and teaching pedagogy, with a focus on equity and inclusivity in spaces of performance training. She also brings to the CATR board her experience serving on CATR’s Anti-Racism and Anti-Oppression Committee since Fall 2020.

Sarah Robbins est doctorante au Centre for Drama, Theatre and Performance Studies de l’Université de Toronto, tout en enseignant présentement au Département de théâtre de l’Université Mount Allison. Elle s’intéresse aux pratiques de formation par intérim et utilise la théorie féministe intersectionnelle à la fois comme méthodologie de recherche et comme pédagogie d’enseignement, avec un accent sur l’équité et l’inclusion dans les espaces de formation à la performance. Depuis l’automne 2020, elle fait également bénéficier de son expérience le Comité pour la diversité et la lutte contre le racisme de l’ACRT.

Appointed positions:

Treasurer / Trésorière

Katrina Dunn is an Assistant Professor in the University of Manitoba’s Department of English, Theatre, Film and Media where she teaches Acting, Directing, and Theatre Studies in the Theatre Program. Her scholarly chapters and articles explore the spatial manifestations of theatre, as well as ecocritical theatre, and have been published in several edited collections, as well as national and international journals. While a graduate student, she was honoured to receive the Robert G. Lawrence Prize and the Heather McCallum Scholarship from CATR. In 2021, her dissertation, “Empty House: Real Estate and Theatricality in Vancouver’s Downtown,” co-won the Canadian Studies Network’s Best PhD Dissertation Prize. Katrina’s long career as a stage director and producer has had considerable impact on the performing arts on the West Coast and has been recognized with numerous awards.

Katrina Dunn est professeure adjointe au département d'anglais, de théâtre, de cinéma et de médias de l'Université du Manitoba, où elle enseigne l'interprétation, la mise en scène et les études théâtrales dans le cadre du programme de théâtre. Ses chapitres et articles savants explorent les manifestations spatiales du théâtre, ainsi que le théâtre écocritique, et ont été publiés dans plusieurs collections éditées, ainsi que dans des revues nationales et internationales. Pendant ses études supérieures, elle a eu l'honneur de recevoir le prix Robert G. Lawrence et la bourse Heather McCallum de la CATR. En 2021, sa thèse, "Empty House : Real Estate and Theatricality in Vancouver's Downtown", a remporté le prix de la meilleure dissertation de doctorat du Réseau d'études canadiennes. La longue carrière de Katrina en tant que metteur en scène et productrice a eu un impact considérable sur les arts de la scène sur la côte ouest et a été récompensée par de nombreux prix.

Membership Coordinator / Coordinatrice de l’adhésion

I am Dennis D. Gupa, a newly hired faculty member at the University of Winnipeg’s Department
of Theatre and Film. I am writing to you to express my interest in becoming a member of CATR
Executive as a Membership Coordinator.

I obtained an MFA in Theatre (Directing) from the University of British Columbia in 2015 and
an MA in Theatre from the University of the Philippines in 2013. In 2011, the Government of
Indonesia awarded me a scholarship to study traditional mask dance and contemporary theatre in
Sekolah Tinggi Seni Indonesia (School of Higher Arts). The degrees that I have obtained over
the years and my transnational experiences of directing have strengthened my theoretical and
practical knowledge on mobilizing/organizing communities to create live events and theatre
performances. Before coming to Canada as a graduate student, I had five years of experience
working in a non-profit organization where I managed a theatre group for public schools as a
creative program director. My projects that I initiated in this organization were funded by
community members, UNICEF, and World Bank Manila Office. After serving this organization,
I went to become an assistant professor of theatre at the University of the Philippines for ten
years where I initiated an interdisciplinary research office where scientists and artists forged
research collaborations. Through my artistic collaborations among different humanities, social
sciences, and science scholars, I helped built an al fresco theatre space for experimental theatre
performances. My professional experience in thinking, organizing, producing, and curating
theatre/live arts cuts across academic, professional, and community based.

My dissertation project, Applied Theatre as Post Disaster Response: Refuturing Climate Change,
Performing Disasters, and Indigenous Ecological Knowledge represents my current attempt to
examine the ontology of human-ocean relationality and Indigenous knowledge by looking at sea
rituals and fishing traditions in a precarious island community in the Philippines that continue to
face the impact of climate crises. For this project, I was awarded the Vanier Canada Graduate
Scholarship in 2017, The Ada Slaight Drama in Education Award of Toronto’s Young People’s
Theatre and The Slaight Family Foundation, The National Commission for Culture and the Arts’
Dissertation Award, and the UVIC Center for Asia Pacific Initiatives Research Fellowship.

Together with the community members from my field site, Tubabao Island, a small fishing
village in the Philippines, as well as students, artists, and scholars from Manila, Victoria,
Vancouver, and Winnipeg, we created contemporary performances that foregrounded the
Indigenous ecological worldviews in sea rituals. These performances toured British Columbia
and Manitoba in 2018 before returning to the island last year to anchor a multi-stakeholder
inquiry and dialogue on curbing the impact of climate change. A significant part of this
dissertation is an inquiry into the socio-political conditions that influence the act of ritual
performance that overlaps with the vanishing eco-cultural artifacts entangled by intercultural
global encounters that happened in the island. Employing applied theatre in studying rituals in
precarious communities has provided me with a social justice lens that helps me to theoretically
deepen my pedagogy, mobilize communities, and co-create theatre performances.
All these experiences have helped develop my ability to organize communities and to relate with
people with empathy.

Elections Officer / Directeur Générale des élections

Matt Jones writes about the politics of war, terrorism, and racism in performance. He is a Postdoctoral Fellow at the University of Toronto’s Centre for Drama, Theatre and Performance Studies. He is currently Project Manager of "Gatherings Archival and Oral Histories of Performance" and Project Supervisor of “Quarantine Performance: Global Responses to COVID-19 in the Performing Arts.”. His dissertation, "The Shock and Awe of the Real: Political Performance in an Age of War and Terror," is a transnational study of theatre, live art, protests, and digital media projects about the recent conflicts in Iraq and Afghanistan. He teaches at the School of Dramatic Art at the University of Windsor and the English Department at the University of Toronto.

Matt Jones écrit sur la politique de la guerre, du terrorisme et du racisme dans la performance. Il est chercheur postdoctoral au Centre for Drama, Theatre and Performance Studies de l’Université de Toronto. Il est actuellement Gérant de projet de « Gatherings Archival and Oral Histories of Performance » et Superviseur de projet de « Quarantine Performance: Global Responses to COVID-19 in the Performing Arts». Sa thèse, « The Shock and Awe of the Real: Political Performance in an Age of War and Terror », est une étude transnationale du théâtre, la performance, des manifestations, et des projets de médias numériques portant sur les conflits récents en Irak et en Afghanistan. Il enseigne présentement à l’École de l’Art dramatique de l'Université de Windsor et au Département d'Anglais de l'Université de Toronto.

Equity Officer / L’Agent en matière d’égalité

Jill Carter (Anishinaabe/Ashkenazi) is a theatre practitioner and researcher. She works with many members of Tkaronto’s Indigenous theatre community to support the development of new works and to disseminate artistic objectives, process, and outcomes through community-driven research projects. Her scholarly research, creative projects, and activism are built upon ongoing relationships with Indigenous Elders, Artists and Activists, positioning her as witness to, participant in, and disseminator of oral histories that speak to the application of Indigenous aesthetic principles and traditional knowledge systems to contemporary performance.

Jill Carter (Anishinaabe/Ashkenazi) est chercheuse et praticienne en théâtre. Elle travaille avec de nombreux membres de la communauté théâtrale autochtone de Tkaronto afin de soutenir le développement de nouvelles œuvres et la diffusion d’objectifs, de processus et de résultats artistiques par le biais de projets communautaires. Autant ses recherches savantes que ses projets créatifs et son activisme reposent sur des relations continues avec des personnes aînées, des artistes et des activistes autochtones ; à cet égard, elle joue les rôles de témoin, de participante et de disséminatrice d’histoires orales dont le cœur est l’application, à la performance contemporaine, de principes esthétiques autochtones et de systèmes de connaissances traditionnelles.

Mentorship Program Coordinator / Coordinatrice du programme de mentorat

Christine cricri Bellerose

Communications Officer / L'Agent des communications

Natalia Esling

Community Representative

Carly Maga: A communicator, storyteller, and relationship-builder with over a decade of experience in journalism, marketing and communications with a speciality in Canadian arts and culture. Member of the International Association of Business Communicators, board member of the Canadian Theatre Critics Association.

Federation Representative / Représentant de la fédération