Heather McCallum Scholarship/
La bourse Heather McCallum
(la version française suit)
2024 CATR Research Scholarships – Call for Applicants
DEADLINE: 15 October 2024
Heather McCallum Scholarship
The Heather McCallum Scholarship was established in 1987 by the Canadian Association for Theatre Research (CATR) in honour of the former head of the Theatre Department at the Toronto Reference Library. The McCallum Scholarship supports projects that involve original research in archives and collections. Interdisciplinary projects and projects that take researchers outside of traditional theatrical archives are welcome. Projects with a Canadian emphasis are particularly encouraged.
Value of Scholarships
The McCallum Scholarship carries a value of $1000. The scholarship may be awarded to one or more applicants in a given year.
Eligibility
The final outcome of projects eligible for the McCallum Scholarship is non-restrictive (it may be a doctoral dissertation, proposed publication, or a new or on-going research initiative). Graduate students and emerging scholars (within five years of completion of a PhD or MFA, not holding a tenure track position) are particularly encouraged to apply.
Criteria
Proposals will be assessed on the basis of their potential contributions to the study of theatre and performance as outlined in the aims and objectives of the Association, their feasibility, and the clarity of their objectives and methodology.
Application Process
Candidates are asked to submit the following:
- A letter (1 to 2 pages) describing the project for which assistance is required. The letter should define the scope and objectives of the project, outline how the funding will be used to assist in the project, describe the research methodology to be used and research timelines, and briefly explain how the project contributes to the aims and objectives of the Association. The letter must indicate which of the scholarships the candidate would like to be considered for. Candidates are welcome to apply for both scholarships and to use the same application for both.
- A detailed project budget outlining all anticipated costs. Successful applications will provide a clear indication of exactly how scholarship funds will be used. Please include information concerning other funding anticipated or received; however, note that additional funding is not a prerequisite for either award.
- A current curriculum vitae.
- One reference letter, sent directly to the Secretary of the Committee by the application deadline. These letters should comment on the project and on the candidate’s scholarly achievements, and research potential.
This year’s deadline for applications for the 2024 Research Scholarships is 15 October 2024. Applications should be sent as .doc or .pdf attachments to Emily Rollie, at erollie@gmail.com.
The committee encourages questions in advance of the application deadline.
Appel de candidatures – Bourses de recherche de l’ACRT – 2024
La date limite: 15 octobre 2024
Bourse Heather McCallum
La bourse Heather McCallum a été créée en 1987 par l’Association canadienne de la recherche théâtrale (ACRT) en l’honneur de l’ancienne directrice de la section théâtre de la bibliothèque de consultation de Toronto. La bourse McCallum se veut un appui à des projets de recherche originaux dans les archives et les collections. Les projets interdisciplinaires et ceux qui amènent les chercheurs à sortir des voies traditionnelles archivistiques en théâtre sont bien accueillis. Les projets centrés sur un sujet à thématique canadienne sont favorisés.
Valeur de prix
La bourse Heather McCallum a une valeur de 1 000 $. La bourse peut être accordée à plus d’un candidat la même année.
Admissibilité
Les résultats de recherche des projets proposés et admis aux concours pour la bourse McCallum ne sont pas restrictifs : il peut s’agir d’une thèse de doctorat, d’un article soumis pour publication ou d’un projet de recherche nouveau ou en cours. Les étudiants des cycles supérieurs et les nouveaux chercheurs (dans les cinq premières années suivant l’obtention de leur doctorat ou de leur maîtrise et n’étant pas titulaire d’un poste menant à une permanence) sont particulièrement invités à postuler.
Critères d’évaluation
Les candidatures seront évaluées en fonction de leur contribution potentielle à l’étude du théâtre et de la performance, telle que décrite dans les buts et objectifs de l’Association, ainsi qu’en fonction de leur faisabilité et de la clarté des objectifs et de la méthodologie.
Procédure de candidature
Les candidats doivent soumettre les éléments suivants :
- Une lettre (1 à 2 pages) décrivant le projet pour lequel un soutien financier est demandé. La lettre doit définir l’étendue et les objectifs du projet, exposer comment les fonds seront utilisés en appui au projet, décrire la méthodologie de recherche et l’échéancier, expliquer brièvement l’apport de la recherche aux buts et objectifs de l’Association et indiquer pour quel prix la candidature doit être examinée. Les candidats peuvent soumettre leur projet aux deux prix en utilisant le même dossier.
Un budget détaillé listant toutes les dépenses prévues. Le projet choisi aura exposé clairement comment l’argent sera utilisé. Veuillez également mentionner les autres fonds attendus ou reçus pour le projet, bien qu’un financement indépendant ne soit pas exigé pour aucun des prix.
3. Un curriculum vitae à jour.
4. Une lettre de référence envoyée directement à la secrétaire du comité de sélection au date limite du dépôt des candidatures. Cette lettre doit discuter du projet ainsi que des accomplissements et du potentiel en recherche du candidat.
La date limite du dépôt des candidatures pour les bourses de recherche de l’ACRT est le 15 octobre 2024. Veuillez envoyer vos dossiers en format .doc ou .pdf à Emily Rollie, erollie@gmail.com
Le comité accepte les questions des candidats avant la date limite de candidature.
Past Winners
2022
Arash Isapour
Isapour’s project considers the representation of Middle Eastern masculinities on Canadian stages and examines representations of Middle Eastern masculinity in the plays and/or productions of Marcus Youssef, Soheil Parsa, and Wajdi Mouawad. Isapour’s research offers a rich and varied approach to considering archival work, which is a focus of the McCallum Scholarship. It not only utilizes data from archives of both theatre production companies and private collections, but it also will include interviews with the practitioners and their collaborators. The committee was intrigued by the project’s focus on representations of gender and Middle Eastern identities in Canadian theatre, and we also applaud Isapour’s abilities as an engaged/curious scholar and natural teacher, as noted by their recommenders.
2021
Morgan Johnson
Johnson’s research-creation project explores the gendered narratives of domestication that have structured Canadian settler colonialism, how they manifested historically, and how the settlers continue to embody them. The committee especially appreciated Morgan’s creative application of the archival research in questioning and subverting racial and gendered narratives and her critical methods of engaging with indigenous scholarship through a 2-week arts residency, using clown theories, and writing a research based script.
2020
Matt Jones - for his project “Operation Pacification: Remembering Canada’s Largest Anti-War Performance.”
2019
Alison Bowie - for her archival research work in Quebec City and Ottawa which will contribute to her dissertation, "Anglophone Representation in Early 20th Century French Canadian Theatre: Dramaturgical Strategies for Staging Collective Memory and Cultural Contact Zones."
2018
2017
2016
Kimberly Richards - for her dissertation on the Calgary Stampede and the performance of civic labour in 2013, during “the year of the flood.”
2015
Kimber Sider - for her project titled “Théâtre Equestre Zingaro: Interspecies Performance & Equestrian Theatre.”
Sebastian Samur - for his research with Montreal’s Mime Omnibus
Ashley Williamson - for her dissertation project titled “Living Canada’s History: Troubling the Narratives of Canadian History through Museum Performance.”
2014
Natalie Mathieson
Peter Kuling
Dalbir Singh
2013
Jennifer Cole
Sasha Kovacs
Jessica Riley
2012
Helene Vosters
2011
Richard Wilcox - to support his research on Daniel MacIvor
2010
Gill Garratt - to assist with plans to traverse the 150km Maitland River system, a serpentine body of water winding through Huron County, in order to devise a performance-based enactment of the river system as a performance text in its own right
Keren Zaiontz – to assist in her travels travels to Vancouver, British Columbia in the spring of 2011 to document the fourth annual HIVE festival
2009
Anton Wagner – to assist him in his archival research into the relationship between William Lyon Mackenzie King, and government policy on the performing arts.
Steph Berntson - to assist in her travels to witness contemporary Kabuki, Kyogen and Noh performances in Japan, for an exploration into the relationship between the sounds of these historical forms and the contemporary city
2008
Halli Marshall – for travel to London with a special invitation to visit a new archive that will further her research on Gilbert Murray.
2007
Tony Berto – to support an archival effort to compile a list of ‘every Queer representation on (non-musical) Canadian theatre stages in English that have been written by a Canadian playwright between 1995 and 2007.’
2006
Lisa L’Heureux – for a study on theatre for young audiences in francophone Ontario during the 1980s
Mark Turner – for his proposal to organize the audio-visual materials relating to the performing arts, that are sitting in the archives of the Centre for Newfoundland Studies
2005
Jane Baldwin – to assist her in her study of the contribution of Jean Gascon to theatre in Canada.
2004
David Ferry – for travel costs in his update and collation of James Reaney bibliography
Natalie Papoutsis – for duplication of CBC radio adaptations of Greek tragedies by celebrated Canadian peformers
2003
Birgit Schreyer – to fund her travel to Vancouver, so that she could assist director/ dramaturge Rachel Dito. Ms. Shreyer intends to turn her research results and experience into an article on current Vancouver-based theatre artists and forms.
2002
Krista Charbonneau – for a research project involving Canadian puppet artist Ronnie Burkett and his unique form of puppet theatre – the focus of her project is “to develop new sources of primary research materials to study the development and function of Burkett’’s text-based puppetry.”
2001
Rebecca Burton – “to research and gather information on feminist/ women’s theatre in BC,” for an academic paper to be given either at the Staging the Pacific Province – Theatre in BC Conference, or at the 2002 ACTR Conference in Toronto.
Heather Fitzsimmons-Frey – to attend the Wole Soyinka Conference at the Drama Centre in October of 2001, as part of her ongoing research into the performance of African, and especially Nigerian, plays in Canada. Heather also intends to consult the lack Theatre Archives at the University of Guelph, and to conduct several interviews with theatre practitioners in her field.
Myra Malley – for research on the American connections of four pre-World War II professional stock companies that operated in Toronto between 1874 and 1936. Among other things, her findings will be featured in a Toronto performance chronology that she is compiling to cover the period of her research.
2000
Shannon Hengen – the history of Debajehmujig Theatre for a monograph entitled – Tellers of Tales – the First Fifteen Years of Debajehmujig Theatre.
Susan Stackhouse – to collect dialect samples from PEI, NB, and NS as part of her work as Associate Editor (and sole Canadian representative) for the International Dialects of English Archive (IDEA).
1999
Allana Lindgren – for research on the early choreographic works of the Canadian dancer, choreographer and visual artist Francoise Sullivan
1998
Shauna Dobbie – for a project entitled “Unveiling the Lighting Design Process in Canadian Theatres”
1997
Erin Hurley – for research in Quebec on the relationship between nationalism & theatrical production
Gilles-Philippe Pelletier – for a mémoire-création entitled Les trois corps
1996
Lisa Coulthard – to attend School of Criticism & Theory
Shemina Keshvani – for travel to India for comparative study of postcolonial theatre & film
1995
Tony Van Bridge – for distribution costs of his autobiography Also in the Cast
1994
Ann Jansen – for Australia trip to 3rd International Women Playwrights Conference & Australasian Drama Studies Association conference
Martin de Jonge – to produce a documentary video on the theatrical dimensions of recreating “living history”
1993
Catherine Graham – to conduct research in Headlines Theatre Co. archives in light of interest in Boal popular theatre techniques
Ted Little – for work documenting the archival material for the Calling Lakes Community Play (1992) at Fort Qu’Appelle
1992
Toby Ryan & Mayte Gomez – for their editing project on the criticism of Oscar Ryan
1991
Erdmute Waldhauer – for publication costs of Drama at Queen's, a sesquicentennial history
Erika Patterson – for research on Canadian Fringe Festivals
1990
Patricia Badir & Lise Ann Johnson – for help in preparation of An Annotated Bibliography of Plays and Criticism Pertaining to Women in the Canadian Theatre Written Between 1950 and 1990
1989
Paula Sperdakos – for research on Dora Mavor Moore
1988
Bruce Kirkley – for research into the transformation of major Canadian stage dramas into television productions
Robert Barry Scott – to create a performance calendar data base related to the history of theatre in Ontario 1914-1967
Kathleen Fraser – to support her project “A Butterfly on the Wheel”, a study of the image and reality of women on the Canadian stage 1880-1914