Robert G. Lawrence Prize / Le prix Robert G. Lawrence

CATR Lawrence Prize Call for Self-Nominations

CATR Lawrence Prize Call for Self-Nominations

The Robert G. Lawrence Prize was established in 1995 by the Association to honour the memory and contribution of a valued member and friend. The prize recognizes the research of an emerging scholar who has presented an outstanding paper at the Association’s annual conference. The award of $200.00 is supported by the generous donations of Mrs. Robert G. Lawrence. The award is open to graduate students and emerging scholars who recently completed their PhD (less than five years) and who present a paper in either French or English at the annual CATR/ACRT conference. Please note that position papers presented as part of seminar, roundtable or workshop sessions are not eligible for consideration.

If you are a graduate student or an emerging scholar (PhD completed within five years) presenting a paper at this year’s conference and would like to be considered for the award, or would like more information, please email Michelle MacArthur, Chair of the Lawrence Committee, at michelle.macarthur@uwindsor.ca by Friday, May 15. Advance self-nomination is required to ensure that members of the adjudication committee will be present at all candidates’ presentations.

Note 1: The award will be made on the basis of the paper as presented at the conference. Assessors will consider the content of the paper (i.e. cogency and originality of argument, strength of evidence) as well as its presentation (i.e. effectiveness of delivery, use of illustrative media, accessibility etc.). To be eligible for the award, all candidates are required to supply a written copy of their presentation, complete with a list of works cited, as well as copies of any relevant illustrative resources used (i.e. slides, links, handouts, etc.) to Michelle MacArthur at michelle.macarthur@uwindsor.ca within a week of the presentation.

Note 2: We ask that presenters design their presentations to maximize and integrate accessibility. This helps to ensure that all panel attendees will have access to the same information/content you present. As such, when applicable, presenters should implement the following to make their presentation accessible:

Provide image descriptions for any photographs, graphs, or other significant images/videos
Provide content notes for potentially distressing content or themes. Please also provide advance notice about any loud noises or flashing lights
Upload an access paper for your presentation at least one week in advance (instructions to follow in a subsequent post). An access paper can either be a full copy of the paper you are reading from or a bullet point outline with the key points of your argument and all cited quotes included. The submitted access paper should also be in a larger (size 14-16) sans serif font and double spaced. Two of the most common sans serif fonts are Arial and Calibri
Include closed captions for video clips. If you are unable to caption a clip due to copyright, please transcribe the video as part of your access paper
Be mindful of the pace at which you are speaking or presenting so that live-captioners, ASL interpreters, and attendees can follow your presentation with ease

If you have any questions or would like one-on-one support to make your presentation accessible, please reach out to the Accessibility Committee at catr.accessibility@gmail.com.

******************

Appel d’auto-nominations du Prix LAWRENCE de l’ACRT

Appel d’auto-nominations du Prix LAWRENCE de l’ACRT

Le prix Robert G. Lawrence a été créé en 1995 par l’association pour honorer la mémoire et la contribution d’un membre et d’un ami précieux. Le prix reconnaît les recherches d’un chercheur naissant qui a présenté un article exceptionnel au colloque annuel de l’association. Le prix de 200,00 $ est soutenu par les généreux dons de Mme. Robert G. Lawrence. Le prix est ouvert aux étudiants des cycles supérieurs et aux chercheurs émergents qui ont récemment terminé leur doctorat (moins de cinq ans) et qui présentent un article en français ou en anglais lors du colloque annuelle CATR / ACRT. Veuillez noter que les exposés de position présentés dans le cadre de séminaires, de tables rondes ou d’ateliers ne sont pas admissibles à l’examen.

Si vous êtes un étudiant diplômé ou un chercheur émergeant (doctorat terminé dans les cinq ans) présentant un article au colloque de cette année et que vous souhaitez être pris en considération pour le prix, ou si vous souhaitez plus d’informations, veuillez envoyer un courriel à Michelle MacArthur, présidente du comité Lawrence, à michelle.macarthur@uwindsor.ca d'ici le vendredi 15 mai. L’auto-nomination préalable est requise pour s’assurer que les membres du comité d’arbitrage seront présents à toutes les présentations des candidats.

Note 1 : Le prix sera décerné sur la base de l’article présenté au colloque. Les évaluateurs tiendront compte du contenu de l’article (c.-à-d. argument convaincant et originale, bonne utilisation des preuves) ainsi que de sa présentation (c.-à-d. l’efficacité de sa livraison, l’utilisation de supports illustratifs, les mesures d’accès etc.). Pour être admissibles au prix, tous les candidats doivent fournir une copie écrite de leur présentation, accompagnée d’une liste des œuvres citées, ainsi que des copies de toutes les ressources illustratives pertinentes utilisées (diapositives, liens, documents, etc.) à Michelle MacArthur à michelle.macarthur@uwindsor.ca dans la semaine suivant la présentation.

Note 2 : Nous demandons aux présentateurs de concevoir leurs présentations de manière à maximiser et à intégrer l’accessibilité. Ces mesures sont essentielle pour s’assurer que tous les participants au panel auront accès aux mêmes informations / contenus que vous présentez. À ce titre, le cas échéant, les présentateurs devraient mettre en œuvre ce qui suit pour rendre leur présentation accessible :

Fournir des descriptions d’images pour toutes les photographies, graphiques ou autres images/vidéos importantes
Fournissez des notes de contenu pour le contenu ou les thèmes potentiellement pénibles
Veuillez également informer à l’avance de tout bruit fort ou de tout feu clignotant
Téléchargez un document d’accès pour votre présentation au moins une semaine en avance (instructions à suivre dans un article ultérieur). Un document d’accès peut être soit une copie de l’article que vous lisez, soit simplement un aperçu avec toutes les citations citées incluses. Le document d’accès soumis doit également être dans une police sans empattement plus grande (taille 14-16) et à double interligne. Deux des polices sans empattement les plus courantes sont Arial et Calibri
Inclure des sous-titres codés pour les clips vidéo. Si vous n’êtes pas en mesure de sous-titrer un clip en raison du droit d’auteur, transcrire la vidéo dans le cadre de votre document d’accès
Soyez conscient du rythme auquel vous parlez ou présentez afin que les sous-titreurs en direct, les interprètes ASL et les participants puissent suivre votre présentation en toute simplicité.

Si vous avez des questions ou si vous souhaitez obtenir un soutien individuel pour rendre votre présentation accessible, veuillez communiquer avec le comité de l’accessibilité à catr.accessibility@gmail.com.

2025 Winner

The 2025 Lawrence Prize is awarded to Dr. Amanda Attrell for her paper entitled, “‘This new idea now appears impossible’: Maria Campbell, Jessica, and Linda Griffiths.” Attrell’s paper makes an original and significant intervention into the published and archival records of the fraught collaboration of Linda Griffiths and Maria Campbell (with Paul Thompson) on Jessica (1986). In an important expansion of the archival methodology she has theorized elsewhere as “listening,” Attrell tunes her ear in this work not only to Griffiths but to Campbell, her Métis collaborator and the biographical subject of Jessica. This allows her to shed new light on underexamined details from the Book of Jessica, a published conversation between Campbell and Griffiths in which they work through the fraught process of their intercultural collaboration. The committee commends Attrell for her methodological rigour and ethical approach, which entailed returning to archival materials she'd previously examined and taking seriously the responsibility to listen again—this time more closely attending to Campbell. In so doing, Attrell usefully reasserts the potential significance of archival research in re-inserting lost voices into the public record and demonstrates the practical value of a rigorous approach to archival research that can, notwithstanding the well theorized biases and limitations of the Archive, nevertheless participate in adding detail and texture to a subject matter. Attrell’s presentation was engaging and detailed, building a clear, incisive, and rigorous argument and offering detailed and knowledgeable responses in the Q&A. The depth of Attrell’s research stands to make a significant contribution to the history of theatre in Canada and ongoing conversations about the ethics of intercultural and Indigenous-settler artistic collaborations. Congratulations!!

Honourable Mentions:

Mo Horner

“Abolition Dramaturgies of Rehearsal in Richard Lam’s The Candlemaker’s Game”

The 2025 Lawrence Prize committee would like to recognize Dr. Mariah (Mo) Horner’s presentation “Abolition Dramaturgies of Rehearsal in Richard Lam’s The Candlemaker’s Game” with an honourable mention. Horner’s paper promises to make an important contribution to the discipline through its argument that abolition isn’t just about an infrastructure of incarceration—it is about relationships and specifically shifting away from embedded/unconscious carceral or punitive logics in our everyday relations; and that “rehearsing” (following Maynard and Simpson) how to relate differently, both in and beyond theatre spaces, is “iterative and preparatory,” contributing to large-scale dismantling and systemic shifts through every small-scale, relational shift we make. This argument was developed through Horner’s skillful theorizing and analysis of her case study, the participatory performance The Candlemaker’s Game, which she argues does the work of addressing both the systemic change of abolition as well as the work of relationships in what she calls “abolitionist intimacies.” Impressively, Horner’s argument was also effectively developed through their engagement with the audience, which included an immersive exercise that kicked off the presentation and invited the audience’s collective participation. Indeed, Horner’s thoughtful attention to delivery–from their beautifully designed slides, to their accessible prose, to their ability to embody the ideas in their paper in the relationality they built with their audience–made the ideas and practices presented engaging and convincing and yielded an impactful experience for all those present. Congratulations!!

Manvendra Singh Thakur (Noor)

“Fluid Objects, Fluid Bodies, Fluid Homes: Queer Narratives through Performance Art”

The 2025 Lawrence Prize committee would like to recognize “Fluid Objects, Fluid Bodies, Fluid Homes: Queer Narratives through Performance Art”, presented by Manvendra Singh Thakur (Noor), with an honourable mention. Noor’s paper explored the ways in which “homes” and by extension families are made within queer and trans communities through an analysis of their performance “Let’s Make a Home” in Delhi, which invited participants to attend a dinner party and share objects that reminded them of home. The committee commends Noor on their exemplary and exciting modeling of practice based research, using performance art to ask the question “How do queer people make homes in places not meant for them?” Theoretically rich, the paper drew on scholars including Muñoz and Appadurai to illuminate the performance work and incite an exploration of home as an enacted space. The presentation also raised questions about the ways that performance practices can help audiences think through the idea that a queer home is not something that is guaranteed, but as Noor reminded us that Muñoz writes, something that is always on the horizon. The committee also commends Noor’s impressive flexibility in translating the paper from French to English at the last minute due to shifts in the conference sessions. Delivered in an engaging way with striking images of the performance, their sharing of what had been an original site of resistance brought to life an exchange that worked against hyper-heteronormativity and was beautiful to witness. Congratulations!!

Past Winners

The year listed indicates the year the paper was presented at the annual conference. Formal recognition of the Lawrence Prize often happens at the conference the following year.

2024 - Alessandro Simari, "The Usher is Watching and Working"

2023 - Matt Jones, “Shakespeare in Guantánamo.”

Honourable Mention:
Megan Johnson, “Performances of ‘Shoring up’: Infrastructural Imaginings of an Uncertain Future.”

2022 - Sheetala Bhat, “‘Restart the play’: On Cyclicality and the Indian Woman in the Theatrical Future of C Sharp, C Blunt.”

Honourable Mention:
Jessica Watkin, “Disability Dramaturgy: History, Perspective, and Practice."

2021 - (none awarded)

2020 - (none awarded)

2019 - Alana Gerecke, "Choreographies of Exclusion: Dîner en Blanc’s spectacle of Whiteness"

2018 - Kelsey Blair, “Theoretical Exchanges: The Structuring of Practice in Cultural Performance Genres and the Case of Canadian Women’s Basketball."

2017 - (co-winners)
Katrina Dunn, “Liquid Apocalypse: Contemporary Canadian warnings in theatrical form”
Kelsey Laine Jacobson, “‘Everything is True, Some Things are Scripted’: Good Fences and the Dialogue of Truthfulness”

Honourable Mention:
Julia Henderson, “Utopian Performativity in The Chop Theatre’s Sonic Elder: Performing Time, Place and Age Identity”

2016 - David Owen, “Thrills and Chills: Embodying the Fiction at Fan Expos, in Cosplay, and through Intermedial Performance.”

Honourable Mentions:
Alana Gerecke, “Legislated Choreography and Sidewalk Design.”
Julia Henderson, “Resisting Dominant Ideologies of Aging: Sally Clark’s Moo and Ten Ways To Abuse An Old Woman”

2015 - Katrina Dunn, “Turning Our Backs On The City We Look On Water Canada’s National Arts Centre Considered.”

Honourable Mentions:
Matt Jones, “Hearts and Minds in Extremis: Performing the Body at War.”
Zita Nyarady, “The View from an Ankle Hang: The Capital(s) of Inverted Spectacle in Cascade.”
Jessica Riley, “Interrogative Feedback and the Myth of Neutral Dramaturgy.”

2014 - Benjamin Gillespie, "Virtuosic Labouring: Queer Embodiment and Administrative Violence at the Canadian/US Border"

Honourable Mentions:
Brian Batchelor, "Zapatouristic Differentiations: Reading Autoethnographic Representations and Touristic Identities through the Camera Lens in Oventic"
Ian McWilliams, "‘Very Realistic, and Was Received with Intense Silence by the Audience’: Founding Spectres and Recasting The Last Stand"

2013 - Kim McLeod, “Finding the New Radical: Digital Media, Oppositionality and Political Intervention in Contemporary Canadian Theatre.”

Honourable Mention:
Julia Henderson, “Dissolving the Edges: Challenging Age Binaries by Viewing King Lear in Temporal Depth.”

2012 - Helene Vosters, "Between Two Worlds: Reflections on a Year of Falling"

Honourable Mention:
Jess Riley, "The Dramaturge and/as Hyphen-ated Artist Scholar"

2011 - Nicholas Hanson, “A Solo Census: One-Person Productions as a Rising Tide?”

2010 - Robin Whittaker, “Intellectual and Un/Disciplined: Relocating Toronto’s Alumnae Theatre Company, from Philanthropic Theatre to the Original ‘Alternative’.”

2009 - Jill Carter, “Shaking the Paluwala Tree: Fashioning Internal ‘Gathering Houses’ and Re-Fashioning the Spaces of Popular Entertainment through Contemporary Investigations into Native Performance Culture (NpC).”

2008 - Lydia Wilkinson, “Creating a Canadian Odyssey: George Elliott Clarke’s Global Perspective in Trudeau: Long March/Shining Path”

2007 - James McKinnon, “Aiming the Canon at Canadian Audiences: Cowgirl Opera’s The Three Sisters: A Black Comic Opera”

2006 - Barry Freeman, “Interculturalism in the Prague-Toronto-Manitoulin Theatre Project (PTMTP)”

2005 - Kim Solga, “Spaces Within and Spaces Between: Ground Plans for an Architecture of Feminist Performance”

2004 - Laura Levin, “Environmental Affinities: Naturalism and the Feminine Body”

2003 - David Fancy, “In Defence of Bad Acting: A Prolegomena for an aesthetics of the amateur actor”

2002 - Natalie Alvarez, “‘Are You an Actor?’: Big Fat Inc. and the Secret Agents of Capitalism”

2001 - Marlene Moser, “Identity and Realism in The Drawer Boy and The Farm Show”

2001 - Sky Gilbert, “Art as Plague and Plague as Art: The Night Larry Kramer Kissed Me”

2000 - Robert Appleford, “Red Sons in the Sail Set: Hazards of Occupation in Floyd Favel Starr’s Lady of Silence and House of Sonya”

1999 - Kate Cornell, “The Ballet Report of 1962: A Forgotten Artifact of Canadian Dance Heritage”;

1999 - Christiane Gerson, “Le lieu théâtral comme médiateur entre le spectacle et le spectateur”

1998 - Scott Duchesne, “Mike is the Message: Performing the Common Sense Revolution”

1998 - Paul M. Malone, “The Cybernetic Actor and Cybernetic Mirror”

1997 - Julie Salverson, “Transgressive Storytelling and Refugee Testimony”

1996 - Rosalind Kerr, “Border Crossings in Sharon Pollock’s Blood Relations & Doc”

1995 - Celeste Derksen, “Masculinity and the Mise en Scène: The Collected Works of Billy the Kid”