CURRICULUM VITAE

BRUCE WILLIAM BARTON
www.brucewbarton.com
www.verticalcityperformance.com
July 2020

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INSTITUTIONAL ADDRESS

School of Creative and Performing Arts
University of Calgary
2500 University Drive NW / CHD104
Calgary, AB
CANADA            T2N 1N4

Phone: +1 403 210 6265
Email: bruce.barton@ucalgary.ca
Webarts.ucalgary.ca/creative-performing-arts

ARTISTIC PRACTICE ADDRESS

Vertical City Performance

Email: bruce@verticalcityperformance.com
Web: verticalcityperformance.com

EDUCATION

Ph.D.     Centre for Drama, Theatre and Performance Studies, University of Toronto
M.A.      Department of English (Drama), University of Guelph (Canada)
B.A.       Departments of English and Visual Arts (Double Honours), University of Guelph (Canada)

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ACADEMIC POSITIONS

     Current Position (2015-)

School of Creative and Performing Arts, University of Calgary
Professor and School Director

Previous Positions

2001-2015

University of Toronto
Graduate: Centre for Drama, Theatre and Performance Studies / University of Toronto
Undergraduate: Theatre, Drama and Performance Studies Program / University of Toronto
Associate Professor
Director: Theatre, Drama and Performance Studies Program (2013/14)
Associate Chair: Dept. of English and Drama (2013/14)
Associate Director (Graduate): Centre for Drama, Theatre and Performance Studies (2012/13)
Graduate Coordinator: Graduate Centre or Study of Drama (2008-2012)

91-96
Memorial University of Newfoundland

Assistant Professor

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ARTISTIC PRACTICE

Co-Founder and Co-Artistic Director, Vertical City Performance (2007-)

     Production (Directing, Writing, Dramaturgy, Design): Professional, since 2000

19/20    Director and Playwright / Sage Theatre & Vertical City co-production: aiam. Professional staged reading Calgary, AB: Pumphouse Theatre.
19          Playwright / Zuppa Theatre & Vertical City co-production: tiny. Performed Halifax, NS: presented by Eastern Front Theatre.
18/19     Director and Lead Devisor / Vertical City production: Did you mean ‘rocket?’ Performed Calgary, AB: presented by New Works Calgary / cSPACE Studio Theatre.
18/19      Developmental and Production Dramaturg / Kaeja d’Dance production: I am the Child of… Choreographed by Allen Kaeja. Workhop production: Banff Centre for Arts and Creativity, AB.
17/18      Director and Lead Devisor / Vertical City production: Listening Project #1 & #2. Performed Calgary, AB: presented by Theatre Junction Grand / TJG Studio.
17            Playwright / Zuppa Theatre-Vertical City co-production: tiny. Workshop production, Halifax, NS (premiere December, 2019, Eastern Front Theatre, Halifax, NS).
17            Director and Playwright / Vertical City production: Trace. Performed Calgary, AB: High Performance Rodeo (Festival) / Canadian Legion #1.
16/17      Developmental and Production Dramaturg / Kaeja d’Dance production: DEFIANT. Choreographed by Allen Kaeja. Performed Toronto, ON: Harbourfront Performing Arts.
16            Director / Juno Awards & Vertical City production: Playing Our City. Performed Calgary, AB: Calgary Public Library & Genesis Centre.
15/16       Developmental and Production Dramaturg / Kaeja d’Dance production: .0. Choreographed by Allen Kaeja. Performed Toronto, ON: Harbourfront Performing Arts.
15            Playwright / Vertical City & Ghost River Theatre production: Taste. Performed Calgary, AB: River Café and Beakerhead.
14            Director and Playwright / Vertical City production: 2YouTopia. Performed Toronto, ON: Nuit Blanche.
14            Director and Co-Choreographer / Vertical City & Kaeja d’Dance production: The Rogue Show. Performed Toronto, ON: Dovercourt House.
14            Director and Playwright / Vertical City production: Trace. Performed Toronto, ON: SummerWorks Festival / Artscape.
13/14      Devisor / Theatre Conspiracy production: Foreign Radical. Directed by Tim Carlson. In development.
13/14      Director and Playwright / Vertical City production: All Good Things. Performed Toronto, ON: Buddies in Bad Times Theatre and Vancouver, BC (June 2014): PL 1422.
12/13      Developmental Dramaturg / bluemouth inc. production: Stay (A)Wake: A Field Guide to Strip PokerCreated by the company. Performed Toronto, ON: Summerworks Festival.
12/13       Developmental and Production Dramaturg / Kaeja d’Dance production: X-ODUS. Choreographed by Allen Kaeja. Performed Toronto, ON: Harbourfront Performing Arts.
12/13       Developmental and Production Dramaturg / Artistic Fraud of Newfoundland production: Under Wraps. Written by Robert Chafe. Directed by Jillian Keiley. Performed St. John’s, NF: LSPU Hall.
11-13       Developmental Dramaturg and contributing Playwright / Theatre Gargantua production: Sacrifice Zone. Written by Suzie Miller with the company. Directed by Jacquie P. A. Thomas. Performed Toronto, ON.
09-13      Director and Playwright / Vertical City production: YouTopia. Performed Toronto, ON: Glen Morris Studio Theatre.
10/11       Developmental and Production Dramaturg / Theatre Gargantua production: Imprints. Directed by Jacquie P. A. Thomas; text by Michael Spence. In development.
08-11       Director and Devisor / Hopscotch Collective production: Swimmer (68). Co-created with Ker Wells. Performed Toronto, ON, Glen Morris Studio.
07-11        Director and Playwright / Vertical City production: The Vertical City Project. Invited project in Harbourfront Performing Arts HATCH program of emerging performance projects. Performed 2008, York Quay Centre’s Studio Theatre, Toronto, ON.
09/10       Developmental Dramaturg / Zuppa Theatre production: Five Easy Steps (to the end of the world). Directed by Alex McLean. Halifax, NS, Wales, and Toronto, ON.
08/09      Developmental Dramaturg / Zuppa Circus Theatre: Poor Boy. Directed by Alex McLean. Neptune Theatre. Halifax, NS.
07/09      Developmental Dramaturg / Bluemouth Inc.. Presents: Dance MarathonHarbourfront Fresh Ground Series, Harbourfront Performing Arts. Toronto, ON.
06/08      Developmental Dramaturg / Zuppa Circus production: Penny Dreadful.  Directed by Alex McLean. Halifax, NS.
05             Developmental Dramaturg / Zuppa Circus production: Radium City. Directed by Alex McLean. Halifax, NS.
04             Playwright / CBC Radio Drama: Two Strangers.  Broadcast Nationally.
03             Playwright / WillPower Theatre production: Talking Art. Performed Art Gallery of Nova Scotia, Halifax, NS. Nominated for Theatre Nova Scotia Merritt Award.
02-04       Developmental and Production Dramaturg / Number Eleven Theatre production: The Prague Visitor. Directed by Ker Wells. Toronto, ON.
01               Playwright, Director, and Designer / TheatreWorks production: Roswell 2001.  Neptune Theatre (DuMaurier Studio), Halifax, NS. Published in the New Canadian Drama 8: Speculative Drama, Borealis Press, edited by Scott Duschesne, 2002.
00              Playwright / WillPower Theatre PowerPlays production: Passages. Neptune Theatre, Halifax, NS.
00              Playwright / CBC Radio Drama: Gross Morne Variations (#3).  Broadcast Nationally.

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FUNDING

Academic, since 2000

19        AHRC (Arts and Humanities Resarch Council, UK, co-applicant with Gareth White: “Playing with intimacy & intensity: a interdisciplinary network for participatory performance practice.”
19        SSHRC Connection Grant (co-applicant with Pil Hansen) / “Performance Studies international.”
18        Vice President Research Grant / “Articulating Artistic Research Within and Beyond the Academy.”
18        SSHRC Connection Grant / “Articulating Artistic Research Within and Beyond the Academy.”
14        SSHRC Insight Grant / “At the Intersection of Affect and Interpretation in Interdisciplinary Performance.”
09       SSHRC Standard Research Grant / “’How the Doing is Done’: Canadian Physical Theatre and Interactual Dramaturgy.”
06       Northern Summer University (NSU Scandinavia, co-applicant): “Practice-Based Research in the Performing Arts.”
05       SSHRC Standard Research Grant / “Creative ‘Spaces: Canadian Developmental Dramaturgy.”
04       SSHRC Aid to Scholarly Journals Grant / Theatre Research in Canada/Recherche théâtrales au Canada.
03       SSHRC Conference Grant / “Shifting Tides: Atlantic Canadian Theatre Yesterday, Today, and Tomorrow.”
01        SSHRC Standard Research Grant / “Playing in the Atlantic: A History of East Coast Canadian Theatre.”
01        Connaught New Staff Grant / “‘Mediated Life’: The Technologies of Performance.”

     Arts Practice

Vertical City Performance and the wide range of collaborators I have worked with over the past three decades have been recipients of funding from the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council, Heritage Canada, the Trillium Foundation, the Metcalf Foundation, Alberta Federation for the Arts, and Calgary Arts Development, as well as a wide range of international arts organizations and associations. Our work would not be possible without the generous support of these essential, publicly- and privately-supported funding agencies.

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EDITORIAL POSITIONS (SCHOLARLY AND PROFESSIONAL JOURNALS)

Guest Editor (with Natalia Esling, Megan Andrews, and Pil Hansen), Global Performance Studies 4.1: “Elasticity” (Winter 2021)
Guest Editor (with Natalia Esling), Canadian Theatre Review 172: “Articulating Artistic Research” (Summer 2017)
Guest Editor (with Pil Hansen and Darcey Callison), Canadian Theatre Review 155: “Dance and Movement Dramaturgy” (Summer 2013)
Guest Editor (with Pil Hansen), Canadian Theatre Review 145: “Memory” (Spring 2011)

Guest Editor (with Bruce Kirkley), Theatre Research in Canada/Recherches théâtrales au Canada 32.2: “Theatre and Intermediality” (2011)
Executive Editor, Theatre Research in Canada/Recherches théâtrales au Canada (2007- 2010)
Guest Editor (with Ker Wells), Canadian Theatre Review 135: “Theatrical Devising” (Summer 2008)
General Editor, Theatre Research in Canada / Recherches théâtrales au Canada (2002-2007)
English Book Review Editor, Theatre Research in Canada / Recherches théâtrales au Canada (1998—2002)

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ASSOCIATION EXECUTIVE AND CONVENORSHIP

Artist Relations Officer (Board Position), Performance Studies international (since 2018)
Co-Convenor: Artistic Research Working Group, Performance Studies international (since 2017)
Co-Convenor: Performance-as-Research Working Group, International Federation for Theatre Research (since 2017)
Co-Convenor: Articulating Artistic Research, Canadian Association for Theatre Research (since 2013)

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PUBLICATIONS, since 2000

     Books

Performance as Research: Knowledge, Methods, Impact. Co-Editors: Annette Arlander, Melanie Dryer-Lude and Ben Spatz. London: Routledge, 2018.

Mediating Practice(s): Performance as Research and/in/through Mediation. Co-Editors: Melanie Dreyer-Lude and Anna Birch. Experiments and Intensities Series. Winchester, UK: University of Winchester Press. 2013.

At the Intersection Between Art and Research: Practice-Based Research in the Performing Arts. Co-Editors: Carsten Friberg and Rose Parekh-Gaihede. Malmö, Sweden: NSU Press, 2010.

Developing Nation: New Play Creation in English-Speaking Canada.  Essay Collection. Toronto: Playwrights Canada Press, 2009.

Collective Creation, Collaboration, and Devising. Critical Perspectives on Canadian Theatre in English. Toronto: Playwrights Canada Press, 2008.

Reluctant Texts from Exuberant Performance: Canadian Devised Theatre. New Canadian Drama Volume 9. Co-Editors: Birgit Schreyer, Natalie Corbett, & Keren Zaointz.  Ottawa: Borealis Press, 2008.

Imagination in Transition: David Mamet Moves to Film.  Brussels: Peter Lang/P.I.E., 2005.

Marigraph: Gauging the Tides of Drama from Nova Scotia, New Brunswick and Prince Edward Island. Toronto: Playwrights Canada Press, 2004.

     Articles

“Collaboration in Digital Theatre.” Digital Theatre in Canada. Ed. David Owen. Canada Playwrights Press. 2020. (forthcoming).

“The Performer in Intermedial Theatre.” In Intermedial Theatre. Ed. Mark Crossley. Houndmills, Basingstoke, Hampshire: Palgrave MacMillan, 2018. (Co-author Joanne Scott).

“Risking Intimacy: Strategies of Vulnerability in Vertical City’s All Good Things and Trace.” In Risk,Participation, and Performance Practice, ed. Alice O’Grady. Houndmills, Basingstoke, Hampshire: Palgrave MacMillan, 2018.

“Wherefore PAR: Discussions on a ‘line of flight.’” Performance as Research: Knowledge, Methods, Impact. London: Routledge, 2018.

“Ahr-tik-yuh-leay-ting Ahr-tis-tik Ree-surch.” Canadian Theatre Review. 172 (Summer 2017).

“Performing the Paradox of Affect and Interpretation: Turbulence in Vertical City.” Performance Research 19.5 (2014): 61-68.

“‘Interactual’ Dramaturgy: What a performance is doing, rather than what it is trying to be.The Routledge Companion to Dramaturgy. Ed. Magda Romanska. London: Routledge, 2014.

“Subtle Spectacle: Risking Intimacy with Vertical City.” About Performance. 12 (2014).

“New Betrayals: Intimacy in Mediatized Performance.” In Mediating Practice(s): Performance as Research and/in/through Mediation. Ed. Bruce Barton, Melanie Dreyer-Lude and Anna Birch. Experiments and Intensities Series. University of Winchester Press. 2013.

“Devising Realisms: An Exchange.” In New Canadian Realisms: Essays. Ed. Roberta Barker and Kim Solga. Toronto: Playwrights Canada Press, 2012. 124-43. (Co-authors Alex McLean and Evan Webber).

“Judged as Mystery: Making Space with Penny Dreadful.” In New Canadian Realisms: Plays. Ed. Roberta Barker and Kim Solga. Toronto: Playwrights Canada Press, 2012.

“Immersive Negotiations: Binaural Perspectives on Site-Specific Sound.” In Performing Site-Specific Theatre. Ed. Joanne Tompkins and Anna Birch. Houndmills, Basingstoke, Hampshire: Palgrave MacMillan, 2012. 182-200. (Co-author Richard Windeyer).

“Coherent Confusion and Intentional Accidents: bluemouth inc.’s Dance Marathon.” In Theatre Research in Canada (Special Issue: Theatre and Intermediality) 32.2 (2012). 241-52.

“Bullet-Time, Becoming, and the Sway of Theatricality: Performance and Play in The Matrix.” In Stages of Reality: Theatricality in Cinema. Ed. André Loiselle and Jeremy Maron. U of T P, 2012. 313-52.

“Intimacy.” Mapping Intermediality in Performance. Ed. Sarah Bay-Cheng, Chiel Kattenbelt, Andy Lavender, and Robin Nelson. Amsterdam: Amsterdam UP, 2010. 46.

“Memory.” Memory. Canadian Theatre Review 145 (Winter 2011): 3-5. (Co-author, Pil Hansen) “Intimacy.”Mapping Intermediality in Performance. Ed. Sarah Bay-Cheng, Chiel Kattenbelt, Andy Lavender, and Robin Nelson. Amsterdam: Amsterdam UP, 2010. 46.

“Paradox as Process: Intermedial Anxiety and the Betrayals of Intimacy.” Theatre Journal 61.4 (2009): 575-601.

“Research-Based Practice: Situation Vertical City Between Artistic Development and Applied Cognitive Science.” TDR: The Drama Review 53.4 (2009): 120-36. (Co-author Pil Hansen).

“‘Stop Looking at Your Feet’: bluemouth’s Dance Marathon and Inter/Actual Dramaturgy.” Performance Research 14.3 (2009): 13-27.

“Intimacy, Interdisciplinarity, and the Auteur: David Mamet in the Age of Intermedia.” In Crossings: David Mamet’s Work in Different Genres and Media, ed. Johan Callens. Cambridge Scholars P, 2009. 61-82.

“Accidental Encounters with Big Budget Ambush Art: Slow Dancing at Luminato.” Canadian Theatre Review 137 (Winter 2009): 30-34.

“Impressions of a Sharp-Elbowed Georgia Beatty and an Easily Saturated Bar Fly: HIVE2 at the Magnetic North Festival.” Canadian Theatre Review 138 (Spring 2009): 89-94. With Pil Hansen.

“Subjectivity<>Culture<>Communications<>Intermedia: a meditation on the ‘impure interactions’ of performance and the ‘in-between’ space of intimacy in a wired world.” Theatre Research in Canada 29.1 (2007, published 2008): 51-92.

“Creating Spaces.” Developing Nation: New Play Creation in English-Speaking Canada. Toronto: Playwrights Canada Press, 2008. v – xxii.

“Devising the Creative Body.” In Collective Creation, Collaboration and Devising. Critical Perspectives on Canadian Theatre in English Volume 15. Series General Editor: Ric Knowles. Toronto: Playwrights Canada Press, 2008. vii – xxvii.

“Delirious Juxtapositions and Wondrous, Vaulting Logic: Running Away to Join the (Zuppa) Circus.” In Reluctant Texts from Exuberant Performance: Canadian Devised Theatre. New Canadian Drama Volume 9. Ottawa: Borealis Press, 2008.

“Forewords.” Theatrical Devising. Canadian Theatre Review 135 (Summer 2008): 1-5.

“Forwards: The Theatre Centre’s Residence Program.” Canadian Theatre Review 135 (Summer 2008): 109-112.

Still Ringing: Sounds Collaborative.” Canadian Theatre Review.  129 (Winter 2007): 25-29.

Gonna build a little place for you and me: Imaginary Spaces in MacIvor’s House.” In Intermediality and Literary Practices. Ed. Maddalena Pennacchia, Peter Lang/P.I.E. Publishing, 2007. 99-126. 

“Tributes of Another Order.” Canadian Theatre Review 132 (Fall 2007): 18-23.

“Mining ‘Turbulence’: Authorship Through Direction in Physically-Based Devised Theatre.” In Directing and Authorship in Western Drama. Ed. Anna Migliarisi.  New York, Ottawa, Toronto. Legas Publishing, 2006. 1-19.

“Dancing with Spirits: Zuppa Circus’s Open Theatre Kitchen.” Canadian Theatre Review.  128 (Fall 2006). 20-25.

“Through a Lenz Darkly: Bluemouth Inc.’s S(t)imulated Schizophrenia.”  Canadian Theatre Review.  127 (Summer 2006): 54-59.

“The Razor’s Edge Between Performativity and Theatricality: Bluemouth Inc.’s American Standard.” Canadian Theatre Review.  126 (Spring 2006): 23-26.

“Communicating Across ‘Fronteras’: Wideload on the Wide Screen” Essays in Theatre. 20.2 (May 2002; Published Fall 2005): 113-36.

“Making Change: The Composing Body in Devised Theatre.” Space and Composition: A Nordic Symposium on Physical/Visual Stage Dramaturgy. NordScen (Copenhagen, Denmark), 2005. 110-22.

“Navigating ‘Turbulence’: The Dramaturg in Physical Theatre.” Theatre Topics 15:1 (March 2005): 103-19.

“Turning the Twenty-First Century: Contemporary Canadian Drama in English.” The Canadian Encyclopedia (Historica). http://www.canadianencyclopedia.ca/, 2005.

“Drama.” University of Toronto Quarterly: Letters in Canada 2003. 74:1 (Winter 2004/05): 250-77.

“Drama.” University of Toronto Quarterly: Letters in Canada 2002. 73:1 (Winter 2003/4): 65-78.

“Wrestling with Regionalism.” Canadian Theatre Review 114 (Spring) 2003: 42-46.

“Drama.” University of Toronto Quarterly: Letters in Canada 2001. 72:1 (Winter 2002/3): 255-90.

“Redefining Community”: The Elusive Legacy of the Dramatists’ Co-op of Nova Scotia.” Theatre Research in Canada.  21: 2 (Fall 2000): 99-115.

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CONFERENCE PARTICIPATION, since 2000

     Conference Organization

19         Conference Co-Director. Performance Studies international. University of Calgary, Calgary, AB.
18        Conference Co-Convenor: “SYMBIONT: Articulating Artistic Research / Performing Arts Relay / Pure Research.” School of Creative and Performing Arts, Calgary, AB.
16        Conference Co-Chair: Canadian Association for Theatre Research. University of Calgary, Calgary, AB.
12/14    Conference Organizing Committee. Playwriting Pedagogy. Centre for Drama, Theatre and Performance Studies, U of T. Toronto, ON.
10/11    Conference Organizaing Committee. Society for Dance History Scholars. Graduate Centre for Study of Drama and York University, Toronto, ON.
09/10    Conference Organizing Committee, The Body of Desire: Psychotherapy, Subjectivity, and the Arts. Graduate Centre for Study of Drama, U of T, Toronto, ON.
05/06    Conference Organizing Committee, Association for Canadian Theatre Research (Congress of Social Sciences and Humanities, 2005), York University, Toronto, ON.
04/05    Conference Organizing Committee and Academic Panel Selection Committee, Women’s Playwriting Conference (2006).  Playwrights Guild of Canada and University of Toronto.
04/05    Conference Organizing Committee, Association for Canadian Theatre Research (Congress of Social Sciences and Humanities, 2005), University of Western Ontario, London, ON.
03/04    Conference Chair, Shifting Tides: Atlantic Canadian Theatre Yesterday, Today, and Tomorrow (March 27 – 30, 2004), Toronto. Planning, co-ordination of speakers/presenters and workshop leaders, and successful SSHRC grant application preparation.
03        Co-organizer, panel moderator, First National Native Playwright Summit, Native Earth Performing Arts, Toronto.
03        Panel organization and moderation, Annual General Meeting of the Playwrights Guild of Canada. Vancouver, BC.
02/03    Conference Organizing Committee, AfriCanadian Playwrights Festival, Toronto.
01/02    Conference Organizing Committee, Association for Canadian Theatre Research (Congress of Social Sciences and Humanities, 2002), Toronto.

      Seminar Organization

20      “Articulatng Artistic Research: Articulations of Division and Unity.” Canadian Association for Theatre
Research, Online Event.
18        “SYMBIONT: Articulating Artistic Research / Performing Arts Relay / Pure Research.” School of Creative and Performing Arts, Calgary, AB.
17         “Articulating Artistic Research: Positioning the Researcher.” Canadian Association for Theatre Research, Toronto, ON.
16         “Articulating Artistic Research: Reconciling Results.” Canadian Association for Theatre Research, Calgary, AB.
15         “Articulating Artistic Research: Methods and Methodologies.” Canadian Association for Theatre Research, Ottawa, ON.
14         “Articulating Artistic Research: Definitions & Interpetations.” Canadian Association for Theatre Research, St. Catherines, ON.
13         “‘Talking and Walking’: PBR/PaR Design, Methodology, Articulation.” Canadian Association for Theatre Research, Victoria, BC.

     Presentations

19    “Navigating the Hyphen: Artist-Scholar Roundtable on Improving Integrated Methodologies (and Pedagogies) of Scholarly and Artistic Practice.” Canadian Association for Theatre ResearchVancouver, BC.
18     “As the Crow Flies.” Artistic Research Working Group. Performance Studies international, Daegu, South Korea.
17     “Without a Trace: Immersion and Affect.” Artistic Research Working Group. Performance Studiesinternational, Hamburg, Germany.
16     “Weathering ‘Embrace’: Affective Narratives in Micro Performance.” Performance Studies international, Melbourne, Australia.
16     “Performing Close Relations.” Performance as Research Working Group, International Federation for Theatre Research, Stockholm, Sweden.
15     “Intimate Intersections: Close Encounters in Interdisciplinarity.” Performance as Research Working Group,  International Federation for Theatre Research, Hyderabad, India.
14     “Engineered Affect in Posthuman Performance: Vertical City’s YouTopia.” Concurrent Plenary, American Society for Theatre Research, Baltimore,  MD.
14     “Interpretation and Affect in Micro Performance.” Performance as Research  Working Group, American Society for Theatre Research, Baltimore, MD.
13      “‘Hang On’: Disrupting and Disruptive Intimacy in All Good Things.” Performance as Research Working Group, American Society for Theatre Research, Dallas, TX.
13      “Echoes of YouTopia: Intermedial Intimacy.” Performance as Research Working Group, International Federation for Theatre Research, Barcelona, Spain.
12     “New Betrayals: Intimacy in Mediatized Performance.” Performance As Research Working Group, American Society for Theatre Research, Nashville, TN.
12      ““From Understanding to Experience: Intimacy in Mediatized Performance.” Performance as Research Working Group, International International Federation for Theatre Research, Santiago de Chile.
12      “Auditory Manipulation and/as Economic Contention: Site-Specific Sound Design”; Performance Studies international, Leeds, UK.
12      “Losing Boundaries, Finding Ways: Practice-Based Research at the Centre for Drama, Theatre and Performance Studies.” Canadian Association for Theatre Research, Waterloo, ON.
12      “Seeking Balance While Taking a Stance: Devising, Ethics, and Affect.” Canadian Association for Theatre Research, Waterloo, ON. (with Alex McLean, Ker Wells, and Evan Webber.)
12     “‘Navigating Interactuality’: PBR Positioning.” Nordic Summer University, Helsinki, Finland.
11     “Praxis in Practice: PBR at the Graduate Centre for Study of Drama” Performance as Research Working Group, American Society for Theatre Research, Montreal, QC.
10     “Articulating Interactuality.” Performance As Research Working Group, American Society for Theatre Research, Seattle, WA.
10     “Embodying Mediated Autobiography.” Association for Theatre in Higher Education, Los Angeles, CA. With Pil Hansen.
10     “‘How the Doing is Done’: Research-Based Practice.” Performance Studies international, Toronto, ON.
10     “Navigating Memory: Dramaturgical Strategies and Swimmer (68).Canadian Association for Theatre Research, Montreal, QC.
09     “Dancing Between Theatre and Performance: Inter-Actual Dramaturgy with bluemouth inc.” Canadian Association for Theatre Research, Ottawa, ON.
08     “Situating Vertical City between practice-based research and applied cognitive science.” Performance As Research Working Group, American Society for Theatre Research, Boston, MA.
08     “The intimate ‘in-betweens’ of intermedial interdisciplinarity: bodies, modalities, disciplines.” Performance Studies International, Copenhagen, Denmark.
08     “Running Away from the Circus: Confronting Habit on the Way to Vertical City.Association for Canadian Theatre Research, Vancouver, BC.
08     “Bullet-Time, Becoming, and the Triumph of Theatricality.” Film Studies Association of CanadaVancouver, BC.
08     “PBR and the Productivity of Artistic and Academic Exchange.” Practice-Based Research in the Performing Arts, Gothenburg, Sweden.
07     “Dramaturgy and Intertextuality: Towards the ‘Interperformance.” American Society for Theatre Research, Phoenix, AZ.
07     “Site-Specific Intimacy with Bluemouth Inc. Presents.” Joint presentation with bluemouth inc. Performance Studies International, New York, NY.
07     “Impure Interactions: a meditation on intimacy in intermedia.” Centre for Research on Intermediality, Montreal, QC.
07     “Intuitive Intertextuality: Devising and Dramaturgy.” Association for Canadian Theatre ResearchSaskatoon, SK.
07      “Practice-Based Research in North America. ”Practice-Based Research in the Performing ArtsCopenhagen, Denmark.
06     “Operative Tensions and Emergent Contradictions: The Desires of Physical Dramaturgy and the Possibilit(ies) of Practice-Based Research. ”American Society for Theatre Research, Chicago, IL.
05      “Writing With/out Words in Physically-Based Devised Theatre.”  American Society for Theatre Research, Toronto, ON.
05     “The Awesome and Amazing Authoring Experiments of Zuppa Circus.” Association for Canadian Theatre Research, London, ON.
04     “Imagination in Transition: David Mamet’s House of Games and Homicide.The European Society for the Study of English, Zaragoza, Spain.
04     “Imagination in Transition: David Mamet’s House of Games and Homicide.Second International David Mamet Conference, London, England.
04     “Old Questions and New: The First National Native Playwrights Summit.” Association for Canadian Theatre Research, University of Manitoba, Winnipeg, MB.
03     “Mining Turbulence: ‘Writing’ in Physical Theatre.” International Theatre Conference: Directing and Authorship in Western Drama (Acadia University), Wolfville, NS.
03     “Travels with The Prague Visitor: The Dramaturg in Physical Theatre.” Association for Canadian Theatre Research (Dalhousie University), Halifax, NS.
02     “Dramaturgy and the Body: Working in Physical Theatre.”  Literary Managers and Dramaturgs of America Annual Conference, Vancouver, BC.
02     “Playing with the Enemy: Performance and Representation in Contemporary Canadian Theatre.” Association of Canadian Theatre Research (ACTR), Congress, Toronto, ON.
02     “Getting Them on Their Feet, or, ‘Performance Fridays’.” Association of Canadian Theatre Research (ACTR), Congress, Toronto, ON.
01     “Closing Remarks.” Performative Resurrections: Death, Rebirth and the Trope of the Risen, Toronto, ON.
00     “There’s More Than One Way to Build a House: Translating MacIvor’s Stage to Screen.”  ACTR, Congress, Edmonton, AB.

Invited Lectures

12     “At Peace with Plurality: Navigating ‘Artistic Research’.” Performance Studies Workshop; York University, Toronto, ON.
12     “‘The Age of Multimedia’: Interactions between the arts in modern culture.” University of Toronto Faculty of Music; New Music Festival. Toronto, ON.
10     “Lepage and Collaboration.” ‘Perspectives on Lepage,’ Canadian Opera Company, Toronto.
09     “New Play Development in Canada.” Playwrights Development Centres Coalition, Playwrights Workshop Montreal. Montreal.
07     “The Long Road from The Farm Show: Theatrical Collective Creation in Twenty-First Century Canada.” Later Life Learning. University of Toronto.
05    “A Developing Nation: New Play Creation in Canada.”  Later Life Learning, Innis College, University of Toronto.

Keynote Presentations

14    “Interactual Dramaturgy: Interdisciplinary Strategies for Collaborative Performance Creation.” Plus 2-Day workshop. VIII Congresso da ABRACE, Belo Horizonte, Brazil.
11     “Devising New Realisms.” Keynote panel organization and participation. Canadian New Realisms Symposium. Dalhousie University, Halifax, NS.
10     Swimmer (68). Symposium closing performance and plenary. The Body of Desire: Psychotherapy, Subjectivity, and the Arts. Graduate Centre for Study of Drama, U of T, Toronto, ON.
10    “Exploring Canada’s ‘Creative Spaces’.” Literary Managers and Dramaturgies of the AmericasToronto. Co-Presenter: P. Hansen.
08    “From Practice-Based Research to Research-Based Practice.” Practice-Based Research in the Performing Arts, University of Tampere, Finland.
08    “Intimacy, Interdisciplinarity, and the Auteur: David Mamet in the Age of Intermedia.” Crossings: David Mamet’s Work in Different Genres and Media. Brussels, Belgium.
06    “Developmental Dramaturgy in English-Speaking Canada.” German International Theatre Institute (Berlin).
06    “Alternative Attractions.” The Rochdale Project (Theatre Passe Muraille).  Toronto, ON.
05    “Making ‘Change’: The Composing Body in Devised Theatre.”  Space and Composition SymposiumDanish Academy of Theatre and the Centre for Performing Arts (NordScen), Copenhagen, Denmark.
05    “Staging Metropolis.”  Voicing Toronto: The City and the Arts, University of Toronto Humanities Centre.
05    “Is Any Body Listening: The ADD Audience of Physically-Based Devised Theatre.” Festival of Original Theatre, University of Toronto.

      Invited Panel Participation

10    “Theatre, Out of the Spotlight.” Cross Currents Festival (Factory Theatre), Toronto.
06    Re:Searching: Practice-Based Research Within the Performing Arts Symposium, Nordic Centre for Performing Arts (NordScen), Copenhagen, Denmark.
04    “Collective Creations, Developmental Dramaturgy, and Canadian Theatre.” Festival of Original Theatre, (Graduate Centre for Study of Drama), University of Toronto.

*

TEACHING

University of Calgary (2015-)

     Undergraduate

SCPA290: History and Performance (Introduction to Interdisciplinary Practices)
SCPA399: Approaching Interdisciplinarity
DRA 360 Performance Creation I
DRA 460 Performance Creation II
DRA 560: Performance Creation III

Graduate

DRA 601: Directing

University of Toronto (2001-2014)

     Undergraduate

DRE 121: Traditions of Theatre and Drama
DRE 122: Contemporary Theatre and Drama
DRE 220: History of Performance
DRE 222: The Performance Text
DRE344: Dramaturgy and Directing in Physical Performance
DRE352: Stage to Screen
DRE 360: Developmental Dramaturgy
DRE 362: Playwriting
DRE 420: Senior Seminar – Intermedial Theatre and Performance
DRE 421: Production Dramaturgy
DRE 422: Senior Seminar – Theatrical Devising and Performance Creation 

     Graduate

DRA 1025: Canadian Creation: New Developmental Dramaturgies I
DRA 1027: Canadian Creation: New Developmental Dramaturgies II
DRA 1032: Beyond ‘Liveness’: Intermedial Theatre and Performance
DRA 3211: Performing Bodies
DRA 4037: Atlantic Canadian Theatre and Drama
DRA 5000: Praxis I (MA core requirement)
DRA 5001: Praxis II (PhD core requirement)
 

*

AFFILIATIONS

     Academic

Canadian Association of Fine Arts Deans (CAFAD)
Performance Studies international (PSi): Board Member (Artist Relations Officer) and Working Group Co-Convenor (Artistic Research)
International Federation For Theatre Research (IFTR/FIRT): Working Group Co-Convenor (Performance as Research)
Canadian Association for Theatre Research (CATR): Seminar Co-Convenor (Articulating Artistic Research)

Professional / Artistic Practice

Literary Managers and Dramaturgs of the Americas (LMDA)
Playwrights Guild of Canada (PGC)

 

—Last update: July 2020.