Performance, potentially both artful and pedagogical, is an integral part of how young people construct themselves and the society they live in. Meanwhile, caregivers, educators, and artists imagine, construct, and challenge ideas about young people, young people's spaces, and young people's worlds through their creative practices. This themed issue of Theatre Research in Canada/Recherches Theatrales au Canada will address not only performance for/by/with young people, but how that creative work reveals ways Canadian Society, communities, and young people themselves, perceive and construct youth. We welcome scholarship about professional performance, classroom drama, and any place or space that finds young people engaged with performance. Performance includes (but is not limited to) theatre, dance, music, circus, improvisation, spoken word, and aesthetic sports. We are looking forward to articles in English or French that address practices for, by and with young people in all forms of performance, and in contemporary or historical contexts.
By identifying young age (a term that begs definition as the line between adulthood and youth blurs) as the common factor across performance genres, levels and types of training, intended audience, and temporal and geographic location, we hope to broadly reimagine ways to think about youth and performance in Canada.
Topics may include but are not limited to:
Professional child performers; Professional theatre, music and dance instruction for children and youth; Performance and training in K-12 education and out-of-school learning; Living history museums and young people; Bounded terms such as youth, childhood, girl and boy expressed in performance; Youth as performance childhood as script; Inclusive performance practices and young people; Non-traditional formats such as social media platforms featuring youth-created perfomances; Theatre and performance for early years and babies; Performance for/by/with young people that engages with cultural diversity and non-mainstream identities; Young people and ethics, research methodologies, and performance creation practices.
Please contact Sandra Chamberlain-Snider at email@example.com with an abstract of no more than 250 words and a bio by February 1, 2019.
Theatre History PhD Candidate, University of Victoria, British Columbia, Canada