FADO E-LIST (March 2020)


1. EVENT: The Archivist by Shaista Latif

Date: March 5–22, 2020 (various); City: various, Canada; Source: Taliesin McEnaney

2. CALL FOR PROPOSALS: Vol. 25, No. 8: ‘Training Utopias’

Deadline date: March 15, 2020: City: the world; Source: PR Journal

3. RESIDENCY: Leslie-Lohman Museum of Art | Queer Theatre & Performance Residency

Deadline date: March 18, 2020; City: New York, USA; Source: Adrien Whan 

4. EVENT: Pi*llOry *part three

Date: March 19, 2020; City: Toronto, Canada; Source: Holly Timpener

5. WORKSHOP: Performance as Experiment with Marilyn Arsem

Deadline date: March 31, 2020; City: Waterloo, Canada; Source: Tess Martens


1. EVENT: The Archivist by Shaista Latif

Date: March 5–22, 2020 (various); City: various, Canada; Source: Taliesin McEnaney

The Archivist is produced in association with Why Not Theatre

Shaista Latif is a perpetual guest.

She has been invited to tell a story.

Shaista Latif is a storyteller.

Shaista Latif is a story.

To mark her position and her eventual disappearance, Shaista creates a live archive of found objects, music, photos and film to boldly question who has the right to document a history of war.

In this compelling and hilarious documentary performance, Latif invites the audience to name what is at the risk of being erased and forgotten.

On tour with Ontario Presents:

February 27–29: FirstOntario Performing Arts Centre, St. Catharines, ON

March 5–6: Living Arts Centre, Mississauga, ON

March 10–11: The Rose, Brampton, ON

March 13–14: Oakville Centre for the Performing Arts, Oakville, ON

March 18–22: The Grand Theatre, Kingston, ON


Shaista Latif is a working-class Queer Afghan-Canadian multidisciplinary artist, consultant and facilitator. Her works and collaborations have been presented by Koffler Gallery, Ontario Scene Festival, SummerWorks, Why Not Theatre, Blackwood Gallery, Mercer Union, the AGO, Halifax Queer Acts Festival, Buddies in Bad Times Theatre and recently the Undercurrents Festival. Her video installation Learning the Language of My Enemies was recently presented in conjunction with Nevet Yitzhak: WarCraft at the Koffler Gallery.  Her current project How I Learned to Serve Tea, a series of workshops focused on the politics of inclusion and the language of invitation, is co-funded and supported by Why Not Theatre and Koffler Centre of the Arts. Latif is a published playwright (Playwrights Canada Press) and voiced the character Soraya in the Oscar-nominated film The Breadwinner.

This project is part of Why Not’s SHARE stream of activities. SHARE projects are partnerships with other independent artists and companies to help produce, present or tour their work. 



2. CALL FOR PROPOSALS: Vol. 25, No. 8: ‘Training Utopias’

Deadline date: March 15, 2020: City: the world; Source: PR Journal

Call for Proposals

Vol. 25, No. 8: ‘Training Utopias’ (December 2020)


Issue editors:

Felipe Cervera, LASALLE College of the Arts, Singapore

Elizabeth de Roza, LASALLE College of the Arts, Singapore

Michael Earley, LASALLE College of the Arts, Singapore

"For those of us whose relationship to popular culture is always marked by aesthetic and sexual antagonism, these stages are our actual utopian rehearsal rooms, where we work on a self that does not conform to the mandates of cultural logics such as late capitalism, heteronormativity, and, in some cases, white supremacy."

~José Esteban Muñoz (2009), Cruising Utopia: The then and there of queer futurity, p.111


Training is utopic. In principle, we train to become, to improve, to upgrade or simply, to be better. Who determines what is this ‘better’? We train in various ways and forms, and our training utopias are multiple and different. We train to become citizens, artists, educators as much as we also train in the military, camps and corporations. The world is made in the entanglement of multiple utopias and the trainings they demand. However, the materiality of the world and of the body are often a mismatch to the vision any training predicates. Indeed, the milieu in which a training system is implemented may amplify or undermine its practice. In the moment of implementation, utopian visions are also disturbed by the same socio-cultural milieu that shaped their imaginary. The tension between thinking and doing training is where the world happens. We train to embody multiple non-places in their utopic unbecoming. And yet, we continue to train and be trained.


Places, venues and institutions of training may be taken as heterotopias (Foucault 1967). In these places, the meaning of having a body has historically changed in relation to the function that the space is attributed within larger sociologies of practice. Sometimes, these places host the training needed for military, corporate and social engineering. In other times, however, they host practices that aim to explicitly contest a given spatial and temporal normativity. In theatre and performance, training venues have often been thought of along these lines, as a place that unsettles the normative spatial and temporal logics, and where intense training can take place and utopic attitudes maintained. Examples abound – especially during the twentieth century: Edward Gordon Craig’s short-lived training school at the Arena Goldoni in Florence (1912–13), the Staatliches Bauhaus, Kerala Kalamandalam, Moscow Art Theatre studio, the Group Theatre, Black Mountain College, various lab theatres modelled on Grotowski’s Polish Lab Theatre and Odin Teatret and Tadashi Suzuki’s training centre in Toga are but a few examples of a long list of training utopias, some short-lived and some continuing.


The histories and geographies (or non-histories and non-geographies) of these training places were the mirrors of utopian thought in the context of twentieth-century cosmopolitanisms and globalizing processes. In hindsight, however, we can appreciate that, even when utopic, many of the conceptual pillars of these examples failed to envision the dystopic future we experience today and each, in their own way, broke down or may have outlasted themselves. For example, twentieth-century intercultural training cannot be disassociated with its necessity for air travel and therefore with its carbon footprint. Moreover, its practice did not take into consideration the authorship of the trained body. In contrast, and as it has been widely discussed, its epistemology privileged a Eurocentric authorship that in turn contributed to geopolitics of training shaped by tendentious cultural diplomacy and exchange. This determined that the dynamics of the rehearsal space or studio limited the possibilities of transversal fluidity, and therefore of collective performance utopias. The trained body became, by proxy, the agency of the trainer’s knowledge, expertise or cultish appeal – their personal brand in a global network of elite travellers.


The utopia of training itself is in an impasse. What conversations do we need to have, at this historical and geothermal moment, to recover training from the hands of identitarian idealisms and naive pedagogies? What is the future of training in a time where the future is in crisis? What becomes of the trained body in the moment of planetary terminus? What is contemporary performance training in light of new materialist thought, post-globalisms, decolonial and hierarchical critiques, gender fluidity and spectrums, and post-human theories? How can we unsettle and maybe reset the authorship of our utopias? We cannot deny that training and authority exist hand in hand. What, then, becomes of the relationship status between teacher and student, master and disciple, in a moment when the authorship in and of the body so urgently needs a revision in relation to twenty-first century conditions? Is there room to propose a new training utopia?


This issue of Performance Research will look into the concept of training utopias. Contributions will include discussions on theatre and performance training but also training more generally as it evolves into an economic indicator and ecological necessity in post-industrial and late capitalistic societies.


Proposal topics may include:

Histories of performance training and their connection to utopia and hope


Critique of hegemonic discourses in actor training

Decolonizing the conservatoire

The tyranny of tradition

Comparative perspectives in training

Training manifestos

New materialisms and performer training

Planetary training and the future of cross-cultural training

Digital and mediated training

Training in/for the Fourth Industrial Revolution



Foucault, Michel (1986) ‘Of other spaces’, trans. Jay Miskowiec, Diacritics (16): 22–7. 

José Esteban Muñoz (2009) Cruising Utopia: The then and there of queer futurity, New York: New York University Press. 


We are inviting essays of approximately 4,000 to 6,000 words and artist/trainer methodology pages (number of pages to be agreed with the editors). Please send 300–400-word abstracts plus a 100-word bio.



Proposals: 15 March 2020

First drafts: 1 June 2020

Final drafts: 15 August 2020

Publication: December 2020


All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org


Issue-related enquiries should be directed to the issue editors:

Felipe Cervera: felipe.cervera@lasalle.edu.sg

Michael Earley: michael.earley@lasalle.edu.sg

Elizabeth de Roza: elizabeth.roza@lasalle.edu.sg


General Guidelines for Submissions:

—Before submitting a proposal, we encourage you to visit our website and familiarize yourself with the journal.

—Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side.

—Please include your surname in the file name of the document you send.

—Please include the issue title and issue number in the subject line of your email.

—Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB and there is a maximum of five images. Copyright clearance remains the responsibility of the author.

—Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.

If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.



3. RESIDENCY: Leslie-Lohman Museum of Art | Queer Theatre & Performance Residency

Deadline date: March 18, 2020; City: New York, USA; Source: Adrien Whan 



The Museum's Queer Theatre and Performance Residency for Emerging Artists is devoted to incubating the talents of early-career artists in the LGBTQ community who specialize in performance.

The submission form for the proposals is now live. Follow the link here:





The Leslie-Lohman Museum of Art Queer Theatre and Performance Residency for Emerging Artists intends to advance the nature and discourse of queer theory through experimental work. Selected artists will have an interest in expanding the concept of identity past current boundaries. Through multiple disciplines and genres, residents will create art of expansive vision and effort. Past residents include Cristina Pitter, Camilo Godoy, Peter Smith, and Kevin Quiles Bonilla. Proposals that integrate a discussion of queer aesthetics and politics are particularly encouraged.

“Experimental performance is a cornerstone of queer art practice and one which our Museum intends to support fully,” said Executive Director Gonzalo Casals. “We are interested in building a program that supports artists’ careers not only by showing their work, but also by helping them to produce it.”

Curated by Zachary Small (Associate editor, investigations, The Art Newspaper) and Daniel J Sander (Assistant Curator, Leslie-Lohman Museum of Art), the residencies will take place in July and August. Two artists (or groups) will be selected to receive free rehearsal space in the Leslie-Lohman Project Space on Prince Street in SoHo for one month each. Additionally, they will receive access to the Museum’s archives, guidance from staff, and an artist honorarium. At the end of the residency, artists will be expected to present a work-in-progress showcase in the Project Space.

“This program is dedicated to the groundbreaking work of writers like Jill Johnston and José Estaban Muñoz who envisioned queerness as an aspiration toward the future. To be queer is to imagine better possible futures not just for one’s self, but for all peoples,” explained curator Zachary Small.

Through the program, residents will also have the opportunity to stage their projects at La MaMa, a premiere venue for experimental theater in the East Village. Details to be discussed with finalists.



4. EVENT: Pi*llOry *part three

Date: March 19, 2020; City: Toronto, Canada; Source: Holly Timpener


 *part three

An LGBTQ Performance night with works by 

lo bil

Madeleine Lychek

Jillian Groening

Amber Helene Müller St. Thomas

Coman Poon

Holly Timpener

Randa Reda 

Hosted by Emma Qulaghas

Thursday March 19 | 7pm

Roseneath Theatre, 651 Dufferin, Toronto

PWYC (All proceeds go directly to the artist) 

Employing the liberation of bodies as a primary medium, Pi*llOry harnesses the epic powers of presence, space, politics, shame, and (dis)/ability, while also refracting their infinite incarnations. These artists renounce the binary and traditional gender roles, and in doing so, not only create new ones, but space for others to create and live in them as well. Through a variety of aural, visual, and visceral mediums, Pi*llory explores the depths of fragmented gender/queer identity, pushing beyond label and classification. On the edge of complete uncertainty, with only the already structural, limited, and bound ways of description and discrimination, Pi*llOry arm themselves with the unknown, in hopes of navigating the surrender that comes with being an other.

Facebook: www.facebook.com/Performance.PillOry/


5. WORKSHOP: Performance as Experiment with Marilyn Arsem

Deadline date: March 31, 2020; City: Waterloo, Canada; Source: Tess Martens

This 10-day workshop with American artist Marilyn Arsem focuses on performance art as a site of learning. The performance action is an experiment in which the end result is not known, either by the performer or the viewers. Instead, something is discovered through the process of doing the work, in the act of observing and experiencing change and transformation. Using performance, you might choose to learn something about yourself, about the world around you, or about the audience. The challenge is selecting materials and designing an action that allows you to effectively examine the question that you are asking.  In some performances, your action may be very literal, while in others it might be more metaphorical. What is the role of the witness in the work?  What does their presence allow you to do? Is there a way to involve them directly in the inquiry? How might they help you?

During the workshop, you will design and execute several different experiments in order to learn something new. You will utilize different performance strategies including ones that engage the viewer. Guided writing exercises will further develop your practice of constructing and analyzing your own work. The culmination of the workshop will be two evenings of public presentations of performance experiments by the participants, and will include an introduction about the nature and approach of the workshop.

Type of Project: Performance art workshop, symposium & public presentation 

Number of Participants: 15–18 

Participation Fee: $700.00 CAD  

Selection of Participants: through an open call (on-line form to submit)


Link to online submission form: https://tinyurl.com/t5fmsgb


June 14: Arrival + opening reception

Monday, June 15–25: Full days of the workshop starting at 10am–6pm

Thursday June 24: Public presentations

Friday, June 25: Public presentations

Saturday, June 26: Departure

PLEASE NOTE: Travel, accommodations, and meals are the responsibility of the participants. The organizers (Holly Timpener and Tess Martens) will assist in finding accommodations for participants and would be happy to answer any questions. International participants REQUIRE travel health insurance to participate in the workshop.





Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.


Board of Directors: Julian Higuerey Núñez (Chair), Cara Spooner (Vice Chair), Cathy Gordon (Treasurer), Clayton Lee (Secretary), Francesco Gagliardi, Jennifer Cruise


Artistic & Administrative Director: Shannon Cochrane

Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8



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