Abstract:In When the Theatres Went Dark …, Sharada K. Eswar shares how she reimagined and redefined theatre in her kitchen. Drawing inspiration from her spice box and the contents of her refrigerator, she wrote stories while dishing out a new piece everyday—from comedy to tragedy, all under the bright lights of her kitchen counter. Reflecting on the theatrical tradition of the ghost light, a single bulb left on after everyone has left that shines through the darkness of the empty space, Eswar invites artists to consider how they can collectively light the way in this time of uncertainty and grief.
{"title":"When the Theatre Went Dark . . .","authors":"Sharada K. Eswar","doi":"10.3138/ctr.188.011","DOIUrl":"https://doi.org/10.3138/ctr.188.011","url":null,"abstract":"Abstract:In When the Theatres Went Dark …, Sharada K. Eswar shares how she reimagined and redefined theatre in her kitchen. Drawing inspiration from her spice box and the contents of her refrigerator, she wrote stories while dishing out a new piece everyday—from comedy to tragedy, all under the bright lights of her kitchen counter. Reflecting on the theatrical tradition of the ghost light, a single bulb left on after everyone has left that shines through the darkness of the empty space, Eswar invites artists to consider how they can collectively light the way in this time of uncertainty and grief.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"46 - 48"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48719048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Perhaps the global pandemic (COVID-19) and the death of George Floyd have brought an immense, drastic, and unprecedented turn in human history. Many disciplines are now being intentional about asking critical and ethical questions around race, identity, social justice representation, and systemic change. The same is true for theatre and performance. While events in 2020 stretched and burdened racialized bodies, they also provided opportunities for many racialized bodies to be recognized perhaps because of their knowledge, experiences, identities, and the power and privileges they hold or do not hold. As an African in the Canadian theatre sector and scholarship, I acted in different capacities to address systemic injustice in Canada’s theatre scene during the pandemic. For instance, I co-facilitated some sessions with colleagues from Indigenous, Black, and People of Colour (IBPoC) community for the purpose of creating space for dialogue on issues of concern to this community. In this article, I reflect on how the pandemic produced an initiative that has the potential to address leadership challenges within the performing arts sector.
{"title":"Theatre as Service ... My Experience During the Global Pandemic in Canada","authors":"Taiwo Afolabi","doi":"10.3138/ctr.188.009","DOIUrl":"https://doi.org/10.3138/ctr.188.009","url":null,"abstract":"Abstract:Perhaps the global pandemic (COVID-19) and the death of George Floyd have brought an immense, drastic, and unprecedented turn in human history. Many disciplines are now being intentional about asking critical and ethical questions around race, identity, social justice representation, and systemic change. The same is true for theatre and performance. While events in 2020 stretched and burdened racialized bodies, they also provided opportunities for many racialized bodies to be recognized perhaps because of their knowledge, experiences, identities, and the power and privileges they hold or do not hold. As an African in the Canadian theatre sector and scholarship, I acted in different capacities to address systemic injustice in Canada’s theatre scene during the pandemic. For instance, I co-facilitated some sessions with colleagues from Indigenous, Black, and People of Colour (IBPoC) community for the purpose of creating space for dialogue on issues of concern to this community. In this article, I reflect on how the pandemic produced an initiative that has the potential to address leadership challenges within the performing arts sector.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"39 - 42"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44214543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Boye, Sasha Kovacs, Rohan Kulkarni, Atefeh Zargarzadeh
Abstract:This article documents the ongoing development of the virtual exhibition currently titled How We Gather Now: A Finding Aid. This exhibition, created in collaboration with the Gatherings: Archival and Oral Histories of Performance research project (www.gatheringspartnership.com) aims to generate a virtual space to facilitate ongoing access to a curated selection of recorded online conversations about performance in Canada generated since March 2020. These recorded conversations between people who were not usually, easily, in a room together, represent a new archival object emerging from the simultaneous and intersecting truths of a global pandemic and protest against anti-Black racism. The article applies the structure of the Zoom conversation—which the exhibition aims to document and interpret—to offer readers a view, through isolated windows, into a research-creation process in progress. Through this contribution, the project’s curatorial team and research collaborators identify the key questions that motivated the exhibition’s development, outline the shifts in curatorial approach, and present the methodological approaches currently taken to historicize new and urgent forms of performance-related gatherings.
{"title":"How We Gather Now: A Finding Aid","authors":"S. Boye, Sasha Kovacs, Rohan Kulkarni, Atefeh Zargarzadeh","doi":"10.3138/ctr.188.007","DOIUrl":"https://doi.org/10.3138/ctr.188.007","url":null,"abstract":"Abstract:This article documents the ongoing development of the virtual exhibition currently titled How We Gather Now: A Finding Aid. This exhibition, created in collaboration with the Gatherings: Archival and Oral Histories of Performance research project (www.gatheringspartnership.com) aims to generate a virtual space to facilitate ongoing access to a curated selection of recorded online conversations about performance in Canada generated since March 2020. These recorded conversations between people who were not usually, easily, in a room together, represent a new archival object emerging from the simultaneous and intersecting truths of a global pandemic and protest against anti-Black racism. The article applies the structure of the Zoom conversation—which the exhibition aims to document and interpret—to offer readers a view, through isolated windows, into a research-creation process in progress. Through this contribution, the project’s curatorial team and research collaborators identify the key questions that motivated the exhibition’s development, outline the shifts in curatorial approach, and present the methodological approaches currently taken to historicize new and urgent forms of performance-related gatherings.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"29 - 33"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46032757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Artistic Fraud’s The Other Side of This","authors":"Michael Crummey, P. Foran","doi":"10.3138/ctr.188.019","DOIUrl":"https://doi.org/10.3138/ctr.188.019","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"81 - 84"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46310955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Jivesh Parasram and Tom Arthur Davis (joint leadership of Pandemic Theatre) report on an experiment in long-distance collaboration, pondering the challenges the COVID-19 pandemic has generated for theatre artists amid broader philosophical and technical concerns about digital performance and digital reproduction. After contextualizing their own work’s rationale for shifts in form and tone, and acknowledging the challenges that the pandemic posed to new performance creation, they explain their own response—creation of new dialogues through nearly instantaneous textual collaboration using Google Docs—and provide “samples” of the work-in-progress that has emerged. Finally, they situate this new work in the artistic and political context of sampling as it developed in Caribbean culture, questioning the omission of such cultural practices from early scholarship.
摘要：Jivesh Pararam和Tom Arthur Davis（流行病剧院的联合领导）报道了一项远程合作实验，思考了新冠肺炎疫情给戏剧艺术家带来的挑战，以及对数字表演和数字复制更广泛的哲学和技术关注。在将他们自己的作品在形式和基调上发生变化的理由置于背景中，并承认疫情对新的表演创作带来的挑战后，他们解释了自己的反应——通过使用谷歌文档进行几乎即时的文本协作来创建新的对话——并提供了正在进行的作品的“样本”。最后，他们将这部新作品置于加勒比文化中发展起来的采样的艺术和政治背景下，质疑早期学术中遗漏了这种文化实践。
{"title":"Art in the Age of Digital Re-Interpretation: Scratch Log","authors":"Jivesh Parasram, Tom Arthur Davis","doi":"10.3138/ctr.188.014","DOIUrl":"https://doi.org/10.3138/ctr.188.014","url":null,"abstract":"Abstract:Jivesh Parasram and Tom Arthur Davis (joint leadership of Pandemic Theatre) report on an experiment in long-distance collaboration, pondering the challenges the COVID-19 pandemic has generated for theatre artists amid broader philosophical and technical concerns about digital performance and digital reproduction. After contextualizing their own work’s rationale for shifts in form and tone, and acknowledging the challenges that the pandemic posed to new performance creation, they explain their own response—creation of new dialogues through nearly instantaneous textual collaboration using Google Docs—and provide “samples” of the work-in-progress that has emerged. Finally, they situate this new work in the artistic and political context of sampling as it developed in Caribbean culture, questioning the omission of such cultural practices from early scholarship.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"58 - 62"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47556405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:“This, too, belongs,” is a mantra that helps me navigate this strange time of the global pandemic and Black Lives Matter. It also helps with the project I started. Waking the Stories is based on an archive of Ibiteekerezo or wisdom stories from the oral tradition of precolonial Rwanda, where I am from. These stories were traditionally held as bodies of wisdom and passed down in families. Very few Rwandans know how to interpret these stories anymore. They were transcribed and translated by colonial administrators, missionaries, and researchers to better understand, keep traces of, and ultimately supersede the cultures they colonized. The violence of it paralyses me and I feel very small. But what if that too belonged? What if I imagined my project as small as a seed? What if I gave myself permission to start very simply from where I am situated and acknowledged that one challenge of working through historical trauma is finding ways to look at the past, recognize what was done and experienced, its consequences to this day, and remaining well? To be continued.
{"title":"“This, too, belongs”","authors":"Lisa Ndejuru","doi":"10.3138/ctr.188.004","DOIUrl":"https://doi.org/10.3138/ctr.188.004","url":null,"abstract":"Abstract:“This, too, belongs,” is a mantra that helps me navigate this strange time of the global pandemic and Black Lives Matter. It also helps with the project I started. Waking the Stories is based on an archive of Ibiteekerezo or wisdom stories from the oral tradition of precolonial Rwanda, where I am from. These stories were traditionally held as bodies of wisdom and passed down in families. Very few Rwandans know how to interpret these stories anymore. They were transcribed and translated by colonial administrators, missionaries, and researchers to better understand, keep traces of, and ultimately supersede the cultures they colonized. The violence of it paralyses me and I feel very small. But what if that too belonged? What if I imagined my project as small as a seed? What if I gave myself permission to start very simply from where I am situated and acknowledged that one challenge of working through historical trauma is finding ways to look at the past, recognize what was done and experienced, its consequences to this day, and remaining well? To be continued.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"17 - 19"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43734616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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