Abstract:The history of Black performance in Canada goes back to the early nineteenth century alongside blackface. In the late twentieth century, ‘blind casting’ became an opportunity for Black performers to work on canonical works of Western theatre. But this form of casting is problematic as it asks the audience to look beyond the identity of the performer, to disregard any important facet of their humanity. As casting is evolving to acknowledge the identity of the performers, some cases show that cultural casting demands additional human and financial resources so that the work is precise and culturally accurate. A deft use of conscious casting can lead to more layered and additional aesthetic complexity to play in the repertoire. A judicious application of our new paradigms in culturally specific and safer spaces should not be construed as dogma; in fact, there are occasions where we must subvert our thinking for greater artistic results and compassionate treatment of performers. Lenity and mindfulness in casting will guide casting directors and institutional dramaturges, and this will yield better artistic results.
{"title":"Outcast: Limits and Possibilities in Casting Black Performers in the Age of Granular Dramaturgy","authors":"Sadie Berlin","doi":"10.3138/ctr.193.009","DOIUrl":"https://doi.org/10.3138/ctr.193.009","url":null,"abstract":"Abstract:The history of Black performance in Canada goes back to the early nineteenth century alongside blackface. In the late twentieth century, ‘blind casting’ became an opportunity for Black performers to work on canonical works of Western theatre. But this form of casting is problematic as it asks the audience to look beyond the identity of the performer, to disregard any important facet of their humanity. As casting is evolving to acknowledge the identity of the performers, some cases show that cultural casting demands additional human and financial resources so that the work is precise and culturally accurate. A deft use of conscious casting can lead to more layered and additional aesthetic complexity to play in the repertoire. A judicious application of our new paradigms in culturally specific and safer spaces should not be construed as dogma; in fact, there are occasions where we must subvert our thinking for greater artistic results and compassionate treatment of performers. Lenity and mindfulness in casting will guide casting directors and institutional dramaturges, and this will yield better artistic results.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"41 - 44"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45910476","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 article examines the phenomenon of Black Out Nights, evenings of a theatrical performance for Black-identified audiences only, as employed by Theatre Passe Muraille in Toronto. Drawing on interviews with Passe Muraille’s former Marketing Coordinator Fatuma Adar and current Artistic Director Marjorie Chan, this article explores the various effects and benefits of Black Out Nights, which were first conceived by American playwright Jeremy O. Harris, for Black artists and audiences. I argue that Black Out Nights, along with Theatre Passe Muraille’s other approaches to audiences, help to reveal and to challenge larger practices of ‘casting’ audiences that are employed by mainstream theatres. These casting practices, which operate through theatres’ websites, marketing, and theatre spaces, may be unconsciously exercised but help to reinforce white supremacy and other forms of discrimination and exclusion in theatre spaces through the audiences they make feel welcome and exclude.
摘要：本文探讨了多伦多Passe Muraille剧院雇用的“黑人之夜”现象，即仅为黑人观众举办的戏剧表演之夜。本文通过对Passe Muraille的前营销协调员Fatuma Adar和现任艺术总监Marjorie Chan的采访，探讨了美国剧作家Jeremy O.Harris首次构思的《黑夜》对黑人艺术家和观众的各种影响和好处。我认为，《黑幕之夜》，以及Theatre Passe Muraille对观众的其他方法，有助于揭示和挑战主流剧院采用的更大的“选角”观众做法。这些通过剧院网站、营销和剧院空间运作的选角做法可能是无意识的，但有助于通过让观众感到受欢迎和被排斥，强化剧院空间中的白人至上主义和其他形式的歧视和排斥。
{"title":"Casting Audiences: How Theatre Passe Muraille’s ‘Black Out Nights’ Challenge Conventional Approaches to Audience","authors":"Signy Lynch","doi":"10.3138/ctr.193.010","DOIUrl":"https://doi.org/10.3138/ctr.193.010","url":null,"abstract":"Abstract:This article examines the phenomenon of Black Out Nights, evenings of a theatrical performance for Black-identified audiences only, as employed by Theatre Passe Muraille in Toronto. Drawing on interviews with Passe Muraille’s former Marketing Coordinator Fatuma Adar and current Artistic Director Marjorie Chan, this article explores the various effects and benefits of Black Out Nights, which were first conceived by American playwright Jeremy O. Harris, for Black artists and audiences. I argue that Black Out Nights, along with Theatre Passe Muraille’s other approaches to audiences, help to reveal and to challenge larger practices of ‘casting’ audiences that are employed by mainstream theatres. These casting practices, which operate through theatres’ websites, marketing, and theatre spaces, may be unconsciously exercised but help to reinforce white supremacy and other forms of discrimination and exclusion in theatre spaces through the audiences they make feel welcome and exclude.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"45 - 48"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44581896","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:At a critical juncture in the Canadian theatre landscape, we are faced with how to consciously cast racialized performers in plays, and how to have plays written by racialized playwrights consciously produced and taught more often. Before 2020, there were many calls to achieve these actions, and since then, these calls have only been heightened. The ‘problem’ is how to do all of this without offending or appropriating, while at the same time championing some incredible actors and plays. Through personal anecdotes and current global contexts, this article attempts some approaches to solving this conscious-casting conundrum.
{"title":"The Conscious-Casting Conundrum","authors":"Jamie Robinson","doi":"10.3138/ctr.193.005","DOIUrl":"https://doi.org/10.3138/ctr.193.005","url":null,"abstract":"Abstract:At a critical juncture in the Canadian theatre landscape, we are faced with how to consciously cast racialized performers in plays, and how to have plays written by racialized playwrights consciously produced and taught more often. Before 2020, there were many calls to achieve these actions, and since then, these calls have only been heightened. The ‘problem’ is how to do all of this without offending or appropriating, while at the same time championing some incredible actors and plays. Through personal anecdotes and current global contexts, this article attempts some approaches to solving this conscious-casting conundrum.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"21 - 25"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43997596","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}
C. Dobbie, David Hudgins, Shannon Blanchet, Quincy Armorer, J. Lauzon, Alisa Palmer, Sue Miner, Jamie Robinson, Roberta Barker
ABSTRACT:The editorial team invited faculty from theatre training institutions across the country to share their approaches to play selection and casting. Their responses address a variety of topics, from building play databases and commissioning plays to engaging students in conversations about casting decisions.
{"title":"“Transformation Is Imperative”: Play Selection and Casting at Theatre Training Institutions","authors":"C. Dobbie, David Hudgins, Shannon Blanchet, Quincy Armorer, J. Lauzon, Alisa Palmer, Sue Miner, Jamie Robinson, Roberta Barker","doi":"10.3138/ctr.193.011","DOIUrl":"https://doi.org/10.3138/ctr.193.011","url":null,"abstract":"ABSTRACT:The editorial team invited faculty from theatre training institutions across the country to share their approaches to play selection and casting. Their responses address a variety of topics, from building play databases and commissioning plays to engaging students in conversations about casting decisions.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"49 - 54"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47325873","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":"The Artist and the Activist","authors":"Jamie Robinson, Zoe Marin","doi":"10.3138/ctr.193.003","DOIUrl":"https://doi.org/10.3138/ctr.193.003","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"11 - 15"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47328076","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:Reflecting on his own experiences as an actor and director, HRH Anand Rajaram offers a series of insights, tips, reminders, and encouragement to his actor peers.
{"title":"Lightly Casting a Light on Casting; or, A Note on Auditions by an Actor-Director","authors":"Hrh Anand Rajaram","doi":"10.3138/ctr.193.007","DOIUrl":"https://doi.org/10.3138/ctr.193.007","url":null,"abstract":"ABSTRACT:Reflecting on his own experiences as an actor and director, HRH Anand Rajaram offers a series of insights, tips, reminders, and encouragement to his actor peers.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"30 - 33"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49253012","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:Casting can be one of the most crucial parts of the theatremaking process. It’s also one of the most challenging parts to get right. In this article, Marcel Stewart uses his own experiences to unpack the past, present, and future of the casting process.
{"title":"The Scarcity Mindset Has a Death Grip on Casting","authors":"Marcel Stewart","doi":"10.3138/ctr.193.006","DOIUrl":"https://doi.org/10.3138/ctr.193.006","url":null,"abstract":"Abstract:Casting can be one of the most crucial parts of the theatremaking process. It’s also one of the most challenging parts to get right. In this article, Marcel Stewart uses his own experiences to unpack the past, present, and future of the casting process.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"26 - 29"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48250423","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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