Abstract:Verbatim theatre is a sub-genre of the documentary theatre movement committed to authentic representations of ordinary people and events. As such, it has become a popular tool for Canadian theatre artists to examine contemporary political issues by presenting a plurality of perspectives on the same issue. Through the creation of an original verbatim play on housing in Kingston, I hope to test the effectiveness of verbatim in shaping people’s understanding of Kingston’s current housing crisis. By showcasing the perspectives of a diverse range of citizens, this play will consider the toll the housing crisis is taking on different people. This article examines the ways verbatim is especially well poised to represent Kingston’s housing crisis.
{"title":"Verbatim Voices: An Investigation of Housing and Development in Kingston","authors":"Dylan Chenier","doi":"10.3138/ctr.191.010","DOIUrl":"https://doi.org/10.3138/ctr.191.010","url":null,"abstract":"Abstract:Verbatim theatre is a sub-genre of the documentary theatre movement committed to authentic representations of ordinary people and events. As such, it has become a popular tool for Canadian theatre artists to examine contemporary political issues by presenting a plurality of perspectives on the same issue. Through the creation of an original verbatim play on housing in Kingston, I hope to test the effectiveness of verbatim in shaping people’s understanding of Kingston’s current housing crisis. By showcasing the perspectives of a diverse range of citizens, this play will consider the toll the housing crisis is taking on different people. This article examines the ways verbatim is especially well poised to represent Kingston’s housing crisis.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"68 - 71"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47036174","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:Housing is a strategic component of land defence on the front lines of resistance to extractive development across Turtle Island. This article highlights two resistance efforts along the proposed Trans Mountain Pipeline (TMX) route to provide dynamic examples of housing “as a temporal, embodied, affective, and theatrical practice”: the Tiny House Warriors’ tiny houses and the Protect the Planet Stop TMX treesit. The construction and occupation of tiny houses and treehouses in the pathway of extractive development projects are “sustainable tools”—creative strategies and adaptable tactics that may be adapted and repeated on other front lines of resistance.
摘要:住房是海龟岛抵抗采掘开发前线土地防御的战略组成部分。本文重点介绍了拟议的跨山管道(TMX)路线上的两项抵抗活动，以提供“作为一种时间、具体、情感和戏剧实践”的住房动态例子:Tiny House Warriors的小房子和保护地球停止TMX的树。在采掘开发项目的道路上建造和占用小房子和树屋是“可持续的工具”——创造性的战略和适应性强的战术，可以在其他抵抗的前线进行调整和重复。
{"title":"Tiny Houses, Treesits, and Housing on the Front Lines of the TMX Pipeline Resistance","authors":"K. Richards","doi":"10.3138/ctr.191.006","DOIUrl":"https://doi.org/10.3138/ctr.191.006","url":null,"abstract":"Abstract:Housing is a strategic component of land defence on the front lines of resistance to extractive development across Turtle Island. This article highlights two resistance efforts along the proposed Trans Mountain Pipeline (TMX) route to provide dynamic examples of housing “as a temporal, embodied, affective, and theatrical practice”: the Tiny House Warriors’ tiny houses and the Protect the Planet Stop TMX treesit. The construction and occupation of tiny houses and treehouses in the pathway of extractive development projects are “sustainable tools”—creative strategies and adaptable tactics that may be adapted and repeated on other front lines of resistance.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"38 - 45"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48767555","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:When the world went into lockdown in March 2020, the COVID-19 pandemic sensitized people to how power dynamics and access to capital play a role in how we access housing and experience being at home. This article focuses on the creative ways that migrant domestic workers are negotiating their relationships with the houses in which they live and work in the context of economic, social, and physical vulnerability and deep-seated inequalities. It introduces the work of a Madrid-based migrant women’s collective of domestic workers, most of whom are migrant women from Latin America and the Caribbean, called Territorio Doméstico. The article focuses on their latest performance project, the radionovela Querían brazos y llegamos personas, an eight-episode audio soap opera released in November 2020 over SoundCloud and later adapted for a stage performance. Written and performed by domestic workers during COVID-19, Querían brazos y llegamos personas is an important cultural product that demonstrates the connections between home and power, home and migration, and home and gendered labour politics.
摘要：当世界于2020年3月进入封锁状态时，新冠肺炎大流行使人们意识到，权力动态和获得资本的途径如何在我们获得住房和在家体验方面发挥作用。这篇文章的重点是在经济、社会和身体脆弱性以及根深蒂固的不平等的背景下，移民家庭佣工如何创造性地与他们生活和工作的房屋协商关系。它介绍了一个总部位于马德里的家庭佣工移民妇女集体的工作，其中大多数是来自拉丁美洲和加勒比地区的移民妇女，名为Territorio Doméstico。这篇文章聚焦于他们最新的表演项目，radionovela Querían brazos y llegamos人物角色，这是一部八集的音频肥皂剧，于2020年11月在SoundCloud上发布，后来被改编为舞台表演。在新冠肺炎期间，由家庭佣工创作和表演的Querían brazos y llegamos人物角色是一种重要的文化产品，展示了家庭与权力、家庭与移民、家庭与性别劳动政治之间的联系。
{"title":"The Sounds of Rebellion: A Radionovela by and for Migrant Domestic Workers","authors":"M. Célleri","doi":"10.3138/ctr.191.009","DOIUrl":"https://doi.org/10.3138/ctr.191.009","url":null,"abstract":"Abstract:When the world went into lockdown in March 2020, the COVID-19 pandemic sensitized people to how power dynamics and access to capital play a role in how we access housing and experience being at home. This article focuses on the creative ways that migrant domestic workers are negotiating their relationships with the houses in which they live and work in the context of economic, social, and physical vulnerability and deep-seated inequalities. It introduces the work of a Madrid-based migrant women’s collective of domestic workers, most of whom are migrant women from Latin America and the Caribbean, called Territorio Doméstico. The article focuses on their latest performance project, the radionovela Querían brazos y llegamos personas, an eight-episode audio soap opera released in November 2020 over SoundCloud and later adapted for a stage performance. Written and performed by domestic workers during COVID-19, Querían brazos y llegamos personas is an important cultural product that demonstrates the connections between home and power, home and migration, and home and gendered labour politics.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"62 - 67"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48403581","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:In this article, the author explores the contours of housing as performance by examining a sampling of cases drawn from mid-twentieth-century Mexico City. In her analysis of the erection of modernist middle-class housing projects, suburbs, and architectural sculptures against the informal housing system that expanded throughout the national capital from the 1950s through the 1980s, the author reads housing as shifting performances of race, nation, citizenship, capitalist development, and class aspiration. Together, these readings reveal how houses are more than shelters; they are also theatrical practices that offer competing visions of ‘the good life.’
{"title":"On How to Live Well: Houses as Theatres of the Good Life in Mexico City","authors":"Sunita Nigam","doi":"10.3138/ctr.191.004","DOIUrl":"https://doi.org/10.3138/ctr.191.004","url":null,"abstract":"Abstract:In this article, the author explores the contours of housing as performance by examining a sampling of cases drawn from mid-twentieth-century Mexico City. In her analysis of the erection of modernist middle-class housing projects, suburbs, and architectural sculptures against the informal housing system that expanded throughout the national capital from the 1950s through the 1980s, the author reads housing as shifting performances of race, nation, citizenship, capitalist development, and class aspiration. Together, these readings reveal how houses are more than shelters; they are also theatrical practices that offer competing visions of ‘the good life.’","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"25 - 31"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46007889","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 conversation between artists Pam Hall and Hurmat Ain, which took place in December 2021, is framed within a ‘house’ as a metaphor and a verb, in response to Pam Hall’s work. Hall’s practice is a way of life and houses many lives within itself. The following conversation gives insight into Pam Hall’s practice around women’s labour, everyday life, domesticity, and performance of living. It would not be possible to speak of Hall’s many years of artistic production in a few hours, yet this interview is an attempt to capture a fraction of that vast practice, or prayer, as Hall often refers to it. The reader is being invited on a walk with Hall through an imagined house, in the hope that this exercise provides context for witnessing a specific stream of her works and thoughts around performing house/housing.
{"title":"Pam Hall as House: A Conversation","authors":"H. Ain, Pam Hall","doi":"10.3138/ctr.191.007","DOIUrl":"https://doi.org/10.3138/ctr.191.007","url":null,"abstract":"Abstract:This conversation between artists Pam Hall and Hurmat Ain, which took place in December 2021, is framed within a ‘house’ as a metaphor and a verb, in response to Pam Hall’s work. Hall’s practice is a way of life and houses many lives within itself. The following conversation gives insight into Pam Hall’s practice around women’s labour, everyday life, domesticity, and performance of living. It would not be possible to speak of Hall’s many years of artistic production in a few hours, yet this interview is an attempt to capture a fraction of that vast practice, or prayer, as Hall often refers to it. The reader is being invited on a walk with Hall through an imagined house, in the hope that this exercise provides context for witnessing a specific stream of her works and thoughts around performing house/housing.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"46 - 53"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44588689","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:Hannah Foulger talks with Ben Townsley and Tanner Mason about their production Blink, written by Townsley, which is a guided meditation and radio play, initially produced in September 2020. Mason and Townsley discuss creating in-person work during the pandemic that translates to an at-home, personal experience in podcast form. Mason notes, “We produced the show in a very, very special nugget of time.… We had the necessity of keeping people safe, but in a creative way.”
{"title":"In the Blink of an Eye","authors":"Hannah Foulger, Tanner Mason, Ben Townsley","doi":"10.3138/ctr.191.017","DOIUrl":"https://doi.org/10.3138/ctr.191.017","url":null,"abstract":"Abstract:Hannah Foulger talks with Ben Townsley and Tanner Mason about their production Blink, written by Townsley, which is a guided meditation and radio play, initially produced in September 2020. Mason and Townsley discuss creating in-person work during the pandemic that translates to an at-home, personal experience in podcast form. Mason notes, “We produced the show in a very, very special nugget of time.… We had the necessity of keeping people safe, but in a creative way.”","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"103 - 105"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43735263","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 explores the complex appeal of home-buying and renovation shows on the cable channel HGTV. While their popularity is clear, their political implications are murkier. Some media studies scholars accuse the genre of fostering consumerism, conformity, and neo-liberal nationhood. Others admire its inclusion and “non-special treatment” of queer and racially diverse participants. My own feminist reading notes the limits as well as merits of the diversity defense and offers to appreciate the shows’ contribution in somewhat different terms. Focusing specifically on House Hunters (1999–present), I credit this home-buying series with asserting the primacy of domestic life in conjunction with a host of related values conventionally coded and subordinated as ‘feminine.’ In the hegemonic scheme of things, qualities coded as ‘masculine’ (the aggressive, historic, large-scale, public-sphere, self-reliant, and individualist) occupy a superior position. House Hunters challenges this gendered hierarchy by reveling in the modest, everyday, small-scale, private-sphere, interdependent, and relational. It does so, moreover, in a gender-neutral way: no longer written off and relegated to women, the little things that happen in houses are made paramount for male and female viewers alike. Adding a further twist, I close with an episode whose homebuyers have histories of social marginality and economic insecurity. In this context, the desire for domestic ‘coziness’ is less about conformity to bourgeois norms and more about feelings of safety and belonging in relation to place.
{"title":"HGTV’s House Hunters and the Right to Coziness","authors":"S. Fraiman","doi":"10.3138/ctr.191.003","DOIUrl":"https://doi.org/10.3138/ctr.191.003","url":null,"abstract":"Abstract:This article explores the complex appeal of home-buying and renovation shows on the cable channel HGTV. While their popularity is clear, their political implications are murkier. Some media studies scholars accuse the genre of fostering consumerism, conformity, and neo-liberal nationhood. Others admire its inclusion and “non-special treatment” of queer and racially diverse participants. My own feminist reading notes the limits as well as merits of the diversity defense and offers to appreciate the shows’ contribution in somewhat different terms. Focusing specifically on House Hunters (1999–present), I credit this home-buying series with asserting the primacy of domestic life in conjunction with a host of related values conventionally coded and subordinated as ‘feminine.’ In the hegemonic scheme of things, qualities coded as ‘masculine’ (the aggressive, historic, large-scale, public-sphere, self-reliant, and individualist) occupy a superior position. House Hunters challenges this gendered hierarchy by reveling in the modest, everyday, small-scale, private-sphere, interdependent, and relational. It does so, moreover, in a gender-neutral way: no longer written off and relegated to women, the little things that happen in houses are made paramount for male and female viewers alike. Adding a further twist, I close with an episode whose homebuyers have histories of social marginality and economic insecurity. In this context, the desire for domestic ‘coziness’ is less about conformity to bourgeois norms and more about feelings of safety and belonging in relation to place.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"20 - 24"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48521764","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:Sherry J. Yoon and Jay Dodge of Vancouver’s Boca del Lupo Theatre sit down to discuss the process and creation of Plays2Perform@Home, an anthology of plays that won the 2021 Canadian Association for Theatre Research Patrick O’Neill Award. In a separate interview, one of the contributing playwrights, Santiago Guzmán, discusses his play Mona, Lisa and reflects on how his artistic practice has shifted and grown through the pandemic. All three artists meditate on what it has meant to create theatre during the pandemic and offer hopes and projections on the future of performance as audiences begin returning to theatres.
摘要：温哥华Boca del Lupo剧院的Sherry J.Yoon和Jay Dodge坐下来讨论Plays2Perform@Home，一部获得2021年加拿大戏剧研究协会帕特里克·奥尼尔奖的戏剧选集。在另一次采访中，其中一位著名剧作家圣地亚哥·古兹曼讨论了他的戏剧《蒙娜丽莎》，并反思了他的艺术实践是如何在疫情中转变和发展的。三位艺术家都在思考在疫情期间创造剧院意味着什么，并在观众开始重返剧院之际，对表演的未来提出希望和预测。
{"title":"When in Quarantine: Bringing Theatre Home with Boca del Lupo","authors":"Graeme McClelland","doi":"10.3138/ctr.191.016","DOIUrl":"https://doi.org/10.3138/ctr.191.016","url":null,"abstract":"Abstract:Sherry J. Yoon and Jay Dodge of Vancouver’s Boca del Lupo Theatre sit down to discuss the process and creation of Plays2Perform@Home, an anthology of plays that won the 2021 Canadian Association for Theatre Research Patrick O’Neill Award. In a separate interview, one of the contributing playwrights, Santiago Guzmán, discusses his play Mona, Lisa and reflects on how his artistic practice has shifted and grown through the pandemic. All three artists meditate on what it has meant to create theatre during the pandemic and offer hopes and projections on the future of performance as audiences begin returning to theatres.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"100 - 102"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46748369","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 explores Vancouver theatre company Boca del Lupo’s Plays2Perform@Home collection. Generated as a way for audiences to bring the theatre home with them during the pandemic, the collection is composed of twenty short plays across five regional box sets, and was commissioned by Boca del Lupo in partnership with several other theatre companies across Canada. The author offers some observations and personal highlights from the collection, and reflects on what it means to perform these plays at home. She complements her analysis of the plays by drawing on her own experiences performing some of the pieces at home with her family, re-creating the intended experience of the collection. Because of the unusual circumstances of their production, Lynch suggests that it is valuable to examine the Plays2Perform@Home pieces through an immersive and site-specific lens, rather than a purely dramatic one. She argues that the plays that succeed the most in performance are those that seriously consider the experience of their audience-performers and incorporate the expected conditions of performance into their dramatic works. The article also includes a full listing of the plays in each box set.
摘要：本文探讨了温哥华戏剧公司Boca del Lupo的Plays2Perform@Home收集该系列由五个地区的20部短剧组成，由Boca del Lupo与加拿大其他几家剧院公司合作委托制作，是为了让观众在疫情期间把剧院带回家。作者提供了一些观察和个人亮点，并反思了在家表演这些戏剧意味着什么。她借鉴自己在家与家人一起表演一些作品的经历，重新创造了该系列的预期体验，从而补充了对戏剧的分析。由于其制作的特殊情况，林奇认为，研究Plays2Perform@Home作品通过身临其境和特定地点的镜头，而不是纯粹的戏剧性镜头。她认为，在表演方面最成功的戏剧是那些认真考虑观众表演者的经验并将预期的表演条件融入戏剧作品的戏剧。这篇文章还包括每个盒子里的剧本的完整列表。
{"title":"Performing at Home in the Pandemic: Boca del Lupo’s Plays2Perform@Home Collection","authors":"Signy Lynch","doi":"10.3138/ctr.191.013","DOIUrl":"https://doi.org/10.3138/ctr.191.013","url":null,"abstract":"Abstract:This article explores Vancouver theatre company Boca del Lupo’s Plays2Perform@Home collection. Generated as a way for audiences to bring the theatre home with them during the pandemic, the collection is composed of twenty short plays across five regional box sets, and was commissioned by Boca del Lupo in partnership with several other theatre companies across Canada. The author offers some observations and personal highlights from the collection, and reflects on what it means to perform these plays at home. She complements her analysis of the plays by drawing on her own experiences performing some of the pieces at home with her family, re-creating the intended experience of the collection. Because of the unusual circumstances of their production, Lynch suggests that it is valuable to examine the Plays2Perform@Home pieces through an immersive and site-specific lens, rather than a purely dramatic one. She argues that the plays that succeed the most in performance are those that seriously consider the experience of their audience-performers and incorporate the expected conditions of performance into their dramatic works. The article also includes a full listing of the plays in each box set.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"82 - 86"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44449742","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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