Abstract:After watching the same show over the course of three separate performances, Stephanie Fung and Jeff McGilton come to their own conclusions about Ways of Being, the final instalment in the Kingston-based Kick and Push Festival 2021. Presented live by Toronto-based Clayton Lee and Kraków-based Michael Rubenfeld, the performance was an investigation of connectivity across geographical space and time zones, using a participatory structure to subtly investigate our ways of being. The participatory nature of the piece informed its undeniable feeling of liveness, changing and developing with whoever was in attendance. Fung and McGilton consider how this work-in-progress invokes an understanding of presence, performances of self, and (re)connection through creative implementations of emerging technologies.
摘要：Stephanie Fung和Jeff McGilton在三场不同的演出中观看了同一个节目后，对《存在的方式》（Ways of Being）得出了自己的结论，这是2021年金斯敦踢馆节（Kick and Push Festival 2021）的最后一期。这场演出由多伦多的Clayton Lee和克拉科夫的Michael Rubenfeld现场表演，调查了地理空间和时区的连通性，使用参与式结构巧妙地调查了我们的存在方式。作品的参与性赋予了它不可否认的活力感，与在场的人一起变化和发展。Fung和McGilton考虑了这项正在进行的工作如何通过创造性地实现新兴技术来唤起对存在、自我表现和（重新）联系的理解。
{"title":"Across Cyberspace and Time Zones: How Ways of Being Explores Performances of Self in Material and Digital Spaces","authors":"Stephanie Fung, Jeff McGilton","doi":"10.3138/ctr.191.018","DOIUrl":"https://doi.org/10.3138/ctr.191.018","url":null,"abstract":"Abstract:After watching the same show over the course of three separate performances, Stephanie Fung and Jeff McGilton come to their own conclusions about Ways of Being, the final instalment in the Kingston-based Kick and Push Festival 2021. Presented live by Toronto-based Clayton Lee and Kraków-based Michael Rubenfeld, the performance was an investigation of connectivity across geographical space and time zones, using a participatory structure to subtly investigate our ways of being. The participatory nature of the piece informed its undeniable feeling of liveness, changing and developing with whoever was in attendance. Fung and McGilton consider how this work-in-progress invokes an understanding of presence, performances of self, and (re)connection through creative implementations of emerging technologies.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"106 - 109"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43994250","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}
Asking, What is the relationship between housing and performance?, editors Laura Levin and Sunita Nigam insist that the lines between the two begin to blur when we attend to the aesthetic and embodied dimensions of housing, on the one hand, and the homely, spatial, and thematic concerns of certain performances, on the other. Considering contexts of housing crises, shortages, and discrimination, the editors argue that houses of all kinds must be treated as processual, performative practices and as intended and unintended displays that reveal much about the material contexts in which they are embedded. As important zones for the realization, rehearsal, thwarting, or abandonment of private and collective fantasies, all houses are ‘dream houses,’ whether these dreams be good or bad. Levin and Nigam make a case for paying attention to aesthetic references, movement vocabularies, narratives about housing, scripts for housing practices, and the gendering and racializing of certain roles—all aspects of ‘practising house’—that make spaces (real and imagined) meaningful for those who perform them and spectate them. They argue for the importance of reading housing practices both in relation to local conditions and through transnational and hemispheric frameworks, asserting that the performative politics of housing brings into view shared experiences of dwelling, citizenship, and belonging that cross—and, more crucially, contest—geopolitical borders. In doing so, they emphasize how housing practices are haunted by the rupture that colonization created with existing Indigenous modes of dwelling, especially as a consequence of establishing settler-colonial territory and domestic spaces.
{"title":"Editorial: The Politics of Performing House: Transnational Perspectives","authors":"Laura Levin, Sunita Nigam","doi":"10.3138/ctr.191.001","DOIUrl":"https://doi.org/10.3138/ctr.191.001","url":null,"abstract":"Asking, What is the relationship between housing and performance?, editors Laura Levin and Sunita Nigam insist that the lines between the two begin to blur when we attend to the aesthetic and embodied dimensions of housing, on the one hand, and the homely, spatial, and thematic concerns of certain performances, on the other. Considering contexts of housing crises, shortages, and discrimination, the editors argue that houses of all kinds must be treated as processual, performative practices and as intended and unintended displays that reveal much about the material contexts in which they are embedded. As important zones for the realization, rehearsal, thwarting, or abandonment of private and collective fantasies, all houses are ‘dream houses,’ whether these dreams be good or bad. Levin and Nigam make a case for paying attention to aesthetic references, movement vocabularies, narratives about housing, scripts for housing practices, and the gendering and racializing of certain roles—all aspects of ‘practising house’—that make spaces (real and imagined) meaningful for those who perform them and spectate them. They argue for the importance of reading housing practices both in relation to local conditions and through transnational and hemispheric frameworks, asserting that the performative politics of housing brings into view shared experiences of dwelling, citizenship, and belonging that cross—and, more crucially, contest—geopolitical borders. In doing so, they emphasize how housing practices are haunted by the rupture that colonization created with existing Indigenous modes of dwelling, especially as a consequence of establishing settler-colonial territory and domestic spaces.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44053349","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:How do our bodies transfer to the Zoom classroom? Does the body disappear? While appearance, language, and vocal qualities remain, the physical presence of bodies in space, in relation to one another, alters completely. At the end of March 2020, as New York City and much of the rest of the world went on lockdown, all classes at the City University of New York, where the author teaches, went online. As classrooms transferred to Zoom, our homes became the embodied presence of the virtual classroom. Home became the body. Given this teacher’s class and her students’ experiences on Zoom relative to their physical environments, it became clear to that ‘performing home’ during the pandemic was a privilege not afforded to everyone.
摘要:我们的身体是如何转移到Zoom课堂的?身体消失了吗?虽然外表、语言和声音仍然存在，但身体在空间中的物理存在，彼此之间的关系，完全改变了。2020年3月底，随着纽约市和世界大部分地区进入封锁状态，作者任教的纽约城市大学(City University of New York)所有课程都上线了。随着教室转移到Zoom，我们的家成为虚拟教室的具体存在。家变成了身体。考虑到这位老师的课堂和她的学生在Zoom上的经历相对于他们的物理环境，很明显，在大流行期间“在家表演”并不是每个人都能享有的特权。
{"title":"Zooming In: The Privilege of Performing Home","authors":"B. Ferdman","doi":"10.3138/ctr.191.012","DOIUrl":"https://doi.org/10.3138/ctr.191.012","url":null,"abstract":"Abstract:How do our bodies transfer to the Zoom classroom? Does the body disappear? While appearance, language, and vocal qualities remain, the physical presence of bodies in space, in relation to one another, alters completely. At the end of March 2020, as New York City and much of the rest of the world went on lockdown, all classes at the City University of New York, where the author teaches, went online. As classrooms transferred to Zoom, our homes became the embodied presence of the virtual classroom. Home became the body. Given this teacher’s class and her students’ experiences on Zoom relative to their physical environments, it became clear to that ‘performing home’ during the pandemic was a privilege not afforded to everyone.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"77 - 81"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44401276","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}
“Living with/on the Land” is a conversation between Jasmine Sihra and Dr. Julie Nagam that explores Nagam’s artistic practice and digital installation works that offer an immersive experience for participants to understand the dualism of living in the city versus on the land. Sihra, a research fellow on Nagam’s SSHRC Partnership Grant The Space between Us, asks about Nagam’s works like Our future is in the land, if we listen to it (2017) that combine projection and sound to provide viewers an immersive experience of the rural Manitoba landscape where the artist grew up. Nagam also discusses singing our bones home (2013), which situates the viewer in a dome-like structure and juxtaposes the architectural dwellings of a wagon shed and a wigwam, a nomadic form that offered more mobility to inhabitants. Her most recent work, A place to hold loss (2022), deals directly with the transformation of land through urban development and suggests mobile forms of dwelling as a possible way to limit destruction of land. Through her practice, Nagam poses urgent questions that have the potential to think through the current climate crisis and Indigenous futurisms.
{"title":"Living with/on the Land","authors":"Jasmine Sihra, Julie Nagam","doi":"10.3138/ctr.191.005","DOIUrl":"https://doi.org/10.3138/ctr.191.005","url":null,"abstract":"“Living with/on the Land” is a conversation between Jasmine Sihra and Dr. Julie Nagam that explores Nagam’s artistic practice and digital installation works that offer an immersive experience for participants to understand the dualism of living in the city versus on the land. Sihra, a research fellow on Nagam’s SSHRC Partnership Grant The Space between Us, asks about Nagam’s works like Our future is in the land, if we listen to it (2017) that combine projection and sound to provide viewers an immersive experience of the rural Manitoba landscape where the artist grew up. Nagam also discusses singing our bones home (2013), which situates the viewer in a dome-like structure and juxtaposes the architectural dwellings of a wagon shed and a wigwam, a nomadic form that offered more mobility to inhabitants. Her most recent work, A place to hold loss (2022), deals directly with the transformation of land through urban development and suggests mobile forms of dwelling as a possible way to limit destruction of land. Through her practice, Nagam poses urgent questions that have the potential to think through the current climate crisis and Indigenous futurisms.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46320513","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 ethical complexity of Value Engineering: Scenes from the Grenfell Inquiry (which opened in October 2021), a documentary ‘tribunal’ play that presents elements of the inquiry into the Grenfell Tower tragedy—a fire in a social housing block in London, England, in June 2017 in which seventy-two people died. Locating the performance within a cultural and political landscape of deadly class inequity fostered by neo-liberal policies, this article responds to criticism of the play from working-class artists who felt it was made and presented without due consideration for the communities impacted by the tragedy. The article asks what ethical issues were at stake in the representation, and parses some of these to consider how and whether ethically compromised work might nonetheless offer worthwhile interventions into the public conversation surrounding Grenfell, class injustice, and neo-liberal failure.
{"title":"Staging Grenfell: The Ethics of Representing Housing Crises in London","authors":"K. Beswick","doi":"10.3138/ctr.191.011","DOIUrl":"https://doi.org/10.3138/ctr.191.011","url":null,"abstract":"Abstract:This article explores the ethical complexity of Value Engineering: Scenes from the Grenfell Inquiry (which opened in October 2021), a documentary ‘tribunal’ play that presents elements of the inquiry into the Grenfell Tower tragedy—a fire in a social housing block in London, England, in June 2017 in which seventy-two people died. Locating the performance within a cultural and political landscape of deadly class inequity fostered by neo-liberal policies, this article responds to criticism of the play from working-class artists who felt it was made and presented without due consideration for the communities impacted by the tragedy. The article asks what ethical issues were at stake in the representation, and parses some of these to consider how and whether ethically compromised work might nonetheless offer worthwhile interventions into the public conversation surrounding Grenfell, class injustice, and neo-liberal failure.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"45 1","pages":"72 - 76"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69967543","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 proposes a way for theatre scholars, critics, and artists to complicate and rethink how disability is understood and depicted onstage. It asks that the signification of disability be complicated to embrace a disabled lens and understanding. Most theatre theory has focused on the non-disabled experience as the norm. Here, I propose a tool to support scholars, critics, and artists in growing their understanding of what disability does and can mean onstage. Within this writing structure, I invite you, the reader and receiver, to also consider how writing can reflect different processes of thinking and articulation. This article is written in an experimental form to support the reader’s desire and pathway to learning more about how we can rethink and rescript what disability can mean onstage, and open up new ways of considering a fuller, wider perspective that embraces larger nuance.
{"title":"A Catalyst for Rethinking and Rescripting Understanding of Disabled Performances","authors":"Dre Ah","doi":"10.3138/ctr.190.002","DOIUrl":"https://doi.org/10.3138/ctr.190.002","url":null,"abstract":"Abstract:This article proposes a way for theatre scholars, critics, and artists to complicate and rethink how disability is understood and depicted onstage. It asks that the signification of disability be complicated to embrace a disabled lens and understanding. Most theatre theory has focused on the non-disabled experience as the norm. Here, I propose a tool to support scholars, critics, and artists in growing their understanding of what disability does and can mean onstage. Within this writing structure, I invite you, the reader and receiver, to also consider how writing can reflect different processes of thinking and articulation. This article is written in an experimental form to support the reader’s desire and pathway to learning more about how we can rethink and rescript what disability can mean onstage, and open up new ways of considering a fuller, wider perspective that embraces larger nuance.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"12 - 8"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989110","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}
Ian Garrett, T. Khalema, Samson Bonkeabantu Brown, Courage Bacchus, Jacob Niedzwiecki, Indrit Kasapi
ABSTRACT:In November 2020, Theatre Passe Muraille produced a workshop as a part of their Accessibility Labs (funded through the Toronto Arts Council’s Open Door Project). This workshop connected the development of Samson Bonkeabantu Brown’s play 11:11, directed by Tsholo Visions Khalema and choreographed by Mafa Makhubalo, with a collaboration between technology collectives Toasterlab and Cohort to experiment with the use of augmented reality to support the American Sign Language interpretation and live captioning in consultation with Courage Bacchus, Marcia Adolphe, and Carmelle Cachero, Jenelle Rouse, and Gaitrie Persaud. The collaborators spent a week building an interpretation distribution system that used affordable technology to create a proof-of-concept experiment to see what it would look like to move both text and sign interpretation from just offstage into the visual field of the performance.Using Cohort’s media distribution app developed for the synchronous delivery of media to mobile devices, this project explored live and pre-recorded versions of performance interpretation for a Deaf audience. These were displayed on the audience’s phone screens and in simple augmented reality headsets. The goal was to explore expanding the opportunities for an audience to access interpretation, making the experience more customizable through different forms of engagement, and seeking to provide more universal access across all performances by making a recorded alternative available. The workshop also explored the dramaturgical and scenographic implications of adding this information into the direct visual field of an audience member.This article, in the form of a compiled oral history of the workshop, documents the process, the findings, and the follow-up questions that the team identified over our short time together to provide a baseline for further exploration into the use of mixed-reality technologies in support of accessible performance spaces. It considers situated identity and Deaf culture in relationship to translating interpreted performance to a technological solution as it both outlines the practical steps that allowed this to happen and explores artist, interpreter, and technologist perspectives on what was learned.
{"title":"Augmented Reality ASL for 11:11 at Theatre Passe Muraille","authors":"Ian Garrett, T. Khalema, Samson Bonkeabantu Brown, Courage Bacchus, Jacob Niedzwiecki, Indrit Kasapi","doi":"10.3138/ctr.190.009","DOIUrl":"https://doi.org/10.3138/ctr.190.009","url":null,"abstract":"ABSTRACT:In November 2020, Theatre Passe Muraille produced a workshop as a part of their Accessibility Labs (funded through the Toronto Arts Council’s Open Door Project). This workshop connected the development of Samson Bonkeabantu Brown’s play 11:11, directed by Tsholo Visions Khalema and choreographed by Mafa Makhubalo, with a collaboration between technology collectives Toasterlab and Cohort to experiment with the use of augmented reality to support the American Sign Language interpretation and live captioning in consultation with Courage Bacchus, Marcia Adolphe, and Carmelle Cachero, Jenelle Rouse, and Gaitrie Persaud. The collaborators spent a week building an interpretation distribution system that used affordable technology to create a proof-of-concept experiment to see what it would look like to move both text and sign interpretation from just offstage into the visual field of the performance.Using Cohort’s media distribution app developed for the synchronous delivery of media to mobile devices, this project explored live and pre-recorded versions of performance interpretation for a Deaf audience. These were displayed on the audience’s phone screens and in simple augmented reality headsets. The goal was to explore expanding the opportunities for an audience to access interpretation, making the experience more customizable through different forms of engagement, and seeking to provide more universal access across all performances by making a recorded alternative available. The workshop also explored the dramaturgical and scenographic implications of adding this information into the direct visual field of an audience member.This article, in the form of a compiled oral history of the workshop, documents the process, the findings, and the follow-up questions that the team identified over our short time together to provide a baseline for further exploration into the use of mixed-reality technologies in support of accessible performance spaces. It considers situated identity and Deaf culture in relationship to translating interpreted performance to a technological solution as it both outlines the practical steps that allowed this to happen and explores artist, interpreter, and technologist perspectives on what was learned.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"39 - 45"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44325860","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:I look at an image of my performance of Free Hugs, an interactive dance installation that sought to activate Tkaronto’s Lisgar Park amid the city’s attempts to reopen during the COVID-19 pandemic in the summer of 2020. More than a year later, a lot has changed with the development of vaccines and the lifting of restrictions/regulations for in-person gatherings. And yet I am still uncertain of how to connect with others amid growing concerns about the pandemic’s fourth wave. Hoping that I will rediscover some insight from my performance to relieve me of my uncertainty, I return to this image. It captures a moment of my attempt to share a hug with my audience—to connect with them in an intimate way amid the borders of physical distance imposed on us and by us. Looking at this visual representation of my performance, however, I feel my distance from the experience of my dancing body and all that it tries to teach me. I desire an embodied connection with the gestures of that performance to guide me forward into our uncertain future. Turning to disability arts practices inspired by questions and aesthetics of access, I release a practice through which we might simultaneously rest within and wrestle through the creation, navigation, and transcendence of distance to access connection.
{"title":"Embracing the Distance: Accessing Dances of Connection","authors":"J. Esteban","doi":"10.3138/ctr.190.008","DOIUrl":"https://doi.org/10.3138/ctr.190.008","url":null,"abstract":"Abstract:I look at an image of my performance of Free Hugs, an interactive dance installation that sought to activate Tkaronto’s Lisgar Park amid the city’s attempts to reopen during the COVID-19 pandemic in the summer of 2020. More than a year later, a lot has changed with the development of vaccines and the lifting of restrictions/regulations for in-person gatherings. And yet I am still uncertain of how to connect with others amid growing concerns about the pandemic’s fourth wave. Hoping that I will rediscover some insight from my performance to relieve me of my uncertainty, I return to this image. It captures a moment of my attempt to share a hug with my audience—to connect with them in an intimate way amid the borders of physical distance imposed on us and by us. Looking at this visual representation of my performance, however, I feel my distance from the experience of my dancing body and all that it tries to teach me. I desire an embodied connection with the gestures of that performance to guide me forward into our uncertain future. Turning to disability arts practices inspired by questions and aesthetics of access, I release a practice through which we might simultaneously rest within and wrestle through the creation, navigation, and transcendence of distance to access connection.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"35 - 38"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49168838","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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