Shalon T. Webber-Heffernan, Golboo Amani, Dainty Smith
Abstract:A conversation with Dainty Smith and Golboo Amani, the curators of PUSH.PULL: Intersections of QTBIPOC Cabaret and Performance Art, a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QTBIPOC cabaret. As the cabaret stage has traditionally held space for queer bodies to negotiate corporeal boundaries, queer performance has historically taken place on the fringes of popular culture. PUSH.PULL questioned what is considered legitimate art and what is seen as entertainment, by highlighting QTBIPOC cabaret performers as artists at the intersections of live stage performance and radical political performativity. This interview sought to address the question: what is capital P performance art afraid of? What delineates ‘fine’ art from ‘low’ art and those who have been kept at arm’s length from contemporary art?
{"title":"Who’s Afraid of Cabaret? A Conversation with Dainty Smith and Golboo Amani","authors":"Shalon T. Webber-Heffernan, Golboo Amani, Dainty Smith","doi":"10.3138/ctr.190.017","DOIUrl":"https://doi.org/10.3138/ctr.190.017","url":null,"abstract":"Abstract:A conversation with Dainty Smith and Golboo Amani, the curators of PUSH.PULL: Intersections of QTBIPOC Cabaret and Performance Art, a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QTBIPOC cabaret. As the cabaret stage has traditionally held space for queer bodies to negotiate corporeal boundaries, queer performance has historically taken place on the fringes of popular culture. PUSH.PULL questioned what is considered legitimate art and what is seen as entertainment, by highlighting QTBIPOC cabaret performers as artists at the intersections of live stage performance and radical political performativity. This interview sought to address the question: what is capital P performance art afraid of? What delineates ‘fine’ art from ‘low’ art and those who have been kept at arm’s length from contemporary art?","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"73 - 76"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44900064","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 autoethnographic piece, Riki Entz writes from their lived experience of Disability in the Canadian theatre industry and clearly outlines the ableism they have experienced as a multiply Disabled person. By providing honest examples of ableism, while also searching for ways that they can fit into this industry, Entz offers grounds for reflecting on ableism and the arts while remaining hopeful for the future.
{"title":"Developmentally, Cognitively, and Intellectually Disabled People Are Artists, Not Pet Projects","authors":"Riki Entz","doi":"10.3138/ctr.190.007","DOIUrl":"https://doi.org/10.3138/ctr.190.007","url":null,"abstract":"Abstract:In this autoethnographic piece, Riki Entz writes from their lived experience of Disability in the Canadian theatre industry and clearly outlines the ableism they have experienced as a multiply Disabled person. By providing honest examples of ableism, while also searching for ways that they can fit into this industry, Entz offers grounds for reflecting on ableism and the arts while remaining hopeful for the future.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"32 - 34"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42851876","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}
Julia Henderson, C. Reid, B. Devereux, Chad Hershler, Sadie Watt
Abstract:Raising the Curtain on the Lived Experience of Dementia (RTC) is a five-year collaboration between education, arts, and health care that uses community-based, arts-engaged, participatory research approaches, including theatre, to work with participants with the lived experience of dementia. This article is based on interviews with the three project leads as well as one project participant, and details RTC’s key elements of creative practice, its core values that influence collaborative creation processes, and the ways RTC differs from common models of working with people living with dementia. Examples of the project’s theatre and performance activities and practices are woven throughout.
{"title":"Performing the Lived Experience of Dementia: Revealing Humanity through Evidence-Based Collaborative Creation","authors":"Julia Henderson, C. Reid, B. Devereux, Chad Hershler, Sadie Watt","doi":"10.3138/ctr.190.012","DOIUrl":"https://doi.org/10.3138/ctr.190.012","url":null,"abstract":"Abstract:Raising the Curtain on the Lived Experience of Dementia (RTC) is a five-year collaboration between education, arts, and health care that uses community-based, arts-engaged, participatory research approaches, including theatre, to work with participants with the lived experience of dementia. This article is based on interviews with the three project leads as well as one project participant, and details RTC’s key elements of creative practice, its core values that influence collaborative creation processes, and the ways RTC differs from common models of working with people living with dementia. Examples of the project’s theatre and performance activities and practices are woven throughout.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"190 1","pages":"53 - 59"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44257913","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:Pierogi-making is an everyday performance that is both an act of preservation and an active force that shapes the very heritage from which it draws. During participant observation that I engaged in with members of the Women’s Circle at a Polish Canadian cultural centre in Brantford, Ontario—referred to by its members as “the Hall”—in the summer of 2016, I was taught, through apprenticeship, how to make pierogi. The women under whom I apprenticed imagine the pierogi they make as being traditional in that they believe the recipe is drawn from an archive formed collectively by Polish Canadians. However, pierogi-makers also incorporate their own imaginings of what constitutes a traditional pierogi based on their individual experiences, lived realities, and desires for the future. While there is a passing down of what members of the Women’s Circle imagine as being the heritage of Polonia, those images are also rearticulated through an everyday performance that both conforms to and defies an imagined heritage that, like the act of making pierogi, “comes with practice.” Polish Canadians embody a quintessential migrant reality that exists between past, present, and future, between there and here, as formed by the experiences, performances, and imagination of its members. If Polonia is an imaginary, then pierogi are a punctum from which people of Polish descent draw their heritage. I argue that pierogi function as a kind of imagistic landscape on and through which the nation of Polonia is imagined and performed by its members.
{"title":"“It Comes with Practice”: Pierogi-Making as Preserving and Imagining Polonia","authors":"Wiktor Kulinski","doi":"10.3138/ctr.189.003","DOIUrl":"https://doi.org/10.3138/ctr.189.003","url":null,"abstract":"Abstract:Pierogi-making is an everyday performance that is both an act of preservation and an active force that shapes the very heritage from which it draws. During participant observation that I engaged in with members of the Women’s Circle at a Polish Canadian cultural centre in Brantford, Ontario—referred to by its members as “the Hall”—in the summer of 2016, I was taught, through apprenticeship, how to make pierogi. The women under whom I apprenticed imagine the pierogi they make as being traditional in that they believe the recipe is drawn from an archive formed collectively by Polish Canadians. However, pierogi-makers also incorporate their own imaginings of what constitutes a traditional pierogi based on their individual experiences, lived realities, and desires for the future. While there is a passing down of what members of the Women’s Circle imagine as being the heritage of Polonia, those images are also rearticulated through an everyday performance that both conforms to and defies an imagined heritage that, like the act of making pierogi, “comes with practice.” Polish Canadians embody a quintessential migrant reality that exists between past, present, and future, between there and here, as formed by the experiences, performances, and imagination of its members. If Polonia is an imaginary, then pierogi are a punctum from which people of Polish descent draw their heritage. I argue that pierogi function as a kind of imagistic landscape on and through which the nation of Polonia is imagined and performed by its members.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"13 - 16"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45856195","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 Highest Form of Resistance to Survive”: Basil AlZeri’s The Most Prized of All Closets","authors":"Edward Whittall","doi":"10.3138/ctr.189.004","DOIUrl":"https://doi.org/10.3138/ctr.189.004","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"17 - 20"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49663649","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:‘Classic burlesque’ refers to a style of contemporary burlesque performance that attempts to recreate some of the conventions of mid-century striptease. In this article, I explore the work classic burlesque does to cite, adapt, and preserve elements of historic striptease through its practitioners’ unique relationship with the archive and repertoire of historic burlesque. Though classic burlesque is fraught with much of the cultural baggage of the history it inherits, it creates an embodied act of preservation less concerned with historical authenticity than with preserving an attitude toward striptease that values ‘tease’ and a personal approach over codified technique. Using Zyra Lee Vanity’s Irie Love act as a case study, I offer that many performers choose to navigate the biases of the form because of the creative potential it affords them to challenge dominant histories of burlesque that perpetuate the erasure of marginalized artists. Vanity does so by reanimating the important contributions of marginalized artists in the history of striptease. While exclusionary standards still inform much of the practice, many of the conventions of classic burlesque are mobile and can be an important site of meaning-making for the artists who practice it.
摘要:“经典滑稽戏”指的是一种当代滑稽戏表演风格，它试图重现中世纪脱衣舞的一些惯例。在这篇文章中，我探讨了经典滑稽剧所做的工作，通过其从业者与历史滑稽剧档案和曲目的独特关系，引用，适应和保存历史脱衣舞元素。虽然经典的滑稽表演充满了它所继承的历史的文化包袱，但它创造了一种具体的保存行为，不太关心历史的真实性，而是保存一种对脱衣舞的态度，这种态度重视“挑逗”和个人方法，而不是编纂的技术。以Zyra Lee Vanity的《Irie Love act》为例，我提出许多表演者选择驾驭这种形式的偏见，因为它提供了创造性的潜力，使他们能够挑战滑剧的主流历史，这种历史使边缘化艺术家的抹去得以延续。《虚荣》通过重新激活脱衣舞历史上边缘化艺术家的重要贡献来实现这一点。虽然排他性的标准仍然在很大程度上影响着这种做法，但许多经典滑稽戏的惯例是流动的，对于实践滑稽戏的艺术家来说，这可能是一个重要的意义创造场所。
{"title":"“Working On and Against”: Classic Burlesque Conventions in Zyra Lee Vanity’s Irie Love","authors":"Julia Matias","doi":"10.3138/ctr.189.006","DOIUrl":"https://doi.org/10.3138/ctr.189.006","url":null,"abstract":"Abstract:‘Classic burlesque’ refers to a style of contemporary burlesque performance that attempts to recreate some of the conventions of mid-century striptease. In this article, I explore the work classic burlesque does to cite, adapt, and preserve elements of historic striptease through its practitioners’ unique relationship with the archive and repertoire of historic burlesque. Though classic burlesque is fraught with much of the cultural baggage of the history it inherits, it creates an embodied act of preservation less concerned with historical authenticity than with preserving an attitude toward striptease that values ‘tease’ and a personal approach over codified technique. Using Zyra Lee Vanity’s Irie Love act as a case study, I offer that many performers choose to navigate the biases of the form because of the creative potential it affords them to challenge dominant histories of burlesque that perpetuate the erasure of marginalized artists. Vanity does so by reanimating the important contributions of marginalized artists in the history of striptease. While exclusionary standards still inform much of the practice, many of the conventions of classic burlesque are mobile and can be an important site of meaning-making for the artists who practice it.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"27 - 32"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47074295","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 2017, Toronto-based physical theatre artist Brandy Leary performed choreographic research as part of the Arctic Circle’s Summer Solstice Expedition, a multidisciplinary voyage of invited scientists and artists who developed work during their travels in and around the Svalbard archipelago, located in the Arctic Ocean. I focus on one such performance, entitled Suspended, in which Leary hangs precariously off the side of a boat and above a (melting) ice floe. Leary’s explorations were influenced by the Norwegian eco-scientist Per Espen Stoknes’s concept of “Great Grief,” a public grief based on ecological loss due to climate change, as well as the loss of her husband before she embarked on the residency. I read Suspended as a performance that sutures public and private processes of grief. Because Svalbard is home to the Global Seed Vault, a repository of seeds intended to preserve the world’s plant biodiversity, Suspended also connects forms of self-preservation in the face of ecological loss with larger cooperative efforts toward ecological preservation via the saving of seeds. Both Suspended and the vault as endeavours compel us to collectively care about and act toward futures where our relationships—to ice, to the environment, and to each other—are radically changed.
{"title":"Loss, Great Grief, and Preservation: Brandy Leary’s Suspended","authors":"Brian Batchelor","doi":"10.3138/ctr.189.005","DOIUrl":"https://doi.org/10.3138/ctr.189.005","url":null,"abstract":"Abstract:In 2017, Toronto-based physical theatre artist Brandy Leary performed choreographic research as part of the Arctic Circle’s Summer Solstice Expedition, a multidisciplinary voyage of invited scientists and artists who developed work during their travels in and around the Svalbard archipelago, located in the Arctic Ocean. I focus on one such performance, entitled Suspended, in which Leary hangs precariously off the side of a boat and above a (melting) ice floe. Leary’s explorations were influenced by the Norwegian eco-scientist Per Espen Stoknes’s concept of “Great Grief,” a public grief based on ecological loss due to climate change, as well as the loss of her husband before she embarked on the residency. I read Suspended as a performance that sutures public and private processes of grief. Because Svalbard is home to the Global Seed Vault, a repository of seeds intended to preserve the world’s plant biodiversity, Suspended also connects forms of self-preservation in the face of ecological loss with larger cooperative efforts toward ecological preservation via the saving of seeds. Both Suspended and the vault as endeavours compel us to collectively care about and act toward futures where our relationships—to ice, to the environment, and to each other—are radically changed.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"21 - 26"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459121","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:What new insights and opportunities does virtual reality (VR) offer to theatre and performance? In turn, what potential might theatre offer to VR creators? This potentially fruitful cross-pollination was precisely what prompted host organizations Single Thread Theatre Company and Electric Company Theatre to program the inaugural Performance and XR Symposium in October 2020, a conference designed to foster and explore the relationship between theatre and XR (a catch-all term for media created with virtual, augmented, and mixed reality). The experience of the conference was one of re-seeing the possibilities of performance in a new media form: discussions around access, spectatorship, and ethics—topics familiar to and well trodden by theatre artists and scholars—were reinvigorated in the context of virtual reality.
{"title":"PXR2020: Re-Seeing the Possibilities of Theatre in Virtual, Augmented, and Mixed Reality","authors":"Stephanie Fung, K. Jacobson, Jordan Pike","doi":"10.3138/ctr.189.013","DOIUrl":"https://doi.org/10.3138/ctr.189.013","url":null,"abstract":"Abstract:What new insights and opportunities does virtual reality (VR) offer to theatre and performance? In turn, what potential might theatre offer to VR creators? This potentially fruitful cross-pollination was precisely what prompted host organizations Single Thread Theatre Company and Electric Company Theatre to program the inaugural Performance and XR Symposium in October 2020, a conference designed to foster and explore the relationship between theatre and XR (a catch-all term for media created with virtual, augmented, and mixed reality). The experience of the conference was one of re-seeing the possibilities of performance in a new media form: discussions around access, spectatorship, and ethics—topics familiar to and well trodden by theatre artists and scholars—were reinvigorated in the context of virtual reality.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"73 - 75"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47680679","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:Playwright Taylor Marie Graham and theatre/XR designer Beth Kates reflect on their collaborative digital theatre experiments throughout the week-long digital dramaturgy intensive Digital Alchemy Creation Lab: MODULE, funded by a Canada Council Digital Strategy Fund grant. MODULE was an experiment designed to provide playwrights and theatre artists with hands-on exposure to available and emerging technologies (projection design tools, virtual reality tools, etc.). The two discuss the need to dismantle rehearsal-room hierarchies, needed complications to the problematic binary of rural storytelling versus technology, creative process overlap between writers and designers, and theatremaking in virtual reality, as well as the expansive storytelling potential of writer-designer intersections at project inception.
摘要:剧作家泰勒·玛丽·格雷厄姆(Taylor Marie Graham)和戏剧/XR设计师贝丝·凯特(Beth Kates)在为期一周的数字戏剧密集型数字炼金术创作实验室:模块中反思了他们的合作数字戏剧实验，该实验室由加拿大理事会数字战略基金资助。MODULE是一个实验，旨在为剧作家和戏剧艺术家提供实际接触现有和新兴技术的机会(投影设计工具，虚拟现实工具等)。两人讨论了拆除排演室等级制度的必要性，农村叙事与技术的二元对立问题的复杂性，作家和设计师之间的创作过程重叠，虚拟现实中的戏剧制作，以及在项目开始时作家和设计师交集的广阔叙事潜力。
{"title":"Writer-Designer Intersections at MODULE Digital Alchemy Creation Lab: A Conversation between Taylor Marie Graham and Beth Kates","authors":"T. Graham, Beth Kates","doi":"10.3138/ctr.189.014","DOIUrl":"https://doi.org/10.3138/ctr.189.014","url":null,"abstract":"Abstract:Playwright Taylor Marie Graham and theatre/XR designer Beth Kates reflect on their collaborative digital theatre experiments throughout the week-long digital dramaturgy intensive Digital Alchemy Creation Lab: MODULE, funded by a Canada Council Digital Strategy Fund grant. MODULE was an experiment designed to provide playwrights and theatre artists with hands-on exposure to available and emerging technologies (projection design tools, virtual reality tools, etc.). The two discuss the need to dismantle rehearsal-room hierarchies, needed complications to the problematic binary of rural storytelling versus technology, creative process overlap between writers and designers, and theatremaking in virtual reality, as well as the expansive storytelling potential of writer-designer intersections at project inception.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"76 - 79"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69966933","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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