Abstract:A personal reflection on how Shira Leuchter’s desire to preserve existent family memories led her to create the live art performance All the Things I’ve Lost, which she performed with her mother, Joyce. All the Things I’ve Lost was commissioned by the Gardiner Museum in Toronto and premiered in August 2016. Through performing the piece, Shira discovered that casting her mother to help her recreate lost childhood objects prompted audience members to share their stories of loss with her during impromptu sessions after each performance.Acknowledging the apparent need for sharing and companioning stories of loss, Shira created the live art performance Lost Together. Lost Together premiered as part of the SummerWorks Festival Lab in 2018. While Shira and co-performer Michaela Washburn recreate and reimagine lost things for audience participants during this intimate performance, Shira recognizes that they can never be successful in resolving loss for their audience participants. Instead, they can hold the weight of the loss with their audience and offer community and connection. Shira contends that collaborating with audiences and leading with tenderness is a radical act of performing care in a culture that prizes individualism.
摘要:Shira Leuchter与母亲Joyce共同创作了现场艺术表演《我所失去的一切》(All the Things I ' re Lost)，这是她对保存现有家庭记忆的渴望的个人反思。《我失去的一切》受多伦多加德纳博物馆委托，于2016年8月首映。通过表演这首曲子，Shira发现，让她的母亲帮助她重建失去的童年物品，会促使观众在每次表演后的即兴会议上与她分享他们失去的故事。Shira意识到需要分享和陪伴失去的故事，她创作了现场艺术表演《迷失在一起》。2018年，《迷失在一起》作为SummerWorks Festival Lab的一部分首播。当Shira和搭档Michaela Washburn在这场亲密的表演中为观众再现和重新想象失去的东西时，Shira意识到他们永远无法成功地为观众解决失去的问题。相反，他们可以与观众一起承受损失，并提供社区和联系。Shira认为，在一个崇尚个人主义的文化中，与观众合作并以温柔来领导是一种激进的关怀行为。
{"title":"Keeping Good Company","authors":"Shira Leuchter","doi":"10.3138/ctr.189.002","DOIUrl":"https://doi.org/10.3138/ctr.189.002","url":null,"abstract":"Abstract:A personal reflection on how Shira Leuchter’s desire to preserve existent family memories led her to create the live art performance All the Things I’ve Lost, which she performed with her mother, Joyce. All the Things I’ve Lost was commissioned by the Gardiner Museum in Toronto and premiered in August 2016. Through performing the piece, Shira discovered that casting her mother to help her recreate lost childhood objects prompted audience members to share their stories of loss with her during impromptu sessions after each performance.Acknowledging the apparent need for sharing and companioning stories of loss, Shira created the live art performance Lost Together. Lost Together premiered as part of the SummerWorks Festival Lab in 2018. While Shira and co-performer Michaela Washburn recreate and reimagine lost things for audience participants during this intimate performance, Shira recognizes that they can never be successful in resolving loss for their audience participants. Instead, they can hold the weight of the loss with their audience and offer community and connection. Shira contends that collaborating with audiences and leading with tenderness is a radical act of performing care in a culture that prizes individualism.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"12 - 8"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47978281","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:The author reflects on what she has been learning about archives through beginning to work with a wiigwaasi jiimaan/birchbark canoe using traditional Anishinaabe technique and protocol. She articulates a performance practice with jiimaan intended to raise awareness of Indigenous presence in her home territory and the inspirited nature of many beings in archives. She thinks through how this practice enacts cultural reclamation, knowledge transmission to future generations, and critical questioning of archiving practices of performance materials.
{"title":"Jiimaan, That Teaching Sister: Practices of Archival Care","authors":"Jenny Cole","doi":"10.3138/ctr.189.007","DOIUrl":"https://doi.org/10.3138/ctr.189.007","url":null,"abstract":"Abstract:The author reflects on what she has been learning about archives through beginning to work with a wiigwaasi jiimaan/birchbark canoe using traditional Anishinaabe technique and protocol. She articulates a performance practice with jiimaan intended to raise awareness of Indigenous presence in her home territory and the inspirited nature of many beings in archives. She thinks through how this practice enacts cultural reclamation, knowledge transmission to future generations, and critical questioning of archiving practices of performance materials.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"33 - 39"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46152922","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:Mariah Horner and Jacob Pittini are members of Dr. Jenn Stephenson’s research team investigating participatory dramaturgies in Canada. In May 2020, Pittini and Horner attended Zuppa Theatre Co’s Vista20, an ambulatory app-guided play about the COVID-19 pandemic. Through dramaturgical analysis, Pittini and Horner explore Vista20’s use of walking to situate participants in their embodied experiences of the ongoing pandemic, with a focus on liveness, duality, and digital participation across distances. The app-based experience encourages participants to explore their own contexts through walking while connecting them to storytellers in Halifax, revealing complex dramaturgies of together/apart. Pittini and Horner analyze how Vista20 uses technology to achieve a unique embodied yet socially distanced form of participation in response to the pandemic, representing an exciting form of theatrical liveness.
{"title":"On Being a Walking Body: Dramaturgies of Participatory Pandemic Theatre","authors":"Jacob Pittini, Mariah Horner","doi":"10.3138/ctr.189.015","DOIUrl":"https://doi.org/10.3138/ctr.189.015","url":null,"abstract":"Abstract:Mariah Horner and Jacob Pittini are members of Dr. Jenn Stephenson’s research team investigating participatory dramaturgies in Canada. In May 2020, Pittini and Horner attended Zuppa Theatre Co’s Vista20, an ambulatory app-guided play about the COVID-19 pandemic. Through dramaturgical analysis, Pittini and Horner explore Vista20’s use of walking to situate participants in their embodied experiences of the ongoing pandemic, with a focus on liveness, duality, and digital participation across distances. The app-based experience encourages participants to explore their own contexts through walking while connecting them to storytellers in Halifax, revealing complex dramaturgies of together/apart. Pittini and Horner analyze how Vista20 uses technology to achieve a unique embodied yet socially distanced form of participation in response to the pandemic, representing an exciting form of theatrical liveness.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"80 - 83"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46080888","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 reviews Conrad Alexandrowicz’s Acting Queer: Gender Dissidence and the Subversion of Realism, a monograph that sets out to explore the experiences of gender-nonconforming performers in contemporary actor training. Peters outlines the strengths and limitations of Alexandrowicz’s wide-ranging work, particularly with regard to the level of specificity (or lack thereof) it offers regarding alternatives to current practices. While celebrating the work as an introduction to a wide range of thinking on gender in performance and in society more broadly, Peters is critical of certain sections as potentially harmful to the very gender-dissident performers the work is attempting to empower. Overall, Peters concludes that Acting Queer can serve as an introduction to queer and gender theory for practitioners and pedagogues and might serves as a springboard for further thinking regarding the training of performing artists in North America.
{"title":"Queering Actor Training and Supporting Gender Dissidence","authors":"C. Peters","doi":"10.3138/ctr.189.016","DOIUrl":"https://doi.org/10.3138/ctr.189.016","url":null,"abstract":"Abstract:This article reviews Conrad Alexandrowicz’s Acting Queer: Gender Dissidence and the Subversion of Realism, a monograph that sets out to explore the experiences of gender-nonconforming performers in contemporary actor training. Peters outlines the strengths and limitations of Alexandrowicz’s wide-ranging work, particularly with regard to the level of specificity (or lack thereof) it offers regarding alternatives to current practices. While celebrating the work as an introduction to a wide range of thinking on gender in performance and in society more broadly, Peters is critical of certain sections as potentially harmful to the very gender-dissident performers the work is attempting to empower. Overall, Peters concludes that Acting Queer can serve as an introduction to queer and gender theory for practitioners and pedagogues and might serves as a springboard for further thinking regarding the training of performing artists in North America.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"84 - 86"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47951800","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":"How Many Performance Artists Does it Take to Change a Light Bulb (for Martha Wilson)","authors":"Emelie Chhangur, Jess Dobkin","doi":"10.3138/ctr.189.011","DOIUrl":"https://doi.org/10.3138/ctr.189.011","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"55 - 70"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970944","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 text, I reflect on the relationship between terroir and territory as part of a critical settler practice of sourdough bread-baking in the prairies of Treaty 4 lands, Saskatchewan. I propose that a framework of terroir-as-territory is one way of conceiving of and practising decolonialization within land-based food systems. Writing through conversation, reflection, and provocation, I consider the place of fermentation practices—specifically wheat fermentation—in settler and Indigenous communities in Saskatchewan, where fermentation (the chemical changes brought on by microbes) embodies simultaneously the processes of preservation and transformation. As I write, I draw from my ongoing curatorial research into contemporary art and fermentation as well as my long-standing interest in food security and food justice, pivoting, in this short textual performance, into food writing and criticism as activism.
{"title":"Terroir as Territory: Frybread and Fermentation as Critical Settler and Decolonial Practice","authors":"Lauren Fournier","doi":"10.3138/ctr.189.009","DOIUrl":"https://doi.org/10.3138/ctr.189.009","url":null,"abstract":"Abstract:In this text, I reflect on the relationship between terroir and territory as part of a critical settler practice of sourdough bread-baking in the prairies of Treaty 4 lands, Saskatchewan. I propose that a framework of terroir-as-territory is one way of conceiving of and practising decolonialization within land-based food systems. Writing through conversation, reflection, and provocation, I consider the place of fermentation practices—specifically wheat fermentation—in settler and Indigenous communities in Saskatchewan, where fermentation (the chemical changes brought on by microbes) embodies simultaneously the processes of preservation and transformation. As I write, I draw from my ongoing curatorial research into contemporary art and fermentation as well as my long-standing interest in food security and food justice, pivoting, in this short textual performance, into food writing and criticism as activism.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"45 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48125770","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 describes a pandemic bread-making project devised as part of a graduate-level Digital Storytelling course in the Communication Department at l’Université de Montréal. The relations between bread making and storytelling are analyzed through the framework of correspondence art, an art movement that emphasizes networking, collaboration, and modes of free circulation. The article will be of particular interest to educators in the fine arts, social sciences, and humanities who are seeking ways to encourage critical thinking about this global crisis and to provide opportunities for collaborative exchange among students. Readers are invited to participate in the project.
{"title":"Persevering, Preserving, and Sharing Our Mother","authors":"Natalie Doonan","doi":"10.3138/ctr.189.010","DOIUrl":"https://doi.org/10.3138/ctr.189.010","url":null,"abstract":"Abstract:This article describes a pandemic bread-making project devised as part of a graduate-level Digital Storytelling course in the Communication Department at l’Université de Montréal. The relations between bread making and storytelling are analyzed through the framework of correspondence art, an art movement that emphasizes networking, collaboration, and modes of free circulation. The article will be of particular interest to educators in the fine arts, social sciences, and humanities who are seeking ways to encourage critical thinking about this global crisis and to provide opportunities for collaborative exchange among students. Readers are invited to participate in the project.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"50 - 54"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43302564","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:The line between life and death is blurry. For one organism to live, others must die, turning first into food, then units of energy, and then fodder for new life. Performance itself is a play between liveliness and stabilizations, sensory immediacy and documented pasts. In the culture and practice of food, parallels abound. A notable yet humble example is witnessed in fermentation practice and the use of starter cultures, whether bacterial, yeasty, or both. Even as such cultures are consumed by a production process, they are renewed by it. This autoethnographic account of a cycle of three performances centred on an inherited sourdough starter explores the ways in which performance with food can act as a process of preservation, as well as an exploration of life, death, and states of being that may exist in between. In using a yeast culture that is more than 25 years old, I have attempted not only to perpetuate the tiny bodies within the flour-water paste but also to embody in a larger way the attitude and essence of the culture’s original user. Probing the preservation of humanness through food practice and artistic improvisation, I propose an alternate sense of memory, ecology, and mortality.
{"title":"Staff of Life: Preserving Yeast, Memory, and Humanity","authors":"D. Szanto","doi":"10.3138/ctr.189.008","DOIUrl":"https://doi.org/10.3138/ctr.189.008","url":null,"abstract":"Abstract:The line between life and death is blurry. For one organism to live, others must die, turning first into food, then units of energy, and then fodder for new life. Performance itself is a play between liveliness and stabilizations, sensory immediacy and documented pasts. In the culture and practice of food, parallels abound. A notable yet humble example is witnessed in fermentation practice and the use of starter cultures, whether bacterial, yeasty, or both. Even as such cultures are consumed by a production process, they are renewed by it. This autoethnographic account of a cycle of three performances centred on an inherited sourdough starter explores the ways in which performance with food can act as a process of preservation, as well as an exploration of life, death, and states of being that may exist in between. In using a yeast culture that is more than 25 years old, I have attempted not only to perpetuate the tiny bodies within the flour-water paste but also to embody in a larger way the attitude and essence of the culture’s original user. Probing the preservation of humanness through food practice and artistic improvisation, I propose an alternate sense of memory, ecology, and mortality.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"189 1","pages":"40 - 44"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48891040","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 describes the author’s process of meaning-making in the context of the COVID-19 pandemic, through a project that creates digital portraits of frontline workers wearing personal protective equipment (PPE). The goal of the project has been to help transform public perception of PPE from something scary into something that allows the humanity of the workers to shine through. The project seeks to publicly honour the sacrifices of frontliners by creating art that makes them feel beautiful, loved, supported, appreciated, and inspired. By creating the portraits free of charge, actively pursuing diversity of portrait subjects, and sharing the images on social media, the author has aspired to nurture digital justice, equity of representation, and community engagement. The project can be viewed on Facebook at https://www.facebook.com/Frontline-FACES-of-Covid-19-101410431520873/), on Instagram @frontline_faces_of_covid19, or in the COVID-19 Gratitude and Hope Collection of the Art Gallery at https://www.teachingmedicine.com/.
{"title":"Frontline Faces of COVID-19: Digital Pandemic Portraits","authors":"Julia Henderson","doi":"10.3138/ctr.188.013","DOIUrl":"https://doi.org/10.3138/ctr.188.013","url":null,"abstract":"ABSTRACT:This article describes the author’s process of meaning-making in the context of the COVID-19 pandemic, through a project that creates digital portraits of frontline workers wearing personal protective equipment (PPE). The goal of the project has been to help transform public perception of PPE from something scary into something that allows the humanity of the workers to shine through. The project seeks to publicly honour the sacrifices of frontliners by creating art that makes them feel beautiful, loved, supported, appreciated, and inspired. By creating the portraits free of charge, actively pursuing diversity of portrait subjects, and sharing the images on social media, the author has aspired to nurture digital justice, equity of representation, and community engagement. The project can be viewed on Facebook at https://www.facebook.com/Frontline-FACES-of-Covid-19-101410431520873/), on Instagram @frontline_faces_of_covid19, or in the COVID-19 Gratitude and Hope Collection of the Art Gallery at https://www.teachingmedicine.com/.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"188 1","pages":"54 - 57"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49311535","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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