This article uses the Stratford Festival’s 2022 production of Hamlet, directed by Peter Pasyk and starring Amaka Umeh, to examine the performance conditions which shaped the play’s metatheatrical speech acts and subsequent audience responses. Building on J.L. Austin’s theory of speech acts and recent work by Stephen Purcell on Shakespearean metatheatricality, this article demonstrates spontaneous audience responses within the Stratford Hamlet as essential to the co-creation of the performance. This performance analysis also proposes new theoretical language for how metatheatrical speech acts provoke responses in a thrust-stage performance space such as Stratford’s Festival Theatre.
{"title":"Piercing the Veil: Metatheatrical Utterances in the Stratford Festival’s 2022 Hamlet","authors":"Marie Trotter","doi":"10.3138/tric-2023-0006","DOIUrl":"https://doi.org/10.3138/tric-2023-0006","url":null,"abstract":"This article uses the Stratford Festival’s 2022 production of Hamlet, directed by Peter Pasyk and starring Amaka Umeh, to examine the performance conditions which shaped the play’s metatheatrical speech acts and subsequent audience responses. Building on J.L. Austin’s theory of speech acts and recent work by Stephen Purcell on Shakespearean metatheatricality, this article demonstrates spontaneous audience responses within the Stratford Hamlet as essential to the co-creation of the performance. This performance analysis also proposes new theoretical language for how metatheatrical speech acts provoke responses in a thrust-stage performance space such as Stratford’s Festival Theatre.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83509098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Linda Griffiths, actor and playwright, was a charismatic and vital presence within Canadian theatre from the early 1970s, writing and performing until her untimely death in 2014. She worked in theatres across Canada all the while maintaining her dedication to her home, Theatre Passe Muraille, creating award-winning pieces that were also audience hits. This article presents and employs an archival methodology that the author calls listening to Linda. In the first part of this piece, the author makes key historiographical interventions in Canadian theatre history based on her recognition of (and attentive listening to) Griffiths’s own historiographical intervention, made via her self-created and deliberately preserved archival record as well as her published autobiographical writing and interviews. Research into the Linda Griffiths fonds sheds new light on the early years of her career (1971–75) that have yet to be discussed in existing studies and rectifies misrepresentations of her story, repositioning her in the field of Canadian theatre. This methodology also sheds new light upon the analysis of her plays. In the case of O.D. in Paradise, by returning attention to this overlooked text the author discovered a multifaceted moment within Griffiths’s growth as a playwright which intertwines with the play’s historical importance. Research into Alien Creature: A Visitation from Gwendolyn MacEwen revivifies the scholarly discussion on this well-known auto/biographical piece by perceiving Griffiths’s voice within her archive and in performance as insisting Canadian women artists be heard, believing in the lasting power of their work. Therefore, by listening to this creator’s voice within her self-curated archive, the author’s methodology enables a shifting of knowledge regarding her contributions to Canadian theatre, the remembering of lost histories, and the lasting effects of performance.
{"title":"Listening to Linda Griffiths: Heeding to the Archives of an Emblematic Voice in Canadian Theatre","authors":"Amanda Attrell","doi":"10.3138/tric-2022-0007","DOIUrl":"https://doi.org/10.3138/tric-2022-0007","url":null,"abstract":"Linda Griffiths, actor and playwright, was a charismatic and vital presence within Canadian theatre from the early 1970s, writing and performing until her untimely death in 2014. She worked in theatres across Canada all the while maintaining her dedication to her home, Theatre Passe Muraille, creating award-winning pieces that were also audience hits. This article presents and employs an archival methodology that the author calls listening to Linda. In the first part of this piece, the author makes key historiographical interventions in Canadian theatre history based on her recognition of (and attentive listening to) Griffiths’s own historiographical intervention, made via her self-created and deliberately preserved archival record as well as her published autobiographical writing and interviews. Research into the Linda Griffiths fonds sheds new light on the early years of her career (1971–75) that have yet to be discussed in existing studies and rectifies misrepresentations of her story, repositioning her in the field of Canadian theatre. This methodology also sheds new light upon the analysis of her plays. In the case of O.D. in Paradise, by returning attention to this overlooked text the author discovered a multifaceted moment within Griffiths’s growth as a playwright which intertwines with the play’s historical importance. Research into Alien Creature: A Visitation from Gwendolyn MacEwen revivifies the scholarly discussion on this well-known auto/biographical piece by perceiving Griffiths’s voice within her archive and in performance as insisting Canadian women artists be heard, believing in the lasting power of their work. Therefore, by listening to this creator’s voice within her self-curated archive, the author’s methodology enables a shifting of knowledge regarding her contributions to Canadian theatre, the remembering of lost histories, and the lasting effects of performance.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78787213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 1790 pantomime The Provocation!’s intervention into the Nootka Crisis may signal that what was to crystalize by 1871, when BC entered Canadian Confederation as a settler colony, was already taking shape: the confluence of the development of a series of extractive industries, the establishment of settler colonies, and persistent imperial ambivalence about the territory that would eventually become a Canadian province. Given that the Nootka Sound Crisis is now relatively unknown, this article begins by briefly summarizing the crisis. After describing Nootka Sound and The Provocation!, The Provocation!’s apparent intervention in British diplomacy is discussed. Finally, after outlining how the public appearance of the Cherokee Chiefs was deployed by the press, the article addresses how the two plays built on pre-circulating British understandings of Indigeneity and of the Pacific Northwest, recycling and activating these performative and visual genealogies to lay the groundwork for the settler-colonial structures that followed in the nineteenth century.
{"title":"Theatrical Recycling as Colonial Prequel: The Provocation!, Nootka Sound, and British Columbia’s “First” Play","authors":"Heather Davis-Fisch","doi":"10.3138/tric-2022-0019","DOIUrl":"https://doi.org/10.3138/tric-2022-0019","url":null,"abstract":"The 1790 pantomime The Provocation!’s intervention into the Nootka Crisis may signal that what was to crystalize by 1871, when BC entered Canadian Confederation as a settler colony, was already taking shape: the confluence of the development of a series of extractive industries, the establishment of settler colonies, and persistent imperial ambivalence about the territory that would eventually become a Canadian province. Given that the Nootka Sound Crisis is now relatively unknown, this article begins by briefly summarizing the crisis. After describing Nootka Sound and The Provocation!, The Provocation!’s apparent intervention in British diplomacy is discussed. Finally, after outlining how the public appearance of the Cherokee Chiefs was deployed by the press, the article addresses how the two plays built on pre-circulating British understandings of Indigeneity and of the Pacific Northwest, recycling and activating these performative and visual genealogies to lay the groundwork for the settler-colonial structures that followed in the nineteenth century.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90972475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.3138/tric-2023-0016.fr
Nicole Nolette, Naila Keleta-Mae, Selena Couture, P. Thomas
{"title":"Mot de la rédaction : Vecteurs de différence","authors":"Nicole Nolette, Naila Keleta-Mae, Selena Couture, P. Thomas","doi":"10.3138/tric-2023-0016.fr","DOIUrl":"https://doi.org/10.3138/tric-2023-0016.fr","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82320192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Allyson Mitchell and Cait McKinney, Inside Killjoy’s Kastle: Dykey Ghosts, Feminist Monsters, and Other Lesbian Hauntings","authors":"X. Publius","doi":"10.3138/tric-2022-0018","DOIUrl":"https://doi.org/10.3138/tric-2022-0018","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83237812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ric Knowles, International Theatre Festivals and Twenty-First-Century Interculturalism","authors":"Naphtaly Shem-Tov","doi":"10.3138/tric-2023-0002","DOIUrl":"https://doi.org/10.3138/tric-2023-0002","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76570160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aurélie Lacassagne, Mémoires éclatées, mémoires conciliées : Essai sur le Wild West Show de Gabriel Dumont","authors":"S. Duval","doi":"10.3138/tric-2023-0005","DOIUrl":"https://doi.org/10.3138/tric-2023-0005","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87474927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.3138/tric-2023-0016.en
N. Nolette, Naila Keleta-Mae, Selena Couture, Priya Thomas
{"title":"Editorial Introduction: Vectors of Difference","authors":"N. Nolette, Naila Keleta-Mae, Selena Couture, Priya Thomas","doi":"10.3138/tric-2023-0016.en","DOIUrl":"https://doi.org/10.3138/tric-2023-0016.en","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73304171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kat Germain, Jody H. Cripps, Jessica Watkin, David Stinson
Kat Germain considers media accessibility strategies while translating signed music by Deaf artists, drawing on her experience as a visual translator/interpreter and audio describer for Blind and partially sighted audience members. Germain queries: What is the disparity between a Deaf artist’s (nonvocal) work and a Blind audience member’s experience of it? When does visual translation stop being a copy, and when does it become a work of art in its own right if the audience member’s only experience is the audible translation, an unavoidably a creative act? Along with Germain, the panel (Deaf scholar/artist, Blind scholar/creator/audience member, and a sound engineer) discusses aspects of ethics and aesthetics of accessibility in the arts.
Kat Germain在翻译聋人艺术家的手语音乐时考虑了媒体可访问性策略，并借鉴了她作为盲人和弱视观众的视觉翻译/口译和音频描述员的经验。Germain质疑:一个聋人艺术家的(无声的)作品和一个盲人观众对它的体验有什么不同?什么时候视觉翻译不再是一种复制，什么时候它成为一件艺术作品，如果观众的唯一经验是听觉翻译，一种不可避免的创造性行为?与Germain一起，小组成员(聋人学者/艺术家，盲人学者/创作者/观众，以及一名音响工程师)讨论了艺术中无障碍的伦理和美学方面。
{"title":"“Visual Translation and the Amazing Broken Telephone Kaleidoscope”: A Dialogue","authors":"Kat Germain, Jody H. Cripps, Jessica Watkin, David Stinson","doi":"10.3138/tric-2023-0015","DOIUrl":"https://doi.org/10.3138/tric-2023-0015","url":null,"abstract":"Kat Germain considers media accessibility strategies while translating signed music by Deaf artists, drawing on her experience as a visual translator/interpreter and audio describer for Blind and partially sighted audience members. Germain queries: What is the disparity between a Deaf artist’s (nonvocal) work and a Blind audience member’s experience of it? When does visual translation stop being a copy, and when does it become a work of art in its own right if the audience member’s only experience is the audible translation, an unavoidably a creative act? Along with Germain, the panel (Deaf scholar/artist, Blind scholar/creator/audience member, and a sound engineer) discusses aspects of ethics and aesthetics of accessibility in the arts.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86621122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research project, “Decolonizing Toronto Theatre,” examines how Soulpepper, a mainstream Toronto theatre company, and their collaboration with Native Earth Performing Arts are contributing to the equity, diversity, inclusion, and decolonization of Toronto theatre through their recent Indigenous productions: Kamloopa and Where the Blood Mixes. The author watched, read, and analyzed both plays to explore how these two productions transform and redefine the intellectual, political, and artistic conventions of Anglo-Canadian theatre. Her analyses of these plays are informed by the various texts centered around Canadian Indigenous history and Indigenous theatre. She also used an ethnographic approach by talking to people involved in both productions. She conducted interviews with the playwrights, the associate artistic director at Soulpepper, and some artists involved in both plays. These conversations with the people involved allowed her to understand these plays beyond their content: the inner workings of how a production comes to fruition. The conversations also allowed for a reflection on the similarities and differences between the creative approaches the artists involved took as well as the positive impacts these productions have had on Toronto theatre. Finally, by applying ethnographic findings and analyses of the plays, this piece compiles the analyses and research conducted over the course of the internship.
这个名为“去殖民化多伦多剧院”的研究项目，考察了多伦多主流剧院公司Soulpepper及其与本土表演艺术公司的合作，如何通过他们最近的本土作品《Kamloopa》和《Where the Blood Mixes》，为多伦多剧院的公平、多样性、包容性和去殖民化做出贡献。作者观看、阅读并分析了这两部戏剧，以探索这两部作品如何改变和重新定义了英加戏剧的思想、政治和艺术惯例。她对这些戏剧的分析以加拿大土著历史和土著戏剧为中心的各种文本为基础。她还用人种学的方法与参与两部作品的人交谈。她采访了两位剧作家、Soulpepper的副艺术总监，以及参与这两部戏剧的一些艺术家。这些与相关人员的对话使她能够理解这些戏剧的内容之外:一个作品如何实现的内部运作。这些对话也让我们反思了艺术家们所采用的创作方法之间的异同，以及这些作品对多伦多剧院的积极影响。最后，通过运用民族志的发现和对戏剧的分析，这篇文章汇编了在实习过程中进行的分析和研究。
{"title":"Soulpepper 2022: Decolonizing Toronto Theatre","authors":"Hanna Shore","doi":"10.3138/tric-2022-0017","DOIUrl":"https://doi.org/10.3138/tric-2022-0017","url":null,"abstract":"This research project, “Decolonizing Toronto Theatre,” examines how Soulpepper, a mainstream Toronto theatre company, and their collaboration with Native Earth Performing Arts are contributing to the equity, diversity, inclusion, and decolonization of Toronto theatre through their recent Indigenous productions: Kamloopa and Where the Blood Mixes. The author watched, read, and analyzed both plays to explore how these two productions transform and redefine the intellectual, political, and artistic conventions of Anglo-Canadian theatre. Her analyses of these plays are informed by the various texts centered around Canadian Indigenous history and Indigenous theatre. She also used an ethnographic approach by talking to people involved in both productions. She conducted interviews with the playwrights, the associate artistic director at Soulpepper, and some artists involved in both plays. These conversations with the people involved allowed her to understand these plays beyond their content: the inner workings of how a production comes to fruition. The conversations also allowed for a reflection on the similarities and differences between the creative approaches the artists involved took as well as the positive impacts these productions have had on Toronto theatre. Finally, by applying ethnographic findings and analyses of the plays, this piece compiles the analyses and research conducted over the course of the internship.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89524139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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