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Abstract: "Lost Together is a thirty-minute performance for one audience participant at a time. It is performed by Shira Leuchter and Michaela Washburn, in collaboration with the audience. Shira and Michaela perform this piece for six or eight hour stretches, meeting a new audience member every half hour.Lost Together has been performed in sites as varied as a public atrium, a black box theatre, a storefront, and online. The performance is a space for communal mourning. It is an assertion that if we want to live in a world that prioritizes care, we need to practice caregiving and the ways in which we are bound to each other."Shira and Michaela welcome the audience participant and invite them to take a seat and get ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Caution: Copyright Tanya Marquardt. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the author. Rights to produce, film or record in any medium, in any language, by any group, are retained by the authors. The moral right of the authors has been asserted. For performance rights, contact the author Tanya Marquardt c/o 201 Franklin Avenue, Brooklyn, New York, 11222.Some Must Watch While Some Must Sleep was created with the support of the Canada Council for the Arts, the Mabou Mines Artists Residency, Earthdance, Brooklyn Arts Exchange, FOLDA Innovation Residency, Playwrights Theatre Centre ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: The following is what happened when Tanya Marquardt, the creator of Some Must Watch While Some Must Sleep, generously created an interlude in the middle of the performance to talk to me.Come make a place with me. Sit and make a place with me. would you like that'Before I can play more with you I need to know who you are really. If you are an actor performing Tanya I need to know that.Hey Jenn this is Tanya stepping in for Sam—the performer delivering my texts.It's up to you!Hi Tanya. What do you mean it's up to me'Would you rather text with me—Tanya, the writer and memoirist. Or with Sam my assistant.That's a generous offer.What would make you feel best'I think the relationship between us is more balanced/ethical ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: In 2021, we formed Yarrow Collective to respond and engage with what The Only Animal calls "the art-shaped hole in the climate crisis" ("Artist Brigade"). It was Sammie who first encountered this phrase as a member of The Only Animal's Artist Brigade—a national cohort of 100 artists across disciplines who bring "the heart of artists into the telling of the climate story to mobilize a society paralyzed by climate anxiety and grief" ("Artist Brigade"). In his writing about re-authoring the world, author and researcher David Maggs further articulates this potential for the arts to lead the radical social transformation needed to ensure a sustainable future by working to "increase our ability to serve a more applied ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Overhead view of the stage set-up in a production of Foreign Radical at the Banff Centre. Produced by Theatre Conspiracy. Photo by Dylan ToombsThis article emerges out of a discussion I had at the Dramaturgies of Participation Summit in 2022 with artist Patrick Blenkarn (also featured in this issue). During our panel on care and neoliberalism, Blenkarn proposed a concept that he called "cozywashing." Starting from the assumption that "participatory performance is particularly well positioned to ask strong political questions, particularly around power, labour, economy, class, etc." he argued that "the aesthetic trend we've seen in Canada is such that the pursuit of [a] 'cozy' aesthetic experience seems coupled with ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: When a scene of protest algorithmically appears on our social media feeds, we can catch a glimpse of the political drama in the streets. What that same footage cannot capture is the sensory thrall of protest. Marches or demonstrations are suffused with the adrenal high of bodies moving together through the streets, music being pumped through loudspeakers, voices shouting through megaphones, the aroma of food, and the stench of garbage that almost always tails a large gathering. Protests are sensory scenes. And because most people must suspend their everyday labour to collectively participate in one, they tend to be temporary acts—work and life can only be suspended for so long. But what happens when the sensorium ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: All photos by Henry Chan, courtesy of SummerWorks. All photos of Meredith Thompson (orange and red) and Molly Johnson (red and pink) performing b side in a Toronto laneway, August 2018.Folio design by Grace Dixon.Hand-drawn "b side" map provided by Molly Johnson and Meredith Thompson by Meredith Thompson and Molly JohnsonPrior to the performance, audience members retrieved copies of the laneway map via the tiny ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: "What if an audience was paid for contributing to an artwork' This proposition is the departure point of Ça a l'air synthétique bonjour hi, a transdisciplinary performance offering a collective reflection on participation."Through the vehicle of an interactive performance, the artists zoom in on tendencies in participation for invisible labour, constructed intimacy, and shifting consent. Realizing that many experiences of participatory art contain troubling, awkward, and often non-consensual elements, the artists interrogate how the form of an interactive performance can offer a parallel to larger questions about participating in an economic and political system.Ça a l'air synthétique bonjour hi shifts between the ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: welcome, we've been waiting (2022), directed and choreographed by Rodney Diverlus, featuring TDT Company ensemble, produced by Toronto Dance Theatre.Image courtesy of Rodney DiverlusOn a warm summer evening in July 2022, I went to see Rodney Diverlus' incredible dance and performance work welcome, we've been waiting. I was early, and so I sat on a bench across from the historic Toronto Dance Theatre in Cabbagetown to await our entrance. While we waited outside, a duo of dancers came out and began moving together in rhythm and interacting with the architectural features of the building. They moved and danced together silently, and we were witness to this show's soft start, if we looked long enough. The subtlety of ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Part of the charm of Holy Moly is that you can see the work many times and have vastly different experiences. Holy Moly is a participatory ritual of absurdity, nostalgia, motherhood, and care through the guise of self-help culture, Catholicism, and jazzercise.Audience members answer a few questions, and from those answers are given a specific cassette tape in their own personal walkman. Each tape features heavily collaged audio with four track possibilities for side A and two for side B. Side A sends each participant on a journey with a task to move through or affect the space somehow. Side B is a cleansing, but instead of using holy water, smoke, or crystals, it's the soft chk chk chk of the plastic pellets inside ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: All audiences are participatory. This goes without saying (although we are indeed going to say it here, before respectfully setting it to the side). The creation of theatre is a mutual, collaborative endeavour between the artwork and its spectators. Audiences are more than merely silent watchers. Our presence is important, yes, absolutely. (If a play falls in the forest, and no one is there to be an audience, is it even a play') More than providing a simple presence, audiences are absorbers of phenomenological impressions and receivers of semiotic signs. Our primary function is interpretative—we are meaning-makers. It is Marcel Duchamp who writes, "All in all, the creative act is not performed by the artist alone; ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: The word care—and the idea of writing about it—makes me uncomfortable. Care is an omnipresent buzzword on everything from panels to mission statements, and I notice myself feeling increasingly ambivalent—or to be truthful, suspicious—of it, and what is being so casually evoked in its naming. Perhaps there are people who find care easy to offer and receive. I am not sure I am one of them, and I admit to being suspicious of those people too. For me, care is complex, something that must be thoughtfully evoked, something that doesn't necessarily feel comfortable, that is humbling and vulnerable and negotiated. When I hear people talk about care, I find myself wondering: What do you care about exactly' Who is all this ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: In March 2023, after an artist talk in São Paulo, someone says to Milton Lim and me, "Your work is very democratic." They are responding to what they see in our projects, experiences that are largely based on incorporating games into live performance and theatrical contexts—culturecapital (a card game), asses.masses (a video game), and FARCE (a table-top role-playing game, made with Laurel Green). These projects are not the first of my collaborations that might merit the adjective 'democratic,' but this time the label catches my ear and I wrestle with it.What does making democratic performance look like'What does making democratic performance look like'Most of us today, I'd argue, associate democracy (in a House of ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Caution: Copyright Outside the March. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the author. Rights to produce, film or record in any medium, in any language, by any group, are retained by the authors. The moral right of the authors has been asserted. For performance rights, contact the authors c/o Outside the March, 258 Wallace Avenue, Unit 202, Toronto, ON M6P 3M9, info@outsidethemarch.caA Grown Up's Guide to Flying premiered on 4 July 2019 at 480 Bloor Street West in Toronto (the former home of Queen Video). It was produced by Outside the March as part of The Tape Escape, a series ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: If it cannot be measured, it is not important.—Summary of the Quantitative Fallacy, also known as the McNamara Fallacy (Wikipedia)Quantification surrounds us in the presence of big data, algorithmic curation, mass marketing, and the sheer amount of discrete measurability that sustains all forms of global value transactions, both "speculative" and "real." Defined as the process and outcome of establishing and using abstract and flexible units of measurement, quantification is commonly expressed in numeric terms; it can also be linguistically assigned in relative language such as "more," "less," or "equal."Beginning with the forward-pushing creative destruction principles of modernity and rationalization, late-modern ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Lilith & Cie's Invisible is a participatory durational dance piece that aims to "make the intelligence of the collective visible." Invisible spans three consecutive days and features ten improvising dancers and a charming black dog. In May 2022 at Montreal's OFFTA,1 the piece featured dancers Ariane Boulet, Rachel Harris, Emmanuel Jouthe, Abe Simon Mijnheer, Caroline Namts, Charlie Prince, Luce Lainé, Charles Brécard, Zoë Vos, and Silvia Sanchez. Invisible is co-produced with Montreal Danse and Danse Cité.Invisible is almost entirely guided by audience input, inviting participants to feed into the collaborative action and catalyze dancers through rearranging furniture and plants, DJing through our phones, changing ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: You are the four in exchange. Four audience members meet with xLq. We sit around a large table. On the table is $1000 in cash. Real, Canadian cash, arranged beautifully in a grid. You, the reader of this magazine, are in exchange. Go and get some cash. Whatever you have with you, gather as much as possible. Arrange your cash beautifully in front of you. Take a deep breath. Now, let's get to ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: TBD is a multidisciplinary event that uses the Tibetan Book of the Dead as a structural anchor and guide to the audience's sensual and emotional experience, exploring notions of death and dying, living in the present moment, avoiding distraction, and non-attachment. The event spans twenty-one days, with each audience member receiving a different kind of engagement each day.Paul Ternes performing in TBD on Day 15 at the Gates of Hell (the abandoned Polar Bear Pit in Stanley Park).Photo by Andrew LaurensonCaution: Copyright Radix Theatre. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Voice Your Celebration was a participatory theatrical experience installed at Studio Bell, Canada's National Music Center (NMC) in Calgary on Canada Day, 2018. The installation carried forward the tradition of public computing (Sengupta and Shanahan 1124), in which algorithms and simulations are placed in public spaces in ways that facilitate opportunities for the public to interact with, manipulate and recreate the algorithms and the simulations (Hladik, Sengupta, and Shanahan 248). In this installation, visitors to the NMC were invited to interact with a simulation of flocking maple leaves projected on a large wall (approximately 6m by 5m) by using their voices. Participants' voices—their songs, stories, and ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: User testing for CurtainCall, an experimental interactive real-time streaming platform.Image by Sam MacKinnonParticipatory shows in particular have their own special set of needs and challenges when it comes to online work. Live streaming a play is one thing, but building a framework for immersive interactive theatre is altogether another.I fumbled around the first few months of the COVID-19 lockdowns, trying to find ways to be useful as a software developer. I watched as friends and family members—many of them musicians, theatre performers, comedians, and event curators—scrambled as their professional artistic lives ground to a halt. It felt like the lights were shut off, new things had to be invented in the dark ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Common wisdom tells us that real change is slow and incremental and that it often derives from small steps and sustained effort. We also know that sometimes it takes a bold move to shake things up and get that process of change underway. This Views & Reviews deliberately focuses on creation processes and impact of live, ambitious performance projects as a way of celebrating and critically engaging with the potential and limits of live performance in tackling grand, politically charged narratives, as well as colonial institutions, and ostensibly unsurmountable cultural differences.Opening this section is a substantial interview among collaborators in 1939, a work by Jani Lauzon and Kaitlyn Riordan, which premiered ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: At a creative juncture during the 2020 writing process of the play 1939, and then again after the 2022 World Premiere at the Stratford Festival, I interviewed playwrights Jani Lauzon and Kaitlyn Riordan. I asked Lauzon and Riordan to share their insights about the development of the work and the challenges they faced when collaboratively devising an adaptation of Shakespeare set in a Residential School in early twentieth-century Canada.1) What was the impulse that brought you two together to examine Shakespeare and colonial histories in Canada'Kaitlyn approached me about the possibility of directing for Shakespeare in the Ruff at some point. We spent our first meeting talking about our love of Shakespeare and I ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Neil D'Souza as Krishna and Anaka Maharaj-Sandhu as Arjuna in Why Not Theatre's Mahabharata (Shaw Festival, 2023). Directed by Ravi Jain with Associate Director Miriam Fernandes, set designed by Lorenzo Savoini, costumes designed by Gillian Gallow, lighting designed by Kevin Lamotte, projections designed by Hana S. Kim, with associate projections designer Ann Slote, original music and sound designed by John Gzowski and Suba Sankaran, traditional music consultant Hasheel Lodhia, choreographed by Brandy Leary, Mahabharata Production Manager Crystal Lee, Mahabharata Lead Producer Kevin Matthew Wong.Photo by David CooperWhy Not Theatre's Mahabharata, which had its world premiere at the Shaw Festival in 2023, has been ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: As a bilingual Québécoise attending Cyclorama, the latest theatrical production by Montreal-based multidisciplinary creator Laurence Dauphinais, I was filled with the kind of nervous excitement that accompanies me when two or more usually mutually exclusive worlds to which I belong are about to collide. And for good reason. Dauphinais's play, co-produced by the anglophone Centaur Theatre and the francophone Théatre d'aujourd'hui, (and performed bilingually with subtitles in both venues), was conceived with the specific intent of colliding Montreal's francophone and anglophone theatre worlds—venues, histories, and audiences—into a single performance, one that Dauphinais has called "a bilingual documentary ... Read More PubDate: 2024-06-29T00:00:00-05:00
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Abstract: Amid a climate emergency that threatens all life on the planet, should we be holding major arts events like international theatre festivals' This question was posed by Eva Nguyen, president of the Institute français, in a keynote talk at PLATEA, the industry series for international presenters at the thirtieth anniversary of the Santiago a Mil festival in Chile in January 2023. Nguyen did not answer her question directly, but she weighed the detrimental effect of the carbon footprints of major arts events against the beneficial effects of bringing artists together in person to imagine other ways of living. "Dialogue between different cultures," she said, "is as important as climate change. The arts are a laboratory ... Read More PubDate: 2024-06-29T00:00:00-05:00
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