Artist Rights and Safety

After Russian courts found that Svetlana Petriychuk’s documentary theatre piece Finist the Brave Falcon “justified terrorism” due to its feminist aims, Petriychuk and director Zhenya Berkovich were jailed. Viktor Vilisov discusses the production, clarifying the production’s aims to amplify the experiences of Russian women whose attempts to flea Russian patriarchy has landed them in oppressive marriages to Syrian ISIS fighters.

Second Hand Dance embarked upon research on support for artists with access needs after artistic director Rosie Heafford had to pull out of a festival that did not provide sufficient accommodations for her invisible disability. She shares takeaways from that research in the form of actionable steps that festivals, showcases, and industry events can implement.

Artist, facilitator, and cultural innovator Nikki Shaffeeullah kicks off this series by sharing her journey to creating Undercurrent Creations, a Toronto-based arts organization, and Parallel Tracks, a gathering of BIPOC artists that offers training in visioning, producing, and facilitating community arts projects.

Theatre artist Michael Rohd shares a lyrical call for more civic imagination, community care, and care-centric processes in the theatre field.

Theatremaker Sara Bozin reflects on her college theatre experience and shares changes she’d like to see in theatre education that prioritize students’ physical and mental health.

Iris McQuillan-Grace sits down with Kit Ingui, managing director of Long Wharf Theatre, to discuss Kit’s efforts to create a supportive and inclusive work environment by consciously building Long Wharf’s Human Resources (HR) practices.

Morgan Skolnik argues for theatre that goes beyond physical accessibility and disability representation to actively center disabled artists and the creative potential the disability community holds.

Jasmine Haley Anderson takes aim at fatphobic standards in the theatre industry, which begin fostering disordered eating in women from their earliest performance experiences.

Ann James talks to Adi Cabral about Cabral’s path though the intimacy industry. As a practitioner and professor, Cabral approaches intimacy choreography by centering harm prevention while working to create opportunities for students to identify and grow within their boundaries.

Ann James chats with Jyreika Guest, who works as both an intimacy specialist and an actor, about framing intimacy work for actors. Jyreika shares her hopes for a future in which consent is an automatic part of rehearsal processes.

Ann James interviews Brooke Haney, creator of The Actor’s Warm Down, about closure practices in intimacy practice, when to pass work to someone else, and the need to represent queer stories through an authentically queer lens.

Russian theatremaker Viktor Vilisov details the rapidly dwindling infrastructure for free expression in Russian culture in a time of war. As theatres and theatre workers navigate the deterioration of their sector, elements of performance persist in anti-war protests and state political messaging alike.