Damien Atkins, Paul Dunn, and Andrew Kushnir explore gay heritage while questioning whether such a thing can actually exist resulting in a living archive in a play structure.
The Canadian premiere of Sarah Ruhl’s Passion Play, which probes faith, brought together a group of strangers for an immersive four hour play resulting in the possible confirmation of faith in community.
The Literary Managers and Dramaturgs of the Americas annual conference in Vancouver, Canada was livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Thursday 27 June and Saturday 29 June 2013.
Chris Gatchalian speaks of his impressions of the artists of Vancouver. He reflects on how the scene responds to community’s want of “non traditional” theatre.
Marcus Youssef looks at the idea of reality and how, as the first generation in a globalized world, that informs the structure and the creating of storytelling.
The coming of age story is repeated endlessly when we are young but nothing prepares us for the middle of the age. The coming of middle age story has helped Ditor examine what is next.
As an Aboriginal playwright, director, and more who goes project to project-theater to theater- Lisa Ravensbergen stitches all these identities together to find her own artistic home.
Matt McGeachy tallks about VideoCabaret’s The War of 1812, which attempts to understand the war and its consequences through comedy, tragedy, and Canadian history.
This month’s diarist is in rehearsals for a theatre for young audiences (TYA) show and prepping for her next freelance project. The busy work week doesn’t stop her from enjoying a winter festival with her family or hosting a fourteen-person holiday.
Join us for a World Voices reading of Yuchewahkenh (Bitter) by Vickie Ramirez of the Tuscarora Nation, an Iroquoian-speaking First Nations people of the Northeastern Woodlands in Canada and the United States.
Facing Backlash: Performance in the Age of Reactionary Politics gathered Canadian artists and academics to contend with the backlash against diversity, equity, and inclusion (DEI) initiatives. Mariló Núñez and Marlis Schweitzer distill the two-day symposium into ten actions theatremakers can take into their own work.
Parallel Tracks 2.0 gathers diverse voices of Canadian theatre artists and producers to explore the ways in which anti-oppressive approaches are part of our creative work, in live spaces as well as digital ones. Originally commissioned by and presented in partnership with Toronto's Undercurrent Creations, conversations about care, community engagement, and consent take centre stage in this series. From navigating ethics in contracting, to intergenerational storytelling, this series reflects on ways of gathering and collaborating in online creative spaces. This series is in part supported by the Canada Council for the Arts.
Series
culturecapital:online
Two players compete online for sweet art money in culturecapital, the arts economy trading card game
culturecapital is a live art project that takes the form of a collectible card game and living archive. The project is constructed from two sets of data: (1) hundreds of interviews with artists about their experiences making performance in Canada and (2) five years worth of municipal, provincial, and federal public funding data on performing arts companies. Using this information, the game strives to create a context in which players can question, understand, and celebrate how value is determined, shifted, and produced within theatre, dance, and live arts in Canada. No prior knowledge of art or games is required.
This five-part series features curators and artists who participated in the Stratford Festival Lab’s Beyond the Western Canon workshop series in the Summer of 2019.
Toronto, often deemed “the most multicultural city in the world,” is the largest city in Canada. There’s a thriving theatre scene here, with almost everything you could ask for, and the artists whose work we’re treated to are some of the best in the country.
