Author: Aislinn
by Aislinn Rose
We played the second of our three games on Thursday night, and saw our players – made up of members of Toronto Area Gamers – defeat a cursed manticore by tricking it into killing his own minions. The final epic battle was against a many-eyed rubbery octopus-like creature, in the midst of which I tweeted the following:
Apparently this is the kind of thing I tweet without giving it a second thought these days.
Tonight is our final game, and we’re bringing together members of Toronto’s theatre and gaming communities in a brand new adventure, taking place in the basement of Snakes & Lattes from 5pm until 11pm. Now that we’ve resolved some of the logistical challenges of the experiment our focus tonight is audience experience. We’ve brought you closer to the action, now how do we get you involved in that action?
View of the board from our Ranger, Mike Riverso
We also want to further explore the relationship between the design elements and the players, so that sound and visuals become a genuine and integral part of the conversation happening in the room. Our friend Amy will be joining us again with her iPad and will be live-drawing throughout, with a direct feed into the projectors.
Join us tonight in the final game of this phase of our experiment. We’re always happy to provide a recap, so don’t be shy about stopping by at any time.
Around the table you’ll find theatre nerds Michael Wheeler – Praxis Theatre’s co-Artistic Director, award-winning playwright Nicolas Billon, and Dora-nominated actor Colin Doyle. Rounding out the group is hybrid theatre/gamer nerd Becca Buttigieg, along with gamer nerds Kate Bullock and Ben Santos. Playing the role of God (or Dungeon Master) is, again, the wonderful Ryan Stoughton.
You can follow and join our tweets via #DnDPT. On Thursday night, our Ranger tweeted his experience when not smoking his Ranger pipe, or being saved by a flumph. Apparently a flumph is a thing.
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Image by Jody Hewston
Dungeons & Dragons (not) The Musical – Toronto Fringe Festival, 2011
Final game:
July 16th, 5pm to 11pm
Venue:
Snakes & Lattes – 600 Bloor Street West.
Tickets:
Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
Shira Leuchter live-drawing at game 1 on Sunday
by Aislinn Rose
We had our first game of Dungeons & Dragons (not) The Musical at the Toronto Fringe Festival on Sunday evening in the Snakes & Lattes basement. For our first attempt at what we’re calling a performative experiment, it was fun, it was problematic, and I learned a hell of a lot. Oh, and apparently it was really hot.
Our team of theatre-makers and improv performers set out on a quest (along with their precious donkey) to find a manticore, meeting a copper dragon and battling gargoyles along the way. We started out with a packed house, but by the end of the six hours we had a rather more intimate audience. Despite our smaller numbers there was an audible gasp across the room when our beloved donkey met a tragic demise.
One of the main things I noticed as I watched the audience watching the game, is that many people were inching to get as close to the table as they could. Some of the braver audience members simply picked their chairs up and moved them next to the gamers, which I was happy to see. As a result I have plans to significantly reconfigure the placement of the game within the room, and where the audience will be seated. The gamers will be almost entirely surrounded by onlookers.
One of Amy's live (and un re-touched) ipad drawings from Sunday. Catch more of Amy's work throughout our final presentation on Saturday night
We also discovered some unexpected sound challenges. Considering the relatively small room in which we’re playing, I didn’t think sound levels would be a problem. However, we’re battling an air conditioning unit, so sometimes the voices were lost. This also limited our ability to really build in the sound design elements, in fear of further drowning out the action.
Our Dungeon Master, Ryan Stoughton, is an important and compelling element as he plays the various goblins and gargoyles, so I want him to be heard no matter what. Tonight he’ll have his own wireless mic, with an area mic to pick up the voices of the other players. This will also allow Lyon Smith our Sound Designer to further distort and play with their sound.
Finally, towards the end of the game when our players were more comfortable with one another, we had some really wonderful moments where they reached out to the audience for wisdom and advice. “Let’s ask the audience.” I’m hoping that tonight’s new seating and playing arrangement will further encourage this kind if interaction. Tonight will also see serious gamers at that table, and I’m excited to see how that alters the audience/player relationship.
I’d love to have you join us for our next six-hour session. We’ll be at Snakes and Lattes from 7pm until 1am and you can drop by any time for as little or long as you like. Our live-drawer for tonight is Jody Hewston, who created our D&D Dragons, and also just took 2nd place in the Fringe’s 24-hour playwriting contest!
Given the experiment, your feedback is really important to us, and I was thrilled to receive an email from a gamer who joined us for the entire 6 hours on Sunday to let us know what he thought. I hope we get more of those.
Before the show on Sunday, someone in line outside the venue said “are we allowed to heckle the players?”. Absolutely.
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Image by Jody Hewston
Dungeons & Dragons (not) The Musical – Toronto Fringe Festival, 2011
Remaining dates:
July 14th, 7pm to 1am
July 16th, 5pm to 11pm
Venue:
Snakes & Lattes – 600 Bloor Street West.
Tickets:
Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
by Aislinn Rose
This July 1st marked the first Canada Day in four years that I did not spend in a marathon rehearsal session for a Toronto Fringe production. And yet, I do have a Fringe show this year… it’s just that I can’t exactly rehearse for it.
What I can do is tell you what – and who – I will be putting in the basement of Snakes & Lattes and what they will be doing. What I can’t do is tell you what’s going to happen once everyone is there.
The premise started out simply enough: What happens when you put Dungeons & Dragons, a character-based role playing game, in front of an audience? Is it interesting? Does it become performative? How does the presence of an audience affect the playing of the game? And… how the heck do you play Dungeons & Dragons? I have no idea, and I want to find out.
Previously on this page we have described the project as “part performance experiment, part research project”. Well, as the idea developed, its inherent ‘liveness’ and unpredictability – the fact that the story is created on the spot through the collective imagination of its players – became very exciting, and I wanted to open up this experiment to other members of the theatre community.
Snakes & Lattes on Bloor (click to enlarge)
Enter Trevor Schwellnus and Lyon Smith, Dora-winning lighting and sound designers respectively. While lights and sound are usually fixed features in a theatrical presentation, with set levels and fade in and fade out times, Trevor and Lyon will be experimenting with creating live light and soundscapes for each of the stories as they develop. Trevor and Lyon are also D&D nerds from way back.
Over the course of the Fringe we’ll also get to see how different kinds of players and their different backgrounds affect the game, and what that will mean to their relationship with the audience.
Our first game on the 10th will be played by members of the theatre and improv community, all with a background in playing D&D. The team includes one of my Toronto improv favourites, Carmine Lucarelli, winner of a Canadian Comedy Award as part of the ensemble of Show Stopping Number: The Improvised Musical, as well as Scott Moyle, Artistic Director of Urban Bard Productions, and dramaturg Stephen Colella, among others.
The second game on the 14th will be made up entirely by members of Toronto’s gaming community. Big thanks go to Kate Bullock and the Toronto Area Gamers for fitting me out with players and our Dungeon Master.
Our third and final game on the 16th will see these two brands of nerd join forces for a final epic game. Don’t miss Praxis Theatre co-Artistic Director Michael Wheeler as he returns to his D&D roots, playing alongside award-winning playwright Nicholas Billon, and Dora-nominated actor (and everyone’s favourite guy) Colin Doyle. You can also catch Colin at this year’s Fringe in The Godot Cycle, and we thank them for not scheduling his performance during our game.
Finally, I’ve also invited visual artists of various aesthetic styles to join us in our adventures to live draw/sketch the scenes and characters as they develop. If you’re an artist, please don’t hesitate to bring your sketch pad with you.
Oh, and about our title? It’s possible Michael and I were being nerds of another kind that day. Hope to see you in the basement.
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Image by Jody Hewston
Dungeons & Dragons (not) The Musical – Toronto Fringe Festival, 2011
Dates:
July 10th, 4pm to 10pm
July 14th, 7pm to 1am
July 16th, 5pm to 11pm
Venue:
Snakes & Lattes – 600 Bloor Street West.
Tickets:
Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
by Aislinn Rose
Praxis Theatre and The Original Norwegian begin workshopping You Should Have Stayed Home together this week. We’ll be watching related G20 videos together, and continuing the process of adapting Tommy’s Facebook note for the stage. I’ll be tweeting throughout the workshop, and you can follow along with @praxistheatre via the hashtag #G20Romp.
Click to enlarge
I will also be waking up bright and early on Thursday morning to attend the Business for the Arts Breakfast with Shannon Litzenberger. Live tweets can be followed via the hashtag #bizarts, while Shannon talks to us about the future of arts funding in Canada.
Please feel free to join the conversations by sending questions and comments my way throughout.
In advance of tomorrow’s final public culture consultation at City Hall, this one focussed on youth issues, Praxis Theatre is continuing its series of hockey cards introducing the team putting together our next culture plan. Today we introduce to you the Advisory Council working with Co-Chairs Robert Foster, Karen Kain and Jim Prentice.
For those of you interested in attending tomorrow’s consultation, it is being held in Council Chambers at City Hall from 6pm to 8:30pm. We are encouraging as many young artists, arts workers and arts lovers to either attend this session, or follow the Twitter feed using hash tag #creativeYTO as we’ll be there tweeting via @praxistheatre. Hope to see you there!
And stay tuned for tomorrow when we release the final cards in our series, rounding out Rob Ford’s Creative Capital Initiative team.
Nichole Anderson, Business for the Arts. Click to Enlarge.
Cameron Bailey, Toronto International Film Festival. Click to Enlarge.
Claire Hopkinson, Toronto Arts Council. Click to enlarge.
Che Kothari, Manifesto Community Projects. Click to Enlarge.
Gail Lord, Lord Cultural Resources. Click to enlarge.
Councillor Michael Thompson spoke to an overflowing City Hall crowd before the culture consultation began. City Staff found extra tables, chairs and facilitators while the usual speeches kicked things off.
by Aislinn Rose
On Monday, Praxis co-Artistic Director Michael Wheeler and I attended the only downtown public consultation for the new Toronto Culture Plan not focused on youth issues.
We were armed with our smartphones and the Twitter hashtag #creativeTO, which I had also used at the public consultation in Etobicoke in February. Separately, we made the rounds of the various tables open for discussion and tried to document what we were hearing.
Below is a partial transcript of the event, a 100 tweet summary from the past few days with the most recent tweets at the top, You can find the full and interactive transcript online here.
And remember, the final public consultation (on youth issues) will be at City Hall on April 7th from 6pm to 8:30pm. I’ll be there with my smart phone and a hashtag. Hope to see you there.
#creativeTO Transcript
by Aislinn Rose
Last Friday, unbeknownst to the fine folks at Toronto’s The Only Cafe, they were host to a cross-country conversation between artists, theatre organizations and theatre lovers old and new.
The inspiration behind the Twitter chat came on March 10th, when I caught a discussion happening online about the Opening Night of Catalyst Theatre’s Production of Hunchback at Citadel Theatre in Edmonton. Catalyst and Citadel had invited the audience to “live tweet” the event, and they would be showing the tweets on a display screen with a program called Visible Tweets, as recommended by nearby Shell Theatre. Shell has been live tweeting their shows since November, 2010 and they’ve found it to be a really effective way to get audiences excited about their events.
When I started following the assigned #yeghunchback hashtag, I caught the following tweet:
I joined the conversation, and asked @lindork what had brought her to the theatre that night, given that she was a self-confessed “theatre newbie”, and she told me it was mostly due to the number of tweets she had seen about it.
A few days later I asked @lindork (Linda Hoang), along with everyone responsible for tweeting for Catalyst, Citadel & Shell, to join me for a Twitter chat about the use of social media tools to develop new audiences, under the designated hashtag #auddev. After we spread the word about the chat, I was pleased to find we were being joined by companies and bloggers across the country, including (among many others) Montreal’s SideMart, Toronto’s Studio 180 and Crow’s Theatre, and the PuSh Festival in Vancouver.
You can catch up on the entire conversation here, with the transcript sent to me by @AudienceDevSpec‘s Shoshana Fanizza out of Boulder, Colorado, who regularly uses #auddev to keep in touch with the twitosphere about issues relating to arts organizations and audience development. I have synthesized some of the main talking points below, but I highly recommend taking a peak at the transcript just to get a better look at the enormous participation we had across Canada and in parts of the United States.
Live Tweeting During Performances:
When I asked participants for their views on allowing tweeting throughout the actual performances, there were definitely some mixed responses. Some thought this would be disrespectful to the actors performing, others thought it would mean the audience would be distracted from the show if they were focused on their smart phones, while some people thought it would be interesting to experiment with the possibilities:
@canadianstage‘s suggestion of live tweeting a dress rehearsal was a popular one, and @macdonaldfest also suggested tweeting a Q&A might be a good solution for involving the audience within the theatre without disrupting the performance. @morroandjasp took up the challenge immediately and offered to include a Twitter/Audience Q&A this week. I am pleased to report that I and a number of Friday’s participants spent a lovely part of Wednesday evening in conversation with Morro and Jasp, the creative team AND their audience after their performance at Theatre Passe Muraille. It was great fun for us, and I’d love to hear what the experience was like for the audience.
Who are you tweeting for?
Many people took this chat as an opportunity to express some frustrations with Twitter and Twitter users in general. There was commiseration over accounts used only for self-promotion, or retweeting everyone else’s content without adding anything to the conversation, and a general poopooing of Facebook pages linked to Twitter feeds where one automatically updates the other. Consensus seemed to be that they speak to different audiences and therefore require a different voice or style, and that your audience wants to feel you’re actually having a conversation with them, rather then just putting forward a constant stream of information and sales strategies. Do you have linked accounts? Would you consider changing them?
Who’s doing interesting things online? Who’s worth following?
We’re always trying to find out about interesting and innovative theatre companies trying new things both on and off the stage, so I asked for recommendations for companies doing great things with social media:
So I checked out Woolly Mammoth Theatre after the conversation, and I was indeed impressed. In the lead up to their presentation of Mike Daisy’s The Agony and the Ecstasy of Steve Jobs, they had staff members “reporting” from the sales lineups for the iPad2, and audience members could follow along via the hashtag #ShowUsYouriCrazy. They were also offering $0.99 tickets for one day only (the cost of the average Apple app) if you could arrive in person with a “Jobs (Apple)” Foursquare badge. Now, “Jobs (Apple)” + “Foursquare” means absolutely nothing to me, but it’s definitely the kind of thing I’d be willing to look into to see Mike Daisey for $0.99.
How to Handle Staffing & Twitter:
Well, this was a popular discussion, but yielded mostly questions and few answers. Looks like everyone’s still trying to figure this one out.
Has anyone found a solution they’d be willing to share with the group?
Twitter vs. Blogging:
An interesting debate:
Your thoughts?
Some post chat follow-up:
Amazingly, within a few hours of the conclusion of the chat, participant @SMLois had blogged about the event in a piece called On the Canadian Theatre Conversation:
“Today was, in my recollection, the first time that Canadian theatre artists have used twitter to have a nation-wide conversation about the role of social media – in fact – to have a nation-wide conversation about anything. Based on this conversation new relationships between companies and artists have been formed. And this gives me great hope.”
Like a number of other participants in the conversation, Lois was excited by the fact that this conversation was happening at all, and is looking forward to that conversation continuing. She’s also looking for Canadian theatre blogs from outside the main centres, so if you know of any not currently listed in our blogroll, please let us know.
My Chat with Linda:
On Wednesday night I also caught up with Linda (our “theatre newbie) to ask her a little more about her experience attending theatre for the first time. She told me it was intimidating at first, but she got comfortable once she had arrived and could start interacting with the tweets she saw on the display screen. I asked for her perspective on live tweeting during a performance because I knew she had wanted to tweet during Hunchback. I wanted to know if she thought she might get distracted if she were to tweet throughout a performance:
And as for her and her fellow theatre-newbie companion seeing more theatre?
Well, that’s a whole other conversation I think. Who’s in?
by Melissa D’Agostino
Welcome to Tea with D’Agostino, an interview series where members of Toronto’s theatre community come over to my place for tea and homemade treats, and we sit around to not talk about theatre. That’s right: theatre artists not talking about theatre. It’s time.
My inaugural interview is with the core members of Project: Humanity who recently doubled their goal to raise 5000 tokens for Youth Without Shelter in Rexdale through a massive campaign that took over TTC Subway stations called Tokens4Change. They managed to raise 10,000 tokens and raise awareness through live performances by both youth and professionals within the subway stations, as well as a texting campaign that is still active (text TOKENS to 45678 to donate).
They also recently opened The Middle Place at Canadian Stage, a piece of verbatim theatre written by Andrew Kushnir based on on-camera interviews with the residents of Youth Without Shelter. The Middle Place is a product of the De-Shelter Initiative they began in 2007, and is the inaugural project emerging from the community work they are currently engaged in.
I sat down with Andrew, Dan, Antonio and Catherine for some tea.
On the menu today:
Teas: Cream of Earl Grey, Forbidden Fruit, Bravissimo
Treats: Homemade blueberry scones and finger sandwiches
Melissa: Thanks for doing this, folks.
Andrew: No problem. We want to win the trip
Melissa: Oh right, one of the interview groups wins an all expenses paid trip to the Bahamas.
Andrew: Really? That’s great.
Melissa: Yeah. This is a theatre blog so we have lots of money!
Catherine: I can’t remember the last time I had a cucumber sandwich.
Antonio: Um…quarter past never.
On effecting social change:
Melissa: Now, your company started out wanting to effect local and global change, but you seemed to have shifted your focus more on the local. We’ve talked before, Antonio and I, about how my personal feeling is that that’s how you create global change, through the local. Do you think there’s another way for you to move into having a more global, or national, or wider affect through the work that you do, or if you see the local as the stepping stone to that?
Antonio: I don’t really think you can be here and affect things globally without being there. Does that make sense? I’m not totally interested in sending relief, I’m interested in knowing what the culture is around you and figuring out who you are in that ecosystem, and figuring out how you can be a better you, and help people be a better them, and help people develop their own skills and resources. So if I had the money and the this and the that, I would say ‘Here’s a parachute Dan, we’re going to drop you off in this place, go set up a headquarters and make a whole new team that works elsewhere’, and then once you’re there start fixing things locally. It’s still global change and global awareness, but it’s from a local sensibility.
Melissa: So you’re taking the language that you’ve created as a company, or the…
Antonio: the methods…
Melissa: right, but then tailoring it to that community?
Dan: Yeah, like, what are the fundamental principles behind what we’re doing? And I think our principles and our approach to the work we’re doing is what forced us to be local. What we found, as we tried to do things and approach things authentically, what we found actually connected was local, because that’s what we had access to. But, even in being ‘local’, we are still entering a community that’s not our community. So our approach still has to do with getting to know the community, finding out what their needs are, how we can fit in, how we can be helpful—so our result is from that process of getting to know that community.
Antonio: We are interested in saying ‘What is our conversation with this community, and what am I bringing to it and what are they bringing to it?’
On Justin Bieber & Swagger Coaching:
Andrew: Can we talk about Justin Bieber?
(Laughter)
Melissa: Actually I was going to ask you about Bieber.
Antonio: Really?
Melissa: Yeah. We can’t talk about theatre, so…
Andrew: Well there are these two things that are going to come out in this Rolling Stone article—
Antonio—is it out already?
Andrew: It may be out already. He says abortion is wrong, and arguably under any circumstances—so they asked, ‘What if somebody was raped’, and he sort of said, I’m paraphrasing, ‘Everything happens for a reason’.
Antonio: Yeah, I read it though.
Andrew: You read the actual interview?
Antonio: That’s why I thought it was out already.
Melissa: I think it is out.
Antonio: I just feel like, ‘cause I’ve heard a couple people say ‘Justin Bieber thinks abortion is wrong’, and the other half of that sentence is, ‘I’ve never been in a situation like that and I’m not judging anybody’, so…
Dan: And I think that’s an important side to it.
Antonio: It is!
Dan: I mean are we actually looking to a twelve year old for our worldviews?
Andrew: He’s not twelve.
Dan: Well-
Catherine: He’s 16. He doesn’t even know how to have sex yet.
Andrew: His music would suggest that he is a fantastic love maker.
(Laughter)
Andrew: He also makes a comment about gay people in that interview, and I think maybe this is being spun in a certain way, but, he says it’s a person’s decision whether they are gay or not. So people have pounced on that because is he saying—does he think that homosexuality is a choice, which would be a terrible idea to advance.
Antonio: Sure.
Catherine: But if he’s coming from the religious background that the abortion comments come from—
Antonio: No, he’s from Stratford.
Catherine: His family’s very religious. He’s all about God gave me this, God is bringing me this way, so if that’s the background from which he’s coming, at 16 years old when you do not understand action versus consequence, the world’s bigger picture, all of these things, then it’s just doctrine, right?
Antonio: He’s a kid, right? So he says things the way they come out.
Andrew: And frankly, he can have whatever view he wants. I don’t actually care what his view is.
Dan: Well—
Andrew: It would significantly alter my appreciation for him as a, you know…
Antonio: You might return the album?
(Laughter)
Melissa: (to Andrew, and somewhat surprised) do you like Justin Bieber? Are you a fan?
Andrew: I’m actually more impressed by Jaden Smith. I think he’s a good little actor, and he’s got that, what’s that called that Bieber had? Not a ‘strut coach’ but a –
Antonio: Swagger?
Andrew: Yeah, like a ‘Swagger Coach’
Antonio: Oh my God! Why do I not have that job?
Andrew: I know.
Antonio: I could be a Swagger Coach.
Dan: Yeah.
Melissa: But do you like the ‘Swagger’? I find it so fake. He was on Ellen and they were dancing, and he wasn’t dancing. He was posing.
Antonio: I find a lot of his dance moves suspect. They’re very weird. He’s not a good dancer, so when he does them it looks like he’s punching the air. It’s like punch the air, kick the tiger, turn, turn.
Melissa: Kick the tiger?
Andrew: Isn’t it like the Michael Jackson ‘distract the tiger, kick the tiger move’?
Melissa: Wow, I am clearly missing out on Bieber’s moves.
On Distracting the Tiger:
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The Middle Place runs until March 12th at the Berkeley St. Theatre. Click here for tickets and info.
To make a $5 donation to Tokens4Change, and help raise even more tokens for Youth Without Shelter, text TOKENS to 45678. For more information visit www.tokens4change.com or www.projecthumanity.ca.
Melissa D’Agostino is an award-winning actor, writer, singer and producer. She also likes tea. Check her out at www.melissadagostino.net
(l-r) Mass [Cross-Section], Holy Vedas [Brain Scan], Savannah [Cellular Scan]. Click to enlarge
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by Shira Leuchter
I am going to try a little something here. It’s not often that I have the opportunity to unite my practices of performance-making and fine-art-making, but the Praxis blog seems like the perfect place to give it a go on a regular basis.
So, how am I going to do this? Well, the questions I’ve chosen to explore are: what does process look like? What kind of image would I make or select if I had to find a way to visually represent a process of creating performance?
Here’s what I’m going to do. It’ll be en experiment that I’ll share with you every month, right here. It’ll be a personal exploration that I’d love you to witness, respond to and try to figure out alongside me.
I’m going to sit in on some rehearsals. I’m going to watch all sorts of processes. I’m going to profusely thank those who let me in to their rehearsal rooms to observe what they do and how they make their work. Then I’m going to make something as a response to that particular act of creation. It could be any form of visual representation – a painting, a collage, a dress, a meal – I’ll let what I see determine what I make.
One Block - Click to enlarge
I’ll try my best to choose work that will be in performance close to the posting dates, so that you’ll have the opportunity to actually see the piece.
I know that this work will be personal to me, that you’ll have to see these processes through my eyes. My big hope is that, by taking a close look at How We Make Things, we can start a conversation about how different ways of art-making converge and deviate.
One last thing: I’m not going to write much about what I saw and how I came to make what I’ve made. Sometimes I may not write anything at all. But I will always tell you what materials I’ve used and what piece I’m responding to.
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Images:
- The Room asked me to make pieces for The Red Machine as a response to the brain’s temporal lobes, commonly thought of as the religious centre of the brain. The top images are personal photographs with found images (2009).
- A work-in-progress piece responding to One Block. I’ll probably keep adding to this as the process continues. Encaustic and oil with found archival photographs and images donated by anonymous Toronto residents.
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Shira Leuchter makes performance stuff and other art stuff. She is currently working with UnSpun Theatre on a new piece that will be performed as part of Harbourfront’s HATCH program this April. She collects all of her shallowest thoughts here.
Click to Enlarge
by Aislinn Rose
Last week in this space, we told you about the Toronto culture consultations. The first of those public consultations is today from 2pm to 4pm at the Assembly Hall in Etobicoke, and I’ll be there “live tweeting” for Praxis. You can follow our Twitter feed here, and if there is a hashtag for the event, I’ll come back and add it to this post so you can follow along with everyone else.
In the meantime, you might be interested in looking back at that earlier post about the consultations to see what happened after the events document was circulated, and then read the even more interesting comments to our post.
See you at 2pm!
Hashtag #creativeTO
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