Here’s a preview of 5 / 21 controversial statements:
How do we address things like this?
Electing a new, different government (Liberal, NDP, etc.) will not change the Canadian-First Nations relationship.
Idle No More has been an urban movement.
Harper lied in the apology.
Confrontation is likely the key to any real change.
The Indian Act is illegal legislation.
Debate 3: Idle No More
June 18, 2013; doors 7pm, debates 7.30pm The Theatre Centre Pop-Up, 1095 Queen St. West, at Dovercourt PWYC at the door. No RSVP required. Hashtag: #CivilDebates
Click here for more information about the Civil Debates series in partnership between The Theatre Centre & Praxis Theatre.
Section 98 was Praxis Theatre’s first serious foray into Social Design
By Michael Wheeler
I have been trying to figure out for a while how to explain what my role is on many of the projects I have worked on in the past five years. Although I am usually engaged as an artist in a traditional way, often I have taken on a role integrating these productions with online tools.
Theatre productions employ lighting designers, sound designers, costume designers, set designers and video designers. As productions become further intertwined with online tools, the person in charge of integrating a production with social media is in charge of social design.
Social Design: The strategic implementation of social media to deepen or broaden the nature of an artistic project.
In performance, the shift to communicating with online tools can be understood as a transition from Monologue to Dialogue.
Until recently, one-way communication tools like advertisements, posters, brochures, postcards, flyers, and notes in programs were the ways theatres and artists communicated about their work.
The arrival of online digital tools has redefined this relationship as a conversation. Social media requires interactive, user-generated content. The exercise is no longer how to blast your message at people, but how to encourage them to engage with you.
The type of interactivity a social designer can facilitate can be broken down into three broad categories:
#CivilDebates 3: Idle No More is Tuesday June 18 @ 730pm in The Theatre Centre Pop Up – Queen St. W @ Dovercourt
After rigorous debate on Creative Cities theories and the Role of Arts Boards, we’re excited to announce the speakers for #CivilDebates 3: Idle No More.
Resolution to be addressed:
The issues that created the Idle No More movement require extreme methods to achieve change.
Speakers:
Yvette Nolan (Algonquin) is a playwright, dramaturg and director. Her plays include BLADE, Job’s Wife, Video, Annie Mae’s Movement, Scattering Jake, from thine eyes, Ham and the Ram, The Unplugging, The Birds (a modern adaptation of Aristophanes’ comedy. She is the editor of Beyond the Pale: Dramatic Writing from First Nations Writers and Writers of Colour, and of Refractions: Solo, with Donna-Michelle St Bernard.
Directing credits include Justice, Café Daughter (Gwaandak Theatre), Tombs of the Vanishing Indian, Salt Baby, A Very Polite Genocide, Death of a Chief, Tales of An Urban Indian, The Unnatural and Accidental Women, Annie Mae’s Movement (Native Earth), The Ecstasy of Rita Joe (Western Canada Theatre/National Arts Centre), The Only Good Indian…, The Triple Truth (Turtle Gals). From 2003-2011, she served as Artistic Director of Native Earth Performing Arts, Canada’s oldest professional Aboriginal theatre. She is currently working on a book on Native theatre in Canada.
Hayden King is Pottawatomi and Ojibwe from Gchimnissing (Christian Island) in Huronia, Ontario.
He is an Assistant Professor in the Department of Politics at Ryerson University.
In addition to work in the academy, Hayden has served as the Senior Policy Adviser to the Ontario Minister of Aboriginal Affairs, Director of Research for the Canadian Council for Aboriginal Business, Scholar-in-Residence for the Conference Board of Canada and Governance Consultant to BeausoleilFirst Nation.
Wanda Nanibush is an Anishinabe-kwe mother, curator, image and word warrior from Beausoleil First Nation.
Nanibush has published in FUSE magazine, Literary Review of Canada, MUSKRAT magazine and in the book: This is an Honour Song: Twenty Years Since the Blockades amount others. She is an Idle No More Toronto organizer and history buff. ”
Unlike the previous two #CivilDebates, this debate will not be modled on the Parliamentary debate system. Discussion will be broken into five sections:
1
5 minutes from each of the speakers responding to the statement:
The issues that created the Idle No More movement require extreme methods to achieve change.
2
Up to 5 minutes each for each of the speakers to respond to any of the ideas put forward by the other speakers.
3
Reading of 21 Provocative Statements. 7 each provided by by the speakers, but not-attributed.
4
Opportunity for audience members to respond to one of the statements for two minutes. Debaters may also participate.
5
Conclusion. An opportunity to define the final portion of the discussion to discuss any actions, opportunities or ideas have been illuminated by the discussion.
#CIVILDEBATES
Debate 3: Idle No More
June 18, 2013; doors 7pm, debates 7.30pm The Theatre Centre Pop-Up, 1095 Queen St. West, at Dovercourt PWYC at the door. No RSVP required. Hashtag: #CivilDebates
Click here for more information about the Civil Debates series in partnership between The Theatre Centre & Praxis Theatre.
Andrew Kushnir with Julie Tepperman, Mayko Nguyen and members of the Ensemble in Passion Play. Photo: Keith Barker
The Canadian premiere of Sarah Ruhl’s Passion Playbegins tonight! Produced by a tryptic of indie theatre companies Outside the March, Convergence Theatre and Sheep No Wool, Passion Play explores the collision of religion, politics and theatre and the impact playing iconic biblical roles has on individuals and communities. Outside the March’s Katherine Cullen explores the meaning of the word ‘passion’.
The word Passion is an ambivalent word. It has a few somewhat contradictory meanings. According to ye olde, Online Etymological Dictionary Passion can mean the following:
Passionate (adj.): “early 15c., “angry; emotional,’ from Medieval Latin passionatus “affected with passion,” from Latin passio. Specific sense of “amorous” is attested from 1580’s. Replaced Old English polung, literally “suffering” from polian (v.) “to endure.”Sense of “sexual love” first attested 1580’s; that of “strong liking, enthusiasm, predilection” is from 1630’s.
Maev Beaty as Queen Elizabeth. Photo: Keith Barker
Suffering, pain, emotional, desire, love. That’s a real cross to bear for one word. Its various meanings bring forth a varied pallet of human emotions that speak to a duality of experience. It is possible that the word Passion contains in it, then, a promise of what it means to be human: to live in a state of utter ambiguity and vulnerability.
In many ways, Sarah Ruhl’s Passion Play explores this social and historical drive of human beings to eradicate this ambiguity from our experience. One way to clean up the mess of human nature is to impose rules and order through various ideologies (organized religion, monarchy, political systems), icons (Jesus, Queen Elizabeth), and leaders and dictators (Hitler, Ronald Reagan). That way we don’t have to feel our passionate discomfort. To be told how to think and act can be easier than thinking for yourself.
To legitimate and sanctify only certain modes of being closes down the countless ways that we perform our humanness. There is a massive ethical price to be paid for the eradication of our inner diversity. Some of the characters in this play step outside the boundaries of arbitrary power and pay for it with their sanity or their lives.
For such an epic play, the show has a real humility to it. For one, it is very funny and never takes itself too seriously. There is a lot of room for humor when people are trying to fulfill roles they are not suited for. Maybe it is in these moments of laughter where ambiguity can live unencumbered by our desire to separate the black from the white.
(L-R) Mayko Nguyen, Julie Tepperman, Jordan Pettle & Katherine Cullen. Photo: Keith Barker
On a personal note, this play reminds me of being a child. Child-logic is different from adult logic. I remember accepting all kinds of ridiculous notions to be true (i.e. imagining that if I held my breath I would become invisible and could eat as many cookies as I wanted with my mom in plain sight. Didn’t work out the way I planned). I miss that way of thinking, even if it didn’t get me the results I wanted.
In the world that Sarah Ruhl has imagined, there are “big beautiful fish puppets” that carry people off in “enormous boats.” It reminds me of lullabies and bedtime stories. It reminds me that dreamland can merge with reality, and magic feels strangely possible. Maybe this is the place where we are best equipped to handle ambiguity.
Theatre Centre Artistic Director was presented with The George Luscombe Award for Mentorship at The 2013 Dora Nomination Announcement. Pictured here with Theatre Ontario PTTP supported mentee @ Theatre Centre, Zoe Sweet.
INDEPENDENT THEATRE PRODUCTION DIVISION
OUTSTANDING PRODUCTION
BOBLO – Co-Produced by Kitchenband and The Theatre Centre
The Lesson – Modern Times Stage Company
Mr. Marmalade – Outside The March
THE WAR OF 1812 The History of the Village of Small Huts, 1812-15 – Presented by VideoCabaret in association with the Young Centre for the Performing Arts
Laws of Motion – Small Elephant Co-op, Dani Kind and Kate Zeigler
OUTSTANDING NEW PLAY
Adam Seybold – The De Chardin Project – The Quickening Theatre
Daniel Karasik – The Biographer – Tango Co.
Jordan Tannahill – Post Eden – Suburban Beast
Michele Smith and Dean Gilmour – As I Lay Dying – Theatre Smith-Gilmour
Sky Gilbert – A Few Brittle Leaves – The Cabaret Company
OUTSTANDING DIRECTION
Christopher Stanton – Laws of Motion – Small Elephant Co-Op, Dani Kind and Kate Zeigler
Melee Hutton – The Dumb Waiter – Wordsmyth Theatre
Michael Hollingsworth – THE WAR OF 1812 The History of The Village of Small Huts, 1812-15
Mitchell Cushman – Mr. Marmalade – Outside The March
Soheil Parsa – The Lesson – Modern Times Stage Company
OUTSTANDING PERFORMANCE BY A MALE
Andrew Musselman – Catalpa – Blood in the Alley
David Ferry – The Lesson – Modern Times Stage Company
David Fox – When The World Was Green : A Chef’s Fable
Gavin Crawford – A Few Brittle Leaves – The Cabaret Company
Mark Wilson – The Dumb Waiter – Wordsmyth Theatre
OUTSTANDING PERFORMANCE BY A FEMALE
Amy Keating – Mr. Marmalade – Outside The March
Cynthia Ashperger – Feral Child – Suburban Beast/ Jordan Tannahill
Deborah Drakeford – BEA – Actors Repertory Company
Michelle Monteith – The Lesson – Modern Times Stage Company
Virgilia Griffith – Honesty – Suburban Beast / Jordan Tannahill
OUTSTANDING PERFORMANCE – ENSEMBLE
The Ensemble of BOBLO – Co-Produced by Kitchen Band and The Theatre Centre
The Ensemble of Mr Marmalade – Outside The March
The Ensemble of THE WAR OF 1812 The History of The Village of Small Huts, 1812-15 – Presented by VideoCabaret in association with the Young Centre for the Performing Arts
The Ensemble of Laws of Motion – Small Elephant Co-Op, Dani Kind and Kate Zeigler
OUTSTANDING SCENIC DESIGN
Anahita Dehbonehie – The Lesson – Modern Times Stage Company
Andrea Mittler – The Dumb Waiter – Wordsmyth Theatre
Jon Grosz/ Mitchell Cushman – Mr. Marmalade – Outside The March
Jung-Hye Kim – Boblo – Co-Produced by Kitchen Band and The Theatre Centre
OUTSTANDING COSTUME DESIGN
Angela Thomas – The Lesson – Modern Times Stage Company
Astrid Janson – THE WAR OF 1812 The History of The Village of Small Huts, 1812-15 – Presented by VideoCabaret in association with the Young Centre for the Performing Arts
Jon Grosz/Mitchell Cushman – Mr. Marmalade – Outside The March
Sheree Tams – A Few Brittle Leaves – The Cabaret Company
Teresa Przybylski – As I Lay Dying – Theatre Smith-Gilmour
OUTSTANDING LIGHTING DESIGN
Andre Du Toit – As I Lay Dying – Theatre Smith-Gilmour
Andy Moro – THE WAR OF 1812 The History of The Village of Small Huts, 1812-15 – Presented by VideoCabaret in association with the Young Centre for the Performing Arts
Jason Hand – The De Chardin Project – The Quickening Theatre
Michelle Ramsay – The Lesson – Modern Times Stage Company
Rebecca Picherack – BOBLO – Co-Produced by Kitchen Band and The Theatre Centre
OUTSTANDING SOUND DESIGN/COMPOSITION
Andrew Penner – Boblo – Co-Produced By Kitchen Band and The Theatre Centre
Jake Blackwood – THE WAR OF 1812 The History of The Village of Small Huts, 1812-15 – Presented by VideoCabaret in association with the Young Centre for the Performing Arts
James Mckernan – The Dumb Waiter – Wordsmyth Theatre
Thomas Ryder Payne – The Lesson – Modern Times Stage Company
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O, no! It is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wand’ring bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his ending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved. – William Shakespeare, Sonnet 116 –
Praxis Theatre is guest curating the 10th anniversary HATCH Season in 2014. We are very excited about this partnership. The experience Praxis Theatre had at HATCH creating Section 98 in 2010 was integral to our development as a multi-platform performance creator.
HATCH is designed to incubate and foster invention and innovation in performance practice and over the past decade has become a vital laboratory for development within the local performance ecology. The opportunity to work and experiment with support and resources from Harbourfront is a significant one.
For a decade, HATCH has empowered many of Toronto artists to push the boundaries of contemporary performance including: Erin Shields, Anita Majumdar, Joan Kivanda, Brendan Healy, Hannah Moscovitch, Small Wooden Shoe, Trevor Schwellnus, Jordan Tannahill, Jess Dobkin, Philip McKee, UnSpun Theatre, Reena Katz, and Derek Kwan.
For HATCH 2014, we are particularly interested in projects that experiment with how social media can be used artistically in creation and performance. The deadline for applications is July 12, 2013.
Ame Henderson and Evan Webber in Dedicated to The Revolutions (HATCH 07)
We invite projects from emerging creators as well as established artists engaging in new collaborations or entering into new artistic territory. Performance proposals from artists working across all disciplines, including, but not limited to: dance, theatre, performance art, music, digital art, etc. are encouraged. Of specific interest are proposals that demonstrate how HATCH will benefit the development of the project and the artist.
In addition to providing mentorship over the course of a year, HATCH enables the concentrated experimentation and incubation of an idea that culminates in a public presentation, recognizing how vital audience feedback is to the creative process. Companies and artists selected to participate in HATCH will receive a one-week residency in the Studio Theatre, located at Harbourfront Centre.
The Studio Theatre is an intimate, 192-seat proscenium venue featuring a full lighting grid, raked seating and sprung stage floor. Use of the residency period is at the discretion of the artist and needs of the project (i.e. workshop, rehearsals, performance, etc.) but there must be at least one presentation of the work for the public at some point in the week.
“Women don’t have penis envy; men have pussy envy.”
~ S.C.U.M Manifesto, Valerie Solanas
Image:
Sound:
Nina Gilmour stars in Death Married My Daughter alongside Danya Buonastella, written in collaboration with Michele Smith and Dean Gilmour.
Death Married My Daughter is the story of two Bouffons who come back to settle an old score. Tonight it’s the Revenge of Ophelia and Desdemona: Poetic and grotesque; Charming and disturbing.
Toronto Festival of Clowns 2013 – May 29-June 2 @ The Pia Baumen Studio Theatre (6 Noble st) Tickets are $15 here.
Sherlock Holmes and Dr Watson went camping. They pitched their tent under the stars and went to sleep. Sometime in the middle of the night Holmes woke Watson up and said: “Watson, look up at the sky, and tell me what you see.” Watson replied: “I see millions and millions of stars.” Holmes said: “And what do you deduce from that?” Watson replied: “Well, if there are millions of stars, and if even a few of those have planets, it’s quite likely there are some planets like Earth out there. And if there are a few planets like Earth out there, there might also be life.” Holmes said: “Watson, you idiot, it means that somebody stole our tent.”
A dark, playful fairy tale about a fairy prince. As the unnamed protagonist in his new solo show, Stewart Legere weaves together tales of a doomed relationship, a trip to Italy gone wrong, and a mysterious fascination with El Camino Santiago de Compostella, an ancient walking pilgrimage through France and Spain. Working through fear, awkwardness, and shame, he charms, cajoles, pushes and pulls, provokes, and consoles his way through stories of love, loss, and the complex struggles of a young queer couple dealing with internalized homophobia.
Greta gets under a Classic Ontarian Loon Blanket with Amy Lee Lavoie to discuss Stopheart’s journey to the Factory Stage.
Stopheart runs until May 26th at the Factory Theatre.
Greta Papageorgiu is an actor, teacher and director. She has taught and performed in Ontario, Quebec and Germany. Her next class starts September 10th at The Fringe Creation Lab. For details go to meisnerwithgreta.ca.
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”
#CivilDebates 3: Idle No More will include a discussion of 21 controversial statements our speakers have submitted anonymously.
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