CANADIAN THEATRE REVIEW最新文献

Theatrical Collisions in Laurence Dauphinais’s Cyclorama Laurence Dauphinais 的《Cyclorama》中的戏剧碰撞

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.026

Sunita Nigam

引用次数: 0

Bold Moves 大胆行动

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.023

Carla Beatriz Melo

引用次数: 0

Space, Time, and Reactivity: Designing Software for Online Theatre 空间、时间和反应性：为在线剧院设计软件

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.021

Sam MacKinnon

{"title":"Space, Time, and Reactivity: Designing Software for Online Theatre","authors":"Sam MacKinnon","doi":"10.3138/ctr.197.021","DOIUrl":"https://doi.org/10.3138/ctr.197.021","url":null,"abstract":"Participatory digital theatre is a relatively new medium, at least in the form that emerged largely out of the COVID-19 pandemic. The increased uptake of ultra-low-latency video-conferencing platforms like Zoom offer new opportunities for designers to create interactive shows that incorporate real-time audience feedback. While far from perfect, these platforms offer a starting place for examining what works and what could be improved for online performance platforms. In this article, some reflections and recommendations are made regarding online participatory theatre design. For example, creating a sense of shared space in an online show can be aided through how audiences and performers are represented onscreen. Obscuring the representation of an audience can be used as a technique to create a more isolated, solitary experience, while the use of chats and avatars can create a more communal experience. Altering the length of streaming delays also affects the experience of a show, with shorter delays favouring more interaction and feedback. It is posited that audience avatars may have a meaningful effect on audience engagement, while the display of self-facing cameras for performers and audience members alike may have a negative impact on the experience of audience members, and the engagement of performers with an audience. The future of digital theatre is perhaps best explored by embracing what the medium does uniquely well—create experiences that are not tied directly to a physical space or time, which embrace interactivity, and which can be long-living online.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141402445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Grown-Up’s Guide to Flying 大人的飞行指南

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.014

Vanessa Smythe, Mitchell Cushman, Nick Bottomley

{"title":"A Grown-Up’s Guide to Flying","authors":"Vanessa Smythe, Mitchell Cushman, Nick Bottomley","doi":"10.3138/ctr.197.014","DOIUrl":"https://doi.org/10.3138/ctr.197.014","url":null,"abstract":"A Grown-Up’s Guide to Flying is one of three standalone escape room-inspired experiences featured in Outside the March’s 2019 production of The Tape Escape. Set in a completely immersive, period-perfect 1990s’ video rental store in the former Annex location of Toronto’s iconic Queen Video, the piece is experienced through a series of narrative escape room-style puzzles hidden among 5,000-plus VHS rentals. The audience follows Kelly as he plans a birthday treasure hunt for his movie-loving younger sister, all while navigating how we experience movies—and each other—when our sighted experience changes. The story was designed to be experienced by a group of up to four people at a time and ran approximately forty-five minutes. It began, as each of the “rental experiences” in The Tape Escape did, with the group being handed a VHS tape with a sticker on it that read “Watch Me.” A video store staff member would then guide the group to one of the store’s “TV-VCR viewing stations” where the group could pop in the tape and watch what, in this case, appeared to be a birthday video message. This article includes production stills and a script excerpt written by creators Vanessa Smythe, Mitchell Cushman, and Nick Bottomley with consultation from Blindness scholar and artist Devon Healey.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141403996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Creation Practices in Participatory Performance 参与式表演的创作实践

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.001

Mariah Horner, Jenn Stephenson

引用次数: 0

1939 Reflections on Adaptation, Indigenous Theatre, and Shakespeare’s Legacy 1939 关于改编、土著戏剧和莎士比亚遗产的思考

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.024

Jani Lauzon, Kaitlyn Riordan, Sorouja Moll

引用次数: 0

Expanded Quantification: Games and Theatres of Calculation 扩大的量化：计算的游戏和戏剧

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.015

Milton Lim, Bart Simon

引用次数: 0

Some Must Watch While Some Must Sleep 有人必须看，有人必须睡

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.009

Tanya Marquardt

引用次数: 0

On Uncomfortable Theatre and Cozy Revolution 关于不舒适的戏剧和舒适的革命

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.002

Signy Lynch

{"title":"On Uncomfortable Theatre and Cozy Revolution","authors":"Signy Lynch","doi":"10.3138/ctr.197.002","DOIUrl":"https://doi.org/10.3138/ctr.197.002","url":null,"abstract":"This article examines the contemporary trend of participatory performance pieces that seek to arouse discomfort in spectators and contemplates the radical potential of pieces that instead solicit coziness. Through it, Lynch highlights and deconstructs common assumptions about affect and politics in participatory theatre. The author begins by delineating the terms of the discussion, defining participatory performance broadly: as works that directly or indirectly invite the physical and/or intellectual participation of their audiences. In doing so, she connects more conventional forms of participatory theatre (which ask for spectators’ physical involvement), with modes of performance like direct audience address that more subtly call for participation and are often left out of discussions of participation and performance. Noting that “cozy” modes of affect associated with warmth and care may more often be scrutinized for their political potential, Lynch argues that performances that employ discomfort as part of their political strategies, which might be similarly limited, are often not subject to the same scrutiny. Using Adam Lazarus’s bouffon piece Daughter as a grounding example, she then explores some of the limits of discomfort as an approach to political engagement. Lynch discusses how discomfort can be deployed in reductive ways that may in some cases undermine the political points these pieces strive to make by centring the status quo and disproportionately distributing discomfort across heterogeneous audiences. Finally, as a counterpoint to the way uncomfortable theatre is often conceptualized, she offers some brief thoughts on what revolutionary theatre that engages with coziness might look like or be.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141412003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Seeding the Future (This Is Not a Metaphor): Creative Acts of Public Gardening with Yarrow Collective 播种未来（这不是比喻）：雅罗集体的公共园艺创意行为

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2024-06-01 DOI: 10.3138/ctr.197.003

Sammie Gough, Laurel Green

{"title":"Seeding the Future (This Is Not a Metaphor): Creative Acts of Public Gardening with Yarrow Collective","authors":"Sammie Gough, Laurel Green","doi":"10.3138/ctr.197.003","DOIUrl":"https://doi.org/10.3138/ctr.197.003","url":null,"abstract":"In a world beset by climate crisis, how can artists create participatory performance work that moves audiences from distant spectators to become active agents with an awareness of the role they play in a larger ecosystem? On lək̓ʷəŋən territory, colonially known as Victoria, BC, Yarrow Collective creates multidisciplinary installations that invite communities into creative acts of public gardening. In this case study, co-creators Sammie Gough and Laurel Green trace the development of their new work for Pacific Opera Victoria’s Voices in Nature that toured city parks in the summer of 2022. Drawing from a wide variety of influences, they envision the transformative potential of weaving together their artistic practices in an ongoing collaborative relationship with the life cycles of Indigenous plants and pollinators. They confront their own settler-inherited, extractive notions of what a garden should be and explore what becomes possible when gardening is shifted from expert labour to a shared creative act. Yarrow Collective’s installations become meeting places for intergenerational temporary communities that offer ecological resources, hold space for uncomfortable truths, and yield opportunities for ongoing stewardship as both collective journeys and site-responsive living artworks.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141394521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0