{"title":"4inXchange","authors":"M. Bautista, Jordan A. Campbell","doi":"10.3138/ctr.197.017","DOIUrl":"https://doi.org/10.3138/ctr.197.017","url":null,"abstract":"This is an interactive article created for the reader-participant that tries to capture the spirit of the live unfolding of 4inXchange. Use your cash to play. This spread incorporates production photos from the SummerWorks 2018 premiere and instructions for games.","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":"141406356","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}
{"title":"If Not Democratic","authors":"Patrick Blenkarn","doi":"10.3138/ctr.197.008","DOIUrl":"https://doi.org/10.3138/ctr.197.008","url":null,"abstract":"If someone says your work is democratic, what does that mean to you? And what does that mean for all the works you have made that no one has ever called democratic? This text reflects on participatory performance’s relationship to political forms of organization—from democracy to autocracy. The author has chosen to supply these reflections from within the context of his own body of work and collaborations, first reflecting on what it means to adopt democracy as a form and then pondering upon alternatives as provocations, from more established ‘classical’ forms to those that might be derived from the world around us. Laced through the text’s short sections is a refrain on what the author considers to be a tension between performance’s capacity to manifest a political system and the threat of politicality as a metaphor.","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":"141392066","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}
{"title":"TBD","authors":"","doi":"10.3138/ctr.197.019","DOIUrl":"https://doi.org/10.3138/ctr.197.019","url":null,"abstract":"TBD is a multidisciplinary theatre event presented in Vancouver, BC, in 2015 and 2016. The project uses the Tibetan Book of the Dead as a structural anchor and guide to the audience’s sensual and emotional experience, exploring notions of death and dying, living in the present moment, avoiding distraction, and non-attachment. The first iteration involved 50 audience members, the following year that number was expanded to 100. TBD spans twenty-one days, with each audience member receiving a different kind of engagement each day, primarily in the form of audio or video podcasts or text messages delivered to their smartphones. Their phones also carried a family-location app that allowed Radix performers to locate them in public. Other events included four site-specific performances on specific days, home visits, items dropped at their doorstep, or posters placed in their neighbourhood. After an introductory day at the local cemetery’s communal hall, the audience’s experience begins with a podcast asking them to imagine that they have died and that Radix performers will be acting like their guides through the afterlife to their possible rebirth. In this sense the title offers a double meaning, the acronym suggesting both “To Be Determined” and the Tibetan Book of the Dead. Many audience members expressed profound experiences over the course of the event, with equal enthusiasm shared by the performers who each had compelling stories about their interactions. The Radix Collective refers to TBD as “internal theatre” because participants framed their experiences through the unique lens of their own personal lives, without divulging what they were going through. The impact of the production varied for each audience member, depending on their point of view and willingness to engage with the work.","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":"141407088","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}
{"title":"Festival Santiago a Mil","authors":"Ric Knowles","doi":"10.3138/ctr.197.027","DOIUrl":"https://doi.org/10.3138/ctr.197.027","url":null,"abstract":"","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":"141407023","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}
{"title":"Holy Moly","authors":"Jarin Schexnider","doi":"10.3138/ctr.197.012","DOIUrl":"https://doi.org/10.3138/ctr.197.012","url":null,"abstract":"In this fast-paced choose-your-own-adventure performance, Holy Moly offers multiple truths, allowing everyone to walk away with a slightly different experience. Based on choices made as an audience member, each person will receive one of multiple collaged audio tracks on a personal cassette tape. These multiple tracks, Beanie Babies, Jazzercise, cooking shows, and Schexnider’s own childhood field recordings are used to recover a feeling of holiness. It is a ritualistic grab bag of the sacred in the everyday in a search for connection and wholeness.","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":"141392108","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}
{"title":"Participatory Political Violence: The Sensorial Toll of the Truckers’ Convoy","authors":"Keren Zaiontz","doi":"10.3138/ctr.197.005","DOIUrl":"https://doi.org/10.3138/ctr.197.005","url":null,"abstract":"In February 2022, people local to downtown Ottawa were caught in the grip of a three-week alt-right occupation that called for the end of public health measures—at the height of the COVID-19 pandemic—and the overthrow of parliament—in a government town. As hundreds of protestors in heavy-duty transportation trucks rolled into Ottawa, blockaded the streets, and with the help of a well-funded, off-site logistical network, settled in with food and fuel, their demands literally idled in the impassable streets. Their populist message of “freedom” was supported by a predominantly white male-dominated group of protestors. Idling their diesel engines and blaring air horns day and night outside the House of Commons, and nearby Centretown neighbourhood, the self-described “Freedom Convoy,” repurposed public nuisances into tactics of the alt-right. This article examines how the Convoy used such tactics to stage a sensorium of participatory political violence in the nation’s capital. It telescopes on Centretown residents, Zexi Li and Victoria De La Ronde, who testified as part of the Public Order Emergencies Commission about the harassment they endured during the occupation. Their testimony reveals how decibel-breaking noise, and noxious diesel fumes, not only overtook the streets but also entered their dwellings, filling their homes with commotion and sulfur, making it impossible to seek respite from the convoy. The airing of populist grievances through coordinated acts of honking and idling speaks to an ontological shift in political violence in Canada toward participatory performances of insolence that ultimately mask broader extremist agendas.","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":"141401964","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}
{"title":"Summer Magic: Creating a Sense of Welcome Back to Performance","authors":"S. Ware","doi":"10.3138/ctr.197.004","DOIUrl":"https://doi.org/10.3138/ctr.197.004","url":null,"abstract":"This article explores the welcome created by the immersive movement work, welcome, we’ve been waiting, by Rodney Diverlus. As the first show back in the theatre for many, welcome, we’ve been waiting is a performance in three parts that takes place pre-entrance on a city street, in the stairwell at the building’s entrance, and on stage in the theatre. The community built through audience engagement meant that the theatre space felt more like a community reunion or kiki than a traditional theatre. Through planning for how we would feel, Diverlus created a welcome that lingers long after the performance. Considering the mechanics, dynamics and aesthetics video game design method, Ware explores how designing for feeling created a space where we all felt welcomed back into theatre in a deep and lasting way.","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":"141408586","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}
{"title":"Experiments in Care as a Reciprocal Act","authors":"Sarah Conn","doi":"10.3138/ctr.197.013","DOIUrl":"https://doi.org/10.3138/ctr.197.013","url":null,"abstract":"Care is complex: something that must be thoughtfully evoked; that is not necessarily comfortable; that is humbling, vulnerable, and negotiated. Examining the stakes of care in participatory performance, this article traces lines of inquiry around care as labour, as duty, as risk, as choice, as participation, and as an exchange of power requiring consent. Reflecting on the precarity and interdependence of participatory performance, I argue this genre is not only uniquely positioned to foster reciprocal care—it requires it. I outline a model of reciprocal care, defining it as the act of all participants attending to something together—in this case the performance—and collectively creating the conditions of coexistence necessary for this tending. To make these ideas tangible, I refer to two participatory performances I directed. Trophy is a performance installation featuring local community members sharing personal stories of change, housed in glowing tents that transform over the course of the performance. The second, Remixed, is a hybrid deep listening experience, accessed via a progressive web app, that contemplates how we instigate change in our lives, communities, and world. Both productions are tentative experiments in reciprocal care, extending its duty beyond the artist and exploring the conditions through which it is sustained by all participants. I conclude by envisioning the possibilities of reciprocal care as a vital way to operate in the uneven precarity that is our standard collective condition and to be in the unknown together.","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":"141410483","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}
{"title":"Freedom in the Invitation: Lilith & Cie’s Invisible","authors":"Aurélie Pedron, Kathy Casey","doi":"10.3138/ctr.197.016","DOIUrl":"https://doi.org/10.3138/ctr.197.016","url":null,"abstract":"Lilith & Cie’s Invisible is a participatory durational dance piece that aims to “make the intelligence of the collective visible.” Invisible spans three consecutive days and features ten improvising dancers and a charming black dog. In May 2022 at Montreal’s OFFTA, the piece featured dancers Ariane Boulet, Rachel Harris, Emmanuel Jouthe, Abe Simon Mijnheer, Caroline Namts, Charlie Prince, Luce Lainé, Charles Brécard, Zoë Vos, and Silvia Sanchez. The following is an excerpt of a conversation between Invisible’s dramaturg Kathy Casey and choreographer Aurélie Pedron on how they structure the invitation to indirectly influence audience behaviour, balancing freedom with limits. Invisible is almost entirely guided by audience input, inviting participants to feed into the collaborative action and catalyze dancers through rearranging furniture and plants, DJing through our phones, changing the lighting, leafing through show records, or simply listening and witnessing in silence. In order to gently gesture toward both the expansiveness and limitations of this audience participation, Invisible begins when participants enter the show lobby and are presented with a board game and a deck of cards that offer a map and guide to the experience.","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":"141395880","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}
{"title":"Voicing with Code in Public","authors":"Pratim Sengupta, Marie‐Claire Shanahan","doi":"10.3138/ctr.197.020","DOIUrl":"https://doi.org/10.3138/ctr.197.020","url":null,"abstract":"Voice Your Celebration was a public computing installation at Canada’s National Music Center, which offered a re-staging of computer code as a heterotopic form of participatory theatre. In the same way that the stage and the script can stand in between the audience on one hand, and actors and creators of a play on the other, in performances involving live digital art, pre-written code can also separate the coder and creators from the interacting audience. In this paper, we illustrate how Voice Your Celebration sought to address this divide by creating opportunities for the audience to become participants in the code itself by incorporating their voices and stories as integral parts of a widely used computational algorithm (Reynolds’s algorithm) for simulating flocking behaviour.","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":"141407320","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}
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