CANADIAN THEATRE REVIEW最新文献_第4页

Decolonizing the Canada Council for the Arts: A Historical Perspective 非殖民化加拿大艺术委员会:一个历史的视角

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.007

Paxton Rodriguez

{"title":"Decolonizing the Canada Council for the Arts: A Historical Perspective","authors":"Paxton Rodriguez","doi":"10.3138/ctr.192.007","DOIUrl":"https://doi.org/10.3138/ctr.192.007","url":null,"abstract":"Abstract:The Canada Council for the Arts has long been the subject of analysis in theatre scholarship. Be it due to its policies, history, or evolution, it has taken a central role in shaping the possibilities available to Canadian artists. This piece attempts to harmonize much of the scholarship around the council with studies on the development of Canadian nationalism as a method of erasing settler-colonial legacies. Just as Canadian nationalism served to gloss over the realities of settler colonialism, the Canada Council was conceived to reaffirm this nationalism as a product of the Massey Commission. The article explores this artistic and political relationship through a chronological perspective on both the development of Canadian national identity and Canadian theatre funding. Throughout, the council's role in upholding an exclusionary vision of the Canadian nation remains consistent, involving the marginalization of Black, Indigenous, and racialized artists, as well as the reinforcing of a Eurocentric canon and conception of art. The council has attempted to correct its historical trajectory with mixed results. While the council has made progress in some respects, there continue to be systemic inequities deriving from its past practices that the council has yet to address. An understanding of the council's past and present brings into focus the best practices for its future: that the council ought to seek to incorporate oft-suggested measures that would set it on a more committed path toward decolonization.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"29 - 31"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43383710","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

Accountability. Intervention. Community.: On the Making of a Two-Spirit Music Video for Pride Toronto Summer 2021 责任干涉社区。：关于为Pride Toronto Summer 2021制作双精神音乐视频

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.004

Candy (Otsíkh:èta) Blair, A. Budde

{"title":"Accountability. Intervention. Community.: On the Making of a Two-Spirit Music Video for Pride Toronto Summer 2021","authors":"Candy (Otsíkh:èta) Blair, A. Budde","doi":"10.3138/ctr.192.004","DOIUrl":"https://doi.org/10.3138/ctr.192.004","url":null,"abstract":"Abstract:This collaborative article, written by a two-spirit Indigenous artist and a queer non-Indigenous scholar-artist with contributions by project collaborators, introduces the context and Indigenous principles of ethics that are woven into the making of the music video \"Accountability,\" which premiered in 2021 at Pride Toronto. We first explain terminology and modes of artistic/activist collaboration, the particular conditions of its creation, and the major concerns expressed. In particular, the work addresses social violence that is directed at two-spirit people (two-spirit) both from outside and inside Indigenous communities. This violence is seen as a legacy of colonial oppression that has hurt the social fabric and value systems of Indigenous societies. As such, the video and the essay are thought of as healing devices and forms of anti-colonial critique and resistance. We then, using time stamps and screenshots from the music video as structural markers, explain in more detail how the creation of the music video as both an artistic and a community-making project integrates ethical and social values in its very process of making and being.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"14 - 21"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49552679","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

Ownership and Engagement in Performance Art: The Black Drum Signed Musical Theatre Case Study 行为艺术的所有权与参与:黑鼓签名音乐剧个案研究

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.003

Jody H. Cripps, A. Small, Ely Lyonblum

{"title":"Ownership and Engagement in Performance Art: The Black Drum Signed Musical Theatre Case Study","authors":"Jody H. Cripps, A. Small, Ely Lyonblum","doi":"10.3138/ctr.192.003","DOIUrl":"https://doi.org/10.3138/ctr.192.003","url":null,"abstract":"Abstract:Signed music is a rapidly growing artistic practice that incorporates signed language lyrics and/or features non-lyric- and non-auditory-based pieces The first Deaf-led signed music theatre production, The Black Drum, was performed in Toronto, Canada, and Reims, France, in 2019. Examining The Black Drum's creative development and cast perceptions offers the opportunity for ethical consideration when sharing authentic experience in signed language onstage (that is, one aspect of ownership). For the first time, Deaf professionals felt open—'having permission'—to explore and play with their signed music performances in signed language theatre. This signed musical (and its script) also confronted social justice issues through sharing signing people's experiences on the stage for broad audiences. Deaf (signed language) performers, who experience oppression of their signed language in contemporary society, wished to remain true to their signed language artistic forms onstage while simultaneously engaging diverse audience members (both Deaf and hearing people) to witness and appreciate these signed language performers' unique contributions to humanity in a society dominated by spoken language. The need to express oneself fully relates to all human experience and ultimately enriches Deaf and hearing alike. Engaging diverse audience members meaningfully without sacrificing collective authentic creation and ownership among signing Deaf professionals makes The Black Drum unique and empowering in mainstream theatre.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"10 - 13"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44481731","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: 2

"How Could We Not Go to Mosul?": Empathy, Anagnorisis, and the Politics of Recognition in Orestes in Mosul “我们怎么能不去摩苏尔?”《摩苏尔的俄瑞斯忒斯》中的同理心、Anagnorisis和认知政治

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.012

Theodoros Ioannou

引用次数: 0

The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement 德黑兰被压迫者的剧院:道德与参与的困境

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.005

Narges Montakhabi Bakhtvar

引用次数: 0

Editorial: Ethics and Socially Engaged Theatre 社论：伦理与社会参与戏剧

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.001

Taiwo Afolabi, Y. Kandil

引用次数: 0

Critical Community-Engaged Scholarship: An Antidote to the Representation and Interpretation of Young People's Experiences in Socially Engaged Theatre? 批判性社区参与奖学金:社会参与戏剧中年轻人经历的表现和解释的解毒剂?

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.006

Jemma Llewellyn

{"title":"Critical Community-Engaged Scholarship: An Antidote to the Representation and Interpretation of Young People's Experiences in Socially Engaged Theatre?","authors":"Jemma Llewellyn","doi":"10.3138/ctr.192.006","DOIUrl":"https://doi.org/10.3138/ctr.192.006","url":null,"abstract":"Abstract:Today's youth bear witness to growing economic disparities, class inequalities, migrant otherings, and prejudicial thinking. Now more than ever, young people across Canada are asking adults in positions of power to become allies and start creating more spaces for their voices to be heard. Often learning beyond the classroom from their peers, through multimodal ways, young people have transhistorically exemplified creative demonstrations of resilience, solidarity, and tenacity, both online and in the streets.Within the research, practice, and scholarship of applied theatre, children and young people make up a large proportion of the documented case studies that are interpreted and represented through an adult lens. This in turn poses important ethical questions about engagement and representation strategies of their lives, particularly when a large proportion of the work is written from a Western perspective. This article first navigates a personal perspective on ethics in socially engaged theatre. I then reflect on key principles of intersecting practices in radical youth pedagogies and critical community-engaged research that will inform my practice for future ethical engagements with youths in socially engaged theatre.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"25 - 28"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47009986","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

Relational Perspectives on Change: The Theory, Stories, and Practice of Postmarginality 变化的关系视角：后边缘化的理论、故事和实践

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.010

Lisa Ndejuru, A. Babayants, Peter Farbridge

{"title":"Relational Perspectives on Change: The Theory, Stories, and Practice of Postmarginality","authors":"Lisa Ndejuru, A. Babayants, Peter Farbridge","doi":"10.3138/ctr.192.010","DOIUrl":"https://doi.org/10.3138/ctr.192.010","url":null,"abstract":"Abstract:Postmarginal Edmonton explored the intersections of political multilogues among various theatre communities (Indigenous, Black, racialized, d/Deaf, LGBTQ2S+, Disabled, and neurodiverse). The retreats use an experiential learning pedagogy of storytelling, discussion, and physical practice to tease out perspectives of créolisation that can respond to the paradoxes and pitfalls of contemporary identity politics without removing the awareness of uneven power relationships of coloniality. Underpinning this poetical-philosophical perspective is an approach of generative communication that is inspired by and extends the concept of 'ethical relationality.'After this theoretical framing, Dr. Ndejuru reflects on the qualities the organizers seek, look for, or feel are important in the creation of the retreat. What guides the choices we make as we prepare the conditions for postmarginal work? How do we value the process that then takes place? In our discussion, we pay particular attention to the retreat's use of storytelling and embodied workshops. The storytellers, the participants, and the lenses are all carefully considered, chosen, or vetted in relation to the question guiding our event.Dr. Babayants rounds up our offering with a report on and responses to Le besoin d'être mal-armé: Multilingual Dramaturgy, a workshop on the possibilities of stage multilingualism and multilingual dramaturgy. The workshop invites participants to explore working in languages they speak fluently, languages they are learning, and those they have never had any exposure to. It also challenges the notions of mandatory translation into official languages, that is, the languages of power. The participants are invited to consider how practising multilingualism during collective creation can lead to new dramaturgical forms as well as to queering dominant monolingual frameworks that tend to prioritize colonizer languages.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"41 - 45"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42065680","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

Built of Earth: The Casona and Vernacular Earthen Architecture in Oaxaca, Mexico 地球建造：墨西哥瓦哈卡的卡索纳和乡土地球建筑

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-08-01 DOI: 10.3138/ctr.191.002

Zoë Heyn-Jones

{"title":"Built of Earth: The Casona and Vernacular Earthen Architecture in Oaxaca, Mexico","authors":"Zoë Heyn-Jones","doi":"10.3138/ctr.191.002","DOIUrl":"https://doi.org/10.3138/ctr.191.002","url":null,"abstract":"Abstract:This article discusses Built of Earth, an artistic research project by the author in collaboration with Mexico City-based architect Octavio Castro Gallardo. The work-in-progress—an experimental documentary project consisting of a short film, a publication, and a site-specific installation—explores the restoration of Castro Gallardo’s 200-year-old adobe family home in the town of Jamiltepec, Oaxaca, Mexico, that was damaged by an earthquake that shook the Pacific coast in February 2018. This article situates the restoration of the Casona within the discourses of vernacular earthen architecture and performance studies, describing how, in addition to being the site of various cultural performances, the Casona itself performs cultural memory. Heyn-Jones discusses the relationships—among humans, more-than-humans, and other actants—that permeate and haunt the adobe walls of this spectacular ruin. Heyn-Jones’s essay offers a provisional discussion of local seismic cultures, aspects of architectural material culture that reactively or preventively resist earthquake damage, and the way these manifest in the Casona. In contrast to the centuries-old adobe Casona are the concrete-block dwellings that surround it and that are ubiquitous across Mexico. This article situates this vernacular within the discourse of the ‘remittance house’ and discusses the materialities and temporalities of these ‘dream houses’ in the context of the Casona. Finally, this article offers some thoughts on architectural animism and how it might manifest in the Casona, this singular dwelling, built of earth.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"191 1","pages":"13 - 19"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43825602","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

When the Crow Caws: Performance and the Relational Politics of Hospitality in Hurmat Ain and Rabbya Naseer’s Art Practice 当乌鸦叫:赫马特·艾因和拉比亚·纳西尔艺术实践中的招待行为与关系政治

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-08-01 DOI: 10.3138/ctr.191.008

Laura Levin

引用次数: 0