CANADIAN THEATRE REVIEW最新文献_第6页

Lessons from the Road: Indigenous Creative Spaces Project 道路的教训:本土创意空间项目

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.017

Terri-Lynn Brennan, JP Longboat, Amy Poole

引用次数: 0

The Prophetic Place 预言之地

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.013

Thembelihle Moyo

引用次数: 0

A Proposed Guide to Witnessing: Dialoguing with Streaming Life: Storying the 94 as a Site for Call-and-Response 《见证建议指南:与流动生活对话:讲述94年作为一个呼吁与回应的场所》

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.016

Philip Geller

引用次数: 0

Reflecting from the Middle: Ethics within an Interactive Theatre Project Working for Social Equity 从中间反思:一个致力于社会公平的互动剧场项目中的伦理

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.002

Lebogang Disele, J. Selman

{"title":"Reflecting from the Middle: Ethics within an Interactive Theatre Project Working for Social Equity","authors":"Lebogang Disele, J. Selman","doi":"10.3138/ctr.192.002","DOIUrl":"https://doi.org/10.3138/ctr.192.002","url":null,"abstract":"Abstract:This article reflects on a pilot project that incorporates interactive theatre into the Black Equity in Alberta Rainforest (BEAR) initiative. The BEAR is an interdisciplinary action research project spearheaded by Ribbon Rouge Foundation in partnership with several researchers and graduate fellows to develop critical knowledge about the effects of anti-Black racism on health equity. A key methodology within the BEAR is the use of arts to engage community and foster social dialogue around African, Caribbean, and Black Albertans' lived experiences. The BEAR uses ArtSpaces to engage in events designed for community conversations with those who are often more marginalized in Alberta. To start this long-term program, we created a pilot theatre project, aimed at building a team of animators to foster community dialogue via interactive theatre. We focus on ethics in practice to consider what questions we should be asking ourselves at the start of, during, and after this collaborative project as we try to bridge the gap between intellectual understanding and practice. In doing so, we locate ourselves as artists who question our processes as we go. We argue that we learn about ethical relationships by doing our work.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49062603","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

Performing in Public: Ethics of a Site-Specific Theatre Practice 公共表演:特定场所剧院实践的伦理

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.009

R. Motum

引用次数: 0

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":null,"pages":null},"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

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":null,"pages":null},"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

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":null,"pages":null},"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

Matriarchal Word Warriors in a Paddle Song for E. Pauline Johnson Tekahionwake 为E.Pauline Johnson Tekahionwake创作的划桨歌中的母系文字勇士

IF 0.3 3区艺术学

CANADIAN THEATRE REVIEW Pub Date : 2022-11-01 DOI: 10.3138/ctr.192.018

Sasha Kovacs, Cheri Maracle

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