CANADIAN THEATRE REVIEW最新文献

{"title":"Zooming In: The Privilege of Performing Home","authors":"B. Ferdman","doi":"10.3138/ctr.191.012","DOIUrl":"https://doi.org/10.3138/ctr.191.012","url":null,"abstract":"Abstract:How do our bodies transfer to the Zoom classroom? Does the body disappear? While appearance, language, and vocal qualities remain, the physical presence of bodies in space, in relation to one another, alters completely. At the end of March 2020, as New York City and much of the rest of the world went on lockdown, all classes at the City University of New York, where the author teaches, went online. As classrooms transferred to Zoom, our homes became the embodied presence of the virtual classroom. Home became the body. Given this teacher’s class and her students’ experiences on Zoom relative to their physical environments, it became clear to that ‘performing home’ during the pandemic was a privilege not afforded to everyone.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44401276","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":"Staging Grenfell: The Ethics of Representing Housing Crises in London","authors":"K. Beswick","doi":"10.3138/ctr.191.011","DOIUrl":"https://doi.org/10.3138/ctr.191.011","url":null,"abstract":"Abstract:This article explores the ethical complexity of Value Engineering: Scenes from the Grenfell Inquiry (which opened in October 2021), a documentary ‘tribunal’ play that presents elements of the inquiry into the Grenfell Tower tragedy—a fire in a social housing block in London, England, in June 2017 in which seventy-two people died. Locating the performance within a cultural and political landscape of deadly class inequity fostered by neo-liberal policies, this article responds to criticism of the play from working-class artists who felt it was made and presented without due consideration for the communities impacted by the tragedy. The article asks what ethical issues were at stake in the representation, and parses some of these to consider how and whether ethically compromised work might nonetheless offer worthwhile interventions into the public conversation surrounding Grenfell, class injustice, and neo-liberal failure.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69967543","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":"Embracing the Distance: Accessing Dances of Connection","authors":"J. Esteban","doi":"10.3138/ctr.190.008","DOIUrl":"https://doi.org/10.3138/ctr.190.008","url":null,"abstract":"Abstract:I look at an image of my performance of Free Hugs, an interactive dance installation that sought to activate Tkaronto’s Lisgar Park amid the city’s attempts to reopen during the COVID-19 pandemic in the summer of 2020. More than a year later, a lot has changed with the development of vaccines and the lifting of restrictions/regulations for in-person gatherings. And yet I am still uncertain of how to connect with others amid growing concerns about the pandemic’s fourth wave. Hoping that I will rediscover some insight from my performance to relieve me of my uncertainty, I return to this image. It captures a moment of my attempt to share a hug with my audience—to connect with them in an intimate way amid the borders of physical distance imposed on us and by us. Looking at this visual representation of my performance, however, I feel my distance from the experience of my dancing body and all that it tries to teach me. I desire an embodied connection with the gestures of that performance to guide me forward into our uncertain future. Turning to disability arts practices inspired by questions and aesthetics of access, I release a practice through which we might simultaneously rest within and wrestle through the creation, navigation, and transcendence of distance to access connection.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49168838","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":"Creative Enabling: Relations and Structures of Support for Disabled Artists","authors":"Becky Gold, Alex Bulmer","doi":"10.3138/ctr.190.004","DOIUrl":"https://doi.org/10.3138/ctr.190.004","url":null,"abstract":"The levels of accessibility and accommodation for disabled theatre artists in Canada are diverse and varied. Without consistent infrastructures in place to support these artists, creative workarounds and new ways of creating have been developed. Becky Gold has worked with blind artist Alex Bulmer for nearly four years, navigating systems of support and accessibility (or lack thereof) within Bulmer’s various artistic projects. Together, they have come to an understanding about what support means to them and how it can best be nurtured and evolve from one project to the next. Drawing from their experiences of working together in Canada as well as from Bulmer’s previous experiences of support structures in the United Kingdom, this article highlights the need for support roles to be better understood as infrastructurally integral to the evolving culture of disability arts in Canada.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41995512","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":"A Catalyst for Rethinking and Rescripting Understanding of Disabled Performances","authors":"Dre Ah","doi":"10.3138/ctr.190.002","DOIUrl":"https://doi.org/10.3138/ctr.190.002","url":null,"abstract":"Abstract:This article proposes a way for theatre scholars, critics, and artists to complicate and rethink how disability is understood and depicted onstage. It asks that the signification of disability be complicated to embrace a disabled lens and understanding. Most theatre theory has focused on the non-disabled experience as the norm. Here, I propose a tool to support scholars, critics, and artists in growing their understanding of what disability does and can mean onstage. Within this writing structure, I invite you, the reader and receiver, to also consider how writing can reflect different processes of thinking and articulation. This article is written in an experimental form to support the reader’s desire and pathway to learning more about how we can rethink and rescript what disability can mean onstage, and open up new ways of considering a fuller, wider perspective that embraces larger nuance.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989110","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":"Connecting the Space between Us: An Interview with Multi-Sensory Artist Salima Punjani","authors":"Jessica Watkin, Salima Punjani","doi":"10.3138/ctr.190.005","DOIUrl":"https://doi.org/10.3138/ctr.190.005","url":null,"abstract":"Abstract:This interview between co-editor Jessica Watkin and Disability artist Salima Punjani delves deeply into Punjani’s multi-sensory art practice, what it was like to create art that structures care during the COVID-19 pandemic, and, ultimately, her vision for centring slowness and rest as a method for gathering people in art spaces.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48779146","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":"Editorial: Intersections of Allyship, Action and Artistic Access","authors":"Ashley McAskill, Jessica Watkin","doi":"10.3138/ctr.190.001","DOIUrl":"https://doi.org/10.3138/ctr.190.001","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46295476","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":"Augmented Reality ASL for 11:11 at Theatre Passe Muraille","authors":"Ian Garrett, T. Khalema, Samson Bonkeabantu Brown, Courage Bacchus, Jacob Niedzwiecki, Indrit Kasapi","doi":"10.3138/ctr.190.009","DOIUrl":"https://doi.org/10.3138/ctr.190.009","url":null,"abstract":"ABSTRACT:In November 2020, Theatre Passe Muraille produced a workshop as a part of their Accessibility Labs (funded through the Toronto Arts Council’s Open Door Project). This workshop connected the development of Samson Bonkeabantu Brown’s play 11:11, directed by Tsholo Visions Khalema and choreographed by Mafa Makhubalo, with a collaboration between technology collectives Toasterlab and Cohort to experiment with the use of augmented reality to support the American Sign Language interpretation and live captioning in consultation with Courage Bacchus, Marcia Adolphe, and Carmelle Cachero, Jenelle Rouse, and Gaitrie Persaud. The collaborators spent a week building an interpretation distribution system that used affordable technology to create a proof-of-concept experiment to see what it would look like to move both text and sign interpretation from just offstage into the visual field of the performance.Using Cohort’s media distribution app developed for the synchronous delivery of media to mobile devices, this project explored live and pre-recorded versions of performance interpretation for a Deaf audience. These were displayed on the audience’s phone screens and in simple augmented reality headsets. The goal was to explore expanding the opportunities for an audience to access interpretation, making the experience more customizable through different forms of engagement, and seeking to provide more universal access across all performances by making a recorded alternative available. The workshop also explored the dramaturgical and scenographic implications of adding this information into the direct visual field of an audience member.This article, in the form of a compiled oral history of the workshop, documents the process, the findings, and the follow-up questions that the team identified over our short time together to provide a baseline for further exploration into the use of mixed-reality technologies in support of accessible performance spaces. It considers situated identity and Deaf culture in relationship to translating interpreted performance to a technological solution as it both outlines the practical steps that allowed this to happen and explores artist, interpreter, and technologist perspectives on what was learned.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44325860","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":"Pursuing Universal Accessibility for Everyone: The Linguistic Experience at Partition/Ensemble Conference","authors":"Jody H. Cripps, Pamela E. Witcher, Ashley McAskill, Kat Germain","doi":"10.3138/ctr.190.003","DOIUrl":"https://doi.org/10.3138/ctr.190.003","url":null,"abstract":"Abstract:Universal accessibility (or design) is a trend that promotes accessibility for everyone in various ways. One of its attributes is to ensure that everyone has equal learning opportunities, especially with the ‘access to information’ format. This applies to arranging a conference that includes conference organizers, plenary speakers, performers, conference presenters, and audio describers preparing to provide information and sensorial accessibility to the conference participants. Unfortunately for contemporary conferences, individuals with different needs are likely to experience language barriers due to their linguistic differences, hearing loss, and/or challenges in understanding and/or accessing visual information. A performing arts conference, Partition/Ensemble 2020, hosted by the Canadian Association of Theatre Research, serves as a case study for examining the process of arranging and providing language interpreters and text transcriptions, including audiovisual descriptions. During the COVID pandemic in the summer of 2020, the conference organizers decided to have a relaxed virtual conference. This designation had an impact on the preparation with four languages in different modalities: English (spoken and written), French (spoken and written), American Sign Language (signed), and Langue des signesquébécoise (signed). From this linguistic learning experience, individuals who participated in this conference (e.g. conference organizers, plenary speakers, and audio describers) share their thoughts and insights for the implementation of an accessible conference (whether hosted in-person or online) with the goal of reducing language barriers. The authors of this article consider what it means to incorporate a diversity of languages simultaneously with different modalities and the challenges of accessibility with this endeavour.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067364","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":"Stanley Février: Performing the Invisible","authors":"Didier Morelli","doi":"10.3138/ctr.190.016","DOIUrl":"https://doi.org/10.3138/ctr.190.016","url":null,"abstract":"Abstract:This article examines how the Québécois artist Stanley Février approached the absence of BIPOC artists exhibited and collected at the Montreal Museum of Contemporary Art (MAC) with three performative projects that successfully forced the institution to revisit its collecting and exhibiting practices. In An Invisible Minority (2018), the artist infiltrated the MAC as a security guard after assessing that this was the only culturally diverse body of employees in the museum. Février then showed an installation at ARTEXTE composed of statistics, comparative charts, and other quantitative data points that highlighted the lack of representation in Montreal galleries and museums. It’s Happening Now (2019) was a guerrilla action organized with other collaborators where performers clad in black skinsuits dragged fifty years of annual reports by the MAC tied to their ankles before shredding them in the museum’s main lobby. In conjunction with these project, MAC-I was created as an alternate, unsanctioned portal to the MAC official website to promote the practices of non-white Québécois and Canadian artists. While Février’s figurative sculptural work has garnered attention, with recent acquisitions by the Montreal Museum of Fine Arts and the Musée national des beaux-arts du Québec, his more immaterial, institutionally critical, performative works remain undervalued and framed as ‘activism’ rather than their own aesthetic events.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48902447","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}