Theatre Research in Canada-Recherches Theatrales au Canada最新文献_第2页

Green Mustang de Laurier Gareau : L’involution surmontée, ou l’automne d’un patriarche qui perd ses plumes 劳里埃·加罗(Laurier Gareau)的《绿色野马》(Green Mustang):克服了进化，或者是一个失去羽毛的族长的秋天

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-05-01 DOI: 10.3138/tric-2022-0011

R. Labrecque

引用次数: 0

The Hierarchy on Its Side Becomes a Circle: The Directing Practices and Mentorship of Yvette Nolan 等级制度的一面变成了一个圆圈:伊薇特·诺兰的导演实践与指导

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-05-01 DOI: 10.3138/tric-2023-0010

C. Peters

引用次数: 0

Susan Dion, Braided Learning: Illuminating Indigenous Presence through Art and Story 苏珊·迪翁，《编织学习:通过艺术和故事照亮土著的存在》

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-05-01 DOI: 10.3138/tric-2023-0003

Jessica Watkin

引用次数: 1

En/Countering Ageism Together: All the Sex I’ve Ever Had by Mammalian Diving Reflex 一起对抗年龄歧视:哺乳动物潜水反射的所有性行为

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-05-01 DOI: 10.3138/tric-2022-0004

H. Lee

{"title":"En/Countering Ageism Together: All the Sex I’ve Ever Had by Mammalian Diving Reflex","authors":"H. Lee","doi":"10.3138/tric-2022-0004","DOIUrl":"https://doi.org/10.3138/tric-2022-0004","url":null,"abstract":"Toronto-based Canadian theatre group Mammalian Diving Reflex produced various editions resulting from its city tour of the performance All the Sex I’ve Ever Had (shortened as AtS) from 2010 to present, including AtS-International Edition (2014) in Toronto. In this article, Heunjung Lee analyzes the live performance of multiple city editions, most notably AtS-Gwangmyeong (2021), to understand the relational aesthetics and dramaturgy it installs among older community performers, younger creative team members, and the audience. By demonstrating the performative power of aged citizens on stage to document, remember, and combat the ageist perspectives that are deeply rooted in many cultures, including Canada, this and other editions of AtS reveal and counter the ageist stigma around the sexuality of older adults. Heunjung Lee draws on this analysis to reframe non-professional older performers as experts of age/ing, drawing on the notion of “experts of everyday” which describes non-professional performers in Reality Theatre. This new term illuminates the generosity, vulnerability, and power of the older performers who (en)counter ageist perceptions and assumptions against old age by sharing their unique experience and view of ageing, sex, and life.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81922346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Creativity, COVID-19, and Care: An Examination of Theatre as Care during Lockdown 创造力、COVID-19和护理:禁闭期间剧院作为护理的考察

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-05-01 DOI: 10.3138/tric-2022-0014

Carolyne Clare, Anita Hallewas

引用次数: 0

A Crowd of Shadows: Performances, Protests, Streets and Stages 一群阴影:表演、抗议、街道和舞台

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-02-22 DOI: 10.3138/tric-2022-0006

Didier Morelli

引用次数: 0

“I Guess It Was Unsettling”: Indigenous Performance, Nationalist Narratives and Conciliation “我猜它令人不安”:本土表演、民族主义叙事与和解

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2023-02-16 DOI: 10.3138/tric-2022-0001

K. McLeod, L. Leddy, Brittany Luby, E. Stelter, K. Anderson

{"title":"“I Guess It Was Unsettling”: Indigenous Performance, Nationalist Narratives and Conciliation","authors":"K. McLeod, L. Leddy, Brittany Luby, E. Stelter, K. Anderson","doi":"10.3138/tric-2022-0001","DOIUrl":"https://doi.org/10.3138/tric-2022-0001","url":null,"abstract":"In 2017, the Kika’ige Historical Society, an Indigenous women’s performance troupe based in Guelph, Ontario, created Tabling 150 in response to the mainstream celebrations of Canada’s sesquicentennial. In Tabling 150, a group of twelve Indigenous women imagined how their grandmothers might have wanted to present themselves, had they been invited to Confederation balls, and to consider what their ancestors might have “brought to the table.” In this article, the members of the Kika’ige, a settler ally performance scholar and research assistant highlight the discomfort this performance created for its settler audience and the ways that such moments of unsettling through performance can prompt settlers to reflect on the roles they need to play in conciliation. The authors consider the importance of the role of space-making in performance specifically and in reconciliation efforts more generally and conclude that challenging colonialism requires creators to offer spaces in which audience members confront their past and process the discomfort associated with inverting nationalist narratives.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89569689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Signed Music and Deaf Musicians: A Follow-Up Dialogue Between Youssouf, Witcher, and Cripps 签名音乐和聋人音乐家:yousouf, Witcher和Cripps之间的后续对话

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2022-10-03 DOI: 10.3138/tric.43.2.f01

Jody H. Cripps, Pamela E. Witcher, Hodan Youssouf

{"title":"Signed Music and Deaf Musicians: A Follow-Up Dialogue Between Youssouf, Witcher, and Cripps","authors":"Jody H. Cripps, Pamela E. Witcher, Hodan Youssouf","doi":"10.3138/tric.43.2.f01","DOIUrl":"https://doi.org/10.3138/tric.43.2.f01","url":null,"abstract":"Ce texte du forum se concentre sur le cheminement vers la reconnaissance et l’appréciation de la musique en langue des signes comme art vivant pratiqué par des musicien·nes sourd·es. La musique en langue des signes est une forme artistique d’interperformance émergente, composée de performances musicales lyriques et non lyriques liées à la culture des personnes sourdes qui communiquent par le biais de langues des signes. Le forum fait suite à la participation de trois musiciennes sourdes au colloque Partition/Ensemble 2020, à Montréal, au Québec, à l’été 2020, organisée par l’Association canadienne de la recherche théâtrale et la Société québécoise d’études théâtrales. Cette plénière a réuni des musicien·nes sourd·es de partout au Canada pour partager de la façon dont leur créativité, leurs recherches et leurs études sont mobilisées pour produire des œuvres musicales en langue des signes. La discussion subséquente, à laquelle ont participé Youssouf, Witcher et Cripps, porte sur leur cheminement vers de nouveaux projets. Les artistes ont répondu à trois questions : 1) Qu’avez-vous appris de la plénière? 2) Avez-vous produit de nouvelles pièces musicales en langue des signes? Si oui, décrivez les pièces; et 3) Quels sont vos nouveaux travaux liés à la musique en langue des signes (mentorat, recherche, etc.)? En quoi consistent vos travaux?","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80891884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Theatre is Not Built for Equity: Considering Intersectionality and Disability in Theatre Practice and Design 剧院不是为公平而建:考虑剧院实践与设计中的交叉性与残障性

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2022-10-03 DOI: 10.3138/tric.43.2.f03

Jessica Watkin, David DeGrow

引用次数: 0

Space for Multiple Voices: An Interview with Director Reneltta Arluk 多重声音的空间:对导演Reneltta Arluk的采访

Theatre Research in Canada-Recherches Theatrales au Canada Pub Date : 2022-10-03 DOI: 10.3138/tric.43.2.f02

Charlie Peters

{"title":"Space for Multiple Voices: An Interview with Director Reneltta Arluk","authors":"Charlie Peters","doi":"10.3138/tric.43.2.f02","DOIUrl":"https://doi.org/10.3138/tric.43.2.f02","url":null,"abstract":"Reneltta Arluk est une artiste de théâtre inuvialuit, crie et déné, originaire des Territoires du Nord-Ouest, dont le travail théâtral jouit d’une notoriété croissante. En plus d’être la première femme autochtone à avoir signé une mise en scène au Festival de Stratford, Reneltta Arluk est une poète et une interprète dont les œuvres ont été publiées. Elle participe depuis des décennies à la création d’œuvres originales sur l’Île de la Tortue et au-delà. Pourtant, peu d’écrits se sont consacrés à sa pratique de la mise en scène ou à ses apports aux méthodes de mise en scène plus répandues et à son engagement stratégique avec celles-ci. Une brève introduction sert à situer le travail d’Arluk dans un contexte de sous-représentation des approches des femmes autochtones dans les réflexions sur la mise en scène théâtrale ainsi que la relation de l’auteur avec Reneltta et son travail. S’ensuit une transcription éditée d’un entretien ouvert entre Arluk et Charlie Peters, artiste de théâtre et universitaire allochtone. Ce qui émerge ressemble moins à un cadre singulier et rigide de pratiques qu’un ensemble de convictions, d’idées et de questions qui caractérisent la pratique de la mise en scène d’Arluk en ce moment.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87165009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0