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Posts Tagged ‘theatre’

STORIES OF NOW: National Theatre School of Canada

VignetteNational Theatre School of Canada https://ent-nts.ca/en

“STORIES OF NOW” is part of a project ArtBridges is working on with Judith Marcuse Projects’ ASCN (Arts for Social Change Network) and ICASC. It is about gathering and sharing stories emanating from the field now and about what issues and areas of focus matter. 

In conversation with: Maude Levasseur, Director of Arts Engagement & Erika Kierulf, Associate Director, Arts Engagement, National Theatre School of Canada (Montreal), December 6th, 2021

If you could tell a story about your community-engaged arts initiative now, this year, what would the story be about? What are the main themes?

Erika: Our underlying theme is well-being and care. I don’t want to say that the pandemic is over but we need to approach the projects we’re doing in the schools, and with community with this in mind. We’ve been working on sharing table and events around “healthier theatre” and what it could look like.

Maude: Story of Now… we are in a sharing before healing phase. We are getting out of our homes, and we are telling people what happened. Well-being and care are really on our minds, we are now using a very “health/diagnosis” way of taking care of each other.
We hope sharing stories to eventually heal and diagnose where we are now. It’s a story of how to come back, how to redo things, redo the same? Do better? The wheel was broken, and things stopped turning. Now there’s a different way to move forward. Around arts in Montreal – this idea that things were perfect before the pandemic is a bit absurd. People are slowly coming back to theatre spaces, but audiences were a problem before covid. We need to learn how to take care of the public and audiences. Re-thinking on the relationship and mutual respect between the audience and artists is kind of new. Why would I pay to sit in a dark room to listen to you? Why are you telling me this story now? And how do you prepare me before the experience and after? This conversation is happening more and more, and I can’t wait to see what will come out of this.

On the other side of things, techs and artists have been told they weren’t essential and will have a long-lasting effect that we need to address. Also, as the rules and regulations changed, artists and tech workers are so needed – they feel guilty if they turn someone down and our worry is that they will burnout. This is a part of the arts that people don’t talk about and share as much, the part where it’s not just art, it’s humans, it’s work, it’s healthy and unhealthy practices.

What are the main issues your community-engaged arts initiative faces? (e.g., social justice, environmental justice, pandemic-related, operational, financial, HR)

Erika: Since the pandemic, our department has been trying to find ways to pivot from in- person to online. How can we connect or create a sense of connectedness during these disconnected times, when we are all craving to be together?

Maude: Social justice in a very large sense – everything from the gap between rich and poor, White and IBPOC people, straight and LGBTQ+, youth and adult, able and disabled … It was always on our minds, but with covid, it’s even more acute. Switching online is about ableism too. Some communities are able to see more content, everything is suddenly free, art is for everyone- in your home, at your own pace. This is a major game changer.

On the other hand, there is a big part of our community – youth, that is tired of being online, in a way that they are not normally. Our generation is less connected to the internet than the kids (they have school online all day, friends online after school). We can see how the fatigue is about connecting online and not interacting, disrupting, moving. They are on the receiving end all day and that can be hard – at an age of speaking and sharing truth with friends, being in front of a “void” with no one to pass a paper, pen, secret written message to. Kids are starved of contact even though they have online capacity.

How has your initiative been addressing these main issues?

Erika: Art Apart was a micro grant program launched 2.5 weeks into the pandemic. NTS found ways to give contracts to artists – to create a work and present it online, in any shape or form. We supported them through producing and presenting. It was our way of giving mentorship to emerging artists, but also keep “art” and “making” alive in their life. We did that right away. We now have a new pool/network of emerging artists that this granting program created – a community of young artists that we will continue to work with.
Following – in the fall- with an ambitious project for the DramaFest: to take the festivals from in-person to online, trying to solve the problem of how to gather at a distance. We created a platform for them to share, learn and connect. An online space for students and teachers to upload work, receive comments from artists and interact. We ran panels for four days and gave access to a dozen workshops.

Maude: We created the platform for students to share their work and learn online in a non- competitive space – having a festival that is non-competitive and that could gather youth from across Canada is our dream. We had an awesome group of artist educators. We created a set of workshops that could not happen in real life – about 12 workshops, led by artists who teach to our professional students at NTS.  Kids at the festival could do the workshops at their own pace and then we had a Q & A for the students who wanted more. We really thought it through. It was a good chance to practice a better way, a dream way of designing art pedagogy. Now we can build from there and have a complementary tool to the “in-person” festival.

Accessibility- knowing some districts have capacity and some don’t, they will be able to share their network with other districts; it’s not just one district that can benefit from the network. Not just their community, their school – people access the platform and can see the work. They can also look at the work other schools did. We also made this it free this year, more accessible.

We also created fun projects for families to do at home, together, like a recipe book.
At NTS, teachers did bike runs to say hi to the students. It’s beautiful to see and it brought people together in new ways.

How has the community of participants that your initiative engages with evolved in the past year (if at all)?

Maude: For the teachers of the festival – they evolved so much. We were with the teachers on a regular basis, teaching teachers how to use the platform. Their ability to trust their students has really improved. Covid had the effect of breaking the hierarchy between teachers and students – youth are better at online than the teachers! This was a big learning curve for us. We saw more student written work with the prerogative of presenting work online. Mainly because teachers could not pay royalties, but also because we put a real emphasis on work in progress. The idea of not being perfect, not being an outstanding project, just show up – take a risk and see how it can be the beginning of something.

Erika: I echo that – things not being perfect, this links to our main theme this year: care, give yourself a little slack. This is for the community and instructors, as well. Things don’t have to be perfect. It will be what it will be. We also learned a lot about each other, the teachers and us. We are Maude and Erika, real humans, not just representative of an institution, but real people who want to help. Now the way we talk together changed. We did this big thing, we got through it together. This year they got the message. Now they understand how they can be the teacher and the student. Maude and I hosted the online event for four days, that also gave us the chance to be really honest with the students. At the end of the four days, they could see we were beyond tired but keeping it together for them, good humor and a community feeling was so needed.

How is your organization engaging with your community right now? (Logistics, pandemic public health and safety guidelines & policies, changes in the way we gather)

Erika: Our return to in-person programming in the Fall of 2021 began with an event that explored the relationship between grand-parents and their grand-kids, before NTS’ student shows were ready for the public. It coincided as a way for the school to adapt to health regulations in the province: Quebec had the vaccine passport, people had to wear masks, there were limited places to attend art installations. The school was more careful than public health, it was a safe space for students. We took it really, really seriously. 

Maude: Through this intergenerational conversation program, we found the feeling of “meeting in person” back. We had a video and sound installation based on their conversations and it was open to families and the public to see. It helps that we are a school and not a theater, we are not presenters, so we have different health rules.
Now we are allowed to go full capacity, with masks. It’s still scary. There is different level of comfort among people, and it is something to negotiate. I don’t think this wellbeing/level of comfort will resolved soon, it will be a conversation to have for a while and it’s good. It’s a lesson on consent and empathy and that’s always a good thing.

What are one or two new projects your initiative implemented this year?

Art apart was a micro-granting program- to showcase artists’ works online.
DramaFest Salon – an online drama festival with panels and online workshops.
Ties, an intergenerational conversation project
Art is in the house! Online activities for families by artists and theatre makers

What is your initiative doing new–digitally–compared to pre-pandemic?

Erika: Everything! We were not doing a lot of new media before. In our department, not at all. What the pandemic has done to the school, the community programs and the shows is a lesson on how to pivot to “online everything.” It broadened some ideas and brought accessibility for our programming. Theaters streaming shows has created possibilities to enlarging audiences for those who many have mobility issues or who are rurally based. It also had the downside of reducing our place-based program, which we are still grieving.

Maude: We switched to online fast – Erika is a good tech person and that’s lucky for us. The year prior to the pandemic, the Ontario teachers were on strike, so we had to cancel the DramaFest season. The following year was the pandemic. We pivoted very quickly because we didn’t want to cancel two years in a row. It would have been terrible on the students’ moral. The other departments in the school were very surprised at how effective and meaningful an online program could work. The school now knows it is possible to reach far, to switch the delivery of pedagogical content without diminishing pedagogical content. Teachers learned to teach online. We sometimes feel like we switched from the community programs to open source, digital content programs. Sometimes people think that we can do anything because of how quickly we all pivoted, but we need to remind everyone, that we are also a bit burnt out by this speed.

Erika: We are only three in our team and our dedication to help more and more communities is the reason we work that much. Maude founded this department so it’s even more heartbreaking for her when we can’t do it all, but at some point, we have to take things slow, so that we do it with care and intention.

Is there a recent achievement, wonderful moment, or quote you’d like to share about your initiative or its impact? 

Maude: A recent achievement was to switch Erika to the Associate Director position!  We are very happy about this.

Erika: A recent achievement – was the wonderful feedback we received for work with the platform. We pivoted quickly, created something completely new for the kids and teachers. Our next project – next September – a big ambition – is a research centre at the Monument-National.

In conversation with Seanna Connell, ArtBridges, sconnell[at]artbridges.ca

photo credits: National Theatre School of Canada

STORIES OF NOW: Nakai Theatre (Whitehorse)

Whistle Bend (Photo: Erik Pinkerton)

VignetteNakai Theatre http://nakaitheatre.com, Whitehorse, Yukon

 “STORIES OF NOW” is part of a project ArtBridges is working on with Judith Marcuse Projects’ ASCN (Arts for Social Change Network) and ICASC. It is about gathering and sharing stories emanating from the field now and about what issues and areas of focus matter. 

In conversation with: Jacob Zimmer, Artistic Director – Nakai Theatre, on November 29th, 2021. 

If you could tell a story about your community-engaged arts initiative now, this year, what would the story be about? What are the main themes?

JZ:   It’s about how we can contribute delightful surprises in a period of time covered by deeply non-delightful surprises. There are some other things we’re working on, but this is the main question: how to help artists working and engaging in joyful and delightful ways? We live in a time in which artists are mining personal tragedies and putting this into their work. We are supporting artists and supporting them in doing silly and delightful things. It’s not escapism, it’s not about denying the fact that the work is a tire fire – don’t throw more gasoline on it!  We need heat and light, but that doesn’t mean throwing our tires on the fire. Look around, find other points of light, head over near a campfire, sit around and have a conversation. What else can we do? There are lots of policies, systems, and communities we can work more closely with, but are not possible to at the moment.

What is possible for an arts organization, what is capacity for us? There is a funding incentive to think big. We do processions with puppets around Long Term Care (LTC) homes.  What is this doing? It’s bringing 15 minutes of delight into the residence for the residents. It’s important and it’s hard to track metrics on that. So when we don’t have the capacity to do indoor theater, what is successful is – we had relationships before (pandemic) with puppet makers and musicians. We pay the musicians. The artists parade around the LTC home at a social distance from residents. This puppet work was the most successful social change thing we’ve done. Another story is about participating in larger networks – this has been different then giant puppets. Being an advocate for these things in theatre – in crisis around COVID. We’re advocating for delight!

What are the main issues your community-engaged arts initiative faces? (e.g., social justice, environmental justice, pandemic-related, operational, financial, HR)

JZ:   Disconnection, social issues, social disconnection, depression, social cohesion. Gone to horrific levels, because of the pandemic. Things were already challenging in the North before. There are higher alienation rates, suicide, drop out rates.. It’s been multiplied in the pandemic. These puppets are trying to address that angst. So it’s less direct, less “on issue like policing and racist policies.

How has your initiative been addressing these main issues?

JZ:   We’re creating opportunities with ‘at a distance’ projects.  Artists come together to create weird and delightful puppets for their hub, or their pod, and then take the puppets out into the world – at a distance. The puppets are backpack-rigged puppets… we go to farmers markets and parks. They’re bringing delight. It’s not about selling anything – it’s a non-commercial delight. We’ve also gone into three Long Term Care homes in the area for a day of parading around outside of the buildings. These events work on the social cohesion and alienation question. It’s for the staff at these buildings too, we make sure they know we’re coming. They have hard jobs. This is what we can do – give a delightful surprise. We call, make arrangements with staff, it’s free and less bureaucratic. 

During March Break last year, we were in COVID mode, we told the youth participants “if you come every day we’ll pay you $750.” We were connecting arts with the document Together Today for Children Tomorrow. We were looking at that manifesto from the Yukon that led to the self-governance agreements. The document is approaching its 50th anniversary of leaders going to Ottawa to present to Trudeau senior. How can we connect art making with that visit? We did a March Break camp and connected artists and an elder with participants. We’re building on that project, that document. We’re using the network support to do this. We’re looking at working with the manifesto and what is also 50 years in the future? The kids are looking at it. What would the world, the Yukon be looking like in 2073?  What if we created an art project as a way to get out of a tire fire. We can’t put the fire out by ourselves, but we can dream a bigger world and help to dream about the future. Supporting artists up here – to work up here. We’re supporting Christine Genier on her work on Indigenous futurism and imagining a different world in science fiction. How do we imagine? This is what art can do for the social change.

Cooperidge (Photo: Erik Pinkerton)

How has the community of participants that your initiative engages with evolved in the past year (if at all)?

JZ:   For the puppets project, a different group showed up. Volunteers shifted because of COVID protocols this summer. It ruined youth getting together to make puppets. We’re entering into the 3rd year with the puppets. Can we make this part of what we do? This was an emergency response project. Previously we were developing theatre at the scale of the landscape –things seen at a distance. Now we’re looking at involving big puppetry work that traditionally, we were not actively doing. This has all been new. Before the pandemic it was the landscape question based on practice-based research, now more community-engaged art. We can’t bring academics together, don’t want to talk on zoom about working outside/landscapes, about what we can or cannot do. How can we help to work on some ideas now? We are further along in the landscape work. It’s different now going to LTC homes. We’re aware of the alienation at the LTC homes.

Community-engaged art accelerated compared with before the pandemic. All these things that were hard to explain to people before now became very obvious. ‘10 minutes of delight’ now means something. Visceral now – we see how important it is. There’s a scarcity of 10 minutes of delight. The giant parades – a parade of 15 people at the LTC home, works. It doesn’t push COVID barriers and doesn’t need corporate sponsorship. It’s more obvious why we chose to do this and we got funding to keep the artists going – to pay artists and commission them during CERB without going over their limits. We get together in a day to make a puppet. No one was asking about box office returns. People understood. We were doing things in a way others weren’t. It was the only thing we could do. The LTC homes are a clear, strong base. Now an outdoor event on Labour Day weekend – we partner with a music group, and do an installation. We’ve done 2 now. We’d like to keep this parade going. Labour Day is good. Not too cold, but it still gets dark before 10. A Low touch event, that includes a place to take instagram pictures. Light, puppets and joyful delights!  

How is your organization engaging with your community right now? (Logistics, pandemic public health and safety guidelines & policies, changes in the way we gather)

JZ:   We have a festival in the Yukon in January. A more traditional arts presenting framework.  We “pivot “ – that’s been stressful. We’re in a state of emergency now. From thinking we can sell 60 tickets and beer & wine tickets to 20 tickets and no beer and wine. How do we create events that people would like to go to? Bring joy? The anxiety of the disease is overruling joy & delight. People aren’t going out as much. We created a sunroom and turned on lights, we put in flowers. People can book the sunroom for 30 minutes. We’re trying. Every time COVID shifts we all stressfully deal with a bunch of things. It’s hard to do community building, change. All future planning is on hold. We all have to deal with adaptation. This is hard. It’s hard to interact with the school system and youth. What feels safe? Rapid shifts are tiring and challenging. HR is a problem. We don’t always have the people who can lead a project. As an organization leader, I can see need and opportunity. I’m a white dude from away. How best to support people who can lead? Nation building, people are on the Executive Council. They’d like to do it but they are doing nation building, they have busy and important family lives. Many have left and gone south. We can be in a situation where we have money but not always have capacity. I’ve been here for 4 years. Nakai is an organization – a professional company of 42 years. It takes time to rebuild relationships. We are a three-person organization. There’s less institutional memory. The next AD may have different ideas of theater through the territory – it’s community focused, professionally run. We had done so much work to not be ‘community arts’ – the idea of volunteering for Nakai, wasn’t such a thing. Nakai has jump started direct work with community. This has pushed that into being lived experience. No travel going on. 

What are one or two new projects your initiative implemented this year?

JZ:   Puppets parading at LTC homes. March break work with participants…all this began during this time.

March Break Camp

What is your initiative doing new–digitally–compared to pre-pandemic?

JZ:   The puppets are intentionally non-digital. We are more truthful about storytelling around it. The desire is to be doing 10 minutes of local delight that can be properly harvested for the digital – that’s been part of it. The March Break camp was on zoom. The thing that works is bringing communities together on zoom – from Dawson, to Beaver Creek and Whitehorse. We did a bunch of digital storytelling off the top. 99 stories and not about gold! Zoom was a holding space for people telling stories. 

We’re bringing participants into conversations around 3D digital AI spaces. We’re tracking this for other folks as much as for ourselves. We have the best set available and a huge space at Nakai to be used for performances that not a lot of people can get to. Can we create a 3D experience to share the content without flattening them?  We’ll track that work more heavily than before.

Is there a recent achievement, wonderful moment, or quote you’d like to share about your initiative or its impact?

JZ:   We have a one clip – of the puppets on Labour Day night. A person was looking over at the light labyrinth saying ‘life is f*cking grand’.  Just hearing that! We need more chances to say that. It’s a thing art can do. The LTC home moments. Doing the parades – very good for the soul. Dancing around doing jigs – what it’s all about. Not the spread-sheets, or writing grants. It’s a lot of work for 10 minutes of delight, but the parades are lovely moments. Seeing kids and participants untrained, brings delight!

In conversation with Seanna Connell, ArtBridges, sconnell[at]artbridges.ca

Call for Applications: ThisGen Fellowship 2022

Applications for ThisGen Fellowship 2022 are open to BIPOC Women & Non-Binary Performing Arts Practitioners

“Why Not Theatre in partnership with the National Arts Centre are excited to announce the 2022 iteration of ThisGen Fellowship. ThisGen Fellowship is a national initiative that supports BIPOC (Black, Indigenous, People of Colour) Women and Non-Binary performing arts practitioners get to the next stage in their careers through training, mentorship, hands-on work placements, and peer-to-peer connection.

We are passionate about creating a future where BIPOC Women and Non-Binary people have support, are celebrated, and have the resources and networks they need to thrive in the arts sector. By making connections to institutional leadership, enhancing valuable skill sets, and building a network of peers, ThisGen is a launchpad for Canadian cultural leaders.

About the 2022 Fellowship

Eight Fellows will be selected as part of the 2022 cohort, and applicants may apply to participate in either the Directing Stream or the Producing Stream. The program will begin in April 2022 and run over a two year period (exact dates of activity TBD).”

For more information, please visit: https://whynot.theatre/thisgen-fellowship-2022-applications/

-from Why Not Theatre

Underneath It All – Climate Change Theatre Action (New Harlem Productions, online plays)

“Underneath it all is what we already know. The ways the earth could heal itself, if we let it. The knowledge of those closest to the land. We consider how to act on the offerings in front of us with four short plays selected from The Arctic Cycle’s global initiative: Climate Change Theatre Action:

Keith Barker – APOLOGY, MY
Yvette Nolan – RANGER
Mwendie Mbugua – SMALL BUT MIGHTY
DM St. Bernard – HUMMM 

The plays will be available to watch online starting December 14th at 8pm EST through December 16th at 11:59pm EST.”

For more information, please visit: https://www.newharlemproductions.com/projects/underneath-it-all-climate-action

-from Climate Change Theatre Action

Call for Community Participation: Hope and Resilience in Action (Mixed Company Theatre)

Photo by Dahlia Katz

Mixed Company Theatre is collaborating with our Associate Artist playwright Catherine Frid to research, develop and eventually tour an original and new stage play about the complex and neglected subject of seniors and suicide.

We will be developing the project initially through conversations and workshops with older adults whose lives have been impacted by depression, suicide, or Medical Assistance in Dying (MAID).

This project aims to open conversations on these topics and help people find new ways to support one another and communicate about these often-taboo subjects.

The final piece will be a Forum Theatre play – an interactive, participatory form of theatre where audience members have the opportunity to step up on stage to enact ways to address the issue presented. We are aiming for this final play, which will be performed by professional actors, to catalyze dialogue, discussion, and action to support seniors and their mental health. 

Community Participation Process

We are hoping to connect with GTA-based older adults (aged 55+), provide a space for them to confidentially share their experiences with these topics, and explore them through theatre games. These stories and workshop discoveries will form the basis of the play Catherine will write so participants will be able to see their insights/contributions reflected in the universal story that will be created for the final piece. Below are the steps of the process community members will be invited to participate in. There is no expectation that participants will continue with each step and they can choose to leave the process at any time and have their stories withdrawn.

For more information, please visit: https://mixedcompanytheatre.com/hope-and-resilience-in-action/

-from Mixed Company Theatre

UNMUTE: The Impact of a Pandemic on Gender-Based Violence (online play)

UNMUTE premiered in recognition of domestic violence awareness month in November 2020. UNMUTE is a forum theatre piece that addresses the rise of domestic violence and gender-based assault during COVID-19.

While a family’s life may seem normal from the other side of the screen, abuse is lurking behind closed doors. Immerse yourself in this important and timely piece that gives audience members the chance to rehearse scenarios for real life. Audiences will learn skills and resources for how they can make a difference. Participate in changing the story through forum theatre.

UNMUTE is a bookable Zoom play and it will be released as a podcast in 2021.

Content Advisory: UNMUTE deals with abuse, and assault. Not recommended for audiences under the age of 13.”

For more information and show dates, please visit: http://theatreofthebeat.ca/unmute

-from Theatre of the Beat

Free Interactive Community Plays on Senior Mental Health (Mixed Company Theatre, online)

ANNA’S STORY: FAMILY COMPLICATIONS AFTER LOSS
March 23rd, 3:00 – 4:30 PM ET

“Anna’s Story: Family Complications After Loss” is created in collaboration with seniors from Elspeth Heyworth Centre for Women about coping with loss. In the first half of the presentation, you will watch Anna, the protagonist, struggle to find the support she needs to navigate her emotional, financial, and technological needs after the loss of her husband. Then, her story will be presented again – only this second time, you will get the opportunity to suggest changes to result in a positive alternative ending

This play is scripted and facilitated by Pavla Uppal with support from Elizabeth Wickwire. This play is the culmination of Mixed Company Theatre’s “Resiliency through Virtual Action” project funded by the Ontario Ministry for Seniors and Accessibility.
  

Event Details  
Presentation Date: Tuesday March 23rd, 2021  
Time: 3:00 PM – 4:30 PM (ET)  
Price: Free!  
Location:  Online via Zoom  

Registration: Please email communications@mixedcompanytheatre.com to receive the Zoom link for the event 

Content Warning: The presentation makes subtle references to suicide.  

COVID CONCERNS
March 25th and 31st, 10:00- 11:30 AM ET

“COVID Concerns” is created in collaboration with the seniors from Scarborough Centre for Healthy Communities about mental health challenges they are facing during the pandemic. In the first half of this play, you will see how the senior characters in the story become overwhelmed by new technology, fears of contracting COVID-19, and being alienated from loved ones. Then, the story will be presented again – only this second time, you will get the opportunity to suggest changes to result in a positive alternative ending

Scripted and facilitated by Luciano Iogna with support from Max Cameron Fearon and Lorene Stanwick. This play is the culmination of Mixed Company Theatre’s “Resiliency through Virtual Action” project funded by the Ontario Ministry for Seniors and Accessibility.  

Event Details  
FREE Interactive Community Plays on Senior Mental HealthDates: Thursday March 25th, Wednesday March 31st   
Time: 10:00 – 11:30 AM (ET)   
Price: Free!   
Location: Online via Zoom (the event link will be sent after registering)  

Registrationhttps://www.eventbrite.ca/e/covid-concerns-registration-145558404105 “

For more information, please visit: http://www.mixedcompanytheatre.com/

-from Mixed Company Theatre

Obsidian Theatre & CBC Arts Present: 21 BLACK FUTURES (Online)

Obsidian Theatre and the CBC are unveiling the full line-up of directors and performers who have joined the first major project announced under Artistic Director Mumbi Tindyebwa Otu, 21 BLACK FUTURES. First announced this past fall, 21 BLACK FUTURES is an anthology of
21 filmed monodramas, commissioned from 21 multigenerational Black playwrights across the country, directed by 21 Black directors and performed by 21 Black actors. Premiering in February 2021, aligned with Black History Month and Obsidian Theatre’s 21st anniversary, 21 BLACK FUTURES will respond to the question, “What is the future of Blackness?”

In addition to announcing the full company of directors and performances joining the previously announced playwrights, Obsidian is thrilled to confirm that 21 BLACK FUTURES will premiere exclusively on the free CBC Gem streaming service in three parts (3×70 minutes) on Friday, February 12, Friday February 19 and Friday, February 26.”

For more information, please visit: https://www.obsidiantheatre.com/

-from Obsidian Theatre

Seven Visions: Reconciliation Through Theatre (Sarasvàti Productions, online)

“We invite our audience to join us in experiencing a multi-media style performance utilizing theatre, music, dance and visuals created by the stories from over 70 Indigenous Youth. At the end of the performance, the actors invite you to virtually participate in finding other scenarios, solutions, to change characters choices in three key scenes.

The performance dates are December 17-18, 8PM CST and December 19, 2PM CST.

You can view the performance through two different options: YouTube or StreamYard. YouTube viewers can interact in real-time using the chat function which can be brought up on the screen, or StreamYard viewers can be brought on screen with video and audio to interact in person. Facilitated by a live host – called The Joker in Forum Theatre – to discuss and reframe scenarios and interact with the student’s suggestions and questions.

To learn more about the process and the larger creation story check out an overview on our Reconciliation Project.”

For more information and to reverse tickets, please visit: https://sarasvati.ca/product/seven-visons-tour-public-showings

-from Sarasvàti Productions

Call for Applications: 2021 ThisGen Fellowship

Why Not Theatre is excited to announce the 2021 iteration of ThisGen Fellowship. ThisGen Fellowship is a national initiative that supports BIPOC Female, Trans, and/or Non-Binary theatre practitioners get to the next stage in their careers through training, mentorship, guided self-study, and peer-to-peer connection.

We are passionate about creating a future where BIPOC Female, Trans, and Non-Binary people are supported, celebrated, and have the resources and networks they need to thrive in the arts sector. By making connections to institutional leadership, enhancing valuable skill sets, and building a network of peers, ThisGen is a launchpad for Canadian cultural leaders.

12 Fellows will be selected as part of the 2021 cohort, and applicants may apply to participate in either the Director Stream or the Cultural Leadership Stream. The program will run February-June 2021 (exact dates of activity TBD).”

For more information, please visit: https://whynot.theatre/thisgen-2021-call-for-applications/

from Why Not Theatre