Am I dreaming as I write this? It contradicts everything I understand about this era.
PL1422 (as it is affectionately known) is an integral part of the Vancouver theatre ecosystem, both as a rehearsal studio and as a community hub.
What makes a creative space important?
We have no creativity if we deny that space - our own mind, our own ideas. So, like any space, we must look at what we have in that space and use it in the creative process.
In my experience, very often those who identify most loudly and proudly as elders are the very ones I avoid. As Darrell Dennis’ hero Simon Douglas says in Tales of an Urban Indian, there’s a “difference between being an elder, and just being old.”
A theatrical history of our theatrical history
“my ignorance has never kept me from having an opinion!” - DD Kugler
Aiming for Perspective
A couple years ago, Theatre Replacement, a company I run with Maiko Yamamoto, set up a weekly project called Movie Group, where we met with people over the age of 65 to watch a bunch of movies made between 1965 and 1975.
Yes Culture, Yes Twitter
My Twitter feed is a mix of both French and English. As a rule, I first tweet in the language of the content I am passing along. If the article is in English and I feel it’s pertinent, I might then write another tweet in French on the subject for my Francophone followers. I find that it’s only then that they tend to retweet it and vice versa for Anglophones.
How have new technologies influenced your artistic practice and sense of place in the...
I definitely do not use as much technology as my collaborators, but I suppose that's why we collaborate - I add something and they add something.
Wired Times – invitations to join in
The work we are doing in the Experiments wing of the SpiderWebShow just barely scratches the surface of what I sense is possible for theatrical storytelling online. Each piece of content is contemplating the question: what happens when theatre makers’ sensibilities are expressed using online tools?
This Moment is an Invitation
My introduction to my female-self was ceremonial. My introduction to my artist-self was less about affirming a woman’s power and more about learning to accommodate, acquiesce to, and affirm a euro-driven hierarchy along with phallocentric models of performance, criticism, and theory. The act of melding these ideas into my artistic practice has become a political one. This is a feminist impulse.