Volume 9
Home Volume 9
Enough
In a Facebook post on November 13, my friend and recent Siminovitch Prize winner Marcus Youssef asks,
Why does it seem inevitable that theatre professionals...
Why Not Co-ops?
To save the world from what Avi Lewis describes as “capitalist planetary suicide”, theatre companies should become co-ops. Theatre is not charity. It is...
4 First Steps Toward an Ethical Representation of Queer Bodies Onstage
In October of 2014, 19-year-old gay student Clayton Pettet, a virgin, announced he would perform live sex with a man as part of a...
Québécois Circus and the Global Stage: National Narrative or NOT?
Québec, as a stateless nation, expresses its nationalism through culture and language. What is the national narrative of Québécois circus on the global stage...
Can you defy death with a little more artistry, please?
You are watching a circus performance. The artists, for whatever reason, have a noticeable number of technical errors. The overall show remains cohesive, technical...
Connecting with Audiences in the Digital Age
If circus is human, do circus shows lose their humanity when we force technology into them?
“Join The Circus?” the Quand La Foule Devient Cirque...
Notes from a field school in a burgeoning field
This summer, I led the first international graduate field school in Québec Performing Arts with a particular focus on contemporary circus, but as it...
Québec Performing Arts – Edition Context
This week we are turning our attention to the province of Québec.
What do you think of when you first hear “Québec” or “Québecois”? French?...
Reflections on Relaxed Performances
Theatres often presume an able-bodied audience member capable of following the spatial and social scripts for movement within most professional venues. But maybe you...
First There Is A Mountain: Reflections On The Republic Of Inclusion
A man with Cerebral Palsy flies to a foreign country to be part of an inclusion conference. There’s a joke there somewhere, and it...
