DOCSLIB.ORG

An Historiographical Reading of the Founding of Canada's National Theatre School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Historiographical Reading of the Founding of Canada's National Theatre School An Historiographical Reading of the Founding of Canada’s National Theatre School Pola Tumarkin A dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Theatre and Performance Studies York University Toronto, Ontario March 2016 © Pola Tumarkin, 2016 Abstract On November 2, 1960, French director and teacher Michel Saint-Denis declared the National Theatre School of Canada (NTS)—the nation’s first professional theatre training institution—open, and the Canadian theatre—its English and French traditions—entered a new stage of professional development. But how did it get there? This historiographical study of the NTS’ founding is the first thorough examination of the complex process through which the only bi-cultural, co-lingual school in Canada was established, from first inklings in the nineteenth century to its official opening in 1960. This dissertation utilizes Thomas Postlewait’s four-part model of historiographical theory to explore and document the various contexts which helped to shape the ways in which the School was structured, operated, and received by the public at the time it opened. While the National Theatre School of Canada is clearly recognized as an important part of the professional Canadian theatre, it is argued here that the details of the School’s founding— even now—remain contradictory, forcing the discussion to focus more on the results of the school after it officially opened rather than on the ideas which created it. After half a century, it seems time to articulate, at the very least, those founding debates, adding them to Canada’s theatre history and giving them relevance in today’s increasingly diverse Canada. ii Acknowledgements I would like to thank and acknowledge here some of those who have been most helpful along the way. First, thanks to members of my Supervising Committee, Marlis Schweitzer and Paul Lampert for their interest, involvement, and encouragement in this project; and to my Supervisor (and mentor for the last decade or so), Don Rubin, whose patience, rigour, and faith made an impact that instilled great belief in me, of myself and the work I strive to do in the theatre; his father-like sensibilities eased the journey for me, his reassurance the raft which helped to carry me through (I am so proud to be your student). Thanks to York University’s Graduate Program in Theatre and Performance Studies for allowing me to pursue this work, and Mary Pecchia and the Graduate Program Assistants for their assistance. Thanks to Simon Barry and the National Theatre School of Canada, Library and Archives Canada, the Clara Thomas Archives at York University, the Thomas Fisher Rare Book Library at the University of Toronto, the Archives of Ontario, the Toronto Reference Library, the British Library, and the CBC Archives, for the excellent services and most patient staffs. Thanks as well to Joel Miller, Perry Schneiderman, Peter Wylde, Paul Thompson, and Diana Leblanc for sharing their honest memories and perspectives of the NTS, and to Dr. Jane Baldwin for shedding valuable light on the world of Michel Saint-Denis. Thanks to Patricia Keeney, Anton Wagner, Peter McKinnon, Sholem Dolgoy, Ross Stuart, Michael Coghlan, and Peter Szaffko for their commentary on and care for the project. Thank you as well to the now silent founders of the National Theatre School of Canada for lending their voices and visions once again to future generations. On a more personal note, thanks to all of my dear friends and colleagues for their ardent support and belief; Thanks to Samfiru Tumarkin LLP for their understanding and patience, and iii to Byron Laviolette and Marlene Mendonça for the inspiration of their own work and perseverance, as well as their empathetic ears and words of encouragement. Thanks to Tim Kachurov and the Toronto Theatre Academy, without whom I would not have understood my place in the theatre and the theatre’s place in the world. Thank you to my life partner, Srđan, who spent his free time and energy helping me translate and organize my research while dealing with my distress, impatience, and moments of great self-doubt; anything and everything is possible with you. To his family: the timing of your presence was no coincidence, and for that I am grateful. To my family: it wasn’t easy, and without you, it wouldn’t have happened. I look up to you as examples of hard work, determination, and success. To my parents: No words will ever be able to express what you’ve given me. This achievement is for you. I love you. iv Table of Contents Abstract…………………………………………………………………………………ii Acknowledgments……………………………………………………………………...iii Table of Contents……………………………………………………………………….v Introduction......................................................................................................................1 Dramatis Personae……………………………………………………………………..15 Chapter One: Historiography and the National Theatre School’s Beginnings...………16 Chapter Two: Gathering the Forces (1952-1959)……………………………………...63 Chapter Three: The Big Issues: Bilingualism, Location, and Funding (1958-1959).....94 Chapter Four: Toward a Final Blueprint (1959-1960)……………………………….132 Chapter Five: Opening the Doors: Problems and Perseverance (1960)……………...168 Chapter Six: Into the Future: Perspectives and Final Thoughts……………………...201 Bibliography ................................................................................................................212 v Introduction On November 2, 1960, French director and teacher Michel Saint-Denis declared the National Theatre School of Canada (NTS)—the nation’s first professional, bilingual theatre training institution—open, and the Canadian theatre—its English and French traditions—entered a new stage of professional development. But how did it get there? The idea of a professional theatre school in Canada was brought up as far back as the late 1800s1 and became a more concrete notion in 1922 when Vincent Massey asked in his article, “The Prospects of a Canadian Drama,” if a system of professional training could help develop indigenous2 drama in Canada. Massey’s question would not be answered until after World War II, when Saint-Denis—who had already established training schools in England and France—arrived at the Dominion Drama Festival Finals (DDF) in Halifax and spoke in a similar way. By 1957, with the support of leading individuals in the Canadian theatre, the planning for a national theatre school began in earnest. This dissertation studies the years leading up to the establishment of the NTS in 1960. It aims to document the process through which the School was created and to amplify what already exists in Jean-Louis Roux’s, Michel Garneau’s, and Tom Hendry’s book, l'École: Le Premier Quart de Siècle de l’École Nationale de Théâtre du Canada/ The School: The First Quarter of a Century of the National Theatre School of Canada. Only 42 pages in length—16 in English and 26 in French—this in-house celebratory volume looks at only some of the details surrounding the School’s actual founding. Philip Spensley’s contribution to the volume, “A Brief History of the National Theatre School of Canada,” comes from his other work, “A Description and Evaluation of the Training Methods of the National Theatre School of Canada, English Acting Course, 1 1960-1968,” which, as the title indicates, focuses on training methods, while Jean Pol Britte’s account in l'École/The School is simply historical impressionism. Together, however, they do reflect something of the bi-cultural dreams of the early NTS. Yet both essentially gloss-over the cultural politics of the time. Other scholars have studied the life and work of Saint-Denis, but also do not deal in any depth with the founding of the NTS. Among these scholars are George Berberich, Charles L. Railsback, and Jane Baldwin, who have included some brief backgrounds on the School in their dissertations only as examples of Saint-Denis’ pedagogy. Berberich’s “The Theatre Schools of Michel Saint-Denis: A Quest for Style,” Railsback’s “Michel Saint-Denis and the Organic Theatre,” and Baldwin’s “A Paradoxical Career: Michel Saint-Denis’ Life in the Theatre,” as well as her editing of Saint-Denis’ Theatre: The Rediscovery of Style and other Writings all mention Saint-Denis’ role as an advisor to the NTS, but generally focus more on his pedagogical work in Europe and the United States. Many questions are therefore left unanswered: whose idea was the NTS? How was the idea realized? Who was involved in the School’s creation? What were the major concerns of the founders and what were the key debates? Was there concern over the English-French issue and why was the NTS eventually created as a co-lingual school in Montreal? What kind of arguments arose from those same linguistic and cultural differences? Was this reflected in the selection of the faculty? Students? Location? Why was Saint-Denis—a French national—their artistic advisor? And how was the School to be funded and by whom? Given that the national conversation about the School’s role and functioning continues to this day, it seemed that finding answers to some of these questions might well provide insight into the emergence of professional training for the theatre in Canada. I refer here to articles in the 2 popular media such as Marianne Ackerman’s 1985 “Theatre School Dilemma; ‘Its Reputation Just Isn’t Justified” in the Montreal Gazette, and J. Kelly Nestruck’s 2013 “The National Theatre School Suffers from
Load more

Recommended publications
  • Awards EDITION Showcasing 199 Phi Kappa Phi Award Recipients Across the Disciplines
    Winter 2010 AWARDS EDITION Showcasing 199 Phi Kappa Phi award recipients across the disciplines Fellowships•Literacy•Study Abroad•Love of Learning•Scholar and Artist About Us Phi Kappa Phi Forum mission statement Phi Kappa Phi Forum, a multidisciplinary quarterly that enlightens, challenges Phi Kappa Phi Forum and Its and entertains its diverse readers, serves as a general-interest publication as well as a platform for The Honor Society of Phi Kappa Phi. Relationship with the Society Phi Kappa Phi Forum (Issn 1538-5914) is published quarterly by The Honor Society of Phi Kappa Phi, hi Kappa Phi Forum is the multidisciplinary 7576 Goodwood Blvd., Baton Rouge, La. 70806. quarterly magazine of The Honor Society of Printed at R.R. Donnelley, Phi Kappa Phi. Each issue of the award- 1160 N. Main, Pontiac, Ill. 61764. P winning journal reaches more than 100,000 active ©The Honor Society of Phi Kappa Phi, members as well as government officials, scholars, 2010. All rights reserved. Nonmember educators, university administrators, public and subscriptions $30 per year, domestic; private libraries, leaders of charitable and learned $45 outside the U.S. Single copies $10 each; $3.25 each for active, dues- organizations, corporate executives and many paying members. Periodicals postage other types of subscribers. paid Baton Rouge, La., and additional It is the flagship publication of Phi Kappa Phi, mailing offices. the nation’s oldest, largest and most selective all-discipline honor society, with chapters on more A note on content than 300 college and university campuses across The views expressed in this publication are not necessarily those of the staff the country.
    [Show full text]
  • March 2-31 at the Waterfront Theatre on Granville Island Based on the Elephant & Piggie Books by Mo Willems
    Tom Pickett (Gerald) and Kelli Ogmundson (Piggie). Photo by Tim Matheson Tim by Photo Ogmundson (Piggie). and Kelli (Gerald) Pickett Tom March 2-31 at the Waterfront Theatre on Granville Island Based on the Elephant & Piggie books by Mo Willems Published by Hyperion Books for Children Script and Lyrics by Mo Willems Music by Deborah Wicks La Puma carouseltheatre.ca|604 685 6217 carouseltheatre.ca Our Mission, Vision and Values Carousel Theatre for Young People (CTYP) creates playful, exceptional and accessible theatrical experiences that inspire, involve and educate. We envision a community that empowers people to be more imaginative, expressive and engaged. At our core, our values are playfulness, excellence, accessibility, integrity and financial accountability. Our Story Carousel Theatre for Young People (CTYP) has been creating theatre for young people since 1976. Located on Granville Island in the heart of Vancouver, CTYP is Vancouver’s professional mainstage TYA Company. We are a gathering place for artists, young people and families to embark on a journey where imagination, a dash of magic, and an abundance of play are the recipe for a theatrical adventure that has lasting impact. Our vision: to empower young people through the magic of theatre. Under the vision of Artistic Director Carole Higgins, CTYP stages vibrant stories that engage young people from the beginning of their development and continues to share stories that challenge young people through their formative years, empowering young people to become agents of positive change. Carole’s vision Stages of Play encompasses a full season that celebrates stories that explore rites of passage through our Family Stage at the Waterfront Theatre, explores Shakespeare’s canon through a contemporary lens every summer with our Teen Shakespeare Stage, and explores original Canadian creations for our BEE Stage.
    [Show full text]
  • The Killam Trusts Annual Report 2007
    THE KILLAM TRUSTS ANNUAL REPORT 2007 Sarah Pace, BA (Hons) Administrative Officer to the Killam Trusts 1391 Seymour Street Halifax, NS B3H 3M6 T: (902) 494-1329 F:(902) 494-6562 [email protected] Published by the Trustees of the Killam Trusts www.killamtrusts.ca THE KILLAM TRUSTS ANNUAL REPORT 2007 Sarah Pace, BA (Hons) Administrative Officer to the Killam Trusts 1391 Seymour Street Halifax, NS B3H 3M6 T: (902) 494-1329 F:(902) 494-6562 [email protected] Published by the Trustees of the Killam Trusts www.killamtrusts.ca 2007 Annual Report of The Killam Trustees 2007 Annual Report of The Killam Trustees With infinite sadness, we record that our beloved fellow Trustee, W. Robert Wyman, passed away in June. A few weeks before his death, Dr. Indira Samarasekera, President and Vice Chancellor of the University of Alberta and Dr. Mark Dale, Dean of the Faculty of Graduate Studies and Research, journeyed to Vancouver to con- fer an honourary LLD degree on Bob at his home. At the U of A Special Convocation held in Edmonton later in the year, Bob’s wife Donna and daughter Robin told us of his deep satisfaction at having received this honour from the university of his birthplace and childhood, the city of Edmonton. Please see page 17 for a more detailed tribute to this remarkable Canadian and his inestimable contribution to higher education in Canada. Moncton, New Brunswick is a medium-sized but up and coming city. Its recent growth rests on three promising features: its loca- tion at the transportation hub of the Maritime Provinces; its highly entrepreneurial citizenry; and a thriving cultural life.
    [Show full text]
  • Drew Hayden Taylor, Native Canadian Playwright in His Times
    BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES Dale J. Young A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2005 Committee: Dr. Ronald E. Shields, Advisor Dr. Lynda Dixon Graduate Faculty Representative Dr. Jonathan Chambers Bradford Clark © 2005 Dale Joseph Young All Rights Reserved iii ABSTRACT Dr. Ronald E. Shields, Advisor In his relatively short career, Drew Hayden Taylor has amassed a significant level of popular and critical success, becoming the most widely produced Native playwright in the world. Despite nearly twenty years of successful works for the theatre, little extended academic discussion has emerged to contextualize Taylor’s work and career. This dissertation addresses this gap by focusing on Drew Hayden Taylor as a writer whose theatrical work strives to bridge the distance between Natives and Non-Natives. Taylor does so in part by humorously demystifying the perceptions of Native people. Taylor’s approaches to humor and demystification reflect his own approaches to cultural identity and his expressions of that identity. Initially this dissertation will focus briefly upon historical elements which served to silence Native peoples while initiating and enforcing the gap of misunderstanding between Natives and non-Natives. Following this discussion, this dissertation examines significant moments which have shaped the re-emergence of the Native voice and encouraged the formation of the Contemporary Native Theatre in Canada. Finally, this dissertation will analyze Taylor’s methodology of humorous demystification of Native peoples and stories on the stage.
    [Show full text]
  • Chapter Xxiv
    CHAPTER XXIV. Crown lands management Waste lands in seigniories Government officials Army bills redeemed Banking Political situation, 1816 The two Papineaus Sessions of 1817-1819 Death of George III., 1820 A speech of Louis-Joseph Papineau. To portion out the lands amongst the militia, General Drummond, the administrator of the province (1815), was constrained to have recourse to the officials of a department in which enormous abuses existed. The lands were divided up between favourites. So much territory had been given away that Drummond informed the minister that there was no more room on the River St. Francis for the establishment of the immigrants and the discharged soldiers. Every one had pounced down upon that immense pasture ground. From 1793 to 1811, over three million acres had been granted to a couple of hundred privileged applicants. Some of them secured as much as sixty to eighty thousand acres as, for example, Governor Milnes, who took nearly seventy thousand as his share. These people had no intention of ever improving the land by clearing it of the forest. As it cost them nothing, they purposed leaving the same in a wild state until such time as the development of the neigh- bourhood by colonization would increase the value of the whole. Another vexatious land question arose out of the vast domains granted by the King of France to the so-called seigneurs which were intended, by the letter and spirit of the grants themselves, to be given to the settlers whenever they wished for them. Large tracts of these still remained unoc- cupied and the seigneurs had often expressed the desire to get them as their own property in free and common socage, whilst the country people main- tained that they were to be kept en seigneurie according to the intention of the sovereign who first granted them.
    [Show full text]
  • School Profile 2017
    SCHOOL PROFILE 2017 Founded in 1981, Holy Trinity School (HTS) is Our partnerships with other organizations and a co-educational, JK-Grade 12, independent educational institutions provide a flexible day school that provides a safe, structured, and and personalized program that meets the supportive environment for students to develop needs of our students. Our Apple 1:1 Program character and values such as respect, integrity, creates a dynamic learning environment that leadership, and confidence. engages our community and fosters a creative, global, and connected classroom experience. We are leaders in learning. Our mission is rooted Technology has also enabled us to provide in academic excellence and our commitment to multiple pathways to fulfill the diverse needs our students continues to inspire us to pursue of our students. innovative teaching practices and programs to support the development of all our learners. Head of School Director of Admissions HTS.ON.CA Our program develops individual’s passions, Helen Pereira-Raso Richard Vissers skills, and knowledge that will enable them [email protected] [email protected] to thrive. This is complemented by extensive sports, music, drama, art and co-curricular Deputy Head Director of Student Success programs that provide a rich and well-rounded Peter Hill and University Placement school experience for students of every age. [email protected] Tracy Howard Mident #: 881481 At HTS, every student matters! [email protected] CEEB Code: 826583 POST SECONDARY DESTINATIONS FOR HTS GRADUATES *DESTINATIONS
    [Show full text]
  • Capitalism Unchallenged : a Sketch of Canadian Communism, 1939 - 1949
    CAPITALISM UNCHALLENGED : A SKETCH OF CANADIAN COMMUNISM, 1939 - 1949 Donald William Muldoon B.A., Simon Fraser University, 1974 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of History @ DONALD WILLIAM MULDOON 1977 SIMON FRASER UNIVERSITY February 1977 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Donald William Muldoon Degree: Master of Arts Title of Thesis: Capitalism Unchallenged : A Sketch of Canadian Communism, 1939 - 1949. Examining Committee8 ., Chair~ergan: .. * ,,. Mike Fellman I Dr. J. Martin Kitchen senid; Supervisor . - Dr.- --in Fisher - &r. Ivan Avakumovic Professor of History University of British Columbia PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for mu1 tiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesi s/Di ssertation : Author : (signature) (name) (date) ABSTRACT The decade following the outbreak of war in September 1939 was a remarkable one for the Communist Party of Canada and its successor the Labor Progressive Party.
    [Show full text]
  • CANADA's ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 Pm Carlson Family Stage
    2016 // 17 SEASON Northrop Presents CANADA'S ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 pm Carlson Family Stage DRACULA Dear Northrop Dance Lovers, Northrop at the University of Minnesota Presents It’s great to welcome Canada’s Royal Winnipeg Ballet back to Northrop! We presented their WONDERLAND at the Orpheum in 2011, but they last appeared on this stage in 2009 with their sensational Moulin Rouge. Northrop was a CANADA'S ROYAL very different venue then, and the dancers are delighting in the transformation of this historic space. The work that Royal Winnipeg brings us tonight boasts WINNIPEG BALLET quite a history as well. When it first came out in 1897, Bram th Stoker’s novel was popular enough, but it was the early 20 Under the distinguished Patronage of His Excellency century film versions that really caused its popularity to The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. skyrocket. The play DRACULA appeared in London in 1924 Governor General of Canada and had a successful three-year tour, and then the American version opened in New York City in 1927 and grossed over $2 Founders, GWENETH LLOYD & BETTY FARRALLY million in its first year (that’s in 1927 dollars, and 1927 ticket Artistic Director Emeritus, ARNOLD SPOHR, C.C., O.M. prices). Founding Director, School Professional Division, DAVID MORONI, C.M. Founding Director, School Recreational Division, JEAN MACKENZIE Christine Tschida. Photo by Tim Rummelhoff. So, what is it about this vampire tale that still evokes dread and horror, but most of all, fascination? That’s a subject Artistic Director currently being explored by our first University Honors Program-coordinated interdisciplinary, outside- ANDRÉ LEWIS the-classroom Honors Experience: Dracula in Multimedia.
    [Show full text]
  • UMVERSITY of ALBERTA from the Early 1920S to 1965 Mary Ross Glenfield a Thesis Submitted to the Faculty of Graduate Smdies and R
    UMVERSITY OF ALBERTA The Growth of Theatre 'In Edmonton: From the early 1920s to 1965 '@? Mary Ross Glenfield A thesis submitted to the Faculty of Graduate Smdies and Research in partial fulfilment of the requirements for the degree of Master of Arts Department of Dnma Edmonton, Alberta Spriag, 2001 National Libtary Bibriithèque nationale I*I ofCanada du Canada Acquisitions and Acquisitions et BiMiographic Setvices seMces bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive permettant a la National Library of Canada to Bibliothèque nabonale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. La forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenuise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Dedicatiou To aii the people, known and unknown, who worked to make Edmonton theatre the vibrant entity that it is toâay. Abstract The city of Edmonton has an unusually large number of theatres, dy profession& for its size. By examining the theatricd history of the city, the aim of this thesis is to show the way in which this theatre environment grew, £tom the early nineteen- twenties to nineteen-sixty-five.
    [Show full text]
  • Le Montreal Repertory Theatre Et Les Théâtres D'art
    Document généré le 1 oct. 2021 03:57 L'Annuaire théâtral Revue québécoise d’études théâtrales Le Montreal Repertory Theatre et les théâtres d’art Philip Booth Le miroir de l’étranger Numéro 13-14, printemps–automne 1993 URI : https://id.erudit.org/iderudit/041185ar DOI : https://doi.org/10.7202/041185ar Aller au sommaire du numéro Éditeur(s) Société québécoise d'études théâtrales (SQET) ISSN 0827-0198 (imprimé) 1923-0893 (numérique) Découvrir la revue Citer cet article Booth, P. (1993). Le Montreal Repertory Theatre et les théâtres d’art. L'Annuaire théâtral, (13-14), 59–74. https://doi.org/10.7202/041185ar Tous droits réservés © Société québécoise d'études théâtrales (SQET), 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Philip Booth Le Montreal Repertory Theatre et les théâtres d'art Le Montreal Repertory Theatre fut fondé le 23 novembre 1929 au Victoria Hall de Westmount. La première œuvre montée par la troupe, une pièce à suspense de A. A. Milne intitulée The Perfect Alibi, est présentée le 26 mars 1930 sur une scène antérieure à la scène actuelle.
    [Show full text]
  • Portraits D'institutions Culturelles Montréalaises
    Portraits d’institutions culturelles montréalaises Quels modes d’action pour l’accessibilité, l’inclusion et l’équité ? La collection « Monde culturel » Liste des titres parus : propose un regard inédit sur les Ève Lamoureux et Magali Uhl, Le vivre-ensemble multiples manifestations de la à l’épreuve des pratiques culturelles et artistiques contemporaines, 2018. vie culturelle et sur la circulation des arts et de la culture dans la Benoît Godin, L’innovation sous tension. Histoire d’un concept, 2017. société. Privilégiant une approche interdisciplinaire, elle vise à Nathalie Casemajor, Marcelle Dubé, Jean-Marie Lafortune, Ève Lamoureux, Expériences critiques de la réunir des perspectives aussi bien médiation culturelle, 2017. théoriques qu’empiriques en vue Julie Dufort et Lawrence Olivier, Humour et politique, d’une compréhension adéquate des 2016. contenus culturels et des pratiques Myrtille Roy-Valex et Guy Bellavance, Arts et territoires qui y sont associées. Ce faisant, à l’ère du développement durable : Vers une nouvelle elle s’intéresse aussi bien aux économie culturelle ?, 2015. enjeux et aux problématiques qui Andrée Fortin, Imaginaire de l’espace dans le cinéma traversent le champ actuel de la québécois, 2015. culture qu’aux acteurs individuels Geneviève Sicotte, Martial Poirson, Stéphanie Loncle et Christian Biet (dir.), Fiction et économie. et collectifs qui le constituent : Représentations de l’économie dans la littérature et les artistes, entrepreneurs, médiateurs arts du spectacle, XIXe-XXIe siècles, 2013. et publics de la culture, mouve- Étienne Berthold, Patrimoine, culture et récit. L’île ments sociaux, organisations, d’Orléans et la place Royale de Québec, 2012. institutions et politiques culturelles. Centrée sur l’étude du terrain contemporain de la culture, la collection invite également à poser un regard historique sur l’évolution de notre univers culturel.
    [Show full text]
  • Participant Biographies
    Participant Biographies ADETOLA ABIADE the recently completed Denver International Airport and Traces of the Trade the Central American Resource and Education Center. [email protected] Farhad also works closely with Baca’s UCLA class Adetola Abiade is a native of Providence, RI. Adetola has entitled “Beyond the Mexican Mural.” recently been named dialogue coordinator for the film initiative titled Trace of the Trade. Adetola has over 8 MICHIKO AKIBA years of professional experience including 1 0f 13 Managing Director, Hoshinofurusato Foundation selected from 2000 into the highly competitive [email protected] Management. program for Chase Manhattan Bank NY. Since November 2002, Michiko Akiba has been the Adetola also worked as a project manager deveolping managing director of Hoshinofurusato Foundation, an high level trading systems and managed change organization which manages several cultural and management initiatives at State Street Bank Boston. The recreational facilities in Hoshino Village, Fukuoka last three years were spent empowering women to prefecture, in Japan. Ms. Akiba graduated from become economically self-suffivient and prosperous Hitotsubashi University with a degree in economics and through entrepreneurship in RI and MA serving over has held positions in fields including sales promotion, 1000 small businesses. Adetola graduated with a B.S. in music, cultural journalism, and magazine marketing. She is Marketing/Sociology/English from Providence College in a graduate student of Kinki University and has studied 1995. Adetola is also certfied in Organizational Behavior public art and community arts in the United States. PARTICIPANTS Training from Brown University, Mediation, and serves as Rhode Island Small Business Development Ctr. KAREN ALDRIDGE-EASON Consultant.
    [Show full text]