Paul Thompson
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Theorizing Toronto
Theorizing Toronto Ioan Davies The spectres drift across the square in rows. How empire permeates! And we sit down in Nathan Phillips square, among the sun, as if our lives were real. Lacunae. Parking lots. Regenerations. Newsstand euphorics and Revell’s1 sign, that not one countryman has learned, that men and women live that they make that life worth dying. Living. Hey, the dead ones! Gentlemen, generations of acquiescent spectres gawk at the chrome on American cars on Queen St, gawk and slump and retreat. And over the square where I sit, congregating above the Archer they crowd in a dense baffled throng and the sun does not shine through (Lee 1972: 36) Thus wrote the Toronto poet Dennis Lee in the early 1970s, contemplating the new Toronto City Hall and the installation of Henry Moore’s statue The Archer, which had caused a major civic upheaval when it was unveiled.2 It marked the moment when the city began to think seriously about its space, as the introduction of new forms of architecture took over from the old: the futuristic City Hall itself (commanding a space beside the red sandstone of the old gothic City Hall), Mies van der Rohe’s Toronto-Dominion Bank on Wellington street (a mass black-and-glass block replacing older, inter-war stone and brick offices), and the freeing of the old harbour and the railway lands beside Lake Ontario for commercial and public development. Throughout the 1960s and 1970s, the debates over the physical form of the future city centred on which older parts should be preserved, and for what use; where and for whom the new developments should take place; and what would be the pattern of transportation (expressways? public transport?). -
Famous New Brunswickers A
FAMOUS NEW BRUNSWICKERS A - C James H. Ganong co-founder ganong bros. chocolate Joseph M. Augustine native leader, historian Charles Gorman speed skater Julia Catherine Beckwith author Shawn Graham former premier Richard Bedford Bennett politician, Phyllis Grant artist philanthropist Julia Catherine Hart author Andrew Blair politician Richard Hatfield politician Winnifred Blair first miss canada Sir John Douglas Hazen politician Miller Brittain artist Jack Humphrey artist Edith Butler singer, songwriter John Peters Humphrey jurist, human Dalton Camp journalist, political rights advocate strategist I - L William "Bliss" Carman poet Kenneth Cohn Irving industrialist Hermenegilde Chiasson poet, playwright George Edwin King jurist, politician Nathan Cummings founder Pierre-Amand Landry lawyer, jurist consolidated foods (sara lee) Andrew Bonar Law statesman, british D - H prime minister Samuel "Sam" De Grasse actor Arthur LeBlanc violinist, composer Gordon "Gordie" Drillon hockey player Romeo LeBlanc politician, statesman Yvon Durelle boxing champion M Sarah Emma Edmonds union army spy Antonine Maillet author, playwright Muriel McQueen Fergusson first Anna Malenfant opera singer, woman speaker of the canadian senate composer, teacher Gilbert Finn politician Louis B. Mayer producer, co-founder Metro-Goldwyn-Mayer (born in Russia) Gilbert Ganong co-founder ganong bros. chocolate Harrison McCain co-founder mccain Louis Robichaud politician foods Daniel "Dan" Ross author Wallace McCain co-founder mccain foods -
Number One Combo·
• • viSion and Radio Artists (ACTRA) cast John Blanchard's everyone seemed to agree that the pro dUction had gone remarkably well. Pro dUction manager Andrea Shaw agreed Cod co that working on this production in volved quite a mind-shift for many in volved; both for the in-house members who worked with outsiders and vice versa. The greatest problems of the pro duction seem to have been technical ones. According to producer Michael Donovan, much of the in-house equip hey keep rolling out in Newfound ment which was available at CBe land like there's no tomorrow - that OJ studiOS in Halifax was 'State of the Ark' c Tspecial brand of dow n-home, rauc in vintage. This created certain difficul- ous, irreverent, .sometimes raunchy ties and some equipment, such as all the humour that never lets anyone or any broadcast Beta equipment, had to be thing off the hook. Like fish and brewis rented in central Canada. or seal flippers and cod's tongues it The producers did not eschew bring seems to be a special North Atlantic ing in people from outside when the elixir that the people of the rock can't .9 production values of the show dictated live without. Whether it's the wild an 2 it. The director of the show was John a. Blanchard from Vancouver. HIS past ex- tics of the Mummers, or Codco, or the • Andy Jones, Cathy Jones, Greg Malore, Tommy Sexton and Mary Walsh in Codco outrageous social parody of Faustus perience with SCTV gave him the kind Bidgood or Dolly Cake there seems to terms of future Maritime programming. -
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. -
V23N5 2012.Indd
Six men, two dories and the North Atlantic Why it’s an apt analogy for Atlantic Canada’s film industry and its place on the global stage. 52 | Atlantic Business Magazine | September/October 2012 By Stephen Kimber dawn in the nowhere It’s middle of the Atlantic ocean. How many days have they been drifting out here? Dickie – at 17, the youngest crew member – is supposed to be keeping watch. But he’s asleep, sprawled out in the bow of one of the two dories, his head lolling over the gunwhale. He wakes with a guilty start, stares, tries to make sense of the endless nothingness of dark-blue sea and flat grey sky. Wait! What’s that? On the horizon. A speck? Another vessel? A mirage? He looks back into his dory where his father, Merv, and Pete, the harpooner, are curled up asleep, and then across to the other dory where Gerald, Mannie and Gib are sleeping too. Finally, he decides. He reaches out, whispers, “Pete… Pete.” Pete wakes, growls: “What?” Dickie can only point. Pete sees what Dickie sees. He throws off his blanket, jumps to his feet. “There’s a boat,” he says, then louder, as if convincing himself. “There’s a boat. THERE’S A BOAT!” He’s screaming now, rousing the others. Gerald, the captain, immediately assumes command, scrambling to find the fog horn he’d rescued when their fishing boat sank. He blows a blast. Then another. The rest of the men grab for the oars. Mannie, the first mate, struggles to bring order to their chaos. -
LGBTQ Role Models & Symbols
LGBTQ ROLE MODELS & SYMBOLS lgbtq Role Models Advocacy 4 Education 28 Stella Christie-Cooke Costa Kasimos Denise Cole Susan Rose Nancy Ruth Math & Science 31 Arts & Entertainment 9 Rachel Carson Trey Anthony Magnus Hirschfeld Jacinda Beals Alan Turing Georgina Beyer Leon Chisholm Religion 35 Portia DeGeneres Rev. Dr. Brent Hawkes, Christopher House C.M. Robert Joy Jane Lynch Sports 37 Greg Malone Rick Mercer John Amaechi Seamus O’Regan Martina Navratilova Gerry Rogers Mark Tewksbury Tommy Sexton Lucas Silveira Wanda Sykes This section includes profiles of a number of people who are active locally and nationally, or who have made contributions to history, or who are well-known personalities. Many have links to Newfoundland and Labrador. Public figures who are open about being members of the LGBTQ communities help to raise awareness of LGBTQ issues and foster acceptance in the general population. AdvocAcy Stella returned to Happy Valley-Goose Bay at the beginning of her career as a social worker in 2007. It soon became very clear to her that, despite Canada’s progress in legally recognizing the rights of queer individuals, there continued to be many gaps in the system and many individuals continued to struggle with a sense of isolation. Identifying as a queer person of Aboriginal ancestry, Stella continued to experience this first hand. Witnessing the impact this was having on her community, she became very motivated to bring others together to help address these gaps and create a sense of unity b. April 23, 1984 throughout Labrador. In 2009, Stella co-founded Labrador’s Safe Alliance, a group focused Stella Christie-Cooke was born in Winnipeg, on providing support and Manitoba. -
Department of Drama
UNIVERSITY OF ALBERTA Mentoring Canadian Theatre: Paul Thompson's Influence On The State of Canadian Theatre Through His Work in Collective Creation Dunng the 1970s and Early 1980s Ryan Farrell O A thesis submitted to the Faculty of Graduate Studies and Research in partial Willment of the requirements for the degree of Master of Arts. DEPARTMENT OF DRAMA Edmonton, Alberta Spring, 2000 National Library Bibliothéque nationale u*u ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibrigmphiques 395 Wellington Street 395. rue Weliiigton OlÉewaON K1AOW OttawaON KlAON4 canada carlada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothéque nationale du Canada de reproduce, loan, distn'bute or seIl reproduire, prêter, distriiuer ou copies of this thesis in microform, 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 fkom it Ni la thèse ni des extraits substantiels mybe printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT In this thesis, 1 demonstrate how Paul Thompson's collective creations from the 1970s and early 1980s provided a mechanism by which to attach theatre practice to the creation of dramatic text. 1 demonstrate how Paul Thompson developed his collective creations to help replenish the body of Canadian written work in the country's theatre industry, creating a volume of playable Canadian theatre texts that were developed by Canadians, for Canadians, and based on Canadian subject-rnatter. -
Yvette Nolan: Playwright in Context
University of Alberta Yvette Nolan: Playwright in Context bY Valerie Shantz A thesis submitted to the Facultv of Graduate Studies and Research in partial fulfillment of the recpirements for the degree of Master of Arts Department of Drama Edmonton, Alberta Spring, 1998 National tibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 335 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, 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 substantid extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis is concerned with providing a critical context for my work with Yvette Kolan, a Winnipeg based playwright. I chose to pursue this topic because as a drarnahirg and academic 1 have found few models on which to base our relationdup. My underlying assumptions were that in approachmg a dramatic text, a writer and her drarnaturg represent an ongoing histon of sirnilar relatiowhips. -
HIST 5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture
HIST 5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture This year’s version of HIST 5222 can be organized in two ways. There are currently 11 undergrads enrolled in HIST 4222; there is an additional undergrad who will be taking it as a GWST credit. Also, others have expressed interest in the course, but are “shopping around,” as Dalhousie undergrads do. HIST 4222 is scheduled for Mondays, 10:35-1:25. If the final numbers shrink, graduate students can join the undergraduate version without any quality- based questions arising. If, however, undergrad demands remains high, and depending on graduate interest, it may be more productive to have a second version of the class, with the graduate students & a few undergrads with similar research interests. In terms of the graduate workload, greater than that of the undergraduate version: 1. The case study essay is to be approximately 3000 words (10 pages, with footnotes) in length. 2. The research essay is to be approximately 6000 words (20 pages, with footnotes) in length. 3. Finally, each graduate student will be assigned two additional articles, agreed to by the student and instructor after consultation. Interested students are asked to email me, [email protected], between Friday, Sept 4th, and Sunday, Sept 6th, so that I can assess demand before Monday’s first meeting. Once we have decided on the final format of HIST 5222, I will draw up an official syllabus with proper meeting dates. HIST 4222/5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture Todd McCallum [email protected] McCain 1162, 902 494 3643 What follows is the class schedule; the full syllabus, with accompanying material on university, faculty and departmental regulations, will be distributed in class. -
Maggie & Pierre
• VIDEO on-line cut took 20 hours. be done in TV, and what can be done by able at the end of the first year. • "People who don't know the show think The music came together smoothly. film personnel in TV." When he was in No TV sale has been made to the it's tied to current events and assume it's John Mills-Cockell, at the time doing a Hollywood in 1982, says Pickford, "Film United States or Europe, though a Bri no longer relevant today. I feel the show show at Toronto Free Theatre, wrote people were just starting to realize tish distributor, London Films, is hand can surface in five years and be able to the original score in two days. lilt was they'd better learn video ifthey wanted ling European sales and Butler travelled stand on its own." And please, says the like a Christmas gift," said Griffiths. Two to continue editing. In the late seven to MIP-TV in Cannes this spring to actress, don't call it satire. "I hate that Rolling Stones songs were used in the ties, video was considered a toy. Only _promote the show. Though he says it's word and its connotation that the play is show, "Paint It Black" and "Wild Hor recently has there been recognition "reasonably possible to get all its costs spiteful" Director Lavut agrees: the ses", but those aren't the Stones on the (from film people) of its real potential back in Canada," Butler is hopeful show, subtitled "A fantasy of love, poli soundtrack. -
SUBMISSION RE-EDIT Caitlin Thompson Dissertation 2019
Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage by Caitlin Thompson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto © Copyright by Caitlin Thompson 2019 Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage Caitlin Thompson Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto 2019 ABSTRACT The Welsh had a unique status as paradoxically familiar ‘foreigners’ throughout early modern London; Henry VIII actively suppressed the use of the Welsh language, even though many in the Tudor line selectively boasted of Welsh ancestry. Still, in the late-sixteenth century, there was a surge in London’s Welsh population which coincided with the establishment of the city’s commercial theatres. This timely development created a stage for English playwrights to dramatically enact the complicated relationship between the nominally unified nations. Welsh difference was often made theatrically manifest through specific dialect conventions or codified and inscrutable approximate Welsh language. This dissertation expands upon critical readings of Welsh characters written for the English stage by scholars such as Philip Schwyzer, Willy Maley, and Marissa Cull, to concentrate on the vocal and physical embodiments of performed Welshness and their functions in contemporary drama. This work begins with a historicist reading of literary and political Anglo-Welsh relations to build a clear picture of the socio-historical context from which Welsh characters of the period were constructed. The plays which form the focus of this work range from popular plays like Shakespeare’s Henry V (1599) to lesser-known works from Thomas Nashe’s Summer’s Last Will and Testament (1592) to Thomas Dekker’s The Welsh Embassador ii (1623) which illuminate the range of Welsh presentations in early modern England. -
Molière Au Théâtre Du Nouveau Monde : Du Bon Usage Des Classiques »
Article « Molière au Théâtre du Nouveau Monde : du bon usage des classiques » Dominique Lafon L'Annuaire théâtral : revue québécoise d’études théâtrales, n° 22, 1997, p. 23-42. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/041328ar DOI: 10.7202/041328ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. 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 à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ 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. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 13 février 2017 06:53 MOLIÈRE AU THÉÂTRE DU NOUVEAU MONDE 23 Dominique Lafon Université d'Ottawa Molière au Théâtre du Nouveau Monde : du bon usage des classiques e spécialiste de Molière demeure toujours un peu perplexe, tout spécialiste qu'il soit, devant les différentes facettes de la postérité L d'un auteur couramment érigé en figure mythique. Le « patron » de la Comédie-Française fut aussi celui de Jacques Copeau, de Louis Jouvet, fédé• rant l'institution culturelle et les tenants du renouveau de la mise en scène, comme une figure tutélaire qui syncrétise, en dépit ou à cause du peu d'informa• tions tangibles qu'on a sur lui, le chef de troupe, l'auteur, le comédien et même, faut-il le rappeler, le subventionné avant l'heure.