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The Last Comedy
v*? - at \ The Banff Centre for Continuing Education T h e B a n f f C e n t r e As The Banff Centre embarks on its seventh decade, it carries with it a new image as an internationally renowned centre of creativity. presents The Centre continues to stress the imagina tion's role in a vibrant and prosperous soci ety. It champions artists, business leaders and their gift of creativity. It brings profes The Last sionals face to face with new ideas, catalyses achievement, experiments with disciplinary boundaries. It takes Canadians and others to the cutting edge - and beyond. Comedy The Banff Centre operates under the authority of The Banff Centre Act, Revised by Michael Mackenzie Statutes of Alberta. For more information call: Arts Programs 762-6180 Gallery Information 762-6281 Management Programs 762-6129 Directed by - Jean Asselin Conference Services 762-6204 Set and Costume Design by - Patrick Clark Lighting Design by - Harry Frehner Set and Costume Design Assistant - Julie Fox* Lighting Design Assistant - Susann Hudson* Arts Focus Stage Manager - Winston Morgan+ Our Centre is a place for artists. The Assistant Stage Manager - Jeanne LeSage*+ Banff Centre is dedicated to lifelong Production Assistant - David Fuller * learning and professional career develop ment for artists in all their diversity. * A resident in training in the Theatre Production, We are committed to being a place that Design and Stage Management programs. really works as a catalyst for creative +Appearing through the courtesy of the Canadian activity — a place where artistic practices Actors' Equity Association are broadened and invigorated. There will be one fifteen minute intermission Interaction with a live audience is an important part of many artists’ profession al development. -
Canadian Publica Tions Mail Agreement #40787580
CANADIAN PUBLICATIONS MAIL AGREEMENT #40787580 Baker & Taylor Is Your Total Solution! With over 175 years dedicated to serving libraries, our commitment to you has never been stronger. Baker & Taylor offers Canadian libraries unsurpassed access to the widest range of published titles. What makes our service so convenient? • Our database contains information on over • On-line ordering and customer service and 3.8 million print and non-print titles from electronic invoicing. around the world. • CATS—our Children’s And Teen Services • Over 15 million units in inventory. (including audio/video titles). • Books ship from our four regional distribution • Book leasing, automatic-release, and centers twice weekly (Canadian customs continuations plans for any size library. clearance and collection of GST are provided). • Value-added services for both print and • Experienced Canadian-based sales and non-print materials including Customized support representation. Library Services. For more information on any of these services, please visit us at www.btol.com or contact your Canadian sales manager, Edward Devine, by e-mail at [email protected]. Overjoyed at finding more than 500 rare historical photos, Michelle momentarily forgot there were 6,487 images to sift through, that they couldn’t leave the building, and that the library closed in 2 hours. How could she get what she needs in time? CONTENTdm. CONTENTdm from OCLC Canada makes it easy for your library to “go digital,” and still stay focused on serving the users in front of you. It’s an easy way to manage your growing digital collection—for photos, newspapers, manuscripts and more. -
Backgroundfile-83687.Pdf
Attachment TABLE OF CONTENTS Introduction and Grants Impact Analysis ........................................................................................... 1 Overview Strategic Funding .................................................................................................................. 3 Arts Discipline Funding ......................................................................................................... 3 Assessment and Allocations Process ................................................................................... 4 Loan Fund ............................................................................................................................. 4 Operations ............................................................................................................................. 4 Preliminary Results of Increased Grants Funding ............................................................................. 6 2014 Allocations Summary ................................................................................................................ 7 Income Statement & Program Balances for the quarter ended December 31, 2014 ........................ 8 Strategic Funding 2014 Partnership Programs .......................................................................................................... 9 Strategic Partnerships ........................................................................................................... 10 Strategic Allocations ............................................................................................................. -
Queer Performance in the Post-Millennial Scramble
QUEER PERFORMANCE IN THE POST-MILLENNIAL SCRAMBLE MOYNAN KING 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 November 2019 © Moynan King, 2019 ii Abstract The subject of this dissertation is contemporary queer feminist performance in Canada. My practice-informed research takes a unique approach to studying performance through what I call the “queer performance scramble”—a term that draws on the multiple meanings of “scramble” to understand the aesthetics of queer performance and its challenges to stable conceptions of both identity and temporality. I investigate works that are happening now and that scramble the sticky elements of their own cultural constructions and queer temporalities. The temporal turn in queer theory supports my engagement with the effects of temporality, performativity, and history on queer performance, and, conversely, the effects of queer performance on time. I am equally interested in the formal and material dimensions of the work I study. I look to the content, style, material conditions, and social scenes of queer feminist performance from the perspective of both an academic and an artist to make accessible work that is often marginalized within Canadian cultural production ecology. Chapter 1 investigates queer feminist hauntings with an analysis of Allyson Mitchell and Deirdre Logue’s Killjoy’s Kastle: A Lesbian Feminist Haunted House. Chapter 2 argues that cabaret is the primary site for queer feminist performance in Canada, and when framed as a methodological problem/solution matrix, both the celebratory and limiting potential of the form can be explored. -
Theatre and Transformation in Contemporary Canada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by YorkSpace Theatre and Transformation in Contemporary Canada Robert Wallace The John P. Robarts Professor of Canadian Studies THIRTEENTH ANNUAL ROBARTS LECTURE 15 MARCH 1999 York University, Toronto, Ontario Robert Wallace is Professor of English and Coordinator of Drama Studies at Glendon College, York University in Toronto, where he has taught for over 30 years. During the 1970s, Prof. Wallace wrote five stage plays, one of which, No Deposit, No Return, was produced off- Broadway in 1975. During this time, he began writing theatre criticism and commentary for a range of newspapers, magazines and academic journals, which he continues to do today. During the 1980s, Prof. Wallace simultaneously edited Canadian Theatre Review and developed an ambitious programme of play publishing for Coach House Press. During the 1980s, Prof. Wallace also contributed commentary and reviews to CBC radio programs including Stereo Morning, State of the Arts, The Arts Tonight and Two New Hours; for CBC-Ideas, he wrote and produced 10 feature documentaries about 20th century performance. Robert Wallace is a recipient of numerous grants and awards including a Canada Council Aid to Artists Grant and a MacLean-Hunter Fellowship in arts journalism. His books include The Work: Conversations with English-Canadian Playwrights (1982, co-written with Cynthia Zimmerman), Quebec Voices (1986), Producing Marginality: Theatre 7 and Criticism in Canada (1990) and Making, Out: Plays by Gay Men (1992). As the Robarts Chair in Canadian Studies at York (1998-99), Prof. Wallace organized and hosted a series of public events titled “Theatre and Trans/formation in Canadian Culture(s)” that united theatre artists, academics and students in lively discussions that informed his ongoing research in the cultural formations of theatre in Canada. -
SG , DMI , MVHR : QG , CN , TH 1 in the Fall of 1980 Tennessee
D$+8 G$#*- S89 G$!7"+-, D)#$"! M)%I4'+, )#* -&" M)# $# -&" V)#%'/4"+ H'-"! R''2: Q/""+ G'(($6, C'22/#$-9 N)++)-$4", )#* T&")-+" H$(-'+91 This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communi- ties and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community. Dans cet article, Dirk Gindt montre comment les rumeurs qui ont entouré la visite de Tennessee Williams à Vancouver en 1980 ont façonné les récits des communautés gais et, ce faisant, ont contribué à l’histoire du théâtre queer au Canada. Après avoir entendu dire que Williams avait invité des jeunes hommes à monter à sa chambre d’hôtel pour ensuite leur demander de lui lire des passages de la Bible, Sky Gilbert et Daniel MacIvor ont chacun été inspirés à écrire une pièce à partir de ces événements. Gindt fait valoir que Gilbert et MacIvor transcendent l’origine spécifique des premières rumeurs et les utilisent pour exprimer un processus de margina- lisation sexuelle et culturelle. -
Brief Chronicles Vol
Brief Chronicles Vol. I (2009) i Brief Chronicles: An Interdisciplinary Journal of Authorship Studies General Editor: Roger Stritmatter Managing Editor: Gary Goldstein Editorial Board: Carole Chaski PhD, Institute for Linguistic Evidence, United States Michael Delahoyde PhD, Washington State University, United States Ren Draya, PhD, Blackburn College, United States Sky Gilbert, PhD, University of Guelph, Canada Geoffrey M. Hodgson, PhD, University of Hertfordshire, United Kingdom Warren Hope, PhD, Montgomery County Community College, United States Mike Hyde, PhD, English, Tufts University, United States Felicia Hardison Londré, PhD University of Missouri, Kansas City, United States Donald Ostrowski, PhD, Harvard University, United States Tom Regnier, JD, LLM, University of Miami School of Law, United States Sarah Smith, PhD Richard Waugaman, MD, Georgetown University School of Medicine and Washing- ton Psychoanalytic Institute, United States Copy Editors: Wenonah Sharpe Alex McNeil Kathryn M Sharpe Brief Chronicles Vol. I (2009) ii The editors wish to thank Richard Paul Roe for his generosity in making possible this printed version of Brief Chronicles’ inaugural issue. Copyright 2009 The Shakespeare Fellowship ISSN Pending Brief Chronicles Vol. I (2009) iii Vol 1 (2009) Inaugural Issue Table of Contents Articles Welcome to Brief Chronicles Roger A. Stritmatter, Gary Goldstein 1-7 Censorship in the Strange Case of William Shakespeare Winifred L. Frazer 9-28 The Psychology of the Authorship Question Richard Waugaman 29-39 The Fall of the -
Private Lives
SUPPORT FOR THE 2019 SEASON OF THE AVON THEATRE IS GENEROUSLY PROVIDED BY THE BIRMINGHAM FAMILY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY M. FAINER 2 DIRECTOR’S NOTES COMETS IN THE SKY BY CAREY PERLOFF At the beginning of my directing career, I had the good fortune to be in rehearsal with Harold Pinter, who took me aside one day and said, “If you respond so strongly to my stuff, perhaps it’s time for you to direct Noël Coward.” It has taken thirty years for me to follow his advice, but as soon as I got into the room with Coward’s forensic language and his desperate, hilarious, love-sick characters, I understood what Pinter meant. It is often assumed that Coward’s world is a kind of brittle upper-class exercise in style, but (as is the case with Pinter) the gorgeous surface of his language belies a kind of existential and chaotic despair but hailing originally from a poor and underneath. “Expert use of language is anonymous background. So everything in to me a perpetual joy,” Coward averred; his theatrical universe is invention and role- in particular, he was a master at language playing. Every moment exists to question that conceals as much as it reveals, that the status quo. His characters may say they protects the speaker from exposure or don’t believe in anything, but their feelings humiliation. run high. Desire is often the most painful (and the most hilarious) emotion possible. Because the characters in Private Lives have no defined professions and no After Antoni Cimolino asked me to direct clear direction in life, they careen around Private Lives at Stratford this season, in a kind of no man’s land looking for I paid a visit to the Coward Archive at guideposts around which to orient their Birmingham University in England. -
Halferty Political Stages FINAL DRAFT
Political Stages: Gay Theatre in Toronto, 1967 – 1985 By John Paul Frederick Halferty 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 John Paul Frederick Halferty 2014 ii Political Stages: Gay Theatre in Toronto, 1967 – 1985 John Paul Frederick Halferty Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto 2014 Abstract This dissertation constructs an analytical history of gay theatre in Toronto from 1967 to 1985, a period that saw the radical reformation of the city’s gay community and its not-for-profit theatre industry. It undertakes this research using a cultural materialist theoretical frame that enables it to recover the history of gay theatre in Toronto and connect this history to the contemporary development of gay community and theatrical production in the city. By recovering the history of gay theatre in Toronto, this dissertation demonstrates its seminal importance to the history of gay culture in Canada, and to Canadian theatre history. To construct its narrative of gay theatre history in Toronto, this dissertation focuses on three pioneering gay playwrights, John Herbert, Robert Wallace, and Sky Gilbert, historically contextualizing these within three distinct eras of contemporary gay history and Toronto theatre history. Chapter one addresses the years prior to the decriminalization of homosexuality in Canada in 1969, analyzing the theatrical development of John Herbert’s Fortune and Men’s Eyes, and the political significance of the New York production’s tour to Toronto’s Central Library Theatre in October 1967. -
Toronto Arts Council Report to Economic Development Committee 2015
Attachment TABLE OF CONTENTS Introduction and Grants Impact Analysis ........................................................................................... 1 Highlights of New Investments, chart ………………………………………………………………………3 Overview Strategic Funding .................................................................................................................. 3 Arts Discipline Funding ......................................................................................................... 4 Assessment and Allocations Process ................................................................................... 5 Loan Fund ............................................................................................................................. 5 Operations ............................................................................................................................. 5 Preliminary Results of Increased Grants Funding ............................................................................. 7 2015 Allocations Summary ................................................................................................................ 10 Income Statement & Program Balances for the quarter ended December 31, 2015 ........................ 11 Strategic Funding 2015 Partnership Programs .......................................................................................................... 12 Strategic Partnerships .......................................................................................................... -
The William Harris Papers
The William Harris Papers Marymount Manhattan College 221 East 71st Street New York, New York 10021 Archives Collection #001 Processed October 2, 2001 Mary Elizabeth Brown William Balber (Billy) Harris was born April 9, 1951, in Pittsburgh, Pennsylvania. He was an alumnus of the Lawrenceville School and of Trinity College in Hartford, Connecticut. Upon graduation, he moved to New York. At one time, he lived on Reade Street in Tribeca, and at the time of his death, he lived in #7C at 160 Front Street near the Fulton Fish Market.1 He divided his time between two kinds of writing, one being business writing. He was a staff writer for Forbes Magazine and Institutional Investor and managing editor of Treasury and Risk Management and The Daily Deal. He was also a drama and dance critic. He became interested in the theater in Pittsburgh, where he worked designing props under Peter Chandler of Periwig Productions, and at the Kirby Arts Center. He recalled coming to New York from Pittsburgh at the age of 17 to pay $9 to see a performance of Hair.2 He was the theater editor for the SoHo Weekly News and managing editor of Theatre Crafts Magazine. He also wrote articles, criticism and reviews for Art Forum, Brooklyn Bridge, The New York Times, The Newark Star Ledger, and The Village Voice. It was in the course of this work that he amassed his collection of papers. Mr. Harris died of a massive coronary July 27, 2000, in New York City at the age of 49. He was survived by his mother Vivienne, of Pittsburgh; his sister, Ellen, who lived in Denver, and his brother John, a physician in the San Francisco area. -
Nightwood Theatre Canadian Plays Series Editor: Anne Nothof
Nightwood Theatre Canadian Plays Series Editor: Anne Nothof The Canadian Plays series features a broad range of new Canadian plays with an emphasis on Alberta works and theatre professionals. Publications will include single full-length plays and thematic collections by single or multiple playwrights, as well as theatre history and criticism. The target audience comprises theatre lovers, actors and playwrights, directors and producers, teachers, students, and librarians. Series Titles Hot Thespian Action: Ten Premiere Plays from Walterdale Playhouse Edited by Robin C. Whittaker Nightwood Theatre: A Woman’s Work Is Always Done by Shelley Scott Nightwood Theatre A Woman’s Work Is Always Done Shelley Scott, Ph.D. © 2010 Shelley Scott Published by AU Press, Athabasca University 1200, 10011–109 Street Edmonton, ab t5j 3s8 Library and Archives Canada Cataloguing in Publication Scott, Shelley Nightwood Theatre : a woman’s work is always done / Shelley Scott. (Canadian plays series, issn 1917-5086) Includes bibliographical references and index. Issued also in electronic format (978-1-897425-56-5). isbn 978-1-897425-55-8 1. Nightwood Theatre--History. 2. Feminist theater--Canada--History. 3. Women in the theater--Canada--History. 4. Feminism and theater-- Canada--History. I. Title. II. Series: Canadian plays series ps8169.f45s36 2010 792.09713’541 c2009-907004-9 Cover design by Honey Mae Caffin, intertextual.ca Book design by Natalie Olsen. Printed and bound in Canada by Marquis Book Printing. This project was funded in part by the Alberta Foundation for the Arts. This publication is licensed under a Creative Commons License, Attribution-Noncommercial-No Derivative Works 2.5 Canada, see www.creativecommons.org.