Our Cultural Heritage Places

Total Page:16

File Type:pdf, Size:1020Kb

Our Cultural Heritage Places HERITAGE 2006 PATRIMOINEPATRIMOINE 20062006 Our Cultural Heritage Places Nos lieux culturels patrimoniaux CONTENTS TABLE DES MATIÈRES Canada’s Built Heritage Le patrimoine bâti à vocation For Culture 1 culturelle du Canada 1 British Columbia Colombie-Britannique Orpheum Theatre 7 Théâtre Orpheum 7 Alberta Alberta Banff Park Museum 9 Musée du Parc-Banff 9 Saskatchewan Saskatchewan Danceland 11 Danceland 11 Dance Halls In Canada 14 Salles de danse au Canada 14 Manitoba Manitoba The Virden Auditorium Theatre 15 Le Virden Auditorium Theatre 15 Yukon Yukon Palace Grand Theatre 17 Palace Grand Theatre 17 Ontario Ontario St. Lawrence Hall 19 St. Lawrence Hall 19 Victoria Memorial Museum 22 Musée commémoratif Victoria 22 Quebec Québec Montreal Museum Of Fine Arts 25 Musée des beaux-arts de Montréal 25 Granada Theatre 27 Théâtre Granada 27 Community Action Saves L’action communautaire sauve Historic Theatres 28 des théâtres historiques 28 Newfoundland And Labrador Terre-Neuve-et-Labrador Society Of United Fishermen Society Of United Fishermen Lodge (SUF#1) 29 Lodge (SUF #1) 29 New Brunswick Nouveau-Brunswick Capitol Theatre/Imperial Theatre 31 Théâtre Capitol/Théâtre Imperial 31 Prince Edward Island Île-du-Prince-Édouard Victoria Community Hall 33 Victoria Community Hall 33 Nova Scotia Nouveau-Écosse Halifax Public Gardins 35 Les Jardins publics de Halifax 35 Finding Out More About Cultural Se renseigner sur les immeubles Buildings And Places 38 et endroits culturels 38 If You Want To Read More 39 À lire au sujet du patrimoine Websites 40 culturel du Canada 39 Sites Web 40 National Film Board 42 Office national du film 42 Cover : Peter Schwartzman Couverture : Peter Schwartzman CANADA’S BUILT LE PATRIMOINE BÂTI À HERITAGE FOR CULTURE VOCATION CULTURELLE DU CANADA High Brow, Low Brow, And Popular Du plus noble au plus populaire In this quick tour, we visit a number of Dans cette tournée rapide, nous visitons divers Canada’s heritage buildings that were immeubles patrimoniaux du Canada qui ont été created especially for people to get together construits expressément pour permettre aux gens for a good time, some entertainment, or de se réunir et s’amuser, pour présenter des another cultural purpose. A big city fine divertissements ou pour d’autres fins culturelles. arts museum, a dance hall in a spa town, a Qu’il s’agisse d’un musée des beaux-arts dans prairie opera hall, a downtown movie une métropole, d’une salle de danse dans une palace, and the community hall of a rural ville thermale, d’un opéra des Prairies, d’un village—each building tells a story. These grandiose cinéma au centre-ville ou d’un centre places express a purpose, a people, and the communautaire dans un village rural, chacun de view of a time. ces bâtiments a un récit à raconter. Tous relèvent For the early First Nations people of this d’un but précis, d’une communauté et d’une land there was a unity of purpose in their époque. built environments. As far as we know, long- Pour les Premières nations qui peuplaient initiale- houses, fire rings, totems and other struc- ment ce pays, l’environnement bâti traduisait une tures were not built for a single activity, but intégration de fonctions. À ce que nous sachions, les for many kinds of gatherings. Potlatches, longues maisons, les foyers, les totems et autres social celebrations, spiritual occasions, tribal structures étaient construits non pour une seule meetings—these activities focused on the activité mais pour de nombreux genres de rencon- kinship, beliefs and needs of First Nation tres. Les potlatchs, les fêtes sociales, les occasions peoples. spirituelles et les rencontres tribales étaient tous In the early European settlements, centrés sur la parenté, les croyances et les besoins fortresses, and colonies, the newcomers first des peuples des Premières nations. attended to fundamental needs and built Dans les premiers établissements, forteresses et their shelters, structures for defence, and colonies des Européens, les nouveaux venus then, places for religious worship. veillaient d’abord aux besoins fondamentaux et cons- But after they had provided for the basics, truisaient dans l’ordre leurs abris, leurs structures de the settlers, entrepreneurs and soldiers might défense puis leurs lieux du culte. have thought about another need: the social Après avoir établi la base toutefois, les pionniers, need to get together to enjoy each others’ entrepreneurs et soldats pouvaient penser à un autre company, leisure and entertainment. besoin : le besoin social de se réunir pour profiter de It’s likely that the first theatrical la compagnie les uns des autres, se performances and concerts in détendre et se divertir. French and British North America Vraisemblablement, les premières took place in whatever space was représentations théâtrales et concerts large enough to accommodate a en Amérique du Nord française et bri- gathering. That might have been a tannique ont eu lieu dans des endroits large assembly room in an inn or suffisamment spacieux pour accueillir the mess hall of a fort. un groupe nombreux. Il pouvait s’agir As settlements grew, so did par exemple d’une grande salle de some of the first structures built réunion dans une auberge ou de la salle purposely to provide for leisure à manger d’un fort. and entertainment. À mesure que les établissements se In 1764, Quebec City’s Gazette sont développés sont apparues des reported dances held at a “Concert structures construites expressément Hall.” That hall is no longer stand- pour les loisirs et les divertissements. ing. DON AGOPSOWICZ En 1764, la Gazette de Québec rap- There are historical references to other porte que des bals sont organisés dans une« salle de special buildings in early Quebec. concert ». Cette salle n’existe plus. Documents mention concerts and perform- D’autres immeubles spécialisés sont évoqués dans ances in the Thespian Theatre, Marchant’s les archives historiques du début du Québec. Des Our Cultural Heritage Places 1 Nos lieux culturels patrimoniaux Coffee House, and Nouvelle Salle des documents font état de concerts et autres représen- Spectacles. A play was performed in 1805 at tations au Thespian Theatre, à la Merchant’s Coffee the Théâtre Patagon, but the name of that House et à la Nouvelle Salle des spectacles. Une drama is lost to history. pièce est donnée en 1805 au Théâtre Patagon, mais Taverns were popular gathering places, and l’histoire n’a pas retenu son titre. many had an assembly room on the upper Les tavernes sont des lieux de rencontre appré- floor where a drama could be staged. From ciés. Nombreuses sont celles qui disposent à l’étage the late 18th century until the middle of the d’une salle où l’on peut présenter une pièce. De la 19th century, there was frequent entertain- fin du 18e siècle au milieu du 19e, les tavernes de ment in the taverns in St. John’s, Halifax, St. John’s, Halifax, Montréal et Québec offrent sou- Montreal, and Quebec. vent des spectacles. In Montreal, people gathered at Dillon’s À Montréal, les gens se rencontrent à l’hôtel Dillon Hotel and Mr. Frank’s Assembly Room to et à la salle de réunion de M. Frank pour assister à hear musical performances. In St. John’s, des représentations musicales. À St. John’s, le the Amateur Theatre and Globe Tavern were Théâtre Amateur et la taverne Globe sont réputés known for their talented actors and musi- pour les acteurs et musiciens de talent qui s’y pro- cians. duisent. There are few survivors among these old Il y a quelques survivants parmi ces anciens bâti- buildings. Most were lost to fire or demoli- ments. La plupart ont été incendiés ou démolis. tion. (Deux immeubles du genre qui ont survécu sont (Two buildings of this type that have sur- l’immeuble Cardno (1877) à Seaforth (Ontario) et le vived are the Cardno Building (1877) in théâtre Academy (1892) à Lindsay (Ontario).) Seaforth, Ontario, and the Academy Theatre Avec l’industrialisation et l’aisance croissante des (1892) in Lindsay, Ontario.) villes s’est développée la demande d’immeubles With industrialization and the growing afflu- pour des réunions, des activités importantes et des ence of cities, there was a growing need for divertissements. Au milieu des années 1850, buildings for meetings, important events, and Montréal et Toronto avaient construit des Mechanics entertainment. By the mid-1850s, Montreal Halls servant à une variété d’occasions culturelles, and Toronto had constructed Mechanics Halls politiques et sociales. Emma Albani, vedette d’opéra which were used for a variety of cultural, née au Québec, et la« divine » Sarah Bernhardt, la political, and social occasions. Emma Albani, plus grande actrice de son époque, se sont produites the Quebec-born opera star, and the “divine” dans de tels lieux. Sarah Bernhardt, the greatest actress of her Le St. Lawrence Hall (1851) de Toronto est un rare time, performed in such halls. exemple de lieu à usage spécialisé qui a survécu St. Lawrence Hall (1851) in Toronto is a depuis la mi-19e siècle, époque à laquelle le feu a rare example of a specially built performance souvent ravagé des quartiers entiers des villes cana- space that has survived from the mid-19th diennes. century, a time when fire repeatedly ravaged Dans les dernières décennies du 19e siècle, des entire neighbourhoods of Canadian cities. troupes itinérantes d’acteurs et de musiciens présen- In the last decades of the 19th century, tour- tent le répertoire dramatique classique et des mélo- ing companies of actors and musicians per- drames. Grâce aux chemins de fer, elles se rendent formed the standard dramatic repertoire and dans les villes petites et grandes partout au pays. melodrama. Thanks to rail links, the compa- Pour faciliter la vie de ces professionnels venant de nies travelled to major cities and smaller Boston, New York ou même Londres, les localités towns throughout the country.
Recommended publications
  • Cinemati • TRADE NEWS • Full Implementation of Law Due in 0C Private Labs Suffer From
    CINEMAti • TRADE NEWS • Full Implementation of law due in 0C Private labs suffer from MONTREAL - By the end of gross; and the factors which Once the regulations are ap­ NF B IT Fproductions October, the Quebec Cabinet should determine the 'house proved, the Cabinet will then 15 projects since the begin­ is expected to have approved nut' or the cost of operating a promulgate the articles of the MONTREAL - Figures recently the final version of the regula­ theatre. law which are pertinent. released by the National Film ning of the Broadcast Fund for tions of the Cinema Law. Ap­ Guerin does not foresee any Board to Sonolab's president budgets totalling 532,528,000. proval of the 140 articles of the parts of the law being set aside, Andre Fleury reveal for the Of this amount, the NFB spent regulations will permit prom­ For articles concerning film and commented that the first time the ventilation of in­ $4,399,000 internally on tech­ ulgation of the remaining arti­ distribution as defined in the cinema dossier is one of the vestments made by the NFB on nical services while it spent cles of the law which was pass­ regulations see page 44, minister's priorities. Richard productions involving Telefilm only 565,000 on the same ser­ ed by the National Assembly has already announced that he Canada and are sure to fuel the vices in the private sector. on June 22, 1983. will not stand for re-election, long-standing battle involving Emo explains in her letter to The final, public consulta­ Other briefs presented at the but has promised to see the the Board and the private-sec­ Fleury that the Board's policy tion on the regulations took hearings dealt with video-cas­ Cinema Law completed before tor service houses.
    [Show full text]
  • Frederick Philip Grove: a N Impression
    per copy $1.00 Winter, ig6o Articles By: HUGH MACLENNAN, JAMES REANEY, WILFRED WATSON, DESMOND PACEY, DAVID M. HAYNE, W. B. HOLLIDAY. Reviews By: PETER QUENNELL, JEAN-GUY PILON, WARREN TALLMAN, MARGARET ORMSBY, R. E. WATTERS, GILLES MARCOTTE AND OTHERS. Special Supplement: A CHECKLIST OF CANADIAN LITERATURE, 1959. A QUARTERLY OF CRITICISM AND R€VI€W ΑΤ Ι Μ Ε OF PROJECTS A FAVOURITE WORD among Mexicans is proyectismo; it means the rage for making plans without considering t h e probability of achievement. To the outside observer in recent years the Canadian literary world might at times have seemed to be suffering from proyec tismo, so many plans for magazines and other publications h a ve been in the air. In fact, a surprising number of these plans have taken concrete form. Canadian Literature, here publish in g its third number, can regard itself as well out of the project stage, and it is only one of a c o n sid e r a ble group of literary magazines wh ich have started in Canada during a co m paratively short period and which still flourish. Fiddlehead in the Mari times, Delta and Liberté in Montreal, Tamarack in Toronto, Prism in Vancouver — even such an incomplete list shows that the literary maga- zines are not merely becoming numerous, but also that they healthily represent every region of the country. Perhaps the most encouraging fact about these new magazines is that they do not seem to be achieving mutual strangulation; on the contrary, those whose circumstances we know appear to be receiving more support than the pioneer Canadian little magazines of the 1940's.
    [Show full text]
  • 4 Modern Shakespeare Festivals
    UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso.
    [Show full text]
  • 1956-57 Year Book Canadian Motion Picture Industry
    / The mighty spectacle, FROM THE GREATEST N BE PRESENTED IN PARAMOUNT PRESENTS Audrey Hepburn Henry Fonda Mel Ferrer in LEO TOLSTOY'S Wax md Peace A PONTI-DeLAURKNTIIS production Co-starring Vittorio Gassman HERBERT LOM • OSCAR HOMOLKA ANITA EKBERG Helmut Dantine• Barry Jones• Anna Maria Ferrero• Milly Vitale• Jeremy Brett and John Mills Produced by DINO DeLAURENTIIS Directed by KING VIDOR Based on the novel "War And Peace" by LEO TOLSTOY Color by TECHNICOLOR THE GREAT HUMAN STORY. OVEL EVER WRITTEN WILL 1956 BY PARAMOUNT PROFIT MAIN FEATURE PROFIT Show Business And The Refreshment Business Are Partners in Profit We’ve seen it proved from coast to coast: patrons like to have refreshment handy while they enjoy your program. Specifically, they like to have ice-cold Coca-Cola available for breaks in the schedule for a pause on the way out of the theatre. Their satisfaction makes a mighty pleasant sound in your coin box. For details on a variety of vending equipment, write Coca-Cola Ltd., 90 Broadview Avenue, Toronto 8, Ontario. COCA-COLA LTD. 2 1956-57 YEAR BOOK OF THE CANADIAN MOTION PICTURE INDUSTRY PRICE $2.25 FILM PUBLICATIONS of Canadaf Ltd. 175 BLOOR ST. EAST TORONTO 5, ONT. CANADA Editor: HYE BOSSIN Assistants: Miss E. Silver and Ben Halter 3 r . i j. mmwsii liArus. presents L ^ r v A nation-wide sur¬ // _ / _// vey by Canadian lips Marketing Analysis Ltd. has confirmed L ■ J the overwhelming audience interest in “Tips”. the advertising medium audiences enjoy SCREEN ADVERTISING SERVICES OF CANADA LIMITED 20 CARLTON STREET, TORONTO • TELEPHONE EM.
    [Show full text]
  • Heart of the City: Music of Community Change in Vancouver, British Columbia's Downtown Eastside Klisala R. Harrison a Dissertati
    HEART OF THE CITY: MUSIC OF COMMUNITY CHANGE IN VANCOUVER, BRITISH COLUMBIA'S DOWNTOWN EASTSIDE KLISALA R. HARRISON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAMME IN ETHNOMUSICOLOGY AND MUSICOLOGY YORK UNIVERSITY, TORONTO, ONTARIO MARCH 2008 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90124-3 Our file Notre reference ISBN: 978-0-494-90124-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • "Thinkpol.Ca" from September 1, 2017 to November 30, 2017 to Or from Mayor Robertson, Kaye Krishna, Janice Mackenzie and Jessie Adcock
    ~TYOF CITY CLERK'S DEPARTMENT VANCOUVER Access to Information File No.: 04-1000-20-2017-488 January 17, 2018 . 2ff) Dear · .22(1) Re: Request for Access to Records under the Freedom of Information and Protection of Privacy Act (the "Act") I am responding to your request of November 30, 2017 for: Copies of all documents including emails, memos, briefing notes, PowerPoint presentations, manuals, and Q&A's containing the words 'Thinkpol" or "ThinkPol" or "thinkpol.ca" from September 1, 2017 to November 30, 2017 to or from Mayor Robertson, Kaye Krishna, Janice MacKenzie and Jessie Adcock. All responsive records are attached. Some information in the records has been severed, (blacked out), unders.13(1), s.14, s.15(1)(l) and s.22(1) of the Act. You can read or· download these sections here: · http:/ /www.bclaws.ca/EPLibraries/bclaws neW/document/10/freeside/96165 00 Under section 52 of the Act you may ask the Information & Privacy Commissioner to review any matter related to the City's response to your request. The Act allows you 30 business days from the date you receive this notice to request a review by writing to: Office of the Information & Privacy Commissioner, [email protected] or by phoning 250-387-5629. If you request a review, please provide the Commissioner's office with: 1) the request number assigned to your request (#04-1000-20-2017-488); 2) a copy of this letter; 3) a copy of your original request for information sent to the City of Vancouver; and 4) detailed reasons or grounds on which you are seeking the review.
    [Show full text]
  • SHAKESPEARE's FEMALE Icons
    The start ow SHAKESPEARE's FEMALE IcoNs Volume XXXI 2012 Vol. XXXI Digital Facsimile The Upstart Crow: A Shakespeare journal, Volume XXXI, 2012 is published by Clemson Universicy Digital Press. © 2013 Clemson Univcrsicy ISSN: 0886-2168 ~ EDITOR ·~ \ Elizabeth Rivlin CLEMSON UNIVERSITY DIGITAL PRESS ASSOCIATE EDITORS Ray Barfield, Wayne Chapman, Jonathan Field, Martin Jacobi, Michael LeMahieu, Chantelle MacPhee, Brian McGrath, Lee Morrissey, and Will Stockton BOOK REVIEW EDITOR Will Stockton, Clemson University ADVISORY BOARD James Berg, Pam Brown, Patricia Cahill, Ann C. Christensen, Katherine Conway, Herbert Coursen, Mary Agnes Edsall, John R. Ford, Walter Haden, Chris Hassel, Maurice Hunt, Natasha Korda, Paul Kottman, Richard Levin, Jeremy Lopez, Bindu Malieckal, John McDaniel, Ian Frederick Moulton, Peter Pauls, Kaara Peterson, Jeanne Roberts, and Jyotsna Singh BUSINESS MANAGER Kristin Sindorf ACCOUNTING FISCAL ANALYST Beverly Pressley EDITORIAL ASSISTANTS Charis Chapman and Jared Jamison EDITORIAL CORRESPONDENCE Editor, 1he Upstart Crow, Department of English, Clemson University, Strode Tower, Box 340523, Clemson, SC 29634-0523. Tel. (864) 656-3151. Fax (864) 656-1345. SUBSCRIPTION RATES Please note: after Volume XXXI, "'ubscription will no longer be available although copies of most volumes may be purchased from the online store to which visitors to our website will be directed. PDF facsimiles of all volumes, in the ncar future, wiU be available free for viewing on an open-access basis. Queries on existing subscriptions should be directed to The Business Manager at the same address as given above. Meanwhile, rates for the present (and last) volume of 1he Upstart Crow are as follows: 1-year subscription for individuals (Vol. XXXI): $17 1-year subscription for institutions (Vol.
    [Show full text]
  • Michael Mosca
    2019 Pioneer of the Year Michael Mosca Silver Spotlight Award Recipients Nuria Bronfman Andy Faux Janice Luke Diamond Spotlight Award Recipient Ted Bielby ©2019 photo Bruno DesRosiers 2019 PIONEER OF THE YEAR Michael Mosca 2019 SILVER SPOTLIGHT AWARD RECIPIENTS Nuria Bronfman Andy Faux Janice Luke 2019 DIAMOND SPOTLIGHT AWARD RECIPIENT Ted Bielby Congratulations to the 2018 Student Assistance Awards Recipients Huzaifa Ahmed Julia Greene Reegan McCheyne Samantha Tonner PJ Cheyne-Miller Haylee Hinger Michaela McKinnon Tatiana Tuzzi Taylon Clark Deanna Liao Katherine Ong Alison Zimmer Natasha Cross Sydney Liao Jessie Pan Rebecca Eastwood Jordan Lok Karishma Patel 2019 student award Christopher Gagnon Emma Mackie Hannah Rees recipients will be announced Lynette Grandmaison Saio Mansaray Laura Schnobb at the Awards Dinner. Canadian Picture Pioneers Board of Directors, Trustees and Members across Canada congratulate this year’s honourees and thank them for their dedicated service to the Pioneers over the years. We would like to thank every one of our members and sponsors across the country for supporting the Picture Pioneers. Your continued support of events, annual donations and in memory bequeaths are truly appreciated by those who need our assistance. SPOTLIGHT SPONSOR BROUGHT TO YOU BY SPOTLIGHT TABLE SPONSORS OUR GENEROUS SPONSORS CINEPLEX ENTERTAINMENT We salute and thank the following who have contributed their time, CANADIAN PICTURE PIONEERS BC BRANCH / MPTABC talents and financial support to this year’s Awards Dinner. LANDMARK CINEMAS UNIVERSAL PICTURES CANADA WALLACE & CAREY / CAREY MANAGEMENT INC. WALT DISNEY STUDIOS MOTION PICTURES CANADA WARNER BROS. PICTURES CANADA DINNER & AWARD BOOK COMMITTEE Sarah Brown, Karen Burke-Keniston, John Freeborn, Jennifer Hofley, Phil May, Lisa McAlpine, Carrie Wolfe, Danish Vahidy and Shaun McAlpine Thank you to Shaun McAlpine for his creative and production work on the Picture Pioneers Awards Book this year.
    [Show full text]
  • The Development and Organization of Stage Combat in Canada By
    Battles Staged By…: The Development and Organization of Stage Combat in Canada by Nicholas J Harrison A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2012 © Nicholas J Harrison, 2012 Abstract This dissertation investigates and traces the history and development of stage combat within Canada. The inclusion of the fight director within the Canadian Theatre Agreement in 2002 recognized fight directors as professional theatre artists. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratford Festival in 1953. The fight director has been part of a long theatrical tradition that demands attention to both artistic interpretation of dramatic texts as well as practical skill sets. To date there has not been a thorough investigation of the history of the fight director. Chapter One defines the role and function of the fight director and introduces the people interviewed as part of my research. Chapter Two explores the origins of modern stage combat. Chapter Three concerns the roles that Douglas Campbell and Patrick Crean played in the establishment of professional stage combat through their experience and involvement with the Stratford Festival. Chapters Four and Five explore the emergence of the two major fight associations in Canada and the training syllabi they created to properly train actor combatants. Chapter Six focuses on the role of the fight director as artist, dramaturg, instructor and choreographer through a series of interviews with fight directors John Stead, J.P. Fournier, John Nelles, Daniel Levinson, James Binkley, Steve Wilsher and F.
    [Show full text]
  • Rehearsal, Performance, and Management Practices by the Oregon Shakespeare Festival
    Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Andrew Michael Blasenak, M.F.A. Graduate Program in Theatre The Ohio State University 2012 Dissertation Committee: Professor Stratos Constantinidis, Advisor Professor Nena Couch Professor Beth Kattelman i Copyright by Andrew Michael Blasenak 2012 ii Abstract This dissertation examines the artistic and managerial visions of six "non-profit" theatre companies which have been dedicated to the revitalization of Shakespeare‘s plays in performance from 1935 to 2012. These six companies were The Oregon Shakespeare Festival, the Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center. The following questions are considered in the eight chapters of this study:1) Did the re- staging of Shakespeare's plays in six "non-profit" theatre companies introduce new stagecraft and managerial strategies to these companies? 2) To what degree did the directors who re-staged Shakespeare's plays in these six "non-profit" theatre companies successfully integrate the audience in the performance? 3) How important was the coaching of actors in these six "non-profit"
    [Show full text]
  • Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
    SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date.
    [Show full text]
  • 16Th Edition
    16TH EDITION OUR FILMS IN OUR SCHOOLS II CELEBRATING FILM EVERYWHERE We’re finally back to the big screen, but we never stopped showing your favourite films along the way. We believe the magic of movies continues to inspire anywhere. Whether you’re visiting us or watching from home, enjoy the unforgettable stories while they move you. 1 ACKNOWLEDGMENT OF INDIGENOUS TERRITORY REEL CANADA’s offices are located on the treaty lands and territory of the Mississaugas of the Credit First Nation, which is also the traditional territory of the Anishinaabe, Haudenosaunee and Huron Wendat nations. This territory is subject to the Dish With One Spoon Covenant, a sacred agreement between the Haudenosaunee Confederacy, the Anishinaabe, and allied nations to peaceably share and care for the land and waters of the Great Lakes regions. REEL CANADA also conducts activities and presents programming across Canada. We acknowledge the treaty lands and traditional territories of Indigenous nations across the country. We acknowledge that the relationship between these Indigenous nations and their lands has existed since time immemorial and is ongoing. We make these acknowledgments as a sign of respect, in the spirit of reconciliation, and in recognition of Indigenous sovereignty. TABLE OF CONTENTS Who We Are p. 4 Message from the Founders p. 10 Our Team p. 11 Letters p. 12 Guests, Educational Partners & Consultants p. 16 Feature Films p. 19 Elementary School Programme p. 55 Canada On TV p. 56 Short Films p. 61 2020 Catalogue Additions p. 71 Reference Guide p. 73 Festival Partners, Donors and Supporters p. 102 Index p.
    [Show full text]