Over at SpiderWebShow, they’re presenting a series on Quebec circus, and the firs two articles are up. I found this one to be the more interesting of the two, wherein the author gives her opinion on whether or not Circus shows in Quebec have been Quebecois enough. I estimate that there will be a serious reconsideration in the near future about the use of the word “nationalism” to describe Quebecois culture struggle, but even so, do you see a Cirque du Soleil show and think “needs more Quebec flavour?” Let us know on Twitter! (via SpiderWebShow)
Here’s a look at FemFest 2017 and it’s role in the Winnipeg and Manitoba theatre scenes. From the article:
“When we started looking at producing (Two Indians) we had this dilemma: there are not any professional, available Indigenous directors in Winnipeg,” McIntyre said. “We want to find ways to support not only emerging artists but artists who are lacking in the mainstream theatre right now.”
Abetria said he’s grateful to be working with Ballantyne because she has the resources to help him accurately reflect Indigenous culture.
“It’s great that I get to work with plays that usually wouldn’t be put on just because statistically it is usually men who produce and less women,” he said.
(via Winnipeg Free Press)
The Breathing Hole opens at Stratford Festival. The show is as Inuit as possible! It’s the first time an Inuk has directed a show at the Festival, and Reneltta Arluk is bringing as much Indigenous-ness to the production as she can. Featuring over a dozen Indigenous actors, contributors, and creators, the show follows the life of a polar bear over the course of hundreds of years. Yes! (via CBC)
This story was sent to us by QDF Member Velma Candyass of the Candyass Cabaret on Twitter! Thank you Velma! In it, we can take a look at what’s happening at one of the most famous theatres on the planet – and there are big changes planned thanks to new artistic director Michelle Terry. (via BBC)
Here’s Red Theatre Chicago’s reportback on their Access Auditions. The article discusses the challenges and successes of their May auditions for d/Deaf performers and performers with disabilities. There’s a lot of work that needs to be done in theatre arts in this regard, and HowlRound supplied the scalding hot tea, such as this:
Accessibility isn’t just about elevators and interpreters. If you demand actors adjust their lives to your rehearsal schedule, you may find that none can. Variable work schedules, transportation, and family obligations are difficult pairings with must-attend rehearsals and performances. Are you able to have a longer rehearsal process with flexible scheduling to accommodate work/family/health issues? Can you make aesthetic choices that allow for more inclusion?
The authors really drive home that given the recent drive in arts to be more inclusive generally, without action it’s an empty promise. There is a lot of work to be done! (via HowlRound)