Local News

A statement on the CALQ 2017 funding results from Diverisité Artistique Montréal. CALQ ought to answer some of the questions laid out by DAM and the Réseau des Artistes pour l’Équité (supported by such companies as Teesri Dunyia and Black Theatre Workshop – companies that specifically support and produce art by cultural, enthic, racial, and linguistic minorities). (via DAM)

National News

Really nice profile of Ottawa-born choreographer Emma Portner, and the ways she’s reconsidering and reinventing gender, and how her “thoughtful” use of Instagram has launched her to new heights in her career. (via the Globe and Mail)

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This is a really strange and exhausting way to do a play. Fortune of Wolves comes from Ryan Griffith, and the play has a “randomized” element to it. From the article:

“At a whopping 70,000 words in length with more than 80 characters, the whole thing takes roughly nine hours to perform — a daunting prospect to stage or to watch. But doing it all in one go was never Griffith’s intention. Instead, the four actors, who have each memorized different sections, roll dice in advance of the show to determine which parts of the text to do that night.”

Um… What?! This sounds crazy… Crazy enough that it might just work! I’m definitely intrigued. (via CBC)

International News

Not directly theatre related, but for anyone who as ever tried to be an artist of any sort eventually grapples with the choice to seek government funding.How accessible is this system, really? And therefore, how diverse can the funding agencies claim to be? Would a granting board fund a company that sends in a grant riddled with spelling and grammatical errors – or is there an assumption that the applicant has a University degree? How many grants work off an assumption that an artist has some start up capital that the granting board will be reimbursing or subsidizing? Questions, questions. (via the Herald Scotland)

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Update on The Curse, a Polish play that I wrote about a few months ago (here’s the original article I linked to) that was stirring up major controversy because of it’s allegedly heretical depiction of the Pope and the Catholic church. The play is utterly outspoken in its condemnation of the Catholic church’s alleged involvement with and protection of child abusers. This piece offers a really in-depth analysis of the backlash the play sparked – people were protesting in the streets, not condemning child abuse, but decrying blasphemous accusations. The play managed to, in a very real, public manner, expose the psychological character of the institution and society that protects the “traditions” of a Christian country. It’s all laid bare. Please read it. Please. (the Polish Theatre Journal)

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Here’s a departure from my regular news content; something fun and cheery. Is your first thought Russian literature? Non? Ben, pourquoi pas! The Guardian made a handy lessons guide for all your Russian faves and you know what? It’s all pretty sound advice. Peep the Chekov! (via the Guardian)


posted by Caleigh Crow