Clair Sedore has been busy working on a
theatre site which will always be "under construction." It is on theatres
in New York, London, Toronto and International cities throughout the world.
There is a great deal of work to be done, but even now there are some great
links which may help you in any project you may have. I have been researching
the material for a long time.
Any comments would be appreciated. I am not a web designer as you will
see, I barely can do a few html pieces, so don't expect an "artsy" web
page. It is the information that I am interested in. Please take a peak
if you will, and hopefully you will find some useful links.
http://www.linkopp.com/members/clairsedore/index.html
Kindest regards,
(Mr.) Claire Sedore
La revue québécoise d'études théâtrales L'Annuaire théâtral désire par la présente vous informer de la parution de son 25e numéro. Veuillez adresser toute demande d'abonnement ou toute correspondance à l'adresse indiquée.
Bonne lecture !
Chantal Hébert, La pensée musicale: clé à
la portée du théâtre
Irène Roy, Théâtre, musique et environnement
sonore. Présentation
Pierre MacDuff, Trajectoire d'un musicien de théâtre.
Entretien avec Michel Robidoux
Philippe Ménard, La musique d*Andromaque: un parcours de
création
Irène Roy, «Paysage sonore»: phénomène
sensible et communicationnel
Sophie Galaise, Le théâtre musical au Québec
Jeanne Bovet, On connaît la musique? La place de l'enseignement
musical dans les écoles de théâtre du Québec
Patrice Pavis, Le gestus brechtien et ses avatars dans la mise en
scène contemporaine
Igor Ovadis, «Ne construis jamais, mais plante*» Quelques
mots assez énergiques et pourtant désespérés
pour la défense du célèbre Système inconnu
de Stanislavski
Jane Baldwin et Kathryn Mederos Syssoeva, La biomécanique
de Meyerhold et l*acteur contemporain:
comment former l'acteur complet
Josette Féral, La biomécanique n*est pas uniquement
un développement des muscles. Entretien avec Gennadi Bogdanov
Pour se procurer ce numéro de la revue, s'adresser à:
L'Annuaire théâtral
À l'attention du CRELIQ
Pavillon Charles-De Koninck (bureau 7191)
Université Laval (Qc)
G1K 7P4
Tél.: (418) 656-2131 poste 5373
Courrier électronique: Annuaire.Theatral@creliq.ulaval.ca
One of the largest Canadian cultural research projects was concluded at this year's Congress of the Social Sciences and Humanities at Bishop's University June 4 with the publication launch by the University of Toronto Press of Establishing Our Boundaries: English-Canadian Theatre Criticism.
The book, edited by Anton Wagner, is the first cultural history of Canada as seen through the eyes of twenty-one leading theatre critics commenting on the creation of an indigenous Canadian theatre and drama over two centuries.
The nation-wide research project by seventeen members of the Association for Canadian Theatre Research/Association de la recherche theatrale au Canada, was made possible by a $50,000 grant from the Social Sciences and Humanities Research Council of Canada. Additional project funding was provided by the Herman Voaden Trust Fund, the HSSFC Aid to Scholarly Publications Programme, York University, McGill University, Mount Saint Vincent University, Ryerson Polytechnic University, Brock University, the University of Saskatchewan, and the University College of the Cariboo.
The book's eighteen essays cover the range of influential theatre reviewing from the 1820s to 1998, and from Halifax to Vancouver. The collection addresses the ongoing dilemma of the artist and cultural industries in Canada: how to create for local and international audiences in competition with the best theatre and drama the world has to offer.
Establishing Our Boundaries examines this tension between the positive stimulus of open artistic borders and cultural globalization--particularly the preponderant influence of American popular culture on Canadian artistic creation and self-expression. The essays analyze the attempts of theatre critics to stimulate an indigenous Canadian theatre and drama, and their views on religious, moral and political issues, censorship, cultural colonialism and cultural nationalism, government support of the arts, English-French cultural relations, and Canadian national, regional and minority identities.
The University of Toronto Press has extended its 20% publication discount off the $60 428-page hard cover price to ACTR/ARTC members. Please quote the "UTP Marketing Code 1025" when ordering copies from the UTP toll-free number 1-800-565-9523.
Establishing Our Boundaries: English-Canadian Theatre Criticism. Toronto: University of Toronto Press, 1999.
NeWest Press has recently published Ethnicities:
Plays from the New West, edited by Anne Nothof.
It includes 3 plays:
House of Sacred Cows by Padma Viswanathan; Mom,Dad, I'm Living
with a White Girl by Marty Chan; and Elephant Wake by Jonathan
Christenson and Joey Tremblay.
Copies may be ordered for $18.95 from NeWest Press
Suite 201, 8540-109 St.
Edmonton AB
T6G 1E6
phone: (780) 432-9427
Fax: (780) 433-3179
e-mail: newest@planet.eon.net
The National Theatre Calendar and Registry (NATHCARE)
is now up and running. If you haven't heard, this is an exciting new project
at canadiantheatre.com (home of The Encyclopedia of Canadian Theatre
on the WWW) in answer to voluminous e-mail queries we get from across
the nation and abroad about specific productions and companies. (canadiantheatre.com
gets 2000-5000 hits a week.) It is also meant to help companies organize
seasons to avoid logjams of openings and conflicts with special events
like the Olympics, Oscar Night, etc.
(http://www.canadiantheatre.com/calendar/calendarhome.
html)
Via NATHCARE, visitors can organize their theatre outings and through direct link to the theatre company, ask questions about ticket prices, etc. What it can mean is a higher profile for Canadian theatre and, of course, ticket sales. The service, by the way, is free! Companies are invited to register their shows through to the end of 2000. The Calendar required the creation of 128 new pages and the verification of 2400 links.
If you have questions about NATHCARE, just drop us a line. Please help us get the news out to your audience; join the canadiantheatre.com celebration.
Gaetan L. Charlebois (Editor, Encyclopedia of Canadian Theatre on the
WWW)
www.canadiantheatre.com
On 15 Sep, there was a ceremony at UBC to Unveil the Dedication Plaque
for the Dorothy Somerset Grove outside the
Chan Performing Arts Centre.
Somerset was the founder and first head of the UBC Theatre Department
(after 21 years of teaching theatre in the UBC Extension Dept). There
used to be a Studio Theatre named after her, in the basement of the theatre
bldg, but that studio theatre was "dismantled" and converted into costume
storage space after the construction of the new performing arts centre
so Somerset's name and contribution lost its recognition on campus. Joy
Coghill (who was one of Somerset's students and who considers DS her mentor
and family) and her supporters approached UBC to do something to make up
for the loss of the Dorothy Somerset Studio. This eventually lead
to the naming of the grove of trees and apparantly the plans for a university
*medal* to be struck (soon/later).
Kathy Chung
In order to be closer to the "action," David Gardner has recently moved back into Toronto from his home near Lake Simcoe. He and his wife are busy, with irons in many fires. David makes frequent appearances on stage and screen, and is contemplating writing an anecdotal memoire. All the best in the new house!!
Joël Beddows se retrouve à la tête du Théâtre la Catapulte depuis un an. Il s'agit d'une compagnie qui se voue à la relève artistique franco-ontarienne (les artistes entre 20 et 30 ans...les finissants des universités d'Ottawa, Laurentienne et Glendon) et le publics jeunes adultes (les 20 à 35 ans) et les adolescents: un triple mandat donc. Avec le Théâtre de la Vieille 17, le Théâtre du Trillium et Vox Théâtre, nous venons de construire un nouveau théâtre, La Nouvelle Scène, situé au 333, avenue King Edward.
A production of Roswell, written and directed by Bruce Barton, was staged by the TheatreWorks performance collective in Charlottetown, PEI, through July and August, 1999. The text for Roswell was written with the assistance of a PEI Arts Council writer's grant, and was initially workshopped at the 1998 Moveable Feast (a yearly playwrights colony organized by the Playwrights Atlantic Resource Centre), under dramaturg Philip Adams. The TheatreWorks collective then workshopped the play throughout the first months of 1999, leading to the six week summer run. Bruce also created the set, costume and projection designs for the production, and collaborated on a lighting design with Paul Druet and a soundscape with composer/performer Sean Trainor.
Roswell is, in the words of one PEI reviewer, a "impressionistic,expressionistic, and hypnotic" performance piece that utilizes projection, stylized choreography, and improvised music and sound as context for an interrelated series of narratives on the themes of alienation and the tentative return to intimacy. At the centre of the play is "Guy," a solitary, isolated figure whose dialogue with the audience creates a reciprocal relationship of fore and ground with the multiple scenarios that develop around him. The intention, Bruce suggests, is an intuitive mosaic of images and ideas that is "challenging, we hope, but leavened with energy and humour.