Articles by author: shashmi2

  • The show must go on: Brock prof encouraged by theatre’s resiliency in midst of cancellations

    Wednesday, April 08, 2020 | By

    Karen Fricker

    Karen Fricker, Associate Professor of Dramatic Arts, says that despite the impact of COVID-19 on the performing arts, she’s encouraged by what she’s seen from the industry.

    (published WEDNESDAY, APRIL 08, 2020| by The Brock News {Alison Innes})

    The COVID-19 pandemic has had a devastating blow on the performing arts, but a Brock University Dramatic Arts professor is encouraged by what she has seen from the industry.

    “A vibrant industry went to ground over a matter of days, with theatres at first announcing cancelled or postponed productions and then, in most cases, cancelling the remainder of their winter-spring seasons,” says Karen Fricker, Associate Professor of Dramatic Arts and theatre critic for the Toronto Star. “Most performing artists are precarious gig workers who are seeing current and future bookings evaporate.”

    In St. Catharines, arts organizations including the FirstOntario Performing Arts Centre, the Meridian Centre, Essential Collective Theatre and Carousel Players are among those that have cancelled or postponed programming through May.

    The Stratford Festival has cancelled performances through to late May, and Niagara-on-the-Lake’s Shaw Festival through June. While Shaw has not laid-off workers and is conducting rehearsals online, Stratford has temporarily laid off 470 employees, including actors, technicians and box office workers.

    But Fricker sees hope among the gloomy news.

    “Theatre companies and artists have been demonstrating amazing resilience and ingenuity during this time of crisis,” she says. “A lot of activity has gone online.”

    Essential Collective Theatre is turning its annual vaudeville fundraiser into an online affair. “Quarantine Cabaret” will feature short video recordings of various acts, including singing, magic, clowning, drag and melodramatic readings, which will be live-streamed at the end of April.

    Several Toronto-based companies are putting on telephone plays: one-on-one shows in which an audience member gets a hand-made personal story delivered to them over the phone, says Fricker.

    “DLT (DopoLavoro Teatrale), known to local audiences for their immersive shows including That Ugly Mess that Happened in St. Catharines, is producing a series of phone and online performances,” says Fricker. Some of the performances are inspired by Boccacio’s Decameron, a 14th–century collection of novellas about a group of youth sheltering outside Florence to escape the Black Death.

    “I have been uplifted by engaging with online theatre over the past few weeks,” Fricker says.

    “Watching theatre this way is not the same as sharing the same physical space and time with fellow audience members and the artists themselves, but that doesn’t mean it’s a lesser experience. It’s different, and theatres and audiences alike are adapting to what is, for now, the new normal.”

    Tags: , , , , , , , ,
    Categories: Announcements, Department/Centre News, Events, Faculty & Instructors, News, Uncategorised

  • Fluid identities onstage at DART: “The question generation” takes on Woolf and Ruhl’s Orlando

    Thursday, October 24, 2019 | By

    Paige Hunt-Harman

    (From: DARTCritics, THURSDAY, OCTOBER 22, 2019 | by )

    Contemporary theatre companies are making strides in representing individuals whose voices society has tried to silence, especially those who identify as transgender, or don’t identify with a gender at all. Transgender performance artist Travis Alabanza’s one-person show, Burgerz, has been getting rave reviews around Europe. Two-spirited actor Ty Defoe and non-binary actor Kate Bornstein made headlines when both made their Broadway debuts in Young Jean Lee’s Straight White Men. Canadian transgender artist Vivek Shraya is creating and performing in her first theatre piece, How to Fail as a Pop Star, at Canadian Stage next February. There’s clearly an increasing amount of work created by and/or featuring individuals who don’t identify as cisgender, but nevertheless mainstream theatre and the theatrical canon seems to me to still be dominated by heteronormative stories.

    I asked David Fancy, director of Orlando, Brock University’s first Mainstage production of the 2019-20 season, why he thinks much mainstream theatre hasn’t treated gender non-conformity or gender fluidity. “I think humans are continuously in survival mode and think in terms of binary logic because it’s a way of cutting to the chase, and it’s simple habituation,” says Fancy. “I think it actually takes work to think outside of that, and I think there’s a lot of energy and anger that goes into reinforcing those perimeters simply because historically, properties have been perpetuated along these patrilineal lines.” He explains that there’s “a history of privileging the cisgender hetero matrix that [Judith] Butler talks about, what she describes as the false stabilisation of certain sets of binaries, and so many cultural institutions are organized around that.”

    Taj Crozier and Paige Hunt-Harman in Orlando. Photos by Neil Silcox.

    Enter Orlando, a play that directly tackles questions of gender identity and how we perceive it. Orlando: A Biography was written by Virginia Woolf in 1928 and adapted into a play by Sarah Ruhl in 1998. The play follows the titular character through six centuries, starting with the reign of Elizabeth I and ending in the present day. When Orlando turns 30, they stop aging and go to sleep as a man and wake up as a woman. They stay in the biological body of a woman for the rest of the play, but nothing else about them has changed. Paige Hunt-Harman, the actor who plays Orlando, feels the character doesn’t necessarily identify as either gender: “he/she/they don’t necessarily know who they are when it comes to gender,” says Hunt-Harman. “They kind of see themselves as just this ever-flowing entity that is kind of always going to be there, always there to ask those questions, to say, ‘who am I?’ and ‘what’s to come?’ and ‘what will people think, or do I even care what people think?’”

    Orlando premiered Off-Broadway in 2010; in July of 2018, Soulpepper Theatre produced its Canadian premiere with Sarah Afful in the title role. With Brock University staging the play this year, are we moving towards a theatrical landscape (and perhaps consequently, a society) where gender fluidity is moving further into mainstream representation? Both Fancy and Hunt-Harman agree that we are. And good thing, too – especially in a university setting in which many students identify as gender non-binary or gender non-conforming, representation on the stage is important. We still live in a heteronormative society and works like Orlando are needed to disrupt and question that thinking, to advocate that people of all genders and sexualities have avoice.

    The play certainly challenges questions of gender and how we perceive it. Hunt-Harman shared the story of an early rehearsal in which Fancy asked the ensemble what masculinity meant to them, after which there was an awkward pause before someone suggested, “big muscles?” And maybe that is how many see masculinity today – the big, strong, protective man versus the frail, delicate, damsel-in-distress. But do these traits have to be separate and rigid between the sexes? This play works to blur these lines: “Orlando really starts at the beginning of the play as a very stereotypical, heroic male, the hegemonic hero of the story,” Hunt-Harman says, “and I believe by playing that up we really show the audience just how we as a society perceive masculinity — and the same goes for femininity. But throughout the play we see… that stylized gender kind of transform into something that we now are able to connect with, where it’s not necessarily one thing or the other. It’s very grey… I see masculine in the feminine and feminine in the masculine.”

    It’s not just gender that this production of Orlando addresses – it also touches on issues of racialization. While Ruhl’s adaptation has eliminated Woolf’s uses of words like “moor,” there are still remnants of racializing language that the ensemble has worked to challenge by, for example, cutting out all mentions of the word “gypsy.” When Orlando transitions from man to woman, they do so in Constantinople (now Istanbul), which is highly exoticized and orientalised in Woolf’s novel, and consequently Ruhl’s script. “There’s a whole tradition in colonial literature of white people from Europe going to a foreign place that’s exotic and they have all kinds of discoveries. This is a repeated trope in colonial texts,” Fancy explains, “and it’s left unexamined by Woolf because she takes on the question of gender, but it’s almost like it’s first-wave feminism where you have a white woman, upper class, going through these discoveries.” Without giving too much away, the ensemble has taken this scene in Constantinople and over-emphasized the racialization by being hyper-theatrical about it, before then deconstructing it.“We establish it and then just… almost campily, certainly almost cheesy, with theatrical means, take it apart,” says Fancy. “You have to make sure that if you’re foregrounding something, you’re foregrounding that it’s a construction. And you’re showing how it’s made, and how you take it apart.”

    Sid Malcolm in Orlando.

    Orlando and the questions intertwined with it come at the right time, especially with an audience likely primarily composed of university students. Young people are recognizing their power now more than ever and are questioning what has always been presented as “natural and inevitable,” as Fancy would say. “We are now the question generation,” Hunt-Harman says. “We want to ask more questions; we want to challenge the norms that society has brought upon us and I really think that this play brings that to the forefront.”

    Orlando plays at the Marilyn I Walker Theatre, 15 Artists’ Common, from October 25 – November 2. Purchase your tickets online.

    DARTCritics is a project of the Department of Dramatic Arts, founded by Dr. Karen Fricker.  Launched in 2013, the site originated as a practical way for students to train in the art of reviewing, and also sought to bring the artistic community of Brock University and St. Catharines closer together. The website features writing about theatre produced and seen in Niagara, Hamilton, Stratford and Toronto. Please follow DARTCritics as they continue to search for awesome theatre, meeting fascinating artists along the way.

    You can also follow DARTcritics here:

    @DARTCritics
    Facebook: DARTCritics
    YouTube: DART critics
    Instagram: dartcritics

    DARTcritics.com is partially funded by the Marilyn I. Walker School of Fine and Performing Arts, in support of student learning; experiential education; student professionalization; public engagement with the teaching, learning and production activities of the Department of Dramatic Arts; new ways of thinking; and the nurturing of links with our communities.

    The opinions expressed by the writers of the DARTcritics.com website are their own.

    Tags: , , , ,
    Categories: Current Students, Department/Centre News, Events, Faculty & Instructors, News, Uncategorised

  • Brock project aims to improve long-term care for veterans and brain injury patients

    Wednesday, October 09, 2019 | By

    students perform a scene in Understanding person-centred care

    Brock University alumni now with Mirror Theatre perform a scene in Understanding person-centred care: Finding dignity within the shadows, a video series as part of a research project between Brock and Sunnybrook Health Sciences Centre.

    (From: The Brock News, THURSDAY, OCTOBER 3, 2019 | by Dan Dakin)

    Two Brock University faculty members from seemingly unrelated disciplines have collaborated on a project aimed at improving the relations of those involved in long-term care.

    Associate Professor of Recreation and Leisure Studies Colleen Whyte, and Professor of Dramatic Arts Joe Norris, were at Sunnybrook Health Sciences Centre in Toronto Wednesday, Oct. 2 for the premiere of Understanding person-centred care: Finding dignity within the shadows.

    Two years ago, Sunnybrook Professional Practice and Education Leader Leanne Hughes came to Whyte with a research idea about how to help staff and family deal with the challenges associated with two specific groups in long-term care: veterans living with dementia and patients recovering from traumatic brain injuries.

    “I’ve known Leanne for 15 years and we’ve done research together in the past,” Whyte said. “She came to me and said: This is an issue we have. How do you think we could look at researching it?’”

    “What we’re looking at are person-centred approaches,” said Hughes, referring to a growing emphasis in health care that invites patients and family members to be involved in decision-making and strategizing ways to care for individual patients from a wide-range of services. It’s a more collaborative care model than a traditional top-down medical approach to care.

    In the fall of 2018, Whyte led research that included focus groups of those working in long-term care at the Toronto hospital such as doctors and hospital staff, as well as families of those in care.

    Brock University professors Joe Norris and Colleen Whyte hand a USB drive to Leanne Hughes from Sunnybrook Health Sciences Centre. Brock and Sunnybook partnered on a research project that included a 20-part video around patient-centred care. Pictured from left are Brock alumni Nadia Ganesh, Candice De Freitas Braz and Mike Metz, Hughes, Norris, Brock master’s student Kevin Hobbs, Whyte and Brock alumni Bernadette Kahnert.

    “We interviewed people who are doing this every day,” Whyte said. “This research is about taking the principles of person-centred care and trying to see how they are translated on a daily basis, when all partners experience unexpected challenges.”

    With the focus group data in hand, Whyte then turned to Norris, Chair of Brock’s Department of Dramatic Arts, who worked with the student-run Mirror Theatre to translate the conversations into dramatic action, known as ethnodrama and applied theatre.

    “We took the focus group transcripts, read them, analyzed them and created dramatic scenes,” said Norris. “The purpose is to evoke conversations.”

    The result is a 20-part video series, each dealing with a different component of the long-term care experience. They range from something as simple the challenge of what to pack when a family member is moved into a new living situation to what to do when a patient whose mind no longer has much of a filter says something that crosses a line.

    “It’s all about answering the question of ‘How do we treat each other with respect in stressful situations?’” Norris said.

    He said the Dramatic Arts students who were acting the parts in the videos — including the patients who are represented as shadowed silhouettes rather than specific people — learned about more than just acting.

    “Many cast members say they don’t only get extra-curricular experience with theatre, they get the experience of dealing with a range of topics. It’s like an extra class for them,” he said.

    With the video series now complete, the next stage of the project is to create workshops for staff and families.

    “It gives staff some insight and helps them think, ‘If I’m in this situation, let me strategize and be thoughtful about what options I have,’” she said. “It will equip new staff with possibilities and allow existing staff to be reflective about their approaches.”

    Brock University alumni Nadia Ganesh, Bernadette Kahnert, Lindsay Detta and Candice De Freitas Braz interpret a scene from Finding dignity within the shadows at Sunnybrook Health Sciences Centre in Toronto Wednesday, Oct. 2.

    Hughes said when the final videos were shown to those working with veterans suffering from dementia and patients dealing with brain injuries, the staff were impressed with how accurate they were in reflecting the situations they deal with.

    “It has been an absolute pleasure to see students take this data and enact it,” Hughes said. “We were in awe of their ability. They did a fantastic job.”

    The project, which was funded by a Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant and a Practice-Based Research and Innovation Seed Grant from Sunnybrook, will continue with the development of facilitator tools and training sessions. Those will be developed and led by Norris and Kevin Hobbs, a master’s student in Social Justice and Equity Studies, who directed the Finding dignity within the shadows series and incorporated the research into his master’s thesis.

    “They’re training videos, but not in the sense of, ‘Here’s how you give a needle,” said Norris. “It’s more of a dialogic conversation where our audiences are invited to comment on the scenes and add their own insights and stories.”

    Watch the full Understanding Person-Centred Care video below and individual scene videos can be found at this link. 

    Tags: , , , , , ,
    Categories: Alumni, Department/Centre News, Faculty & Instructors, In the Media, News, Uncategorised