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The Rhythm of Space and the Sound of Time examines the place of Chekhov's Technique in contemporary acting pedagogy and practice. Cynthia Ashperger answers the questions: What are the reasons behind the technique's current resurgence? How has this cohesive and holistic training been brought into today's mainstream acting training? What separates this technique from the other currently popular methods? Ashperger offers an analysis of the complex philosophical influences that shaped Chekhov's ideas about this psycho-physical approach to acting. Chekhov's five guiding principles are introduced to demonstrate how eastern ideas and practices have been integrated into this western technique and ho...
The story of the small "new age" religious group that introduced Victorian Toronto to Eastern thought and theology, vegetarianism, reincarnation, cremation, and the pacifism of Mohandas Gandhi.
In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Celine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-nat...
Focusing on a body of lost and forgotten plays by women and situating them in the context of the early women's movement and its major discourses on suffrage, higher education, and social gospel, Kym Bird challenges the male-defined focus of recent historical studies into 19th-century Canadian drama. She argues that in a society that preferred to think of men and women as part of separate but complimentary spheres the woman naturally suited for the private world of the home and motherhood and the man for the public world of work and politics these plays advanced two forms of feminist politics. Liberal or equality feminism demanded the same rights and privileges for women as those accorded men...
Biography, theater history, anecdotes, and commentary are combined to show the development of an indigenous Canadian professional theater since World War II. From Timothy Findley’s beginnings in theater to bats occupying the Red Barn Theatre, this book offers a behind-the-scenes peek at how plays were produced, what the critics thought, what went wrong on stage and off, and some big name performers, such as William Shatner, Bruno Gerussi, Mickey Rooney, Jackie Coogan, Jackie Burroughs, Joe E. Brown, Zasu Pitts, Tallulah Bankhead, Edward Everett Horton, and Billie Burke. The book also describes the financial struggles of keeping a theater open, and, through a wide variety of plays shown on the stage of these theaters, what type of play to put on for the public.
Examining the life of the extraordinary woman best remembered for her work with the New Play Society (NPS), this biography chronicles the career of a Dora Mavor Moore as a key figure in the development of the theater in Canada. When Dora founded the NPS in 1946, she was already close to 60 years old, and she had been working tirelessly as actress, director, producer, and teacher, for almost 40 years. The story of her remarkable achievements will appeal to anyone with an interest in the arts in Canada.
Beginning with Richard Drew’s controversial photograph of a man falling from the North Tower of the World Trade Center on September 11, Learning How to Fall investigates the changing relationship between world events and their subsequent documentation, asking: Does the mediatization of the event overwhelm the fact of the event itself? How does the mode by which information is disseminated alter the way in which we perceive such information? How does this impact upon our memory of an event? T. Nikki Cesare Schotzko posits contemporary art and performance as not only a stylized re-envisioning of daily life but, inversely, as a viable means by which one might experience and process real-world...
From history and politics to fantasy and farce, the first flourish of women's theatre in Canada questioned the discourses that formed and informed ideas of gender, sex, and sexuality. This book revives ten theatrical comedies that staged the promise of social change.
Changing Women, Changing History is a bibliographic guide to the scholarship, both English and French, on Canadian's women's history. Organized under broad subject headings, and accompanied by author and subject indices it is accessible and comprehensive.